Afro Brazilian Groove

Barbatuques - Baião Destemperado

cleaning up the vault for upcoming dj sets in Bali.

Dj friendly stuff

<a href='https://theartistunion.com/tracks/076a6f'>Download for free on The Artist Union</a>

Marcos Valle - Estrelar (micamino edit) free dl

This is the first song of the upcoming EP from schelpenman.
For this song i was inspired by the old bigbands latino. I've used some seashells, a guitar, a loopstation, and some handmade percussions.
Enjoy!

https://www.facebook.com/Schelpenman/

Schelpenman

Descarga - EP Schelpenman

ig - @tahiragruv
https://www.djtahira.com/

Capa/Cover - @jp.collageart

This version of GSH classic i did using the music of the brazilian afrobeat band called Abayomy Afrobeat Orquestra. The name of the track is Malunginho and i spin all the time. So, one day i was djing in my home and this version come up. I hope you like it !

Fiz essa versão do GSH usando a música Malunginho da banda de AFrobeat carioca Abayomy Afrobeat Orquestra. O nome do track é Malunginho. Amo demais essa música. Um dia estava discotecando em casa e essa versão surgiu sem querer. Espero que gostem ! :)

Conheça mais / More infos
Gill Scott Heron - http://gilscottheron.net/
Abayomy Afrobeat Orquestra -https://soundcloud.com/abayomyorquestra

Free Download

Gil Scott - The Revolution... (Tahira Abayomy Afrobeat Version)

Order on vinyl, CD or digital formats: https://bbemusic.lnk.to/afrobeatbrasil
The African beat has always been essential to Brazil’s music. But now the new generation of musicians, singers and rappers are tweaking the basics of Fela’s funk to fit with samba swing, bossa tempo and nordestino nous.

John Armstrong’s new compilation Afrobeat Brasil features 14 blazing tracks from 2011 to 2017 that nod towards Nigeria, Ethiopia, Mali and beyond – with feet firmly in Brazil.

For the first time outside Brazil, a careful selection of modern Afrobeat- inspired tunes from across several Brazilian genres, taking in cutting-edge players from Rio, São Paulo, Salvador, Porto Alegre –and even Paris. No slavish Fela Kuti copycats these, but rather Afrobeat and other specific African tempos and rhythms used as a blueprint, a building- block for new directions in Brazilian music.

About John Armstrong:

John started playing records in and around London in the late 70s, after a Eureka moment at one of the first New Orleans Jazz & Heritage Festivals in the mid-70s, from which he returned with interviews from everyone from Allen Toussaint to Betty Carter (many of which were published in the now-defunct Jazz & Blues Review).

In 2008/9, John wrote, devised, and presented BBC Radio 2’s Viva Latino – which brought a fully-dedicated latin music show to the BBC airwaves for the first time , with worldwide listening figures for the 14-part series reaching 9 million at one point.

Over the last 30 years, he’s put together approximately 200 compilations of latin, afro, zouk, Brazilian music, soul, flamenco, Irish traditional music, and even rockabilly, Cajun, zydeco and rock & roll – making him one of the three or four most prolific compilers in the UK.

John Armstrong presents Afrobeat Brasil (Album Sampler)

Via Brazil 18 Patua Discos special with dj Paulao & dj Ramiro

https://soundcloud.com/dj-ijj with Musica Macondo are back at exploring the darkest and dustiest vinyl crates to be found.
This mix is all about West-Africa and includes fascinating and beautiful music from Benin, Guinea, Senegal, Nigeria, Ghana and Ivory Coast. All original vinyl of course. Expect raw latin, deep highlife, mad juju and hypnotic afrobeat from the original source.

Miriam Makeba - Teya Teya -  1970                                                                         Guinea

African Brothers Band -  Di Wo Kunu Ni - 1968                                                      Ghana

Emperor Pick Peters -    Olowo Lo Lowo - 1978                                                      Nigeria

Idowu Animasawun & His Lisabi Brothers International - Ori Inu - 1975          Nigeria

Bembeya Jazz National - Armee Guineenne -  1968                                              Guinea

King Meissa N’Gom - Fatema - 1970                                                                         Senegal

K. Frimpong’s Band - Nkokohweree Mmienu - 1969                                              Ghana

Gnonnas Pedro - Liberation Sinde -                                                                            Benin

Yelouassi Adolphe & T.P Orchestre Poly-Rythmo - Huankpe Dje Mi - 1980        Benin

Black Santiago - Noude Le Mabou - 1970                                                                  Benin

Tima Gbahi - Ngazignon

'The Source' - DJ IJJ

Trio Ternura é bom, mas tocando essa track sempre fiquei procurando um punch pra deixar ela falando com a mesma pressão das tracks que toco nos sets.

Baixo, beat, edição e masterização by DJ Incidental.

Essa track foi inspirada nas oferendas feitas pelos DJs que tocam a música brasileira na pista de dança e trabalham bastante para fazer nossos momentos mais felizes e dançantes sem sair do nosso rico cancioneiro popular.

Contribua com o DJ comprando essa track aqui >https://djincidental.bandcamp.com/track/trio-ternura-a-gira-dj-incidental-rework

TRIO TERNURA - A GIRA (DJ INCIDENTAL REWORK)

Meio Da Noite

Cameroon, 1978: it’s like any good western movie. A man drifts through the plains at the furthest edge of the country in search of two former gunslingers, hoping to coax them out of retirement for one last showdown. Except this time, the weapons are guitars and the gunslingers are Jean Gabari and Messi Martin – the calm sheriff and his hot-headed deputy – who had led the band Los Camaroes to superstardom at the beginning of the decade.

Los Camaroes emerged at the end of the 1960s from the town of Maroua in the northern, predominantly Islamic area of Cameroon. After changes in name, in lineup and in management, they worked their way south to the capital to make a name for themselves; in the span of only a few years they changed Cameroon’s music scene forever, leaving a trail of sold-out nightclubs and monster radio hits in their wake. Then, at the height of their popularity, they broke up. 

The band had been led from the beginning by Jean Gabari, whose level-headedness and even-handedness inspired the respect and devotion of his musicians. But it was Gabari’s alchemical collaborations with guitarist Messi Martin that drove the band to its greatest heights. Martin had developed an innovation that would earn him fame throughout Cameroon as the “king of Bikutsi”, as Johnny Cosmos explains: 

“The primary instrument in Bikutsi is the balafon, and Messi came up with a trick that consisted of chewing small pieces of paper until they reached the right consistency and then stuck them between the strings of the guitar. This trick, which made a guitar sound like a balafon, catapulted him to stardom and turned him into the founder of Modern Bikutsi.” (Check the song “Bezimbi” to hear Messi Martin´s wizardry on a Bikutsi tune)

Martin’s extraordinary talents were matched by a character of great unpredictability. He had been lured away from the band before by the promise of success and, in 1975, when Los Camaroes were at the peak of their power, he left them once again. Gabari tried to keep the band going, but his own longstanding battles with ill health eventually forced him to return to his hometown. With Gabari and Martin gone, the rest of the musicians drifted away in search of other gigs. By 1978, Los Camaroes were no more than a rapidly fading memory.

But then came the resurrection.

From out of nowhere, a businessman named Atangana Joseph appeared in northern Cameroon. His goal: to track down the original members of Los Camaroes and get them back together for their one final shot at immortality. The musicians reconvened at the legendary Mango Bar in the capital city of Yaoundé, the very place where, years earlier, they had established their reputation as one of Cameroon’s most fearsome live bands.

Producer Nicolas Mongué and engineer Emmanuel Guyssot were called in from Douala to record what was being billed as a comeback album. There was talk of going into a studio, but Los Camaroes had always thrived on the energy of the nightclub scene; they decided instead to record it live to two-track in the Mango Bar.

The album, Resurrection Los Vol. 1, was completed in only a few days. There would be no Volume 2. The music that emerged during the Mango Bar sessions was the culmination of a fifteen year musical bond between Gabari and Martin, and what was supposed to be a comeback album ended up being a last testament — Gabari would die only a few years later and Martin, without his foil, would never find the same level of musical success. Even at the time, these two titans of Cameroon’s music scene seemed to realise it would be the last time they would ever work together. The resurrection of Los Camaroes was short-lived … but it produced a masterpiece.

Resurrection lOS

Resurrection Los - Los Camaroes

https://soundcloud.com/dj-ijj together with Musica Macondo proudly present a rare glimpse of the music, poetry and art of a man often overlooked when talking about Caribbean music legends, Brother Valentino.

Master lyricist, spokesman for the working man and the voice of African people all over the world he is and has been one of the most versatile artists to come out of Trinidad. Read the full article and find out more here: http://bit.ly/2ft6xBP

Tracklist:
Dis Place Nice – 1975
Third World  –   1972
Dread Music –   1976
Invitation –   1972
Liberation –  1976
Zion March –  1980
Big Apple –  1980
Recession –  1983
Free Up South Africa parts 1 & 2- 1986
Ah Wo –  1980
Seven Ancient Wonders – 1976

Cover illustration by Hugo Quan-Vie. 1980.  From the Ah Wo 12”

'Dis Place Nice' - Music and Poetry of Brother Valentino - DJ IJJ

Afro Brazil Orixá Mix - Segundo.
ABOM-2 is a 100 % original vinyl mix by EVFB aka DJ Contracapa.
Tracklist and full liner notes here: https://www.facebook.com/notes/epic-vinyls-from-brazil/liner-notes-abom-2-afro-brasil-orixá-mix-segundo/1428652000576360/

Salvador de Bahia.
It’s the home of Afro-Brazilian culture and pride. From the vibrating streets of Pelourinho to the traditional Mercado Modelo Market and beyond, Bahia is full of food, art, and music that can be discovered or rediscovered. It’s also a great place to dig for records!

The musical traditions and heritage is deeply intertwined with Africa and the Orixás – the Afro-Brazilian spirits and deities brought to Brazil by the slaves – and almost all artists on this mixtape call out these spirits and deities – with the most popular being Iemanjá (Fertility) and Xangô (Justice). The Orixás are the centre of religions called Umbanda (South) and Candomblé (North), African diasporic religions shared with many other Caribbean and Latin American countries. But nowhere are these religions as strong, organised or acknowledged as they are in Brazil.

And so in this continuous journey to expose the strong connection between Brazil and Africa through the music of the past, this second Afro Brazil Orixá Mix mixtape is dedicated to Salvador and the Brazilian state of Bahia.

EVFB MIX: ABOM-2 / Afro Brazil Orixá Mix - Segundo

I remember the day clearly. I was searching for treasures in a record shop in Yaoundé, the Capital city of Cameroon, when suddenly I came across a 7-inch record with a picture of a young man wearing a traditional hat and bearing the marks of several imposing vertical scars on the side of his face, carved when he was just a boy as a reminder of his heritage in the Musgum tribe of the northern part of the country.

The record contained two songs – ‘Gandjal Kessoum’ and ‘Touflé’ – by an artist I had never heard of before named Hamad Kalkaba. Both cuts were raw classics of fuzzed-out bass, pin-sharp horns, built upon the unshakable foundation of Northern Cameroon’s mightiest rhythm: the Gandjal. The shop owner - who noticed that I was listening to the same record over and over again - mentioned that ‘There is another single with a green cover of the same artist, if I am not mistaken’.

Over the next six years I searched for that ‘green cover’ and finally found it in a record collection belonging to an old bar in Parakou in northern Benin. While most of the records had been beaten and worn by a life spent in the jukebox, this one had been sitting in its paper sleeve for forty years, untouched and unplayed, seemingly waiting for us to pick it up and rip the two soulful Gandjal tunes from it, the masterpieces ‘Fouh Sei Allah’ and ‘Tchakoulaté’.

These two records, plus a third simply named ‘Nord Cameroon Rythms’ constitute the entire discography of Hamad Kalkaba. Neglected for decades by all but the most devoted collectors of Afro music, Hamad Kalkaba and the Golden Sounds at long last gathers together the body of work of one of Cameroon’s forgotten geniuses.

But unlike many musicians who emerged from nowhere, recorded a few singles and vanished again, Kalkaba hadn’t disappeared. Far from it. He was a distinguished public figure, a retired Colonel in the army of Cameroon, and a former member of Cameroon’s Olympic Selection Committee. When we tracked him down he was serving as president of the Confederation of African Athletics. And Although Kalkaba’s job kept him busy, and he seemed initially dismissive of the music he’d made as a young man, he turned out to be an enthusiastic ally in this project. He arranged interviews, helped fill in the blanks and, when we finally met him in Yaoundé in 2016, provided us with photographs, lyric sheets and notes.

During the interview Kalkaba explained how the songs recorded in the mid 1970s were part of a movement, a movement initiated by musicians from all around Cameroon who, with the help of keyboards, drum kits and electric guitars, had started to modernise the traditional rhythms of their regions. For Kalkaba it was no different and backed by his band the Golden Sounds, devoted himself to the promotion of the sounds of northern Cameroon.

One of the aims of Analog Africa is to showcase the colourful diversity of styles that exist in Africa and its diaspora and today we are very proud to be able to give these Gandjal tunes their first worldwide release.

Hamad Kalkaba and the Golden Sounds 1974 - 1975

Get the Record here:

Hamad Kalkaba - Astadjam Dada Saré(Leave a comment, tell kalkaba how much you love his song!)

Pre-order our new release on bandcamp Now and get it 2 weeks before release date: analogafrica.bandcamp.com/album/the-im…estern-movie

“In 1960 we received an invitation to play in Recife, a wonderful, exciting and dangerous place, often described as a “social jungle”. The Forró party took place on the first floor of Caxangá´s neighbourhood theatre; With its high ceilings, wooden floors and balconies, the place was perfect for these kinds of events. When all the windows were wide open, there would be a wonderful breeze during the hot tropical evenings.

Since everyone was looking for amusement, the place was packed on weekends. People from all corners of society would arrive nicely dressed, animated and chatting loudly over the sound of clinking glasses.

Pernambuco´s Cachaça, considered by many, especially by the locals, to be the best in the country, had started flowing generously and the popular sugar cane based alcohol lives up to its reputation. We always had a few shots to warm up before performing and by the time the place was packed we were already in a very good mood. 

Our local cachaça had loosened the bodies and minds of everyone in the room, people started to pair off and twirl around to the sound of forró music, smiling and sliding their feet off the floor - a reflex picked up from dancing in rural villages to avoid kicking up the dust”.

Camarão - Living Patrimony of the state of Pernambuco
November 2012

The Imaginary Soundstrack to a Brazilian Western Movie

The Imaginary Soundtrack to a Brazilian Western Movie 1964 - 1974

Get the Record

Sereia Do Mar - Camarão (Analog Africa No.25)

Buy & listen full compilation for 1€ : http://bit.ly/2DPbvnu 
@https://soundcloud.com/djturboboomboom
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Since its inception in 2013, Mawimbi founders have been expanding their knowledge of lesser known and rather undiscovered musical territories thanks to chance encounters with likeminded DJs/producers, who were kind enough to put them onto a good amount of under-the-radar tropical gems.

Launched in 2017 and named after Mawimbi's bi-monthly radio show on Rinse France, the "Radio Mawimbi" compilation series is dedicated to unearthing vintage tropical gems in the form of free download edits and remixes by some of the most seasoned diggers and promising rookies of the tropical-enthusiast community!

From deep, drum-heavy workouts to essential Guinea Bissau melancholy, through remixed Beninese afrofunk and vintage South African kwaito, this second installment features the editing and remixing works of Yeahman (Frente Bolivarista), LSD (Love Saves The Day), Déni Shain (Antagana Records), Umoja, Mawimbi, ATW (Around The World), Calisto, Turbo Boom-Boom (TBB) and Midnight Ravers.

Compiled by Mawimbi, 2017-2018
Artwork by Vianney Postic / Bertrand Cerruti
Mastered by Jammin Masters in Berlin

<a href="https://theartistunion.com/tracks/a6fb27" rel="nofollow">Download for free on The Artist Union</a>

Nairobi Matata Jazz - Tampa Tampa (TBB Edit)

colombiafrica remixed by the busy twist

from the album afrocolombia remix vol 2 by Galletas Calientes & Palenque Records
https://galletascalientesrecords.bandcamp.com/album/palenque-records-afrocolombia-remix-vol-2

Colombiafrica & Louis Towers - Mama Africa / The Busy Twist Remix Feat Zongo Abongo

NOW OFFICIALLY RELEASED ON VINYL
 https://smarturl.it/LDN_LUANDA

Original sample: Zé Da Lua - Ulungu Wami 
https://analogafrica.bandcamp.com/track/ulungu-wami
Peace and love to the original musicians and Analogue Africa for keeping the music alive

Afro Brazilian Groove

mulan