Wunmi

“It all started back in 1985 to 1986 when I went to see Roy Ayers perform at Hammersmith in London part of an event called NYC Jazz Explosion (Lonny Linston Smith, Jean Carr etc)”, says Wunmi. “I had become a regular in the underground dance scene in London, the music then was called rare groove! And Roy Ayers music was the king! I like most hungry club dancers, I followed through word of mouth DJs and sound systems (i.e. Shaking Finger Pop, Trevor Man Hatter as he was known then and Soul2Soul to name a few) to warehouse parties. Music and dance was the soul purpose of the gathering and boy did we dance! Back to my Roy Ayers story, I got to meet with him before the show started back stage, he found out I was a dancer and to my surprise, a few songs into his set he announced me as his special guest!”

“Soon, after this Jazzie B of Soul II Soul asked me to join his collective as their dancer. I was not surprised, I had this strong feeling I would be on stage dancing again though I thought and hoped it would be for Prince; I was a huge fan of his. By 1995/86 Soul II Soul had become my nick name, so to speak. As the group blew up my face was everywhere as I had also been chosen as the image for the cover of both album and single. In the mist of this I then was picked up to become the face of the new legal Kiss FM; soon after they won their license after many years of being a pirate radio! This was the funniest thing ever; all where I looked my face was plastered”, explains Wunmi. Her love for the arts, and her many talents, would soon come to bloom.

“During all of this I was still going to College at London College of Fashion studying Fashion and Design, whilst at night I went to clubs to dance, dance, dance. As my profile grew record labels, and TV to dance on music videos, approached me. I also started touring around the world as a soloist performing at festivals with one DJ and one percussionist. I started incorporating vocals into my set as the program length grew and I needed to make costume changes. This was the first time I actually vocalized in front of an audience. Various record labels that were interested in me signing once again approached me. My first reaction was that no I don’t sing! To be honest I did not see me when I looked at them I saw dollar signs, which only made me feel uncomfortable because they did not really know who I was. In 1990 I accepted an offer to come to NYC to choreograph and style ‘PM Dawn’ a Gee Street recording duo. During this period I finally allowed myself to go into studio. I recorded a demo for Island records, but nothing came of it”, during this interview, I realized its better off if I let Wunmi speak for herself, as she says quite a lot about her career.

“I was crushed but just like a fairy Godfather, Roy Ayers called me to come work with him on his up coming album on BMG. This was 1995 album Naste. I got to write and sing two songs with him and then tour the whole of USA promoting the album. This experience finally gave me the confidence to follow my heart”", she admits. “I initially had struggled with the realization that I did not have a sound that was mainstream and to be honest labels were not looking to sign an act that did not fit formats. There was no denying my heavily Afro twine. My time with Roy helped me to accept that there was more to music than getting a record deal! During my time with Roy I started hanging out at a spot in the East village; where musicians would come and jam. It was a wicked brew of funk and Afro. One day I finally had the courage to get up and sing lead. They were playing king of Afro beat Felas ‘Lady’. I chose to sing ‘Upside Down’ as I knew the lyrics inside out, upside down :O) and you can say the rest is history! Soon, I was getting gigs to play at small venues around town. I asked the same musicians if they would back me and they were all willing. Some of these cats are now some of the most sorted after musicians in NYC such as Didi Gutman of Brazilian Girls, Etienne Stadwijk aka ATN of Brooklyn Funk Essentials and Cameronian Richard Bona; I found myself playing out almost every week”

And it wasn’t slowing down, as Wunmi confesses, “I became a regular at Neil’s, a popular club and live venue on West 14th Street. It was at one of these gigs that DJ Joe Claussell of Body and Soul saw me performing. It turned out when Masters At Work (Latin production duo i.e. Nuyorican Soul) Louie Vega and Kenny Dope decided they needed a vocalist for their tribute to Fela Kuti, Joe told them about me. I went in and recorded what would become one of the major underground Afro House tune, it was a combo of Fela’s Expensive Shit and Upside Down. They call it MAW Expensive, till date it is still on DJs playing lists. We followed this with two more singles all underground smash hits that I co-wrote (Ekabo and Time is Now). I got to perform at MAW huge Winter Music party in the following year and this put a seal on my career as Afro House Dance music singer. In directly I found a market that I could be me with no apologies, the success of my singles with MAW, lead to more production with other major producers in the Dance music world. Such as Osunlade with whom I co-wrote Rader Du on his first album on Soul Jazz Records. This too became a smash hit underground especially in Jo Burg, SA. I then recorded with a Sona Kolletive artist RAS and toured extensively around Europe as lead vocalist with his band. Then came a request from West London’s crew Bugz In the Attic. They asked me to feature on their re-work version of ‘Zombie’ for ‘Red Hot and Riot’ tribute to Fela Anikulapo Kuti”

“I continued to meet and collaborate with the creame of dance music producers yet always there was the question when would I release an album? As a true believer that nothing happens before its time. I have been patient and now I am happy to announce that my long awaited solo album is due for an UK/Europe release Jan/Feb 07. It’s called ‘A.L.A’; by the way whilst I was nurturing my musical career I continued designing. I have be blessed with collaborations with one of Americas most sort after choreographer Ronald K Brown and his company ‘Evidence’. Through my collaboration with him I have gotten to design costumes for Alvin Ailey American Dance Theater, Dayton Contemporary Dance Company, Moving Spirit Dance Theater to name a few. I received a BESSIE Award for my costume design in 2001. This is the Performance Dance World award equivalent to the Grammy! I guess you can say it runs in the family. Back in Lagos, Nigeria in the late 50s/60s my fathers Uncle Victor Olaiya were one of the most popular ‘High Life’ musicians in Nigeria/West Africa. He is famous! Back then he opened his own venue ‘Stadium Hotel’ where he can still be seen playing every weekend. With the revival of ‘High Life’ music he is building new fans. I found out that Fela actually played in my Uncles second band”

And on advice about people trying to make it in the music industry, “Let the dying dog die. As an artist fully working from the left field so to speak. I have the fortune to meet that it saddens me the irrelevance of the music that the industry continues to push”

“I have trusted the Universe to guide me thus far I continue to be open to all possibilities. I do have a wicked project for 2007 with BBC World Radio Producer James Finlayson to travel to Brazil, Mumbai and Jo-Burg with a new demo song of mind to meet and collaborate with a local DJ/Producer in each City. The series on how I go about working with this producer will be edited and presented on Radio. Now I am really excited first because I have never been to either Brazil or India. And it is also a great opportunity for me to work with new producers and to check the music scene and see how it works. Can’t wait”

“I have a knack for coming up with catchy hooks. Caron Wheeler formerly of Soul II Soul said I have a gift for one-liners! I love to tell a good story that makes you think, laugh, dance and maybe shed a tear whilst also thinking ‘whoa lovely story’. As I always have so much to say putting thing in a way that folks can see it, and feel it has become a challenge for me. Fela and Roy Ayers was king of this”, says Wunmi.

“Whether you like or you no like folks will label you”, regarding the music industry.

“I do wish I could just be Wunmi, and her funny ass self, HA! OK really, no matter how much I say it folks still label me as Afro Beat Queen or Diva. Maybe I should be glad folks see me as an icon of Afro Beat. Yet, at the same time I see this as limitation musically. Folks expect you to make them dance if you’re recognized as a Dance artist and as an Afro Fusion artist; your music is not limited to the intellectual baggage of World music! Sometimes the labeling thing is more of a hindrance than a blessing! Enough said I think!”

Soulisms 2008