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Playlist: New Music Monday

GWOKA

Oups!

Tribal light

gwika tradition

The innovative, radical soul of Guadeloupe explored across thirty years of contemporary gwoka music.

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As Guadeloupean vocalist and composer Marie-Line Dahomay writes in her liner notes to the compilation, gwoka is more than a style of music, it is “a way of living and thinking.”

Rooted in the social, musical and ritual practices of enslaved African people and their descendants on Guadeloupe, gwoka has always sought to express the spirit of independence and resistance authentic to the island.

Building on its traditional call-and-response form and the ideas of pivotal figures like Gérard Lockel and Christian Laviso, modern gwoka evolved throughout the second half of the twentieth century to include funk, jazz and electronic influences.

Defined by its propensity for innovation and experimentation, this compilation charts the most radical changes to modern gwoka, capturing a sensory riot of traditional répertoires, rhythms and makè techniques fused with a rich seam of genre-defying experimentation.

Whether heard in the deeply cosmic, spiritual music of Dao, Freydy Doressamy and Gaoulé Mizik, or the jazz funk inflections of Gui Konket and Horizon, the music here is united by the feeling of santiman ka, crucial not only to gwoka music but the identity of Guadeloupe at large.

As co-curator Cédric Lassonde writes: “What unifies these selections is the depth of the compositions, the experimentation around the santiman ka, and the spirit of resistance and liberation against slavery, be it modern or ancestral. With a thirst for innovation typical of the island’s creole culture, the ka spirit is deeply rooted in collective history and in a quest for identity.”

Co-curator Brandon Hocura continues: “The creative energy of these musicians is powerful and demonstrates a universal pursuit of resistance, freedom and identity. Their voices are distinct, but the chorus rises high and carries their message far across the sea.”

Released on double LP, L’Esprit Ka: New Directions in Gwoka Music from Guadeloupe 1981-2010 is the first compilation of its kind to bring the sound of modern gwoka to a wider audience, with many of the musicians features still active today.

Presented with typical attention to detail, the release features a specially commissioned essay by Guadeloupean musician Marie-Line Dahomey, and extensive liner notes from Cédric Lassonde and Séance Centre’s Brandon Hocura. 

True to the hybrid nature of the music, the compilation seeks not to provide a definitive sound, but express the variety of contemporary forms gwoka has grown to take. Just as Guadeloupean trailblazers Kassav fused gwoka with funk and cadence to create zouk, so did the musicians on this collection push gwoka in new directions rarely heard beyond its shores.

In the words of Gérard Lockel, “gwoka is the soul of Guadeloupe”.

Lèspri Ka : New Directions in Gwo Ka Music from Guadeloupe 1981-201

Emboule Jean-Claude, Louison Gerome et Le Groupe Kako - Enjafann Kannn

Gaoulé Mizik - Sonné Lékla Sonné

Dao - Chen'n La

Natty Reeves & Jackson Mathod - Low Sun (Live)

Introvert Hotline

Composed/written for BOSS: https://www.youtube.com/watch?v=dGQXcYGboDs

Unless

Fresh Melbourne artist TURBO CHOOK, (AKA Allan McConnell), readies his crisp new track ‘Rushing’, teaming up with multiple award-winning hip-hop artist Cruz Patterson from Fremantle, WA. 

Named after the famous flightless Tasmanian Nativehen, which can run up to 40kmph, TURBO CHOOK exposes a new side of McConnell’s musicianship (following his success as half of the house and soul duo Close Counters, who gained support from tastemakers Indie Shuffle, Clash Mag, XLR8R, NME, Mixmag, Pilerats, EARMILK, Stoney Roads, Gilles Peterson, to name a few). Close Counters cemented their status as one of Australia’s hottest house and soul exports with their diverse soundscape at the crossroads of house, neo-soul, hip-hop and disco. 

Similarly, Cruz holds a string of successful solo singles in his repertoire, such as the song ‘Venice’, produced by Tame Impala, and other collaborations including ShockOne and SuperEgo. Notably known as the frontman of the acclaimed group Koi Child, Cruz toured Australia prolifically with Tame Impala & Fat Freddy’s Drop, playing at festivals, international tours, and receiving a nomination for an ARIA Award for ‘Best Urban Album’, as well as acclaim from Beats 1, Triple J, BBC Radio 1 & more.

Described by Patterson as “a hip hop track that ever so slightly nudges the boundaries of the genre with its fast paced tempo and out of the ordinary story telling”, ‘Rushing’ recalls the night of the ARIA Music Awards, when Cruz’s drink was spiked. When TURBO CHOOK sent him the instrumentals, he felt they perfectly depicted the feeling of being unknowingly drugged: “I was rushing, kinda trippy, like time was spinning in circles around me”. Despite being characterised by a consistent and pressing groove, the track is painted with liquid tones which depict an enticing identity for the song. With Cruz’s storytelling and TURBO CHOOK’s skillful musical craftsmanship, the audience is encouraged to hear something new and refreshing with every listen.

Rushing - Cruz Patterson X Turbo Chook

Modular and modal music have been combined and mixed for the purpose of "Cristallo" to become a reality. We want to bring you in this modular travel throughout peaks and mountains of Iran and Italy.
The power of “modulation” and modular synthesis is based on the freedom you have in combining different parts and “modules” to create something unique and personal in terms of sound design.

Palang Chal

Part I of a mix entirely dedicated to the spirit of the ka, from gwoka tradisyonel and bouladjel to gwoka modènn, gwoka évolutif and the infinite forms of music creolisations with gwoka at their core. 

Music which is integral to Guadeloupean identity and part of everyday life and struggles within society, at turns deep, fierce, spiritual, soulful, funky, cosmic...

More info here: https://www.cedriclassonde.com/lespri-ka-new-directions-in-gwoka-time-capsule-seance-centre/

(find Part II here: https://soundcloud.com/cedricwoo/lespri-ka-pt-2-gwoka-special)

TRACKLIST:

1- Gui Konket - Kimbé Rèd !
2- Ti Celeste - Chien La Japper
3- Anzala Et Son Groupe - Chofe Fe Attansion
4- Gerard Lockel -  Woulé N°1
5- Horizon - Ti Malo
6- Selekta Ka - Anjelo
7- Ka Lévé - Apre Nou Byen Cheche
8- Van Levé - Celiane
9- Simenn Kontra - Vévé
10- Esnard Boisdur - Devenn
11- Makaia - Ales (CW edit)
12- Michel Laurent -  Matla La Mouyé 
13- Erick Cosaque - Banbou La
14- Eric Brouta - Ma Men Cho
15- Sonny Troupé Quartet - Ki Koté
16- Soft - Jean Fouyé
17- Max et Henri - Mizik A Ka Kafe
18- Kafé - Jili
19- Erick Cosaque & X7 Nouvelle Dimension - Mizik A Gwoka
20- Kan'nida, Francky Geoffroy, Sergius Geoffroy - O Gwo Ka

Lèspri Ka, Pt 1 (Gwoka special)

Kalita are proud to unveil the first ever compilation focussing on the phenomenon of ‘Burger Highlife’, a crossover of West African melodies with synthesizers, disco and boogie that took over Ghanaian airwaves during the 1980’s and beyond. Highlighting key recordings from genre-defining artists including Thomas Frempong and George Darko, as well as more obscure sought-after tracks by elusive bands such as Aban and Uncle Joe’s Afri-Beat, Kalita come to the rescue of audiophiles, DJs and music-lovers alike with ‘Borga Revolution!’ Spread over a double-LP housed in a gatefold sleeve. Accompanied by a 16-page booklet featuring extensive interview-based liner notes on each artist and never-before-seen archival photos.

The 1970s had witnessed an increased Western airtime and physical presence in Ghana introducing funk, soul and disco sounds to the region. By the turn of the decade the country was also enduring economic turmoil, with rising poverty, military dictatorships and long periods of enforced curfews (amongst other factors) making it impossible for artists to survive.

As a result, many Ghanaian artists with a broader outlook began to pursue their careers in the West, moving to both Europe and America in search of stardom. It was here that Ghanaian musicians developed a digitised version of highlife music which fully embraced Western contemporary music styles and newly introduced technology such as the DX7 synthesizer and various drum machines.

It is in this context in which the evolution of Ghanaian dance music and the emergence of ‘burger highlife’ was born. With ‘Borga Revolution!’ Kalita endeavour to tell this story, with prominent and lesser-known musicians’ accounts and documentary evidence providing a comprehensive understanding of this shift to the digital age.

Borga Revolution! Ghanaian Dance Music In The Digital Age, 1983 - 1992 (Volume 1)

Mada Meho So

Buy Here!

A2. Thomas Frempong - Mada Meho So

Part II of a mix entirely dedicated to the spirit of the ka, from gwoka tradisyonel and bouladjel to gwoka modènn, gwoka évolutif and the infinite forms of music creolisations with gwoka at their core. 

Music which is integral to Guadeloupean identity and part of everyday life and struggles within society, at turns deep, fierce, spiritual, soulful, funky, cosmic...

More info here: https://www.cedriclassonde.com/lespri-ka-new-directions-in-gwoka-time-capsule-seance-centre/

(find Part I here: https://soundcloud.com/cedricwoo/lespri-ka-pt-i)

TRACKLIST:

1- Gaoulé Mizik - A Ka Titine (Kay Suzki Gwoka Dub)
2- Kassav - Karambole (CW edit)
3- Esnard Boisdur - Mizik Bel (Africaine 808 remix)
4- Erick Cosaque - Ti Sikriye
5- Voltage-8 - Yo Baw Oh Non
6- Laurent/Coquerelle/Montella - Gaston
7- Gwo Kato - An Ke Toujou Joue Tanbou
8- Groupe Beloka - Menm Chimen La
9- Kimbòl - Vélo
10- Emboule Jean-Claude, Louison Gerome et Le Groupe Kako - Enjafann Kann
11- Luc-Hubert Sejor - Pein e Plesi 
12- Gaoulé Mizik - Koulé
13- Ka Flambé - Konsyans
14- Max Rambhojan - Cecilia
15- Gwakasonné - Respé
16- Freydy Doressami - O Fon A Kê An Nou
17- Dao - Chenn La
18- Esnard Boisdur Et Son Groupe Katel - Lakolè
19- Kalindi Ka - Shouk

Lèspri Ka, Pt 2 (Gwoka special)

Ti Celeste  -   Chien La Japper

Oídos despiertos con este clásico de 1976 que empezó a escucharse con la inconfundible de voz de l. Arurelien Celeste.
¡Pura sabrosura africana! 


Ti Celeste- Dowlé A

From the self-titled album 'Pat Thomas & Kwashibu Area Band,' out June 15th on Strut. 

iTunes: http://geni.us/PatThomasKwashibu
Strut Store: http://bit.ly/PatThomasStrut

From the album liner notes:
‘Gyae Su’ is a rearrangement of an older song, with a guitar concept typical of the classic Kwa or Kumasi bands and an overall tropical style. Ebo Taylor’s horn arrangements evoke the classic Afro-funk vibe that he originally made famous. The lyrics are as catchy as they are plaintive, with Thomas comforting the listener, “Don’t cry! Life has its ups and downs. Just take it easy and don’t shed any tears.”

More from Strut:
https://www.facebook.com/StrutRecords
http://www.strut-records.com

Pat Thomas & Kwashibu Area Band

Gyae Su

Pat Thomas & Kwashibu Area Band - Gyae Su

New update of Ebo Taylor & Pat Thomas classic! Out on Strut July 10th (digital) and September 4th (12").

http://www.strut-records.com
http://www.facebook.com/StrutRecords

Ene Nyame (Henrik Schwarz Blend)

Ebo Taylor / Pat Thomas / Henrik Schwarz - Ene Nyame 'A' Mensuro (Henrik Schwarz Blend)

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)

We present our first release of 2019 and the third in our initial Venezuelan trilogy of 45s. Featuring 2 original compositions by Caracas based multi-instrumentalist and composer Isaac Sasson with a remix on the flipside by London producer & drummer Hector Plimmer (Albert's Favourites).

Side A kicks off with "Paseo en un sueño", a short composition that reflects a dream that begins in the village of El Hatillo and ends at dawn in the hills of Caicaguana, its main theme is a beautiful flute melody played by Tomasito Garcia. As the instruments and vocals fade away, "Canción para mi familia, Venezuela" begins, with Isaac singing "esta melodia es especial para mi mamá, dedicada a mis abuelos, a mis hermanos y a mi papá". This song is a sort of mantra or prayer dedicated to Venezuela and Isaac's family and friends; its spiraling guitar riff and various percussion instruments quickly descending towards a chaotic state of bliss.

Hector Plimmer's remix on the B side reassembles elements from another Sasson original,  "Cantos Campesinos", focusing on a particular vocal motif. Hector retunes the rhythm to his purposes, building tension and borrowing a bell sound to raise it even further, before releasing a skittering drum pattern with plenty of swing and a heavy dose of low end. Before the song ends, Hector goes deeper, adding sensual synth chords and finally a flute-like synth solo to complete this musical trip that is surely destined to soundtrack a few hazy evenings this summer.

The music on this EP has been previously self-released by Isaac on his album "Memorias del canto campesino", but appears here for the first time on vinyl, limited to 300 copies.

Recorded at Estudios El Gran Misterio & Garabato Estudio. Caracas, Venezuela

Re-mastered for vinyl by Frank Merritt at The Carvery, London

Isaac Sasson - Paseo en un sueño / Canción para mi familia, Venezuela

Sher Yadom Ra (The Slipped Poem)

A Table for Two

Leyli , لیلی , Siriya Ensemble, سیریا

Chish-Aseli , چیش عسلی , SIRIYA , سیریا

جهت حمایت از این گروه آلبوم را به صورت قانونی تهیه فرمایید 

https://beeptunes.com/album/561835461

Dao - Chen'n La

Time Capsule