Produced by e.g. bailey + Ben Durrant
Recorded live at Tru Ruts’ Urban Revival Series, Trocaderos Nightclub, MN
Music by Andy Shaffer
Written by e.g. bailey
(E. Bailey, A. Shaffer)
blue black and beautiful
the sun. god’s breath
whispering through song
through wombs, pregnant
‘He makes language live.’ – Amiri Baraka
Tru Ruts/Speakeasy Records presents a free download of spoken word artist E.G. BAILEY’s ‘Blues People’, from his upcoming album, AMERICAN AFRIKAN. The free download is available at these links:
‘Blues People’, a call to peoples across the diaspora, looks towards hope for those still struggling in this new world. Bailey utilizes imagery in a skillful and refreshing way in speaking about the multiplicity of the Black experience in America. Marrying it against a jazz-inspired musical backdrop couldn’t have been a smarter choice. It allows the poetry to have a grandeur and resonance. Recorded live in Minneapolis’ nationally recognized spoken word scene, and performed alongside saxophonist Andy Shaffer, of ‘New Orleans Swamp Pop’ outfit, Skinny Longfeet, there is a raw guttural tonality informing the relationship between the music and words. Evoking a call and response, reminiscent of early gospel and blues, the piece allows each to maintain it’s own identity while carefully courting the space between one another.
Bailey’s astute relationship with the rhythm of language, coupled with his academic background as both a student and teacher of poetry, is prevalent in his musical and metaphorical choices. As Bailey has stated, the poem, winner of the Hughes Knight Diop Poetry Award from the Gwendolyn Brooks Writers Conference, strives to tell the history of Africans in America through the craft of writing. It provokes you to connect with the pain of that struggle. A well crafted piece of spoken word, it continues to show why e.g. bailey can be found at the forefront of the art form.
Bailey’s spoken word opus, American Afrikan, will be released in early 2010. Recent spotlights on e.g. bailey:
one of my Spoken Word pieces by way of an introduction. it’s one of my favorite pieces and one of the first that started to capture the essence of what i define as spoken word. the definition of spoken word i developed from studying the art form over the years is this:
“Spoken Word is an art form which accentuates the rhythmic elements inherent in a poem––thereby expanding the texture, the context, and possibly the meaning of the work. You can accentuate these rhythms either through your verbal delivery or you can add music, or both. The work can be created by the individual poet or with a group of poets, and musicians, either improvisationally or through conscious arrangement.”
that’s the longer definition. the shorter one is basically,
“Spoken Word is accentuating the rhythmic elements inherent within a poem, whether through instrumentation or your own vocal delivery.”
the piece is a tribute to Black Arts Movement writers and their freedom from syntax and standard rules of poetry, fused with the history of Africans in America. the freedom they exhibited on the page, i wanted to figure out how to express that in the oralization, the performance, of the piece.
but at the time i didn’t know that what i was doing was called spoken word. i considered it jazz poetry. this is why on page it’s structured like a jazz poem, which i had been writing for a couple years. but in performance, it’s developed into a spoken word piece, and my development of it paralleled and guided my development as a spoken word artist. once i completed this piece, which i edited over the course of a couple years, i felt like i understood the essence of spoken word and what it aims for. it went on to win the Hughes Diop Poetry Award at the Gwendolyn Brooks Writers Conference, along with another poem, ‘letter to lisa’.
Note: Below is a live performance of ‘without punctuation’. It is fused with another piece, ‘diaspora’, and is now called, ‘Blues People’, in reference to the classic book on African American music by Amiri Baraka.