Kokolo - More Consideration

Information

"Yeah, we got our own thing", states matter-of-factly Ray Lugo, leader of New York City powerhouse KOKOLO. Based on the spiky and hyper-funky grooves found in the group’s latest album, "Love International", it would be difficult to argue with the man. Few groups in today’s global Afro scene generate as much attention and excitement as they do debate and criticism as KOKOLO. "It’s the result of going against conditioned expectations", expands Lugo. "People are used to expecting the familiar, but I’m doing my thing in my time. This is music that comes from my heart, humble music for the whole world. " KOKOLO’s ever-growing international appeal (to date, the band has performed in over 15 countries) appears to lend weight to Lugo’s words.

A former punk rocker that grew disenchanted with the promise held by that genre, Lugo formed KOKOLO in 2001 in the Big Apple’s Chinatown district, along with long time cohort Chris Morrow. He took the name from Spanish Harlem slang used to refer to devout fans of afro music. From the outset, the duo sought to carve a path of their own. “There may be better afrobeat, funk, latin or polka groups around…but we were going to be the best KOKOLO in the world”. Within weeks of forming the group, they recorded their urgent “Fuss and Fight” debut and soon found themselves playing to receptive audiences both at home and abroad.

Their second album, “More Consideration”, further expanded their audience and afforded the band performances in a score of new countries and on some of the world’s premier stages, such as The Montreal Jazz, Glastonbury Festivals and many others, where they shared the spotlight with acts ranging from Gilles Peterson, Roots Manuva, Taj Mahal and Issac Hayes to Zap Mama, Chic and Roy Ayers.

During this time, their discography grew exponentially as well, giving them the opportunity to reach new audiences through a number of releases that also feature acts such as Zero 7, Femi Kuti, Masters At work, Ladysmith Black Mambaso, Quantic Soul Orchestra, U-Roy, Tony Allen, Afro Celt Sound System, Jazztronik and many others.

KOKOLO’s reputation for mounting an explosive live show is the reason they continue to rack up frequent flyer miles year after year. "Each musician brings an important element...everyone just comes as they are". "Darren Lipper loves his hard rock, Casey Howard is a Jazz and Country music head, Eladio Gonzalez is Mr. Salsa personified, Chris loves his Zappa, John Turner is on the experimental side of the dial, Ando Kal lives for Reggae and lately, I've been getting into lots of Rai music, actually", says Lugo, "These guys have a lot of soul...and together, that mix makes KOKOLO unique onstage."

On “Love International”, the group’s third studio album released on Adrian Gibson’s Freestyle imprint, KOKOLO astutely combines an intoxicating blend of afrobeat, funk, latin, hip hop and jazz elements into a sound that is at the same time thoroughly familiar yet remarkably fresh and intriguing. On tracks like the muscular “Our Own Thing” they spell out in no uncertain terms where they stand on the matter, on the brilliant cover of The Clash’s “The Magnificent Seven” they masterfully inject more fire into a song that was burning to begin with, musical worlds collide on the irresistible “The Way Up”, and we get transported to the motherland on the hypnotic “Let Compassion Be Your Fashion”. The Lyrics, half-sung, half-scatted in English, Spanish and even Portuguese, wiz by like sparks after an explosion at a firecracker factory. Yes, this is in fact, something new and exciting.

Lugo’s ideology draws more from humanist philosophy than from conventional political ideas of right and wrong. “Billions of people today are manipulated via empty political slogans and organized religion”, he continues, “Only through changing how we educate future generations can we begin to move the human experience towards a universal spirit of brotherhood…the eradication of fear.” The socially conscious aspect of the group is reinforced through their consistent participation in a variety of projects and benefit concerts for causes ranging from the environment, to the Darfur Crisis, youth empowerment groups, and urban development organizations. “It’s not about ego or rock-star clichés…it’s about the luxury that is to be alive and have the opportunity of bringing a positive message to people.”

The future looks bright for KOKOLO. For the moment, expectations seem to be the least of their concerns.

- Malcom Traficant

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Tracklist

1. Mister Sinister
2. Mama Don't Want No Gun
3. Everybody (Tryin' to Get Buy)
4. Root to the Fruit
5. Late Night, Closed Eyes
6. More Consideration
7. Democrazy
8. Trouble Come, Trouble Go
9. Candela
10. Gimme Yaya

Kokolo - Love International

Band

In just a few years, KOKOLO's infectious blend of social commentary, charisma and musical appeal has taken them from the tangled streets of their native New York to the world's stage, firmly establishing them as premier innovators in rhythm-based music, and drawing scores of afro-beat lovers, funk heads, salsa aficionados, dance club punters and jazz connoisseurs along the way.

KOKOLO (a name derived from Spanish-Harlem slang used to describe hardcore followers of afro music) formed in May 2001, at a time when the Big Apple's nu afro-beat scene began to take shape. Formed by lead singer and songwriter Ray Lugo and English trombonist Chris Morrow, the duo soon blossomed to eight core members, and within weeks became mainstays at New York's venue for the avant-garde, the Knitting Factory.

Turning to the DIY ethic of his formative punk days, Lugo self-produced and released the octet's urgent Fuss and Fight debut through a deal with England's Afrokings label in 2002, under the shadow of the World Trade Center attacks. That same year, KOKOLO undertook the first of many visits to the U.K., giving European audiences an initial taste of the live energy the band is known for.

"My aim" Lugo explains, "was to fuse the socio-political awareness of punk and the confidence of hip-hop with the sophistication of afro-beat, funk, Latin music and beyond - in order to create something unique based on my own experiences".

Lugo's music demonstrates a continually evolving ear for song craftsmanship, writing and producing works that owe an equal amount to Fela Kuti and Ruben Blades as they do to The Clash and Hip Hop. The man's music, always danceable, always grooving, has something to say as well: "The fair and balanced distribution of information, education, natural resources and economic opportunities among all inhabitants of this planet is the key to our collective well-being over the long term".

In 2004, KOKOLO returned with their second full-length, the ambitious and aesthetically superior More Consideration, which, like their first CD, took its inspiration from present circumstances. But instead of being fueled by the paranoia of a post-WTC attack world, like Fuss... was, this rhythmic masterwork drew its subject matter from the humanist writings of Eastern philosophers like Osho, Krishnamurti and from the life of French/American artist Marcel Duchamp.

More Consideration featured guest appearances by a score of accomplished players, including guitar virtuoso Charlie Hunter (Disposable Heroes of HipHoprisy), drummer Jojo Kuo (Fela Kuti/Manu DiBango), keyboardist Greg Lewis (Chocolate Genius), bassist Gabe Roth (Sharon Jones & The Dap Kings), and keyboardist Mike Weitman (Project Logic).

The band have cemented their reputation as an explosive live act through a healthy dose of international shows that have taken them from CBGB's, to London's Jazz Cafe, to the stages of the Montreal Jazz and Glastonbury Festivals, where they've shared the spotlight with acts ranging from Gilles Peterson, Roots Manuva, Taj Mahal and Issac Hayes to Zap Mama, Chic and Roy Ayers.

Active involvement in social causes emphasizes KOKOLO's belief that music, more than just providing entertainment, can also serve as a tool for raising awareness and effecting change. KOKOLO has contributed songs for causes ranging from relief for victims of Sudan's Darfur crisis (Afrobeat Sudan Aid Project) to environmental protection (One Love Vol. 1). In addition, the band consistently performs on behalf of a variety of social organizations.

In keeping with KOKOLO's open approach to experimentation, they have released a number of remixes by in-demand producers such as Faze Action (Bebel Gilberto, St. Etienne), Word of Mouth, Richy Pitch, Beatfanatic and White Mike. These collaborations have expanded the band's cross-genre appeal, and helped KOKOLO reach new audiences through a number of releases that also feature acts such as Zero 7, Femi Kuti, Masters At Work, Ladysmith Black Mambaso, Quantic Soul Orchestra, Tony Allen, Afro Celt Sound System, Jazztronik and many others.

Though justly characterized as "tampering" with the afro-beat tradition for world audiences, by remaining intent on exploring sounds that take them out of the mainstream afro-funk sphere while keeping scores of fans who get it, KOKOLO have proven themselves perennial favorites and destined to remain such.

Source



Tracklist

01. Our Own Thing
02. Vote Black President (Yeah Yeah)
03. Love International
04. The Way Up
05. Congo Bongo
06. The Magnificent Seven
07. While I Got The Microphone
08. Sabroso
09. Let Compassion be Your Fashion
10. Nueva York