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Ti-Coca and Wanga Nègès ‘Haïti Colibiri’ (Accords Croisés/Harmonia Mundi) 4/5

Haitian music is one of the most neglected in the area of world roots music. Previously the documentary and soundtrack album from film director Jonathan Demme some twenty years ago now and an excellent compilation of the ‘Rough guide to Haiti’ from Andy Kershaw more recently have been among only a handful of releases to inform an international audience about what is happening currently in Haitian music. There has been a good deal of new and re-issued music via aficionados of the larger Haitian diaspora community in the United States, but this has been strictly limited to local communities there. It is therefore a great bonus to have a new release widely available to a European audience and one from a band soon to grace the concert stage here as part of an appearance at this year’s Africa Oyé festival in Liverpool on the weekend of 19/20 June. Ti-Coca, the lead vocalist and his group Wanga Nègès were formed in 1976 and combine elements of some of their musical neighbours, in particular a more laid back variant of the Dominican merengue rhythms and Afro-Cuban percussion. Indeed there are many connections between Cuban and Haitian music with Haitian choir music surviving in the east of Cuba to this day. Here the pan-Caribbean stew has been expertly channeled into a cohesive musical dish with lyrics in Haitian Creole. The album works well as a whole, but key tracks include ‘Benita’, ‘Apantè’ and possibly most compelling of all the lengthy Cuban-influenced ‘Pè Bawon’. Ti-Coca’s raspy vocals compliment the sweet sounding pared down instrumentation of accordeon, banjo, double bass and various percussion. The group were in fact discovered almost fifteen years ago when travelling musicologist and filmmaker Charles Najman and local guide came across the group playing in the Haitian countryside, about two hours from the capital Port-au-Prince. Ti-Coca and Wanga-Nègès promise to be one of the surprise hits of the Africa Oyé festival. Catch them if you can, or indulge yourself in some gloriously rootsy Haitian country music. Excellent recording sound and extensive bi-lingual sleeves notes to provide some historical backdrop to the group and the individual songs. Tim Stenhouse

African Diaspora

Idrissa Soumaoro ‘Djitoumou’ (Lusafrica/Syllart) 5/5

In addition to the wonderful re-issue programme of classic 1970s music, the Syllart label occasionally releases some quality new recordings with Mandekalou and Kékélé standing out in recent years. This latest project produced by Ibrahim Sylla is the third album by Malian bluesman Idrissa Soumaoro, the last one being some seven years ago. The singer-guitarist has enjoyed and benefited enormously from a long and varied education that includes a period studying Braille musicography at the University of Birmingham. Indeed Soumaoro has constantly shifted between educational duties on the one hand and being a musician on the other. In 1996 he became Inspector General of Music at the Ministry of Education in Bamako and has even received the high distinction of being awarded the Knight of National Order in Mali. It should come as no surprise, then, that such a broad-minded individual would come up with an extremely diverse album that takes on board a plethora of influences from other African nations and beyond. These include Congolese rumba, Mandingo, Chicago and soul-blues as well as Malian traditional music genres. The sheer variety of sounds is quite breathtaking. Long-time fans of acoustic Malian music will salivate at the haunting instrumentation and gorgeous female vocal accompaniment on ‘Awnitié’, an album highpoint for sure, while the opening song, ‘Aou bè di?’ with hypnotic n’gnoi riffs and delicious vocals will recall Bassekou Kouyaté at his very best. Where this album’s real strengths lie, however, are in the take on Chicago blues on ‘Sigui ka fô’ with harmonica, or the laid back soul-blues of ‘N’tériou’ that is so authentic that even James Carr would feel at home here. Guest musicians include one of the last appearances in the recording studio of Ali Farka Touré on ‘Bèrèbèrè’ and vocals from fellow Malian singer and songstress Kandia Kouyaté on the 1970s Cuban feel of ‘Femmes, je vous salue’, with due homage paid to the women of Mali. Clearly Idrissa Soumaoro is as much a musicologist and evidence of this can be found on the dramatically tense track, ‘Bô kolo’ that features a variety of African instrmuentation and percussion that takes on board North African bendir and darbouka and West African cabassa. Among band members French multi-instrumentalist François Bréant impresses on bass, organ and keyboards more generally. Expect this to be one of the most played African albums of the summer. An absolute delight from start to finish. Tim Stenhouse

African Diaspora

Various ‘Soca Gold 2010’ (VP) CD + DVD 3/5

Soca in the twenty-first century has developed into something quite distinct from its rootsier cousin calypso and has now taken on elements of Brazilian samba in its use of percussion, reggae DJ toasting and modern programming beats. Nonetheless underneath all this the roots of soca are still bubbling underneath. This well balanced selection covers all angles. The opener, ‘Barman’ by Rikkai Jai typifies the positive, uplifting rhythms on offer and is a tale of everyday social life which soca makes a virtue out of highlighting. In contrast the highly melodic ‘Work it’ by Patrice Roberts is far more traditional in outlook and is one of the best songs on the compilation. A heavy reggae dancehall influence is evident on ‘Party hard’ by Donae’o which is a repetitive, yet infectous number complete with pared down instrumentation. Elsewhere good time vocals are to be found from Edwin Yearwood on ‘Carnival on my mind’ while soca queen Alison Hinds weighs in with some sweet vocals on ‘Gimme de juh juh’ with no pulling of the punches in the lyrics department. Slightly disappointing is the socafied version of the reggae song, ‘Hold you’, by Gyptian that does not really work and the breakneck speed of ‘Huntin’ ‘ by Roy Cape featuring Maxx. I defy anyone to dance to and keep up with this pace! As a bonus comes a DVD that provides a snippet inside view of the Trinidad carnival earlier this year along with music videos of some of the musicians featured on the CD. All in all a package bound to appeal to the contemporary soca fan.  Tim Stenhouse

African Diaspora

Joe Gibbs ‘12” Reggae Discomix Showcase vol 4’ (VP) 4/5

Another terrific selection of original 12” vinyl slabs from the Mighty Two production line, this time focusing on the years 1979 and 1980. By this time the impact of disco was at its height, though about to take a sharp nose dive. Two songs from the era pay homage to the late Michael Jackson with Derrick Lara providing a rendition of ‘Don’t stop ‘til you get enough’, which is at a faster tempo to suit the reggaefied beat and a misguided take by Ruddy Thomas on ‘Shake your body’, a hit for the Jacksons, but in truth ill-suited to the reggae format. However, there is some classic roots reggae with Junior Byles’ ‘Dreadlocks time’ over a classic Studio one riddim a winner all the way and sounding much earlier than 1979. Equally Dennis Brown is in fine form on ‘Your man’ with the honey-toned vocals soaring over the bouncy rhythm. A real find and quite a rarity are the superb harmonies of Earth and Stone on ‘Why girl’ which is the equal of anything the Gladiators or the Mighty Diamonds recorded from the same period. There are some soulful covers with Hortense Ellis impressing on a cover of Ann Peebles’, ‘I can’t stand the rain’ and George Nooks revisiting the Spinners classic, ‘Working my way back to you’. A precursor to the dancehall era is to be found with Wade Bremmer’s, ‘My love’, while lovers rock fans will appreciate the grooves of ‘Sky juice’ by Hugh Griffiths. Something for everyone on this excellent value seventy-five minute sampler of the Mighty Two songbook. Tim Stenhouse

African Diaspora

Joe Gibbs ‘12” Reggae Discomix Showcase vol 4’ (VP) 4/5

Another terrific selection of original 12” vinyl slabs from the Mighty Two production line, this time focusing on the years 1979 and 1980. By this time the impact of disco was at its height, though about to take a sharp nose dive. Two songs from the era pay homage to the late Michael Jackson with Derrick Lara providing a rendition of ‘Don’t stop ‘til you get enough’, which is at a faster tempo to suit the reggaefied beat and a misguided take by Ruddy Thomas on ‘Shake your body’, a hit for the Jacksons, but in truth ill-suited to the reggae format. However, there is some classic roots reggae with Junior Byles’ ‘Dreadlocks time’ over a classic Studio one riddim a winner all the way and sounding much earlier than 1979. Equally Dennis Brown is in fine form on ‘Your man’ with the honey-toned vocals soaring over the bouncy rhythm. A real find and quite a rarity are the superb harmonies of Earth and Stone on ‘Why girl’ which is the equal of anything the Gladiators or the Mighty Diamonds recorded from the same period. There are some soulful covers with Hortense Ellis impressing on a cover of Ann Peebles’, ‘I can’t stand the rain’ and George Nooks revisiting the Spinners classic, ‘Working my way back to you’. A precursor to the dancehall era is to be found with Wade Bremmer’s, ‘My love’, while lovers rock fans will appreciate the grooves of ‘Sky juice’ by Hugh Griffiths. Something for everyone on this excellent value seventy-five minute sampler of the Mighty Two songbook. Tim Stenhouse

African Diaspora

Romain Virgo ‘Romain Virgo’ (VP) 4/5

Here is a brand new vocalist only twenty years of age, but with a vastly promising future ahead of him if this first offering is anything to go by. Singer-songwriter Romain Virgo lays down some socially conscious lyrics and elsewhere some lovers tunes and perhaps being born in the parish of St. Ann, which just happens also to be the birthplace of one Bob Marley, has something to do with it. In fact Virgo could well go on to occupy Freddie McGregor territory especially when hearing catchy songs like ‘Live mi’ life’ and ‘Wanna go home rain is fallin’ which is a surefire contender for a hit single. Social worries of present day life in Jamaica are alluded to on ‘Mi cann sleep’ and on the duet with Etana, ‘Who feels it, knows it’ which is a tale of finding it hard to make ends meet. Not everything is essential on this just over sixty minute CD, but a good deal will stand the test of time and being produced by Donovan Germain certainly helps matters. Romain Virgo clearly has a gift both for songwriting and for uncovering a catchy hook and this will stand him in good stead for the future. Mark this singer out as one to look out for in the near future.  Tim Stenhouse

African Diaspora

Jazz-inspired themes or albums devoted to Africa by U.S. musicians

Top Thirty

01. Sun Ra ‘Nubians of Platonia’ (virtually all reperotire African inspired)
02. John Coltrane ‘Africa Brass’/’Dakar’/’Liberia’ (Impulse/Prestige)
03. Max Roach ‘Freedom Now Suite’/’South Africa Goddamn’ (Imp)
04. Art Blakey ‘African Beat’/’Night in Tunisia’/’The Witch Doctor’ (BN)
05. Ahmed Abdul Malik ‘ Sounds of Africa’ (New Sounds)
06. Randy Weston ‘African Cookbook’/’Uhuru Africa’/’Blue Moses’ (Atl/CTI)
07. Gil Scott Heron and Brian Jackson ‘Johannesburg’ (Arista)
08. Miles Davis ‘Tutu’/’Amandla’/’Nefertiti’ (Columbia/Warners)
09. Archie Shepp ‘Cry of my People’/’Song for Mozambique’
10. Count Ossie and the Mystic Revelation of Rastafari ‘Tales of Mozambique’
11. Abbey Lincoln ‘Africa’/’African woman’
12. Duke Ellington ‘Fleurette Africaine’/’La plus belle africaine’
13. McCoy Tyner ‘Little Madimba’/’African Village’ (BN)
14. Hank Jones and Cheick-Tidiane Seck ‘Sarala’ (Gitanes/Verve)
15. Roy Ayers and Fela Kuti ‘Africa, Centre of the World’ (Wrasse)
16. Joe Henderson ‘Afro-Centric’ (Milestone)
17. Art Farmer ‘Mau Mau (Prestige)
18. Oliver Nelson ‘Afro-American Sketches’
19. Joe Zawinul and Salif Keita ‘Amen’ (Universal) (produced by Zawinul with Wayne Shorter and Carlos Santana so worthy of inclusion)
20. Eric Dolphy ‘Burning Spear’
21. Count Basie ‘Afrique’ (Doctor Jazz)
22. Ahmad Jamal ‘Swahililand’ (Imp)
23. Horace Silver ‘Cape Verdean Blues’ (BN)
24. Steve Coleman ‘Motherland Pulse’
25. Chico Freeman ‘Kings of Mali’
26. Paul Gonsalves ‘Cleopatra feelin’ jazzy’ (Imp)
27. Herbie Hancock and Foday Suso ‘Village Life’ (Columbia)
28. Charles Tolliver’ On the Nile’ (BN)
29. Lee Morgan ‘Afreaka’ (BN)
30. David Murray ‘In memory of Jomo Kenyatta’

Single artist compilations

01) Franco ‘Francophonic. Franco et le TPOK Jazz’/Francophonic vol. 2’ (Sterns)
02) Bembeya Jazz National ‘The Syliphone years. Hits and Rare recordings’ (Sterns)
03) Miriam Makeba ‘Mama Afrika’ (Gallo)
04) Thomas Mapfumo ‘Singles Collection 1977-1986’ (Zimbob)
05) Soul Brothers ‘Jive Explosion’ (Earthworks) and ‘Rough guide to the Soul Brothers’ (World Music Network)
06) Oum Kalsoum ‘Oum Kalsoum. The Legend’ (Nascente)
07) Soul Brothers ‘Rough Guide to the Soul Brothers (World Music Network)/’Jive explosion’ (Earthworks)
08) E.T. Mensah ‘Day by Day’ (Retro Afric)
09) Balla et ses Baladins. The Syliphone Years’ (Sterns)
10) Mosese Fan fan ‘Belle Epoque’ (Retro Afric)

Classic 1980s/1990s albums

01) Cesaria Evora ‘Miss perfumado’
02) Salif Keita ‘Soro’
03) Youssou N’Dour ‘Immigrés’
04) Ali Farka Touré ‘The river’
05) Bhundu Boys ‘Shabini’
06) King Sunny Adé ‘Juju music’
07) Orchestra Baobab ‘On verra ça’
08) Khaled ‘Sahra’
09) Cheikh Lô ‘Ne la thiass’
10) Africando ‘Volume 2’

Idrisaa Soumaoro

IDRISSA SOUMAORO album Djitoumou (2010) « Djitoumou », is an inventive album whose influences range beyond Mandingo blues to Congolese rumba, Eastern music, folk and country.

Idrissa Soumaoro’s keen gaze, great eloquence and natural kindness are immediately apparent. The singer-songwriter has done much outstanding work in the field of Malian song and has partnered Ali Farka Touré, Salif Keïta and Amadou & Mariam among others. Although Idrissa is unfailingly talented, recordings of his music are extremely rare. He has released only three albums over his forty-year career!

While he may not be a household name internationally, he is a key figure in the history of Malian music, which is why Rokia Traoré, president of the 2004 Découverte RFI award jury, backed the nomination of Soumaoro for his second album, Kote. She wanted the achievements of the legendary personality of Malian music to be rewarded and recognised worldwide. Seven years later, a new album - Djitoumou, produced by Ibrahima Sylla and released by Lusafrica - underlines the immense talent of singer-songwriter Idrissa Soumaoro.

Pepe Soup

West Africa Ep vol.1 is a journey into the sound of west Africa. This Ep contains 3 tracks produced by Pepesoup, the afrotech/ uk funky duo from Italy/Liberia. The first track “agogole” performed in nine minutes freestyle by Miss Annie and Moustapha, is a deep Afro sound inspired by a traditional song of Senegal which talk about responsability and respect. All human beings must be treated with honour and regard, without distinction of any kind. The second tune called “baifal Rhythm” is a classic tribal dj tool which contains a djembe live session play by Moustafa Mbengue. Baifal,the African fathers of rastafarianism living under Gorée Island.The third Track, Uoka, has a message that transcends the power to make one dance and the message that says “just dance”, calling us all to the dance floor to come together as one.The message is an absolute “invitation to the dance of life”; Listen to this Ep!! feel the west african vibes.. For Full information contact

Various ‘Next Stop… Soweto vol. 3. Giants, Minister and Makers: Jazz in South Africa 1963-1984’

2LP/2CD (Strut) 5/5

The relationship that South Africa with jazz is one of its best kept secrets and yet at the same time one of its greatest musical assets. From the township jazz of the 1950s through to the emigrant musicians of the 1960s and 1970s who made their name in the United States and Europe such as Hugh Masekela and Dollar Brand, and on to a new generation in the 1990s and beyond typified by the late Bheki Meseleku, South Africa has played a significant role in the development of jazz internationally and has been by far the most active player on the African continent. This superbly researched and generous compilation covers three decades of instrumentals and uncovers a few gems in the process. It is important to realise how much recorded jazz actually arrived in South Africa via the ports and many of the premier American labels (Blue Note, Impulse, Prestige) were available to purchase and were widely played on the radio, if too expensive for the average person in
the townships. Little wonder, then, that South African musicians were acutely aware of the major new stars of modern jazz and positively soaked up their influences. A fitting homage to two titans of the saxophone, John Coltrane and Wayne Shorter, is found on the glorious piece, ‘Dedication (to Daddy Trane and Brother Shorter)’ by the Mankuku Quartet which, weighing in at a lengthy ten minutes, is arguably the compilation’s most impressive number. Saxophonist Mankuku features once more on another track with Coltranesque hues, ‘Spring’ by the Chris Schulder quartet. If the rest of his music is this good, then one would welcome an individual compilation of Mankuku’s work. Equally of interest is the echoey piano and more generally hypnotic feel of ‘Itumeleng’ from Batsumi that includes flute and saxophone solos.

In general if one had to find a common denominator for the music on offer, then it is that the compositions are highly melodic and seamlessly fuse jazz with local sounds such as mbaqanga basslines and gospel melodies. The short opening piece, ‘Sibathathu’ by the Malombo Jazz Makers illustrates this point abundantly with catchy guitar riffs, flute solo and even a talking drum. Percussive hypnotism might be one way to describe the expressive flute and guitar riffs on ‘Sangoma’ by Malombo. Meanwhile afro-funk influences are discernible on the number, ‘Joy’, by Spirits Rejoice. With fine brass ensemble work, this could easily be an obscure American independent label from the 1970s.Big band flavours are one aspect of South African jazz that is sometimes forgotten. The great Chris McGregor recorded a great deal of music outside his native country, but here with the Castle Lager Big Band offers an uplifting and bristling with urgency composition entitled ‘Switch’ that reminds one of McCoy Tyner. Far less well known are the Allen Kwela Octet and their piece, ‘Question mark’, which is a 1970s style big band in an altogether funkier vein with lovely soprano sax work. One unreleased item is a long and winding untitled number from South Africa’s finest pianist, Dollar Brand/Abdullah Ibrahim, and his immediately identifiable sound here reveals gospel influences on piano with as always a simple melodic riff over which he solos. This all adds up to true voyage of musical discovery that is simply indispensable. Collectively, the three volumes make up an irresistable slice of South Africa’s rich musical heritage and, perhaps, they will eventually be condensed into one anthology.  Tim Stenhouse

Lusanda Spiritual Group ‘The Collection’ 2CD/DVD (Gallo) 4/5

The mass popularity of gospel is a phenomenon that typifies modern South African music. Singer-guitarist Lucinda Mcinga first came to prominence with a mixed male and female choir in the mid-1990s and has since gone on to become the premier gospel singer in the country alongside Rebecca Malope. Gospel music here has soaked up African-American influences, but has its own distinctive flavour and this explains why gospel music can be found in South African jazz, mbaqnaga and soul. The excellent package brings together two recent albums, ‘Abanye Bayawela’ and ‘Umoya Wenkosi’ with an overview of their work on DVD ‘Ixlongo’ which covers the group indoors (primarily inside churches) and in outdoors setting to the backdrop of the South African countryside, all but one song being in Zulu. Many of the songs are sung a capella, but there is instrumentation from bass, drums and keyboards. Only on a couple of number does this hinder one’s appreciation of the harmonies with a somewhat undignified disco-style accompaniment. Otherwise this is exemplary modern gospel as evidenced on ‘Egameni lika jesu’ (DVD and actual screen titles differ and without an understanding Zulu, it is difficult to appreciate why). If Ladysmith Black Mambazo whetted your appetite, then Lusanda Spirtual Group successffully update both the sound and message.  Tim Stenhouse

Various Artists - Far Out Futebol Brasil

Various Artists - Far Out Futebol Brasil (FARODIGI40)

1. Grupo Batuque - Umbabaraumba
2. Sabrina Malheiros - Connexao
3. Grupo Batuque - Brasileiros e Ingleses
4. Grupo Batuque - Na Cadencia Do Samba
5. Azymuth - Roda Piao (Spiritual South remix)
6. Grupo Batuque - Ole Ola (Fauna Flash Remix)
7. Grupo Batuque - E Ruim (ZeroDb Remix)
8. Grupo Batuque - Do Anything (Jaime Anderson Remix)
9. Leo Gandelman - Abertura
10. Grupo Batuque - Na Batida do Agogo
11. Azymuth - Carambola
12. Grupo Batuque - Torcida do Flamengo
13. Arthur Verocai - Tudo de Bom (Tudo De Domu Remix)
14. Leo Gandelman - Dops

Sibongile Khumalo ‘Live’ (Gallo) 4/5

Here is a singer worthy of international attention who hitherto has been something of a success within South Africa, but largely unknown outside. Born into a musical family in Soweto in 1957 with a music professor for a father, Sibongile Khumalo enjoyed a liberal cultured upbringing and one where she studied drama, dance and violin as well as singing. Nonetheless she graduated with a B.A. in music. After a debut album devoted to celebrating the indigenous music of her nation, Sibongile began to focus on her love of jazz and recorded a whole album in this genre for her second release. The live performance on the present recording is from a 2007 performance at the SABC auditorium in Cape Town with a quartet featuring guitarist and female vocalists to embellish the harmonies while daughter Shannon Mowday guests on saxophone and Tshepo Mngoma on violin. Vocals are mainly in English, but with the odd song in Zulu. Stylistically, Khumalo lies somewhere between a jazzier Anita Baker with hints of Carmen Lundy, though Zimbabwean born (but South African resident) Dorothy Masuka has clearly been a seminal influence on her work. What is fascinating to the international jazz listener is that virutally the entire repertoire is from what one could justifiably call the South African songbook and this opens up a whole new world of compositions for lovers of vocal jazz. The opener ‘Ntyilontilyo’ is a wonderful mid-tempo number sung in Zulu that lends itself to the jazz idiom and Hugh Masekela’s ‘Woza’ continues in the same glorious vein. Khumalo really starts to stretch out on songs such as ‘Joy finds you’, an album highlight and on the be-bop inspired, ‘Sunday blue’, while ‘Thando’s groove’ serves as a pretext for the singer to embark upon some wordless vocals. Elsewhere the lovely harmonies of ‘Mayibuye’ impress, an extended twelve minute rendition of ‘Little girl’ with daughter Shannon soloing on saxophone, and a fine melody of 1950s hits including those of the Manhattan Brothers and Dorothy Masuka that seamlessly segues three classic songs into one another. It is to be hoped that more of the Sibongile Khumalo back catalogue will become available and accessible to an international public. This recording places her very much in the lineage of not only of Masuka, but also Sathima Bea Benjamin, cult vocalist and wife of pianist Dollar Brand.  Tim Stenhouse

Cafe South Africa

Various - Cafe South Africa (3CD)
Shebeens, Savannahs And Township Jazz

In today’s South Africa you need to relax. So pull up a stool, sit down and order yourself a beer. That taxi ride you just took? Forget about it …

Because here are some of South Africa’s best-kept secrets, the artists and music that matters. New or classic, jazz or acoustic, in town or on safari: a unique and genuine South African blend that, once heard, is never forgotten.
Union Square Music

Tony Allen - Black Voices Revisted

For the Black Voices album 10th Anniversary Reissue Comet presents the new video clip produced by Edouard Salier and “Black Voices Are Everywhere a film made by Eric Trosset Featuring Tony Allen, Clip Payne, Mudbone Cooper…

Listen to the album

Various - ‘Next stop Soweto. Vol. 2. Soul, Funk and Organ grooves from the townships 1969-1976’ 4/5

Continuing the exploration of classic South African grooves from the past, this second volume is devoted to the more soulful and funkier side of the nation’s music during a relatively short period spanning the late 1960s through to the mid-1970s. Black South Africans were heavily influenced by musical developments in the United States and the likes of James Brown, Booker T. Jones and the Stax sound and the organ genius that was Jimmy Smith all weaved their spell over musicians across the Atlantic. One major omission immediately needs to be pointed out. By far the most successful South African group who fused soul and mbaqanga genres, The Soul Brothers, are missing and their absence, especially given their excellent 1970s 45s, is all the more baffling. That aside, this selection is well balanced and covers a mix of well known and totally unfamiliar names. Of the former the Mahotella Queens are extremely popular, but here are heard in a different funkier guise on ‘Wozani makipi’. As ever their soulful vocals impress. Only slightly less popular are the Mgababa Queens with lovely lead vocals over a simple guitar riff and drum beat on ‘Akulalioa Soweto’ which is a stand out track.  A catchy song that sounds as though it could easily be the soundtrack to a South African cricket programme comes in the form of ‘Shortman’s soul’ from the Down Tones.

African funk flavours from the mighty Fela Kuti were not ignored at the time and his influence, particularly in the use of keyboard and drums, is evident on Philip Malela and the Movers’, ‘Intandane Pt.1’. Several instrumental groups aped the Stax MGs formula and unsurprisingly they copied the same type of group titles too. Thus American sounding names such as the Klooks, the Anchors and the Movers (the latter fused soul and marabi music with plenty of horns thrown into the mix) all appeared and then quickly disappeared in quick succession. Often these were released locally on limited 45s and have never been heard outside the townships, let alone the country or African continent. The recordings are of varying quality, but among the better examples are the Soul Prophets’ ‘Soul “Imbaq”’ which is a lovely laid back jazz instrumental with funk guitar riffs. Only one artists features twice on the compilation, Philp Malela and the Movers, and on ‘Tiba Kamo’, the group’s brand of psychadelic guitar, vocals and saxophone solos combine to good effect. Overall a well researched and pleasurable insight into a much ignored sub-genre of South African music.  Tim Stenhouse

Miriam Makeba ‘South Africa’s Skylark’ 2CD (Nascente) 4/5

One of the true giants of African music and certainly bearing comparison with the likes of Aretha Franklin and Nina Simone as key voices of the twentieth century, Miriam Makeba has enjoyed a lengthy career spanning over six decades. Little wonder, then, that even as generous a timed compilation as this one can only really scratch the surface of such an illustrious musical journey. Compiled by Phil Meadley, who does an excellent job of featuring some of the classic as well as lesser known songs, this selection compares favourably with the ‘Mama Afrika’ double CD that came out on South Africa’s premier Gallo label a year ago. While there is inevitably some overlap, fans of Makeba will certainly want to own both. The first CD on the new selection focuses both on the more traditional repertoire that Makeba sang earlier in her career and her tenure of the Manhattan Brothers group. For the latter a trio of excellent songs capture the joyous flavour of the era and include ‘Baby ntsore’ and ‘Ntyilo ntyilo’. After the Sharpville massacre in 1960, Makeba’s passport was revoked and consequently she spent thirty years in exile, with most of the 1960s spent in the United States. Consequently her songs became more politically oriented and three excellent examples are highlighted here with ‘Soweto blues’, ‘Murthala’ and ‘Talking and dialoging’, all reflective pieces on the destructive nature of the apartheid regime. Miriam in fact famously provided a testimony against apartheid at the United Nations. By the end of the 1960s, Makeba moved to Africa and the first CD ends with a couple of her recordings from Guinea (this period is captured in full on the superb CD ‘The Guinea years’ via Sterns) of which ‘Teya teya’ and ‘L’enfant et la gazelle’ are outstanding.

The second CD covers the funkier and soulful side to Makeba’s repertoire from the 1970s onwards with ‘Samba’ and ‘Malcolm X’ surprisingly upbeat. The song ‘Quit it’ is an obvious attempt at replicating American southern soul and succeeds on all fronts. Now it is frequently covered by newer artists such as Malian Rokia Traoré. All the classics are on such as ‘The click song’ and ‘Pata pata’ and ‘Kilimanjaro’, all of which put Makeba on the international map and one of the very first world roots artists to appeal to a wider audience. A listing of the recording dates would have enhanced the listener’s appreciation and enabled them to better situate individual songs in the wider spectrum of the singer’s career. Otherwise, for anyone wishing to start with a selection of African singers, Miriam Makeba is one of the key pillars around which to build any serious collection.  Tim Stenhouse

Various ‘South African Funk Experience’ (Nascente) 5/5

The decade of the 1970s witnessed a vibrant and diverse music scene in South Africa at a time of great political and social turbulence and ‘South African Funk Experience’ goes some way to enlightening us on the myriad styles that were born and developed during the period and beyond. Of course some of the big names are highlighted with the Mahotella Queens and the Soul Brothers (re-issues on CD of the latter’s classic albums would be especially welcome) being obvious examples with the latter’s ‘Bayola’ being an uplifting soul number with mbaqanga backbeat. Some of the most interesting songs are new discoveries. Pride of place goes to the rootsy guitar and vocals of John Bhengu, better known as Phuzushukela (zulu for ‘Sugar drinker’), who delivers a hypnotic groove on ‘Intombi ibhinca isidwaba’ that reminds one of a South African equivalent of Ali Farka Touré. Soul and jazz-funk come together on another new name, Teaspoon and the Waves and ‘Oh yey Soweto’, seemingly inspired by Lamont Dozier’s ‘Goin’ back to my roots’ and featuring a lovely trumpet solo from Ted Nduluka. Elsewhere there is music from the border with Mozambique from J.J. Chanke and the Tiyimeleni Young sisters on ‘Madyisa mbitsi’, the dancefloor novelty of ‘Hula hoop jive’ by Kataki and early 1980s slow burning funk grooves. It is certainly true that this excellent compilation covers as much territory as it possible to do so in a one CD format with disco, soul, funk, gospel, jazz and jive all included on a near eighty minute selection. Jazz is by no means under-represented with several cuts of key musicians. Chris Mc Gregor and big band are featured on the glorious percussion and piano vamped piece that is ‘Andromeda’, featuring UK horn players Alan Skidmore and John Surman. Many South African jazz musicians sought exile in the UK and thus some of the tracks were recorded here. Dudu Pukwana’s ‘Bhloyi’ from 1973 and Gwgwi Mrwebi’s ‘Lily’s express’ are particularly fine pieces of jazz. Funkier jazz surfaced from the mid-1970s and is an indication of the extent to which South Africans were aware of developments in the States. Dick Khoza’s ‘African jive’ and Malomba’s ‘Sangoma’ are examples of this fusion hybrid. Extensive sleeves notes (plus original album covers) with detailed notes on both the general musical genres and the individual artists and songs greatly enhances our understanding of what was happening during the 1970s and early 1980s and will inspire some to seek out further examples. As the sleeve notes rightly point out, no one CD could ever claim to definitively capture all the flavours of such a musically rich and diverse nation. Nonetheless this compilation is an essential starting point to investigate in more depth at your leisure.  Tim Stenhouse

Randy Weston with the Splendid Master Gnawa musicians of Morocco

Circa 1993 Randy Weston toured the UK performing with The Master Gnawa Musicians, and what a gig it was in Birmingham.

Featuring the marvelous Stafford James on bass, we managed to track down a broadcast from Birmingham and now you can listen to the concert on UK Vibe in all its glory.

Listen here

Randy Weston African Rhythms with Alex Blake

Dick Jewell on Africa and Football

Special thanks to Dick Jewell - for more on the man please head over to our Interviews page…

Africa Oye Festival

Africa Oye Festival to be held on 19th/20th June in Liverpool’s Sefton Park

Saturday 19th June
Boukman Eksperyans – Haiti
Les EspoirsDe Coronthie – Guinea Conakry
TheGangbe Brass Band – Benin
Ti Coca – Haiti
VictorDeme – Burkina Faso

Sunday 20th June
AndrewTosh – Jamaica
CarlouD– Senegal
Les FreressGuisse – Senegal
Michael Rose – Jamaica
The Rasites – UK
To’Mezclao – Cuba

Africa Oyé is the UK’s largest free celebration of Africanmusic and culture and takes place annually in Liverpool. Beginning in 1992 as a series of small gigs in the city centre, the event has gone from strength-to-strength, moving to its present Sefton Park home in 2002 to cope with demand. Now in its nineteenth year, Africa Oyé continues to grow.

In 2009 the event attracted an audience of over 20,000 people and even more are expected to attend Oyé 2010.

Knitting Factory

http://www.knittingfactoryrecords.com/artists/fela-kuti

Soul Brothers ‘Thul’ubheke’ (Gallo) 4/5

It was some thirty-five years ago that one of the most loved groups in South Africa was formed, the Soul Brothers. Originally a four piece outfit in 1974, there are now two of the original members, singer David Masondo and keyboardist Moses Ngwenya, who continue to maintain the high standard of quality material. The formula is simple, but irresistible. Fuse the hammond organ of Booker T. Jones and Jimmy Smith with soulful harmonies in Zulu and mix this with the local mbaqanga grooves on bass, drum and guitar. Add in some Stax-inspired brass from time to time and you have a winner of a product. It should come as little suprise, then, that the Soul Brothers have become one of the best selling artists in South Africa and are especially famed for their live performances where the tight, enthralling sound they produce recalls the classic 1960s tour of the Stax label and more specifically the dynamic duo that was Sam and Dave. For an overview of the band, consult the top tens, but for their latest take on the tried and tested sound, you should check out this brand new album. Immediately compulsive are the opener and title track with pumping bassline and distinctive hammond organ and the mid-tempo percussive groove of ‘Intonat Enjani?’. For seasoned listener, this song will be reminiscent in part at least of the instrumentation of the Bhundu Boys albeit with a beefed up percussion here. All songs are in Zulu and this release, like most on the Gallo label, is aimed fairly and squarely at a South African audience and as such makes no concessions whatsoever. You are getting the authentic sounds that a knowledgable South African music aficionado would listen to. Glorious harmonies abound on ‘Ishay Izule’ and there are call and response vocals on the excellent ‘Mzala’ which features the catchiest of grooves and the band in full swing. An excellent album that confirms the premier status of the Soul Brothers in the pantheon of South African music.  Tim Stenhouse

Zen Badizm

The vinyl hits the shops...http://www.juno.co.uk/artists/Ig+Culture/

Fred Fisher Atalobhor

Fela Ransome-Kuti

Afro Beat Nirvana

Segun Bucknor

Tony Allen

Music to Kick-Off Celebartions

Getty ImagesFIFA and Control Room, a leading producer of global music events, today announced the first performing artists for the inaugural FIFA World Cup™ Kick-Off Celebration Concert. Alicia Keys, Amadou & Mariam, Angélique Kidjo, Black Eyed Peas, BLK JKS, John Legend, Juanes, Shakira, The Parlotones, Tinariwen, Vieux Farka Touré and Vusi Mahlasela will take to the stage at Orlando Stadium in Soweto/Johannesburg on the eve of the opening match of the first FIFA World Cup™ on African soil. Further talent announcements will follow.
Billed as the greatest entertainment show to date in Africa, it will feature performances from major international musicians and African artists, as well as appearances by football legends past and present and celebrities from other fields. This historic music event will take place in front of a capacity stadium audience of 30,000 will be broadcast to hundreds of millions more worldwide. It is scheduled to begin at 20.00 local time (GMT+2) on 10 June.

“We are thrilled to have a concert of such magnitude and performing talent raise the curtain on the first FIFA World Cup in Africa. It is testament to the universal and unifying power of football and music, and will start the competition off on the right note – of celebration,” said FIFA Secretary General Jerome Valcke.

FIFA has selected Emmy Award-winning producer Kevin Wall and his company Control Room to organise and produce the concert. Control Room has masterminded some of the world’s biggest and most complex events, such as Live Earth 2007, which featured 150 artists performing on seven continents over the course of 24 hours to raise awareness of climate change.
“We believe sports and music transcend cultural, language and geographic barriers, and through the official FIFA World Cup Kick-Off Celebration Concert, we will present the sights and sounds of unity and celebration for an unforgettable, must-see experience,” said Wall.

All net proceeds from the concert will be donated to 20 Centres for 2010, the Official Campaign of the 2010 FIFA World Cup South Africa™, whose aim is to achieve positive social change through football by building 20 centres across Africa offering education and healthcare services as well as football training to disadvantaged communities.

Ticket information
Tickets for this once-in-a-lifetime concert can be purchased as of today, either online at http://www.computicket.com or by telephone on (27) 083 915 8000. Tickets are priced at ZAR 450 (Outer Circle standing), ZAR 650 (Inner Circle standing), ZAR 850 and 950 (Upper Level seated), and ZAR 1,150 (Lower Level seated). Ticket prices include VAT, Computicket charges and Park & Ride for all

Analog Africa

Analog Africa on MySpace

By kind permission - © Analog Africa

Pictured: 1st Bike from L to R:
Melome Clement, Sharpp Make (Nigerian trompet player)
2nd bike - Theo Blaise Kounkou + unknown

By kind permission - © Analog Africa

Pictured: Melome Clement, Tidiani Koné, Koutouan Ossey Theodore, Vignere Lucien

By kind permission - © Analog Africa

Pictured: Loko Pierre, Tidiani Koné, Koutouan Ossey Theodore, Melome Clement

17th African Film Festival New York

May 13th, 15th, 16th, 28th-31st
Walter Reade Theater, Columbia University, Creative Time,
New Museum, BAMCINEMATEK
WEBSITE

Senegal 2010

Senegal Celebrates 50th Anniversary of Independence, Launching of Statue of the African Renaissance.

I was honored to be included in a delegation of 100 mainly African-American leaders in civil rights, the arts, scholarship, business, Africa-focused NGO’s and the media on a trip to Senegal to attend the celebration of the country’s 50th anniversary of independence and the public launching of the monumental statue of the African Renaissance. We flew by chartered plane from New York City on Thursday, April 1st, and returned that Sunday night. Our delegation included civil rights leaders Julian Bond and Reverend Jesse Jackson Sr. (whom everyone in Senegal seemed to know by first name and want their picture taken with), the leadership of the NAACP, and many others. Jazz pianist, composer and legend Randy Weston and multi-platinum Senegalese-American R&B singer and rapper AKON, represented the performing arts. This visit was the brainchild of Senegal’s Djibril Diallo who wears many hats, including Senior Advisor to the Executive Director of UNAIDS and Chair of the U.S. Leadership Committee for the World Festival of Black Arts (FESMAN) to be held in Dakar in December 2010.  Story by Sean Barlow at AFROPOP

John Armstrong presents:

John Armstrong Presents South African Funk Experience

Released 14th June

ALBUM LAUNCH - 16th June:
LIVE! The South African Funk Experience Band feat celebrated Capetonian tenor Frank Williams and Incognito’s Richard Bailey plus DJ John Armstrong
+
South Africa vs Uruguay (match to be shown on giant 15x10ft screen)
9.30pm - Midnight. Admission free
35-47 Bethnal Green Road
London E1 6LA
020 7613 7498 / http://www.richmix.org.uk

With the eyes of the world focussed on South Africa for the 2010 World Cup along comes a timely taste of South Africa’s respected musical culture, put together by a man who knows his Zulu Jive from his Mbube.

John Armstrong Presents South African Funk Experience’ is a blistering snapshot of the richness and diversity of black South African dance music in the late 70s and 80s. Club and BBC Radio 2 DJ John Armstrong was one of the first outside South Africa to play this music, at his Saturday night sessions at the legendary Bass Clef club, Hoxton, throughout the 80s and into the 90s - so all cuts have been extensively tried and tested over the years (by 80s regulars Mr and Mrs Hugh Masekela among many others).

John’s selection is culled partly from the Gallo catalogue and its many subsidiaries and associate labels, and also from the many small independent labels that sprang up in Europe and elsewhere in the wake of the waves of expatriate SA musicians and producers. Quite a few of the tracks have had to be carved afresh from original vinyl sources because of long-lost masters so many are appearing on CD for the first time!

These songs tell the forgotten story of the music that rocked the shebeens, brothels and bars of Soweto and the notorious migrant camps – Zulu, Shangaan, Mbqanga, deep funk, spiritual jazz workouts and more.

It may not be Funk as we know it. But funky it sure enough was, is, and will always remain so…

Miriam Makeba

South Africa’s Skylark – double CD
Compiled by Phil Meadley

Released by Nascente on 21st June

“South Africa’s Skylark” shows that Miriam Makeba was not only arguably the first world music superstar but also a socially-conscious artist on a par with the likes of Nina Simone & Marvin Gaye. CD1 features her classic traditional performances – folk ballads and swinging South African jazz - whilst the potent funk, jazz & soul on CD2 reflects her pivotal involvement in, and commitment to, the civil rights, anti-apartheid & Black Power movements.

Miriam Makeba was a remarkable woman: a civil rights activist, mother and grandmother but above all a musician – becoming the first black African woman to win a Grammy Award (which she shared with Harry Belafonte in 1965).  She had five husbands, survived health scares and family tragedies, was exiled from her beloved South African homeland, courted controversy in the US by marrying Black Panther leader Stokely Carmichael (after divorcing fellow South African legend, Hugh Masekela) and made a string of hugely popular singles and albums from the fifties right through to the nineties.

“South Africa’s Skylark” takes the listener through the musical journey of Miriam’s life. With timeless traditional numbers and classic standards such as ‘ Pata Pata’ and‘ The Click Song’ Miriam’s Afro-pop edge has been represented alongside her edgier, funkier side with poignant and extremely soulful civil rights songs such as ‘Soweto Blues’, ‘Murtala’, and ‘Talking & Dialoging’. There are also several tracks from her years as an exile in Guinea, when she was recording for the government-sponsored, but pretty damned cool, Syliphone label.

With English language tracks and excellent covers of Jorge Ben’s ‘Mas Que Nada’ and Buffalo Springfield’s ‘For What It’s Worth’, as well as songs from the Guinea years and back-to-roots albums, ‘Sangoma’ (1990) and ‘Homeland’ (2000), her sheer versatility and open-mindedness is highlighted. 

Scratch the surface and you quickly discover that there was far more to her than ‘Pata Pata’ and ‘The Naughty Little Flea’. As she said in a later interview for an American publication: “I love to watch other artists. I learnt a lot from watching the microphone enunciations of artists such Carmen McRae, Dinah Washington and Frank Sinatra. I think you never stop learning until the day you die.”

Although suffering from health problems including osteoarthritis, Miriam continued to perform wherever she was wanted. “Everyone keeps calling me and saying ‘you have not said goodbye to us!’” - she said at the time. And it was that on stage in Naples that she died. She was there singing at a concert in memory of six immigrants from Ghana that had been shot dead, allegedly by one of the city’s mafia-style syndicates. She suffered a heart attack after singing her biggest hit ‘Pata Pata’, and the outpouring of emotion around the world as news spread as palpable. She was 76 years old. She was, and will forever be, a much-loved entertainer. Not for nothing was she known throughout the world and across generations as “Mama Africa”. 

New Album Out Soon

Adidas Gazelle Africa

Bisso Na Bisso ‘Africa’ (Upasure) 3/5

Congolese rap group Bisso Na Bisso came to prominence just over a decade ago with an internationally acclaimed debut, ‘Racines’, that successfully fused Congolese rumba harmonies with the influences of American rap, but sung in French and Lingala. Their lastest recording aims at expanding their repertoire with a whole host of guest artists from Africa and beyond. They include Angélique Kidjo, Khaled and Manu Dibango among others. A potential contender for a single to promote the album is the soulful groove of ‘Pas de différence’ featuring Christophe Maé on lead vocals which briefly samples Queen’s ‘We are the champions’.The song pleads for greater tolerance in an increasingly diverse multi-ethnic society. Several singers contribute to ‘We are Africa’, the first single off the album, which, as it’s title might suggest, is very much an attempt at repeating the success of the ‘We are the world’ formula. Among the singers involved are Cape Verdean star Mayra Andrade, Papa Wemba, Algerian rai singer Cheba Fadela, Les Nubians and Angélique Kidjo. Perhaps where conscious lyrics work best with musical melodies is on ‘Même combat’ which displays a wider awareness of the larger struggle for the African diaspora outside the African continent. This is reinforced by the guest appearance of Jamaican reggae singer Sizzla on the song.  Overall it has to be said that elsewhere on the album’s songs the lyrics verge on the overly sentimental with a heavy influence on American rap and ideally the group would have benefited from some Congolese instrumentation. Nonetheless the album is aimed at a relatively young crossover audience rather than a world roots one and will probably find favour with the former who will be enticed by the French lyrics and Cobgolese approach to the rap genre.  Tim Stenhouse