Kandandu - Bonga (1980)

Whether it is a morna from Cape Verde, a revolutionary song from Guinea Bissau, a nineteenth century horns and percussion piece, or any one of the songs that draw on his Angolan roots, Bonga produced one of his finest albums in 1980. Kandandu is simply a masterpiece from the Angolan superstar. Listening to this exquisitely beautiful album years ago is what led me to collect any Bonga recording I could find.

One of my early posts on this site was a 1984 release from this great musician, and that post had a fair amount of information about Bonga. Accordingly I write sparingly about the man today, and rush this music to you. The songs that feature Bonga singing along with simple percussion and lovely acoustic guitars, like the sublime title cut "Um Kandandu Amigo" and "Nguzu," are terribly moving. Others will have you dancing. It's no wonder that his gravelly voice became the epitome of Angolan popular music.

Enjoy!

James Chimombe and the Huchi Band - Jemedza (1990)

One of Zimbabwe's great singers and guitarists had a short-lived career, but one that left a permanent legacy in the country. In his 39 years James Chimombe passed through several bands, including Thomas Mapfumo's formative Acid Band, before developing into a headliner himself with the Ocean City Band.

Chimombe was a passionate singer, and this final album of his career showcases his fine voice as well as his light-fingered guitar style. While one can hear similarities to Mapfumo's chimurenga, there also are also strands of rumba as well as echoes from Kenya and South Africa.

I usually do not draw from text on a record sleeve, but in small print on this one is a great summary and touching tribute to this musician that I cannot surpass:

On Tuesday 23rd October at only 39 years old James Chimombe passed away having established himself as one of the most professional and dedicated musicians in Zimbabwe. Not only a dedicated musician, James was also a director of Z.I.M.R.A. and a staunch supporter of the College Of Music's Ethnomusicology Program.

James was born in Chivhu in 1951,  but grew up and was educated in Highfield Harare. Whilst in his teens he joined the Pop Settlers as lead vocalist, singing cover versions of popular songs. From Pop Settlers James progressed to the Harare Mambos and then to Thomas Mapfumo's Acid Band in the early seventies, playing lead guitar. The mid-seventies saw James playing with O.K. Success Band and in 1983, James Chimombe joined the Ocean City Band. With them, as lead vocalist and guitarist, the O.C.B. had several hit singles and albums. . . In 1988 James made his final move, forming his own group called 'Huchi Band.' Together they released several singles, and their debut album Zvaitika released in November 1989.

Jemedza is the last album to be completed before James' death, and long-time friend and producer Tymon Mabeleka believes that songs included here are of particular significance as James seemed to know that death was imminent and there are many references to the ancestral homes of the spirits.

Jemedza is a wonderful tribute to a man who dedicated his life to music — creating it, playing it and teaching it. James Chimombe was a quiet, considerate and dedicated person. His music will live on in our hearts forever. 

Indeed. This is a very nice album.

Enjoy!

 

Transkei Special: Accordion Mbaqanga (1990)

Blame the weather. Or maybe the seasonal change and decreasing light. Perhaps it's the desire to occupy something. There are a plethora of reasons that posts have slowed down on this site; today it is -11° as the sun begins to set at mid-afternoon, and I begin to wonder if wood heat is so sensible. Yet never fear, posts are about to resume at our usual pace. Nothing beats a cold, dark winter for generating enthusiasm for hot music!

Today's offering is an upbeat collection of accordion mbaqanga instrumentals produced by accomplished David Thekwane, one of South Africa's premier mbaqanga producers. As the notes on the record admit, the musicians and tracks are rather obscure, but they are fine examples of the style. It is a short 25 minutes of sunshine from the 70s.

Enjoy!

Review: Desert Blues by Twos - Tinariwen and Terakaft

When Tinariwen emerged on the world stage with their album The Radio Tisdas Sessions, in 2000, Tuareg rebel music became an instant sensation. The band's introduction of electric guitar into a traditional call-and-response music in the '80s, paired with revolutionary lyrics and insistent, throbbing rhythms, led to the band's legendary status among the Tuareg. Listening to the music for the first time, one could hear a great desert space: It was a revelatory experience.

The desert remains at the heart of Tassili, in many ways a more austere and intimate recording than earlier Tinariwen CDs. Ibrahim Ag Alhabib, the band's leader, penned the songs, and his guitar and voice center the album, especially on the solo acoustic lament, "Tameyawt." The whole album has a solemn tone; perhaps that reflects the reality of drier, hotter deserts and atrophied liberation struggles. 

Tassili reaches for a more international sound on two songs. The Dirty Dozen Brass Band drops some chops into "Ya Messinagh," which is a little startling on first listen, just because it is so foreign to this music and therefore unexpected. It is not a perfect marriage, but it does explore the blues frontier of the song. The following "Walla Illa" has the harmonic vocalizations of Tunde Adebimpe, giving it a pop smoothness that seems out of place. The generous twelve songs on this album leave room for these experiments, however, and whether acoustic or electric, the whole album is charged. It's a great one to listen to with headphones.

The recent Terakaft release Aratan N Azawad is in the same genus, though Terakaft has a much more evident rock edge powered by dual electric guitars. Propelled with ample, driving percussion, many of the songs on this album gallop, and if you close your eyes, you can imagine camels and horses.

Terakaft and Tinariwen are closely related bands, with several Tinariwen veterans forming the core of Terakaft, so it is not surprising to find similarities in their music. Terakaft's lyrics are more directly confrontational, decrying the plight of the Tuareg peoples caught in changing reality. The attitude of defiance imbues the music, too, giving it a brash edge. Rebel music, for sure, apart from "Akoz Imgharen." That song is just as surprising as the departures in Tassili, but this time it is a West African guitar mash-up that creates an intriguing mix that may have made it onto my exclusive dance tape.

Both these bands have been characterized as 'desert blues' by promoters and critics alike, trying to shoehorn this music into a box with Ali Farka Touré and others. Don't believe it. This is authentic music that adapts and appropriates what ears hear, like all music, evolving in the creative process with tentacles that extend in all directions. Both of these albums are powerful blasts from the desert. That's characterization enough. You can get them at your usual digital download source, or with their beautiful and informative packaging here.

Fatala - Fatala (1988)

Returning from a couple of weeks of hiding from the cyber world, in a more verdant environment, today I bring you a tasty dose of mandé percussion with the Guinean group Fatala. Recorded in the pristine Real World Studios, this album has long been a favorite of mine.

Led by percussion master Yacouba Camara, the nine tracks are dominated by intricate and compelling drumming, but the singing of Mabinty Sahko is noteworthy, despite being mixed underneath the percussion. The timeless classic "Yékéké is given a refreshing roots interpretation, but the love song "Boke" is perhaps the strongest and best-balanced production on the album.

This record was rereleased on CD in 1993, as Gongoma Times, which still may be available, but this is the original release.

Enjoy!

Dimensión Costeña - Palo de Mayo (1984)

A few months ago I posted the first palo de mayo record made in Nicaragua, the wonderful Barbaros del Ritmo. Today I offer another listen to the infectious dance music from the Atlantic coast, a land of tropical rainforest rimming the Caribbean Sea. Dimensión Costeña was the hottest dance band in Nicaragua during the 1980s, performing at countless festivals and celebrations. This is one of two records I have from this band, and it has a characteristicly long, amped Caribbean medley that leads inevitably to sweaty bliss at a dance party. Rustic, but hot!

Enjoy!

Jazz and Hot Dance in South Africa 1946-1959 (1985)

Occasionally you happen upon a golden album by chance, in a bin where it's totally out of place or one where normally you would never look. Although I do not quite remember where I found this one, I know it was serendipitous, and that I was in luck.

Jazz and Hot Dance in South Africa is a compilation of early jazz recordings from that country. The bopping begins with the Manhattan Brothers, and it does not slow down through 16 songs lasting 43.5 minutes. These are African mutations of American jazz from earlier decades, treasures from the shabeens that grew into distinctive township jazz. There are too many bands to name, but the highlight for me is the early Dorothy Masuka hit, "Ba Zali Bami." The hip song from the Shanty City Seven is sweet, and the closing track spotlights well-known penny-whistle jive master, Spokes Mashiyane.

This collection reminds my of John Storm Roberts' Original Music efforts due to its unearthing of rare vintage recordings and their detailed presentation. Every track has all available details included on the record sleeve: musicians, original publishing date and source, and English translations of song titles. I've included close-up photos of the extensive notes in the download, but a better option is to head over to the wonderful archive FlatInternational, where all the notes are published on the web.

Most, if not all of the songs, were taken from original records, so there is normal surface noise, but that does not detract at all from the great music. Jump and jive to this one, baby!

Enjoy!

Franco and his All Powerful O.K. Jazz - Sorcerer of the Guitar (1984)

Here is the U.S. version of Franco's classic Tres Impoli from 1984, which was posted last year on Global Groove. I post this version for the somewhat garish cover, the English translation of "Tres Impoli" on the back cover, and the exceptionally clean sound. One of my favorite Franco songs is on this record, the duet with Madilu called here, "Tu Vois?" That song is so good, it reappeared a year later renamed "Mamou," on the album Franco et le T.P. O.K. Jazz Presents Madilu System. Under either title, it is classic.

All three of the songs on this album are delicious and need no other recommendation.

Enjoy!

Zulu Jive Umbaqanga (1983)

Today I present a superb collection of diverse music from relatively unknown South African artists. This was the second record published by the nascent Earthworks label, almost two decades ago, and it stands alongside the label's two subsequent The Indestructible Beat of Soweto releases, among the best compilations of SA music from that era.

What I appreciate in this collection is the selection of groups exhibiting four distinct styles. The album opens with classic Zulu guitar mbaqanga from Aaron Mbambo, with a lovely female chorus; he adds screechy fiddle on his second cut. Is that Noise Khanyile? Joshua Sithole, perhaps the best known of the artists on this label, pairs his guitar with the swirling township organ that was such a feature of Lucky Dube's reggae. The four cuts from Sithole are a world apart from his soul workout presented recently on ElectricJive. The Rainbows play accelerated guitar and accordion instrumentals, while Shoba pairs Zulu guitar with penny whistle, squeezebox and singing.

Unfortunately little information is available on the records; there is no detailed band info, no indication of where the tracks were recorded or when, not even the name of a compiler or producer. We just have to thank them all, the musicians especially, for this fine listen.

Enjoy!

Marxist Brothers - Mwana Wedangwe (1983)

The Marxist Brothers were one of the leading rhumba bands in Zimbabwe during the 1980s, a group of four Chimbetu brothers. I believe this is the first Marxist Brothers album, recorded in the fervor of revolutionary optimism that filled the country at that time. One of the tracks on this record would become the title track of the equally upbeat Goodbye Sandra compilation from 1988.

Despite suffering from a terrible pressing that especially mars the first tracks on both sides (and the last on the second!), this album sparkles with bright guitars and lovely harmonic singing from Naison and Simon Chimbetu. A couple of the slightly slower songs, such as "Ndiri Wenhano" and "Denda," are wonderful. Simon would split from the band in the late 80s to become a leading rhumba star in the country, but most of the band continued to back him as Orchestra Dendera Kings throughout the 1990s. In fact even on this early album the band's persistent split personality was evident, as the record label says Marxist Brothers (Orch Dendera Kings).

There are a few more Chimbetu recordings coming up here, but at a time when the global capitalist system is in crisis, here is a dose of Marxist rhythms to enlighten the situation.

Enjoy!

Nyami Nyami Sounds - Kwira Mudenga (1986)

Time to dip into Zimbabwe gold again for this fine album from Nyami Nyami Sounds, a band from northern Zimbabwe named for a Shona river god. The records opens with the strong chimurenga cut, "Ndiani Apisa Moto," that was collected on the 1990 Zimbabwe Frontline: Spirit of the Eagle compilation, and it ends with a song more akin to jit. In between are five other strong songs featuring cycling, intertwined guitar lines, thumping drums and lovely, harmonious vocals. Recorded at the venerable Shed Studios, this one is a keeper.

Enjoy!

Idrissa Diop - Femme Noire (1987)

In the 1980s Paris was the place to be for talented musicians from the Francophone ex-colonies. As cassette piracy decimated musician incomes at home, as well as local music industries, Paris became a vibrant melting pot for musician refugees. Idrissa Diop left Senegal to seek his fortune there, and this album is one of his many achievements.

Diop chose the Senegalese rockers Xalam to back him on Femme Noire, as well as French electronic music wizard Jean-Phillipe Rykiel. This album was produced when Rykiel was involved on other projects with Xalam and Youssou N'Dour, and also on Salif Keita's seminal Soro album. Rykiel's hand is heavy on a few songs, which depending on my mood  has caused me to turn it off; but if I can overcome that urge, there is enough of Diop's percussion and singing to keep me interested. The straight percussion workouts "Worunana" and "Sahel" are breaths of fresh air that counterbalance the sometimes harsh urban edge on other tracks.

Femme Noire is a world away from Diop's roots recordings, reviewed in my last post, but it still is worth a listen.

Enjoy!

Review: Idrissa Diop & Cheikh Tidiane Tall - Diamonoye Tiopité

The newest of micro-labels rescuing early African popular music, from the "golden age" decades of the 60s and 70s, is Teranga Beat, and its first release is crucial. Diamonoye Tiopité chronicles a transformative period in Senegalese music, when mbalax arose from the shadows of the Afro-Cuban music that had dominated pop culture for many years. 

The vehicle for illustrating this music history is the early career of Idrissa Diop and the band SAHEL. This CD collects three selections from Diop's first solo record, 1969's Diouba, including the immensely popular "Yaye Boye" that became essential for every Senegalese band to cover. Four songs from SAHEL's epochal Bamba recording sessions follow, including two songs that did not make the record. These tracks, taken from the rescued master tape, are the highlight of this wonderful Teranga debut. The Cuban rhythms are deep, the sound lush, and the horns bright. The organ solos and guitar of band leader Cheikh Tidiane Tall: Inspired. "Bamba" inserts sabar drums and traditional rhythms, thus innovating the first mbalax hit, with its catchy Touba Touba refrain. "Caridad" is one of the best African salsa recordings I have heard, funky and faithful at the same time.

The remaining five tracks collect two from an Orchestre Cheikh Tall & Idrissa Diop record, plus three previously unpublished recordings Idrissa Diop did with SAHEL in 1976. While the sound quality of these last tracks is more marginal, they do illustrate a completed transition to mbalax, with the tama talking drum taking its important role.

Diamonoye Tiopité is an Idrissa Diop revelation and education for me. I had only known the percussionist and singer from his later European recordings, which invariably leave me ambivalent with glossy, rock-oriented over-production. I'll post one of those albums in the next few days. This new CD of wonderfully fresh, old music gives me much more respect for Idrissa Diop and his important contribution to Senegalese music history. Production of this CD also led to a reconstitution of SAHEL in Dakar, and a couple of videos of new performances by these swinging elders are on the web. Enjoy this one!

Diamonoye Tiopité is available at the usual download vendors; for full sound CD or vinyl you can go here.

The Sound of Kinshasa: Guitar Classics from Zaire (1993)

John Storm Roberts was a musicologist fascinated by the cross-fertilization of music across the Atlantic, particularly Cuban music's profound impact on the development of popular music in Africa. Perhaps nowhere was more affected than the two Congos, where Latin rhythms catalyzed an explosion of musical creativity that produced the continent's most influential pop music.

Roberts was more than a musicologist; he also was an educator dedicated to sharing his knowledge and enthusiasm, and his great love of the music. How natural, then, for him to include a survey of early Congolese music as one of his Original Music releases.

As the liner notes (included in the download) explain, the album's tracks are presented chronologically in order to hear the evolution of rumba. It begins with a Hugh Tracey field recording, and quickly moves to selections from the most influential innovators, African Jazz, O.K. Jazz and African Fiesta. There are many outstanding tracks included, though standouts for me are the sublime "Madina" from Rochereau & Orch. African Fiesta and Franco's "Bomboka Awuti na New York." Although then there is Beguen Band's sultry "Christina," and. . .

I corresponded with John Storm Roberts quite a bit in the 90s, particularly in 1998 when Original Music was failing and about to cease its pioneering business. He was so passionate about the music and getting it out to as many people as possible, that I am confident he would endorse spreading the love here. This is the first CD I have posted, and I have to note that there are a few points in a couple of songs where Original Music's digital remastering is not perfect. Still, this is a great album, well worth listening to through a couple decades of wonderful music.

Enjoy!

P.S. I have most Original Music releases, and over time will make them available here. Several of the best ones have been posted already on the eclectically awesome Holy Warbles.

Souzy Kasseya - Le Phénomènal (1984)

A good bookend for Tshala Muana's release below is this solo outing by talented guitarist Souzy Kasseya, recorded in Paris around the same time. This is very much an in-studio production, with Kasseya providing all guitars, programmed drums and many voices. Manu Lima adds keyboards, and there are a couple of horns, a little understated percussion and a few female backing vocals thrown in the mix. The result is a record that sounds over-produced, almost clinical, and quite thin.

While listening to Le Phénomènal, I could not help but compare it to his previous solo recording, the excellent Le Retour de l'As, which is much more open and natural sounding. More real. That record is available here on the excellent Global Groove site. Today's share was rereleased in Britain by Earthworks, but did not sell well. Get both of these records and see what you think.

Enjoy sometime soon!