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AFRO LATINO COMPONENT OF BLACK HISTORY ©

FEBRUARY 08,2016
Mapo
It’s “El Barrio” / Spanish Harlem — winter 2016. Two Afro-NuYoRican Brothers — Papo109 and Tumbao Willie — meet and greet on SE corner of 110th Street / Lexington Ave by uptown #6 station. Maturing baby-boomers with clean shaved heads, whitening goatees and sage like swag, they still front adolescent nicknames from back in the day. Slapping five, they stroll down Lex to order lunch in a down home restaurant drenched in “Barrio” flavor. The day’s special: Mofongo, a quintessentially Puerto Rican soul food — fried green plantains crushed in a pilón (wooden mortar and pestle) with fresh garlic cloves, fried pork rinds and sazón criollo / creole seasoning. Mofongo’s etymology: Ki-Kongo / Ba-Kongo of África Centrál — created by enslaved African descended women on Boriquen’s (Puerto Rico’s indigenous name) coastal plantations during “tiempo España’ – Spanish colonial times.

T. Willie laughs and orders Vegan Mofongo sans chicharrón (fried pork skin). “My diet”, he says winking slyly. This is still comfort food for real, Pa. He listens intently as Papo expresses heartfelt sentiment of hard earned pride “de nuestra sangre Africana” (our African blood).

Bro, Black History Month is here, man………Coño, Pa – I’d like to hear, feel and learn of Afro-Latinos in the mix, y’ know what I mean?

T. Willie nods and gestures in “I feel you” concurrence. Papo continues: Yo, It’s beyond conga drums / barríles de bomba (Barrel shaped Bomba drums), dance and jazzed up salsa. And…. its way beyond our athletic prowess!

T. Willie gulps, swallows and interjects laughing,”Yeah mén, b’ball in USA north w/brothers up here and biesból south of Miami with our first and second cousins, Pa!

Papo shaking his head in approval, ”Listen bro, I feel you! Óye….it’s all good, B! It’s in our DNA! But you know what? They missing our stories! At least we use Boricua instead of Puerto Rican – honoring Taino name (Indigenous Arawak nation) of inhabitants of the island Boriquen.

I’d like to hear of our stories and our histories de lo Africano (of our African) in the mix, you know? It’s a spiritual thing, Pa……a spiritual thing.

And, it is about an education thing. Actually, active participants in this “Afro-Latino Matrix” are dedicated educators. Here is a taste / a shortened list – for this article – of just a few Afro-Puerto Rican leaders who have been educators — who have been figuratively “machacando este ajo en el pilón — “crushing these garlic cloves in the wooden mortar for decades — promoting African and Afro-diasporic pride.

In recent conversations:

Dr. Marta Moreno Vega founder of the “ Caribbean Culture Center African Diaspora Institute / CCCADI“ — has been integral in defining an Afro-Latino and a global African Diasporal Consciousness shares: “We have to stand our ground and form a new narratives, frame our own discussions to create new ground that truly reflects our value, our own experiences and our histories.”

Dr. Georgina Falu, Educator and President, Falu Foundation, Spanish Translator of “The Black Man of the Nile and His Family” and other seminal works by Dr. Ben (Yosef Alfredo Antonio Ben-Jochannan) concurs – in the visionary tradition of Arturo Schomburg. She advises that “Afro-Latinos dedicate energies to inform ourselveso of our real history / real heritage…..then, convinced of self-value / worth and of our positive global contributions in many fields — work on our pride of being Afro Descendants”. She continues, “Then organize… demand for economic opportunities, housing, medicine, political participation and education – especially for our children”. She concludes with “become conscious of Africa….Africa wants us to participate in it’s development….we need to visit, invest and work to own resources / build institutions”.

Resonant on this same frequency is Felipe Luciano – poet, community activist, journalist, media personality, politician, founding member of the Original Last Poets and co-founded / chairperson of the New York chapter of the Young Lords – acting as its chair. He has personified with pride and lucidity Afro-Puerto Rican male leadership since the late 60s when it was cognitively dissonant — in many areas — to do so. He emphatically concurs with the aforementioned insights and adds ”we need to create our own that will stand the test of time….institutions / write / produce / sculpt / create our own history……”

It’s clear. There is a buzz in the air. Recent headlines and broadcasts are manifestations. For example, on Friday February 5, 2016, WBAI FM presented Howard Jordan’s “A Jordan Journal Tribute to Afro-Puerto Ricans” where a premium was offered “To coincide with Black heritage month and last year’s designation of the next decade as the “International Decade for People of African Descent”, by the United Nations. This special Tribute to Afro-Puerto Rican heritage encompasses a decade of programs of interviews with Afro-Puerto Ricans legends that have led the struggle for racial justice in and out of African communities.”

Another recent headline – Atlanta Black Star reports “Mexico Officially Recognizes 1.38 Million Afro-Mexicans in the National Census, as Black People Fight against Racism and Invisibility throughout Latin America”. This raises questions: Why now? What classification system determines Afro-Mexican? One drop / two drops? One drop of “white” blood gives some “white privilege”. In USA, it’s the inverse. In that context, might there be an undercount? Is this based on self-identification? What are the benefits of self-identity as Afro-Descendant after centuries of denial and marginalization?

Other examples of trending pivotal conversations and budding narratives being expressed online via Latino Rebels blog:

”Blackface, Brown face and Black Lives Matter in Latin America” and “10 Gregarious Uses of Black Face in Spanish Language Television.

To amplify the buzz, presented here are four possible sources for creating new narratives to frame further conversations:

First possible source: More conversations about the 96 / 4 ratio. Roughly 96% of all kidnapped / enslaved Africans were distributed throughout points south of present day southern border USA. The lion share of those points south were colonial possessions of Iberian Spain and Portugal. Conversely, roughly 4% of kidnapped and enslaved Africans were distributed within USA borders. In a Q&A for his 2011 PBS documentary “Black In Latin America,” Harvard professor Henry Louis Gates Jr. said:

There were 11.2 million Africans that we can count who survived the Middle Passage and landed in the New World, and of that 11.2 million, only 450,000 came to the United States. That’s amazing. All the rest went south of Miami as it were.

Second possible source: More conversations promoting the “Afro Latino Matrix”. Like our two Afro-NuYoRican brothers, deeper, more reflective and healing on-going dialogue expressing visceral and intellectual content is needed. This promotes more opportunities to use concept of “matrix”. Like the 1999 movie, matrix suggests a simulated reality created to control and oppress. Conversely, as is evidence by the evolution of the African-American identity, “matrices” can be created as unsimulated supportive realities to heal, empower and make whole. This is a valuable model / template for emulation for an Afro-Latino matrix.

Third possible source: Creative narratives by Afro-Latinos as an ongoing process — The giant is awakening. The onus is on us. Why wait till Black History month every February? New voices embracing African essence are becoming a more pro-actively assertive. And for good reason.

Fourth possible source: Rising consciousness – across the board. Like the colors of the spectrum – this could have seven levels:

First level: Afro-Latino narratives on social media and blogs influencing mass media. This article is a contribution to this process.

Second level: Acceptance and promotion of an “Afro-Latino matrix” — a reality of viscerally charged / looped collective of sentiments seeking creating expression that contributes positively to the larger diasporic narrative. As an example, Beyoncé audacious surprise release of video ‘Formation’ prior to Super Bowl Performance and her collaborative execution of same with Bruno Mar’s during event’s half time is a clearly working a global matrix with African-American socio-historic and political content intended to jolt and raise consciousness.

Third Level: Process of an identity formation complementary to African-American identity. Key word is complementary. As this author has witnessed and participated in — as a USA born Afro Descendant of Latino heritage, African –American dedication to this process — from colored to Negro to Black to Afro-American to African-American – provides inspiration and is an example of perseverance for Afro-Latinos.

Fourth level: Reinforce these created narratives as antidotes to the psychic and psychological scars from negative portrayal of AfroDesendants by dominant Eurocentric Spanish language media. This process should fulfill a latent demand amongst Afro-Latino/a’s for positive self-images, self-love and acceptance of our common African ancestry. Telemundo’s telenovela seems to be a start with Afro-Boricuas Jeimy Osorio playing the majestic Celia Cruz and Modesto Lacén playing her husband Pedro Knight.

Fifth level: Surface the subverted and withheld historical contributions of Afro-Latinos or Afro Descendants in Latin America.

Sixth level: Nurture what has been planted / what is growing. From Arturo Schomburg to Mario Grillo’s radically named “Machito and his Afro-Cubans” Orquestra in the 1940s to Queenly Celia Cruz — just some heroes who personified pride. More research reveals more of these histories – grist for the narrative mill.

Seventh level: Positive response to the ancestral call – many incarnated Afro Diasporic inspired souls and spirits — regardless of melanin content or traceable percentages of identifiable African ancestry – are responded to this inclusive ancestral call. Beyond color, facial features and hair texture. Souls who came to transgress and live through the Iberophonic side of the Americas – consciously or unconsciously — yearn to learn and to edify our common legacy from “La Mádre” Africa. It’s a spiritual thing.

To conclude, With the aforementioned five sources of missing stories in mind and — like the colors of the spectrum the seven levels of rising consciousness, the time is now for more open conversations and narratives that span the Anglophonic / Iberophonic linguistic divide and the resultant colonial legacies of divergent worldviews.

Now is the time for respectful dialogue to heal the “Post Traumatic Slave Syndrome” – concept coined by Dr. Joyce Degruy — that has produced intensely emotionalized identity dynamics — where “race” vs. “national origin” of African descendants in the Americas is a highly contentious topic.

As the International Decade for People of African Descent progresses until 2024, proposed here is extending this conversation far beyond this and future Black History Months. Madre Africa is calling all of her children to converse, heal and coalesce.

It’s a spiritual thing.

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REBEL TUMBAO – A Collaborative Call to Consciousness En Clave (Sacred Rhythm Music, 2015

CD REVIEW BY CONTRIBUTING WRITER, BABA ANTONIO MONDESIRE

Rebel\ ‘rebel 1a: to oppose those in authority who do not act in the best interest of humankind.

Tumbao\ toóm-‘Bah-o (Spanish) 1a: a syncopated bass and conga rhythm that makes you want to groove your ass off.

Musical Director, multi-percussionist, composer and spoken word artist, José Claussell fulfills a vision and breaches a new musical dimension and an organic concept of rhythmic diversity with his new CD, Rebel Tumbao.

Born with the gift of expressing rhythm and nurtured with a mind-blowing array of musical influences that span the global soundscape, José is a performer celebrated for his dynamic, spiritual and unique style of drumming and approach to music.

Like the current residence of the author of this review, the genesis of his musical journey can be traced back to his Brooklyn roots and a brownstone that was affectionately called “The mad house of music”.

In 1989 Eddie Palmieri invited José to join his band and catapulted him to the major eddie-palmieri
stages and clubs of the world, which led to recording and performance appearances with major artists such as, Ray Barretto, Richie Havens, Randy Weston, Donald Harrison, La India, Little Louie Vega, the Frank Sinatra Orchestra, Victor Manuelle, Tony Toni Tone, Chico Freeman, Hilton Ruiz and many more.

José has recorded seven productions with Mr. Palmieri, three of which received Grammy nominations as well as, Masterpiece, Palmieri’s collaboration with Tito Puente that won the award for best Salsa album in 2000. In conclusion, his musical mileage establishes a credibility we must tip our hats to.

Enter Rebel Tumbao – a culmination of a journey that began in 2002. The awareness invoking self-titled debut delivers a collaborative call to consciousness with 61ABfglclvLAFRO LATIN ROOTS MUSIC, where bilingual Spanish/Anglophonic spirit-filled Afro-Diasporic traditions blend with compatible chemistry.

The title sets up listeners with non-conformist creativity and unpredictable surprises that will sync with many, inter-generationally. The foundation of this unique sound is led by the masterful Claussell, who seems to have been reading the pulse of the sleeping giant, where a demand for a refreshing composite sound has been brewing.

The CD revisits a classic theme of blending respected genres from the firm foundation of old school jazz-tinged NuYoRicanized Salsa Dura (Cosmopolitized New York-based First thru third generation Puerto Ricans and their descendants that upgraded Afro-Cuban root music to match an urban aesthetic) with Jamaican Reggae vis a vis Bob Marley and gospelized soul-stirring R&B.

Each track is garnished with unexpected flavors from Boricua Isleño sonero lead coros(Island based Puerto Rican lead vocalist lead call and response), Doo Wop harmonizing and accents from diaspora Yoruba devotional chants to Colombian Cumbia licks and more.

From the outset and throughout all ten plus bonus tracks, the listener is prepared for a musical journey as lead vocalist, Toussaint’s husky, resonant tenor, delivers with a depth of soul and musical influences that range a vocal spectrum. In complementary fashion, on bilingual tracks, soneros (vocalists) Herman Olivera and Marco Bermudez deliver criollo(Creolized) authenticity supported by a genuine down home coro sabroso (flavorful / soulful chorus) calling for pro-active compassion to the human condition. Be encouraged to listen carefully to receive those heartfelt messages.

Diverse, seductive heartthrob montunos (soulful vamps) are, at times haunting with minor chords accented by fellow CD producer keyboardist, Matt Jenson’s in-the-pocket groove, Clausell’s precision timbale work, hyper-bongo and crisp Bata work by Anthony Carrillo, soul-stirring trombone work by Angel Subero Squantch and Scott Flynn. Let the lyrics push the listener to reflect.

Worthy of repetition, Claussell is a graduate of the exclusive school Maestro Eddie PalmieriHarlem-River-Drive-Featured-Image(1989-2013), who’s recordings of Harlem River Drive (1971), Vamonos Pa’l Monte (1971) and the earlier La Perfecta era signature style (1962-1968) influenced his musicality and served as his call to consciousness.

And that my friends is La Arma Secreta (The Secret Weapon) throughout the CD: Palmieri’s old school La Perfecta technique of La Clave aguanta’o (restrained / reigned in) where the natural tendency to speed up the meter is suppressed as if dragging the tempo. This deliberate slowing time and widening sonic spaces magically allows both dancer and the listener to savor every syncopated note and rhythmic lick. This effective and time-honored technique makes every track rock smooth and groove, honey coating the listener with its enduring harmonic, rhythmic essence. Don’t take my word for it. Test it yourself. (See link below).

While reflecting on the earthy, lyrical commentary citing the enigmas of the human condition, the listener receives inspiration, move, and groove. Indeed, even Mother Earth is listening and rejoicing.

 

 

rebel tumbao back 3

 

 

 

 

 

 

 

 

 

Thanks to  Tomas  Peña Founder / Editor of JazzDeLaPena  for inviting me to review this CD. I encourage everyone to visit his website to learn about some of the best musicians on the planet:    http://jazzdelapena.com/

REBEL TUMBAO WEBSITE: http://www.rebeltumbao.com

SAMPLE TRACKS: http://music.sacredrhythmmusic.net/album/rebel-tumbao-debut-cd

JOSE CLAUSSELL INFO – en.m.wikipedia.org/wiki/José_Claussell

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Reflections Prior to Spring 2015

Spring 2015 is 3  weeks away.   We all need a “reboot”………..In the Americas– especially Northeast USA, a “reboot” refresher is necessary!  Frigid winter weather seems to be unprecedent and is record breaking.  Climate change is real.That is another topic!  However, let’s get back to “reboot”……

yes — “reboot”  — I keep repeating it!  …..where are my /’ your reset buttons?  What plug do I pull out then replug in?  Why do I use tech analogies for us as humans?  LOL…..because we’re really plugged in and looking at our screens of all sizes!  and maybe an upgrade….personally and not your desktop / laotip / smart device!  We as humans need upgrades!

 

……….and reflect a minute or two.

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Welcome to my “New” Website — on this day #1 Spring 2015

So, here it is…..after some cycles of time….incubating…….my “new” website…………….with thoughts, feelings, observations and sharing from my heart and head to you……….traveing in this life in the human form….. on this journey on Mother Earth….century 21……this time around…………..

Please visit periodically…..In fact, stay in contact and we’ll keep you informed.

Principal goal here is to help uplift human condition by building bridges and connecting “dots” to what seems to be viscerally polar opposites.  In other words, as we reflect on the intense current events of the day, “stuff” is going on that defies some of the values we hold as important for human wellbeing.

We are going to attempt to make some “sense” out of that to help you on your journey…………..

So, stay in contact and stay tuned……………….

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Spring 2015….What should it Mean?

 

It is “spring 2015” — today at 6:45 pm EST…..”officially”….even as snow and damp cold is covering New York City!  So, how can we sync up with “well-being” as we ponder “spring 2015” under these interesting conditions?

Let’s focus on “rejuvenation” despite the unusual weather.  We all need to rejuvenate…..regenerate….like the trees and plants we’ll see budding in a couple of weeks.

 

Spring = growth period / new beginnings.  Color = green.  Ifa’s symbolic color…..where solar power is encoded in photosynthesizing green pigment.

Time to photo-synthesize….get your solar power going from within and from the sun and build up your “well-being”.

 

Stay tuned……..as we “grow like vines” this spring!

 

Stay tuned……..as we “grow like vines” this Spring!

 

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Elio Villafranca’s Vision Comes Alive at Jazz at Lincoln Center

Performance Review by Antonio Mondesire
February 21, 2015

Pianist, composer, arranger Elio Villafranca and the Jass Syncopator’s presented Cinqué – The Suite of the Caribbean at Jazz at Lincoln Center’s Appel Room before a warm and receptive audience.

elio-villafranca

The suite consisted of five movements dedicated to and inspired by Joseph Cinqué, the protagonist of La Amistad, a freedom fighter and force of nature whose journey of self-discovery was rooted in the idea, “The whole is greater than the sum of its parts.”

Consistent with Yoruba wisdom, Villafranca’s powerful sonic-art honored the ancestors and the branches and roots of our collective ancestral tree.

Essentially, the repertoire was a musical journey in five parts:

Part 1: Cinque / The Capture / Troubled Waters.

Part II: Maluagda / La Burl de Los Congos / Madre Agua (Yaya Baluande).

Part III: Indigo / Mesi Bondye.

Part IV: The Night at Bois Caiman / Burn Down the Fields.

Part V: Comparsa.

The movements represented a diverse range of colors, textures, rhythms, melodic call and response and solos accented by traditional dance.

Highlights included Jon Faddis’s riveting brass acumen; consistent, tasteful exchanges between the pianist and his team of polished musicians; trombonist/conch/shell player Steve Turre’s unparalleled swing and crowd pleasing harmonics; the tasteful inclusion of traditional Puerto Rican rhythms (Bomba Xica), the integration of recorded Kongo chants, a sweet rendition of the tune, “Mesi Bondye” by banjo player, Leila Mc Calla and the closing comparsa (Cuban Carnival swing with classic chorus) as dancer Liethis Y Hechavarria –
tap danced with wood block sandals playing 2-3 beat of the clave.

Jonathan “JBlak” Troncoso – need to see / hear more of his pan Afro-Caribe virtuousity with some featured solos….as the old Kongos would say “somos. o no somos” /” are we or are we not”.

Prior to the concert, Ben Young of Swing University conducted an interesting and informative pre-concert discussion and touched on Elio Villafranca’s geo-historic background in context to the Caribbean Basin of island nations. It is here that a brief description of the banjo used in Leyla McCalla’s work would have been helpful.

To conclude, Elio Villafranca and the Jass Syncopators are lined up for “Nsambi Mpugu’s” (God Almighty’s) blessings as he builds upon the high standard that he has set for himself. We respectfully watch his growth. Bacheche! (excellent in Kongo).

Personnel: Elio Villafranca – Musical Director > piano and Guataca; Jon Faddis – trumpet; Leyla McCalla – cello/banjo/ vocal; Vincent Herring – alto sax/flute/clarinet: Steve Turre – trombone and multiple conch shells; Greg Tardy – tenor sax/clarinet; Michele Wright –clarinet; Gregg August – bass; and assorted percussion; Jonathan “JBlak”Troncoso – percussion: Liethis Y Hechavarria – dancer.

Elio Villafranca: www.eliovillafranca.net

Jazz at Lincoln Center: www.jazz.org

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