Afrobeat 205 Items

With the mighty new From Africa With Fury: Rise, Seun Anikulapo Kuti picks up the mantle as undisputed champion and true prince of the Afrobeat movement.

The third instalment in Strut’s essential trip through the rich archives of Nigerian music brings together ‘70s Afrobeat and highlife from Victor Olaiya, Rex Williams, Zeal Onyia and more.

A. Ayaléw Mèsfin ft. Black Lion Band - Ghedawou
Ethiopian dance floor Funk rarity originally released on Kaifa 7” (KF 31) in
1976. Hand claps, guitar lines and call and response lead vocals punctuate the
driving bass line and understated drum groove.
Mesfin played primarily at the Lumumba Club in Addis Ababa’s red light district
and released many 45’s and cassettes during the mid seventies.
He worked very closely with the Black Lion Band (or Tequr Ambessa Orchestra)
AA. Mulatu Astatke ft. Feqadu Amdé-Mesqel - Asmarina
Laid back, drum-heavy, Ethipian jazz taken from the legendary Ethio Jazz’ LP on
Amha (AELP 90). Typifies the sound of the country and the period, truly classic
stuff.
Mulatu will be touring heavily in 2016, which we are very much looking forward
to.

Originally released in 1975 on Gapophone Records, George Prah’s label, hailing from Ghana. Only available in very limited quantity (reportedly 500 copies) due to the musical vacuum imposed by the military dictatorship in the country at the time.

Laid back, lush, highlife vibrations from start to finish, with noticeable reggae influences throughout.

Composer/arranger/producer Etienne de la Sayette is a frenetic globe-trotter and a relentless collector of musical instruments. Founder and headhunter of, among others, the Frix and Baeshi Bang groups, co-founder/saxophonist for Parisian Ethio-Jazz band Akalé Wubé, Etienne might mostly be a live musician, he manages nonetheless to find the time for audio production, remixes and synch music. 'Maputo Queens' is his first solo album, a deep afrojazz masterpiece for thoughful moods and after-hours atmospheres, with some masterful blends of spices from all over the globe.

In the spring of 1968 a cargo ship was preparing to leave the port of Baltimore with an important shipment of musical instruments. Its final destination was Rio De Janeiro, where the EMSE Exhibition (Exposição Mundial Do Son Eletrônico) was going to be held. It was the first expo of its kind to take place in the Southern Hemisphere and many of the leading companies in the field of electronic music were involved. Rhodes, Moog, Farfisa, Hammond and Korg, just to name a few, were all eager to present their newest synthesisers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia.

The ship with the goods set sail on the 20th of March on a calm morning and mysteriously disappeared from the radar on the very same day. One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields, in the middle of nowhere, 8 km from any coastline.

After consulting with the village elders, the locals had decided to open the containers to see what was inside – however gossip as scintillating as this travels fast and colonial police had already arrived and secured the area. Portuguese scientists and physicians were ordered to the scene and after weeks of thorough studies and research, it was concluded that the ship had fallen from the sky. One of the less plausible theories was that it might have fallen from a Russian military air carrier. The locals joked that again the government had wasted their tax money on a useless exercise, as a simple look at the crater generated by the impact could explain the phenomena. “No need for Portuguese rocket scientists to explain this!” they laughed.

What the villagers didn’t know, was that traces of cosmic particles were discovered on the boat. The bow of the ship showed traces of extreme heat, very similar to traces found on meteors, suggesting that the ship had penetrated the hemisphere at high speed. That theory also didn't make sense as such an impact would have reduced the ship to dust. Mystery permeated the event.

Finally, a team of welders arrived to open the containers and the whole village waited impatiently. The atmosphere, which had been filled with joy and excitement, quickly gave way to astonishment. Hundreds of boxes conjured, all containing keyboards and other instruments which they had never seen before: and all useless in an area devoid of electricity. Disappointment was palpable. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass.

It is said that charismatic anti-colonial leader Amílcar Cabral had ordered for the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools. This distribution was best thing that could have happened - keyboards found fertile grounds in the hands of curious children, born with an innate sense of rhythm who picked up the ready-to-use instruments. This in turn facilitated the modernisation of local rhythms such as Mornas, Coladeras and the highly danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality!

The observation was made that the children who came into contact with the instruments found on the ship inherited prodigious capabilities to understand music and learn instruments. One of them was the musical genius Paulino Vieira, who by the end of the 70s would become the country´s most important music arranger. 8 out of the 15 songs presented in this compilation had been recorded with the backing of the band Voz de Cabo Verde, lead by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as “The Cosmic Sound of Cabo Verde”.

‘Tèssassatègn Eko’ is a catchy, soulful Ethiopian jam. Originally released on
Amha AE 690 A in 1973. Arranged by the prolific Girma Beyene.

‘Ayalqem Tèdènqo’ see’s Eshèté’s third appearance in the Africa 45’s series. Released originally on Amha AE 290 A in 1971. A shuffling drum/percussion groove with soulful piano and bass, catchy vocal hook and guitar solo.

From the forthcoming album Kidayu, out September 8th 2016 on Hot Casa Records.

When faced with the decision to take a different direction at the risk of getting lost in a synthetic sound or to further explore the same musical path, Vaudou Game did not need to consult the oracle for very long when putting together their new album.

Since their first acclaimed album, Apiafo and its irresistible single "Pas Contente", these Lyon natives never turned down the heat on over 130 stages across Europe, Africa, America and Asia. Peter Solo has displayed his amulets, charisma and yellow pants around the globe.

When time came for them to harness their Afro-Funk sound for the second time, they turned their attention once again to their analog strengths. Vintage material, instruments produced in the 70's and cassette tapes were the "grigris" (or lucky charms) which proved most effective to ward off digital corruption of their music and return them to a tight-knit group with a solid groove.

Just in time for summer, Sol Power Sound is proud to present its 4th release, the Djidjo Vide EP, a 1-2 punch of Afro house by label heads, the Sol Power All-Stars.

Djidjo Vide, the title track on the A-side, features DC (via Togo) Afrobeat band, Elikeh. It's a vibey slice of propulsive Afro house about finding joy in the face of hardship. Massama Dogo's commanding vocals (sung in Mina) combined with the driving bassline, and aggressive horns (performed by DC's Sticky Bear) make Djidjo Vide a summer sure shot for a roof-top jam, beachside dance floor, or nightclub near you.

The B-side, Tell Me Why is darker and deeper, chock full of percussion, a chopped vocal sample, and in-your-face afrobeat horns (performed by Matt Rippetoe and Joe Herrera of DC's the Harry Bells). It's a late-night beatdown that will set things off proper in a dark room!

Soul Jazz Records’ new Nigeria Soul Fever is their first release to explore the vast wealth of Nigerian music recorded in the 1970s. The new album comes with introductory sleeve-notes by Bill Brewster (author of Last Night A DJ Saved My Life).
Packed-full with Afro-Funk, Disco and Boogie all from Nigeria, this triple album/double CD set brings together a stunning collection of diverse West African sounds. Whilst a small handful of the artists featured (Joni Haastrup, Tee Mac, Christy Essien) have seen the light of day outside Africa, this is essentially a collection of killer tracks by an array of artists completely unknown outside of Nigeria. Artists such as Don Bruce & The Angels, Akin Richards & The Executives, Angela Starr, Jimmy Sherry & The Music Agents. It’s no surprise that these records are extremely rare and expensive to buy individually so this album will save you going broke trying to find them.
These recordings were made at a time when Nigeria’s trade restrictions banned imported records. Whilst new musical trends (such as American soul, funk, disco etc) entered and influenced the country, the local music scene remained just that – local. Consequently, these recordings remain practically unknown to anyone outside of the country.

Susso, aka bassist / producer Huw Bennett, creates music inspired by, and directly sampling, the magnificent sounds of the Mandinka people, recorded during a recent trip to Gambia. Initially travelling with the aim of gaining perspective as a musician and to discover a new world of music first hand, Huw found himself humbled by such a welcoming community of artists, mostly belonging to the celebrated Suso and Kuyateh griot families. The tracks are composed entirely from original source material, field recordings and Huw’s talents as a multi-instrumentalist; performing tuned percussion from the region including the Mandinka Balafon, Kutiringding drum, aswell drawing on his skill as a professional upright / electric bassist. The music produced has a contemporary electronic sound, whilst still paying homage to a traditional Gambian aesthetic. Keira (meaning peace) guides the listener through Huw’s journey up the River Gambia, being welcomed into remote dusty villages, where your people are the most important thing in life.

For his next release on Soundway Records, Los Angeles-based Dexter Story hooks up with long time friend and compatriot of music, the saxophonist, jazz composer, producer and band-leader Kamasi Washington. A fierce, rumbling electro Ethio-Funk groove provides the platform for an intense and powerful interplay between Washington on tenor sax and Todd Simon on trumpet. An instrumental cover version of Tilahun Gessesse's 1970s cut of the same name, it's Story's homage to the oppressed Oromo people of Southern Ethiopia. Backed on the flip by the one cut from Story's 'Wondem' long-player that did not make it to vinyl when the LP version was cut, Nia Andrew's sublime and atmospheric collaboration on Eastern Prayer will keep all those happy who grumbled at it's exclusion from wax first time around. This is a record that no lover of Ethio-Jazz, Afro-Beat or Funk should be excused for not owning.

Five years into the project, with two acclaimed albums and dozens of triumphant international performances to its name, “Yermande” announces a thrilling new phase for this Dakar-Berlin collaboration: emphatically a giant step forward.
The group of players is boiled down to twelve for recordings, eight for shows; sessions in Dakar become steeply more focussed. ‘This time around I was better able to specify what I wanted right from the initial recording sessions in Dakar,’ says Ernestus; 'and further in the production process I took more freedom in reducing and editing audio tracks, changing MIDI data, replacing synth sounds and introducing electronic drum samples.’
Right away you hear music-making which has come startlingly into its own. Rather than submitting to the routine, discrete gradations of recording, producing and mixing, the music is tangibly permeated with deadly intent from the off. Lethally it plays a coiled, clipped, percussive venom and thumping bass against the soaring, open-throated spirituality of Mbene Seck’s singing. Plainly expert, drilled and rooted, the drumming is unpredictable, exclamatory, zinging with life. Likewise the production: intuitive and fresh but utterly attentive; limber but hefty; vividly sculpted against a backdrop of cavernous silence.
Six chunks of stunning, next-level mbalax, then, funky as anything.

On this great compilation you’ll find 16 early vocal & jazzy tunes from the Golden Age of Jive & Kwela in South Africa. All released originally on fragile shellac discs only, which is a very delicate material but the music survived thanks to the archives of ILAM. A truly great source of South African music is being preserved here for new generations, to inspire young and hopeful musicians and singers from all over the world. These treasures of musical genius were recorded in the glory years of Jive and Kwela, the years 1940-1965.
On side A it is not very difficult to recognize the similarities to American popular music like R&B and small combo close harmony singing. But most of all notice that typical South African swing, that Jive, that incredible smooth form of African Jazz on side B; Kwela!

The rarest and most treasured finds are collected here, some with the original spoken intros, ‘sketches’ as these were called. Characteristic conversations between the musicians, often in a humoristic slang, always extremely funny. The record is pressed to 180gram vinyl.

Journeyman, DJ, radio presenter, beat raconteur – it’s been hard to keep up with all of iZem‘s movements lately. The innovative Lisbon-based French producer has been hard at work on his debut LP Hafa, exploring the sounds of Latin America and North Africa in a vivid analogue-digital, genre-defying soundscape that is sure to leave your head spinning. Inspired by cultural greats like Jack Kerouac, Paul Bowles, Tahar Ben Jelloun and Matisse, iZem spent time soaking up the atmosphere at the inspiring Café Hafa, an idyllic cliff-pop joint overlooking the strait of Gibraltar, in Tangier, Morocco, which has formed a golden backdrop to his debut LP. Brimming with soulful exoticism, personal narratives and adventurous collaborators, Hafa has been an experiment in taking on the afro-centric sounds of his journey to-date by incorporating modern, introspective songwriting and hybrid beats.
Often writing music whilst crossing continents, the only place iZem allows dust to settle is in the heart, heat and rhythms of his local-global future sounds. A decade of nomadism between Spain, Brazil, Argentina, Ireland and Portugal made way for a series of critically acclaimed EP’s and remixes for Soundway, GAMM, Far Out, Agogo, ZZK records, Wah Wah 45s, and Mais Um Discos. Arrival on the global, forward-thinking, artistically leftfield scene was predicted by Gilles Peterson, XLR8R, Okay Player and fellow tropical hed Quantic. iZem is an acronym for “In Ze Early Morning” and his debut album “Hafa” evokes new days dawning in far-off lands and stirring horizons of the present. So if you aren’t hearing iZem’s pastiche of future tropical rhythms and organic grooves on stations such as BBC, KCRW or Funkhaus Europa, then make sure you you catch him raising the dance floor temperature on one continent or another.

We’re introducing: Johnny! Ghanaian Afro-Rock from German producer/composer J.J. Whitefield and an international cast of top shelf musicians. Whitefield, who in the early ‘90s revived the gritty, analogue Funk sounds of the ‘60s and ‘70s with his Poets Of Rhythm, has been working with Now-Again Records for almost a decade, releasing a flock of acclaimed projects with Karl Hector & The Malcouns, Whitefield Brothers, Rodinia and the “Original Raw Soul” anthology. He first started exploring African rhythms with the Whitefield Brothers in the late ‘90s, continuing in the ‘00s with Karl Hector & The Malcouns. He’s been instrumental in launching Ghanaian Afro Beat/Funk legend Ebo Taylor´s international career, decades after the maestro recorded the landmark albums that have inspired thousands. Whitefield recorded two new studio albums with Taylor and toured in his band between 2009 and 2013, where he met Taylor’s son Henry and percussionist/Singer Eric Owusu. The trio now front the Johnny! band and find inspiration not only in Ghana’s hypnotic grooves, but also the full frontal fuzz guitar assault heard on the legion of 70s Zambian Zamrock albums recently reissued by Now-Again. Indeed, Whitefield credits his tours with Zamrock godfathers Rikki Ililonga and WITCH’s Jagari Chanda as instrumental in creating the Johnny’s sonic backdrop. The band is rounded out by Turkish drummer Bernd Oezsevim (Woima Collective, Rodinia) and Indonesian bassist/multi instrumentalist Tomi Simatupang (Whitefield Brothers). This is Dance Rock at the core with the possibilities to stretch out and go into psychedelic realms. The results, spread out over three 7”singles and pressed in a run of 1000 units each, speak for themselves. Every record comes with a download card for WAV files of all six tracks (vocals and instrumentals from each release) and point at a new direction for the music inspired by the Great Continent.

The first instalment in our new ‘Mr Bongo Record Club’ compilation series – a
selection of favourites, recent discoveries and sought after obscurities, which
form the basis of our DJ sets and our radio show of the same name. Including
cuts by Claudia, Cortex, Dave Pike Set, Fruko, Neno Exporta Som, Connie
Laverne, Barbosa and more.
The original concept for ‘Mr Bongo Record Club’ was a radio show that allowed
us to air our treasured record collections, recorded and broadcast once a
month. We wanted to create an outlet free from any genre or BPM restrictions,
not constrained by the need to beat-mix every record, a space where we could
play latest finds alongside favourites. The only self-imposed rule being that
it had to be played from vinyl.
We have always DJ’d across-the-board, but playing in an eclectic way hasn’t
always been easy. Recently DJ’s such as MCDE, Floating Points, Nick The Record,
Leon Vynehall, Four Tet, Jeremy Underground, Antal (Rush Hour), Sassy J and
Young Marco – to name a few – have opened things up with very diverse sets to
younger audiences; Brazilian samba-rock, next to modern soul, highlife, disco,
boogie, jazz, house, techno and beyond.
We’re seeing a rare groove like sensibility. A shift towards the attitude of
legendary club nights hosted by the likes of Mr Scruff and Gilles Peterson,
where you could hear house, hip hop, Turkish funk, boogie, jazz, dub and Latin
back to back. At the same time it isn't a nostalgic or retro movement, people
have a progressive attitude and a thirst for new-old music. It is a vibrant and
exciting time – we are proud to be a part of it.

We’re introducing: Johnny! Ghanaian Afro-Rock from German producer/composer J.J. Whitefield and an international cast of top shelf musicians. Whitefield, who in the early ‘90s revived the gritty, analogue Funk sounds of the ‘60s and ‘70s with his Poets Of Rhythm, has been working with Now-Again Records for almost a decade, releasing a flock of acclaimed projects with Karl Hector & The Malcouns, Whitefield Brothers, Rodinia and the “Original Raw Soul” anthology. He first started exploring African rhythms with the Whitefield Brothers in the late ‘90s, continuing in the ‘00s with Karl Hector & The Malcouns. He’s been instrumental in launching Ghanaian Afro Beat/Funk legend Ebo Taylor´s international career, decades after the maestro recorded the landmark albums that have inspired thousands. Whitefield recorded two new studio albums with Taylor and toured in his band between 2009 and 2013, where he met Taylor’s son Henry and percussionist/Singer Eric Owusu. The trio now front the Johnny! band and find inspiration not only in Ghana’s hypnotic grooves, but also the full frontal fuzz guitar assault heard on the legion of 70s Zambian Zamrock albums recently reissued by Now-Again. Indeed, Whitefield credits his tours with Zamrock godfathers Rikki Ililonga and WITCH’s Jagari Chanda as instrumental in creating the Johnny’s sonic backdrop. The band is rounded out by Turkish drummer Bernd Oezsevim (Woima Collective, Rodinia) and Indonesian bassist/multi instrumentalist Tomi Simatupang (Whitefield Brothers). This is Dance Rock at the core with the possibilities to stretch out and go into psychedelic realms. The results, spread out over three 7”singles and pressed in a run of 1000 units each, speak for themselves. Every record comes with a download card for WAV files of all six tracks (vocals and instrumentals from each release) and point at a new direction for the music inspired by the Great Continent.

TOGO SOUL 70 project, is the collaboration between Julien Lebrun, label Manager and Liz Gomis, journalist and director. Two friends that are combining their skills to relate the process of pressing a compilation of rare grooves in Africa

From the original quest, searching for vinyls and right holders in adventurous conditions (sometimes) to the contract final signature, we'll travel throughout Togo to witness the post-colonial story of the country by the prism of its soundtrack

More than a digging session, we'll highlight togolese culture through music. Music that you'll be able to listen in May 2016 on the double vinyl compilation TOGO SOUL 70 (Hot Casa Records gatefold)

We’re introducing: Johnny! Ghanaian Afro-Rock from German producer/composer J.J. Whitefield and an international cast of top shelf musicians. Whitefield, who in the early ‘90s revived the gritty, analogue Funk sounds of the ‘60s and ‘70s with his Poets Of Rhythm, has been working with Now-Again Records for almost a decade, releasing a flock of acclaimed projects with Karl Hector & The Malcouns, Whitefield Brothers, Rodinia and the “Original Raw Soul” anthology. He first started exploring African rhythms with the Whitefield Brothers in the late ‘90s, continuing in the ‘00s with Karl Hector & The Malcouns. He’s been instrumental in launching Ghanaian Afro Beat/Funk legend Ebo Taylor´s international career, decades after the maestro recorded the landmark albums that have inspired thousands. Whitefield recorded two new studio albums with Taylor and toured in his band between 2009 and 2013, where he met Taylor’s son Henry and percussionist/Singer Eric Owusu. The trio now front the Johnny! band and find inspiration not only in Ghana’s hypnotic grooves, but also the full frontal fuzz guitar assault heard on the legion of 70s Zambian Zamrock albums recently reissued by Now-Again. Indeed, Whitefield credits his tours with Zamrock godfathers Rikki Ililonga and WITCH’s Jagari Chanda as instrumental in creating the Johnny’s sonic backdrop. The band is rounded out by Turkish drummer Bernd Oezsevim (Woima Collective, Rodinia) and Indonesian bassist/multi instrumentalist Tomi Simatupang (Whitefield Brothers). This is Dance Rock at the core with the possibilities to stretch out and go into psychedelic realms. The results, spread out over three 7”singles and pressed in a run of 1000 units each, speak for themselves. Every record comes with a download card for WAV files of all six tracks (vocals and instrumentals from each release) and point at a new direction for the music inspired by the Great Continent.

12-piece Afro-beat bandMatukiare releasing their debut 7" single onDecember 2ndviaStutter & Twitch; which paints a juxtaposed image of the band's versatile style. Side A 'Sanimenteren' showcases fiery horn melodies and liquid guitar riffs, whereas Side B 'INJO' changes direction completely as Manchester producerShunyatakes the reins. By morphing Matuki's steadfast rhythm into a lucid downtempo glitch, Shunya creates a unique and mesmerizing new perspective towards the urban band's signature style.

The Original Sound of Mali’ compiled by David ‘Mr Bongo’ Buttle, Vik Sohonie (Ostinato Records) and 
Florent Mazzoleni.

Malian music is a deep, lyrical form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a selection of songs from across the country.

Born in Matura Village, Trinidad in 1949, Doran Dorril Hector aka ''Versatile'' began his career as a guitarist in a quartet singing group called the ''Orchids'' in 1965. He first began writing and performing Calypso in 1967 for the North East Competition in Sangre Grande where he emerged 1st runner up to the Mighty Poser.

He further went on to be judged the best singing teen at the Teen Talent Competition held at Scarlet Ibis Hotel in 1968 performing Otis Redding’s ''Dreams To Remember''. The prize was a recording session at Telco Records and it was at this company that Dorril released his first record ''Dance With Me''.

In the late sixties he also began travelling as a lead singer with Ed Watson and the Brass Circle, visiting the entire English-speaking Caribbean. He also went to New York, Miami, The U.S. Virgin Islands and Guadeloupe.

In 1970 he decided to get into the Calypso genre and changed his artist name to ''Versatile''. Before getting on the front stage he began doing background vocals for several calypsonians in the Calypso tents during Carnival season. He also began to work as a background vocalist at Max Serrao’s Caribbean Sound Studios, K.H. studios and Semp studios.

After saving some money from working in the entertainment business, Dorril decided to do a self-financed recording in 1974 and recorded ''Country Boy Come To Town'' at K.H. studios in Sea Lots, Port of Spain, a calypso-pop crossover song. The song was a minor success in Trinidad.

In 1975 he went into a partnership with K.H. studios to record his next single ''Let It Out''. The song was a mixture of Calypso, Funk and African influences and served as a good example for the newly evolving musical artform called ''Soca''. However, Dorril was still unable to write down his music and arrangements for the studio musicians. Ellis Chow Lin On (then manager at K.H. studios) introduced Dorril to Pelham Goddard who had just formed his band ''Roots''. Pellham Goddard wrote down the arrangements and Roots recorded the backing track. Among the musicians were names like Clive Bradley and Michael ''Toby'' Tobas. Dorril released the record on his own ''Hector'' label.

Back in the studio in August 1977 he recorded the socio-critical song ''Destruction'', a soulful reggae tune. The backing track was recorded by Colin Lucas and his newly-formed band ''Sound Revolution''. After Carnival the following year the song became a big hit in Trinidad and the wider Caribbean and finally Dorril’s signature song.

Dorril kept recording his own material and is performing live to this day. He is also an active member of T.U.C.O. (the Trinbago Unified Calypsonians Organisation).
7'' Single (45 RPM) in picture sleeve. 2 tracks. Total playing time 7 mns.

Comet is pleased to announce the third volume of the Afrobeat Makers Series: Nu Guinea - The Tony Allen Experiments.
By re-working the original magic drum patterns from the Afrobeat master Tony Allen, Nu Guinea created a compilation of tracks which is charged by a voluminous electronic jazz-Psyche funk imprint.
For this release, Comet Records teamed up with Early Sounds Recordings, the berlin label, also home to duo Berliners Nu Guinea.
The Naples formed, Berlin-based duo, is a project that arose out of jam sessions, melting synthesizers with instruments, containing a handmade sound that is not aiming for perfection but genuineness. It can be understood as a steadily shaping form, always open for collaborations with other musicians.
They've previously collaborated with singer Wayne Snow (fellow berliner artist on Comet) for the vocal edit of Nu-World, also delivered a remix for Wayne Snow’ ʻRosie Epʼ both recently released on Tartelet Records.

The Original Sound of Mali’ compiled by David ‘Mr Bongo’ Buttle, Vik Sohonie (Ostinato Records) and Florent Mazzoleni.

Malian music is a deep, lyrical form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a selection of songs from across the country.

No booklet in this Version.

Analog Africa No. 21 „bitori“ - Legend Of Funaná (The Forbidden Music of The Cape Verde Islands) - In 1997, a quiet, unassuming man of 59 years old named Victor Tavares - better know as Bitori - walks into a studio for the very first time to record a masterpiece which many Cabo Verdean consider to be the best Funaná album ever made.

Bitoris musical adventure had begun long before this point. It was 1954 when he embarked on a journey across the seas to the island of Sao Tomé & Principe. The young man´s hope was to return to Cabo Verde with an accordion.

Following two years of hard labour Bitori had succeeded in saving enough money to acquire what was to become his most valued possession, his cherished instrument. The two month journey back to Santiago, his island of birth, proved time enough to master it. Self taught, Bitori developed his own style, an infectious blaze, that quickly caught the attention of the older generation. Before long Bitori was being asked to share his musical talents, igniting the local festivities around Praia with his music.

But not everybody welcomed the rural accordion-based sound. Perceived as a symbol of the struggle for Cape Verdean independence and frowned upon as music of uneducated peasants, Funaná was prohibited by the Portuguese colonial rulers. Performing it in public or in urban centres had serious consequences - often jail time and torture awaited musicians that were “caught in the act”. In light of such persecution the genre of Funaná began to slowly disappear.

In 1975 Cabo Verde achieved independence from Portuguese colonial rule. Along with Cabo Verde’s independence came a lifting of the ban placed on Funaná. The musical repercussions in Cabo Verde were plenty - many upcoming artists embraced Funaná, translating and adapting its musical form in new ways. It was not to be until the mid-1990’s, however, that Funaná in its traditional form was actually recorded.

It was a young singer from Tarafal, Chando Graciosa, who was to play a key role in this event. Upon hearing Bitori, Graciosa immediately felt drawn to Bitori's unique playing style - a raw and passionate sound accompanied by honest lyrics that reflected the harsh reality of the Cabo Verdean working class. He eagerly approached Bitori suggesting they join forces and travel overseas with the objective of taking Funaná beyond its rural roots. The two of them, with others in tow, achieved their goal and travelled to Europe, introducing a receptive European audience to the vibrant energy of Funaná. Eventually Bitori returned to his beloved Cabo Verde. Graciosa opted to settle in Rotterdam in order to pursue his career - he vowed, however, to bring Bitori across to Holland at a later date to record an album.

In 1997 the time was ripe to immortalise the sound Bitori had shaped over a time span of four decades. Built around a formidable rhythm section, formed of drummer Grace Evora and bass player Danilo Tavares, "Bitori Nha Bibinha" was recorded. The recording catapulted Chando Graciosa to stardom, making him Cabo Verde´s No.1 interpreter of Funaná.

The success in Cabo Verde was phenomenal and Funaná rapidly gained the recognition it deserved, especially in urban dance clubs. Bitori´s songs quickly became standards - classics known and loved throughout the country. The musical success, however, was solely limited to the Cabo Verdean islands - until now!

Analog Africa is proud to contribute to the worldwide promotion of Funaná - the once forbidden sound of the Cabo Verde archipelago - by releasing a worldwide re-issue of Bitori and Chando Graciosa´s legendary recording. The release will herald Bitori´s first European tour taking place during the summer of 2016. Watch this space! And listen!

Two classic cuts from Jorge Ben and Miriam Makeba take either side of this Mr Bongo Brazil 45 reissue.

’Xica Da Silva’ is one of Jorge Ben’s most well-known and well-loved cuts, housed on the legendary Africa Brazil LP that deserves a place in every collection. A magical MPB cut, it instantly transports you to the shores of Rio de Janeiro. With a low-slung funky samba flavour, Ben’s absorbing vocal recounts the legend of one of Brazil's oldest black icons.

On the flip side, Miriam Makeba serves up an entrancing, slowed-down, grooved-out version of ‘Xica da Silva’. A highly influential singer, songwriter, and civil rights activist from South Africa, this low and slow interpretation is doused in strutting guitar, off-beat piano stabs and hypnotic drums providing the perfect platform to let Miriam’s vocal shine through.

Remastered with refreshed artwork.

Following the immense critical acclaim of Siti Muharam'salbum 'Siti of Unguja', On The Corner release a limited run of 500 transparent vinyl. Crowned Album of the Year 2021 by Songlines, 'Siti of Unguja' was also selected The Guardian' sGlobal Album of the Month, The Wire's No.1 Global Album and included in best albums of the year lists in NPR and The Vinyl Factory.

Second volume of this collection of pure Funk, Afro Beat and African Funk music is out! This chapter, as previous one, includes highly respected artists such as Mandrill, The Wild Magnolias, Manu Dibango, Fela Kuti, Tony Allen, Buddy Miles and many others, but also includes the very rare and exclusive long version of “Sangadongo” from Niagara. All these artists guarantee the high quality of this collection, a record that any funk lover can’t miss: the real funk from the origins and the groove in its free form.

South Africa is in fact the only country in the whole African continent that has developed a strong Jazz tradition. Initially influenced by the great American stylists, (Ellington, Gillespie...) South Africa gradually developed its own soulful style based on a distinctive taste for melody and a deep sense of groove. Masterfully selected from the so-called Golden Age of the genre, (late Fifties / early Sixties), this compilation represents the best introduction to the work of a large and varied body of musicians and composers who inevitably developed their music as part of the historical Anti-Apartheid struggle, and as means of self expression in the dark times of exile. Kippie Moeketsi, Hugh Masekela, Dollar Brand, Chris McGregor, Dudu Pukwana, Mongesi Feza, Barney Rabachan, Nick Moyake and of course the queen Miriam Makeba are just some of the main voices represented here. A bunch of true warriors. in one word: A must!

Mastered from the original analog tapes for the very first time, Sharp-flat brings you the Witch Disco Singles as you’ve never heard them before. WIT 4 carries a single edit of 'My Desire' backed with 'You Are My Sunshine' from the group's classic 'Movin’ On' LP from 1980.

By the end of the 1970s, Witch was a Zambian music institution. Active since 1972, they had survived the Zamrock years and left an impressivegarage, psych and prog discography in their wake. But at the outset of the 1980s, the band was ready to embrace the modern sounds of a new era. Undertaking personnel changes and relocating to Zimbabwe, they were primed by the independence celebrations of their neighboring country to undertake their mythical transformation into an African disco powerhouse.

With access to a state of the art recording studio in Harare, Witch produced two exquisite albums in the early 1980s. Appearing in 1980,Movin’ On was preceded by the single “My Desire,” which featured new member Christine Jackson on lead vocals. With an upfront funky bass-line, falsetto backing vocals, swirling synths and tight horns, it was a searing hot disco offering that made no bones about the fact that the Witch was ready to get down. Composer/vocalist Stanford Tembo’s mid-tempo burner “You Are My Sunshine" was the perfect fit for the flip.

Documenting the band’s drift from disco into boogie, Witch’s final album Kuomboka was released in 1984 without an accompanying single. New lead vocalist Patrick Chisembele injected youthful energy and a modern soul edge, most notably on “Erotic Delight” with its crisp drums, slinky keys and intoxicating bass groove. Pop reggae was alson within the album’s stylistic purview by way of the closer “Jah Let the Sunshine” as well as “Change of a Feeling,” the flip side of a recently discovered single that wasn’t originally released.

Four Flies is delighted to present a super juicy treat for all 7-inch vinyl devotees: the first 45 ever to feature tracks from Giuliano Sorgini’s masterpiece ZOO Folle. To ensure maximum DJing pleasure, we’ve picked two of the grooviest tracks from the original recording session, never before released in this format. The psychedelic funk number “Mad Town”, on Side A, drags you in with its infectious drum breaks and the rapid yet hypnotic flute of Nino Rapicavoli. “Ultima Caccia”, on Side B, is sheer afro-tribal bliss, with drums by Sorgini himself and massive funky percussion by legendary session player Enzo Restuccia. If you want an ace up your DJing sleeve, look no further

Vibro Success Intercontinental Orchestra was an extraordinary group from the Central African Republic, founded by the sax player Rodolphe 'Beckers' Bekpa, also known as Master Békers, in the late 60's. The band achieved surprising domestic success after Beckers introduced the first drums to the Congolese Rumba rhythm. His innovation proved to be wildly popular so they were hired as the resident band of “ciel d’Afrique au Km5”, a night club in Bangui. The club was renowned as the temple of the Olympic Réal football team's fans and that visibility propelled them into becoming the official national orchestra. 1970 marked beginning of the band's international fame . Their fame spread beyond national borders until they became so popular that invitations began to arrive from nearby countries like Cameroon and Chad, the former of which the band would then tour that same year. The success of their performances prompted a further tour in 1972. According to Rodolphe Bépka, the audience enthusiasm Vibro encountered was bewildering. "We filled the old military stadium in Yaoundé in 1970, in 1972 the new Amadou Haïdjo stadium ... We are running with great success in the cities.” Their popularity was also growing in Chad, where they would tour several times through the early and mid 70's.

Towards the end of 1976, Vibro Success decided to take their music global and introduce Central African music to listeners worldwide. It worked. The turning point came in Nigeria. There the group achieved extraordinary success, with live performances followed by contracts with local labels like Scottie and Ben/Clover resulting in hit releases. Most of their LP's were originally released on this later label, Ben Limited, owned by Ben Okonkwo.

Ben, also known as Clover Sounds, brought a great number of the biggest bands from the country to market, bands like The Apostles, Akwassa,The Doves, Aktion, The Visitors, Mansion, Folk 77 and many others. Nearly all those groups started their recording careers in the label's studios based in the commercial heart of Aba, Abia State, one of Southeastern Nigeria’s largest cities. Aba at that time was a flourishing city, an important crossroads of people and culture with an intensive and active and cutting edge live music and nightlife.

But after that golden era the group began to lose its popularity. In the 1980's they returned to Bangui and resumed their old-time gigs in dance halls there - only to realize that their music didn't have the appeal it used to. Making matters worse, the domestic economic downturn accelerated, forcing the orchestra to slowly end its activities . Vibro Succès Intercontinental Orchestra disappeared at the end of the 80s and most of its members died in the 90s. We discovered this LP during our first trip to Nigeria in 2016. While traveling in the east to meet up with a musician, we stopped for a night in a village. As often happens in Nigeria, information has a way of traveling fast. The news that a couple of white guys looking for records had arrived in the village the day before spread like light. When we awoke, we found a couple of elderly music lovers in the hall of our hotel with a little pile of records for sale. The nice cover of the “Drunkard” album was right on top! At first we thought it was just another really good soukous album made by Vibro Success but after we heard “Drunkard” - we knew we had stumbled onto something very special. That was the “easy” part. Soon after, we had the idea of reissuing this LP and that was a bit harder. There were no credits on the cover and not much information about Vibro Succès. We started to ask to our friends to ask around, see if somebody knew them or the producer. That's when sadly we discovered that Ben Okonkwo had passed. So with no leads to follow and seemingly without any possibility of making progress on the matter, we "gave up" and returned to Italy. A couple years later, in the summer of 2019, we found ourselves again in Aba. This time we had the chance to meet Nnamdi Okonkwo, the eldest son of the late Ben Okonkwo. After Nnamdi's mother and family agreed, he was glad to cooperate with us for the re-release of this special album. One of the foundational beliefs of Dig This Way Records is to work hard and try to do everything possible to bring back this rare, unknown music to market, allow people to enjoy these beautiful, vibrant vibes!

French label Favorite Recordings presents the new 12" from Magic Source (from The Mighty Mocambos and Bacao Rhythm & Steel Band). Expect tropical disco and funk flavours, hypnotic percussion and a really well-produced cover of Tom Tom Club's "Genius Of Love". Tip!

In the small inland town of São Domingos on Cape Verde's Santiago Island, The Ano Nobo Quartet delivers a fresh take on Koladera, a guitar-driven, subtly rhythmic sound of a lighter spirit. Their sound tells a global story with Cape Verde at its center, a creole melting pot in the middle of the Atlantic attracting the best from four continents: hypnotic, haunting Koladera guitars inflected with twangs of Salsa Cubano, Spanish Flamenco, Brazilian Samba Canção, Jamaican Reggae, Argentine Tango, Mozambican Marrabenta, and finished with a dash of Black American Blues. It's all here. Absent percussion, the quartet's sound still drips with rhythm. Rich, raw acoustic music you can dance to.

This album was recorded in three locations on Santiago Island: at homes, by the sea, and on the volcanic hills of Cape Verde. Each location used a mobile recording studio equipped with different mics placed near and far to capture both the Spanish and Chinese-made guitars and the natural environment that shapes the saudade, a melancholic longing, of Koladera. Each space has its own atmosphere heard in the interludes.

Comet Records presents Afro Rhythms Vol. 2, the first repress of Comet’s singles and Remixes from 2009 – 2017 with floor filler tracks from Tony Allen Afrobeat pioneer 'African Man" remix by Ricardo Villalobos & Max Loderbauer along with the afro deep house reedit of "Cotton’s Field" by French producer Jeff Sharel, the "Awakening" remix from Krazy Baldhead, former artist of Ed Banger and producer of electro malian band Donso and finally Africaine 808 to end this Afro Rhythms comp with their stunning remix of Afrobeat classic tune "Afrodiscobeat". A proper trawl through the vaults of Comet Records.

When you think you already know everything that has been done in Cape Verdian music during the last 5 decades you’ll get surprised with this one. Saudade, a self released LP from 1984, recorded in a studio in Portugal, with Paulino Vieira in the line up along with other well known CV heroes from the 80’s such as Chibanga on the drums, this is maybe the ultimate discovery of the Cape Verdian funana music. Not much is known about this fantastic record or about the obscure Marcos. The 6 tracks recorded on the LP are pure killer funana, no synthetiser, only keyboards, guitars, drums and bass. Till date only a couple of cópies known exist. First time rissued now on Comets Coming.

Born out of an impromptu post-pub jam session in Margate, the 5-piece group Pigeon swoops onto the scene with their blistering debut EP Yagana.

As the tracks cross effortlessly between Afro-disco, grunge, no wave and jazz, the cohesive symbiotic relationship of the band members is obvious from the start. The powerful vocals of Guinean singer Falle Nioke are complemented by a wealth of talent from Graham Godfrey on drums, Steve Pringle on keys, Tom Dream on guitar and Josh Ludlow on bass.

Having moved to the UK from West Africa in 2018, Falle Nioke has recently been in the spotlight with EPs heavily supported by indie radio and BBC 6 Music playlisters. On Yagana, he continues to sing in a multitude of languages, but this time shifts towards a more organic musical direction, showcasing his incredible versatility as a vocalist.

This new path can be attributed to the pedigree of the rest of the group – veteran musicians Steve Pringle and Graham Godfrey are key members of Michael Kiwanuka’s band, the latter also performing with Little Simz, Cleo Sol and Sault, among others.

Furthermore, Tom Dream and Josh Ludlow are electronic artists in their own right – with a number of artistic projects in the works, as well as having performed together as ambient duo Soma World. Both used to play in metal and grunge bands in earlier years, an influence which has made its way into Pigeon’s distinctive sound.

The Yagana EP is an emotionally-charged offering, exploring themes of lust, saudade, homesickness, and hope for peace. The title track ‘Yagana’ translates to “it’s been a while”, and though its up-tempo disco rhythm and wild synth solos lend a cheerful disposition, the lyrics describe a melancholic yearning for Africa. Nioke sings in Susu, Wolof and Malinke – as he describes the struggle of being separated from one’s family, as well as hustling to support them financially from afar.

As a teenager, Nioke would train his voice by the great river Rio Nunez in Boké, among the remnants of the slave trade, pathways and crumbling buildings being swallowed up by the forest. While most Western teenagers grew up with traditional pets, Nioke disclosed to his band members that his closest animal friend in West Africa was the pigeon – and so the name of the group was chosen.

Moving through the record, ‘Nothing Grows’ follows on from the Afro-disco opener, bringing down the tempo and intensity. The heavily swung jazz rhythm is driven by the drums, while soft guitar tremolo picking and synth pads produce a delicate atmosphere over which the singer mournfully longs for a lost love.

But having lured the listener into a meditative and pensive state in ‘Nothing Grows’, feathers are suddenly ruffled by the entrance of “It’s You” - a sultry story of burning desire. Channelling grunge and elements of no wave, the song is defined by a rumbling bass that pulses alongside the kick, while an atonal synth riff and fuzzy guitar licks provide the minimal melody. Piercing through it all is the hypnotic spoken word of Nioke, switching between French and English, as he beckons – and at times even demands - a lover to enter his room.

Finally, ‘War (Jam)’ returns the record to its 4x4 disco pace, featuring rapid-fire hats and high-pitched guitar riffs seemingly nodding to Mugithi, a genre often associated with political commentary. This concept is built upon with lyrics sung in Susu, as Nioke condemns wars around the world and their ongoing futility, pleading for people to unite and create a better place. Running just over 7 minutes, ‘War (Jam)’ is an improvised long take which continuously evolves, allowing each musician an opportunity to shine.

Recorded in a single weekend, Pigeon’s Yagana EP is a clear testament to each member’s skilfulness and varied experiences, creating a fully-fledged being that is greater than the sum of its parts. With an opening hand like this, we await with bated breath to see what more the humble Pigeon can bring to the world.

Everyone’s favourite Sudanese collective from London is back with another full album! Traditional meets today and everything in-between - future classic!

Recalling Ennio Morricone spaghetti westerns, the electrified belly dance music of Omar Khorshid, and '90s bedroom psychedelia at once, the music of Branko Mataja is from its own epoch. Snatched from the streets of Belgrade as a teenager,Mataja spent World War 2 in a German work camp, escaping the insanity of postwar Europe to settle in North Hollywoodto live out the American Dream to its fullest. Crafting handmade music on homemade guitars throughout the 1970s,Mataja taught himself to play in order to pay homage to his ancestral home of Yugoslavia, a place he would never returnto except through these guitar meditations.

Continuing our work on Sao Tomé and Principe with curator DJ Tom B., we are pleased to announce the release of an anthology of the group África Negra.

This first volume includes 12 of their key tracks, remastered for the occasion and selected only from those officially released on different media. The album is accompanied by a booklet with the original covers and interviews with the band members still with us. A second volume containing only unreleased material, digitized from the studio tapes by their tour manager, and filled with period photos, is expected soon.

Formed in the early 1970s by Horacio, a butcher by trade, and his guitarist friend Emidio Pontes, África Negra is the best known of the great São Tomé and Principe bands. The catchy melodies in the local Forro language, provided by lead singer João Seria, and subtly harmonized by the enchanting backing vocals of the rest of the band, quickly ensured their influence outside the archipelago. Their incomparable blend of Puxa and Rumba rhythms and subtle melodies made them the most regular touring band from Sao Tome.

Their first album (Aninha) was released in 1981, followed by three more in 1983. They contain an incredible collection of timeless hits and have achieved high ratings on the second-hand market. Then came the excellent San Lena in 1986, which was unfortunately only released on cassette, but for which we were able to digitize the original tape. In 1990 their last album in vinyl format (Paga me uma cerveja) was released, the rarest. Three CDs and five cassettes followed in the 1990s. Like most São Tomean bands, they recorded their compositions at Radio Nacional STP, the only studio on the island at the time, whose cramped premises forced the big bands to do sessions outside in the courtyard, at night, facing the ocean and in front of their fans.

Reformed around João Seria, the band has recorded three albums since 2012, and has been touring again for a few years, offering, always with the same energy, their frenzied rhythms, their graceful harmonies, their poetry full of social metaphors, and their typical dance steps.

The Accra-born pianist and frontman, ROB, only released a few albums in small quantities, yet two of them are among the most sought-after records from 70’s Africa. This was the first.

So what do we know? After learning his craft in Benin and playing with the likes of Orchestre Poly-Rythmo de Cotonou, ROB returned to Accra to write his own material and find a sound. Hooked on the driving funk and raw soul of stars such as James Brown and Otis Redding, he would often imitate his heroes on his father’s piano during school holidays.

The title track sets the pace with a JBs-like rhythm, ROB almost shamanic with his sparse yet commanding vocal. The organ and wahwah guitar spin us out before those imperious horns bring us back in.

And what better way to close this set than with ‘More’, swept up in a call and response between Rob and his backing singers as a ‘Blow Your Head’ synth flares and the brass blasts. Good times guaranteed.

As the man himself says, “Funky music is in my blood. What you hear is the coming out of my mind.” No one sounds like Rob, because there is no one like Rob.

Idrissa Soumaoro, L’Eclipse De L’I.J.A.’s sought-after album ‘Le Tioko-Tioko’ was originally released in the German Democratic Republic (gdr) in 1978 and has been a long-time favourite at Mr Bongo. Two tracks from the album were featured on our 2017 compilation ‘The Original Sound Of Mali’ (mrblp135), and we subsequently released the track ‘Nissodia’ on its own 12” (mrb12053) in 2020, complete with a blistering dancefloor re-edit by Mike D of The Beastie Boys.

‘Le Tioko-Tioko' is one of the rarest vinyl albums from the already scarce Malian vinyl discography, partly as the album was never released commercially, only independently distributed via the Malian Association for the Blind in Bamako. Though recorded at Radio Mali under the aegis of master engineer Boubacar Traoré; the album was originally released in East Germany. The tapes had been taken by some Malian students to East Berlin as part of a student exchange program. It was then manufactured and released on the East German state-owned label Eterna with only a few boxes of records being shipped back to Bamako.

A true masterpiece, this legendary LP offers some devastating songs such as ‘Djama’ (society), ‘Nissodia’ (joy of optimism), and ‘Fama Allah’ (an ode to god). Hypnotic organ riffs and breakbeats convey an unknown funk quality in Malian music, it now stands as a loving tribute to an unsung Malian golden age. Sadly, like many of the other now desired and prized vinyl rarities, at the time of release, it almost immediately disappeared without a trace due to a lack of promotion, and distribution. So, it feels fitting to share this gem of a record again, and hopefully it will reach the wider audience it deserved over 45 years ago.

Many thanks to Florent Mazzoleni for contributing sections of these notes.

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it's Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music. Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution. Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo's capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists. On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui-not only the musician, but the man-someone whose age hasn't altered any of his freshness or authenticity.