Following are additional albums released during April 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Label: SkinnyFish Music
Formats: CD, LP, Digital
Release date: July 13, 2018
Typically we feature releases from African American musicians as well as those connected to the African diaspora. We’re making an exception, however, for the Australian indigenous musician, Gurrumul Yunupingu. Known professionally as Gurrumul, or Dr. G to colleagues, the late singer and multi-instrumentalist enjoyed international success, performing at venues around the world. Continue reading
Artist: Paul Beaubrun
Formats: CD, Digital
Release date: May 11, 2018
Haitian singer and multi-instrumentalist Paul Beaubrun—son of Theodore “Lòlò” and Mimerose “Manzè” Beaubrun of the Grammy-nominated Haitian band Boukman Eksperyans—does it again with a sensational and thought provoking album, Ayibobo. Released three years after his acoustic album Vilnerab (2015), and six years after Project Haiti (2012) with Zing Experience, Ayibobo weaves together Haitian roots music with rock and roll and reggae, which Beaubrun refers to as “Roots/Blues” music. While this album demonstrates Beaubrun’s compositional concepts and the socially conscious lyrics that fans have grown accustomed too, Ayibobo feels a bit more personal as Beaubrun recounts his lived experiences while reflecting on the encouraging words his mother instilled in him.
The title track “Ayibobo” narrates the circumstances in 2004 that lead to his fleeing Haiti to New York. Beaubrun reminisces on the comfort and strength he felt while remembering what his mother taught him, ‘ayibobo.’ The Haitian Creole term means ‘hallelujah’ or ‘amen,’ but ‘ayibobo’ also carries cultural connotations that can be interpreted as a form of elation. By using this word, Beaubrun demonstrates how one word can strengthen familial and communal ties within the global Haitian community, while paying tribute to Haitian cultural practices.
On “Rise Up,” Beaubrun leans more towards social activism, calling for people to “rise up and be free” while using reggae—a Jamaican musical genre known for its political commentary—as the musical vehicle for his political activist endeavors. We cannot overlook the Haitian folkloric influences that are heard throughout this album, specifically the Haitian drums (tanbou) on “Naissance” and “Elizi.” Sonically, we hear the Haitian polyrhythmic patterns that provide the underlying foundational groove and pulse. Moreover, these songs echo the mizik rasin (roots music) tradition and Haitian mythological themes that are commonly associated with it.
Ayibobo is a phenomenal illustration of Beaubrun’s artistic brilliance. As listeners, we are treated to the wonderful collage of musical sounds while experiencing the exhilarating spirit and cultural sentiments of the Haitian community. Furthermore, this album serves as an exemplar of music and activism. But above all, Ayibobo is a heartfelt expression of a man’s love for his country and community.
Reviewed by Jamaal Baptiste
Artist: Jefferson St. Parade Band
Formats: CD, Digital
Release date: November 4, 2016
On Viral the Bloomington, Indiana based Jefferson St. Parade Band continues to hone their unique mix of musical styles, reaching for a sound that is their own. This new release is one step closer on that journey. JSPB operates as a mobile street/party band complete with horns, a drumline, and backpack amplifiers for their bassist and guitarist. As the band prepares to play their third Mardi Gras set this February, Viral serves a great primer for the uninitiated.
The album begins with “Austin City Unlimited,” which provides a great groove over which the horn section of the band shines. Not to be outdone, the syncopated rhythms of the JSPB drumline are also on display on this great opener. Despite its tongue-in-cheek title, “Most Annoying Song Ever, Gone Viral,” while “different,” is far from annoying. Perhaps the title is referencing a synthesized wind instrument that sounds like a melodica? Regardless, as the track continues, it shifts into an almost prog rock space which was a surprising but a welcome addition to the other genre influences that can be heard on the album—including funk, crunk, soul, and world music.
“Easy Dub,” which is a King Tubby cover, allows JSPB’s drumline to shine and comes across very well, with almost a jammy, zoned out vibe. That track is followed by the standout, “Jazz Bastard,” which sees the band really blending as a unit in a fashion that I would imagine translates well to their live performances. This track, in particular, features some great guitar work.
Viral finds the Jefferson St. Parade band still growing and finding new ways to incorporate their wide musical influences while continuing to hone in on what may eventually be known as “their” sound.
Reviewed by Levon Williams
Title: African Party
Artist: Ginger Johnson and His African Messengers
Formats: CD, MP3, Vinyl
Release date: June 22, 2015
The reissue of Ginger Johnson and His African Messengers‘ 1967 album, African Party, tells you why Ginger Johnson was a key figure in the foundation of an African-influenced music style, later called Afrobeat. Starting with the opening track “I Jool Omo,” which highlights the combination of multi-layered percussion, jazz horn lines, and lyrics in a Yoruba dialect, this album clearly displays the sounds Ginger adopted during his career in London, such as traditional West African drums and Afro-Cuban style.
Born in Ijebu-Ode, Nigeria in 1916, George Folunsho Johnson (nicknamed “Ginger”) was orphaned and raised by his older sister who reputedly introduced him to classical music as well as traditional African sounds. Joining the Nigerian navy at the age of 18, Ginger soon made his first trip to Britain. After the end of World War II, he settled in London and became an Afro-Cuban percussionist, quickly making a huge impact on the London music scene. From the late-1940s and onward, he performed and recorded with brilliant London-based artists, including British saxophone legend Ronnie Scott and the Edmundo Ross Orchestra. Not only famous as a percussionist of the jazz and Latin bands of the day, Ginger Johnson was also known as a vibrant host of African and Caribbean musicians, young Fela Kuti among them. It was during such a period of the heyday of African music in London that Ginger formed his own band, Ginger Johnson and His African Messengers, and recorded African Party. Following is the album trailer/mini documentary:
As heard in track 5, “Talking Drum,” each track in the album is prompted by lively rhythmical percussion of West-African and Caribbean origins. Yet, overlaid melodies of saxophones, trumpet, and flute provide the danceable elements of Afro-Cuban jazz.
Besides his role as a musician, Ginger was a music educator, TV personality, and owner of the Iroko Country Club in North London. It is also notable that he performed with renowned rock bands, including Pink Floyd and The Rolling Stones. Now 40 years from his death in 1975, African Party is the first remastered reissue of Ginger’s recordings. This reissue will lead you to Ginger’s vital sound in the 1960s London, which was the precursor to Afrobeat.
Reviewed by Masatomo Yonezu