ukvibe

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

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

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

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 - 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

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

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

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

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

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

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.

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’

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)

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’

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

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

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

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

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

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