This is brilliant: http://turksandunderdog.com/2014/06/26/bisonbonasus-moon-wouldnt-either/

What a pleasure, my little ears are swimming in it!

Just heard on Radio one. Dig this big time.

@alistairbarter: Thanks Alistair - really happy you dig it

Bison Bonasus - My Name Is Gone (Outro), Live At Smugglers Festival

Written, performed and produced by Bison Bonasus
Mixed and Mastered by Ollie Barton-Wood


If The Moon Did Not I Wouldn't Either

"Tche Belew" out now!
Boomkat: http://bit.ly/1u1OrFE
Rush Hour: http://bit.ly/1qYPxC5
Picadilly: http://bit.ly/1s4WPI8
Juno: http://bit.ly/Xc2RrZ

EUROPE TOUR DATES
08.05. DE Berlin XJAZZ Festival
25.05. NL Nijmegen Musicmeeting
26.05. NL Rotterdam Pantropical @ Worm
27.05. NL Amsterdam Muziekgebouw aan 't IJ
28.05. FR Paris Instants Chavires
29.05. CH Düdingen Bad Bonn Kilbi
30.05. AT Wels Alter Schlachthof
01.06. CZ Praha Jazzdock
03.06. CH Luzern Südpol
05.06. HR Šibenik Deboto
06.06. UK London Field Day

 Sofia Jernberg & Hailu Mergia (Awesome Tapes From Africa, Oslo / Washington)
https://sofiajernbergsingercomposer.bandpage.com/
https://www.facebook.com/HailuMergiaOfficial

14.05. DE Eberswalde Jazz in E.
15.05. SE Stockholm Rönnels Antikvariat
16.05. SE Uddevalla Bohusläns Museum (afternoon show) Kontoret (evening show)

The acclaimed and highly sought-after LP by Hailu Mergia and
the Walias, Tche Belew, an album of instrumentals released in
1977, is perhaps the most seminal recording released in the
aftermath of the 1974 revolution. The story of the Walias band is
a critical chapter in Ethiopian popular music, taking place during
a period of music industry flux and political complexity in the
country. 
Hailu Mergia, a keyboardist and arranger diligently working the
nightclub scene in Addis Ababa, formed the Walias in the early
1970’s with a core group of musicians assembled from prior
working bands. They played Mergia’s funk- and soul-informed
tunes, while cutting 45rpm singles with various vocalists.
While the Walias performed at top hotels and played the
presidential palace twice, their relationship with the Derg regime
was complex, evidenced by the removal of one song from the
record by government censors.
Decades later, Hailu Mergia was surprised to see the album
fetching more than $4,000 at online auctions (it helped that the
most popular of all Ethiopian tunes “Musicawi Silt” appeared on
the record). Now everyone has the chance to listen again—or
for the first time—to this timeless pillar of Ethiopian popular
music.

Pre-order

Hailu Mergia and the Walias — Eti Gual Blenai

Sheena Had A Nosebleed

http://blowinguptheworkshop.com/project/adamoko

"THIS MIX WAS RECORDED AT A TIME WHEN THE LAST SIGNS OF SUMMER HAD FADED, AND THE REALITY OF THE LONG WINTER MONTHS AHEAD HAD JUST SET IN.

GREY SKIES, LEAVES ON THE GROUND, BRISK WINDS BUT OCCASIONAL CHINKS OF LIGHT THROUGH THE CLOUDS."

Blowing Up The Workshop

69 ◆ Adam Oko

When dismissively reviewing my monograph on Life? or Theater? (1941-42) by the German-Jewish artist Charlotte Salomon (1917-1943) on BBC’s Front Row, Waldemar Januscek grumpily categorized her work as a graphic novel. I protested, defending the complexity of her artwork while insisting there was nothing to be dismissed were it, in fact, a graphic novel. Trained in Berlin under the Third Reich in the department of illustration (1936-37), Charlotte Salomon only signed her work CS — a graphic cipher disguising her gender and her Jewishness while creating its own politically significant counter-sign to Nazism. It appears on each of the 769 gouache paintings she selected from over a thousand that she created in a year, to which she gave a puzzle title.  Charlotte Salomon died in Auschwitz in 1943, a year after she had created one of the most complex, fascinating and challenging artworks of the modern era. I want to challenge the interpretative frames and varied artistic responses to Charlotte Salomon’s invented modernist artform that involves image, text, voice and music with questions: What is it? Why was it made? In the current blending of media and forms driven by the urgency to explore both personal and political narratives, I want to ask: why, and in what terms, is this single, if monumental, work of an artist othered and murdered by a racist government at the age of 26 significant or relevant?

If The Moon Did Not I Wouldn't Either

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