https://www.bennington.edu/academics/faculty/michael-wimberly
Wimberly was born and raised in Cleveland, Ohio during the civil rights era surrounded by the toxic fumes of steel mills buoyed by a sea of blue-collar workers. This is where Wimberly’s early beginnings in soul, funk, rock, jazz, and classical music began. Beating rhythms on the hoods of cars and boxes while dancing to the pulsating music of James Brown, Sly Stone, Funkadelic, and Aretha Franklin…the spirit of revolution was in the air.
https://afropop.org/articles/michael-wimberlys-take-on-afrofuturism
Michael Wimberly is a jazz percussionist, composer, educator and more—a bona fide renaissance man. His resume is long and varied, including a stint as musical director for the Urban Bush Women dance company, an experience that led him to Mozambique in the early 2000s. For all the music he’s created and shepherded, Wimberly has only now released an album under his own name. Afrofuturism is a remarkable, wide-ranging set of songs drawing on funk, r&b, Afrobeat, neo-soul and traditional West African music. Gambian kora maestro Foday Musa Suso, Guinean balafonist Famoro Dioubate, and vocalist Misia Dioubate are among his many collaborators. Afropop’s Banning Eyre reached Wimberly to speak about the album. Wimberly began by reminding Eyre that the two had met back in 2001, when a timbila (Chopi xylophone) musician from Mozambique, Rolando Alexandre, came to New York to work with Urban Bush Women, and wound up sitting in with the group Timbila, in which Eyre plays guitar.