Name: Dodo by Akalé Wubé
Duration: 4 min 28 s
Description: Akalé Wubé songs from the album "Mata" available for streaming.

Dodo (Ruben Valdez remix)

BKO Quintet’s music is born from a meeting between five established artists.
This gathering provides a journey into the heart of the contemporary Mali. 

Ibrahima Sarr, powerful percussionist, masters with ease the sounds of the djembe drum and has traveled the world alongside Oumou Sangare.  Fassara Sacko whose voice takes you from aback, differs from other griots in traditional celebrations. Yoro Sidibé’s grandson, Nfali Diakité , with his infernal « tournes », also sings and plays his donsongoni in animist ceremonies celebrated by his peers.  Abdoulaye Kone, master of djelingoni develops a unique psychedelic style.  He is the descendant of Djeli Baba Sissoko, and has been solicited before this quintet by great artists like Tiken Jah Kafoly, Salif Keita to tour outside of the Mali borders.  Finally Aymeric Krol, experienced of internationals stages grooves on its strange drums. For the past 10 years he often settled in Bamako where he worked with several artists. Today, his encounter with Ibrahima Sarr gives birth to the project: BKO Quintet.

The first EP recorded « Live » in January 2012 in Bamako in the popular district of Medina Coura.  In the new edition, some tracks recorded in January 2013 have been added to the EP. The present arises from the past, this « inhabited » music is far from the « World » standardized sound.

After a European tour of 25 dates, BKO QUINTET decides to return in the studio during their tour to record a debut album that will be available in 2014.

03 Strange Wassolon

Super Mama Djombo - Assalariado

Released 30th March 2015

Wah Wah 45s are proud to present the second single from recent signing, Fela Kuti collaborator and afrobeat legend, Dele Sosimi!

Na My Turn is a very timely political statement, coming as it does at the time of the upcoming elections in both Dele’s ‘homeland’ of Nigeria, and prior to the forthcoming UK General Election in May. Echoing the feelings of many in both Africa and at home, Dele has grown tired of the same old leaders from the same old parties and makes a stand that it’s now his turn for president! His turn for Governor! And who wouldn’t vote for this man with his striking words and forceful backing from his mighty Afrobbeat Orchestra!

Born in Hackney, East London, but soon to return to his parents’ native Nigeria at the age of four, Dele Sosimi was schooled and raised in Fela Anikulapo Kuti’s shadow at the height of early 70s afrobeat. Having been chosen by Fela to join his band at somewhat of a tender age, he was still a young man when sharing Fela’s Glastonbury stage in 1984, and became both Musical Director for both Fela’s Egypt 80 and Femi Kuti’s Positive Force.


Dele Sosimi - Na My Turn

Akalé Wubé songs from the album "Sost" available for streaming.

Anbessa (feat. Manu Dibango)

Taken from Bassekou Kouyaté & Ngoni Ba's new album 'Ba Power'
Order now: https://glitterbeat.bandcamp.com/album/ba-power

Bassekou Kouyaté & Ngoni Ba’s fourth album Ba Power (and his first for Glitterbeat Records) is a striking, career defining record marked by mesmerizing songs, razor-sharp riffs and full-throttle emotions. Following two years of worldwide touring for the much heralded Jama Ko album, Bassekou’s band, Ngoni Ba, has turned up the volume and dynamics significantly and Bassekou’s masterful ngoni playing has achieved a new level of intensity that can only be called: afro-rock. Distortion and wah wah and propulsive rhythms are now the defining backbone of his songs and the heat lightning vocals of his wife Amy Sacko, more than ever serve as the passionate and perfect foil. This is not the same Ngoni Ba. This is indeed: Ba Power.

When asked what Ba Power means to him, Bassekou told us:
"Ba", in Bambara means "strong" or "great" and it also means "group.” I called the album Ba Power because I think the messages on it are very important and strong, and it is also definitely the album with the toughest sound I've ever made. I want these songs to grab as many people as possible.”

Without question Bassekou Kouyaté & Ngoni Ba has revolutionized the sound and narrative possibilities of the ngoni, the lute-like instrument that is essential to Mali’s Griot culture. Griots are esteemed musician/storytellers whose lineage stretches back centuries. Bassekou was born into this resonant tradition but his relationship to it has been anything but static. From the beginning of his career, through his invention of a previously unheard repertoire built around the melodies and rhythms of four interlocking (and at times electric) ngonis, Bassekou has demonstrated his respect for the past by radically pulling it into the future.

Ba Power contains all the swagger, precision and wide-eyed excitement that the title implies. It is the album where Bassekou’s music engages with the world in ways he could have only imagined 10 years before. It is the album where he confirms his status amongst the 21st centuries most relevant musical artists.

I think African music and culture deserve to be spread to the broadest audience possible.
That is what I want to accomplish with Ba Power.
--Bassekou Kouyaté


Bassekou Kouyaté & Ngoni Ba - Waati

LA-based multi-instrumentalist looks to East Africa for his next LP, on Soundway. 

Read more & listen on Youtube: http://bit.ly/gpww-dexter
Buy: https://www.soundwayrecords.com/Shop/DownloadDetails?rid=SWR_RE_97

Listen on Youtube

Dexter Story feat. Yared Teshale - Sidet Eskemeche (Worldwide Premiere)

Akalé Wubé songs available for streaming

Kokob / Metche Dershe

Akalé Wubé songs from the album "Mata" available for streaming.

Dodo

Fela Dey

"A Misturada” by Os Muiraquitãns 
Taken from the Various Artists compilation ‘Jambú e Os Míticos Sons Da Amazônia’ (out 21 June 2019 on Analog Africa)

The city of Belém, in the Northern state of Pará in Brazil, has long been a hotbed of culture and musical innovation. Enveloped by the mystical wonder of the Amazonian forest and overlooking the vastness of the Atlantic Ocean, Belém consists of a diverse culture as vibrant and broad as the Amazon itself. Amerindians, Europeans, Africans - and the myriad combinations between these people - would mingle, and ingeniously pioneer musical genres such as Carimbó, Samba-De-Cacete, Siriá, Bois-Bumbás and bambiá. Although left in the margins of history, these exotic and mysteriously different sounds would thrive in a parallel universe of their own.

Perched on a peninsula between the Bay of Guajará and the Guamá river, sculpted by water into ports, small deltas and peripheral areas, Belém had connected city dwellers with those deeper within the forest providing fertile ground for the development of a popular culture mirroring the mighty waters surrounding it. Through the continuous flow of culture, language and tradition, various rhythms were gathered here and transformed into new musical forms that were simultaneously traditional and modern.

Historically marginalized African religions like Umbanda, Candomblé and the Tambor de Mina, which had reached this side of the Atlantic through slaves from West Africa – especially from the Kingdom of Dahomey, currently the Republic of Benin – left an indelible stamp on the identity of Pará´s music. They would give birth to Lundun, Banguê and Carimbó, styles later modernised by Verequete, Orlando Pereira, Mestre Cupijó and Pinduca to great effect. The success of these pioneers would create a solid foundation for a myriad of modern bands in urban areas.

Known as the “Caribbean Port,” Belem had been receiving signal from radio stations from Colombia, Surinam, Guyana and the Caribbean islands - notably Cuba and the Dominican republic - since the 1940s. By the early 1960s, Disc jockeys breathlessly exchanged Caribbean records to add these frenetic, island sounds to liven up revelers. The competition was fierce as to who would be the first to bring unheard hits from these countries. The craze eventually reached local bands’ repertoires, and Belém’s suburbs got overtaken by merengue, leading to the creation of modern sounds such as Lambada and Guitarrada.

Another important aspect in understanding how the musical tradition spread in Belém, are the aparelhagem sonora: the sound system culture of Pará. Beginning as simple gramophones connected to loudspeakers tied to light posts or trees, these sound systems livened up neighbourhood parties and family gatherings. The equipment evolved from amateur models into sophisticated versions, perfected over time through the wisdom of handymen. Today’s aparelhagens draw immense crowds, packing clubs with thousands of revelers in Belém’s peripheral neighbourhoods or inland towns in Pará.

With bustling night clubs providing the best sound systems and erotic live shows, gossip about the whereabouts of legendary bands, singers turned into movie stars, supreme craftiness, and the creativity of a class of musicians that didn’t hesitate to take a gamble, Jambú is an exhilarating, cinematic ride into the beauty and heart of what makes Pará’s little corner of the Amazon tick. The hip swaying, frantic percussion and big band brass of the mixture of carimbó with siriá, the mystical melodies of Amazonian drums, the hypnotizing cadence of the choirs, and the deep, musical reverence to Afro-Brazilian religions, provided the soundtrack for sweltering nights in the city’s club district.

The music and tales found in Jambú are stories of resilience, triumph against all odds, and, most importantly, of a city in the borders of the Amazon who has always known how to throw a damn good party.

Jambu Master

A Misturada - Os Muiraquitãns

In their 6 years of existence, Akalé Wubé have never stopped widening the canvas onto which they lay their music, which keeps becoming richer and deeper just like the their primary source of inspiration: the popular Ethiopian repertoire of the 60s and 70s. The band started off covering music from the “Ethiopiques” series, after which they immersed themselves deeper into Ethiopian music, all the while multiplying their collaborations with musicians and dancers from Ethiopia, Africa and Europe. Slowly but surely, clocking in at around 200 concerts in Europe, Asia and Africa, the band has become one of the world’s leading ambassadors of Ethiopian groove.

Band members are :

Etienne de la Sayette: tenor & baritone saxophone, bansuri flute, washint
Paul Bouclier: trumpet, percussions, krar
Loïc Réchard: guitar
Oliver Degabriele: electric bass
David Georgelet: drums
Pierre Dachery: sound

Dodo

Akalé Wubé

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