TWASblog – All Eyes on Culture!

by Lise Watson

Waleed Kush African Jazz Ensemble illuminates the deep African roots of jazz while at the same time, countering the perpetual dystopic images of Africa.  But the most important aspects of this unique ensemble and its recent performance at the Small World Music Centre are the ways the band members connect with the audience and create community through musical storytelling and dialogue.  The intimacy and warmth throughout the evening was palpable, something that has been lost with the shutdowns of the recent Covid-19 pandemic.  We all need to get back out and listen to live local music and support our local artists.

Band leader and mentor, Waleed Abdulhamid, has been an important part of the music scene in Toronto for over 30 years.  Deeply committed to his Nubian roots and Sudanese cultural traditions, Waleed established himself early on in Toronto’s vibrant African music scene of the 1990s with his versatile musicianship and distinctive gravelly voice.  Today he is one of the most widely sought after artists for collaborations across musical genres.  He is the deserving recipient of several awards including the Dora Mavor Moore award, for his musical contributions to the Soulpepper Theatre Company’s 2019 production of The Brothers Size.  He works extensively with and composes for several choirs such as the Orpheus Choir of Toronto and has been teaching in the jazz program at Humber College for over 15 years and begins his 3^rd year at the Faculty of Music at the University of Toronto this fall. Waleed’s deep understanding and knowledge of rhythm is what distinguishes his teaching style, as well as his unique African perspective.

As much as he loves and thrives in various creative environments, the Waleed Kush African Jazz Ensemble is Waleed’s ‘baby’, his labour of love for the past 20 years.   It’s a close-knit group of dedicated professional musicians with backgrounds from Sudan and Ghana to Newfoundland and Ontario, all with a gusto for African jazz.  Their Pilgrimage to the Nubian Pyramids project, including workshops and live performances, culminated in an impressive production at the Small World Music Centre.  The impassioned sounds of trumpeter Rudy Ray, and saxophonist Cory Sitek, quickly set the tone on stage.  Multi-talented keyboardist Sarah Lounsbury’s vocal duets with Waleed were both delicate and commanding, while the sweet beats of drummer Simon Miminis, preserved the rhythm marvellously throughout.   Make no mistake though, Waleed is the heart and soul of the ensemble.  His seductive vocals and storytelling, added to his bass guitar and kalimba licks, were mesmerizing, as always.

A standout performance was the romantic “Malaika”, the love song composed in 1945 by Tanzanian Adam Salim and first recorded by Kenyan Fadhili Williams, but made famous internationally by Miriam Makeba and Harry Belafonte, on An Evening with Belafonte/Makeba.  Covered countless times, the Waleed Kush arrangement is amongst the most original and compelling versions.  Waleed first heard the Miriam and Harry version back in his hometown of Omdurman, Sudan, when he was 10 years old.  “Malaika” is very dear to his heart, and this shows in live performance.

This show was also an opportunity to showcase new material written during Covid-19 pandemic lockdown such as “Insane World”, and Waleed Kush standards such as “Barid Zoly”, all with the trademark Waleed Kush magic.

Audience members emerged from the space remarking that they felt trance-like, as if a spell had been cast upon them.  Indeed, Waleed Kush African Jazz Ensemble is a transformative experience.   Expect to hear and see more of this remarkable ensemble over the coming months.