Acquainting myself and my family with new and different music is a passion not just for me but my husband as well. When looking into our home music library you will not find just one or even 20 genres you’ll probably find a little bit of everything. Recently, we were introduced to Somi and her Petite Afrique CD, and this deserves and genre all it’s own. I would closely compare but not specifically compare her sound to African, blues, jazz and folk music. It’s a good blend of these genres while creating her own unique sound. This is a great album for a rainy day and introspection.
Critically Acclaimed Vocalist Somi to Release Petite Afrique,
Inspired by the Fate of African Immigrants in Harlem
Featuring Special Guest Aloe Blacc
Pulsing with Harlem’s rhythms and sonic ambiance, Somi’s Petite Afrique is an homage to her New York City upper Manhattan neighborhood, and one of the Meccas of the African diaspora. In the village of Harlem, along west 116th Street from Malcolm X Boulevard to Frederick Douglass Boulevard, African immigrants build American lives. Populated predominantly by a Francophone, West African and Muslim community, this is a strip of Harlem that locals call “Little Africa” or “Petite Afrique:” a thriving corridor of hair shops and shea butters, bistros and self-taught tailors. Many of these working class residents — immigrants-cum-citizens — are now taxi drivers zipping other New Yorkers through the city they’ve called home since the 1980s.
Petite Afrique, Somi’s sophomore effort for OKeh/SonyMusic Masterworks, is a daring, relevant, refashioning of what “jazz” and “African music” mean. The album is a timely song cycle about the dignity of immigrants in the United States. Equally anthropologist and writer, Somi’s songs both celebrate Harlem’s black experience and lament gentrification’s slow erasure of the vibrant African immigrant population from the historic neighborhood.
On her new album, Somi and her core bandmates—guitarist Liberty Ellman, drummer Nate Smith, pianist Toru Dodo, and bassist Michael Olatuja—perform with new emotional openness, sharp political insight, and infectious groove. A powerful horn ensemble featuring tenor saxophonist Marcus Strickland, alto man Jaleel Shaw, and acclaimed trumpeter Etienne Charles also appear on several tracks.
The album opens with “Alien,” Somi’s provocative improvisation on Sting’s “Englishman in New York.” Here, she flips Sting’s playful critique of Britishness in America into a brooding blues about Africans alienated from American life. “This album is, in many ways, a love letter to my parents and the generous community of immigrants that raised me,” Somi explains. “Once Harlem started to change, I realized just how much the African community there made the anonymity of New York City feel more like home.”
Somi’s room-making blend of politics and voice is apparent on stunning, anthemic tracks like “Black Enough” and “The Gentry.” On both recordings, Charles’ assertive horn arrangements are emphatic exclamation marks to Somi’s fiery lyrics. “Black Enough” is a layered exploration of blackness and the identity politics that has, at times, pulled black people in the United States apart. Somi was inspired to write the song while reading Yaa Gyasi’s novel Homegoing. “It was the first time I’d seen an African literary voice explicitly acknowledge the sameness of African and African-American histories,” says Somi. “It felt like a much needed ‘owning’ of trauma and oppression. The Black Lives Matter movement was already in the public consciousness, but I wanted to write something that reminded us that we fail ourselves individually when we fail to acknowledge our shared struggles.”
A real-life legal battle between new Harlem residents and a 60-year-old drum circle tradition in Marcus Garvey Park inspired “The Gentry,” which features Aloe Blacc’s earthy guest vocal. Here, Somi uses deft lyrical play to talk explicitly about how gentrification is erasing black culture from the Harlem scene. With the horn section underwriting Somi’s searing call and response – “I want it black / I want it back” – one might recall Abbey Lincoln’s ardent performance in Max Roach’s “Freedom Now Suite.” It’s also not hard to hear the references to the musical groups that Fela Kuti and James Brown once fronted, masters of Nigerian and American political dance music, respectively.
Born in Illinois, the daughter of immigrants from Uganda and Rwanda, Somi’s American experience has always been infused with the African diaspora’s richest political and artistic traditions. And now Petite Afrique combines the two facets of her life magically. A longtime Harlem resident, Somi is also a true Africanist: she spent part of her youth in Africa with her parents and now, with her band, tours the continent extensively. Famously, Somi’s dazzling 2014 album, The Lagos Music Salon, which debuted at the top of US Jazz charts, was born from an 18-month “sabbatical” in Lagos, Nigeria.
Founder of New Africa Live, a nonprofit championing her fellow African artists, Somi realized some years ago that she was explicitly segmenting her work for the communities she came from and the work that she did as an artist. “I realized,” Somi details, “that I could still curate a sense of community in the same, and possibly larger, ways through my music.” Now a TED Senior Fellow, her career a refined merger of singing and activism, Somi has entered a fascinating new phase herself: “New Africa Live was about making room for our voices that might otherwise go unheard. Hopefully, Petite Afrique starts larger conversations about immigration and xenophobia and Blackness.”
Sony Music Masterworks comprises Masterworks, Sony Classical, OKeh, Portrait and Masterworks Broadway imprints. For email updates and information please visit www.SonyMasterworks.com.
Somi – Petite Afrique Tracklisting:
1 Disappearing Act I
3 Black Enough
4 The Wild One
5 They’re Like Ghosts
6 The Gentry (feat. Aloe Blacc)
7 Kadiatou The Beautiful
8 Holy Room
9 Disappearing Act II
10 Let Me
12 Go Back to Your Country
13 Like Dakar
14 Midnight Angels
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