Femi Kuti Interview

Femi Kuti is an international protest figure superstar musician from Nigeria, the first-born son of Fela Anikulapo Kuti. He began performing with his father's band, Egypt 80, at age 16. He went on to start his own band, Positive Force, with whom he has released nine albums and toured the world several times since. His latest album, Day by Bay, came out in October, 2008. Femi is on the verge of embarking on a North American tour. I had the honor of speaking with him earlier today at which point he told me The Shrine, his home base club in Lagos, Nigeria, has been forced closed by the Nigerian government:

The Afrobeat Blog: How would you describe the evolution of your music? Where is your music today that it wasn't several years ago when your last studio album came out?

Femi Kuti: I'm getting more experience, age, more mature, and so the music is changing with all of this. I'm happy people think it's getting better, people are enjoying it, people support what I'm doing, that's most important.

The Afrobeat Blog: What are you listening to right now that's inspiring you?

Femi: Nothing really, I'm trying to start work on my next album, so I'm working on some new stuff

The Afrobeat Blog: You've shared the stage with a lot of amazing musicians, With whom have you collaborated in your career that you've learned the most from?

Femi: My father

The Afrobeat Blog: How old were you when you started playing with Fela and Egypt 80?

Femi: 16

The Afrobeat Blog: Who are some African musicians you feel are pushing their genres and innovating new trends in African music today?

Femi: I think most Africans are trying to do that. There's a lot of hip hop Nigerian artists that are very American-Nigerian orientated. That may be typical of my fathers influence on the music scene. There are many artists developing a unique style for themselves. It would be wrong for me to pick one.

The Afrobeat Blog: Who specifically within the genre of Afrobeat do you respect and listen to?

Femi: Nobody.

The Afrobeat Blog: Nobody, really?

Femi: What are they going to teach me?

The Afrobeat Blog: Well, I guess you have a point.

Femi: Well I mean if I was playing at a concert and any afrobeat band is there, I would be forced to listen. I could listen from my dressing room I could hear. There are not a lot of bands playing good afrobeat, I mean, it's ok. There are many in America, Australia, France. Many are getting hooked on the afrobeat.

The Afrobeat Blog: As someone who thinks of something different when they hear the black president than someone like me who grew up in the US What did the election of a black president, Barack Obama, mean to you and what do you think it will mean for Africa on the whole?

Femi: Well, what it means to me might take a while. Barack Obama is first an American, generally, it shows that Americans are open-minded. I never believed Americans would vote a black man or black person President, the highest office in America. Americans are open-minded, there's a new generation of Americans who are not thinking on a racial basis, and are completely open-minded. So that impressed me, that gave me a lot of hope for the world and America. If Americans can see things in this light, there's a strong future for them and the world. America dictates a lot of world opinion, if America moves to the right, the world moves to the right, if America moves to the left, the world moves to the left. It impressed me a lot.

The Afrobeat Blog: Do you hope because of his African roots Obama will change the way America has dealt with Africa in the past?

Femi: I hope he will be very objective. I hope he won't be lenient in dealing with the corruption of African governments because he's a black man. I hope he doesn't fall for that. He has to be very objective, because all the African governments are corrupt. So it should not be because he's a black American he should be lenient on corruption, I think that is where he should be hard because he should want Africa to become a great continent. He has to be very hard on his policies, because he has to put an end to the corruption with his policies in Africa. He has to prove that the African government is not being proper democracy according to what we know it should be. The African government is corrupt.

The Afrobeat Blog: I read in an interview on jambase.com, when talking about the raid on Kalakuta republic that killed your grandmother and ransacked Fela's compound, you raised the possibility of the CIA being involved. What makes you think that's the case and would you clarify your stance on the issue?

Femi: Because somebody came to warn my father before the attack and warned him the CIA wanted him dead. He said it many times. He was warned that the CIA was going to kill him. I was there, I heard him say it many times.

The Afrobeat Blog: Who came to warn Fela?

Femi: An american, I don't want to name names here.

The Afrobeat Blog: The CIA definitely has a history of targeting African ideologues that oppose them like Patrice Lamumba and many others.

Femi: Lamumba, anyone, Any western government is always opposed to any Pan-African in government.

The Afrobeat Blog: One of Fela's major accomplishments that is often overlooked was his ability to mobilize people into action around a cause. A lot of people dismiss him as a dissident, just a crazy musician, but he made things happen in Nigeria organizing youth groups and political action groups. Could you talk about some of the ways in which you've continued his legacy of political action outside of your music?

Femi: I think its just through music. I stopped giving to organizations because I found out its so corrupt, people are just taking my money, I give people money to make posters you know, put up the flyers, but they get ripped up in the street. And they're just ripping me off in my money. We're at a critical point, where the corruption is so bad, people are so desperate for money right now. It is not smart for me right now. I'll just continue to talk about the problems, sing about the problems, and deal with the problems. I can be in any part of the world today, having a good life, or having a better life than I'm having here [Nigeria], but staying here is a political statement. People are mad at me for staying here, so maybe I mobilize many generations by staying here. Three generations have passed through me knowing I have achieved what I've achieved by staying here in Nigeria. I didn't go to America to stay, I didn't go to Europe, I've stayed here. Everybody told me you've got to move, fuck that. Everybody said I won't be in demand if I stay in Nigeria. I opened the market, I've kept the market my father opened. It won't do any use to admire what I've done. I use my music, what I sing about to make a difference. And I don't want to run for office, any kind of office. I just want to be a musician.

The Afrobeat Blog: What are some of your unfinished goals for your music career?

Femi: Wow, that's a question for God Almighty to answer, not me. I want to arrange and produce some albums. I hope I can always impress and please my fans and other people, and my self as well. I'd like to spend more time with my family. What else...I'd like to see Africa Unite in my lifetime I'd like to see highways running north to south east to west like I see in America, I'd like to see big airports like I see everywhere, train stations like I see everywhere, I'd like to see the United Countries of Africa, I would like to see the eradication of poverty and the end of suffering. We're the richest continent I can't understand why we're suffering. I would like to see the end of corruption. And all these things that I stand for in my lifetime, I would like to see an end to it in my lifetime. But that's up to the creator to decide that. I'll just do my part, keep practicing, playing music, and fighting.

Femi: Just for your information the shrine was closed yesterday by the government. So now we're having a big battle right now, trying to get it open.

The Afrobeat Blog: On what grounds did they close it, they just decided they didn't want it to be open?

Femi: They said people were selling things outside, like sweets, and fried meats, biscuits, things like this on the streets, not in the shrine, on the streets, on the major road. Now they're saying we're responsible for those people. So they are closing the shrine because we let people come and sell things there. And we're like how do they expect us to get rid of these people? Do we own the road? The road belongs to the federal government. How we can we go to the federal governments' property and say get out of here? It's the government's problem to do that. They have to remove them not us.

The Afrobeat Blog: Have they tried to do things like this before?

Femi: Yea. They have closed the place for two days now, we are losing all kinds of money, our instruments are there, we can't rehearse.

The Afrobeat Blog: So what can you do to fight them?

Femi: We don't know yet, we have many options, maybe we are going to court, we don't know yet. Right now we're talking to the office of the commissioner to give us the go-ahead to open the place. They said 10 o'clock this morning, they didn't show up, then they said 2, they didn't open it, so we're still waiting.

The Afrobeat Blog: Well whatever I can do to help, I'm not sure how receptive the Nigerian government is to petitions from American music fans...

Femi: Well maybe put it in your article on the internet so that more journalists will put it in their papers, 'The Nigerian government closed the shrine, blah, blah, blah, things like that.

Album Review: Diata Sya-Djekafo Paris Bamako

If you've never heard of Akwaaba, it's about time you have. They're a fair trade record label representing artists in several countries in West Africa. Their latest release, Djekafo Paris Bamako, features Diata Sya, a Malian hip-hop band that integrates traditional Malian instruments and sounds into their presentation. In the words of label founder and president Benjamin Lebrave, "They don't just play SAMPLES of more traditional music, they collaborate with top Malian musicians such as Cheik Tidiane Seck, and let them elaborate freely. I met them last year in Bamako, and could not understand why their last CD has been confined to Mali, despite tight and very creative beats, guests from all over West Africa, and even heavyweights from France such as Mokobé and Doudou Masta."

Akwaaba specializes in delivering contemporary African music to the rest of the world. The word Akwaaba means welcome in several W. African languages. All proceeds from music sold is split 50/50 with their artists. If you're interested in what's hot on the streets of Bamako, Mali, Dakar, Senegal, or Luanda, Angola, Akwaaba is your passport and guide. African hip-hop is a growing genre that's integrating influences from many different places and sources. Akwaaba is one of the only record labels in the world providing access to this amazing music, and they're the only one doing it on a fair trade basis.

All of their releases are available on Itunes. To download Diata Sya's latest release, follow this link.

Afro-Irie @ Baraza Bar-Every Wednesday

Dj Concerned, one of the dopest dj's in the city, is spinning Afrobeat and Reggae, two genres that share a danceably common vibe, Wednesday nights at Baraza Bar in the E. Village. If you like to get down, check it out...

Baraza Bar-133 Ave. C btw 8th and 9th

Album Review: Extra Golden-Thank You Very Quickly

Extra Golden is a powerfully vivacious Kenyan-American ensemble that fuses Kenyan Benga and American rock. They are currently touring in support of their latest release, Thank You Very Quickly, an album composed in the wake of Kenya's post-election violence in 2008 and released March 19, 2008 on Thrill Jockey Records.

Singing in both English as well as Swahili and borrowing guitar riffs from everyone from Jerry Garcia to Djelimady Tounkara, Extra Golden has a unique sound. All six tracks on Thank You Very Quickly are rough and fierce. Using time signatures like 12/8 and employing a distorted, bluesy guitar style, Extra Golden breaks the mold of most African guitar bands. Unlike the clean sound of Congolese Soukous or more traditional Kenyan Benga, Extra Golden sounds dirty and rugged.

Extra Golden was born during 2004 when Ian Eagleson, Alex Minoff and Otieno Jagwasi began fiddling with each other’s compositions in an apartment in the Buru Buru neighborhood of Nairobi. Eagleson was completing Ethnomusicological field work in Kenya at the time, and what started as casual jam sessions have evolved into three albums and an international touring schedule.

Extra Golden go about their work with a few simple goals in mind: to write songs that tell stories of life, love and loss; to praise people and places that are dear to their hearts; and, most of all, to create a sound that people of different backgrounds and generations can enjoy.

If you like to rock regardless of where you're from, I highly recommend Extra Golden's third album, Thank You Very Quickly.

ExtraGolden.com

Album Review: Staff Benda Bilili-Tres Tres Fort

My favorite record label in the world, Crammed Discs, has introduced another world class talent to the international music scene from the Congo. Staff Benda Bilili are a truly unique ensemble. Composed of a group of paraplegic street musicians who live around the grounds of the zoo in Kinshasa, Congo, they achieve tight harmonies and rhythmic melodies that convey a melancholy nonchalance. Their voices convey a storied, unique identity.

At times they're similar to Cuban son, other times they're more like Jorge Ben. They display a lot of versatility on their latest release, Tres Tres Fort. Their title doesn't false advertise. They are extremely powerful. Four senior singer/guitarists sitting on tricycles, occasionally dancing on the floor of the stage, arms raised in joyful supplication, are the core of the band, backed by a younger, all-acoustic rhythm section pounding out tight beats. Over the top of this are weird, infectious guitar-like solos performed by a 17 year-old prodigy on a one-string electric lute he designed and built himself out of a tin can. They are definitely unique.

"Avramandole" de "Staff Benda Bilili". Chorégraphie de V12
Uploaded by belleKinoise

Album Review: Esau Mwamwaya and Radioclit-Esau Mwamwaya and Radioclit Are the Very Best

Speaking in superlatives is not always smart, but sometimes it's the safest way to be succinct. Maybe that was the line of thinking at Green Owl Records when they titled their mixtape, "Esau Mwamwaya and Radioclit are The Very Best." Honestly, they're not the very best, but they're pretty damn good. Esau Mwamwaya is a singer from Malawi who's making waves for his remix of MIA's Paper Planes internationally among the musically informed. This mixtape showcases his versatility as he sings over remixes of everything from Vampire Weekend's Kwassa Kwassa to Architecture In Helsinki's Heart It Races.

Esau Mwamwaya was born in Mzuzu, Malawi. He grew up in the capital, Lilongwe, where he played drums with various groups, including the Masaka Band. He was a good friend of the legendary Evison Matafale and they played together for several years before Matafale was killed in Malawi police custody in 2003.

In 1999, Esau moved to London, England and has, until recently run a second-hand furniture store in Clapton, East London. Esau's shop was on the same street as Radioclit's old studio, and after the Radioclit boys bought a bike from Esau, they invited him to one of their housewarming parties. Soon after, Esau and Radioclit became good friends and they started working on music together. Two years later, the project has a name, The Very Best.

Download the mixtape for free here

Book Review: Foundation

Foundation: B-Boys, B-Girls, and Hip-Hop Culture in New York is an in-depth academic exploration of one of hip-hop culture's most globally expansive exports that sets the record straight on where b-boying comes from and what it means. Incorrectly known the world over as breakdancing, b-boying is a form of Afro-diasporic competitive dance that developed in the Bronx and Brooklyn, NY in the early 1970s. Schloss sets the record straight on b-boying's roots by interviewing hip-hop historians and practitioners and getting down and hitting the floor himself.

Schloss has an authentic credibility that informs his narrative and gives his readers an insiders' perspective. He differentiates between correct and incorrect terminology, and tracks specific dance styles back to specific neighborhoods and even further back to dancers' African roots. Schloss gives hip-hop culture the scholarly credibility it deserves. I highly recommend this book to anyone with at least a passing interest in hip-hop culture, but I must warn you, after turning a few pages, you will want to break out your adidas running suit and start popping, locking, and hitting the floor to some breaks yourself.

Foundation

Buy it on Amazon!

Extra Golden @ Le Poisson Rouge April 11th

Fresh off the heels of the African Soul Rebels Tour opening for Baaba Maal and Oliver Mtukudzi all over the UK, Nairobi-based Benga rock outfit Extra Golden is coming to Le Poisson Rouge. The night will also feature an acoustic performance from the lead singer of the fantastic New York City-based Senegalese reggae band Meta and the Cornerstones and the brilliant short film "African Booty Scratcher" (10 min.) by Sierra Leonean filmmaker Nikyatu Jusu. Doors open at 7pm. Tickets are only $15. Advance tickets available at www.lprnyc.com are highly recommended. (Le) Poisson Rouge is located at 158 Bleecker Street.

SambaDa @ SOB's April 4th

SambaDá is one of the hottest emerging groups on the West Coast music scene; with its mixture of hard-hitting Brazilian grooves, mesmerizing visuals and stunning capoeira demonstrations, the 7-piece collective has captivated audiences up and down the West Coast. If you like to move, check this out.

DVD Review: Ladysmith Black Mambazo Live!

Ladysmith Black Mambazo has sold more records than any group of African musicians in history. Anyone who has had the privilege of seeing them in concert knows exactly why. For those who haven't, their new dvd "Ladysmith Black Mambazo Live!" is as close to the real thing as you can get. The group's beautiful harmonies and dynamic stage presence make their concert a breathtaking experience.

Joseph Shabalala formed Ladysmith Black Mambazo in 1964 after hearing the beautiful harmonies of isicathamiya (the traditional music of the Zulu people) in a series of dreams. Ladysmith, KwaZulu-Natal is the town from which Shabalala's family comes,; Black is the color of the black ox (the strongest animal on a South African farm); and Mambazo is the Zulu word for axe, picked due to the group's ability to chop down their local competition.

While most people credit Paul Simon for Ladysmith's long and successful career, they have earned every bit of success they're experienced due to their commitment to their traditions and electric stage presence. They were a local sensation before Paul Simon introduced them to the world, and they have opened doors and ears for lesser known African musicians.

"Ladysmith Black Mambazo Live" captures the beauty and magic of their live performance, but the real thing is even more magical. If you ever have the opportunity to see them live, do yourself an enormous favor and go see them. They represent what's beautiful in the world.


Buy the dvd here

New Video from Stuart Bogie's Superhuman Happiness

Stuart Bogie, tenor sax player of Antibalas, TV on the Radio, and his own group, Superhuman Happiness recently released a new video for a track off their album--Mr. Mystery. Check it out!




Stuart Bogie's Superhuman Happiness

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