The Ambrose Ehirim-Tana Lopez Q & A Interview

Tana Lopez is a nationally exhibited and nationally published international documentary and fine-art photographer living in the Washington, D.C. and Baltimore area. She is also an official member of the Jazz Journalist Association.In the summers of 2010 and 2011 she traveled to Ghana, West Africa as the official photographer for a non-profit organization that builds schools and health clinics in the mud-hut villages that surround the city of Accra. Her photos from Ghana benefited the organization’s fund raising efforts significantly and in August, 2011 were also exhibited at the prestigious Eubie Blake National Jazz Institute and Cultural Center in Baltimore, MD. Tana is absolutely passionate about taking pictures that will bring about awareness of important issues because she feels that the best way to motivate people to change the world is to show them what needs to be changed. She has many more exhibits planned in the near future.

You had the Tana Lopez Photography Public Exhibition at the Eubie Blake National Jazz and Cultural Center in downtown Baltimore in 2011. How did this come about?

A lady by the name of Cheryl Goodman referred me to the Director of the center (Troy Burton). They asked me if I would like to do an exhibit of my live jazz photos and I said yes!! Eventually I decided I would rather show my photos from my work in Ghana because I felt that the poverty that existed there was an issue that was important and that people needed to know about.

Photography is art. When and how did you start the work of photography?

In 2008, I had come to a time in my life where my children were all in school and didn't need my constant care and attention anymore. I had a college degree but when I started applying for jobs, I realized that after having stayed home with my children for so long, very few people were willing to hire me or to pay me what I was worth. I decided not to take a low-paying job, that I would rather find something I was passionate about. After trying many different things, photography was the one form of art that really stuck, once I started I just couldn't stop.


What are your favorite moments in photography?

By far the best and most meaningful part of my photographic career has been my work in the mud-hut villages of Ghana.

You traveled to Ghana in 2010 as photographer to cover events for the Ghanaian Mothers Hope, Inc. How did you get the assignment?

I came across their facebook page in May of 2010 and eventually landed on their website. I read about how they were building schools and health clinics in the mud-hut villages that surround the city of Accra. This was something that I had always dreamed of doing, going to a third world country and helping the people. I knew immediately that I wanted to do something like this, so I emailed the director and asked if I could join them. A few weeks later, she called me and told me yes!! I went to Ghana in 2010 for a month and then I went back with the same organization in 2011 for three weeks.

Was that trip your first to any African country?

Yes, this was my first trip to the continent of Africa

What was the trip about?

For me this trip was a huge lesson in taking something I was good at doing and adding meaning to it in a way I had never even imagined. Up until my trip to Ghana, being a photographer was fun and exciting. Going to a third world country took my life to a whole new level, I have now decided that all my future work will be about documenting important issues such as poverty.

Entering your website, first on spot is the music of David Dyson. Who is David Dyson?

David Dyson is a phenomenal jazz bass guitarist and a great friend. He was the musical director of New Kids on the Block and since then has performed with many amazing artists such as Phil Perry, Pieces of a Dream, Walter Beasley, Marcus Johnson, and so many more.

It’s obvious jazz music is one of your favorites. Who is your favorite jazz performer?

It's hard to have a favorite jazz performer, there is just so much talent out there. But I have to say that the jazz artists in the DMV area hold a special place in my heart.

You quoted Hakim Sanai recently in one of your lines on Face-book: “I choose love above all else. As for wealth, if that comes, or goes, so be it. Wealth and love in nhabit separate worlds.” Who is Hakim Sanai and what was the quote all about?

Hakim Sanai is one of the earlier Sufi poets and lived during the 11th century, he is just one of many poets whose work I admire. I love reading poetry!! As far as that quote, to me it just means that love and wealth really are two different concepts that have nothing to do with each other. Too often in our society we confuse the two, or we make one dependent on the other, but I don't agree with that idea. I think love is far more important than anything else in life.


You are a lover of people. How did you generate that?

It is just who I am at the deepest level, I have always loved people and had a special affinity toward people who are less fortunate than others. I have always felt that poverty in our world should not exist and have always felt a special pull toward the poor.

What are you working on now?

I am absolutely passionate about taking pictures that will bring about awareness and change. I believe that the best way to facilitate change in this world is by showing the world what needs to be changed. After having researched different social issues in our country and abroad, I have decided that I absolutely must explore the current issues of today’s Native Americans. I want to depict their beauty and their struggle so that I can show this to the world by way of multiple national and international photo exhibits and eventually the publication of a book. When people see and can truly feel the pain and the struggle that the American Indians are going through they will want to make a difference. For this reason, I will work closely with several different non-profit organizations so that when people feel motivated to donate money, they will immediately know where they can send their money.

In 2013 I am planning a three month trip to work in an orphanage in India. I plan to have exhibits and publish a book with the photos that I take in India as well. I will continue to venture to places and to take pictures of the people I feel the world needs to see.

Thank you so much, Ambrose, for showing interest in my work and for writing this article. You are helping me bring about awareness of important issues and I appreciate that so much!!

Naija Records, Mike Egi, Me, Samaka Studios And Living On Prayers

As it had happened, I had begun writing and analyzing the Eastside Nigerian music pop sensations in the late 1990s into the new millennium. And I hadn’t any clue where the writing of the subject-matter would be taking me to in terms of my readers recognizing I would be putting the whole stuff, analysis and reflections into perspective. But as I wrote on the trend of that era, my readers applauded awesomely and one in particular that put much interest in my entertainment reviews on the Eastside 1970s bands that rocked Nigeria during the post-civil war era, was Mike Egi.

Egi had sent notes to the BNW and its sister-related sites my colleagues and I founded in 2001, in an attempt to locate me. I wrote occasionally back then at BNW Magazine and Egi was one of my die-hard readers, leaving his phone number and email address for me to contact him. I had wondered why Egi would want me to call him and what the gist would probably be about. Curiosity kills the cat’ as the saying goes; I called Egi. Egi compiled and produced ‘Flashback I and II,’ a various artists of the Eastside he had released on the Naija Records label he also founded; and had included all the artists and groups I have written extensively about in the past. The ‘Flashback 1’ compilation had been actually sold underground overwhelmingly including at the pubs in the Mid-West and East Coast, when it was first released in the summer of 1999. Egi lived in Woodbury, within the St Paul metropolis, in Minnesota.

So, as it happened, Egi and I hooked up and we began to talk on the phone, on a regular basis, discussing music scholarship and what needs to be done in reviving the kind of music of the time we all grew up with. I had told Egi that our music culture had collapsed, but Egi had confidence it could be revived, citing his compilations and the quest to promote the ideal to the forefront. Henceforth, Egi became the fan who read my articles most. Each week or time my article comes out, he would read it and call me right away, and would disagree with me in some of the opinions he’d thought was too extreme, especially the thought-provoking lines on Nd’Igbo and at a particular time stressing, besides the music analysis in which I have spent time and done so well; that I should stretch my political commentaries beyond Nd’Igbo, and that I should include all of Nigeria in order to balance the equation of my criticisms.

Interestingly, Egi and I became very close and each time he did not hear from me, he would be worried, calling and sending mails. That’s how close we were in what started with my pen, his music compilation pursuit and interest in locating me. As we talked into the night, the topic was on a variety of issues – from a vanishing music in Nigeria to a political culture that is full of uncertainties. We talked more on the Eastside performers of the day and how they rocked his hometown of Warri. One World (Otu Uwa) Action 13, residents, Lido Nite Club & Restaurant Afternoon Jump, the only spot it was happening in Warri. It was clear One World was a cast of its own at Lido, though Egi had always given Spud Nathan the thumbs up as the best that popped up from the Eastside, even as Nathan was gone while some promising and elated faces began to emerge.

In compiling ‘Flashback I’, Egi dedicated the project to the memory of Spud Nathan (Jonathan Udensi) who was lead singer of The Wings. In ‘Flashback II’ The Wings was on top again in his list; Sonny Okosun, Black Children, Aktion 13, Apostles, Cloud 7, Kris Okotie, Sweet Breeze, One World, Christy Essien, Rex Williams, Victor Uwaifor, Nicholas Mbarga and Tony Grey, following. Here, he changed the format by way of musical genres bringing in Uwaifor, Mbarga and Essien.

Egi had planned compiling ‘Flashback III’ when I talked him into doing something different, a kind of vibe that would reflect in its thoroughness, musically, away from the 1970s Eastside bands but old-school of our time. He got my drift and went to work immediately putting together the most treasured reggae music of our time – 90-Degrees Inclusive, Johnny Clark, U-Roy, I-Roy, Dillinger, Sonya Spence, Mighty Diamonds, Prince Jazzbo, Toots & The Maytals, Max Romeo & The Upsetters, Ken Lazarus; while I had suggested my own collections (Peter Tosh, Bob Marley, Bunny Wailer, U-Roy’s ‘Small Axe’ from the ‘Rasta Ambassador’ album, King Yellow Man, Mutabaruka, Gladiators, Dennis Al Capone, composers Charlie Ace, Sir Lord Comic, Jah Woosh, Duke Reid, King Stitt, and some ‘dubby’ mix of Scientist, Mad Professor and Augustus Pablo), which he agreed.

I had begun Samaka Studios which was under licensing with Deswab Records on the Washington Corridor in West Los Angeles. I suggested to Egi a better option of having his compilations done at Samaka Studios for some quality stuff and also have appropriate rights and royalties put in place. Egi sent me a compilation of 2 CDs and we talked on the project from time to time.

While we spoke at length working in annex to pull through the projects, I suggested a combined variety of African traditional music and folklore, and putting together and sending the demonstrations out. And I had told Egi I was tracking him down with ideas of totally different concepts in order to have a worthy airtime if would be. I did attempt to bring forth the best cast of any compilation, some still rare and unreleased in tracks – Fela Kuti, Manu di Bango, Hugh Masekela, Brenda Fassie, Osibisa, Thomas Mapfumo & The Halleluja Chicken Run Band, Independence Matata, C.K. Mann, Miatta Fahnbulleh, including the tracks ‘Tolambo Funk,’ ‘Akoko Ba,’ ‘Susan Sue,’ ‘Hot & Jumpy,’ and several others. Egi liked the idea and the follow up would be the release of “Jungle Beat @ Samaka Studios,” a 2 CD box set with liner notes. He (Egi) agreed to include his addition as bonus tracks since what I had compiled was enough to make the 2 CD set that was meant for the anticipated breakthrough.

Meanwhile, Egi had traveled to Nigeria and had trooped to Pound Road, Aba, on the Eastside, the base of the artists and groups in question, to check on the remainder of the albums he did not have, in order to complete ‘Flashback III.’ While in Aba, in his effort to complete his assignment, he discovered how everything turned ‘upside down’. Nobody knew what he was relating to. Frustrated and disappointed, and most of the artists in question, the ones still alive, couldn’t recollect the music they made back then, which indicated how bad and hopeless the situation was. Egi came back to the United States losing interest in the projects with thoughts of looking to another direction and doing something entirely different.

Egi went back to his Woodbury base in the St. Paul area with no more desire on a Nigeria nothing is organized. We did not talk that much save for when I had questions to ask or he reads my article and wants to talk about it. The whole idea was waning and I had thought about it as what comes along with show business – it’s not always uhuru. The entire idea had been relaxed, so I thought – we both need some time off, perhaps to rethink our strategies and how to come up with a striking move. That didn’t stop the projects in raising young talents at Deswab Records and Samaka Studios on the Washington Corridor in West Los Angeles, as I initiated over the years.

On July 30, 2008, Egi called me on the phone which was way overdue based on the dialogued, extended projects, the union of two record labels. I had thought, upon receiving that call that Egi had surfaced with some new ideas. No, he didn’t. He had called because he had thought I was aware of the news spreading all over the St. Paul metropolis. At the time Egi called, I had no clue what the news was all about. What actually happened was a Nigerian living in the St. Paul area had fatally shot his wife. On July 25, 2008, Michael Iheme drove to the Sholom Home West, an assisted-living center in St. Louis Park, where his wife, Anthonia, worked as a nursing aide. According to the report, Iheme got out of his car and shot at Anthonia’s car, which lurched forward, clipped a van, jumped a curb and rolled down a hill into a fence. Iheme followed the car down the hill and fired more shots.

After the shooting incident story which was news to me, I popped up the all trailing compilation deal to check if Egi was still interested in putting up with the projects as we discussed over time. Egi was not too sure if he should continue or get on with the reggae classics he had earlier projected; and with time flying, I revisited my compilations and Samaka Studios’ projects.

Meanwhile, the talents at Deswab and Samaka Studios were in progress and which to me, was a preoccupation that would keep me engaged for the rest of the year. With Egi somehow sliding, I put to task the talents, the engineers, songwriters, and contracts with series of recording studios in Los Angeles, around when I bumped into Eye & Eye record label and Cash Money Records, which was timely because hip-hop had been the trend and my boys in the studio were boys in the hood and gangsta lifestyle, sort of, the kind of flavor co-founder of Cash Money was looking to gravitate. And Cash Money, with Lil Wayne, Nicky Minaj, etc. dominating the pop charts from that record label, all the crew at Deswab and Samaka got fired up as ‘we are blowing up’ clouded us in the studio, lifting every spirit up.

Something dramatically changed. So, as to the excitement from the Cash Money news, I had decided to take one week off, not to be disturbed with the goings on in the studio. It did not happen. On the third day of my leave, while sleeping, my phone rang. When I answered the phone by my bed, it was barely 7: 25 P.M., really early for the jam sessions. The call was from one of the aspiring artists making beats and working on his upcoming CD. A fight had been started among the crew on ‘passing joints’ and doing favor to one of the girls, and that my presence is needed to ‘cut it out.’ The girl in particular was Silk, who had opened for Snoop Dogg during Snoop’s explosive career. I wasn’t sure what actually the problem was, but it didn’t look funny and I had to hurriedly dress up and shuttle to the studio. I calmed down the situation mediating in-between crew upon arrival and called on the leading sound engineers to put the house in order or I’ll be making decisions based on what had erupted. Soon after that, things went bad at the studio which sent me some signals to think and make up my mind what I should be doing.

I had given some significant roles to some of the boys in the studio. I did tour-manage and consulting for promotions and session time and had School Boy (Seth Hall, whose LA Underground CD debut is still a party jam in Los Angeles area after hours jam sessions), whom I interviewed for series of publications including ‘The Ambrose Ehirim Files Interviews.’ I instructed he be the coordinator and keep the programs in check; being the major score for Samaka Music/Studio even though his self-doubt seemed surprising for a digital underground gangsta rapper, despite his history, lyrics and imposing stature. It flowed so well with becoming shows; major record labels around Los Angeles picked up interest compelling Deswab Records and Samaka Studios to come down for a deal to be in the ‘digital wallet’ of Los Angeles underground as is the trend.

But the rats and cats in the studios had to go with the flow; the gangsta rap, hip-hop and all the blasts that come along with life in the studio. And nevertheless, I, also, have to go with the flow to keep the projects on track. There “got to be the normal studio life – the girls and all the night jam sessions and partying,” seems to be the setting as long as the provisions are not lacking.

Egi has been out of the picture all these while realizing Naija Records-Samaka Music joint venture looked more like a mirage as time passed by. Deswab and Samaka released some CDs with one compilation CD composed, arranged and produced by Phill ‘Big Chill’ Moses. Moses was also in charge of the doormen during jam sessions and after hours on the weekends. I had to let all that go and shop around some other stuff.

On December 08, 2008, Egi called me from Los Angeles International Airport. I was at California State University, Fresno, organizing some show for the boys at Deswab and Samaka Studios. Egi was on his way to China for what I had no clue of; but I did think he was pursuing the same compilation project on a cost effective source and things like that. He called me once from China before returning back to the United States. While Egi was back in the United States and had settled at his Woodbury base in the St. Paul area in Minnesota, we never spoke and lost contact thereafter. I had then known our joint venture had been in Limbo, temporarily on hold.

Now time to rethink my strategy and what follows next to the goings on at Samaka Studios; and between crossroads, it was time to seek a road map to get the jam sessions, studio time and bookings all going well again. I have buckled myself into a situation an extraordinary force was needed to put things in place and keep up with the programs, in other words, finishing up what I had begun.

My Christian denomination did not matter anymore; I just had to pray. In all order of Christianity I prayed coupled with orthodoxy, invoking Agwuisi na Amadioha, the way my ancestors reached the Supreme Being, when it’s no longer in their hands.

And the moonlight play stories – all popped to my head -- reflecting on all one had to do to call upon the Supreme Being for deliverance.

And I prayed. I had thought of harm.
And I knew there was no harm; the spirit lives
I had persevered with courage, moving on
Beyond obstacles I am clearing the hurdle

And I prayed believing in my purity as in the order of Buddhism, beginning by loving and befriending myself. My real aspirations to be met;

May I be free from danger
May I have mental happiness
May I have physical happiness
May I have ease of well-being

And I kept praying in every order of my Christian faith adding my lingual orthodox. I had taken myself aback to my childhood days remembering the hymnal at Nima Roman Catholic School: Bishop Joseph Bowers. Reverend Father Tonti. Reverend Father Lobianco. Brother John. John Cudjo, the altar boy. It was all prayers for he maketh the world; and I had to go back to my childhood:

He's got the whole world in His hands,
He's got the whole world in His hands,
He's got the whole world in His hands,
He's got the whole world in His hands.

He's got my brothers and my sisters in His hands,
He's got my brothers and my sisters in His hands,
He's got my brothers and my sisters in His hands,
He's got the whole world in His hands.

He's got the sun and the rain in His hands,
He's got the moon and the stars in His hands,
He's got the wind and the clouds in His hands,
He's got the whole world in His hands.

He's got the rivers and the mountains in His hands,
He's got the oceans and the seas in His hands,
He's got you and he's got me in His hands,
He's got the whole world in His hands.

He's got everybody here in His hands,
He's got everybody there in His hands,
He's got everybody everywhere in His hands,
He's got the whole world in His hands.

And I prayed!

Life at Samaka Studios requires serious prayers from an endless realization, which was all about overcoming the predicaments. And nothing absolutely beats prayers going back to the drawing board recruiting new talents from the same hood and the thing here is, keep keeping on. All that in part 2.

LOST AND FOUND: (LETTER FROM OZO'S KENI SAINT GEORGE)

Relax my dear intellectual friend. The ghost has materialized. I won’t reveal the name, you will work it out. They say … ”The greatest enemy to a tyrant, is an Activist”. I parachuted into a sea of tyrants in Nigeria, November 30th 1994, a few months after my legendary Animal Rights street theater in the Queen’s property… Trafalgar Square London.



Just tell my darling family and particularly my Princess Hannah Zainab Saint-George, that Daddy ‘Okro soup’ is alive but under security harassment because of my Activism and Tuareg garb, Security Agencies think that I am part of OSAMA’S POP GROUP, can’t write them at all for security reasons. Tell her to use E-mail: crimsoncourtrecords@rocketmailmail.com or Rihanu2011@yahoo.com Tel (Nigeria) Mobile 07035259333.



Been living a monk’s lonely life and writing articles for News papers and writing the new Ozo album, in the Desert of Yobe for Security reasons-but campaigned for President Goodluck Ebele Jonathan and he won and I have now regained a bit of protective security cover.



Loved the interview with my blood brother in the legendary Ozo, Vernon Cummings. I am now creating an E. Commerce Website (www.crimsoncourtrecords.com) for the launch of my new Ozo Music CD-“THE LETTER “O” FOR OBAMA (THE CHAIN IS BROKEN)-12 TRACKS WITH THE 21St century re-recording of the LEGENDARY “LISTEN TO THE BUDDHA” and "Anambra River" track now retitled “THE LETTER “O” FOR OBAMA (THE CHAIN IS BROKEN). IF YOU USE "GOOGLE" and type in ABDULLAHI KENI SAINT-GEORGE, you will see a whole lot of my critical writings. Some caused dis-affection within the political and military establishment, hence several assassination attempts, the recent one only inches, away. The particular writings are of course “DEATH OF A PLANET, HOW THE UNIVERSE BEGAN”, “OBAMA, BUSH’S NEMESIS AND OUR AFRICA”. LEADERSHIP NEWSPAPER AND “WHY I DON’T WANT TO GO TO HEAVEN” in the DAILY TRUST NEWSPAPER. Here, I nearly got a Fatwa or Islamic death sentence, just like the British Author, Salman Rushdee’s death sentence from Iranian Mullahs. You will catch all of them and more @googleabdulahikenisaintgeorge.

I campaigned for OBAMA throughout West Africa, 2008, as 3.5 million West Africans live in the USA and are eligible to vote. See enclosed my correspondence with OBAMA. I am gearing up for OBAMA second term 2012 Election campaign with the release of Ozo’s Music CD… THE LETTER “O” FOR OBAMA (THE CHAIN IS BROKEN). Then I will reactivate my “OBAMA APPRECIATION SOCIETY IN SUB-SAHARA”, OASIS (E-mail:oasis1946@yahoo.com). His administration will partner my NGO, TEN (TRANSFORMATIONAL ENVIROMENTAL NORMS) FOR SUSTAINABLE ECO-SYSTEM, to fight Climate Change in Nigeria and Sub-Sahara.

The writings have caused a BIG NORTHERN UNIVERSITY TO GIVE ME A CITATION FOR “PhD in LITERATURE. Honorary degree? HOWZAT FOR A FUGITIVE ACTIVIST.



Tell Mike Davis to send me an E-mail: crimsoncourtrecords@rocketmail.com, about Ozo licensing for a compilation. And if he would help me license “THE LETTER ‘O’ FOR OBAMA (THE CHAIN IS BROKEN) ALBUM, through ACADEMY RECORDS, my former Record Label, AMHERST RECORDS, BUFFALO NEW YORK OR ROIR (REACH OUT INTERNATIONAL RECORDS) Prince Street Station, New York. I will need an advance for Video filming in Buddhist Tibet, South China for the track … “LISTEN TO THE BUDDHA” my new single for American market. Please advice me on the viability of internet record sales.



I OWE IT ALL TO THE “MIGHTY BUDDHA OF THE UNIVERSE” AND MY SON PRINCE ZEN, PRINCESSES ELIZA GOZIE, ALEXANDRA NKECHI AND MY BABY, HANNAH ZAINAB SAINT-GEORGE AND EX-WIFE, SUE.

PLEASE PASTE THIS “LOST AND FOUND” ON YOUR BLOG.

KENI SAINT-GEORGE, OZO OF LONDON. ZEN BUDDHIST

MONK/SPIRITUAL MASTER (he liveth in the light of

Buddha). INTERNATIONAL, ENVIRONMENTAL, HUMAN

AND ANIMAL RIGHTS ACTIVIST. ABUJA, CAPITAL OF

NIGERIA.



May the BUDDHA BLESS AMBROSE EHIRIM, OLESEINDE, VERNON CUMMINGS, TRACY AND EVERY ONE THAT HAS MISSED THIS CRAZY OLD GENIUS, A CAT WITH NINE LIVES, PARTICULARLY MY BABY HANNAH, WHO SEARCHED FOR DADDY. OH HOW SHE MADE ME CRY FOR HOURS. I FELT MUCH STRONGER NOW THAT I KNOW THAT THE WHOLE WORLD MISSES ME. IT IS QUITE HUMBLING.



Bombs are going off every week in my country, Nigeria, killing and maiming hundreds of innocent civilians, military and police personnel. The funnel of wrathful fire is coming from the Muslim Fanatics from Northern Nigerian. Aided and abated by criminal politicians and ominously, OSAMA BIN LADEN’S AL-QAEDA IN ALGERIA, YEMEN AND SOMALIA.



I have now registered a CIVIL SOCIETY… “RELIGION IN HARMONY FOR NATIONAL UNITY” (RIHANU) Email: rihanu2011@yahoo.com. A spiritual concept to harmonise all religions, remove the main ingredient of angst…THE THREE NEGATIVE CENTRISMS, VIZ., EGOCENTRISM, ETHNOCENTRISM AND RELIGIOUS-CENTRISM. As abject poverty, unemployment, hopelessness and hunger are abroad, then I have to apply a bit of socialism.



I OBVIOUSLY NEED HELP FROM ANY OF YOU GUYS OUT THERE, BE IT ON CLIMATE CHANGE, CIVIL SOCIETY OR ENVIRONMENT. LASTLY I AM GUNNING FOR TOP 10 BILLBOARD SINGLES AND ALBUM CHARTS.



AMBROSE, I KNOW YOU WILL GIVE ME AN E-INTERVIEW. LETS GET ON WITH IT. KENI SAINT-GEORGE (THE GHOST).

THE SEARCH OF KENI SAINT GEORGE AND OZO HAS ENDED.

Q & A Interview With Elemi J. E. Agbomi

Born to ElderEmin Agbomi Ekoro and Mae Jane Ipam Agbomi Ekoro, practicing physician Elemi John E. Agbomi sits in his studio making beats with Reason and I had to catch up with him at the DEJEA Music Production while he was checking out series of his unpublished songs.

Excerpt:


You were trained in the medical field and some other areas in academia. How about some history regarding your background?

My name is Elemi John Emin Agbomi, also known as Dr. Jeeb Fabro. I was born in Adadama, Cross River State, Nigeria. I received my bachelor's degrees - BA in Physics, and BS in Biology from the University of Arkansas at Little Rock; my master's degree, MS in Operations Management from the University of Arkansas, Fayetteville and my doctorate degree in Medicine, MD, from the University of Arkansas for Medical Sciences. I did my residency at Westside Family Practice and clinical practice at Akron General Medical Center. I have for over 10 years also been involved with teaching in colleges and universities in the areas of medical sciences - Medical Terminology, Human Anatomy, Physiology and Pharmacology, - and Management Studies in Ohio and California. I have also offered Management Consulting services to area businesses.

Any community service since you moved to California?

Yes. I have been involved in health awareness preventive workshops and educational seminars in the wake of the AIDS epidemic. I also served as a California Precinct Captain in the Barack Obama Campaign for president of the United States of America in 2008.

I'm quite sure, one day you got up and made up your mind to start recording and producing music. How did it all began?

Hailing from a family of musically talented parents and siblings, and in the past serving as a chorister in church choirs, I became a prolific producer, singer/songwriter with an extensive repertoire of yet unpublished songs. I am versed in the “sentimental songs” of the 80's and 90's or earlier era which have reinforced my love for diverse music and my talent as a producer, singer/songwriter. I hope to harness my various expertise in the furtherance of the mission of my foundation, in order to foster the empowerment of the less privileged, and ensure their achievement of self-subsistence; also in advancing an Entertainment Group which will be producing music that captivate the emotion, stimulate the intellect, entertain and heal.

What is your foundation?

My foundation is called DEJEA Foundation USA, Inc. It is a non-profit organization with a mission geared toward development of impoverished rural communities, especially in Nigeria.

Why are you making music just now?

I am a "young" or "new" artist; young only in the music industry sense that I'm just starting out and such is the proper address to neophytes of the trade. However, my passion for making good music isn't. It is almost as a birthright, which is only now surfacing! Also, I am a medical doctor whose passion for making good music is as intense as good medicine, if not over-riding! My present thrust is thus, the making of good soul-searching music that will hopefully, heal the "broken hearted".

How about the song book?

I have for over five years (since 2003) amassed over two hundred (and growing!) thought-provoking, mind-soothing songs - a repertoire that will undoubtedly placate even the traditionally hard-to-please audiophile! The work will be copyrighted in a song book titled: The Elemi Song Book" (I will keep you informed in my newsletter page when the book is completed). The book will not include the tunes; that is reserved for the yet unpublished CDs, which I hope to release periodically depending on the response I get from you, indicating your level of satisfaction. My approach is a bit different. These songs will be organized into need-specific album categories ranging from inspirational/contemplative to endearment/infatuation romance. So that when you are in a certain state of emotional need, you could find an album that will contain only hit songs which would satiate your immediate cravings!

Let's talk about your new CD "Take The First Step".

The album is really making a buzz as a motivational, soulful contemporary R&B album featuring up-tempo celebratory tracks such as "Celebrate The Passing Of Freedom Torch (to President Barrack Obama and Vice President Joe Biden); Celebrating the Legacy Of A King (a tribute to the Dr. Martin Luther King's dream); "Let's Take Time Off To Celebrate," among others. The ten track, 70-minute album with songs written, composed and produced by me, is replete with lyrics that are quite thought-provokingly soulful and reminiscent of sentimental songs of the 80s and 90s or earlier, with soothing contemporary beats that lend themselves to easy listening ballroom dancing and nightclub grooving. The themes of these songs are based on contemporary events with an artistry that seamlessly blends the tracks into a coherent album, much akin to a good story or play with suspense, scenes and plots.

Any favorite of the tracks?

I would say all the tracks are favorites but to answer your question "Take The First Step," would be the one to pick.

And what does the lyrics say?

It's a treatise applauding and motivating anyone who is looked upon with hope, for some kind of redemption or rescue in tough times, and portrays such a character as a "Hope Superstar of Change" or a "Superhero." In the context of gloomy economy, it seemed codign for people to anticipate a panacea as characterized by the tone, response and outcome of the 2008 U.S presidential elections. The public generally want to confide in a superhero, whom in fictions, is seen as being able to afford a solution to their predicament.

Friday Night Jam @ The World Stage Performance Gallery

Friday, December 18, 2009, for sure, was not the typical noisemaking and do nothing Nd'House of Los Angeles' end of year party.

It was not about erstwhile Black President, Fela Kuti's talking drummer, Najite Agindotan's Olokun Prophesy and Leimert Park Drum Circle.

It was not about the controversial drum churches in Black Township's Leimert Park led by the hood's renegade who want out in order to define the hood rats.

It was not even about the all women drum essembles chereographed by Renee.

It was something totally different in "da neck of the woods". Friday night, December 18, 2009, at approximately 8:00 p.m., The World Stage Performance Gallery sitting on 4344 Degnan Boulevard in Los Angeles presented "Munyungo Jackson: An Oral History Interview" with opening remarks and introduction by Chet Hanley who is host, "Jazz in the Modern Era" on Tuesdays at Channel 36 where jazz scholarships are discussed.

Yes, Munyungo Jackson who plays all sorts of instruments including odima, bells, bongos, congas, djembes shakers and adudu known as talking drums had a packed house full of performers and players of instruments from all walks of life coupled with jazz freaks like my humble self.

It was a hell of a blast!

I popped up a little bit late, I mean, about 10-minutes before the introduction and jam session began, and I got it all.

Jackson is a Los Angeles native and throughout his stellar career, has played with Miles Davis, Herbie Hancock, Freddie Hubbard, Yusef Lateef, Hubert Laws, Lionel Hampton, Billy Mitchell, Elliot Cane, Doc Powell, George Howard, Ronnie Laws, George Duke, Wayne Shorter, Stevie Wonder, Stanley Clarke, Kenny Loggins, Lessa Terry, Joe Sample, Bobby Womack, Barry White, Queen Latifah, Karen Briggs, The Temptations, Supremes and Four Tops.

On top of all that, Jackson has also had engagements with Dwight Tribble, Christian McBride, Dr. Bobby Rodriguez, Mickey Champion, Babatunde Lea, Derf Recklaw, Lionel Ritchie, Gladys Knight, Freda Payne, Patrice Rushen, Norman Connors, Bobby Lyle, Hiroshima, Jonathan Butler, Marcus Miller, Lona Morris, Quincy Jones, Leon "Ndugu" Chanceler, Don Littleton, Joe Zawinul, Anita Baker, Santana, Willie Bobo, Jean Luc Ponty, The Pointer Sisters, Joe Bataan, Eartha Kitt, Claire Fischer, Bennie Maupin and uncountable others.

But Creed Taylor and the Kudu years was not mentioned in all the process even though some names passed through as we all hopped up onto the stage to ask questions and pay special tribute to the great Jackson who was the man of the night.

Jackson played like never before. World Stage manager, Pianist and flutist Mark Gibson was in the house. Jazz historian Jeff Winston was in the house. Waberi Jordan who had opened for McCoy Tyner last month at UCLA's Royce Hall before her engagement in Europe, was also in the house.

After the jam session which lasted into the night, Jackson told me about his book, "The Nu Naybahood: Funetic Ebonic Dictionary Vol 1," signing a copy and releasing it to me, said "It's all about community and helping one another," pointing out with regards to the book's preface:

"First of all, I love my people! (Some of us can be a little hard headed, and hard on each other, BUT -) I love the fact that we have our own way of deoing things, of expressing ourselves, and of communicating. We understand what each other is doing, saying, and feeling. Because of this special way of doing things, we have inflenced the world with our language, our music, dance and sports...Unfortunately, most of us don't share in the rewards and benefits of that influence, and are sometimes the butt of jokes from people who really don't understand the nuances in or culture..."

There is a very strong message in the piece.

A night to remember, I took home his celebrated CD "Munyungo" produced and engineered by David Manley and a cast of back-up musicians including Lenny Castro, Bill Summers, Michael O'Neil, Pedro Eustache, Robert Grennage and Rayford Griffin.

Tracks:

1. Columbiana
2. So Happy
3. Drums, Drums, Drums
4. Trees
5. Be On Time
6. Petyer's Bells
7. Shango Bakaso
8. On Green Dolphin Street
9. Oye Samba

"Oye Samba," being the last jam of the night, and typical of Brazilian samba-playing football fanatics, got everybody clapping, singing to the vibe and stomping untill the wee hours of the night.

FIFA U-17: Nigeria 2009 Images III

The Showdown --Swiss beats Eaglets 1-0. Photo courtesy of Vanguard


Spain Jubilates after victory


IN CONTROL.. Nigeria beat Spain 3-1 to advance to the final of the FIFA U-17 World Cup at the Teslim Balogun Stadium, Lagos. Golden Eaglets’ Abdul Ajagun (front) contesting the ball with Pablo Sarabia of Spain during the game. Photo: Sylva Eleanya, Vanguard


The dance of death Photo courtesy of Vanguard

"We Owned the '80s" -- Quincy Jones on "Remembering Michael Jackson"

As a baked in the gene music freak and one who grew up embracing an era music of all genre evolved and had been basically the same in terms of studio time sessions when crossovers could play in any band, regardless, which brought about the best generation, ever, and with Michael, according to the original studio rat, Quincy Jones, "we owned the '80s" from Michael changing all that musical divide and establishing a kind of music that gave us a sense of belonging, throwing his craft for all.

The studio rat, Jones, is absolutely right, penning his piece "Remembering Michael Jackson," last week, for the Los Angeles Times' Calendar Section. Who else could have said it better other than Mr. Jones, the studio rat who had worked from the 50s with the likes of Frank Sinatra to our present day Generation "Z?"

On the legendary King of Pop, the studio rat had this to say in his delight article: "Michael Jackson was a different kind of entertainer. A man-child in many ways, he was beyond professional and dedicated. Evoking Fred Astaire, Sammy Davis Jr. and James Brown all at once, he'd work for hours, perfecting every kick, gesture, movement so that they came together precisely the way they were intended to...Together we shared the 80s, achieving heights that I can humbly say may never be reached again and reshaped the music forever."

Yes, that height may never be reached again. I am still trying to figure out or fathom which album could beat "Thriller" from the jams of the day when the business was chaotic and tense and every performer serious about the takes on what did change show business forever, neverminding the commercial success. For this purpose, how Michael did it is still puzzling to some for the fact they couldn't get around the brains behind "Thriller."

I, for one, was a freak when "Thriller" invaded the record shops around my neck of the woods freaking out all that wanted a follow-up to "Off the Wall," in which both albums would eventually be Michael's most becoming and successful projects until his untimely death June 25.

I have been going through the "Thriller" album and reading all the lines, and the superb talents put together by the studio rat, Jones, involving each in a way of a magnificent work that would become the biggest selling album in history, surpassing and breaking the record held by the Beatles. It perhaps happened because, after "Off the Wall," the studio rat, Jones, kept the key members from Michael's debut fully as a soloist, to start on a new project that would produce "Thriller."

Sound engineer Bruce Swedien, British-born songwriter of Heatwave (wrote and arranged the ryhthm track "Thriller"), Jerry Hey, Greg Phillinganes, Steve Lukather and Jeff Porcaro of Toto, Eddie Van Halen, John Bettis, drummer Leon N'dugu Chanceler, percussionist Paulinho Da Costa, Louis Johnson of the Brothers Johnson and John Robinson were among the casts the studio rat had pieced together. The rest would then be history.

Before "Thriller" and while "Off the Wall" was still jamming all around at the beginning of the '80s, there were many bands and groups that hopped on to the scene making the '80s the funkiest of all generations when the fusing of the musical divide came into being with "Thriller" that was composed of all casts scientifically and methodically carved by the studio rat, Mr. Jones.

The opening cast of the horns arrangement by Hey producing a dance tune ending with that popular makossa man, Manu Di Bango's recitation line Michael's sisters Janet and Latoya had spiced was the touch and couldn't be beaten; I mean, the vibes' piercing feel was what made the hit extraordinarily different from the compositions of the day coupled with Michael's enormous talents.

Watching the video and listening to the track "Billy Jean," shows how prepared the studio rat was willing to make the album, best of all time, setting Michael up as the King of Pop. "Billy Jean," composed by Michael with the heavy funk appeal topping Louis Johnson on guitar (bass) along with Leon Ndugu Chanceler on drums made the groove a masterpiece conducted by the studio rat during the jam sessions at Epic. Thrilermania will never end when one takes a closer look to the entire album --the string charts, the horns arrangements, the ballad, the synthesizers and the guitar chords of Johnson, and the rock song by Lukather's guitar on "Beat It" which actually was written by Michael was what had made this exceptional album a class of its own.

The studio rat recalls MTV breakthrough with the explosion of "Beat It" and "Thriller," courtesy and "thanks" to Michael's brilliant debut performance of the moonwalk on that hell get loose day during Motown's 25th Anniversary at a time MTV wasn't playing any black artist. And the studio rat notes in that regard:

"Michael, the music and MTV all went to the mountaintop. It was the perfect convergence of forces. In the music business, every decade you have a phenomenon...In the '80s you had Michael Jackson. He was the biggest entertainer on the planet. Followed up with 'Bad' and the collective on 'We Are The World,' we all made history together. We owned the '80s and our souls would be connected forever."

The studio rat, Jones, goes on: "There will be a lot written about what came next in Michael's life, but for all of that is just noise. I promise you in 50, 75, 100 years, what will be remembered is the music. It's no accident that almost three decades later, no matter where I go in the world, in every club and karaoke bar, like clockwork, you hear "Billy Jean," "Beat It," "Wanna Be Starting Something," "Rock with You" and "Thriller."

Of course, we all owned the '80s -- the listener, the record buyer, the ballroom dancer, the chereographer, the event organizer, the party animal, the pubcrawler, the market square entertainer, all that brought the fun that came along with the '80s contributed in making the '80s the best generation.

And I was part of that generation. A generation that came with style. The black loafers or the bally's. The rhinestone brooches. The military fatigues. The black boots. The costumes and those flashy gears. We all wore them and that's the uniqueness of the '80s of which we all were part of. "The year the '80s died" would be when we will be saying adios to Michael.

And Michael's legacy is his music; and the music lives.

Photos: Bottom from Left (Pianist Greg Phillinganes, Eddie Van Halen, Michael Jackson and Qunicy Jones at the 26th Annual Academy Awards where Michael collected a record eight Grammys, Emmanuel Lewis, Michael and Brook Shields at the 26th Annual Grammy Awards, Percussionist Paulinho Da Costa, Songwriter Rod Temperton and drummer Leon N'dugu Chanceler)

A Tribute To The King Of Pop Michael Jackson

Michael Jackson RIP

I'm just speechless. RIP Michael.

The Soothing Vibes Of Cape Verdean Mayra Andrade

I'm probably too much of an old school right now, but I don't think so, since I believe I'm still keeping up with the flow. Bumping into the music of this determined girl, Mayra Andrade, the Creole who hails from that tiny archipelago off West Africa's coast called Cape Verde, one could not hesitate but pay attention to the kind of compositions that accompanies the rhythms of Cape Verde -- batuku and tabanka -- popularized by Orlando Pantera, songwriter, before his untimely death in 2001, which did influence Andrade as her success now catapults her to the top.

Andrade's debut album, Navega is echoing everywhere and she is enjoying every bit of the attention and success that comes along with it. Born in Cuba but raised in Angola, Senegal, Cape Verde, Portugal and Germany due to the diplomatic status of her father, she somewhat enjoyed the moving around which helped her learn about other cultures within Africa and Europe.

Her music, especially the title track of her debut album reminds one of a lullaby, but in that track, like in any folklore, she sings about a fisherman's wife who's been waiting and hoping her husband returns "with a good catch and a little time to stay with me."

Andrade has continued with the footsteps of Cesaria Evora who first put Cape Verde on the map with morna ballads (blues/folklore) with series of awards to show for it. She won a gold medal for her singing at the Francophone Games in Canada. This year she won the German Critics Award and the BBC Radio 3 Award in the new comer category.
Nevertheless, spending most of her life abroad and with the Brazilian and Carribean influences in her vibes, she still keeps up with her native country's traditional pattern of music.

Andrade has gone back to the studio for her 2009 CD release and expectedly, more morna ballads will be filling the airwaves.

The Search For Ozo & The Rest.

I had called Mike Egi, compiler of Flashback 1 & 2 a couple of days ago to see if he made it back from his trip to Naija on an expedition to dig out master tapes of 70s local ensembles that kept body and soul one. Mike had told me his journey was very "disappointing" and somehow was not worth the trip.

He trooped to Pound Road, Aba, and according to him the road was so bad it took more than two hours to drive through a couple of miles. He had gone there to look for original albums of the Wings, The Apostles, Action and many other old-school jams of the day. We talked for nearly two hours on the phone and it was quite engaging. I had written a piece in the past about these old school jams and that's how we hooked up. Mike lives in St. Paul.

For a while now, I have been searching for some of these rare LPs. I have digged every archive but could only be that lucky. Some are there, some not. Mike also noted how bad in shape these 70s musicians were when he ran into them. Drummer Ben Alaka was so bad in shape and could not remember the songs he made in his heydays playing gigs at Lido, in Warri.

I had asked Mike if he was able to find the group Ozo whose 70s "Listen to the Buddha" album was a smash hit. "No where to be found," according to him. Ozo was a group founded by Asaba born Keni Saint George who later went solo and produced Asaba. Just browsing, I stumbled into this rare track here, and in shock I clicked on the album version of the track "Anambra" which echoed taking me aback to the groovy days all compositions and arrangements were original. Not even the all-flavor vintage Paris DJs founded by Djouls and Grant Phabao has it in stock. I give it to them, though. Those kids are doing a hell of a job remixing and digitally waxing all African vintage songs they can lay their hands on.

The album "Listen to the Budhha" was produced by Keni St. George and Vernon Cummings and recorded at DJM Records in 1976. Tracklisting: 1) Listen to the Budhha, 2)You Better Run, 3) Kites, 4) Anambra, 5) Love Me Tomorrow, 6) Who Shot Him Down, 7) Times-A-Changing, 8) Love is Gone, 9) Realms.

Mike's Flashback 3 will be out soon and I hope this time around, the track "Anambra" and "Listen to the Budha" will be included. Listen to the music. There's a message in it.

Hey, Mike, don't forget the liner notes and biographical info.

Lucky Dube Remembered Forever

LUCKY DUBE’S RECORD LABEL, GALLO, MOURNS HIS TRAGIC LOSS
The staff of Gallo Record Company are devastated by the news of the tragic passing of reggae legend Lucky Dube. Lucky was slain in an attempted hijacking in Rosettenville in Johannesburg last night, at approximately 8pm, whilst dropping off his children at a family members house.

Although Lucky attempted to escape the scene, he had been fatally wounded from the hijacker’s attempt to steal his motor vehicle, and he died almost instantly.
Senseless and random, the death of Lucky Dube leaves a great void in the music industry, as 25 years of music suddenly ends in tragedy.

South African born but globally revered, Lucky Dube was one of the country’s most toured and beloved artists ever. His music touched millions around the world, primarily through his 22 recorded albums - in Zulu, English and even Afrikaans - many of which have been record breakers with phenomenal sales from around the globe.

As a frontline artist in the reggae genre, Lucky's creativity and inventiveness kept growing.
Compelling in his musicianship and intriguing in his lyrical content, Lucky's sonic daring to take his genre to new heights never failed to amaze even the most ardent fans, whilst reigning in new devotees to his magic every day.


His energetic band toured with him from continent to continent as South African musical ambassadors, and his live performances have earned him fans and accolades the world over.

Lucky joined Teal Records (later to become Gallo) as a fresh-faced young Mbaqanga singer in 1982. Five albums later he found a genre that spoke to his soul and changed the way he viewed the world. This genre was Reggae.

With his long-time sound engineer and best friend Dave Segal, he created some of the most legendary pieces of reggae music ever recorded, including the tracks Prisoner, Taxman, Slave, Victims, Together As One and Respect – all social anthems that garnered him the adoration of the people of his country - and across the globe.
Lucky was an artist that continued to break international barriers and recently just signed a deal with Warner Music International, securing him album releases across Europe of his latest album Respect.

Ivor J. Haarburger, CEO of Gallo Music Group is deeply saddened by the loss. “Lucky was not just an extraordinary artist, he was a personal friend. We go back over twenty years and had both a business and personal relationship. It’s so sad to lose such a great friend and so tragically, why?”

There are very few words that capture the magnitude of this devastating loss. As a musician, father and colleague, Lucky was one of the most charming, respected, selfless and dedicated people to have lived. He will be sorely missed.

Lucky Dube was survived by his new wife Zanele and his 7 children Bongi, Nonkululeko, Thokozani, Laura, Siyanda, Philani and his brand new three-month old baby Melokuhle.

IPI NTOMBI, THE MUSICAL

I wasn't even sure if it was music or a group of villagers telling some kind of story in a language not familiar. I had taken the bus from Eastside heading to Lagos when busriding was fun and easy without much ado. I reached Lagos and got stuck at Ido Motor Park where buses from the Eastside called the last bus stop, that is, if you travelled afar, beyond Imo River. Sweet journey, as it was, and reaching the city, life would change dramatically. Still a hippy, and still feeling like bursting loose, the Chuck Brown and the Soul Searchers way, it was indeed a long journey by bus.

Reaching my destination off Ojo Road, a two record set sitting on a table was playing on a turntable. It was Bertha Egnos "controversial musical Ipi N'Tombi" meaning where are the girls, playing and my mood twisted all of a sudden from the funk era. I wasn't really sure if that was my kind of music, but learning for the fact the Apartheid regime has caused too much pain to the black population in South Africa, I began to pay attention. I played the music over and over again and got a clue of what pain and suffering was all about.

The South African musical about a marriage ceremony for a young couple, a witchdoctor, a Boer settler and Zulu warrior "once engaged in bloody battles" led by lead singer Margaret Singana had no parallel to any musical of the day.

The album, produced by a mother/daughter team (Bertha Egnos and Gail Lakier), from the opening track of a well-rehearsed lyrical stage perfomance to the drumbeats of The Warrior, no doubt, you will be moved by the time you are done listening to every track, which of course are all masterpieces.

I have taken time to listen to all the tracks over and over again, and it's just amazing. For the record, Osibisa, remade "The Warrior" during the groups PYE years in London.

The Tracks:

1. Ipi Ntombi
2. Narration; Sesiya Hamba; Drinking Song; Thando Le Phe
3. Korbosha (Down By The River)
4. Andy's Song
5. Moriva
6. Hakelejeje
7. Narration; The Batism; Roll Up Yonder
8. Bona Noga
9. The Witchdoctor; Mother Mary
10.Narration; Nadia
11.Egoli
12.Serantebhule; Pennywhistle
13.Emdudeni; Uhlele
14.The Click
15.Narration; The Child
16.Narration; Mama Tembu's Wedding
17.Baby, Baby; Soweto By Night
18.Wishing
19.Ndoba Sathini Nina; Zimbaba
20.Baby Baby
21.Shosholoza
22.The Digger
23.Narration; Lashoni Langa
24.The Warrior
25.Bayete
26.Ipi Ntombi

Tabu Ley - "Babeti Soukous"

In my quest to flush out African musical heritage from every aspect, I picked up Tabu Ley's 1989 release at Amoeba Records and paid attention to a music well composed by way of its rhythmical sense. An excellent vibe.

Meanwhile, I will always appreciate Steve Ntwiga Mugiri whose site inspired me to pick interest in Soukous and Rumba music, driving me to the extent of being a scholar in that category. That guy has a whole lot going on when it comes to music and it's out there at his site for everyone to see.

I have listened attentively to Ley's "Babeti Soukous" which was recorded live at New World Studios in England on January 30, 1989, and following the trend in understanding the beats, I couldn't but conclude that Ley mastered his art and left a legacy in the world of Soukous music.

Born in 1940 in Zaire of the Bayanzi tribe, he kicked off his career as a teenager joining Joseph Kabasele's African Jazz Band and parting ways with Kabasele and guitarist Dr. Nico years later, he regrouped and formed his own band called African Fiesta National Band releasing the classic "Africa Mokili Mobimba."

However, the tracks selected from this album was a mixture of Zairean and East African popular music with "snatches" of rock, R&B and jazzy tunes for over 20 years earning him series of honorary awards and political appointments in his native country.

There are 13 tracks in this very album and besides the introduction/presentation, the music is great. "Mosolo," meaning money and "Linga Ngai" meaning love me in Zairean language is a classic refined in Zaire, back in the day. Brilliant stuff and listen to it!

Malian Guitarist Vieux Farka Toure Rocks Los Angeles

In my native Amazano, where I partly grew up, Abu Owu, folklore of a cultural festival was a unique tradition. We sang the blues of life's amazing journey and tragedies. It ended there and nothing practically came out of it for the fact no one committed to its cause, and today, abu owu has almost disappeared.

Mike Ejeagha in his hey days of story telling sang the blues when "Ome Ka Agu" violated every rule losing his moral grounds and defying the traditional norms of a people meant by culture to keep afloat and keeping intact and viable a cultural heritage prescribed from time. Ejeagha's music did not go that far in that regard. It was only local, within his enclave, and no major breakthrough for universal recognition due to lack of exposure.

On August 8, I saw for my self something extraordinary ever since I have been attending concerts since childhood. Amoeba Records, now a record label in Hollywood, California, hosted world music rising star, Niafunke, Mali-born folklorist Vieux Farka Toure. Farka Toure who was promoting his self titled debut CD hit the stage for six performances in front of packed audiences, and patrons who're regulars at Amoeba's "low-key-in-store jam" experienced the young Farka Toure's magic.

Like father, like son, and following the footsteps of dad, Vieux delivered. He did not disappoint. The folklorist had the packed audience at Amoeba dancing, clapping and reflecting his father, Ali Farka Toure's vibes.

Farka Toure rocks, rocks and rocks. Farka Toure just rocks.

In jazz, I would compare him to Wes Montgomery and George Benson whent it comes to using the thumbs to make the guitar talk. In blues, I would compare him to the legendary B.B. King and Buddy Guy combining his rhythm and the blues as in "Palata Bluesio." In heavy metal, I would compare him to Eddie van Halen and AC/DC's Angus Young, the way his guitar talked to the audience. In soundtracks, I would compare him to Prince in "Purple Rain," still the biggest-selling soundtrack in history. In pure funk and all that funktified grooves, I would compare him to Rubber Band's Bootsy Collins as the baseline and bassist echoes on stage simultaneously.

Am I really missing something? Probably! How about the likes of Thin Lizzy's Phil Lynot and Deep Purple's Ritchie Blackmore who says he "could wipe the floor up with most guitarists." Now, beware, Blackmore, there's a new kid in town and the audience has begun to holler, "Toure, Toure, Toure bring the vibe on." Toure has wiped the floor and he can play the guitar in any music category.

Playing for about an hour and half, nonstop, at Amoeba, and beginning with tracks featuring Ali Farka Toure and his mentor Toumani Diabate, Vieux was awesome when the track "Ai Du" exploded reminding me of Joe Satriani and Carlos Santana on how the guitar really talks. A duo with santana or Satriani would, without a doubt, melt every concert goer.

Absolutely no horns.

The wind was gone.

The guy just rocks.

Though his father wanted him to join the army, Vieux took his destiny into his own hands enrolling in Bamako's National Arts Institute and meeting with Eric Herman, Vieux and Eric got to work and began recording in what would be Vieux' debut album to which Toumani contributed his "talent on two of the tracks." The rest is now history.

Enter the Skirball Cultural Center on Sepulveda Blvd. intersecting the 405 (Sacramento) Freeway on August 9, which created a bottleneck around the neighborhood for the coming of Africa's newest sensation in world music. In blues, I meant to say.

The amazing structure, the museum and Noah's Ark.

The tourists, the Jewish community, oneness and organizational effectiveness.

The crowd and Fela Anikulapo Kuti's memorabilia, and the signs that read "Fela Lives."

The music of Vieux indicating "culture is not parts." That "culture is a whole and an entity."

Vieux performed to a point this Jewish community bowed saluting a legend in the making. Once again, "Ai Du" was played and the audience couldn't believe how this kid took over from his dad that quick with a magnificent choral application and powerful lyrics. He delivered and it was a hell of a show.

Vieux would continue his message stretching down all the way to Santa Monica, California where every pub was full to capacity. The night life of this amazing city. Third Street Promenade. The bookstores, talkshows, craziness and all that stuff. The fanfare. The tourists. The eateries--French cuisine, Italian reataurants, Spanish bar and grill; the dazzling sidewalks, Wilshire Boulevard and all the attractions. The beautiful Santa Monica Beach and Vieux' invitation to play at the Temple Bar on the corner of Wilshire and 11Th Street. It was magic.

The two previous shows (Amoeba and Skirball Cultural Center), I took my camera with me. But on August 10, I had no camera, not even my cell phone. I was ready to party, and I knew it would be going down.

I arrived Temple Bar at about 10:15 pm and the night's opening act was an all drum session led by Leon Mobley and his Da Lion drums-percussion group who classified his band as the "original African-American" ensemble. Mobley performed well and the show was great.

During the intermission before Vieux would be introduced to stage, Chief Priest's masterpiece, "Alu Jon Jonki Jon" began to blast all over and just like that, the mood changed. Many other notable African recordings played before Vieux and his gang stormed the stage. At approximately 11:20 pm, Vieux stormed the stage and hell broke loose. The audience chanted aloud "Toure, Toure" as he spoke in French and then Okay, going back and forth to his French and okay. He played many tunes late into the night including getting the audience recite "Palato bluesio" while waving and connecting to his bassist. The track "Ana" came with some reggae vibrations. It was incredible and one of great performances I've seen in a long time by an African.

Vieux Farka Toure, you are now a superstar. Enjoy it!

Like Father, Like Son

I must be honest, I was so impressed when I stopped by Amoeba Records last week and found out Ali Farka Toure's son Vieux Farka Toure will be playing at Amoeba on August 8th and several other dates thereafter in the Hollywood area, I couldn't but wonder how the late Grammy Award winner's son had taken shape following the footsteps of his father. His posters were everywhere, on doors, windows and you name it. The Bamako and Niafunke, Mali-raised kid tour in the Los Angeles area is now talk of town and every music freak in Hollywood wants some of his vibes--and it will be happening live, right here, in the City of Angels--and I should be shaking it with this lad whose African melodies jammed with classic rock and reggae beats.

He will perform also at Skirball's Cultural Center on August 9, at 8 p.m., and admission is free with no required reservations. The Skirball Cultural center is located at 2701 North Sepulveda Blvd., Los Angeles, CA, 90048.

Live, I said, and I will be reporting it! Stay tuned!