I now find myself, via my own intentions and the supplanting magic of the internet, the recipient of a good many singles. And the phrase “good many” is likewise applicable to the number I’m going to mention here. I trust I’m not being excessive, but please feel free to set me straight if I am.
American/Nigerian duo Ojo Avo is ready to “Rumble.” The tune is a bubbling, minimal blend of electric sounds, conga drumming and effectively understated vocals. It grooves like a lightly refreshing daydream you hope will recur.
If you want a supremely lively slice of Afro-Colombia that’s a near-perfect blend of traditional and modern, head for “La Suerte Echá” by Bumaranga. It moves from hot to red-hot over the course of 4 minutes, and confirms what I’ve believed for a long time: that the clarinet is one of the coolest instruments.
Having previously recommended McKane Davis’ “Deliverance,” I likewise thumbs-up his “Eye of the Universe.” To my ears, this piece bespeaks the Anglo roots of American folk music, from the arrangement to the vocal phrasing to the mystical air it invokes.
I’ve no idea if Shriving Drawers (from the U.K.) is a band, a person, a medical condition or something else altogether. But I do know that “Dracophobia” is a spot-on bossa nova with irresistible layers of rhythm and melody.
“Mundo Novo” by San Donero, a Brazilian, explores the acoustic side of reggae with style and grace. The laid back riddim is a solid foundation for Donero’s slightly gravelly voice, and even when he breaks into a dancehall cadence, the vibe is satisfyingly mellow.
My taste for electronic dub reggae is limited, but “All-In” by France’s Laurent La Rocca has all the right stuff to make it recommendable.
I suppose you could peg “Commencement” by France’s Annael as Afro-funk. Whatever you call it, the song’s insistent, pulse-quickening beat will make you want to dance to within an inch of your life.
A Nigerian with roots in Italy and a home base in Canada, Sonia Aimy celebrates her cultural triumvirate through “TRACE (Tracing Rare African Canadian Extraordinaire),” an Afrobeat flavored track that’s playful but seriously good. Aimy’s bio notes her efforts to raise social awareness on several fronts, and music seems to be her ideal vehicle.
Based on a folk dance from Spain and restructured by a U.K. bassist, “Ball pla de Tirig” by Perscopi Invertit sounds like a shade more jazzy version of Radio Tarifa. It’s got hooks, finesse, and style to spare.
A gospel song with Africanized choral layering, “Lord Hear My Cries” by Canadian Irene Ango laments the horrors of the Ukraine war with aching sincerity. Pure healing music.
Prepare to dance to “Dapre Yo” by Loic Emboule, a lively French Caribbean tune from the island of Martinique professing to be a new style of music invented by the artist. If that be the case, he’s on to something. The track starts off sizzling and stays so.
I’m not sure of the country of origin, but an artist named Patrick Seinin-Aul and his band Azzaf have a very pleasant reggae track, “Wanna be Loved,” to offer. It’s soulful reggae that could afford to flow longer than it does, but satisfies just the same.
The bio of Jamaican Minna LaFortune notes several creative outlets she pursues. Musically, her song “Dream Big” is a rousing, inspirational (and authentic) ska tune that recalls such foundational Jamaican singers as Doreen Schaffer and Phyllis Dillion.
Caro Pierotto reportedly wrote “Mal Acostumado” as a commentary on the privileged life led by her dog. Even so, it’s a modern samba tune with a great groove and lyrics that could poke fun at any false sense of entitlement.
Brazilian/Canadian guitarist Rodrigo Simoes has lovingly prepared “Baiao de 3,” a recipe-inspired piece in skin tight 2/4 time with some of the best guitar picking harmonized with scat singing that you’ll ever hear.
Fernanda Morgan is a Costa Rican with a clear pan-Latin aim. Her “Lento” is a bolero and bossa meeting ground that scales to exquisitely harmonic heights.
Three Frenchman called Tropical Jazz Trio build an impressive and ever-shifting wall of sound with “Dinde,” a master meld of keyboards, bass, and percussion.
Spain’s Lamaar layers jazz, dub, and a dash of chill on “No Soy Tu Mariposa.” Her captivating voice slips and slides from scatting to scorching.
Belgian roots reggae singer Sista MIKA (who sounds a good bit like Marcia Griffiths) longs for “Freedom,” on which she’s joined by Jamaican vets Mykal Rose and Sizzla. The three sing, chant and testify their way to the unifying goal of the title and make it sound entirely possible.
Stephanie Osorio, a Colombian living in Canada, gives us “Como esa Mulata,” a proclamation of the beauty of mestizo (mixed race) women. The song’s skittering melody and committed vocals will convince you of that beauty in a most assured way.
Author: Tom Orr
Tom Orr is a California-based writer whose talent and mental stability are of an equally questionable nature. His hobbies include ignoring trends, striking dramatic poses in front of his ever-tolerant wife and watching helplessly as his kids surpass him in all desirable traits.