Takers
Gritty heist movie with Idris Elba leading a group of high-class bank robbers, including Chris Brown. Their life of luxury may be coming to an end, however, as cop Matt Dillon is on their tail. Zoe Saldana and Marianne Jean-Baptiste also star.
Worth seeing? It’s nice to see Elba using his own accent for a change, but this looks too slick to be fun. Ocean’s Eleven without the wry smile isn’t a good prospect.
Release date: 1st October

The Other Guys
Samuel L. Jackson and the Dwayne “the Rock” Johnson are your archetypal bad-ass cops in this comedy, taking down the bad guys and saving the city on a daily basis. Desk-bound detectives Will Ferrell and Mark Wahlberg get their chance to be the heroes when they investigate a shady businessman (Steve Coogan).
Worth seeing? This seems like a silly and fun take on the buddy cop genre, with a great cast.
Release date: 17th September

Africa United
Three Rwandan children go on the adventure of a lifetime as they walk 3000 miles to fulfil their dream of taking part in the opening ceremony of the World Cup in South Africa, picking up a host of colourful characters on the way.
Worth seeing? The plot sounds cute, and it has the potential to be a very uplifting African story (not something you see very often in the cinema). It may have missed the zeitgeist by having a release date post-tournament, though – we’re all a bit vuvuzela-ed out.
Release date: 22nd October

Red
Bruce Willis is a former black ops agent forced out of a blissful retirement when an assassin tries to kill him. His old gang (Morgan Freeman, John Malkovich and Helen Mirren) must reform and fight to survive in this adaptation of the comic from British writer Warren Ellis.
Worth seeing? An action film with an excellent and unusual cast – this could be a hoot as long as the script lives up to the premise.
Release date: 22nd October

Due Date
In Todd Phillips’s follow up to the Hangover, Robert Downey Jr is the uptight father-to-be who must hitch a lift across America with annoying Zach Galifianakis to get to his child’s birth on time. Jamie Foxx plays one of the people they meet along the way.
Worth seeing? The Hangover was hilarious and Downey and Galifianakis are so hot right now. Who cares if the plot is lifted straight from Planes, Trains and Automobiles?
Release date: 5th November

Unstoppable
Denzel Washington, Chris Pine and Rosario Dawson must fight to stop a runaway train full of dangerous chemicals in this fact-based drama from Tony Scott. Will they save the town in time?
Worth seeing? A runaway train doesn’t sound that exciting, but it does have a nice 70s disaster film vibe. Hopefully the quality cast and director can lift this out of B-movie territory.
Release date: 12th November

Recently celebrating its 50th anniversary, and here presenting a world premiere, America’s ‘Cultural Ambassador to the World’, the Alvin Ailey American Dance Theatre returns to the UK for an eight-city national tour this autumn.

The 31 member New York-based Alvin Ailey American Dance Theatre company has changed the face of American dance over the last half century, combining popular music, gospel and jazz with a fusion of ballet and modern dance, encouraging audiences that number in the millions to their feet.

Alvin Ailey American Dance Theatre grew from a ground-breaking performance in 1958 led by Alvin Ailey, who sought to enrich the modern dance tradition and celebrate his African-American heritage. Born in Rogers, Texas in 1931, Ailey grew up during a time of racial segregation and violence against African-Americans. When he was just 5 years old, the rape of his mother by a group of white men left him fearful of whites. Early experiences in the Southern Baptist church and local jook-joints instilled in him a fierce sense of black pride that would later figure prominently in Ailey’s signature works.

His inspiration for dance came in 1942 when he and his mother migrated to Los Angeles. There, young Ailey regularly attended shows at Lincoln and the Orpheum Theatres. He became serious about dance in 1949 when a school friend introduced him to the Hollywood studio of Lester Horton, who would later prove to be Ailey’s major influence and mentor; including classical ballet, jazz, and Native American dance. Horton’s school was the first multi-racial dance school in the United States and gave Ailey both a technique and a foundation of combined dance styles with which to grow artistically.

Ailey formed his own company in 1958 and a dance school later in 1969, creating more than 79 dances for his company during his tenure. Proud that his company was multi-racial, he wanted to give opportunities to black dancers who were frequently excluded from performances by racist attitudes at the time; the company always employed artists based solely on artistic talent and integrity, regardless of their race.

This ethos remains today. Known for their passion, energy and talent, the Ailey dancers include Renee Robinson, selected by Alvin Ailey himself and the only woman to have danced with AAADT for an incredible 29 years. Clifton Brown, hailed as “a star among stars” by The Sunday Times, received a Bessie award in 2007 in recognition of his work with the company.

“I was exposed to the Ailey company through a video I checked out of the Phoenix Public Library”, says Brown. “When I saw Donna Wood dance I was amazed and inspired on so many levels. Her limbs seemed to stretch to eternity, yet at times she was also so subtle. But what struck me the most was her sincerity. You could look in her eyes and see a person having a human experience. I instantly related to the feeling and expression that went through her entire body while she was dancing.”

An instant hit with fans, Clifton’s introduction to dance was by chance, and his dexterity learnt over time. “My grandmother took me to a tumbling class at a dance studio when I was four years old. All the kids in my family were older than me and had started to go to school already. Since I was still too young for school, she wanted to give me something constructive to do as well as give me some physical coordination – believe it or not I was very clumsy! I loved it and soon started taking ballet, then tap, jazz and modern. I’ve been dancing ever since.”

Besides star dancers, the team is coordinated by an exceptional collective of passionate professionals, one of which is Judith Jamison. In 2009 Jamison celebrated 20 years as Artistic Director of the company and was also named as one of the world’s 100 most influential people by Time magazine. She became a member of the Alvin Ailey American Dance Theatre in 1965 and danced with the company for 15 years to great acclaim. Recognizing her extraordinary talent, Mr. Ailey created some of his most enduring roles for her, most notably the tour de force solo, Cry.

Appearing as a guest artist with ballet companies all over the world during the 80’s, Jamison eventually formed her own company in 1988. The Jamison Project; a PBS special depicting her creative process, Judith Jamison: The Dancemaker, aired nationally the same year. She was then appointed Artistic Director to the Ailey company in December 1989 at the request of Ailey himself and won the prestigious National Medal of Arts alongside the Ailey organisation in 2001, the first dance company to receive the honour. Alvin Ailey sadly passed away on 1 December 1989; Ms Jamison recently announced she retires as Artistic Director in 2011, to be succeeded by Robert Battle.

Performing the over 200 works by over 70 choreographers to millions of people in 71 countries on six continents, AAADT’s far reaching popularity provides its members with an opportunity to view the world while touching international audiences.

“Touring the world is one of the perks of dancing with the Ailey Company,” says Brown. “Basically, you get to be a tourist in many different countries and get paid. Although we don’t have much time to see every city we go to, I do my best to experience each city and enjoy its offerings when my schedule allows. My favourite theatre to perform in has been the Odeon of Herodes Atticus in Athens, Greece. You’re dancing outside under the stars, in the ruins of Greece, with beautiful views.

“I’m excited to be back in the UK though,” he adds, “I always have a great experience performing in the UK. One of the most enjoyable things is the audience reaction. The people are so welcoming and enthusiastic! You can sense their anticipation for every performance.”

Highlights from the two programmes for the forthcoming UK dates include the phenomenal Revelations (1960) by Alvin Ailey, the most viewed piece in modern dance history, with an estimated audience of 23 million to date. Programme Two also features the world premiere of Christopher Huggins’ new work Anointed.

“I don’t necessarily dance because I have a need to perform for people,” Brown says, “but simply because I love it.  I am so fortunate to dance with a company that touches and moves so many people worldwide. Dancing with the Ailey Company, which is such a positive force, has shown me how amazing it is to share the spirit that we share with our audiences. It’s so much greater than anything I could achieve as an individual.”

Photo credits:

The tour opens at Sadler’s Wells from Tuesday 14 September to Saturday 25 September 2010.
Info & Tickets

Bunmi Koko

The Nigerian born UK -based Bunmi Olaye’s road to success reads like the perfect fairytale. Having met with the great Nelson Mandela and rumoured to be designing a coat for Mrs Obama herself, it seems every little thing Bunmi does is magic!
The ubiquitous Bunmi Koko is currently on the list of every name on the know-how, and with a string of celebrity tailing the brand’s every move.
Showing at Vauxhall Fashion Week [part of London Fashion week], expect an explosion of earthy tones, handmade sculptured pieces made to fit like second skin; all in all high-end women’s wear with a punch.
Brand BK was founded in March 2009 and has gone from strength to strength ever since and is bound to keep on conquering.
After all if it’s good enough for a first lady, it sure is good enough for us!

http://bunmikoko.com/

Ozwald Boateng

The wunderkind of menswear Ghanaian born Ozwald Boateng OBE is set to claim his rightful place in the limelight, with his highly anticipated runway debut at London Fashion Week. Spring/Summer 2011 is bound to have just the bounce. With something old- the familiar bespoke suits tailored with skill and precision, and the bold hues aplenty with intricate detail and now also something new- an expansion of OB product lines- luggage, knitwear, and accessories.
And if that’s not enough, ten year in the making documentary A Man’s Story is rumoured to be screening at the London Film Festival in October; Boateng seems to be playing an entirely different ball game.

Boateng has had “storyteller” to his burgeoning CV for some time now [notably House of Boateng the 8 part documentary; think a fashion fused Coming to America] and yet we can’t keep but think A Man’s Story will provide a more intimate portrait of the man behind the name. It’s a mystery to think what the driving force behind his creative ingenuity could be; a strong vision or an impeccable acumen? Whatever it is, its safe to say that style sure matters to Ozwald!

Don’t miss out on a chance to win tickets for his London Fashion week presentation. (Wed 22 Sep at Odeon Leicester Square)

ozwaldboateng.blogspot.com

London Diversity Works

Fashion is set to pop at the London Diversity Works, a series of fashion events at Islington Metal Works from the 16th to the 18th of September, the second in succession after initial success.

Both the emerging as the seasoned designers will showcase their work- at individual pop up stores- and their immeasurable talent, in a space so worthy of ruckus its worth heading down just to see it for yourself, that is if the 3 days of free fashion doesn’t entice you enough.

Remember that space is very limited and awarded on a first come first serve basis. Thu 16 to Sat 18 September.

www.un-told.co.uk

Islington Metal Works on Facebook

Located in Dalston, an area already thriving with a multicultural crowd, lively bars and restaurants and a large black community (around 60% of the total local population) – this new venue sets a new tone for the black cultural scene in London as soon as you step in through the door to the spacious area and genuinely laidback, friendly atmosphere.

Sandrine, who grew up in France and has a mother from Madagascar, saw a need for a place in London where you can meet other people who share a common interest in black culture. “There is no permanent space doing this,” she explains. The café intends to offer a varied programme, from open mic nights, poetry readings, Kazimba drums groups, dance workshops as well as interactive movie nights with talks and discussions of documentaries and culture films.  “I want the café to be a reference – to be the centre,” says Sandrine, “somewhere where people can enjoy unique events and programmes and that brings people together – we are aiming for and have interest from quite a wide market.”

There are already a number of arts venues, museums and a well-established café scene in the city. Is there a space for Open The Gate? Sandrine thinks so: “The fact that cafes are so popular is a good thing for us, it shows that people have a need for it.”
“There are lots of places offering black culture and arts but there is a problem of visibility for such spaces,” she points out, “We can offer the visibility, right here in Dalston on this busy, central location”.

The café also offers a homemade, authentic and eclectic menu of Italian, African and Caribbean dishes, such as Mafe (Beef in peanut butter sauce), Djollof Rice (rice cooked in a tomato sauce), Ackee and Saltfish with Dumplings and Veggie Couscous.

Open the Gate has already held its first monthly African Market. How did the public respond to the venue and its first major event? “People were very receptive,” states Sandrine, “and it drew some media attention, including the BBC.” The market offers arts and craft, fashion, traditional fabrics, music and arts – the next one is on 17th July. Currently, there is also an exhibition of photography, which is funding wells for African villages.  It is soon to invite multicultural creative arts group the Ifreecans Collective, to showcase their new work in an exhibition entitled ‘Hut, Pot and Gourd’, which will also involve a live painting show on the opening night, with public participation encouraged. It very much reflects Sandrine’s hope of “bringing different things at the café. To enlarge, promote and support black cultural events”.

Open The Gate: The Black Culture Café
33-35 Stoke Newington Road, Dalston, London N16 8BJ
www.openthegate.org.uk

Joe Turner's Come and Gone (c) Dan Burn-Forti

Catch a Vibe: How did it all start for you?  Was acting something you’d wanted to do from a young age?
Kobna Holdbrook-Smith: I was about 15; I’d just finished my GCSE’s.  I thought ‘I wonder if I could [become an actor]’.  I hadn’t really suggested it to anyone.  It just didn’t seem allowed.  My family are really academic, my dad’s a doctor- they’re not really artistic so to speak.   So there was a slow exploration of [acting] and by the time I was 18, I was resolute.

CAV: You’ve worked extensively on both the small screen and on stage.  Do you have a preference for theatre, film or television?
Kobna Holdbrook-Smith: I’m comfortable with exploring the different possibilities: theatre, TV, and films – whatever.  I tend to do straight stuff on stage and comedy on TV.  I tend to sink my teeth into bigger roles in theatre so I kind of prefer that.  I haven’t yet done enough stuff on film to know its challenges inside out.

CAV: Despite being relatively new to the scene your career has already shown incredible diversity; you don’t appear to be type cast in the way that certain African/Caribbean actors can be. How do you think you have managed to avoid this? Is it down to some risk taking on your part?
Kobna Holdbrook-Smith: I don’t know…I think one of my professional strengths and possible weaknesses is that people never recognise me from job to job. That’s generally a huge compliment.  They don’t know Olunde (‘Death and the Kings Horseman’) was Jeremy Charles (‘Seize the Day’)… It’s very validating.

CAV: What kind of things do you look for in a role?
Kobna Holdbrook-Smith: In short, I have to want that character to be alive.  Why does this character need to be alive?  It has to be worth bothering.   You can do a job and take their money or you can do a job and you know it’ll be good for your career… There are a number of reasons for doing a job and all of those reasons are valid.  I do jobs for money, I do jobs for my career but when I care about a job I have to want that character to speak.  The more I want that character to speak the more I’m willing to try and make him speak.

CAV: What was it about your role in ‘Joe Turner’s Come and Gone’ that appealed most to you?
Kobna Holdbrook-Smith: Herald Loomis in ‘Joe Turner’s Come and Gone’ signifies a particular kind of pain specific to the African-American as a direct result of the prevailing attitudes of the time. It’s just the most amazing character within an amazing play.  He embodies the intention to persevere despite the most unjust adversity imaginable.  That’s a very interesting challenge for me, very exciting and very engaging.  It’s the prospect of bringing this character to life, bringing these experiences to life and the sort of parallels you can draw with the experience of the Diaspora in general.  It’s an honour; it really is a pure honour.  Each time I do an August Wilson play I learn more and more about how important [he is].  He’s a writer of a weight and calibre that’s easily on a par with Chekov and Shakespeare. He has the domestic and the epic of Chekov and he has the verbal might of the Bard.  The weight, the profundity, the resonance of this man’s writing are not to be underestimated but unfortunately I think they are.

CAV: You seem to be as much at home doing comedy (Star Stories, Sorry I’ve Got No Head, Phoneshop) as you are in more serious roles (Death and the King’s Horseman, Seize the Day etc).  Do you feel more at ease with one than the other?
Kobna Holdbrook-Smith: Working on stage and working on TV is slightly different and then working on comedy and working on drama is different [too].   On stage, living it with the scrutiny of people who are there- you can’t rewind, you can’t change cuts, you can’t do a take again- you have a very tight, taxing focus.   On set… the thing about comedy is you have to be serious for it to work.   So to crack jokes and to be inane or insane and not have the camera pick up on your lies is an equally tight focus for different reasons.  I’m not a comic but I work with a lot of comedians and they are genuinely funny.  In a stressful situation like a film or TV set it’s wonderful to have that comedy available.  And then on stage it’s wonderful to be unearthing the deep, dark truths of these characters and situations.  You go to the cinema and you can see the detail of a helicopter landing and someone’s blood and guts but in theatre it’s there, it’s present. You can’t download the theatre, it’s live.

CAV: How did you get involved in the ‘See Africa Differently’ project? [Watch the video here]

Kobna Holdbrook-Smith: It was to counter the negative propaganda of what’s happening with Africa, where people’s money is going, the scale of its development and its scope for a positive future.   Richard Ayoade –who plays Moss in the IT Crowd-, asked me if I would come along and do the scene I did with Michael Sheen and that was literally how it happened.  We did loads of improv [but] what you see is pretty close to the script, oddly enough.
CAV: Do you believe that your generation of actor from a particular background still faces the same kind of limitations as previous generations?
Kobna Holdbrook-Smith: At the moment there is loads going on on-stage… You’ve got ‘Sucker Punch’ that’s coming out at the Royal Court, we’re on here [Joe Turner’s Come and Gone at the Young Vic],’ Eurydice’ is on here, Welcome to Thebes’ is on at the National Theatre, ‘Ruined’ is on at the Almeida… There are lots of plays with prominent black themes.  Certainly on stage there’s a lot available for us to do.

But I think in terms of improvement, when people can look at us and think we’re as good or as bad as anybody else, it will be all right.  When I can play a robber again without a member of the public watching that and thinking “That’s what black folk do”, that’s when thing’s will be okay.  There is [still] a long way to go.  In terms of casting there’s yet some ground to be gained in just thinking of people as people and not having to consider ethnicity as a problem or an obstacle.  It’s a funny thing because they have to disregard and they have to consider it.  If you’re casting ‘Hamlet’ and your Hamlet is black, it would make sense depending on your production to have a black dad and a black mum and not just have Hamlet in the middle being this black actor on his own. But if you do I’d understand that as well, there’s scope for the two.

By the same token if the make-up weren’t offensive, I wouldn’t have any objection to a white actor playing Othello because I don’t think it was written as a black part; in terms of [being] rooted in the culture and ethnicity, I don’t think it was.

CAV: A lot of young British actors seem to be relocating to the States to find fame and fortune and a few have succeeded on hit American TV shows and films.  Is that something you would consider?
Kobna Holdbrook-Smith: It’s definitely in my sights but I have a lot of things I want to do here first.  It’s not something I would say no to but not yet.

Football Fables, the hour long documentary by Baff Akoto, takes the viewer straight to the beginning of the story.

We follow Francis Boadi, a player from Ghana’s Under 17 team who is prepped for big things by his manager Kwame. The film also goes to Manchester United scout Tom Vernon’s football academy where players as young as 12 are offered an education alongside training.

Football Fables is a documentary that  both soccer enthusiasts and amateurs will enjoy. The film tackles different issues in a way that is never boring. Although Francis is the focus of the film, academy leaders, Yaw, another student, and  Ghana football personalities past and present are also given a voice. The result is a documentary that is well-rounded, engaging and terribly human. Both Yaw and Francis are charming and endearing and their determination to succeed is almost palpable.

Those curious about the inner workings of the football world will get insights about football trials and the negotiations that take place between scouts and managers. Ghana’s love for the beautiful game  is apparent throughout the film: from the streets, to the stadium to the little boys playing in the fields, the nations lives and breathes football.

Football Fables is a condensed documentary that asks all the right questions but leaves a few unanswered: what has become of Francis for example? We also never get to hear the thoughts of the young footballers’ parents about their sons trials and tribulations, nor do we get a glimpse into the fate of the boys who do not make it.

Despite these shortcomings, Football Fables is a much needed documentary into the dream factory that is the UK Premiership.  With the World Cup in South Africa just a few weeks away, the film gives audiences a chance to see the struggles and processes that shape the African footballer.

Football Fables is showing in London cinemas throughout June

Lizzie shares her incredible journey with us.

Can you describe in a few words what kind of music you sing?
Lizzie Emeh: Soulful, from the heart, it is about my life experience. Musically speaking it is a mixture of soul, funk, r&b.

You wrote the lyrics and also took part on the music arrangements on your album Loud and Proud, could you tell us more about this experience?
When we first started recording the album, Mark Williams said to me: “Loud and Proud is your album”…I didn’t think about what would happen. Only once the recording was well under way did I realize the magic. It felt so good.  Going through the process of making the album to seeing the album finished made it feel part of myself.

What have been some of the highlights of your career?
When Beverley Knight introduced me at the Royal Festival Hall the night my album was launched, it was one of the most special moments in my career.  Although she wasn’t there in person, she pre-recorded the introduction especially for the launch.  It was a brilliant feeling.

My second special moment was when I saw my video Hard Love completed and screened for the first time at the Royal Festival Hall.

What were musicians Charles Stuart and Robbie Fordjour like to work with?
It was a privilege working with them. Charles is a great musician and it was brilliant to work with him on Loud and Proud. Robbie, he was excellent too! There were songs from the album that they felt were especially close to each of them so they put their own stamp on them.
They brought diversity and quality to Loud and Proud, they made my voice sound sweeter and of course we had a lot of fun too!

Did you learn something from them?
What I learnt is that on the next album I will push myself more.

Which artists have inspired you and influenced your music and career?
Stevie Wonder, Beverley Knight, Lauryn Hill, Temptations, The Supremes, Bob Marley & The Wailers, George Clinton and P-Funk, so many!

Do you think your music reaches both learning disabled and non learning disabled people?
Yes, yes! My music can be heard by everyone. I have had a lot of people saying to me what I do is inspirational and brilliant. I hear it from learning disabled and non learning disabled people.

You are the first solo artist with learning disabilities to launch an album in the UK, how does this make you feel?
I feel very proud. I did it not only for myself but also for all the people with learning disabilities out there.

Do you think your music career is giving you a voice in the learning disabled community?
Yeah, definitely. I can see it when they write to me, when people purchase my album at the gigs and every time they download my material.

Do you think your personal experience can inspire and make a difference in the future of other disabled artists’ careers?
I think so. People turn around and ask: “How did you do it? How did you manage with your disability?” They say: “ You have made us noticed”. I say if I can do it, so can you.

Are you working on new songs at the moment?
I’m hard at work on my next album.  This album is going to be much more focused on my feelings and I am getting more deeply involved in choosing the right sound.  I’m exploring and discovering new ways to use my voice.  We’re bringing in new collaborators to keep the material fresh.

What motivates you to keep making music?
I just have the drive to do it all the time. I get up and I feel like singing, before I go to bed I feel like singing… in the shower I feel like singing! I also love being on stage, every time I am there my adrenaline is sky-high.

How has Heart n Soul helped develop your music career?
Heart n Soul has inspired me and made me feel more serious about what I want to achieve.  Mark Williams (Heart n Soul’s Chief Executive and Artistic Director) who played the guitar on the album has always been behind me. Pino Frumiento, Heart n Soul’s founder artist has also been an inspiration. Pino has learning disabilities and has written over 50 songs. I want to be as good as Pino at songwriting.

Heart n Soul believes in me and have encouraged me to have faith in myself. It has been a lot of work but everything you want to achieve needs a lot of hard work.

Loud and Proud, Lizzie Emeh’s CD is available on iTunes or from Heart n Soul.

Call 020 8694 1632 to order a copy for £9.50 – includes postage and packaging.

Visit Lizzie’s website:
www.myspace/lizzieemeh

For more information, contact Heart n Soul:
Tel: 020 8694 1632
Email: info@heartnsoul.co.uk
Web: www.heartnsoul.co.uk

See Lizzie Emeh performing at Paradise Gardens Festival in Victoria Park, London on 19 & 20 June 2010

Read our interview with Tatyana Ali

Watch the all the episodes of BUPPIES below. Each episode lasts 3 minutes and is preceded by an ad.

Episode 1: Let There Be Drama
The gang throws Quinci a birthday party that turns out one disaster after the next.

Episode 2: The Case of the Ex
The girls advise Quinci on how to approach her ex-fiance. Eliot and Shaka run into a shadowy friend from the past.

Episode 3: Stilletos We Lost in the Fire
Quinci finds herself face-to-face with Derek and his new girlfriend.

Episode 4: The Fire This Time
Quinci inquires about a familiar pair of shoes on Bitsy’s feet. Truth confronts Eliot.

Episode 5: Truth Will Set You Free
Quinci walks in on Truth and Eliot. Shaka gets a surprise from an uninvited party guest.

Episode 6: Fear v. Responsibility
Priscilla reveals an explosive secret. Kourtney digs for dirt on Shaka’s hidden relationship.

Episode 7: 99 Problems
Priscilla and Eliot each muster the courage to come clean. Shaka finds himself caught between a rock and a hard place named Kourtney.

Episode 8: The One You’re With
Derek begs Quinci’s forgiveness. Nikki confronts Shaka on where they stand.

Episode 9: Come Close
Eliot is forced to make a tough decision. Meanwhile, Quinci is caught between the pain Derek caused in her past and what her heart feels now.

Episode 10: Pretty Wings
The finale. Quinci looks her past right in the face and moves toward the future.

Highlife music originated in Ghana in the 1800s and enjoyed a golden age during the 1950s and 1960s. The defiant orchestra of talking drums, xylophones and calabash shakers layered with lutes, fiddles, penny whistles and all manner of small portable instruments provided the perfect soundtrack for a continent – chafing at the constraining binds of colonialism – to express their hunger for independence.
The seed that sprung from the heart of Ghana flowered across Africa, each incarnation distinctive. Sierra Leone built on highlife and created the hybrid palm-wine music; Congo fused it with their native soukous sound, while Nigerian bandleader Fela Kuti infused it with American funk and wah wah electric guitars and invented afrobeat.

London band Yaaba Funk have continued the tradition of mixing and blending by melding highlife, afrobeat and funk with the bass-heavy sounds that exemplify much of London music to create a new offshoot.

Their debut album, Afrobeast, comes four years after the band’s formation. It opens with the glowing introduction, Me Nye Me Dofo, a warm, funk-soaked track dominated by guitar phrases that taste of sunshine and open-air revelry. The track is dedicated to broadcaster Charlie Gillett who introduced Britain to Youssou N’Dour and Salif Keita, raising the profile of world music through his BBC radio show.
The second track, Bukom Mashie, is a reworked cover of a traditional Ghanaian song that started life as a dance-floor-filler and remains so in its latest manifestation. It begins with a stark, rump-shaking talking drum, a rhythm soon intensified by guitar and horn accents, which compliment each other in a samba-like beat. Trying not to dance is like trying to eat gum without chewing.

Afrobeast is filled with mid and up-tempo songs expertly crafted to get an audience up and moving. It is therefore remarkable that with such a rhythm driven, buoyant genre of music, two of the strongest songs on the eight-track album are the slower ones.

The restrained plucking of an electric guitar opens Kalabuliman with an aching sense of sorrow. ‘They came with the bible and left with our land’, the translation of the song’s title reads. You grasp the hurt of people betrayed by politicians and religious leaders in the mournful humming vocals and plaintive mouth organ wailing in the background.  But like the resilience of a people who rise and rise and rise a third of the way in the tempo picks up, the vocals grow in strength and horns surge confidently to punctuate phrases.  A subtle transition and the track is suddenly bold and joyful.

Mutani N’Africa (When you pray to your gods, also pray to your leaders), similarly transforms from a sombre guitar melody kept in time by a steady shaker into a strident marching drum roll with an upbeat samba feel.

Afrobeast takes highlife from the sun-scorched streets of Ghana and roots it in the urban grind of London, adding a compelling new chapter to the continuing story of a genre that galvanised a generation, underscored a movement and prevails despite the current trend for all things western. Along with delivering an accomplished album Yaaba Funk have further succeeded in capturing the energy, excitement and gaiety of their live performances. Listening to their album is like bringing the party home with you.

Afrobeast will be out on 10 May 2010

The band, renowned for tearing up dance floors with their energised and percussion-heavy live performances, was launching their debut album, Afrobeast. Earlier in the day I met up with Kessie and Paul Brett (bass and percussion) to find out how the band came together and how they managed to wrestle their incredible live sound on to a record.

How did the band get its name?

Richmond: I first came into this country when I was about 16 in 1981 and for about eight or nine years I didn’t listen to any African music whatsoever, it was all about pop and rock music. One day I just happened to be out walking and passed Sterns (world music shop), and popped in there. The first record I saw was an album called Ancestral Music from Africa. I didn’t like African music at the time but bought it purely for its appearance. The second album I bought in there was an album by someone called Captain Yaaba and the album was called Yaaba Funk. So in a way Sterns are responsible for the beginning of Yaaba Funk.

How has the band evolved over the years?

Paul: Most of us met in the African drumming / African dance scene in London. Richmond used to play with Agido, a pan African dance ensemble. Members also used to play samba not just African drums. It first started at parties where we used to say ‘Let’s have a bit of a jam,’ we’d set up all these drums and percussion instruments. The DJ would get the crowd going then we’d come on and play. Then I was like, ‘I’ve got a wicked keyboard and it’s got a really fat baseline’ so we started using that, then Richmond started singing, soon we thought, ‘we might as well have some guitar.’ Gradually we added a couple of horns, then Helen came on as another vocalist.

Richmond: Yaaba Funk is a bit like a hoover, we go around picking up new musicians. Initially it was just 15 drummers and Paul on the bass, there wasn’t any singing.

Paul: Proper drum and bass.

Richmond: It’s grown organically; it wasn’t a conscious decision to start a band.

How did you decide on highlife?

Richmond: I like to think highlife was chosen because I’m from Ghana, but it was always going to be something African because we’re all drummers. The first song we played as a band was ‘Hwe Hwe,’ we’d play it at parties and people would love it. Then Paul suggested we start writing our own songs.

Paul: I’ve always been much more interested in creating original music although there are so many great tunes from the 1970s and 1980s. There’s always a temptation to say ‘Oh this is a great tune, let’s do a version of that!’ But we’ve got a lot of ideas and there have been a lot of influences since then that we bring into our music like dub, reggae, broken-beat, house, a bit of rock and funk.

How important was it to have a recorded version of what is essentially a live musical genre?

Richmond: We’ve been around for about four years and in that time there’s been continuous talk of this album coming out. We made a promotional EP and it sounded a little too produced, fans who’d seen us on stage said, ‘This doesn’t sound like you.’ We decided next time we’d try to recreate what we do on stage. We spent two days rehearsing the songs on the album, then we went into the studio, set it all up and just recorded it as if it were live. We had dividers in there to try and separate the sound a little bit and the vocals and horns were added later but we tried to capture as much of the live feel as we could. Once you start mixing you lose certain aspects of it but overall I think we’ve done really well.

Highlife has some very political roots. Were there any political points you wanted to make?

Richmond: Kalabule Man criticizes politicians. It talks about the bad things they do and how they cheat people even referencing Fela Kuti’s songs. The lyrics – ‘They call him Mister Preacher man, they call him Mister Reverend Man, but we call him the Kalabule Man’ – talks about how religion can sometimes take over people’s lives, and steal their money. I got the line from a church that my aunt took me to. She couldn’t give birth so she went to this priest and the priest basically said if you sleep with me then you’ll be blessed.

The idea for Nyash! E Go Bite You!! came to me when I heard Tony Blair talking about weapons of mass destruction. While he was speaking his face had a little grin. When I was young my grandfather had a saying:’If you meet an animal and it doesn’t mean to do you any harm it will not show you its teeth’. Seeing Tony Blair on there talking about WMDs I just made the link.

The album’s not all about politics though. Oman Foa celebrates Ghana’s fiftieth anniversary, which is a month away and Hwe Hwe Mu Na Yi is a love song.

How did you select the traditional Ghanaian songs you covered?

Richmond: Bukom Mashie is a former-day dance floor killer. What we did with it isn’t far from the original—it’s a bit of a mash up between the original and a traditional Ga song—it’s old meets new. Hwe Hwe is a classic which we completely changed.

Why did you dedicate the first track to BBC Broadcaster Charlie Gillett?

Paul: We’d already finished the album when he died in March and we were sad because we’d listened to his show and he was someone who used to play all the world music. I can remember going out the next day to buy records I’d heard on his show. We were disappointed he’d never got to hear the album and decided to dedicate something to him. Richmond said the first track (Me Nye Dofo) was the most appropriate because it says ‘Appreciate what you have because it might not always be there. ‘

Richmond: I never met him but because of his radio show I felt like I knew him. I used to record his shows on cassette and go back and listen to them.

There have been so many variations on highlife from afrobeat to hiplife. Do you feel like you’re creating your own hybrid offshoot of highlife?

Paul: We like to call it Grimelife. I’m not playing a bass guitar which means I can get a lot of sounds on the bass synthesizer that give our music that grime feel. In the UK we make bass music, whether that be drum and bass, garage, dub step—I was like, let’s put this bass underneath the high life and add a different sound. We’ve grown up in London so we’re not going to be mellow because London’s not a very mellow place it’s quite edgy. I think we bring a bit of that edge to it.

Richmond: I think music has to evolve and if Fela hadn’t taken highlife and done what he did with it it would have remained static. I think we’d be doing him a disservice if we just took the sound and emulated and didn’t do anything to it. We’re just trying to bring it into the twenty-first century and wake people up to the fact that at one point in the 1960s or 1970s it was the music of Africa. Why should it be relegated to a museum?

High life isn’t considered hip in its homeland. Do you hope to reignite interest in African music with African youths?

Richmond: Absolutely! Back home, whatever is flavour of the month in the West is what they’ll latch on to. You go to Ghana and you see really fantastic musicians, drummers especially, but once they become successful they start using drum machines. For me the idea is to create a buzz around highlife over here so that it’ll be picked up by people back home. It’s alright doing hiplife but where does the ‘life’ in there come from? They just seem to have forgotten it.

Paul: It’s a shame because I guess it’s cheaper to get a drum machine and a synthesizer rather than getting a 12-piece band, but it’s just not the same.

Richmond: We’re never going to be able to program hip hop beats like the Americans because it’s not us. Similarly with reggae, Jamaicans are better at it. Some of the old artists do interesting things with it but the majority of African reggae is just so bland compared to where it’s come from.

What’s next for Yaaba Funk?

Paul: I think next year we’re going to tackle Europe. France has got a very strong African music scene; I think they’re more open to African and African-Caribbean music than the UK which is more cutting edge. We’ve also got a next album of material pretty much ready.

Richmond: We’ve more or less captured London. It’ll be good to take the sound out of London and possibly into Africa. I’d love to take Yaaba Funk to Ghana and Nigeria. We’ve got ideas about recording the next album in Ghana and maybe involving some of the old highlife giants if we can. Do some kind of a Buena Vista Social Club type thing.

Afrobeast is out now. Read our review of the album.

Jesse Boykins III (JBIII) is an emerging force in contemporary soul music; he has trained under Bilal, performed alongside the likes of Chrisette Michele and Eric Roberson and is due to release his second LP Love Apparatus later this year.  Jesse was in London recently headlining the Writer’s Block 2nd Anniversary show and Catch a Vibe spent an hour with the man himself to talk about music, performing and having fun in London despite being stuck in the UK due to volcanic ash.

CAV: You made your UK debut at Cargo, in April 2010 headlining the Writer’s Block show.  How did this opportunity present itself?
JBIII: I’ve been getting a lot of love from blogs in the UK and Writer’s Block just reached out.  They had been paying attention to my music and kept me in mind for the event and they emailed me and requested that I come out to perform…  I didn’t expect to get so much love from the crowd, it was definitely a good vibe and a great experience in my career.

CAV: For those that missed your last show, when will you return to London to perform?
JBIII: I’m trying to work something out for either the summer or fall.  Right now we are trying to organise a university tour but I’ll definitely be back before the end of the year because my new album is coming out in the fall.

CAV: Speaking of your new album, Love Apparatus: how long did it take you to complete this project because you released two albums Dopamine and then The Beauty Created in 2008?
JBIII: I actually started Love Apparatus before The Beauty Created, which is kinda weird.  I had completed two songs already for Love Apparatus, they were just two songs, I wasn’t sure what I was going to do with them and then I went off on a tangent which was The Beauty Created album.  Later I came back and revisited those two songs and it inspired me to continue working with producer Machine Drum.  Once we started working again it took us about eight or nine months to write and record Love Apparatus.  The first single Plain should be released in June; it’s basically about being in a relationship where you have really high expectations of that person.  You think they are going to fit that image of your perfect soulmate and in the end it’s just plain.

CAV: Is Love Apparatus a concept album?
JBIII: It’s definitely a conceptual album. I like the artwork to tell the story before you even hear the songs.  With Love Apparatus in my right hand I’m holding a heart and in my left hand I’m holding the world, this represents the balance between being true to myself as artist and being able to fit in the world at the same time.  This is the first album I have written where all the songs weren’t about women, it definitely shows a lot of growth in my artistry and I’m really proud of myself.  I’m really excited about this album.

CAV: If you had to describe Love Apparatus as a recipe what would be the ingredients?
JBIII: Wow, okay.  The vibe is an 80’s theme, it’s kinda like Phil Collins meets… (laughs) I can’t even really say who else.  Love Apparatus is futuristic, soulful… it’s a musical gumbo, that’s what I’m going to call it, a musical gumbo.  It has everything in it but the main ingredient is definitely 80’s sounding synthesizers.

CAV: Describe your creative process.
JBIII: There are a wide range of ways that I start songs, I’m a writer first so it could start with a story, poem or a song.  The majority of the time I start with lyrics but I also like to create from a moment, for instance if I’m working with a musician I’ll freestyle.  A lot of songs on The Beauty Created album started as freestyles, like the song Shine (Jesse sings) ‘You’re hotter than a New York summer in a Spike Lee movie,’ that was a freestyle and then everything else come from that.  The creative process really varies, with Love Apparatus I have a song called Greyscale and me and Machine Drum, the producer I was working with on the project, started the song together at the same time.  As soon as he played me the sample I started writing and by the time he had finished making the song, I had finished the lyrics and the melody so really it just depends on the inspiration.

CAV:  You have performed alongside some of my favourite artists, Chrisette Michele and Eric Roberson and you’ve even studied under Bilal.  What’s it like working with such talented individuals and what do you take from these experiences?
JBIII: I take whatever I can get (laughs).  I always look at it as a blessing, it’s great to be around creative people that look at you and know you care about your art as much as they care about their art.  Anytime I’m in a room with Eric, Chrisette, Bilal, Dwele; people that I look up to, people that I listen to, to hear them say that they listen to me as well is always humbling, it’s like wow this isn’t real.  I always try to savour all those moments when I’m around those cats.  When I get calls from Phonte or 9th Wonder to me it’s like wow!  I’m just a kid who started recording songs in my room, I’m not signed to anyone, I put my music out myself and most of my music video we shot ourselves with no budget.  To get the respect that I’m getting is an honour.

CAV: Of all the artists you have encountered who has made the greatest impact in terms of your artistic development?
JBIII: I’ve learned so much so rapidly, it’s hard to narrow it down but I always think of moments.  One of the main moments that I remember is when I was working with Bilal, he was my voice trainer.  My first lesson with him, I didn’t sing anything, he made me exercise for four hours.  I’m dying, I’m breathing hard, trying to stay alive and then he said the lesson was over.  He then said, you see how you are breathing heavy like this, every first breath of any performance of any song you ever sing; your first breath should feel just like how it feels right now.  So that lesson was probably the one that sticks with me most.

CAV: What are your career highlights so far?
JBIII: Putting out music that I have creative control over is big to me.  My song Tabloids reached number two on the BET J (BET Jazz) charts when it was released as a music video under Erykah Badu’s Honey.  So that was probably another big thing that I really didn’t think would ever happen especially since we didn’t spend any money on that video.  Another thing would be as much travelling as I’m able to do, I love travelling.  I love experiencing different cultures; being around different energies; being in different climates; trying different foods.  I know a lot of people who don’t leave where they are from, so having the freedom to travel is a big accomplishment.  I’m about to shoot Music Matters for BET, a music special on artists who are passionate about their craft, Nneka did it first and I’m the next up so I’m going to shoot that when I get back to the States.

CAV: When it comes to the creative process you pretty much do everything, which must be incredibly liberating.  How are you able to create, promote and distribute your music without the help of a major label?
JBIII: There definitely is a process and it’s still a process, still some trial and error.  I have a team behind me, no one does everything alone, ever.  I started a label in 2007, a LLC called NomaDic MuSic with one of my best friends Sinorice Moss.  I have a manager her name is Joya Nemley, who has managed me since 2006.  I also have a creative director who is also one of my best friends and he has designed all my album artwork; my logos and directed most of my videos.   So I have a small team of people who have helped me along the way.  As far as putting my music out, it was just a matter of research.  I just looked up all my favourite artists and researched their lives.  I looked at how they released their music; the paths they took; what went wrong for them and what went right.  I also asked for a lot of advice as I knew Eric Roberson and Bilal and could just call them up and ask ‘What do you think about releasing this song this month?’ and they would give me their two cents and I would take that into consideration and then try it. So it was definitely a guerrilla approach lots of trial and error.

CAV: Based on what you’ve learned thus far what are you going to do differently when you release Love Apparatus?
JBIII: I’m going to take everything to another level, I didn’t release the last two records as I should have as far as marketing goes.  You know like putting out a single then a video; pushing singles and trying to get them on radio.  With this project I feel it’s time and everything is going to be done correctly.  I’m releasing a single in June; a month later we are going to release the video for it.  Promo videos are going to be pushed, I even recorded promo videos out here in the UK.  I’m trying to get distribution for the project so you can go and buy it in the stores.  I don’t really want to release it until I find a situation where someone calls me and asks “Where can I get your CD?” and I can say “Go to HMV”.

CAV: According to your twitter post you are shooting a music video for the song Amorous from your 2008 release The Beauty Created.  Why are you shooting a video for an album you released in 2008 and why did you decide to shoot it in London?
JBIII: I really wanted people to remember The Beauty Created album and the last video would signify the end of something.  I wanted it to be Amorous because it’s everyone’s favourite song; it’s my favourite song; it’s the top selling song on iTunes and when I’m on stage and I say the next song is Amorous I get a great reaction from the audience.  So the video is like a thank you for the support I’ve received from everyone.  At first I wasn’t sure if I should do it because it doesn’t make sense from a marketing stand point but from an acknowledgement stand point it definitely does.  I’ve been watching these old French romance movies from the 60s and it inspires this concept that I came up with for the video and because we got stuck here in London due to the volcano I was like we gotta do it.  The shoot was really fun, it was like we were sight-seeing while shooting the video.  We shot some footage on the London Eye; on London Bridge; in front of Buckingham Palace; Trafalgar Square and everywhere that tourists go.

CAV:  If you could form a soul super group to record one track with, which artists would you select?
JBIII: Okay here goes my soul super group: Little Dragon, a band from Sweden, the lead singer Yukimi Nagano is amazing; Bilal; Aretha Franklin; Bjork and Marvin Gaye.

CAV:  What would you be doing in a parallel universe, if music wasn’t an option?
JBIII: I would definitely be doing something along the lines of entertainment or teaching.  I used to teach elementary school for a while and I act on the side sometimes, so if my career had nothing to do with music it would be either be acting or teaching.

Well thankfully we exist in this time space so the world can experience Love Apparatus scheduled to be released in autumn and albums yet to come from the talented, charismatic and passionate Jesse Boykins III.

We voted The Beauty Created as one of the top soul albums of 2009

Keep up with Jesse on MySpace and  Twitter

For Colored Girls... by Ntozake Shange - Cover

Title:  For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf (film due: 2011)
Writer: Ntozake Shange
Director: Tyler Perry
The Book: This dramatic prose poem was first published in 1975 by playwright Ntozake Shange. It enjoyed critical acclaim on Broadway. The characters are all women each telling their stories using poetry and songs. The women’s names each represent a colour in the rainbow, giving them a mysterious identity. Their powerful words reflect the struggles of black women in the 20th century. The book comes with stage directions, giving the reader the vivid message of the production.
The Film: This will be the first time Tyler Perry will be directing a film he has not written. His company 34th St Films is developing it. Filming started in Atlanta in November 2009 with stars Mariah Carey, Whoopi Goldberg, Janet Jackson, Kerry Washington, Phylicia Rashad and Macy Gray.

Title: Little Scarlet (film due: 2010)
Writer: Walter Mosley
The Book: This is Walter Mosley’s eighth book in the Easy Rawlins’ series. This mystery is set during the Los Angeles Watts Riots in 1965. Easy is an unlicensed private investigator recruited by a white cop to investigate the murder of a young black woman. For his investigation, Easy’s got the help of  Mouse, his psychotic cousin and frequent sidekick. Little Scarlet is a classic murder mystery drama interwoven with a look at race and relations during 1960s America.
The Film: Denzel Washington and Don Cheadle originally portrayed the characters in 1995’s Devil in a Blue Dress. This time around actor/rapper Mos Def will be portraying Mouse whilst Jeffrey Wright was once attached to the film to play Easy Rawlins.

Title: Mama Black Widow (film due: 2011)
Author: Iceberg Slim (Robert Beck)
The Book: Iceberg Slim, real name Robert Beck, is best known for his novel Pimp, a compelling story  of pimping, drugs and urban hustling in the streets of America. Iceberg Slim’s books became the best selling black novels of the mid 60s and 70s. Mama Black Widow is a fictional tale about a Drag Queen of Chicago named Otis Tilson. It is set in the 1930s and 40s and tells the story of his family’s move from the rural south to the city of Chicago and charts the family’s decline under the negative influences of city life.
The Film: Actors Anthony Anderson and Mos Def will star in the film. Kerry Washington was once mentioned as a female lead and singer Rihanna was rumoured to be considered for a role. She has since denied the claim.

Title: Nappily Ever After (film due: 2010)
Writer: Trisha R Thomas
The Book: The first book in the Nappily series introduces Venus Johnson as a young woman who lives the picture perfect life with a great job, a house and a loving boyfriend. And the crown to this life is her long, beautiful, straight hair. But the day Venus decides to cut it and go for a short natural look, her world drastically changes. Nappily Ever After explores what is truly important versus what culture and society often dictates. Trisha Thomas writes with both humour and depth as she chronicles Venus’ search for true happiness.
The Film: Halle Berry has given numerous interviews about playing the part of Venus in the movie. The film is currently in production but the actress no longer seems to be attached to it.

Title: The Coldest Winter Ever
Author: Sister Souljah
The Book: Winter Santiaga is the spoilt pampered daughter of a big time drug dealer, who will not let anything get in her way. When her father is imprisoned she takes over his business to maintain her lavish lifestyle. This decision takes her down a path that she soon has no control over. Winter is not a lovable character but through her story Sister Souljah gives her readers a coming of age tale set in a world of violence and drugs in New York city. Written in the jargon of the hip hop youth of the time, the author’s message about the dangers of greed is clearly portrayed.
The Film: There has been buzz about a film adaptation since 2005 with HBO once owning the film rights. Jada Pinkett Smith was also reported to be the executive producer and a possible lead to play Winter Santiaga. Sister Souljah has written the screenplay and is still determined to bring it to the screen.

Title: A Piece of Cake
Writer: Cupcake Brown
The Book: A Piece of Cake is the moving autobiographical story of Cupcake Brown.  She gives a harrowing account of her childhood, from age 11 in foster care to a life of prostitution, drug addiction and homelessness. A Piece of Cake is not a story for the faint hearted as the author is frank about the nightmare she survived. But the true beauty in the story is Cupcake Brown’s journey to beating her addictions and becoming a lawyer.
The Film: Cupcake Brown has now taken a break from practicing law to write the screenplay for her novel.

Junior (Kedar Williams-Sterling), the protagonist, gives the audience a walk-through of his ends.  His crew, The Paper Chaserz, consist of Rager (Grime artist Bashy) his older brother, Kickz (Adam Deacon of Kidulthood and Adulthood fame), Craze, Sweet Boy and Dutty (their pitbull). The Paper are strictly about business; they scout out food supplies delivered to undisclosed warehouses, steal them and sell them on at the market. Rager is clear about their MO when pulling a job: No Killing! On the other hand The Souljahz are a bunch of teenage troublemakers whose reckless behaviour breeds violence and murder. This particular day proves fatal for one of The Paper Chaserz when the Souljahz try to muscle in on their hustle.

Director Mo Ali captures the attention of his teen audience by integrating animation and video game scenes into his first film. Ten minutes in and we find Junior running from The Souljahz and their leader Tugz (Jerome Holder) in a gripping chase scene, but Mo Ali fails to keep the momentum going for the remaining 80 minutes of the film, concluding with an unrealistic and disappointing end. Setting the film in the future would have given Shank the edge it needed if the London portrayed in the film was vastly different from how we know it today. From the undeveloped and transient characters to the incomplete back story into how London became a lawless society, Shank leaves more unanswered questions than it answers.

Kedar Williams-Sterling offers a good performance as Junior and definitely wins the audience’s support even when he makes questionable decisions.  Ashley “Bashy” Thomas pulls off the older brother and leader role in his first acting debut.  The grime star also served as the music supervisor for the film.

Despite its shortcomings, Shank hopes to find its audience and judging by the unresolved ending, a sequel could be possible.

Shank is out in Cinemas on 26 March 2010.

Gil Scott-Heron
I’m New Here (xl recordings)
Out now

Gil Scott-Heron stands as an eternal reminder of the glorious past of soul music. A living link to the era of The Last Poets, Marvin Gaye, Curtis Mayfield and Stevie Wonder – the vanguard of socially conscious music perfectly reflecting the turbulent 1960s and 1970s. Each captured the era’s spirit of rebellion and style. Scott-Heron’s status as a pioneer of spoken word and rap, and hip-hop brings him up to date and he retains the creative spark despite the ravages of time, drink, drugs and prison spells.

This experience is all brought together on I’m New Here his first album in 16 years. It’s concise at 28 minutes with15 tracks – but who says size matters, or that filling an album with meaningless drivel is significant.  Years of knowledge, creativity and skill are poured into this. He’s spent much of the last decade in jail on various narcotics charges – but his creativity doesn’t seem to have waned at all. With a lived-in veteran’s voice, which speaks to hard-living and unfortunately – drink and drugs he still has things to say and music to build around it.

It’s a dark and gloomy landscape on which Gil Scott-Heron paints his words; the spare and industrial style techno beats of the 21st century contrast the soulful and joyful melodies and rhythms of his classics. This is a more serene and understated work – he lets his lyrics do the talking. With several introspective musings and spoken word interludes the distinctive voice is still there, powerful, seductive – now with a gnarled and grizzly feel; nevertheless the skill, passion and heart remains. Standout tracks are the intimate and touching autobiographical tribute to his Grandmother Lillie Scott in On Coming From a Broken Home [Part 1]. Close by is New York is Killing Me with its complex and infectious handclaps [an intriguing counterweight to Alicia Keys and JayZ’s more upbeat Empire State of Mind]. His reworking of The Vulture [also the title of his 1970 novel] and new work Your Soul and Mine use similar formulas to his early works whilst covers of Bobby Bland’s I’ll Take Care of You; and first single Me and the Devil perfectly fit his world weary but defiant stance. An unlikely reworking of indie/alt musician Bill ‘Smog’ Callahan’s I’m New Here shows he’s up to date with today’s style.

I’m New Here isn’t a return to the glory years or the eclectic style held up as the precursor to rap and spoken word. If you’re looking for the militancy of The Revolution Will Not Be Televised, the harrowing and poignant Home is Where the Hatred Is; the raw and intimate The Bottle or the reflective Pieces of a Man or anti-apartheid protest Johannesburg – Gil Scott-Heron still has the skill  but t’s a different style he employs here. But as a testament to one of the greats – it’s a monument to perseverance and resilience.
Shaun Hutchinson
Gil Scott-Heron in London: in conversation on 19 Apr and in concert on 20 & 24 April

Ty
Special Kind of Fool (BBE)
Released 19.04.2010

“You know we changed the globe right?” Ty asks on his latest album, in one phrase encapsulating the success of a genre that was supposed to burn itself out but transformed the face of popular culture instead. In the next breath he calls hip hop to task, “treated like kids / no matter what we produce / with negative vibes we’re diluted like juice.” Special Kind of Fool is typical Ty: provocative, playful, thoughtful and unrestrained.
The album’s potpourri mix of musical genre runs the gamut from classic funk, soul and two step through to 80s synth pop, and glitchy electro samples.  At times the only indication you’re listening to a hip-hop album comes from the drum patterns.
Stand out tracks include: Me, a Sunday-morning fusion of effervescent strings, bright chords, and the heart-tugging vocals of Erik Rico. Something Big is a horn-heavy, funkdafied, James Brown homage brilliantly offset by a sweet chorus from Lovers Rock darling, Carroll Thomson. While Phantom of the Opera is about as dramatic as you might imagine, a frantic, snare heavy drum pattern partnered with a sharp, staccato delivery.
It’s been four long years since the release of his last album, and Ty has done a lot of living in that time.  He casts a shrewd eye on ordinary lives on the socially conscious Heart is Breaking, and speaks stirringly of the loss of family members on I’m Leaving. But ultimately Special Kind of Fool is hopeful and determined. The story of an artist who’s been knocked down but will never stop getting up and sharing his love of music and life.
Shade Lapite

Special attention has been paid to the design: hand carved wooden murals depicting the life of legendary warrior Zhaka Zulu will clothe the walls. The murals, crafted in South Africa, will bring the authentic African touch while a bar centered around a crystal-covered leopard will bring a more modern and contemporary feel. Giant elephants and bronze statues will add some glam.

The private launch party, with the reigning King of the Zulus Goodwill Zwelithini kaBhekuzulu in attendance can seem a little bit over the top and even a tad elitist. But the people behind Shaka Zulu are hoping to set the new standard in dining experience. The restaurant cost in excess of 5 million pounds and will sprawl over three floors that will contain a large restaurant, a Cape Town inspired fish bar and a cocktail lounge. Shaka Zulu will provide a feast for the eyes and the ears, not to mention the palate with open flaming grills, live music, theatre, and dance all set to a backdrop of lavish decadence. For those who prefer to dine more demurely, I’m sorry to say this place may not be for you.

From top class chefs to “exceptional fresh meats, which will be carved at the table,” Shaka Zulu’s aim is to become the “theatre of food.” The restaurant is the first of its kind in the world and is set to grace London first before being rolled out in other hot spots around the world; New York, Los Angeles, Madrid and Berlin.

Shaka Zulu promises to deliver a new full on sensory experience, designed to sprinkle African flavours over the type of entertainment that London’s nightlife is renowned for. Whether it lives up to expectations – well soon see.

Shaka Zulu will open in April
Visit the website for further details: www.shaka-zulu.com
To make a reservation call 0203 376 9911