A great compilation can open the gate to another world. Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin? Once Analog Africa released the first African Scream Contest in 2008, the proof was there for all to hear; gut-busting yelps, lethally well- drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space with the same electrifying sureness as any favourite blues or soul or funk or punk sampler you might care to mention. Like every other Analog Africa release, African Scream Contest II is illuminated by meticulously researched text and effortlessly fashion-forward photography supplied by the artists themselves. 2LP deluxe gatefold LP with 24-pages LP size booklet, also includes unlimited streaming of African Scream Contest Vol.2 - Benin 1963-1980 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more
Ein Meisterwerk. Unter der musikalischen Leitung des Saxophonisten Issa Cissoko, dessen dezente, jazzige Bläserarrangements sich durch das gesamte Album ziehen, und des Gitarristen Barthélemy Attisso, dessen hypnotische, virtuose Soli hervorstechen, wurde das Album im "Golden Baobab"-Studio in Dakar aufgenommen und dort von dem jungen Ibrahima Sylla produziert.
Die Verwendung des Affenbrotbaums, sowohl im Namen als auch in der Symbolik, unterstreicht das Bewusstsein der Gruppe für die traditionellen senegalesischen Werte, wenn sie mit denen von außen kombiniert werden, in diesem Fall mit der afro-kubanischen Musik, die in den 1960er Jahren so populär war.
Issa Cissoko: band leader and tenor saxophoneBarthélemy Attisso: lead guitarCharles Ndiaye: bass guitarPape Bâ: guitarPeter Udo: clarinetMontaga Koite: percussionThione Seck: vocalsMedoune Diallo: vocalsNdiouga Dieng: vocals and maracasBalla Sidibe: vocals and timbalesRudy Gomis: vocals
After 7 releases in 6 years, the Tramp Records crew invites you to another illuminating journey into the soulful jazz, folk and funk of the 1970s.
This 8th edition contains eighteen jazz, soul and folk nuggets from the period between the late 1960s and the late 1970s. One of the many highlights is the opening Bobby Cole track, which is most likely one of the finest independently produced vocal jazz recordings ever pressed on wax. So true. Oscar Brown Jr. and Mark Murphy send their regards. But that's just the beginning. Praise Poems Vol.8 covers a wide range of genres, from big band jazz (Helmut Pistor's Big Rock Jazz Band and Germany's Ladykiller) to psych-pop (Portraits in Sound, Harve and Charee and Allison & Shaffer), from folk-rock (Flash, Garndarf and the incredible Fang Buzbee) to AOR (The Menagerie and Penn Central), and rounds out the set with a handful of melancholic folk beauties, most notably Hans Hass Jr's stunning "What Colour is the Wind".
Very few compilation series make it to eight volumes, and those that do often run out of quality music or stray too far from their original artistic direction. This is certainly not the case with the Praise Poems series, as our team of compilers and researchers continue the search for lost and often overlooked music from a bygone era. Many of these records were released in small quantities as private pressings or by small regional labels. Obviously, these labels had neither the budget nor the know-how or the means to promote their releases extensively. As a result, most of these artists failed to reach the wide audience that their music so richly deserved.
Mokomizik Records presents the first-ever reissue of this ultra-rare Latin-Jazz masterpiece. The Fantastic Variety in the Music of Panama - The Winsor Style and Calypso Impressions was privately released in the early 1960s by Panamanian pianist and songwriter Alonso Wilson De Briano.
Alonso described Panama as a country "with a foot in each side", referring to its unique geography that connects North and South America. The blending of Latin and English-speaking cultures had a big influence on Alonso, whose work draws on elements from West-Indian, Afro-Cuban and Panamanian folk musical styles. From the upbeat mambo rhythms of "Amigo" to the unusual combination of Calypso and Tamborera styles used in "My Brother, Too," Alonso weaves a rich musical tapestry into his arrangements. Back in 50s Panama, Alonso enjoyed relative success, with the likes of Orquesta Armando Boza and Tito Contreras performing his songs. So distinctive were his compositions that people had started referring to them by their own style - El stylito Winsor (the Winsor style), a reference to a club that Alonso performed at. Throughout his music career, Alonso worked with a number of renowned musicians, several of whom appear on the record, including Cuban-Jazz pioneer Arsenio Rodríguez's main bassist, Alfonso Joseph; and saxophonist and flutist Gene Jefferson to name a few.
Sadly, not many copies remain of Alonso's music today and the few that have surfaced over the years have naturally demanded high asking prices. This limited reissue aims to shed new light on Alonso's work and make it available for a new generation of listeners to enjoy. Great care has been taken to restore this record, using quality mastering to ensure maximum listening pleasure and retaining the original artwork with lyrics and the song descriptions written at the time. Each record comes with an insert containing restored photos and detailed biography, which features quotes from a rare interview with Alonso from the 1980s along with information gathered from his family and Alfonso Joseph, the only musician we could reach who plays on the record.
Die Box Set 5 wurde von Felas Sohn, Femi Kuti, und Chris Martin (Coldplay) gemeinsam kuratiert. Das Artwork jedes der einzelnen Alben wurde akribisch und bis ins letzte Detail der jeweiligen Original-Vinyl-Pressung nachempfunden.
Das gilt auch für die Vintage Vinyletiketten.
Die Box enthält:- 7 Vinyl-LPs- Ein 20-seitiges, farbiges Booklet mit: Einführungen von Chris Martin und Femi Kuti, einem ausführlichen Kommentar zu jedem der sieben Alben von Musikjournalist und Afrobeat-Historiker Chris May; Songtexten; nie zuvor veröffentlichten Fotos von Fela Kuti; sowie Standbildern aus dem Fela-Dokumentarfilm Music Is The Weapon von 1982.- 16x24" Poster, entworfen vom nigerianischen Künstler Lemi Ghariokwu, der kreativen Kraft hinter 29 von Felas Albumcovern.
Limitiert auf 4000 Exemplare weltweit.
Afro-cuban : that term which set the world on fire, from rumba to boléro, mambo to cha-cha-cha, before salsa, that 70's spicy sauce, took over from the others. But to speak truely, since the mists of times (of slavery), both Africa and Cuba aim to vamp that umbilical cord. The most recent example, CubAfrica, a record born from the reunion of a master from Africa and this very living institution from Cuba, during a show around Albi (in the south of France) where they were both headlining in spring 1996. Manu Dibango's sax melted perfectly with the rural music of Eliadès Ochoa and his Cuarteto Patria, here's the beginning of an idea. Talking about latino music, Manu Dibango has an history with it. First, during the early 60's, from Douala to Abidjan and Paris, he was surrounded by as much cuban tempos as afro, and a lot of descarga, this typical afro-cuban jam sessions with a spicy jazzy touch, which were back in the circumstances back in the days. Later on, in the 70’s, invited in Puerto Rico by the Fania All Stars, this dreamy salsa big band at its highest, Manu dressed his anthemic hit "Soul Makossa", for a show (and then a record) of anthology. There was nothing more natural for him than diving again in the cuban bath. This time, he crossed the sound barrier with this Cuarteto Patria, a standard combo in the cuban music, founded 60 years ago and handled by Eliadès Ochoa, this master of très the ancestral cuban guitar, in 1978. He just achieved another magic meeting, the one of Buena Vista Social Club' record, next to Compay Segundo, Ruben Gonzalez and Ry Cooder. In Paris, back from Albi, an idea started to tickle Manu, Eliadès and... Gilbert Castro, boss of Celluloïd-Mélodie. They high fived each other, been agree on the repertoire and then get to Davout studio the day after. They tweak the arrangements right at the studio with the help of Ernesto "Tito" Puentes and Hughes de Courson, Lambarena' producer. In two days, everything's almost ready. Jerry Malekani, Manu's guitar player will add a few things on it. CubAfrica is a seductive guided tour around the garden of latinos' classics, with that Creole' smell. Latinos but not only cuban, this record is a walk toward mexican Cielito lindo or Cerezo Rosa, this french sweet made by André Claveau and spiced by Perez Prado. A repertoire that even newcommers are able to hum, due to such a patrimonial status, spread by Cubans and their African partner in crime, round-shaping sounds for a spontaneous result: the black continent and the Caribbean island aren't on the edge of losing the bond between them.
Manu Dibango (born 1933) is a saxophonist, vibraphonist and pianist from Cameroon. He developed his own musical style by combining jazz with traditional Cameroonian music and the popular Cameroonian dance music Makossa.He was born in Douala. Like his father, he belongs to the Yabassi ethnic group, while his mother was a Duala. As a student, he discovered jazz for himself in Chartres during the 1950s and learned to play the piano. In Reims, where he was preparing for his baccalauréat, he took up the saxophone and began performing in nightclubs, to the great chagrin of his father, who subsequently cut off his alimony in 1956.Various contracts took him to Brussels, where he met Coco, his wife, to Antwerp and Charleroi. During this time, his jazz style became "Africanized" through contact with the Congolese milieu that emerged in Belgium as a result of immigration from Zaire before and after its independence in 1960. Joseph Kabasélé hired him for his orchestra Le Grand Kallé et l'African Jazz and recorded numerous records with him, which had great success in Africa and took them to Léopoldville, where Manu popularized the twist in 1962. Returning to Cameroon, on the other hand, proved difficult and Manu Dibango went to France again.He had engagements with Dick Rivers and Nino Ferrer, big names of the time, but it was only after 1969 that he was able to continue his African successes with recordings of his own compositions.In 1972 he conquered the charts in the United States with Soul Makossa (actually the B-side of the single Mouvement Ewondo). It was the first number-one hit by an African musician in the U.S., prompting Dibango to embark on his first tour, where he made numerous contacts with black musicians in the country. Inspired by African tribal music and contrasted with European church sounds, animated by jazz and soul from America, he succeeded with the album in the opinion of the London magazine City Limits in creating "smooth, impactful dance club music with catchy saxophone dressing." He fused traditional Cameroonian rhythms, Nigerian highlife pop, Congolese folk, Latin American cha-cha-cha and funk, reggae, hip-hop and bebop jazz sounds.Soul Makossa also brought the Makossa style of music to prominence outside of Cameroon. The song is also considered by some to have paved the way for the emergence of disco music. The refrain, "mama-se, mama-sa, ma-ma-ko-ssa," was used by Michael Jackson in his 1982 song Wanna Be Startin' Somethin', and in 2006 in Rihanna's equally hugely successful song Don't Stop the Music; Manu Dibango has filed copyright lawsuits against both singers. The song was also sampled on Wyclef Jean's 1997 album The Carnival.This launched a career that made him famous worldwide. In particular, the boom of world music in the 1990s boosted his popularity and took him on numerous tours.Manu Dibango has worked with numerous musicians throughout his career, including Fela Kuti, Herbie Hancock, Bill Laswell, Bernie Worrell, Youssou N'Dour and reggae musicians Sly & Robbi
Cuarteto Patría is one of the leading musical groups in Santiago de Cuba. It was founded in 1939 by Francisco Cobas la O (Pancho Cobas), director, with Emilia Gracia, Rigoberto Hechaverría (Maduro) and Rey Caney (Reinaldo Hierrezuelo la O). The original style was traditional trova, with boleros and some música campesina (countryside music). In due course, the members and the music changed. By far the greatest change was the arrival of Eliades Ochoa, who has proved to be an inspired choice.Ochoa was invited by Cobas to become leader in 1978, and, before accepting, he got agreement to introduce new musical works into the repertoire. At that time Cobas continued with the group, and Hilario Cuadras and Amado Machado joined. Ochoa introduced the son as the staple diet of the group, and beefed up the percussion to balance the guajiro content with an African element. Even more important was his personal qualities. He is a truly outstanding acoustic guitarist, with a warm singing style. For all that, it took a long time for music lovers outside Cuba to hear about the group. In the series of albums Ochoa played an increasingly prominent part, and this was reflected in increased sales for the Cuarteto Patría albums, and in many foreign tours for the man and his group.
180g vinyl, incl. bonus CD's, Collection of recordings from one of Tanzania’s most revered but short-lived bands of the 1970s, Sunburst. Covering their entire output from 1973 to 1976, this first retrospective features music from their 45 RPM singles on Moto Moto and TFC label, as well as their sole album, "Ave Africa", and an unreleased radio session recorded in Tanzania in 1973.
This release comprises of the double vinyl and a copy of the CD version, which contains extra tracks.
A collection of super rare and highly danceable masterpieces recorded between 1969 -1981 by four legendary composers from Benin: Antoine Dougbé, El Rego et ses Commandos, Honoré Avolonto, Gnonnas Pedro & his Dadjes Band, each one of them with their own distinctive sound. Fasten your seat belt and enjoy the mind-blowing sound of Benin! - incl Mp3 download code