Lyric by Kurt Elling incorporating “Winter Stars” by Sara Teasdale (Flame and Shadow, 1920)
Afloat and all at sea / the stars align in threes
They’re so fine and free / in blue and in green
Like leaves on endless trees
Come climb the sky with me /
come hear and come to see Melody
in perfect symmetry
/ in love / in light / in key
I went out at night alone;
The young blood flowing beyond the sea Seemed
to have drenched my spirit’s wings— I bore my sorrow heavily.
But when I lifted up my head From shadows shaken on the snow,
I saw Orion in the east Burn steadily as long ago.
From windows in my father’s house,
Dreaming my dreams on winter nights,
I watched Orion as a boy Above another city’s lights.
Years [a]go, dreams [a]go, and youth goes too,
The world’s heart breaks beneath its wars,
All things are changed, save in the east
The faithful beauty of the stars.
I just love the first song that they have chosen to begin with during the break of this Conversation, its title, “One Day Suffer Go Finish‘, says it all.
Part of Discussion: ‘The distance between how things are and how things should be in Zimbabwe” – ( Man from Chitungwiza)
Having followed the Chimurenga and Chimurenga Chronic publication/movement, for as long as it has existed, part of my ambition as a writer has been to publish some stories or even essays and poems in this auspicious black radical publication. I was also glad when the Pan African Space Station was launched. It basically fused the literature and live Chimurenga music sessions to the whole revolutionary concepts. I could say more, but I am always keenly aware of the data-struggle among my people, not all of we have WiFi and affordable data. So it would be best to listen to this. I must add though, that since coming to live in Zimbabwe recently with my family, the urge to do work in and around Harare is huge. Part of it has to do with the realization of what Chimurenga entails, in its various aspects, but it is also about the texture of the land and the struggles and lives of the people of both Zimbabwe and South Africa. There is lots happening in terms of Art, Violence and Revolutionary possibilities in both these countries, in fact my upcoming book, The House of Plenty is an attempt at making sense of how beauty, strength, wealth and hope and suffering can coexist. We shall also investigate what really keeps Afrikan countries, particularly in the SADC region from developing at apace.
Sounding The Ancient Future Thoughts
“Delmark Records – DS-413 (US, 1968)
A1. Levels And Degrees Of Light 10:35 A2. My Thoughts Are My Future – Now And Forever 20:17 B1. The Bird Song Side A: Recorded at Sound Studio. Side B: Recorded at Ter-Mar. Personnel: Muhal Richard Abrams: piano, clarinet Anthony Braxton: alto saxophone Maurice McIntyre: tenor saxophone Leroy Jenkins: violin Gordon Emmanuel: vibraphone Charles Clark: bass Leonard Jones: bass Thurman Barker: drums Penelope Taylor: vocals David Moore: poet (track 2) Levels and Degrees of Light was the first recording under Muhal Richard Abrams’ name and was a landmark album that launched the first in a long line of beautiful, musical salvos from the AACM toward the mainstream jazz world. The title track finds Abrams broadly tracing out some of the territory he would continue to explore in succeeding decades, an ethereal, mystic quality (evinced by Penelope Taylor’s otherworldly vocalizing and Gordon Emmanuel’s shimmering vibes) balanced by a harsh and earthy bluesiness set forth by the leader’s piercing clarinet. “The Bird Song” begins with a fine, dark poetry recitation by David Moore (oh! for the days when one didn’t approach a poem on a jazz album with great trepidation) before evanescing into a whirlwind of percussion, bird whistles, and violin (the latter by Leroy Jenkins in one of his first recorded appearances). When the band enters at full strength with Anthony Braxton (in his first recording session), the effect is explosive and liberating, as though Abrams’ band had stood on the shoulders of Coltrane, Coleman, and Taylor and taken a massive, daring leap into the future. It’s a historic performance. The final track offers several unaccompanied solo opportunities, spotlighting Abrams’ sumptuous piano and the under-recognized bass abilities of Charles Clark. This is a milestone recording and belongs in the collection of any modern jazz fan.” ( This is directly lifted from You Tube channel where this music is found).
“The result is quality in every note …” – MF DOOM skit
Is music the ultimate expression of human freedom? Having written so much about the music called jazz and the socio-political nuances it often carries, I do feel like I may be laboring the point just a bit, but each time I look through my old notes, I keep finding half-finished essays and quotations connected to this phenomenon. The aim is to elaborate on the various ways in which Black peoples invention is misappropriated to their detriment, but I am also investigating how music and other art-forms are the spaces where possibilities for deeper intercultural communication can be articulated and convergence of humanity can be established. It is not an easy road towards harmony. But as we have heard and witnessed, music is a great equalizer, or is it really? Because what does it really mean to be equal, and when can the Black peoples of the world get their dues? As a cultural currency music is unmistakably translucent, anyone who has a heart can captivate us with song and even their understanding earned through learning or experience. Anyone who has a heart can feel and express it, so how come the racial stereotypes and abuse of power still persist?
A case in point is a quote attributed to Greg Thomas, dated February 6, 2012.
“Jazz, an art form given birth in the United States by descendants of the formerly enslaved has a complicated relationship with race. Although race as a popular idea has no basis in biology, many people mentally adhere to the idea of diving groups of people based on ‘race’ as opposed to understanding how groups of people evolve or regress, via culture, so very real social dynamics and results exist based on the belief in race. A key purpose of this column is to explore culture vs race as it manifests in the discourse of Jazz, historically and presently. “ – Find this and other articles on this subject here:
Another great and more detailed article is this one by Stanley Crouch, a veritable writer, jazz activist and critic.
I have chosen to highlight these two articles according to their merit and scope but I also deliberately chose two writers from the two ethnic backgrounds in question. The white man’s and the black man’s perspective gives a balanced understanding of what is at stake. Perhaps jazz like many forms of art born in the pervasive climate of racialized capitalism is as Bud Powell put it ‘A Dance Of The Infidels’ and we cannot remove it from its milieu, maybe then the best that one can do is enjoy it without visceral interrogation. But then the music itself kind of forces one to delve deeper than the sound. The creative impulse, themes and motivations of the musical creators compel us to Listen deeper, beyond basic enjoyment.
Elsewhere, writing about himself, Crouch states: ” He came into politics slowly, through art, as a child, he had posters of Dizzy Gillespie hanging everywhere, formed a jazz club in high-school and was an actor and director with the Watts Repertory Theater, in the wake of the Watts riots of 1965, he was caught up in the black nationalist movement, but he became a traitor to it later because he was bored with the militant strategies. The movement, he wrote, “helped send not only black America but his nation itslelf into an intellectual tailspin on the subjects of race, of culture, of heritage, where there was not outright foolishness, there was a mongering of the maudin and a base opportunism.” –
The above is taken from some of his essays in his first book, ‘Notes of a Hanging Judge“, (Oxford University Press, 1990), originally published in the Village Voice that same year.
So when will music and arts escape from the racial traps that have been constructed by capitalism and opportunism?
I have been listening to a lot of mainstream music lately. It has been a deliberate effort to re-open my otherwise discerning and discriminating ears to the sounds of whats ‘popping’. Needless to say, I am still very underwhelmed with what passes as Pop music and Pop Culture in general. But this does not mean that I am a hater or some navel gazer or an ostrich with his head buried underground. Part of my nascent return to mainstream/commercial sounds may have something to do with what we call in Zulu ‘Ukubamba i-age’, roughly translated as ‘Holding Back The Years’ or a subconscious compulsion to stay and feel younger than I am.
Despite what has been trending throughout SA and the Durban Gqom scene etc, I have really rekindled my love for Hip Hop again. These are interesting times for Black cultures in general, but quite nuanced for musical expressions. After having my heart, mind and soul wrapped in jazz, Reggae, old school soul and rare grooves, I am glad that I remembered that music is really for public consumption as well as being a private pleasure. This reminded me of the Notorious B.I.G. lines; “A foolish pleasure/ whatever, I had to find the buried treasure/ some pounds I had to measure/ however, living better now/Gucci sweater now …”
In my opinion Hip Hop can do various things, but if it does not touch my head and heart, I might as well not be listening. There is a lot of ego-tripping and a lot of fake stuff going on too with industry created gimmicks out there, yet there are also people who ride whatever wave happens to be trending – snapping and trapping, but if the skills are lacking, you can miss me.
One of the albums that has recently piqued my interest of late, is Jay-Z’s 4:44. This is an album that in my opinion towers way above most of the contemporaries in scope and depth of emotion and sheer delivery. Hov got skills. I have not really listened to Jay-Z seriously since his second of third albums. His message of whatever he was pushing got lost to me, for years I just couldn’t relate to the materialism and egocentricity, some of my peers called it confidence. For me it all became too loud, too bling and too much like Black people trying to be white or promoting an unsustainable lifestyle. But then I had to relax and realize that its all a Game.
Shawn Carter aka Jigga aka Jay-Hova’s thirteenth album is a master piece conceptually, lyrically as well sonic-ally, the brother got Game. Released on the 30th of June 2017, it took the world my storm and was accompanied by a video for the track,The OJ Story that sent many tongues wagging, an animated blackface narrative that made for a socio-political conversation piece. while it also reveals some of the most intimate aspects of his very public life it is done with a true artists calculated honesty and vulnerability as well as a wicked sense of humor. I must say, it is a pleasure bumping songs like Marcy Me, 4:44 and Legacy knowing that many of the young folks listening to the music cannot fully grasp the depth of the lyrics, simply because they have nit lived enough. Hip Hop retains its youthful swagger and the vigor of being a multi-million dollar business, yet it is in the moments of private or even communal comprehension where the music is truly felt.
Most people would say that Black Thought, Kendrick Lamar, Lupe Fiasco are among the top lyricists doing it today, and they may be relatively right, but Mr Carter’s opus-concerto is a cut above the average, it is also a lesson in business acumen in addition to being verbally sharp-witted. Last week in some nice Zimbabwean spot called Wyrd, I found myself in conversation with some 20 somethings who really love Hip Hop, and one of them was dropping jewel after jewel from Jay-Z’s older raps, and we agreed that none of these cats such as Drake or anyone really can touch Hov. Yes its grown folks music, but so fresh that its timeless.
My favorite MC’s Top 10 still remain
- De La Soul
- Andre 3000
- Mos Def
- Lauryn Hill
- Black Thought
- Supah Mpondo
- Roots Manuvah
- Lupe Fiasco
After all is said and done, I am still about that wordplay. How you say and what you say.
I must state clearly that I have never entertained nor tolerated any discussions regarding the so called Illuminati, the secret societies that are said to run the world. I am neither a believer in Satan nor the Gods of the Jews and Christians. To me, these are all distractions that keep humanity in perpetual mental and emotional chains. That said, I am neither an atheist nor an anarchist or any of the labels and isms that are out there that people believe in. What I can admit to be guilty of is adhering to the Rastafari way of being. This too I regularly question and I am neither a fundamentalist nor a believer in the so called Black supremacy aspect of the Rastafari tradition. I love Rasta for different reasons and most of them have nothing to do with the Ethiopian Orthodoxy of it all. You will have to get to know me a little more intimately to overstand what I mean.
The reason I mention the Illuminati and the inter-relatedness of Abrahamic religious dogma in this story is because, after watching a few You Tube videos where Ab Soul, Jay Electronica and Kendrick Lamar speaks, I find myself questioning the intelligence as well as the foundations of the knowledge systems or the structural straight jackets that these Afrikan Amerikkkan brothers are in.
After all this time, after so much knowledge of alternative or global knowledge systems have been made available, on the internet as well as through various academic platforms, how can seemingly intelligent and clearly talented people still be stuck in the manufactured or whiteness constructed dualism of religion?
Among the plethora of religious propaganda that Kendrick Lamar spews in his other wise brilliantly executed album DAMN, is this curious line “I’m not even Black no more, I’m an Israelite.”
I guess this means he has joined the Afrocentric Biblical sect called the African Hebrew Israelite’s. While I understand and respect my sisters and brothers who are drawn into such archaic religious formations, the question I often ask is why did they not simply join a church? They, just like many Rastafarians who claim to have liberated themselves from the mental slavery of the Abrahamic mythology, and Christian monopolization of the Nature and the ‘Word’ of ‘God’, all seem to view the world through a very limited and limiting prism. The limitations and contradictions of these Biblical fundamentalists have many repercussions. Most of the claims from the prophecies to the miracles as well as much of the historicity of the texts and personalities can barely withstand scientific scrutiny. Everything from the stories of Adam and Eve, Jonah and the great fish, Noah’s Ark to the existence of personalities such as David, Moses, Jacob, Melchizedek and even Jesus are founded on very fickle historical evidence. Now I appreciate the wondrous power of myth and ancient stories and how belief in such stories and their sacredness has permeated the whole planet, but I also have seen the devastating damage they have visited on the world, human relations as well as humanity’s relationship with the cosmos.
In an essay titled The Faith of our Forefathers, I write about how freedom fighters from Nat Turner, Marcus Garvey to the early South African, ‘exempted’ African leaders found succor, comfort and courage in the Bible and the Quran. I also offer that their, and our own heavy reliance on these religious also limits our capacity to change, innovate and find truly African centered solutions to the problems that we face as a ‘Race’.
There are many contradictions and there are many levels or perspectives with which we can face this matter of ‘foreign religions’, or even the foreignness of religion to we as Abantu. Being in Africa, we have a greater advantage and a greater responsibility to emancipate our selves from mental and spiritual servitude. Our mixing and matching of foreign religions with our indigenous knowledge does not benefit our communities, but only the hierarchical and paternalistic families and societies that control the purses. Listening to the brother Kendrick Lamar and the even more deluded Jay Electronica reminded me of what my brother Madoda Mditshwa always said. We must restore inkolo YeMveli ( We Must Restore Our Ancestors Ways of Knowing and Being.) We have a chance to do it as Afrikans/Abantu, but it mat be too late for our sisters and brothers who dwell in the belly of the beast. Unless they are willing to make a Radical transformation and seek the Afrika that is authentic and unmoved by the trappings of the West.
A New Afrika may yet be created, perhaps with a new name and a new way of Being free, devoid of the exploitation of religion, market economy and blinding illumination.