Cruz Global African Music Festival 2002
Presented by African American Innovators in collaboration with UC Santa Cruz and UCSC Arts & Lectures
April 10 - 14, 2002
University of California, Santa Cruz
Dr. Karlton E. Hester, Artistic Director
Alissa Roedig, Administrative Assistant
David Claytor, Production Assistant
Co-Sponsors: UC Regents, UCSC Arts Division Committee on Research, April
in Santa Cruz, UCSC Music Department, Sesnon Gallery
Additional Support: World Travel Vignettes, Distinctive Destinations, Rhythm Fusion, UCSC Bay Tree Bookstore, Thomas Musical Instruments, Hornucopia, Bank of the West
Very Special Thanks: UCSC Arts & Lectures staff, Shelby Graham and Leslie Fellows (Sesnon Gallery), David Claytor (Sure Thing Productions), UCSC Arts Division Business Office, Tom Listmann and Dave Morrison (Music Department facilities staff), Edward Houghton (Dean of the Arts), New World Music Foundation, UCSC Printing Services
From the Director:
When I arrived for my job interview at the University of California, Santa Cruz, I became immediately aware of the paucity of diversity on campus and around the Santa Cruz area. It was also clear, given the generally high level of interest in non-Western music in the area, that Afrocentric music could have some impact on the current efforts towards diversification and cultural enrichment at UCSC and in town. Ideally, I figured, music at the university could have an effect on the Santa Cruz community at large. Such a musical project also seemed to merge perfectly with other current plans we were evolving to Rebuild Global Community through the Arts.
The Santa Cruz Global African Music Festival is a result of a cooperative effort from UCSC and community individuals and programs. I initially discussed the possibility of presenting an annual Festival of Global African Music with the Arts Division dean (Edward Houghton) and the Music Department Chair (David Cope, at the time) on campus. Both gentlemen were excited about the prospect. Next I visited my friend Tim Jackson at the Kuumbwa Jazz Center in Santa Cruz. Tim offered his ideas, support and cooperation. He also suggested that I speak with Trink Praxel, Director of the University Events Office. Trink was completely aligned with our festival vision and she quickly introduced me to the new UC Santa Cruz Arts and lectures manager, Michelle Witt who became one of the primary catalysts for arranging the sponsorship that finally made it possible to move the festival idea towards actuality.
This years Santa Cruz Global African Music Festival marks the beginning of an annual musical event on the UCSC campus. Elsewhere, we are working towards developing a chain of related "sister" festivals produced independently at other locations within the United States and abroad. By starting the Global African Music Festival Series we are initiating a network of alternative performance venues where "jazz" and other Global African music and art are presented as "serious" art forms. In addition to the performance component strong emphasis is placed on educational outreach, where students and the public have opportunities to enjoy direct contact with the artists and learn about the history, performance practice and heritage of a Global African music and art from its progenitors.
For our initial festival, in April 2002, the performance lineup includes a number of musicians and a visual artist who are proven showstoppers. It is a wide assortment and extraordinary group of musicians, with most of whom I have worked in the past. Featured artists include the Sam Rivers Trio, Mamadou Diabate (Mali), Thomas Mapfumo (Zimbabwe) [originally scheduled: Samite Mulondo], Nelson Harrison (Pittsburgh), Obo Addy (Ghana), Twins Seven-Seven (Nigeria), Eddie Gale (San Jose), Hotep Galeta (South Africa) and Hesterian Musicism.
Prince Twins Seven-Seven, Dr. Nelson E. Harrison, Hotep Idris Galeta, Eddie Gale, Thomas Mapfumo, Sam Rivers Trio, Mamadou Diabate, Obo Addy, Hesterian Musicism
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Sam Rivers is an exciting composer, educator and multi-instrumentalist (tenor & soprano saxophones, flute, piano) who has performed with such renowned artists as Miles Davis, Dizzy Gillespie, Cecil Taylor, McCoy Tyner, Charles Mingus, and many others. Mr. Rivers was an artist in residence at the Cornish Institute in Seattle when I first had the pleasure of meeting him. Rivers is one of the major figures in contemporary music, an authentic jazz original, prolific composer and virtuoso performer, a true multi-instrumentalist. Currently he performs solo with his Trio or Quartet and the Rivbea Orchestra. Hes a former featured veteran artist with groups of Miles Davis, Dizzy Gillespie, Cecil Taylor, McCoy Tyner, Charles Mingus, Herbie Hancock, Freddie Hubbard, Anthony Braxton, Muhal Richard Abrams, Tony Williams, Dave Holland, with blues masters Jimmy Witherspoon, T Bone Walker and B.B. King. He has appeared as soloist with the San Francisco Symphony Orchestra, the American Symphony Orchestra and the Symphony of the New World.
Rivers is a former faculty member of Wesleyan University, Connecticut College, Dartmouth College and Cornish Institute. Rivers is a third generation musician whose music instruction began soon after birth. He studied theory, orchestration and majored in composition at the Boston Conservatory of Music and completed his studies at Boston University. Hes a creator of original music that spans the spectrum of traditional and contemporary jazz, folk, blues, ballads, bebop, latin, hip hop, funk and avant garde.
Anthony Cole (Drums, piano, tenor saxophone) has played with Rivers since 1991. Cole played both drums and tenor sax on the trio album "Concept," and also played on the Rivbea Orchestras "Culmination" and Grammy-nominated "Inspiration." He has worked as a session musician in Los Angeles and has backed his mother, jazz singer Linda Cole, and other members of the late Nat "King" Coles extended family. A multi-instrumentalist, Cole also fronted popular Florida funk-soul band Kow and plays in numerous local groups.
Doug Mathews (Bass violin, bass guitar, bass clarinet & drums) has played with Rivers since 1993 and appears on his trio album "Concept," doubling on bass clarinet. He also played on the Rivbea Orchestras "Culmination" and Grammy-nominated "Inspiration." Mathews studied at Berklee School of Music in Boston, Mass. As one of the most in-demand freelance musicians in Central Florida, he has backed artists such as Alphonse Mouzon, Lynn Ariale, Tex Beneke and Warren Covington. Mathews has also worked in many improvised-music ensembles and performed with Jon Rose in a concert sponsored by Orlando presenting groups the Civic-Minded Five.
I met Dr. Nelson Harrison at a special conference for independent African American musicians in New Orleans several years ago. Nelson and I soon became close friends and associates and soon began work on musical projects of mutual passion and interest. Dr. Harrison is not only a veteran musician and former member of the Count Basie Band, but also a clinical psychologist, scholar and inventor of his own six-octave brass instrument (a ten-inch long brass instrument made out of spare parts that chromatically reproduces the timbral effects of the entire range of the brass family) - the "Trombetto." As Regents Lecturer, Dr. Nelson Harrison will be in residence at UCSC during the week leading up to the festival. In collaboration with several departments at UCSC he will present lectures on The Metaphysics of Music, the "Trombetto", poetry and music, and other areas of study.
A bandleader since the age of 13, Dr. Harrison is a trombonist, composer, arranger, lyricist boasting over 400 original works. Theatre credits include original scores written for works by August Wilson and Richard Wright and movie score work for Mark Snow and John Russo and Tara Alexander. He was on-air host for a 6-part NPR series called "Jazz Pittsburgh." Worldwide touring credits include 2+ years with the Count Basie Orchestra (1978-80) on trombone and 6 years as a New Orleans traditional jazz pianist. Nelson appears as trombonist in the touring orchestra in the NBC mini-series "The Temptations" a part he played more than 6 times (1962-1966) with the actual Temptations.
A Ph.D. in clinical psychology led him to practice psychotherapy for nine years before pursuing other entrepreneurial interests, that included stock brokering and insurance, speaker, management and training consultant and author. As an educator he presently specializes in a curriculum he has developed to teach the creative process and music from the Afro-centric perspective. His publication "The World According to Bop," an anthology of original lyrics to 88 bebop standards has received endorsement from composers, jazz professionals and educators in the highest international level. He hosts two web sites: www.hipbopvocalese.com (for the book) and www.virtualjazz.com (for the Pittsburgh jazz legacy archive). A favorite on the lecture circuit, Dr. Harrison appears as the featured guest on "Science and the Outer Streams," a live web cast in three 15-minute episodes on the subject "The Metaphysics of Music" at www.fromusalive.com.
[Originally scheduled: Samite Mulondo]
Thomas Mapfumo was born in 1945 in Marondera, a small town south of the Rhodesian capital, Salisbury. He spent his first ten years living in the countryside with his grandparents, tending cattle herds, and waking up long before sunrise to do chores before school. Though Rhodesia was moving inexorably toward racial civil war, Thomas was living an old-fashioned, traditional life, mostly removed from the bitterness building in the cities and townships. Traditional children's tunes, songs of celebration accompanied by the drums called ngoma, and especially, the sacred music of the metal-pronged mbira, an instrument whose beautiful, cycling melodies could summon the presence of ancestor spirits. These things formed the basis of Thomas's musical personality, a force that continues to shape the history and spiritual life of his country.
As Thomas moved on to work first with the Acid Band, and then with the Blacks Unlimited, everything came together. Thomas's lyrics reflected the concerns of the people around him - hardships in the rural areas, young men heading into the bush to fight Zimbabwe's bitter war for independence, and a rising sense of indignation at white rulers who had systematically devalued Shona culture for four generations. Thomas's chimurenga singles captured the imagination of black nation wide. Near the end of war, the out-maneuvered Rhodesians arrested Thomas briefly and attempted to use him to rally support for a last desperate attempt to hold onto some vestige of power. But the tide of history had turned, and in 1980, Robert Mugabe was elected president of a new nation. That year, Thomas Mapfumo and the Black Unlimited shared the stage in Salisbury (now called Harare) with Bob Marley and the Wailers. This year, 2002, Mugabe is a leader gone mad, and Thomas' music is banned in Zimbabwe. He lives in virtual exile with his family and band in the US. Still, his 2001 release in Zimbabwe "Chimurenga Rebel" sold it's entire 35,000 copies in a few days, and it remains Gramma records top seller. Despite it's absence form the government airwaves.
Mamadou Diabate also moved to Ithaca several years ago. We performed together at Barnes Hall with Dr. Donald Byrd and Hesterian Musicism soon after his arrival. Mamadou is a kora player from Mali. The kora is a 21-string African harp and Mamadous surname "Diabate" indicates that he descends from a long line of Manding musician-storytellers, the jeli, sometimes referred to by the French term griot; the traditional oral historians. A member of the famous Diabate family of Kita, Mamadou was taught by his father, who played the kora in the Instrumental Ensemble of Mali. When Mamadou moved to Bamako, he received additional help and encouragement from his cousin, Toumani Diabate. It was Toumani who gave Mamadou his nickname: djelika djan, which means "tall jeli."
Mamadous style has developed from many years of listening to kora players and other musicians from many different countries. Although his performance is based in the keita tradition, Mamadou always strives to bring something fresh, unique and contemporary to his music, making it a bridge between the past and the future.
Since 1996, Mamadou has been living in the United States and has collaborated with American artists such as jazz musician Randy Weston, blues performer Guy Davis, and Irish singer Susan McKeown. On his first album, "Tunga", Mamadou is accompanied by Famoro Diabate (Guinea) on balafon, a wooden xylophone, Fuseini Kouyate (Mali) on ngoni, a four or five stringed lute, Cheick Barry (Guinea) on electric bass, and by acoustic bass player Ira Coleman. On two tracks Mamadou is joined by Abdoulaye Diabate, perhaps the finest jeli singer currently living in the US. Mamadou tours with either a three or four-piece band, the fourth member being singer Abdoulaye Diabate.
Tunga means "adventure." This stunning debut album from world traveler and master kora player Mamadou Diabate infuses traditional Malian music with an array of innovative elements such as American blues, Bambara music, and the fast, Gambian style of kora playing. "Tunga" is a true adventure for the heart and ears from one of Malis rising stars.
Obo Addy, originally from Ghana, has performed a variety of musical styles and currently has two ensembles, one each for traditional and contemporary African music. As a repository of Ghanaian music history, Obo Addy is a brilliant musician, an innovative composer of original works and a man of rhythm deeply rooted in the musical traditions of Ghana, West Africa. His life-long experience of playing every kind of music- from the ceremonial music of his father, a Wonche or medicine man, to the big band sounds of the Joe Kelly Band, and the traditional sounds of the world renowned Oboade- makes him unique. He has been touring the United States since the mid-1970s performing and teaching in colleges and universities and at Fine Art centers and festivals. He received a Governors Award for the Arts in Oregon in 1993 as well as Masters Fellowship from the Oregon Arts Commission. In September of 1996, Obo received the National Heritage Fellowship Award from the National Endowment for the Arts, the highest honor given to a traditional artist in this country. In 1999, along with local dancer Mary Oslund, Obo was awarded one of the first of the Regional Arts and Culture Councils Individual Fellowship Awards.
Obo created Homowo African Arts and Cultures with his wife Susan in 1986. Homowo African Arts and Cultures is dedicated to fostering the arts and culture of Africa in the United States and providing a vehicle through which Americans may study and understand African culture. Through Homowo, Obo travels throughout the country conducting teaching residencies and performing both solo and with his performing groups- Okropong, dedicated to traditional tribal music and dance of Ghana, and Kukrudu, which performs original music written by Addy. In addition to concert performances, Homowo focuses on community outreach through educational programs, concerts, oral histories, dialogue, and lecture demonstrations while placing the art form in its proper cultural context. Currently, Obo spends his time touring internationally, composing, recording and creating educational outreach programs.
Nigeria in the 1960s abounded with multitalented artists and musicians. Twins Seven-Seven was one of the most colorful amongst them. Dancer, artist, band-leader, actor, theatre director, singer, businessman and politician, he threw himself into each activity with enthusiasm and energy. Thirty-five years later, his paintings are found in museums all over the world, he has produced numerous recordings and has been honored with several senior chieftain titles. (Ulli Beier: A Dreaming Life - An Autobiography of Twins Seven-Seven).
A mutual friend, Remi Adewumi, brought Twins and I together at a concert in Oshogbo, Nigeria. Twins band was performing; it included a family of three talking drums (played by a father and his two sons), three fantastic female vocalists, a Western-styled rhythm section, and Twins at the helm playing a variety of instruments. Although our visit was unexpected, when we arrived around 7 PM a feast was soon prepared and served while we listened to the wonderful music. When we finished eating the vocalist danced down to our table and insisted that we join the music making and dancing. The sustained intensity of that impromptu party lasted until 5 AM the following morning!
The visual art of Prince Twins Seven-Seven is characterized by a highly individual approach and vibrant, complex compositions. Originally from Oshogbo, Nigeria, Twins currently resides in the U.S. and his works have been featured in galleries and museums around the world. In his portfolio of exhibits he includes the George Pompidou Museum in Paris (1989); Africa Now - Traveling World Exhibit including Las Palmas, The Netherlands and Mexico City (1991-1992); Mocha Gallery in Philadelphia, PA (1994); Friends of the National Zoo exhibit in Washington, D.C. (1997) Artist In Residence, Indianapolis Museum of Art (African Festival, 1997); Zak Gallery in Fuerth, Germany (1998); and Yoruba: Panarow Exhibit at the October Gallery in London (1998-1999). In 2000 Twins Seven-Seven1s works were displayed in the exhibit "Oshogbo: The Early Years" at the National Museum of African Art in Washington, D.C., which also included audio performances of his unique music. Recently, Twins' artwork has been featured in the new Contemporary African Art wing of the Indianapolis Museum of Art and the Maryland Museum of Art, which presented a one-man exhibition of his works.
Prince Twins Seven-Seven's artwork will be exhibited throughout April 2002 in UCSC's Porter College Faculty Gallery as part of Santa Cruz Global African Music Festival. In addition there will be an artist reception and a workshop.
I first heard Eddie Gale perform in1974 while on sabbatical in San Jose for a year. That year then mayor of San Jose Norm Mineta (currently Secretary of Commerce and Secretary of Transportation-designee for the incoming administration) bestowed the honorary title of San Jose's Ambassador of Jazz upon Gale in recognition of his efforts to bring jazz and improvised music to the Bay Area. Eddie and I have since performed together and found that we share many stylistic and music business perspectives. Having been mentored by John Coltrane, and a member of the legendary Sun Ra Arkestra, as well as avant-garde pioneer Cecil Taylor's group, Gale is now able to share his experience with California musicians as Artist-in-resident at San Jose State University.
Recently, Gale was nominated by Bay Area City Flight News magazine as one of the four most influential Bay Area African Americans in the entertainment category. Four outstanding Bay Area residents have been selected for ten categories, the winner in each will ultimately comprise CityFlight's "Ten Most Influential African Americans in the Bay Area for 2000."
recorded as a leader for Blue Note Records and Mapleshade Records. His recording
debut came on Cecil Taylor's classic Blue Note album Unit Structures. Enter
Evening, a track from that album, was later included on the Smithsonian Collection
of Classic Jazz. Gale can also be heard on the Sun Ra album Lanquidity (reissued
by Evidence Records), which he helped produce. Gale has also recorded Sun Ra
tributes with John Tchicai and appeared as a sideman on Larry Young's Of Love
and Peace. Musicians appearing on sessions he has led include: Elvin Jones,
James Lyons, Roland Alexander, Larry Willis, and Ben Allison.
I first heard Hotep Idris Galeta when he was playing with Saxophonist John Handy when I moved to San Francisco in the mid-1970s. Hotep has since returned to his native South Africa but we have managed to keep in touch and exchange philosophical ideas and pedagogical resources electronically. He was born in Crawford, Cape Town on the 7th of June 1941. He grew up exposed to the rich music culture in and around Cape Town. His first piano lessons came from his father who began teaching him some basic keyboard skills at the age of seven. In the early 50s he became interested in Jazz as a young teenager, after listening to a short wave radio Jazz program on the "Voice of America". After meeting Abdullah Ibrahim then known as Dollar Brand at a high school Jazz concert in Athlone, the two became close friends and Brand became his mentor. Hotep, or Cecil Barnard as he was known in the 50s, went on to establish himself as one of the young emerging jazz pianists on the Cape Town jazz scene. He performed in such legendary clubs as the "Naaz," "Zambezi" and the "Vortex" and with legendary South African players such as Chris McGregor, Dudu Pukwana, Christopher Mra Ngcukana, Cups and Saucers, Johnny Gertze, George Kussel, Sammy Moritz, Henry Makone, Makaya Ntoshoko, Anthony Schilder and Monty Weber. All of these individuals had a great influence on his musical development. Hotep left South Africa for London and then New York in 1961 and stayed in exile for thirty years. In the early 60s he obtained a scholarship to study privately with noted jazz piano educator John Mehegan. He now holds a Masters degree with Distinction in Jazz and Contemporary African-American Music and Performance. His discography is quite extensive with over 18 albums and CDs recorded with a number of American and South African artists. They include his own acclaimed solo piano C.D. "Live At The Tempest" and numerous CDs with Hugh Masekela, Herb Alpert, John Handy, Jackie McLean, Joshua Redman, Archie Shepp Elvin Jones, Bobby Hutcherson, Woody Shaw and David Crosby and the Byrds.
As a result of his reputation as an internationally recognized Jazz and Contemporary Music educator and pianist, he was appointed lecturer in Jazz studies to the University of Hartfords Hartt College of Music in Hartford, Connecticut in 1985. This position continued until his return to South Africa in 1991. Since then Hotep served as the Musical Director for the Volkswagen sponsored "Music Active" performing arts educational program for high schools. He recently returned back to Cape Town after four years of lecturing in the Music Department at the University of Fort Hare in Alice, the Eastern Cape.
Karlton E. Hester, Musical Director
Hesterian Musicism will perform original compositions with featured guests Dr. Nelson Harrison and percussionist Obo Addy to close the Santa Cruz Global African Music Festival, where Global African music is integrated with various musical elements from other regions worldwide in premeditated, spontaneous, and electro-acoustic compositions and other interdisciplinary arts. Hesterian Musicism is the creative process through which compositional and performance style merge to give rise to aesthetic environments where other musicians, kinetic and visual artists, and poets can meet to produce new art forms through imaginative effort. For the Santa Cruz Global African Music Festival Hesterian Musicism will use musician selected from both West Coast (India Cooke - violin, Larry Douglas - trumpet, Pascal Bokar Thiam - guitar, Renata Bratt - cello, Erich Hunt - bass, Kamau Seitu - percussion) and East Coast (Bill Johnson - trumpet, Cecilia Smith - vibraphone, Sera Smolen - cello, Phil Bowler - bass, and Edward Biko Smith- percussion) performing ensembles.
Apri l 2 - May 4:
WED, April 10
THU, April 11
FRI, April 12
SAT, April 13
SUN, April 14
These events were presented by UCSC Arts & Lectures and African American Innovators, LLC with additional sponsorship by UC Regents, ADCOR, April in Santa Cruz, the Sesnon Gallery, Porter College, Rhythm Fusion, and the UCSC Music Department.
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