Akendengue - Owende (1979)

For this, my one-hundredth post and the beginning of this blog's second year of life, I offer a special album that is one of my favorites, Pierre Akendengue's fourth album, Owende. As I wrote in my first, testing-the-water post here, I have a long history with Akendengue's music. I consider him to be a musical genius with an unique vision.

The brilliance begins with rhythms, which are always complex and impelling, yet the rhythm section integrally includes the human instrument alongside various drums, either voice or clapping hands, or both. In many of his songs the usually female chorus adds rhythmic cadence, in call-and-reponse exchanges with Akendengue, but often the voices are used specifically to augment or even give foundation for the whole rhythmic structure.

Voices, including his own, are central to Akendengue's beautiful music, and this album opens with harmonious, gentle singing. His vocalizations are inspired by his observations of birdsong in Gabon's rainforest, but a couple of the songs on this album feature Akendengue as poet, much more common in his early albums.

Akendengue is a social critic, and this may be his most explicitly political album. Owende translates as Oppression, and the song "Anome Anomie" celebrates a plethora of freedom fighters including Patrice Lumumba, Amilcar Cabral, Che Guevara and Malcolm X, among others. All of the lyrics are included in the centerfold of this deluxe album, replicated for your benefit in the download folder. With great pleasure I invite you to. . .

Enjoy!

L'Afrique Danse No. 2 (1966)

The L'Afrique Danse series is without doubt the most important, early effort to catalog and preserve the extraordinary musical ferment occurring in the two Congos during the 1960s. This second in the series is dominated by early hits by Rochereau with African Fiesta, and the Rochereau tracks are truly wonderful. Yet there is also one killer song from Kalle, crooning with a Latin swing, and two sweet songs from Jean (Johnny) Bokelo with his band Conga Succès. The album ends with two songs from Orchestre Los Angel, an obscure band in the O.K. Jazz mold led by Albert Missia, aka Robin.

This is a wonderful record with sublime music, and it has appeared elsewhere on the 'net. Yet this is a relatively pristine copy, suffering from a couple of original recording issues (especially on the Los Angels cuts), but thankfully free from defects caused by playing it over and over. Which, by the way, is your fate once you have this in your library. I have excellent copies of Nos. 3 & 4 as well, and will queue them up.

Enjoy!

Choc Stars - Awa et Ben (1986)

Here is the Siamese twin to my last post, delayed by two feet of snow and then 5,000 miles of flight. I believe this record comes from the same recording session as the one below, and have always felt that the strongest songs of the session were chosen for the first Shock. The Choc Stars are no less impressive on this record: the singing is impeccable, the guitars are splendid (who are they?), and the rhythms rockin'.

So have a listen, and see what you think. Are these songs weaker, or did I just tire of the formula after eight long songs on two records?

Enjoy sometime soon!

Choc Stars - Choc=Shock=Choc (1986)

The Choc Stars were one of the descendent bands of the extensive Zaiko Langa Langa family, formed in 1983 by Bozi Boziana and Ben Nyamo. During the mid-'80s wonderful singer Matumona Defao Lulendo joined, and a number of wonderful albums resulted. The pioneer "world music" label GlobeStyle, which had an exquisite ability to find and publish essential music from Africa and beyond, licensed two 1986 Afro Rythmes records, for nearly simultaneous UK and U$ releases. This spectacular record is one, and the other is queued for imminent posting.

One of my colleagues at The Beat, the Congolese music expert Martin Sinnock, devoted one of his first column's to the Choc Stars, and I recommend reading it here. Though none of the musicians are credited on the album sleeve, Martin identifies Koffi Olomide as a guest on this session. The harmonic singing throughout this record is fabulous, especially notable on "Lieven" and "Santa." The guitarists are great. Anyone who has further information on musicians, please share in comments. Others, just immerse yourself and...

Enjoy sometime soon!

Oliver Mutukudzi - Live at Sakubva Concert (1989)

One of the legendary Zimbabwean musicians who continues to perform into his fourth career decade, Oliver Mutukudzi recorded this milestone in Sakubva Stadium in Mutare, on 29 April 1989. Not only was this his first live recording, it also is claimed to be the first live pop recording done in Zimbabwe.

Despite some significant vinyl defects, I value this album especially for Tuku's exuberance. Recorded when great optimism remained in the country, ten years after the overthrow of Rhodesia's post-colonial, racist government, a listener can tell the audience and musicians connected for an unforgettable night. The breadth of Mutukudzi's unique style is evident in these twelve songs, drawing from Shona and Ndebele traditional, chimurenga, and South African pop influences.

Tuku's expressive baritone is backed by his band Black Spirits, composed at the time by: Robert Mutukudzi (Keyboard), Moses Mullah (Lead guitar), Job Mteswa (Rhythm guitar), James Austin (Drums), Sam Mtowa (Drums/vocals), Joseph Alphas (Bass guitar), Basil Phiri (Sax) and Picky Kasamba (Vocals). The live recording itself is good, and hopefully someday it will be rescued from master tapes and made available on a better medium than this inferior vinyl. The album has a generous two records that I processed as one, but divided into two for smaller downloads.

Enjoy Part 1 and Part 2!

The Mighty Invaders - Invasion! (1983)

Let's slip into the weekend with an easy skankin' dose of classic reggae from The Mighty Invaders. This roots band was based in Baltimore, Maryland, but recorded at two of Jamaica's legendary studios: Tuff Gong and Channel One.

It's been many years since I listened to this record, and it amazed me how familiar it is. The first song, "Hatred," sets a deep hook. Notable with this band is the key role of women singers, a relatively rare situation in roots reggae, and their voices provide a lightness that balances the deep bass and serious lyrics. This is not the heaviest reggae in my stable, by any means, but it is a fun listen to a group with talent. Dean Fraser sits in on sax. Lively up yourself!

Enjoy!

Review: Batsumi - Batsumi (2011)

South African jazz is quite well known throughout the world. Indeed, I have listened to an immense quantity of it over the past three decades. I was introduced to South African jazz through the collection of a friend I lived with in Britain, a South African exile who revered the music of Dollar Brand (Abdullah Ibrahim). It was Dollar Brand and the other supremely talented South African expatriates, Myriam Makeba and Hugh Masekela, who effectively defined South African jazz for the international audience.

Of course jazz that germinated in the townships continued to grow and evolve after its luminaries emigrated, because most musicians could not flee the apartheid reality. I've explored as much of that music as I could, and have even posted some on this site. ElectricJive has provided a wonderful resource through which I have learned a great deal more during the past couple of years.

Nothing, however, prepared me for the 1974 Sowetan blast from Batsumi. Listen to this first awesome track as you read on.

 
Beginning with a minute of gentle, soulful acoustic bass and guitar, the rhythm suddenly accelerates. The strings are joined by drums and piano to create a dynamic, throbbing foundation for sax and, wait for it. . . flute improvisations. Two-thirds through this monster cut, all but the drums drop out, trap and traditional drums snaking around each other to create a different rhythm that drives the band for the final three minutes. This last movement and its vocals remind me strongly of Philip Tabane and Malombo.

The second track, "Emampondweni," is an urgent song lifted by Thomas Thabang Masemola's soaring flute, which fills all the empty spaces with reverb. Pianist Lancelot Sello Mothopeng begins "Itumeleng" in a classical vein with a couple of jazz chords, but then the other Batsumi musicians drop in one by one to stretch out for fifteen minutes of grooving introspection: Really, really nice. The whole album has traces of U$ soul music, which blend seamlessly with the traditional drums.

This rerelease was produced by Matt Temple over at Matsuli Music, the second loving restoration of a crucial recording made available by that tiny label. On Matt's site you can read a great deal more about Batsumi, the band, and the social context under apartheid in which this recording was made. I do not think I need to provide more details here. I'm a little behind the curve with this review, as it is, for the premier LP pressing of it is already virtually sold out! Nevertheless I think this classic reissue is important to consider, since it still is available as a lossless download here. Besides, writing the review gave me the great pleasure of listening, again and again, to this wonderful music.

Thione Seck & Le Raam Daan - Yow (1990)

Although one of Senegal's most loved singers, Thione Seck has not been as internationally famous as compatriots Youssou N'dour or Baaba Maal, despite having several excellent albums released around the world. Seck first achieved widespread notice as vocalist for Orchestra Baobab, but by the '80s had set out on a solo career with his band Le Raam Daam. Unparalleled producer Ibrahima Sylla caught Seck for this 1983 set, rereleased on the Melodie label in 1990.

Thione Seck croons over first rate mbalax with jazzy guitars and torrid percussion, and this album, one of his earliest solo efforts, is excellent. The first five tracks are vibrant mbalax, while the last is a ballad that picks up the pace slightly towards the end.

Enjoy!

Hugh Masekela - Masekela (1968)

Today I have a very special post for you, a rare recording from Hugh Masekela. Masekela has never shied from speaking out for justice, and this recording, made in the U$ during a rebellious 1968, bristles with outrage from its first track, "Mace and Grenades."

The record sleeve is trashed, but the sound quality of this record is mostly excellent. Digitizing it was a small challenge because many of the cuts virtually crossfade into the next. In fact I left the tracks "Gold" and "Subukwe" conjoined because they work splendidly together. Most of the songs were written by Masekela, with one Dollar Brand song ("Gafsa") and another by saxophone legend Kippie Moeketsi. "Head Peepin'" certainly sounds dated due to its groovy language, but most of the album is timeless. One intriguing quirk about the record is that the last track, a snippet of "Grazin' in the Grass," is separated by a gap. The record apparently finishes and rotates continuously without getting to the "Extra Added Attraction" unless you physically lift the tonearm and put it at the beginning of the 1-minute teaser. Was that intentional?

There is absolutely no information about the musicians participating in this gorgeous session, on the record sleeve, but thanks to Doug Payne's essential discography research, we can attribute this fine music to these musicians:

• Hugh Masekela (tp, vcl)
• Wayne Henderson (tb)
• Al Abreu, Wilton Felder (sax)
• Bill Henderson (p)
• Arthur Adams (g)
• Henry Franklin (b)
• Chuck Carter (d)

Do not hesitate to listen to this one!

Enjoy!

Endangered Blogging

In the last ten days, three of the blogs I have followed - and kept listed at the bottom of the left column on this site - have been crippled or deleted by service providers. There seems to be a sudden, worldwide effort to implement dramatic suppression of internet freedom. It appears that the impetus may originate with the U$ FBI, which may be acting to enforce stymied SOPA/PIPA legislation. In effect, enforcement is happening because corporations have pulled the strings of their politician servants, who so far have not been able to legislate internet repression in the face of public outrage.

What we witness is a battle over intellectual property rights. It is prudent, for our sanity, to understand that we live in a capitalist system where property rights trump all other rights. In an era when corporations are deemed to be humans, where that particular race of humans has unlimited access to and control over the politicians that rule our lives, how could it be otherwise? Until and unless the system itself is changed so that human rights are the basis for society, there will be endless battles between people like us - the 99% - and the privileged few cloaked in corporate power.

I have been scrupulous on this site to avoid copyright violations, and totally open to remove posts if someone who owns the intellectual property right to a recording requests I delete it. Yet realistically, considering the obscurity of copyright tendrils that may exist among corporations - and most likely do not connect to musicians, by the way - I may inadvertently violate rights, when I intend only to help preserve for humanity valuable works of art. So there is the possibility that my blog may be eliminated by corporate action, as the battle for a free internet broadens. Therefore please write down or bookmark this address: rhythmconnection.org. I may try to mirror this blog at that address, but will certainly attempt to carry on there, if Google bows to its master.

Soul Brothers - Jive Explosion (1988)

The Soul Brothers are one of the most successful bands in South African history, having sold millions of records and CDs in their country alone. Rising from humble, working class roots in the early 1970s, David Masondo, Zenzele "Zakes" Mchunu and Tuza Mthethwa created a particularly infectious style of mbaqanga by fusing soul-influenced vocals with township jive. While Mosondo's iconic, soprano vocals instantly identify the band, the phat bass of Mchunu and the intertwined, inventive guitar of Mthethwa helped define its unique character. The early addition of Moses Ngwenya brought township keyboards into the mix. With additional vocalists for harmony, a full, dynamic band and vibrant choreography, the Soul Brothers built an mbaqanga dynasty that has weathered challenges from other pop music styles through the decades.

The Soul Brothers suffered several tragedies early in its history, including the death in car accidents of four members, including founders Zakes Mchunu and Tuza Mthethwa. Today's share is a 1988 compilation of Soul Brothers recordings from 1983-1986, selected by Earthworks' Trevor Herman. It was one of the major hits of the "world music" phenomenon of the day. Since Mchunu died in '84, several of the songs include his bass. The entire collection is outstanding, and I cannot understand why it has not been reissued. Yet prompted by another request, here it is, a great listen for animating your weekend.

Enjoy!

Review: Vijana Jazz Band - The Koka Koka Sex Battalion

Whenever there is a rumor of a new East African collection being put together by Doug Paterson for Sterns, I wait in anticipation. I have never been disappointed and usually am completely blown away by the music he uncovers. A while ago I reviewed a killer release of music from Issa Juma and Super Wanyika on another site. Now in my greedy hands I have another choice selection of Tanzanian pop music, this time from the Vijana Jazz Band, one of the country's best bands that is barely known around the world. 

Koka Koka Sex Battalion is the album's title, but it's also an alternate band name the band and its Kenyan producer used to finesse more money from the record label, AIT Records, which did not want to have too many songs from one band circulating. 

Vijana Jazz Band began as a government-sponsored youth band in 1971, becoming very popular throughout Tanzania and Kenya from the mid-1970s through the '80s. Almost all of the fourteen songs on this collection were written by vocalist and band leader, Hemedi Maneti. There is a generous, nearly 80 minute collection of Vijana Jazz songs on this release, mostly from recordings made in 1975-6. 

Most songs, like the wonderful opening "Magdalena," are in the band's koka koka style that points directly to the Swahili rumba style that would dominate Tanzanian pop for decades. A couple of songs are much more folkloric, including "Heka Heka," which begins with horns and sounds like the coastal tarab music, before the guitars and percussion kick into a koka koka dance groove. The sweet instrumental "Koka Koka No. 1" begins with the percussion that defines the style, with conga and what sounds like pounding on a hollow log. One song I like particularly for the looping guitar phrases is "Lela." The sound is great throughout, taken from master tapes and obviously treated with great restorative care. 

Here for your enjoyment is "Koka Koka No. 1", provided by Sterns. You can download it by clicking on the downward-pointing arrow on the right.

VIJANA JAZZ BAND 'THE KOKA KOKA SEX BATTALION' - Koka Koka #1 by Sterns Music

The CD comes with a 24-page booklet that has abundant notes about the band and its music, written by Paterson, along with translations of the Swahili songs into English. These are the things, along with the superior sound quality, that make me dread the impending death of physical music distribution. You can get this wonderful release here now, and it will be available in the US soon (I'll post a link). Inferior digital downloads are available at the usual places, though I notice you get the digital booklet through iTunes. By the way, I found another, excellent, wobbly-in-places and presumably 1980s Vijana Jazz tape here, along with a few other Tanzanian tapes.

Pepe Kalle - Pon Moun Paka Bougé (1989)

Happy to fill a request, here is one of Pepe Kalle's fine albums with the tremendous title track "Pon Moun Paka Bougé." Without doubt this is one of the most danceable soukous hits of all time, always filling and animating the dance floor. With dual guitars of Diblo Dibala and Dally Kimoko, the drumming and percussion of Komba Bellow, and the grand voice of Kalle himself, this is a classic album.

Two of the tracks were collected on Globestyle's long out-of-print Pepe Kalle sampler CD, Gigantafrique, including Pon Moun Paka Bougé, but after digitizing this vinyl I can say that especially on that cut the sound is vastly better than the CD version. There is more definition, especially noticeable with the guitars. Not all is perfect on this record, though: there is some surface noise on the second cut, "Djarabi - Adjatou." Kwassa kwassa!

Enjoy!

Franco et le T.P. O.K. Jazz - Presents Madilu System (1985)

This post is made in solidarity with Moos at Global Groove, who has had such a huge positive impact on so many lives around the world. His unselfish sharing of exquisite music abandoned by commerce - music in danger of being lost forever, of becoming extinct - inspired me to create this blog, while also enriching my life. Global Groove has been crippled, hopefully temporarily, by the rampant wave of censorship threatening a free internet.

Franco needs no introduction to you, so let me simply say that this is, in my opinion, one of his best records. I was going to save this record for my upcoming 100th post along with a FLAC version, since it is an exceptionally clean pressing, but this important recording is gone from GG now, and I thought I should not delay making it available here. Get it while you can! The FLAC version will have to wait: the one I had uploaded to Megaupload is gone  is now available. Until it isn't!

Enjoy! or FLAC!

Quatre Etoiles - 6 Tubes (1987)

Add Syran Mbenza to the personnel in the last post, et voila! Quatres Etoiles, the fantastic all-star band that proved to be the gold standard for soukous through the 1980s and early 1990s. Besides the other Four Stars, Bopol, Wuta Mayi and Nyboma, this album has awesome lead guitar from Dally Kimoko on two Nyboma-penned cuts, "Omba" and "Samba."

While Quatre Etoiles recorded in the increasingly technology-drenched Parisian environment, their soukous retained the feel of classic Congolese rumba. How could it be otherwise, since these grand veterans had diverse, influential participation in many of Congo's seminal bands?

Two great sources for information on Quatre Etoiles and many other bands are Frank Bessem's Musiques d'Afriques and Gary Stewart's web version of his excellent Rumba on the River. Global Groove has a good copy of Quatre Etoiles' 1985 recording, Dance, so I will not need to post mine.

My copy of this record comes from a Zimbabwe pressing, and the album sleeve is pretty basic. I found the original cover on the net and posted both of them, for your amusement. Luckily the sound quality is nearly perfect for this very fine album.

Enjoy sometime soon!