The highly influential African music festival Sauti za Busara has announced the first names of artists set to perform in 2019. The next edition will take place in Old Fort in Stone Town, Zanzibar (Tanzania) during February 7–10, 2019, with 44 performances on three stages.
The artists include Afrigo Band (Uganda); Mokoomba (Zimbabwe); Fid Q (Tanzania); Mkubwa na Wanawe Crew (Tanzania); Ifrikya Spirit (Algeria); Ithrene (Algeria); Fadhilee Itulya (Kenya); Tausi Women’s Taarab (Zanzibar / Tanzania); Rajab Suleiman & Kithara (Zanzibar / Tanzania); Hoba Hoba Spirit (Morocco); M’Toro Chamou (Mayotte / Reunion); Sofaz (Reunion); Tune Recreation Committee (South Africa); Jackie Akello (Uganda); Shamsi Music (Kenya); Dago Roots (Reunion); Trio Kazanchis +2 (Ethiopia / Switzerland); Damian Soul (Tanzania); S Kide & Wakupeti Band (Tanzania); Faith Mussa (Malawi); Lydol (Cameroon); Stone Town Rockerz (Zanzibar / Tanzania); Man Sulei Tara Jazz (Zanzibar / Tanzania); Wamwiduka Band (Tanzania); and Eli Maliki (Uganda).
Madagascar Slim’s real name is Randriamananjara Radofa Besata Jean Longin. He talks about his background: “I Was born on Halloween night of 1956 in Antananarivo the capital city of Madagascar.
I was the youngest son in the family and I had 3 brothers and two sisters. Two of my brothers and one sister played guitar, and my parents were both musicians although not playing professionally.
When I was about nine, one of my brothers received a guitar for passing an exam. The instrument really gave him power over me and the only time he allowed me to play it, was after I ran some errand for him or gave him my dessert. I guess that’s one of the reasons the guitar became very desirable to me.
My brothers played in a local band and they were into one of the most popular dance music of Madagascar called “Salegy”. Again I was not allowed to be in their rehearsal room but whenever my brother practiced on his own I would closely observe his technique and I would try to emulate his playing on his guitar when he was not home. It was not long before I became a fairly decent “Salegy” player.
One day I heard this incredible music on the radio. It was “Hey Joe” played by Jimi Hendrix and it really change my life and the kind of music I wanted to play then. I literally spent days and nights trying to figure out the chords and especially that fantastic solo part. I couldn’t speak a word of English and I did not understand what he was talking about but the feel of the music somehow really touched something in me.
Later when I heard some records of B.B. King, I recognized the same crying solo pattern but in a more direct and simplified form. Those two giants and the local Malagasy music were the biggest influence to my playing.
My parents sent me to Canada in 1979 to further my studies and get a good education, but in my mind the real reason I came over was to learn English so I could sing the kind of songs I fell in love with when I was younger. I took English as a second language and then I finished college. I graduated with honors in the “Accounting and Finance Co-op Program” at Seneca College.”
After hearing Malagasy music from the visiting band Tarika, Slim became excited about playing the music of his homeland again. He got a grant to return to Madagascar and study the valiha with one of the masters. While there, he also met one of his heroes, guitarist & songwriter D’Gary. He was treated as a star in his hometown.
His unique music has received many awards including the 2000 JUNO Award for Best Global Music recording for his album Omnisource and another JUNO in 2001 for his collaboration in the group Tri-continental.
The Music in Africa Conference for Collaborations, Exchange and Showcases will be held November 15 – 17, 2018 at the Kenya National Theatre in Nairobi.
The Music in Africa Foundation (MIAF) has revealed the artists who will showcase at the pan-African event in Kenya. Eleven acts selected from across the genre spectrum to highlight the different sounds that define contemporary and traditional music in sub-Saharan Africa.
The acts include Eric Wainaina (Kenya), Makadem (Kenya), Seun Olota (Nigeria), Sahad and The Nataal Patchwork (Senegal), Maia and the Big Sky (Kenya), Siti & The Band (Tanzania), Kidum and the Bodaboda Band (Burundi/Kenya), Djénéba & Fousco (Mali), Suzan Kerunen (Uganda), Winyo (Kenya) and Johnstone Mukabi and Omutibo Stars Band (Kenya).
Organized by the MIAF in a different country every year, ACCES is a pan-African event for music industry professionals to exchange ideas, discover new talent and create business linkages. ACCES 2018 will offer keynote speakers, panel discussions, presentations, networking sessions, exhibitions, showcases, training workshops, and visits to key music industry hubs in Nairobi.
Two Niles to Sing a Melody – The Violins & Synths of Sudan is a superb collection of music produced during the golden age of modern music Sudanese in the country’s capital Khartoum, in the 1970s and 1980s.
The anthology begins with the charming violin and accordion-fueled orchestral music of the 1970s that brought together Arabic influences and seductive African rhythms.
With the arrival of electronic instruments, the Sudanese musicians started using synthesizers and drum machines in the 1980s, mixing tradition with western influences.
In the mid-1980s, the increasing influence of Turabi Islamists led to crackdowns on alcohol consumption, burnings of records and the banning of songs about women. A brutal military coup in the late 1980s brought religious Turabi extremists to power and they increased the attacks on musicians. Some were tortured and many fled the country or were silenced.
Two Niles to Sing a Melody: The Violins & Synths of Sudan features essential artists such as Abdel El Aziz Al Mubar and Mohammed Wardi and many other outstanding musicians as well.
Finding the original recordings in Sudan was a difficult task. Thankfully, the influence of Sudanese music across the Sahara region was widespread in the 70s and 80s. Ostinato’s producers traveled to neighboring Ethiopia, Somalia, Jibuti, and Egypt in search of cassette tape and vinyl recordings.
With assistance from Sudanese associate and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in 1970s Khartoum, the Ostinato crew restored and remastered the music and has released it in various formats.
The CD version of the compilation contains two discs and is beautifully-packaged in a hard cover book that provides a historical overview of how the music thrived across Sudan and later died because of political and religious factors, as hardline Islamists targeted and persecuted musicians. The liner notes are written by Vik Sohonie and edited by Manish Melwan.
Two Niles to Sing a Melody: The Violins & Synths of Sudan is also available as a triple LP gatefold set.
The Ostinato team and their collaborators have done an outstanding job, giving life once more to some of the jewels of Sudanese music.
Kokoko!, Fatoumata Diawara, Songhoy Blues, Bamba Wassoulou Groove, Djanka Diabaté, Nélida Karr and Alex Ikot are the African artists set to perform between July 20 and 28, 2018 in Cartagena, Spain at world music festival La Mar de Músicas.
Music from Africa has always played a leading role in La Mar de Músicas. The festival has dedicated previous editions to Senegal, Mali, Morocco and South Africa. Even though this year is dedicated to the music of Denmark, African artists will be represented as well.
“We have not stopped looking at Africa in any of our editions. We will continue being one of the seminal festivals in terms of music from the African continent in Spain,” said David Martínez Noguera, Culture councilman of the Cartagena City Council.
Representing the alternative music scene of the Congo, Kokoko! will perform on Saturday, July 21. Kokoko! is a hard to define band viewed from the western perspective. Their sounds emerge from the ghetto and the gambling dens of Kinshasa, where they avoided the censorship imposed by the government.
Kokoko! is part of the “do it yourself” concept in terms of the instruments they use. They invented their own instruments with scrap objects, given the impossibility of buying the traditional ones. A typewriter, a bucket of paint, a car’s cassette player … they have become the transmitters of their creations.
The band met French producer and African music fan, Débruit, and together they merged their sound universes, electrifying the raw sound of the Congolese and offering music that merges disco sounds, psychedelia and African traditions.
La Mar de Músicas will welcome Songhoy Blues, all the way from Timbuktu. Formed by three young people who, despite the ban on music in their region, continued their work from their exile in Bamako. They released an album that says it all, Résistence, in which they collaborated with Iggy Pop. Songhoy Blues will be in Cartagena on July 22.
Another of the Malian bands that participate in La Mar de Músicas is Bamba Wassoulou Groove, an act in which three guitarists stand in the wake of the legendary Zani Diabaté, who died in 2011.
Bamba Wassoulou Groove perform new songs and classic pieces from the bambara repertoire that sound like psychedelic guitars and electric and hypnotic blues. On July 25 will play in the Plaza del Ayuntamiento de Cartagena (Cartagena city hall square).
Fatoumata Diawara, originally from Mali, is a singer-songwriter who fuses wassulu music, an original style from the south of the Niger River with jazz and soul, creating a blend of modernity and African traditions with ancestral echoes. Her precious voice, trained as a theater and film performer in France and Mali, unfolds without limits in her latest work, Fenfo, which she will present in the old courtyard of the Military Training Barracks of Cartagena on July 27.
Djanka Diabaté was discovered by reggae star Alpha Blondy, who encouraged her and helped her make her first recordings. Her music combines traditional Guinean sounds and zouk and soukus influences and has made her a celebrity in Ivory Coast. In Cartagena she will perform on Monday, July 23rd along with Totó la Momposina, winner of La Mar de Músicas 2018 award.
Nélida Karr is the contemporary musical revelation of the new rhythms and sounds of Equatorial Guinea. Vocalist, composer, producer, pianist, guitarist and cellist, she has always been surrounded by the wealth of her family’s musical heritage, the landscapes of her country, jazz and gospel music.
Nélida will perform in Cartagena on Thursday, July 26, as she is one of the winners of the Vis a Vis cultural cooperation project of Casa África, in which the Cartagena festival has participated once more. Casa África is a Spanish government agency that supports cultural exchange between Spain and African nations.
On July 28, the last day of the festival, and also thanks to the Vis a Vis project, Equatorial Guinean actor Alex Ikot will perform. He’s a musician who has always excelled in the music scene of his country as a percussionist and drummer, skills that he developed from his childhood.
Álex Ikot’s resume is perhaps the most international of Equatoguinean musicians, having played during his long career with some of the greatest African musicians, such as Manu Dibango and Youssou N’Dour.
In 1995, while Coolio’s “Gansta Paradise,” TLC’s “Waterfalls,” Seal’s “Kiss from a Rose” and Madonna’s “Take a Bow” were floating on the airwaves of Western pop stations, a wonderful collection of songs was cutting a swath through the musical streets of Africa’s Senegal. It just so happened that musician, singer, songwriter, composer and studio owner Youssou N’ Dour came across a demo by fellow Senegalese musician and composer Cheikh Lo.
Setting up Mr. Lo, along with percussionists Assane Thiam and Mbaye Dieye Faye and guitarist and arranger Oumar Sow, into Mr. N’Dour’s Xippi Studio in Dakar, the recording Ne La Thiass was born. Mr. N’Dour went so far as to lend his own vocals to that of Mr. Lo’s on the tracks “Set” and “Guiss Guiss.”
So, while we were being browbeaten by overplayed songs like Hootie &the Blowfish’s “Only Wanna Be With You” and Nicki French’s “Total Eclipse of the Heart,” the good people of Senegal were dancing to Ne La Thiass’s “Boul De Tagle” and “Cheikh Ibra Fall.”
In 1996, World Circuit Records corrected this injustice by releasing an enhanced version of Ne La Thiass and the world was set to rights again as world music fans around the globe were treated to the Latin-flavored Senegalese goodness of Cheikh Lo.
Mr. N’Dour would go on to record scores of albums such as 7 Seconds: The Best of Youssou N’Dour, Joko: The Link and Africa Rekk, win a Grammy Award for 2004 album Egypt, appear as Olaudah Equiano in the movie Amazing Grace and earn an honorary doctoral degree in music from Yale University. Mr. Lo would go to record such albums as Bambay Guieej, Lamp Fall, Jamm and Balbalou, as well as collaborate with Cuban pianist Ruben Gonzalez’s on his recording Chanchullo singing alongside the esteemed Ibrahim Ferrer and work with Les Nubians and Manu Dibango for the Fela Kuti tribute recording of Red Hot and Riot.
So, now it could be that the planets have aligned just so or that we’ve been very good (this might be a bit of a stretch) that fate has once again smiled down upon us. Of course, it could just be the person at World Circuit sent to rummage through shelves and boxes that we owe our good fortune. This sweet luck would be the re-issue of Ne La Thiass from its original 1995 cassette tapes. Available on vinyl, CD and digital down load, with color booklet, Ne La Thiass has been lovingly remastered and has hit the streets.
Even after more than 20 years, Ne La Thiass hasn’t lost a bit of its keenly addictive appeal. It takes only the barest listen to opening track “Boul Di Tagale,” to fall under Cheikh Lo’s spell.
Weaving a magic spell out of vocals that will raise the hairs on the back of your neck, acoustic guitar, double bass, flute, electric bass, keyboards, some truly spectacular mbalax rhythms and talking drum (and those who don’t like a good talking drum are out of the club), Ne La Thiass is masterful and electrifying as it makes its way through treats like title track “Ne La Thiass,” the feel-good feel conjured on “Ndogal,” the plummy rhythms of “Set” and the sweet swing of “Cheikh Ibra Fall.”
The intricate rhythms of “Bamba Sunu Goorgui” and the Youssou N’Dour vocals laced “Guiss Guiss” are additional icing on the cake that is Ne La Thiass.
There’s always that moment before listening to a re-issue where you wonder if it will be as good as you remembered. With Ne La Thiass it’s not as good as you remembered – it’s better. So intensely addictive, this is the music that if you listened to it all the time you’d never get anything done. And, I doubt you’d care.
Orchestre National de Barbés is a piece of North Africa stranded in the heart of Paris. In English, the name means The National Barbés Orchestra, implying that Barbés is a nation unto itself. It is a sentiment that few who visit the neighborhood would dispute.
The band’s story started in Belcourt, a working class section of Algiers, Algeria at the peak of the 1980 baby boom. Youcef Boukella’s older brothers listened to rock and bossa nova, people watched Cairo film classics on TV and tuned to Kabyl folk music on the radio. Outside the Belcourt alleyways, there were street peddlers, muezzins, Gnawa street performers, shaabi concerts, and ghetto blasters playing reggae, funk and raï.
“My style of music goes back to my childhood in Belcourt,” explains Youcef Boukella. In 1985 he was offered a slot playing bass for the first Arabic-language rock group, T34. But when Youcef heard what visiting jazz musician Jeff Gardner was performing, that’s when he decided to leave home. Raï was all the rage when he arrived in Paris. He worked with Cheb Mami and Kabyl native Takfarinas at diaspora parties. Safy Boutella introduced him into underground jazz.
Larbi Dida comes from the town of Sidi bel Abbes and is a founding member of Raïna Raï, the rock-raï group that transformed the Algerian rock scene. Recognized by the Algerian media as a historic breakthrough, this group was the first rock group to use raï in its repertoire. Ever since Larba Dida moved to Paris in 1989, his has been one of the great Arabic voices in the French capital.
Aziz Sehmaoui is another pillar upholding Youcef’s vision. Raised in Marrakesh, Morocco this Sufi artist was nourished on a combination of Gnawa Arab-African beats and British-American pop performed in Morocco with various traditional and electric groups (Association Ziriab, Lemchaheb and others). Like Youcef, Aziz attempts to weld the mystical power of healing rhythms with today’s sounds.
Les Nubians, the self-proclaimed Afropean sisters, Hélène and Célia Faussart, came into the public eye in 1999, when their U.S. debut, Princesses Nubiennes, became the most successful French-language album in more than a decade of Billboard Charts.
After that, the two sisters traveled the world, soaking up the sounds of reggae, afro-beat and electronica, allowing each to influence their own music.
Jaques Murigande, aka Mighty Popo, was born in Ngagara, a neighborhood in Bujumbura, Burundi populated largely by Rwandan and Congolese migrants and refugees. Growing up he could hear contemporary and traditional musicians from East and Central Africa on the street, in clubs and in the homes of friends and family, while radio and recordings played music from the whole African continent and beyond. Ngagara was a soundscape in which Soweto, Kingston, Bahia and New Orleans lived side by side.
In spite of hardship, Popo and his family made connections and friendships, found jobs, expressed ideas, pursued dreams, surrounded themselves with music and managed to live and be engaged in a larger world.
As much as Popo inherited a love of the traditional music of Rwanda and Burundi, he also has a lifelong connection with rock, blues, jazz, R&B, Reggae and folk traditions. His music reflects his immersion in a world culture which he has navigated with grace, sensitivity and an enormous sense of exploration and fun. It is enriched by many traditions.
When Popo left Burundi for Canada, his musical journey took him down paths his ears had already traveled at home. He has toured North America and Europe with Canadian and American bluesmen, played reggae and R&B from Halifax to Vancouver and down to New Orleans, and led the house band at the 1998 Pan-African Dance Festival in Kigali.
Mighty Popo was a member of the 2004 Juno Award winning African Guitar Summit and performed at the Canadian edition of Bob Geldof’s international Live 8 concerts (one of the few chosen for EMI’s Live 8 DVD).
Dunia Yote (2000). Ngagara (CBC Records, 2003)
Live 8 DVD (EMI Canada, 2005 )
Muhazi (2006) Gakondo (Borealis Records, 2011)
African Guitar with the Mighty Popo (Learn Roots Music, 2006)
Africa Oyé festival has revealed the first set of artists scheduled to perform this year. The festival will take place June 16 and 17 in Sefton Park, Liverpool. The artists announced include singer-songwriter Binhan from Guinea Bissau, British-Gambian kora player Sona Jobarteh and Guy One from Ghana.
Africa Oyé celebrates the music and culture of Africa and the diaspora with live music, DJs, dance, workshops, food stalls and traders in the Oyé Village.
Oyé’s Artistic Director, Paul Duhaney said “The huge number of applicants to play this year’s festival has been overwhelming, yet a real testament to how revered the event has become around the world. It’s been far too long since we had an artist from Guinea-Bissau so Binhan’s appearance will be a perfect way to remedy that. Sona deserved a far bigger audience than she had on a rain-soaked day a couple of years ago, so we’re really pleased to be able to bring her back. And Guy One is one of those musicians that is a true master of his art – his set is going to be something really special.”