Bole 2 Harlem SpeaksVolumes

Bole is the entry/exit point for Ethiopia and Harlem is the entry/exit place for African music in America. David Schommer is a composer and producer. Maki Siraj is an Ethiopian-American Amharic rapper. The Ethiopian concept of Ashagre, building a bridge between two worlds, was in full force at the weekly gathering of David and Maki's mutual friend Vincent's French-Morroccan-Senagalese restaurant, L'Orange Bleue. With David and Maki playing drums over DJ Pirrot's Saturday night World Beat Sessions they began to create a space where the two worlds existed without musically or culturally diluting either. Then, thankfully for all of us with ears, they went into the studio, added several more stunning Ethiopian and American musicians and created a masterpiece. KyndMusic was lucky enough to speak with Schommer recently about the project.

KyndMusic: What came first, the song in the modern sense or the rhythm and melody in the traditional sense?

David Schommer: For me, as a drummer and a percussionist, it's always 1st about the rhythm even if it's just a feeling. That will dictate the mood as well as what's possible with phrasing and melody. I think of it like if you're heading to someone's house, the rhythm of your gait can speak volumes. Are you walking slow, fast- Jogging? How exited you are to be taking each step sets a rhythm - and that rhythm then starts a mental dialogue that dictates the vibe of your lyric.

KM: How do you go about the process of melding the modern and traditional without compromising the purity of the traditional?

DS: With Bole 2 Harlem, I was trying something new, so we were in uncharted ground. The concept was not only to fuse the Modern and Traditional from Ethiopia, but to also fuse many different styles of music to reflect what's happening here in Harlem. On any given day walking to the post office, for instance, I'll randomly be exposed to the best hip hop, Senegalese, Malian, Islamic, gospel, meringue and salsa music. I tried to have flavors of all those styles represented on the record. To keep it rooted, I made sure the percussion rhythms were based around the traditional patterns and elements, and performed live. Also, some song themes were taken straight from Ethiopian traditions like "Hoya Hoye" is a kid's chant. And then there are subtle flips. "Hi LO Ga" is a song sung at weddings by the best man. So we flipped it where Tigist is singing it about what she wants for HER wedding!

KM: How did you go about selecting the Ethiopian artists featured on the songs? Was it mere chance, friendship or a process?

DS: Well, friendship is a process (laughing). The Ethiopian community in NYC and outside Addis is a "Small" community, so I had been introduced to many players from just hanging out. I chased down Tigist for months to get into the studio, as I had heard her sing with her sister, Gigi, who is an incredible artist who is married to and produced by the amazing Bill Laswell. Tigist's voice is more guttural than Gigi's rawer, and that type of talent is hard to find. Maki is a good friend who is a computer tech at a law firm, but I recognized a creative side in him that I thought was worth fostering. His positive energy can be infectious. Others like Henok Temesken and Fray are staples on Ethiopian recordings as player, and just happen to be really cool people as well, so it's a no-brainer to get them involved.

KM: How would you relate the traditional Ethiopian call and response singing with today's American hip-hop?

DS: It's funny you ask, because I was in Addis Ababa and had the luxury of becoming close to a man named Mulatu Astake, one of the forefathers of Ethiopian Jazz and just a fascinatingly intelligent guy. He asked me the same question, and then went on to also answer it. "Look at the Church", he said... He was referring to the Ethiopian Orthodox church, which uses several large drums and various percussion instruments to create a strong rhythm for a circular procession. Then the priest chants out in rhythm the stories from their Bible. So, there you have it. That's thousands of years old, and that's hip hop to my reasoning -rhythm and stories".

KM: Ethiopian folk music is known to have a very sharp wit and speak truth to power. What are some of the themes present in the songs on Bole 2 Harlem? Any chance of an English lyric sheet?

DS: I've been meaning to post an English language translation on our site, but I always hesitate because there is so much lost in translation. Beyond the actual lyric, I always feel like the intention behind a performance can speak more that words, which is why I can be moved by artists like Youssou N'Dour or Thione Seck without knowing specifically what they are saying. Their message of intent speaks to me stronger.

We have songs like "Home", which is about missing where you came from in a celebratory way, and "Aya Bello" which is a love song to a legendary fallen warrior, but then also songs like, "Bole 2 Harlem" which is straight up -This is who we are- Bole 2 Harlem V#1 was about keeping lyrics and intentions positive.

KM: For some one interested in exploring the blending of African rhythms with American hip hop, what would you recommend?

DS: I'm not the hip hop Specialist, but I can tell you whom I like. Daara J from Senegal are amazing... They are a perfect example of creating an African form of Hip Hop that sounds and functions like Senegal. There's a simply titled compilation called, The Rough Guide to African Rap, but it's got some good and varied content. I also really like the Somali rapper, K'Nann, catch his live show for a full effect. And there is some amazing stuff coming out of South Africa in Swahili.

KM: Any plans for a tour, bringing these artists all together on a stage for an audience?

DS: Well, (as concept records go) with Tigist in the Ethiopian Highlands on a Spiritual Quest (which we totally support and respect) and Maki tied to a 9-5, it's a little tricky. But there is a plan:

Right now I'm working with an amazingly talented Rapper/Percussionist from Northern Brazil named Davi Vieira. We're working on a record called, BAHIA 2 HARLEM, and bringing the same approach to Afro-Brazilian rhythms -a.k.a. LOTS of drums- And lots of guest artists from Brazil. We already have a tight live unit for that. Then there is a record I want to make with an Ethiopian Singer named Teddy Tadessa, backed by an amazing Ethio-Jazz band called, Wudasse. Then, in the New Year, I'm going to look towards bringing everyone out to play together and have some fun concerts.

KM: The album is called Bole2Harlem Volume 1. Tell me about plans for Vol. 2.

DS: Well, perhaps we will have enough positive response to this volume that will compel us to create more. For me it's never about creating something to "be successful", or a "hit", it's got to first be because there is a true passion for wanting to get an expression out and recorded. When that inspiration comes, believe me, volumes will follow. 

Dave Terpeny