VASTI Jackson talks all things music, Visiting Rwanda and collaboration with Rwanda’s creatives

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Transcript

00:00 Hi, my name is Vastai Jackson. I'm from Macomb, Mississippi.

00:03 I'm a composer, instrumentalist, producer, arranger, and publisher, also an actor.

00:27 When I'm working in one area for a long period of time, it's very refreshing to step out of

00:32 that into something else. It kind of keeps my palate clean and it doesn't confine me

00:40 into one idiom. I think these things stimulate each other. I think for me, music is everything.

00:49 So every aspect of rhythm, time, temperature, pressure, light, sound, the flavor of food,

00:57 all of it is music to me. So whether I'm in front of the camera, behind the camera,

01:04 whether I'm behind the console, or whether I have a guitar in my hand, I'm on a mic singing,

01:09 or I'm producing another artist, there is a proper place, a proper vibe for all of it.

01:17 And I think it complements.

01:19 All the music that I produce is medicine music. It's service music. It's music to uplift people.

01:32 And I say that because it's not one genre. It's not just hip-hop. It's not just jazz. It's not

01:38 just gospel. It's not just blues. It's not just reggae. So it is a variety of styles, depending

01:46 on what, let's say, an independent or company may hire me to do, or what an artist may want me to do.

01:53 So I'm a servant, first of all. So it is to enhance what is already there,

01:59 regardless of the genre of music.

02:02 I don't really know exactly when I started playing, just like officially. I started,

02:15 let's say, being paid to play the guitar from the time of being 12 years old. So for everyone

02:22 out there who may wonder how old I am, I'm happy to share that with you. I am 61 years old,

02:30 and I'm so thankful to God for letting me experience these things in life to bring me to

02:36 this point. So I would think I've been playing professionally for almost 49 years, 48 years as

02:42 a professional musician. The guitar is my best friend, as far as an instrument. I started off

02:49 playing drums, but the guitar is something that's very comforting to me. You hear that sound?

02:56 Some people might say that's the sound of a blues.

03:01 But that's the sound of joy to me.

03:07 [MUSIC]

03:13 I see a lot of change in technology. Music itself is an expression to communicate,

03:21 and we've had that for thousands of years. So regardless of if it's someone in the jungle

03:32 beating two rocks or a symphony orchestra, it serves the performer to try and

03:40 get across what they want to say to the listener. And oftentimes those things

03:50 are just the elements of life. A storm is coming. It's time to harvest. I'm happy to see you.

04:00 You know what I mean? A war is about to begin. Whether it's the talking drums,

04:06 whether they're field hollers. So the purpose for music I don't think has changed.

04:13 Through technology there has been different instruments created. They're traditional

04:19 instruments. They're modern instruments. At one time we didn't have electricity. So now you have

04:27 instruments that are amplified in a variety of ways. So I think music as it, as unto itself,

04:34 is conceptually the same thing. So when I hear bebop, I don't really see that as an evolution

04:44 to hip-hop. I see it just as an extension of the same thing because every generation has its vibe

04:50 and its own attitude. And anyone that has lived long that's old, they were once young. You see,

04:58 so you have these experiences over your lifetime and you react to them. So music is a reflection

05:05 of culture. And no one, I mean as let's say an entire country, has the exact same culture. But

05:15 they experience a lot of cultural similarities. And you hear that in music when you say, "Oh,

05:22 that sounds like it's from Rwanda. Oh, that sounds like it's from Congo. That sounds like

05:30 it's from Paris. That sounds like it's from London. Or that sounds like the music of Japan."

05:34 But the music as itself serves the same purpose for the performer to communicate something to

05:44 the listener.

05:46 Actually, the talents are not mine. The talents belong to God. So for me, I hope that I'm a good

06:11 steward. I hope that I can enhance the mission of God through the communication between myself

06:20 and other human beings with those talents. It's important that we meet people at their needs.

06:29 I don't ever go into a situation saying, "Hello, hey, look at me. I'm so great and I can do all

06:36 of this and y'all need me." No, I'm a servant. And the music, or this composition, whether it's

06:46 playing the guitar, whether it's anything else, arranging vocals, or whatever the case may be,

06:51 it has to do something positive for people. That's what I'm most comfortable at. So in any case,

07:01 if it's sitting here doing an interview with you, if it's on stage, that's fine. If it's in a studio

07:06 where no one sees my face and no one sees my name, that's fine too. I get as much pleasure and reward

07:13 for being in a room by myself composing or creating music as I do in front of 50,000 people.

07:21 It is a different energy, but for me, the reward is no greater or lesser because in that, my

07:30 performance in any way is really an acknowledgment of gratitude to God.

07:38 Hello, everybody. Well, I made it to Kigali, Rwanda. Listen, all of my COVID tests are negative

07:47 and they are letting me out of quarantine today. Fantastic. Listen, I had a wonderful time in Ghana

07:53 thanks to all of my friends there, the Taste of Africa, Musica, everybody. Listen, we're excited

07:59 about what we began there and the developments and we look forward to the fruition. So let's see what

08:05 Rwanda holds and we will keep you informed. The connection to Africa or Kemet or Akebalan

08:16 or whatever you want to call it is before intellect. It is something that's cellular,

08:26 epigenetic, molecular. And from that place, the things that I encounter, let's say from an

08:36 emotional standpoint, they're not overwhelming to me and they're not surprising.

08:41 It's exactly where I'm supposed to be. The aspect of traveling the globe,

08:52 I have never used music to do that. My travel is a mission. It's a journey that God has placed me on.

09:01 So wherever I am on planet Earth, that's where I'm supposed to be.

09:05 Being that for whatever reason, and I don't need all the answers, that God chose to bring me into

09:13 this existence via this vessel and the ancestors that I am in part lineage of, then Africa is the

09:23 most comfortable place for me to be in the physical flesh on this physical Earth. But just as I said,

09:31 because of molecular, cellular, epigenetic, memory, ancestors, this is how my spirit, my soul

09:40 entered this plane of existence. And that's obvious through the aspect of carbon, melamine,

09:46 the texture of my hair, the hue of my skin, the rhythm of my heartbeat. So this is something that

09:55 I don't question. So the resonance that I receive physically by being in Africa is always the same.

10:05 Actually, there is a certain strength that I feel increases when I'm here in Africa. Now,

10:16 I've had that strength my whole life. Wherever I go, it has sustained me. God has sustained me

10:23 through it. But it's something about being closer to the source. Now in the United States of America,

10:32 the closest place for that source of power is Mississippi. In Brazil, it's Bahia.

10:41 And there are various places throughout the world that I feel different types of energy. So

10:53 with Africa, there are things that I've known thousands of years ago that reveal themselves

11:04 in different ways. And then I become consciously aware. And I'm ever so grateful because it's

11:12 beyond my ability to logically explain why. But yet we can utilize those things for the benefit

11:23 of myself, other human beings, children, elders, at hospitals, at schools, at concerts,

11:32 in recording studios, in interviews such as we're doing now.

11:37 [Music]

11:59 Well, it wasn't so much relative to the entertainment industry.

12:03 It was relative and it is relative to the connection of my ancestors for the benefit of

12:15 strengthening, let's say, bonds between Africans in Ghana and Africans in Mississippi and throughout

12:25 the USA. It was the aspect of seeing what would develop by humbling myself to the culture,

12:35 to the people, seeing exactly what the vibrations were. And in most things with me, that always

12:42 comes through in a musical way. So we were interfacing with many Ghanaians,

12:53 wonderful musicians, wonderful singers, wonderful cooks,

13:00 just all kinds of people in different walks of life. The peddler on the street. Yeah. So

13:10 the culmination of that has been music. So we did eventually do some recordings. I composed

13:18 some material. And of course we used Ghanaian musicians because we're in Ghana, the source

13:26 of that. And of course, when we look at those things from a stylistic purpose, then we say,

13:33 OK, how does high life feel and what are the relevant rhythms and things in high life in Ghana

13:42 that are similar to Mississippi? And those rhythms have been the same for thousands of years,

13:51 regardless of whether we're speaking, you know, I mean, tree, whether we speak in English.

13:58 So that's kind of what was going on there. So we're very excited about our associations

14:06 there with the brand, the company, the Taste of Africa. Well, one people beyond greatness.

14:14 That's what we are, the Taste of Africa. Well, I think they complement each other.

14:17 And I think, you know, in the future, we'll see more of what those collaborations bring.

14:24 And also right now, I am part and an output of the collaboration between the Taste of Africa

14:35 and Africa in Colors. Their dialogue, the similarities in what they are building

14:43 is what brought me to Ronda. I'm here at Kivuyu Lake in my very white voice because it's early

14:53 in the morning. It's absolutely beautiful here. It's about three hours outside of Kigali. And

15:00 so I'm up getting a bit of nature. I'm going to take a walk, breathe in this beautiful air.

15:07 It's kind of up in the hills, actually. And this is absolutely, absolutely beautiful.

15:14 So this is part of the Colors. I'm finding it really, really nice. I'm learning a lot. I'm

15:22 discovering a lot. I'm having a lot of wonderful encounters. There are lots of similarities in

15:27 Kigali or Ronda as it is in Mississippi. The thing that I found really interesting is

15:40 that there appears to be a great deal of discipline in Kigali because I haven't been all over Ronda.

15:51 And Ghana is very frenetic and there's lots of activity and lots of energy and colors.

16:00 And they're really, really free in a different way. And so and time is a little more flexible

16:09 in Ghana. Yeah, they're late all the time. Beautifully late, by the way. So and in Kigali

16:20 or Ronda, it appears that people are a little better with time management, which is OK. I mean,

16:29 I think I think there's there. These things can complement each other. I mean, there's a time to

16:33 be tight. There's a time to be loose. Yeah. So I'm finding discovering, let's say, the similarities,

16:40 the parallels and things that are closer and things that are a little farther apart.

16:45 And so I'm enjoying that the food is very similar to the food in Mississippi. You know, actually,

16:52 and we look, you know, it's probably probably a cliche, but we look so much alike, all the men

16:57 and women, you know, it's like people, two or three people have thought I was, you know, Wanda.

17:02 You know me? Yeah. And I'm yeah. Yeah. Yeah. Yeah. So and once again, I think that's DNA genetics.

17:14 You know what I mean? We had a chat with one key and we had a chat with Israel. And so and we were

17:25 meeting other performers and going out and hearing other performers, singers, instrument listen.

17:31 We've gone to a few studios and listen to music from other people as well. And I'm enjoying it.

17:38 I'm loving the things that I'm hearing. We went to the the Rhonda School of Arts and Music,

17:45 and the kids were just fantastic. They were so enthusiastic and they are, you know, utilizing

17:55 God's talents, enhancing their skill set and their craftship. And so that was so, so delightful. And

18:06 to hear and see them demonstrate more traditional music and traditional instruments. And I so

18:14 appreciate that. I mean, you know, I never want to get away from the root. So we're always looking

18:18 at, you know, acoustic instruments and tribal melodies and tribal singing, tribal dress.

18:26 You know me? And so we stand on the shoulders of those that come before us. So we should not ignore

18:34 the root because we are the fruit and we should honor and respect our ancestors.

18:40 I think you're already doing it. It's all incremental. Yes. So we have to look at the

18:49 aspect of demographics. Who are you targeting? Why are you targeting them? Not just what you

18:59 want to present, but what do they need? OK, so we can get into topics about technology,

19:07 quality of audio, quality of video, quality of performance. We can get into the aspect of

19:15 the creative mind. We can look at the aspect of the business mind, commerce,

19:23 economy, you know, capitalism. These things can positively support each other if they are

19:30 approached with a sense of righteousness and compassion. And when you don't let a negative ego,

19:36 greed and selfishness dominate. So I see Rwanda on a good track. I really do.

19:49 From my gleaning or understanding of what I've been informed that there's a little over 12,

19:55 a little more than 12 million people in Rwanda. And it appears that a lot of people here are

20:00 concerned about their art, their product, their services expanded beyond the borders of Rwanda.

20:07 And if you're going to do that, you're going to have to consider the palates of people who may

20:10 not speak Kinyarwanda. So you have to think about if you want to get more of an English audience,

20:17 you know what I mean, or American audience, then you're going to have to season what you do

20:20 with something that's more palatable to them and vice versa. Well, you know, American R&B,

20:28 funk, soul music, rock and roll, blues, gospel, you know, it's throughout the world.

20:34 Everybody gravitates to the aspect of African-American music.

20:42 You cannot disconnect your roots from it. The aspect is, is whether you acknowledge it. You

20:49 see, there are so many things that are unseen. We can't disconnect ourselves from H2O. We can't

20:56 disconnect because there's always water in our bodies, even though we may not be sweating or

21:03 crying or see it. So the roots of Rwandan music is always there. It's about how much light you

21:13 want to shine on it, how you want to illuminate or what part of the surface you want to bring it to

21:18 at the time. Now, if you're doing it with love and not out of ego and not out of pride, now,

21:24 pride is a very curious thing because you have positive pride and you have negative pride.

21:28 Now, to want to go and say, I'm Rwandan and you better appreciate my music and my blah, blah,

21:36 blah. Well, you, this is ego. Now, but if you, but if you say this is what God has given us,

21:42 this is what we are and we share this with you. Enjoy it, what you find in it. And we want you

21:52 to have access to it. So therefore, guess what? We're going to do a blog. We're going to put it

21:58 on the internet. You're already compromising your roots. When we begin to use cell phones,

22:03 that's not a root way to communicate. We're already compromising when we use the internet,

22:08 we're already compromising the roots of transportation, the roots of fashion.

22:11 What are the roots of Rwandan fashion? You see, now are we diminishing that when we wear Prada

22:20 or Givenchy? Now, I think we can incorporate those things, the roots with the fruits of Rwandan

22:29 culture with other cultures and everybody can benefit. The main thing is to remember is that

22:35 we're not islands. We don't, we're not alone in this world. And there has been, I guess what we

22:43 would say, global trade, right? Globalization has been going on for thousands of years. So,

22:52 you don't have to detach yourself from your roots. Just take your roots with you.

22:57 You know, my advice is don't push. I think things need to start from a very natural place. Just do

23:05 it out of love. Okay, are you making music because you really want to make money? Or are you an

23:13 artist who loves making music? Now, create the thing before you try to sell the thing. We have

23:21 so many situations where people are marketing and using social media and all kinds of things and

23:27 creating a facade as if they are a thing. And they haven't developed a thing. Spend more time with

23:32 the instrument. Spend more time singing in a room that's not on Facebook, that's not on Instagram,

23:39 that's not on Twitter. Develop the thing with love, with seriousness, with compassion,

23:48 as something that can help mankind. And I'm not speaking that about Wandan musicians and artists.

24:02 That's everybody. But I respect people because you got terms like this. I'm on my grind. The

24:11 hustle is real. No, you ain't got to hustle music. Not if you love it. Just do it. Now, once you do

24:19 it with love, you're going to see how people react to it. So, you got to share it, right?

24:25 And then go from there. Go from there within your block, your neighborhood, your city,

24:31 your sector, your country, and then extend. Yeah? But be realistic. Don't get caught up on the

24:41 aspect of that God favors any language, whether it's Kinyarwanda, English, or French, or any

24:50 other language. Be willing to communicate with purpose, regardless of the language. Do not

24:59 let pride be your dominant driving force. Let compassion and love be that. Everybody needs it.

25:09 Wow. There is more than one impact.

25:26 Let me talk about more than one. It's obvious that the internet and social media have given

25:35 artists and people the power and the ability to communicate with more people directly and not

25:42 having to have the big machine, let's say, finance that through PR. You know what I mean? Major ad

25:52 and marketing campaigns. That's obvious. With the aspect of streaming and downloading and piracy,

26:00 music has been devalued. There was a time where if you wanted

26:06 to get music, you had to buy an album. There was no way to download it, right? You heard it on the

26:16 radio. If you were lucky enough to have a radio with a cassette player, then you probably could

26:21 record off the radio. The sound quality was bad. Here comes Napster and all of these things,

26:29 and then moving on to iTunes and all kinds of other services.

26:37 Now the writers and the artists and the composers are only getting 0.003% of song or play.

26:47 Now you can do a subscription service for $11 or $12 a month and have access to millions of songs.

26:52 You see how music has been devalued? Now, so we like to say it's a catch-22.

26:58 You can gain a bigger audience without having to sign to a record label.

27:04 But when you get a million or 10 million streams, you still ain't made no money,

27:13 right? So now, prior to the coronavirus pandemic, well, you were able to go out and play live and

27:22 things that kind of flipped over. Even more iconic artists, they were not receiving the type of

27:29 royalties because people were buying less physical product and doing streaming and download. So they

27:35 were going back on tours and stuff. Now, when you're meeting people, people may buy a CD or

27:44 a t-shirt or a hat. What they're buying is a memory, you see? So they're buying more than the music.

27:50 And so through marketing and merchandising, there's another kind of revenue through what we

27:56 like to call first-hand contact. You know what I mean? So you got the catch-22 to answer the

28:05 question of the internet and social media. The only thing about it, not the only thing,

28:11 but another thing about it is that people are being extreme to get attention. So, you know,

28:17 there's a phrase that says, "Any news is good news when it comes to marketing and publicity."

28:25 You know what I mean? So if it's controversial, if it's bad,

28:28 I got your eye, I got your ear, I got attention from you.

28:32 You know? And then there are things that you have to, I'm not doubting anyone, you know,

28:39 do what you feel you should do. And you'll connect with like-minded people. But sometimes it just

28:47 gets a little, you know, verbose when people are selling these completely false images. You know

28:54 what I mean? You know, you just had one single out and you got a video with Rolls Royce and the

28:58 Bentley and you're throwing money in the air and blah, blah, blah, and you ain't sold no records.

29:03 So, you know, I would like to say that some of those things, please take those things in stride.

29:08 It's just like a short three-minute movie that you know is a fantasy.

29:13 I don't have a favorite song. I mean, music is so beautiful. It's such a beautiful gift.

29:20 And so many songs touch you in different ways. You know what I mean? They can inspire you,

29:26 they can chill you out. And I'm just thankful for all of it. I mean, and I'm not even talking

29:31 about songs that are on the radio and artists. I'm talking about just like the little kids singing,

29:35 walking down the street. You know what I mean? The old person. I mean, there are great,

29:41 great artists that have never recorded. There's someone out in the woods, in the village,

29:46 at the mountain, you know what I mean, that I hear and it just, man, it thrills my soul.

29:52 So I'm just like, just feed me.

29:54 One word? Oh my God. Let me see. I'm drawing a blank and I do know, I know something, I'm sure.

30:09 But I am drawing a blank and we've been going over words, you know what I mean? And I've been

30:15 blowing them. So let's just say, um, Kivu. Oh, okay. That's a name of a place.

30:28 Ah, you're very smart. Yeah. You know about geography here in Rwanda.

30:33 Yeah, but no, no, I haven't really delved so much into the aspect of Kinyarwanda because Ra'u

30:44 actually, you know, said, oh, this is our mother tongue. Yeah. And you begin to share with me about

30:52 the culture and about the cows and about the dance and this food and so forth and so on. So,

31:00 I, I haven't, I've spoken a few words, but you know, I'm, I'm normally very cool,

31:09 you know, and very relaxed and can maintain things, but you're charming me.

31:16 That's a hard one, but I can give you a simple thing and it's not going to be obvious when I say

31:22 it, but make it talk. Make it talk. Okay. I'll tell you what it means. From an instrumentalist

31:33 standpoint in Mississippi, no matter how much you play, how prolific you are, if the audience is not

31:40 getting what you're trying to communicate, you're not making the instrument talk. So, what that

31:45 really means is, is be sincere about what you're trying to communicate and make sure it's plain

31:50 enough for the listener to understand it. So, whatever it is that we want to say, make it plain,

31:59 make it sincere so that the recipient or the listener can get it. Make it talk.

32:07 Make it plain. Don't just babble for your own ego's sake. If it doesn't have a purpose,

32:18 don't say it. Make it talk.

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