{"id":2287,"date":"2021-01-12T10:59:17","date_gmt":"2021-01-12T16:59:17","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=2287"},"modified":"2021-01-13T20:51:36","modified_gmt":"2021-01-14T02:51:36","slug":"wimberly-afrofuturism-i","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/wimberly-afrofuturism-i\/","title":{"rendered":"Ancient to the Future: A Conversation with Michael Wimberly on ‘Afrofuturism’ (Part One)"},"content":{"rendered":"\n

Michael Wimberly’s musical career can be seen as focused on minimizing the gaps between different styles and forms of art. A significant amount of his compositions have been to support dance troupes and classes including the Martha Graham School of Dance, Alvin Ailey American Dance Theatre, and Joffrey II Ballet. He’s also provided music for fashion designer Donna Karan’s shows as well as for various films, theater performances, and poets. Even if one is to ignore these aspects of his work, his musical path still shows an immense range. Wimberly has performed with an impressive list of other artists including Nels Cline, Bill Laswell, Dave Douglas, George Clinton and the Parliament Funkedelic, The Boys Choir of Harlem,\u00a0Paul Winter Consort, Vernon Reid, Henry Rollins, Blondie, Dionne Warwick, D’Angelo, Berlin\u2019s Rundfunk Symphony, Vienna\u2019s Tonkuntsler Symphony, the Leipzig Symphony, and many more. He has also been a member of Charles Gayle’s band and part of Steve Coleman’s Five Elements.

These influences, and more, are readily apparent on Wimberly’s first album as a leader in over two decades, Afrofuturism<\/em>\u00a0(Temple Mountain Records, 2021). On the album, he explores the middle ground between funk and West African music while joined by collaborators from around the globe including koraist Foday Musa Suso and vocalists Joss Stone and Gary Pinto. The album has a genre listing of \u201cPop\/R&B\/Afrobeat\/Neo-Soul\/Rock\/Contemporary Jazz.\u201d

Given his background, there is much to discuss with Professor Wimberly, necessitating a two part interview. This entry focuses on the creation of Afrofuturism<\/em> while the next will emphasize the album’s concept, the artist’s influences, and his role as an educator. <\/a>


PostGenre: What was your inspiration for Afrofuturism<\/em>? What is the story behind the album?<\/strong><\/p>\n\n\n\n

Michael Wimberly: Well, I wear several hats and have explored many avenues in music. Some people can focus on just one genre, make that work for them, and become really great at it. But I\u2019ve been following a different path, exploring composing and playing for theater, film, and contemporary dance. <\/p>

Originally, I wanted to be a film composer in California. I felt like I could make it out there. But after my graduate studies at the Manhattan School of Music, I established myself in New York. At the time, I was not mentally prepared to make that jump to the West Coast without any real footing. Instead, I kept expanding my musical experience by playing with dance companies and working with choreographers. <\/p>

I still wanted to make music for film, but I found creating music to support the emotions of a dance piece was almost like scoring a film. I have played for a lot of dance classes, and it was through this process of making  music that I have been able to develop my compositions and rhythms. The inspiration for the music for Afrofuturism<\/em> comes from my love of dance and all of the cultural content that I\u2019ve been exposed to. <\/p><\/blockquote>\n\n\n\n

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PG: There is even a YouTube video of you playing a conch shell<\/strong> <\/p>\n\n\n\n

MW: Right, right? I mean that came about when I joined the Forces of Nature Dance company. The choreographer, Abdel Salaam, asked me to play the conch for a ballet he made honoring the vodou priestess, Marie Laveux. At first I questioned the idea- \u201cWhat? Where am I gonna get that from?\u201d But yeah, I ended up playing conch for that show, and continue to play it to this day. I had reached out early on with the conch to the trombonist Steve Turre who also plays it. I asked Steve how to play it and his response was simply \u201cjust pucker your lips and blow.\u201d [Laughing] I could not believe that was all he told me. I was like \u201cwhat, you’re not gonna impart some like divine musical knowledge on this?\u201d But you know, he was right. <\/p><\/blockquote>\n\n\n\n

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