E.G. Bailey featured on TC Metromix

‘American Afrikan’ E.G. Bailey CD Release

‘American Afrikan’ is not just a CD release party, but also a musical celebration of Black History that brings together some of the leading African and African American performers in the Twin Cities. Spoken Word innovator E.G. Bailey’s CD is a musical exploration of language and blows out of the water traditional concepts of old school ‘spoken word’ featuring M.anifest, Truthmaze, Members of Junkyard Empire, Sha Cage, Guante, Mankwe Ndosi, J. Otis Powell!, Chantz, See More Perspective, Dameun Strange, Andy Shafer, and more.

When: February 20 : 10 p.m.
Price: $5
Event Phone Number: 612-341-1038
http://www.bedlamtheatre.org

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Tru Ruts/Speakeasy Records presents E.G. Bailey’s AMERICAN AFRIKAN

Tru Ruts/Speakeasy Records presents AMERICAN AFRIKAN
e.g. bailey’s debut mixes poetry, jazz, electronica, hip hop + more.

“He makes language live!” – Amiri Baraka

“There is so much history, culture, and experience packed into American Afrikan that to summarize would be to attempt to summarize all of African American experience.” – Jon Behm (Reviler)

“A powerful testament of bailey’s skill of mobilizing poetry for contemplation, remembrance, and a subtle, but no less insistent, call to action.” –Justin Schell

“No matter how long it takes for bailey to drop ‘da proverbial bomb’, it will have been well worth the wait.” – Dwight Hobbes

With co-signs from Umar Bin Hassan of the Last Poets and the legendary Amiri Baraka, Twin Cities spoken word artist, poet, musician, organizer and educator, e.g. bailey, presents his first full-length album, AMERICAN AFRIKAN, a spoken word concept album that begins in Africa, crosses the Middle Passage, explores America and ends up somewhere that defies easy definition.

Part musical theater piece, part audio chapbook and part performance art experiment, AMERICAN AFRIKAN mixes the beat-influenced poetry of bailey with music that blends hip hop, funk, jazz, electronica and more, creating a sound that is at once progressive and challenging yet smooth and listenable.

You’d be forgiven for thinking that an hour-long spoken word album wouldn’t be much fun to listen to; many aren’t. But as Umar Bin Hassan says in the album’s liner notes, “The sounds on this album are just as important as the words.” Through bailey’s voice, through the Igbo nuns on ‘Oracles of Equiano’, through Aimee Bryant’s rendition of ‘Motherless Child’ and through the album’s diverse sonic palette, AMERICAN AFRIKAN succeeds not just as a piece of literature or poetry, but as a cohesive musical journey.

Producer Katrah Quey, perhaps best known for his work with TC wordsmith M.anifest (who shows up to drop a verse on the ‘American Afrikan’ remix), handles a majority of that music, though Hipgnosis and DJ Limbs shine on a couple of early tracks. The beats compliment the words; sometimes fun and funky, sometimes dark and meditative––but always engaging. The album also features appearances by Twin Cities-based African poets, Ibé Kaba and Sankaradjeki; Mankwe Ndosi, singer for Atmosphere; Dubai jazz ensemble Abstrakt Collision; Midwest emcee Idris Goodwin and others.

Though the music might be what draws people into this album, it’s bailey himself that will keep them there. Crafting a masterful narrative from the first track to the last, he explores identity, history, culture and all the places they intertwine in a way that is always meaningful but never preachy; always heart-felt but never melodramatic. As he says himself: “The project attempts to explore what it means to be an Afrikan today, an Afrikan in America, an American Afrikan. What is this journey historically, metaphorically, poetically? However, you can’t answer that question unless you explore what it means to be American, in post-9/11 America. And because America affects and infects us all, it is also about all of us.”

Deemed a true innovator of the spoken word art form, his charismatic yet rhythmic style dances words with sound in and out of synch with verbal play. One of the most prolific voices and talents in the Twin Cities, Bailey’s work has taken him on travels through the U.S., England, South Africa, France, Serbia and more. He has created spoken word work in film, theater, music and radio. Born in Saclepea, Liberia, and now based in the U.S., he is a founder of several foundational entitles in the local and national community including: MN Spoken Word Association, Tru Ruts Endeavors, the Urban Griots Spoken Word Awards, The Spoken Word and Hip Hop Institute at the University of MN. He has appeared in spoken word commercials including ‘Art Connects’, which premiered during the 2008 B.E.T. Hip Hop Awards, and was featured on the MTV, VH1, MTV Europe, CBS, NBC and other networks, in addition to being inducted into the Television Hall of Fame archived at the Modern Museum of Arts in New York. As he moves effortless between radio, film, theater, and producing, his live performances are always a treat.

Tru Ruts/Speakeasy Records presents: AMERICAN AFRIKAN
The debut album from spoken word artist E.G. BAILEY
CD RELEASE PARTY: SAT FEB 20TH
@ THE BEDLAM THEATRE  (1501 6th St S., Minneapolis, MN 55454)
Hosted by J. Otis Powell!. Featuring Guante, Mankwe Ndosi, Truthmaze, Sha Cage, See More Perspective, Chantz Erolin, Aimee Bryant, Ibé Kaba, Sankaradjeki, Dameun Strange, members of Junkyard Empire (Chris Cox + Bryan Berry), Kahlil Brewington, DJ Stage One + more.
10pm  18+  $5 advance

Midwest Broadcast Presents Flyover Land Vol. 1 (Mixtape)

Flyover Land V1 front cover (600pxl)

Midwest hip-hop blog Midwest Broadcast has released a compilation mixtape, Flyover Land, Vol.1, featuring exclusive and unreleased tracks from some of the most talented emcees and producers in the Midwest. It’s named Flyover Land in reference to the common notion that the Midwest is a region not known for producing proficient hip-hop artists, and can thus be overlooked. This couldn’t be further from the truth, and the mixtape seeks to put rest to that opinion. Some of the gifted artists whose tracks are featuring on Flyover Land, Vol. 1 are Heiruspecs, Muja Messiah, M.anifest, Add-2, D/Will, Big Quarters, Guante + Big Cats! and more. The mixtape features sixteen consecutive tracks of uninterrupted, high-quality hip-hop, and is sure to be an enjoyable listen to everyone who gives it a chance. The purpose of Flyover Land, Vol. 1 is to help promote the considerable pool of talented artists we have in the Midwest, but who do not always get the publicity or attention that their skills merit.

To download the mixtape: http://tinyurl.com/flyoverlandV1download
To view the original post on Midwest Broadcast: http://tinyurl.com/flyoverlandV1

E.G. BAILEY featured in MSHALE MAGAZINE

eg-bailey-on-the-road-b-freshphoto by B Fresh Photography

Liberian-American Spoken-Word Artist is Home at Last
Justin Schell , Contributing Writer

“This is a year of completion for me,” e.g. bailey says in the office of Trú Rúts Endeavors, the multidisciplinary arts organization that he runs with his wife, Shá Cage.

His struggle to fit in America is not unlike that of many African immigrants. He attributes his success as an award-winning multidisciplinary artist and producer to this struggle of finding a home away from home.

bailey, who was born in Saclepea, Liberia, is the son of a white Peace Corps volunteer and a Liberian mother. His father, bailey says, “threw a dart, hit Liberia, and that’s where he got stationed.” His mother gave birth to him near the end of his father’s second term; and his parents lost touch after his father’s return to America.

Even as a child he loved music and theater: two memories stand out in particular from his life in Liberia.

“There was a record store and a movie theater,” he says. “I would spend hours in the record store listening to whatever they were playing.”

The owner of the mud-constructed movie theater, however, wasn’t particularly keen on offering free entertainment to they young movie revelers. “We would either sneak into the movie theater or we would drill holes in the side to watch the movie.” After the owner realized this, he would take blindingly-hot Liberian red peppers, soak them in water, and put the mixture in a spray bottle, and spray into the holes to temporarily prevent onlookers from watching the film without paying. “It would be this constant game of trying to outwit [him], as soon as you saw a shadow coming.”

One day, another Peace Corps volunteer came to his village and, after getting to know him, expressed interest in adopting him. Instead it was his father who ended up adopting the 10-year-old Bailey after she sought out his father through the Peace Corps database.

After landing in Chicago, he was driven to his new home in Crystal Lake, an hour-and-a-half from Chicago. There was a parade the day he arrived, with money thrown from the floats.

“I thought it was a parade for me!” he says with a laugh. “The next day, I wake up, I’m like ‘Ok, when are we going to the parade and when can we get more money?’ That was the start of my life in the US.”

Reality soon set in for bailey as he learned that life in America was not rosy for a new immigrant, “It was a struggle of trying to adapt and trying to fit in. Trying to figure out who I am and not fitting into any place, I always felt like I was running, that I couldn’t stop moving.”

Until he moved to Minneapolis, when he felt,“Ok, I can stop running now.”

bailey’s first connection to Minneapolis came not through the city itself, but through one of its most famous musicians. “I discovered Prince in [Crystal Lake’s] record store. I think it was “Little Red Corvette.” My ears just perked up, trying to find out who this person was, and I proceeded to get everything that he put out.”

After moving to Minneapolis, he started performing solo and with a number of music groups, and worked in the retail division of Prince’s famed Paisley Park complex, gaining crucial experience to navigate the shady mazes of the music industry when he formed Trú Rúts and its record label, Speakeasy Records.

He had a life-changing experience on a trip to the country of his birth after being gone for nearly 20 years. He returned to Liberia in 1999 as part of a four-month trip to Africa, the Middle East and East Asia. The trip, while crucial to his development as an artist as well as a person, was not what he expected.

“I realized that I could go back, but I could never live back home. I’d been away too long to be able to go back home and do what I’m supposed to do.”

An overwhelming and inane sense of homelessness hit him, he says, “going home displaces you. You’re no longer at home in either place. Home is what I had to create.”

Thus homelessness and travel inform all of bailey’s work, which symbolically channels his own experience through the larger histories of the African Diaspora. His album American African, scheduled for release in April, will appropriately feature a host of both American Africans and African Americans, including M.anifest, DJ Stage One, Mankwe Ndosi, IBé, and other international artists, including Germany’s Starsky and Dubai’s Abstract Collision.

“It’s a testament to where African Americans and American Africans are,” he says, encompassing the multitude of African, African American, and American African perspectives. “I want to avoid the idea of a monolithic Africa as much as possible.”

The first single off of American African, “America,” is a wide-ranging vision of the post-9/11 America that many immigrants find themselves in.

“America, I miss you,” bailey intones at its opening. He delivers his words atop a bed of rolling drums and cymbals, electric bass, disorienting electronic sounds, and wailing saxophone. From Katrina to Guantanamo, Hollywood to Baghdad, the poem subtly welds together the long histories of racism and murder that stain America’s past, yet without completely destroying the hope of something better. In the end, the music dies away as bailey softly, powerfully, declares “We’re waiting for your resurrection.”

bailey has an ambitious plan to release three more albums in 2009 that have been at various stages of completion throughout his work with Trú Rúts. Yet completion always breeds the start of something new, whether it be the release of new albums from other artists in the Tfamily such as Quilombolas, TruthMaze, or El Guante. Or the birth of his first child with his wife Shá Cage.

Even though e.g. bailey has settled in one place after a long journey, his creative activity and poetic journeys show no signs of slowing down.

e.g bailey has produced “No Longer at Ease” (play), an adaption from the Chinua Achebe’s novel for the Pangea World Theatre in May 2001; “Village Blues” (film); and “Words Will Heal the Wound”, a spoken word radio series celebrating the diverse poetic traditions in Minnesota.

He received the Sarah Lawrence College International Film Festival (2001) Experimental Film award for Village Blues; the NFCB (National Federation of Community Broadcasters) award for Write On RaDio!; and the Worldstaff Houston International Festival (1999) Experimental Film award for Village Blues.

Visit his website for a full listing of productions, performances and awards: www.myspace.com/egbailey or www.egbailey.com.