Concert Preview: A Conversation with ÌFÉ’s Otura Mun

– By Don Macica –

ÌFÉ, the “Future Afro-Caribeña” project from Puerto Rico led by drummer/producer/singer Otura Mun, last came to Chicago in July of 2017 for an acoustic show at Segundo Ruiz Belvis Cultural Center, an organization that they have longstanding ties to. They had been to Chicago twice before, most recently right after the release of their well-received first album, IIII+IIII, (pronounced “Edgy-Og-Beh”). You can read Agúzate’s review of that album here. The group, which also consists of Beto Torrens, Rafael Maya, Anthony Sierra and Yarimir Cabán, was tacking on a free show as something of a gift to Chicago at the end of a U.S. tour before going their separate ways for a bit.

Little did they know that the short break would turn into a lengthy hiatus after Hurricanes Irma and Maria delivered a near knockout blow to Puerto Rico in September, leaving some members of the band stranded on the mainland and forcing others to depart the island for their own safety.

The band essentially went silent for a few months. Band members stayed busy with their own projects and Mun would occasionally surface in the press with an interview. December found IIII+IIII showing up on virtually everybody’s end of the year “Best of” lists, from NPR Music to outlets covering dance and electronic music to folk music publications like England’s Songlines. By February the band was rehearsing in preparation for a Mexican tour and a double-bill with M.A.K.U. Soundsystem at BRIC, a cultural arts center in Brooklyn. They also found time to stop by the NPR studios in Washington, D.C. to tape a Tiny Desk Concert.

Now ÌFÉ is starting a tour that will eventually take them to the Kennedy Center in Washington and Central Park Summer Stage in New York, but their first stop is in Chicago. They will be back at Segundo Ruiz Belvis Cultural Center this Friday night for their third ÌFÉ Acústico, a casual yet invigorating rumba session that usually ends in an all hands on deck jam that crosses from rumba to bomba and back again. They’ll be in concert at Navy Pier the following afternoon at LatiNxt, a new 2-day festival that explores new ways of connecting traditional Latin music with modern sounds.

I spoke with Otura Mun last week as he was preparing to travel from his home in Santurce, Puerto Rico for Cuba in order to continue the spiritual studies that led Mun, an African American from Indiana born with the name Mark Underwood, to become an Ifá priest or Babalawo in the Yoruba religion in 2015.

DM: First of all, congratulations on the success of your first album. It’s pretty amazing to have a debut gain all that international acclaim. Why do you think that album resonated with so many different people and was greeted so warmly?

OM: Well, I think there are a few things. First of all, we sing in three different languages; English, Spanish and Yoruba. There are three points of intersection language-wise, so we’re not put in one camp. We’re not only seen as a Latin American band. In fact, some of the biggest and most interesting reactions to our Tiny Desk performance came from Nigeria. I also think that I myself don’t fit neatly into the pre-determined cultural nooks and crannies, so personal and musical influences show up in the songwriting and structure that appeal to more than one group. But those are technical things. Bigger than that, I think, is that the record was always meant to be inclusive and easily readable, even if you didn’t understand the language. The intent of the record was to communicate love and expansion.

Here’s an example: I bumped into a guy in a bar the other night. He’s a musician, but in a style that I’m not really into. I don’t really know him, but he pulled me aside to say, “Hey man, I listen to your record all the time… it puts me in a place that I really like to be.” That was very satisfying; it was something that I hoped to achieve. I know that when I was developing my ideas for the band, I got “professional” advice to sort of trim my vision, to target it this way or that. But I needed to be honest to myself. When we made the video for “3 Mujeres (Iború Iboya Ibosheshé)” everybody told me to cut out the lengthy introduction of the band members, but I thought that it was important and in a way it was my homage to Yoruba Andabo. And it did take a few months before outlets started to add it. But I don’t regret it for a moment, because it was important for me to do it the way we did it.

DM: Many of Aguzate’s readers are deeply and personally connected to Puerto Rico, so we all looked on with collective horror at Hurricane Maria and its aftermath. I remember the relief I felt when the band posted on social media that everyone was safe, and then I started seeing individual members posting from different places around the U.S. and world. How did all that affect you as people, as Puerto Ricans and of course as an artistic ensemble based in Santurce?

OM: Well, actually, I wasn’t there when the hurricanes struck. After we completed our summer tour, I went to Europe to work on a project, stopped home for a day in August to produce a song for MIMA (the solo artistic persona of ÌFÉ member Yarimir Cabán) and then went to California. So, just like you, I didn’t hear anything for days, then slowly began to hook up with friends and band members. It was hard to get information. I remember seeing pictures on the internet of my street and it was total devastation. It was hard, but most of what I know about that time I learned from the accounts of others. We all didn’t get back together until February so we could rehearse for the Mexico and Brooklyn dates.

I live in the barrio, right, and there is a degree of lawlessness here that’s greater than before Maria. The electricity might be back on, but not all the street lights work. You can turn a corner and be in total darkness. You have to watch out. That attitude applies to the police, too. It’s like what the black community experiences in the States, but with even more impunity.

On the other hand, people have come together to help each other because there was nobody else, and there seems to be a movement toward more unity. The economic situation and the hurricane laid Puerto Rico’s colonial status bare and I think more people are waking up to that.

It’s always been hard to make it as an independent artist here, or as a folkloric artist. Even salsa suffers from that. If you’re not doing reggaeton, you will have a tough go of it. So in that way, things are the same. On the other hand, the international community is paying much more attention to Puerto Rico since the hurricane, so there are more opportunities for us to tell our stories.

Puerto Rico is where I want to be, despite all the difficulties. These are the people that I’ve been around for 20 years, and I think we are also closer than ever to getting a grip on our situation and making changes for the better.

photo by Charlie Billups

DM: Are you working on new material? I’ve seen hints of a technology upgrade on the band’s Facebook page and wondering what we’ll be hearing at Navy Pier.

OM: We’ve been working a lot to bring our live performance to a higher level. We want our show to be impactful and somewhat challenging, not what you’ve seen before.  We have a new dancer in the group, a woman from Mexico City named Pia Love, who’s traveled to Nigeria, Brazil, Cuba, India, Jamaica… that makes her familiar with my main influences and she brings all that to our collaboration. I’m almost going for a theatrical presentation with our live show.

Musically, there will be a new record, maybe later this year. I’ve spent a lot of time making notes and ideas for new songs. I’ve got 6 notebooks! I already know what the next record is going to be about.  We are testing a new single in front of audiences, so we’ll be opening shows with it. Chicago will be the first place that people will get to experience this new stuff.

ÌFÉ in Chicago

ÌFÉ Acústico | Segundo Ruiz Belvis Cultural Center | Friday June 15 @ 7:30pm | Advance Tickets at segundoruizbelvis.org

LatiNxt presented by Sol | Navy Pier | Saturday June 16 @ 3pm (LatiNxt begins at 2pm) | Information at Facebook

 

 

Interview: Otura Mun brings his future Afro-Caribeña group ÌFÉ to the Chicago World Music Festival

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By Don Macica –

When I last spoke with Otura Mun, founder and director of the Puerto Rico-based future Afro-Caribeña group ÌFÉ, in early May, we discussed the group’s origins as well as Mun’s personal journey from being Mark Underwood, an African-American born just outside of Chicago, to Puerto Rico and finally Cuba, where he became a Babalawo in the Yoruba religion, a transformation that is inextricably intertwined with his learning of traditional Cuban rumba and further evolution of the electronic artistic concept that would become ÌFÉ. You can read that Agúzate interview here.

ÌFÉ is about to embark on their first European tour, but before they do so they are coming to Chicago to make several appearances connected to the Chicago World Music Festival, starting this Thursday at Segundo Ruiz Belvis Cultural Center when Mun and other members of the group talk about their individual musical projects and how they were drawn to the concept of ÌFÉ. The evening will end in a jam session with ÌFÉ and musicians from Chicago’s Afro-Caribbean community.

Otura Mun and I spoke by phone earlier this week, so I asked him what was happening with the group, including when we might get to hear some new music beyond the spectacular one-two punch of 3 Mujeres (Iború Iboya Ibosheshé) and House of Love (Ogbe Yekun), both of which were released earlier this year.

“At this point I have enough material for an album,” says Mun. “We spent a lot of time in our home studio in Santurce, Puerto Rico laying down tracks. That’s how I write songs. We record all the drum patterns and electronic sounds, basically jamming to see what happens. Later on I comb through all of that to look for ideas for songs. I’ll take it apart, write lyrics, record the vocals and put it all back together.

“Sometimes I have a very specific idea about what I want to write about. Other times, the rhythms might suggest certain themes like freedom and what that means in the context of my Puerto Rican existence. The subject matter tends to be more spiritual and philosophical rather than political.”

A new single, UMBO, is coming out soon and there have been brief snippets posted on social media all summer, all of which makes this writer very eager to hear more.

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“It was great to get invited to the World Music Fest for our U.S. debut. Many of the members of ÌFÉ have family and friends in Chicago. I myself was born in Hammond, Indiana, so it will be something like a homecoming to perform here at such an important festival.”

ÌFÉ will officially perform twice at the fest. Friday night finds them at Chop Shop paired with Chilean rocker Nano Stern, and Saturday will feature them alongside the great Ethiopian jazz legend Mulatu Astatke and DJ AfroQbano at Concord Music Hall.

It’s unusual for a band without a deep professional history, or at the very least a commercially available recording, to get booked at the prestigious fest, but Chicago Department of Cultural Affairs and Special Events programmer David Chavez leads a double life as the forward-thinking DJ SoundCulture. He heard ÌFÉ’s music through the global bass community on SoundCloud, where the band gave both of their songs away as free downloads, and he realized their potential to create truly groundbreaking music.

I asked Mun about Thursday’s event at Segundo Ruiz Belvis. “All of the group members have journeys that led them to ÌFÉ. I was a DJ and producer of several groups in Puerto Rico. Other members come from more traditional musical backgrounds, but all of us unite here around Cuban rumba, which I fell in love with back when I first moved to San Juan in 1999. So, we’ll talk about that a bit, play a bit acoustically, maybe listen to a track or two as samples of our work as a demo of how ÌFÉ’s sound relates to tradition. We’ll finish with an open jam session where people from Chicago’s great rumba and bomba scenes can join us. It’ll be a lot of fun.”

ÌFÉ returns to Segundo Ruiz Belvis Saturday morning for a percussion workshop (that’s right, you, too, can get lessons from these terrific musicians) in preparation for a musical ‘Polyrhythmic Procession’ taking place the following Sunday, September 18th at The 606 and the Humboldt Park Boathouse.

While ÌFÉ will not be part of the procession on 9/18 as they continue their North America and Europe tours, local acts like Los Hermanos del Tambor and The Four Star Brass Band will lead the early festivities, culminating in more CWMF international acts, including Herencia de Timbiquí, Rocky Dawuni, and Rajab Suleiman & Kithara.

I finally ask Otura Mun about the European tour. “We’re starting small, just four major cities: Paris, London, Madrid and Barcelona. But they are important cities in a cultural sense, so we’ll build from there.”

Now, if they would just release that album, all will be well in the world.
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All events are free.

Unidos por el Tambor: ÌFÉ Residency in Chicago: Thursday 9/8 at 7:30PM. Segundo Ruiz Belvis Cultural Center, 4048 W. Armitage Ave, Chicago. Info here.

ÌFÉ with Nano Stern: Friday 9/9 at 10PM (9PM doors). Chop Shop, 2033 W. North Ave, Chicago. Info here.

Polyrhythmic Procession Workshop: Saturday 9/10 at 11AM. Segundo Ruiz Belvis Cultural Center. Info here.

ÌFÉ with Mulatu Astatke and DJ AfroQbano: Saturday 9/10 at 10PM (9PM doors). Concord Music Hall, 2047 N. Milwaukee Ave. Info here.

 

 

ÌFÉ: A spiritual fusing of traditional and modern sounds

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By Don Macica –

In late 2015, a YouTube video appeared and immediately started shooting around the internet via Remezcla, LargeUp and other ear-to-the ground sites that track Latin and Caribbean music and culture.  3 Mujeres (Iború Iboya Ibosheshé) by ÌFÉ was both straightforward and a bit mysterious at the same time. I didn’t quite know what to make of it, but I loved it. Luckily, there was a free download from SoundCloud too, so I immediately put it into my iPod rotation.

3 Mujeres is a rumba workout, except it’s not, exactly. Almost all of the sounds come from electronic instruments, played by hand by expert percussionists. The production is ultra-modern, yet the vocals have a very traditional feel, mixing Spanish and Yoruba languages. The video explains things a bit via a lengthy prelude in which we are introduced to each member of the group before the song proper even begins. The whole thing is a live-as-it-happens take recorded at the studio and home of project leader Otura Mun in Santurce, Puerto Rico.

That introductory tease was followed up this spring with another video and SoundCloud track, House of Love (Ogbe Yekun). It’s much less traditional sounding, yet still deeply rooted. With its shifting and seductive rhythmic bed and floating vocals, it is practically an R&B slow jam, something like Sade at her most minimalist. It’s gorgeous, and the accompanying video is mysteriously seductive as well, beautiful black and white imagery that follows Otura Mun through a space that is equal parts spiritual and sensual, blurring the distinctions between them.

As it turns out, before Otura Mun put together ÌFÉ, he was musician, DJ and producer Mark Underwood, sometimes known by his identity as DJ Nature. Before that, though, Underwood was an African American raised in Indiana and living in Texas. His move to Puerto Rico in 1999 was, as they say in what has become an overused term, transformative. In the case of Otura Mun, however, it is completely apropos. It was there he discovered rumba as well as the spirit world at its foundation, the practice of Ifá, the African Yoruba religion in the western hemisphere.

I was heading down to Puerto Rico last week for some cultural exploration (OK, I was on vacation), so I e-mailed Otura / Mark in advance with a few questions. We met at Mareabaja, a small restaurant and bar in Isla Verde, where he was playing traditional rumba sets with friends. Answers have been edited for length and clarity.

My first question was “Should I call you Mark or Otura?”

OM: Otura Mun is better. It’s my name in Ifá.  All Babaláwos (ed. note: a Babaláwo is a priest of the Yoruban Ifá religion. Mun became a Babaláwo in April 2015 in a ceremony in Havana, Cuba.) receive a letter or sign in Ifá from the 256 possible Odu Ifá that defines them and becomes their name moving forward. Mine is Otura Mun.

DM: Did your understanding of the roots of rumba and batá lead to your interest in Yoruba spirituality, or was it the other way around?

OM: I’ve been interested in both since the very first time I saw a rumba in San Juan and heard my first Orisha songs, all on the same night played by the same group, Grupo Carabalí. But I also sensed an implied level of devotion and dedication that both the music and the spiritual practice seemed to require or demand. When I finally reached a place where I felt like I was ready to embrace the music, rumba specifically, I was also at a point where I felt that I wanted to find a way to explore the “invisible world” and my spiritual self.  I chose Ifá and La Regla de Ocha as my way to access that world. So yeah, I guess you could say they happened simultaneously.

DM: I’ve read that you moved to Puerto Rico on a whim, but that doesn’t seem quite complete to me.  Were you seeking anything other than island style fun and an opportunity to work as a DJ? Was there a culture, attitude or scene that attracted you that didn’t exist in the U.S.?

OM: It was definitely a big change culturally for me. I’m African American and I didn’t speak Spanish when I moved in ‘99. Old San Juan put me in the mix with Puerto Ricans, Dominicans, Haitians, Colombians, Argentinians, Venezuelans….  San Juan in the late 90’s was a vibrant place. The island’s music and art scenes were centered in that small beautifully built Spanish colonial city. Music seemed to be a huge part of the cultural expression of everyday people and there seemed to be a sort of unquenchable thirst for it. Learning the language presented a welcome challenge and helped me, I think, to re-envision the world I had been living in from the bottom up. [I was] literally constructing a world vision with these new words and sentiments as the building blocks. I have a Spanish language personality now that doesn’t really read like my English self.  I saw the people in Puerto Rico as culturally different from myself and the folks I knew both in Texas and Indiana and their attitudes and expressions of that culture were attractive.  There seemed to be a conscious sense of Africaness in the music, a strong sense of the importance of family and brotherhood or sisterhood in general, and a love for life, for the moment, youthfulness. Puerto Rico in 1999 called to me in a clear enough way that I picked up and moved from zero, no family, no points of reference and not much of a plan. I saw the move as an opportunity for self-improvement, an opportunity to build a cultural bridge that I could use later, and I think in that sense I’ve been quite successful.

DM: Were there Latin sounds and beats in your DJ sets before you moved to Puerto Rico? Could you differentiate between the Afro-Latin sounds and rhythms of Puerto Rico, Cuba, Colombia, Dominican Republic etc.?

OM: Before moving to PR I wasn’t so in touch with Latin music. I listened to primarily Hip Hop, Dancehall Reggae and Jazz. I studied a semester or two of Brazilian samba and batucada at the University of North Texas and had heard a little bit of salsa and rumba through friends. I really heard, saw and experienced Latin music for the first time on a 2 week trip to San Juan in 1997. There I saw rumba, salsa, bomba, plena, flamenco, charanga live for the first time. I heard merengue, bachata, reggaeton.  When I moved to PR in ‘99 I didn’t know the difference between merengue and salsa.

DM: Why, as you were in Puerto Rico, were you inspired by rumba and batá instead of bomba and plena?

OM: I’m just more into rumba as a genre. I’ve fallen in love with rumba. It consumes me. I respect and appreciate bomba, but I’m much more drawn to the musical conversations I hear between the drums, singers and dancers in rumba personally.  The genres are just so different. I try not to compare them. Yes I heard rumba first in Puerto Rico, and yes I learned to play it in Puerto Rico, but I’m a student of the music and admirer of the Cuban musicians who created and built this beautiful form we rumberos live to play.

DM: Is it accurate to say that ÌFÉ is electro-rumba?

OM: I would never say that what ÌFÉ is doing is rumba. We’re drawing heavily from that established musical dialogue. We’re using the rumba clave, the drummers are playing parts similar to the language of the 3 main drums, but the singing, the song structure, the intent, cadence are all quite different. We’re breaking too many rules to call it rumba since a large part of what makes that genre work so well is that all the players are respecting the basic rules of the conversation. ÌFÉ draws heavily from there, but what we are doing is something different.

DM: There is a fairly established nu-cumbia movement that’s swept Latin America and the Global Bass community in the U.S., especially from a DJ standpoint but also live bands. Were you listening to any of that when you started to consider what to do as an artist/bandleader rather than a producer or DJ?

OM: No I wasn’t. I really just listen to rumba, Orisha music and Jamaican Dancehall. If anything else sneaks in there it’s probably Coltrane or Art Blakey, something very straight bebop. I try not to look outward as much as possible when creating. Lately my inspiration comes from a more visual place or from reading.  I don’t listen to music at the house as a general rule. I wasn’t trying to make something that was going to fall into an established movement or community at all. It was really just about making something that was powerful to me first, with the hopes that some folks could feel the message and sentiments in the music. It’s been sort of cool seeing where ÌFÉ has gotten played and who has really responded to it. There’s definitely a Latin American Bass music community that I’m just now discovering that have supported the songs. They’re doing great things. It’s refreshing to see what else is going on in music right now. And I have discovered artists via shows that have played ÌFÉ’s music that I have quite liked.

DM: The two songs that are out so far are almost entirely constructed of processed percussion and vocals, very minimal, close to a very traditional rumba ensemble.  Is that the foundation from which you’ll be building, or is that the sound itself?

OM: I would feel confined if I were to say that that’s the definitive sound itself but it’s certainly a place I like to be. The minimalism is intentional.  I like the restrictions that are implied there. Set board sounds, clave, percussion as basses, no keyboards, vocal and chorus heavy, one solo acoustic instrument. There are boundaries there, but the beauty is in how you navigate them.

DM: Are the musicians and singers in the 3 Mujeres video the working band? Could we expect to see them live in concert? After all, you go through a lot of trouble to introduce them one by one.

OM: For the most part yes. One of our members, Jhan Lee Aponte, moved to LA a few months back so I convinced Anthony Sierra, a great young rumbero who I had just met in San Francisco to move from the Bay to Puerto Rico to play with the group. He’s an incredible player and we’ve had a lot of fun exploring the island while working on new material for our upcoming EP. So yes, what you see in 3 Mujeres and House of Love is the crew. We may travel a little lighter on chorus singers outside of PR but yes. This is the group. Blessed to be working with such talented folks, all leaders of their own projects who have come together to be part of this group. I’m a lucky man.
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Word has it that Chicago might get to see and hear ÌFÉ live later this year, and Otura Mun assures me that they are recording songs for a debut EP this summer. So there’s a lot to look forward to.

This evening in Isla Verde, however, there’s a final set of rumba to be played. I recognize people from the 3 Mujeres video in both the ensemble and the audience. I’m awestruck by the sheer complexity of the interlocking drums. The Orishas are invoked. Women are dancing at the bar. It’s a sweaty, sexy and, yes spiritual experience. The mojitos are strong and the garlic shrimp arepas are delicious. It’s heaven.

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