2010/06/29

OCORA Africa continued

Cameroun - Danses et Chants Bamoun: a very rare testimony of the traditional court music of Bamoun, warriors and landfarmers, and their life overseen by the Royal Family (Mbobo Sultan Seidou...), recorded by Michel Houdry in July 27th, 1957 at Foumban Palace.

for me the musical treats on this old school Ocora record, never released on CD, start at track 3, where the grooves begin. (pseudo theory alert:) seems to me in a lot of traditional african music, Melody and Rhythm seem to have never been torn apart by divisive, compartmentalizing, and overly analytical minds, and remain, inseparably, perfectly, one (much like the modern Shangaan music in the previous post). some tracks suffer from out dated recording technology, and sound a bit muddy. this vinyl rip comes from the one they call Op.

Centrafrique - Xylophones de l'Ouham-Pende:
"In Central African societies musical instruments have various functions linked to different musical repertories. First and foremost, instruments are used in ritual and initiation ceremonies, notably in connection with a heightened state of consciousness. The beating of musical instruments in particular, along with song, arouses that heightened state, which manifests itself in trance, auditory drive and/or music-colour synesthesia, allowing communication with the supernatural (often under the psychotropic influence of hallucinogens). Then there are such separate functions as sending messages from village to village by a slit-drum and providing entertainment for a group or an individual. The diversity of the functions of musical instruments is not, however, limited to these main contexts.

The instrument types found in Hornbostel and Sachs's classification of 1913–14 – idiophones, membranophones, chordophones and aerophones – are represented in Central African music. Notable among the wide distribution of instruments are the different kinds of xylophones, i.e. mentsiang of the Mpyemo (fig.3), kponingbo of the Zande (fig.4), zanga of the Pana and the Gbaya-Manza-Ngbaka, kalanga of the Banda-Mbiyi and kangba of the Manza, or the various forms of double-headed drums, i.e. ntumo of the Mpyemo, ndumo of the ‘pygmies’, kporo of the Banda Gbambiya, bio of the Gbaya and guru of the Zande."

in some ways a more straight forward enjoyable listen than the above, the pling-plong xylophones weave beautifully intricate rhythmelodies.

Centrafrique Anthologies de La Musique Des Pygmees Aka: 2 CDs of field recordings of the Aka Pygmies, originally issued on LP in 1978, are presented here (sorry the tracks from 2 discs are mixed in one folder)

"Music is part of daily life for the pygmies, as that's well illustrated here; every activity comes with singing, sometimes accompanied by varying forms of percussion, and some spare instrumentation, like the mo-beke, a kind of whistle, that features of "Nzombi." There are songs and music for activities, some with more sacred values, like "Mokondi," which is sung to dedicate a new camp. And there are song tales, songs of mourning, and for divination. There's some fascinating insight here, as well as some astonishing music. However, it's likely to be of interest to ethnomusicologists more than the general public, which is a shame, since there are beautiful melodies to be heard (great recording quality, too). ~ Chris Nickson, All Music Guide

The Aka are one of the three groups of Pygmies found in Central Africa today. They are monogamous and settle in small family encampments that comprise parents, children, sons, and daughters-in-law and offspring, groups of thirty to forty persons organized in democratic communities. Pygmy music, in the image of all their social activities, presents very similar characteristics, that is to say, relative autonomy of each participant within implied but strict structures. The recordings of this anthology, the first to be devoted to a single African people, offer in addition the distinctiveness of having been made in a single encampment, that of the old hunter Mbonzo, a group barely larger than forty persons. Music plays a central role among the Pygmies, there is no day without music."

Central Africa. Aka Pygmies - Hunting, Love and Mockery Songs: another beautiful collection of the delicate and dreamlike songs of pygmies. on this one more accompanied by plucked string instruments than the marimba type sounds of the previous one. layered polyphonic voices glide over simple rhythm patterns, gentle, lovely and mesmerizing... i hope it gives you both enjoyment and inspiration.

2010/06/28

Shangaan Next Level Music and Dance!








Next month, London-based label Honest Jon's will release a compilation called Shangaan Electro: New Wave Dance Music From South Africa.

Shangaan is an electronically enhanced form of South African traditional music that's popular in the areas between Johannesburg, Limpopo and Mozambique. Despite the genre's highly localized popularity and lack of digital distribution, tens of thousands of Shangaan records are sold each year. The music goes hand-in-hand with its own style of dance, which is extremely fast and energetic, as most Shangaan tunes cruise along at 180 BPM. "When you see them dance you feel like they have got no bones," says Nozinja, AKA Dog, a producer and centerpiece of the Shangaan scene.

Shangaan Electro was compiled by Honest Jon's boss Mark Ainley and former Basic Channel member Mark Ernestus. It collects 12 tracks recorded between 2006 and 2009 at Nozinja's studio in Johannesburg, a creative hub for Shangaan artists. - from Resident Advisor

2010/06/09

World Cup Special This Friday

i'll be joining DJ Matatu playing kwaito and SA house at the nice likkle club in Mauerpark for the Kickoff.

watch game - big screen - beer garden - Zulu Bass.

Mauersegler/Tandoori [Bernauer Str. 63/Mauerpark]

2010/06/02

bankolo miziki 1 & 2











original Congolese Rumba sound: the sweetest music in the world. tracklisting on back covers: volume 1 / volume 2.

thanks to Bolingo69 for the original. here both volumes together reupped on mediafire.

2010/06/01

NGOMA 6 - UKULWA



(as featured on Gen Bass and The Fader)

Framing house music, perhaps the most depoliticized of all urban musics, whose narrative revolve around unreflective pleasure seeking, in a political context may seem incredulous to some. Yet this incredulity would be based on a superficial reading of the essence of house music culture, despite what it has become in the commercial sphere: in its very inception, the escapism into a fantasy hedonistic world was an expression of the underprivileged and marginalized, and the creation of a sanctuary of acceptance was nothing less than a political act of the oppressed and discriminated against.

Perhaps even more than Chicago or Detriot 67, the political dimension is deeply interwoven into the urban musical fabric of South Africa, and has profoundly influenced its evolution. Zulu protest songs live on through Kwaito, the first musical expression of a free South Africa, and from there the current House culture developed: if less overtly rebellious, it nonetheless retains in its beats and voices the spirit of revolt: the urgent and passionate expression of a people who have been subjugated for too long.

The Zulu word Ukulwa means war and struggle. and in this context it can only mean a war against oppression and the struggle for freedom and independence. Apartheid may have officially ended, but its myriad effects can be unmistakably felt in a slew of social problems which plague the nation today, from crime to domestic violence as result of the break up of families, from poverty to various hardships which come from an entire generation having been systematically deprived of formal education. Thus even while many positive things are taking place, as South Africa is surely rising as a proud modern nation, even as we rejoice in these blissful rhythms, we must remember this war, and both continue, and continue to be inspired by, this struggle against domination, against injustice: Ukulwa.

STREAM: mixcloud

Ethnoport 2010

17-19 June: amazing lineup this year at this very special music festival in Poznan, Poland: artists from Finland, Congo, Mongolia, Algeria, etc. click and listen on the website.



Staff Benda Bilili Super Soukous Dance Band AMAZING. so much soul, so much power. really taking classic Soukous to a new place, without losing one gram of the sweetness or groove. the kid who plays the self made little guitar-ish instrument is a young man now, and even got on the mic at the end, sounding great. they all speak French so when i met them the only thing i could say was "CONGO GOOD MUSIC!" and "I LOVE SOUKOUS!"




Motion Trio rocked the packed inside venue with their psychedelic motorik accordians, very satisfying concert. epic like good prog rock, and at times intense like quality techno, but with that special agility and emotion which is singular to their instruments. (these clips are not from this particular performance)


Nawal was an amazing surprise, hypnotic mbira, gorgeous sultry voice... melodies and rhythm from the Comoros islands completely new to my ears, a hybrid of Arabic, Indian, and African traditions, a little like Taraab in Zanzibar. and she was such a lovely energy in person... the real thing, unlike so many fakes in the California new-age hippie communities: people who preach love and spirituality, while in reality are all about selfishness and ego.



Wimme from lapland, the non-western part of Finland, is a Saami folk musician who carries the sonic magic of his people to the 20th century. he imitated Reindeers, sang beautiful songs, and made indescribably ethereal sounds... kind of like overtone singing.


the Duduk, voice, and "santoor" group, with Tigran Aleksanyan, Svetlana Spajic, and Andrew Cronshaw, had deeply beautiful moments. Tigran's Duduk was world class, rich timbres and amazing breathy sound - he studied with THE Duduk master for many years. Svetlana's voice was very powerful and sensuous, the spirit of Serbia itself. Andrew Cronshaw is a bit of a show-off old hippie clown, he played well enough, but was no match for the refined mastery of his band members.


and for all 3 nights i rocked the club after the concerts finished at midnight. 1st night was Soukous and Cumbia; 2nd night Egyptian Pop, Rai, Kwaito, Bhangra; 3rd night was SA House and Electro with some Fusion mashups and when i dropped the up tempo Soukous and Hiplife at 3AM the place felt a little more than merely a bumping party... everyone dancing with more than usual vitality and enthusiasm... felt really kind of transcendent.







^^ memebers of Algerian electric-oud rock band Speed Caravan.