After an inexcusably long hiatus, the Duke drops some fresh gems on y’all. Detroit House, Hip Hop, Raw Roots music from Africa to the Caribbean? It’s all here:
John Roberts//White Chez-N-Trent//All about You Bookworms//African Rhythms Donaeo//Riot Music (Shy FX Mix) Marcé//Ca Ca Ye (Frankie Francis Edit) Georgia Ann Muldrow//Jina Langu Ni Afrika (my Name Is Afrika) Brittany Bosco//Black Keys Will – I – Am//Money Pal Joey//Breakin’ Necks House Shoes//The Makings Georgia & Dudley//Shine On Dabrye//I’m Missing You Reggie B//Spoken Lenny Flying Lotus//Quakes Jay Electronica//Exhibit A (Transformations) Fatima//Higher Black Joy Edits//Edit 10 Red Earth Collective ft. Manasseh//Hard Times Dub Vincent Taylor//Living A Lie Connie Bell//Vampires Midnite//Enter Nneka//Africans Baloji//Karibou Ye Bintou
Blogging is a curious thing…especially when there are major labels/sponsors involved. They make crazy money, invest in something dope, give us a whiff of it & we do the rest…..for free. That’s only one reason why I feel slightly strange blogging about Baloji. The other is that seeing as I don’t speak French, I have only a feint idea of what he’s saying. What I do know though is that the way he says what he says is on point. Don’t hate me but that’s my main criteria for judging MCs & singers anyway….unless they’re really talking shit….
Baloji is a Congolese MC via Belgium. He’s been around for a minute and his flows stick to anything from high speed 70s funk to raw roots traditional drums. He’s been working on the follow up to the acclaimed ‘Hotel Impala‘ LP and sources tell us the fresh ‘Kinshasa Succursale’ project is ripe to drop. As a taster, the Konono No 1 sampling ‘Karibu Ye Bintou’ is currently doing the rounds. Not only is the track tight, but the video is excellent too….thoughts?
We in the West have been bombarded with films, novels and more speculating on (and in some cases shaping) the future condition of our society, but how many times has this forward gaze been allowed to rest on Africa?
Pumzi, written and directed by writer/director Wanuri Kahiu, officially claims the title of Kenya’s first science fiction film. Set in a futuristic African society characterized by a totalitarian government, repressive social control systems and an absence of individual freedoms, the film centres on Asha, a young woman living in one of East Africa’s contained communities 35 years after water wars have ravaged the world, causing incomprehensible ecological devestation. With her discovery that a soil sample sent to her in the mail is capable of germinating new life, the stage is set for her quest to investigate the possibility of new life outside the confines of the community structures – against the wishes of the governing Maitu Council. Kahiu’s short film taps into current Third World realities and walks them forward to terrible, yet entierly possible conclusions.
Funded by Focus Features’ Africa First short film program, the Goethe Institut and the Changamoto arts fund, Pumzi has already screened as part of Sundance’s New African Cinema program. As far as I can ascertain, there is no release date as yet but see below for a taste of East African Dystopia. Think black THX1138 and you’re getting close…..
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 Wérémusic 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.
The 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…
Shuanise is on the brink of big things. Having first heard her word way back in March on the low-slung Jazz cut ‘Masudesante Naima’ (courtesy Eglo Records), we at Heads High have been steadily impressed with her sweet yet slanted vocal stylings. Her recently unveiled ‘Voice Of Reason’ E.P. (UpMyAlley Records) is being warmly received by those who know and judging by the strength of her catalogue thus far, we’re in store from some serious blessings in 2010.
The thing you first notice about Shuanise is how nice she is. We played a long game of voicemail Tennis before finally getting to talk and even the rays of sunshine in my mailbox told me that I was in the presence of goodness, and not that fake-it-for-the-cameras kind either. She’s the real deal….
The beginning is a good place to start. Like me, Shuanise spent her formative years North of the Thames border. Unlike me, she had managed to live in Nigeria and the deep south of the U.S. (Texas) before she even got there. Being a Pan-Africanist at heart, I couldn’t help but ask about her Nigerian roots and how they effected her introduction to music:
‘Music has always been around me in some way…I wanted to be like my Grandpa when I was younger so picking up instruments was the natural thing for me to do. My Grandpa was a businessman raising six kids In Ibadun…having music around was important to him. Music always brought out another side of my Grandpa, like he was in another world. He played the talking drums, Udu, and an old Middle Eastern Lute. He changed the way I thought about music. It was no longer just something coming out of the speakers but all around me, made with anything…I learnt a lot from just being back home and that’s where I really started to understand what music was. Things are done in a different way out there and life is different, my heritage has always had a thumb on what I make but more recently it has had an effect on what I make and do more than at any other point.’
Deep. I wanted an expansion though. What’s different about Nigeria?
‘I found Nigeria very different to the U.K. The people, hardships, politics, the lessons. Conditions and surroundings are things that motivate people to play certain music or write a certain song. If you think back to old Africans that were brought to America, it was the surroundings and the conditions that dictated the type of music they made…but no matter what condition one is in, Ibos, Hausas and Yorubas have songs for every situation. They speak through their music. In some situations you can see how much of a life-saver music can be.’
Getting back to the here and now, those vibes have been channelled into heavily Jazz infused Soul explorations. Listen to any one of Shuanise’s cuts and you feel the unmistakeable pulse of Jazz, both in her distinctive vocal delivery, and in the sonic canvas on which she paints.
‘Jazz makes me feel very welcome and at home, ‘Kind of Blue’ was the album that opened me up to discover other Jazz
artists and learn more about the way Jazz is played. It inspired me to try a lot of different structures.
Jazz has been very influential to me….It’s changed the way i think about and make music.’
Luckily, she’s in good company when it comes to experimenting with new forms and structures, Jazz or otherwise. Eglo Records has been her home for the past year or so and their exploratory musical aesthetic has given her the freedom she needs to create. Nestling in amongst the Orchestro-Jazz-Two-Step (a new genre didn’t you know) of Floating Points, the retro futurism of Funkineven 1956 and the astral-plane harmonics of the one Fatima, Shuanise has carved herself a creative niche from which to explore.
‘Eglo is family. They believe in the music they bring to peoples’ attention. They push boundaries and are not afraid to be a little different from the rest. Everyone at Eglo has something different to bring but they still work well as a unit. I like to experiment
with sounds and Eglo are open to it, they support what they like to the fullest.’
I’m a bit old-school. I think its nice when our creativity has a purpose (click here for a deeper explanation). What is it that Shuanise aims to achieve with the beauty she’s creating?
‘…[I want to] make people think about each other more, think about what we do and how it affects others, appreciate our journeys and respect each other and where we live…..’
And where can we expect that beauty to surface next? Eglo is due to drop an EP of Shuanise’s wares. If you can’t wait for that then in the meantime Portformat’s ‘Repeat Factor’ LP features two gems from the lady herself plus guest appearances from Georgia & Dudley amongst others…..heat! Of course, ‘Voice of Reason’ is out right now so click here to cop it.
Ever the team player, Shuanise also asked us to remind you that you can pick up Funkineven and Fatima’s ‘Kleer EP’ now on Eglo…..there, told you she was nice…..we are too so here’s her Masudasante Naima for free – just make sure you support if you like what you hear!
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Capoeira has its roots in Africa. Africans brought their dances, rituals and musicality to Brazil, and motivated by the need to be free from slavery and their ’senzalas’ (slave quarters) capoeira was born. At once serious and playful, dance and fight, spiritual and profane the uniting element behind the art from ancient to present is it’s drive for freedom.
The love-child of Abigail Clarke (Producer) and Daren Bartlett (Director), O-Zelador shoots a wide-angled gaze at Afro-Brazilian tradition using the life and experience of Capoeirista Mestre Russo as a medium. A humble figure, Russo prefers to be known as O-Zelador or ‘The Caretaker’ in reference to his self-appointed role as the guardian of the culture and integrity of Capoeira. A title which he richly deserves. If you’re looking for Russo, you’ll be guaranteed to find him every weekend at the famous ‘Roda De Caxias‘, a street Roda (capoeira circle) of which he has been the guardian for decades. Sometimes as many as three generations of capoeira players can be found at this Roda, and it provides a vital opportunity for the residents of the Baixada Fluminense to come together in spirit, dance, song and of course battle. Having survived attacks under dictatorship and hostility from the various state sanctioned academies, the Roda De Caxais is a symbol of defiance, strength and freedom to it’s participants.
Afro-Brazilian culture runs deep. O Zelador successfully communicates stories of the origins of capoeira, and its links with the Orisha worshipping Candomble ‘cult of nature’ whilst relating Russo and his family’s personal stories, lived out against a backdrop of poverty, crime and government oppression. The thread linking all these elements together is community, something we feel very strongly about…
Check out the trailer and a brief description of the Candomble religion below and if you want more, jump to the official O Zelador site here.
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