Balearic Breakfast | Episode 198 | Black History Month Celebration (Part 1)

Colleen 'Cosmo' Murphy broadcast the 198th episode of Balearic Breakfast on her Mixcloud on October 22nd 2024.

---

About this episode. – Balearic Breakfast celebrates music. So, when Black History Month hits, it is only logical that the Balearic Breakfast Family celebrates Black musicians, composers, and singers, in one word: Black Artists. As every year, the Family got together and, at Colleen's request, chose songs celebrating the unique and tremendous musicianship fronted by our fellow black people. Today's episode was a 2+ festive musical moment we all spent together on Colleen's Mixcloud, listening to her delicate and still perfect mix praising music we are deeply connected to! A second part is scheduled for October 29th (which is a first-timer as Colleen never did that before)!

"This morning’s Balearic Breakfast celebrates Black History Month and is now archived on my Mixcloud. We had so many great requests that next Tuesday’s show will be yet another tribute to the musicianship of Black and Brown artists. Thank you all for your incredible song requests that span over half a century."

Listen back to Balearic Breakfast's 198th episode:

---

PLAYLIST

(2021) Nina Simone – Four Women (Live at Montreux Jazz Festival)

(1972) Terry Callier – What Color is Love

(1973) Jon Lucien – Rashida

(2000) Mos Def – Umi Says

(2021) Figure of Speech? – I am a Man

(1972) Roberta Flack & Donny Hathaway – Be Real Black for Me

(2005) Jill Scott – Cross My Mind

(1977) Willie Wright – Nantucket Island

(2024) Michael Kiwanuka – Floating Parade

(1970) Cissy Houston – I'll Be There

(1968) Dorothy Ashby – Soul Vibrations

(1994) Sounds of Blackness – I Believe

(1972) Roy Ayers Ubiquity – We Live in Brooklyn Baby

(1977) Banda Black Rio – Mr Funky Samba

(1976) Gil Scott-Heron & Brian Jackson – It's Your World

(2000) Femi Kuti – Blackman Know Yourself (Roots Remix)

(2009) Georgia Anne Muldrow – Roses

(2024) Musclecars ft Aden – Hello? (Maurice Fulton Remix)

(1981) Madagascar ft Marva King – Rainbow

(1989) Soul II Soul – Happiness' (Dub)

(1983) Herbie Hancock – Autodrive

(1983) Eartha Kitt – Where is My Man

(2024) Mike Nasty – Mother Earth

(1981) Angela Bofill – Rhythm of My Mind

(1988) Whitney Houston – Love Will Save the Day

---

TO BE A BLACK ARTIST...

For this episode, and also for the upcoming one, I felt we might take the opportunity to do something a bit different and reflect on what it felt, and what it presently feels, like to be a black musician, a black artist. Each of today's featured artists had his/her own perspective on racism and they all had an impact on this world's History.

Starting with the great Nina Simone, she was direct about it, sharing: "I must say that Martin Luther King didn't win too much with his non-violence (...) "[Martin Luther King] is remembered more than Malcolm X, and Malcolm X never had a chance to get the kind of popularity that Martin Luther King got. But I was never non-violent, never. I thought we should get our rights by any means necessary."

We can also think about Jill Scottt who recently changed the lyrics to the American Anthem. Refering to the Black experience in America, Scott, leading to controversy, changed the lyrics as follows "Oh, say, can you see, by the blood in the streets, this place doesn't smile on you, colored child. Whose blood built this land with sweat and their hands. But we'll die in this place and your memory erased. Oh say, does this truth hold any weight? This is not the land of the free but the home of the slaves." On the same non-compromising path, the legendary Gill Scott-Heron, with his radical and unforgiving lyrics, always championed his contemporary's spirits by singing protest songs.

Femi Kuti is also directly speaking out about Racism in America and poverty in Africa, “One People One World” is the title track off of his 2018 album in which Kuti delivers an anthem of peace and unity. Poignant lyrics include “Exchange cultural experiences, that’s the way it should be” and “Racism has no place.” The song also takes on a global resonance with the line: “All nations are guilty / At one point of hostilities.” The song is relevant in light of systemic racism and current hostilities that certain countries are expressing towards immigrants.

On the other hand, artists, like Terry Callier (who touched his audiences like no one else when singing live) or even Donny Hathaway, didn't want to be seen as activists although they did not refrain from speaking out about what it meant to be black. For them, Music was the key to their message, and that was sufficient.

Other important musical figures did not hide from saying out loud that being black was not a curse, one of them being the great Mos Def, sharing: "I don’t mind being black. I’m black out loud. It’s more than the people that they are, it’s the condition that they represent. I don’t hate nobody. I hate certain conditions that are inflicted upon the peopleâ??and they’re helpless with it. To me, the job of the artist is to provide a useful and intelligent vocabulary for the world to be able to articulate feelings they experience everyday, and otherwise wouldn’t have the means to express in a meaningful and useful way. It’s not that people have to “ball” less, it’s just that they need to do something good. This is what I wanted to tell XXL"

A fun fact Jon Lucien shared in an interview, “The record company was attempting to package me as a sort of ‘black Sinatra,’ ” he said in a recent interview. “Once the white women started to swoon at my performances, their attitudes quickly changed.”

We could not write this article without mentioning the key role Dorothy Ashby had on many musicians, including black ones such as Brandi Younger, who found solace in her musical life. Yet, for Dorothy, being a black harpist was a challenge in itself as she shared in her 1983 book "Living the Jaz Life": “It’s been maybe a triple burden in that not a lot of women are becoming known as jazz players (...). There is also the connection with Black women. The audiences I was trying to reach were not interested in the harp, period – classical or otherwise – and they were certainly not interested in seeing a Black woman playing the harp.”

Sometimes, even the most famous artists experience tough moments, and this hapenned to our beloved Withney Houston who was boed at the 1989 Soul Train Awards. Reflecting on her career and her "racial status", she shared: “Sometimes it gets down to ‘You’re not black enough for them. You’re not R&B enough. You’re very pop. The white audience has taken you away from them.’”

I would love to end this article by mentioning what Herbie Hancock said in 2017 (perfectly reflecting today's episode last song and Colleen's dedication to David Mancuso who would have turned 80 if he was still with us): "This music that was created by African-Americans in the past has blossomed. It was born out of difficulty and racism and turmoil and slavery," Hancock said. "But it is an example of something that’s deeper than just being black. It’s about being human. It means human beings have the ability to turn poison into medicine."

Yes, Love Saves The Day...

---

ABOUT THE SONGS

Nina Simone – Four Women (Live at Montreux Jazz Festival). – Nina Simone with Black, with Four Women, an incredible song that depicts four different black women and the challenges and suffering they have endured. It's profound, it could only have been written by Simone, one of the greatest songwriters of the civil rights movement. Four Women was first released on Simone's 1966 album Wild is the Wind, but this version was recorded live at the Montreux Jazz Festival and released on a great double album that compiles some of her best performances there.

Terry Callier – What Color is Love. – Terry Collier's voice has a gentle sincerity that never fails to tug at the heartstrings. The late Chicago-born jazz soul, folk singer, songwriter, guitarist got his start in the 1960s and released albums until the early 80s when he stopped performing as he had gotten custody of his daughter. He studied computer programming, worked at the University of Chicago where he also studied sociology, and he was rediscovered by the jazz DJs here in the UK like Eddie Pillar and Giles Peterson, and they really helped reinvigorate his musical career.

Jon Lucien – Rashida. – John Lucien, was described by Herbie Hancock as the man with the golden throat. The balladeer was born in the British Virgin Islands and moved to New York City in the 1960s, and was discovered by a record exec while singing at a party. He signed a deal with RCA in 1970, and Rashida is the title track from his sophomore LP. Lucien's trademark was both his velvety voice and his emotionally charged, very personal lyrics.

Mos Def – Umi Says. – As a big fan of the Silquerian movement, Colleen was happy that Ana requested Most Deaf's Umi says. From his incredible debut solo album, Black on Both Sides, a follow-up to his collaborative album with Talib Kweli as the duo Blackstar, born Dante Smith, a socially conscious rapper and actor who converted to Islam in his teens, officially changed his name to Yassine Bey in 2011, saying, "I began to fear that Most Deaf was being treated as a product, not a person. So I've been going by Yassine since 99".

Figure of Speech? – I am a Man. – By the Manchester-raised, Bristol-based artist figure of speech, and thanks to Still Andy, really, who requested this song and encouraged people to check out, he encourages people to check out the entire album. It's not only is it filled with thought-provoking lyrics, but also the sales from the vinyl of, excuse me, from the vinyl of his 2021 LP are donated to the Bristol Black Carers Charity. Figureofspeech wrote on his bandcamp: "there are over 500,000 carers who are people of color in the UK, yet many do not even identify with the term carer. It's natural and expected within those communities for families or friends to look after loved ones. Active outreach is needed to provide them with the assistance they undoubtedly need."

Roberta Flack & Donny Hathaway – Be Real Black for Me. – Before Hathaway's tragic passing, he recorded two albums with his musical soulmate and fellow Howard University graduate Roberta Flack. She had included Hathaway on compositions on her album's first take in Chapter Two. In fact, Hathaway also arranged, played piano, and sang backing vocals for her. So the two of them collaborating was a natural next step. From their first LP as a duo released in 1971, this is Be Real Black for Me. – Reflecting on the album's recording, Flack shared in an interview: “The love and connection that Donny and I had, musically—it was like flying. Donny was a musical genius. I don’t use that term lightly. The recording of this album was a time for us that was joyful, creative, and effortless.”

Jill Scott – Cross My Mind. – 2005 Grammy Award-winning single Cross My Mind by Philadelphia singer-songwriter, poet, and actor Jill Scott from her second album, Beautiful Human, Words and Sound, Volume 2. She's released five studio albums, but maybe even more well-known as an actress now as her filmography is more extensive, with her last appearance in 2023's Outlaw Johnny Black.

Willie Wright – Nantucket Island. – Born of Harlem doo-wop roots and refined by Boston's counterculture scene, Willie Wright arrived in Nantucket in 1976, well worn by two decades of street corner and club performing and eager to make money the easy way on private yachts. He was trapped on Nantucket Island over the winter of 1976 and a set of original songs poured into Willie Wright's cover-heavy set. Tales of Wright's native roots, straight life, his abandoned four children and the many women he had known flooded his loose-leaf notebook before finally being set to tape in New York the following spring. The result was a 1977 LP, Telling the Truth, which was reissued just over a decade ago.

Michael Kiwanuka – Floating Parade. – Michael Kiwanuka finally has a new album on the horizon, a follow-up to his 2019, Kiwanuka. We just heard Floating Parade, the first single from the London singer-songwriter guitarist and producer's new album, Small Changes, which will be released on the 15th of November.

Cissy Houston – I'll Be There. – Gospel singer Sissy Houston lost her musical career singing with her family as a drink-art singer and then helmed her niece's group, the Gospel Heirs, before founding the Sweet Inspirations in 1967. They recorded four albums before Houston left in 1970 to pursue her own solo career. She was also an in-demand session musician for artists like Aretha Franklin, Chaka Khan, Paul Simon, Bette Midler, Linda Ronstadt, and J.T. Cale. And of course, she was Whitney Houston's mother. Sadly, she passed to the next realm earlier this month, but she also enjoyed hits of her own, including this one, her 1970 cover of Bobby Darin's I'll be there, which landed Houston a spot on the R&B Top 20.

Dorothy Ashby – Soul Vibrations. – Cut from one of the most played jazz albums in our house, as requested by Bradley Circles. We heard Soul Vibrations from the album Afro Harping by Detroit's late harpist, pianist, and composer Dorothy Ashby. The 1968 release has been a very sought-after record, especially by producers, and has just recently seen a vinyl reissue.

Sounds of Blackness – I Believe. – From the album Africa to America, The Journey of the Drum, we heard, I believe, by Sounds of Blackness, a band that boasted both Ann Nesby and Lips Inc.'s Cynthia Johnson as former members. The Minnesota-based group was actually founded in 1969, and they continue to perform. Their 1994 album was produced by Jimmy Jam and Terry Lewis, and the record won the Best Gospel Album at the Soul Train Music Awards

Roy Ayers Ubiquity – We Live in Brooklyn Baby. – From the vibraphonist, keyboardist, and singer's group's album, He's Coming, released in 1972. And that was also sampled by Mos Def on the song Brooklyn.

Banda Black Rio – Mr Funky Samba. – The Brazilian band Banda Black Rio, who formed in 1976, as an instrumental soul funk group often kind of put together with Earth, Wind and Fire and Early Cool and the Gang. They are still going strong today as the present band are the sons of the original members.

Gil Scott-Heron & Brian Jackson – It's Your World. – Gil Scott Heron and Brian Jackson's It's Your World is the title track and opening cut on It's your world, one of the best live albums of all time. Actually, it's a mix of both studio and live performances. Brian Jackson is still performing and recording and he joined Colleen for a Classic Album Sunday session to explore his album Bridges with Scott Heron.

Femi Kuti – Blackman Know Yourself (Roots Remix). – The original version of this song came out nearly a quarter of a century ago and Fela Kuti's eldest son's Femi's 1998 LP Shoky Shoky. Femi has been prolific since the late 1980s. And last year, he released a collaborative album with Detroit techno producer Robert Hood called Variations.

Georgia Anne Muldrow – Roses. – Los Angeles soul hip hop singer and producer Georgia Ann Muldrow, daughter of jazz guitarist Rommel Muldrow and singer Jackie Byers. And she's worked with Mostef and Madlib and has released loads of albums, both solo and as collaborations with Dudley Perkins, and also under another moniker Jyoti.

Musclecars ft Aden – Hello? (Maurice Fulton Remix). – Colleen been championing this next NYC duo since their first remix landed on her radar during the pandemic. Since then, muscle cars have made waves as the new sound of New York, both with their debut album Sugar Honey Ice Tea released this year on BBE, and also with their DJ sets.

Madagascar ft Marva King – Rainbow. – Rainbow was from Madagascar's 1981 LP Spirit of the Street. It was a soul group's only album. They were essentially a group of session musicians including the late keyboardist arranger songwriter John Barnes who got his start at Motown and singer Marva King who later joined Prince's new power generation.

Soul II Soul – Happiness' (Dub). – By Soul to Soul from the London Sound System's debut groundbreaking album Club Classics Volume One released in 1989 which was one of the biggest albums by a black British artist along with Sade in the 1980s, and a seminal record that really changed the musical landscape.

Herbie Hancock – Autodrive. – One of the greatest keyboard players and a true tech head, somebody who is always forging forward, Herbie Hancock. This is from his 29th album released over 40 years ago. Future Shock came out in 1983. It was co-produced by material bassist Bill Laswell and featured Miles Davis guitarist Pete Cosey and drummer Sly Dunbar.

Eartha Kitt – Where is My Man. – The 1983 single by American singer and actress who played Catwoman in the 1960s Batman TV series Eartha Kitt, which became her biggest selling single in 30 years. And that was from her album very straightforwardly titled I Love Men. The track became a cult club anthem and it was Kitt's first recording released in the United States after she was ostracized and fled into self-imposed exile in Paris following her outspoken objection to the Vietnam War at a White House function in 1968.

Mike Nasty – Mother Earth. – The Brooklyn based DJ and producer Mike Nasty, from his album Black Planet released this past spring, hails the pulsating fusion of electronic dance music skillfully interwoven with the rich tapestry of sounds from the diverse corners of the African diaspora.

Angela Bofill – Rhythm of My Mind. – From Angela Bofill's third LP 1981's Something About You. The late singer was born to Cuban and Puerto Rican parents in the Bronx. She grew up studying and performing classical music until she was discovered by Larry Rosen and Dave Grusin of GRP, who helped launch her solo career.

Whitney Houston – Love Will Save the Day. – Jelly Bean and David Morales remix of one of Whitney Houston's most beloved songs. – Only 250 copies of this promo 12" single were ever pressed, according to David Morales himself, in an interview with Music Week UK magazine. His quote from the December 3, 1994 issue, regarding his experience remixing the track: “My second commissioned remix. It was hard to get, and I made it a success, but the record company rejected it. I think they rejected it because it was too black and too dark. The only person I gave it to in New York was Frankie Knuckles – we played it and everybody was asking for it. Someone else remixed it in the end – a poppy remix – but DJ’s were asking for the Morales remix. The pop mix had no balls. In the end they had to press 250 copies for us DJ’s. About 2 years ago DMC put it out on a compilation – it had a huge buzz. It hurt they rejected it – I was devastated and it was essential to get the record out: for my resume, for more work.”