Rhythm Talk: Fuji

Tuesday, January 5th, 2010

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Continuing our Rhythm Talk which began with Gwo Ka late last year, we’re back once more to ruminate on the Rhythm. This one goes out to all Nigerians…we’re talking Fuji!

Unless you’re a Nigerian, or have a good knowledge of West African drum music, chances are you’ll have heard little about Fuji music. Alledgedly founded by one Alhaji Sikiru Ayinde Barrister, the name Fuji oddly bears no relation to the Yoruba word Fuja/Faaji meaning enjoyment, instead being christened by Mr Barrister’s chance glance at an advert for Japan’s Mount Fuji. This however, is where the music’s link with the Far East ends.

Born of the union of Islamic and Yoruban cultures, Fuji Music grew out of the Yoruban Wéré music traditionally played to call Muslims to feast and prayer during Ramadan. If you get the chance to listen to any Wéré/Ajisari/Fuji rhythms you’ll understand why I’m not entirely pleased about my early years spent at Roman Catholic Church at my parents request…the rhythms are amazing! Layers and layers of them. Underpinned with raw drums, punctuated by song and embellished with drizzles of saxophone, guitar and keyboard. Listen….


Alhaji Sikiru Ayinde Barrister and Kollington Ayinla are recognised as the godfathers of the Fuji movement. Ayinde Barrister finding fame as the founder of Fuji after a spell under the tutelage  of Jibowu Barrister who, along with his peers in the “Ajiwere” scene, evolved a number of styles heavily influenced by the Yoruban Sakara and Apala musics. Kollington Ayinla, Barrister’s musical rival, is noted for the success he found delivering his fast-paced, dancefloor-friendly twist on the Fuji theme to the people. Check out his  “Alakara Ofa Keni Keji” for rhythmic proof.

sakara_drum_nigeriaThe Sakara Drum.

The main instruments in Fuji are the Gangan (medium sized Yoruba talking drum), the Sakara (Yoruba frame pictured above), the Omele Gangan (mini Gangan), the Sakara Omele (small sakara) and Bata Omele which forms the crucial backbeat. A Fuji orchestra can include a myriad of percussion; Shekere, Bells, Iyalu (large talking drum) and of course a drum kit, sometimes congas too. On the melodic front, you’ll usually find plenty of backing singers, keyboards, guitars and a touch of brass.

Fuji’s popularity continued through the 80s and 90s right up to the present day. As a supporter of the underdog, it gives me a certain pleasure to know that a style which was known for a time as ‘the poor man’s JuJu’ still has a secure place in today’s African music marketplace. That being said, those of us favoring music with more integrity and less American sensibilities might want to dig the past before delving too deep into modern day offerings.

One more recent artist who treated Fuji the right way is Adewale Ayuba. Known primarily for his JuJu creations, Ayuba’s take on the Fuji theme ‘Bonsue Fuji’ managed to successfully transcend barriers of age and class….not easy.

On a slight but nonetheless relevant tangent, those of you with open minds might like to check the following clip to witness what happens when the music described above finds its way to LDN and meets friends from South Asia, America and beyond. Richard Olatunde Baker and his Eardrum project have been successfully experimenting with cultural fusions for some time now. We were proud to have them as guests at one of last years Heads High sessions and judging by the sounds on this video, it would appear that those of us who know are in for a very special treat when their forthcoming album drops….

I’ll leave the rest to you. If you’re a scholar or a deep, deep digger, chances are this is nothing new to you. Hopefully though, those of you marginally less geeky (and I do mean marginally) will benefit from the leads and sounds presented above.

Long live the rhythm…

Many thanks to Richard Olatunde Baker for his contribution. Also, thanks to the Afro Slab blog for the pics. Make sure to click through to them for bytes & bytes of those ol’ dusty Afro selections…

The Female Revival…

Monday, January 4th, 2010

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Once a hot issue for any self-respecting hip-hop politicker, the female MC has painstakingly defined and evolved her role as a wordsmith in the yang heavy arena that is global Hip-Hop. I’m pretty picky when it comes to MCs, always have been. I got to come true and admit that the high pitched squeaks of a lot of female MCs weren’t really talking to me. Of course, there were always exceptions. Ladies like MC Lyte, Roxanne Shante, Moni Love and Bahamadia knew how to rock it the right way.

This might be controversial, but I think that the some of our current female MCs game is so high that their male counterparts need to catch up. Take Georgia Ann Muldrow…beats on point, rhymes in check and harmonies out of tune but somehow just right. Stacey Epps is another example. Forward thinking rhythms underpin tuff rhymes and angelic song. As we all know, its a handful of male MCs that have mastered the art of song…

Not shy around women, Emergence Media bring us The Revival, a candid glimpse into the first meeting of legendary Hip-Hop pioneer Roxanne Shante and veteran Philly emcee Bahamadia, as they trade stories of their struggles and triumphs in the industry over their long careers. The beauty of the film is that it doesn’t stop there. One of the most important exchanges in any community is that between the past and the future. The Revival facilitates communication between these two vets and new school Hip Hop torchbearers DJ Shortee, Eternia, Stacy Epps, and Invincible. In fact, the documentary was actually filmed by Invincible while on the road in Europe as part of the We-B Girlz all women independent Hip-Hop tour. The largest all female Hip-Hop tour of its kind.

Check it out and let us know your thoughts…

THE REVIVAL from EMERGENCE Media on Vimeo.

Event: Heads High vs. 12 Tone 2010!

Sunday, January 3rd, 2010

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As the flyer says, you know the drill by now. 12 Tone Brass are hot (if you don’t believe me watch the video below), Heads High are heat, add them together and you’ve got extreme snow melting capabilities….we’ll see you there (Vibe sell hot drinks too so no excuses!)…

Don’t know 12 Tone Brass? Allow them to introduce themselves…

When Hip Met House…

Thursday, December 31st, 2009

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I’ve been bumping Andres‘ LP for a minute now. One of the reasons I love it so, is the way that the Hip Hop (Dj Dez) and the house (Andres) both have their say in the thirty tracks they have to orate with. Check Anthony ‘Shake’s’ discography too. You’ll find four to the floor 808 pressure pushing up against the sub 100 bpm roll of the breakbeat. Saying this, its rare to see the two styles co-existing in the same sonic space….it wasn’t always this way though…

We’re moving into the second decade of the 21st century. Those of us who like to reminisce (which is most of us I think) should be able to stretch our mind back to a time where a rapper needed to generate a 120bpm flow to pay his bills. A time where record companies dropped serious money ensuring that the love-children of Larry Levan and Russell Simmons could roam unashamedly. On a personal level, I remember locking in to Centerforce FM (88.6), Sunrise and Pulse and listening to the lines between Hip-Hop, House and Hardcore being consistently blurred. U.S. cats like Fast Eddie and Tyree Cooper jacked alongside the U.K sound of the Cookie Crew, Silvah Bullet, Merlin and more. As usual, I’m an honest brother so no frontin’ – I’m far from an expert on this time….but the important thing is, I remember the buzz. This mini-documentary brought it all back for me….enjoy….

Event: Johnny Clarke inna London Town!

Tuesday, December 15th, 2009

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Roots reggae is a deep thing. Despite virtually no mainstream support, it has managed to survive and reach out to a global audience for nearly 40 years. This Friday, the mighty Johnny Clarke steps out to bless the people with his outstanding vocal talents at Dalston’s much-loved Passing Clouds.

If you were to write a list of true school roots legends, Johnny Clarke would be somewhere near the top. Born in Whitfield Town, Jamaica in January 1955, he began his career winning the 1971 Tony Mack’s talent show, subsequently linking him up with producer Clancy Eccles. Eventually Leaving Eccles to hook up with producer Rupie Edwards, Clarke scored a clutch of hits including”Irie Feelings” the 1973 single that provided the template for the producer’s own massive success with “Ire Feelings (Skanga).”

The following year, Clarke cut a number of singles for a variety of different producers. Although he was already well-known, it was only after he joined forces with producer Bunny Lee that the singer reached his full potential. Lee,  famous for introducing the “flying cymbal” sound that swiftly became his trademark, delved into the possibilities of dub and helped inaugerate the shift from Rocksteady to the slower swing of Reggae. Together, the two men would unleash a host of unforgettable singles, opening with the massive hit “None Shall Escape the Judgement.”

Over the next two years, Johnny inundated Jamaica with hit singles including “Move Out of Babylon Rastaman,” “Rock With Me Baby“, “Enter Into His Gates With Praise“, “Too Much War”, “Joyful Festival.” and a cover of Bob Marley’s “No Woman No Cry,”.  The singer’s first two albums, 1974’s None Shall Escape the Judgement and the following year’s Moving Out, were both hits-heavy collections. There was little surprise when Clarke clinched the artist of the Year award in 1975 and 1976 (and then annually for another three years after that).

By 1976, the singer had come to the attention of the Virgin label’s Front Line subsidiary, to whom he now signed. The new relationship was cemented with the fabulous Authorized Version album, again produced by Bunny Lee and boasting another big hit, “Roots Natty Roots Natty Congo.” That album was masterful; Rockers Time Now was an absolute masterpiece. Lee’s house band, the Aggrovators, laid down a potent mix of roots, rock, reggae, whilst King Tubby added his raw heavy dub to the proceedings. The record remains one of the crucial releases of the roots era.

As the ’80s dawned, Clarke moved effortlessly into the age of dancehall with his Johnny Clarke meets Cornell Campbell in a New Style Collection. He left Jamaica for London town in 1983, hooking up with producer Neil “Mad Professor” Fraser and recording Yard Style, which included such crucial cuts as “Mount Zion” and “Nuclear Weapon.”. Over the rest of the decade, Clarke continued cutting excellent singles in partnership with longtime collaborator King Tubby (responsible for many of the singer’s B-sides), and more dancehall-flavored offerings with both Prince Jammy and Errol Thompson.

The reason I just dropped the paragraphs above is simple – the man’s contribution deserves to be recognised. Follow the links, listen to the music (if you don’t already know it) and know that if you miss this Friday’s session, you be missing something special.

Oh, did I mention that the Red Earth/Soothsayers crew will be in the house to lay down the backing tracks…..or that yours truly is spinning inna roots and culture style throughout the evening? You know what to do…info is below:

JohnnyClarke

Heads High vs. 12 Tone

Monday, December 14th, 2009

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We’ve had a lot of fun with the 12 Tone collective this year. Now our shared session at Vibe has been broken in, we’re getting comfy and beginning to experiment.

The last session of 2009 takes place this Sunday 20th December. It’ll be a good one, you should come. As usual, myself, Duke Etienne, DJ Judge and Cal Jader will hold down DJ duties with live collaboration from Connie Bell and musicians from the 12 Tone camp.

We’ve got some recordings (audio/video) to post from our previous events but for now, check out this  footage of RA! the United Vibrations single which was launched last Saturday and has been garnering attention from Giles Peterson amongst others.

Insight: The Culture of Creation…

Thursday, December 3rd, 2009

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‘Told you we aint dead yet, we been livin’ through your internet. You don’t have to believe everything you think, we’ve been programmed, wake up, we miss you.’

As part of an underground creative network, we take pride in supporting, creating and exporting ‘progressive/forward-thinking/different-from-the-norm’ music. Noble principles. There is a deep value in this….. but when did we decide to dissociate these lofty principles from the rest of our lives?

I’ve been observing the musical blogoshpere for a minute now and it has been a bipolar experience of delight and disappointment. Delight in the amazing creations we are continually blessed with and disappointment that there are virtually zero heads out there (Heads High included) that are willing to talk about much else but the music itself, or its associated media. Breaking bread with industry friends,it seems that any kind of vaguely political or spiritual topics have slim place in certain musical spheres – that people don’t want to be preached to. They’re right. But who are we if as tastemakers and opinion shapers, we’re too afraid to say anything apart from big up or take down the endless stream of product coming through our hands?

Our culture has been structured in a way that allows us to blot out realities in favour of consuming more of the same – in a different package. This particular thought stream was triggered by ‘The Story Of Stuff‘, a 20 minute treatise on the harsh realities of the production process which you’ll have heard of somewhere over the past year or so. Don’t worry, I’m not going to launch into a tirade against the evils of consumerism….I think we all get the picture on that….what does interest me though is the idea that cultures are created, maintained and perpetuated with the goal of neutralizing peoples opinions on things that matter.

I figure 90% of you reading this are music lovers….the word culture is almost holy ground to us.  We all take pride in the (sub)cultures we are part of. More than that, we actively direct and extend these cultures. So in truth, we’re in a curious space where we simultaneously control and are controlled by our cultural ‘norms’.

Back to the Story of Stuff. If you’ve seen it, you’ll agree that one of the most unsettling moments is the quote below:

The Real Meaning of Consumer Demand

Our enormously productive economy demands that we make consumption our way of life, that we convert the buying and use of goods into rituals, that we seek our spiritual satisfactions,our ego satisfactions, in consumption. The measure of social status, of social acceptance, of prestige, is now to be found in our consumptive patterns. The very meaning and significance of our lives today expressed in consumptive terms…. We need things consumed, burned up, worn out, replaced, and discarded at an ever increasing pace. We need to have people eat, drink, dress, ride, live, with ever more complicated and, therefore, constantly more expensive consumption.’

Sound like a familiar situation to you? A market analyst named Victor Lebow dropped this in his ‘Journal of Retaling’ which was published way back in 1955. An era which saw the rise of youth culture on both sides of the Atlantic. A generation which prided itself on its autonomous rule and individual identity while in actuality feeding the very same model described by Mr Lebow above. Sadly, in this respect at least, I feel we have progressed little in the past half century.

My basic point is, as Erykah says, we need to wake up. Technology has afforded our generation(s) a ridiculously high level of creative output but we seem to be wielding this potentially world altering weapon like children with toy swords.  Art is exceptionally important, and we celebrate it accordingly, but we are lost in a maze of the next big thing. The exact maze that Mr Lebow describes in his quote. The longer we remain lost, the longer our voices are ineffectual in the reshaping of a world which, in number at least, we should be in control of. When I flick through the new posts on my RSS feed reader, I can’t help but feel a little bit of shame. Shame at the fact that after an evolution on this planet of circa 300,000 years (the official figure), the majority of us appear to have limited our infinite capacities (including our creative vision) to boundaries set by those whose aim is for us to continue to walk in self-perpetuating circles.

I don’t believe it’s an accident that some of the most enduring icons are those which used their art to speak beyond the surface. Cats like Fela Anikulapo Kuti and Peter Tosh. who composed for human rights, John Lennon, who made noise for peace, and Sun-Ra, who stood out on a limb and opened minds to new realities – if they were ready. We’ve got our share of truth speakers now. Sa Ra, Georgia Ann Muldrow and Dudley Perkins are flying the flag for peaceful spiritual frontiers amongst others.  Heads like Mos Def and Immortal Technique are dropping truth on the lies of the men in suits and even Stones Throw’s James Pants has turned his attention to the esoteric with his latest ‘Seven Seals‘ offering. It would have been easier for any one of these artists not to have broached uncomfortable subjects, just as it is easier, and infinitely more socially acceptable, for us to talk air rather than truth.  I’m not saying that every song or blog post needs to be chanting down Babylon and discussing the nature of multi-dimensional reality, but I really do believe its time for our media educated generation to consider their purpose and objectives in a world which needs direction now more than ever.  We all have truth to tell. I for one would like to look back on what we produced in word, sound and image and know that it actually meant something….

‘We’ve been programmed, wake up, we miss you…..’

Rhythm Talk: Gwo Ka.

Wednesday, November 25th, 2009

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It’s been while since we spoke in depth. Apologies for the  hiatus. Time will show where time was spent. I’ve been busy collating some pieces for the site, some pieces for friends and getting our monthly sessions back up & running. Thankfully, Lola has been holding it down in the meantime despite her own hyper-hectic schedule. Props to her for keeping the flow…

Alright, I was rappin’ with my man Jocko last night and all he could talk about was rhythm. With any African diaspora music, you cannot isolate the rhythm. The rhythm is always linked and the rhythm is always moving. Back to Jocko, as he was talking, I had a realisation. I love the rhythm. The rhythm is the foundation for nearly all music I hold close. My recent delve into the cross-pollination of the rhythm in the Caribbean (click here for the first evidence of this) made me realise just how little I knew about the traditions that underpin our musical expressions. Journalists love to squeeze tags like ‘Afro-inspired, Tribalistic and Tropical’ into their descriptions of contemporary musical movements, but what do those things really mean? I can honestly say that digging the traditions of the French Antilles, and meeting some amazing personalities in doing so has changed how I perceive music. Forever.

Traditional music has another aim than to entertain. Traditional music is the past, it is the present it is the future. Eternal music. Popular music aims solely to entertain but with the traditional, entertainment is but one of many aims.”

That’s my friend and colleague Suga Kan’n’s word. When he’s not making organic ice cream, he travels the African continent absorbing it’s traditional rhythms, dance and song. He also happens to have roots in Martinique. Linking with him provided me with an introduction into the Gwo-Ka I share with you today.

Both the name of a family of drums and the music they create, Gwo-Ka runs deep. Most often used as a platform for social commentary and inextricably linked with Africa, her culture and the idea of ancestral lineage, the Ka is heavy. Before I continue, check this out to feel the real…

The big drums the brothers are holding the foundation rhythm on are Boula drums. You’ll find these type of drums or similar across the Caribbean. Again, the link… The soloist is playing something called a Kake drum. His job is to follow the moves of the dancer who is constantly trying to outsmart him with their steps. Traditionally, only one dancer holds the floor at any-time….pressure if your movement’s not fluid!
There are seven main rhythms in the Gwo Ka family each having dozens of variations. The tradition has been on Guadeloupe since the first slave ships docked. Some say the rhythms come from the Kongo (an idea I like) others say they developed with Guadeloupe’s slave communities. Either way, there’s a depth to the Ka you can’t ignore.
Alongside Velo, the official king of Ka (whose statue can now be found on la rue Saint John Perse, Point A Pitre). The work of Gwo Ka musicians like Germain Calixte, Ti Celeste and Carnot deserve a place on the world stage.
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Recognition is a sore point when it comes to Gwo Ka. For reasons which I explore  in an upcoming SHOOK feature, the style never made a strong impact on the collective consciousness outside of the islands and their ex-pat communities. There are a few heads who have bridged the gap and taken the Ka somewhere other – mostly somewhere Jazz.  Again, hold tight for the SHOOK piece. You’ll have all the info you need, past and present….
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When something touches you its good to share it. It cleanses the soul. My soul feels a little cleaner now. I hope this all means something to you. If it does, be sure to stay tuned for the fullness and for more rhythm talk…

Event: Oh RAS!!!!

Thursday, October 29th, 2009

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Ok. Mad late on this (mostly due to slackness – I got the email a good 2 weeks ago) but even though there’s only hours to go, i’m confident that the information will benefit the faithful (London-based) blog readers amongst you.

You know by now that i’m a beat-head with more than a slight slant towards the experimental. Ras G has been killing it with his Afrikan Space Program infrasonics and I thought it only right to let you know that he’ll be performing live at the Macbeth tonight with support from Eglo’s Shuanise, Ahu/Dolly, the ubiquitous Alexander Nut and Hoya Hoya’s Illum Sphere… all for a measly £5. Not to be missed.

I’m fairly confident i’m preaching to the converted here but just in case, here’s Mr G in action, altering cosmologcal vibrations so we can all be free….Sun Ra would have been proud…

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