Featured in 'Sonic Discoveries of June 2015'

Manu Dibango

Elongi by Manu Dibango

One of 26 tracks available on the <a href="http://georiot.co/3TgR">Strut Africa</a> sampler on iTunes.

Taken from the album <i>Inspiration Information</i> by Mulatu Astatke & The Heliocentrics, "Esketa Dance" is one of the songs included on our Strut Africa collection, which also features music from legends including Ebo Taylor, Orchestre Poly-Rythmo, Tony Allen, and more. 

For a limited time, the original albums on which these songs appear are also available for at a special discounted rate. Happy holidays from the Strut crew!

More from Strut:
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Inspiration Information 3

Dewel

Mulatu Astatke & The Heliocentrics - Esketa Dance (Strut Africa)

Ragale

Manu Dibango - Lakisane

Jimi Tenor & Kabu Kabu - Dede (Baumhaus Remix)

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

Anbessa (feat. Manu Dibango)

Knasty Nuckles

Keira will be available on Soundway Records Sept 2016. Pre-order here http://smarturl.it/SussoDirect

Susso - Ansumana

Mulatu Astatke - Ené Alantchi Alnorem

TM Juke -Playground Games (Feat. Alice Russell)

Manu dibango - new bell -a bobby busnach lost in the beat unpublished 1980 remix -8.59.
cut & slice remix from 1980

Manu dibango - new bell -a bobby busnach lost in the beat unpublished 1980 remix -8.59

"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

Manu Dibango "Sun Explosion" Brad Slyde Edit

Available on Analog Africa No.13 - The Skeletal Essences of Afro Funk
Release date: April 30th

Min We Tun So

Manu Dibango - Senga (1973) (Loop remix)

Relaxation time; early/mid 1970s @ the Ndoko residence after 2nd Mass @ Catholic Mission Buea Town.

09 - Soma Loba by Manu Dibango

http://vimeo.com/51325336


mixes: https://www.mixcloud.com/cl-audio/

Manu Dibango - Lakisane

CL:AUDIO

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