- Features three unreleased Brother Ah albums: The Sea (1978), Mediation (1981), and Searching (1985)
- Released as a 5xLP box set or a 3xCD package
- Includes an extensive interview with Brother Ah by Pitchfork and Resident Advisor contributor Andy Beta
- Recommended for fans of Laraaji, Alice Coltrane, Terry Riley, Brian Eno, Popul Vuh, and the recent new age renaissance
Following the reissues of Brother Ah’s three studio albums in 2016, Manufactured Recordings is proud to present Divine Music, a collection of three unreleased albums from this jazz visionary: The Sea (1978), Mediation (1981), and Searching (1985). Moving from rich spiritual jazz to more meditative ambience, Divine Music further explores Brother Ah’s unique sound and musical vision. Released as a 5xLP box set or a 3xCD package, Divine Music includes an extensive interview with Brother Ah by Pitchfork and Resident Advisor contributor Andy Beta. Recommended for fans of Laraaji, Alice Coltrane, Terry Riley, Brian Eno, Popul Vuh, and the recent new age renaissance.
The renowned French horn player known as Brother Ah (aka Robert Northern) is one of the most prolific and respected musicians in the history of jazz music, with a recorded output spanning more than 40 years.
Born in 1934 and raised in the south Bronx, Brother Ah was playing jazz trumpet as early as fifteen years of age. Following a classical French horn education at Austria’s Vienna State Academy, he emerged in the late ‘50s and established himself as a skilled and consistent session musician, playing with the Metropolitan Opera Orchestra, the Radio City Music Hall Orchestra, and numerous Broadway theater orchestras.
Brother Ah recorded well into the ‘60s with some of the most illustrious names in the genre, including Donald Byrd, Dizzy Gillespie, John Coltrane, Thelonious Monk, Miles Davis, Gil Evans and, perhaps most influentially, Sun Ra. In 1969, Ah formed his own group, The Musical Sound Awareness Ensemble, and released several works under his own name from 1974 onward. In the late ‘60s, his interest in non-western music developed, and his ‘70s and ‘80s recordings, incorporated elements of Eastern and “Third World” music, fusing them with jazz structures.