From Zambia: Keith Mlevhu ‎– Banafimbusa

ZAMBIA celebrated 50 years of independence this year. This was a year that was supposed to be filled with a sense of joy and accomplishment, only to be blighted by the death of Michael Chilufya Sata, Zambia’s fifth president on October 28, 2014, just four days after Independence Day. 

The country is now in a painful transition to elect a new president in January 2015. Yet somehow, we have to remember our jubilee. Yet somehow, we have to acknowledge Zambia achieving 50 years of independence. We have to remember to protect our freedom, to defend and cherish our freedom. This writer feels that this can be done best in art, in song. One of the greatest songs about Zambia’s independence, as far as this writer is concerned, was written and performed by Keith Mlevu. The song is titled Ubutungwa and was part of Keith’s Love and Freedom album recorded in 1976. What makes the song great are not just the words but the passion in the tune and delivery.

The lyrics performed in part are in anglicised Bemba:

Ubutungwa twalipoka, mu chalo chesu icha Zambia
Nomba mune wemwina Zambia wishitisha chalo
Nga wa mona umulwani aisa no lupiya ulwingi
Wikokola umusebe we mwine wa chalo
Ubutungwa ubwa Zambia
Natusunge ichalo chesu
Webuteko niwe wine we mwine wa chalo
Pantu nga washitisha chalo ukepaisha abantu
Kanshi mune uchenjele kuli aba ba mwisa
Abefwaya ukonaula ichalo chesu

The message in this song is forever relevant. What Keith is saying is that we have achieved our independence but we must not sell the country. He says that the vanguard of the country Zambia is the government. It is the role of the government not to sell the country. It is the role of the government to protect people from death (suffering). The soft rock song will touch even the hardest of hearts. This is Keith talking straight patriotism, straight politics. Yet as brilliant as Ubuntungwa is, it’s not the only song that Keith truly triumphed in. Keith was an extremely musically gifted individual. 

There are many songs that reached the musical pinnacle of Ubuntungwa. One such song is I am Your Star, also from the Love and Freedom album. Keith, forgotten by many Zambians, was the equal of Rikki Ililonga in stature. A giant solo perfprmer, who like Rikki could play all rock instruments. The competition between the two was cordial but fierce and many such as journalist Leornard Koloko feel I am Your Star was Keith’s sad and sweet appeal to Zambians to remember that he was also their icon. The song is sweet and once again, was performed in that soft rock genre characterised by strong acoustic guitars and soft but artistic drums. In some ways, Keith was a contradiction of sorts. His music was often soft and mellow yet in real life he was sometimes quite forceful and aggressive.
Part of the words in I am Your Star, performed in English are:
In a way, I appear looking so crap, looking a tramp, I am your star people.
You’ve got to realise who I am...

(ZAMBIAN MUSIC LEGENDS BY LEONARD KOLOKO)

“But who was this Keith Mlevu this writer speaks of? Leornard Koloko writes in his book ‘Zambian Music Legends’. “On Saturday March 5, 1988 gloom befell the Zambian music scene. Keith Mlevhu, the renowned Zambian music superstar was dead at a tender age of 37.

Keith Mlevhu’s death was a big blow to the Zambian music industry for the man was an epitome of competency, proficiency and superstardom. Not only did he have a melodious and captivating voice, he was very innovative with it. He proved to the world that singing is not just about releasing the vocal chords but a vehicle that carries a message and emotion along. A multi-instrumentalist, Keith was at home with all guitars, drums, keyboards, harmonica and percussions. He also backed himself on vocals. On every song, there were usually three different Keith Mlevhu voices all arranged and mixed to perfection. He was truly a one-man band as he called himself and titled one unreleased album.

Born on September 14, 1950 in the mining town of Chingola, Keith Mlevhu had been a musician from juvenile having played for so many bands in his formative years. He started with Dyna-Magic as an instruments handy boy in his early teens before graduating into a sensational guitarist for the same band. Keith later on pioneered and led several other pop groups, namely; The New Orleans, Mac Beth, The Rave Five, The End and The Aqualung.

One of Keith’s greatest moments as a young musician came in 1969 when he led The Rave Five into scooping a contest for bands dubbed ‘The Mini Woodstock’ held at Lusaka Show Grounds. The following year, he led another youthful outfit, ‘The End’ on a six-month tour of Congo-Kinshasa where the band was resident at a Lubumbashi Club. When ‘The End’ returned home they split with Keith forming a new band, Aqualung. 

It was after the disbanding of Aqualung that Keith pursued the new three-year diploma course in music at Evelyn Hone College where because of his brilliance and competence, he was retained as a lecturer. During his lecturing days, Keith found time to enter the Zambia Broadcasting Services studios for recordings. His very first piece to hit the airwaves was You, Me and the Other Fellow in 1975. This song and its accompanying video were done as a political advert calling for love and unity in the nation. The same year his debut solo album, ‘Banafimbusa’ was released.”

postzambia.com 

Ubuntungwa: remembering Keith Mlevu

Ubuntungwa: remembering Keith Mlevu

Ubuntungwa: remembering Keith Mlevu

From Spain: Alma Afrobeat Ensemble - It's Time

It’s Time is Barcelona based Alma Afrobeat Ensemble’s third album, the second on Slow Walk Music records, and first with the Nigerian singer Joe “Olawale” Psalmist (Lagos, Nigeria) singing in English, Yoruba, and Broken English. It’s Time features songs that hearken back to the origins of Afrobeat; extended, elegant arrangements, socially and politically charged lyrics, and irresistibly danceable grooves. Add in a dose of trance, some unique improvisational solos, plus a modern feeling, and you have It’s Time.

Side A of the album features new tunes recorded in the band’s hometown of Barcelona, while Side B features creative reevaluations by various DJ’s., which results in some very unique, creative and psychedelic sonic landscapes. The modern, warm sound is due not only to the band, but to the production of Marc Molas in El Tostadero Studios (Barcelona) and the mastering of Alex Psaroudakis, in Boston. The album will initially be distributed by Sony Music, Xango, and Home Grown in Spain, Benelux and the USA ,respectively.

The band has also continued their tradition of featuring a painting on their album cover. Last year’s album Life No Get Dublicate featured legendary Nigerian artist Lemi Ghariokwu, and It’s Time features a beautiful work from a young up and coming artist from Gambia who lives in Madrid named Yusupha Gai, whose style can only be described as Afro-Cubism.

The title track, “It’s Time”, expresses the idea that it truly is time for a change. The hard-hitting intro is reminiscent of old soul tunes, which have always been a big inuence for AAbE and Joe Psalmist. “Shakedown” addresses the current state of racist authoritarian institutions and their abuse of power. “Live and Let’s Live” expounds on the idea that not only must we let others alone, but we cannot forget to enjoy life ourselves. Finally, “Lost” peers into the nature of friendship and human relations and what it means to be “good”.

The reinterpretations on the B side of the album include a festive tropical party remix of the classic AAbE tune, “New School” by DJ Farmo (France/Barcelona). This cut also includes some top-notch harmonica playing from Farmo, as well as the vocal stylings of Tauro, from the hip-hop group Black Baudelaire. DJ Quiet (Houston/Barcelona) gives us his “cool down” interpretation of AAbE, providing a trance laden atmosphere on DWB Breakdown .

DJ Phader (Chicago/Barcelona) instills some psychedelic punch with Coupé-Decalé inspired guitars in his reinterpretation of the title track. Next we move to Dub territory with Los Kalakos going interspatial on Lost in Dub. The album ends with a dance-ready track from Ray Lugo (Kokolo Afrobeat, the Boogaloo Destroyers, Terricos) called Room Enough for Us.

It’s Time is a contrastive reevaluation of the modern state of Afrobeat, which reaffirms AAbE’s role as an international catalyst for that same style. It is both classic in its respect for the roots of the genre, yet modern and forward-thinking in its compositional style and aesthetic relevance.

almaafrobeat.com 

From Nigeria: Akwassa - In the Groove

Nigeria has been one of these African countries with a rich western oriented music scene spawning some highly praised garage rock acts like OFEGE and some hot blooded steaming funk acts. One of these groups taking a turn on music that was happening a few thousand miles west in the USA about five or six years prior was AKWASSA and here we gotta listen to their second album 'In the groove' and the title actually says it all. They play some funky music that would make James Brown (God rest his soul) or Betty Davis (Miles Davis' beautiful and highly gifted wife) go crazy for and they do it with a routine you would rather expect with American superstars. AKWASSA impress with a tight as a teenie's ass rhythm section grooving some hypnotizing beats that consist of wild percussions and an airy drumming tied together by some captivating bass lines. Upon this rhythmical basement you find a grinding organ scrubbing your senses and a clean wah wah driven guitar that erupts into fuzzed out solos from time to time. The mid ranged voice comes with a rich tone and nobody would question me if I'd tell him this was a US act. Well, okay, there is a little accent but at least his English is grammatically perfect. In the end it does not matter much for the voice is one instrument that adds a patch of color to the whole picture. How great to know this Afro Funk classic from the 70s can now be enjoyed by a young audience with an open mind. Old school funksters, take your chance, this is sheer bliss.

deejay

Orchestre Poly-Rythmo de Cotonou live

From Brazil: Abeokuta Afrobeat

Afrobeat group influenced by music and African culture.

When merging jazz, funk and percussion to design the pace which would bring African music to a contemporary level and full of swing and positive social criticism, the multi-instrumentalist Fela Kuti won the world with the energetic and consistent 'afrobeat', around 60s The letters were wandering among the Yoruba (African dialect) and English gave birth to a new musical concept. As a precursor of this musical genre, inspired artists around the world to move and expose their ideals. In Recife, the Abeokuta band follows the musical precepts successive level by master Fela Kuti. The name of the group was inspired by the hometown African musician: Abeokuta, Nigeria.

The Abeokuta band adds the 'afrobeat' footprint to popular culture found in Pernambuco rhythms. To adorn the afrobeat with the guise of popular music (maracatus, caboclinhos and afoxés from the musical experiences of percussionists), the band approaches the listeners with the regional identification. It can be said that the sound of Abeokuta translates a new experience tied to familiarity.

Check out there EP at 
soundcloud.com/abeokutaafrobeat

From Mali: Terakaft - Alone

Terakaft strike back

Terakaft the pioneers of desert rock are back. With their most rock oriented offering to date and – at the same time – their most personal: Ténéré – ‚Alone‘. An album that was born out of a need to maintain sanity in times of broken dreams and lies. „I call on every brother who loves his nation“, sings Diara, „to stop saying bad words, that destroy our people“.

‚Alone‘ was born out of a need to maintain sanity in times of broken dreams and lies. It might be their most rock oriented album to date but at the same time it is their most poetic. Five years ago with their album “Aratan N Azawad” and even the follow up “Kel Tamasheq”, Terakaft was still full of hope, things had started to change. Today the soil that was supposed to blossom is burnt by selfishness and rivalry.

„There are too many characters in the picture, too many chiefs and not enough people“, says Diara when asked about the political developments in the last years. He used to sing political songs back in the days in his rebel youth when he was still playing guitar with Tinariwen. Nowadays he is only watching with a new feeling growing inside him: “Ténéré”, which is the title he gave to this album, and which translates to: “Alone”. Back in the days when they were sitting in the dunes drinking tea with big hopes for the future, singing their songs into the night, his nephew Sanou was sitting next to him, still a young boy. Occasionally the uncle would hand his guitar to the nephew, so he could play along with the others. Just before the international success story of Tinariwen started, Diara got stuck on his way to Bamako a missed flight and his place in Tinariwen was taken. Meanwhile Sanou had set up his own band Terakaft. Today Diara and Sanou are the backbone of Terakaft: the guardians of desert blues. Diara is the spirit of the band, as strong as a rock. Sanou – his nephew – is the heart of Terakaft. He brings the life to its spirit. Diara the elder, lays out heavy rhythms pulsing through his guitar. Sanou has become the natural heir to the sound of “assouf”, with his intense rock riffs and an up-lifting attitude towards life.

‚Alone‘ is the 5th album of Terakaft. It was produced by Justin Adams who is one of the musicians from Europe who has delved deep into Tuareg music in the last years. Adams is known as a musician and producer through his work with Robert Plant, Tinariwen and Juldeh Camara. He has geared up “The Caravan” to reach new shores and hit the dancefloors. In these troubled times, they have made an album together, that presents the deep Saharan rhythms as a vital contemporary heartbeat. Standing on the ruins of their peoples dreams they sing to their brothers and sisters about true friendship and tolerance.

« It’s a bloody marvellous album, I can’t stop playing Oulhin Asnin, particularly and I keep expecting some astral Neil Young electric guitar to come swooping into it. » Andy Kershaw, BBC Radio

« Terakaft’s sound is the starkest and most compelling excursion yet into the sonic world of the Sahara. » Mark Hudson, The Daily Telegraph

« Une Kalachnikov, ce sont trente balles dans le chargeur, une fois que tu l’as vidé, c’est fini. Une guitare, elle, n’a pas de limite. » interview Diara, World Sound

outhere.de 

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"Different people, same story," Malian group Terakaft say of their music when compared to fellow Tuereg rockers Tinariwen. Much like the early days of Tinariwen, Terakaft's lineup has operated as a collective and the current incarnation of the group exists around members who between them have either been involved in playing the music for many years, or have grown up listening to it. "Assouf" desert rock is second nature to them as guitar lines unfold with a purity that runs like water.

Alone marks the group's first release since Kel Tamasheq in 2012, and the time away seems to have invigorated the group, whose fired up return is marked by guitars ringing with menacing fuzz and upbeat percussion aimed at dancefloors. Recorded by Justin Adams at Real World Studios, the group's fifth album has a direct groove that cuts through the whole album. While there may be a temptation to believe you have heard this before, there is always something extra to be found as escalating Saharan riffs unfold in the atmospheric arrangements, staying true to their 70s rock aesthetic and boosted by the poetic messages of the lyrics.

The group have recently been joined by founding Tinariwen member Liya ag Ablil (also known as Diara) who, from the late 1970s, helped create the familiar assouf sound within the collective. Their tapes were copied and shared among Tuereg people, helping the music spread throughout the northern Sahara. After missing the plane when the group made their international breakthrough around 2000, Diara left the group, and the guitarist and vocalist now joins his nephew Sanou ag Ahmed on guitar and vocals, with bassist Andrew Sudhibhasilp and drummer Nicolas Grupp. Sanou formed the group in 2000 with another former Tinariwen musician, Kedou, and previous members include bassist Rhissa ag Ogham, who died in 2010 in a car accident in the Sahara, Abdallah ag Ahmed, who left after a car accident in 2012 in Algeria and former bassist Pino, who has recently switched to acting – and has a lead role in the recent Timbuktu movie.

From the pounding drums of opening track 'Anabayou (Awkward)' the group address the struggle for those without drinking water and food due to droughts in the wake of events in Mali since the military coup in 2012. The album deals with themes of calling for unity - 'Itilla Ihene Dagh Aïtma (To My Brothers)' and to "stop telling stories and lies," as on 'Harambani (Nastiness).' On the latter, the message of togetherness is reinforced by group-chanted vocals, as twangy guitars split into dizzying north African riffs.

The sun scorched guitars on 'Amidinin Senta Aneflas (My Confidant)' maintain the stomping momentum with uplifting choppy rhythms as the lyrics tell of the closeness between those who have seen it all together. 'Wahouche Natareh (Lions)' suggests a turning tide is coming, as, "We warn the world that this year, We come with the truth all together." Diara's solo rendition of 'Anabayou' closes the album on a reflective note. The guitarist now heard alone, as if back where he started, as the album comes full circle.

Terakaft translates from the Tamasheq as "the Caravan", in reference to the nomadic lives of the Tuereg people. Alone perhaps signals that the dream is still as far away as ever. Terakaft find some kind of inner peace through their music, while offering a connection and hope to those experiencing something similar, wherever they may be. Different, but the same.

thequietus.com

Eji Oyewole - Charity Begins At Home

We are proud to present another long-lost classic from the golden age of African music, from a figure who is still beginning to get his props internationally, Eji Oyewole.

Born to a royal lineage in Ibadan, Prince Eji Oyewole has had a career as a flautist, saxophonist and sometime bandleader spanning well over half a century. He trained both in Nigeria and then at Trinity the prestigious music school in London, and his life as an itinerant musician also saw him living for extensive periods in Geneva, Hamburg and in Lyon.

While for many years Fela Kuti (with whom Eji played) and King Sunny Adé commanded international attention to the exclusion of most other Nigerian musicians, as if there was only room for one Nigerian superstar at a time on the world stage, on the domestic scene things were very different. Eji was part of the huge craze for ‘highlife’, a generic term that in fact subsumed many different styles, united in their fusion of traditional west African forms with jazz influences and electric instruments, and in the bands’ working practices as entertainers at the nation’s numerous hotel/nightclubs.

As this cracking album, recorded for EMI Nigeria at the tail end of the ‘70s and now remastered, reveals, Eji’s version of highlife was even more distinctive than most, eschewing the usual emphasis on guitars for a brasher, horn-laden sound, seemingly influenced as much by American funk as it was jazz, and of course with the heavy percussive undertow central to most African music.

This gave Eji a chance to shine, and there are some scorching solos as well as tight ensemble playing across the four lengthy (to ears accustomed to the three-minute pop song) songs. Eji also played piano on the session. The material has an element of social commentary (Oil Boom and Unity In Africa) and should help feed the seemingly insatiable appetites of the many who have been turned onto African music by the enterprising efforts of devoted collectors, labels and fellow fans.
Surely one of the few musicians who has played with Fela, Miles Davis and Bob Marley, Eji Oyewole still plays regularly in Lagos, recently had an album of new material out with his current band The Afrobars, and has been a member of Faaji Agba, a super-group that has toured internationally and been dubbed ‘the Nigerian Buena-Vista Social Club’.

bbemusic.com