The Last Poets
 

The Last Poets

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"When the moment hatches in time's womb there will be no art talk . . . The only poem you will hear will be the spear-point pivoted in the punctured marrow of the villain . . . Therefore we are the last Poets of the world."

- Little Willie Kgostile

Before RAP knew its name, there was a group of ambitious young men who reflected the harsh spirit of their times and whose work remains prophetic and inspirational today. The Last Poets started out in the late sixties, speaking out as few other musical groups had, or have since, about racism, poverty and other African American and societal concerns. RAPPERS of the civil rights era, The Last Poets' charge has been taken up by many contemporary artists who have felt the legendary group's influence.

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Abiodun Oyewole, David Nelson and Gylan Kain were born as The Last Poets on May 19, 1968 (the anniversary of Malcolm X's birthday) in Mount Morris Park in Harlem, New York. They evolved from three poets and a drummer to seven young black and Hispanic artists: Umar bin Hassan, Abiodun Oyewole, David Nelson, Gylan Kain, Felipe Luciano, Jalal Nurridin and Suliaman El Hadi. The Last Poets' name derives from the work of South African Poet Little Willie Kgostile, who declared his era to be the last age of poets before the complete takeover of guns.

The group was signed by jazz producer Alan Douglas, who helmed their eye-opening debut LP in 1970. Their classic poems "Niggers are Scared of Revolution," "This is Madness," "When the Revolution Comes," and "Gashman" were released on their two albums, The Last Poets (1970) and This Is Madness (1971). The Last Poets' spoken word albums preceded politically laced R&B projects, such as Marvin Gaye What's Going On, and foreshadowed the work of hard-hitting rap groups like Public Enemy and Dead Prez.

Over the course of The Last Poets' more than thirty-year history, the members of the group have collaborated in various combinations to produce more than a dozen albums and several books. They performed in the inaugural season of HBO's "Def Poetry Jam", were cast in the movie "Poetic Justice" (1993), toured with Lollapalooza (1994) and performed in venues around the world.

Umar bin Hassan and Abiodun Oyewole continue to carry The Last Poets' Torch.


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Here is a link toThe Last Poets web site: The Last Poets


Umar Bin Hassan

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Umar Bin Hassan was born [1948] in Akron, Ohio, into a poor [working class]black family. Already as a youngster he dreamed of escaping his family’s lot and getting more out of life than slaving for the white man at the local rubber mill. So he sold his little sister’s record player to buy himself a bus ticket for New York City, where he joined The Last Poets, a group of black poets spreading a militant political message akin to that of the Black Panthers and Malcom X.

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New York very nearly became Umar Bin Hassan’s death. Of course, there was poetry, the passionate performances of The Last Poets, and there was bebop, the music of Miles Davis and Charlie Parker, whom he revered and who influenced his poems. But the ‘demons’ of drug abuse – as he called them – got him into their power and drove him out into the streets. He wandered from crackhouse to crackhouse, hustling, dealing, shooting up, until his sister finally came to his rescue and took him into her Connecticut home.

He succeeded in kicking his crack habit and in regaining his zest for life. One day his little nephew played a tape recording of a hiphop band named Tribe Called Quest, who had, without his knowledge, set one of his own poems to music….. Such rappers as Ice Cube and Chuck D. of Public Enemy sought inspiration [from him], and Umar now felt he should return to New York and continue his work with The Last Poets, whose message was still a relevant one, and resume his writing and performing with the group.

Umar appeared at the Poetry International Festival 2002 in Rotterdam with a guitarist, to perform jazzy, associative narratives such as ‘The Drums’ and ‘Grace’, evoking dark, infernal journeys through modern-day America, yet also counting his blessings: bebop music, love. With his strongly rhythmic, spectacular presentation, he impressed....many.

Jabik Veenbaas
Translated from Dutch by Ko Kooman


[Umar Bin Hassan took part in the Poetry International Festival Rotterdam 2002. This text was written on that occasion.]


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I tried to clean up and edit this translated bio about Brother Umar, just a little, to give it some justice.

hey Umar Bin Hassan did a piece on Commons new single, the corner..(i'm almost positive its him) It was tiiight!!!!!!. Have you heard it yet?

Sister Rebel Queen, I wasn’t hip to this piece, until you informed me…so I went to Common’s web site and downloaded the video, The Corner. That definitely is Brother Umar Bin Hassan. Thanks for the info.

Peace

Warrior SunShip many thanks for sharing this bio of The Last Poets, if you can post the updated info on the other two Comrades David Nelson and Gylan Kain correct me if Im wrong wasn't Felipe Luciano down with them?
asante sana in advance!!!

Sun Ship just for a more complete and deserving history of this revolutionary group(s) More needs to be said about Suliman al-Hadi and Jalal ud-deen. The Last Poets were basically those two brothers. Abiodun and Umar was outta sight do n whatever they did.

This covered a period of I know at least the middle '70s til Shaykh Sulayman passed on and Jalal* left this country in the late 1980's (maybe early '90's) first England, then Paris and other places. Where Jalal continued to perform and tour Europe. Yes Umar and Abiodun (who I worked as a re-hab counselor at a lower East Side spot together) weren't performing with the then Last Poets. One album I remember is Delights of the Garden; Jalal dubbed many of their releases for me after I asked him that I would sell and send the money to his family still in America or share it with one of his son who was attending Morehouse Medical School here. We useta call'im "Ibn"

Two reasons I post this: 1) many folk, even a few here, constantly dog down Muslims. Recently I've refrained from defending them, because Islam and some of its Muslims do historically have much to be ashamed of. But in this country no group of non-civil rights movements have made social impact that Muslims of Afrikan descent has. None.

And this piece re the Last Poets is another example of deliberate omission. Its no secret that, I'll not call names, one brutha in particular despised Muslims, in spite of how much he knew of Malcolm X. Its so damn silly for Black people to still be hung up in and can not or refuse to distinguish folk per their works!!! Three men in my opinion have impacted the Black man in America more than groups of famous Black men:

Marcus Mosiah Garvey..... Elijah Muhammad .... Malcolm X.

This is not to belittle our earlier thinkers e.g., David Walker, DuBois/Booker T. etc. but the three named above seldom get the recognition or respect due for their impact socially in this country and internationally. Most if not all of our more recent "leaders" stand on their shoulders. Til today I maintain we have no need to go beyond America's borders for ideologies. Malcolm X said it best in my opinion: if we'd not depend on the white man's religion, education, economics, politics etc, we'd come up with our own religions, education systems, economic systems, political forms, etc.

But lets give credit where its due regardless of ideology, for the person who truly works for Black has them at the base of his or her reasons to be....

Thank you and yebehyia as Aluta Continua


Aside: another example, ask folk who know who it was who established the first Republic at Palmeres. Not alone, mind u. For then our folk were more sensible than we of today. They knew one enemy.

*Jalal's motto was: fight or flight. He'd fought; but I think he felt alone and took flight.

Brother Baba Ahmed thanks for your response to this thread. Let me quickly address some of your concerns. I did not purposely print this piece to omit any members of The Last Poets. My approach to this thread, is what I have been doing since I've been posting here, and that is to bring some small recognition or notice to the now hidden and forgotten foundations of the great Black artistic sciences of music and lyrical word.

I'll usually search the forum for any previous post and then try to at least post something, directing the young warriors to our sacred elders and ancestors. I don’t write these bios, and with limited time, I search for the best that I can (usually never really satisfied). But what you posted Brother Ahmed, is the way I want the responses to be! …additional information, corrections and other important points highlighted. I know, in our circle of elders, what one elder doesn’t reveal, another will! Matter of fact, your response and admonitions are better than, anything that could be found on the web!

I highlighted Umar Bin Hassan, because his readings and delivery use to really move me…I also had a short, but very insightful talk with this brother and he said something, which was very timely and inspiring, that helped me to open up a particular area of expression.

Man, in my youth, I can’t forget how I remembered verbatim The Last Poets' revolutionary prose and was reciting them everywhere I went. I wish young brothers today where rappin’ the words to “Niggers Are Scared Of Revolution” rather than what I’m hearing most times on the streets these days. If I remember correctly, it was Delights of the Garden, that had the extraordinary piece, Beyonder. About ten years ago, I helped a friend perform this piece; this extraordinary Brother use to collect the words of wordsmiths like The Last Poets and scat-masters like Eddie Jefferson and King Pleasures in his head; he was a walking Ghetto library of poems and scat lyrics. _lol

Brother Jacuma, Felipe Luciano is also mentioned in the truncated bio I presented. And I do know that David Nelson is living in St. Louis and is part of the African Hebrew Israelite community (led by Ben Ammi in Dimona, Israel). I have heard that he is still very active and have venues frequently, that invite the talents of other members of The Last Poets.

Sun Ship - peace! My response had less to do with you and more re the shoddy and seeming deliberate omission of credit due to those two bruthas in particular. Both were protective and faithful husbands, fathers dedicated to establishing a way of life, new to many in the 'hoods of Amerikkka. Someday stories of our movement, Dar ul Islam will be written b4 long; b4 its true elders will be passed on.

It also may have exploded from a period when our bruthas were get'n killed and familes were get'n harassments from cops. I apologize for careless wording in my response. As u're here longer u'll note that I'm big on morality and ethics. Umar wasn't the first to get caught up in what we call "hiya tu-dunya," the life of this world's "jahiliyyah" simply translated ignorance. I personally don't recall having met him, tho its very possible I did. Which lets me know he was not an active member in what we were do n.

Jalal and Shaykh Sulayman (solomon) were.

Yes Felipo was active; not with us but active in living to overcome and establish our people's positions in this life during those times in Amerikkka. The Barrio (sp?) sistas and bruthas faced similar problems with us. But I'll stop here re my fallen companion, Sulayman and forgotten partna Jalal; don't want to "corrupt" this thread. Its timely and badly needed to be shown to today's loosely called revolutonary "Poets." I'm referring to Jalal and Shaykh Sulayman who knew and manifested that a poet and any other type artist, musician, "comedian/story teller" singers, etc have obligations to be the folk they portray in rhythms, words and actions as "flashlights" for those of us whose sights, minds and hearts need tune-ups.

Jalal ud-Deen and Shaykh Sulayman al-Hadi were/are examples of Afrikan men who are examples of men who are fearless warriors who spoke truth to liars while b n husbands, fathers for OurStories, wives children and companions/bruthas to their partnas from what krakkkas' probably call "untouchables," some who are descendents also of the Tamils.

Thank u for initiating this thread; may our ancestors be pleased.


EDIT: if u're seriously seeking knowledge 'bout a portion of The Last Poets, I have an audio interview of Jalal recorded in late 1980s when he lived here a brief time. It was done by another now local Brutha Jim, we used to call him, at radio station WRFG (radio free georgia)-FM. Brutha Jim now operates an all boys shule (school): AfriCentered. Contact me, maybe I can get u a copy to u.

I hope the young warriors read this...more is comin'..!
 

Brother Baba Ahmed, as I said, I welcomed your response and to strengthen the knowledge, I want to submit this bio about, The Last Poets, I copied from Brother Jalal Mansur Nuriddin’s web site. More info will be coming soon.. Peace.



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THE LAST POETS : FIRST COMING

This is a story of eight young men (7 Poets and one percussionist) who were physically, spiritually and artistically responsible for one of the most powerfull poetic ensembles during the late sixties and early seventies.

David Nelson, Gylan Kain, Charles Davis a.k.a Abiodun, Felipe Luciano, Raymond Hurrey a.k.a. Nilija Obabi, Umar Bin Hassan, Jalaluddin Mansur Nuriddin (Jalal) and Sulieman El-Hadi, are the young men (at that time) who were known as The Last Poets.

This dynamic poetic ensemble was born on May 19,1968, in Mount Morris Park (122nd and Fifth Avenue) Harlem, New York.

David Nelson had invited Charles Davis and Gylan Kain to a celebration of Malcolm X's birthday, which was held in the park.
David and Charles had known each other for awhile. Kain and David had met at a poetry reading at Columbia University, a week before. With that ever happy smile on his face, David shared his ideas about reading poety as a group, instead of as individuals. The idea was great, and almost instantly the idea began to take form. Thoughts of "the Tempations", "The Miracles and the Impressions", were mentioned as examples as to where David was coming from.

The only problem was that the poets couldn't sing that well together. It is also important to mention the Len Chandler, a guitarist and a singer, was present at this first meeting, however he did not join the three poets on stage. It was decided that they would walk on chanting: "Are you ready Nigger? You got to be ready"

This was a chant Charles had heard while watching (on T.V.) a student demonstration at Howard University. Since it was more or less a chant rather than a song, it was easy for the three poets to blend their voices and create an atmosphere that soon inspired the audience to join in.

Malcolm must have been smiling in his grave, to see how jubilantly Black folks were celebrating his birthday. After the chanting died down, David did a poem entitled "Are you ready Black people?" Charles followed with his original poem: "What is your thing brother? "The Conga Drums, played staccato rythms behind the poets, and served as background to the poetry. Kain ended this debut with a poem entitled: "Nigger's are very untogether people" The response from the crowd of afro's gelees, and dashiki's, was a confirmation that the group idea was successful.

David knew that history had been made on this 19th day of May 1968, and he knew that he was helping to shape the style and content of future Black Poetry.



BIRTH OF A NAME:

It was during the time of rehearsals at the New Breed (A Black clothing enterprise) that the name "The Last Poets"was born. All three poets had been trying to think of a name they could all themselves. Kain had come up with the "East Poets", but it was David who came up with the name - the definitive name "The Last Poets." He had read a poem by a South African poet named K. William Kgositile.

This poem, stated clearly our position as a people in a struggle, and made a direct statement as to the future of our struggle, and our (at least what we thought at that time) our eminent victory. Quote, K. William Kgositile: This wind you hear is the birth of memory. When the moment hatches in time's womb, there will be no more art talk. The only poem you'll hear, will be the spear point pivoted in the punctured marrow of the villain, the timeless native son dancing like crazy to the retrieved rhythms of desire fading into memory" David Nelson added,"Therefore, we are The Last Poets of the world." Kain and Charles enthusiastically agreed with David that "The Last Poets" would be a befitting name for the group. (Note: the primary verse quoted from Kgositile poem, to the press at that time was: "This is the last age of poems, and essays, guns and rifles will take the place of poems and essays, therefore we are the last poets of this age." where the concept of the last poets is also mentioned).

The next goal was to find a loft, a place where The Last Poets could have their own work space and a home base of operations.The home base of The Last Poets, was named "The East Wind" Kain had found the loft with the help of another brother, Russell Pitchford (later named Olumide) who became the manager for the group. The East Wind, was located at 3 East 125th St. (between Fifth and Madison) Harlem, New York.

The third floor, the L-shaped loft, was surrounded by illustrious company The Celebrity Soul On Wax Record Shop, Olatunji's African Drum and Dance Center, a jubilant "Holy Roller" church, and numerous bars.

The stage was set for this new energy, this vibrant force of three young Black men to poetically discuss and define this Black experience.



CHICKEN AND POETRY :

The Last Poets, truly became a force to reckon with once they moved into the East Wind. Not only did the Poets use the loft for rehearsals and recitals, but for workshops in creative writing, political science and Ritual Drama (conducted by Barbera Ann Teer) Even though there was a religious air permeating the entire place, it did not seem sacriligious to have parties and sell chicken and potato salad.

This was one of the more lucrative means of paying the rent for the East Wind. Because this was the home of The Last Poets, it was understood that at some point during the evening the music would be turned off and the Poets would take to the stage. This was actually the featured attraction of all the East Wind parties.

Much of the true fame of this exciting group, came as a result of working consistently out of the East Wind. During the heated sixties, it was good to know that one could go to a cultural center (in uptown Harlem) and hear some first rate poetry, jazz, Black folk music.

Sometimes there would be young comedians, like Jimmy Walker (J.J. of the "Good Times" television show) who would try out their revolutionary jokes on the always crowd of brothers and sisters. The first group of the Last Poets, was interrupted by David Nelson's departure.

David was replaced by a young fiery Black Puetro Rican named Felipe Luciano, who added still another dimension to the group. Felip could sing, and he was also very charismatic. This particular group enjoyed traveling more than the previous one. Ohio, Massachusetts and Oklahoma, were a few of the standout places visited.

Felipe, Abiodun (Charles Davis) Kain, Nilija and Olumide (Russell Pitchford) made up the core of the Last Poets during this period.



DIFFERENT APPROACHES :

It is necessary to mention some of the poetry created during the first reign of The Last Poets.

David had written a lot of tender poems. Kain once referred to David as the true poet of the group. Poems like: "Black Woman, I want to create a world for you Black woman, where our children can bathe in gentle streams."

There was sensitivity and strength in David's work. This was characterized by his poem "Today Is a Killer."

A poem immortalized by Nina Simone on her album "Emergency Ward." Abiodun was the student-poet. He was talented but he was learning from David and Kain. Even though he contributed an equal amount of poetry, his real contribution came in his performing.

He was the only true singer in the poets, but as time move on, Abiodun became known as a powerful poet.

A few crowd favorites were "Run Nigger" and "New York, New York, the Big Apple." Kain was the preacher. His poetry and style of delivery could cause people to shudder.

Besides his natural ability to perform he wrote awesome poetry.

His images, metaphors and similes, were weapons Kain used to attack the system. One of Kain's classic lines: "Whiteytakes a small piece of wood and carves a shoe out of it, Nigger's take their big feet screaming like hell all the way in."

Felipe was the politician of the group. His poetry was a direct reflection of his political consciousness. One of Felipe's classic poems was "Rifle Prayer" and cry and I shoot, I cry and I shoot".

In March of 1969, the first reign of the Last Poets came to a close. David had been gone since the fall of 1968, and now Kain was pulling out. Felipe followed Kain, and this left only Abiodun, Nilija and Olumide, the business manager. Abiodun replaced Kain, and Felipe with Umar Bin Hassan and Jalaluddin.



RECORDED VERSE :

It was this group that wrote and recorded the popular album, "The Last Poets" and subsequently four albums thereafter by different combinations of the poets. Some of the poetry from this second reign was: "Nigger's Are Scared of Revolution", "On The Subway", "Wake Up Nigger's", "New York, New York", "When The Revolution Comes" and "Surprises."

The other albums are: "This Is Madness", "Chastisement", "At Last, The Last Poets" and "Jazzoetry" (An Anthology) It is also important to note that a young man Sulieman El-Hadi, took Abiodun's place after he departed in the beginning of the Summer of 1969.

The only album Abiodun appears on, is the first one, "The Last Poets." It is this writer's understanding that a great deal of confusion has existed for many years now, over who are the real Last Poets. Another album, using the same name was put out by Woodie King Jr. Entitled: "The Original Last Poets."The poets involved were Kain, Felipe and David Nelson. This move helped compound the confusion and brought about a lawsuit (since the Last Poets were incorporated).

The fact is, all of the above mentiond poets were members of the popular group called "The Last Poets." The times have not changed for Blacks in America, since the inception of the group back on May 19, 1968. There is an ever present need for a unit such as the Poets to speak out again.

The group doesn't have to be called "The Last Poets, but it should recognise the content of The Poets and the purpose of such an ensemble in powerless times like these.

During the writing of this, Nilija Obabi (Raymond Hurrey) left this Earth plane. He suffered with a massive malignant brain turmor on March 29, 1981. He was the true voice of the group, and his contributions (as the original percussionist) will live forever.

(Written By Abiodun Oyewole for the New York Amsterdam News /October 24, 1981)

Note: The Second, Third, Fourth, Fifth, Sixth and Seventh reign of The Last Poets (1970-1995) was continued by the Grandfather (Jalal) who was elected as the leader of the group by Umar Bin Hassan and Nilija after Abiodun's departure in the fall of 1969.

From that point on, it became a process of elimination between those who dropped out of their own accord, and those who held out, and continued to struggle as a collective, until by 1975, both Umar Bin Hassan and Nilija had left, leaving Jalal and Sulieman, now re-enforced by Abu Mustapha (The Afro-Cuban) percussionist and Jamal (Sulieman's second cousin) on bass, to evolve the group in space and time, but only now it would be done exclusively in rhyme.

Previously, the Grandfather had been the only rhymster in the group, and his unique style,had astonished the other members of the poets, who had majored in prose, and revered the poetry of Amiri Baraka (formerly known as LeRoi Jones) as the acknowledged master of that style. Thus Jalal was considered to be in "a class by his self".

The Grandfather who had been a "Toast Master" prior to becoming a Last Poet, now for the first time, had found in Sulieman, his ideal rhyme partner, which was a clear break from the personality conflicts he had first encountered amoung the Last Poets themselves, which had already been in progress due to internal power struggles for domination.

It seemed to the Grandfather that everybody wanted to be "Last" whereas, the Grandfather just wanted to last, for he already knew that The Last Poets, were already first and foremost.

The two rhymsters, proceeded to record six albums, over a period of twenty-four years, until Sulieman El-Hadi passed away on October 3, 1995. (See the Grandfather's forthcoming book).



PROLOGUE

According to legend, the south african poet little Willie Kgositile, arrived in New York n 1968, where he joined the Harlem based, black writer's workshop previously mentioned in "The origin of The Lasts Poets" segment, and after joining the workshop, which was called the "East Wind" and is located in Harlem, N.Y. the unofficial black capital of America. Little Willie, who had fled from the racist aparteid regime in south africa, had written a poem, and in the poem, he said: "That this was the last age of essays and poems, and that guns and rifles, would take there place, so therefore, we are the last poets of this age. " The poets who were in the workshop all concurred that they were the last poets, in the figurative sense of the words. Little Willie left shortly thereafter, and reportedly went to Zimbabwe, leaving the poets in their workshop, contemplating and working on how to articulate what it meant to be last. Not that was difficult at all, since as a people, historically, the black population in America had always been "last." But in whatever endeavor they were allowed to participate in, the two most well known professions being entertainment and sports, they excelled and became first and foremost in those or any other particular field that they were permitted to engage in. So from the time that the africans were brought to the shores of America to the present, they have had to historically struggle for recognition. Competing against the dominant society, as well as each other, they had to "strive to stay alive".

The Last Poets, became wordsmiths and hammered the feelings of their people, and eventually all oppressed people in the world, into the shape and scope of the struggle between dispair and hope. After many personnel changes, the longest performing and active members of the group, honed the artform into a vehicle of total expression, which is today called rap and hip-hop. But the price that they had to pay for introducing their artform (Spoagraphics) to the world, would cost them their lifetimes, and for some members their lives.

They were the first rap group to be acclaimed by the people and went on to sell a million records by word of mouth, although they were the last to be acknowledged by the recording industry, who sold their records on the down-low, without the benefit of advertising and promotion, and continue to do so, for thirty years on since the group was first formed.

In addition the Last Poets, were originally a collective, that granted itself the right to come and go as they pleased. The two members who opted to stay together for the longest period of time, managed to record six albums, publish one book, and briefly perform in one movie which starred Janet Jackson and Tupac Shukur, which was entitled: "Poetic Justice"

The Last Poets, though, never intended to get into show business, and considered their commercial popularity to be divine providence.

Thus, the two most active members, continued to evolve the artform, individually and collectively, for twenty-four years, until they became literally and figuratively the "Grandfather's of Rap." In the beginning,The Last Poets consisted of Gylain Kain, Abiodun Oyewole, David Nelson, Felipe Luciano, Omar Bin Hassen, Jalal Nuriddin & Sulieman El-Hadi. Due to conflicts in style and content, they performed in various combinations with each other, or not at all, until such time as a suitable cohesive lasting unit could knit together, in complimentation as opposed to competition, and Jalal and Sulieman emerged as rhyme partners for almost a quarter of a century. Together they developed the science of making sense out of non-sense until Sulieman passed away on October 3, 1995.

Because rap and hip-hop is performed today in rhyme, that unit of the Last Poets, are considered to be the pioneers of today's rap, and the "hip in the hop."

Today, Jalal, the sole remaining member of that unit, has evolved the artform to the bard level, and after having recorded his first rap record with Jimi Hendrix in 1969, he continues to develop his own style of spoetry, which he calls "Spoagraphics" as a separate development in his evolution, and doesn't mind being "Last but not least". In as much as his objective as an artist has always been to master his "axe" a piece of advice given to him by Max Roach, in the early days of his career.

He has recorded four solo albums, and one EP. His experiences as a member of the last poets, will be rhymed in future time, in his forthcoming book.



Here is the link to Brother Jalal's web site: Jalal Mansur Nuriddin



The following is from the Subtonix web site, the distributors of his CD Science Friction




http://www.subtonix.org/images/jalal.jpg



Jalal
Science Friction

Jalal Nuriddin is the founding member of the Last Poets, a now legendary collective that formed out of a writers workshop in late 60s Harlem. As with most collectives, members came and went, but the core of the group honed their skills and perfected their art-form till it became what is today known as rap and hip hop.

Though they received little formal recognition from the record industry at the time, they sold over a million records, relying mainly on word of mouth instead of advertising and promotion. However, the group was not without conflict, and they performed in various combinations with each other, or not at all, until a cohesive unit formed who could compliment each other, rather than compete. Out of this, Jalal Nuriddin and Suliman El-Hadi emerged as partners in rhyme, developing their science for almost a quarter of a century until Suliman passed away in 1995.

Yet despite all this, it was Lightnin' Rod that made Jalal the Grandfather of rap. It was under this nom-de-plume that he recorded some of his most famous material- his seminal 1973 album 'The Hustler's Convention', and, earlier, in '68 'Doriella Du Fontaine' with Jimi Hendrix. '...Convention' is a milestone recording, featuring Kool and The Gang, as well as the Ikettes (including in their number Tina Turner, prior to her solo success) and many other hallowed names. It has been sampled, quoted, and spoken of in reverential tones for thirty years, but the saga of Lightnin' Rod is far from over....

Since then, Jalal has constantly developed his style and recorded four solo albums and an EP, settling in his adoptive home of Europe, dividing his time between the UK and France. This is his new album and new material will be out later this year.

Jalal - Science Friction - Featuring Bernard Alexander

1. Maneater
2. The Indian Giver
3. Body Language
4. Science Friction
5. Running Out Of Breath
6. Lovers Fool
7. Four Girls
8. Listen Up Lil' B

Abiodun Oyewole

http://www.pbs.org/thisfarbyfaith/im...yewole_110.jpg


“[Malcolm X] was our pathway to revolutionary understanding. Malcolm went through a series of rites of passage – from Malcolm Little to Detroit Red to Satan to Malcolm X to El-Hajj El-Shabazz. All this because this man never stopped trying to develop and recognize the best in himself. He was self-determined. Malcolm was saying we need to be more. And we heard that. And he said it better than anybody ever said it. He made things clear to us. So all we wanted to do was to be disciples of Malcolm, in a sense, using poetry to illuminate the same values that he planted in our heads.”
--Abiodun Oyewole on the birth of the Last Poets, 2001



Abiodun Oyewole grew up Charles Davis in Queens, NY. Listening to his parents' jazz and gospel records and studying Langston Hughes and other great poets in school helped nurture Oyewole's love of poetry. His mother taught him to "throw [his] voice" by making him recite the Lord's Prayer in their basement so that she could hear him in the kitchen.

When he was 15, Charles Davis and a friend went into a Yoruban Temple in Harlem out of curiosity. The Yoruba priest there performed a ceremony with Charles and gave him the name Abiodun Oyewole. He began reading about the Yoruba gods and the significance of one's ancestors, and felt a deep spiritual connection to the religion: "I could say a prayer to my ancestors every morning so they could help me through my life. [That] made all the sense in the world to me."

The Last Poets were born on May 19, 1968, when David Nelson, Gylan Kain, and Abiodun Oyewole read poetry at a memorial for Malcolm X. Their goal was to be a poetic voice for Malcolm's call for self-determination and black nationalism. Like many black activists of the time, they were tired of Martin Luther King's integrationist agenda. They were much more influenced by the politics of radical members of the SNCC (Student Non-Violent Coordinating Committee), the SDS (Students for a Democratic Society), and the Black Panthers.

Their style of poetry reflected the radicalism of the day: "...with the Poets, we were angry and we had something to say. We addressed the language. We just put it right in front of your face." But Yoruba also had a profound influence on Oyewole's poetry: "It's given me a foundation to elevate my way of thinking and to connect me with the Motherland, as well as to create images that are wholesome and holistic, as opposed to having to repeat the Tarzan madness that has been given to us."

The Last Poets went through many incarnations as members came and left - including Oyewole, who served four years in a North Carolina prison for robbery. They released several albums and wrote the classic poems "Niggers are Scared of Revolution," "This is Madness," and "When the Revolution Comes." They are widely acknowledged as being the fathers of the hip-hop movement.

The Last Poets, consisting of original members Abiodun Oyewole and Umar Bin Hassan, enjoyed a resurgence of popularity in the 1990s. They participated in the 1994 Lollapalooza, released a new album, "Holy Terror," in 1995, and a book, On a Mission: Selected Poetry and a History of the Last Poets, in 1996.

Selected Last Poets Discography

1. The Last Poets, Douglas 1970

2. This Is Madness, Douglas 1971

3. Chastisement, Douglas 1972

4. Hustlers Convention, w/Jalal Nuriddin recording as "Lightnin' Rod," Douglas 1973

5. At Last, Blue Thumb 1974

6. Delights of the Garden, Celluloid 1975

7. Jazzoetry, Celluloid 1975

8. Oh! My People, Celluloid 1985

9. Freedom Express, Celluloid 1991

10. Be Bop Or Be Dead, Umar Bin Hassan w/Abiodun Oyewole, Axiom/Island 1993

11. 25 Years, Abiodun Oyewole w/ Umar Bin Hassan, Rykodisc 1994

12. Holy Terror, Rykodisc 1995

13. Time Has Come, Mouth Almighty/Mercury 1997


This is a bio snippet from a PBS page

Here is a solo release by Brother Gylan Kain...

http://images.amazon.com/images/P/B0...CLZZZZZZZ_.jpg

Blue Guerrilla
Kain

Description

This solo album by Gylan Kain, one of the original Last Poets -- before the group recorded for Douglas Records -- is a study in angry poetics, performance art, and killer presentation. Recorded and issued in the early '70s, The Blue Guerrilla is a freestyle set before such a thing was even a dream. Kain's one pissed-off cat, raging not only against the usual necessary concerns, but also against the stereotypes in his own community. Free jazz-funk grooves on guitars, electric violins, a slew of drums, and ghostly keyboards accompany his gorgeous and disturbing ranting that is far from pointless. From the opening ritual scarification of "I Ain't Black," with it's free jazz approach and over-the-top screaming, to the poignant indictment of "Harlem Preacher," to "Black Satin Amazon" and "Constipated Monkey," Kain is a hipster without a country, a street poet without an audience, an activist without sympathy. And rather than succumb and stylize his


Release Date: August 30, 1994

Gylan Kain was a founding member of the seminal poetry/rap group the Last Poets, often cited as a primary influence on hip-hop and popular culture as a whole. Kain's introduction to performance came in 1964 when he was selected to participate in a theater group for troubled New York youths organized by actor Lou Gossett Jr. Four years later he would join the stage with poets David Nelson and Charles Davis (later known as Abiodun Oyewole) for the inaugural performance of the yet-to-be-named Last Poets. Easily the most fiery and confrontational member of the original group, Kain stayed with the ever-growing poetic and percussion collective until 1969, at which point he left the sometimes fracturous group. Some of his work from this period appeared on the Last Poets' 1970 soundtrack release Right On!, and in 1971 he released a scathing solo album, Blue Guerrilla. He remains active in the arts: writing plays (+Epitaph to a Coagulated Trinity), collaborating with multimedia artist and theorist Z'ev, and performing both solo and with his group in Europe, the Baby Kain Band. ~ Wade Kergan, All Music Guide

His son is suppose to be the actor Khalil Kain, who had roles in Juice, Baadaasssss!, Bones, Tiger Woods
and Ali ...to name a few.

AFRIKAN CLASSIC!

and thanks for re-contact info.

Brother Ahmed, I’m more than pleased that you were able to re-contact Brother Jalil through his web site. Let me know if you receive any response.

Brother, I more than understand your previous sentiments and you’re right about being caught up in “the life of this world's”…I believe we all write, speak and play music in the context of what we experience. That’s why we sometimes call it “the struggle”.

I see that most of The Last Poets had to deal with some personal social issues, which were not on the path of progressive and productive living as an African. Be it through personal misdeeds or being “set up” by enemies, for their outspokenness and revolutionary prose.

I read about one schism between the factions of the group, which I found very disturbing…here is an excerpt about the incident: “In an early 90's Paris where Umar Bin Hassan was preparing for a Last Poet concert, Jalal mysteriously appeared and stabbed Hassan in the throat.” Now I don’t know what prompted this incident and I’m sure there is more to it than this short reference. It would be interesting to know what Brother Jalil reply was to the circumstances or validity of this story.

Sometimes we forget that we are fighting for own survival and renewal and not for somebody else’s.


Here is a link to the more info including the stabbing incident:

more about The Last Poets

yes i'd heard bits and pieces 'bout it..... but I see no need for comments re this except from either or both of'em. I don't recall if I'd met Umar or not; if I were to meet him, I wouldn't probe. If he'd mention it, so be it.

Another thing probably not publically known about Jalal he was/is very proficient in using acupuncture. I know from experience. My hope for now is that all of them get their just due, as a really revolutionary group of Poets and some... and that this present ruling group of rappers study not only their styles but also their impact on their "peers" back in da day.

O my people!
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EDIT:
I did get an acknowledgement of receipt and thanks.... we'll see. Not sure if its mentioned on what happened after Jalal left for London. There for about 90 days, he wrote a coupla new pieces; recorded and had'em pressed and released.... all the while performing around London. 3 months! I remember another musician, a tenor sax man. He split for Germany, he wrote a lil while after say'n he'd gotten a year's contract to perform twice weekly, a grand piano and suite. I've not heard from them for years. Point? Amerikkka does not respect or honor its "serious" and highly learned performers... especially musicians and singers. I mean pay'n them. OurStories show a few; and then it was mainly due to their wives business sharpness. But that's another story...

Aluta continua on all fronts...

Brother Baba Ahmed, I could fill up this forum with war stories about the battle-worn and forgotten master-Griots, master-teachers and geniuses of our music and words.

Young and even old Black folks, look everywhere for God, freedom, culture, metaphysical wisdom and phenomenon. All the while, the healing herbs, that are willing to cure their souls are left unattended to wither and die in their own backyards.

So, let me log out…I gotta' go and listen to some ‘Trane or somethin’ …you know, bathe my brain in some inharmonic medicinal sound…

Peace :cool:

I feel ya... after u've fed us a lil more appetizers, maybe the main course u serve will be book(ed)! I'm struggling thru Sun Ra's Earthly stay, done by an admirer of sorts.... and T. Monk's Straight No Chaser penned by Leslie Gourse.

Peace and blessings...