Canadian Urban Music Awards Still A Step Up

Canadian Urban Music Awards Still A Step Up

By Ryan B. Patrick
Pride Entertainment Writer
Dec 7 2005

It was an evening punctuated by technical difficulties, audio gaffes and extended delays, yet, the seventh annual Canadian Urban Music Awards (CUMAs) still went on November 29, a tribute to a blossoming urban music industry.
This year marked the first time that the annual awards show, put on by the Urban Music Association of Canada (UMAC), was split up into a two-night affair. This year’s awards were handed out in 25 categories – at either a dinner on November 28 or at November 29’s “live” recorded-for-TV show – running the urban music gamut from reggae to gospel.
In particular, the event made a good stab to showcasing genres outside of hip hop and R&B.
Show host and comedian Russell Peters’ lethal improv kept the crowd in stitches at the November 29 event, which featured standout performances by Divine Brown, a rousing “greatest hits” medley by rapper Maestro, and performances by R&B diva Jully Black, Fito Blanko, ending with a typically energetic set from “Everyday Rudebwoy”, Kardinal Offishall.
This year’s big winner was Toronto’s own Divine Brown.
The R&B/soul vocalist, who has been experiencing national success with her debut album, picked up New Artist Of The Year honours, along with winning in the R&B Recording Of The Year category for her hit single, “Old Skool Love”.
Another huge victor was hip hop’s k-os, who nabbed Songwriter Of The Year and The Fan’s Choice Award.
In a minor upset, newcomer K’naan beat out k-os, Kardinal Offishall, Maestro and Rochester aka Juice to win the Hip Hop Recording Of The Year award. The Somali-born, Toronto-based rapper has been making waves lately with his single “Strugglin’”, off his The Dusty Foot Philosopher debut.
Urban music icon Farley Flex was a double winner, grabbing Media Personality Of The Year (for TV’s “Canadian Idol”), and was also honoured with a Special Achievement Award for the manager/promoter’s extensive effort in the Canadian music industry.
Yet, unfortunately, certain technical and sound issues threatened to put a damper on the event, and made the show run much longer than anticipated.
Still, most attendees noted that the show was a success, particularly in showing that the domestic urban music industry is finally maturing and proving sustainable. The show also did a tasteful job in addressing local issues, with an emotive performance by local spoken word artists and the bringing on stage of a mother whose child had been affected by violence. For spoken word to be included in the awards show says a lot about the growth of the subgenre and the overall diversity of the urban music community, said Toronto-based spoken word artist Dwayne Morgan, who won Spoken Word Recording Of The Year for “Mother I Understand.”
“What we’re doing is growing…There was a time where (one artist) dominated anything that had to do with rap or hip hop,” Morgan told Pride News Magazine. “[The CUMAs are about] having that outlet where artists can record something and know that it can be recognized. It’s definitely a good thing and something that can inspire others.”
The show also attempted to bridge the gap (so to speak) between the older African Canadian music generation and the current “urban” music scene by presenting a Lifetime Achievement Award to local jazz icon Archie Alleyne.
The legendary African Canadian drummer – who has played with such luminaries as Billie Holiday, Lester Young and Donald Byrd – has been a mainstay of the local music scene for over five decades. The musician is also an avid historian, and is actively pushing for the development of a permanent facility for African Canadian music, one that archives and promotes the contributions of local artists.
“I’m glad that my own community is starting to recognize me, which is rather important,” Alleyne told Pride News Magazine about winning the CUMA.
“Sometimes (Black) music doesn’t get the same respect as it should, as far as social contributions are concerned.”
The CUMAs are a valuable step towards empowering the community and getting the musical contributions of African Canadians acknowledged, Alleyne added, noting that, despite the technical problems the show had, the CUMAs have come so far, and he’s proud to see African-Canadians getting a platform to be recognized for their art.
“Jazz and blues are the foundations of this music,” Alleyne said. “I’m really proud of the new generation of music that is out there.”
The musician currently leads the acclaimed hard bop jazz band Kollage and operates the Archie Alleyne Youth Mentorship Program, which provides innercity students the opportunity to develop as jazz musicians, vocalists and dancers, under the guidance of professional jazz artists.
It’s incumbent on the older African Canadian generation to connect with the younger set, Alleyne said, adding, that there is a thriving community of young African Canadian musicians that need to be supported.
“We have to get rid of the gunslingers and give them an instrument to play instead,” the jazz icon said. “They’ll bring happiness, not only to themselves, but also our community.”
Other winners included Blessed (Reggae Recording of the Year for hit single, “Reggae Time”); Ranee Lee/Oliver Jones (Jazz Recording of the Year); Patricia Shirley (Gospel Recording of the Year for “Real Love”); Jully Black (Dance/Electronic Recording of the Year for “Sweat of Your Brow”); and a well-deserved win for Soca’s King Cosmos, who won for his “Island Girl” track.
“We’ve grown quite a bit this past year...There were a lot of artists that came out this year,” Jully Black told the Canadian Press. “We’re building soldiers. It’s great for the urban community.”
The CUMAs are scheduled to be televised on SUNTV on December 21.