Erika Elliott Interview 2010

Interview by Sean Barlow

Afropop’s Sean Barlow made his annual pilgrimage uptown to City Parks Foundation to talk to James Burke, Director, Arts & Cultural Programs and Erika Elliott, Artistic Director, about SummerStage’s 2010 season. Featured artists include Jimmy Cliff, Baaba Maal, Tinariwen, Bassekou Kouyate, Omar Souleymane and More. SummerStage is celebrating its 25^th anniversary this year.

Sean Barlow: First of all, happy 25^th anniversary! How are you marking the occasion?

James Burke: For our 25^th anniversary season, we have a couple of really big initiatives that we’re working on. The first is really a structural rebranding of what SummerStage means to the people of New York. For the past many years, we’ve not only been programming in Central Park, but in neighborhood parks in all five boroughs of the city under different series names such as “City Parks Concerts” and “Dance and Theatre.” This year we’re very excited to be expanding the SummerStage brand to encompass all of the free outdoor arts programs that we present across disciplines, so that means we’re actually presenting 110 free programs this season as part of the festival—music, theatre and dance all under the SummerStage brand. We have spoken-word events as well, Family Day in the Bronx.

S.B.: So what is the connotation of SummerStage that you want to extend beyond Central Park?

J.B.: The mission of the City Parks Foundation is to connect people with their parks and to really revitalize their neighborhood parks. SummerStage in Central Park has just been a real key magnet for bringing everyone in the city to the crown jewel, the people’s park. But we realized we really wanted to focus this season on neighborhood parks as well. Because that’s where we can really help to improve community involvement in parks, and revitalize neighborhoods. Part of that—and Erika can talk with a little bit more detail—we realized as we were putting together the big Central Park main stage program, featuring international artists from all over the world (several of whom we’re inviting back for encore performances) that we didn’t want to overlook homegrown talent as well. So we started a new programming initiative to focus on arts movements that were born, or really came to fruition, in New York City. So we call that our “New York City Revolutions Program” and we picked three programming areas to focus on this year, but I can let Erika talk more about that… 


Erika Elliott.:  New York Revolutions is an initiative focused on three specific genres or styles that have their home or were cultivated in New York. We identified those as hip hop, salsa, and also the bebop movement in jazz. So obviously all those have really important origins or foundations in this city, and we’ve historically always presented those genres in the neighborhoods where they were either created or strongly cultivated. So, to do that city-wide has been an integral part of presenting hip hop historically. We’ve always done it in Central Park but we’ve done it a lot more in neighborhood parks all around the city. So as part of the Revolutions program we’re doing hip hop in every borough with artists as varied as founding fathers Gil Scott-Heron and DJ Kool Herc, but also newer artists like Jay Electronica, and also seminal artists like Big Daddy Kane and Brand Nubians. For salsa, we’re doing things like DJ Bobbito with a Fania Records tribute DJ set with three DJ’s doing that in Central Park. And then we’re doing other salsa bands all around the city, but again with a focus on the Bronx and Harlem where salsa really came into its own.

Then for bebop, we’ve always done the “Charlie Parker Festival” in Harlem and the East Village, in paying tribute to his legacy. We’re doing that this year again as always but with a really super lineup that we’re really excited about-- McCoy Tyner, Vijay Iyer, JD Allen, Catharine Russell, Jimmy Scott. So just putting a focus on those particular genres within the context of what we’ve historically done, which is to present sort of a great variety of artists from NYC and the world, to really highlight those, because they’re distinctly New York movements. I feel like they really couldn’t have happened anywhere else because of the cultural mix and the neighborhoods of New York that gave rise to these particular movements. That’s what is really revolutionary because they couldn’t have happened anywhere else. Salsa has origins in Cuba and other places but it was really in New York that the style was taken mainstream and worldwide, and I think that’s really because of how unique and powerful being in New York is. 

S.B. So music you’ve always presented--jazz, hip hop and salsa—you want to take it out of the neighborhoods and take it to people who wouldn’t go normally go, for instance, from their home in Brooklyn to the Bronx. Is that what you’re thinking?


J.B.: Yeah, sure, developing new audiences. I mean, when the idea germinated we were thinking, the south Bronx is the birthplace of hip hop, so we were thinking we could do Kool Herc in Cortona Park and then we realized but yeah, then hip hop spread quickly throughout the world, and every borough and every neighborhood kinda had its own slant on it. So we just started realizing that we should expand it a little bit geographically, and take into account all the variations in hip hop and salsa and bebop that have occurred city-wide, and really bring the heart to the people, to the neighborhoods.

E.E.: I think it gives the music great context, because it’s one thing to see Gil Scott at Central Park SummerStage, and that’s going to be a phenomenal show, but it’s another thing to see Gil Scott in Harlem where he named records after streets in his neighborhood. In a neighborhood, it’s a different feel and it’s a feel you’re not going to get anywhere else in the world. The same is true with the hip hop shows. I mean, sure you could see these artists in a club, or you could see them maybe at another big festival like Bonnaroo, but you’re not going see them in the Bronx. You’re not going to see Jay Electronica in Brooklyn. And that experience is unique to this city, and something that just gives it a lot of context and also just a great feel. The feel of an artist playing in Brooklyn is a different feel then you’re gonna get anywhere else in the world.

S.B.:  Describe your venues.  What’s cool about these spaces?

E.E.: We transform these parks and set up a world-class sound system in what might be a ball field.  We are bringing a level of talent to areas which many normally wouldn’t expect.  When we are doing street marketing in the areas many people are in disbelief that certain artists are coming to these areas.  They are also amazing settings, Queens Bridge Park with the water as the backdrop and the Queensboro Bridge right behind you and a stage with some amazing talent.  Again this is something you will never see anywhere else.  All of these parks are great parks such as Cortona. It’s on a sloping hill in the middle of the Bronx.  And part of it is that where ever you are in the city—Staten Island, or deep in Jamaica, Queens or in Brooklyn or in the Bronx—we have free arts and culture right near you.  The ability to see something both in your back yard and in other neighborhoods is exciting and we hope people will travel to see amazing talent for free.

S.B.: Do all of these parks have good subway access?

E.E.: Most of them.  The only one I can think that is a little difficult to get to is Springfield Park because it is close of JFK and not very close to subways. 

S.B.:  Could we say most are within a 5-minute walk?

E.E.: Yes that is safe to say.

S.B.: Let’s talk about the international program, as our audience is most keenly focused on African and African Diaspora music. Tell me about the Baaba Maal program, because you’ve got something special going on with the Baaba Maal show (Monday, June 14^th).

E.E.: Well, we have a project called “Playing for Change” which is a documentary film that was shown on PBS and I assume other places. It’s a really unique project that was developed to kind of talk about street musicians, record them, and put the soundtracks together. So you have artists from all over the world, singing on a particular song who may have never met, who come from all different walks of life. Baaba Maal was really interested in having them support him for the date. But I think the message overall is how transformative music can be, what a unifying force it can be.

 S.B.: Give me your take on Baaba Maal.


E.E.: I think he is one of the most important African artists working today, and has just had an amazing career. His most recent record, Television, was widely received from both hipsters to people that have just a core interest and love for African music. And I think that’s such a huge accomplishment. It speaks to his ability to touch different people across all different language and style barriers, and to do it over such a career length is phenomenal, especially in this day and age.

J.B.: Yeah, he’s always represented the great range. He’s done as much as any single artist to popularize African music in this country, and he has a great history with the SummerStage festival. So Baaba is a performer that we’re really proud to bring back. He’s performed here twice before.

SB: Yeah, one of my all time favorite SummerStage moments was when Baaba closed Africa Fëte back in the 90’s. Dark, thick rain clouds were gathering. The music just kept getting more and more intense. Then on the last song, a torrential downpour let loose. A lot people stuck around and danced in the rain. It was ecstatic. I’ll never forget it.

So tell me about your Tinariwen, Omar Souleyman and Toubab Krewe triple bill (Saturday, June 26^th).  I heard that Omar Souleyman has made over 500 cassettes and CD’s!

E.E.: Tinariwen is doing their SummerStage debut. I’ve been fans of theirs for a long time, and I thought it was finally time they played the festival with their new album coming to such acclaim. And then to pair them in a unique way with something you totally wouldn’t expect, like Omar Souleyman. For me that’s always fun.


I’ve heard Bjork has said Omar Souleyman is her favorite dance music currently.  I think he’s really a street musician’s musician. Every cab driver plays him. There’s sort of a separation between elite, traditional artists there—who are put on a certain pedestal—and then what they consider street artists, who are mix-tape guys, who everybody knows, but who are maybe not seen as high class in some way. Not to categorize him in that way, but I think he’s just the type of artist who’s a local musician hero. And you know what attracted me to him is just that the music is so unique, and it’s so up tempo. I mean it’s almost techno in base, but it’s got these amazing vocals and a really traditional soundtrack.

J.B.: This is a date I’m really excited about, it’s a good example of something that’s for anyone who loves African music. Club kids will totally dig on this too. They’re unfamiliar with some of these acts but they’ll come and dance in the sun.

S.B.  Fẻte de la Musique featuring Salif Keita is returning this summer (Sunday, June 20). Tell us about that.

E.E.: The program is interesting because last year we did Fẻte de la Musique in conjunction with the French Embassy and the French Music Export Office who wanted to focus on this day because it is important to the French-speaking Diaspora. It’s a day that is celebrated in many francophone countries—the summer solstice and a celebration of French music.  We did this last year and we wanted to do it this year with a new distinct New York program in development named Make Music New York.  That is a festival with music in the streets along with large and small venues across the entire city—from big name artists playing at stadiums to musicians playing on street corners.  They thought this needed to happen in New York City and started lobbying for it.  It is gaining in momentum and this is our ode to that.  We have a long history of presenting artists from France and also it’s a great thing to celebrate, making music outdoors in New York, making music happen on all corners of the city.  Also obviously having a Haitian artist (Tabou Combo) is very important because all Haiti has been through and is still currently going through.  And Salif Keita! Your audience knows how great he is. It will be an exciting day.

S.B.:  Talk a little about the Jimmy Cliff show (Sunday, July 11^th).


E.E.: I think Jimmy Cliff is one of the most well-know reggae artists of all time.  He popularized Jamaican culture and reggae songs. He is super-important. And then the other artist on the bill that I discovered this year is Victor Démé from Burkina Faso. I saw him in France and fell in love with his voice—bluesy and soulful singing. He has been around for quite some time but was recently “discovered” and is working in Europe and has done quite a few major festivals. Even though the lyrics aren’t in English, you can feel the heart of what he is saying. This is his U.S. debut tour.


S.B.:  Are there any other groups you want to point out?

E.E.:  Bassekou Kouyate (July 25). Public Enemy (8/15). The Bachata Day on August 14 with Andy Luis Miguel de la Amargue, Elvis Martinez and Alexandria. These are the contemporary, working, well-known bachata artists. Most of them are based in the Dominican Republic. It should be a really big day. We have done a lot of bachata music in Washington Heights at the High Bridge Park. Dominicans are such an important, growing community in New York City and it’s something we feel we strongly need to represent on the Central Park stage.  In general, on a side note, it’s really important we represent the city as diverse a population as we can.  New York is arguably the most diverse city in the world and to be able to present music that represents New York City and has something that speaks to everyone is important. This is why we mix up the bills, to mix communities, and also why we try and include everyone like Bachata Day.

S.B.: So the Bassekou Kouyate show is July 25^th, with Burkina Electric, Fool’s Gold and DJ Frank of Voodoo Funk…


E.E.: I saw Bassekou at WOMEX in Sevilla. a couple years ago. To me, he was the home run of the whole festival and somebody who I wanted to book immediately. Electric performance! Just such a soulful rock/blues. Just the best performer that I saw that year, hand’s down, for sure. So then the question is, when is he going to tour? So really, we’ve just been waiting for him to come to the U.S. And it lines up nicely with his latest release [I Speak Fula! (Next Ambience)].

So, it’s Bassekou and a local African/international group, Burkina Electric, who you recommended to me. And then Fool’s Gold sings in English and Hebrew, obviously African influenced, sort of in the way that Vampire Weekend is doing. Fun, upbeat pop music, and it definitely has a buzz. I think they will be a nice compliment and attract a diverse crowd. Fool’s Gold is an L.A. based band, and this will be the first time we’re having them at SummerStage .I think it’s going to be a really fun day.

S.B.: I’ve known Bassekou since I reported on him in the late 80’s in Bamako,Mali, when people there were already buzzing about him, because he was such a powerful innovator on the ngoni.  When Bassekou and his wife, singer Amy Sacko, and his guys came here in the winter, they played Carnegie Hall. It was just one of the best concerts I’ve ever been to. I told the guys before they went on stage that they didn’t know how good this is. You are playing Carnegie hall for your New York City debut, this is a big deal. And they were like, really?

You know it occurs to me, Erika, that for about the past 20 or so years of your 25 years that everyone who loves SummerStage is celebrating this year, Afropop has enjoyed a great relationship with the festival—serving in formal and informal advisory roles, doing exceptional live recordings for our radio broadcast, meeting new fans at Afropop booths in the parks, and so on.

E.E.: I think you guys are everywhere that someone who loves good music wants to be. I see you out, covering shows, from Copenhagen to Sevilla [WOMEX gatherings for professionals in world music]. And you’ve been to Le Poisson Rouge and Highline Ballroom before me. So I just am excited because I feel like you have your pulse on a lot of people who really care about good music, especially in New York, but certainly worldwide. And you know, as an outlet for us to connect with those people and people who are really taste makers, to me, it’s hugely important, both as a collaborator, and someone who I look to for feedback on artists who are happening, and artists that I should look to include in our season, but also to activate people and get them excited about what we are doing. So it’s a really nice partnership in that way.

S.B.: And Erika, some props back to you and the creative programming that you do for SummerStage, and now even more throughout the five boroughs. It is a real testament to you for taking chances, takings risks and trusting that people will just relate to excellent music and excellent performers as opposed to trotting out the tried and true showbiz work horses. You and previous SummerStage programmers historically have done that and I see with this season even more so.  It just seems like excellent artists are everywhere. Awesome!

E.E.: We have such an amazing legacy and I have to say that as someone programming this season I have big shoes and a legacy to fill. I'm super proud to be sort of extending that through what I'm doing now. I have to ask: Who haven’t we presented? And who do we need back?  It’s a hard thing to do to outdo yourself every year, and in particularly in an anniversary year.  It means a lot that you think we have outdone ourselves because that’s the goal.


S.B.:  I especially like the fact that, for your anniversary, you’re bringing back some of your favorite artists. That will remind people of their experiences and the legacy of SummerStage.  And hopefully in practical terms, as far as donations from people enjoying the music—which I know is a key part of your support—people will say, “I saw Baaba Maal in that amazing show 15 or so years ago and now I'm seeing him again thanks to SummerStage.” Let’s hope those memories from SummerStage’s 25 years and their experiences this year will make them feel more motivated to donate to the cause as they leave the parks after the shows.

Thanks Erika. The Afropop crew will be out at SummerStage throughout the city starting in June. See you there!

E.E.: You’re welcome! See you there.

For information on the complete SummerStage schedule in all five boroughs, go to www.summerstage.org

SummerStage accepts donations through Membership and general donations, both can be done at www.SummerStage.org.