The problem with Femi Kuti is his father Fela. How can you possibly compete with a legacy as immense as that? Or at the very least forge your own identity? It’s the Ted Whitten effect. What chance did Ted Jnr have when his father was Mr Football? If he played well, it was never as good as his father, and if he played poorly then he was an insult to the legacy. The solution? Retire at 25 and run a foundation dedicated to your father’s memory. So to with music. We’re so desperate for another piece of Fela that we try to build Femi in his image, willing him to commit just one more epic Afro-beat freak-out, and he regularly obliges. Femi was in his father’s band, so he knows the ropes, though he’d also no doubt feel the pressure. On his latest album Day By Day (Wrasse/ Filter) he does give us a couple of tastes of Afro-beat, and shares his fathers desire to meld politics and music, yet he also diversifies, attempting to move beyond his father and create his own path. He’s moved from sax to trumpet, and the music takes on a jazzier and at times a light, relaxed, and mellow feel, moving at a gentle cadence with the occasional brass stab. It’s definitely Femi’s most interesting and complex work to date, and solidifies his reputation as an artist in his own right. For those still yearning for the Fela experience, Femi’s brother Seun has enlisted Fela’s Egypt 80 band and is making his way to Womadelaide next year, and legendary percussionist and bandleader of Fela’s Africa 70 Tony Allen will also playing the Corner – both in March 09.
Another man with family issues is Lulo Reinhardt, grand nephew to gypsy jazz legend Django Reinhardt. In fact there is a certain similarity between Lulo and Femi. Both have an incredible affinity with their famous relative’s stock and trade, yet use it as a launch pad to explore their own musical whims. His Latin Swing Project (Toca/ Filter). begins with gypsy swing yet also dips into elements of samba, flamenco, tango and jazz influences. He’s in town and playing at the Famous Speigeltent tomorrow night. His musicianship is incredible, and his live show incendiary. He’s also got one up on Django: he has all his fingers.
Not only is there a new 2 disc compilation, but also an accompanying coffee table book for Dancehall: the Rise of Jamaican Dancehall Culture (Soul Jazz/ Inertia). With text and hundreds of photographs from Beth Lesser, it’s a definitive chronicle of the phenomenon which began in the 50’s in Kingston Jamaica with Coxsone Dodd’s sound system and has continued to this day. Lesser was there 27 years ago and her accounts come from this insider perspective as she talks of her experiences at sound clashes, The DJ’s, the police, the poverty and the political violence. The photos too are incredible. everyone from Sly and Robbie, Gregory Isaacs, King Jammy, everyone you could think of back in the day. It’s an incredibly creative time in the history of music, where the scene was experiencing a resurgence and the creativity was rampant.
Stutter is pleased to be hosting a four-way, a combined Christmas party with the excellent Sabbatical Record label (www.sbbtcl.com/sbbtcl), the dark brooding Sweat Lung (www.sweatlung.blogspot.com), the launch of issue 21 of Cyclic Defrost Magazine and their own celebration of a year of incredible experimental music. It’s on at Horse Bazaar on Wednesday the 17th of December.
Finally tonight, and when I say “tonight!” it’s with a high pitched squeal and a metal salute, Philip Brophy is living out his metal fantasies. Bare-chested and adorned with long flowing black metal-dude hair, flailing away at the drums, he will be flanked by two exuberant explosive dancers. No words. No guitars. No other visible instruments. Just a set of skins sandwiched by skin. It all sounds very wrong, yet it’s a performance to end the One of Us Cannot be Wrong Exhibition and it’s at the TOFF in town. And yes Phil, sorry to say but I know which of us is wrong.
-Bob Baker Fish