Tchico - Giselle (1983)

Pambou Tchicaya Denis, better known as Tchico, came of age in Les Bantous de la Capitale, but in the late 70s left Brazzaville on a musical odyssey that would take him first to Nigeria, and then to other neighboring countries. This record captures sweet-voiced Tchico during a mid-career period in Paris, with support from a first-rate session band that included Bopol, Dally Kimoko and others.

Perhaps because of his light voice, Tchico's music seems like the champagne of rumba, not-too-serious but refreshing and pleasurable. While the cover of this album would indicate its title is the singer's nickname, excellent discographies here and here use the first track's name as the title. At one time Global Groove had this record and a treasure trove of Tchico's numerous, varied recordings. This may be a slightly cleaner version than previously available.

Enjoy!

Viva! Zimbabwe - Dance Music From Zimbabwe (1984)

Released a few years after the overthrow of the apartheid Rhodesian government, this compilation celebrated independence and the vibrant music that surrounded it. First released in Britain by Earthworks, it also introduced Zimbabwe's torrid, guitar-driven dance music to the world.

Many of the groups on this record became internationally successful and famous, including The Four Brothers, Devera Ngwena Jazz Band, and especially Thomas Mapfumo. There also are treats from Nyami Nyami Sound, New Black Montana, James Chimombe, and Super Sounds. A well-traveled record, it took a while to get the sound where I like it. It works. . .

Enjoy!

Sound D'Afrique II 'Soukous' (1982)

By the early 1980s reggae had gained a large audience in the U$, perhaps the greatest "foreign" penetration of the music market since the Cuban wave that began decades earlier. After Bob Marley's tragic death in 1981, Island Records saw an opportunity to experiment with marketing African music, which already was ubiquitous in many European urban centers.

Among the first probes were the two Sound D'Afrique  compilations of African pop. This second volume was released in 1982, and while it is not exactly a collection of soukous, it is a set of Congolese music and three songs from nearby countries influenced by rumba. What is remarkable is that none of the musicians collected was a major star, except perhaps for the very talented Pablo Lubadika Porthos. A few months after this record was released, Island unleashed King Sunny Ade's Juju Music, completely eclipsing the Sound d'Afrique records and igniting the "world music" heyday.

This album does collect the major hits from the assorted musicians, however, and it is a pleasant listen. The opening two cuts, from Central African Republic's Lea Lignanzi and Cameroon's Mensy, are sweet, and Pablo's "Madeleina" is fine. A few individual albums from these and other musicians on the album, as well as this record itself, were once available on the excellent Global Groove site.

Enjoy!

Le Grande Maître Franco et son Tout Puissant O.K. Jazz - Mario (1985)

After a prolonged silence catalyzed by flooding and extended by beginning a project to digitize my CDs, I owe you the sublime. Mario has been my favorite Franco et le T.P.O.K. album since it first appeared: A real treasure. The title track is one of Franco's major hits, but all three tracks on this album are great.

"Mario" is the perfect Madilu/Franco symbiosis, the two trading verses and both singing with incredible soul. This album was recorded during golden years where T.P.O.K. reached a pinnacle of tightness and power. Words do not really suffice.

This is a pristine pressing, so for a limited time a FLAC version is referenced in the comments.

Enjoy! 

A kind reader informed me that I had the wrong song titles for Side B on this album; I relied on an internet database because I only had the cover images with me, while I processed the sound file and post, and I mistakenly used the song titles from the first "Mario" album. It's not my first mistake, nor will it be my last. Below is a photo of the B-side label, so you can grab the correct titles.

There are a couple of YouTube videos with the band performing "Mario." Here is one I enjoyed:

Soggy Interlude

We have been having an uncharacteristic, steady succession of rain storms recently, and several during the past week have caused flooding. The picture shows the road near my driveway, with my dog enjoying the flow. The road washed out and I cannot currently get to my house. Separated from my system, a temporary and not-very-hardshipped refugee, I decided finally to write down my process for creating the sound files I share. Look for the Sound Process link to the left, or here.

I was able to hike around the flooded area. To the left is a picture of the swollen creek that illustrates the reason for the flood. The bridge on the left is where the creek used to naturally flow, but over decades of erosion, it has 'wanted' to cut a new path to the right. Planners have desired it to behave, and endeavor to force the creek into its old bed. Six years ago they built a dike to the right of the trees in the center of the picture, after the creek cut through the road during another flood. Obviously, the creek wins again.

Dembo Konte and Kausu Kuyateh - Tanante (1987)

Much as Foday Musa Suso introduced the griot and kora traditions to a broad U.S. audience in the mid- to late 80s, in the process also moving beyond tradition to experimentally apply the kora in other musical genres, Dembo Konte and Kausu Kuyateh extended their virtuosities through the U.K. and beyond. This first record of their collaboration was recorded Konte's home in the Gambia, by the folks at the enterprising and eclectic Rogue Records label.

The six songs on this album are steeped in tradition, and the two koras and voices blend hypnotically. Kuyateh is from the Casamance region of Senegal, and he plays his own 23-string kora creation. On the beautiful song "Yeyengo," he plays solo, creating intricate rhythms while playing his dazzling melodies.

This recording sounds like it was recorded in a bedroom, which it more or less was, and so the sound is not as bright as it might have been in a studio. This is not meant as a criticism, for the music is brilliant and you can feel like you were there, crickets barely discernible in the mix.

Most of the songs on this record, as well as others from a second early recording, were rereleased a while back on CD by the Rogue Records descendant, Weekend Beatnik. I recommend you get Kairaba Jabi at the fRoots site here; it appears to be out-of-print in the U$. Perhaps the reissue also was remixed? You may also search for Jali Roll, the rollicking collaboration between these kora masters and 3 Mustaphas 3 and others.

Enjoy!

Foday Musa Suso, Tamba Suso, Jarju Kuyateh - Mansa Bendung (1986)

It is tempting to seek solace through music, when radical fundamentalists whose god is money are using brute force and hegemonic media control to obscenely enrich themselves. The power grab is global, as my esteemed colleague at WorldService illustrated a few days ago, but nowhere is it more repugnant than here in the U$, where a cynical election facade progresses despite the fact that the predominant voters are corporations.

With its hereditary roots stretching centuries into the past, West African kora is amongst the most sublime, peaceful musics of the world, potentially offering solace. Gambian kora virtuoso Foday Musa Suso has based himself in the U$ for decades, having worked with and influenced diverse musicians, which I discussed in my 2011 posting of Suso's Mandingo Griot Society debut.

This album developed spontaneously when two of Suso's compatriots visited New York. A studio session was quickly arranged, and the trio recorded on New Year's Day of 1986. Tamba Suso is a formidable singer, and on this record he sings with passion. Side B has three kora instrumentals where Suso's kora deliciously intertwines with that of Jarju Kuyateh. The three songs with vocals are rousing, but even though the instrumentals are more peaceful, they also contain tremendous energy -- enough to make you want to get up and do something.

Enjoy, and then act!

Mory Kanté - A Paris (1984)

When Mory Kanté moved to France in 1984, it took him little time to establish himself in the "world music" milieu with this album. Descended from a Guinean griot family, Kanté began his pop music ascent in the prestigious Rail Band of Bamako. He became the lead singer when Salif Keita left to form Les Ambassadeurs, and took up and mastered the kora.

Paris allowed Kanté to express his electric self, and his mandé roots are quite well hidden on half the songs. In truth, this is not one of my favorite records, though I do like the vibrant version of the classic "Yéké Yéké." See what you think. . .

Enjoy!

L'Afrique Danse No. 4 (1966)

It pleases me to cap my L'Afrique Danse offerings with this superb record featuring "the voice of lightness," Tabu Ley Rochereau. This album collects hits from Orchestre African Fiesta National, Rochereau's branch of African Fiesta after he split up with Docteur Nico in 1965. Sometimes calling themselves Le Peuple, the band included a young Sam Mangwana on vocals.

The album begins with Rochereau's a cappella voice, and in each tasty rumba it is clear both why he is considered among the elite few singers in Congolese music history, and why he emerged and remained a star, decade following decade. I cannot recommend this album highly enough; it is a true classic, exceptionally preserved.

Enjoy!

For a comprehensive collection of Rochereau's profound musical contribution, search for Stern's two relatively recent "Voice of Lightness" double CDs.

Note: While some may find pops and cracks a nostalgic bonus in records, I prefer as little separation as possible between the music and myself. Happily, the sound on this record was about as good as it gets, without me having to do anything to restore it. Perhaps someday I'll post my procedure for achieving the best sound I can in digitalization, in case anyone is interested.

L'Afrique Danse No. 3 (1966)

Finally following up on my earlier post of No. 2, here is the splendid L'Afrique Danse No. 3 that features wonderful, formative Congolese rumba. Side A has delicious songs by Kalle and Kwami, and easily heard in their singing is the impact they had on the up-and-coming Rochereau.

Side B has a quartet of strong songs from Orchestre Negro Success, and a rare, lovely couplet from Robin (Albert Missia) and Orchestre Los Angel, including the sublime cha-cha-cha "Kawa." This offering comes from nearly pristine vinyl, so please immerse yourself.

Enjoy!

Super Diamono de Dakar - People (1987)

Recorded a short time after Ndaxami, this album from Super Diamono has a much more produced sound with more global ambitions. It opens with a reggae-imbued tribute to the people of Soweto, a fashion in African pop music during the waning years of apartheid, where Lamine Faye's guitar is impressive, as it is throughout the record. Ismael Lo has left the band at this point, leaving the lead vocals to the ascendant Omar Pene.

Unfortunately, on many of the songs on this album, the "world music" production submerges the strengths of the band, giving the first side a decidedly somber tone. That said, the sound quality of this production is gorgeous, with every instrument and voice exceptionally clear. Mbalax pokes through more successfully on the second side, but not enough to rescue it from world music banality. Except for the last cut, recorded live at a concert: Omar Pene and Lamine Faye rock.

Enjoy!

Super Jamono de Dakar - Ndaxami (1984)

Super Diamono is one of the great bands of Senegal, and this record comes from the fecund period when Omar Pene and Ismael Lo shared leads. I've always considered Diamono to be analogous to early Zaiko Langa Langa in the Congo, a band bursting with young energy, a little rough on the edges yet setting new standards.

I love this album; it is so full of soul. There is no information about the recording or musicians, on the record sleeve, but it sounds like a live studio recording. It is so refreshing to hear raw, brilliant music that was not processed for global consumers. Check the great underlying piano, Lo's harmonious harmonica, the percussion: Sweet!

Enjoy!

Baaba Maal et Dande Lenol - Wango (1987)

Moments after entering the Berkeley record store, on my way home from work, the clerk, who was familiar with my weekly Friday visits, said: "Check this out!" He put this record on his deck and filled the shop with Massamba Diop's tremendous tama. This was my introduction to Baaba Maal et Dande Lenol, so many years ago, and it opened a whole new avenue in my obsession.

Wango, simply put, is a masterpiece. Every song is exquisitely crafted and performed. Dande Lenol was incredibly tight on this perfectly recorded and mixed album, a definitive Sylla production. The rhythms are complex and urgent, and Maal's singing is sublime.

Two of the songs, "Laam Tooro" and "Loodo," are electrified versions of the well-loved acoustic versions on the earlier recorded, yet later globally released, Djam Leelii. Wango is a great way to start your week, as it has mine.

Enjoy!

Thione Seck - Le Pouvoir d'un Coeur Pur (1988)

Recorded in Paris with his band Raam Daan, this strong album from Thione Seck reprises songs from cassettes that had made him a household name in Senegal, following his divergence from Orchestre Baobab.

On this record Seck's majestic voice towers above complex, driving rhythms, while the horns and guitars weave an almost jazz-like improvisational thread through the mbalax, especially on "Yaye Boy." I prefer the B side of this record with it's two tremendous, urgent mbalax songs and the final, reggae-fied ballad. It is impossible to sit still, listening to it.

Enjoy!

Baaba Maal - Taara (1990)

Baaba Maal has moved well beyond the role of innovative musician on the world stage. Recently he was named Oxfam's Global Ambassador to bring global attention to the food crisis in Africa. He has a unique voice to lend to a cause, one that was consistently awesome through decades of many recordings. While I became increasingly dismayed by the homogenized, transglobal sound of his later records, not able to listen to Television at all, his early recordings still resonate with complex rhythms and an authentic vision.

Taara sits on the edge of Baaba's move towards global stardom, retaining the tough Dande Lenol sound of the wonderful preceding recording, Wango, while pointing towards the ever more electronic future. A typically strong Ibrahima Sylla production, Taara layers European horns and keyboards on the core guitar/percussion/voice that made Dande Lenol such a potent band. Massamba Diop's tama is killer, like always, but it is Baaba Maal's voice that sails above all and keeps it together.

Enjoy!