Lee ‘Scratch' Perry and The Upsetters, support from Kioko.

05.03.17

The Village Underground 

Reggae is certainly one of my favourite genres of music to see performed live. It would be very hard indeed to find a ‘reggae lover’ who hasn’t heard of Lee ‘Scratch’ Perry (a.k.a The Upsetter). Having been an active musician since the 50’s, Lee ‘Scratch’ Perry has been at the forefront of musical innovation, noted as being an ‘inventor’ in dub music having created new studio recording and production techniques. Needless to say being able to see Lee Perry, simply in the flesh, was a thrilling experience. 

  The Village Underground tucked away in east London, is a wonderfully renovated underground space, with red brick walls, large arches, and high ceilings, the venue was cool aesthetically and a fantastic for capturing the sound.

  The packed support for the evening was: Reggae Roast, MC Brother Culture, Resonators and Kioko. I arrived during the final battling of MC Brother Culture with the Resonators certainly setting the scene for a night of real roots reggae. 

  The audience was what I’d have expected; a larger number of older people, ready to re-live ‘the good old days’ (Lee ‘Scratch’ Perry himself was born in 1936 and is now 80!), plus many younger people of all ages and fashions. One thing I believe everyone had in common was the idea that this concert was for many, a ‘bucket-lister’, and probably a one-and-only chance to see such a prominent character in music history.  

  The final support act came to the stage ten members strong, with a standard reggae set-up complete with a brass section. I immediately liked their energy, the “vibe” seemed fitting to pump up an audience for such an event. Opening their act with almost ‘chant’ like lyrics;

“Listen to the music that makes you feel free, Sing it back to me….KIOKO”. Starting with a huge amount of ‘audience participation’ (perhaps too much for my personal liking) their songs were certainly energetic, catchy and woke up the audience. The lead singers voice reminded me of one of my favourite bands ‘The Skints’ vocals; and perhaps for that reason I warmed to the band. They smoothly jammed through 45 minutes certainly building the excitement and feeding the buzz for ‘the legend that is Lee ‘Scratch’ Perry’. 

  Having worked with some of the biggest names in Reggae history such including: ‘Bob Marley and the Wailers, Junior Murvin, the Congos, Max Romeo, Adrian Sherwood, the Beastie Boys, Ari Up, and many others’…This ideology that Lee Perry is a ‘Legend’ was not only fit, but was clearly a respected title, as every musician on stage that evening that spoke of the man as ‘the legend’. 

  Finally around 10pm the, also world renowned, band ‘The Upsetters’ came to the stage, they then proceeded to play an instrumental piece before asking the audience if we were ready for “The Legend himself….LEE ‘SCRATCH’ PERRY”.

  I honestly have to say, I was filled with joy as Lee Perry came to the stage and the band jumped straight into a set filled with classics. The man himself brought enough joy for the evening with simply his bodacious outfit that reminded me some what of a magpie. At 80 years old, Lee Perry was dressed in an orange suit, with matching orange beard and hair, a hat bedazzled with gems, whilst adorning all manor of exotic jewels and sparkles. 

  On the microphone, Lee Perry rarely sung the lyrics to any of the songs throughout the evening and instead seemed to freestyle reggae talk over the tunes rhyming about anything and everything. For nearly the whole rendition of ‘Iron Shirt’ Lee Perry was singing about his ‘ginger wine’ that near to the end of the song was found by a stage tech and handed to Lee Perry, who then moved on to sing about something it appeared he had found on the floor. 

Although unorthodox, I felt that it in no way damaged the evening. Looking around, the general reception of the performance seemed happy, with people frequently sharing laughs and generally enjoying the atmosphere. 

I was reminded of the old saying “The older you get, the less you care” and thinking of how empowering the performance was. I also found myself thinking that had the concert been advertised as ‘The Upsetters with Lee ‘Scratch’ Perry improvising lyrics throughout’…I’d still have brought a ticket. 

   The Upsetters played flawlessly, a seriously professional polished set that was executed perfectly. I felt that the whole evening exceeded expectations. The fact Lee ‘Scratch’ Perry hardly sung one whole line of his lyrics that we all know so well, but instead spoke completely random off the cuff rhymes; created what felt like a more profound, intimate and certainly original experience. 

The Dzambo Agusevi Orchestra, With Special Guests, Mamak Khadem and Olcay Bayir

28.02.17

The Forbe, Camden

Having never before been to the Forbe in Camden, I admired the interior; classy wooden walls, high ceilings, intriguing angles and a wall of plants I particularly liked. The stage was set for the opening act; Olcay Bayir and her touring band. Coming from Turkey with Kurdish origins, Olcay mixes the classical Anatolian musical traditions with her western musical training. Coming to the stage it must be noted how wonderfully gracious Olcay Bayir looked, wearing a classy black dress embellished with beautiful jewellery, the audience quickly hushed. 

Olcay started her performance by singing an original composition in a wonderful soprano voice, that managed to stretch from the lowest octaves climbing steadily higher and higher until I’m sure she managed to squeeze five different octaves into one song. The drums and the five stringed bass sounded more western influenced driving each song with an almost rock’n’roll sound. This contrasted well with the traditional techniques used playing the acoustic guitar, and the pairing of the Kaval, a traditional flute instrument from Turkey, with the violin, harmonising and together ornamenting around the operatic voice of Olcay. 

Olcay Bayir treated us to one or two originals off her new upcoming album. Olcay’s stunning voice echoed through the unusual space connecting to every audience member. The use of the Kaval working with the violin really lifted the Macedonian sounds from her compositions creating a fusion of music that is not only easy to listen too, but also divine with rich textures. Olcay Bayir announced that for her second upcoming album she has launched a crowd funder to help towards the cost, in return she’s offering rewards, plus pre-orders of the album. After 45 minutes of playing Olcay left the stage to be set up for the nine piece all brass balkan orchestra. 

What an entrance they made, coming out section by section layering and building up a real buzz around their first song. After blasting us with some heavy brass talent, without introduction Mamak Khadem joined the boys on stage and together they finished their opening sequence. 

The stunning spiritual voice of Mamak Khadem comes from a fusion of traditional styles embracing cultures from all throughout the middle east. Primarily an Iranian singer, her roots in ancient poetry and traditional Persian music have helped Mamek find common threads throughout the globe, creating continuously innovative music. During their performance together Mamak Khadem and the Dzambo Augusevi Orchestra brought influences from primarily Iran and Macedonia, but also Serbia.  Together they played through a number of Mamaks songs including a particular favourite of mine from the evening; ‘Those Eyes’ of which Mamak had composed specifically for the Orchestra. 

The evening was filled with infectious grooves. The playful, upbeat manner in which the Dzambo Agesevi Orchestra perform showcases their rare connection. Within the nine members we have an Uncle named Koko, his brother, and that brothers son; Dzambo. 

Dzambo himself joined his uncle in the orchestra as third trumpet at the mere age of 11, and over the next few years became one of the worlds most renowned players shocking and awe inspiring around the globe. “Jumbo 11” is an album by Dzambo, made at the age of 11, after being invited by legendary saxophone player Ferus Mustafov to record. From there Dzambo won every trumpet playing award there was, including in ‘Pehcevo Competition’ ranking as every position possible. From 2006 to2011 he was unbeatably the fastest trumpet player in the world. He also achieved ‘every trumpet players dream’ of winning the ‘Guca Festival’ for himself and the Orchestra, who were eventually asked to stop contending in order to give others a chance. Uncle Koko is also a legend in his own right. Having played abroad in many projects his virtuosity is recognised everywhere. 

The evening seemed to fly as each song seamlessly grooved into the next. Mama Khadem demanded a complete deserved respect as she powerfully sung with the nine piece brass band. With varying trumpets and horns and a percussion section that consisted of a Rowland Synth pad and a large Tapan drum, not once did Mamak Khadem’s voice fade into the noise. Somehow, the the big brass beats from the Dzambo Agusevi Orchestra worked perfectly in sync Mamak who clearly had a close and warm friendship with the boys. Together they performed one of Mamaks more diverse songs from her first album - ‘Jostojoo, Forever Seeking’ of which Songlines magazine highly acclaimed. The song itself ‘Bigharâr (Restless Yearning)’ asked both the Uncle Koko and Nephew Dzambo to sing with Mamak, consequently the energy of the evening really hit a high with everyone in the audience dancing and applauding. 

Mamak spoke a few times between the songs explaining how she had told the band to learn English, but she will be doing most the speaking as they “didn’t do very well” (queue waves of chuckles from the orchestra). Throughout the evening she told us stories of her life and travels, speaking of her journeys through cultures making all kinds of friends and a families, and told us how the orchestra had become her “favourite family”. The love and appreciation the members had for one another was clear throughout. After every song applauding each other, embracing smiling and laughing. 

After an epic finally Mama concluded to the audience that “Music has no boundaries and it is the language of love”. She then left the stage leaving the nine behind to step up the balkan beats for the last segment of the evening. 

Here the audience really came alive, seemingly suddenly half Macedonian/Turkish the band launched into Balkan styled patriotic sing along songs. The talent of each members of the band really shone through as they played fast, complicated, elegant pieces and did so, with such an air of ease. Needless to say Dzambo’s trumpet playing shone through as an exceptional talent, frequently shocking and stunning the audience. The horn section themselves were so smooth with the groove I felt if I took my eyes of the band, I could convince myself I could hear a western bass guitar on the stage.

With a huge amount of audience singing, the encores seemed they would never end. I spoke to a lady in the audience who had grown up in Macedonia and she said; 

 “This music is so nostalgic, it makes me feel like I am home. But not just for me, for Perisan people too, and Iranian, so many people feel at home to this music.” 

Although I had grown up in the South of England, I could feel the nostalgia filling the room with admiration for the extremely talented orchestra. 

After the third encore, the band finished with ‘Crazy Dance’ an upbeat original that left both the audience and, it seemed, the band reluctant to leave.

I had really enjoyed the evening, the electric energy emanating from the stage stayed with me till I was home, trying to sleep. 

Olcay Bayir will be releasing new music soon, you can find more about her crowdfunding project on her Facebook page. Make Khadims albums are available on all platforms, including her brand new album ‘The Road’. The Dzambo Agusevi Orchestra are continuing to travel and play their music globally. 

A Celebration of Fela Kuti with Bukky Leo & Black Egypt

27.02.17 

Jazz Cafe, London 

When buying my ticket previous to this event, the Jazz Cafe website stated: ‘It is very difficult to put into words the significance and stature of an individual like Fela Kuti’, I was dubious as to, if at all,  how well it could be done. Bukky Leo however promised to bring this monumental music to life with the help of the all-star ‘Black Egypt’. 

     Having been originally picked up playing saxophone on the streets of Lagos, by drummer legend Tony Allen. Bukky Leo became renowned in the acid jazz scene, playing globally, Lagos to London becoming undoubtedly one of the most important afrobeat musicians alive. Bukky Leo, is a rare musician that has had the honour of playing in ‘Africa 70’ with afrobeat innovator Feta Kuti himself.

    Upon arrival, the Jazz Cafe had set an afro-aesthetic mood, with soft dim lights of yellows and reds. The Dj from ‘Open The Gate’s' Fenomeno started the evening with some easy swaying roots reggae, gradually adding more afro-beats/jazz tunes as the venue packed out. The varying demographic in the audience all looked intent and ready for the night ahead, most of us having missed out on the original date two weeks previous, of which quickly sold out, prompting the addition of a new date.

    With nearly each member of the audience in motion, the band took to the stage, and jumped head first into their set, stopping only after the second song to introduce the stage. Each member receiving a warm welcome, some familiar faces also, such as Kishon Khan on keys, renowned British jazz pianist, composer, arranger and producer. Kishon Khan the previous week had given a seminar in ‘The School of Oriental and African studies’, SOAS, on the rhythmic and melodic foundations of Cuban music, whilst also promoting his position in the Black Egypts. Mark Crown on trumpet has also been seen playing with a variety of pop and reggae artists, most recently touring with rudimental. 

    The band played full length songs in tribute to Fela Kuti among some originals from Bukky and the Black Egypts. The energy emanating from the performance clearly engulfed the entire room that seemed almost hypnotised into a dance trance by the music on stage. A personal highlight was Bukky Leo’s rendition of ‘Shuffering and Shmiling’ by Fela. Playing the piece for over nine minutes for me it became nostalgic of every Fela album I’v spent hours listening too. Bukky Leo and the Black Egypts harnessed the magic and talent created by Flea Kuti and managed to bring that magic to the people in the Jazz Cafe that Sunday night. 

    Bukky and the Black Egypts played numerous Fela pieces and embellished the whole set with similarly complex and lengthy solos, of which truly gave the brass section of the band their time to shine. With Trevor Edwards on trombone, Mark Crown on the trumpet and of corse Bukky Leo on saxophone, the audience was truly felt elevated to original days of Fela and afrobeat, therefore making the celebration of Kuti a tremendous success. The solos from each member brought the jazz, with the on going groove being carried throughout by Richard Tunde Baker on percussion, Saleem Rahmaan on drums, Phill Dawson on Electric Guitar, and Yeukai CheMin and others on the distinctive chanting backing vocals so easily recognisable with afrobeat and Fela Kuti. 

     The endless toe tapping groove came to an end, the band rapped up and finished their set. The enormity of the songs they played that evening echoed around the Jazz Cafe as people applauded until every member had left the stage. Bukky Leo being the first musician I had personally seen that had played in the past with Fela I left the venue feeling honoured and elated.

     The most recent collaboration of Bukky Leo and the Black Egypts is their album released in 2012 entitled ‘Anarchy’, one can also refer to the multitudes of work that Fela Kuti left in the world for more afrobeat. Furthermore don’t hesitate to look up the catalogues of each player within the band, as together they cover a multitude of amazing work and fabulous music.