The outstanding calypso/soca singer and musician, the Mighty Shadow, died at hospital, in the early hours of Tuesday, October 23, 2018. He was 77.
Ailing for some time, he’d suffered a stroke just days before.
Over the course of 5 decades, he’d stood out with his unique dress(regularly like ‘a minute past midnight’, under a broad-rimmed hat), vertical bounce dance style(a la Masai tribesmen), sound(infused with ‘tambrin’ goatskin-drum and fiddle/violin motifs), and lyrics(‘so serious, they sometimes sounded humorous’).
Born in Belmont, a suburb of Trinidad’s capital, Port of Spain, he grew up, from around age 4, on a farm in the village of Les Coteaux, over on the sister isle, Tobago, and soon took to music, accompanying his musician grandfather, later starting to compose songs(via guitar, primarily).
A strapping 6-footer with a raspy, low register voice, and given to hums, his experiments with ‘walking’, more fluid basslines and rootsy elements began informing a new sound,- the ‘soul of calypso’, which entered the lexicon through fellow musician, Lord Shorty, who added transposed East Indian elements and named it ‘sokah’.
In a tent for the first time in 1970 (under the Mighty Sparrow), he broke through in a big way with “Bassman”, the ‘road march’(, or song played most over the 2 costumed parade days of the country’s pre-Lenten carnival,), and “I Come Out To Play”, in 1974.(“Bassman” opens…’I was planning to forget calypso and go’ plant peas in Tobago…But everytime I lay down in meh’ bed…hearing this bassman in meh head’)
He repeated the feat in 2001, with “Stranger”, which also led to victory in the soca monarch contest.
After narrowly finishing second to the Sparrow 26 years earlier, he prevailed in the national calypso monarch contest in 2000.
Songs about life, philosophy (“My Belief” and “Dingloay” aka “Music), the music industry (1979’s “Dat Soca Boat”, arranged by the influential Art de Coteau, a cracker that featured on the 2011 compilation, ‘Sofrito: Tropical Discotheque’, and “Sing Boy Sing” about piracy), brotherly and romantic love, the ‘dark arts’/bizarre (2001’s “Goumangala”), childhood influences, and, every so often, ‘doing-me-wrong’ competition judges(…with ‘…degrees in stupidity’) made up a vast, varied repertoire.
The classic “Poverty Is Hell” (..,’and the angels are in paradise…”), amazingly, failed to get him into the 1994 calypso final.
Apart from stints in those of the Sparrow, Lord Blakie(‘Victory’), and Lord Kitchener(Calypso Revue), he also appeared with the other tents (multi-artiste venues that operate during the carnival season), such as Kingdom of the Wizards, Spektakula, Kisskidee, and Kaiso House, and in-between, in the a decade from the late 1970’s, ran 2- Master’s Den and Mas Camp.
The Shadow received one of Trinidad+Tobago’s highest civilian honors, the Hummingbird Medal, in 2003, for ‘contribution to the arts’, and was due to receive an honorary doctorate from the University of the West Indies on the weekend of October 26-28, 2018.
Among the many paying tribute was the country’s Prime Minister, Dr Keith Rowley, who said he’d “revolutionized the calypso world with his haunting sound and unique delivery which he crafted and perfected in an impressive catalogue of work spanning several decades.”
“He was an original in all his various musical creations. His music told us stories about ourselves through poignant social commentary which was often fused with wry humour. Over the years his contribution to the development of our local music earned him regional and international acclaim”.
Shadow leaves to mourn 5 children, including Shawn and Sharlan, who both followed him into calypso.
Today, the Latin Jazz community is mourning the loss of trumpeter and conguero Jerry Gonzalez. Reports of a fire at his home in the Lavapiés district of Madrid summoned Spain’s National Police and paramedics where they discovered the musician. He was rushed to San Carlos Clinical Hospital where he died hours later. Mr. Gonzalez was 69.
Mr. Gonzalez was born into New York City’s Puerto Rican community on June 5, 1949. The rich world of music was already a staple in the Gonzalez house with Jerry Gonzalez, Sr. serving as a master of ceremonies and a lead singer along with musicians like Claudio Ferrer. His brother and bassist Andy Gonzalez would go on to follow his own musical career, often playing with his brother.
Taking up the trumpet and congas in junior high school, Mr. Gonzalez launched his musical career playing with local bands. After attending the New York College of Music and New York University, Mr. Gonzalez started playing with Lewellyn Matthews and in the 1970s played congas with Dizzy Gillespie and began merging African rhythms into jazz themes. He was a stalwart proponent of Latin music and an indefatigable explorer of the possibilities of Latin Jazz.
Mr. Gonzalez would go on to play with the likes of Jaco Pastorius, Tito Puente, Manny Oquendo and Eddie Palmieri. He found his groove by heading up The Fort Apache Band. Recordings like Ya Yo Me Cure, The River is Deep, Obatala, Pensativo, Calle 54, Rumba Buhaina and Jerry Gonzalez y El Comando de La Clave would soon stack up alongside appearances on Kip Hanrahan’s Coup de Tete, Tito Puente’s On Broadway, Carlos “Patato” Valdes’s Masterpiece, Steve Turre’s Viewpoints on Vibrations, Kirk Lightsey’s Kenny Kirkland, Bobby Hutcherson’s Acoustic Master II and Sonny Fortune’s A Better Understanding.
Settling in Spain and lending his talents to flamenco, Mr. Gonzalez appeared with Diego “El Cigala” on Corren Tiempos de Alegria and Picasso en Mis Ojos and Paco de Lucia on Cositas Buenas, as well as collaborated with Javier Limon on La Tierra del Agua and Son de Limon and Andres Calamaro on Obras Incompletas and On the Rock.
Mr. Gonzalez earned film credits as well in Leon Ichaso’ s Crossover, Fernando Trueba’s Calle 54 and Leon Ichaso’s Pinero. In addition to The Fort Apache Band, Mr. Gonzalez also led the quartet El Comando de la Clave with Miguel Blanco.
The General Society of Authors of Spain (SGAE) issued a tweet mourning Mr. Gonzalez’s loss by calling him, “one of the pioneers of Latin Jazz and founder of the legendary group Fort Apache Band.”
No announcement has been made yet on funeral or memorial services
Masaki Rush, wife of Otis Rush, announced that highly influential Chicago blues musician Otis Rush, died September 29, 2018 due to complications from a stroke which he initially suffered in 2003.
“GRAMMY winner Otis Rush was one of the most influential guitarists of the Chicago blues scene, best known for crafting the city’s “West Side Sound,” said Neil Portnow, President/CEO of the Recording Academy. “With his passionate vocals, unique performance style, and jazz-influenced guitar playing, Rush set the standard for blues musicians in Chicago and beyond.
He earned four GRAMMY nominations throughout his expansive career, and was awarded the Best Traditional Blues Album GRAMMY for Any Place I’m Going at the 41st Annual GRAMMY Awards. He will forever be remembered for transforming traditional blues into a more intensified sound, and influencing many of the rock and blues greats that followed him. Our thoughts go out to his family, friends, and colleagues during this difficult time.”
Steel pan innovator Ellie Mannette passed away August 29, 2018 in Morgantown, West Virginia. He was 90 years old.
Shannon Dudley, Associate Professor of Ethnomusicology at the University of Washington provided the following obituary: “Mannette was arguably the most influential steel pan tuner (builder) in the world because of the quality of his instruments and also his willingness to teach and share.
He made his name in Trinidad, beginning in the 1940s, as the leader and tuner for the Invaders steelband, whose instruments were sometimes referred to as “harps” because of their beautiful sound. Based at the edge of the Woodbrook neighborhood in Port of Spain, Invaders became one of the first steelbands to acquire a middle class following.
Mannette developed relationships with middle class artists, including dancer Beryl McBurnie and her Little Carib theatre. In the competitive and secretive culture of Trinidad steelbands, he was one of the few tuners who was willing to teach his skills to others, which magnified his influence.
In 1961 Mannette was hired to tune steel pans for the U.S. Navy Steelband, and a few years later he moved to Brooklyn, New York. In New York he met social worker Murray Narell and worked with him to build instruments and teach steel pan to young people in community centers. He developed a lifelong relationship with Murray’s son Andy Narell, who became one of the most innovative and recognized steel pan players in the world through his fusions of Caribbean music and jazz.
In the 1970s Mannette began to work with music educator Jimmy Leyden, a pioneer in introducing steelbands into schools in the U.S., and soon became the go-to steel pan tuner for school and university steelbands across the U.S.
In 1992 Mannette began the University Tuning Project in Morgantown, West Virginia, where he took on West Virginia University students as apprentices and expanded his tuning business. In 1999 he received the NEA’s Heritage Award, and was subsequently honored in Trinidad with the Chaconia Silver Medal and an honorary doctorate from the University of the West Indies.
I had the opportunity to meet Ellie Mannette a couple of times in the 1980s and 1990s. He was supremely confident of his knowledge and skills and didn’t hesitate to share them. A brazen self-promoter, he also had a youthful enthusiasm for discovery and improvement that was endearing. He will be missed and remembered by steelband enthusiasts all over the world.”
Ugandan media, and his official Facebook site, reported today the passing of celebrated world music artist Geoffrey Oryema. Oryema was born in Uganda and had been living in France. His greatest hit was “Land of Anaka” from his 1990 album Exile.
Clarence Fountain died Sunday, June 3rd, 2018 in a hospital in Baton Rouge, Louisiana. He was 88 years old.
“Clarence Fountain was a founding member of the GRAMMY-winning gospel group Blind Boys of Alabama, and was seen as a pillar of inspiration in the music industry,” said Neil Portnow, President/CEO of the Recording Academy. “He lent his distinctive vocals to the ensemble’s extensive catalog of recordings for more than 70 years and helped drive the group to mainstream success in 1948 with “I Can See Everybody’s Mother But Mine.” With the Blind Boys, he earned four GRAMMY Awards in the Best Traditional Gospel Soul Album category and the group was honored with the Recording Academy’s Lifetime Achievement Award in 2009 for their remarkable contributions to gospel music. Clarence will be dearly missed, and our thoughts go out to his loved ones during this difficult time.”
Senegal is in mourning. Not only have they lost a beloved man, but a hero who changed forever their musical landscape. Habib Faye was a virtuoso bassist. He was a gifted composer, arranger, and a Grammy nominated producer. Think African traditional drumming meets Jaco Pastorius’s funk and you begin to capture the sound. He was a multi-instrumentalist who played the piano and owned it, while other musicians might claim it as a secondary instrument. He was a highly creative mind who could transform a piece of music from failure to success in moments.
Habib was born in 1965, in Dakar, the capital of Senegal. It’s a bustling and crowded city on the west coast of Africa, and its citizens have a strong tradition of hospitality. It’s also a deeply musical city, rooted in tradition, yet open to modern music. Habib grew up in a musical family: his father and his five brothers were all outstanding musicians. He didn’t attend music school, but listened to jazz, rock, and salsa, absorbing it and teaching himself to play it all. He worked hard at music, perhaps in part because he was a Mouride – a follower of the Sufi tradition in Senegal and devotee of Sheikh Ahmadou Bamba, who installed both non-violence and hard work into his followers.
He was only a teenager when he was plucked up to join a young band, Super Étoile de Dakar, whose lead singer was the fiercely ambitious Youssou N’Dour. Youssou with his soaring, heartfelt vocals and good looks was the obvious leader for the group, and he captivated many female fans. His father had forbidden him to play music, but his mother’s people were griots, and music was in his birthright. In the short film, Youssou N’Dour: Eyes Open, he says: “I sing about things which are important to me, I sing about real life in Dakar as it is today.” But his singing could go only so far. He needed a great band to make the music fly, and that’s why he chose Habib as his bassist.
At this time, a new musical genre was created in Dakar: Mbalax. The word means rhythm. Three drums lay down a polyrhythmic mosaic whose origin is in the music of the Serer people. The percussion section has a lead drum (the nder), a rhythm drum (the sabar), and a talking drum (the tama). In Super Étoile de Dakar, Mamadou Jimi M’Baye on electric guitar and Habib Faye were among the first Senegalese musicians to incorporate this highly rhythmic pulse and give it a new spin. Habib also brought elements of percussion into his bass playing.
Part of his power was in the variety of rhythms in his playing. His outstanding technique allowed him to make rapid interchanges between funk and indigenous rhythms. He was also one of the first to introduce marimba keyboard playing into Senegalese popular music. This was a participatory music, Super Étoile knew how to start with slow numbers, and then to accelerate the tempo, and to increase the intensity of their rhythm and energy as the night progressed. The rapid fire percussion caused sparks to fly. The group redefined Senegal’s music. Never before had the traditional and the modern been played alongside one another. Dakar was electrified.
In the 1980s, Super Étoile de Dakar, Youssou N’Dour, and Habib, caught the attention of Peter Gabriel, the famed British pop musician and producer. And he introduced them to international audiences and to critical acclaim.
After Habib had played for twenty-eight years with Youssou N’Dour, he at last formed his own quartet. And, in 2012, he released a significant solo work in the album entitled H20. It is a thoughtful, meditative work, and when the music slows down in a lament, listeners can hear the full expressiveness of his bass line.
Ashley Maher, an American musician, speaks of the more recent years, “If I am to speculate, his international travels expanded Habib’s appreciation for jazz and funk. He became a master of bass ‘slapping’ in his solos. And he also collaborated with a wide range of star jazz masters such as Stanley Clarke and Lionel Loueke. There was also a period of time that he toured with Angelique Kidjo. In my view, the world was never as aware of his incredible talent as they should have been.”
His final project was with Ablaye Cissokho, the kora player. For one more time, he brought traditional Senegalese instruments and rhythms to work together with the modern music that so inspired him.
Habib Faye died of a lung infection on Wednesday, April 25th, 2018. He was only fifty-two years old. He is survived by his wife and their children. The name Habib means beloved in Arabic, it is a fitting name for a man not only beloved to his family, but to his friends, fellow musicians and fans around the world who have been irrevocably touched by his music.
To give readers a feel for how his Senegalese contemporaries thought about him, I interviewed several of them, and here’s what two of the most important of them had to say.
Etu Dieng, musical director and bassist with the vocalist Kiné Lam, said, “His bass playing caught my attention. I lived not far from him. There was a stadium nearby and once Super Étoile played there. I was too young to go to the concert, I was about five years younger than him, but I sat outside to listen and I cried because of that bass. He was one of the first African musicians to be successful in incorporating advanced electric bass playing into our native music.
He inspired people. And I realized that the bass can be fun: we can do a lot with the instrument. He was already naturally percussive, but when he started to listen to Jaco Pastorius, his sound developed as you can hear in the progression of his work with Youssou N’Dour. He incorporated more funk into our music, as in the song ‘Hey You’ recorded by Youssou in the 1990’s. It was a new way of playing.”
Cheikh Ndoye, a younger bassist who plays for Baaba Maal, said, “Habib’s bass lines were so original, melodic, and harmonically rich. They were very rhythmic. He was the only bass player to come up with that style of playing, Mbalax. He changed the way we young Senegalese musicians created music. We’ve lost one of the most respected African musicians, multi-instrumentalists and composers. He’s no longer here, but his music lives on. And younger musicians will continue to play his music to keep it alive.
He had an incredible vision and an original sound — the hardest thing to find in musicianship. He was unique, and anything he touched in music became stronger. You can recognize him both in his bass playing and in his compositions. We loved him as a musician and as a person. He inspired all of us.”
Headline photo: Habib Faye by Bill Farrington
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion