Every once in a while we writers are reminded of the power of our words and are held liable, be it in a compliment or a scold. To be a complete writer in my humble opinion one must have had one’s bread buttered on both sides, not just because it teaches humility and keeps one grounded but it also prompts for in depth research and quality control and thereby indirectly a better end product.
While not all feedback I received regarding “Jazzing It Up Part 1” was not positive because I dared call Jazz almost dead in Africa, most was so overwhelmingly complimentary that I could easily have sat back and basked in the glory of my accomplishment.
But that would be too easy and I won’t.
Rather my Part 2 is dedicated to the first group of my readers in an attempt not so much to sooth ruffled feathers (because I stand by my initial words when we compare the amount of play Jazz gets say on Nigerian Radio or TV as opposed to say Hip Hop, R &B and even High Life) but to fold into my overall presentation some of Africa’s rare gems that continue to keep the smoldering flame and hope alive.
Here Ladies and Gentlemen is “Jazzing It Up Part 2”
Taxed almost beyond recovery by 1 dumb German posing as a coach and 11 Egrets as Eagles in the African Cup of Nations in Ghana, I finally was able to shake off my grief at Nigeria’s early exit and make my long overdue visit to the same Corrections Facility I had written about in Part 1. This time in as much as I brought more of the same Crispy Crème doughnuts as I had done initially, my song selection would be totally different. It was going to be very eclectic and compromise of the more exotic flavors from the stew we call Jazz.
In any case their faces were eager and anticipatory as they welcomed me like a long lost friend. Though the Orange Pajama Suits courtesy of the Ohio State Department of Corrections were the same as before, the crowd was not. It was definitely older than before and also much larger. Either word of mouth had gotten out that I was good or they were probably replaying “Karate Kid 1” as the movie of the week. Anyway I approached the presentation as it was the former, and started off with an old staple called “Breezin” - because if you remember I had forgotten my George Benson CD’s the last time and wanted to play catch up instantly.
1. BREEZING
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For my track one, I chose this killer classic. In as much as it does feature George Benson, it is not his original 1976 one from the same entitled Platinum Album. Rather it is the one delivered from the delicious marriage between him and Al Jarreau of the album “Givin It Up”. The latter’s “scatting” ala Bobby McFarland and Bensons mimicking of his own guitar play is just plain wicked and spot on. It is also effective, because we never lose any of the songs nostalgic beauty, yet rendering it now with words is successful envelope pushing at its epitome. Never has counting simple 1, 2, 3, 4, 5, 7 .sounded so alluring and my audience just loved it.
Watch Al and George Breeze together.
http://www.youtube.com/watch?v =J7yGroq25sQ
2. STREET LIFE
Next I decided to simmer things down a little with Randy Crawford’s own collaboration with the “Crusaders”. While it is not my favorite song by her, “Street Life” is arguably one of (if not the best) commercially successful crossover ballads in Modern Jazz - ever. From the moment we hear her haunting whisper of a voice being complimented underneath by Joe Samples exquisite keyboards we are transported to a setting with dim lights, incense, chilled wine and more than likely a fair member of the opposite sex. Many eyes were now closed and more than one face was wearing either a mischievous or considering the venue, a regretful smile. Music now was being used as a vehicle to escape Point A and visit Point B.
Watch Randy and Joe Sample here
http://www.youtube.com/watch?v =YBB1UQMT4hU
3. WATER NO GET ENEMY
Then I went “native” on them living up to my initial promise that all forms of Jazz would be served here today by reaching into my “Afro Jazz” folder. However before I allowed Fela’s moog synthesizer to announce the start of “Water No Get Enemy” I decided to tell them a little about the man and the myth that was, and is Fela Anikulakpo Kuti. I told them how his family once could easily have been compared to the Rockefellers here in the US in terms of wealth and how he completed the triad of 3 famous brothers. I told them about “The Kalakuta Republic” and “The Shrine”, and about his social awareness and refusal to be muzzled. I told them about his 27 wives and how the Nigerian Army moved him to the coldest prison in Nigeria despite the fact that he was HIV + when they could not kill him outright. And then I told them about the song itself and how it was simply put an “ode” to water. I translated the pain of Mother being forced to wash her child’s body with water even thought it had just drowned in the very same element. That captivated them just as much as the controlled blare of what I think is Fela’s best sax solo ever. When I heard mutterings along the lines of “true that” and “that’s deep” I knew I had hot true and hard.
Watch Fela live here h
ttp://www.youtube.com/watch?v =W5RY36xiqdI
4. TRATAME COMO SOY
Seizing the opportunity that the introduction of such a new flavor had gone over so well, I locked eyes with one of the Latino gentlemen and reached into my next folder namely the “Latin Jazz” one which is the general term given to music that combines rhythms from African and Latin American countries with jazz and classical harmonies from Latin America, the Caribbean, Europe and United States. As I looked at him I explained to the class that long before Cuba’s Buena Vista Club hit it big commercially by exposing “the West” to the influences of Yoruba drums and African horn riffs, The Fania All Star Band had already been doing just that. They looked perplexed. but I pressed on.
I pointed out that since all the members of the band collaborated on each others albums regardless of genre, they took this new art form over into their own areas of specialization such as say “Salsa” or “Merenge”. The ultimate crossover had just occurred and in some cases unintentionally so. An illustrious and widely distinguished musical ensemble established in 1968 by composer Johnny Pacheco as a showcase for the leading musicians and singers of the record label Fania records this band was way ahead of its time and was already doing then what Africa’s own Babatunde Olatunji would later win a Grammy for on Planet Drum.You known serving up basic traditional rhythms -just in their case- with a jalapeño, and a twist of lime. To prove my point I chose “Tratame Como Soy” which literally translates into “Take Me As I Am”. While technically speaking it certainly could be defined as being “Salsa” in present tense, even a tone deaf person can tell that it has as much jazz in it as a stiff drink has alcohol. At circa 1.25 into the song close your eyes and tell me you do not hear it. Tell me you don’t hear the same riffs and rhythms produced till today by the various Football fans clubs like “the Aladura Trumpets” or Up Supa” at the main bowl in Lagos or Abuja? Tell me you don’t hear both the borrowed and transplanted essence of Jazz? Unfortunately if you can’t I certainly can and so did the guys in front of me. The Latino gentleman had completely stopped chewing and was now dancing with his shadow. The smile that graced his face could have broken through any rain cloud anywhere in the world. He had probably recognized the tell tale clash of brass and bronze precussions announcing that Tito Puente was somewhere in the vicinity. Or maybe it could have been the scorching bellow of Celia Cruz? Or was it her sultry adlibbing at around 5.28 of the piece? I don’t know. What I do know is that the place was rocking and that music had again reaffirmed the existence of a global village on Planet Earth.
Watch Fania Live in Africa
http://www.youtube.com/watch?v =BSDVExnZP2U
5. MID NIGHT IN SAN JUAN
Despite the fact that I had seen some of guards tap their feet to the various beats I have also seen enough episodes of “Prison Break” to realize that the class was getting too rowdy and needed to be reeled back in. I therefore chose “Midnight in San Juan” which is as s cool as the other side of the pillow from another guitarist extraordinaire - the fusionist Mr. Earl Klugh. This song always reminds me of trips to the beach, icy lemonade or Tree Top squash, laughter and the sun. But I didn’t tell them that. Rather I narrated how Earl at the age of 13, was so captivated by the guitar playing of Chet Atkins that he had picked up one himself only to become an instructor a mere 2 years later and how he has never looked back since then.
Like several other Detroit-bred entertainers, Klugh attended that famous Mumford High School. Having received at least 14 Grammy nominations I pointed out how they could identify his classic style and differentiate it from other great players like say Benson or Butler. Again the change in pace and delivery was deeply appreciated as the class relaxed and listened to precise string play.
Watch Earl Live
http://www.youtube.com/watch?v =-BBS0wGKbb0
6. MERCY MERCY MERCY
My next song came from the past tense and this time I left San Juan and returned to New York and “The Cannonball Adderley Quintet” featuring the Heavy D of saxophonists, Cannonball Adder himself. I educated them on how much of an articulate speaker he was and despite his gargantuan size how he was known for his easy manner. A music teacher before he started playing seriously he educated, amused, and informed his audiences in clubs and on television about the art and moods of jazz – just as I was trying to do. They loved it, especially the live interaction from the floor that gave the sound a true authentic gritty feeling. You know just like barbecue sauce on a rib.
Watch Cannon Ball Live
http://www.youtube.com/watch?v =pRrFWp4DUho
7. MAPUTO
My next song was again collaboration. This time it was between Bob James and David Sanborn meaning that we were in for a double treat of both excellent keyboards and sound sax play. Now while I will be the first to say that I am not a big fan of the syrupy sweet elevator type of Jazz that some call “smooth” and that Sanborn is known for - I didn’t share this with them. Nor was there a need for me to - because with Bob James in the wings providing solid backup on the key board, Sanborn’s sax virtually soars like a bird whose cage has been opened. In addition to this I made them aware of one of the sexier bass riffs out there. This piqued the interest of 2 bass players in the group who played air guitar along to the song nodding in agreement. I promised to send them the same clip below of a fan reproducing it to the tee. We also made a pact. I come back around Christmas and they would replicate it for me.
Check out the Maputo Base Line
http://www.youtube.com/watch?v =rrbFuUFSxiE
8. FELA
Africa was again calling and this time I realized it would be simply felonious if I again skipped by arguably the greatest “Trumpeteer” to come from the continent especially since I know him personally. Plain and simple and as I told them, while America may have had Miles - we have Hugh Masakela. I tried to do him justice by explaining what all he had done for African music and politics starting from his time in Ghana living in exile because of Apartheid in his native South Africa. I explained that it was here his work long before “The Boys Doing It” started to serve notice that bigger things were on the horizon.. While I could have picked a score or more tunes to play, I chose his own favorite which is dedicated to his idol and appropriately and self entitled “Fela”. They particularity fell in love with the lackadaisical pace of the song as well as the pidgin translation of the chorus which warns - “that from Kalakuta to Ikeja nobody will sleep tonight”. Anyway the ending consensus was that Africans sure know how to party.
Masakela in action
http://www.youtube.com/watch?v =_94A9oCCNUU
9. CHAMELEON
Herbie Hancock has always been an enigma in Jazz. Reinventing himself over and over just like Miles and Quincy Jones did, he has been handed over and over by generation after generation as arguably one of the finest composers and percussionists of our time. With either his band The Headhunters, or as a solo Artist he has pushed Jazz into new realms over and over. To be quite honest as part of Miles Davis “second great quintet", Hancock helped redefine the role of a jazz rhythm section and was one of the primary architects of the " post-bop” sound – and this is exactly what I told them.
I also reminded them that through his teens, Hancock never had a jazz teacher, but he never let that limit him and that they should take a page from his book in whatever they do in life. Rather after hearing some Oscar Peterson recordings, he transcribed them on his own time, and thus developed his uncanny ear and sense of harmony. Just like the name of the song I chose he is a true Chameleon and can shape shift with almost little or no restriction. Though I like the 1975 live version better (which you can watch below) I played them the original from 1974 and they gobbled up the magic his various synthesizers, organs and traditional instruments such as the calabash and “ogene” made - the way one uses bread to mop up good gravy.
Watch the Headhunters play live here
http://www.youtube.com/watch?v =JcjkA5ZAWQo
10. Moi Moi Jazz Mix
The annoying beep from my Cartier interrupted the fiesta like a fog horn cuts through murky English weather, reminding both teacher and student that our hour was about up. But just like I had done the last time I would cheat a little and leave them with one of my favorite mixes that would stretch the class way past an hour. This one I affectionately dubbed “The Moi Moi Mix” and it featured everybody from James Brown’s initial group “The Jay Bees” at the start, to The Africa 70 at the end. In between the aforementioned bookends I also sample a potpourri of past and present staples like The Fatback Band, Roy Ayers, The Headhunter’s again and Level 42. I threw them all into the blender and pressed the mix button. Circa 70 mins later the end result I am repeatedly told, is one of the better soundtracks to be played during a long trip - be it by air, land or sea. They were still jamming when I picked up my stuff and left, but not before they stood en mass and shouted “ we love jazz” and to me that was the sweetest “Thank You” I could have ever envisioned. My Mission had been accomplished.
Watch Roy Ayers Live
http://www.youtube.com/watch?v =4n78JvWCwBw
Coming Soon : Music Remains the Weapon ( Songs That Shaped Africa )
Suya,You've managed to surpass the excellent standards you set in part one of this series. I'm particularly glad you've included some of the artists I liked (as mentioned in part 1).
Each artiste in your part 2 deserve a series of their own, but what particularly moved me in this part 2 is the inclusion of Afrocuban music. One thing that's saddening is that many Nigerians/Africans (most probably due to language barrier) are not tuned in enough to see/hear how much influence we have on Latino music- particularly those from Cuba. A couple of years back, I started threads on Ibrahim Ferrer, Cesaria Evora (You've got to take Cesaria along for part 3 abeg) among others, etc but response was tepid .
Each time I hear sounds like La Paloma, Guajira Guantanamera, I get some chills.... You may want to check out the covers done by Billy Vaughn & His Orchestra. Is it not interesting that Guantanamo- the setting for that beautiful song is now known better as a place for human rights abuse..Anyway, check out these versions of PalomaJULIO IGLESIAS: La PalomaCelia Cruz- Guantanamerra
Posted by Robot| 16.02.2008 23:34