Reggae Sunsplash
The rhythms of Africa run through reggae, but now reggae and African music appear to be heading in opposite directions. While reggae edges closer to commercial pop, African music still draws on such traditions as drumming and chanting–the roots of its sound. The difference was apparent at the recent Reggae Sunsplash and Africa Fete concerts.
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Aswad was the first London-based reggae band to tour with legends Bob Marley, Peter Tosh, Burning Spear, and Bunny Wailer. The band had a fresh blend of three-part harmonies, kicking horn riffs, and political lyrics about London life. With songs like “Back to Africa” and “Set Them Free” they declared themselves a “roots and culture” band, combining African rhythms and uplifting lyrics that carry a message. After a series of successful albums Aswad began experimenting with different sounds, incorporating bits of funk, dub, and, later, dancehall. The band had several slow-paced “lovers rock” hits–romantic themes with subdued beats–but in 1988 their music took a sharp turn. “Don’t Turn Around,” a simpering pop/reggae tune, brought the trio international attention and topped Britain’s national charts. From that point Aswad, like many reggae acts, have churned out stylish, pop-influenced songs aimed at cracking the American charts. It’s not that music created with crowd-pleasing in mind is necessarily bad, but the farther reggae performers go from the music’s roots, the blander and less powerful it sounds.
Africa Fete headliner Baaba Maal leads the way. Strolling onto the stage in a traditional Senegalese white caftan, he launched into “Sidiki,” a European club hit that honors the famous griot family of his bass player. The tune exploded with fast-paced drumming and a whirling Afrobeat, the mix of African rhythms fused with jazz and soul. His voice soaring effortlessly, Maal sang mostly songs from his current album Firin’ in Fouta, including “Gorel,” a song that combines African folk arrangements with electric keyboards, and “African Woman,” which has a horn-driven groove. Baaba Maal’s blend of ancient Senegalese folk music and contemporary arrangements has won once-elusive Western acclaim. But, like all the artists in Africa Fete, he did it by staying true to the music and not diminishing its power with pop treatments.
Art accompanying story in printed newspaper (not available in this archive): photos/David Kamba.
