#south africa spiritual jazz

[burlveneer-music]

Thandi Ntuli with Carlos Niño - Rainbow Revisited

Liner Notes by Thandi Ntuli: I travelled to Los Angeles and the USA for the first time in 2019. Although I had not met Carlos in person, we connected via Instagram where he saw a video of me playing a piano motif (titled ‘The One’ in this sequence) that he really liked and expressed a wish to record. This was around 2017. We tried a few times to get me over to Los Angeles, but the timing was always off. Through a performance organised by a creative collective called The Nonsemble at The Ford Theatre we finally got the opportunity to meet, play together and subsequently go into studio to record some improvisations as he guided the recording process. Having been aware of some of his work – in particular his collaborative projects as Carlos Niño & Friends, as well as with his friend and long-time collaborator, Miguel Atwood-Ferguson – I knew that, with Carlos as producer, the artistic direction of the album would likely take me to a place I’d never considered going. A fact that had me both curious and terrified (as one tends to be when stepping into the unknown) Lol! Initially keen to record the song that he had seen/heard me play on Instagram, our performance a few days before the session drew him to the song Rainbow off my sophomore album, Exiled (2018). On that zen-like California afternoon in Andy Kravitz’s cozy studio in Venice Beach, he encouraged me to play around with various iterations of Rainbow. “Try it this way”, “How about adding that?”, “Can you breathe into the mic?”, “What if you focus on the last section?”, and many other explorations that eventually went through a few cuts, edits, yays and nays to become this body of work. Rainbow Revisited was birthed through that session, another session a couple of days later, and a series of many small synchronicities that led up to that moment. A particularly special moment for me was when he invited me to play something from home, which lent itself to me recording a song originally written by my grandfather that we often sing when at family gatherings. The song is called Nomayoyo. So much has happened since that session in late 2019. Many changes in our personal and collective universes. Losses and gains, births and transitions into the next life, Mother Nature’s ever-constant cycles reminding me that through all the chaos there remains, just beneath, this perfect order in Her ebb and flow. And most importantly, reminding me to feel for Her and to listen. She speaks! If Rainbow in my initial birthing of it, expressed a discontent with what we have accepted as freedom in South Africa and, possibly, around the world, I’d like to think that Rainbow Revisited is some kind of a response. Where the idea of ‘the rainbow nation’, with all the baggage it carried, had hijacked the innocence and mystical nature of a rainbow, I now reclaim its meaning through going back, going inward, healing, and rebuilding with the hope of a less heart-breaking and more fulfilling tomorrow. Lihlanzekile!  Thandi Ntuli: Piano, Synthesizer, Tongo, Voice Carlos Niño: Cymbals, Percussion, Plants Recorded by Andy Kravitz at Studio 4 West, Venice Beach, California, August 2019. Cover Art by Shabaka Hutchings. Graphic Design and Layout by Craig Hansen.

[heritage-harmony-records]

SIGNING ALERT!!!

I am extremely pleased to announce that Heritage Harmony Records is working with Durban, South Africa based experimental world / folk / jazz / soul / ambient / spiritual / hip hop duo NoMyayii (made up of BaKaNtu-NyRa Li and Kaptain MHZ) to release their latest EP uNyawo.

This one is particularly special to me, as Durban is my birth city, so getting to share the unique music of this place with the world is truly special.

Remember to always support independent, underground and emerging artists!

Listen to and purchase the album for just $3.50 at the link below. All sale proceeds go directly to the artist as always with HHR.

[zhanteimi]

Shabaka and the Ancestors – We Are Sent Here by History

Shabaka and the Ancestors – We Are Sent Here by History

South Africa / UK, 2020, afro-jazz / spiritual jazz Shabaka Hutchings’ style of jazz is conscious, almost crusading, coming with a message, an exhortation to change. In this case, to alter humanity’s course as we careen toward world destruction.

[moneeb0930]

THE GULLAH GEECHEE PEOPLE

The Gullah Geechee people are descendants of Africans who were enslaved on the rice, indigo and Sea Island cotton plantations of the lower Atlantic coast. Many came from the rice-growing region of West Africa. The nature of their enslavement on isolated island and coastal plantations created a unique culture with deep African retentions that are clearly visible in the Gullah Geechee people’s distinctive arts, crafts, foodways, music, and language.

Gullah Geechee is a unique, creole language spoken in the coastal areas of North Carolina, South Carolina, Georgia and Florida. The Gullah Geechee language began as a simplified form of communication among people who spoke many different languages including European slave traders, slave owners and diverse, African ethnic groups. The vocabulary and grammatical roots come from African and European languages. It is the only distinctly, African creole language in the United States and it has influenced traditional Southern vocabulary and speech patterns.

The ancestors of the Gullah Geechee people brought to this country a rich heritage of African cultural traditions in art, foodways and music. ​ Today’s Gullah Geechee arts and crafts are the result of products designed by their ancestors out of necessity for daily living such as making cast nets for fishing, basket weaving for agriculture and textile arts for clothing and warmth.

Deeply rooted in music traditions brought to the Americas by enslaved Africans, their music evolved out of the conditions of slavery that characterized their lives. The influence and evolution of musical forms that arose out of Gullah music can be heard in many musical genres such as spirituals and gospel music, ragtime, rhythm and blues, soul, hip hop and jazz.

Religion and spirituality have a sustaining role in Gullah family and community life. Enslaved Africans were exposed to Christian religious practices in a number of ways and incorporated elements that were

[aquariumdrunkard]

Ndikho Xaba And the Natives

Reissued last year via Mississippi Records, slip into this long out-of-print South African spiritual jazz LP from 1971. A songwriter, bandleader and pianist, Ndikho Xaba relocated from South Africa for San Francisco in 1964, falling in with the likes of Alice Coltrane, Pharoah Sanders and Sun Ra.

[dustedmagazine]

Moor Mother — The Great Bailout (ANTI-)

Photo by Ebru Yildiz

Camae Ayewa, aka Moor Mother, has a genuine claim towards being one of the busiest artists working today. Over the past five years she has taken part in more than ten albums, with sounds spanning unpredictable hip-hop experimentation to free jazz odyssies. The Great Bailout represents yet another left turn, taking sonic inspiration from glitch and concrete poetry and working with noise veterans such as C. Spencer Yeh and Aaron Dilloway to put together something truly haunting. On this record, Moor Mother bears witness to centuries of violence, death and horror at the hands of European colonialism and white supremacy. She spits its debris back at the listener and forcing us to contend with our ability to remain nonchalant in its seemingly never-ending cycle.

The first thing heard on this record is not Ayewa, but rather the intonations of Raia Was and Lonnie Holley over the twinkling harp of Mary Lattimore. Was’ fluttering vocals could not contrast more with Holley’s powerful warble, but both convey the dread and weariness that come with continuing to survive in a society that offers nothing but death in return. Three minutes into the track, Ayewa sets the scene for the rest of the record: “Taxpayers of erasure, of relapse, of amnesia, paying the crimes off.” This is perhaps the condition of being an everyday citizen, living in a state that never shook off the ghosts of colonialism, if it ever even tried in the first place. On “ALL THE MONEY,” over an ominous dub-inflected beat, Ayewa lists off British national landmarks and the years they were established, building up to the British Museum, one of the world’s largest resources of stolen cultural landmarks. “They heard about the kingdoms of gold,” Ayewa states. “They heard about the books of mathematics, philosophy and rituals.” The title of the album could be interpreted a number of different ways, but in this context it is clear that Europe stole so much from Africa to bail out its own moral and spiritual failures.

One of the highlights of the album is “LIVERPOOL WINS,” which features Aaron Dilloway contributing a typically clattering, ugly backing track. “Payouts, bailouts, just enough to build the city, a country, an infrastructure, a financial revolution, a stronger christianity, a whiter God, a period of enlightenment,” lists Ayewa. “Who builds death like this?” This question resonates through the entire record. Towards the end of the record “SOUTH SEA,” featuring the contributions of Chicago jazz mainstay Angel Bat Dawid and her vocal group Sistazz of the Nitty Gritty, feels like a requiem for what’s been lost, both material and immaterial, in the fray of colonialism. “How many have to be slaughtered in front of you before you choke on your own tears?” Ayewa asks. “Before your brain convinces you that you are already dead and if you are still breathing, you shouldn’t be?” It’s difficult to listen to these questions without thinking of horrific images from Gaza, Sudan and the Congo, all of which are stark reminders that the same forces that bailed out Europe are continuing to fuck up the world to this day. There isn’t a singular, clear message of hope on The Great Bailout, but in documenting the rage and despair built into life under such a ugly and evil system, Moor Mother has provided something just as valuable — if not more so— in understanding the struggles of the present day.

Levi Dayan

[hardynwa]

Spotify list top exported Amapiano tracks

Spotify, an online streaming platform, has revealed top 10 exported Amapiano tracks on its streaming line. Jocelyne Muhutu-Remy, Managing Director for Spotify in Sub-Saharan Africa, said this in a statement on Monday in Lagos. The News Agency of Nigeria reports that Amapiano is a sub-genre of house music that emerged in South Africa in the mid-2010s with a hybrid of deep house, jazz and lounge music characterised by synths and wide percussive bass lines. Muhutu-Remy said that the top exported Amapiano tracks include Abo Mvelo (feat. Mellow & Sleazy & M.J); Love & Loyalty (Believe); Ameno Amapiano Remix (You Wanna Bamba); Big Flexa; Hamba Wena; WATAWI (feat. Davido, Focalistic & Abidoza); Abalele; Mina Nawe; Champion Sound and Tanzania. She also listed the top exported Amapiano artistes on Spotify as: DJ Maphorisa; Kabza De Small; Focalistic; Young Stunna; Mellow & Sleazy; DBN Gogo; Costa Titch; Major League Djz; Kamo Mphela and Daliwonga. “Amapiano’s unique sound and infectious beats have captivated audiences around the world, and are sure to keep fans dancing for years to come. “As more artistes emerge and push the boundaries of the genre, there is no doubt that Amapiano is set to become a mainstay in the global music scene. ” Listeners on Spotify love tuning into the genre on weekday afternoons, with Friday evening peaks. “Amapiano grooves, Spotify’s biggest Amapiano playlist is most popular among 18 to 24-year-olds, with listeners hailing from South Africa, United Kingdom, United States of America, Mozambique, Botswana, and Zimbabwe. “Spotify’s platform has helped Amapiano expand its reach, connecting the genre to a diverse global audience. With its steady growth and dedicated fanbase, Amapiano is poised to continue its success on Spotify and beyond,” she said. Muhutu-Remy added that Amapiano was arguably South Africa’s hottest cultural export right now and to showcase the genre, Spotify was hosting media and influencers from across the continent on an Amapiano tourism experience. She said this allows the artistes and influencers share the roots of the genre, the power of collaborations and how streaming was helping to export local music to the world. She noted that the experience was designed around some of Spotify’s most popular Amapiano playlists. According to her, the tour highlights South African and Amapiano culture for guests from Nigeria, Kenya, Ghana and South Africa. “In partnership with South African Tourism, it starts off with Amapiano 101- detailing the background of the genre, and giving guests a tour of its origins in townships like Mamelodi but also exploring other popular Amapiano spots in Soweto. “The Amapiano Grooves segment of the tour showcases the impact of clubs on the music. “The tour also tells a cultural story, like Mogodu Monday- the tradition of celebrating the least popular day of the week with Mogodu or tripe, and music. “It also gives participants the opportunity to meet with local artistes in the studio and see where the music happens,” she said. Muhutu-Remy noted that one of the top five exported Amapiano artistes in South Africa, Focalistic, dropped by for the first leg of the tour at one of the birthplaces of Amapiano, Jack Budha in Mamelodi, to share the genre’s origin story. “Spotify data tells the story of just how popular Amapiano is right now, both at home and all around the world- with close to 2 billion streams in year 2022, representing a 143 per cent increase year on year. “The genre has garnered a huge following, with more than 240, 000 playlists featuring Amapiano in the title and over 10 million playlists featuring at least one Amapiano track. “Over 40 per cent of Amapiano streams come from listeners outside South Africa,” she said. Nigerian artiste, WurlD, who also attended the first day of the tour explained why Amapiano is so popular around the world. ”Music is spiritual, Amapiano is spiritual. “I was a fan, watching from a distance. Music is energy, what people are experiencing with Amapiano is the heart and soul of the people of South Africa.” WurID said. Read the full article

[fashionlordchic]

Apartheid South Africa's first mixed theatrical play - 22 Feb 1961

The first theatrical play featuring a mixed cast during Apartheid South Africa took place on this day in 1961.

The play in question was put together by Cecil Williams’ Phoenix Productions and reprised the classic ‘The Respectable Prostitute’ by Jean Paul Sartre. The play is classic example of the tragedy of racial hatred. Two black men help a white woman from being harassed by four white males, and in the ensuing confrontation, one black man is shot dead. To make the crime a lot more believable, the white men began spreading rumours that the deceased was about to rape the woman, which justified his killing. The surviving black man begs the woman to fight for his freedom while a lynch-crazy mob bays for his blood.

The role of the prostitute, Lizzie was played by Valerie Philip, and the black man was played Ndikho Xaba. You can read a review of the play in this article from The New Age. The play took place at the University Hall in Pietermaritzburg, South Africa. In the aftermath of this play, Philip quit theatre in 1962, and immersed herself in commercial radio, acting and scriptwriting. Things were a lot different for Xaba. This play put him on the radar of the feared and notorious Special Branch. His involvement with African National Congress Youth League (ANCYL) meetings and events with the Tympany Slickers kept the Special Branch on his trail. He joined Alan Paton’s ‘Sponono’ in 1962. With the success of the play during its South African run, the play made its way to the United States. Xaba chose to stay in the States beginning his life in exile.

He went on to be a celebrated musician. He formed Ndikho Xaba & The Natives while based in San Francisco, California. His band was lauded for its spiritual, eclectic and ground-breaking sound. One of their most celebrated works is an album titled ‘Shwabada’ has been cherished for its exceptional musicianship, seeped in the African and spiritual traditions of the jazz avant-garde. This particular album is considered the holy grail amongst jazz music collectors.

Xaba spent 34 years in exile and returned to South Africa in 1994. By then, the country was under democratic rule. He continued teaching music and instrument-making classes at his Soweto home, before moving back to Durban. He rarely performed in the country of his birth from then on.

Xaba passed on 11 June 2019, aged 85. He had been diagnosed with Parkinson’s Disease in 2008. He is survived by his wife, Nomusa Xaba, a notable artist in her own right. (I could not find out if the couple had any children).

[sonmelier]

65. Nduduzo Makhathini | In the Spirit of Ntu

🇿🇦 Afrique du Sud | Universal Music South Africa | 68 minutes | 10 morceaux 

Le pianiste sud-africain Nduduzo Makhathini, que l’on avait déjà rencontré aux côtés de Shabaka Hutchings et de ses Ancestors, livre un très bel album de spiritual jazz mâtiné de percussions africaines. 

[mccleanphotography]

For black history month I want to start off honoring the Gullah Geechee and some of my cultural roots. Proudly Gullah/Geechee! The Gullah/Geechee people of today are descendants of enslaved Africans from several tribal groups of west and central Africa forced to work on the plantations of coastal North Carolina, South Carolina, Georgia, and Florida. Many waterways parting the land made travel to the mainland difficult and rare. This separation forced people to blend tribal languages with English and maintain arts, crafts, religious beliefs, folklore, rituals, and food preferences connected to their African roots. The Library of Congress is home to a variety of resources related to the history, culture, and language of this unique group of African-Americans. This guide provides links to materials for researching the Gullah/Geechee history and culture. Users will find items such as newspaper articles, interviews, photographs, maps, and sound recordings that are available at the Library of Congress. Deeply rooted in music traditions brought to the Americas by enslaved Africans, their music evolved out of the conditions of slavery that characterized their lives. The influence and evolution of musical forms that arose out of Gullah music can be heard in many musical genres such as spirituals and gospel music, ragtime, rhythm and blues, soul, hip hop and jazz. Photo: @gullahgeecheenha @gullahgeechee @blackhistory @aampmuseum @blackhistoryuntold @blackhistoryunlocked https://www.instagram.com/p/CoPsnEcrSOo/?igshid=NGJjMDIxMWI=

[burlveneer-music]

Tumi Mogorosi - Group Theory: Black Music

Group Theory: Black Music is a stunning new statement from South African drummer and composer Tumi Mogorosi. Standing in the lineage of South African greats such as Louis Moholo-Moholo, Makaya Ntshoko and Ayanda Sikade, Mogorosi is one of the foremost drummers working anywhere in the world, with a flexible, powerful style that brings a distinctive South African inflection to the polyrhythmic tradition of Elvin Jones, Max Roach and Art Blakey. Since his international debut on Jazzman Records in 2014 with Project ELO, Mogorosi has been in the vanguard of the South African creative music scene’s burgeoning outernational dimension, taking the drummer’s chair in both Shabaka Hutchings’ Shabaka and The Ancestors formation and with avant-garde noiseniks The Wretched. As Mogorosi’s first project as leader since 2014, Group Theory: Black Music marks a return to the drummer’s musical roots. The sound is anchored in the transnational tradition of Great Black Music, with the core of the group comprising a quintet of newcomers Tumi Pheko (trumpet) and Dalisu Ndlazi (bass) alongside the experienced guitarist Reza Khota, with Mogorosi himself and altoist Mthunzi Mvubu, another Ancestors member, representing the current generation of South Africa’s creative music torchbearers. Motivated by Mogorosi’s driving dynamism, the group create deep-hued modal grooves that burn with a contemporary urgency, while established pianist Andile Yenana brings an elder voice to three of the tracks. Featured vocalists Gabi Motuba (Project ELO, The Wretched) and Siyabonga Mthembu (The Brother Moves On) take differing approaches to the spiritual standard ‘Sometimes I Feel Like a Motherless Child’, while poet Lesego Rampolokeng pours out lyrical fire on ‘Where Are The Keys?’, creating a bridge back to the Black Consciousness movement and figures such as Lefifi Tladi and Wally Mongane Serote. But where Group Theory: Black Music moves an established format dramatically forward is in the addition of a ten-person choir. Conducted by Themba Maseko, their massed voices soar powerfully above every track as a collective instrument of human breath and body, and enter the album into the small but significant number of radical recordings to have used the voice in this way, such as Max Roach’s "It’s Time", Andrew Hill’s "Lift Every Voice", Billy Harper’s "Capra Black", and Donald Byrd’s "I’m Trying To Get Home". At the same time, the presence of this wall of voices brings an inextricable connection to the venerable tradition of South African choral music, and to the importance that the Black choir has had for South Africa’s religious, political and social cultures, including the culture of South African creative music itself. From the Manhattan Brothers and the choral compositions of Todd Matshikiza to figures such as Johnny Dyani and Victor Ndlazilwane, the collective power of voice has been one of the cornerstones of improvised creative music in the country. Andile Yenana – piano [tracks 4,5,9 & 11] Dalisu Ndlazi – upright bass Gabi Motuba - vocals [track 10] Lesego Rampolokeng – vocals [track 11] Mthunzi Mvubu – alto saxophone Reza Khota – electric guitar Siya Mthembu - vocals [track 5] Tumi Mogorosi - drums Tumi Pheko – trumpet Voices Brenda Thulo Cecilia Phetoe Charles Shikwambana Fortunate Jwara Noluthando Biyana Sibongile Mollo Steve Mthombeni Tebogo Magwe Themba Maseko - conductor Thulisile Ntetha

[ear-worthy]

Groove On These Sonos Radio Music Podcasts

When listeners think of the most prominent podcast networks, Sonos Radio doesn’t immediately come to mind. First, because Sonos is known for its wireless speakers. Second, because it’s a bigger player in internet, curated radio.

Since Sonos is so focused on music, its podcasts mirror that same degree of emphasis. It’s stable of music podcasts is impressive. More important, if you’re a music fan, they are great fun and a sonic pleasure. I think what separates Sonos’s music podcasts from other music podcasts is the innate sense of excavating the creative forces behind making music.

Between the launch of brand-new series like Margo Price’s Runaway Horses or Emmett Malloy’s America’s Dead �� diving deep into the Grateful Dead’s enduring impact with Vampire Weekend’s Ezra Koenig, Mac DeMarco, Animal Collective, mycologist Paul Stamets and so many others — plus the return of Hanif Abdurraqib’s Object of Sound, DJ Lindsey’s Black is Black and more detailed below, the platform has united a boundless community of musicians and collaborators through the power of personal, audio storytelling.

For music fans, these podcasts are a delight. Check these out:

America’s Dead

With GRAMMY-winning filmmaker, producer and Deadhead Emmett Malloy as its spiritual guide, this limited-run, ten-episode series is a journey to understand how the Grateful Dead forever changed music, culture and consciousness. As Variety says, “America’s Dead asks listeners the question: What can the Dead tell us about us? The podcast reveals the answer through a compelling audio story that identifies the power of the Dead in constructing identity and community.” Fascinating conversations are shared with multiple generations and genres of musicians, a religious scholar, mushroom scientist, streetwear designers, original band and business members, the founder of a sobriety group and more. Start with “Paul Stamets Says Eat Your Mushrooms,” “Finding Sobriety Through the Dead with Grateful Don,” “The Dead are Channeling God with Dr. Varun Soni and Sage,” or “Ezra Koenig, in Defense of the Dead.”

Object of Sound

Hosted by poet, essayist and critic Hanif Abdurraqib, the latest installment of the acclaimed podcast has further brought listeners in tune with the music shaping culture. Blending the eclectic curation of freeform radio with textural storytelling and artist interviews, each episode guides you to a new way of listening. Recent highlights include Björk, Mavis Staples, a mini-series on The Wonders of Songwriting featuring Carly Rae Jepsen, Nick Hakim and Ravyn Lenae, a tribute to Frightened Rabbit’s Scott Hutchison, Eddie Fowles & Imani Dixon on Detroit Techno, NY Times critic Wesley Morris on favorite Black movie soundtracks, and Yaeji, which Vulture named one of the Best Interviews of 2022 So Far.

Runaway Horses

GRAMMY-nominated singer, songwriter, published author and generational talent Margo Price hosts inspiring conversations with artists who aren’t afraid to break the mold and follow their own path. All six episodes in this first season are about the search for freedom through music and the shared human experience, featuring heroes and contemporaries like Emmylou Harris, Amythyst Kiah, Swamp Dogg, Bob Weir, Bettye LaVette and Lucius.

Black is Black

A monthly show exploring the significant and continuing legacy of the Black Diaspora, hosted by visionary creative and nightlife contributor DJ Lindsey. Highlights include “The Roots of Jungle / Drum & Bass with DJ Krust & DJ Flight,” “Where’d The Saxophone Go?” on the most recent disappearance of the instrument from pop music, and “Amapiano,” a sound created in South Africa and spawned from house music, kwaito, bubblegum, bacardi, jazz, hip hop, and gqom.

Sheroes Mixtape Memoir

Each womxn’s life has its own soundtrack — songs that become symbolic of important moments and relationships, creative sparks, challenges, and triumphs. This is where you’ll hear womxn who make music share the music that made them. Hosted by radio personality and trusted interviewer Carmel Holt, the bi-weekly show explores the power of song and its lasting impact on womxn’s lives and creativity, bringing a new twist to artist-curated playlists through female and feminist perspectives not yet equally represented in music. Episodes challenge stereotypes, break barriers and build understanding. Start with Tori Amos and Santigold.

Radio Hour

In a weekly show hosted by Elia Einhorn, listeners connect with artists through their musical influences and obsessions, shared through in-depth interviews and DJ sets. The year’s eclectic and visionary array of guests include Arooj Aftab, Baxter Dury, Cate Le Bon, Cecile McLorin Salvant, Charlotte Adigery & Bolis Pupol, Lido Pimienta, Lykke Li, Ravenna and many more.

Imaginary Soundtracks

Every music supervisor has a stash of tracks they’ve earmarked for future use in a project. Sometimes they are well-known songs, but mostly, these are deep-cut, obscure, and beloved. With each episode, host DJ Bunny Ears (aka Eric David Johnson) brings in a fellow music supervisor and together they build an incredible playlist — effectively pretending it’s an imaginary soundtrack made of hidden-gems. Start with Matt FX and Maggie Phillips.

From The Basement

Audio episodes from the relaunch of the critically-acclaimed live music series are available exclusively on Sonos Radio. Produced by Nigel Godrich, sessions include IDLES, Sons of Kemet, Caribou, Warpaint and more.

Music Made Us

The show from Wax Poetics and Sonos Radio takes listeners on an eight-stop journey across the United States, exploring how music’s influence helped shape and build the character of each locale. Highlights include Detroit with Waajeed and Philadelphia with DJ Jazzy Jeff.

Dada Strain Radio

Investigating the crossroads of improvisation, rhythm, and community, the monthly show is hosted by prolific writer and editor Piotr Orlov (NY Times, Pitchfork, NPR), who hones in on the rich intersection of jazz and dance as a blueprint for the development of music, and potential social futures. The first season finale, “Bird Songs for Breezy,” honors the memory of late trumpeter/composer/improviser Jaimie “Breezy” Branch.

[drfrankgunderson]

The African Roots of Reggae Music

What is reggae music's background? Reggae music began in the 1960s in Jamaica. It swiftly rose to prominence in Jamaica. It had become a global style by the 1970s, with fans in Africa and the United Kingdom. According to Dr. Frank Gunderson, this music is considered the voice of the oppressed. But, where did reggae originate? Here are a few facts to consider. Continue reading to learn more about it!

Reggae music became popular in the United Kingdom in the 1970s, thanks to Jamaican immigration. By promoting their image as urban rebels, the Wailers affected music. Marley established himself as the movement's spiritual and political guru on their debut reggae album, Best of the Wailers. He also made the music into a pop-soul melody. Meanwhile, the Abyssinians reimagined the genre with Satta Massa Gana.

Marabi sounds had an influence on Kwela music. The pennywhistle, a cheap instrument widely used by street musicians in shantytowns, was its primary instrument. Marabi sounds impacted a number of renowned Kwela performers. A traditional Zulu song inspired their acappella vocal technique. Lemmy Mabaso is one of these musicians, and he recorded a traditional Zulu melody.

Reggae was originally thought to be a "hippie" music by the British. The songs were frequently political in nature and addressed societal injustice. Western radio stations quickly adopted the tone. It quickly became into a worldwide phenomenon. Reggae music has since become prevalent in many mainstream genres. Other music, however, has had an influence on the genre.

Dr. Frank Gunderson believes that Rastafarian customs were brought to the Caribbean by Jamaican migrants in the 1950s and 1960s. These approaches had an impact on music genres and popular culture. The original song and an instrumental remix were released on both sides of the initial singles. A new type of music called "dub" evolved as recording engineers improved their skill and technology.

Jamaican black communities gave birth to Rastafarianism. Rastafarianism is a spiritual movement that originated in Africa and spread throughout the world. Rastafarianism is founded on ancestral worship. Leonard Howell founded the first prominent Rastafarian community in the 1940s, and by the 1970s, there were many more. Bob Marley's music popularized Rastafarianism over the world. Rastafarianism is popular in the United States, England, Africa, and the Caribbean today.

In addition to Africa, the Caribbean was the birthplace of reggae music. The British Empire was the first to realize the appeal of this form of music in the Caribbean. The music style ultimately became popular around the world, and it was finally incorporated into the international entertainment industry. Ska was the name given to the merging of genres. Fusion of African and Western musical traditions is an unavoidable consequence of globalization and assimilation into the multinational entertainment industry.

A notable South African jazz musician, John Mehegan, coordinated a recording session in 1959 that resulted in the first two African jazz LPs. These sessions shaped Africa's musical history. Sophiatown was demolished in the 1960s and replaced by the white neighborhood of Triomf. The Sharpeville Massacre occurred in the midst of this musical progression, resulting in numerous arrests and the establishment of a State of Emergency.

Yellowman, a toaster and turntablist, built a name for himself as a pioneer of dancehall and originated the term "rap music," as per Dr. Frank Gunderson. DJ Kool Herc changed his sound system DJ technique, and he began to get crowds and b-boys to participate in. Music is becoming more concentrated on emcees as the music industry advances.

[writerthreads]

BUILD A STORY WITH YOUR PLAYLIST

Play your playlist(s) on “shuffle”

Whichever genre is, or is the closest to your song will determine a feature of your story!

Allocations are 100% random, this is mainly for fun lol

Shuffle 1: Genre

Rock: short story

Pop: mystery

K-pop: comedy

J-pop: chic-lit

Country: adventure

Jazz/blues/funk: sci-fi

Instrumental: fantasy

Hip hop/rap: dystopian

Musical: romance

Reggae/Latin: horror

EDM: go write an essay/ tragedy

Shuffle 2: Location

Rock: in another dimension

Pop: Oceania

K-pop: on Mars

J-pop: North/South America

Country: Europe

Jazz/blues/funk: Asia

Instrumental: Africa

Hip hop/rap: Antarctica

Musical: moves from one place to another

Reggae/Latin: in the city

EDM: in the countryside

Shuffle 3: Plot/conflict

Rock: a criminal trying to make amends but faces difficulties

Pop: an evil sorcerer/sorceress tries to make friends by posting about themselves on a blog

K-pop: journey for self-discovery after a tragic incident

J-pop: a rich but lonely tyrant

Country: one character trying to find the murderer of their loved one

Jazz/blues/funk: an innocent detective is now the prime suspect of an investigation, what do they do?

Instrumental: someone trying to prove that ghosts do really exist

Hip hop/rap: a vampire trying to mutate their genes so that they’ll be able to walk in broad daylight and undo their garlic intolerance. What could go wrong?

Musical: while ice-skating, someone cracks falls through the ice and discover a whole new world

Reggae/Latin: a character becomes stuck in their computer

EDM: despite their deep feelings for each other, a couple have strongly conflicting views. Neither wants to be the one to initiate the breakup.

Shuffle 4: Your MC

Rock: an alien. Kind, but slow, especially for their species

Pop: a loyal dog

K-pop: a spiritual boss who greatly believes in pseudoscience

J-pop: an impatient and prideful character

Country: an ant. That’s it. It might grow into a human.

Jazz/blues/funk: a condescending alien who thinks humans are dimwits

Instrumental: a greatly sympathetic human (which becomes their weakness)

Hip hop/rap: half human, half alien, with an IQ of 300

Musical: triplets who love causing mischief

Reggae/Latin: an athletic character who uses this skill for other situations

EDM: a character whose honesty always gets them in trouble

If you’ve got genre-focused playlists, I think using “liked songs” (on Spotify) would give you a better collection

[kemetic-dreams]

Blues is a music genre and musical form which was originated in the Deep South of the United States around the 1860s by African-Americans from roots in African musical traditions, African-American work songs, and spirituals. Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. The blues form, ubiquitous in jazz, rhythm and blues and rock and roll, is characterized by the call-and-response pattern, the blues scale and specific chord progressions, of which the twelve-bar blues is the most common. Blue notes (or "worried notes"), usually thirds, fifths or sevenths flattened in pitch are also an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove.

The lyrics of early traditional blues verses probably often consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the so-called "AAB" pattern, consisting of a line sung over the four first bars, its repetition over the next four, and then a longer concluding line over the last bars. Two of the first published blues songs, "Dallas Blues" (1912) and "Saint Louis Blues" (1914), were 12-bar blues with the AAB lyric structure. W.C. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times. The lines are often sung following a pattern closer to rhythmic talk than to a melody.Early blues frequently took the form of a loose narrative.

 African-American singers voiced his or her "personal woes in a world of harsh reality: a lost love, the cruelty of police officers, oppression at the hands of white folk, [and] hard times".

This melancholy has led to the suggestion of an Igbo origin for blues because of the reputation the Igbo had throughout plantations in the Americas for their melancholic music and outlook on life when they were enslaved. The lyrics often relate troubles experienced within African American society. 

For instance Blind Lemon Jefferson's "Rising High Water Blues" (1927) tells of the Great Mississippi Flood of 1927:Backwater rising, Southern peoples can't make no time I said, backwater rising, Southern peoples can't make no time And I can't get no hearing from that Memphis girl of mine

Although the blues gained an association with misery and oppression, the lyrics could also be humorous and raunchy:Rebecca, Rebecca, get your big legs off of me, Rebecca, Rebecca, get your big legs off of me, It may be sending you baby, but it's worrying the hell out of me.Hokum blues celebrated both comedic lyrical content and a boisterous, farcical performance style. Tampa Red's classic "Tight Like That" (1928) is a sly wordplay with the double meaning of being "tight" with someone coupled with a more salacious physical familiarity. Blues songs with sexually explicit lyrics were known as dirty blues. The lyrical content became slightly simpler in postwar blues, which tended to focus on relationship woes or sexual worries. Lyrical themes that frequently appeared in prewar blues, such as economic depression, farming, devils, gambling, magic, floods and drought, were less common in postwar blues.

The writer Ed Morales claimed that Yoruba mythology played a part in early blues, citing Robert Johnson's "Cross Road Blues" as a "thinly veiled reference to Eleggua, the orisha in charge of the crossroads".

 However, the Christian influence was far more obvious.The repertoires of many seminal blues artists, such as Charley Patton and Skip James, included religious songs or spirituals.Reverend Gary Davis and Blind Willie Johnson are examples of artists often categorized as blues musicians for their music, although their lyrics clearly belong to spirituals.

Many elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa. The origins of the blues are also closely related to the religious music of the Afro-American community, the spirituals. The first appearance of the blues is often dated to after the ending of slavery and, later, the development of juke joints. It is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century. The first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a wide variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues and West Coast blues. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a hybrid form called blues rock developed, which blended blues styles with rock music.

[dustedmagazine]

Shabaka & The Ancestors — We Are Sent Here by History (Impulse!)

Photo by Tjasa Gnezda 

Shabaka Hutchings knows how to set a scene. We Are Sent Here by History is the second album from this particular group, following 2016’s Wisdom of Ancestors. It is also coming in the midst of a particularly dynamic period from the acclaimed saxophone player — Shabaka & The Ancestors is one of his three ongoing projects, along with The Comet is Coming and Sons of Kemet. All are signed to Impulse! Records; each showcases a different element of Hutchings’s playing, along with placing him alongside a group of talented collaborators.  

In the case of Shabaka & The Ancestors, which teams Hutchings with a group of South African musicians, their sound could be said to fall a bit more on the spiritual jazz side of things — vocalist Siyabonga Mthembu is responsible for some of the most memorable contributions here, and there’s a sense of both meditation and ecstasy that runs throughout the album. Admittedly, the same could be said for most jazz — and for a lot of music, period — but it’s especially apparent here.

At the time of its release, Hutchings described Wisdom of Ancestors as a way “to present the musical language that I normally associate with my UK bands in the context of SA musicians and musical sensibilities.” All of which is to say that this album feels a bit more austere than the often-frenetic side Hutchings shows on, say, The Comet Is Coming’s discography. There’s plenty of dynamic saxophone work here, though, from both Hutchings (on tenor) and Mthunzi Mvubu (on alto). It’s particularly emblematic on the sinuous “The Coming of the Strange Ones,” which finds the group uniquely focused on a particular rhythm, with plenty of melodic give-and-take.  

Ariel Zamonsky’s work on bass is a standout here, providing the steady backbone for many of these songs. On “We Will Work (On Redefining Manhood),” the interplay between Zamonsky’s bass and Hutchings’s clarinet recalls Moondog’s mutant swing at times. It’s not the only area in which this album defies expectations: the heated shouts that bring “Behold  The Deceiver” to a close share an ecstatic kinship with GW Sok’s vocals for The Ex.  

Then again, that might be less strange than it seems at first: at its best, jazz is a genre capable of evoking every other musical discipline, and the deftly-played music on We Are Sent Here By History serves as an energizing reminder of that. It’s deeply felt music that makes for a rewarding and often thrilling listening experience. 

Tobias Carroll