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Fela Groovy; Antibalas mixes world beats and consciousness
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Creative Loafing, Fela Groovy; Antibalas mixes world beats and consciousness >>
The recent passing of Clash frontman Joe Strummer not only leaves many fans rightfully saddened, but also brings into question the current state of globally conscious, politically aware music. It's pretty sad, really. Not that music needs to present some kind of message, necessarily -- many would say politics and music do not mix, in fact. But for those who successfully pull it off -- incorporating social issues without diminishing the music -- the result can be a liberating experience -- a cause for celebration. The Clash pulled it off, and so does the New York-based Antibalas Afrobeat Orchestra.
Following in the footsteps of politically outspoken African bandleader Fela Anikulapo Kuti, Antibalas (Spanish for "anti-bullets") uses many of the same Afrobeat conventions: the synchronized horn section, the funky James Brown-style rhythm section, the organ, the frenetic drum beat. But Antibalas doesn't stop there, adding Latin percussion and elements of ska and dub as well.
"We think of Afrobeat as a sophisticated synthesis of different strands of music from all over the African diaspora," says Antibalas drummer Phil Ballman, "but played on Western instruments like electric guitars, saxophones, drumset, and African instruments like Gbedu drum, shekere, sticks, bells and hand drums. In Fela Kuti's music, you have high-life, you have jazz, funk and traditional rhythms all blended together -- by a great composer -- to make an exciting new music. In Antibalas, you have the influences of all the different musicians involved. Afrobeat is the prism that focuses all those different musical experiences; it is the foundation we build upon. So anything from that diaspora -- reggae, samba, Cuban bata rhythms, Haitian voodoo rhythms, rhumba, improvised music/jazz, heavy funk, even rock -- is fair game."
The group's new album, Talkatif (Ninja Tune), presents a perfect example of genre blending, mixing all of those ingredients in a delicious stew. The CD finds the horns in wonderful form, united to the level of the Latin big bands headed by Beny More and Tito Puente -- and opener "Gabe's New Joint" features a blazing solo by trumpeter Jordan McLean. Keyboardist Victor Axelrod shines on the title song and "Yansh," where his sound conjures images of Sun Ra and Ray Mazarek switching off on the organ. Fans of jazzy, groove-oriented bands such as Medeski, Martin and Wood will certainly appreciate Axelrod's contributions. "World Without Fear" builds layers of horns, though it ends just as it gets going.
While not as raw and daring as the group's debut, Liberation Afro Beat Vol. 1 (also on Ninja Tune), Talkatif does boast the spectacular production values Vol. 1 largely lacked. Thankfully, one of the killer percussion -- from the congas to the shekere -- is lost.
Of course, the best way to experience Antibalas is live, where the group's 15 members (sometimes more, sometimes less) are guaranteed to raise the energy level 500 percent. There, audiences get a dose of real "world" music -- and maybe even pick up a message or two along the way.
"By speaking out, by articulating a positive message," Ballman says, "we hope to inspire people to speak out for themselves, to educate themselves, to be critical."
While Ballman and the band have much to say about social problems on a global scale, he's even more eloquent when focusing on the music. "We're simply musicians, trying to play beautiful music, paying humble homage to our musical ancestors and hoping to turn some people on in the process," he says.
A noble musical philosophy if ever there was one -- and certainly one that breaks down the barrier between player and listener. And that is the most satisfying, most "hands-on" lesson imaginable.
By Omar Khalid 01/15/03
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