Last March, Philadelphia poet Moor Mother performed at the Cleveland Museum of Art as part of a riveting evening of music, poetry and projected visuals that also included Cleveland ensemble Mourning [A] BLKStar. Called “Toward a Different Kind of Horizon,” it was inspired by the words of Sun Ra and by Afro-futurism and incorporated hip hop, jazz, spoken word, gospel, blues and more.
Those who were there will be excited to know that Moor Mother aka Camae Ayewa, has a new album called The Great Bailout, her 9th studio album, officially released on March 8. Contributing to the album are a couple of Clevelanders: Kyle Kidd of Mourning [A] BLKstar (pictured), who describes themselves as a vocalist, artist and “visionary of social transformation,” and Oberlin-based sonic adventurer Aaron Dilloway who has been part of many experimental noise projects.
The focus of The Great Bailout is the impact of British colonialism and the long tail of reparations — paid to slave owners to compensate them for their freed “property.” “Research is a major part of my work, and researching history — particularly African history, philosophy and time — is a major interest,” she says. “Europe and Africa have a very intimate and brutal relationship throughout time. I’m interested in exploring that relationship of colonialism and liberation, in this case in Great Britain.”
Kydd contributes vocals to the track “Liverpool Wins.” The album press release says, “Hear the echo of Sarah Vaughan on ‘Liverpool Wins,’ as Kyle Kidd’s exquisite vocalization soars above and shudders under and circles alongside the story of the making of Britain and indeed Europe based on bodies robbed, caged, devalued.