While she has a “triple burden” within the community as she was not only a woman in a male dominated industry, she was also African American, and played an instrument that most of the general public had little to no interest in at the time. It was this navigation and determination that makes Afro-Harping feel like such a victory behind music as it becomes a step back into the sun-ridden hills of 1968 with 10-total tracks that form quickly and dissipate just as soon. Even as the sound remains throughout, there is this emotional attachment that can reflect from the almost swing-sense that follows on Afro-Harping.
Ashby can collect this velvet smooth framing with the harp and the backing band that delivers whole-heartedly on manipulating the listener into becoming a monument of momentum. It was Afro-Harping that let the harp become the front instrument running the show as it grooves along to some blends of Richard Evans that allowed the instrument to really flow throughout the record. Opening tracks of “Soul Vibrations”, or the following of “Action Line”, Ashby strikes gold time and time again with a dedication to dropping some immensely beautiful rides of sound.
The last moments of the record start to wind down and become more quiet before a giant barrage finale. Just as it starts, Afro-Harping ends with Ashby laying down an attractive muse of jazz music that builds and finally crumbles to the silence that follows behind.