In my native Amazano, where I partly grew up, Abu Owu, folklore of a cultural festival was a unique tradition. We sang the blues of life's amazing journey and tragedies. It ended there and nothing practically came out of it for the fact no one committed to its cause, and today, abu owu has almost disappeared.Mike Ejeagha in his hey days of story telling sang the blues when "Ome Ka Agu" violated every rule losing his moral grounds and defying the traditional norms of a people meant by culture to keep afloat and keeping intact and viable a cultural heritage prescribed from time. Ejeagha's music did not go that far in that regard. It was only local, within his enclave, and no major breakthrough for universal recognition due to lack of exposure.
On August 8, I saw for my self something extraordinary ever since I have been attending concerts since childhood. Amoeba Records, now a record label in Hollywood, California, hosted world music rising star, Niafunke, Mali-born folklorist Vieux Farka Toure. Farka Toure who was promoting his self titled debut CD hit the stage for six performances in front of packed audiences, and patrons who're regulars at Amoeba's "low-key-in-store jam" experienced the young Farka Toure's magic.
Like father, like son, and following the footsteps of dad, Vieux delivered. He did not disappoint. The folklorist had the packed audience at Amoeba dancing, clapping and reflecting his father, Ali Farka Toure's vibes.
Farka Toure rocks, rocks and rocks. Farka Toure just rocks.
In jazz, I would compare him to Wes Montgomery and George Benson whent it comes to using the thumbs to make the guitar talk. In blues, I would compare him to the legendary B.B. King and Buddy Guy combining his rhythm and the blues as in "Palata Bluesio." In heavy metal, I would compare him to Eddie van Halen and AC/DC's Angus Young, the way his guitar talked to the audience. In soundtracks, I would compare him to Prince in "Purple Rain," still the biggest-selling soundtrack in history. In pure funk and all that funktified grooves, I would compare him to Rubber Band's Bootsy Collins as the baseline and bassist echoes on stage simultaneously.
Am I really missing something? Probably! How about the likes of Thin Lizzy's Phil Lynot and Deep Purple's Ritchie Blackmore who says he "could wipe the floor up with most guitarists." Now, beware, Blackmore, there's a new kid in town and the audience has begun to holler, "Toure, Toure, Toure bring the vibe on." Toure has wiped the floor and he can play the guitar in any music category.
Playing for about an hour and half, nonstop, at Amoeba, and beginning with tracks featuring Ali Farka Toure and his mentor Toumani Diabate, Vieux was awesome when the track "Ai Du" exploded reminding me of Joe Satriani and Carlos Santana on how the guitar really talks. A duo with santana or Satriani would, without a doubt, melt every concert goer.
Absolutely no horns.
The wind was gone.
The guy just rocks.
Though his father wanted him to join the army, Vieux took his destiny into his own hands enrolling in Bamako's National Arts Institute and meeting with Eric Herman, Vieux and Eric got to work and began recording in what would be Vieux' debut album to which Toumani contributed his "talent on two of the tracks." The rest is now history.
Enter the Skirball Cultural Center on Sepulveda Blvd. intersecting the 405 (Sacramento) Freeway on August 9, which created a bottleneck around the neighborhood for the coming of Africa's newest sensation in world music. In blues, I meant to say.
The amazing structure, the museum and Noah's Ark.
The tourists, the Jewish community, oneness and organizational effectiveness.
The crowd and Fela Anikulapo Kuti's memorabilia, and the signs that read "Fela Lives."
The music of Vieux indicating "culture is not parts." That "culture is a whole and an entity."
Vieux performed to a point this Jewish community bowed saluting a legend in the making. Once again, "Ai Du" was played and the audience couldn't believe how this kid took over from his dad that quick with a magnificent choral application and powerful lyrics. He delivered and it was a hell of a show.
Vieux would continue his message stretching down all the way to Santa Monica, California where every pub was full to capacity. The night life of this amazing city. Third Street Promenade. The bookstores, talkshows, craziness and all that stuff. The fanfare. The tourists. The eateries--French cuisine, Italian reataurants, Spanish bar and grill; the dazzling sidewalks, Wilshire Boulevard and all the attractions. The beautiful Santa Monica Beach and Vieux' invitation to play at the Temple Bar on the corner of Wilshire and 11Th Street. It was magic.
The two previous shows (Amoeba and Skirball Cultural Center), I took my camera with me. But on August 10, I had no camera, not even my cell phone. I was ready to party, and I knew it would be going down.
I arrived Temple Bar at about 10:15 pm and the night's opening act was an all drum session led by Leon Mobley and his Da Lion drums-percussion group who classified his band as the "original African-American" ensemble. Mobley performed well and the show was great.
During the intermission before Vieux would be introduced to stage, Chief Priest's masterpiece, "Alu Jon Jonki Jon" began to blast all over and just like that, the mood changed. Many other notable African recordings played before Vieux and his gang stormed the stage. At approximately 11:20 pm, Vieux stormed the stage and hell broke loose. The audience chanted aloud "Toure, Toure" as he spoke in French and then Okay, going back and forth to his French and okay. He played many tunes late into the night including getting the audience recite "Palato bluesio" while waving and connecting to his bassist. The track "Ana" came with some reggae vibrations. It was incredible and one of great performances I've seen in a long time by an African.
Vieux Farka Toure, you are now a superstar. Enjoy it!
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