Category Archives: black music

Mitch Mitchell (1947 – 2008)

[Youtube=http://www.youtube.com/watch?v=jmFhgpL_rQY]

John “Mitch” Mitchell (July 9, 1947 November 12, 2008) was an English drummer, best-known for his membership in The Jimi Hendrix Experience. Mitchell was known for his work on such songs as “Manic Depression” (a 3/4 rock waltz that finds Mitch playing a driving afro-cuban inspired beat), “Voodoo Child (Slight Return)“[1], “Fire” and “Voodoo Chile” (a deep blues groove with subtle hi-hat). Mitchell came from a jazz background and like many of his drummer contemporaries was strongly influenced by the work of Elvin Jones, Max Roach, and Joe Morello.

Mitchell pioneered a style of drumming which would later become known as jazz fusion. Alongside Hendrix’s revolutionary guitar work and songwriting, Mitchell’s playing helped redefine rock music drumming.

Electric Ladyland cover, photo by David Montgomery

The death of Mitch gives me the opportunity to discuss the photo on Electric Ladyland, one of my alltime favourite record covers. The photo depicts nineteen nude women lounging in front of a black background.

“The cover was put together by Chris Stamp and Track Records art director David King while Hendrix was in the US. Stamp sent King and photographer David Montgomery down to the Speakeasy to round up some girls, with the brief to make them look like “real people. At £5 a head (or £10 with their knickers off) this sounds like authentic Stamp.” —33⅓ on Electric Ladyland by John Perry [2].

One of the 19 girls, Reine Sutcliffe, told the music paper Melody Maker:

“It makes us look like a load of old tarts. It’s rotten. Everyone looked great but the picture makes us look old and tired. We were trying to look too sexy, but it didn’t work out.”

British visual culture connoisseur Stephen Bayley adds:

“The concept was fully in accordance with the spirit of the Sixties: at the same time Harry Peccinotti and David Hillman had done a memorable photo feature for Nova magazine” –The Independent on Sunday, July 16, 2006 by Stephen Bayley [3]

I’m afraid I can’t agree with miss Sutcliffe on this matter. I find the realism in this photo not enticing but more than fascinating nonetheless, though I also admit I empathize about denying her five minutes of glamourous fame.

RIP Miriam Makeba

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Live version of “Pata Pata“

South African singer Miriam Makeba died yesterday while touring in Italy. She was 76 and best-known for being a vocal anti-apartheid activist, her 1967 song “Pata Pata“[1][2] and her marriages to fellow country trumpeter Hugh Masekela and American “Black pride“/”Black Power” activist Stokely Carmichael.

“Pata Pata” is a musical composition recorded by South African singer Miriam Makeba and released in 1967 on Reprise Records.

“Pata Pata” was co-written by Miriam Makeba and Jerry Ragovoy. After Makeba was signed to Warner/Reprise Records and published her first singles, the record company needed several songs to finish a Makeba album. Legend has it that she had told Reprise she wanted to do ballads, so they put her together with Jerry Ragovoy, the R&B writer/producer who was on staff at Warner Brothers at the time. Not being familiar with her, the night before their first recording session, he went to see her in a club in Greenwich Village, where she did a show comprised completely of African folk music. He was captivated to the point that, the next day, he just had Makeba and her sister sing a number of the songs into a tape recorder. One of them became “Pata Pata.”

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Studio version of “Pata Pata“

The song was covered by Osibisa and Percy Faith.

In her political activism, Makeba reminds me of Fela Kuti and most of all, Josephine Baker.

Eat Out More Often

Rudy Ray Moore died. I had never heard of him. But the image above I liked.

Rudy Ray Moore (March 17, 1927 – October 19, 2008) was an American comedian, musician, singer, film actor, and film producer. He was perhaps best known as Dolemite, the uniquely articulate pimp from the 1975 film Dolemite, and its sequel, The Human Tornado. The persona was developed during his earlier stand-up comedy records.

Rudy Ray Moore’s type of African-American humor, called bawdry, is also represented by Blowfly and the Detroit Grand Pubahs.

Had he not succumbed to the complications of AIDS in 1997

Unidentified photograph of Fela Kuti

The Nigerian musician Fela Kuti would have celebrated his 70th birthday today, had he not succumbed to the complications of AIDS in 1997.

Like much of my music which I now consider canonical, I discovered him through my house music love story.

[Youtube=http://www.youtube.com/watch?v=AgpQNENsmo4]

Digression #1, namesake of “Shakara” track by Fela Kuti, [1] has embedding disabled

He first popped up as the author of “Shakara“[1] on playlists of David Mancuso‘s legendary The Loft. Playlists I discovered of course via the internet.

Cover of a Japanese Fela Kuti compilation album

The pre-internet world was literally a terra incognita. If one found a record by Fela Kuti, one had to find good sources to discover the rest of his releases. Today we’ve moved to a terra cognita. One glance at Discogs is enough to discover the oeuvre of Fela.

What we still need though, in spite of the terra cognita situation, are tastemakers. Biased tastemakers.

Simon Reynolds has blamed the terra cognita thing for the supposed death of the underground, he will be hosting a conference on this soon[2].

He stated on this before:

“The web has extinguished the idea of a true underground. It’s too easy for anybody to find out anything now, especially as scene custodians tend to be curatorial, archivist types. And with all the mp3 and whole album blogs, it’s totally easy to hear anything you want to hear, in this risk-less, desultory way that has no cost, either financially or emotionally.” Simon Reynolds via woebot.

One more word on Fela. Woebot once said – I paraphrase – “I’ll take King Sunny Adé over Fela Kuti any day. Too much redundancy in Fela.”I disagree. I like long pieces and love Fela’s trance. Which reminds me, I miss Woebot.

[Youtube=http://www.youtube.com/watch?v=hMUWn_jRk0E&]

Unidentified clip of Sunny Ade

Here is a quote from that Woebot post:

“Sunny Ade gets my vote over Fela Kuti anyday. There’s too much redundancy in Fela’s music, saxophones and organs meandering all over the place. Shaggy ain’t my thing. While the political ire and philosophical stance of something like “Kalakuta Republic” are rousing, in preference I’ll take the sheer sonic thrill of Tony Allen‘s edge-of-climax drum pans on the more “superficial” dance craze record “Open and Close“. That record retains the JB‘s hyper-tense instrumental dynamics and one-mind co-operation, without degenerating into marijuana miasma.”[3]

Alton Ellis (1940 – 2008)

Alton Ellis (September 1, 1940 – October 10, 2008), was a Jamaican musician best known for such singles as “I’m Still In Love,” “Rock Steady” (which gave the rocksteady genre its name), “Can I Change My Mind “[1]; as well as the originator of the Mad Mad riddim. Ellis is survived by his wife and more than 20 children.

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“I’m Still In Love”by Alton Ellis

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“Rock Steady” which gave its name to the genre.

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Mad Mad riddim medley

Reggae mythology

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“Prophecy” by Fabian

Today is an important day in reggae mythology. Haile Selassie was crowned today 80 years ago. Unlike P-Funk mythology, reggae mythology does not have a Wikipedia page. Its nearest equivalent page is Rastafari movement.

As a term, reggae mythology has the advantage of being a subcategory of black science fiction (mainly because of the Lee Perry link). The introduction of the concept will also allow easier understanding of terms such as 400 Years.

Speaking of Perry, I found compositions off “Revolution Dub” at YouTube, notably Woman’s Dub [1] and the original of “Doctor on the Go” by Junior Byles [2].

“Doctor on the Go” and “Woman’s Dub” are WMCs, I’ve added the 174th entry for what will become a 1001-piece series.

Norman Whitfield (1943 – 2008)

Norman Whitfield died yesterday.

“Smiling Faces Sometimes” by The Undisputed Truth, (Whitfield / Strong)

Now you are sad. You remember going religiously to the Passage 44 in Brussels every week to rent 10 CDs, you were determined to learn as much about music as was possible in a very short time. You discovered The Temptations at about the same time you discovered Lee Perry. Your love affair with black music was about to start.

Whitfield remains an underrated music personality. In the words of pop historian and DJ David Haslam:

“The trad agenda set by commentators in the sixties, heavy with value judgments – glorifying the work of the Velvet Underground over Motown releases, the production skills of Brian Wilson over those of Norman Whitfield, and the social significance and songwriting talent of John Lennon rather than James Brown – persists.”
David Haslam

Amen.

Sylvester and set theory

Do Ya Wanna Funk (1982) Sylvester [Amazon.com] [FR] [DE] [UK]

Gay icon Sylvester James would have turned 60 today if he had not died from AIDS 20 years ago.

“Over and Over [1],” released in 1977 on Fantasy Records is WMC#75.

From a set-theoretical point of view, the Venn diagram of “Over and Over“intersects via whatlinkshere with the following compilations:

François Kevorkian‘s Choice: A Collection of Classics

Dave Lee‘s Jumpin’ series

Brian Chin‘s Club Classics & House Foundations series

Norman Jay‘s Good Times series

—Sholem Stein, musicologist, dance music connoisseur and genre theorist

What S. Stein means in the above quote is that “Over and Over” is featured on the mentioned albums.

Sylvester was firmly planted in the American disco scene but was popular too in Europe at the time and the rest of the jet set world.

His best-known songs are the Hi-NRG classics “You Make Me Feel (Mighty Real)“[2] (a previous WMC) and “Do You Wanna Funk,” songs of simultaneously gay liberation in the United States and Saint-Tropez chic in Europe.

“Do You Wanna Funk“[3] is World Music Classic #76.

Vertere and WMC #59, 60 and 61

https://www.youtube.com/watch?v=qutX_w-QLZM

“Don’t Turn Around” (1970) by Black Ivory.

The other day, while I was explaining my interest in etymology (recently rekindled by buying and reading Giambattista Vico‘s The New Science) and the way I bring it to my students, I took the word vertere as an example. From vertere is derived transverse, diverse, perverse, universe, subversion, etc…

I studied Latin for four years in high school, but the above example is the way I would have liked to have studied Latin, with relevancy to current living languages. Start with the prefixes and suffixes and then the verbs.

Prompted by the word “turn” (as in vertere) I make Black Ivory‘s (one of Patrick Adams‘s earliest productions with vocals by Leroy Burgess) “Don’t Turn Around” World Music Classic # 59. All good things come in three, so I give you two more tracks (WMC #60 and 61) from the same period by Skull Snaps, “My Hangup Is You“[1] and the super-breaky “It’s a New Day“[2].

More Jahsonic YouTube faves are here[3].

Also, while researching these tunes, I found Wanda Robinson‘s [4], a WMC in the making?.

Sonny Okosuns (1947 – 2008)

Sonny Okosuns (1947 – May 24 2008) was a Nigerian singer and musician.

He is known for his contributions to the Sun City album and for his African reggae

Okosuns first came to international attention with the 1977 composition “Fire in Soweto[1]“.

Please listen to “Tire Ni Oluwa”[2], which is a groovier track.

Speaking of African reggae, Nina Hagen released a single of that name in 1979, of which a twelve inch mix was also released. This is the seven inch or album version:

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“African Reggae” (1979) Nina Hagen

From her album Unbehagen

“African Reggae” is WMC #50, this nobrow track appeals to both the punk and the black music crowd and would not be out of place in the German opera category, although probably only for its formal qualities, i.e. the voice of Hagen. The B-side to “African Reggae” was Lucky Number, originally recorded by Lene Lovich [3], Hagen covered the song the following year[4]. Hagen’s version was spunkier.