I came across some new music over the weekend from a band called, Soulfège (’sOl-fezh) which goes under the name “Afropolitan Fusion” which I assume explains the mix of high energy AfroJazz, Hip-Hop and Reggae along with the conscious lyrics. They have recently released their second album “TakeBack TheMic” which was recorded in Accra, Boston, NY, LA & Kingston and can therefore be safely described as “global” as the music physically takes in all these locations.. The band is led by Ghanaian Ashong (see YouTube clip below) who also writes a blog at DNA - it’s a blog baby.

Links: Vanity Fair review

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Soulfège
AfroPolitan

“Du 4 au 8 juin 2008 pour une série limitée de représentations, nous vous présentons ce spectacle événement !

Fabuleux, éclatant, irrésistible, ce spectacle musical sud-africain venu tout droit de Johannesburg est un pur bonheur.

UMOJA, en zoulou, signifie « ensemble ». Ensemble, chaque soir, sur les scènes du monde entier, 35 artistes retracent l’histoire artistique, fascinante et passionnée, des territoires sud-africains. Un voyage musical vibrant d’émotions, aux couleurs et aux rythmes africains qui vous aspire dans un tourbillon d’énergie créative !
[more…]”

The South African Hit Musical is in Paris. It’ll be at the Folies Bergere (32, rue Richer, 75009 Paris) from 4 to 8 June, 2008. The entrance fee is from 35€ to 45€. The show’s website has additional information.

Umojatheshow.com says, and I quote, “24 countries have already embraced UMOJA, as they showcase traditional love songs, lullabies and other musical expressions of rural life. The audience has also cried along in the city streets, listening to music reflecting the pain of the migrant labourers and their families.

The tale dances through shebeens and the cultural melting-pot of Sophiatown. The heart is saddened by cold stories of forced removals yet the feet continue to stomp along with the explosions of gumboot dancing. There are also the reminiscent sounds of the vibrant jazz that forced its way free from the constraints of the times.

The audiences will relate to names such as Miriam Makeba (Mama Africa) and the late Dolly Radebe, while a thread of gospel music running through the tale recalls the huge helpings of faith and courage. This saw black South Africans through some of the country’s stormiest historical passages,” unquote. [more…]

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Marvin Gaye was born on 2 April 1939. Happy Birthday to him.
© and photo credit: http://photo.sing365.com

Stephen calls him a silky soul singer, which I think is a darn good description. He was born Marvin Pentz Gay, but stuck an “E” to his surname to avoid misunderstandings. Remember I heard it through the grapevine? He followed that up with a string of successes like You’re all I need to get by in 1968 with Tammy Terrell, What’s going on? in 1971, Let’s get it on in 1973:

“Let’s Get It On” is a 1973 number-one single recorded by American soul singer Marvin Gaye for the Tamla (Motown) label. The title song of the album release of the same title, “Let’s Get It On” held the number-one position on the Billboard Pop Singles chart for two non-consecutive weeks in September 1973. In its first time at number one, it replaced “Brother Louie” by Stories, and was replaced by “Delta Dawn” by Helen Reddy; it then replaced “Delta Dawn” and was finally replaced by “We’re an American Band” by Grand Funk Railroad. Written by Marvin Gaye and Ed Townsend, and produced by Gaye, it was the most successful single ever released on a Motown label.
[source…]

After several other hits like Got to give it up, a funky dance groove, and Sexual healing, perhaps his most famous hit (partly for being the most recent in memory), Marvin descended into drugs and booze, and fears that someone was out to kill him. In 1983 he did a version of the Star-spangled banner, the American national anthem. He finally moved in with his parents and was shot dead by his preacher father on 1 April 1984, a day before his 45th birthday. He is sorely missed. Most of this information and more can be found on Wikipedia.

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thanks ababa,

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Nina Simone

An older Nina, the voice deeper, hoarser - the words slightly different the body language heavier but the beauty remains

Miriam Zenzi Makeba was born in Johannesburg in 1932. Her mother was a Swazi sangoma and her father, who died when she was six, was a Xhosa. Her professional career began in the 1950s with the Manhattan Brothers, before she formed her own group, The Skylarks, singing a blend of jazz and traditional melodies of South Africa.

In 1959, she performed in the musical King Kong alongside Hugh Masekela, her future husband. Though she was a successful recording artist, she was only receiving a few dollars for each recording session and no provisional royalties, and was keen to go to the US. Her break came when she starred in the anti-Apartheid documentary Come Back, Africa in 1959. When the Italian government invited her to the premier of the film at the Venice Film Festival, she decided not to return home. Her South African passport was revoked shortly afterwards.

Makeba then travelled to London where she met Harry Belafonte, who assisted her in gaining entry to and fame in the United States. She released many of her most famous hits there including Pata Pata, The Click Song (Qongqothwane in Xhosa), and Malaika. In 1966, Makeba received the Grammy Award for Best Folk Recording together with Harry Belafonte for An Evening With Belafonte/Makeba. The album dealt with the political plight of black South Africans under Apartheid
[more…].

What I personally remember of Miriam is the voice, and the way she was beloved. My folks listened to her at the same time as they listened to Jim Reeves (go figure), and the two form the basis of my pre-teen musical heritage, together with my mother singing around her chores, around her cooking, singing Sesotho traditional songs or Miriam’s Xhosa songs: The Click Song, or Khawuleza. Beautiful woman. Happy birthday to her.

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