Ashaki
BLOSSOMING FLOWER - YOUNG ASHAKI HARVESTS A BOUNTIFUL JAZZ GARDEN

D ee Dee McNeil - June 2000 

BLOSSOMING FLOWER - YOUNG ASHAKI HARVESTS A BOUNTIFUL JAZZ GARDEN

A jazz profile by Dee Dee McNeil

Sitting in church one Sunday morning, I heard the most incredible voice. It was sweet and innocent, but full of passion. The voice was small and thin as a lily; delicate as a rose petal, yet it pushed against the walls of the Shrine of the Black Madonna with tenacity. The choir was seated and the microphone was cordless, so I couldn't see who was singing. I only heard the sweetness of that voice crying out, “Let Us Break Bread Together.” An hour later, I was standing in the fellowship hall asking a friend to identify and introduce me to the person behind that unique voice. That is how I met Ashaki.

As a new jazz vocalist on the scene, this young lady is destined for a star-studded career in the music industry. I asked how someone barely out of her teenaged years, just 22, could have such a dedicated interest in Jazz?

“Mostly from my parents and my grandmother.” Ashaki says. My granddaddy and my grandmother are like Ella fanatics! My granddaddy said at one point he was trying to meet Ella Fitzgerald so that he could marry her. “

After talking with Ashaki, I realized it's not surprising that this young woman would gravitate towards the life of a performer. After all, her entire family seems to be bitten by the entertainment bug. When most little girls were playing hopscotch and singing nursery rhymes, Ashaki grew up preferring to listen to Ella Fitzgerald and Duke Ellington at her Grandmothers' house. But she also was listening to Grandmother Mary Elizabeth Dickson-Kohlbatz, who is a fine vocalist in her own right. Back then, Grandmother Kohlbatz formed a trio with her sister and her sister's oldest daughter. They called themselves The Dickson Trio, performing locally at churches and once at Wayne State University for a Teachers' Convention. Their tight harmonies enriched everything from church spirituals and “Ave Maria:” to the popular song of the day, “My Buddy“. Little Ashaki took it all in.

She watched her Aunt Tina branch-out on her own as a singer/actress, joining the television cast as part of the Redd Foxx show and sometimes singing with the Jimmy Lunceford Band. Her mother, Ayanna Kohlbatz, also sings and today, she is a strong solo vocalist at her church. So is her Aunt Ashaki, for whom the young budding singer is named.

Ashaki's dad, Lutalo Zeigler, is also blessed in the talent department. He's been a member of several singing groups, where Lutalo sang everything from hymnals to Motown. Ashaki says she accompanied him to many rehearsals, thus her introduction to harmonies and R&B. Brother Zeigler is also an outstanding addition to the church choir (with a range from bass to high tenor). He sometimes directs the Shrine of the Black Madonna choir as well.

Ashaki's Uncle Cheo is an organist and former choir director, who studied with Mattie Moss Clark, as well as working with The Clark Sisters.

Together, this musical family combines voices to become a respected, Detroit spiritual group who call themselves, “Disciples of Joy”. They're made up of Uncle Cheo, Aunt Ashaki, her mother, Ayanna, her dad, Lutalo, Ashaki's brother, Lutalo Jr, and of course Ashaki herself. Kenneth Cole writes most of their original song material and they work all over the city, bringing a joyful sound to various churches in the community.

Ashaki says her mother used to sing her name, when she was just a toddler, one or two years old. Consequently, she grew up responding to music as a teaching tool, as well as a form of entertainment. She learned her lessons by hearing her mother sing them to her.

Ayanna Kohlbatz recognized her daughters potential early, and enrolled her in the Ziggy Johnson Dance Academy. With eleven years of dance school under her belt, Ashaki has studied everything from tap to ballet; from modern to interpretive and African dances. These dance lessons gave her a natural grace and probably helped her have an appreciation for timing and rhythm. Both are important assets to any singer when working with a band.

Following her first paid, professional job as part of the cast of the musical play “After Hours: Great Legends! Great Music!”, this mature teen found new doors opening. Several of Detroit's master musicians heard her talent and wanted to nurture it. I offered her the benefit of my experience as a performer, as did other artists such as Teddy Harris Jr., Beans Bowles, Marcus Belgrave, Don Mayberry, Director, Ron Milner, Talent Agent, Alfreda Upshaw and another Jazz Master, Harold McKinney. Her blossoming talent has begun to flower. A mere twenty-two-year-old Ashaki has already performed at Baker's Keyboard Lounge, Jada's, The Serengeti Ballroom, Absolute Tiffany's, Cafe Mahogany, The Comfort Zone and the former Dempsey's nightclub.

This Cass Tech Honor Student, a Chemical Biological Major, once thought she was going to be a doctor. Today, if she's going to be a doctor, Ashaki assured me it would only be a doctor of music. Currently writing her own songs and lyrics, Ashaki hopes to cut an album of original music. She's been in the studio with trumpet great, Marcus Belgrade Sr. and is currently enjoying gigs with the Teddy Harris Be-Bop Society, and headlining her own shows around town.

Ashaki is part of a forthcoming appearance in “Detroit Diva's and Don Juan's of Song and Poetry” July 15th, Saturday, at the SereNgeti Ballroom. This production is being billed as the Variety Show of the Year and includes a huge cast of talent.

“It's a poetry and vocalist performance,” she says. “I'm really looking forward to it.”

Listen for this sparkling, fresh voice as it sings across our city.

This article appeared in-part in the CityView African-American News

June 8 - 14, 2000 Issue © Dee Dee McNeil June, 2000

 
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