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Summer Extravaganza African Concerts in the Parks
- - A Recap of a Weekend of African Festivals "Central Park SummerStage"and "Celebrate Brooklyn" This weekend produced an unprecedented amount of free concerts featuring a diverse range of African performers in New York City's parks. Friday, Summer Stage opened with an African influenced modern dance group, Nia Love/Blacksmith's Daughter Dance Company who provided lively percussion and interpretive dance followed by Cheikh Tairou M'baye & Sing Sing Rhythms, Senegalese Sabar drummers and dancers who took to the air, arms and legs flailing, dancing the piercing drum phrases.
Sunday at Central Park, the much awaited Ballet Africains, who came all the way from Guinea, West Africa collaborated with former members of the company who now teach, perform and live in the States, producing an "impromptu"ballet of percussive showmanship and dancing delight. D'Gary at Satalla Satalla was filled nearly to capacity last Thursday as New Yorkers flocked to hear the sweet guitar melodies of Malagasy guitar virtuoso, D'Gary. Fresh off of a Canadian tour, D'Gary was playing his second concert of the day. One might have thought it was the first show of his entire tour, however, as he and his dynamic percussionist--who plays a small tin can on a handle--kept the energy high with extended improvisations throughout a lengthy set. As D'Gary told us, his audience has been steadily growing here in New York, as he has noticed a palpable increase in attendance and response each time he has played since his first American tour in 1998. And with good reason. His guitar work is nothing short of magical. At certain moments, audience members would have to do a double-take to be sure that there were only two performers on stage. Mario, his percussionist's rich sound was comparable to an entire percussion section. D'Gary himself frequently dazzles the crowd with finger-picking that creates the impression of several guitarists at work. Both shared singing duties, adding warm melodic lines on top of the complex yet flowing instrumental work. D'Gary kept the set in farmiliar territory for the most part, delving into his more popular songs, including the title track off his phenomenal "Akata Meso"album. He did, however, provide a special treat, performing a new composition (untitled and instrumental) for the first time as a memorable encore. All in attendance relished the experience, most cheering loudly and some compelled to get up and let limbs fly. The Afropop team got a chance to catch up with D'Gary at his hotel after the concert, where he gave us the full scoop on his latest projects, which include an album with American banjo-sensation Bela Fleck. That recording is sure to be a sensory overload! He also mentions plans to record with the Indian tabla king, Zakir Hussein. Keep your ear to the ground for D'Gary's upcoming collaborations. This African star is on the rise! In the lobby of Roseland was a big blow-up print of Jon Pareles' glowing New York Times review of Youssou's latest release "Egypt"(Nonesuch). Read Afropop's review of "Egypt". No repertoire from his collaborative project with the Cairo-based Fathy Salama orchestra was played that night, but Youssou nodded to this project's personal exploration of themes of love and tolerance in Islam by opening the Great African Ball with "Father Bamba", a tribute to Cheick Amadou Bamba, Senegalese founder of the Islamic Sufi sect, the Mourides, who now number in the millions worldwide. At one point, Youssou came down into the photo pit where he was mobbed by fans wanting to shake his hand. Youssou looked happy. And his fans radiated their delight. Complete tour schedule for Youssou N'Dour.  Congolese Rhumba Rumblesat SummerStage with Kekele Kekele, the all star Congolese ensemble opened up Central Park's Summer Stage on Sunday with a performance as smooth as butter in the hot sun. Congolese Rumba, with its roots dating back to the integration of African, European, American and Cuban popular dance music, has been revitalized by these established superstars, many of whom began their careers in the 1960s. As a reunited collective, Kekele has recently released "Congo Life", its first CD, complete with promotional tour, in 15 years. The album has already received great acclaim, including having been chosen as "Album of the Year"by The Beat. Like the vine called Kekele, they wove together a strong group. The band included guitars, saxophone, accordion, percussion and distinctive harmony that had the crowd up and moving from the first song. Their Congolese clothing was as colorful as the characters that donned them, adding to the festive mood. The singers rotated effortlessly, providing a contrast in musical styles and tempo while the other three joined in with perfect harmony and swaying choreography. Each musician took their turn soloing and improvising on the vast array of styles including rumba and soukous. Their experience and passion was evident throughout the set which included songs from their recent CD as well as old favorites that had audience members yelling with recognition, delight and demand for an encore. Complete tour schedule for Kekele Check out Afropop's review of Kekele's latest album, Congo Life  Thomas Mapfumo & The Blacks Unlimited at Central Park SummerStage Concession stand lines piled up with beverage purchasers under the hot New York City summer sun after shaking and grooving to the simmering Congolese rumba of Kekele. It seemed possible that the crowd would be too worn out to keep the feet and legs moving through the headlining set of Zimbabwean superstar Thomas Mapfumo and his Blacks Unlimited. Fortunately, Mapfumo attracts droves of countrymen and women wherever he goes and today was no exception. A strong showing of Zimbabweans from the small but vibrant local community planted their dancing shoes in front of the stage as soon as the main pit cleared out during the intermission. The cheers and hollers issued forth before Mapfumo even sang his first note, and their pleasure at being able to see a free show halfway around the world of a national musical hero of Zimbabwe's liberation struggle was palpable and contagious. A fresh wind of energy gusted through the tired and sweating masses present who could not long resist the tidal pull of the circulating mbira rhythms and the ageless wisdom, grandfatherly charm, and vocal prowess of Thomas Mapfumo. Sticking to a harmonious set-list of old and new material that is the trademark of veteran bandleaders, Mapfumo's duo of mbira players set the tone of the performance while keyboard, guitars, and horns supplemented and ever so lightly expanded and contracted the melodies into various shapes, colors, and sizes. Plenty of foot-stamping sing-alongs from a loyal and familiar crowd who, even amongst non-Shona speakers, instantly recognized the Mapfumo classics. Clearly worn out after a long show of singing (not to mention dancing) in the heat of the day, Mapfumo--surrounded by SummerStage guards in a bizarre imitation of American pop-star security--was gracious enough to receive a sizable gathering of fans after the show to sign their shirts, CDs, and posters. Complete tour schedule for Thomas Mapfumo African Music at Lincoln Center Midsummer Night Swing with Dominic Kanza  Tuesday, June 15th, an audience of several hundred bore witness to the passion and flare of Congolese soukous music from one of its premiere ambassadors, Dominic Kanza and his African Rhythm Machine at the Lincoln Center. The concert, which included a dancing workshop, was part of this year's "Midsummer Night's Swing"series. Dominic is a guitarist of international acclaim, having played with such stars as Paul Simon, Pharoah Sanders, Michael Brecker, and Papa Wemba. The soukous style is the most popular and danceable Congolese style, and Dominic made it that much more accessible to the eclectic New York audience by blending it with Rumba, Reggae and Salsa rhythms and melodies. The first set held true to traditional soukous form while the second sparked enthusiasm from spectators with fusion covers of such international hits as "Stir it Up"and "Hot, Hot, Hot." The pace of the performance picked up as the sun went down, people loosened their ties or kicked off their heels, and dancing became infectious. Dominic reported to the Afropop representatives on hand that spectators are becoming more and more responsive to soukous throughout the country. New York certainly appreciated Dominic's upbeat introduction to this musical gem. This year's "Celebrate Brooklyn!"series treated spectators to yet another evening of world-class music last Saturday in Prospect Park. The third event of the summer festivities honored the ten year anniversary of democracy in South Africa and the fall of the apartheid regime. On hand to treat the crowd to a taste of South Africa's renowned musical traditions were two of South Africa's most prominent acts: Vusi Mahlasela, the vibrant folk-guitarist hailing from Pretoria, and the legendary Ladysmith Black Mambazo, the ten-man a cappella group led by Joseph Shabalala that first brought South African harmonies into the hearts of Americans in 1986 when they were featured on Paul Simon's Graceland. Vusi Mahlasela at Prospect Park Celebrate Brooklyn  Thousands of fans representing a wide array of cultures flooded into the park as Vusi took the stage. A sense of awe blanketed the audience as he sat alone with his acoustic guitar and calmly delivered melody after sweet melody. As the crowd became further mesmerized, Vusi picked up the energy along with the tempo. Songs like "Troubadour"and "Raid Song"brought the crowd to its feet, clapping and humming along. The energy became intoxicating, drowning both Vusi and his enraptured spectators in its warmth. By the end of his set, Vusi was dancing across the stage, visibly as enchanted by the moment as anyone else. It was truly magical. An active figure in South Africa's political struggle since 1981, Vusi carefully tempered the exuberance he created with an urgent political message. He told stories of the violent oppression that fueled apartheid, and reminded us that although South Africa has much to celebrate ten years into a newfound freedom, many troubles remain. As South Africa continues to face persistent problems, it is encouraging to see people like Vusi doing more than their part to carry the burden.  at Prospect Park Celebrate Brooklyn While Vusi Mahlasela's opening act had astonishing energy, Ladysmith Black Mambazo of Paul Simon, Nelson Mandela, and commercial TV fame was the main draw on this pleasant Saturday night showcase. And they didn't disappoint. After a rousing welcome from the crowd, Ladysmith frontman Joseph Shabalala led his chorus right into the heart of the Xhosa and Zulu harmonies that had people on the grass cheering even before the first song--the title track from their newest album and a return to their roots, Raise Your Spirit Higher--was finished. Black Mambazo has a knack for maintaining their cyclical refrains for minutes at a time with their smoothly husky croons and slight variations on the theme replete with ad-libbed sounds, noises, and words to keep the listener on their toes. The long experience of the group shines through in the deep expressiveness emitted by even the simplest of dance steps and slightest of facial gestures. Often it would take a mere three-note chorus to get the crowd riled up, so exquisitely precise were their vocalizations. The music swings, too, like a rural African version of barbershop doo-wop doused with soul, and when one of the members of the ensemble tells you that "I miss the place where I grow up; I miss the beautiful mountains and the sweet music,"you can easily visualize that place. The music of Black Mambazo is called Isicathamiya, meaning "tip toe"or "step lightly,"coming from the days when black miners in South Africa had to practice their singing and dancing in secret to avoid the wrath of their white overseers. Although somewhat minimalist compared with other African dance forms, the graceful Isicathamiya dances contribute visual flair and rhythmic emphasis to the performance. There were shouts of "hallelujah!"and much love in the air between performers and audience, even when Shabalala jokingly beseeched his bandmates not to "kiss on stage,"drawing cackles of laughter from the crowd. One song translated as "This Lady is Beautiful"had band members asking "which one?"and cries of "me! me! me!"from the ladies in attendance. That their harmonies reach into the soul is a large part of what has enthralled the world about Ladysmith Black Mambazo for the past two decades. They may be getting older, but they don't seem to be going anywhere but "Higher." "Music for the Masses "Launch The world music underground in New York City was alive in full effect last Saturday night. After ten years of being around New York as a loose collective, "Music for the Masses"has gone legit as a nonprofit organization specializing in production, promotion, and consulting. Many key figures involved in African music packed into the World Universe Gallery Saturday night to celebrate the long-anticipated launch. The party featured veteran disc jockeys DJ Neva and DJ Al Angeloro spinning grooves from around the globe. Also on hand were live acts Bonga, Haitian Voudou Rhythms featuring Tiga, and Baba Olajagun and Ancestral Rhythm all of whom kept the room bumping. The night's festivities were officiated by Chief Dayo and co-sponsored by The New York Center for African Culture and Education.  at Joe's Pub Sunday night, Joe's Pub in Manhattan played host to an evening of music fusing traditions literally from here to Timbuktu. Blues singer/songwriter/guitarist Markus James and the Wassonrai explored the early roots of blues music by mixing the American style with the traditional sounds of the Wassoulou and Sonrai people of Mali, West Africa--the people from whose music most ethnomusicologists believe the blues derived. The evening began with a screening of the documentary "Timbuktoubab"(toubab meaning "white person") that followed Markus around Northern Mali. The film featured exclusive concert footage of Markus and his Malian group performing in Timbuktu, as well as interviews with the musicians that gave insight into their instruments, cultures, history, and perspectives on the music. The documentary screening was followed by a live performance by Markus on guitar, Mamadou Sidibe on the kamala ngoni (a brand of African harp) and Makane Kouyate on the calabash. The trio mixed not only cultural styles, but languages as well--Markus would sing verses in English and his Malian counterparts would respond either in Bamanakan or in Sonrai (two indigenous languages spoken in Mali.) Markus' guitar seemed to hover over the hypnotic rhythms of both calabash and kamala ngoni--which plays strongly percussive, repetitive pentatonic patterns--adding tasteful riffs and subtle harmonics. The group produced a sound that struck a nearly perfect balance between the ancient and modern blues forms so that they were at once distinguishable and complimentary to one another. Markus' voice was gritty and haunting while Mamadou's and Makane's were smooth and subdued, further upholding the elegant equilibrium of the sound. The highlight of the show was a guest appearance by legendary Wassoulou singer Coumba Sidibe. During her girlhood days, Coumba introduced hunters' music from Wassoulou into the repertoire of Mali's national folkloric ensemble, establishing the road that a host of younger singers including Oumou Sangare, Ramata Diakite, and Nahawa Doumbia have since followed. At first bashful, the Malian diva honored Markus' invitation to the stage and soon found herself belting vocal lines to an elated audience. Those on hand began to sway, clap along and throw money on stage, as is often customary in West Africa. One felt transported to the banks of the Niger. Meanwhile, Markus' voice conjured images of the Mississippi. Since one tradition was born from the other, it is of small wonder that the two came together so beautifully. Diblo Dibala and Matchatcha Satalla was rockin' late into the night on Saturday as Diblo Dibala and Matchatcha pumped out an astonishing two-and-a-half hour set of sensational Soukous. The good times rolled from midnight until two thirty without rest for Diblo and his animated team of musicians and dancers. The group represented an assortment of nations, from Guadeloupe, to France, to Tanzania. Diblo, of course, hails from Kisangani, Congo, where he mastered the guitar while working with the region's finest musicians, such as Kanda Bongo Man, Franco, and the late Pepe Kalle. His blistering guitar licks, catchy melodies, and distortion-heavy, blast-'em-out-of-their-seats approach to soukous music have propelled him to the forefront of the Congolese scene--he may well be considered the Carlos Santana of the Congo. It didn't take long for Satalla's dance floor to flood with fans. Diblo's music maintained a distinct flow that seemed to force you to sway your hips with the rhythm. The spectacle sizzled as his two dancers added titillating motion to the music, changing costumes nearly every song and holding perfect smiles throughout the lengthy performance. A tight back-up band including a rhythm guitarist, bassist, drummer, and vocalist held down the groove while Diblo soared masterfully up and down the diatonic, soukous scales. As the band members told us, they play soukous to help their audience forget their troubles. As last Saturday's crowd can tell you, there were moments in Diblo's solos where you'd forget your name, let alone your problems!  Fela Kuti may have passed away several years ago, but the afrobeat tradition he pioneered was alive and kicking last Saturday at Makor bar. The Akoya Afrobeat Ensemble treated those on hand with a seventy minute set of authentic Nigerian afrobeat. The band's lead singer, Kaleta, toured with Fela for five years as his lead guitarist. As Kaleta carries on Fela's music, he has incorporated the style and rhythm of his native Benin as well. Kaleta took the stage caked in white face paint, as is customary for performers in his West African homeland. The way he pounded rhythms into his drums, you'd think he was trying to be heard back in Benin! The energy Kaleta brought to the stage gave the group enchanting spirit and irresistible charm. Akoya Afrobeat Ensemble is an impressively diverse crew. Africans, Asians, and Americans are scattered throughout, making it a virtual global microcosm. Yoshi Takemasa, their lead percussionist from Japan, can play with any African djembe-fola master. While being much more concerned with having a good time than being political (as afrobeat music inherently is), the group sends a positive political message simply by bringing people from all corners of the world together to share in this joyful collective. Fela would be proud! Contributed by: Sean Barlow, Jesse Brenner, Eric Herman, "Boo" Lynn Walsh
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