COURTESY of Hennessy, a brand with a growing reputation for promoting elevated music, New York – based African singing sensation, Somi, treated an exclusive audience to what she calls New African Jazz — two weeks ago. Described by the organizers as a “Gratitude Tour,” the event took place at the Sky Lounge and Restaurant on the Penthouse Floor of Eko Hotel in Victoria Island, Lagos.
The high profile jazz concert, which held amid exotic drinks and food, was billed for 7pm, but did not take off until 9.30 pm. The audience, however, did not complain because it was not essentially a jazz-loving one as such; they were pre-occupied with soaking up Hennessy, discussing business and exchanging pleasantries.
Ghanaian singer, Efya, moved into the spotlight as supporting act — to pave the way for the star of the evening. And she made some noticeable impact, registering a definite impression as a soulful singer — even though she merely produced a lean sound — singing with guitar accompaniment. Her act soon gave way for a protracted interlude, which allowed the select audience to wine and dine before the main act. And this was the period that I enjoyed most: the organizers filled up with ideal jazz music dominated by Miles Davis’ Kind of Blue — the album — from which the deejay played All Blues. It was a refreshing experience listening — after 15 years — to the ‘modal’ accomplishment of the Miles Davis Sextet. I found it nostalgic and memorable revisiting John Coltrane’s long — winding avant-garde solos. I was reminded about Julian Cannonball Adderley’s powerful alto saxophone solo construction. The re- enactment of Miles Davis’ unique tone and economy of notes registered a fresh impression on me.
The sudden appearance on stage of a quartet of piano, bass, drums and guitar was clear enough signal that Somi was about to appear. And indeed, she strolled in, looking gorgeous in flowing, red gown; and went straight to business. Taking the stage by storm, she belched out melodies that were punctuated with chants, cries, yells, shouts, groans and wails which are some of the characteristics of African music, demonstrating the influences of such veterans as Miriam Makeba, Letta Mbulu, Angelique Kidjo, Shade Adu, Miata Fahnbulleh and our own Yinka Davis and Fran Kuboye. Projecting with great power, she introduced the jazz approach by bending her notes, establishing stresses, observing silence and employing suspense. Somi also demonstrated her compositional power – from the creativity she invested in her original materials.
AS a singer, Somi may not possess the flowing lines of Billie Holiday, Ella Fitzgerald, Cassandra Wilson, Diana Krall but this is no reason to label herself an ‘African jazz singer’. She obviously thinks that it is a compliment when, in actual fact, it puts her down; it limits her musicianship.
Jazz is jazz whether Indians, Cubans, Americans or Israelites perform it; jazz is universal. Like Grammy award winner, Chucho Valdez of Cuba, Somi is only employing themes, rhythms and melodies from her own cultural origin as vehicles for accomplishment — even though without any improvisational involvement. But members of her accompanying quartet provided this essential element in copious quantities.
The piano player did not exhibit the soulful feeling of Wynton Kelly or Herbie Hancock, but he improvised profusely to the best of his ability and the delight of some of us. The guitarist did not enact chorded solos at the octave, but he knew his chords and stretched out on them beautifully; his solos were evocative as they ran along the tramlines of prescribed sequences. The bassist, who, incidentally, is Nigerian, defined his lines boldly; rhythm was his business. The drummer was as technical as he was inventive. All told, it was this enterprising rhythm section that provided the meat of the jazz that we heard on this concert. Collectively, they created the music in its profoundness and solidity!
Somi, whose new album was recently co-produced in New York by the great Cobhams Asuquo of Nigeria, is an American singer and songwriter of Rwandan and Ugandan descent.
Born in Champaign, Illinois, she is a graduate of Anthropology and African Studies from the University of Illinois. She holds a master’s degree from New York University’s Tisch School of the Arts in Performance Studies.
Starting in 1998, Somi’s jazz fusion (which she calls ‘New African Jazz’) began to attract international attention, releasing her first album, Eternal Motive, in 2003. Since then, her profile has continued to rise by leaps and bounds- culminating in the release of her 2007 album which received wide, critical acclaim with the chart- bound hit single, Ingele; her collaboration with her long time mentor, Hugh Masekela in 2009; the recording of her first live album at the legendary Jazz Standard in 2011.
Somi who became attracted to Lagos, Nigeria after her grand performance at the Lagos Jazz Series concert a couple of years ago, currently lives between Lagos and New York City.
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