Barika

"Barika is a little like what Rubblebucket would be if the latter band were plucked out of Brooklyn and deposited in West Africa -- a three-man horn section tops the swaying rhythms laid down by the percussion of Myers and drummer Caleb Bronz, while Myers' signature work comes on the ngoni, a stringed instrument he plays with hypnotic precision. His rapid-fire ngoni playing on 'Blues For Segu' (matched by guest guitarist Bob Wagner of Burlington) flows like liquid, while his plucking on the tune "Grounded" sets off an unexpected R&B vibe. The percussion rules, however, on "Eh Baba," a number made for sweaty dancing." - Burlington Free Press

Some musicians have a hard enough time balancing the demands that come from being a member of a band that it’s incredibly impressive that Vermont native Craig Myers has juggled three different projects over the last few years. The percussionist/Kamel N’Goni player is a member of Mike Gordon’s five-piece band, tours with Brooklyn indie-dance band Rubblebucket and fronts his own group called Barika.

(continue at link.. it's loooooooooong). - Glide Magazine (Hidden Track)

For the past 13 years, percussionist Craig Myers has been exploring the world of West African music, venturing to places like Mali, Senegal, Guinea and The Ivory Coast in search of his sound. Performing on a traditional African West instrument called the Kamel N’goni, Myers plays with Afro-inspired Brooklyn band Rubblebucket, as well as in Phish bass player Mike Gordon’s solo group. But recently, the percussion virtuoso has also turned his attention to a new seven-piece ensemble called Barika (pronounced body-kah), hailing from Burlington, VT. Inspired by the sounds of Mali’s Wassoulou region, the groups churns out psychy poly-rhythmic afro-grooves driven by Myers playing on the Kamel N’goni. It is difficult to describe the otherworldly sounds Myers conjures from the traditional African harp, but, at times, it sounds as though he has an entire African tribe playing along with him. Remember, the group’s debut album and the result of two-years of experiments and recording sessions, is now available from their website. - Dog Gone Blog

On their long-awaited full-length debut, Remember, Barika finally capture their uniquely thrilling brand of Afro-funk-psych-indie-whatever-rock on record. The album is, in no uncertain terms, a dynamic tour de force. The brilliantly conceived and expertly executed brainchild of n'goni master Craig Myers is among the finest local albums you'll hear in this, or any other, year. Really.

Remember begins with a shimmering, n'goni line that imparts an ethereal calm. Beware: It's a setup. At the precise moment when Myers' nimble plucking renders the listener into a blissful lull, the title track explodes in a maelstrom of steamy funk. Exultant horns take flight over Caleb Bronz's insistent drums and JP Candelier's undulating bass. Andric Severance's twisting key swirls create an iridescent bed of shifting, opaque sound. Then, just at the height of tension, the band relents, leaving only Myers and his rippling, crystalline tones.

That sense of contrast, the ability to expand and contract, is central to Myers' compositional philosophy. Unpredictability is a running theme throughout Remember. "Baga" sets distinctly Americanized funk horn melodies in opposition to Myers' curious West African modal shifts before descending into a spacious, psychedelic bridge that ultimately unites the two. "Blues for Segu" roils along murkily until the band fractures its heady groove with an expansive, polyrhythmic break and a fearsome solo from guest guitarist Bob Wagner. "Good Morning" breaks like dawn with a yawning midrange progression from Myers. Eventually it yields to a phalanx of disorienting noise that jolts the listener to reluctant wakefulness.

As star studded an ensemble as Barika is, the guests on Remember are equally impressive. Keyboardist Tom Cleary makes a typically potent and sonically arresting appearance on "River Niger." Saxophonist Brian McCarthy is also a welcome addition on that track, the following number and album closer "Grace." That last cut is the only one on the record with vocals, courtesy of Rubblebucket's Annakalmia Clark Traver, who also wrote the lyrics. As she so often does with her own band, Traver's distinctive delivery lends a singular depth and character. It's sparkling and adventuresomely close to a truly remarkable record. - Seven Days (VT)