In the ongoing rebirth of explicit poly-rhythms and super syncopated percussive goodness in African-American music, B-more/Philly and Newark/Jersey Club is a particularly sexy and fun permutation, and has been gaining momentum for a number of years, bursting with musical and dance ideas. Vice just made a documentary and in 2015 i think it will finally invade dance floors all over in a big way. (Next month i will be playing the first Vice sponsored Club Jersey party in London – stay tuned)
179 killed by institutional racist violence for the crime of trying to live in the drugs and guns infested poverty that white supremacy keeps them in, during the past 15 years, In NYC alone. How many disabled? In comas? How many with missing lungs or bullets in stomachs? How many broken ribs/arms/legs? How many physically assaulted? Abused in custody? How many terrorized? Humiliated? Incarcerated?
Out in the streets Out in the streets Out in the streets Out in the streets…
From South Chicago to East London, from Detroit to Berlin, Dj Zhao and friends bring Polyrhythmic Bass Pressure connecting Footwork, Jungle, GhettoTech, and Drum’n’Bass.
Fuck the future, this is NOW.
Ever since drums were banned on most slave plantations in N. America during the 1600s, after the masters discovering that the slaves organized revolts with their talking drums, the expression of poly-rhythms in N. American popular music has primarily been through use of the voice. This is the reason music in the US is typified by the simple 1-2 “dupple” rhythm, in contrast to more complex beat patterns in South-America or the Caribbean (which kept their drums). Thus the evolution of all subsequent Afro-North-American music was profoundly shaped, from Blues to Funk to Disco: kick on the 1, and snare on the 2; all the way down to the late 20th Century – complex poly-rhythms in hiphop is produced with rap, and the drums remain a skeletal, minimalistic boom-bap, as if just to mark time.
Now in the 21st Century a renewed sense of rhythmic complexity returns to Afro-North-American dance music in the form of Juke/Footwork in Chicago: interlocking 2s and 3s form intricate beat structures, unmistakeably related to many forms of percussion styles in the motherland (but still often keeping that N. American hard snare on the 2).
This NGOMA volume demonstrates this reconnection, after centuries of separation, between African tradition and Afro-Diaspora: between Nigerian Juju/Fuji music and Chicago Juke/Footwork, between Ethiopian dance styles and Detroit Ghetto-Tech, between Iberian trad-modern street sounds and American R’n’B/Pop, between Afro-Punk and Club Music, between Congolese Mbira workouts and Hiphop, between Ghanaian and Senegalese drumming and Urban Bass Pressure. Let us pump up the volume and remember the power and spirit of rhythm which survives every hardship, cruelty, and oppression, and rejoice in the timeless Music Of the Drums.
big thanks to Keith Jones for knowledge passing, Itzi Nallah, Sonic Diaspora and states side massive for making the Juju-Juke tour possible, my B-girls Jessi and Maya for support.Juju-Juke Tour kick off in Belgrade
I have played this set a few times now during the Serbia, Germany, and US East Coast tour a few weeks ago, and crowds have gone completely BONKERS as the energy went straight through the roof: 500 screaming people and massive MOSH PIT at 3AM during Mikser Festival Belgrade; club crowd which refused to leave, clapping and hollering for 20 minutes after lights went up and sound was turned off at The Shrine Chicago. I guess the world is more than ready for 160 BPM Afro-Footwork pressure!!!
and here is that adrenaline fueled misanthropic juke edit of South African punk rockers Koos by itself (download and drop into your set if you are wo/man enough :D):
here is one for the boogie: classic and soulful grooves designed for more intimate spaces.
i made this mix for smaller and “normal” local bars and clubs: really tried to make something both for the general public, meaning anyone from any walk of life, as well as the music heads. the ideal is a CD that almost any bar anywhere in the world can pop in their stereo at any given night and have people nod their heads, tap their feet, and maybe even get a little jiggy. how close the actual product ended up being to this ideal is yet to be tested, as well as my thesis that one does not have to succumb to lowest common denominators to appeal to everyone. (we will see, i have already started giving these out to local establishments in berlin)