G I G A N T E  εʆεɡαηϯε M O V I M I E N T O

The heavy sound of the African heritage in Venezuela. Rhythms and Percussion instruments brought from West Africa by the time of the slave trade that remained unexposed until the late 70's, when the band Un Solo Pueblo took the Venezuelan airwaves by storm with a traditional repertoire they had compiled themselves after traveling extensively for years in the most remote areas of the country in order to learn those songs directly from people who had successively learnt them from their ancestors on a process that went back to the arrival of the first slaves, in the early 16th century. Employing unique drums like the Cumaco, Mina, Culo 'e Puya, Paila or the Quitiplás, the polyrhythmic structure of rhythms such as Golpe (with each town having its own particular variation), Sangueo or Fulía can be heard on this mix, that compiles some of the most interesting moments of the many recordings that began to surface in Venezuela back in the late 70's featuring Afro Venezuelan music exclusively. 
All music taken from original Vinyl Records. Hope you enjoy and share!

TAMBOR! Afro Venezuelan Recordings 1978 - 1986, selected by Alex Figueira.

An excerpt from the second edition of 'Discoteca' recorded at the 303, New York. Quantic & Beto exchange tropical sounds and latin rhythms. 

Discoteca at the 303: Quantic & Beto

Miriam Makeba - Chove Chuva (Live Cover 1966)

My post U.S. tour mix from May 2014. Notes and extended track breakdown here: http://www.duttyartz.com/blog/chief-boimas-six-over-eight-post-tour-mix/

Six Over Eight Post-Tour Mix 2014

Release date 02.12.2014

"On his visit to Kinshasa James Brown dubbed him *Mister Dynamite*"  

It has been a struggle to lay hands on Verckys, although the man doesn´t go unnoticed. Notorious for being one of Congo´s most ruthless business men, the legendary musician had build a whole imperium in Kinshasa, the capital city of the central african power house (arguably one of the toughest places in the world) and has a whole building with his name, in the very heart of the city.

So I travelled to the Congo in June of 2013 to find Verckys only to find out that he headed in opposite direction to sort out his health issues. But I did meet his manager who gave me his phone number, so I called:  "Oh Monsieur Samy, we need to met, lets talk business", he said, probably not knowing that I was an independent record label, with all it represents.  But the more I spoke to the men the more I realised that he was genuinely interested in music more then anything else. The following message I received few weeks ago, confirmed my feeling:

"Samy, I am writing to you because I´m a little worried. I´ve been thinking about your selection and I now wonder if your compilation will do well due to the fact that the chosen songs had little impact in Kinshasa. Others had much more success"

I was surprised but pleased to see that he cared about the project although I had already paid him in full. But why wouldn't he? Its his music after all.

"Most of the songs you´ve selected were recorded in Nairobi, for the Kenyan market. These songs did very well there, also in Zambia, but here in the Congo they flopped...except for "Ya Nini", that was a monster hit. Still, I am very surprised you´ve mentioned it has become a legendary track in Colombia, positively surprised"

This compilation was supposed to be released in October as a limited edition of 2000 copies, but after a few Skype chats with Verckys, seeing that he has come to terms with his health issues, and pushing for a European tour come next summer, we´ve decided to release this as Analog Africa No.17 which is now going to see light of day first week of December. 

In the mean time enjoy this incredible slice of "Congolese AfroFunk", probably one of the best coming out of the continent. "Cheka Sana" has become one of the most sought after 7inch singles around (the B side is killer as well). Collectors and diggers offering crazy sums for it (I don't even dare to mention the sum here). It deserves to be heard by more then just a handful....and it should set fire to many dancefloors around the globe.

Be so kind and leave a comment in the soundcloud. I will forward all of them to Verckys himself as an encouragements to come back stronger !!! 
Thank you for reading.
Samy (Analog Africa)


Listen and buy here

Cheka Sana - Verckys & Orchestre Vévé - Analog Africa No.17 (Please leave a comment for Verckys)

De África soy - JULIO MONTES

With his baritone of butter, Jacob Banks could be seen as a successor to any of the 60s and 70s soul greats. But Banks' independently released music carries a different message for a different time. Currently unsigned, the Birmingham singer created his new EP, Paradox, entirely by himself - from mixing and mastering to designing the artwork. "I've put my heart on the line," Banks points out of the 7-track compilation of soul-searching songs that scale resentment and redemption. Taken from Paradox, the foot-stomping, fist-pumping Monster, produced by Show N Prove and Banks, is a passionate recourse aimed at the enemy - both external and within. “This song was born out of a lot anger," says Jacob. "I wrote it in my bathroom  - proper rock and roll! I’m going through life at a very fast pace and I’m learning a lot of things the hard way. One of the things I’ve learnt is that as much as I don’t like it, sometimes you have to become a monster to get what you want and I may well have to become the miracle I’m searching for.” 
http://soundcloud.com/Mr-Jacobs

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More music on i-D

Premiere: Jacob Banks - Monster

Out now on all digital stores: 
Spotify: http://bit.ly/ATLASspotify
Bandcamp: http://bit.ly/ATLASbandcamp
Beatport: http://bit.ly/ATLASbeatport
iTunes: http://bit.ly/iTunesATLAS

Watch the official video: bit.ly/LMGYouTube

@brankoofficial + @nunulooloo + @mr_carmack
Recorded at the Red Bull Studio in Cape Town
Strings by Jules on Strings (http://www.julesonstrings.com/).
Mixed by Chris Tabron
Mastered by Dave Kutch

Welcome to ATLAS.

///////////////// 

Lisbon-based DJ and producer, Enchufada label head, Red Bull Music Academy alumnus and Buraka Som Sistema co-founder Branko is ready to embark on a whole new adventure. The renowned multifaceted artist went on a sonic journey around the world to connect with some of the most exciting music scenes our there, meeting and collaborating with a new generation of artists to create his debut solo album ‘Atlas’ (out on September 4th). After giving listeners a first taste of his exciting new work with Eventually, the globetrotting producer now invites you to listen to the new track Let Me Go (feat. Nonku Phiri & Mr. Carmack) as the album becomes available to pre-order on iTunes today.
 
If Eventually paired up compelling global club rhythms with indie vocals, Let Me Go (feat. Nonku Phiri & Mr. Carmack) further expands on this dynamic by allowing Branko’s trademark pop sensibilities to shine through his dancefloor-ready beats. After spending the day with the talented South African singer Nonku Phiri and L.A.-based producer Mr. Carmack at the Red Bull Studios in Cape Town, South Africa, Branko set out to translate this encounter into a song by pushing the limits of the kizomba offshoot we call zouk bass, introducing some much-needed R&B flavor to this thriving genre.
 
The story of this encounter is translated into an instrumental that reveals lush and dreamy synths dancing around a shuffling 90 BPM beat with an organic feel, built on Branko’s wide-ranging global influences and Mr. Carmack’s unique beatmaking skills, to which Nonku Phiri’s captivating Venda and English vocals add a level of depth and emotion that is further complemented by a bittersweet string arrangement (recorded at Red Bull Studios in New York) - with positively epic results. 

www.enchufada.com

ATLAS

Let Me Go (feat. Nonku Phiri & Mr. Carmack)

Buy 'ATLAS' on iTunes

Branko - Let Me Go (feat. Nonku Phiri & Mr. Carmack)

Feel free to message me on IG for download link
https://www.instagram.com/izem__music/

Free Download

London Afrobeat Collective - Ole (iZem Remix)- Played by Gilles Peterson

Marijata - I Walk Alone

First single from Vaudou Game's second album KIDAYU to be released on September 8th 2016 on HOT CASA records.
This single will be available on all legal download and streaming platforms from July 1st and on a limited edition 7'' soon in all good record shops.

La Vie C'est Bon

"Lazy man sessions" something we recorded a while back but thought was time to share with those who stumble on this page
selections by a man called warwick. if you like this mix and need more then be sure to visit us at the next dancefloor session - check the link in the main page for details .

TPS 025 - LAZY MAN SESSIONS

East African Selection

Rallye Bangui-Dakar : A Selection of Rare Gems from West and Central Africa

https://soundcloud.com/dj-ijj with Musica Macondo are back at exploring the darkest and dustiest vinyl crates to be found.
This mix is all about West-Africa and includes fascinating and beautiful music from Benin, Guinea, Senegal, Nigeria, Ghana and Ivory Coast. All original vinyl of course. Expect raw latin, deep highlife, mad juju and hypnotic afrobeat from the original source.

Miriam Makeba - Teya Teya -  1970                                                                         Guinea

African Brothers Band -  Di Wo Kunu Ni - 1968                                                      Ghana

Emperor Pick Peters -    Olowo Lo Lowo - 1978                                                      Nigeria

Idowu Animasawun & His Lisabi Brothers International - Ori Inu - 1975          Nigeria

Bembeya Jazz National - Armee Guineenne -  1968                                              Guinea

King Meissa N’Gom - Fatema - 1970                                                                         Senegal

K. Frimpong’s Band - Nkokohweree Mmienu - 1969                                              Ghana

Gnonnas Pedro - Liberation Sinde -                                                                            Benin

Yelouassi Adolphe & T.P Orchestre Poly-Rythmo - Huankpe Dje Mi - 1980        Benin

Black Santiago - Noude Le Mabou - 1970                                                                  Benin

Tima Gbahi - Ngazignon

'The Source' - DJ IJJ

From the upcoming album, Where The God's Are In Peace, out September 15th.

Pre-order now:
iTunes / Amazon - radi.al/Antibalas
Bandcamp - bit.ly/2uoGUao

Antibalas - Gold Rush

The charismatic leaders bellowed from the stage, the crowds cheered and chanted, freedom was here at last!

By the way of violent struggles or strategic political pressure, more than 40 African countries went through the de-colonization process in the 60’s and 70’s. These key moments in a people’s history were portrayed by musicians who painted detailed pictures of their nations in transition.

Hope, pride, justice, it was all mixed in this exciting era where everything was suddenly possible. Africans were finally regaining control over their fate. Things would soon turn sour, but that’s another story… told in Volume 2 !

 ♬  ♬  ♬

Kwame Nkrumah - « The black man is capable of managing his own affairs » (Ghana, 1957)
Lord Kitchener - Birth of Ghana (Trinidad)
E.T. Mensah - Ghana Freedom (Ghana)
Sekou Touré - « Nous préférons la pauvreté dans la liberté à la richesse dans l'esclavage » (Guinea-Conakry, 1958)
Bembeya Jazz National - Armée Guinéenne (Guinea-Conakry)
Super Eagles - Gambia, Zambia (Gambia)
Sekou Touré - « Droits de l’homme… » (Guinea-Conakry, 1979)
Jackson Kaujeua - The Wind Of Change (Namibia)
Orchestra Baobab - Cabral (Senegal)
Amilcar Cabral - « The foreign domination in our country » (Guinea-Bissau, 1972)
Super Mama Djombo - Guine-Cabral (Guinea-Bissau)
Carlos Lamartine - Ó Dipanda Wondo Tula Kiá (Angola)
Kwame Nkrumah - « Forward then, to independence now! » (Ghana, 1958)
Tabu Ley Rochereau - Congo nouveau, Afrique nouvelle (Congo-Kinshasa/DRC)
Jeannot Bombenga & Vox Africa - Congo nouveau, Afrique nouvelle (Congo-Kinshasa/DRC)
Patrice Lumumba - « Combattants de la liberté aujourd’hui victorieux » (1960, Congo-Kinshasa/DRC)
Vicky Longomba & African Jazz 1960 - Vive Patrice Lumumba (Congo-Kinshasa/DRC)
Philos - Indépendance 28 Novembre (Congo-Brazzaville)
Orchestre Novelty - Indépendance (Congo-Brazzaville)
Grand Kallé & African Jazz - Indépendance Cha Cha (Congo-Kinshasa/DRC)
Joseph Kabésélé - Table Ronde (Congo-Kinshasa/DRC)
Depiano & Le Beguen Band - Gouvernement Ya Congo (Congo-Kinshasa/DRC)
Charles de Gaulle - « Un Etat entièrement indépendant » (France, 1961)
Slimane Azem - Algérie mon beau pays / Dites-moi mes amis (Algérie)
Mohamed Mazouni - Adieu la France, bonjour l’Algérie (Algérie)
Pierre Akendengue - Afrika obota (Gabon)
Aimé Césaire - « Le nègre vous emmerde » (Martinique, 2005)
Ebo Taylor & Bonze Konkoma - Papa Kwame (Ghana)

 ♬  ♬  ♬

Independent Africa, Vol. 1 • High On Hope

Tracklist:
1.	Another Heartache
2.	Bend Down Low
3.	My Time
4.	Crying Over You
5.	Loving Pauper
6.	My Only Lover
7.	Don't Go 
8.	Can I Change My Mind
9.	Coming Home
10.	Love Is Overdue
11.	All I Have Is Love
12.	Lonely Lover
13.	Lonely Soldier
14.	Lonely Man 
15.	Lonely Days
16.	I'll Be Around
17.	Too Late
18.	One One Cocoa
19.	Mr. Cop
20.	Jailer
21.	Thief A Man
22.	Rasta Business
23.	Slave Master
24.	Black A Kill Black
25.	Sinner Man
26.	My Religion
27.	Give A Hand
28.	Way Of Life

"The Lonely Lover" Best Of Gregory Isaacs Part 1

closing song on 'The World of Miriam Makeba' (1963 RCA Victor), her third album - orchestra conducted by Hugh Masekela (soon to be the her husband).

Miriam Makeba: Where Can I Go?

It has been six years since Andy Palacio & The Garifuna Collective released Wátina, an album that received unanimous acclaim and elevated the international profile of the music and culture of Central America’s Afro-Amerindian Garifuna community. On the cusp of tremendous fame, Palacio passed away suddenly at the age of 47 not long after Wátina was released, leaving many to wonder who would continue bringing the voice of his people to the world.

With the upcoming release of Ayó (“Goodbye” in the Garifuna language), out June 18 on Stonetree / Cumbancha, Palacio’s band proves they are up to the task, and with Wátina producer Ivan Duran of Stonetree back at the helm, they have created a magical album of soul-stirring songs that reflect the rich heritage and appealing sound of contemporary Garifuna music. With a lineup that consists of the best musicians in the fertile Garifuna music scene, The Garifuna Collective promises to carry the torch of cultural innovation and promotion passed on by Andy Palacio far into the future.

Wátina appeared on dozens of 2007 Best of the Year lists in major media outlets around the globe and was roundly praised. Palacio received numerous prestigious awards and toured the globe introducing the world to the appealing and threatened music of the Garifuna. Amazon.com anointed Wátina the “Greatest World Music Album of All Time,” beating out Buena Vista Social Club, Bob Marley, and Fela Kuti among countless others. Palacio was already a national hero in his native Belize when he suffered a heart attack and stroke in January 2008. Palacio’s premature death devastated his fans and community, but the musicians who had accompanied him and the new generation of Garifuna artists he inspired refused the let the story end there. 

Indeed, the tale of the Garifuna people has always been one of triumph over tragedy. The history of the Garifuna begins when two large Spanish ships, filled with a delivery of West African slaves, sunk off the coast of the Caribbean island of St. Vincent in 1635. Half of the Africans survived and intermingled with the indigenous Caribs of the region, creating a new hybrid culture. Fiercely independent, the Garifuna community resisted European colonization, fought a determined yet ultimately losing struggle against the British military in 1796 and were forcibly exiled to the Caribbean coast of Central America, settling in Belize, Guatemala, Honduras and Nicaragua. Some were segregated and held onto their traditions and language, while others were forced to homogenize with the local predominant culture. A minority culture in Central America, the Garifuna have long struggled to maintain their unique language, cultural traditions and music in the face of globalization and discrimination. 

While Palacio was a life-long cultural activist who became the face of the Garifuna Collective, the original intention of the ensemble was not to have a particular front man. As Belizean producer, musician and Stonetree founder Ivan Duran explains, “Even during the recording of Wátina, nobody was sure if it was necessarily Andy’s record, but he kept on stepping up and being the voice for the project. The process of making that record was very similar to what we did with Ayó. Everyone was equal, and at the end of the day it truly was a Collective.”  

Duran adds, “So what happens now is no, we don’t have that figure, but don’t want anyone to come in and be Andy Palacio. We are going back to the core values of the project, which is to present Garifuna music to the world, not in a traditional way, not in a museum, but as a living musical form. When you listen to the record you feel that spirit of being in the village with everybody singing along, everybody being a part of a song, not following a single singer or star.” 

Although there are musical parallels between Wátina and Ayó, there are also many differences that show the progression of The Garifuna Collective.  Duran notes, “Ayó has a much more modern sound, not just on a technical level, but also in its approach. There was a little bit more control in the studio with Ayó, and this time we are pushing the limits. This album sounds like it was made by a band; there’s a group spirit that comes across more clearly then ever before.”

In addition to Palacio, the Collective lost two other members in the last five years. The much beloved maraca and turtle shell player Giovani “Ras” Chi was shot in Belize City. Collective member Justo Miranda penned the album’s closing track, “Seremei Buguya”, which expresses sorrow at Palacio’s death, “but at least you went out like a king. When I die, not many people will care.” Ironically a few months after writing the song Miranda passed away alone after a heart attack under a tree in Honduras, and in an eerie echo of the song’s lyrics it was many weeks after his death that his band mates in Belize even heard the news.

Even though they have lost loved ones, The Garifuna Collective’s membership continues to grow.  In fact, the group is not a band in the traditional sense; it’s more of a cultural advocacy group. “Anybody can play, anybody can join, The Collective could have five hundred members for all I care,” notes Duran. Musicians young and old are allowed to participate in rehearsals, and the members chosen to be part of the touring group can change depending on circumstances. 

One of the singers who made the greatest effort to fill Palacio’s shoes is Lloyd Augustine. Already a popular singer of punta, the upbeat Garifuna dance music that is known across the Caribbean and Central America, Augustine became one of the group’s most devoted members. Augustine wrote the album’s title song as a farewell to his mentor Palacio. Duran mentions, “Several of the songs on this album were made for Andy. Everybody went through a period in the last five years of missing Andy, and wanting to deliver this record in his memory. I think there is a certain nostalgia that is evident in the songs, even though most are upbeat.”  

Another story of dedication is that of Desiree Diego, a singer and maraca player.  “She never in her wildest dreams imagined she would be a singer in a band,” notes Duran. “All she knew was that she loved music, and that she had learned traditional songs from her grandmother. She liked to sing, and she had been singing since she was small, accompanied by drums, never a melodic instrument. When she started she had absolutely no idea how to sing in tune with stringed instruments. I remember a few disasters on stage, like starting the song in the wrong key. Nobody ever said to her ‘get out of here you are never singing in this band.’  On the contrary, everybody was very supportive and said listen, ‘try it again.’  One day I told Des she needed to do more than just sing, she had to also pick an instrument, a maraca, a turtle shell, a clave. She picked the maraca and to this day she is my favorite maraca player in the world.”

The Garifuna Collective’s continued growth and development is the direct result of Wátina’s success and a powerful homage to Andy Palacio’s impact. Duran concludes, “Since that album came out, there isn’t any more fear that Garifuna music is going to die out.  Andy’s biggest legacy is just showing the way, proving that the world is interested in this culture’s music.  It helped children in small villages to understand that their culture is just as important as anybody else’s. That sense of self-pride is a potent message that continues to echo across Belize and inspire new musicians to keep their traditions thriving.” Ayó carries on that mission and reveals that the well of Garifuna musical talent is deep and continues to be refreshed by new generations.

The Garifuna Collective will be touring in the US and Canada this summer, often performing alongside Canadian singer-songwriter Danny Michel with whom they collaborated on the album Black Birds Are Dancing Over Me. The recording, which has already earned a Juno nomination (the Canadian equivalent of the GRAMMY) for Best World Music Album, will also be released in the US by Stonetree / Cumbancha on July 2.

CONFIRMED TOUR DATES (MORE DATES TO BE ADDED, VISIT WWW.CUMBANCHA.COM FOR THE LATEST SCHEDULE)

June 20	The Cedar 	Minneapolis, MN
June 21	Old Town School of Folk Music	Chicago, IL
June 23	Luminato Festival*	Toronto, ON
June 25	The Starlight*	Waterloo, ON
June 26	Fort Henry*	Kingston, ON
June 27-28	The Black Sheep* 	Wakefield, QC
June 29-30 	Neat*	Burnstown, ON
July 2	Highline Ballroom*	New York, NY
July 5	Haybarn Theater*	Plainfield, VT
July 6	Higher Ground*	Burlington, VT
July 11-14	Winnipeg Folk Festival*	Winnipeg, MB
July 16  Victoria, BC *	The Upstairs Cabaret
July 17  Duncan, BC *	The Duncan Garage Showroom
July 19-21	Vancouver Folk Festival*	Vancouver, BC
July 23	The Slice*	Lethbridge, AB
July 24	Banff Centre*	Banff, BC
July 25-26	Calgary Folk Festival*	Calgary, AB
July 27-28	Interstellar Rodeo*	Edmonton, AB
August 2	Mississippi Studios	Portland, OR
August 4	Reggae on the River*	Piercy, CA
August 8	Levitt Pavilion*	Los Angeles, CA
August 11	Beloved Festival*	Tidewater, OR
* With Danny Michel

For more information or to arrange interviews, please contact: Ryan Romana at 415-385-1784 or ryan@pressjunkiepr.com
For photos, videos and song samples visit: www.cumbancha.com/garifunacollective or www.garifunacollective.com

G I G A N T E εʆεɡαηϯε M O V I M I E N T O

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