Celebrating Lou Wilson - Love of My Life - 11 years with the Ancestor/Angels

By Gloria DULAN-Wilson

Hello and Happy New Year All!

I thought to myself - "It's been 11 years, surely I have now gotten to the point when I don't get sad anymore  - where I now accept that it was GOD's will and LOU's time on this plane of action was over, without feeling resentful or cheated.  But, NO!  I was sitting here watching Lakewood Church's Joel Osteen, and, without realizing it, tears were running down my face. 

I actually tried to get through this date without breaking down.  It's not like it sneaks upon me - actually, somewhere around Christmas, my heart does a silent count down of how many more days until I lose my man.  I try to shake it - but it's still there in my subconscious. 

But, this time instead of just letting tears flow, I stopped and said, "Good Morning Lou - I knew you were going to drop in to make sure I'm OK."     I remember one of his favorite sayings:  "Life ain't nothing but a meatball."  I used to laugh at those crazy sayings he and Carlos - his younger brother - would come up with.  They would repeat them over and over and over again -and crack up as though it was the first time they ever heard or said it.  

A friend of mine, who was visiting for the week end, asked me why there were no pictures of Lou anywhere in the apartment.  I had various collections of our kids and grandkids, as well as my Sorors, and other events.  It suddenly dawned on me that I am still silently mourning.  So, today, in order to step into the sunlight and out of the shrouds and clouds, I'm posting some photos I made of Lou and the group Black in the day - as well as some sent to me by Sister/Friend Fikisha Cumbo. 

 

(L-R) Lou Love of my Life, and his brothers: Carlos, Ricardo & Wilfredo - a/k/a MANDRILL

Lou doing what he loves and does best: Playing the Congas

Lou and our son RAIS (WunSunLyonsRA)  rapping at BB Kings

Mandrill at BB Kings

 

Lou's sense of humor had no bounds. We'd spend hours watching comedies, analyzing the artists' "schtick" and why we like one, and not necessarily the other.  Richard Pryor, Bill Cosby, Bernie Mac. ManTan Moreland, and so many others - we'd watch them over and over as if they had just started.  Lou was a combination intellect, educator, clown, lyricist, actor, spiritualist, humorist, and FINE BLACK MAN all wrapped into one.  Not perfect - but then again, perfection is soooo overrated anyway!  Our children have definitely inherited his gene for humor, as have our grandkids.  It's wonderful watching them channel him without realizing it - our son is lovingly called the "Clown Prince" because of his ability to mimimick (something his teachers didn't find so amusing when he was in elementary school).  But, on this day of days, when Lou made his exit from this physical plane and joined his parents and left us here with a big hole in our soul and in our existence 11 years ago, I am thankful that I can turn this into a fond memory instead of a maudlin misery. 

  I took this pic of Lou when Mandrill was on tour in NYC, Philly and DC.  This was at the Hilton in Philly just prior to their performance at the Dell East - looks a little like a halo, or divine light behind his head, doesn't it?   He and I laughed at this picture, but it's interesting how it has actually become "Lou's Halo."

Eleven years ago I made this tragic announcement in my blog, ECLECTICALLY BLACK NEWS:

"Sunrise: 10.25.1941 - Sunset: 1.07.2013:    

Lou Wilson, the Love of My Life, of Mandrill, Inc., has Joined the Ancestors

by Gloria Dulan-Wilson:

January 7, 2013

  To all my dear friends, family and loved ones:

It is with deep sadness, and a great deal of pain that I announce the loss of the Love of My Life, Louis W. Wilson - of the amazing music group Mandrill - has passed.  He was 71 years young; vibrant, handsome, full of energy and the love for life and his family.
My man, my soulmate, my heart of hearts, is gone!  If you think this is a routine announcement, it's not!  This is a cry of pain.  I am deeply wounded...."

I admit that it took me three years to come out of the state of shock - another three years before I could actually listen to Mandrill without crying; and another two years before I could actually have a conversation with our kids, our friends and others with objective sentimentality, instead of maudlin tears.  And now I can look back with nostalgic fondness on those crazy, wonderful years we spent together and laugh at the zaniness, fun, and silly predicaments we would get ourselves in and out of.

So today, January 7, 2024 - the eleventh commemoration of his transition to the realm of Ancestor/Angels - I am celebrating his life, music, creativity, talent and love.  I am also inviting our family, friends, and fans to listen to something from Mandrill - www.Mandrillmusic.com - or on YouTube and remember the genius behind the music, Lou Wilson's legacy is the gift that keeps on giving and blessing.

I was watching Agape International this morning.   Agape was founded by friend/compatriot Rev. Dr. Michael Bernard Beckwith, and my mind did a rewind to when  Michael's presided over Lou's Homegoing Ceremony -  I remembered how Micheal - whom I had known for eons from our UN Days, insisted that I speak at his Homegoing in my own words - something few widows get to do.  But in so doing, I was able to process our lives, loves, and all the fun stuff with the rest of the family - and bring back some of our fondest shared memories with the family - and my own broken heart - to make it more tolerable.  Bless Michael for having my back and walking me through one of the most difficult times of my life.   I remember I was wearing Lou's favorite outfit in honor of him- a deep Teal Blue and Purple outfit I had designed that reflected the colors of Mandrill, Of course, Lou, smiling down on me was the only one who noticed.  

Admittedly I found myself on the brink of melancholy starting around Christmas, and escalating as I got closer and closer to January 6th (the actual date of his transition - Los Angeles Time - 3 hours behind East Coast time).  But I meditated on all the good things we had together, and put that in my uppermost mind instead.  So I am now in the midst of a celebration of Lou Wilson, the Love of my Life, and invite you to all celebrate him with me - Click on the link to enjoy Mandrill in Montreaux, Canada:  https://www.youtube.com/watch?v=XFF1PJatT6A&t=3209s

 

Lou with a Signature Piece by Sir Shadow, the One Line Artist (2011)

On January 7, 2013 My Tall, Dark, and Chocolate Fine Black Man/GENIUS  made his exit, and has left us a legacy of love, wonderful music, and fun; laced with major  West Indian Heritage and Wisdom, and over the top sense of humor that still keeps us cracking up with laughter.  His love of education, fun, history, and creativity is hardwired into the genepool of our children and their children to come. 

 

Lou & Me - Our Favorite Photo

 

One of our favorite MANDRILL Album covers:  Lou with the Family in his hands, Carlos in the center, Ric on the right

 Love  to  Ric, Carlos, Wolf Wilson.  Many fond  and loving memories of Mom and Pop Wilson,  and Alonzo.  

Blessings and love to our three: Rais, Adiya and Kira, and our five grandchildren:

Hugh V, Jaden, Akili, Kijahni, Jazahra

And alway remember to never forget the wonder and genius of

LOU WILSON - 

NOW A MEMBER OF THE ANCESTOR/ANGELS

Gloria DULAN-Wilson

URGENT ALERT: VOTE FOR GARNIKA - My Handsome Son's group to battle for AFROPUNK -

By Gloria Dulan-Wilson

GARNIKA - VOTE FOR THEM ON FACEBOOK TO BATTLE FOR AFROPUNK!!!

GARNIKA needs your vote to battle for AFROPUNK!
Deadline for voting is  MAY 28th vote now plz! Spread the word!!

http://bit.ly/1Hvx2jj

Hello All:

Most of you know that I'm one of the world's most bragging Mom (okay, I know it's not grammatically correct - but you get my point).   

And those of you who have been close to me through the eons know that my handsome son - Rais Wilson - a/k/a One Son Lion Ra - followed closely in his dad, Lou Wilson of Mandrill's footsteps in terms of being an entertainer.  He toured with his dad's group, Mandrill for a few years, after graduating from North Carolina A&T,  adding a contemporary flavor (i.e. Spoken Word/Rap) to many of their traditional, time honored songs.

It was a great match for them to meld their considerable talents together, and and wonderful for Lou to see that his DNA had manifested a magnificent manchild as talented and creative as he was. 

Lou's sudden passing left us all totally numb.  But "Ra" (his dad's favorite name for him), being the man of the family, tried to tough it out and be brave for us females - his two sisters and myself...and I admit that I was a total basket case (none of my metaphysical sayings or affirmations worked for me at that time).

It's been a little more than two years since Lou's sudden demise, and I'm proud to say that our  handsome son has not been idle, but has taken his considerable talents and formulated a group GARNIKA - which is now performing in some of the more underground clubs of Philadelphia and surround communities - in much the same way that Mandrill started 45 years ago.  Of course Ra's blazing his own path, and charting his own course in the process.

I caught their act at a club called Kung Fu Necktie on Front and Girard about a month ago - and was totally blown away!!  Did I mention that I'm a bragging Mom?  

For those of you not totally familiar with Afro Punk, here is a paraphrased translation from Paris, where the first great Afro Punk Festival is set to kick off:

 AFROPUNK is the celebration of the essential contribution of the African-American community of the global contemporary culture long before hip-hop. Without Nat King Cole and Big Joe Turner, there never would have been an Elvis...Without  Black American music, there never would have been the Beatles who laid in the 60 bases of pop culture for the following decades; and has not Amais hidden that they had drawn their inspiration from the rhythm 'n' blues and soul -- especially among many artists from the prestigious Motown.   AFROPUNK, it is not a genre, it is rather the quintessential punk word literally: the rebellious spirit of the counterculture in all its forms, surpassing artistic or musical lines.   From one metropolis to another, it was natural that the first edition of AFROPUNK outside North American territory is set in Paris. The City of Lights full of Black history; it is a multicultural capital, fertile ground for artistic and everlasting scenes in all their forms.


Like his dad, our son is going for the new, different, cutting edge of the musical and expressive realms - I'm so proud (oh, I said that already, didn't I?)  

I just received this email from him, and I'm sharing it with you -

"AND NOW!! THIS IS HAPPENING!!! LET'S GEAUX!!!

GARNIKA needs your vote to battle for AFROPUNK!
Deadline for voting is MAY 28th vote now plz! Spread the word!!

http://bit.ly/1Hvx2jj

So this is where you come in  - Friends, Family, Fans, Relatives, Neighbors, Fellow Musicians and Artists: 
GARNIKA needs your votes to battle for AFROPUNK - there is only 1 vote per person and the deadline is May 28th - so I need you to both vote and spread the word to get others to vote and support these talented young men!  Vote for them on FACEBOOK - show some love and support - they'll make it with your backing.  Thanks for your help!!

Now that you know - what are you going to do?  
 Please go on FACEBOOK and cast your votes for GARNIKA

Thanks for your support

Stay Blessed &
ECLECTICALLY BLACK
Gloria

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HAPPY BIRTHDAY TRIBUTE TO GIL SCOT HERON AND A BIRTHDAY CELEBRATION EVENT ALERT

By Gloria Dulan-Wilson

Hello All:

Gil Scott Heron was one of my favorite people on the planet.  The fact that he was a Aries made it even better - because we were both Aries and could talk to each other in a language most other mortals didn't understand.  Or at the very least, if we didn't exactly see eye to eye, neither of us were offended by it, because it's kind of the nature of Aries to always wanna be right and to be the first and the only - you get my drift. 

GIL AND I CUTTING THE FOOL AS USUAL (2010)

Sometimes we'd think so far out the box, it would take the rest of the world a few light years to catch up with us; and then they wouldn't want to admit that we originated the concept.  In that regard, Gil and I always gave each other props for our ideas - because we know people would be scratching their heads a long time just trying to deal with the audacity. 

Gil and I were classmates at Lincoln University (PA) together.  They called him Spiderman because he was tall, lanky, all angles, elbows, knees, joints - like a spider.  All gangly - the name suited him well.  At Lincoln, nobody, but nobody, who was anybody was ever addressed by his or her real name - we all had RABBLE NAMES - appellations that more described who we were than what our parents may have envisioned.  My Rabble Name was "Glo:" 

At the time Gil and I attended Lincoln University, I considered it a Black woman's paradise.  I actually thought that God really must have loved me - to have had me kicked out of Hampton Institute for being too Black and militant, and recruited into Lincoln University for the same reason.  But when I say a Black woman's paradise, I mean it - there were, in 1965, fifty years ago, when I first transferred there -- 600 male students in the all male, Black Princeton!!   And I was blessed to have been one of the first 16 coeds to live on the campus in the dormitories. 

Imagine the ratio for a second  - are you getting the picture? 
 - it took a while for it to sink in with me as well.  How did this happen?  Well, actually that's another story for another time, because this post is about my brother/friend Gil Scott Heron.   

Needless to say with 600 males, you begin to separate the men from the boys, and once becoming accustomed, the creme always rises to the top, so to speak.  Not that there were any slackers at Lincoln, Black in the day - it wasn't allowed.  It was called the Black Princeton for a reason - it only admitted the top echelon in academics and creativity - witness Thurgood Marshall, Langston Hughes, Cab Calloway, Kwame Nkrumah, Nnamde Azikewe, and those are just the famous ones - Lincoln had a track record of turning Black males into Black men. 

GIL AND ME CATCHING UP (2010)

Gil Scott Heron was already on a path of deciding what he wanted to do in life. He literally breathed it.  But his mother wisely decided that he needed to go to college first.  I met him via my best friend on campus, Maxine Stewart, because they shared a class together.  The student union was the proving ground and rehearsal space for most of the student groups - whether it was steel drums, jazz, R&B, DooWop, you name it.  But Gil's music was a totally different genre altogether.  Not only were the lyrics words he's made up himself, but the rhythm - to us - seemed to be off kilter when compared to what we were used to at the time.  Also, it always sounded as though Gil was searching for a note - and had difficulty landing on the right one. 

Of course we know it all (especially yours truly, because after all, I was a rising Junior, and he was a Freshman) reminded him that it was a good thing he was in college, because if he had to rely on his talent and his voice, he'd starve to death.

This is all congenial however.  For the most  part we were tight friends - and we, Maxine and I, were concerned about his being sucked into Viet Nam if he didn't keep his grades up.  There was definitely nothing to worry about in that department either.  Gil Scott Heron was a genius.  He was quick witted, a quick study and a fabulous talker.  But then Lincoln attracted those kinds of geniuses - it was always a pleasure to sit on the quad and listen to the intellectual debates being carried forth by one visionary after another.  Or the heated debates about racism and liberation in America .

When Gil formed the Midnight Band, they first played at Mary Dodd Brown Chapel - a church named after Abraham Lincoln's widow - that stands to this day - it was erected in 1872.  For the most part it was used as an auditorium, for vespers, church services, and for Talent Shows.

The year the Brian Jackson and Gil Scott Heron formed their band, he had been rehearsing and composing for quite some time in between classes (sometimes during).  When they first performed before us - their peers - we definitely weren't the most generous - but we had to admit that the lyrics were definitely on time with what was happening in the world.  Of course we still didn't see it as an indication that Gil needed to drop out of school.

It was a long debate that we would hold with him during lunch; after dinner; in between classes.  And then, one holiday vacation, despite our wringing a promise from him; Gil Scott Heron withdrew from Lincoln to pursue his dream.  That was early 1967.  We were upset, of course - but we were also so glad he did.  Had he listened to us, we would not have had the great body of work he has so endowed us with.

BROTHER FRIEND/ANCESTOR/ANGEL/ARTIST GIL SCOTT HERON

And you'd think that I would have learned from that to keep my cool when someone decides they want to pursue their dream, but no!  When Randy Kane wanted to drop out pursue a singing career with his brother and cousin, what did yours truly say?  "Hey Randy, you really need to get your degree - your dad's a judge, he's not going to be pleased."  Thank goodness he didn't listen either - or we might not have had the Delphonics.

By the way, I've gotten so much better than that now.  I encourage everybody to pursue their dream - just don't throw out the baby with the bathwater. 

I graduated Lincoln U in 1967 - and didn't see Gil again until the 70's.  I had been out of the country for a period of time, and when I returned all you could hear was this new genre of music - Gil Scott Heron, Osibisa, War, Earth Wind & Fire, Mandrill, Roy Ayers - things had changed drastically.  Lyrics had much more content and relevancy and Gil was right up there with the rest of them. 

But it wasn't until my husband and I got together that I actually saw Gil again for the first time since he had left Lincoln.  We were living in Harlem, on 111th Street and Riverside Drive.  Lou wanted to bring this fantastic brother home to dinner because he knew I would really dig him since his work was so revolutionary.  So I said "cool"!  Of course in our family dinner didn't start until 11:00PM or 12:00AM - after all musicians don't keep the same hours as regular folks.  So when they finally get to the apartment, I'm in the kitchen putting the finishing touches of the food.  Lou comes to the kitchen to check out the food, and put some "cold ones" in the fridge. 

So when I follow him back to the living room - we had a 40 foot hallway, there's Gil standing there all angles and bones.  Imagine the shock on both our faces when we see each other and give a big shout at the same time, with massive hugs.  Then imagine the look of wtf on my husband's face as he's trying to figure out how I know Gil. 

When we explain that we were classmates at Lincoln University, it clears things up - and we sit down and talk about old times and what's been going on since last we saw each other.  This is blowing Lou's mind - one because what are the chances of bringing home a friend and your wife knows more about them than you do; and of course, being a Scorpio, wondering whether or not there was anything more than just friendship between us - Scorps can't help themselves.  But once he realized that we really were just friends - the rest of the evening went beautifully - in fact, until we moved to California, Gil would pass by after rehearsal or a show and pop in.

Then we moved to California - don't know why, but I always marked that as the worst thing we could have possibly done.  But there was this move to make the center of the music industry Hollywood - and the recording company was paying to relocate the group.  Even though I tried to persuade Lou that I could just as easily commute back and forth and keep the apartment in New York for when they came East, he didn't hear it.  So we pulled up all our roots and moved to LaLa Land. 

I guess everybody got the West Coast (I call it the Left Coast) bug at the same time because it looked as if half of the artists from New York City were all there.  The group had a date to play at the Roxy in Hollywood - it was their premier show there - under United Artists.  And who was the first person we ran into, Gil - he was playing at the Troubadour.  It was like old home week.

So they guys would guest pass each other for their shows - much to the annoyance of the management.  And then Mandrill and Gil Scott Heron were booked together at the Roxy.  I had already kind of had my own personal negative experience with California, which is why I didn't want to move; so I was more than aware of their curfews - clubs close at 2:00 in California; 4:00 in New York - and in California they start pulling drinks off the table 15 minutes to a half an hour before closing - paid for or not.  By this time I'm a died-in-the-wool-New Yorker - and I see California as primitive and conservative - so I'm kind of attitudinal about the whole scene.  Additionally, we have our own set up in the green room, but we can't bring them with us to the tables - so I went in a mode to really give the LaLa Land Left Coast people a piece of my New York Citygirl mind if anyone dared touch my drink before it was officially 2:00AM.  

The guest table we were seated at was in a special area where practically everybody could see who was seated there.  It kind of dawned on me that this was a special seating arrangement.  Then this beautiful African American sister comes to the table dripping in the most beautiful red fox fur you've ever seen - and I love fur coats - especially red fox.  After she sits, I realize it's Brenda Sykes.  My mind is going "Wow! that's BRENDA SYKES!! - THE BRENDA SYKES!! - THE BLACK MOVIE DIVA OF THE 70'S!! SUPER STAR BRENDA SYKES!!!"  Yes, I admit that back then was somewhat star struck - After all I was in Hollywood - and newly initiated into the entertainment industry, it was really blowing my mind.  First of all, I'm wondering why Brenda Sykes would come to the Roxy when there were so many more swank Hollywood upscale clubs she could go to - like the then happening New Yorker Club -- especially dressed in that gorgeous red fox coat.    And because of my natural prejudice at the time against the consciousness level of Black actresses, I couldn't imagine who she was there to see.  I couldn't see her being a fan of either Mandrill or Gil Scott Heron. 

GIL AND BRENDA

So we exchange little pleasantries - I tell her how much I enjoy her acting.  And realize that she's a positive, down to earth sister. When Gil comes on, she politely says, "Oh Gil's on, let's continue this after he finishes."  And it hit me that she was actually there to see Gil as his guest!  And my little mind says "Way to go Gil!!!"  I was duly impressed with his good taste; and duly shocked that she was not like the other air head artists I had met; but was really about something and wanted to be with a brother who was about something as well. (By the way the waiter came for our drinks - and Brenda smiled and said "Do you mind, we're not quite finished yet" - he saw who she was and didn't bother us again - thus avoiding having me make my defiant speech - lol).

Brenda and I got to be friends - and would do lunch or cocktails from time to time when the guys were on the road.  She and Gil got married and had the most beautiful daughter - Gia - but there were some issues that were beginning to creep into his life that definitely took him off the path he originally envisioned for himself.  And I daresay that most any Black group, black in the day had some form of problem with Drugs - some much more than others.  It was insidious; and it's not an experience I intend to discuss here or anywhere else - except suffice it to say it dogged his life, as much as it did my husband for eons. 

Our children were raised watching Gil on TV - "It's Nothing but a B Movie; The Nation's Capital, it's Washington DC, listening to his work at home; and the times when he would pop in and he and Lou would perform all kinds of songs together; or just crack jokes and drink beer.   He was definitely an inspiration to our handsome son, One Sun Lion Ra (Rais Wilson). 

The bond and friendship between Gil and myself always remained tight; but between Gil and Lou - they were like brothers.  They were kindred spirits.  So whenever we were either home, or out, and were in the same city at the same time, we always got together.  When Lou and I separated years later, he and Gil remained friends; and Gil and I continued being friends in New York City.

Even with his bouts with incarceration - he and I  would communicate on a limited basis - I was always concerned about his health because he had absolutely no meat on his bones.  I told him one day: "You are making me worry about you - and I'm going to have to hurt you to make you stop hurting yourself!"  He had begun turning grey and his neck looked even longer than it had when were in school.  He had a gaunt look about him.  He and Brenda had long since broken up; and he spent most of his time on the East Coast - he had a studio in East Harlem where he did most of his work - but I was on his case about not eating properly or getting enough rest. 

At the time I was writing for the Daily Challenge News: The City's Only Black Daily - and had done an  in depth one-on-one interview with Gil.  I was one of the few people who never criticized him - I could see he was already going through it, and the music was what kept him going. 

I was devastated when I heard about his being HIV positive.  It seemed as if it was the cruelest possible thing that could happen to a brother who tried to wake Black people up - make them take a stand and do for themselves to be afflicted with this heinous disease. 

L-R GIL, ME, KIRA, RAIS (ONE SUN LION RA) AT THE CARTER BARRON 2010

I had done a one-on-one updated interview to add to the personality profile I had done on him nearly fifteen years ago.  I learned about his dad, the Mighty Gil - a great soccer player.  He traveled to Scotland and other countries and was world reknowned.  He told be about his son.  And he told me that he was flattered that Lincoln still loved him considering that he didn't graduate.  But I assured him, once a Lincoln man, always a Lincoln Man.  - actually I said, "Boy, we own you.  You're ours.!!!"  He got a big kick out of that.  His mother had made him go back and get a degree - she didn't want him to not be protected academically should anything happen to his career.  We spent the whole day at the 112th street studio.  He said he went there everyday like going to an office.  Most of the people didn't know who he was because it was located in Spanish Harlem, so he basically came and went as he pleased without being harassed by fans.   He played some of the new songs he was working on at the time, and talked a bit about turning the studio into a full time center so he could help some of the youth who wanted to write relevant material.  We never discussed his illness, or medication - it just wasn't what I was there for.  I was only concerned that he was doing well and I could see by his energy that he was.

When I had finished the interview, and hanging out, he had indicated that he would be doing a gig at the Carter Barron in DC.  So in October of  2010 my daughter Kira, son Rais and I went to surprise him and show up for the concert.  He was blown away!  He hadn't seen my kids since they were toddlers.  Now my son was as tall as he was.  

His show was brilliant - he had gotten more into the mode of telling the story behind the lyrics in order to give the audience more insight to his inner thoughts. He kept the audience engaged and entertained.

The last time I saw Gil alive was in March 2011 at the Black Writers Conference - he performed along with Talib Kweli and some other artists.  He looked as if he was in the picture of health.  He was actually getting his color back, and muscling up somewhat.  We laughed and joked  and had a great time - in fact we hung long after the concert was completed. 

That was the last time I saw my brother friend.  The next thing I remember in reference to Gil was when I heard was myself screaming when my daughter Kira called to break the news to me that Gil had died in England.  It was like a nightmare - because I didn't know how to tell Lou - But of course, Lou, now much more spiritually grounded than I was, basically took it in good form -- I, on the other hand was devastated.

GIL SCOTT HERON - ANCESTOR/ANGEL/ARTIST FRIEND PBUH

The service for Gil was held at Riverside Church.  His former wife, Brenda Sykes Scott-Heron was there and presided over the ceremonies.  I hadn't seen her in 20 years - but she was still as beautiful and slim as ever.  His daughter Gia did a beautiful piece in honor of her dad.

Also at the service was Kanye West, who did one of Gil's original songs in his honor at Brenda's request.  Gil, according to Brenda, always admired Kanye.  George Clinton and several other artist/friends were also there.  However, the service was held so soon after his passing that those who wanted to travel there to pay him homage didn't have sufficient time to prepare to be there. 

Brenda told us how she and Gil had decided that they were going to remarry and go forward with ther lives when he returned from his tour. They had never stopped loving each other, and were now going to start a new beginning.   She mentioned the name of a book he had been reading (the name of it escapes me now), but it had to do with the inevitability of the way things play themselves out.  And how important it was to not wait for things to be perfect but to move on them when they occur.

Ironically, that takes me right back to who Gil was as an Aries - one who never waited for permission, convention, perfect timing, but moves when the impulse strikes  - Except for just this one time - and that made all the difference in the world.

I miss my brother/friend - but I know that he and his big brother/friend, my honey, Lou Wilson are keeping things pretty active up there among their fellow Ancestor/angel/artists.

Gil's Birthday is April 1st - he always said he was the April Fool's joke played on his mom - and I would beg to differ with him.  The best thing that happened to April 1 was the birth of my brother/friend Gil Scott-Heron. 



NOW THAT YOU KNOW, WHAT ARE YOU GOING TO DO?

Stay Blessed &
ECLECTICALLY BLACK
Gloria Dulan-Wilson






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Gil Scott-Heron, Nelson Mandela, South Africa and Johannesburg -

The passing of President Nelson Mandela has made me think of Gil Scott-Heron quite a bit lately.  He was a dear friend.  In calling out the pantheon of leaders who will be there to great Mandela, I'm sure Gil will be one of them.  He wrote the landmark song, Johannesburg in 1975, when people were not even focusing on the horrors that were taking place over there.  I daresay most African Americans either know the song, or know the music.  So in honor of Gil and President Mandela, I'm reprising the article:


June 2, 2011
Gil Scott-Heron: Some Last Lasting Thoughts

By Gloria Dulan-Wilson

Gil Scott-Heron - poet, musician, activist, and now, ANCESTOR - is primarily known for his work in the late 1960s, 70s and 1980s as a "spoken word" performer. In some circles, he is known as a Griot. And while there are those who want to type cast him as a prelude to “hip hop“, I beg to differ strenuously, since the Gil primarily spoke positively about Blackness as a quality, did not disparage Black women, or families.

Gil, who I am proud to say was my classmate at Lincoln University (and was smart enough to leave and pursue a calling from his soul), combined poetry with rhythm and blues, jazz, and funk and raised critical political and social issues.  He has received much recognition and acclaim for one of his most well-known compositions "The Revolution Will Not Be Televised,"  as well as for “Winter In America,” “Whitie’s on The Moon”, “In The Bottle,”  "Johannesburg," among a great many others.

His contemporary body of work is even more compelling as he bears witness to the fact that history has proven the truth of his words. The Griot in him comes out as anecdote after anecdote about the inspirations behind his pieces are shared with the audience. He reveals his unique humor and insight into the powerful dynamics spirit has on life as we know it.

L-R:  Gil Scott-Heron, Gloria Dulan-Wilson with her adult
 children Kira and spoken word artist (son) Rais 
(The One Sun Lion Ra) - at DC Concert (2010)

All bones and angles, Gil  who stood about 6’1”, got the “Rabble” name of “Spyderman” at Lincoln University, because of his gangly appearance.  The affectionate title has stuck throughout the years with those of us who knew and loved him from Black in the day til now.  His bold move to step out and follow his dream inspired many of us to take chances we probably would never have taken, in an era when we had been taught the only way to succeed was to get a good education and a good job.  To our minds Gil defied both and won.

He was our hero, our voice - and later the voice for so many.  He was however a hero with flaws - with his own challenges - in need of a hero of his own.  Something I’m afraid he never really found, ironically, during all his travels, writing, soliloquies.  He did/does however, have legions of admirers, who, like myself, love him as a brother/friend; respect him for never giving up, despite the insurmountable odds he apparently faced; and for always having the wisdom and presence of mind to use each and every little facet of life as an eloquent teachable moment via verse and song.

It has been my privilege and pleasure to have written a word or two about my brother/friend Gil Scott-Heron over the past thirty or more years.  The impact he has had on the Black community and the world at large vis a vis his music and lyrical activism has been nothing short of phenomenal.

In practically every article I write, I point up the fact that  when were students at Lincoln University, in Pennsylvania, I and  several other classmates, after having heard him sing during a talent competition, early on told Gil he could not sing, and that he would fall flat on his face if he pursued such a career.  Thank goodness he didn’t listen to us, and went the great Griot/troubador he was/is.

When you listen to Gil Scott Heron’s lyrics, you find yourself nodding, or sighing, in agreement.  Things that make you go “hmmm”…!  Gil has always had the prescience that has caused this phenomena -- this universal understanding that overarches generations, ethnicities, social and economic strata.  That explains why he is so loved and appreciated by so many artists -- from jazz, to rock, to r&b to hip-hop to rap.

It’s rather difficult to pinpoint his voice -- is he a bass, or is he a tenor?  His voice has a way of getting inside your mind.  It’s tailor made for the genre of music and the thought provoking lyrics that go with it.  I’ve known Gil for more than half my life -- -okay, two-thirds of my life.   Even though we don’t see each other more than once or twice a year, I consider him a brother and a friend.

In a one-on-one interview with Gil that took place at his East Harlem Studio in Mid-September, 2010, during Harlem Week, shortly after a show he did at the Blue Note and a guest appearance in DC at Rock Creek Park’s Carter Barron Amphitheatre, we talked about when he was going to do his official autobiography.  Something I felt was long overdue.  He told me that he often called himself his mother‘s biggest April Fool joke, having been born on April 1. 

GSH:  A lot of times when I‘m performing, I can see her watching me, telling me to sit up straight.”  (Then he would bend over the key board in an even more pronounced manner.  Gil was always bucking authority.)  Although, I did do one thing she told  me to do, and that was to go back to college and complete my education - so I may have dropped out of Lincoln U, but I do have a degree, thanks to her.”

He plays one of his song’s “I’m Going Home, Been out on the Road for Much Too Long,” and explains that the Lyrics were actually fashioned after an incident that actually occurred while he was on tour.

Gil had become more and more become anecdotal in his performances, taking additional time to give the history and story behind each song; or drop other relevant information on his audience, much to their delight.  He was a great storyteller.  His wry humor has a way of catching you unawares.

The following is an excerpt from our last one on one interview:
{NOTE: GSH - Gil Scott Heron; GDW - Gloria Dulan-Wilson}

GSH:  “I’m working on a new album. Several things we did never came out on CD.  So we are doing some compilations, re-issues and stuff  off of my label, the work that we are doing for Xcel is going to continue probably next week down town with Electric Lady (Jimi Hendrix) studios, that’s what we’ve been working on for 2010.”  He named his label for his son and daughter “Ramal-Gia Records”

GDW: “Are you like a few other creative people we know very well, who write a lot of creative stuff, and it ends up on the shelf for 900 years until you get around to dealing with it again?”

GSH:  (He laughed) No, this came out in 1980.  Most of the things came out then, they came out like that, either they came out on vinyl or on stage.   We just like to reach back every once in a while to renew the message.

GDW:  That’s great!  So In addition to that, I need to play a little catch up with you.  Because the last time I did an interview with you was about ten years ago!  I’m saying 200 years because it feels like it.

GSH:  Yeah! I hear you.  Yeah we do times ten on that.

GDW:  And that was at SOB’s.  We talked after the show that night for about an hour.

GSH:  We still play SOBs. We did the Blue Note, we do BB Kings in November, and some other places around town.  Like we VanGuard with Mos’ Def.  Like you  can play New York like about 15 times and not see the same people twice, because different people play in different places.  You get different crowds at different joints.  Like the Knitting Factory is a different crowd from SOBs; which is a different crowd from Blue Note which is a different crowd from BBKing’s.  I’ve never been there before.  I’ve been in there, but never played there before.  So if you go downtown, you know, we are known, we’ve been heard of, much more than heard among all those people.  We like to make it real for them, and they make it real for us.  To make it real for them we go to the different places, you know where ever they are.

GDW:  There was standing room only crowd at the Blue Note.

GSH:  Yeah you know we had two of them.

GDW:  Yeah, I believe it, because I came to the ten o’clock and I stood for the entire show.

GSH:  Yeah it was nice to see a lot of folks I hadn’t seen for a long time.  They had been there, and I had been down the street.  We had played here and there.  That’s just the circle you know.  I hadn’t played there in a long time in the Blue Note.  The last time I played the Blue Note, Prince was there.

GDW:  That’s like 9 zillion years ago.

GSH:  So it just depends on where you are and how you run into folks.  That’s how it is in New York.  Some people think that their block is the only one.  So where ever they’ve been, there may be nothing happening if you haven’t been there.

GDW:  The fact that we were standing shoulder to shoulder, elbow to elbow that was a symbol of how much you’re loved in the community.

GSH:  You know that yeah and especially on a Sunday night, when people have to go to work the next day; and during Harlem Week (when there’s so much also going on uptown).

Subsequent to the above one-on-one interview,  Gil  performed with  young spoken word artist Talib Kweli, and Gary Bartz for the Tenth National Black Writers Conference at Medgar Evers College, CUNY. Collaborating with the politically and socially conscious hip hop artist Talib Kweli, who brings a sense of spirituality and moral balance to hip hop, is a natural alliance and collaboration for this electrifying team of artists activists. And when you bring in award-winning jazz saxophonist, Gary Bartz, this intergenerational collaboration signifies an historic moment in time. Gary Bartz sums up the stance of this intergenerational group of musician writers when he states, "After all music doesn't belong to any one person. It belongs to the people, to everybody." The music of Gil Scott-Heron, Talib Kweli and Gary Bartz embody these words, for these artists create music that belongs to the global village and that speaks to the soul, heart and spirit of people.

That was the last time I saw Gil perform live; though I have his cd programmed into my computer so I can listen to it while I’m writing; and I shot him a “Happy Birthday” email on April 1st, challenges of my own, and his tours primarily being out of state and out of the country, prevented me from seeing him again.

I know I speak for my classmates from Lincoln University, my own family who knew and loved Gil, that he will surely be loved, revered and remembered always.  He’s up there with our dear friend and documentarian, St. Clair Bourne - can you imagine the kind of magic those two are going to concoct?  AND OF COURSE, NOW WITH NELSON MANDELA - 

ENJOY!!

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   • 3 years ago
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   Johannesburg by Gil Scott-Heron No violation of copyright intended.
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   Gil Scott-Heron -Johannesburg -Live 1976 Old Grey Whistle Test

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   Gil Scott-Heron Live on Old Grey Whistle Test 1976.
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   Gil-Scott Heron-Johannesburg (live,UK Freedom,1988)

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   Gil-Scott-Heron,live London Artists Against Apartheid , 1988.
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   What's the word.

Stay Blessed &
ECLECTICALLY BLACK
Gloria Dulan-Wilson

STAY BLESSED

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Celebrating and Remembering Lou Wilson of Mandrill, the Love of my Life on His 72nd Birthday

STAY BLESSED

Lou and Glo Wilson
in Philly after Mandrill Concert

Photo by Eli Breuggemann

by Gloria Dulan-Wilson 

Today, October 25, 2013 marks the 72nd birthday of the Love of My Life, Lou Wilson, of Mandrill,  who made his transition to the ancestors at the beginning of this year, on January 7, 2013.  I definitely did not take his sudden departure from my life lightly or graciously or gracefully.  It was all the more painful because he was 3,000 miles away from me when it happened. 

At this writing, the first since his passing, a flood of memories come racing to the front of my mind, each one vying to be attended to first.  So, I've got the Montreaux Jazz festival plugged into my ears, and I'm listening to his music the first time since his passing.  And the magnitude of this magnificent man continues to blow me away.

L-R: Mandrill - Lou Wilson, Carlos Wilson, Ric Wilson, Wilfredo Wilson Back Stage After BB King Concert, NYC August  2011 Photo by Gloria Dulan-Wilson

 But, since this is a tribute, not a tell-all, I'm going to push them back, and hold them off for another time when I'm not so sobby/weepy.  Because, truth be told, there is not a day that goes by that I don't think about him, the life we had together, the life we planned together, and the fact that none of that's ever going to happen.  At least, not on this plane of action.

Lou was born October 25, 1941 in Colon, Panama. He was 11 when his parents emigrate to the US; his younger brother Ricardo (Doc) was 9.   He would have been 72 on this upcoming birthday, but had the energy and spirit of a man half his age.  He was the eldest of five boys, and the apple of his mom's eye.  He was also the most mischievous of all the brothers, and kept both his parents hopping, trying to figure out what he was going to get into next.   Lou had a great sense of humor, loved people, loved to kid around, but underneath that prankishness lurked a very serious, well thought out, creative and talented person; always exploring his inner depths, always seeking improvement.  He was somewhat of a philosopher, and would spend a great deal of time picking other people's brains to see where they were coming from. 

His early days in Brooklyn was more or less culture shock.  He had a thick Jamaican - Barbadian accent, and found that the kids made fun of his speech pattern.  Of course, as they adapted to the community, and he learned to speak English more proficiently, the accent almost completely disappeared, only surfacing when he wanted to - when he was among family and friends.  

And Lou had a ton of friends in Brooklyn.    He always spoke fondly of PS 54 and Boys High - all the Wilson brothers attended and graduated from Boys High.  Lou graduated with Vaughn Harper, class of 59.  Both men went into the media and entertainment field - Vaughn with Inner City Broadcasting; Lou, formed the group MANDRILL, with his brothers - Ric and Carl, and friend Claude "Coffee" Cave. 

All of the Wilson brothers were required to learn music and master at least one instrument. It was mandatory, and Dad Wilson was a stickler for practice and perfection - he himself played the acoustic guitar.  Lou chose the trumpet, although he secretly wanted to learn piano, and loved the drums.  Younger brother Ric played the saxophone; Carlos played the flute and trombone, and youngest brother Wilfredo played the bass guitar. 

It was while he was attending Long Island University, with a psychology major, that Lou began dreaming of the idea of having his own group.  The brothers had become quite proficient in their music, and had actually begun rehearsing in their mother, Doris Wilson's beauty parlor on Marcy Ave., which is where they grew up - between Willoughby Ave. and Hart Street.   Lou had gone through a myriad of dead end jobs before he made the decision that he was going to follow his dream:  He was a dental assistant, a taxi driver,  among other things.  But when he became a caretaker in a mental institution, he realized that he really wanted no parts of that arena, and began earnestly focusing on a career as a musician and an entertainer.

 Sure they were born to the Wilson's on the Panama Canal, where they (four of them - all boys, mind you: Luis, Ricardo, Carlos and Wilfredo) were raised by their parents, Doris and Wilfred Wilson, who instilled in them a lifetime love and reverence for music. Indeed, their Jamaican born father had each one of them playing some kind of instrument by the tender ages of four and five, and made it a responsibility, right up there with the other chores they had to do. In fact, if they didn't practice, they couldn't go out and play. 

As their parents progressed, they soon sent for the other two sons (Carlos and Wilfredo), and established a household near the Marcy Projects on Marcy Ave., near  Street, where the accents there, just as in Panama, were from all over the world - because Brooklyn, indeed was and is the mecca for Caribbean and Central Americans who likewise came to give their families better lives.

And now, music was in his blood - it was his air, he literally breathed the stuff - he was a master composer and wrote most of the original music, lyrics, concepts, drawing heavily on all he heard, saw and learned in his formative years - from a multi-cultural community, where people from all over the world came to live and work - the Panama Canal. People from Jamaica, Barbados, Trinidad, Guyana, St. Croix, St. Lucia - you name it, there in their little enclaves, speaking in different dialects, with different cultural flavors - the Lou soaked it all up (though he didn't know he were doing so at the time).

But the world probably would never have heard of Lou Wilson and his talented brothers had their parents not decided to emigrate to America to give them better lives. So in the early fifties they sailed with the two eldest sons, Lou and Ric, for New York, and landed in the wonderful land of BROOKLYN. Talk about an adjustment.  For Lou, his accent against that of Brooklynese was a challenge  - by the time he had graduated from the famed Boys High School (yes he's a part of the Legends of the High!), he had mastered that and so much more.
 

Their mother, who originated from Barbados, and was the entrepreneurial spirit of the family, had her own beauty parlor, and provided services (as well as any and all community news) to the ladies of the neighborhood. The boys, now teens, rehearsed in their mother's shop, and, combining the flavor of Panama, Jamaica, Barbados, Cuba, Africa, with the flavor in the streets of Brooklyn, their unique musical style was forged.

 Young men now, they morphed into Lou, Ric, Carl, and Wolf Wilson - each an incarnation of all that their parents instilled, coupled with an overarching love for their unique blend of cultural influences. While they initially pursued other careers, Ric, a Doctor, graduating from Harvard University; Carl served a stint in VietNam; Lou followed the trail of psychology at Long Island University in Brooklyn, NY; Wolf attended Morgan State college, in Maryland  - they decided that the only thing they really loved was their music. 

Initially they were  called the Wilson Brothers, and were just looking to play gigs in local clubs in and around Brooklyn, Manhattan, and other parts of the city.  Most of their performances, early on, were at a club called the Blue Coronet, which was owned by the Parnells, who were neighbors in the community.  As they became more popular, Lou suggested they expand the group, and began to audition for other musicians - expanding to Fudgie Kaye (Bass guitar), Charlie Padro (Gong and drums), and Omar Mesa (lead string guitar); Claude "Coffee" Cave played the vibraphone and the organ - and when I say he played - Coffee made that organ stand up and pay attention!   (actually among the four brothers, they played a total of about 40 instruments). 

At some point they decided, owing to the size of the group, and a pact they had made that everyone would have equal input in the group, and they would be like family, they would change the name from the Wilson Brothers.  As fate would have it, Charlie Padro was visiting the Bronx Zoo - still don't know why, to this day - and happened to be in front of the Mandrill habitat.  As he read the story of the Mandrill - loyal and fiercely protective of the family, most colorful member of the ape family, highly evolved and highly intelligent species - it would be a great name for the group.  They loved it.  The rest is history. 


 
There are many former neighbors and friends who remember those early days, when it looked as if Mandrill would just be a good local band - playing in such local clubs as the Blue Coronet, among other places. But they were destined for greater things - and soon garnered national attention, leading them to major contracts with Polydor Records, Arista Records, several gold records, and world wide tours.  In 1970 they finally got a break, when they were noticed by two producers/promoters - Beau Ray Fleming and Sparkie Martin.  There is always a big issue as to who discovered them first - and since I wasn't there (yet), I'm not taking that one any further.  The great thing was because of their attention, Mandrill ended up with a contract with Polydor Records.  

L-R Mandrill Early 70's: Wilfredo Wilson, Lou Wilson, Coffee Cave (back), Carlos Wilson, Ricardo Wilson  from an old News Clipping

It was the era of funk, and Mandrill was making major inroads on the charts, both nationally and internationally.  And because they were sons Brooklyn, they played Prospect Park, Von King Park, Washington Park, as well as Randalls Island, Central Park, Carnegie Hall (first funk group to do so), and other major venues.  By 1971 they had cut their first album, Mandrill, and were going on tour - Hawaii, California, Texas, DC, Maryland, Detroit, and Philadelphia, PA - which is where I come in to the picture.

I actually had never heard of the group, and probably would never have paid them much attention, had it not been for my best friend Ann,  an avid music lover.  I was in graduate school at Temple University, majoring in Educational Psychology.  She was raving about this new group, and their fantastic sound.  But  she kept going on about the spokesperson - this "tall fine brother with a blue butterfly on his fly."  And for some reason that stuck in my mind - "Who does that?"  I thought. 

As luck would have it (or actually, it was as God would have it), Mandrill was appearing in concert at Temple U's Macgonigle Hall; and being a student, I was entitled to attend free.  So, of course, I went - with my  then 5 year old daughter - who danced throughout their music.   In addition to the group, Roberta Flack and Donny Hathaway performed. 

 

It didn't take me long to figure  out who Lou was - from the moment he started talking, I was hooked.  Articulate, with a sense of humor, intelligent, and tall.  (Did I already say that? Oh well, it is what it is).  He played those congas like a master musician who - in African parlance - had his hands blessed by the gods.  He could ad lib and not split an infinitive.  He held the audience (and moi) totally captivated as he engaged them in his world of music.  And, the rest, shall we say, is history.  

Many of their fans are still shaking their heads in wonder at how so much sound could come out of four men - who collectively play among them 45 instruments - African as well as european -  as well as doing their own vocals, from four part harmony to a`capella.  The total amount of energy on that stage was enough to generate electricity for a small country - and that was just Lou by himself.  With all of them together they could, and did, light up New York. 

Mandrill, the group has grown exponentially since the early days, and are a veritable explosion of music on the stage. I mean real music - because these are each consummate musicians in their own right. You might say that Lou was an  ethno-musicologist because he began tracing and linking the musical roots of Mandrill to Africa, the Caribbean, African American Jazz and Blues, ballads, etc.  He had it down to a science.   

And because they were each musicians in their own right, if you sit in a rehearsal with them, you might hear such comments as "That's an E to the flatted fifth, man!"  Now, unless you are musically trained,  to you and I whatever he played sounded wonderful; but he was listening with the ears of a trained musician that would put most symphony orchestras to shame.  I, along with the rest of the world, was impressed - these brothers played real music - not electronically reproduced  - real instruments, real skills!! (In fact, Mandrill was the first funk/rock group to play Carnegie Hall in the early 70's because they were real musicians.  They packed the house and turned it out!!  And it was also the second time I had seen the group after the first time in Philadelphia.  They were even better than the first time. 

They got an offer from United Artist to move to California, in 1975 - and after much haranguing, because it meant pulling up stakes in New York, they finally consented to do so.  Okay, I'll admit I was definitely not a happy camper in this move.  Being a New Yorker, I thought it would be better to be bi-coastal.  But we had just had our first son, Rais, and Lou did not want to shuttle back and forth,  and miss out on seeing him grow up. 

So we moved to California in February of 1975 - to perform at the Roxy, and then go on an extended tour afterwards.   The move had mixed results, resulting in the next level of culture shock.  Coming from a city where everything is convenient and at your finger tips, to a city where everything was spread out, and spoken of in terms of how long it takes you to arrive at your destination. 

And, while there were some major successes, there were some set backs as well; it is to their credit - Lou and his brothers, that their love of music overrode the challenges they encountered on the left coast (yeah, I said it).   It also meant getting new members for the group, since some members were no longer with them. The core group of original performers had long since left the group, and others had come and gone, as well - some through death (like Fudgie Kaye), and others to seek other careers.

Forty years later - where has the time gone - they were still performing, while many of their contemporaries are either in retirement, or disbanded.  Lou's love for music remained and passionate as ever.  But along the way, he had also discovered a new passion - Golf.  Something no one would have ever figured him for.  He not only became an avid golfer, he was pretty good.  He was so good that he wanted to start a Senior Musicians Golf Tournament. He had also begun exploring his artistic skills, and hand done some nature paintings.  He had a particular fondness for birds, and would sit and watch them interact.  

His love of jazz led him to start his own jazz combo, called LUJIMIKE' - a combination of the his name and the two musicians - Jimmy and Mike, who played with him.  When the group was not on tour, they would play in some of the small clubs in and around Los Angeles.  They also had appearances on local TV and Jazz radio shows.

L-R Ricardo "Doc" Wilson & Lou Wilson sporting their "Mandrill Beards"

Philly Dell East August, 2011

Photo by Gloria Dulan-Wilson

In 2010 Mandrill celebrated their 40th anniversary.  And, while it was such a milestone for them all, it got little, if any notice in the media, except for this wonderful bio write  up:

"Clearly one of the most important pioneers of World Music and one of Funk and R&B's most progressive bands, MANDRILL is one of the most sampled groups of today. They have been introduced to a whole new generation of younger fans who are appreciating, in live concerts and through Internet access, the power and artistry of this band.
You can hear their signature sound on Kanye West's "Two Words" with Mos Def from Kanye's Grammy Award-winning College Dropout album as well as on Brandy's single "Talk About Our Love" featuring and produced by Kanye West from her Grammy-nominated Afrodisiac album. Other samples include Shawty Lo's' "Dey Know", KRS One's "For Example," Black Eyed Peas "Weekends," Floetry's "Have Faith," Wyclef Jean's "You Say Keep It Gangsta," Tweet and Missy Elliot's "We Don't Need No Water," Kindred's "If I," and Nas' "U Gotta Love It."
Their most recent project MANDRILL LIVE AT MONTREUX (DVD/CD) includes interviews, behind the scenes footage and a photo gallery, in addition to the 90-minute concert recorded in Switzerland at the prestigious Montreux Jazz Festival in Stravinsky Hall. MANDRILL LIVE AT MONTREUX is the very first "live" presentation of the legendary Funk/R&B/Latin/Jazz/Rock band and features a compendium of MANDRILL's greatest hits. The CD captures the raw magic for which MANDRILL is known with 10 electrifying tracks, unmatched in power and versatility, including classics "Fencewalk," "House of Wood," "Peace and Love" and others. Viewers are treated to bonus musical surprises on what is sure to become a collector's item. The concert CD is one of MANDRILL's finest albums. Both the CD and DVD are available on the official website at www.mandrillis.com and in stores worldwide. The DVD is currently featured on BET J's "Club J Concerts" (a division of the Black Entertainment Television Network).
On their"seventeenth" album, MANDRILL continues to promote positive messages of peace, harmony and social justice. This CD will reflect the full spectrum of MANDRILL, featuring the Wilson Brothers, innovators and composers of "Mango Meat," "Ape Is High," "Git It All," "Rollin' On," et al. It will definitely contain the booty shakin' fun and funk to which fans have grown accustomed. Additional collaborators include the great Gerald Albright and Chuck D of Public Enemy among others.
Still touring the U.S. and abroad, the Wilson Brothers remain the driving force behind MANDRILL. The current band is fueled by a new generation of multi-talented musicians including Marc Rey, Keith Barry, Michael Beholden, Gemi Taylor, Stacey Lamont Sydnor and Eli Brueggemann."

The Mandrill group of the 21st Century was totally different from the group that initially started out with them.  This equally talented entourage that has joined the group is part of what could be called Mandrill's musical dream team - Marc Rey, Keith Barry, Michael Beholden, Gemi Taylor, Stacey Lamont Sydnor and Eli Brueggemann - taking what is already great to extraordinary.

For the Mandrill aficianados, Lou wrote most of the lyrics and of course the music that made Mandrill famous "Fence Walk," "Mango Meat," "Hang Loose," "Land of the Golden Baboon," "House of Wood," "Git It All (Shake Some Boody)," "Polk Street Carnival."   These were standard in almost all of  their performances.  But starting in 2000,  but something new was  added in the form of Spoken Word artist, the One Sun Lion Ra (Rais Wilson,  our son; who has been making a name in his own right).  He started traveling with his dad and the group, after having graduated from North Carolina A&T in Greensboro, NC.

R-L: Ric Wilson, One Son Lion Ra (our son), Lou Wilson, Carlos and Philly Radio Hostess

L-R:  Gloria Dulan-Wilson, Adiya Wilson (daughter) Lou Wilson

This addition  brought about a mix of the old (old?) with the new that has  kept Mandrill a multigenerational  favorite.  From snippets of their music heard on countless albums from those who have bitten off their unique sound to augment their own, Lou's unique flavor of Afro/Latin/Caribbean/Soul/R&B/Classic beats makes their work come alive.

As stated earlier, Lou ate, slept, and breathed music.  He was either beating out a new rhythm, recording a sound he had heard  and thought would be good for a new piece; or taping lyrics onto his pocket tape recorder to see how they would fold into his next song.  He would be up til the wee hours of the morning playing his trumpet, his keyboard (Fender Rhodes I gave him for his birthday back in the 70's; or playing his congas.  We were both incorrigible night owls - and he was definitely at his most creative then.

He was also a consummate educator, and loved to teach - especially young children - new things.  The grandfather of seven (yes we have seven grandchildren), he was always coming up some new concept to share with them, as well as with the children of his nieces and nephews - and any other child he came across in the community.  

And while he loved traveling to Morocco, Spain, Venezuela, Europe, and the rest of the world, blowing their mind with his music, to Lou, there was no place like home - and home to him was Brooklyn, NY.  He could name each and every street, nook and cranny in Brooklyn and tell you what was there, or who lived where.  They had performed at Von King Park, Prospect Park, and other sold out venues. 

Brooklyn was home sweet home.  One of his best, life long friends was JiTu Weusi.  They stayed in contact all their lives, and actually passed away within a few short months of each other.  Ironically, they both share the same birth dates, but JiTu was 5 years older than Lou.  JiTu was calm, Lou was energetic - they were both geniuses in their own right, and they both had a great deal of respect for each other.

Lou, to me, was absolutely awesome.  I had never met a brother so self contained, creative, self expressed, but not egotistical about it.  Not that he didn't have his challenges.  But it goes with the territory, when you're dealing with geniuses.

And, by extension, Mandrill is awesome and the world knows it. That's why they've remained the standard bearers of true unvarnished musical pleasure over the years. Fans from Philly - their Iother favorite place to perform - would line up for tickets weeks in advance.  It's been said that Philly is Mandrill territory, and I've come to believe that it's true.  Whenever they arrived in Philly, the city would roll out the red carpet - they were on practically every radio and TV show; the West Oak Lane Street Festival would feature them every year, if they could.  The Dell East had standing room only crowds.  Likewise, DC, Atlanta, California, Detroit, Texas, among others come to concerts with their original Mandrill Albums, holding them lovingly in their hands, treasures from the 70's and 80's. 

But what really warmed their hearts was the standing room only crowd at BB Kings in NYC, when they performed there in August of 2011 - which, as it turned out, was their last East Coast Tour.  The management stated that no one had ever packed the house like that.  It was amazing - Ken "Spyder" Webb, Vaughn Harper, Gary Byrd, and tons of artists and fans from their youth were there to welcome them.  (Even some of Lou's old girlfriends that I beat out Black in the day, showed up.  I didn't remember them, but they remembered me.)  

Mandrill music is spectacular - like my man!   I defy anyone to still listening to Mandrill music, and not be up and dancing on your feet - unless of course you are made of wood, and I've even seen wood vibrate in resonance to the syncopation of their unrelenting, unmitigated musical onslaught.  

You can check out the music and his genius for yourself:

1. .Play VideoMandrill "Mango Meat" Montreux Jazz 2002
2. .Play VideoMandrill "Fencewalk" Live Montreux 2002
3. .Play VideoMandrill "Mandrill" 1971
4. .Play VideoMandrill - Get it All (Live)
5. .Play VideoMandrill "Fencewalk"1973 Rare Funk Footage
6. .Play VideoMANDRILL - PECK YA NECK

More Mandrill Music videos

Fans from the Caribbean, Africa, Europe know every lyric of every song they ever sang and sing along with them in the audience. They turned them out in Montreaux, and are still talking about it. Often fans would bring their tambourines, cow bells and other instruments, or just drum on the table while the group is on stage jamming. They can't help it!   In fact, when we were on tour in different states, Lou would have impromptu jam sessions in our hotel room, and would have people playing cups, plates, glasses or bottles, using the back of a spoon or the thick handle of a knife to bring out the musical sounds. 

A prolific writer, composer, arranger, musician, vocalist,  the following are some of the albums produced by the group, of which most of the songs and music were originated by Lou:

• 1970: Mandrill
• 1972: Mandrill Is
• 1973: Composite Truth
• 1973: Just Outside of Town
• 1974: Mandrilland
• 1975: Solid
• 1975: The Best of Mandrill
• 1976: Beast from the East
• 1977: The Greatest (with George Benson)  
•            On the Life of Muhammad Ali (the film soundtrack - including Ali Boombaye & others)
• 1977: We Are One
• 1978: New Worlds
• 1980: Getting in the Mood
• 1981: Energize
• 1981: The Warriors ("Echoes In My Mind"
•            (with Luther Vandross) film soundtrack
• 1992: Rebirth
• 1997: Fencewalk: The Anthology
• 2000: The Ultimate Collection
• 2001: Peace and Love (EP for the 911 victims)
• 2001: Driving While Black and Brown
• 2002: live at montreaux
• 2004: Pre-nuclear War Blues (single)
• 2004: Sunshine (single from the movie Civil Brand)
• 2009: untitled featuring "ablessing" (tribute to Barack Obama
•          “Spirit Of Hiroshima” “We Gotta Get It (Right This Time),”
•            collaborators including George Duke, Gerald Albright, & Chuck D
• 2012   Sunny The Snowman (single with animation)

 The last major piece Lou wrote was  a Christmas Song for Children, entitled Sunny, the Snowman.  He worked so hard on that piece, constantly upgrading it, making sure the tune and the message were right, and appropriate for children of all ages.  He even did the drawing and animation himself.  He had planned to have it released on CD for Christmas of 2012, but when the production plans didn't come together, he and Ric decided to put it online and make it available free as a Christmas gift for children everywhere.  He emailed me the link on Christmas Eve of 2012 and asked me to post it on my Blog.   Of course, by that time it was late for Christmas.  But here it is in time for Christmas/Kwanzaa 2013, as a last gift from My Honey.   Cut and paste into your browser:

HAPPY HOLIDAYS from MANDRILL. Please CLICK & PLAY or DOWNLOAD our new video, "SUNNY THE SNOWMAN," as a GIFT to YOU.  Feel free to SHARE THIS GIFT with friends & family.  The WILSON BROTHERS--Lou, Ric, Carlos & Wolf--wish you PEACE & LOVE and NEW BEGINNINGS this Holiday Season.

http-::vimeo.com:56184545.webloc 1K   Download

 Lou Wilson was dripping with soul out of every cell, nerve, fibre, every pore of his being;  and Mandrill's music remains to this day the Best Jam you ever spread your bread on!!! 

His sudden passing has left a hole in my heart and in our family the size of a Mac Truck.  We are each coping in our own way, as we approach this, his 72nd Birthday, knowing that this will be the first year we won't have him here among us to give him love, greetings, and load him up with his favorite Doozy Cartoon birthday cards.  I know I should say that his spirit is still with us in his music, and his energy that is generated through our children and grand children.  And I'm working on that.  

So I will just close by saying:

"Happy Birthday, Tall, Dark and Chocolate! You are much loved and much missed by us all.  But I can just see you up there with Mom and Dad, my Dad, Gil Scott Heron and Jitu Weusi, talking philosophy and music  Our children are well, our grandchildren are beautiful - and because they all have a little piece of the best of you they are creative, loving, talented, special, precious, and smart. 

Luv4U -  Always Your Lady

Glo.W

Stay Blessed &

ECLECTICALLY BLACK

Gloria Dulan-Wilson

 

 

STAY BLESSED

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