Asiakwa Brass Band ‎– Wo Tese Mawu A Didi (get it)

K Frimpong plays trompet.
A. Konadu is singing. 
Awesome brass band.
Playing high life with ants in their foot .

 

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Tracklist

A1	Wo Tese Mawu A Didi
A2	Wadamfo Pa
A3	Maniso Kyin Me
A4	Oda Ne Baa I
A5	Me Maame Awo Me
A6	Suro Wo Dofo
B	Medley

South African Jazz: The Jazz Ministers - Zandile (get it)

 

Victor Ndlazilwana began his career singing with the male quartette, the Woody Woodpeckers, in 1951. In 1959 he played the role of "The Journalist" in the hit show King Kong and continued with the cast when the show was taken to London in 1961. Both Ndlazilwane and Boy Ngwenya performed with the Woody Woodpeckers at the classic 1962 Cold Castle Jazz Festival in Moroka Jabavu. View this LP here.

In 1970, Ndlazilwana formed the group the Jazz Ministers and recorded a number of albums including Nomvula's Jazz Dance which can be viewed here at Electric Jive.

After Ndlazilwana's death in 1978 trumpeter, Johnny Mekoa, assumed leadership of the group. Mekoa would later perform the title track Zandile as a tribute to Ndlazilwana with the Jazzanians, the first nationally recognised group to emerge from the University of Natal's seminal jazz courses. The track can be found on the album We have waited too long, recorded in 1988.

Zandile was first issued by Gallo in 1975 as BL 51.
In 1981 the LP was reissued with a different cover and catalogue number: GSL 54

flatinternational.org

 

Tracklist

1.1	Zandile
2.2	Sekumaxa
2.3	Vala Madoda
2.4	Take Me to Brazil

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Thanx to electricjive for this amazing album!!!

 

From Venezuela: Monsalve y los Forajidos (free download)

 

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Orchestre Vévé Star - Baluti (get it)

Georges Kiamuangana was born in Kisantu, Bas-Congo on 19 May 1944. He took the name Verckys after being impressed with American sax player King Curtis and he heard the name "Curtis" as "Verckys." He started out in 1962 with Los Cantina, then Jamel Jazz. He joined Paul Ebengo a.k.a. Dewayon's Congo-Rock before joining OK Jazz in 1963 with some musicians from the band of Gerard Kazembe: Christophe Djali, trumpet, singer Henriette Boranzima and Dele Pedro. Georges became Franco's right-hand man and delighted audiences with his onstage antics and wild clothes. But when Franco was away in Europe in 1968 he took a splinter group with vocalist Youlou Mabiala into the studio to cut four sides, causing an irreparable rift. On 5 April 1969 he left OK Jazz to form Orchestra Vévé. The original singers of his group were Bovic Bondo, along with three who would later form the Trio Madjesi, Marcel Loko Massengo a.k.a. Djeskain, Sinatra Bonga Tsekabu a.k.a. Saak Saakul, and Mario Matadidi. Verckys started recording with a more stripped-down sound than OK Jazz, which gave him ample room for wild sax solos in the seben. His original band included Danila on solo guitar, Jim on bass, and veteran Maproco alongside himself on sax. He adopted Dr Nico's dance the Kiri Kiri and invented the Cavacha which was a precursor of Soukous. His first hits were "Mfumbwa" and "Bankoko baboyi" along with Saakul's "Fifi Solange." (These two songs were reissued as a 45 on the Ngoma label.) "Ah mokili" and "Linga ngai zuwa te" soon followed. With an unerring ear for quality, he recorded and produced Les Grands Maquisards, Orchestre Kiam, Bella Bella, Lipua Lipua, Les Kamale and Empire Bakuba, the most interesting bands to come up in his generation. He also recorded Thu Zaina (whose guitarist Roxy played on some Vévé recordings), Victoria Eleison and Zaiko Langa Langa. His label defined the new sound of Congolese music as it evolved away from the rumbas of the Generation Kalle to a more exciting dance sound. His singers [below] were so popular they broke away in 1972 to form Trio Ma-dje-si with their own band Orchestre Sosoliso and, recording for Socodi in Brazzaville, remained one of the top bands of the day.

With help from Roger Izeidi, young Georges, only 25, established a studio on Avenue Eyala, in Kasa-Vubu, Kinshasa. Vercky's early 70s recordings were collected on some LPs on the Sonodisc label, and his mid-career output as a producer appeared in a great 9-volume series Les Grands Succès des Editions Vévé on the Sonafric label, which featured many of the hits produced in his studio by Vévé and other bands such as Lipua Lipua, Les Kamale, Orchestre Kiam, and Zaiko Langa Langa. In 1972 he recruited Pepe Kalle and Nyboma, two youngsters from Bella Bella, to sing "Sola," "Mbuta" and "Kamale." He started orchestres Baya Baya, Lipua Lipua and Kiam, named for himself. Their first hits were "Yoyowe" and "Masumi." He rented equipment to Nyboma and Lipua Lipua who recorded "Amba," "Mombasa" and "Niki bue," but as soon as they were established they quit Verckys' label and regrouped as Orchestre Les Kamale. On his visit to Kinshasa James Brown dubbed him "Mister Dynamite"! He founded Editions Vévé in 1974. In 1976 he changed the name of his label to ZADIS (for "Zaire disc"). That year he issued "Papy Baluti" & "Muana Mburu" written by Francis Bitsoumani a.k.a. Celi Bitsou. The line-up at this time was Tino Muinkwa, Djo Roy, Nejos Tusevo, Pepitho Fukiau on vocals, Lambion on solo guitar, Aladji Baba on rhythm guitar, Ndolo & Celi Bitsou on bass, Bayard on drums, Ponta Vickys on congas, himself, Dibuidi and Sax Matalanza on saxes and Makamba on trombone. But after the success of "Muana Mburu," Celi Bitsou quit to go solo.

Verckys retired from performing to concentrate on his nightclub, his shop ZADIS on Place Victoire, his label, and promotion. His Vévé Center became the hot spot for Grand Zaiko Wa Wa, Langa Langa Stars, Victoria Eleison, Mbonda Africa, Afro International, Wenge Musica and other groups. In 1978 he recorded young sensation Koffi Olomide. In 1980 Verckys came out of retirement to release some new albums on the Vévé International label in Paris with his backing band also renamed Vévé International. Vocalist Diatho Lukoki was supported by Sonama, Michel Sax, along with Djo Mpoyi and Dizzy Mandjeku, formerly of OK Jazz (who quit to return to Franco). Luciana quit Viva la Musica to replace Djo Mpoy for three months. Later members included Elba Kuluma, Serge Lemvo, Asi Kapela, Rochesi and Lawi. Verckys was elected president of the Congolese Musicians Union in 1988. In 2008 Verckys was in hospital in Brussels for leg operations soon after completing a new album COUP DE MARTEAU.

muzikifan.com

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Tracklist

1. Baluti 1 & 2 (Nguendi Aladji) 1976
2. Muana Mburu 1 & 2 (Bitshoumanou Boniface) 1977
3. Nakoma Juste 1 & 2 (Mwinkua) 1977
4. Mikolo Mileki Mingi 1 & 2 (Fukiau) 1976
5. Bilobela 1 & 2 (Kiamwangana Mateta) 1977
6. Fifi (Verckys) 1973


 

Orchestre Poly-Rythmo de Cotonou & Betti Betti (get it)

Here is another collaboration from Poly-Rythmo with Cameroon's music and its ambassador, the woman singer and songwriter Betti Betti. I have no information on Betti Betti, only music which was recorded in Benin.

Thanx to OROGOD for sharing this album!!!

 

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Afrobeat from Argentina: La Antropofónica (get it)

Primer disco de la grandiosa orquesta de afrobeat. Conformada por músicos de distintos lugares del país, hacen bailar a todo el mundo con sus ritmos afro, orquestaciones psicodélicas, y solos volados de todos sus integrantes! Saxos, trombón, trompetas, percusiones, guitarras, bajo, batería, piano y voz. Incluye dos versiones de Fela Kuti.

First record of the great afrobeat orchestra. Made up of musicians from around the country, make everybody dance with Afro rhythms, psychedelic orchestrations and flown alone of all its members! Saxes, trombone, trumpet, percussion, guitars, bass, drums, piano and voice. Includes two versions of Fela Kuti.

Check out @ soundcloud!

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Tracklist

1. colonial mentality (f.kuti)
2. primogenito
3. gentelman (f.kuti)
4. plegarenkenke

The Sounds - Super Soul (1974) (by electricjive) (get it!)

The Number One label marketed by EMI Music for Pleasure seemed to produce mostly low-price instrumental albums targeted at the urban township market. This particular album still has its "Checkers" super-market price tag of R1.99.

While the marketing may have been cut-price, lovers of this early seventies funky-soul, slightly psychedelic genre will be very pleasantly surprised at this offering. Buried in this here album are some juicy samples just itching and waiting patiently to be lifted and re-worked.

Other than listing composers (see back cover) there is no further information provided on the who the musicians might be. Do Enjoy!

electricjive.blogspot.com

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King Bucknor Jnr. (Afro Disk Beat Organisation) - Vol. II

 

Originally published by amazing digging4gold.tumblr.com!

Imitation is the sincerest form of flattery, right?

The world has come to know Fela as the undisputed king of afrobeat in Nigeria during the 1970s. Along with fellow co-creator, Tony Allen, Fela Kuti completely dominated the market.  Even band like the African Brothers and Ebo Taylor in Ghana, both heavily influenced by Fela’s direction, added their own signature elements, creating afrohilli and afrofunk in the process.

Such a domination in the genre has prevented us from hearing the direct influence Fela’s sound had on his fellow nigerian musicians.  People like Joni Haastrup, Harry Mosco, and Pax Nicholas (just to name a few) - all managed to incorporate and expand upon the afrobeat sound, creating something new in the process, but where are all the imitators lurking in the mist who capitalized upon such a golden opportunity.  This record by King Bucknor and the Afro Disk Beat Organization is a prime of example of such blatant imitation.

Before I get into the actual music, I have to point out one of my lingering suspicions that this may be the work or another well-respected Nigerian funketeer - Segun Bucknor. Was it a studio creation by some label to ride the success of Fela?  Does the name give away Bucknor’s association with the recording or is simply coincidence that they share the same name? I remember when Lion and I found this record and being in utter awe of the shamelessness of it all.  So far, I haven’t been able to find any info on this band except for one other record of theirs that popped on ebay some years back.  I could be totally wrong about Segun’s role… hopefully, one of you can put my suspicions to rest.
As for the music itself, it is unabashed knockoff. Long, drawn-out intros, social ad-libs, 15-min songs that play out like any number of Africa 70’s well-known tunes. It even has kiltered Saxaphone solos right smack in the middle. Close your eyes and you would think it was a Fela session out-take.  I wouldn’t be surprised if this project grew out of a  cover band some Nigerian club hired out for their weekend nights.

Judge for yourself.

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Post No. 650: Esbee Family ‎– Peace Of Mind (get it)

 

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Tracklist

A1		Peace Of Mind
A2		Gin And Lime
A3		My Man Understands
A4		Falling In Love
B1		Come Party
B2		Cheerful Giver
B3		Chics Are Magnets
B4		All Alone (I Dont Know What To Do)

Nigerian boogie: Hotline - You Are Mine (get it!)

VERY RARE IN DEMAND BOOGIE DISCO FUNK LP ON BLACKSPOT RECORDS NIGERIA, EARLY 80S- BSR29  - Fantastic boogie disco LP - one of the best from Nigeria at this time.

collectorsfrenzy.com

Cult Nigerian Disco LP with a unique sound, great production, heavy on the dancefloor, very in-demand! Check 'can you do it' and 'desire' - very clean vinyl, cover with a lot of wear and taped seams 

cdandlp.com

Insanely Rare Nigeria Boogie Funk record, with a heavy synth moog sound, very unique, All Tracks killer. The most incredible thing about this group is that they had a very unique sound. This Nigerian group were miles ahead of their time and as far as I know this is the only release by them.

worthpoint.com

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Tracklist


Side A:
1. CAN YOU DO IT
2. STAY CLOSE-
3. LET'S MERGE
Side B:
1. DOING IT IN LAGOS
2. DESIRE-
3. YOU ARE MINE

Esbee Family – Chics and Chicken (get it!)

 

Holy shit. First of all, this record is called Chics and Chicken. Second of all, the cover is three women sharing a plate of chicken. This is one of those rare finds where the cover is so incredibly awesome that you’re praying for the music to be as good, and it turns out the music is BETTER than you wanted it to be. This is some seriously bumpin’ African boogie disco from Esbee Family, a Nigerian boogie funk group from the early 80s (I think?). I can’t find much information on this record but shit I love it. I can’t really find a good scan of the cover either, and don’t have a digital camera or a mac with photobooth with which to take a picture. There are some cool moog sounds and 1980 drumz, funky geetar, and generally everything you’d expect from a disco record called Chics and Chicken. The pressing I found is a bit off center so it kind of sounds warped sometimes one the first side, but to be honest, I think it makes it sound better. Especially the closer it gets to the center it just sounds more and more demented, like someone filtered it through a fucked up LFO. Pretty awesome. The B side isn’t pressed incorrectly though, so those tracks sound “better.” That being said, not every track is the best ever, but I’ll Give You Love (the opener on the A Side) is super awesome as well as the title track which opens the B Side.

housebackpack.wordpress.com 

 

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The Brighton Beat - Live @ the Bean Runner (for free)

  Recorded live at The Beanrunner Cafe in Peekskill, NY;  The Brighton Beat's first live album is now available for digital download, with hard copies available at all live events.  It features some re-imagined Brighton Beat classics, and a cover of Fela Kuti's "Dog Eat Dog."  The amazing artwork was hand painted by local Peekskill artist Andrew Barthelmes. 

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 "Afro-beat big band The Brighton Beat can sound really quiet considering the number of people on stage. The five mellow tracks on Live At The Bean Runner, recorded in Peekskill, NY, are allowed to develop organically. Kicking off with a cover of Fela Kuti's Dog Eat Dog they slip into Giraffe, one of the stand-out tracks from The Brighton Beat LP, throwing quite a few hat tips to the Supertramp classic Bloody Well Right.  

Live At The Bean Runner is a mellow album as a whole, flowing gently but picking up speed every now and then when it looks that they have painted themselves into a corner. Jazz comes to the rescue in Loose Cannon and they end the album on a high note with great percussion and keyboards interplay, a loud guitar solo and a good ol' sax battle during Big Top.

GET IT @ thebrightonbeat.bandcamp.com

Tracklist

	1.	Dog Eat Dog 12:21
	2.	Giraffe 12:16
	3.	Loose Cannon 12:28
	4.	Indian Summer 15:50
	5.	Big Top 12:17

Ignace De Souza: West African Genius (1963) (get it)

Originally from Benin, Ignace De Souza absorbed, adapted, blended and developed multiple musical styles – from his much-loved twist hit “Asaw Fofor”; through cha cha, afrobeat, but particularly Ghanaian highlife. De Souza not only introduced Ghana to what eventually became known as Soukous, it is said he also wrote the first afro-beat song.

Thanx for sharing and information to ...

electricjive.blogspot.com 

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Born in 1937 in Cotonou, Ignace got involved in music at a young age, playing during the 1950's in the country's first professional dance band, Alfa Jazz. Zeal Onyia, a Nigerian trumpeter, encouraged him to drop the saxophone and play the trumpet instead.

In 1955 he moved to Accra and joined Spike Anyankor's Rhythm Aces, one of the major bands playing the at exploding highlife scene. Some local businessmen of Lebanese origin decided to sponsor him as a band leader in 1956, so he went on and founded the Shambros Band, a name culled from the sponsors' name, the Shahim brothers. 1961 saw them recording "Paulina" in the Decca West Africa studio under the name of the Melody Aces. It was enough of a hit to pay for their own set of instruments - it was common at that time for the band "sponsors" to own all equipment which the musicians then could use, rarely did they own their own set. This finally allowed Ignace to be more independent and after a few more sides recorded with te Shambros, he quit and formed the Black Santiagos in 1964.

Congolese music was firmly on the rise in Accra at the time, but only very few local bands were adept at it. Ignace, realizing his francophone background was quite useful for tapping into Congo, hired a pair Togolese singers to take care of the distinctive Congolese vocal sound and a Dahomeian bassist. They quickly gained fame singing in several Ghanaian languages but also Yoruba, a language widely spoken in Dahomey and neighbouring Nigeria. This was crucial in establishing a "Nigerian connection" that proved to be quite important in the development of Afrobeat.

Fela Ransome Kuti was in the first stages of developing the whole concept when De Souza hired his band, the Koola Lobitos, to play the Ringwood Hotel in 1968. Whether the Black Santiagos were also playing Afrobeat when they played Lagos in 1968 isn't clear, but they cut at least two of the very earliest Afrobeat sides recorded, in 1968 or 1969.

Unfortunately, the Aliens Act of 1970 which expelled thousands of non-Ghanaians forced Ignace to move back to Dahomey were he reformed the Black Santiagos again.

His home country proved too small to support much basis for a flourishing musical career, but the band kept up its contacts touring West Africa in the mid 1970's and recording quite a few sides, mostly backing visiting vocalists.

In the mid 1980's they moved their base to Lagos, where a few years later, in 1988, Ignace De Souza passed on.

discogs.com

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or

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A bunch of 7inch!!!

A big THANK YOU goes to digging4gold

The Barbecues - Aaya Lolo / Otswe 'Nu 

 

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The Big Beats - Mi nsumoo bo donn / Kyenkyema

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Hedzoleh Soundz - Kandala / Edina Brenya

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The Apagya Show Band - Nsamanfo / Baby-Baby

 

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Check out for more 

@digging4gold

South African Jazz: The Heshoo Beshoo Group - Armitage Road (get it)

What a melting pot this country really is – past and present; people and places; seemingly fleeting, but unknowingly permanent, at least until the wheel turns again.

South African Jazz Classic Armitage Road makes all these connections, and endures. The only surviving member of this special band is bass player Ernest Shololo Mothle who played with Chris McGregor’s Brotherhood of Breath throughout the 1980s. Ernest is back in South Africa. ElectricJive is thrilled to hear how happy Ernest was to get a copy of the musical Phiri that Tony McGregor downloaded from this site. Ernest had apparently not heard Phiri since he went into exile shortly after recording it in 1972. Thank you Ernest for all your great music!

Tony tells a great story about Armitage Road and Ernest Mothle here.

Gwen Ansell describes another set of connections that Armitage Road makes: being “informed by both American and South African styles and influences. In short it straddles early hard bop and danceable South African jazz.”

In comments to the previous short-lasting posting of this recording on Matsuli, Siemon Allen pointed out the clear visual reference to the Beatles’ album Abbey Road. “What I like about the cover is that when juxtaposed with "Abbey Road" it becomes a critique of the social conditions in South Africa at that time without overtly mentioning Apartheid and running the risk of being banned. Certainly showing Cyril Magubane (who was struck with polio) crossing the road in his wheelchair amplifies the difference between the world of Armitage Road and that of Abbey Road."

This is what else the Matsuli post had to say: The group was put together by saxophonist Henry Sithole who started out playing jazz with Dalton Khanyile's Keynotes in 1964 before playing in Gibson Kente's musical Sikalo; thereafter with Almon's Jazz 8 and Mackay Davashe's Jazz Dazzlers. In 1969 Henry recruited Ernest Mothle on bass, Nelson Magwaza on drums, Cyril Magubane on guitar and his brother Stanley on tenor for the Heshoo Beshoo Group.

Heshoo Beshoo means moving forward with force. On so many levels this recording is a strong statement of self determination, creativity and freedom in the midst of the brutual subjugation of black South Africans by the Apartheid government. The LP had a limited release in South Africa as well as a subsequent release in France.

In 1971 Henry and Stanley were approached by guitarist Adolphus "Bunny" Luthuli to get a band together to compete in the Alco Best Band Competition at Jabulani Stadium in April 1971. Bunny had played with Henry in Almon's Jazz 8. This approach was the genesis of South Africa's greatest soul jazz band The Drive comprising the Sithole brothers Henry, Danny and Stanley, Bunny Luthuli, Mike Makhalemele, Lucky Mbatha, Nelson Magwaza and Anthony Saoli.

The Drive won the Alco competition and stayed together touring throughout Southern Africa. In 1972 they won best band at the PINA CULO festival in Umgababa in September 1972. The band unfortunately suffered a tragedy in May 1977 when Bunny Luthuli and Henry Sithole were killed outright in a car accident in the Tzaneen area of Nothern Transvaal.

Today Nelson Magwaza and Ernest Mothle are both musicians who command serious respect for their contribution to the rich tapestry of South African Jazz and popular music. The old slogan the struggle for jazz - jazz for the struggle rings true once more; only today this struggle is as much about memory as it is about change.

electricjive.blogspot.com



This album was an ear opener for me.

It's apparent that the influences on the Heshoo Beshoos ranges from the most traditional African jazz to the American avant garde. Only in their music have I heard the two extremes merge into such a swinging synthesis. Roughly translated from the inter-tribal lingo of the African townships, Heshoo Beshoo means 'going by force'. It's a name 'these five guys obviously take to heart.

The most avant garde influence on this group is 28-year old Henry Sithole. Ten years ago he was playing penny whistle in Durban, and left for the greater musical opportunities in Johannesburg. Now he plays alto in a way that shows he's keeping up with developments in the States, while still retaining his African roots. Tenor-playing brother Stanley, 24, also graduated from penny whistle.

Guitarist Cyril Magubane, 24, is the group's composing genius and arranger. He wrote everything on the album, except for Henry Sithole's 'Wait and See'. In 1949 Cyril was stricken with polio from the waist down. You might expect such an experience to add a bitter edge to his music. Far from it. Cyril's solos are the most mellow in the group. He too is an ex-Durbanite who finds greater jazz freedom in Johannesburg.

The group owes most of its powerhouse drive to Ernest Mothle and Nelson Magwaza. Ernest, 28, provides a rich, steady pulse. He comes from Pretoria, and arrived to stay in the Golden City in 1964. The bouyant beat of Nelson used to be heard in Durban until he joined the group in 1969.

Armitage Road is named after Cyril's address in Orlando. The melody stretched over a persistent, hypnotic rhythm, is one of those things you can't get out of your mind. Henry's solo is a delight, full of singing tones and stratospheric cries. Stanley shows a lot of Coltrane in his blowing. And Cyril's solo is soulful and serene.

Wait and see is a simple melody, sparked off by Nelson's drumming and erupting into a blazing outburst from Henry.

Amabutho means warriors. In this case they seem to be peaceful but proud. Cyril has a fine solo, sped along by the strong propulsive rhythm. Henry wails jubilantly; and Stanley rounds off the performance in a gutsy groove.

Lazy Bones is a warm, happy melody with a strong traditional feeling. The loping rhythm acts as a springboard for strong solos from Henry and Stanley, then Cyril gets back to his roots in a traditional African way.

Emakhaya means 'Back home in the bush', and it's obviously where Cyril feels completely at ease. He leads in to the simple melody, steps aside for a rousing performance from Stanley, and then settles down to a strong, intense solo. Finally, on comes Henry, strutting and swaggering to a happy conclusion.

AL LEWIS
flatinternational.org

 

Get it here! 

... or get it here! 

Tracklist

1. Armitage Road
2. Wait and See
3. Amakhaya
4. Amabutho
5. Lazy Bones 

Fela Soul Instrumentals (get it)

 

Following the recent trend of musical mash-ups, this digital-EP combines vintage recordings of the afrobeat-soul legend Fela Kuti with hip-hop pioneers De La Soul.  As the creator/producer (Amerigo Gazaway) puts it, “Afrobeat, jazz, funk, and hip-hop are already so interconnected, I always thought it would be exciting to work on a project that combined all of these elements together.  I hope this project will help to bridge the gap between hip-hop and afrobeat, and serve as an introduction for hip-hop fans and music fans alike who are unfamiliar with Fela Kuti or De La Soul’s music.”  While this combination sounds too good to be true-- this release is for real, and it sounds exactly like what you’re imagining.  And the best part of all?  It’s available for FREE download on the Gummy Soul website (link below).  Yes, read that again- it’s FREE!!!

“Fela Soul” is an 9-track musical journey, combining afrobeat rhythms, funky horn riffs, and classic, clever hip-hop.  Even if you’re familiar with the original music, Gazaway seamlessly intertwines the two artists into something completely new, interesting, and original.  The album also features Redman, MF DOOM, and Gorillaz.  The FREE download package also includes full liner notes with a track-by-track breakdown of the EP’s creation.  A Radio Edit version of the EP and a bonus track are also available on the same website.  This online-release is definitely worth downloading and the price is right!  

 

montanatechnocrat.blogspot.com

 

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