IA11 Liner Notes and Story by Gira Dahnee (aka LeAndra).

Ben LaMar Gay isn't just a creative force; he’s also a beacon for young minds. Through his multifaceted instrumental talent, he connects deeply with children, guiding them to discover their unique sounds. I've seen him work his magic with adults too, unlocking melodies that speak to the heart. It's a beautiful blend of creativity and mentorship, illuminating how music can transcend age and experience. I’m one of those adults.

When Ben sees the light in others, he feels a profound responsibility to nurture that light. As a friend of his, I am thankful and blessed that he follows this path because it is truly his nature to be a light in this world. I hope that as you journey through the memories and experiences of these notes you feel the love and many blessings he conveys through this piece of work.

–Thank you Ben for sharing this gift with the world– 

Introduction

Downtown Castles is a collection of songs from various times in Ben’s career. This album perfectly ties the experiences of people of African descent in the “new world,” North and South America. It speaks to our journey, love, resilience, and ability to continue to shine our light. 

As I revisit this music, eleven years down the line, I find myself reflecting on the journey that each song has taken — not just through time, but through my personal experiences intertwined with its melodies. Each song unveils layers of memories, from deep conversations to live performances, all woven into the fabric of its creation. 

Ben had a remarkable knack for understanding the delicate balance between creativity and time. Many of these songs spent their formative years waiting in the wings, recorded but not yet ready for the world to hear. He recognized that creativity is an intricate dance – the act of incubation, the expectancy of a birth. At times, the sound itself mirrors these processes, carrying the weight of waiting while simultaneously bubbling with anticipation.

This album is more than just music to me; it's a chronicle of growth, patience, and eventual release. Each listen revisits not only the songs but the moments that shape us (as a people), making this journey as much about the past as it is about the present.

My Journey Through the Album (not necessarily in song order)

Although Ben and I moved in similar circles for a time and I had witnessed him perform alongside many talented individuals, it wasn’t until I saw him give a solo show at the Bronzeville Community Arts Center — which was co-founded in 1940 by Margaret Burroughs, who also co-founded the DuSable Museum — that I was like: “Dude I know why you're in my life, we gotta do music together.” And he was just like: “OK” (LOL).  I started attending a few free jam sessions, and finally one day I remember him saying “Gira, I have some stuff I’m working on that I want you to hear, and there’s one song in particular that really needs the texture of your voice.” I was so excited! His apartment was so creative. I remember he had a room with just the computer, where he kept all his mixes, and a separate space for recording voice and other instruments. 

I remember him playing the track “Muhal.” When that beat hit, I was immediately blown away. I hadn’t heard anything like it. When we started recording, I kept getting the “oooh” wrong LOL! He was like: no it’s “oooh OOOH ooh.”  The music had to be right. He told the story of Muhal, and how much he meant to “the sound,” and the Chicago community. He said it is essential to capture the history here,  and how this song, in particular, was extremely important to him. If you don’t know Muhal, please do yourself the honor of doing some research on him and the AACM. 

After “Muhal” you can hear the rhythm of the city in “Music for 18 Hairdressers” and “Jubilee.” It feels like you are on the L train; it truly pulls from the Afro-American Jazz routes. When I listen to these two songs in particular I imagine Louis Armstrong stepping off of the train when he migrated to Chicago from Louisiana. 

NEXT STOP –  Chicago’s “juke” sound on “A Seasoning Called Primavera.”  

I absolutely love that he put this song on this album. As a matter of fact, this track hits my stomach like a good pot of gumbo, crab shala, okra corn, and ox tails! It encompasses many sounds of innovation from people of the African diaspora, all across the world, simultaneously presenting Chicago with signature contributions. 

Then the record steps back in time with the sounds of Afro-Chicagoan blend in the song “Miss Nealie Burns,” one of my favorites because it reminds me of a Black soul in North and South America simultaneously. If you are on both of those continents at the same time, the sun is always shining.  

As the moonlight drapes over the scene with the introduction of “Me, JayVe & the Big Bee” and “Uvas,”  we find ourselves enveloped in a smooth, laid-back soundscape. “Uvas” was crafted during a pivotal moment in Ben's life — the birth of his niece, serving as a lullaby that resonates with warmth and care. Listening closely, you can feel the attention he dedicates to the next generation, a reflection of his passion.

Stop! Pay your respects to the ancestors.

“Galveston” is a recording from Freddie Douggie: Live on Juneteenth featuring JayVe Montgomery (“Juneteenth: Everybody Can Have 1!”). This piece is one that resonates deeply with my soul. You can hear the prayers and the screams in this music, but most importantly the pull of this song is the heartbeat of a race of people who will never die! “Galveston” is a celebration of our freedom and our continued fight for freedom all around the world.

Next, we have two of my favorite tracks on this album "Swim Swim" and "Kunni" because of how he utilizes the texture of his voice, along with the storytelling and the mix of Samba influences. It’s just magnificent all around. I remember hearing these for the first time and being absolutely blown away.  These Blues-Samba melodies yearn for a long-lost confusing love that will help a person to grow and drown in their depths simultaneously.

Ben speaks so eloquently in “7th Stanza” about the relationship between the feminine and masculine. I particularly love his imagery of the woods; he says “the woods took a liking to the boy,” nurturing him into manhood. Here, the woods symbolize a new world - a realm where women love with caution, while boys can run wild. This song is very much about the storytelling.  The instruments glide through smooth lingering notes, much like the connection of the masculine and feminine energies. The message is clear, women beware of the fools in dem woods. 

The album takes a journey to Brasil with “Melhor Que Tem.” I had the chance to immerse myself in the beautiful film *This is Bate Bola*, a vibrant reflection of life in the community of Guadalupe, in the North Zone of Rio de Janeiro, Brasil, during Carnival. The film's original score, particularly the song “Melhor Que Tem” (Better than eerrbody), encapsulates the fierce pride and camaraderie/competition of the Bate Bola crews. One of my favorite moments of the film is when a child exclaims “Today I am happy, today I am content, I am Bate Bola, Look everyone, I am famous.” This simple yet powerful declaration exudes joy and the spirit of celebration, perfectly mirroring the essence of the song and the film.

As the album flows into “Gator Teeth,” from a collection of songs dedicated to the Southside Chicago venue East of the Ryan, we witness a seamless transition from the warmth of Brasilian culture to the soulful Blues of Chicago. This venue carries a rich history, deeply rooted in the African American musical legacy. By placing this track after “Melhor Que Tem,” Ben skillfully connects the struggles and resilience of Africans in both South America and North America, reminding us that our shared experiences of slavery and the quest for freedom birthed new forms of expression (blues, jazz, samba), each a testament to the indomitable spirit of Black Music in the New World.

To conclude this evocative journey, “Oh No Not Again” resonates as the perfect finale. It tells the story of an escaped prisoner, embodying the flowing theme of freedom. The music reminds us that nothing can chain us down again, that not even towering Downtown Castles can block our sun, for the light we each carry within is destined to shine. ✨ 

Thank you for shining your light, my friend!

Much love, 
Gira D.