Funny how the world reveals itself to be so . . . . . small at the end of the day. What I’d be fairly well tempted to call respective histories interconnections as time goes as far as we’re both concerned.
From the very first time I happened to see her in Miami while jammin’ on stage at the traditional MAW party to our latest meeting right after her live performance at the Salamanca festival in Summer 2005. Not to mention her collaborations with Soul II Soul co-head Jazzie B, jazz/funkster maestro Roy Ayers and more recently Raw Artistic Soul’s Phil Kullmann which we’ve both happened to introduce you with on these pages. Hopefully the lady looks like havin’ her first solo album to be released by the beginning of 2K7 and time has endly come to provide you with a bit of explanations as to what to expect from this . . . .
Words: MFSB

Heya dear, quite a while without hearin’ from U. Actually since the time we met right after your live PA at the Salamanca festival during the Summer 2005... You told me back then about your album project which was initially supposed to be released some time by the end of last year. Then nothing... So what happened?

What happened was the usual nightmare of record label’s hurry up and wait business! Due to paper work logistics and I guess because of my label (Documented Records) being a small indie, things have taken a lot longer than I was promised. At first I was very disappointed cause I delivered my finished album on time. Actually got it all done off my own back. Pretty much only to find myself waiting a whole year for album release date! Now I am informed it’s to be released at end of Jan 07! First single off the album comes out this month it’s a double A side. ‘Talk Talk Talk/Message In A Bottle’ (‘Talk Talk Talk’ is an extended remix by Danny Krivit). Kudos is their distributor.

Tell us about you. Who are you, where from, the things that have led you to music, your influences, your background . . . . .

My actual name is Ibiwunmi Omotayo Olufunke Felicity Olaiya. I am known as WUNMI which is half of my first name!!! I was born in South London, Camberwell, raised in Lagos, Nigeria from age 4 to 14 and then returned to South London (Stockwell). I guess you can say the 10 years I spent in Nigeria helped form my love for all things Afrofunky! Live music was played every where so I really got into the traditional music JuJu, Apala etc.
I loved the sound of the talking drum. My older cos’ always played all of Fela Anikulapo Kuti's music and also conscious music straight from Jamaica. All this music got me to really like lyrics that spoke a lot about issues as well as making folks dance. On my return to London I got into the English sound.i.e Spandau Ballet, Soft Cell, Kate Bush, Police, Genesis to name a few. From listening to the pirate stations back then and when I started going to clubs to dance I got heavily into the funky jazz side of music.i.e. Roy Ayers, James Brown, Michael, Prince!
I loved the artist who were/are wicked live performers. I always fantasize about being on stage one day and having folks watch and listen to me! First break came when I was called on stage by Roy Ayers to dance. Then Jazzie B asked me to join Soul II Soul, as their dancer/image and the rest is history.

Most people came to hear about you on the basis of your collaboration with MAW. Tell us about this experience. Is it the one who has put you on the map? Or has this rather been because of you being related to Fela's music?

That is quite a long story dear. I had moved out to NYC to work on my demo. After doing this I began hanging out at Underground Jam Sessions. More often than not they would play a Fela tune. Then one day I got up courage and sang ‘Upside Down’. This is the only tune written by Fela that a woman sang lead. After that day I became a regular. One thing leading to another, I formed a band. In between this, Roy Ayers who I call my Fairy God father invited me to feature on his then new album for BMG to be called Naste. I wrote and sang 2 songs. From this I toured with him on and off and still do. As word spread about me Joe Claussell from Body and Soul (NYC) became a fan and It was he who told Little Louie and Kenny Dope about me. One day out of the blue I received a call from them asking if I would be interested to come work with them on a tribute to Fela.

I at first thought someone was pulling my leg. I knew them as the wicked duo whose album Nuyorican soul was massive all over the world. For sure I thought it was a joke a friend was playing, but my management checked and confirmed it was kosher. Once I got over my nerves I called them. They told me the track they were working on and I was so happy cause it was the one track of Fela that I have already been performing live! On day of session I took my Yoruba family with me. They play with my band even now. Folly Kolade (band leader of Asiko), Kunle Ade (King Sunny Ade son's) and two sisters also from Nigeria. Let’s just say the session was wicked! The rest is history. After recording everyone was really happy. Still I did not expect the massive feedback that came as I thought folks were not ready for full on Afro music. Well I was wrong. The year after it was released I was invited to perform at MAW Miami's party. Oh gosh I pinch myself now and I still think it was a dream. But I know it happened cause folks who were there still tell me about it!

I guess I may say that from this point on I began to build a solid dance underground music following. I will credit the success of this single and the 2 follow up "Ekabo" and "Time Is Now" to massive support and interest that I have received from the underground dance producers/DJ’s. I have since worked with Osunlade (Yoruba Records) on the massive ‘Rader Du’ that I co wrote with him. Then I went on to collaborate with Sonarkolletiv artist RAS. This was another joyous collaboration as I got to work closely with RAS tour extensively as lead vocals and spent a couple of summers in Berlin. Things just kept on moving. For sure my working with MAW brought me to the attention of the dance world and as Afro fusion music became the norm. My style of vocalizing and tone has continued to be in demand. I have since worked with Trüby trio, Morten Varano, Bugz In the Attic (another cover of Fela) but music was so wickedly broken. I then received an email from Raw Artistic Soul. He had heard one of the tunes on my soon to be released album and was interested in working with me on his project. As I was done with my mine I was happy to go away to work on something new. He emailed me the track and when I heard it I liked the fact that it was very funky, though it was also very Afro beat sounding. I had not done an Afro beat sounding tune since I recorded the first MAW tribute to Fela.

Apart from quite rare exceptions, music more particularly the said club music seems to be a men affair, including DJing. How come? How is it to make oneself some space/reputation when being a lady?

James Brown sang "It is a man’s man’s world’’ but it would mean nothing without a woman or a girl! Right on! For me it's more than just being a woman. The music industry as it stands is all mainstream. If you don't fit into a box you are over looked. So from get go I have had to be tough and yet free. I figured that as long as I continue to connect with folks there is always a chance for more blessings. The battle is vast but I chose to be I and let folks figure it out.

How would you see the differences as far as the approach of music is concerned between men women?

For me it’s more the industry needs to package everyone so they can make it easy for their money machine. Women in the mainstream music world have been marginalized from get go. The result is sometimes not very nice or too one-sided focus on women's face and body parts instead of music content. Nonetheless I do feel there are female musicians i.e. Eryka Badu, Björk, Sade etc. who are making a difference by not allowing the industry to define them.

What is supposed to be particular to the women in regards to music?

Like all things manipulated by money machine, focus is on how the machine can continue to make more money rather than on the artistic side. Thus the pushing/promoting and selling of pop. Again after releasing the frustration of what I wish the industry would allow, I have faith that as the Internet continues to break down barriers. The many underground artists with distinctive voice and style would continue to find their supporters. One must dream as with dreams comes reality.

How do you react facing the way the image of the Afro American women is spread as compared to the way they're considered in Africa? Not to mention the way the image of the Black American people tends to be displayed, as notoriously shown on the hip hop scene employing words such as 'Niggaz', 'bitches' in addiction to all these suggestive shootings on the video clips!!!

It’s a jungle out there. I sometimes wonder how I keep from going under. It’s sad the way Black music is being portrayed by the media! The end result appears to be a poor representation of Black music on the whole! Mainstream Black music reflects poorly on Black culture. All said and done, it is up to individuals to do the right thing. I have chosen to create music that reflects me rather than what the industry is pushing!

Correct me if ever I'm wrong but you've mainly given the image of a strong person. Is it because you've felt like this has been a necessity for you in order to be respected?

On my return to London from Lagos I felt lost unsure who I was. The alienation I felt from being sent to Nigeria and then brought back with no explanation added to my feeling of confusion. Indirectly this helped to shape me. I became an extravert.... My style of dressing was to say the least crazy wild colorful and daring. I was called "weirdo" by folk’s back then cause of the way I looked. In the beginning dancing and fashion were my tools of communication. When I decided I was ready to sing, I realized my vocals were not and would never be the norm. No RB or urban title for me. It was hard at first. Been different brings its fair share of on wanted attention. But then I was also loathed to be like others. I needed to be me. Music allowed me to put words to what I was feeling and thinking. Some folks say my look style is hard/strong. Different. I am cool with this. Above all I am happy I have my own identity. And the fact is that folks notice my style.

So back to this experience with the highly talented Phil Kullmann of Raw Artistic Soul who we've introduced our readers with for the release of his first album. Quite strange seing someone hailing from Germany like him havin' such a sensibility as far as African music is concerned, isn't it?

I don’t think it’s that strange. This is just the magic of music. There are no barriers. Well there should not be. Music crosses all boundaries. Although I wrote and sang the lyrics in Yoruba and English, he understood what I was saying and the power of the words and vibe. Music truly transcends differences! So I was not surprised by his ability to deliver such excellent production. I really like his production. His new album is wicked! I believe he is going to continue to gain more and more fans from all over the world.

Can we expect further projects on the heels on this experience? This leadin' us to your awaited first album...

I really enjoyed the collaboration and I know Phil feels the same. Actually he was so keen to work with me after he heard one of the news songs (‘Crossover – Commercialism’ produced by Alix Alvarez)on my forthcoming solo album called A.L.A. which stands for Africans Living Abroad.

Who have you been workin' with productionwise?

A.L.A. is a wicked album that truly reflects my journey through the world of underground dance music. I am so happy with the outcome. I got to work with some of the producers I have collaborated with .i.e Fauna Flash aka Christian Prommer and Roland Appell also of Trüby Trio, Paul Seiji of Bugz In The Attic, Stefan Rogall (Sonarkolletiv), but also with new producers who’ve also happened to work with Osunlade/Yoruba Records label by the likes of Hi-Perspective from Paris + M’sellem, not to mention Alvarez of Sole Channel. It’s an interesting album cause though I recorded with various producers, sound and feel is all WUNMIGIRL!!! I look forward to the release. I feel all my fans and new ones would find something to move them!

I understand that you've gone quite often to UK during the last months... Is it to say that your project is to sound more British?

Not at all. My music sounds like me while being a fusion of both worlds: Africanisim and English sensibility. I am British by birth! Born South London. All my immediate family except for myself live there. I currently work in NYC though I officially still live in London. I go back home every 2-3 months. Whilst I am there I pop over to Europe to collaborate!

It has been said that there's more freedom in UK, this also comin' from the fact that the history (but also the status) of the Black population is quite different from one side to another of the Atlantic... Would you agree?

Yes I would say maybe up to the time Soul II Soul came out there was a difference in the sounds but unfortunately these days Black artist in UK are somewhat forced to try to emulate the US urban sound in order to get attention from the Major Labels. I really loved the Black British sound when it got allowed to come on to the main stream i.e. Soul II soul, D- Influence, Loose Ends, Omar… But I can’t think of any nowadays! It’s now all about selling mass and that means sounding urban which translate to America. Unfortunately this leads to the lack of interest in what is really happening in the underground Black music in UK!

What is it to be expected lyrically speaking from your album?

As always lyrically it’s all in your face stuff. I love writing about things that are around me or happening with tongue in cheek fun dancey… I love the freedom that writing lyrics affords me. It’s a joy to be able to share with folks my hopes, joy and love of life! My album is lyrically entertaining on all fronts political, playful, and conscious whilst also making you dance.

One man
Alex Derrick

One lady
Sade

One film
Gladiator

One book
Celestine Prophecy

One song
Marvin Gaye ‘Save The Children’

One image
Afropunk


One flava
Afrofunky

One city
Please can I pick 2? Saporo and Dakar

One wish
That I procreate…

One word
All for the fun of it

RAW ARTISTIC SOUL featuring WUNMI – Oya O 12’’ (GOGO Music)
WUNMI – Talk Talk Talk 12’’ (Documental)
More info: wunmi.com/myspace.com/wunmigirl
http://www.urbandevelopment.co.uk