E.G. Bailey co-curates 13th season of Late Nite Series

Where can you see Twin Cities storyteller Amy Salloway share the stage with Julliard-trained powerhouse playwright/actress Stacey Karen Robinson from the Bronx? Or folksoul singer Gina Breedlove, who has worked with Ani DiFranco, Toshi Reagon, and on Broadway in The Lion King, in the same evening as local dancer/choreographer Julie Warder, authors from the Givens Black Writers Collaborative, and “sound composer” Mankwe Ndosi?

At the Non English Speaking Spoken Here: The Late Nite Series, curators e.g. bailey and Laurie Carlos enter their 13th year bringing some of America’s most dynamic interdisciplinary performers together to explore the cross-currents of contemporary culture through music and sound, text and images, and movement and dance.

Pillsbury House Theatre presents Non English Speaking Spoken Here: The Late Nite Series on Saturdays, October 23, October 30, and November 13.

When you attend a Late Nite performance, you’re part of a family and every good family has a good meal. That’s why we always serve up great food before you digest some amazing art. Be sure to bring your appetite when you join us for Late Nite. Food from local chefs served at no extra charge starting at 8 pm in the lobby where audiences can mingle with artists before the show. The show starts at 9 pm.

Pillsbury House Theatre
3501 Chicago Avenue South
Minneapolis, MN 55407
612-825-0459

Free Food at 8:00pm.
Show at 9:00pm.

$10 Adults
$5 for students/seniors
FREE for anyone under 16.
Tickets at show or online at
pillsburyhousetheatre.org

Spoken-word work gets right to the point

CD review: Spoken-word work
gets right to the point

By John Ziegler, Duluth News Tribune

He can come on like a freight train. Words are his medium. He will make you laugh. He will make you cry. He will make you think.

His name is E.G. Bailey and his brand-new release “American Afrikan” combines spoken word, poetry and music to explore what it is to be an Afrikan in America today. It doesn’t just skim along the surface in that exploration, it heaves from below like a bulldozer churning up slabs of concrete, tree roots and old asphalt in its quest — Bailey leading the narrative charge.

Using language like John Coltrane used the tenor or soprano saxophone, Bailey — together with friends such as Aimee Bryant, Katrah Quey, Sha Cage, Hipgrosis, D.J.Limbs, plus African poets Ibe Kaba and Sankaradjeki; Dubai jazz ensemble Abstract Collision, and Mankwe Mdosi, the singer from Atmosphere — uses bits of pre-recorded sound, field recordings (including Liberian work songs from the Mano Tribe) and jazz. He rails, he whispers, he implores, he exhorts and subtly weaves his spell.

“K Street Blues: The Bailout Plan” sounds like it could have been Sonny Rollins captured on the Williamsburg Bridge in 1952 talking to the skyline with his horn.

“America” is Bailey (with Abstract Collision giving an eerie, angular backdrop) holding a mirror up to our own country with all its actions and how they have morphed over time. “America with your varicose veins and Catholic guilt, I fear you and I love you … America, it’s getting harder to defend you.”

Aimee Bryant’s stirring multi-tracked version of “Motherless Child” is a riveting take on this black spiritual.

“Afrikan is the New American” has an almost Prince-like groove smothered in chicken grease.

Bailey is the real deal. He has created spoken word dynamics in film, theater and recordings during his travels through this country as well as England, South Africa, France and Serbia. He is the founder of the MN Spoken Word Association, Tru Ruts Endeavors and the Spoken Word and Hip Hop Institute at the University of Minnesota. He’s been inducted into the Television Hall of Fame in the New York Modern Museum of Art.

“American Afrikan” is not just a journey but an adventure that, during February’s Black History Month, explores identity, history, culture and what it means to be black in America today.

The CD release of this wonderful piece of art takes place Saturday evening at the Bedlam Theatre in Minneapolis and should not be missed.

E.G. Bailey / “American Afrikan”
Genre: Spoken word/Poetry/Jazz/Hip Hop/Electronica
Label: Tru Ruts/Speakeasy Records
Web site: www.egbailey.com, myspace.com/egbailey
Produced by: E.G. Bailey and Ben Durant

Upcoming show: Saturday at 9:30 p.m., the CD release party at the Bedlam Theatre, Minneapolis. Cost $5. Ages 18 and older. Includes special guests Guante, Sha Cage, Mankwe Ndosi, Ibe Kaba and more.

John Ziegler has worked in the music industry for the past 35 years as a radio host, interviewer, record producer and professional musician.

E.G. Bailey in l’étoile magazine

E.G. Bailey “American Afrikan” CD Release
@ Bedlam Theatre
1501 6th St S.
Minneapolis

10pm / 18+ / $5 advance

This weekend, E.G. Bailey is going to drop a bomb — a “proverbial bomb” that is! On Saturday, the Bedlam Theatre hosts the release show for Bailey’s debut album, titled AMERICAN AFRIKAN, showcasing his creative mix of powerful spoken word, performance art and hip-hop/funk/jazz/electronic music. Additionally, the night will feature the work of many more artists and musicians like Guante, Mankwe Ndosi, Truthmaze, Chantz Erolin, Aimee Bryant, Ibé Kaba, Sankaradjeki, Dameun Strange, Kahll Brewington, DJ Stage One and more.

Originally posted on l’étoile magazine on 18 February 2010.

E.G. Bailey featured in Star Tribune

Bailey comes home
By Chris Riemenschneider
Star Tribune

Spoken-word artist and Tru Ruts label proprietor E.G. Bailey might have what you’re looking for in the form of his first full-length CD, “American Afrikan”.

Looking to celebrate Black History Month to the tune of something besides “We Shall Overcome?” Spoken-word artist and Tru Ruts label proprietor E.G. Bailey might have what you’re looking for in the form of his first full-length CD, “American Afrikan,” a thought-provoking collection that also provokes some cool grooves out of Bailey’s flowing poetry.

Inspired by Bailey’s trips to Africa, the disc laces field recordings and traditional African verses with modern digital beats and live drums. In “Liberia,” for instance, he expounds on a “nation waiting to be reborn” over the rhythmic clanging of hammers from field workers. In the title track, he trades verses with African poets over a steady treadmill-like beat and soulful backup vocals by Atmosphere touring member Mankwe Ndosi. Themes of identity, reclamation and rebirth permeate the album and should make for an equally evocative stage show. The release party is Saturday at the West Bank’s Bedlam Theatre with guests Guante, Sha Cage and more (9:30 p.m., $5).

Originally posted on Star Tribune on 18 February 2010.

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
www.bedlamtheatre.org

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

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.