If you're unaware of the power & beauty of Guadeloupean music then hit play on what is sure to be one of the compilations of 2022, enabled by Time Capsule & Séance Centre. It's a deeper than deep selection soaked in Afro spirituality, jazz licks, Caribe soul, historic hardship, resilience, joy & love and those impossible to ignore calls to dancefloor catharsis so prevalent in African diasporic music.  https://timecapsulespace.bandcamp.com/album/l-spri-ka-new-directions-in-gwoka-music-from-guadeloupe-1981-2010

Oups!

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

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

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

Dao - Chen'n La

E & S Brothers’ 1985 album Taduma holds a unique yet overlooked place in the history of South African dance music.  When Shadrack Ndlovu and Ernest Segeel teamed up with Dane Stevenson, owner of Blue Tree Studio in downtown Johannesburg, and journeyman producer Taso Stephanou, South Africa’s bubblegum era had just begun, spurred on by the success of Shangaan disco. The relative success of their debut 12” ‘Don’t Bang The Taxi Door’, marketed aggressively at taxi ranks throughout the country, helped put the Blue Tree label on the map and E & S were invited back to record a full album: Taduma, featuring on keyboards Dr Buke, an in-demand session player from Soweto.

Rooted in Africa, yet purely electronic, Taduma was a moderate hit, spurred by tracks like ‘Taxi Door’ and ‘Mhane’, its hypnotic refrain ‘Mhane, famba na wena’ meaning ‘Mother, I am going to you’. Other tracks like ‘Mapantsula’ and ‘Be Careful’ place Taduma within the street-savvy ‘pantsula’ style and dance synonymous with consecutive waves of music from disco to kwaito, house and beyond, while ‘Sikele Masike’ repurposes a traditional Shangaan work song. Vocally E & S are closer to rapping than singing, in a combination of English and vernacular – predating other credited pioneers of kwaito in SA like Senyaka and Spokes H. Driving the music instead of vocals are waves of searing synths over rudimentary but explosive drum machine sounds – the word ‘Taduma’ meaning the sound of the drum.

Remastered from the original tapes and reissued for the first time, pre-order Taduma (AFS053) here: https://www.rushhour.nl/record/vinyl/taduma

'Mhane' - E & S Brothers

https://www.nts.live/shows/sun-cut/episodes/sun-cut-11th-april-2022

Suncut - 110422

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

DC Promo Tracks #972: "Intemperance" by Re:Fill is part of the release "Cycles" on Cognitiva Records @cognitivarecords  

Buy Now: https://cognitiva.bandcamp.com/album/re-fill-cycles 

Re:Fill https://linktr.ee/refillproduction

Cognitiva Records
FB: https://www.facebook.com/cognitivarec
IG: https://www.instagram.com/cognitiva_records/
SC: https://soundcloud.com/cognitivarecords
Discogs: https://www.discogs.com/label/1227859-Cognitiva-Records

More Promo Tracks: https://www.dreamchimney.com/promo

DC Promo Tracks #972: Re:Fill "Intemperance"

The two funkfreaks Filip and Zorken were welcomed to the store last Friday to play their top tier Funk records for 3 hours. It was a blessing to have them. Unfortunately the recording program got shut down after 2 hours and 18 minutes.. Hence the length of the recording.

Enjoy!

@mikael-zorken-feltzin for IDs

Nitty Gritty Store Hours - Funkfreaks

Josh was live this month, with a selection of downtempo and soulful cuts.

**For the first time in our 7 year history, we’re asking you, our listeners to help support and build a better Balamii. By subscribing monthly you can contribute to the future of Balamii and help us to continue to nurture our creative community. From as little as £3 a month you'll help cover the cost of generating thousands of hours of great radio and support up and coming artists. As thanks, you’ll receive a code for 20% off our merchandise (code sent 24-48hrs after you subscribe) as well as being the first to hear about our events. Our goal is to develop new features that improve our service and therefore build a better Balamii for our family of artists and listeners.**

Subscribe here - www.balamii.com/supporters

Lounging w/ Josh - August 2022

Kiosk Radio is an online community radio streaming 24/7 from a wooden shack in the heart of Brussels’ historic “Parc Royal”. More info and music: https://kioskradio.com

Think Outside the Kiosk w/ Lefto @ Kiosk Radio 07.08.2022

Ella Knight ran through a selection of jazzy cuts, followed by a bonus hour of soulful, funky house!

**For the first time in our 7 year history, we’re asking you, our listeners to help support and build a better Balamii. By subscribing monthly you can contribute to the future of Balamii and help us to continue to nurture our creative community. From as little as £3 a month you'll help cover the cost of generating thousands of hours of great radio and support up and coming artists. As thanks, you’ll receive a code for 20% off our merchandise (code sent 24-48hrs after you subscribe) as well as being the first to hear about our events. Our goal is to develop new features that improve our service and therefore build a better Balamii for our family of artists and listeners.**

Subscribe here - www.balamii.com/supporters

Madame Jazz w/ Ella Knight & Ni Maxine- September 2022

In preparation for our next J.A.W on November 9th at Festsaal Kreuzberg in Berlin, the L.A. beat master Justin McNulty aka. Kutmah delivered a well-crafted mixtape, juggling Brazilian influences next to smoked out beats and a whole lot of Funk. 

Save the date and catch him dj’ing alongside our two live acts for the night: Makaya McCraven, who just released his new album ‚In These Times‘ (International Anthem / Blue Note / XL) and Àbáse, who will exclusively premier material from his forthcoming album with his full band present.

More info:
jawfamily.com

Kutmah :: JAW Family mix

As part of the celebrations to launch Miche's 'With Love Volume 1' compilation; four of us (post-club night)crammed into the back of a Mini Cooper for a road trip from East London to Manchester for a 5-hour listening-bar session. A relaxed and carefree set, saw us selecting recent finds and old favourites across the soul, disco, gospel, AOR, Brazilian, and jazz-funk genres. 

NAM, is a wonderful Vietnamese restaurant set in the heart of Manchester. It boasts some of the best food we've had in a while and features an awesome Hi-Fi system with an Isonoe mixer situated in a cosy basement. 

Big thanks to Nam, Christos, and the team for letting us loose to share our music with their customers.

https://www.nammcr.com

NAM - Listening Bar Session with Miche & Mr Bongo

Studio One Classics, Lovers Rock, Rocksteady, Dub, Soul, Disco. 
Riddims, Versions, MCs... 
Jamaican Special  @ Radio Palimpsesti by Nebojša Atanacković 

01 Charlie Ace - Country Boy
02 Winston Matthews - Sun Is Shining
03 Jackie Mittoo - Totally Together
04 The Sound Dimension - Baby Face
05 Marcia Griffiths - Mark My Word 
06 The Sound Dimension - Real Rock
07 Junior Murvin - Cool Out Son
08 Delroy Wilson - I Don't Know Why
09 Jennifer Lara - Consider Me
10 Jennifer Lara - Ain't No Love
11 Cornell Campbell - Girl Of My Dreams
12 Dub Specialist - Still Dubbing
13 Wailing Souls - Stick Together
14 Augustus Pablo - Cassava Piece 79'
15 Alton Ellis - What Does It Take (To Win Your Love)
16 Nora Dean - Peace Begins With You
17 Pat Kelly - Talk About Love
18 Phyllis Dillon - Woman Of The Ghetto
19 Marcia Aitken - I'm Still In Love With You
20 Karl Brian and The Afrokats - Money Generator
21 The Skatalites - Ska Parisienne
22 Dawn Penn - You Don't Love Me (No No No)
23 Dub Specialist - Creator Dub
24 Dub Specialist - Taurus Dub 2
25 Sister Nancy - Bam Bam
26 Carlton and The Shoes - Just Let Me Love You (12" Mix)
27 Derrick Harriot - Brown Baby
28 Sly Dunbar & Robbie Shakespeare - Mr Music
29 Gregory Isaacs - Leggo Beast (Dub)
30 The Upsetters - Dub It
31 Joe Gibbs - Chapter Three
32 Augustus Pablo - King Tubby Meets Rockers Uptown
33 Derrick Cross - Never Too Much
34 Jennifer Lara - I Am In Love
35 Christine Lewin - Juicy Fruit
36 Bob Marley - Sun Is Shining

Radio Palimpsesti

RADIO.D59B / PALIMPSEST #14 w/ Nebojsa Atanackovic Jazzmate / Sun Is Shining (Island Rock)

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

The space between the beats defines our time

Dao - Chen'n La

Time Capsule

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