Shamek Farrah -

Shamek Farrah is an American alto saxophonist from NYC who released the album First Impressions on Strata-East in 1974, followed by a collaborative disc with pianist Sonelius Smith on said label in 1977. A further album with backup combo Folks appeared on Ra Records in 1980.

Background

Shamek Farrah was born Anthony Domacase in New York City and grew up in Spanish Harlem. His father worked as a mechanical engineer and knew bandleaders Sy Oliver and Cab Calloway. Farrah started alto saxophone study at age twelve with reedist Garvin Bushell.

Farrah played alto saxophone with Latin groups and Latin-jazz groups around New York during the late 1960s. He signed a late-1972 contract with Strata-East Records at age twenty-five.

First Impressions

Shamek Farrah released his debut album, First Impressions, in 1974 on Strata-East.

Farrah wrote “Meterologicly Tuned” and the title piece. Fredger Dupree wrote “Watch What Happens Now,” and Norman Person wrote “Umoja Suite.”

First Impressions works from minor-mode heads, drone-like grounds, and thick ensemble pressure. “Meterologicly Tuned” opens on rough unison lines, then churns through percussive piano figures and rhythm shifts that blur before they tighten again. “First Impressions” locks onto a deep ostinato and layered percussion, with the lead line cutting across the track’s long drag.

Farrah recorded side A with trumpeter Norman Person, pianist Kasa Mu-Barak Allah, bassist Milton Suggs, and drummer Clay Herndon. He cut side B with Person, pianist Sonelius Smith, Suggs, drummer Ron Warwell, conga player Calvert “Bo” Satter-White, and percussionist Kenny Harper.

A1. “Meterologicly Tuned” (11:00) – Farrah
A2. “Watch What Happens Now” (5:35) – Dupree

B1. “Umoja Suite” (7:21) – Person
B2. “First Impressions” (11:29) – Farrah

Farrah produced First Impressions for Janfar Productions at Sound Ideas Studio in New York with recording engineers George Klabin and Geoff Daking. First Impressions appeared in a sleeve with graphics by Jerry Harris and liner photography by Richard Hinson.

The World of the Children

Shamek Farrah and Sonelius Smith released The World of the Children in 1977 on Strata-East.

Smith wrote the two side-A pieces, Suggs wrote “Milt: A Bass Solo,” Farrah wrote “People Puttin People Through Changes,” and trumpeter Joseph Gardner wrote “Julius.” Farrah and Smith recorded the ensemble tracks with Gardner, bassist Kiyoto Fuiwara, drummer Freddie Wrenn, and percussionist Tony Waters; Suggs performs alone on B1.

“The World of the Children” starts with loose percussion colors, then climbs into a buoyant communal theme. “People Puttin People Through Changes” steps on a striding low-end figure and easy drum motion, with Farrah’s lead placed against sharper piano turns. “Milt: A Bass Solo” contracts the album into a short, brooding solo statement before the second side resumes its ensemble spread.

A1. “The World of the Children” (9:58) – Smith
A2. “Conversation Piece” (6:28) – Smith

B1. “Milt: A Bass Solo” (2:57) – Suggs
B2. “People Puttin People Through Changes” (7:17) – Farrah
B3. “Julius” (5:22) – Gardner

Farrah produced The World of the Children in April 1976 at Sound Ideas Studios in New York with engineer George Klabin and session supervisor Norman Person. The World of the Children appeared in a sleeve with cover design and photography by Ron Warwell.

La Dee La La

Shamek Farrah and Folks released La Dee La La in 1980 on RA Records.

Farrah wrote “La Dee La La Song,” “The White Lady,” and “And Along Came Ron Rahsaan.” Pianist Saeed Amir wrote “Waiting for Marvin.”

The album credits Farrah on alto and soprano saxophone with trumpeters Abdullah Khalid and Malachi Thompson, trombonist Marvin Neal, guitarist Harry Jenson, electric bassist Hasan Jenkins, drummer Ron Rahsaan, percussionists Roger Howell and Lenny King, and vocalists Ghanniya Green and Vivian Chandler. Smith and Fujiwara reappear on “The White Lady” with tenor saxophonist Grant Reed and drummer Ayon Falu.

“La Dee La La Song” opens with an unaccompanied chorus, then settles into hand-drum motion, sung theme, and festive soprano variations. “Waiting for Marvin” brightens the tempo with quick piano runs and twisting alto phrases. “The White Lady” shuffles without the added percussion layer, leaving block chords and measured solo turns to carry the track. “And Along Came Ron Rahsaan” enters through a limber guitar figure, then adds soprano phrases, a trombone stretch, and wordless vocal lines.

A1. “La Dee La La Song” (9:16) – Farrah
A2. “Waiting for Marvin” (7:34) – Amir

B1. “The White Lady” (10:07) – Farrah
B2. “And Along Came Ron Rahsaan” (9:44) – Farrah

Shamek Farrah and Folks recorded La Dee La La in June 1978 at Sound Ideas Studios in New York.

Discography: