Sila and the Afrofunk Experience-Black President

Sila and the Afrofunk Experience are a tight Afrofunk band out of San Francisco. Check out their latest video celebrating the first American Black President, Barack Obama:



Sila and the Afrofunk Experience

Interview with Emmanuel Jal

Very few people in the world have the same credibility and vantage point as a musician speaking out against an issue as Emmanuel Jal. Having lived through being forced to fight as a child soldier in Sudan and Ethiopia at a young age, he has dedicated his life to helping the suffering people of Sudan. The charity he founded-Gua Africa-seeks to build schools for former child soldiers to help rebuild their lives. I had the honor of speaking with Emmanuel while he was passing through NY on his international tour promoting his album and documentary about his life, War Child:

The Afrobeat Blog: When did you first listen to hip-hop?

Emmanuel Jal: It was in kenya on kenyan television and the radio station, and guys bringing in tapes to play. The first music I listened to was Tupac in the old days. I used to think they're kenyans, it took me a while to realize they're not kenyans, they're americans.

The Afrobeat Blog: How did it relate to the music of your upbringing?

Emmanuel Jal: The things they used to talk about is what I wanted to listen to. Talking about being chased by police, drugs in the community, It was like they were communicating, and that made me interested in it.

The Afrobeat Blog: Who did you listen to then and now?

Emmanuel Jal: Biggie, Lost Boys, Ice Cube, Public Enemy. Now I listen Nas, I listen to anybody, Kanye West, Talib Kweli, Mos Def, I listen to all of them, because I'm still learning the music. I'm still developing my style, my lyrics, but at the same time I'd like to maintain my dignity.

The Afrobeat Blog: What do you think of American hip-hop, what would you like to see American hip-hop be that it isn't?

Emmanuel Jal: Let's be fair, I don't blame the American hip-hop artists. It's the record companies that are pushing products that are not constructive to the community. You can also go to the movies, there are a lot of conscious movies that are put down, they're not allowed to come out, they're oppressed. MTV won't play anything that doesn't have naked women, or half-naked women. Anything that has violence or sex they love it. Violence and sex sells. But the thing is, we have to think about the children, because the children then think, 'ok this is how the world is supposed to be.'

The Afrobeat Blog: What motivated you to single out 50 Cent on your latest album?

Emmanuel Jal: I took a shortcut picking 50 cent because in this generation 50 Cent is the top. Today, everywhere you go every kid wants to be like 50. So I say to him, 'Look man, you gotta be careful, a lot of kids look up to you. You can make a lot of money but you're going to do a lot of damage to these young peoples' lives.'

The Afrobeat Blog: What other African musicians inspire you?

Emmanuel Jal: K'Naan, Dada J, theres a lot of hip-hop musicians in Africa.

The Afrobeat Blog: How do you use your music to deal with all you've been through?

Emmanuel Jal: Music is a form of therapy for me. Music is the only thing that lets you speak your mind, your soul, your emotions, and influences you directly without you knowing it. So what I've found about music is it makes me happy, the feeling it gives me now.

The Afrobeat Blog: Do you feel a responsibility, or a calling, to use your music to effect change and get across an important message?

Emmanuel Jal: The way I look at, I'm writing down history. I'm bringing what happened in my life to the international community. I feel responsible, I'm like the voice of those communities. At the moment, what I have in mind, my experiences they go and they tell my story.

The Afrobeat Blog: As someone who's been negatively effected by a serious problem facing the world that's largely overlooked, do you feel more musicians should use their platforms as musicians to draw attention to the world's problems?

Emmanuel Jal: Musicians should think and reason because we're in a time of crisis. We're in a time of economic crisis, we're in time of global warming, to get people aware of what's happening, the shortcut is music. We gotta inform people, music can help pass informational messages easily. It's time for us to talk about issues affecting our nations.

Emmanuel Jal: I believe I've survived to tell my story to touch lives. If you're a musician, you're an emotional leader. If you're an entertainer, an actor, you're an emotional leader. You make people laugh, people are stressed, they're looking for who will make them laugh, who will make them dance, and what do they have to say? Whatever you tell them they'll take. If you tell them, 'Fuck you fuck you,' they'll scream, 'Fuck you, fuck you.' And that's what they're gonna do. If you say, 'Smoke weed till I die,' they'll say, 'I smoke weed til I die.'

The Afrobeat Blog: Do you feel a responsibility to talk about some of your most shocking and painful experiences in order to induce a reaction from people and inspire them to act?

Emmanuel Jal: It just comes out natural, the way I tell it, I'm writing down history I'm telling a story. It's not about getting them emotional it's about telling the truth. This is what happened. In one song I say I was tempted to eat the rotten flesh of my comrades, because I was starving with nothing to eat. That's a situation I've lived.

Emmanuel Jal: I have no choice. I had no childhood. I had no family to take me to school, pay my school fees, play video games, play football, have a life, get christmas gifts. I didn't have that. My childhood has been stolen. The only thing I have is to talk about what happened to me, to spread the voice of those kids that have none. My country is still at war, people are still dying. I'm in America sleeping at a 5-star hotel, but the only thing I can do is talk about my story to give hope to people who are investing in Sudan. an aid worker invested in me, Emma McCune, and here I am today honoring her. I wrote a song about her. Now I'm in a campaign to build a school in her name where I only eat one meal a day until I raise that money. I'm at day 75.

The Afrobeat Blog: Are you hopeful with Obama coming into office, America will finally do something to stop the violence in Sudan?

Emmanuel Jal: The problem with us human beings is we rely on someone else. Obama being the president can inspire to achieve things. I'm not going to rely on Obama to make things happen. I'm pushing for the people because only people will make things happen. If he gets 1million people demand peace in Darfur, it will happen overnight. This is a democratic country. There is an economic crisis in America, so we cannot depend on Obama to solve our problems. Anyone who relies on Obama to solve anything for you, is going to be depressed.

The Afrobeat Blog: What can people do to make a difference in Sudan?

Emmanuel Jal: The best investment now, is investment in someone. If someone wants to give aid to Sudan, buy the tools for success and educate them. Don't just leave them crippled and dependent. Build schools. The charity i have is concentrating on schools because when you build schools, you send a message. Out of every 5 kids who go to school in Sudan, one finish primary school. And they don't go to secondary school. The rate of kids growing up and finishing school is very low.

Emmanuel Jal: We have environmental issues. We need farmers to plant more crops. We need to teach people about the climate and how it's changing. and how to prepare and how they can participate in taking care of the earth. We need to build schools in the refugee camps so when they go home, they can make it.

www.Gua-africa.org

War Child Film Screening-Runs Through 2/22/09 @ Firehouse Theater

War Child, an award-winning documentary directed by C. Karim Chrobog, chronicles the amazingly trying but hopeful odyssey of Emmanuel Jal. A former child soldier of Sudan's brutal civil war, he is now an emerging international hip hop star sharing a message of peace for his war-torn land and beloved Africa.

Emmanuel Jal is one of Africa's fastest rising stars and a true advocate for his tragic cause. Child soldiering is something the world largely ignores. Having lived through unspeakably horrific experiences, Jal feels a responsibility to share his story. War Child the documentary is the third incarnation of Jal's message, having released an album and a book this year.

The Award Winning film War Child will run in Harlem at the Faison Firehouse Theater (6 Hancock Place, 124 th Street between St. Nicholas & Morningside Aves.) now until February 22, 2009. Tickets are $10.00. Group Sales are available (10 or more).
Showtimes: Tuesday – Sunday 6:30pm & 9:00pm or go to: www.WarChildMovie.com

Interview with Asa

(Photo by Andreas Terlaak)

If Bob Marley and India Arie had a daughter and raised her in Nigeria, she would probably look and sound like Asa, the Nigerian singer who's first full-length album just hit U.S. markets January 27, 2009 on Downtown Records' new imprint, Mercer St. Records. I had the pleasure of speaking with the budding African musician this afternoon:

The Afrobeat Blog: Who and what has shaped your musical identity? When I listen to you, I hear a lot of Bob Marley, a little India Arie, What artists, what experiences have influenced your music the most?

Asa: Bob Marley, Fela Kuti, I grew up around music, my father had a lot of records, Aretha Franklin, Miriam Makeba, Yoruba Classic songs I listened to all kinds of music, I drew inspiration and picked pieces from everybody. Coming from the Yoruba culture there's a strong musical identity blending with my language to create what I do.

TAB: How did growing up in Lagos effect your perspective on politics and world affairs, and how has that manifested itself in your music?

Asa: Growing up in Lagos, you get to see the realities of life. Things are not perfect. My parents were struggling parents. We were always looking for a better future, but in my time I think things haven't changed they've only gotten worse. I felt I needed to use my music to talk about this, you can't escape the political sides of life when you live in Nigeria

TAB: Do you feel a responsibility to represent the continent, do you feel you've been typecast at all due to your Nigerian heritage?

Asa: Yes and no. I come as an African singer someone who originated in Africa but talking about things that relate to everybody. I also use it as way to introduce myself, my culture and my language.

TAB: Do you feel like it's more difficult for African artists to achieve mainstream success in the US or Europe w/o being lumped into a "World Music" category?

Asa: I don't like to be seen as World Music, that's a misconception. I am a singer who puts my roots down in Africa for you to see, but it doesn't matter my nationality,

TAB: With the inauguration of Barack Obama, do you feel there's a sense of hope in Africa that the U.S. will start to pay attention to the continent's problems?

Asa: Things have changed, but I don't know for Africa or the rest of the world. Problems have been coming for a long long time. With Obama people will begin to change their ways of thinking. For me there are things that I can think are impossible because of who I am and because of the color of my skin. With him I think those ideas will change. But in terms of problems, I'm not expecting a miracle. It takes time, I think we're on the way. Even America too is on the way. The way America sees the world will change Nations, people, will look at themselves differently and hopefully that will lead to change.

TAB: Being a Nigerian Woman, are you inspired by Fela's creed and legacy--Music is a Weapon--using your music to effect positive change both in Africa and all over the world?

Asa: Fela used to be like the newspaper. You would get up in the morning and read the newspaper like listening to Fela to know what's going on, people who were educated and informed were listening to Fela. While I was growing up and listening to this man, I saw a lot of things, I saw courage, I saw the ability to use music as a weapon to educate and inform people and also to connect other people, Africans, to give them hope and also have the rest of the world informed about Africa and its people and the world at large. Fela has helped me see this way to use my music, not only Fela but Bob Marley, today we still listen to him, we use his lyrics in our everyday experiences. They used music as a tool to bring people together. I admired those people I wanted to go that way the best way to do it was to have my individual voice, but also borrow from those people.

TAB: Who are some other African musicians that inspire you?

Asa: Angelique Kidjo, Femi Kuti, Keziah Jones, Lagbaja, they all inspire me in different ways.

Buy her new album here, check her out on myspace

Chico Mann and Superhuman Happiness @ Public Assemby-Feb. 10th

While it's been a great run, I'm peacing out of this crazy city to explore the world, but before I go, I'm throwin' one last jam with two of my favorite bands in the city, Chico Mann and Stuart Bogie's Superhuman Happiness. Both bands feature members of Antibalas, one of the baddest bunch of musicians on the planet known for making dance floors shake.

Chico Mann is probably my favorite band in the world. Put simply, it's electronic afrobeat utilizing the Casio Keyboard that will make you feel like you're either dancing in the 1980's or 2080's whichever way you run with it. Marcos Garcia, guitar player of Antibalas, takes it back to the old school while keeping it contemporarily funky. I'll let Turntable Lab tell you all you need to know: "…This is the future of music, in case you didn't know. [Chico Mann] has come from the future to show you how the past should have sounded. This time-traveling mastermind is basically the Jersey City Cuban James Brown of the Casio. You heard it here first…Welcome to the future past. Recommended."

Superhuman Happiness is the musical love of Stuart Bogie's life, tenor sax player of Antibalas and all-around awesome dude. Using layered horns and funky guitar and bass lines, Superhuman Happiness will make you shake your Superhuman ass happily.

While this won't be the last show in Brooklyn at which I shake my funky ass, it will be for a while. If you're reading this blog, you know I know what's up when it comes to music live and recorded. I can objectively say, this will be a show you should not miss. The quality of musicianship, the people who will be in attendance, and the pure fact that I won't be gracing any Brooklyn venues with my funky self for a while...you basically have to show up.

Public Assembly-70 N. 6th St.-Brooklyn, NY-9pm

Chico Mann-Who You Runnin' From?


Superhuman Happiness

Global Fest-Webster Hall-January 11, 2009

Global Fest came back and represented itself as the best globally conscious music presentation in New York again this year. Although the extreme disapointment of Femi Kuti dropping out of the program definitely was felt the night of the concert, Kailash Kher and Kailasa filled the headliner void 100%.

For someone such as myself who isn't particularly into Indian music, I was totally enraptured by the energy of the performance as the ensemble filled the Grand Ballroom at Webster Hall with Baliwood delight and fervor.
Global Fest

Toubab Krewe @ SOB's Jan. 8th 2009

Toubab Krewe, a band out of Asheville, NC that fuses traditional West African musical styles with American Southern blues, is returning to SOB's this Thursday night. Having seen them live before, I know they can put on one hell of a show. Definitely come check them out if you like African music, or if you simply like to dance.

Toubab Krewe Myspace

The Year in African Music

So everybody's doing it. I was asked along with my co-worker Tebukozza Babumba-Olatunji to do it. I did it. Here it is...my top ten African Albums of the year.

1. Congotronics 3-Kasai All-Stars
2. Africa to Appalachia-Jayme Stone and Mansa Sissoko
3. Day by Day-Femi Kuti
4. Many Things-Seun Kuti
5. Mandé Variations-Toumani Diabate
6. Asa-Asa
7. Dununya-Kakande
8. Warchild-Emmanuel Jal
9. Rebel Woman-Chiwoniso
10. Made in Dakar-Orchestra Baobab

Album Review: The Macrotones-Wayne Manor

Wayne Manor, the debut album from The Macrotones, an eleven-piece afrobeat band out of Boston, is tight display of funk and percussive aggression that shows a lot promise for the group. Certain songs attack and punch you in the face from start to finish while others slowly creep, ebb, and flow, much like some of their biggest influences, Budos Band, Fela Anikulapo Kuti and Afrika 70, and Antibalas.

Funky basslines and tight rhythm section lay down a tight groove over which the horns drive the action and melody of the song in place of a vocalist. While there are only three horns in the eleven piece band, Nate Leskovic on trombone, Andy Bergman on baritone sax, and Jason Buhl on tenor and soprano, make their presence felt with authority with a heavy, deep register.

The percussion section really takes the identity of the album's overall sound. Since The Macrotones don't have a vocalist, they have an elongated, open texture. The clave, shekere, congas, and trap drums fill in the gaps and give the album its lasting impression.

The Macrotones are part of a growing faction of afrobeat bands throughout the east coast. Inspired by Fela and his contemporary disciples, they take on the same challenge as their peers: to continue the legacy of afrobeat with their own sound.

The Macrotones

Red Hot Rio-BAM-December 5th, 2008

It was a night of beautiful music, dancing, and people from start to finish at the Brooklyn Academy of Music's Red Hot Rio where 16 of the best Brazilian artists in the world touched the stage both contemporary and classic. From bossa nova to samba soul, Jobim to Tropicalia, it was a celebration of Brazilian culture that had the entire BAM Howard Gilman Opera house dancing and going crazy.

The stage was absolutely filled to capacity with Brazilian musicians. Curumin, Ceu, Bebel Gilberto, Jose Gonzalez, and Otto, rotated singing in front of the superstar backing band of Joao Parahyba, Moreno, Domenico, Kassin, Stephane San Juan, Alberto Continentino, Money Mark, Janja Gomes, Ze Luis, Jorge Continentino, and Carlos Darci. Featuring trumpet, trombone, tenor sax, baritone sax, two guitars, bass, 3 percussionists, and 3 singers, the total sound throughout the night achieved beautiful and rich melodies and harmonies, that resonated throughout BAM's beautiful opera house and were accentuated by visual projections.

It started with Jose Gonzalez serenading the audience with his velvety voice. Then Curumin came on the mic and picked things up a notch. Ceu followed and enchanted the crowd with her beautiful voice. Bebel Gilberto came on next and the crowd got progressively warmer. Then Otto came out and got everybody jumping. Things calmed down for a bit, but then the Harlem Samba drum line walked down the center aisle and onstage making the entire audience get on their feet.

Album Review: Curumin-Japanpopshow

Japanpopshow, the new album from Curumin out November 4th on Adrenaline Records, could be the best samba-funk album of the century. Hailing from Sao Paulo, Brasil, Curumin embraces the many sounds to which he has been exposed to create an eclectic, consistently funky sound. Hip-hop, reggae, bossa nova, funk, and rock are all abundantly prominent throughout the album with certain songs featuring one sound more than another.

Curumin has been making music from a young age. He started his first band at 8 and was gigging regularly as a drummer in clubs across Sao Paulo at 14. At 16 he learned to play keyboards. Eventually he enrolled in music school and formed his first band, Zomba, which focused on Brasilian classic funk with dj accompaniment.

Chief Xcel of Blackalicious heard Curumin's last record, Achados e Perdidos, while touring in Brasil and brought him into Quannum Projects. Japanpopshow is the result. This album has one of most inventive, funky sounds of any I've heard this year. Curumin's playing at BAM December 4th; if you like funky, original music, check it out.

curumin myspace

Album Review: Day by Day by Femi Kuti

Day By Day, the first studio album by Femi Kuti in seven years out November 18th on Downtown Records, re-established the prince of Afrobeat as a voice in the contemporary Afrobeat community. His trademark punchy horn lines and passionate vocals represent Femi's style having grown but not changed significantly. He still has his own style, his own sound, and his own message, different from his father Fela and brother Seun.

As the son of Fela Anikulapo Kuti, Afrobeat pioneer, African musical icon, and international protest figure, Femi played in his legendary father's band, Egypt 80, from a young age. He later broke away from Egypt 80 to start his own band, Positive Force, which played at The Shrine, Fela's home club in Lagos, Nigeria, one night a week. Femi has long displayed his father's passion for social justice and political action, but has differed from Fela on many fronts including his religious views and AIDS.

A few of the tracks on Day by Day are studio versions of songs performed on Africa Shrine, Femi's live album and Concert DVD such as "Oyimbo" and "One Two". Almost every song on the album has a strong political message like "Tell Me" and "Demo Crazy". Several of the tracks have a soft, jazzy feel at times such as "Tension Grip Africa" and "Untitled". Using the organ, guitar, trumpet, and various percussion instruments, Femi creates a soft backdrop against which the powerful horn section of Positive Force clashes.

"Do You Know?", a track that starts off with a funky bass line and Femi asking, "Do you know Miles Davis? Do you know John Coltrane? Dizzy Gilespie? Duke Ellington? Do you know Billy Holliday?" has a particularly funky groove. The guitar and organ parts are emphasized in a sly, scratchy manner in the early part of the song before the horn section comes in as a whole and then solos. Femi has been honing his keyboard skills for the past several years. His progress is evident on this track as the funky jazz vibe furnished by the keys and guitar parts is especially accentuated.

Some of the tracks are studio versions of songs performed on Africa Shrine, Femi's live album and Concert DVD such as "Oyimbo" and "One Two". Almost every song on the album has a strong political message like "Tell Me" and "Demo Crazy".

When younger brother Seun released his album Many Things earlier this year, a lot of people in the music community were ready to forget about Femi. People were ready to ordain Seun as the leader of the next generation of Afrobeat. Seun and Femi are very different and Day by Day is a clear example why. Seun, playing with Egypt 80, is picking up where his father left off, playing the same style and representing Fela's legacy. Femi has never been concerned with being the next Fela. Postivie Force and Egypt 80 co-existed for several years before Fela's death. Femi has always had his own style and sound, and Day by Day is a continuation of Femi's legacy of originality.

Femi Kuti Myspace

The Budos Band Returns to SOB's-11.13.08

The Budos Band, a tight ass band out of Staten Island with a sound that's too funky for words is coming to SOB's next Thursday night. They mix Afrobeat, Soul, Funk, Ethiopian Jazz, and Rock to create a sound that's downright danceably funky with an attitude. Their music has been featured in movies, commercials and NFL films. It's the type of music you imagine playing when a bad-ass Latin mob boss walks into a crowded room and everyone makes room for them. They're on Daptones Records and part of the Brooklyn/NY funk scene that includes Antibalas, Dap Kings, and Chin Chin. They know how to bring the funk hardcore. Definitely a show worth checking out...

The Nago Nation for Obama

Album Review: A Filial-$1.99

What do you get when you take the aggressive, tough mentality of Rio de Janeiro, the rhythm, flavor, and style of Brazilian samba, and the dance-floor shaking, hard-driving sensibility of American hip-hop? A Filial, Rio’s homegrown hip-hop posse that celebrates Brazilian culture while fusing it with hip-hop to incorporate it into a mainstream sound. Their first American full-length album, $1.99, is set to hit record stores nationwide December 15, 2008 on Verge Records.

Fifties bossa nova mixed samba with jazz, sixties tropicália mixed samba with rock, and A Filial mixes Brazilian roots music and other world influences with hip hop. On $1,99, with the group’s percussionist Rodrigo Pacato, A Filial explores the unmistakable rhythms and harmonies of Northeastern Brazil and the new spirit of Rio’s old samba spots.

Rapping in English as well as Portuguese, A Filial simultaneously is recognizable and foreign to the average American hip-hop fan. Their beats draw from American influences like the Beastie Boys and NWA, as well as Brazilian macaratu. They mix the two worlds of sound perfectly to create a soundscape that’s delightfully danceable and downright funky.

A Filial came out of Rio’s skateboarding scene and a hip hop circle known as the Hemp Family. “Our first tape was made using a Playstation, a karaoke set, a $10 mic, a toy that made music, and a used cassette,” founding MC Edu Lopes recalls. “We wanted to develop a hip hop sound that was more regionally based.” The following year a track was licensed to the skateboard brand Agacê for their “Todos Ouvidos” or “All Heard” compilation.

Now A Filial is releasing their first album, growing in popularity internationally, and growing together as a group. Their sound incorporates influences and styles from all over the world, so as they grow and travel to new places, expect their sound to continue to grow as well.

A Filial Myspace

Album Review: Jayme Stone and Mansa Sissoko-Africa to Appalachia

Jayme Stone and Mansa Sissoko's new album, Africa to Appalachia released September 9th by JaymeStone.com, is a beautiful display of uniquely original composition that bridges continental gaps to speak the universal language of music. Jayme Stone, an award winning Canadian banjo player, and Mansa Sissoko, a griot kora master and vocalist, collaborate to create a heterogeneous yet familial mix of sounds that achieves a deep beauty and character.

Africa to Appalachia spans continents to create a sound all its own. Featuring African instruments like the kora and ngoni alongside the banjo, fiddle, and guitar, the ensemble finds an extremely comfortable common denominator and explores the possibilities therein. Mansa Sissoko's African vocals dip and glide much like bluegrass fiddler Casey Dreissen's solos, and the banjo blends perfectly with the kora to provide a seamless harmony. The polyrhythms, syncopation and bended pitches that define bluegrass all come from their African heritage, so it's no real surprise the two musical cultures speak the same language so effortlessly.

Many people think of the internet or phonographic recording devices as the means of globalization's effect on music cultures, but the Trans-Atlantic Slave Trade predates them both. The banjo is a descendant of West African instruments like the ngoni, akonting, and xalam. It was first played by African Slaves in the American South and Appalachia. The genres in which the banjo has traditionally thrived, bluegrass, early jazz, and especially the minstrel shows of the 19th century, all trace part of their lineage back to Africa as well.

Jayme Stone, who has employed an expansive musical worldview throughout his career, traveled to Mali, West Africa to explore the roots of his instrument in 2007. He traveled the country and studied with African string masters Toumani Diabate, Bassekou Kouyate, and of course, Mansa Sissoko. It was in Sissoko that he found a partner with which to collaborate. The two used the universal language of music to connect and get to know each other's history, "With little common language between us, we turned to music for communication," Stone reflects. "This tangible heart-to-heart connection was there immediately and I knew that he was the perfect collaborator for the project."

Sissoko descends from a revered line of griots, or family line of musicians, historians, and dispute settlers, that date back hundreds of years to the Mande Empire. Griots play a special role in African culture, similar to the one musicians play in American culture. "The griot is someone who is there to play the role of blood in the society, for the society to live," says Sissoko, "He gives life to the society, musically, using carefully chosen words."

Jayme Stone and Mansa Sissoko have given the world a gift by simultaneously creating a beautiful collection of music and giving testament to music's ability to bridge gaps, facilitate cultural dialogue, and bring people together. This album is a continuation of the cross-cultural exchange that was started in the 15th century. It was made possible by other musical works that have explored the history of African-American music and it will inspire others in the future. They'll be performing at Drom in the East Village on October 9th. Judging by their album, their live show should be even more captivating, so definitely check them out.

Jayme Stone Myspace

Burning Spear Interview

Burning Spear is a music industry legend. He released his first album thirty-five years ago after Bob Marley discovered him in a field and introduced him to Studio One. He's since released fifty-one records, starred in a feature film, been nominated for eleven grammies, and won one. He's touring the US in support of his latest album, Jah is Real out August 17th on Burning Music Productions. I had the privilege of sitting down with the Spear before his concert last weekend at Irving Plaza.

The Afrobeat Blog: First of all, at 63 you do more than most people in their 20's. In the past year you've traveled to Africa, released an album on your own record label, where do you get your energy from?

Burning Spear: It varies, my energy is coming from the sun, my energy's coming from my mind, my heart, I try to focus. My energy's coming from all different directions.

The Afrobeat Blog: What was it like working with Bootsy Collins on your latest album?

Burning Spear: Working with Bootsy was very unique. I decided to do something different by bringing in Bootsy and Bernie. I did something on my album I never did before. I did a different thing changing up the instruments.

The Afrobeat Blog: Rockers is one of my favorite all-time films. How would you compare your story to that of Horsemouth from Rockers by taking on the record industry by yourself to change things for the better from the musicians' perspective?

Burning Spear: There's a lot of things that I can do today, and a lot of things I've done in earlier times, and those things come back to be a part of the mixture of what's going on today. There is a lot of improvement, I'm doing a lot of things for myself, I'm producing myself, I'm booking myself, I'm running my own business, I'm running my own label, Jah is Real is going to be my third release on my label, so there's a lot of difference and a lot of improvement.

The Afrobeat Blog: Do you plan on slowing up anytime soon? Another four, five albums? Do you plan on going as long as you can?

Burning Spear: I will always try to go to the studio and keep doing it as long as I can. Touring, I'll retire from touring, but I will use my discretion like when I'll do a show here and there, and that's about it.

The Afrobeat Blog: You've traveled all over the world playing music, most recently you were in Kenya, do you plan on going back to Africa again anytime soon?

Burning Spear: When the time is right. I went to Kenya in 2007, and it was very outstanding. I brought the people together for two to three hours, and everyone was enjoying themselves. The performance was properly supported by the people from Kenya, and when the time is right I will go back to Kenya or any other place in Africa when the time is right.

The Afrobeat Blog: Why do you think your music resonated so deeply with the people of Kenya on your trip?

Burning Spear: I think the people needed something like that at least for a couple of hours. Who knows what takes place after I leave, but at least when I was there everything was calm and the people came together as one people.

Burning Spear.net

Fela!-Show Review

Fela!, an offbroadway musical that runs through the end of September at 37 Arts Theater, celebrates the life of Fela Anikulapo Kuti by bringing his music to life with captivating choreography, telling his story, and paying tribute to the legacy of his international protest voice. An ensemble cast of twenty-six actors, dancers, and musicians uses music, dance, video and still projections to tell stories from Fela's life. Sahr Ngaujah, who starred in the title role, has all of Fela's charisma and stage presence and then some. The creative choreography and set design paint a vivid picture of who Fela was and how he became the man we know today.

Bill T. Jones, a Tony award winning director and choreographer, Rikki Stein, Fela's former manager and the executor of his estate, and playwright Jim Lewis first met with Aaron Johnson and Victor Axelrod of Antibalas in the summer of 2006 to discuss their idea for the production. Later that year, Antibalas had a one day work session with the producers of the show and some dancers at which point they decided there was potential to pursue a show.

What they've come up with is an inventive, vibrant production that pays tribute to Fela's life by using his music to tell his story. The theater is setup to replicate The Shrine, Fela's home base nightclub in Lagos, Nigeria, with Antibalas taking the place of Afrika 70. When the show started, and Fela welcomed the audience to the Shrine, I thought to myself, "If everyone in the audience was dancing and ganja smoke filled the air, this would be just like the Shrine." Both things happened during the first act.

The story unfolds as musical numbers alternate with monologues and video projections to recap events from Fela's youth, adulthood and rise to fame. Major events from Fela's life up until the death of his mother are portrayed including Fela's college years in London, his trip to America and first marriage, the creation of his first band Koola Lobitos, one of his first encounters with the law (famously known as the "Expensive Shit" episode), his joint marriage of twenty-seven wives, and the attack on Kalakuta Republic.

Bill T. Jones is extremely successful in both paying homage to an internationally revered musical icon as well as introducing Fela to a new generation of people through this play. He introduces the different elements of Afrobeat by recounting the history of Fela's exposure to different styles of music in Africa, London, and the United States. The musical arrangements include the music of Fela's youth, highlife (as represented by an E. T. Mensah song--Medzi Medzi), big-band jazz (represented by Frank Sinatra), funk (James Brown), and cuban salsa. The rest of the show's music consists of Fela's most popular songs he recorded with Afrika 70 in the first half of his career including among others I.T.T., Water Get No Enemy, Shuffering and Smiling, Zombie, Sorrow Tears and Blood, and Coffin for Head of State.

Jones pays a special tribute to Funmilayo Ransome-Kuti, Fela's mother from whom he inherited much of his rebellious spirit. She was an internationally recognized women's' rights activist who was the first African woman to drive a car and travel to China. She is portrayed as an angelic figure in the play and her death at the hands of the Nigerian Army is the pinnacle event of the production.

To include the complexity and complete scope of Fela's life and music would have taken much longer than a couple hours, so obviously major elements of Fela's life and musical repertoire were omitted. Major characters in his life such as his spiritual advisor Professor Hindu and his brother Beko did not appear at all. Much of the dancing performed by the female dancers, although extremely captivating and majestic, was not reminiscent of that which one would have seen at the Shrine in Lagos or at any other of Fela's performances around the world.

If you are a disciple of Fela and an avid Afrobeat fan, or you've never heard of him before and simply love good music and dancing, you'll love this show. Bill T. Jones and Antibalas do justice to the legacy of Fela Anikulapo Kuti, one of the most dynamically prolific protest figures and musical icons in the history of the world, by celebrating his music and political message in a modern context. In a time where America could be on the verge of electing its first Black President, this play provides historical context to the international significance of Fela's legacy and its effect on contemporary culture.

Fela!

Album Review: Kasai Allstars-Congotronics 3

"In the 7th Moon, the Chief Turned Into a Swimming Fish and Ate the Head of his Enemy by Magic," the debut full-length album from Kasai All-Stars, is an unabashedly raw, aggressive explosion of sound, soul and color. Out July 15, 2008 on Crammed Discs Records as the third edition of the Congotronics series, its deep trances and winding rhythms tap into the primal essence of why music is a universal language.

The Kasai Allstars is a collective of twenty-five musicians from six bands and five tribes – the Luba, Sonye, Lulua, Tetela and Luntu – all of whom originally come from the Kasai region in the center of the Congo. Their music is drawn directly from ritual festive music played before the arrival of European colonizers and missionaries who found the highly erotic dances and pagan trance ceremonies satanic and unholy. The traditional musical practices were eventually banned pushing them to the brink of extinction. Even the actual traditional instruments all but disappeared.

Today the Kasai Allstars are reviving the practices once shunned by their colonial oppressors by fusing several different styles and cultures into a new "Allstar" sound. Using acoustic instruments with electric guitars, distortion-laden thumb pianos (with DIY amplification) and soulful vocals, they have a sound unlike any other. Their ability to layer repetitive patterns and progressions builds a rich texture to create a powerfully rich composition. The album is almost underproduced, emphasizing the raw, uninhibited nature of the music. After appearing on Congotronics 2, the Kasai Allstars are making a very strong first impression on the international music scene with their first full-length release.

Kasai Allstars

Album Review: Burning Spear-Jah is Real

I don't know what I'll be doing when I'm 63, but it probably won't be releasing a full-length album on my own record label and traveling to Africa as a cultural ambassador for peace. For Burning Spear, whose new album Jah is Real came out August 17th on Burning Spear Records, that's icing on the cake of a legendary career in which he's released fifty-one records, been nominated for eleven grammies, starred in a feature film, and toured the world several times over.

Jah is Real is proof Burning Spear is as dedicated to Marcus Garvey's message as he was the day he first walked into Studio One. Tracks like One Africa, Grandfather, and Stick to the Plan all emphasize Marucs Garvey's Pan-African message. Run for Your Life advocates self-reliance, recounting the story of the founding of Burning Spear records. Bootsy Collins plays bass on a few tracks, injecting some extra funk into the proceedings, and Brian Hardgroove of Public Enemy laid down a funky drum and bass remix of Step It to close out the album.

Spear doesn't just advocate African Unity in his music, he backs up his words with his actions. At the request of the United Nations, he traveled to Kenya, the African nation from which he took his name, after a rigged election caused widespread violence earlier this year. He came as an ambassador of peace and was welcomed as a long-lost king as he performed for 65,000 people in Nairobi and brought them together peacefully as Africans, something Kenya badly needed in the post-election violent times.

The Spear kicks off a tour of the United States and Canada at the Irving Plaza on August 31st . He'll be playing eleven shows in ten cities throughout the month of September. If you love reggae, buy a copy of Jah is Real or catch one of his live shows. Burning Spear is as authentic a reggae legend as there is living today, and he isn't showing any signs of slowing up.

burningspear.net