Saturday, October 31, 2009
Unknown Fela: Perambulator
By way of Undercover Black Man I learn that Knitting Factory Records intends to remaster and reissue the "entire catalog" of Nigeria's late Afrobeat King Fela Anikulapo-Kuti in the next 18 months.
I'm wondering what the difference is between this project and the extensive Fela reissue that saw the light of day about 10 years ago. Not that I'm complaining, of course, but I can think of several Fela pressings that are not among the "entire catalog" of 45 recordings listed for reissue on the Knitting Factory website. A few years ago, before Likembe got started, I made these available to Uchenna Ikonne to post on his With Comb and Razor blog, and as these are no longer online, it seemed like a good idea to put them out there again.
Perambulator (Lagos International Records LIR 6) was released in 1983, following a rather fallow period in Fela's career, and just before the jailing on trumped-up charges that would bring him back to the world's attention. "Perambulator," the song, was apparently recorded a number of years earlier. Toshiya Endo writes in his Fela discography that it was the B side of the French issue of Shuffering and Shmiling (Barclay 829 710-1) in 1978 while "Frustration" was recorded as "Frustration of My Lady" in 1977 as the B side of an Afrodisia LP that was never released.
If you look closely at the credits on the back of Perambulator you'll see Lester Bowie credited as a "guest artist" (I think that's his trumpet solo about 6 minutes into "Frustration"). Bowie lived with Fela in Lagos for three months in 1977. A co-founder of the Art Ensemble of Chicago, he was also married for a time to Fontella Bass, who did the awesome 1965 R&B hit "Rescue Me." So contrary to the record cover and label, I don't think Perambulator is a "true" Egypt '80 record, as it was recorded several years earlier, when Fela's band was still called Afrika '70. The record was not included in the "official" Fela CD reissue of the late '90s, although it did come out combined with Original Sufferhead (Lagos International Records 2, 1981) on a CD in Japan in 1998, a pressing that is no longer available.
As to why Perambulator is not considered part of Fela's "official" canon, I suspect it was an unauthorized release. While it may be sub rosa it is certainly not sub-standard. "Frustration" in particular is a killer track. Enjoy!
Fela Anikulapo-Kuti & Afrika '70 - Perambulator
Fela Anikulapo-Kuti & Afrika '70 - Frustration
You can download Perambulator as a zipped file here. In my next two posts I'll discuss two more "unknown" Fela releases.
Labels:
Afrobeat,
Fela,
Nigeria,
Unknown Fela
Wednesday, October 28, 2009
An interview with Grand Union's Tony Haynes
Ahead of their gig at the Rich Mix on Saturday 31st October, vinspired volunteer Errol had a chat with Grand Union founder Tony Haynes ...
25 years later, Grand Union’s legacy still lives on. How as a group do you try to stay relevant?
“The things we talk about are universal. In a sense, growing and progressing in our own way. The other thing is always introducing new musicians so there are several generations now – the oldest musician is a steel pan player who is now in his seventies, but the youngest regular professionals are about 19 or 20. About three years ago, in order to make sure there was a legacy, a strong tradition of young musicians coming through, we set up the youth orchestra of East London so the principles can be passed on to them. We now have a whole range of people coming in from around 10 years old who have the potential to be very good. Obviously, you have to learn how to present music to a younger audience, and the best way is to listen to them.”
How has Grand Union Youth Orchestra’s introduction in 2007 changed your music’s target audience and/or age range of listeners?
“What’s strange is that we have always appealed enormously to younger people who are very impressed by what they hear, because it is very unusual. As the time passes, there seems to be less exposure to live, acoustic music making, so they are amazed by the combinations of musical instruments that they’ve never heard or certainly may not have seen before. The difficulty is getting them along as audiences because what we do is not seen as ‘fashionable’ music, in the sense that it’s not like rap or hip-hop – it instead continues an old tradition of acoustic music-making. So, to go back to your other question, I would say it is relevant but the difficulty is trying to convince people that it is relevant. We do a lot of workshops with young people, especially in schools, and I think having the younger musicians beginning to take part in the team is very helpful in the process because they relate to their own generation and at the same time, are part of Grand Union. It’s almost as if they are ambassadors.”
Prior to your Rich Mix performance, Grand Union is hosting a workshop for young kids and their families. How important do you reckon it is that world music is included in education?
“I think it is very, very important. But on the other hand, it is acknowledged on the music curriculum and people do study world music. The problem is that the establishment is very conservative and very few real African, Caribbean, South American, Indian or Chinese musicians are there to deliver and demonstrate their music. So, whilst it is a good idea that world music should be taught and explored, there is little effort to allow the authentic musicians to actually work with children and young people.”
How else does Grand Union try to target a young audience?
“Participation is an extension of the workshop. Most of the workshops we do are done with a view to engaging people in the performance. A few months ago, we did one of our big shows at the Hackney Empire where there were 150 or more young performers from across East London involved in that. It’s getting them involved and actually playing not just doing normal workshops and teaching them that way. The other thing is trying to find ways of reaching them through social networking sites, such as the MySpace. One of the things we’re doing now is bringing together a lot of the young people, who work with or for us, not just musicians but filmmakers and so on, to specifically establish a youth angle towards what Grand Union does.”
25 years later, Grand Union’s legacy still lives on. How as a group do you try to stay relevant?
“The things we talk about are universal. In a sense, growing and progressing in our own way. The other thing is always introducing new musicians so there are several generations now – the oldest musician is a steel pan player who is now in his seventies, but the youngest regular professionals are about 19 or 20. About three years ago, in order to make sure there was a legacy, a strong tradition of young musicians coming through, we set up the youth orchestra of East London so the principles can be passed on to them. We now have a whole range of people coming in from around 10 years old who have the potential to be very good. Obviously, you have to learn how to present music to a younger audience, and the best way is to listen to them.”
How has Grand Union Youth Orchestra’s introduction in 2007 changed your music’s target audience and/or age range of listeners?
“What’s strange is that we have always appealed enormously to younger people who are very impressed by what they hear, because it is very unusual. As the time passes, there seems to be less exposure to live, acoustic music making, so they are amazed by the combinations of musical instruments that they’ve never heard or certainly may not have seen before. The difficulty is getting them along as audiences because what we do is not seen as ‘fashionable’ music, in the sense that it’s not like rap or hip-hop – it instead continues an old tradition of acoustic music-making. So, to go back to your other question, I would say it is relevant but the difficulty is trying to convince people that it is relevant. We do a lot of workshops with young people, especially in schools, and I think having the younger musicians beginning to take part in the team is very helpful in the process because they relate to their own generation and at the same time, are part of Grand Union. It’s almost as if they are ambassadors.”
Prior to your Rich Mix performance, Grand Union is hosting a workshop for young kids and their families. How important do you reckon it is that world music is included in education?
“I think it is very, very important. But on the other hand, it is acknowledged on the music curriculum and people do study world music. The problem is that the establishment is very conservative and very few real African, Caribbean, South American, Indian or Chinese musicians are there to deliver and demonstrate their music. So, whilst it is a good idea that world music should be taught and explored, there is little effort to allow the authentic musicians to actually work with children and young people.”
How else does Grand Union try to target a young audience?
“Participation is an extension of the workshop. Most of the workshops we do are done with a view to engaging people in the performance. A few months ago, we did one of our big shows at the Hackney Empire where there were 150 or more young performers from across East London involved in that. It’s getting them involved and actually playing not just doing normal workshops and teaching them that way. The other thing is trying to find ways of reaching them through social networking sites, such as the MySpace. One of the things we’re doing now is bringing together a lot of the young people, who work with or for us, not just musicians but filmmakers and so on, to specifically establish a youth angle towards what Grand Union does.”
An interview with Grand Union's Tony Haynes
Ahead of their gig at the Rich Mix on Saturday 31st October, vinspired volunteer Errol had a chat with Grand Union founder Tony Haynes ...
25 years later, Grand Union’s legacy still lives on. How as a group do you try to stay relevant?
“The things we talk about are universal. In a sense, growing and progressing in our own way. The other thing is always introducing new musicians so there are several generations now – the oldest musician is a steel pan player who is now in his seventies, but the youngest regular professionals are about 19 or 20. About three years ago, in order to make sure there was a legacy, a strong tradition of young musicians coming through, we set up the youth orchestra of East London so the principles can be passed on to them. We now have a whole range of people coming in from around 10 years old who have the potential to be very good. Obviously, you have to learn how to present music to a younger audience, and the best way is to listen to them.”
How has Grand Union Youth Orchestra’s introduction in 2007 changed your music’s target audience and/or age range of listeners?
“What’s strange is that we have always appealed enormously to younger people who are very impressed by what they hear, because it is very unusual. As the time passes, there seems to be less exposure to live, acoustic music making, so they are amazed by the combinations of musical instruments that they’ve never heard or certainly may not have seen before. The difficulty is getting them along as audiences because what we do is not seen as ‘fashionable’ music, in the sense that it’s not like rap or hip-hop – it instead continues an old tradition of acoustic music-making. So, to go back to your other question, I would say it is relevant but the difficulty is trying to convince people that it is relevant. We do a lot of workshops with young people, especially in schools, and I think having the younger musicians beginning to take part in the team is very helpful in the process because they relate to their own generation and at the same time, are part of Grand Union. It’s almost as if they are ambassadors.”
Prior to your Rich Mix performance, Grand Union is hosting a workshop for young kids and their families. How important do you reckon it is that world music is included in education?
“I think it is very, very important. But on the other hand, it is acknowledged on the music curriculum and people do study world music. The problem is that the establishment is very conservative and very few real African, Caribbean, South American, Indian or Chinese musicians are there to deliver and demonstrate their music. So, whilst it is a good idea that world music should be taught and explored, there is little effort to allow the authentic musicians to actually work with children and young people.”
How else does Grand Union try to target a young audience?
“Participation is an extension of the workshop. Most of the workshops we do are done with a view to engaging people in the performance. A few months ago, we did one of our big shows at the Hackney Empire where there were 150 or more young performers from across East London involved in that. It’s getting them involved and actually playing not just doing normal workshops and teaching them that way. The other thing is trying to find ways of reaching them through social networking sites, such as the MySpace. One of the things we’re doing now is bringing together a lot of the young people, who work with or for us, not just musicians but filmmakers and so on, to specifically establish a youth angle towards what Grand Union does.”
25 years later, Grand Union’s legacy still lives on. How as a group do you try to stay relevant?
“The things we talk about are universal. In a sense, growing and progressing in our own way. The other thing is always introducing new musicians so there are several generations now – the oldest musician is a steel pan player who is now in his seventies, but the youngest regular professionals are about 19 or 20. About three years ago, in order to make sure there was a legacy, a strong tradition of young musicians coming through, we set up the youth orchestra of East London so the principles can be passed on to them. We now have a whole range of people coming in from around 10 years old who have the potential to be very good. Obviously, you have to learn how to present music to a younger audience, and the best way is to listen to them.”
How has Grand Union Youth Orchestra’s introduction in 2007 changed your music’s target audience and/or age range of listeners?
“What’s strange is that we have always appealed enormously to younger people who are very impressed by what they hear, because it is very unusual. As the time passes, there seems to be less exposure to live, acoustic music making, so they are amazed by the combinations of musical instruments that they’ve never heard or certainly may not have seen before. The difficulty is getting them along as audiences because what we do is not seen as ‘fashionable’ music, in the sense that it’s not like rap or hip-hop – it instead continues an old tradition of acoustic music-making. So, to go back to your other question, I would say it is relevant but the difficulty is trying to convince people that it is relevant. We do a lot of workshops with young people, especially in schools, and I think having the younger musicians beginning to take part in the team is very helpful in the process because they relate to their own generation and at the same time, are part of Grand Union. It’s almost as if they are ambassadors.”
Prior to your Rich Mix performance, Grand Union is hosting a workshop for young kids and their families. How important do you reckon it is that world music is included in education?
“I think it is very, very important. But on the other hand, it is acknowledged on the music curriculum and people do study world music. The problem is that the establishment is very conservative and very few real African, Caribbean, South American, Indian or Chinese musicians are there to deliver and demonstrate their music. So, whilst it is a good idea that world music should be taught and explored, there is little effort to allow the authentic musicians to actually work with children and young people.”
How else does Grand Union try to target a young audience?
“Participation is an extension of the workshop. Most of the workshops we do are done with a view to engaging people in the performance. A few months ago, we did one of our big shows at the Hackney Empire where there were 150 or more young performers from across East London involved in that. It’s getting them involved and actually playing not just doing normal workshops and teaching them that way. The other thing is trying to find ways of reaching them through social networking sites, such as the MySpace. One of the things we’re doing now is bringing together a lot of the young people, who work with or for us, not just musicians but filmmakers and so on, to specifically establish a youth angle towards what Grand Union does.”
Thursday, October 22, 2009
Off the Beaten Track
For all I know, recordings like Simon Sene's Magal (Afrique Dioundioung/KSF) could be as common as dirt in Senegal, so the title of this post may not be completely accurate. Still, the first time it came my way ten years ago, I knew that something set it apart from the general Wolof/Peul axis of modern Senegalese music.
Now, from his My Space Profile, I learn that Mr. Sene is a Serer, the third-largest ethnicity in Senegal (see map below), a people that still retain animistic beliefs, although some members in recent years have converted to Islam or Christianity. As a singer of traditional music at weddings and christenings, he was discovered by Moussa Bopp of Radio Kaolack and encouraged to record. At first his family resisted, objecting that the songs were meant only for the griot caste, but he recorded his first hit, "Ndakaru," in 1993. His first cassette, Magal, with its sparse yet striking arrangements for keyboards and percussion, was released in 1997. With two further releases, Jamm Cassamance in 2001 and Yaye in 2006, Simon Sene has clearly taken his place in the pantheon of modern masters of Senegal music. Enjoy!
Simon Sene - Roi des Arenes
Simon Sene - Magal
Simon Sene - Greve
Simon Sene - O Young
Simon Sene - Fexwe
Simon Sene - A Cang
Simon Sene - Maayaay
Simon Sene - Hommage a Mbissane
You can also download this album as a zipped file here. In the future I will be offering this option for the convenience of Likembe reader/listeners, and I will also try to make it available in older posts as well. As the zipped files use "free" file-hosting services (as opposed to the individual tracks, which I pay to have hosted) I can't assure that they will always be available. Let me know how it works out.
Labels:
Senegal,
Serer,
Simon Sene
Party for Malawi, 21st November, Bristol, UK
Party For Malawi, 21st November, Basement 45, Bristol, UK
A veritable feast of musical entertainment brought to you from the famous Lake of Stars Festival crew and Bristol's own party people The Blast. The night will feature two rooms of music and a mash up of styles to keep you on your toes. With headliners Nihal and Ross Allen fresh back from the vinspired Lake of Stars Festival this is gong to be very special indeed. See yo there.x
Labels:
Events,
Volunteering
Party for Malawi, 21st November, Bristol, UK
Party For Malawi, 21st November, Basement 45, Bristol, UK
A veritable feast of musical entertainment brought to you from the famous Lake of Stars Festival crew and Bristol's own party people The Blast. The night will feature two rooms of music and a mash up of styles to keep you on your toes. With headliners Nihal and Ross Allen fresh back from the vinspired Lake of Stars Festival this is gong to be very special indeed. See yo there.x
Labels:
Events,
Volunteering
Saturday, October 17, 2009
The "New" Igbo Thing
How to explain the dire state of the Nigerian music scene? Judging by what's being spun at parties in Milwaukee these days, it's beset by a plague of cheapo synthesizers and ticky-tacky drum machines, and the less said about the derivative sludge known as "Naija Hip-Hop" the better!
The trend toward artifice and away from artistry is well exemplified by two Igbo musicians, Sunny Bobo and Eke Chima, whose recordings - copied, pirated and distributed from hand to hand - have been ever-present in the Igbo diaspora the last few years. Both singers are said to be masters of the Owerri dialect, which may well be, but judging by their recordings, Old Skool, Obareze, and the many sequels, one can't help but feel sadness at the decline of that city's music scene since the glory days of the Oriental Brothers and their colleagues. I suppose economics are behind the sparse production values of these releases, but it's a regrettable situation still.
Sunny Bobo burst upon the scene a few years ago with Old Skool, and the sequels have followed fast and furious. The first volume of Old Skool reworks a number of classic songs from the Golden Age of Nigerian highlife. In typical Igbo fashion, Bobo sings that a meeting of the minds works best with one's own siblings. He describes a problem he is having with one of his kindred. He goes to the market, or public square ("nkworji") to settle the problem.
In "Willie Willie," a rework of the Peacocks' "Mary Meriamam," he sings about a beautiful girl named Mary, with whom he is quite infatuated. The main theme of the song is to not lose your head: "Elewe ukwu egbuo ewu - look at nyash kill a goat." In other words, don't be so crazy looking at your love's behind that you will do anything for her. Sunny recounts that he and Mary were wed, but that things haven't really worked out. He asks his brothers, "What am I going to do? Love has wounded me!"
A remake of Rex Lawson's classic "Love Adure" keeps things moving. Bobo sings, "Owerri land, please forgive my sins, because love has destroyed me. I am mesmerized by Adure's beauty. O tukwusa m'ukwu odika pillow. O tukwasa m'ishi odika pillow. When Adure places her leg on me it is like a pillow. When Adure places her head on me it is like a pillow." He then calls to an old girlfriend whom he has rejected for Adure, "Rosanna, please forgive me."
"Kinkana," another old song by the Peacocks, refers to native gin, which unlike palm wine, doesn't go bad: "Kinkana no dey sour." Here the singer is proclaiming that, unlike some flashier fellows with their money and fancy clothes, he is for real. There is a reference to Osadebe's classic song "Baby Kwanangida": "Kwanangida no go marry."
"Echendu" descibes a man who goes on a journey and doesn't come back: "Please come home. My heart is broken by your loss." "Bottom Belle," the final song in the Old Skool medley, is a classic tune from the early days of Nigerian independence.
Sunny Bobo - Nkworji-Willie Willie-Love Adure-Kinkana-Echendu-Bottom Belle
Eke Chima's offering here is similarly "Owerri-centric." As this is from a copied CD-R I'm not sure of the exact title of the medley or which CD it is taken from, only that it is from one of his numerous Obareze recordings. Chima sings that people say they don't like Owerri, and in rebuttal offers the names of many prominent Owerri families and individuals: "Ole nde onwe Owerri? Who are Owerri people?," naming among others the Amanzes, the Njokus, Chief Onukaogu and Headmaster Boniface Oha.
He then sings that someday everybody will account for their behavior in life: "Eshi ahu omenjo ga ahu njo ya, omenma ga ahu nma ya. The sinner will see his sins and the good person will see the good he has done. Ole onye ozuru oke? Who on this Earth will say that everything is complete for him?" He then calls out to a friend, "Ahu shiele m'anya - I have seen many troubles." Chima admonishes those who have taken a child's thing to raise their hand and give it back. In other words, don't mistreat another person, especially the helpless. He states once again that all will account some day for how they lived on Earth.
Family relations are a prominent theme in Igbo music. Chima asks if a person doesn't have kin by the same mother (this is presumably referring to relations within a polygamous household) will he kill himself? Of course not. He states that since he has no other siblings by his mother he works very hard and hopes that God will be there for him: "Ebe mu onwehu onye inye aka, agam ime uwam nkpo ole."
Eke Chima & his New Generation Band - Owerri
In the interests of fairness I should present evidence that things may not be so dire for Nigerian music after all: two artists, both scions of musical families, who would seem to refute my thesis that Igbo highlife is on its deathbed, if not already departed. Emperor Teddy Obinna is billed as "Junior Warrior," but he's actually the half-brother of Owerri's favorite son, the late Christogonous Ezebuiro Obinna, better known as Warrior. Ogidi's Amobi Richard Onyenze is the nephew of highlife legend Stehen Osita Osadebe, who passed away in 2007.
Obinna not only has taken up his brother's legacy, but in the CD Uwa Shekiga e Shekiga (C. Meks Music CMS 114, 2004) takes it in bold new directions, incorporating elements of Congo music to great effect. The title song ("The World is Very Shaky") takes up current events, advising that because of the world's instability, everybody should do their best. He sings that he is doing all he can for his family, but that if they are going to be irresponsible and not do for themselves in return, it's not his problem ("Onye zuzuo n'elu uwu ya aka ya aka - if you are stupid in this world it is your own fault.") He says that even in America, people are afraid because of Osama Bin Laden ("Osama bin Bomb Bomb") and mentions the war in "Iraqi land." Even old women have confirmed that the world is not as it used to be. Obinna calls on Nigeria's leaders to help make things better:
Emeror Teddy Obinna - Uwa Shekiga e Shekiga
The Emperor seems to spend a lot of time outside of Nigeria performing for the Igbo diaspora. He certainly has a feeling for their problems and concerns. In "Onye Nchem" he decries lazy Nigerians who take advantage of their hard-working relatives abroad. The song itself is about God's concern for the world. Obinna sings that without God's protection all of the guns and all of the armies in the world are useless. All of the people who bear grudges need God's blessing because he will judge them: "Let the Lord not protect an evil plotter." The chorus is "Make sure you are doing right."
Emperor Teddy Obinna - Onye Nchem
Judging by his eighth release Livin' Dey Highlife, available from Akwaaba Music, Amobi Onyenze is capably carrying on the Osadebe legacy, but one hopes that in the future he will strike out into fresh territory rather than continue to till the old man's field. In "Akachukwu di Ya" ("God's Hand"), Oyenze sings, "In everything we do in life we must seek God's hand to make it success. With God's hand our success is guaranteed. Whoever God's hand beholds shall never fall nor fail. God's hand is in my life, in my family. That's why I'm a success."
Onyenze - Akachukwu di Ya
Thanks once again to my wife Priscilla Nwakaego for interpreting these lyrics. The translation of "Akachukwu di Ya" was provided by Akwaaba Music.
Labels:
Eke Chima,
Highlife,
Igbo,
Nigeria,
Onyenze,
Sunny Bobo,
Teddy Obinna
Friday, October 16, 2009
Najwa Akhtar review. Friday 9th October 2009
Vinspired Lake of Stars and Rich Mix present
Najma Akhtar
Most of the crew is off to Malawi to prep for the festival, but there is still action going on in London. Our amazing venue, the Rich Mix, continues to offer forefront world music concerts during autumn.
Last Friday Lake of Stars had the pleasure of attending to the performance of Najma Akhtar, a renowned English artist with South Asian heritage.
Having played at major music festivals like WOMAD, Reading and Glastonbury and performing for over 20 years, she is one of the big names in world music.
The crowds that gathered in to see her on Friday were a bunch of loyal followers who listened, enthralled, at the mesmerizing performance she gave.
Sitting back in comfy sofas and sipping drinks, Najma’s deep, tranquil voice transported us to faraway lands. Her trademark mix of jazz with traditional ‘ghazal’ (lyrical poems from Asia), had us bewitched. Najwa made sure the audience participated in a sing along and translated the words of the ghazal songs for the many folk who did not understand. Her goal is to cut across music genres and make everyone enjoy music, regardless of where it is from. Her songs spoke of tradition, spiritualism and nature. There was also room for upbeat Bollywood songs, tributes to Indian musicians and jazz solos, courtesy of her talented band of musicians. The audience sat there riveted, and cheered wildly on for an encore, which Najwa gave beautifully.
Apart from her role as an artist, Najwa Akhtar is also committed to humanitarian causes. One of her biggest life experiences was distributing relief aid in the aftermath of the Kashmir earthquake in 2005. She was moved by the compassion she saw when the whole of Pakistani society chipping in and giving up their time to distribute relief to the victims.
Lake of Stars was able to chat with the star about volunteering and the role of music in development.
LOS “You are committed to humanitarian causes and have given up your time to distribute aid as well as giving free concerts to fundraise money for various causes. What has volunteering done for you?”
NA: “It showed a different side of life...the unfortunate side of life. It makes you aware, when you are so close to death, you really value every single breath you take. I was in an earthquake of 7.8 in Kashmir and the building I was in was shaking like mad..those things prepared me for when I want to [the Kosovo] war and worked in the refugee camps. There are many ways of working for a charity. Even if I am performing for a charity cause, it’s giving part of me, it’s giving my soul. Now actually going there, physically being there, for me, that was so soul-searching, so moving...”
LOS: “Do you think music can contribute to developing a country?”
NA-“I think music can definitely contribute to the minds of people because it touches people’s hearts. When people come to me and tell me they’ve been touched by my songs, it is very moving and very rewarding...When people tell me they would like to learn about [traditional Asian folk songs] or that they would like for their daughters to learn how to play the harmonium [Najma taught herself] I think that is moving...and also music opens people’s mind...”
LOS “Your music is influenced by many different genres. Do you think music can help overcome cultural differences?”
NA-“It depends where you are in the world, because in some countries, there are many cultural and religious issues that stop you from doing that, but in many parts of the world, whether it can help overcome barriers, it will take time, but it in the end it does.”
written by vinspired volunteer Laura Zorrilla.
Najma Akhtar
Most of the crew is off to Malawi to prep for the festival, but there is still action going on in London. Our amazing venue, the Rich Mix, continues to offer forefront world music concerts during autumn.
Last Friday Lake of Stars had the pleasure of attending to the performance of Najma Akhtar, a renowned English artist with South Asian heritage.
Having played at major music festivals like WOMAD, Reading and Glastonbury and performing for over 20 years, she is one of the big names in world music.
The crowds that gathered in to see her on Friday were a bunch of loyal followers who listened, enthralled, at the mesmerizing performance she gave.
Sitting back in comfy sofas and sipping drinks, Najma’s deep, tranquil voice transported us to faraway lands. Her trademark mix of jazz with traditional ‘ghazal’ (lyrical poems from Asia), had us bewitched. Najwa made sure the audience participated in a sing along and translated the words of the ghazal songs for the many folk who did not understand. Her goal is to cut across music genres and make everyone enjoy music, regardless of where it is from. Her songs spoke of tradition, spiritualism and nature. There was also room for upbeat Bollywood songs, tributes to Indian musicians and jazz solos, courtesy of her talented band of musicians. The audience sat there riveted, and cheered wildly on for an encore, which Najwa gave beautifully.
Apart from her role as an artist, Najwa Akhtar is also committed to humanitarian causes. One of her biggest life experiences was distributing relief aid in the aftermath of the Kashmir earthquake in 2005. She was moved by the compassion she saw when the whole of Pakistani society chipping in and giving up their time to distribute relief to the victims.
Lake of Stars was able to chat with the star about volunteering and the role of music in development.
LOS “You are committed to humanitarian causes and have given up your time to distribute aid as well as giving free concerts to fundraise money for various causes. What has volunteering done for you?”
NA: “It showed a different side of life...the unfortunate side of life. It makes you aware, when you are so close to death, you really value every single breath you take. I was in an earthquake of 7.8 in Kashmir and the building I was in was shaking like mad..those things prepared me for when I want to [the Kosovo] war and worked in the refugee camps. There are many ways of working for a charity. Even if I am performing for a charity cause, it’s giving part of me, it’s giving my soul. Now actually going there, physically being there, for me, that was so soul-searching, so moving...”
LOS: “Do you think music can contribute to developing a country?”
NA-“I think music can definitely contribute to the minds of people because it touches people’s hearts. When people come to me and tell me they’ve been touched by my songs, it is very moving and very rewarding...When people tell me they would like to learn about [traditional Asian folk songs] or that they would like for their daughters to learn how to play the harmonium [Najma taught herself] I think that is moving...and also music opens people’s mind...”
LOS “Your music is influenced by many different genres. Do you think music can help overcome cultural differences?”
NA-“It depends where you are in the world, because in some countries, there are many cultural and religious issues that stop you from doing that, but in many parts of the world, whether it can help overcome barriers, it will take time, but it in the end it does.”
written by vinspired volunteer Laura Zorrilla.
Labels:
Events,
Volunteering
Najwa Akhtar review. Friday 9th October 2009
Vinspired Lake of Stars and Rich Mix present
Najma Akhtar
Most of the crew is off to Malawi to prep for the festival, but there is still action going on in London. Our amazing venue, the Rich Mix, continues to offer forefront world music concerts during autumn.
Last Friday Lake of Stars had the pleasure of attending to the performance of Najma Akhtar, a renowned English artist with South Asian heritage.
Having played at major music festivals like WOMAD, Reading and Glastonbury and performing for over 20 years, she is one of the big names in world music.
The crowds that gathered in to see her on Friday were a bunch of loyal followers who listened, enthralled, at the mesmerizing performance she gave.
Sitting back in comfy sofas and sipping drinks, Najma’s deep, tranquil voice transported us to faraway lands. Her trademark mix of jazz with traditional ‘ghazal’ (lyrical poems from Asia), had us bewitched. Najwa made sure the audience participated in a sing along and translated the words of the ghazal songs for the many folk who did not understand. Her goal is to cut across music genres and make everyone enjoy music, regardless of where it is from. Her songs spoke of tradition, spiritualism and nature. There was also room for upbeat Bollywood songs, tributes to Indian musicians and jazz solos, courtesy of her talented band of musicians. The audience sat there riveted, and cheered wildly on for an encore, which Najwa gave beautifully.
Apart from her role as an artist, Najwa Akhtar is also committed to humanitarian causes. One of her biggest life experiences was distributing relief aid in the aftermath of the Kashmir earthquake in 2005. She was moved by the compassion she saw when the whole of Pakistani society chipping in and giving up their time to distribute relief to the victims.
Lake of Stars was able to chat with the star about volunteering and the role of music in development.
LOS “You are committed to humanitarian causes and have given up your time to distribute aid as well as giving free concerts to fundraise money for various causes. What has volunteering done for you?”
NA: “It showed a different side of life...the unfortunate side of life. It makes you aware, when you are so close to death, you really value every single breath you take. I was in an earthquake of 7.8 in Kashmir and the building I was in was shaking like mad..those things prepared me for when I want to [the Kosovo] war and worked in the refugee camps. There are many ways of working for a charity. Even if I am performing for a charity cause, it’s giving part of me, it’s giving my soul. Now actually going there, physically being there, for me, that was so soul-searching, so moving...”
LOS: “Do you think music can contribute to developing a country?”
NA-“I think music can definitely contribute to the minds of people because it touches people’s hearts. When people come to me and tell me they’ve been touched by my songs, it is very moving and very rewarding...When people tell me they would like to learn about [traditional Asian folk songs] or that they would like for their daughters to learn how to play the harmonium [Najma taught herself] I think that is moving...and also music opens people’s mind...”
LOS “Your music is influenced by many different genres. Do you think music can help overcome cultural differences?”
NA-“It depends where you are in the world, because in some countries, there are many cultural and religious issues that stop you from doing that, but in many parts of the world, whether it can help overcome barriers, it will take time, but it in the end it does.”
written by vinspired volunteer Laura Zorrilla.
Najma Akhtar
Most of the crew is off to Malawi to prep for the festival, but there is still action going on in London. Our amazing venue, the Rich Mix, continues to offer forefront world music concerts during autumn.
Last Friday Lake of Stars had the pleasure of attending to the performance of Najma Akhtar, a renowned English artist with South Asian heritage.
Having played at major music festivals like WOMAD, Reading and Glastonbury and performing for over 20 years, she is one of the big names in world music.
The crowds that gathered in to see her on Friday were a bunch of loyal followers who listened, enthralled, at the mesmerizing performance she gave.
Sitting back in comfy sofas and sipping drinks, Najma’s deep, tranquil voice transported us to faraway lands. Her trademark mix of jazz with traditional ‘ghazal’ (lyrical poems from Asia), had us bewitched. Najwa made sure the audience participated in a sing along and translated the words of the ghazal songs for the many folk who did not understand. Her goal is to cut across music genres and make everyone enjoy music, regardless of where it is from. Her songs spoke of tradition, spiritualism and nature. There was also room for upbeat Bollywood songs, tributes to Indian musicians and jazz solos, courtesy of her talented band of musicians. The audience sat there riveted, and cheered wildly on for an encore, which Najwa gave beautifully.
Apart from her role as an artist, Najwa Akhtar is also committed to humanitarian causes. One of her biggest life experiences was distributing relief aid in the aftermath of the Kashmir earthquake in 2005. She was moved by the compassion she saw when the whole of Pakistani society chipping in and giving up their time to distribute relief to the victims.
Lake of Stars was able to chat with the star about volunteering and the role of music in development.
LOS “You are committed to humanitarian causes and have given up your time to distribute aid as well as giving free concerts to fundraise money for various causes. What has volunteering done for you?”
NA: “It showed a different side of life...the unfortunate side of life. It makes you aware, when you are so close to death, you really value every single breath you take. I was in an earthquake of 7.8 in Kashmir and the building I was in was shaking like mad..those things prepared me for when I want to [the Kosovo] war and worked in the refugee camps. There are many ways of working for a charity. Even if I am performing for a charity cause, it’s giving part of me, it’s giving my soul. Now actually going there, physically being there, for me, that was so soul-searching, so moving...”
LOS: “Do you think music can contribute to developing a country?”
NA-“I think music can definitely contribute to the minds of people because it touches people’s hearts. When people come to me and tell me they’ve been touched by my songs, it is very moving and very rewarding...When people tell me they would like to learn about [traditional Asian folk songs] or that they would like for their daughters to learn how to play the harmonium [Najma taught herself] I think that is moving...and also music opens people’s mind...”
LOS “Your music is influenced by many different genres. Do you think music can help overcome cultural differences?”
NA-“It depends where you are in the world, because in some countries, there are many cultural and religious issues that stop you from doing that, but in many parts of the world, whether it can help overcome barriers, it will take time, but it in the end it does.”
written by vinspired volunteer Laura Zorrilla.
Labels:
Events,
Volunteering
Tuesday, October 13, 2009
vinspired Lake of Stars and Rich Mix- Autumn Series- Sparlha Swa, 6th October 2009
Labels:
Events,
Volunteering
vinspired Lake of Stars and Rich Mix- Autumn Series- Sparlha Swa, 6th October 2009
Labels:
Events,
Volunteering
vinspired Lake of Stars and Rich Mix present- Grand Union- The Next Generation. Sat 31 October
“A grand and appetizing mixing pot celebrating the wealth of world diversity and it’s music”
Grand Union, is a world jazz group based in the East London region. Led by founder and composer, Tony Haynes, the collection is now celebrating 25 years together, after being formed in an era where the term ‘world-jazz’ was relatively unknown. Touring with around 15-20 musicians and sometimes featuring up to 300 for large scale shows, their ability to seamlessly blend evocative sounds from all around the world is awe-inspiring.
Back in 1984, it was an enthused Tony Haynes that gave birth to the group after developing a deep interest in the topic of migration and in particular the reasons why people became exiles and refugees. Grand Union was originally set up as a way of presenting dramatic shows where music was the key element. Equally important was that this music was produced by people who had experienced such hardships, leading to one of the group’s earliest production shows named ‘Strange Migrations’. It was this total embrace of less known cultures, during a time when multiracial societies were beginning to thrive, that formed the basis of this unique gathering, who would soon integrate performers from almost every area of the world.
Having become a heavily respected and established unit, the group turned their attention to the younger generation in 2007 with the formation of Grand Union Youth Orchestra, consisting of talented young musicians from East London between the ages of 15-25. Never before had I experienced the resonance of steel pans, table and djembe – all masterfully combined in one ensemble. As well as being incredibly gifted, these young people also had a vital advantage:
“The youth orchestra musicians beginning to take part in the team is very helpful in this process, because they relate to their own generation and at the same time are able to learn from the senior members of Grand Union”
It is this combination that not only rejoices the beauty of multicultural life, but also depicts how music has the ability to unify those of all ages.
Furthermore, workshops and interactive sessions are regularly held for children and family members. Prior to their performance at RichMix, for example, the group will be hosting a Family World Music Workshop for anyone aged 7 and over – no experience needed! These interactions with the public, and youth in particular, only look to emphasize Grand Union’s intent on spreading authentic music to younger ears – a target audience, unfortunately, harder to entertain with the more familiar stimulations of urban and electronic music.
As a 17 year old myself, it would be a shame if teens and young people were to miss out on the vibrant mix that only true acoustic music can provide. Grand Union are performing at RichMix on October 31, make sure you come and have a listen.
Grand Union, is a world jazz group based in the East London region. Led by founder and composer, Tony Haynes, the collection is now celebrating 25 years together, after being formed in an era where the term ‘world-jazz’ was relatively unknown. Touring with around 15-20 musicians and sometimes featuring up to 300 for large scale shows, their ability to seamlessly blend evocative sounds from all around the world is awe-inspiring.
Back in 1984, it was an enthused Tony Haynes that gave birth to the group after developing a deep interest in the topic of migration and in particular the reasons why people became exiles and refugees. Grand Union was originally set up as a way of presenting dramatic shows where music was the key element. Equally important was that this music was produced by people who had experienced such hardships, leading to one of the group’s earliest production shows named ‘Strange Migrations’. It was this total embrace of less known cultures, during a time when multiracial societies were beginning to thrive, that formed the basis of this unique gathering, who would soon integrate performers from almost every area of the world.
Having become a heavily respected and established unit, the group turned their attention to the younger generation in 2007 with the formation of Grand Union Youth Orchestra, consisting of talented young musicians from East London between the ages of 15-25. Never before had I experienced the resonance of steel pans, table and djembe – all masterfully combined in one ensemble. As well as being incredibly gifted, these young people also had a vital advantage:
“The youth orchestra musicians beginning to take part in the team is very helpful in this process, because they relate to their own generation and at the same time are able to learn from the senior members of Grand Union”
It is this combination that not only rejoices the beauty of multicultural life, but also depicts how music has the ability to unify those of all ages.
Furthermore, workshops and interactive sessions are regularly held for children and family members. Prior to their performance at RichMix, for example, the group will be hosting a Family World Music Workshop for anyone aged 7 and over – no experience needed! These interactions with the public, and youth in particular, only look to emphasize Grand Union’s intent on spreading authentic music to younger ears – a target audience, unfortunately, harder to entertain with the more familiar stimulations of urban and electronic music.
As a 17 year old myself, it would be a shame if teens and young people were to miss out on the vibrant mix that only true acoustic music can provide. Grand Union are performing at RichMix on October 31, make sure you come and have a listen.