WORD SOUND & POWER: The Exhibition

WORD SOUND & POWER: Reggae Changed My Life.

As Black History month approaches I have to wonder why I’m struggling to get people around the nation to host the exhibition that Swift & I put together at the British Music Experience in 2012. It was completed with Arts Council Of England support, to coincide with JA50 and the Olympics. Here’s a short film Swifty took on the day we took the show down….

There’s about 80ft of densely packed wall space in the exhibition… it looks great and it lays the visual foundation as to how reggae music evolved in the UK.

If you know anyone with vision interested in hosting the exhibition hit me back!

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JULIAN JOSEPH takes on Wagner’s Tristan & Isolde

jj 1Though I know zilch about opera I couldn’t miss out on an invite to pianist, Julian Joseph’s ‘Windows in Tristan & Isolde in the small studio at the Royal Opera House last Sunday.

Julian’s brother and manager,  James, had already given me a brief lowdown on some of the artists involved – Carleen Anderson, Cleveland Watkiss, Christine Tobin, Relish’s Ken Papenfus, Shabaka Hutchings – and he was most enthused about the potentially ideological twist that author/journalist Mike Phillips had given the libretto.

Carleen reasons with librettist Mike Phillips during rehearsals.

Carleen reasons with librettist Mike Phillips during rehearsals.

 

Tristan and Isolde is the pianist’s  third operatic project. The first was Bridgetower – the true story of an enslaved courtier in England. The second was Shadowball which deals  segregation in American baseball. Though I haven’t seen the latter, I’m keen to know more about the bonds forged between touring baseball players and jazz musicians who met on the road and stayed in the same hotels due to pre-Civil Rights apartheid. ‘Shadowball’ is due to be premiered in the US and with the support of the Smithsonian Institute it will be taken to different US cities as part of an education programme.

Cleveland Watkiss in Shadowball

Cleveland Watkiss in Shadowball

The performance at the ROH was but a “window” into what’s to come and on the night Mike Phillips introduced the concept behind the libretto which reworks and relocates Tristan & Isolde into 21st century Europe. In this verson King Marko, Tristan’s guardian, is transformed int a Transylvanian drug dealer and Tristan and Isolde, the two main characters, are of mixed race – African and European! Adolf Hitler – a Wagner devotee – must be turning in his grave!

A Wagnerian influenced trio piece introduced the music of the night that merged into a deep original composition called ‘Faith’. A spirited Trane influenced tenor solo from Shabaka lifted the vibe and generated a wave of spontaneous appreciation.It was only after the intermission that were introduced to the actual work in progress.

Carleen Anderson

Carleen Anderson – Isolde

Ken, Carleen, Christine, Cleveland + Mark Mondesir. Pic: Roger Thomas

Ken, Carleen, Christine, Cleveland + Mark Mondesir. Pic: Roger Thomas

Each composition/aria was deftly arranged for his trio, reeds, trumpet and trombone. The tempos, as our host told us were were mostly down-tempo, and as the set unfolded around  ‘I Was Dreaming’, ‘Do You Believe in Love’, ‘I Come from Everywhere and Nowhere’ we were drawn into the story . Carleen took to the stage first, resplendent in a floor length gown, and took on her song in breathtaking fashion. Her duet with Tobin produced a sharp contrast in vocal styles, as did the pieces between the equally soulful duo of Papenthus and Watkiss.

All in all. ‘Windows into Tristan & Isolde’ was exactly that.  A work in progress, it was short and sweet and I for one will be back to experience the whole of this jazz based opera.

www.julianjoseph.com/

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GARIFUNA COLLECTIVE ARRIVE IN LONDON SEPT 28th

THE GARIFUNA COLLECTIVE arrive in London on September 28th at The Nest Collective armed with a new album ‘Ayó’.

garifuna_collective_group_shot_1_by_peter_rakossy

Six years have elapsed since the release since Andy Palacio & The Garifuna Collective’s 2007 masterpiece ‘Wátina’ and it’s taken that amount of time for the Collective to recover from the passing of Palacio, a tireless cultural activist and their charismatic leader, who was prematurely snatched from us aged 47. The name of the new album,’Ayó’ – which translates as “Goodbye” – says it all.

In a recent communique from Cumbancha’s ever enthusiastic Jacob Edgar who, along with producer Ivan Duran, introduced the world to the music of the Garifuna community, he says, “In concert, The Garifuna Collective is truly spectacular. They toured the US and Canada this summer and blew people away. The members of The Collective have taken on the responsibility of keeping the unique Garifuna music alive and thriving, and they bring a sense of community, joy and respect to every performance. It really is a magical and memorable experience.”

Whatever Cumbancha’s Jacob Edgar says, I’m down it. I first came across the Garifuna by accident when photographer Peter Williams and myself attended a festival in Rennes in France. One evening we found ourselves in a mind numbing cavernous sports hall being swept up by the vocals, acoustic guitars and hand drums rhythms of an ancient looking Paul Nabor and his associates. We had discovered Paranda – the music of the Garifuna, a unique community who reside along the coast of Central America.

Indeed, the tale of the Garifuna people has always been one of triumph over tragedy. The history of the Garifuna begins when two large Spanish ships, filled with a delivery of West African slaves, sunk off the coast of the Caribbean island of St. Vincent in 1635. Half of the Africans survived and intermingled with the indigenous Caribs of the region, creating a new hybrid culture. Fiercely independent, the Garifuna community resisted European colonization, fought a determined yet ultimately losing struggle against the British military in 1796 but were forcibly exiled to the Caribbean coast of Central America, settling in Belize, Guatemala, Honduras and Nicaragua. The Garifuna have long struggled to maintain their unique language, cultural traditions and music and today’s Garifuna Collective exists to keep it alive.

Deck Jam! Pic: P. Rokassy

Deck Jam! Pic: P. Rokassy

Ivan Duran, who produced the very first Paranda album and the new album, ‘Ayó’  says “We are going back to the core values of the project, which is to present Garifuna music to the world, not in a traditional way, not in a museum, but as a living musical form. When you listen to the record you feel that spirit of being in the village with everybody singing along, everybody being a part of a song, not following a single singer or star.”

That said, he also maintains that ‘Ayó’ has a much more modern sound that ‘Wátina’ and that this album sounds like it was made by a band: “There’s a group spirit that comes across more clearly then ever before.”

There always a back story or two with the Garifuna. In addition to Palacio’s sad passing, the Collective lost two other members in the last five years. The much beloved maraca and turtle shell player Giovani “Ras” Chi was shot and killed in Belize City while Justo Miranda passed away alone after a heart attack under a tree in Honduras.

It was Miranda who penned ‘Seremei Buguya’, the closing track on ‘Ayó’ which expresses sorrow at Palacio’s death – “but at least you went out like a king. When I die, not many people will care.” Ironically, it was many weeks after his death that his band mates in Belize even heard the news.

The album

The album

On a more positive vibe is the story of Desiree Diego, the singer and maraca player with the Collective. According to Ivan Duran, “She never in her wildest dreams imagined she would be a singer in a band. All she knew was that she loved music, and that she had learned traditional songs from her grandmother. She liked to sing, and she had been singing since she was small, accompanied by drums, never a melodic instrument. When she started she had absolutely no idea how to sing in tune with stringed instruments. I remember a few disasters on stage but everybody was very supportive and said listen, ‘Try it again.’ One day I told Des she needed to do more than just sing, she had to also pick an instrument, a maraca, a turtle shell, a clave. She picked the maraca and to this day she is my favorite maraca player in the world.”

It’s stories like that of Desiree’s which communicates their organic sense of openness and community. The global success of ‘Wátina’ has helped instill a sense of self-pride amongst both old and young in the Garifuna community and ‘Ayó fearlessly takes on Andy Palacio’s mission of cultural innovation. It reveals a deep well of Garifuna musical… so, book your ticket to their only London performance today!

Tickets can be purchased here:
http://thenestcollective.co.uk/shows/eventdetails/28-sep-13-reach-for-the-bunting-garifuna–ceilidh-liberation-front-netil-house/

‘Ayó’ is out now on Cumbancha/Stonetree
Info: http://cumbancha.com/garifunacollective

Link to the Facebook event:
https://www.facebook.com/events/157013554500724

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DON DRUMMOND: Genius and Tragedy

‘Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist’ is a brand new book that gets to grips with the tragic life of the legendary Skatalites trombonist.

Don Cosmic - '64

Don Cosmic – ’64

Don D bookScanning through a catalogue of forthcoming books from McFarland, a US publisher who foster an impressive array of writing on jazz, I came across a book on Don Drummond. I was excited. Seriously excited! At last, a book on Jamiaca’s finest trombonist, the enigmatic nusician responsible for incredible tunes like ‘Far East’,’Confucious’,’Smiling’,’Don Cosmic’, ‘This Man Is Back’… and the rest.

Written by Heather Augustyn and featuring a foreword by Delfeayo Marsalis – Wynton’s trombone playing brother – this book, ‘Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist’, is a vital piece of writing and research that delves deep into the pre and post-independence Jamaica to illuminate the tragic life of this tortured but incredible musician.

Don Drummond’s musical life began at the Alpha Boys School – the crucible that gave the world musicians like Lennie Hibbert,Tommy McCook, Johnny ‘Dizzy’ Moore, Edddie ‘Tan Tan’Thornton, Rico Rodrigues, “Deadley” Headley Bennet,Cedric ‘Im’ Brooks, Dizzy Reece and Joe Harriott amongst others. It was under the guidance of their omnipresent surrogate mother, Sister Ignacious, who had an expansive record collection and played both saxophone and flute, and the various Alpha band leaders, that all these musicians acquired a foundation to their craft and from day one it was clear that Don Drummond was different.

Playing with Sonny Bradshaw's band: l to r Rupert Anderson, Carlos Malcolm, Don D, Rico Rodrigues

Playing with Sonny Bradshaw’s band: l to r Rupert Anderson, Carlos Malcolm, Don D, Rico Rodrigues

Drummond was often found practicing in the shade of under the Monkey Tambourine tree at Alpha and while he had friends he was never the most communicative person. It was always about the music and inevitably the teenage Don Drummond was recruited by Eric Deans who, like other JA bandleaders, used Alpha as a source of talent. The Eric Deans Orchestra played six nights a week at the Colony Club in Halfway Tree Road entertaining “society” people and tourists with a selection of music by Count Basie, Duke Ellington, Benny Goodman et al.

After Drummond and Deans parted company, following a trip to Haiti, Drummond pretty much worked with every band in town . When he played with visiting US jazz super-stars Sarah Vaughn and Dave Brubeck he succeeded in blowing them both away with his unique sound. According the singer Don Drummond was among the Top Five trombonists in the world.

Augustyn paints a vivid picture of their working life as musicians in the mid Fifties up to Independence in ’62 when the rise of Sound Systems created momentum and direct demand direct for original Jamaican music that could be played into the dances. Session work shifted from the clubs to the studio.

Central to Drummond’s story is that of that Anita Mahfood aka “Margarita – The Rhumba Dancer” and it’s through Anita that Augustyn reveals the class nature and social divisions in Jamaican society along with an insidious undercurrent of violence and abuse. Anita’s reputation as a dancer began at the age of 12 when she won Vere John’s Opportunity Hour and despite her father’s wishes the rebellious Anita relentlessly pursued her dream. As Margarita she became an incredibly popular local star and that led to marriage with boxer Rudolph Bent- the Dark Destroyer – who sadly continued a cycle of physical abuse that had plagued her early life.

Anita Mahfood  aka 'Margarita

Anita Mahfood aka ‘Margarita

It was at the legendary Bournemouth Club that Margarita first encountered Drummond and his music and it ignited a spark that was to burn so fiercely it would eventually destroy them both. Drummond was famed for being difficult but in fact was suffering from mental illness, periodically vanishing into Bellvue Mental Hospital. Studio One producer and sound man Clement ‘Coxsone’ Dodd knew of Don’s condition and bought him a new trombone as a way of owning him. Drummond was a local star and Coxsone needed him. Recording business was a serious business and at Studio One they had to clock on and clock off. It was a tuff life with small returns and Drummond clearly felt the pressure.

Count Ossie with Duke Ellington

Count Ossie with Duke Ellington

While the members of the Skatalites cut hundreds of tunes for various producers (check the discography in the book) the truly innovative playing was left for Count Ossie’s grounation at the Rastafari camp at Wareika Hills. As boy producer Clive Chin visited Wareika Hills with his father but was not allowed to leave the car. It was at Wareika that they gathered to reason, chant down Babylon, burn the chalice and play into the night with the drummers. Margarita was a regular at those sessions and her one and only record ‘Ungu Malungu Man’ – which was retitled ‘Woman A Come’ by Duke Reid – was her paean to Drummond, another camp regular. It featured the fantastic Skatalite drummer Lloyd Knibb on burru drums and evokes Malungu – an exiled godlike character from East African folklore.

In late 1964 Drummond and Anita Mahfood were living together in a single room at 9 Rusden Road in Kingston 2 and on New Year’s Eve Anita ignored Drummond’s demands that she stop dancing and went to dance at the Baby Grand in Crossroads and Club Havana in Rockfort. It proved a fatal decision. Despite the deep love and friendship that existed between them Don’s psychosis fuelled jealousy tragically led to his murdering Margarita on her return. On January 1st 1965 he turned himself into a local police station claiming that Anita had stabbed herself.

The bright light which fueled two spectacular creative people was snuffed out that night. Don Drummond went on to be found “Guilty by reason of insanity” and was confined to Bellvue Mental Hospital. Confirming that the conditions in the hospital were disgraceful – and possibly violent on the part of the staff – he died prematurely from “congestive cardiac failure and anemia” at the age of 36.

Through dozens of interviews Heather Augustyn’s book paints a vivid and at times traumatic picture. She never shrinks from dealing with the cycles of violent abuse and the stigma of mental illness. Her book demands that we learn from the lessons of the past so that we might react differently in the future. Let’s face it, Don Drummond was not alone. He joins a host of stellar artists and musicians who have dealt with depression and psychosis, some of whom were able to deal with it, others who weren’t.

In the end ‘Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist’ leaves us no place to go but the music and that my friends takes us to those Far East melodies, those groundbreaking compositions… minor masterpieces… that allow his melancholy genius to shine. Roll on Don Cosmic… Ungu Malungu Man!

Don D 7

‘Don Drummond: The Genius and Tragedy of the World’s Greatest Trombonist’ – Heather Augustyn feat. a foreword by Delfeayo Marsalis (McFarland £25.00)

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The Stuart Hall Project

The Stuart Hall Project: a Smoking Dogs film about revolution, politics, culture and the New Left experience is in cinemas 6 September

Highly acclaimed at this year’s Sundance and Sheffield Documentary festivals, the new film from Smoking Dogs’ award-winning documentarian John Akomfrah (The Nine Muses) is billed as “a sensitive, emotionally charged portrait of cultural theorist Stuart Hall“.

I discovered Stuart Hall in the early Seventies. He was the guiding light at the Centre for Contemporary Cultural Studies in Birmingham. I was an art student/leftist/communist activist with a basic understanding of Marxist economic theory but struggling with a Marxist approach to art and contemporary culture. The left was not on it when to came to popular culture, sub cultures, the role of media and I needed to be on it. To my rescue came collection of essays from the Centre for Contemporary Cultural Studies called ‘Resistance Through Rituals’,. It dealt with post war youth sub cultures from Teds to the Rastafari and I was blown away by an approach which transcended basic sociology by embracing Marxism, feminism, critical race theory and post-structuralism. Though I always found the latter to be hard going, these studies opened up a whole new way of looking at my immediate world.

For me, Stuart Hall is one of the most inspiring voices of the post-war Left and it’s great that Smoking Dogs have the the vision to explore Hall’s ongoing influence on British intellectual life which commenced soon after he emigrated from Jamaica in 1951.

Having just watched Akomrah’s poetic March On Washington I’m more than keen to see this film which combines extensive archival imagery – television excerpts, home movies, family photos – with specially filmed material and a personally mixed Miles Davis soundtrack.

According to the BFI website, “Akomfrah’s filmmaking approach matches the agility of Hall’s intellect, its intimate play with memory, identity and scholarly impulse traversing the changing historical landscape of the second half of the 20th century.”

Can’t wait!

Venues

6-19 September ICA / 6-12 September Curzon Renoir / 13-26 September BFI Southbank (Studio) / 16-22 September Cambridge Arts Picturehouse / 6-12 September Lighthouse Dublin / 16 September Lexi Cinema Kilburn / 13-20 September Hackney Picturehouse / 13-20 September Ritzy Brixton / 20-26 September Greenwich Picturehouse
/ 21-22 September Komedia Brighton / 26 September Barbican / 26 September Duke of Yorks Brighton/ 29-30 September Chapter Cardiff / 4 October Showroom Sheffield / 4-7 October MAC Birmingham / 26-31 October Watershed Bristol

MORE INFO: http://www.smokingdogsfilms.com/

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MARTIN LUTHER KING & THE MARCH ON WASHINGTON

Dr Martin Luther King Jnr: The March On Washington

1963 – Dr Martin Luther King Jnr: The March On Washington

MARTIN LUTHER KING & THE MARCH ON WASHINGTON is another magical film from the Hackney based Smoking Dogs. Directed by Jon Akomfrah this evocative and historically illuminating documentary celebrates the pivotal moment in modern history when the the Civil Rights movement descended on Washington DC to pressurise a vulnerable but sympathetic President John F Kennedy to go forward with his Civil Rights Bill.

As with all Smoking Dogs films it’s beautifully constructed and while the story is imbued with an intense urgency it’s punctuated by a monochrome, dream like quality that’s graced, at one point,  by Miles Davis’ muted horn.

The rigorous nature of Jon Akomfrah’s directorship ensures that Dr King’s role was not elevated in importance above others who played a crucial role in making the march happen. At the heart of the organisation was the so called ‘Big Six’ led by the charismatic Philip Randolph – president of the Brotherhood of Sleeping Car Porters, president of the Negro American Labor Council – and his right hand man Bayard Rustin.

Philip Randolph & Bayard Rustin (l-r)

Philip Randolph & Bayard Rustin (l-r)

The ‘Big Six’ also included John Lewis (Student Nonviolent Coordinating Committee), Martin Luther King, Jr. (Southern Christian Leadership Conference), Roy Wilkins (NAACP), and Whitney Young (National Urban League) and it was their task to mobilise and marshall grass roots support from across the nation for a march focused on non violent direct action for freedom and jobs.

Through deftly researched archive footage and photography we get drawn into the momentum of the movement as the activists descended on the nations cities. Simultaneously we are introduced into a web of dark White House politics and cold war paranoia.

On the day, fear of impending riots ensured that a small army of troops was on alert in DC. J Edgar Hoover and the FBI had whipped up fear of communist infiltration and that undoubtedly contributed to Roy Wilkins and Whitney Young objecting to Bayard Rustin as a leader for the march because he was a homosexual, a suspected Communist and a draft resister. Eventually the duo accepted Rustin as deputy organizer, on the condition that Randolph act as lead organizer and manage any political fallout.

Belafonte & Heston

Belafonte & Heston

It was great to Harry Belafonte, a tireless activist, gathering support in Hollywood and something of a surprise to Charlton Heston (he became the president of the National Rifle Association) on the front line. The presence of these celebrities like Marlon Brando and Steve McQueen alongside musical activists like Bob Dylan and Joan Baez added a new dimension to the struggle and on the day it was the shoulder to shoulder coming together of black and white Americans that made the march on Washington one of the most  profound events in US history.

Joan Baez & Bob Dylan

Joan Baez & Bob Dylan

Though the film doesn’t go into it there were those, like Malcolm X, who saw the march as a farce but the film genuinely conveys the political tension on the platform that day, especially in relation to John Lewis’ speech which talked about the black (not negro) masses and how there would no “cooling off” period after the march.

The world over, people recognise the words… the vision… that Dr Martin Luther King Jnr testified to from the podium of the Lincoln Memorial on that day, but I for one didn’t know that he was on the cusp of finishing his prepared speech when the voice of the mighty Mahalia Jackson emerged from crowd behind urging him, “Tell Them about the dream!”

The rest is history.

If you are in the UK you can view here (there’s only a couple more days left!) : http://www.bbc.co.uk/iplayer/episode/b039dyn8/Martin_Luther_King_and_the_March_on_Washington/

If you are in the US you can view here:
http://www.pbs.org/black-culture/explore/march-on-washington/documentary/#.Uh9Ljhx_WPQ

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ALMOST SOLD OUT! Michael Garrick’s ‘Prelude to Heart Is A Lotus’

ALMOST SOLD OUT! Michael Garrick’s ‘Prelude to Heart Is A Lotus’

The Vinyl!

The Vinyl!

Just spotted this picture on Sebastian Scotney’s London Jazz bulletin of Gearbox Records’ Adam Sieff proudly holding a copy of the Michael Garrick Sextet’s ‘Prelude to Heart Is A Lotus’.  As you might know Gearbox specialises in analogue hi-quality vinyl and this 1968 BBC Jazz in Britain recording – freshly pressed up for the very first time –  has almost sold out!

Adam Sieff - Gearbox Records

Adam Sieff – Gearbox Records

Mike Garrick compositions possess a  deeply spiritual dimension and this LP is a welcome addition to a compelling canon of work.  The sextet recording finds Michael playing piano, harpsichord and celeste in the company of long time associates saxophonist Don Rendell, trumpeter Ian Carr and bassist Coleridge Goode.  Reflecting the spiritual quests of the era what we get on this record are new and innovative directions in British jazz which paved the way for the Argo Records’ ‘Heart Is A Lotus’ studio album that surfaced two years later. Definitely worth checking out.

http://www.gearboxrecords.com/Site/Releases.html

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Nothern Soul meets Stereophonic-Supply

Nothern Soul meets Stereophonic-Supply

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

As Swifty and myself originally hail from the industrial North and had our own respective experiences of the Northern Soul scene we decided to design a tee which tips a nod to those who’ve kept the faith alongside the new generation of dancers. We’re still looking forward to Elaine Constantine’s forthcoming movie ‘Northern Soul’ which was supposed to drop this summer and the book of photos and memorabilia they’ve collected along the way. As for ‘The Owl’, you’ll have to ask Swift about that…

http://www.stereophonic-supply.co/product/soulclub-t-shirt/
http://www.northernsoulthefilm.com/

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SUMMER READS Mo’Meta Blues, Black Bazaar, Blood Of The Wicked

FOLLOWING ON FROM TONY ALLEN’S EXCELLENT MASTER DRUMMER OF AFROBEAT I COULDN’T RESIST a BIG UP for a few more SUMMER READS: Mo’Meta Blues, Black Bazaar, Blood Of The Wicked…

questHaving read a couple of reviews that expressed reservations about Ahmir Questlove Thompson’s “autobiography” I decided to put the book on one side and read it on holiday away from my normal habitat and daily routines. It was a good move.

For the first time ever I’d decided to travel without a laptop and without a selection of music so I’d be removed from my regular routine where music is a constant.Free from my normal baggage I sunk I sunk into the book with ease – a welcome literary musical fix.

The book is a collaboration with New Yorker journalist Ben Geenham and I immediately related to his mission to come up with something structurally different from the trad biog. ?uest is only 44 and while the drummer/producer is one of the faces of contemporary hip hop his artistic career is far from done. So, what we get in this book is journey so far – playing with the family band, co-forming the Roots, initiating the Soulquarians, producing D’Angelo’s seminal ‘Voodoo’ LP, MD’ing the Jimmy Fallon Show – and it’s interspersed with tunes (of course), specific reflections and incidents (Prince’s roller skating party with Eddie Murphy) as well as editorial interjections.

The early years are fascinating and it’s remarkable that this trademark ‘fro has prevailed stylistically for several decades.  His year by year breakdown of the baddest, most inspirational tunes that had shaped his musical world almost had me heading off to the nearest internet cafe…  I’ve still got re-listen to Stevie’s ‘Secret Life Of Plants’ LP.

ROOTS - ?uestlove & Black Thought

ROOTS – ?uestlove & Black Thought

As one rolls through the decades you have to warm to ?uestlove’s geeky but totally driven pursuit of perfection. Not all rap ‘n hip hop artists are impoverished gangstas and rude boys from the hood (Gang Starr were a good example) and ?uest’s left of centre quirkiness has definitely provided the yin to complement the yang of his partner in the Roots – Black Thought.

As ?uest analyses and delivers a flow of insights into the making of each of the Roots albums you have to think… “Damn, they’ve made a lot of records… ‘Game Theory’, ‘Tipping Point’, ‘Things Fall Apart’, ‘Phrenology’, ‘Undun’ “… and over the next period I definitely plan to revisit them all.

Equally thought provoking is where he and the Roots stand in relation to Puffy, Jay Z and Kanye alongside the importance of the Dilla and both the Soulquarian and Electric Ladyland Experiences.

?uestlove & The Funky President

?uestlove & The Funky President

Working on the Jimmy Fallon show has allowed him to develop his own persona whether via his much scrutinised Twitter or as a Grammy winning producer. That said, the reader is still consistently confronted with his insecurities which despite his global status still whisper away, undermining his confidence as he approaches each and every project.

Alongside the editorial interjections of Ben Greenman that punctuate the book you also get a running commentary from Rich Nichols who is “supremely analytical extremely verbal and determined to digest, process, present, and represent the Roots’ whole experience”. The latter adds a reflective and critical edge and like the classic Dizzy Gillespie biog which enlists interviews from other people to recall the same events as Diz, Rich’s contributions prove that there no definitive history… it all depends on perspective and who’s telling it.

If I have one have a small quibble it’s that during their short largely depressing stay in London ?uest forgot to mention their involvement in Straight No Chaser’s Shape Of Things To Come event. The Roots involvement in Shape Of Things To Come  came about as a result of Gilles (Peterson) discovering their first recording ‘Organix’ and releasing ‘From The Ground Up’ on Talkin Loud.  On the night it was raw and innovative session that involved a collaboration with – amongst others – MC Solaar, DJ Krush, Steve Williamson, Omar and bassist Anthony Tidd (who is now a very good friend of the funky drummer). That session became the template for Red Hot & Cool in NYC  which heralded a whole new level of  cross  generational jazz and hip hop collaborations. So, for me, maybe as I was involved, it’s a disappointing ommissision.

That said, Mo’ Meta Blues has an interactive quality and provides essential connective reading for a whole generation of funk, hip hop and jazz headz.

(PS: Note to ?UEST – Passport aside Gilles is about as Swiss as Del Boy)

Black-Bazaar_largeOn a totally different tip is Alain Mabanckou’s Black Bazaar, which drops us in Paris in the company of “Buttologist”, a member of the Society for Ambient People and People of Elegance (Le SAPPE) who originates from Little Congo, from Brazaville, across the river from Big Congo. Our story starts in Jip’s Afro-Cuban bar in Les Halles which is located across the road from Soul Fashion, a ladies underwear emporium, which employed his former girlfriend and baby mother Original Colour. Called the “Buttologist” due to his surveillance of and devotion to the movement of the female derriere the Sappeur lives in relative squalor with his six suitcases stuffed with designer clothes and shoes. He is in transition. In fact, our narrator is coming to terms with the loss of his daughter and Original Colour to the diminutive hand-drummer Hybrid, and it’s a tale that is eloquently told through his relationship with his deranged Antillean neighbour – Mr Hippocratic, the Arab shop owner on the corner, Roger the French Ivorian and Louis Philippe the Haitian. Reading this book I kept getting flashbacks to Tony Allen’s biography, it’s something to do with the way the story is told. There’s humour and lashings of insight. We enter into his world and his own inimitable logic shaped in a post colonial world of migration. There’s a vision that takes shape as the book unfolds and as I closed the final page I simply wanted more… so next the stop… Mabanckou’s Memoirs Of a Porcupine and Mongo Beti’s Poor Christ Of Bomba.

Society for Ambient People and People of Elegance (Le SAPPE)

Society for Ambient People and People of Elegance (Le SAPPE)

BloodFinally, a detective thriller set in Bahia. Blood Of The Wicked is written by Leighton Gage, an American who’s lived in Brasil for thirty years, and it introduces us to Chief Inspector Mario Silva and his small but inscrutable team.  Apparently, there are five other Mario Silva books but this tangled  tale of murder and vengeance in the rural town of Cascatas do Pontal was my initiation. Blood Of The Wicked is a political thriller, and as the death toll mounts Detective Mario Silva finds himself in a conflict between the landless and the land owners, where liberation theology collides with the brutal shadow of Brasil’s miltary dictatorship. I suspect this may not be the last Chief Inspector Mario Silva story that I read. (Thanx Jody!)

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Afrika70…..Baddest Band In Africa – Stereophonic-Supply Pays Tribute!

Afrika70…..The Baddest Band In Africa – Stereophonic-Supply pays tribute…

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While it might look like a bit of a vanity overload I couldn’t resist popping off some shots of the stereophonic-supply Africa70 tees while I was in Greece….the light was intense and fashion brands spend thousands to doing shoots in the Caribbean or the Mediterranean … so why not? Having just read Tony Allen’s excellent autobiography where he talks in depth about his time with Fela and Afrika70 and also recalling a story that the late great Art Ensemble trumpet player Lester Bowie told me about arriving at Kalakuta Republic…

Lester: I’m looking for Fela
Kid: You a musician?
Lester: Yeah
Kid: Are you any good?
Lester: Yeah
Kid: You’d better be cos this is the baddest muthafuckin’ band in Africa!

… I thought… yeah…. Africa70… THE BADDEST band in Africa! Love these tees. Nuff said.

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More info & to Buy: http://www.stereophonic-supply.co/shop/

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