Tal National come from all over North Africa, and they bring their fusion music to audiences the world over. I spoke to them about the origins of their style and playing in England.
Ian Brennan
Ian Brenann has had many production projects always involving civilisations from oppressed or persecuted communities. He once won a Grammy Award for production global mega-stars Tinariwen, Tuaregs of the North African desert. This year I spoke to him about Abatwa the Pygmy from Rwanda, and their trip together to WOMAD.
LADAMA
LADAMA is a group of all-powerful females from various places in South America, they come together to inspire one another with their local rhythms, but also to teach and educate women around the world as they travel.
Hashmat Sultana
Sufi soul singing sisters from India brought their award winning talents to WOMAD where I spoke to them about what Sufi music is, their journey to the big stage and their plans for the future.
Orchestre Les Mangelepa
Legendary band that have been playing in Kenya and all around Africa for 40 years, FINALLY make it across the pond, and I get to chat to them about their first festival in Europe / England, audiences around the world and their style of playing and music making.
ÌFÉ (Otura Mun)
WOMAD Festival / Religious expression / Yoruba - Ifá practises / Electronic - London music scene
WOMAD 2017 Sunday, Ecotricity Stage, 5-6pm
Otura Mun and Sophie Darling @ WOMAD Festival 2017
IIII+IIII Album Out now:
Pronounced “Edgy-Og-Beh”
As a student of ethnomusicology, the concept of music as a form of religious or spiritual expression is something we frequently touch upon; be it the use of the African mBira for connection with the ancestral spirits, or the Islamic recital chanting of qawwali music, but Otura Mun’s debut album in his ÌFÉ outfit; IIII+IIII is a unique contemporary exploration of faith and spirituality through electronic music.
ÌFÉ firstly as a title of an album resonates religious connotations as it rings familiar to the ‘ Ifá ’ faith system within which our profound conductor of this musical outfit is himself, a practising priest. Ifá is a branch of the Yoruba religion practiced throughout West Africa (Benin,Togo, Niger ect) I spoke to Otura Mun about these undeniable connections of faith in the album that at times plays as a spiritual experience;
Otura Mun: I initiated in Ifá; which is a part of the Yoruba religions as practiced in the western hemisphere. In which basically I am a priest, we are also called babalawo and our job inside that religious practices (Ifá) is divination.
So my job is basically to find and define, what we understand as the divine destiny that each person is living or expressing at any particular moment in their lives, or looking back in their lives. So if you sit down in front of me, I’m going to define the sign out of the 256 (signs) that talks about the energy that you are manifesting.
Within Ifá, a process involving a wooden ‘divination tray’ named the ‘Opon Ifá' is used along side the sacred palm or kola nuts named ‘Ikin’, together the babalawos (otherwise known as Iyanifas/priests) will use this with the ‘256 signs’ in order to establish someones energy with the divine;
Otura Mun: My job (as a babalawo) is to identify the energies and help you balance yourself with it, with the idea that if you can grab onto your destiny and the life you are supposed to be living, and adhere to it right, and walk that path, then you are going to enjoy the fruits of life, have a long life of health, salvage relationships with people, you know, open roads in life.
But if you're not doing what you're supposed to be doing, if you're not walking the path you're supposed to be walking, then you might experience loss and sickness and conflict. So my job is to help you see that destiny, and help you to give yourself to it.
So some of what you're hearing in the record, is sort of maybe me coming to terms with another way to view the world around me. Because I initiated in this practice maybe around four years ago right; so this is an African religion and an African way of viewing and understanding the world that you live in, right. So maybe seven years ago I would have thought it would be silly to be praying to a stone, right, because of my western up bringing, I couldn’t understand that a stone has life, it is expressing itself, just the way that say this wood *holds table* is still expressing itself you know what I mean. But I couldn’t really wrap my head around that, it was me, meeting a new me, working through this new way of understanding the world, and inside of the songs, theres almost always a theme that I'm dealing with, and they’re general theme, say like loss or forgiveness.
The last song ‘Yari Gemini’ is talking about forgiveness and it’s talking about a friend of mine that helped me get through a ruff moment in my life, you know. And so, Geminis are the two stars that are in the sky, and so I think about living with this best friend of mine forever, we’re going to be together forever you know, and inside of the Yoruba religion, the two twins are ‘Ibeji' and so theres a song at the end of the album, where I'm talking about the Gemini's being these two stars in the sky, but then you flip it and were singing to the Ibeji which are the twins in the Yoruba religions. So there’s sort of several different levels on which you can understand the music
Having presented the album originally on ‘A World In London’ as an exclusive ‘new release’ back in May on SOAS Radio (https://soasradio.org/music/episodes/awil-221-full-swing), I’d relinquished in the opportunity to divulge fully into the album. Each tune sways seamlessly through speaking Yoruban or Spanish to English lyrics; as with faith that transcends languages, it seems this is another way in which the album becomes almost a religious experience. With further reminisce of trip-hop and a Cuban percussive section, I rather became entranced with the album. I asked Otura Mun how the rest of the world have reacted to the release…
Otura Mun: It has been pretty amazing, I am really just overjoyed with the people that have hit me up from so many different parts of the world I think that were somehow able to connect through the music, on so many different levels, whether it was somebody who lets say is initiated in a certain part of the nation that let’s say is part of the religion, and say it touches them there. Or whether it's someone that doesn't speak either Spanish or English or Yoruba, but it is somehow able to connect with the sentiment of the album, in a very clear way. I’m just really grateful to be able communicate with so many different people, and for people to be able to pull something out of the record that’s meaningful, that’s special.
Knowing full well that the chart music of Puerto Rico, where Otura calls home, has for some, time been highly dominated by the reggaeton rhythms since the 1990’s. I ask Otura if this has had an impact on the success of his electro-afro-cuban album at home in the heart of Puerto Rico, and if this effects, as ÌFÉ, where he feels most musical at home…
Otura Mun: Home for me is in Puerto Rico, but actually to be honest, my home for performing is London. I love the UK, this is the third time I’v been here this year, all the shows we play in UK have been amazing. Im also a big fan of UK music, like I like listening to BBC One Extra, Mr.Jam is cool, I love al that stuff and so I mean, home is cool, we actually have played three shows in Puerto Rico in total, that’s it.
It’s totally really well received, it’s just that the music scene in general is really conservative over there you know, it’s sort of over run by like, reggaetone and just a lot of crap music. And so you know, there is a space for what were doing, but it’s soo new, that the people, especially the young kids, haven’t been able to reach out and interact, so yeah we play internationally a lot.
I managed to catch up with Otura Mun after his set at WOMAD Festival UK 2017. Otura was playing on the Ecotricity Stage at a sun setting time of 5-6pm. Having listened to the album extensively before the set I was expecting an immersive performance, however was taken aback by the reaction of the audience, whom much like a religious ceremony seemed completely entranced in his soundscapes, almost as if sacrificing themselves to the music. Playing nearly the whole of ‘IIII+IIII’ I left the set feeling as tho I had received a generous helping of IFE’s music, and with unshakable taste for more. I asked Otura Mun if this was the reception they always receive when they play?
Otura Mun: I tell you we didn’t want to leave the WOMAD stage! I suppose we do receive a similar audience participation wherever we go, but you know once again, the UK crowds are a lot of fun. For some reason I think that you guys know electronic music out here, and so you're used to those sounds and those types of performances, and so yeah, I just think that theres something about it, I don't know what it is, I can't put my finger on it, but this music in a way is built for you guys. I think perhaps you are the party people *laughs*.
I highly recommend listening to IIII+IIII in solitary concentration. The beautiful harmonies of the lyrics resonate such as a choir singing a sacred Yoruba praise song. I feel that the album is a journey through the faith and ÌFÉ is the carriage of our discovery. Perhaps in this new era IIII+IIII marks an age of albums being a medium of faith expression, and in themselves become an artefact of religious meditation. IIII+IIII in this case becoming Otura Muns religious manifesto.
The opening song being perhaps the opening ceremony in our journey; with a call and response typical of it’s African influences, along side the cuban son rhythms, we are welcomed to the melting pot of inspirations to be found in the album through a soft meditative chant. The album then immediately picks up in the second track ‘Bangah' (Pico y Palo) with its foot tapping electronic Jamaican dancehall esc energy, suddenly we are able to revise and absorb the message, but it seems we can also express the album through dancing. The third track ‘YUMAVISION' diverting and taking us to a trip-hop ÌFÉ. As well as taking us through a concoction of traditional and contemporary sounds; IIII+IIII also subtly and seamlessly blends Afro-Cuban rhythms, such as their use of the ‘Son’ rhythm which inspired Salsa and originally was of an Afro-Cuban descent. ÌFÉ helps to shine a new light on these otherwise heavily Afro-Cuban sounds rarely heard outside the boundaries from which they originated.
All in all, ÌFÉ’s IIII+IIII may be a personal spiritual exploration for Otura Mun, but it’s also a unique exploration of music as an expression of religion, blurring the line between preacher and the preached and perhaps adding a medium to how one can express faith.
Check out Songlines October magazine review in which IIII+IIII received a 5 star review;
King Ayisoba
King Ayisoba, recognisable by an incredibly unique voice, and of course the accompaniment of the sacred kologo. King Aysioba was born in a tiny village in Ghana where he played the kologo everywhere he went. At the right time, he took his music to the neighbouring villages, and eventually to the city. Here he started to collaborate with Hi-life musicians, and produced his first tape/cd in 2006 - “Modern Ghanians” - of which ‘I want to se you my father’ became a hit, earning Ayisoba the position of popularising the kologo, and gained him the title of ‘King’ at the Ghana Music Awards Festival as part of Ghanas 50th anniversary celebrations.
Since Ayidoba, deemed King of the music in Ghana, has continued to take his traditional musics to global audiences the world over, and has collaborated with a number of legendary names, including Lee Scratch Perry on ‘1000 Must Die’.
King Ayisoba mixes his traditional styles, the use of the kologo: a two stringed lute used primarily and almost exclusively in areas of West Africa. As well as this the band uses various other traditional instruments, such as for percussion a calabash used like a football, with shakers inside, and is played by throwing rhythmically from hand to hand. A variety of native drums such as the guluku drums and the dundun drums. As well as these sounds, overall King Ayisoba often combines with electronic sounds.
I felt honoured to talk to King Asyioba as firstly a king of music, also the populariser of the sacred kologo music to a global audience, and so authentic in his music, the sounds of King Ayisoba and his band really transport you to West Africa… Ghana. His music also speaks without borders to everyone local to his village, local to Ghana and thus West Africa.
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BBC3 Charlie Gillet Stage @ WOMAD
I had the opportunity to watch King Aysiobas set before talking to the band, they came out in amazing authentic batakari tunics, looking incredible in their West African garments, with their intriguing and magical instruments.
They proceeded to entice an entire audience with their melodic strumming and percussions. King Aysiboa’s unique voice echoing over the crowds as we danced with the band for a beautiful transformative hour.
As they finished playing, I made my way round the back to talk to the band a little…
Members: King Aysioba, Abaadongo Adontanga, Ayuune Sulley, Gemeka Akligilalatanda, Ayamga Francis
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Sophie Darling (SD): Hello I loved the performance, I would love to know a bit more about your instruments, What is this?
King Ayisoba (KA) : It is very difficult to teach, This is the kologo..It is tuned to the voice
SD: How did you start to play the kologo, because it is after all strongly connected to your sound, as the populariser of the kologo globally?
KA: My grandfather used to play , and when he passed away, I was little, I never saw my grandfather before he passed away, but he say I need to play this kologo from my grandfather. And so when he passed, he said wheres this babies father, so they called my father to come, then they told my father that the child will play like my grandfather said, if you make a small kologo for me, so my father made a small kologo for me to play for four years, five years, six, years and I play with at parties, at the market, everywhere.
SD:You are from Northern Ghana,
KA: Yes from northern Ghana,
SD: Do you play any other instruments?
KA: I don’t want to play any instrument apart from the kologo, because if you play many instruments, you can't be professional for one, you get no where, but if you have one, you are very strong.
SD: What's the name of this drum
KA: Lumba - They call me lindisunga some people all these talking drums dumdum
SD: How long have you been playing in this set up?
KA: We started this together a long time ago, but maybe we come back together after I come out of profession with my father. After that, I knew that if you move to our own music you have to get back, so we start the band together in 2004/5
SD: 1000 can die, you wrote it with Lee Perry… What’s he like in person? Is he as crazy as a working partner?
KA: I didn’t know who he was at first, I wonder, yeah, I don’t know him well and we meet him, a year ago through our manager we meet him.
We meet him, how it is here, we had the same music, and we they told me he is a legend, they say, really important, he produced our first album. So they took my watch to give to the man, he like this, he like our record, and then they come back and say he want to work with us, we sit down and composed the song, and we also give the beat, and we have to give him the bat to listen to over there, and he also mixed the beats too we have to give the reggae man. So we give the reggae man, and he say wahh, and he tried to add some voice, and professionality. Was great.
SD: Who do you like to listen to musically?
KA: For me I like a lot, I like good music I like highlife, I like reggae, I guess I love it, I like all good music and all good singers, and some music I like it.
SD: Tell me about your fan base?
KA: Ayyyy we are the number star in Ghana, *laughs* is very good, very nice, everybody listen, there are lots of different styles, they are all different, but they all listen.
SD: Genre is hiplife, is this a creation? A mixture of highlife, dancehall and hip-hop?
KA: That is wrong, those are styles of music from Ghana but what we play is kologo music, hiplife is the Ghanian equivalent of rap music, high life is older music from 60’s and 70’s, they are playing a northern genre of kologo from the north, their region. And they have collaborated and played songs with hip-hop artists but my own style forever is kologo.
Vigüela
Vigüela are a Spain who take their traditional music to a global audience. Having been playing for over 30 years together, Vigüela, part family members, aim to keep alive and vivid the traditional repertoire of specific styles from their home in Castilla La Mancha. The melismatic vocals and pulsating guitar rhythms create a beautiful harmonic sway.
I managed to catch up with Vigüela at WOMAD Festival 2017 before their slot on the BBC 3 Charlie Gillet Stage, and I spoke with them about their influences, their traditions and how they were finding British WOMAD.
Members: Juan Antonio Torres, Mary Nieto, Carmen Torres, Luis Garcia Valera.
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Sophie Darling: firstly did you enjoy your set
Viguela: Yes of corse, a lot
SD: So let us know the relationships within the band, how do we know each other?
Viguela: Antonio is founder of the band, he was 15 years old, so that was 35 years ago. Carmen is his sister, so she joined very very soon after he created the band, Marie is from the same village as they, she joined the band ten years go, so they know each other from all their lives, and she has been involved with many groups of women singing and playing music, and so when they decide they want one more woman, they asked her to come with them. Louis is from the different region is from the north and he is like on hour away. We know from the world of folk and traditional music, he is a director of a school for music, so we know him and we needed one more man so he joined the band 5 years ago, he is only 21 years old. He is from the south eats and we know him only over the internet before we met in person, because he is active mainly int eh traditional practise of music, so he.
They go to play in the street, so he spend a couple nights in this world, so we wanted to bring someone here, because he sings and he know this music directly from his family, especially his grandfather is his inspiration but also his mother is dancer, and she dances wonderfully so when we had this cache to come to womad to play here on the bbc3 stage, we thought about bringing a guest artists to show what he can do, the music he knows can join perfectly with Viguela, because it continues in a style of music that is like a language.
SD: Can you explain a little bit about your genre of music, and for example is there a strong timing
Viguela: This is a very interesting questions, because the question of rhythm is quite intriguing, beaus elf you put up a clap you always say this is awful, because you can't play this music with a clap, because the procession of ‘compas’ you have these music sheets with the lines, so they say this is a 3/4 compas rythm, this is a 2/4 4/4 that concession in this music doesn’t have place, this a totally different way of making music, I mean you can't record this with a clap because you make the drums then you have to make the bass… no, you have to play together of corse to make a records with this, you can add voices after that perhaps, but everyone has to be together because the rhythms is moving al the time, you can’t really touch the rhythm in the modern conception of music.
SD: How did you all start learning your instruments, was it passed down from your family? I assume from what you just explained that it wasn’t a western ‘sitting down’ and reading scripture technique?
Viguela: Mainly we learned from our families, but also from the social environment, Antonio and Carmen; their father was a professional drummer, he was in band that play for you in the villages, but their grandmothers used to sing, not professionally, but they are singing with people all the time, so they picked p this excuse they have grown, in the rural village with 2000 people, so it’s notary big, and maybe like a little not well communicated with each other, there is no train, and only one bus to the city, so they have guessed some music in their village.
Marie she is from the same when they were younger this music was totally alive, this was a music that for
Louis came into the music mainly because he kew his father used to play guitar, but when we was a teenager, he realised that his father didn’t play anymore because he didn’t have someone to play with, so he started to play the lute in order to accompany his father, so after this he also got some of the older people interested again to play some of this music and also to play some specific music they used to play. So it got alive again. So now he studies and teaches education for music, he knows how to communicate in both ways, int eh modern way, but also int he traditional way, and for
Habe, he is only young, 20/21 years old. So he has all the possibilities to be interested int his music because all his grandfathers died, but his family in general they are very musical and dancing and playing.
SD: Do you have a good fan bass at home? Where have your most enjoyable performances been?
Viguela: In Spain of corse they have played a lot, they have some people that are really really encouraging them all the time, “ahh Viguela you ere going round the world”, because you know sometimes when you are doing things like this, coming here, the people are very proud of this. But we are so happy in Spain that there are a lot of prejudices against this music, because they really don't listen to it, but they feel it is rural its old fashioned lack of modernity. The contemporary people can only sometimes be interested. This is traditional music from the people in our village. There is also perhaps new folk lets say inspired, but from a modern point of view I mean, the ones who can’t record an full album of music with a clap, so we also have that in Spain. For me it is another world, it is a different world, because this is a different approach to music, totally different. But we have these two things, The traditional music we also have other kinds of gigs with bigger line ups, with choreographic with um, dress, everything is quite standardises lets say, they go they make their show always the same, or maybe they can include one more song, but its more different now. It’s another world too. But sometimes it’s very confusing everything gets old, people don't understand really how to interpret it, how to excuse they think this is like the other thing meh but this is shay we face a lot of prejudices, but this of corse is why it is very important to be here, because we are so traditional to excite the Spain, and of the other people that have prejudices, but for others too to be very proud
SD: What was the small guitar you were playing?
Viguela: Mini guitar, e’darram mancheio’
SD: any follow up gigs?
Viguela: yes in Spain, we have gigs on Fridays and Saturday and we hope no later than the end of the year we will have recorded a new album
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In a beautiful atmosphere Vigüela came out roaring a stunning Spanish tune from their homelands. The guitars and the vocals caught the attention of the audience, who gathered to listen to the traditional music.
For me the vocals are truly the aspect that stands out in this beautiful music, almost Arabic with it’s tonality, I love how they interact singing together.