{"id":88634,"date":"2017-03-05T14:47:47","date_gmt":"2017-03-05T12:47:47","guid":{"rendered":"http:\/\/www.myza.co.za\/afrofuturistic-cosmic-jazz-comes-to-the-motherland-the-conversation\/"},"modified":"2017-03-05T14:47:47","modified_gmt":"2017-03-05T12:47:47","slug":"afrofuturistic-cosmic-jazz-comes-to-the-motherland-the-conversation","status":"publish","type":"post","link":"https:\/\/www.myza.co.za\/press\/afrofuturistic-cosmic-jazz-comes-to-the-motherland-the-conversation\/","title":{"rendered":"Afrofuturistic, cosmic jazz comes to the Motherland | The Conversation"},"content":{"rendered":"<p><a target=\"_blank\" target=\"_blank\" rel=\"nofollow\" href=\"http:\/\/theconversation.com\/afrofuturistic-cosmic-jazz-comes-to-the-motherland-72518\">Afrofuturistic, cosmic jazz comes to the Motherland<\/a>: <\/p>\n<figure><img decoding=\"async\" src=\"https:\/\/cdn.theconversation.com\/files\/159131\/width496\/image-20170302-14714-18pc15p.jpg\" \/><figcaption><span class=\"caption\">Saxophonist Kamasi Washington will be performing at the 2017 Cape Town International Jazz Festival.<\/span> <\/figcaption><\/figure>\n<p>The golden era days of jazz-rap occurred during the late 1980s and early 1990s. Hip-hop artists of the time sampled jazz and funk records to create their sound. <\/p>\n<p>Unlike then, we are now entering an age where jazz and funk artists are redefining the boundaries and the sound of hip-hop. The Cape Town International jazz festival has tapped into this new age. A number of these musical trailblazers are coming to the African motherland soon, where their musical prowess will be showcased at the annual festival.<\/p>\n<p>Some context on these musicians: They do this delineation by fusing genres like spiritual\/cosmic jazz, Pfunk and West Coast hip-hop with ideologies of black consciousness, Afrofuturism and syncretic black spirituality.<\/p>\n<p>We also see more of an emphasis on collaboration between hip-hop artists and contemporary jazz musos. Not only well versed in the golden era hip-hop, these jazz musicians also know their way around the jazz of yesteryear. This interaction sees more interplay between traditional hip-hop sampling methods and a jazz-based composition, improvisation and performance aesthetic in hip-hop. A prime example of this development can be found in songs like Kendrick Lamar\u2019s \u201cFor Free? (Interlude)\u201d, \u201cAstral Progressions\u201d by contemporary jazz trumpeter Josef Leimberg featuring rapper Kurupt and the works of artists like the Canadian jazz band, Badbadnotgood.<\/p>\n<figure>             <iframe loading=\"lazy\" width=\"440\" height=\"260\" src=\"https:\/\/www.youtube.com\/embed\/_ZTYgq4EoRo?wmode=transparent&amp;start=0\" frameborder=\"0\" allowfullscreen><\/iframe><figcaption><span class=\"caption\">\u2018For Free?\u2019 by Kendrick Lamar from his album, To Pimp a Butterfly.<\/span><\/figcaption><\/figure>\n<p>Unlike in the golden jazz-rap era, jazz is no longer a mere sonic muse or pallet for beat makers. It\u2019s now at the forefront of hip-hop production and is directly influencing the trajectory of the genre. For jazz this period marks a new era of fusion that\u2019s heavily influenced by the open minded innovators of the fusion movement of the 1970s such as Herbie Hancock, Miles Davis, Weather Report and Tony Williams. These musical revolutionaries were able to change the shape of jazz and other genres simultaneously through the redefinition and fusion of styles.<\/p>\n<p>Something really magical is taking place at the moment. The last few years have seen a gradual increase of black artists who are really \u2013 as opposed to just aesthetically \u2013 tuned into the circuit-jamming frequencies and epoch-making ideas of George Clinton), Sun Ra, Tupac Shakur, Malcolm X and everything in between and beyond.<\/p>\n<p>As a scholar of Afrofuturism, a DJ and record collector I am extremely grateful that the Cape Town International Jazz Festival has booked some of these gifted young artists that have built this movement over the last few years.<\/p>\n<p>I\u2019m particularly excited to witness, in my own city, the stellar art of Laura Mvula; Taylor McFerrin  and Marcus Gilmore; Kamasi Washington and Digable Planets.<\/p>\n<p><strong>Laura Mvula<\/strong><\/p>\n<p>I can best describe Birmingham native Mvula\u2019s music as ethereal, spaced out vocal jazz with gospel and African choral roots. She sounds unique, exploring themes of blackness, spirituality and space in an elegant manner. <\/p>\n<p>Her style is minimal, clean and elegant with a particular knack for making full use of emptiness and space. Listening to her music makes me feel like I\u2019ve been teleported to church in outer space. Worth noting is that her African surname is of no significance to her music \u2013 it\u2019s simply her Zambian husband\u2019s surname.<\/p>\n<figure>             <iframe loading=\"lazy\" width=\"440\" height=\"260\" src=\"https:\/\/www.youtube.com\/embed\/hYjHixQ9Ns4?wmode=transparent&amp;start=0\" frameborder=\"0\" allowfullscreen><\/iframe><figcaption><span class=\"caption\">Laura Mvula\u2019s musical feel is well illustrated in this song \u2018That\u2019s alright\u2019.<\/span><\/figcaption><\/figure>\n<p><strong>Digable Planets<\/strong><\/p>\n<p>The title of Digable Planets\u2018 1993 jazz-heavy debut release \u201cReachin\u2019 (A New Refutation of Time and Space)\u201d is an apt and clear indicator of the musical direction they were taking during that period. This particular album served as my first introduction to jazzy hip-hop and the idea of \u201cspace, jazz and blackness\u201d. Their second release \u201cBlowout Comb\u201d, which is super Afrocentric and created around themes of Black Nationalism, black urban culture, jazz and entomology, took me further down the rabbit hole of Afrofuturism .<\/p>\n<p>For me the group exemplifies my comparison between the golden era of hip-hop, the advent of late 90s neo-soul and the here-and-now, as they were one of the first groups to explore Afrofuturism, space, time travel, blackness and urban culture through the idioms of jazz and hip-hop. They definitely set the tone for this kind of expression and continued to do so even after their protracted hiatus which occurred between 1995 and their reunion tour of 2016.<\/p>\n<p>During that period group member Ishmael Butler went on to establish another highly influential Afrofuturistic outfit, Shabazz Palaces, and Cee Knowledge created and recorded with the  spaced out hip-hop\/jazz band Cee Knowledge and the Cosmic Funk Orchestra while Lady Mecca went on to record her solo hip-hop offering, \u201cTrip The Light Fantastic\u201d. One simply cannot discuss Afrofuturism and jazz within the bounds of hip-hop without mentioning Digable Planets and their unique legacy.<\/p>\n<figure>             <iframe loading=\"lazy\" width=\"440\" height=\"260\" src=\"https:\/\/www.youtube.com\/embed\/cM4kqL13jGM?wmode=transparent&amp;start=0\" frameborder=\"0\" allowfullscreen><\/iframe><figcaption><span class=\"caption\">Digable Planets with their hit \u2018Rebirth Of Slick (Cool Like Dat)\u2019<\/span><\/figcaption><\/figure>\n<p><strong>Taylor McFerrin and Marcus Gilmore<\/strong><\/p>\n<p>The idea that DJ, producer and multi-instrumentalist Taylor McFerrin is teaming up with jazz drummer Marcus Gilmore is most thrilling because they have never recorded a collaborative album that showcases their collective sound. This collaboration is an argument in favour of the assumption that musicality is innate by way of one\u2019s genes. Both these artists are direct descendants of two of the most prolific artists of our time.<\/p>\n<p>Gilmore, who is the grandson of legendary jazz drummer Roy Haynes, recently recorded an album with the jazz fusion giant Chick Corea. Gilmore has also collaborated with foremost Afrofuturist Flying Lotus and Ravi Coltrane. Both are from impeccable jazz stock \u2013 the latter the son of jazz gods, John and Alice, and the former their grand nephew.<\/p>\n<p>McFerrin, the son of Bobby, is known for his left-field, futuristic fusion of electronica, jazz, soul and hip hop. He is affiliated to the aforementioned Flying Lotus\u2019s  experimental LA-based Brainfeeder record label, a purveyor of some of the finest Afrofuturistic art of the last decade.<\/p>\n<figure>             <iframe loading=\"lazy\" width=\"440\" height=\"260\" src=\"https:\/\/www.youtube.com\/embed\/zRxt0vQ5kDc?wmode=transparent&amp;start=0\" frameborder=\"0\" allowfullscreen><\/iframe><figcaption><span class=\"caption\">Gilmore and McFerrin in concert.<\/span><\/figcaption><\/figure>\n<p><strong>Kamasi Washington<\/strong><\/p>\n<p>Saxophonist Washington\u2018s multiple 2015 award winning debut studio album \u201cThe Epic\u201d (also released via Brainfeeder) is one of the most important jazz albums of the last five years. It simultaneously garnered the respect of critics and jazz purists, as well as audiences who wouldn\u2019t otherwise listen to anything as musically complex.<\/p>\n<p>Released as a triple disk on vinyl, \u201cThe Epic\u201d is a worthy investment for any vinyl enthusiast and music lover.<\/p>\n<figure>             <iframe loading=\"lazy\" width=\"440\" height=\"260\" src=\"https:\/\/www.youtube.com\/embed\/KqJJ-2cRR0M?wmode=transparent&amp;start=0\" frameborder=\"0\" allowfullscreen><\/iframe><figcaption><span class=\"caption\">Kamasi Washington and his band with \u2018Clair de Lune\u2019 from \u2018The Epic\u2019.<\/span><\/figcaption><\/figure>\n<p>This phenomenal album, along with Washington\u2019s work as a notable collaborator on a significant number of the most prominent Afrofuturistic, jazz, hip-hop and funk albums of the last five years, makes him an artist of great stature. One finds his name printed in the liner notes of recent, groundbreaking albums by Kendrick Lamar, Josef Leimberg, Flying Lotus, Thundercat, Miles Mosely and Run the Jewels.<\/p>\n<p>Washington definitely is an important part of the machinery that\u2019s shaping the future sound of jazz, hip-hop and funk, in their individual forms and as a  futuristic, experimental fusion projects.<\/p>\n<p>The festival is an exceptional opportunity to engage with artists, who are relevant and progressive, especially in the Motherland. I sincerely hope that South Africa inspires their art and that we can absorb something from whatever they project.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/counter.theconversation.edu.au\/content\/72518\/count.gif\" alt=\"The Conversation\" width=\"1\" height=\"1\" \/> <\/p>\n<p class=\"fine-print\"><em><span>Michael Shakib Bhatch does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond the academic appointment above.<\/span><\/em><\/p>\n<p><small><strong>Source:<\/strong> <a target=\"_blank\" rel=\"nofollow\" href=\"http:\/\/theconversation.com\/afrofuturistic-cosmic-jazz-comes-to-the-motherland-72518\">The Conversation \u2013 Articles (AFRICA)<\/a><\/small><br \/>\n<\/p>\n<p>Read more on <a target=\"_blank\" href=\"http:\/\/theconversation.com\" target=\"_blank\">The Conversation<\/a>.<\/p>\n<p><strong>Join the fun:<\/strong> <a target=\"_blank\" href=\"http:\/\/www.myza.co.za\/add-your-event\/\">Add Your event<\/a> | <a target=\"_blank\" href=\"http:\/\/www.mypr.co.za\/submit\">Submit a Press Release<\/a> | <a target=\"_blank\" href=\"http:\/\/www.myza.co.za\/directory\/\">Add your listing<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Afrofuturistic, cosmic jazz comes to the Motherland: Saxophonist Kamasi Washington will be performing at the 2017 Cape Town International Jazz Festival. The golden era days of jazz-rap occurred during the late 1980s and early 1990s. Hip-hop artists of the time sampled jazz and funk records to create their sound. Unlike then, we are now entering [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","ngg_post_thumbnail":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4584],"tags":[24648,5201,8890,20705,8304,24649],"class_list":{"0":"post-88634","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-africa-news-2","7":"tag-afrofuturistic","8":"tag-comes","9":"tag-conversation","10":"tag-cosmic","11":"tag-jazz","12":"tag-motherland","13":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/posts\/88634","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/comments?post=88634"}],"version-history":[{"count":0,"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/posts\/88634\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/media?parent=88634"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/categories?post=88634"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.myza.co.za\/press\/wp-json\/wp\/v2\/tags?post=88634"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}