Cuban music aficionados know Floridita already. Having long been home to the sweet sound of Afro-latin polyrhythms, their doors will soon open to accommodate London’s afrobeat revolution (a movement which is showing no sign of flagging any time soon). In a link up with Boulevard La Palma (the force behind the awesome London Cuban Allstars), Floridita are set to host an Afrobeat season summoning two of London’s finest exponents of that addictive West African funk. First out of the blocks are IBILE. Formed in the early 80s by BABA ADESOSE WALLACE, Ibile’s blend of Afrobeat, Highlife and unadorned West African drumming is powerful to say the least. Having worked with everybody from GERALDO PINO (West Africa’s answer to James Brown in the 60s/70s), FELA KUTI, MIRIAM MAKEBA, HUGH MASEKELA and GASPER LAWAL, Baba Ade et al stand alongside a host of afro Jonny-come-latelys as very much the genuine article. Clearly, as my name appears on the flyer also, I have a vested interest, but, biases aside, I strongly recommend you reach! Starting out with a traditional Yoruban call to the ancestors and segueing into a live, 8-piece afrobeat explosion, it’s highly unlikely you’ll be disappointed – unless of course you don’t like afrobeat in which case you’re probably not reading anymore anyway….
AJ Holmes & The Hackney Empire are somewhat of an enigma. An all-english 6-piece outfit with it’s leader claiming roots in Dagenham, rocking stages internationally with the sounds of Congolese Rhumba, Soukous and West African Highlife. With guitar skills imparted by legendary Sierra Leonian musician Folo Graff and cutting his teeth as part of the internationally acclaimed Rhumba crew Les Beaux Gosses de Berlin, AJ’s obsession with the good-time sounds of West-Central Africa is set on solid foundations. This tale of high musical pedigree continues to the present and an ongoing affiliation with London’s premier tropical ghetto music purveyors the Secousse Soundsystem. Appearing both as a resident selector at Notting Hill Arts Club’s Secousse sessions and also gracing the stage with the Hackney Empire as the club night’s in-house band, AJ et al have skillfully carved a niche for themselves with a sound which is undeniably african-inspired, yet quite distinct from anything else out there right now.
As you’ve probably guessed by now, we’ve invited them to take the live slot at our next session and they’ve graciously accepted. As I’ve said before in these pages, before I’d heard AJ Holmes & The Hackney Empire for the first time, I had some quite serious doubts about what to expect. Those doubts were allayed halfway through their first track as a realised the quality level I was dealing with! Since that first AJ experience, I’ve witnessed them tear up numerous dancefloors with their new, electric highlife and can quite honestly say that I’ve yet to see them disappoint.
In the lead-up to next Sunday’s big event, Cal Jader caught up with AJ & crew to break bread. Here’s how it went down…
Cal Jader: Since your brilliant turn at the Movimientos New Year’s Eve Tropical extravaganza the band has been out of the public eye of late…a little birdy tells me you’ve been working on your debut album…what’s happening in the world of the Hackney Empire?
AJ Holmes: Yes well that little birdy was right. We’ve mixed half the album and the rest will be completed very soon. We’ve also been writing new songs. Some of which will have their public debut at the Vibe Bar show next week, so that’s an exclusive!
Cal Jader: The band cut it’s teeth at a residency at the infamous Secousse night at the Notting Hill Arts Club, which has always been a champion of the freshest African and urban ghetto sounds how influential was the night in shaping the direction the band took?
AJ Holmes: Well I think it really turned us in to a hardened party / dance band. We figured out pretty quick that you need to hit a Friday night west London crowd hard and keep it banging, or your gonna flop and people will just start checking their phones while your playing. However we’ve been spoilt also because without wanting to blow the Secousse trumpet too much, the crowd there really are the best that we’ve played to, they give you a lot of love back if you play it right. We also have done some collaborations that have proved important for the bands development with artist that we met via Secousse – MC Kastro and Afrikan Boy for example. Also all the remixes that have been commissioned by for band have been by people that we found out about via Secousse: Uproot Andy, Moroka, Erick Rinco, Chief Boima all were Secousse connections. Also having our first single ‘Fraudian Slip’ produced by Radioclit – which has had a big influence of the way we mixed the rest of the album – was of course a Secousse family thing, and the record label that released the 1st single and commissioned the rmxs: Ghetto Bassquake – the label of Vamanos (Ghetto Bassquake blog) is a Secousse family thing also.
Cal Jader: How do you see yourself in the context of the African music scene in London or would you rather not be pigeon-holed into one genre?
AJ Holmes: I would hate to think we would be pigeon holed as ‘African music’, mainly because we are not African – although we do work a lot with and do collaborations with African artists – we are first and foremost a British band, and probably more to the point a ‘London band’ so I don’t see us exclusively being in the context of ‘African music’. I see us more of a reflection of the influence of African communities in Britain on British musicians, much in the same why that the ‘two tone / British ska movement’ of the late 1970’s reflected the influence of the Caribbean communities in Britain and in that respect I’m very surprised I don’t know more bands like us. If we were to fit in at all the African music scene I would like to think it would be as a new generation of African influenced music. However I think if we were to consciously place ourselves in the ‘African music scene’ we wouldn’t stand a chance against ‘African Bands’ i.e. the bands with African musicians in them!
Cal Jader: Are you inspired by the success of Afro-influenced indie stylings of the likes of Vampire Weekend and Fools Gold amongst others? And do you see any similar bands in the UK incorporating African influences into guitar based indie music?
AJ Holmes: Well parallels to A.J. Holmes & The Hackney Empire and my solo work have been made to both bands you mentioned and yes I find their success very inspiring, I’m very happy for them and I personally think they deserve it. However now I hear some bands that are inspired by Vampire Weekend for example rather that by African music and these bands don’t really interest me.
So. In the words of Mc Dett in his infamous Sunday Roast pirate radio ads circa 1994, ‘All roads lead to’ Vibe Bar 91 Brick Lane E1 6QL this Sunday 15th May as we give to you a night of superior quality, tropically infused rhythm headlined by AJ HOLMES & THE HACKNEY EMPIRE with myself DUKE ETIENNE and Movimientos/Heads High mainstay CAL JADER setting the backdrop. AJ hasn’t done a London gig since the beginning of the year with the interim being spent working on the album and penning some fresh material. We’re expecting a busy one and looking forward to the exclusive drop of the bands new songs.
We’re in the upper bar again this month so jon us atop the stairwell for a blast of the new electric highlife…
Those that know will have seen that this Sunday’s session in Brick Lane is a strictly Reggae affair. DJ-wise, we come correct with that original bass music as standard. Confession is good for the soul though, so we admit to being a little shy on the live reggae tip – until now. Truthfully speaking, it’s not that we’re reluctant to showcase reggae acts, rather that there’s a distinct lack of fresh, reggae-tinged blood rising from the underground. Talking to the youth, the reason is simple: there aren’t enough role models visibly pushing the roots sound and as a result, aspiring artists aren’t viewing reggae music as a viable option. We’ll leave that discussion for another time, but for now, we’re introducing CONNIE & DI MAN DEM who’ll be bumping the live slot this Sunday.
Many will know Connie from her previous work with Heads High. What we didn’t tell you, is that before and during her stint with the Heads, she’s recorded and performed with some serious players in both the purist reggae scene, and its various chopped, sampled and looped step-siblings. Who here can say they’ve held down studio sessions with LEE PERRY and DAMIAN MARLEY and in the same breath relate tales of late night vocal booth excursions for ROOTS MANUVA and CONGO NATTY? Connie has dealt with all of these but be warned, she’s far more than the sum of her collaborations and along with her well seasoned band of musicians, she’s dropping some heat on the people dem. We’ll let her explain….
HH: How did the CONNIE & DI MAN DEM project come about?
CB: I had recorded some songs before for THC Muzik, a Jamaican label who the people may know from its association to Turbulence’s hit ‘Notorious’. They were also involved in the Rise Up documentary which was recently featured by the BBC. I actually featured in that as part of my previous band Rootz Underground but that’s a story for another time. Having moved to the UK since, I decided to bring the recordings to life and got a band together as a result. It wasn’t quite so simple, but that’s the edited version!
HH: What brought you to the UK?
CB: Apart from following my artistic dream, I was studying also – a Masters degree in Applied Theatre.
HH: You’ve amassed some pretty well respected connections between the UK and Jamaica. Lee Perry, Damian Marley, Roots Manuva, Congo Natty, Mad Professor…that’s quite a list! How were the studio sessions with Lee Perry?
CB: It was awesome! He is a true professional. He worked me to the bone though – we did seven or eight hour sessions with no breaks. Pretty tough on the voice. he knew exactly what he wanted, very specific. He’s famous for his eccentricities, but he wasn’t like that at all, apart from the mirror on his cap.
HH: He had a mirror on his cap?
CB: Yes. I didn’t ask any questions. But apart from that, the session was normal – just intense!
HH: Did you respect his work before you worked with him?
CB: Yeah definately. I had huge respect for Lee Perry. All that early work he did with Bob Marley, and so many other Jamaican artists, and the sound he managed to squeeze out of the Black Ark. He’s a living legend.
HH: Sticking with jamaican artists. Which singers or deejays work do you respect and have any of them had an influence on your sound?
CB: I like a lot of the old-school foundation artists. Toots & The Maytals, Desmond Dekker, I love the deejay thing too – the rhythm of it. I’m a dub poet too, so I’m really into the rhythmic delivery of words. Deejay-wise I love the sounds from the 80s right up to the present day. Yellowman, Shabba Ranks, Bounty Killer they all feature on my playlists! Going back to dub poetry, i’m heavily influenced by guys like Mutabaruka, Mikey Smith and Linton Kwesi Johnson. Poetry within a reggae construction is deep.
HH: Talking about Mutabaruka, my sources tell me that you were responsible for a poetry renaissance in Kingston before you left and Mutabaruka assisted you. Is that true?
CB: Yes. That’s true. Towards the end of the 90s, I had a great love for poetry, but the scene in Kingston was really lacking. Poetry events were few and far between. To combat that, I mobilised a vibration, got all my friends together and made it happen. We started it off in my apartment, when it grew we moved it to my garage and when it got too big for that we started renting spaces to host events. It was called ‘Voices: Spoken Word In Action’. Tha action part was important because it wasn’t just about empty talk, we were about using the words as an ignition to action.
HH: And Mutabaruka’s involvement?
CB: Yes man. We worked like Bonnie & Clyde. He was the DJ and I was the hostess. He faithfully came to every event to share his vibes and his music. It was great because people were coming for poetry and we had this icon of Jamaican dub poetry selecting the music.
HH:Moving to the UK, you’re affiliates include Congo Natty, Banana Klan/Roots Manuva and on the digi roots side of things Dougie Wardrop and the Top-A-Top label. How did you adapt to the contrast between Jamaica’s reggae scene and the reggae/bass music scenes in Britain?
CB:I’ve always appreciated variety so I welcomed the difference to be honest. I’m the type of person that as long as the music is produced to a certain standard, I’m with it, regardless of what genre it falls into. It was wonderful jumping into the UK sound and working with it. In reality, the Jamaican and UK sounds are coming from the same place, the same thing. The only difference is the soil in which that seed is grown. I can still carry my vibration and drop it same way. The link is always there.
HH: Talking about the Connie & Di Man Dem project, how do you feel about it and how does it compare to being a solo artist or backline member to someone else’s project?
CB: The project is a work in progress. In comparison to being a solo artist, it’s not easy leading a band. Having seven different personalities, including your own to balance and organise. So far Jah has guided it and i’ve been blessed with highly talented individuals who carry that energy to the reggae music and message which i’m presenting. Right now we’ve reached a synergy and great things are happening.
HH: What do you say to the purists, such as myself whose old-school conceptions are challenged by your music and band line-up?
CB: I would say come with an open heart. If you love music, and appreciate it’s construction then you’re going to find something in it for you. We come with a certain vibration. We’re not trying to appeal to purists, there are people there to do that already. We’re taking this roots reggae thing and bringing our vibes to it. I’m bringing my culture and my light and my band, they’re multicultural and their bringing their vibes and their light. What happens on stage is we mix it up in a nice pot and serve it up!
HH: The lyrics in your music are pretty powerful. Is there a particular message you’re trying to convey?
CB:Life to me is unity, love, health and standing up for your beliefs. Those things are what my music is about. There’s love and romance in there, there’s politics and polytricks, its all in there. The principles of life is the principles of the music – that’s how it must be.
HH: What does the future hold for Connie & Di Man Dem?
CB: We’re hitting the studio as we speak. Working on our debut EP. I’ve also got an album which I recorded in Jamaica thats soon to be released too. We’ve been doing a lot of club gigs recently and this summer the festivals are looking good so the future is bright.
HH: Lastly, we’re looking forward to having you perform for us this Sunday, but in the meantime, can you leave us with a mini-chart of your top three all time reggae favourites?
So, it would seem all roads lead to Heads High this Sunday for a banquet of beats, bass and lyrics with meaning. Check the flyer below for details….it’s going to be nice!
Yes friends! We made it through another year and are poised to launch into 2011 bringing you more of the stuff we believe in!
For our first session of the year, we’ve decided to skip the typical January warm-up and ride the current afrobeat frenzy sweeping the capital with a firing set from the LONDON AFROBEAT COLLECTIVE – a dirty dozen of battle hardened musicians who’ve carried Fela’s funked out message everywhere from Lagos to Los Angeles. They promise blazing horns, pounding rhythms and politically charged vocals for troubled times – a combination which has won them admirers including Fela’s Egypt 80 keyboard specialist DELE SOSIMI. DUKE ETIENNE and CAL JADER hold down the turntables with sizzling sounds from across the global underground.
You know the drill by know, entry is FREE and vibes are NICE.
Yes friends! We’ve reached the end of the year already, and we hope its been as good for you as it has for us! Some amazing acts have joined us each month to celebrate life, liberty (creative at least!) and live musical experimentation, and as those of you who have joined us will know, we’ve been treated to everything from deep afro jazz and space funk to raw West African drum calls and roots reggae music. We’d like to take this opportunity to thank all who have performed and attended….your support means a LOT!
For our last session of 2010, we’re taking a swerve from the usual format and instead inviting the fine souls behind London’s BOGLEWALTZ parties to share the turntables and microphone for our end of year party. Famous for bringing the house-party spirit to warehouses and tropical gardens across London town, GUYNAMITE, ANALOG JONES & D.ABLO deal with everything everything from deep synth funk to hype global crunk with a particularly nice line in 90s New Jack ( a guilty pleasure of mine!). Oh, did I mention they’re the very same crew (well two of them at least) that are behind the TWIN CITIES project?
So, after a couple of months to collect themselves after their excursion to Plastic People, Phonica Records wade deep into the alternative bass music scene once more and come back clutching an impressive catch – one RAMP RECORDS showcase. If you followed that last link, you’ll notice information on the mysterious Ramp imprint is scant, but trust me, those who know, know. Hot on the release of Maxmillion Dunbar’s seminal ‘Cool Water‘ (Brian’s pick for album of the year – no mean feat!) our friends A.Child and Free Care present a wonderous night of bass, bumps and lovingly skewed beats. Line-up & links below:
Greetings Brethren & Sistren – it’s been a while….so long I almost didn’t remember the password to get me here. I’ve been working hard on the OKRA project, and as such, have had little spare time to communicate via this particular channel. To tell the truth (which is usually dangerous, especially online), regardless of OKRA, blogging was losing it’s charm for me anyway. I realised that i’d reached a point in time where my actions needed to have meaning – and blogging about music just wasn’t cutting it no more. Don’t get it twisted though, the love for the music is still there, but it’s the message in the music (or vice-versa) that’s feeding me now….which brings me on to this month’s Heads High guests…
On Sunday 14th November, ASHEBER & THE AFRIKAN REVOLUTION head east to settle in for two mind-blowing sets at our monthly Vibe Bar session. Those of you who haven’t met them yet, you’re in for something special. I first heard how they stay almost a year ago when I played alongside them at a Haiti Fundraiser. When they opened with a 7 man drum call led by West African pioneer Adesose Wallace, I knew I was in for something special, but didn’t know quite what. An hour later, i’d heard searing horns, rumbling bass and vital vocal, wrapped around a framework which was constantly shifting between Afrobeat, Reggae, Funk and raw, tuff drum rhythms. In short, 90% of what I love about music, all packed into one hour. Time has passed since then, but I’m happy to finally be welcoming them to our stage…..join the revolution!!
The first post in a loooong time. Apologies for going underground, but underground is where the best work is done….
In a last minute switch up, our Vibe session this month happens a week early and will feature the heavy (yet somehow light) Ethio-Jazz vibes of the ABYSS QUARTET. Mulatu would be proud…
A few weeks ago, whilst looking for a venue with a mate, we met a certain Joshua in the streets. Luckily for us he was looking for the same place, however unluckily for us, by the time we found the location, the party was over. During this journey however, it didn’t take long to realize that Joshua was seriously into his music. From name-dropping jazz artists to quoting Common lyrics and to even sharing soulful online mixes that I later rushed home to download, it was pretty clear that this guy knew his stuff.
It eventually transpired that the reason we bumped into him was that he wanted to flyer at the event we couldn’t find. He also revealed to us that he’s in a band known as Benin City and runs his own poetry/music showcase nights, so I took home his promo EP and checked out his s**t.
I must confess that what I heard was not what I was expecting. Benin City seem to represent a time long gone where music could also be fun. All the online blurbs seem to talk about Benin City being “James Brown meets Outkast” and although I feel that this is a poor, inaccurate and lazy label for such a group, if it represents anything, it’s the lightheartedness they seem to encapsulate.
What you have in a nutshell is two wordsmiths (Josh and Musa) delivering social commentary via playfully witty lyricism. They are backed by some funky horns (Faye), a bass, electric cellist (Jon) and the beat (Theo).
On a personal level, listening to the EP took me back to an era where ska reigned supreme. Despite its lack of similarity with the genre’s sound, just like ska, the overwhelmingly happy vibes are so much in abundance that the permanent grin on my face continued to be present way after the final track had stopped.
This is not one for the musically highly-strung; Benin City’s nonchalant personality is epitomized by the name of their debut EP: “Invisible Cake.”
It would be easy to cast this approach as implying a general lack of depth, however all in all, the only thing I believe it is a testament to, is their unpretentiousness. Under scrutiny, the layers of poetic truths would have been overbearing if not delivered with an upbeat groove. Even then, the EP’s fourth track, ‘The Flight’ show’s the band’s ability to switch things up, displaying Benin City’s more fragile tones in a tale of affliction, personal growth and hope.
The event to catch Benin City live, is at Poejazzi on July 1st at E4 Udderbelly in the Southbank Centre. Poejazzi focuses on teaming poetry with live sets. For this edition, singer-songwriter Lail Arad will be hosting the night, whilst wordsmith Yungun (who has previously supported Slum Village and De La Soul) will be promoting his upcoming album “Middle Man” with his live band.
Inua Ellams, whose reputation as a maverick in the poetry circuit has been concreted by his 10 shows at the National Theatre, co-organises the event and will also be performing. Sounds like we’re in for a treat.
Following the general theme of not taking ourselves too seriously, Heads High will be giving away two free Benin City Invisible Cake EP albums with exclusive artwork to the two most creative explanations as to why Joshua was in a plastic cow outfit at his last performance at Poejazzi.
Please post your answers in the comments section below this blog posting by June 30th 2010. The selected winners will be contacted on the day of the show (1st July 2010).
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