African Canadians for Haiti (feat. African Guitar Summit, Adam Solomon & Tikisa, Jacques Yams, Fojeba, Afrafranto, William Nkemagni, Masaisai)
Lula Lounge. Thursday, February 25, 2010.
Headed down to the Lula Lounge on a bitterly cold Thursday night with a double purpose in mind. Not only was this a chance to catch some of the best musicians in the city assembled together on one stage, but it was also a benefit, raising earthquake relief funds for Haiti. When disaster strikes, one pitches in with whatever tools are at hand, and in that spirit many of the bands that were playing, called to the show on relatively short notice, were playing with unusual line-ups, leading to some interesting spontaneous collaborations throughout the night. Meanwhile, it was an unusual sort of show for me to attend, with the Lula set up for a sit-and-have-dinner sort of show — generally a signifier of an older, more well-heeled crowd. It was reasonably busy when I arrived, but I managed to get seated at a table right up front.
Things led off with a set from Masaisai, playing in a stripped-down four-piece configuration with no mbira. This put the focus on Tich Maredza as a singer and songwriter, and he did a nice job explaining what each of the songs (sung in the Shona language, I believe) were about. With less of a rhythmic undercurrent, the music was well-suited to sitting back and listening. One (called "They shall grow up one day" in English) had a nice gentle groove and the band stretched it out, allowing guitarist Larry Lewis to lay down some tasty sounds on top of the solid rhythm section of Andrew Mark (drums) and Tichaona Gombiro (bass). Things picked up with the more upbeat "Chikende". And showing that the band can produce a dance-worthy groove without the rhythms of the mbiras and marimba, the set ended with an extended run through "Sweet Pumpkin", where Maredza set down his guitar and showed off some dance moves. Although this had a different feel than Masaisai's usual sets, it was still a fully entertaining time.
Between the musical sets, an interlude from poet William Nkemagni who spoke to the room with a strong presence. With heartfelt words, he carried a notebook but spoke without looking at it. Vibrant and interactive, Nkemagni demanded a response back from the crowd — including directing a question to a patron seated up front. Engaging and a nice fit with the evening's program.
And then, with no break, it was straight into Afrafranto's set. Also playing in a more slimmed-down configuration on this night, the band was playing as a four-piece, with no keyboards and "Golden Voice" Theo Yaa Boakye seated and adding percussion throughout. Showing his dedication, Boakye arrived at the show just a couple hours after catching a plane back to Toronto from Ghana. As with Masaisai before them, this started with the band's more relaxed side, but the set was carefully constructed so that it built up in tempo and intensity as it went along, all of it in one non-stop whir, as usual segueing from one song to the next without respite. And, of course, with the supple guitar stylings of Pa Joe throughout, making the set such a treat to listen to. Underlying it was Kofi Ackah on drums and Ebenezer Agyekum on bass — two musicians who not only play with unrelenting, groovy skill, but are also both great entertainers on the stage, always playing with smiling energy. One of the local favourites of this blog, the thirty minutes from Afrafranto was delightful throughout.
Next up was Fojeba, the night's only group that I was fully unfamiliar with coming in. It turned out to be an excellent introduction. The band played punchy, upbeat music in the makossa and zouk styles1, keyed by Fojeba — the namesake and leader of the band — playing insistent rhythm guitar. Supported by horn players and a pair of backing vocalists, this was some excellent party music. There was no bass player at the outset, but in what appeared to be a totally spontaneous move Ebenezer Agyekum took the stage midway through the first song and joined in, remaining with the band for the rest of the set and playing fairly seamlessly with the rest of the band.
Introduced by Michael Stohr as a topical songwriter, Fojeba indeed presented the audience with a new song, "Tremblement de terre en Haiti", a quiet break in the midst of the more festive music, providing the audience with a reminder of the night's purpose. Most of the rest of the set, however, was punchy, spirited stuff. Definitely on my list to see again.
Listen to a track from this set here.
And then another short set before the stage switchover, this time from singer/guitarist Jacques Yams. Playing a similar, quick set to when I had seen him a few weeks previously, Yams' gentle voice and guitar style provided a welcome interlude between the bands. Playing to the night's theme, he also sang an appeal for everyone to get involved with helping Haiti. He stayed for just a couple quick songs before giving the stage over.
It was now about 11:30, and the early, out-for-dinner crowd had largely melted away, leaving a smaller core of musical enthusiasts. But that also meant that there was plenty of elbow room to stand and perhaps dance around some, which a few people took advantage of as Adam Solomon & Tikisa led off the final segment of the evening. Solomon, known as "The Professor", plays guitar with a natural ease, notes pouring off like water rippling over stones in a creek. I was especially looking forward to this set, never having seen Solomon playing with his own band.2 It was, I was told after, another improvised lineup, with Colin Campbell, usually on rhythm guitar, filling in on bass. But it sounded fabulous regardless, the music groovy and unforced, creating a rhythm that would make it hard to stay sitting down — especially when Pa Joe joined in on the second number. As it turned out, the band played only a short set, just two longer songs stretching out to about twenty minutes, very much creating a "leave 'em wanting more" sort of taste in my mouth.
Listen to a track from this set here.
On the other hand, that meant we'd be moving along to the night's highlight all the quicker. In this configuration of African Guitar Summit Pa Joe and Adam Solomon were joined by Madagascar Slim to form an impressive front line. The latter would lead off the set with his "Salama", which was followed by Pa Joe's "Obaa Y Ewa". It goes without saying that there were guitar fireworks aplenty, in the main provided by Pa Joe and Madagascar Slim playing off each other. Although Adam Solomon would add a third level of interplay for one song, he spent more time on percussion and vocals, including leading on his "Pesa Ni u Funguo". Playing for an action-packed half-hour, there were some simply sublime moments.
Although it was a work night, yes, and bloody cold out, it's mildly surprising that a show of this calibre wasn't playing to a packed house, but the chance to see something like this in such an intimate and relaxed environment made it all the more of a special occasion for me.
Listen to a track from this set here.
Just a reminder: although we move so quickly through the "news cycle" on to the next thing and the next thing, it is important for us to remember that the unimaginable misery caused by the earthquake in Haiti is real and ongoing. A donation sent off here and a benefit concert attended there are all well and good, but there's a profound need for us to remain mindful that the task of rebuilding is just starting, and the "disaster fatigue" and short attention spans of the world's privileged cannot be an excuse for us to fail in our obligation to continue to support Haiti and its people.
1 The latter style, originating in the French West Indies, and being played by a musician originally from Cameroon served to illustrate the strong cross-cultural bond that provided the impetus for this show.
2 Solomon, along with Tikisa percussionist Nancy Barrett also deserve praise for putting this show together.
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