Makes me wish I was back in Niakhniakhali again!

Artist: Amira Kheir 
Title: Alsahraa
Cat.No: STCD1122
Label:  Sterns Music
Digital release: 24th February, 2014
CD release: 17th March, 2014

Backed by double bass, acoustic guitar and percussion, and with only the lightest of touches from other guest musicians, Amira Kheir could hardly be accused of over-producing her latest album, Alsahraa. No, rather in the spirt of the album's title, “the desert”, her sound is clear and ascetic, and recorded in the acoustically beautiful space of the Union Chapel, London, it is a true and honest reflection of Amira's own compelling live performances. 

Since the release of her debut album View From Somewhere in 2011, Amira has continued to develop and refine her unique interpretation of the Sudanese tradition. This she achieves by combining it with original material in a contemporary acoustic setting, and while on Alsahraa she confines herself to just two languages, Arabic and Italian, her voice explores this repertoire with the ease and passion that only a true tri-lingual singer can. Born in Italy of Sudanese parents, Amira has now made London her home. 

Relaxed yet alert and articulate, Amira is no stranger to the BBC and other broadcasters' studios, nor indeed, to some of the world's most prestigious stages and festivals including the Queen Elizabeth Hall in London, and the Festival Of The Desert in Mali. But it would be wrong to paint Amira as some globe-trotting world music wanna-be star. Her music might be set in the wide open spaces of Alsahraa, but its impact is intimate and personal.  

Tracklisting:

1.Ya Gadir 2'36
2.Alsahraa 5'08 
3.Habibi Ta'al 6'10
4.Ya Mara 4'30
5.Luna 5'27
6.Sera 4'01
7.Kasr Almiraya 4'58
8.Ma'assalama Rafiqi 6'20
9.Fil Teyf 6'42
10.Khallooni 6'01

Some previous press:
	
“charming performer who's captured her live acoustic sound well … comfortable with both high drama and intimate balladry.” The Independent
	
“it (Amira's debut album) is both beautiful and fearless.” Songlines

www.sternsmusic.com

Amira @ Sterns

Amira Kheir - Ya Gadir (excerpt) / Ya Mara (excerpt): from 'Alsahraa'

Téléchargez l'application senmusic sur playstore et appstore

ALIOUNE MBAYE NDER- Maladie Damour

abdou_guite_dou_leebi_neen_mp3_8228.mp3

Youssou Ndour Feat Akon Song - Daan

'A Serra Das Russas' ©by Raphael Gimenes 

‘Raphael Gimenes & As Montanhas de Som’
Raphael Gimenes Vocals, guitar, cowbells, agogo, programming
Flavia Huarachi Flute Alexandra Pana Flute
Thomas Munk-Petersen Double Bass
Julian Kramper Congas, agogo
Niels Rose Caxixi, shakers, pandeiro
‘Who Killed Bambi’ Strings
(Ida Marie Arendt, Louise Drengsgaard, Mette D. Kristensen, Benedikte Borum) Music, lyrics & arrangements ©by Raphael Gimenes
Recorded at Aarhus Lydstudie
Audio Engeniers Kristopher Paterson & Asger Christensen
Produced by Asger Christensen & Raphael Gimenes
Mixed by Asger Christensen
Mastering by Andreas Linnemann
One World Records RGCV123©℗2016
www.oneworldsmusic.com

Raphael Gimenes & As Montanhas de Som 'A Serra Das Russas'

www.juno.co.uk/products/balla-et…gomori/688673-01/
www.phonicarecords.com/product/balla…-edits/152514
www.deejay.de/Balla_et_ses_Balla…T003_Vinyl__313129

Support: Skream, Black Loops, Horse Meat Disco, Till Von Sein, Fred P, Aroop Roy, Melon, Roger Sanchez, Souldynamic, Moodymanc, Dom Servini, Nuno Dos Santos, Danvers, Jimmy Rouge, Harri, Corbi, De Gama, Speaking Minds, Leon Revol, Lars Behrenroth, Piek, Jamie Trench...

Sterns Edits returns after their well received and recently repressed Amadou Balaké excursions, this time with Ben Gomori turning his hand to Guinea for a third instalment in the series of re-works from the Sterns Music catalogue of African gems.

Balla et ses Balladins were one of Guinea’s national 'orchestras' formed as a result of the newly elected President, Sékou Touré’s 'authenticité' policy of the early 1960s, which sought to promote Guinea's cultural identity following independence from France in 1958.

Gomori takes the scalpel to two cuts recorded during their years on the state-run Syliphone label, making good use of bandleader Balla's lively trumpet playing. The gently haunting 'Nyo' is taken on a stomping slo-mo chug with a head-nodding bassline and stuttering FX creating a shimmering effect on the tropical guitars, while the rousing horns of 'Wilikabo' are laid over with rasping synth bass for a punchy juxtaposition.

Vinyl release date: May 11
Digital release date: May 28
Vinyl distribution: Prime Direct Distribution http://www.primedirectdist.co.uk/
Digital distribution: The Orchard http://www.theorchard.com/

Balla Et Ses Balladins - Wilikabo (Ben Gomori's Kaboom Edit)

artist: Mapenda Seck
title: Jamilou 

Senegal is often hailed as one of the most stable nations in Africa and recent Presidential elections suggests there's some truth in that. Certainly the country has a rich musical culture, one that would have been difficult to sustain without peace and perhaps it's no accident that one of the world's most famous African musicians, Youssou N'Dour, is from Senegal.

Unfortunately this comparative stability does not mean its indigenous music industry is immune from the same problems that beset the industry globally, and producers flourish and wilt with alarming regularity as they try to keep pace with changing trends and technologies.

The high-point of KSF Productions was probably during the 1990s, but in that time they were responsible for some classic and influential recordings that helped forge a unique and proud West African sound. Welcome to some of key recordings from the dynamic repertoire of KSF Productions.

Jamilou

Buy https://www.juno.co.uk/products/segun-adewale/696691-01/
https://www.phonicarecords.com/product/segun-adewale-atewo-lara-ka-tepa-mose-ben-gomori-remix-ojo-je-smbd-remix-pre-order-sterns-edits/154150
https://www.deejay.de/Segun_Adewale_Segun_Adewale_Ben_Gomori_SMBD_edits_STEDIT004_Vinyl__323731


The 4th edition in the acclaimed Sterns Edits series sees curator Ben Gomori open up the Sterns Music catalogue to other keen re-editors — with Brownswood / Worldwide genius SMBD (aka Simbad) the first to step up to the plate.

Nigeria's Segun Adewale is sometimes referred to as the 'crown prince' of jùjú music, but in the 1980s he developed a sound all of his own, which we called yo-pop. A mixture of jùjú, funk, reggae, Afrobeat and jazz, its vibrant melange can be heard on his 1986 record 'Ojo Je', where both these originals are taken from. SMBD delivers too superb flips of the title track — a gritty funk-fuelled 'Disco' version with live bass, and a deliciously deep dub-house version. Gomori, meanwhile, takes the haunting 'Atewo-Lara Ka Tepa Mo'se' for an extended hypnotic, tribal trip.

The stunning artwork comes from Kofi Ankobra, the son of radical white South Africans who grew up in Ghana and studied art at Oshogbo, Nigeria — the place Adewale himself was born.

Mastering by http://www.outtheboxstudio.com/

Ojo Je (SMBD / Ben Gomori Edits)

Segun Adewale - Ojo Je (Ben Gomori / SMBD Edits)

We've got some intensely HOT Afro Disco edit vibes providing the soundtrack to our melting bodies and brains here at SB HQ today.

The 4th edition in the acclaimed @sternsedits series sees curator @bengomori open up the Sterns Music catalogue to other keen re-editors — with Brownswood / Worldwide genius SMBD (aka @simbad) the first to step up to the plate.

Nigeria's Segun Adewale is sometimes referred to as the 'crown prince' of jùjú music, but in the 1980s he developed a sound all of his own, which he called yo-pop. A mixture of jùjú, funk, reggae, Afrobeat and jazz, its vibrant melange can be heard on his 1986 record 'Ojo Je', where both these originals are taken from. 

We're premiering one of the SMBD flips of the title track — a gritty funk-fuelled 'Disco' version with live bass that is going so well with the summer we're having here in London!

Buy : https://bit.ly/2Z8xLrL

SB PREMIERE : Segun Adewale - Ojo Je (SMBD '85 Raw Disco Mix)[STERNS EDITS]

The annual WOMEX gathering is a feast for the eyes and ears. At the 2018 edition in Las Palmas, Gran Canaria, over 300 artists performed in 60 official showcases. Afropop Worldwide recorded both intimate exclusive sessions and official showcases. We also interviewed globetrotting artists: Moonlight Benjamin (Haiti/France), Dawda Jobarteh (Gambia/Denmark), Tita Nzebi (Gabon/France) and Serge Ananou (Benin/France). And, we collected a load of new releases from artists you know, like Salif Keita, and some you don’t, but will be happy to discover. This is our second WOMEX 2018 program, a music-filled hour of music and impressions from the world’s greatest gathering of global music movers and shakers. Produced by Banning Eyre.

What's New at WOMEX?

This program is a conversation between Alhaj Salieu Njie and Ebrima Jawo. This program is intended to revive our cultural values so as not to forget the contributions of our fore-fathers in this tiny west African country called the Gambia. 

We take a look at how how our traditional and cultural values as practised by our fore fathers and how these values are known to us today.

In 1818 the total population of the new settlement called Banjul today was around 600. By 1826 this figure had risen to 1,800 (excluding the garrison) of which 30 were Europeans. In the 1830's ship loads of liberated African refugees landed in Banjul and were transported to the Liberated African Yard. Goderich Village was created near Oyster Creek by the Colonial Government in 1832 to specifically assist these Liberated Africans.  By the middle of the 19th century the local population of Banjul was 4,000 as well as 190 colonialists. 

This growth in the numbers of people was caused by an influx of freed slaves from Freetown, fugitives evading justice and people from the Wolof tribe of Gorée Island & St. Louis in Senegal. Such was the uncontrolled migrations that Lieutenant Governor Mackie tried to put a stop to it. His job was made difficult by the religious wars raging in the region. Over time people from other tribes of West Africa also joined them enabling Banjul to grow from a fort with a few outlying local villages into a city within 100 years. The reason for this growth was because the deep port allowed large ships to dock and thus propelled Banjul into one of West Africa's main trading gateways, particularly entrepot trade, to other West African countries. 

The settlement's local divisions was reflected by the various people who had come to live there. Banjul was planned and divided into districts for specific ethnic groups. There was Soldier Town where the pensioners from the West Indian Regiments and Royal Africa Corps resided. There was Jolof Town, which was largely made up of artisans and mechanics from the people of the Wollof ethnic group. There was the poorest sector known as Moka or Mocam Town, which was later re-named Half-Die after the Cholera epidemic of 1869 killed many there, was populated by immigrant labourers from the Kombos and up-river areas. There was also Melville Town occupied by the Akus which had earlier been settled by the Jolas. And finally there was Portuguese Town which was occupied by the Mulatto descendants of mixed African and Portuguese parentage. As the settlement grew street names were given which were from either prominent merchants or generals who served in the Battle of Waterloo. In recognition of his efforts to stop the slave trade along the river a street was named after him called Grant Street.

The Gambia: Returning to our cultural & traditional values by Ebrima Jawo

Devendra Banhart performs "Mi Negrita," from "Mala," his eighth studio album and his Nonesuch debut, due out March 12, 2013. The album took shape in Los Angeles, where he and longtime cohort Noah Georgeson produced the album together, playing most of the instruments themselves, using borrowed equipment and a recorder they’d found in a pawn shop.

Pre-order "Mala" now at www.nonesuch.com/albums/mala

Mala

Devendra Banhart: "Mi Negrita"

Abdou Guité Seck feat Pape Thiopet - JELEL SA DJEL 

Abdou Guité Seck feat Pape Thiopet - Jelel Sa Djel

"Gravediggress", from new album 'Tales of a GrassWidow', out May 27th in Europe via City Slang and May 28th as a self release in North America.

Buy the track on iTunes here: http://glnk.it/1xl

Tourdates:
24 May: Berlin – Huxleys Neue Welt
26 May: Brussels – Cirque Royale
27 May: Paris – Theatre Des Bouffes Du Nord
30 May: Luxemburg – Rockhal

www.cityslang.com

http://www.cocorosiemusic.com
http://www.facebook.com/pages/CocoRosie/6762792489
http://www.twitter.com/larealcocorosie
http://www.youtube.com/larealcocorosie



Gravediggress

It's Nairobi, 1983 and Mose Se Sengo 'Fan Fan', one-time guitarist for Franco and veteran of many key groups in East Africa and Zaire, meets Robin Scott, British pop artist who, only 4 years previously, had topped the US charts with his single “Pop Muzik”. It seems an unlikely meeting, but perhaps Scott is more of a maverick than he's sometimes credited for and while their collaboration didn't go very far, it did provide the impetus for 'Fan Fan' to move to the UK where, one year later, he was to be found in the Elephant Studios, London, recording his first album for Sterns Music.

These were heady times, the term 'world music' was still several years away from common usage and what the fledgling label of Sterns Africa label lacked in experience they more than made up for in enthusiasm. Including only one fellow Zairean expatriate, N'simba Foguis, and one other African, Doreen Webster, both on backing vocals, a UK band was assembled around Fan Fan for recording and gigging, which it duly did to both critical and popular success including numerous radio, several TV performances and a touring schedule that took them around Europe.

Two years later, in 1986, Fan Fan travelled to Paris to record his follow-up album, titled … 'Paris'. This time, with access to the rich pool of central African musicians resident in France and Belgium, the quota of Zaireans dramatically increased and included vocalist Jean Papy, later of Kass Kass and Kekele. But it also kept the London connection, not least through Herman Asafo-Agyei, the Ghanaian bass player for the Sterns Africa label stablemates, Hi-LIfe International, and was mixed and mastered in London which, as the original liner notes state, gives it a “densely power-packed sound which sets it apart from other Zairean recordings.”

Fan Fan went on to make London his home and still performs today, most recently touring in Ireland, and the UK incarnation of Somo Somo, which began with these two recordings, has proved a valuable, though not always comfortable, school for musicians in the UK who want to play African music. As such they are important nodal points to the ongoing story of African music in the West. Now available for the first time as digital downloads.

Artist: Somo Somo
Title: Somo Somo / Paris
Cat.no: STERNS1007 / STERNS1014
Orig. year of release: 1984 / 1986
Re-release:  20th May 2013
Format: digital only

Mosese 2000 (edit) / Poleni (edit) by Somo Somo

African and World Music specialists since 1983. 

First British record label to release recordings by Salif Keita, Youssou N'Dour, and Franco &amp; OK Jazz. 

Dedicated to bringing to the world the sublime music of Africa and its diaspora.



Jamilou

Iain Scott

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