sold out sold out ..... where can buy this track and another track of sorfito no bandcamp no beatport

12" vinyl available from www.sofrito.co.uk

A1: Dionisio Maio – Corpim Sabe (Alma Negra Edit)
B1: Bulimundo – Santo Antòni La Belèm (Hide & Smile Edit)
B2: Os Kings – Minino Na Tchora

Musical collisions in the Atlantic!
Sofrito kicks off the new Island Series with a celebration of the vital dancefloor sounds of Cape Verde – a mixture of local Funana and Coladeira rhythms, Batuque percussion and psychedelic disco synths.

Musical collisions in the Atlantic!
Sofrito kicks off the new Island Series with a celebration of the vital dancefloor sounds of Cape Verde – a mixture of local Funana and Coladeira rhythms, Batuque percussion and psychedelic disco synths.

Hailing from the island of Sao Vicente and originally released in the early 80s, Dionisio Maio’s anthemic Corpim Sabe is stretched into a 12” mix by the Alma Negra collective – bringing the thumping bassline to the fore and tweaking the piano-led groove into a slice of cosmic Coladeira-disco perfection.

On the flip the dynamic Hide & Smile duo (aka Frankie Francis & Miles Cleret) splice an early track from trailblazing Santiago-based group Bulimundo into a percussive workout that prefigures the sounds of Kuduro and Coupé Decalé.
Os Kings (from the island of Sao Vicente) complete the EP with an ode to struggling youth, anchored by sweet guitars and a slick bassline.

Fact fans:
The Republic of Cape Verde is an island chain situated 500 km off the coast of Senegal. Uninhabited before Portuguese colonization in the 15th century, the country was a staging post for the transatlantic slave trade and occupies a unique cultural position between Africa, Europe and the Caribbean.
There are large Cape Verdean communities in Paris, Lisbon, Rotterdam and Boston and as a result the music of the French Caribbean (in particualr zouk) is extremely influential.
Extra fact:
One of the most popular drinks in Cape Verde is a pint of gin and tonic.

Sofrito Island Series: Sound of Cape Verde // O Som de Cabo Verde EP

Analog Africa No.15 – ANGOLA SOUNDTRACK 2
*Hypnosis, Distortions & Other Sonic Innovations 1969-1978*
Catalogue No. AACD 075 (1xCD)/AALP 075 (2xLP)
CD with 44-Page Booklet / LP with 16-Page LP Size Booklet

In 2010, against all odds, Angola Soundtrack Vol.1 was awarded the German Record Critics’ Prize in the category "Black music". This victory was all the sweeter for its triumph over the predicted winner, Aloe Blacc´s multi platinium record, "Good Things".

Many were surprised that the award was handed to a compilation that covered obscure music, but it didn’t surprise the team behind Analog Africa who believed such award should have come much earlier.

Since discovering the music of Angola 15 years ago, styles such Kazucuta, Rebita and Semba have become an addiction for Samy Ben Redjeb, the compiler, who proclaimed a serious warning in the first edition liner notes:

"Listening to these tracks may cause addiction and provoke heavy rotation!"

The unique blend of incomparable musicianship, passionate delivery and regional rhythms that make these tracks so combustible are no accident. An exceptional set of circumstances existed in the history of Angola before Independence that created the giant leap in the style and standard of bands and recordings of the time.

When Portuguese repressive measures prevented the small Turmas, street musician groups, from being able to perform in Carnaval celebrations in 1961, a Portuguese civil servant, entrepreneur and Angolan music fan named Luis Montês was already in a position to capitalise on Luanda’s need for a live music scene. His self-designed “Kutonocas”, Sunday afternoon live music festivals, delighted a Luandan population hungry for a communication between the city and musseques (townships). It also forced groups to adapt to a different style of playing that would accommodate large stages and broader audiences. They equipped themselves with electric guitars, and fed on the musical influences from Cape Verde, Congo and the Dominican Republic, while staying patriotically true to their own musical legacy and unique rhythms.

The intimacy of those participating in this musical revolution meant they playfully and professionally wanted to trump each other’s style; communication between the groups was frequent as everyone studied each other’s records and concerts and players were under a lot of pressure to outdo each other due to the limited recording and performing opportunities. Development of skill and ingenuity was a must, as well as addressing the highly politicised climate. The optimism of Independence can be heard in these recordings; a common goal between the audience and musicians.

Upon reading the characteristically generous liner notes of this new Analog Africa release, you will be given more hints of the crucial melting pot that allowed this short period to have such an outstanding productivity. Featuring 44 pages acquired in coordination with the National Library of Luanda and the art magazine “Note E Dia”, Analog Africa head honcho Samy Ben Redjeb has managed to collect newspaper clips, extremely rare pictures of the bands on stage and printed interviews from the 70s.

The stunning pages of passionate photography and artistic design also include interviews with many of the original artists and their families, biographies of the three labels that made it all possible, and of Luis Montês, who was the pulse of the live music scene in Luanda.

This compilation represents the best of the short lived recording industry in Angola, a brief moment of history between 1969 and 1978, when three recording companies produced approximately 800 limited records, mostly singles. They are rare jewels, each song with a significant story and feel behind it. You will hear exciting music blazed with the anticipation of emancipation, tracks fuelled with a sense of unity, community, importance and immediacy.

This addictive, outlawed music from Angola shakes and grooves with the smoothness of staccato machine gun fire. Do yourself a favor and submerge yourself into some of the most the addictive music created by mankind!

FATIMITA - Urbano de Castro

Boulpik performing Neg Dafrik
https://www.facebook.com/Boulpik.Official

To buy the single click here : http://smarturl.it/negdafrik?IQid=youtube
NEW VIDEO CLIP : https://www.youtube.com/watch?v=i8suLVf4wX8

Album  « Konpa Lakay » to be released on May 12th, 2014
(C) 2014 Lusafrica
(C) 2014 Lusafrica
-----------------------------------------
Boulpik formed in Port-au-Prince around 10 years ago. They are still perpetuating an almost lost tradition of street music. Their acoustic instruments bring a hand-crafted feel to their music - a "homemade" sound that is also the sound of their country: Konpa Lakay

Nèg dafrik

Boulpik - Nèg Dafrik

Check more on Muzzicaltrips:
http://muzzicaltrips.blogspot.fr/2012/05/luis-morais-em-la-bonanza-la-murga.html


News by mail:
http://ymlp.com/xgjwymqbgmgj
Facebook:
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Luis Morais em La Bonanza - La Murga Panamero (Cumbia de Cabo Verde, 70s) #muzzicaltrips

https://analogafrica.bandcamp.com/album/legend-of-funana-the-forbidden-music-of-the-cape-verde-islands

It is 1997. A quiet, unassuming man of 59 years old named Victor Tavares - better know as Bitori - walks into a recording studio for the first time. The result is a musical masterpiece - a recording which many consider to be the best Funaná album ever made.

Bitori´s musical adventure had begun long before this point. It was 1954 when he embarked on a journey across the seas to the island of Sao Tomé & Principe. The young man´s hope was to return to Cabo Verde with an accordion. 

Following two years of hard labour Bitori had succeeded in saving enough money to acquire what was to become his most valued possession, his cherished instrument. The two month journey back to Santiago, his island of birth, proved time enough to master it.

Self taught, Bitori developed his own style, an infectious blaze, that quickly caught the attention of the older generation. Before long Bitori was being asked to share his musical talents, igniting the local festivities around Praia with his music.

But not everybody welcomed the rural accordion-based sound. Perceived as a symbol of the struggle for Cape Verdean independence and frowned upon as music of uneducated peasants, Funaná was prohibited by the Portuguese colonial rulers. Performing it in public or in urban centres had serious consequences - often jail time and torture awaited musicians that were “caught in the act”. In light of such persecution the genre of Funaná began to slowly disappear.

In 1975 Cabo Verde achieved independence from Portuguese colonial rule. Along with Cabo Verde’s independence came a lifting of the ban placed on Funaná. The musical repercussions in Cabo Verde were plenty - many upcoming artists embraced Funaná, translating and adapting its musical form in new ways. It was not to be until the mid-1990’s, however, that Funaná in its traditional form was actually recorded.

It was a young singer from Tarafal, Chando Graciosa, who was to play a key role in this event. Upon hearing Bitori, Graciosa immediately felt drawn to Bitori's unique playing style - a raw and passionate sound accompanied by honest lyrics that reflected the harsh reality of the Cabo Verdean working class. He eagerly approached Bitori suggesting they join forces and travel overseas with the objective of taking Funaná beyond its rural roots.

The two of them, with others in tow, achieved their goal and travelled to Europe, introducing a receptive European audience to the vibrant energy of Funaná. Eventually Bitori returned to his beloved Cabo Verde. Graciosa opted to settle in Rotterdam in order to pursue his career - he vowed, however, to bring Bitori across to Holland at a later date to record an album.

In 1997 the time was ripe to immortalise the sound Bitori had shaped over a time span of four decades. Built around a formidable rhythm section, formed of drummer Grace Evora and bass player Danilo Tavares, "Bitori Nha Bibinha" was recorded. The recording catapulted Chando Graciosa to stardom, making him Cabo Verde´s No.1 interpreter of Funaná. The success in Cabo Verde was phenomenal and Funaná rapidly gained the recognition it deserved, especially in urban dance clubs. Bitori´s songs quickly became standards - classics known and loved throughout the country. The musical success, however, was solely limited to the Cabo Verdean islands - until now!

Analog Africa is proud to contribute to the worldwide promotion of Funaná - the once forbidden sound of the Cabo Verde archipelago - by releasing a worldwide re-issue of Bitori and Chando Graciosa´s legendary recording. 

The release will herald Bitori´s first European Tour taking place during the summer of 2016. Watch this space! And listen!

Legend of Funaná

Bitori - Bitori Nha Bibinha (Leave a comment for Victor Tavares aka "Bitori"....we will forward)

2017 will see the release of Omar's long awaited 8th studio album, “Love In Beats”. Arguably his most eclectic and varied album to date, this will firmly cement Omar's enviable reputation as a truly unique and gifted artist.
Recorded mostly in Omar's own Backayard Studios in South London with his brother (Grammy award winning The Scratch Professer), “Love In Beats” is a career defining album that beautifully demonstrates Omar's unique voice, along with his skills as a multi-instrumentalist and producer.
More eclectic than previous albums, “Love In Beats” incorporates Soul, Caribbean rhythms, an undercurrent of Funk, touches of Zouk, a Jazzy Waltz and spoken word. It also features collaborations with U.S. Soul legend Leon Ware, Robert Glasper (Blue Note), U.S. rapper Ty, Guadeloupean singer Jean-Michele Rotin, U.K. soulstress Natasha Watts, The Floacist and the Cape Verdean born, Paris based singer Mayra Andrade
“This is album is labour of love between myself and my brother… Powerful songs over mesmerising beats in the evolution - that is Omarmusic and Brothers sound, it is truly “Love in Beats” Omar Lyefook, MBE

Stevie Wonder, Angie Stone, Syreeta Wright, Common, Estelle, Incognito Bluey Maunick,
Erykah Badu, Carleen Anderson, Caron Wheeler, Leon Ware, India Arie, Lamont Dozier, Zed Bias,
Pino Palladino, Roger Sanchez, Guru & Jazzmatazz, Maddslinky, Kele le Roc, Mario Biondi... All share one thing in common; they are all collaborators, fans and admirers of Omar, a British Soul Music pioneer.

Love In Beats

Omar - Déjà vu featuring Mayra Andrade

Edit of the magical Conjunto África Negra,
this edit is Part of the 'Radio Mawimbi Volume 1' compilation which you can download trough: https://wearemawimbi.bandcamp.com/album/radio-mawimbi-volume-1

Radio Mawimbi

Download

Africa Negra - Cumamo Bivalemo (UMOJA Edit)

Tribute to the Diva 27 AOut 1941/17 dec 2011

Cesaria Evora- Bia Lulucha (Dj Julien Lebrun Edit)

At home, in the islands of Cabo Verde, there was grog, or grogu, a strong sugarcane moonshine not dissimilar to Colombian aguardiente, copiously consumed at Funaná parties. 

In the diaspora, in Europe, there was leite quente (hot milk). 

“I can still remember the taste of the first leite quente I drank in Lisbon,” says Antonino Furtado Gomes, Pilon’s drummer and current band leader. 

Synthesize the Soul, Ostinato Records’ second compilation, revealed chapter one of the Cabo Verde cultural story in Europe, zooming in on visionaries like Paulino Vieira who made Lisbon the headquarters spearheading the musical revolution taking place within Cape Verdean emigre communities across Europe in the 1980s. Musicians from across the diaspora would eagerly travel to the Portuguese capital to record. 

Grupo Pilon represents the second chapter of the Krioulu diaspora story. In smaller pockets, second generation musicians were independently contributing to one of the most lush periods of cultural innovation by immigrants in Europe. In Luxembourg, in 1986, a group of teenagers formed the largely unknown (outside of Cape Verdean circles) but consistently brilliant band named after the blunt instrument used in the islands to pound corn for Cabo Verde's national dish, cachupa. 

With only five members, Pilon combined searing estilo Krioulu drumming and the hybrid ColaZouk style with blissful synth work and rugged guitar licks, creating a stripped-down, addictive sound that masterfully straddled two worlds, a seductive electro-Funaná carnival born from the first few sips of hot milk. 

The band drew from the inspiring political changes of the day: the release of Nelson Mandela in South Africa and the fall of the Berlin Wall. The right to democracy became a constant theme in Pilon’s songs. 

With access to better opportunities than their parents’ generation, Pilon’s roster were part time musicians. Music was not part of their academic upbringing nor a full-time gig. Their rhythm and style were wonderfully imperfect, made out of rawer skills and inexperience. Pilon did not follow the templates established by revered Cabo Verde bands. Keyboard player Emilio Borges played off beat and the band preferred arranging their songs to start from the beat normally heard in the middle of a composition rather than the beginning. These two elements made Pilon’s music simple, unique, and inimitable. 

From 1997 to 2015, a lack of concerts and professional musicians proved near fatal. Today, Antonino and what remain of the original quintet are slowly piecing back together the puzzle of their once mighty outfit from an unlikely pocket of Europe. In its heyday in the 90s, Pilon serenaded audiences in Paris, Lyon, Marseille, Lisbon, Rotterdam and Frankfurt, securing their reputation as a respected and unifying cultural force. 

This LP, drawing from the six most powerful songs from Pilon’s three-album catalog, is the serving of still fresh leite quente to spice the summer and maybe even fuel the next generation of musicians in the Krioulu corners of Europe. 

Pilon are back in the studio refining their sound to revive their journey that looked all but lost to the world's ears two decades ago. 

Produced by Ostinato Records 
Mastering & Lacquer by The Carvery 
Design by Pete 'Piwi' White 
Licensing courtesy of Antonino Furtado Gomes 
Interview translations & transcriptions by Alexandre Tondina

Leite Quente Funana de Cabo Verde

BUY THE LP

Grupo Pilon - Longi Di Bo

OSTLP/CD008 POUR ME A GROG: The Funaná Revolt in 1990s Cabo Verde

Bandcamp Release Date October 14, 2019
Official Release Date: October 25, 2019

Raw Funaná music, a sibling of Cumbia, distilled from the Badiu masters of the accordion. Crafted in the isolated northern heartlands of Cabo Verde’s Santiago Island, where revolt and rebellion against injustice course through its history’s veins. 

Hypnotic notes on aged accordions tuned and flavored in ways found nowhere but Santiago are infused with inviting baselines, raucous rhythms, blade-on-iron percussion, and the bubbling lyricism and lament of the island’s finest ambassadors. 

Best enjoyed with grog, Cabo Verde’s local moonshine made from sugarcane crushed by bulls. Imbibe responsibly, listen carefully, and dance recklessly.

Pour Me a Grog: The Funaná Revolt in 1990s Cabo Verde

PRE ORDER NOW!

Nha Boi - Tchota Suari e Chando Graciosa

My rework (and homage) of a track by one of the best african bands, Os Tubarões from Cabo Verde.

FREE DL

Os Tubarões "Alto Cutelo" (Rocky's re-work) FREE DOWNLOAD

Sofrito Super Singles // Island Series // Percussions  // DJ mixes & sessions

Sofrito Island Series: Sound of Cape Verde // O Som de Cabo Verde EP

Sofrito

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