New Music From Africa

By Marc Bruner

Two of my very favorite African artists - Oliver "Tuku" Mtukudzi of Zimbabwe and Habib Koite of Mali - have released new albums.

Tuku's new disc, Tsimba Itsoka (which means "No Foot, No Footprint"), is a beautiful collection of songs, but it also conveys an important message: As one reviewer explains, Tuku's "gentle and positive music" calls on listeners "to consider the impact of their behavior, how we each have a personal role in making the world a better place, and how we all choose what marks we leave behind." I just saw him perform live and he explained that while the message may sometimes be difficult, the goal of his music is to beautify and to bring friends together. The show was awesome, and a testament to Tuku's enduring ability to create great new songs and to captivate fans from around the world.

Habib's new album, Afriki, his first studio release in six years, is also filled with fantastic music and meaningful songs. One reviewer calls it "one of the most beautiful and intricately layered acoustic records of the year," while another explains that Habib "is using this album to try and awaken people to the challenges facing Africa." It's another superb disc and I can't wait to see him live (again!).

As I see it, there's as much new and exciting music coming out of Africa today as anywhere else on this planet - so be sure to check out these new albums from two of Africa's most talented and beloved artists.

Authenticité: Great Music From Guinea

By Marc Bruner

This awesome two-disc compilation of early Guinean classics is filled with exceptional creativity, great guitar jams, and endless good vibes.

"Authenticité" refers to Guinea's state-sponsored program to establish national and regional orchestras to promote authentic Guinean culture in the wake of the country's newfound independence from colonial rule. As RFI Musique explains:

"Guineans celebrated the dawn of a new era in 1958, waking up to their newly won independence. But once the celebrations had died down, President Sékou Touré was faced with a harsh reality. After years of French cultural influence, the former colony had totally lost touch with its musical heritage and its own cultural roots. When President Touré wished to organise a grand musical gala in Guinea, he had to call in ET Mensah, the Ghanean king of high-life, because no local group had ever developed a repertoire based on traditional home-grown songs and rhythms."

"In a bid to turn this disastrous situation around, President Touré instituted a government initiative based on reviving authentic Guinean culture and creating a popular style of Guinean music by modernising tradition. President Touré saw in this cultural initiative a vital means of forging an all-important sense of national pride amongst his compatriots."

Perhaps ironically, the music is actually a vibrant blend of Guinean traditions with a variety of foreign instruments and influences, including Ghanian highlife, Cuban rhythms and Congolese rumba. The result, according to All About Jazz, is "magical and transporting," music that is "the best of both worlds."

The two+ hours of Authenticité powerfully captures the golden age of Guinean music. As the Matsuli Music blog explains: "Times like these can't last - and they didn't. But while they did, the party was jumping and the music was glorious." For all you African music fans out there, Authenticité is a vital addition to your CD collecton.

We Were Lucky To Have Him

By Marc Bruner

This is a very sad day for world music. Lucky Dube, an icon of both the South African and reggae music scene, was tragically killed on October 18 in an attempted car-jacking outside Johannesburg.

He achieved tremendous critical and commercial success over his long and prolific career -- and deservedly so. His music is filled with gorgeous melodies, but it also conveys important political, social and moral messages. He made many worthwhile albums, put on a captivating live show, and had a huge and loyal following throughout Africa and among music fans worldwide.

I've long been a huge fan of reggae music and in my college days I was fascinated with African reggae artists such as Lucky Dube, Alpha Blondy and Sonny Okosun. These artists were some of my earliest introductions into the broader world of African and World music. I have particularly fond memories of my old cassette tape of Lucky Dube's "House of Exile"--one of his classic albums that I could never get enough of. My car stereo could never play it loud enough.

It's sad to think of how he was senselessly cut down in the prime of his life. The world has lost a vital and beautiful voice. We'll miss him deeply and we'll always remember the wealth of great music he has given us. We were lucky to have him.

More on Lucky Dube from National Public Radio (USA), Leopard Man, Wikipedia and All Music Guide.

Stop The War with Afrobeat

Chopteeth hosts FUNK FOR PEACE event

The Rock And Roll Hotel
Washington, DC

Friday, October 19th

Show supports Iraq Veterans Against the War
With special guests Head-Roc and DJ Nitekrawler

Chopteeth Afrofunk Big Band hosts “Funk For Peace” on Friday, October 19th at The Rock And Roll Hotel. Two dollars of every ticket sold will go to the DC Chapter of Iraq Veterans Against the War. Veterans will be at the show to provide first-hand information from Iraq.

“If we leave it up to the politicians, our troops in Iraq are never going to come home,” says Geoff Millard, President of the DC Chapter of Iraq Veterans Against The War (IVAW). “So we have to make it happen. We have to take charge of our democracy and end the war. IVAW is not waiting for an election to end the war.”

Funk For Peace will be an opportunity to get down with some of the most exciting dance music DC has to offer, while at the same time supporting expanded veterans benefits and a withdrawal of US soldiers from Iraq.

Chopteeth’s 14 musicians will deliver their celebrated blend of Afrobeat, West African funk, highlife and rumba. Hailed as “one of DC’s funkiest bands” by Washington Post music critic David Malitz, Chopteeth’s music is infused with the peace-and-justice spirit of Nigerian human rights activist and musician Fela Kuti.

Chopteeth will be joined by Head-Roc, the Mayor of DC Hip Hop, known for his positive, politically-conscious message as well as his profound groove. DJ Nitekrawler will also be spinning his special selections from his ridiculously wild funk, soul, and afrobeat dance party.

The Rock And Roll Hotel is located at 1353 H Street NE, Washington, DC 20002. Contact The Rock And Roll Hotel at 202-388-7625. The show is for all ages and doors open at 8:30PM. Admission is $12.

Can't make the show? You can still make a donation to The Iraq Veterans Against The War.

Renaissance of World Music

By Robert Fox

Music fans and collectors these days are enjoying an unprecendented heyday of music from around the world.

The causes are many: the growth, stability and increasing sophistication of online music sources such as Calabash Music, Rhapsody, iTunes, etc.; the collapse of the traditional business model of record production in the US and other industrialized countries; the widespread availability of inexpensive digital technology for recording; more reliable international distribution of CDs.

All of these factors combine to help decentralize control and distribution of music, which encourages niche markets--including "world" music in many countries--instead of polished commercial pop, rap, infotainment, etc. Let the (musical) good times roll!

At the same time, countless blogs along the lines of this one provide outlets for music cultists, addicts and obsessives. Previously, we only bored our friends and families with chronic listening, collecting, discussing, opining. Now there's a worldwide audience!

And the music spreads...

The Boston Globe ran a thoughtful article this week which reviewed the amazing expansion of the market for "world" music in the US and internationally. It includes positive mentions of many recordings we've covered here on the AfroFunk Forum, and also highlights the explosion of interest in Afrobeat as a factor in the growth of the world music market:

A recent spate of astonishing world-music compilations, many from
countries often associated more with political unrest than rocking out, have
expanded the musical globe, filling in what were once blank spots on the map.
With eyes and ears opened by groundbreaking prior releases, inquiring minds want
to know: What does Burmese pop sound like? And what happened in Brazil after the
Tropicalia movement had its late-'60s run?
Music made outside the borders of the United States and the United Kingdom has long been a presence in American record stores, primarily African and Brazilian music. But in recent years, the level of interest in exotic world music has increased sharply. The music industry's split into dozens of small niches has helped to create a market of highly informed, adventurous music fans who - like the film buffs who spent the 1990s embracing movies from Taiwan, Iran, and China - seek fresh sounds, whatever their provenance.
Plus, the influence of well-regarded world releases such as the "Ethiopiques" series of Ethiopian rock and jazz and the rerelease of influential Afrobeat pioneer Fela Kuti's albums have helped to generate a hunger for more of the same...
Having heard Fela's "Original Sufferhead" or Luaka Bop's collection of
Brazilian music, "Beleza Tropical," eager music fans now ask, "Is there more
like this?"...
And there's plenty to choose from, including such recent compilations as
"The Roots of Chicha," "Brazil 70: After Tropicalia," "¡Gózalo! Bugalu
Tropical," "Thai Pop Spectacular," "Colombia! The Golden Age of Discos Fuentes,"
"Molam: Thai Country Groove From Isan, Vol. 2," "Cult Cargo: Grand Bahama
Goombay," and "Sí, Para Usted: The Funky Beats of Revolutionary
Cuba."
African music - including the crystalline pop of "Authenticité: The
Syliphone Years," "Bokoor Beats," and "Belle Epoque 1: Soundiata" - is still a
staple of compilations this year, but its ubiquity has been supplanted by other,
less-familiar destinations. Some, such as "Thai Pop Spectacular," skew toward
the campy end of the spectrum, while others, including "Sí, Para Usted," lean
toward the scholarly side, offering detailed liner notes and a brief explication
of the music's roots in Fidel Castro's revolution and the Cuban government's
monetary support for music schools and musicians.
With the surge of world-music compilations, the need for expert talent
scouts who can sort the diamonds from the dross grows ever greater. Now that all
the world's music is available, who will tell us what is truly worthwhile?
"Music has become very cheap in a way because everybody has an
iPod with 7,000 songs, which are not organized," says Conan. "I think anybody
who does the work of putting together a playlist with some sort of identity and
cohesiveness will get noticed."

What Would Fela Do?

By Robert Fox

Today is Fela's birthday, and he would have been 69 years old. What would he be singing about now?

No doubt he would include many of the same themes that he addressed during his lifetime: the ongoing exploitation of Africa in general and Nigeria in particular by the wealthy and powerful, from London to Lagos, Washington to Kinshasha; the sorrowful indifference of the governments in industrialized nations to the poverty, inequality and suffering their development models bring to much of the world; the madness of the war in Iraq; the unending massacres in Darfur and Congo.

I think Fela would certainly still be addressing the agonizing persistence of torture and inhumanity in prisons around the world, as a victim of military brutality himself. And I hope he would have eventually turned his immense charisma and musical power toward addressing AIDS prevention and education.

What kind of music would Fela be playing now? That's an interesting question. Given the changing trajectory of his music over the years, from jazz to highlife to funk to Afrobeat, I think it's safe to expect that he would have taken his music in new directions. The resurgence of Fela's popularity in recent years would presumably have given him a broader worldwide platform than ever.

Perhaps he would have moved to include hip-hop in his music, maybe adding a wider variety of collaborations, something along the lines of the Red Hot and Riot project? Maybe a step towards tighter grooves and melodies, e.g. Tony Allen's "Home Cooking?" Experimenting with remixes along the lines of Manu Chao or my new favorites from the neighborhood, the Fort Knox Five? Maybe Fela would have gone back to his roots in hard bop jazz and headed in the direction of current jazz-funk heros like Christian McBride or Galactic? Possibly he would have come to work more Latin influences into his music, like so many other West African musicians of his generation--think Ozomatli, Yerba Buena or Grupo Fantasma?

However, it's rare that popular music artists substantially change stylistic direction once they reach a certain age. It seems like many find a form that works for them artistically, musically and/or financially and they stick with it, although exceptions do stand out, such as John Coltrane, Miles Davis, John Zorn or Lou Reed, not to mention a more recent favorite of mine, P.J. Harvey.

But maybe Fela would have gone back to the old-school Afrobeat that he invented and no one has ever topped? So for Fela's birthday, check out the Birth of Afrobeat from this priceless live footage of Fela and Africa 70, from Ginger Baker's 1971 Africa documentary--any doubt who is in charge of this band?:

Another Malian Diva Breakthrough

By Marc Bruner

In May 2006, we did a piece on Kokanko Sata, who broke new ground by playing the n'goni, an instrument traditionally reserved for men. Well here's another important breakthrough in Malian music - Bimogow, recorded a couple of years back by Madina N'diaye.

She's a wildly talented musician and singer, who has further challenged the past, and created a new future, by mastering the kora, THE emblematic instrument of hereditary male tradition. The music is gorgeous, radiant and powerful - and a testament to the growing recognition that women can claim and carry forward their musical tradition as ably as their male forebearers.

She was trained by kora master Toumani Diabate, but she puts her own unique and beautiful mark on the age old music of the "griots." Bimogow is a stunning accomplishment, overcoming not only the long formidable gender barrier, but also the loss of her eyesight several years ago due to an infection. But don't listen to her music simply because she's a woman; listen to it for its remarkable virtuosity, captivating rhythms, and soaring melodies.

The recording is available on Amazon.

Super Mama Djombo

By Marc Bruner

Here's a classic from the tiny west African nation of Guinea-Bissau. Super Mama Djombo was formed in the 1960s at a boy scout camp and became a national favorite after Guinea-Bissau gained independence from Portugal in 1974. This electrifying set of music was recorded in a single recording session in Lisbon in 1980.

The music is filled with beauty and intense passion, making this album, according to Allmusic Guide, "a wonderful little slice of history" and "a vital document of one of the most important African bands of the late '70s." Robert Christgau explains the sense that these songs "needed to be sung" - and they certainly need to be listened to.

Unfortunately, shortly after this music was recorded, there was a military coup in Guinea-Bissau, which ultimately led to the breakup of the band, as it became increasingly difficult for artists and musicians to express themselves and as economic opportunities dried up. As the liner notes explain: "What are left are magnetic tapes, captured traces of a beautiful moment of effervescence. A time when imagination's free reign helped create the world around it, and dreams and real possibilities met. For just a moment, anything seemed possible."


You can listen to samples and download recordings from Calabash music, or purchase the CD from Amazon.

Akoya Afrobeat Ensemble at Southpaw Oct 4th

By Robert Fox

The dynamic Brooklyn Afrobeat squad Akoya Afrobeat Ensemble are about to bust out with a new CD! Titled “PDP (President Dey Pass),” it’s sure to plow new ground, given the massively funky groove the band has been laying down in their celebrated live shows.

Akoya features an all-star lineup of musicians, and is led by Kaleta, who spent 10 years as a singer and conga player with Fela’s legendary Africa 80 group. Kaleta also toured with King Sunny Ade, Lauryn Hill and Femi Kuti.

Characterized by smart, well-organized arrangements, giant horns and profoundly funky rhythms, Akoya hits Afrobeat hard with the fat part of the bat. The band offers up a wealth of original material along with new interpretations of Fela classics. I’ve been a fan for years, and it’s great to witness the ongoing success of the group.

Definitely check out Akoya's website for the preview tracks from the new CD---these tunes demonstrate the dense, booty-shaking groove that you’ve come to expect from Akoya: JéJé L'Aiyé, B.F.B.F., Oluya and Fela Dey.

And if you live in the New York City area, don’t miss the big show that Akoya Afrobeat Ensemble has planned for this Thursday, October 4th at Southpaw in Brooklyn. They’ll be joined by DJ Nickodemus (of Turntables on the Hudson) and it’s guanteed to be a memorable evening.

You can also pick up Akyoa’s first CD here. Titled “Introducing Akoya Afrobeat Ensemble,” it’s highly recommended!