Freshlyground - Nomvula (2004)

«Freshlyground is a South African Afro-fusion band that was formed in Cape Town in 2002. The band members are from South Africa, Mozambique and Zimbabwe. Stylistically, Freshlyground incorporates elements of traditional South African music (such as kwela and African folk), blues and jazz, as well as features of indie rock. The lead singer is Zolani Mahola whose distinctive voice contributes much to the band's unique sound.

Freshlyground launched their debut album, Jika Jika, in early 2003. The great success of this album ultimately kick-started their career and re-affirmed their reputation as a fresh and vibrant young face in South African music. The much-needed exposure from the album resulted in an invitation for the band to perform at both the Harare International Festival of the Arts and the Robben Island African Festival. At the Harare International Festival of the Arts (HIFA), Freshlyground performed with Zimbabwean musician Oliver Mtukudzi, who is also renowned for his diverse blending of different African music genres.

The band went on to perform alongside local legends Miriam Makeba, Stanley Clarke and Femi Kuti at the North Sea Jazz Festival, held during April in Cape Town. July also marked a break from the recording studio for the band, who had been working hard on their then unreleased album Nomvula. The band took this time to perform at the Villa Celimontana Festival in Rome, Italy.[…]

Finally, in late 2004, Freshlyground released their very successful album, Nomvula. Although the uptake of the album was initially slow, it eventually went on to achieve double platinum status locally. Initial success was largely due to the catchy, feel-good, lyrics of Doo Be Doo, which enjoyed significant play on local radio, it also covered in Indonesian by singer Gita Gutawa.

Freshlyground's latest album Ma' Cheri was released on September 3, 2007. […]

A song by Colombian pop star Shakira and Freshlyground has been chosen as the official anthem of this summer's World Cup. The song, "Waka Waka (Time for Africa)", […] is based upon a traditional African soldiers' song named "Zangalewa". Shakira and Freshlyground will perform the song at the pre-tournament Kick-Off concert in Soweto on 10 June. It will also be sung at the opening ceremony and at the final on 11 July.» (Wikipedia)

Link in comments

Marabi Africa (2007)

«Marabi is the independant label created in 2002 by Christian Mousset, director of the Festival Musiques Métisses d'Angoulême in France.The festival, place of exchange and discovery, is widely opened to urban popular musics from the African Continent, Indian Ocean, the Caribbeans, America. Marabi is mainly a discographic extension of this event. On the same artistic line, the label puts upcoming artists forward as well as patrimonial leading figures. Marabi is the name given to the South African Jazz born in the townships of the thirties.

Marabi Africa is a compilation between blues from the Sahel and the Indian Ocean, Congolese rumba, Zulu beat, flamboyant Mandingo guitars, featuring awesome groove and melancholy songs. 17 tracks, modern yet permeated by the colours of tradition, take you on a musical journey into the heart of the African continent, with its divas, its troubadours, its “rockers” and its exceptional instrumentalists...» (Mondomix)

Featuring tracks from Malouma, Ba Cissoko, Boubacar Traoré, Djelimady Tounkara, Bembeya Jazz, Sékou “Bembeya” Diabaté, Mahotella Queens, Johnny Clegg, Gizavo-Mhlanga-Mirandon, Jaoyoby, Granmoun Lélé, Nathalie Natiembé, Menwar, Rajery, Rumbanella Band, Wendo Kolosoy & Ballaké Sissoko.

Link in comments

Mahlathini & Mahotella Queens - Isomiso (1983)

«Simon Nkabinde Mahlathini (nicknamed “the Lion of Soweto”) came to international attention via the 1985 sampler The Indestructible Beat of Soweto. He began to tour internationally with female singers the Mahotella Queens, although he has been playing and singing his brand of mbaqanga (Zulu pop music, heavily influenced by traditional singing styles) since the early ‘60s. Mahlathini started singing on street corners, graduated to men's choral music, and went on to form his own smaller group in the mid-‘60s. When he “went electric” in the mid-‘70s, his new sound caused a sensation, and much controversy. With the Mahotella Queens supplying their dynamic backing vocals and fancy dance routines (think of a South African version of the Supremes) and Mahlathini’s primal groaning filling the air, you don’t have to understand the language to get the message, although the group has occasionally recorded in English. Another part of Mahlathini’s success is the backing supplied by West Nkosi and the Makgona Tsohle Band. Makgona Tsohle means “Jack-of-all-trades”, Nkosi once said. Our mbaqanga is a blend of traditional styles with modern instruments, a music anyone can relate to. The group delivered its last live performance in 1997; the following year Nkosi was killed in an auto accident, and on June 29, 1999, Mahlathini passed on following a long illness.» (AMG)

Link in comments

Johnny Clegg & Juluka - A Johhny Clegg and Juluka Collection (1996)

«How wonderful to finally be able to refer to apartheid, South Africa's former policy of brutally enforced racial exclusion and oppression, in the past tense! However, it is important to never forget how it was back then, and this album provides a virtual time capsule of an audacious period during the long, bitter battle for equality. In the '70s, a white, English-born, South Africa-based singer named Johnny Clegg spent several months living among the Zulus, learning their music and dances. When he returned to urban pursuits, he and Sipho Mchuno, a local black musician, had the guts, or inspired insanity, to start an interracial band. They called themselves Juluka (Zulu for "sweat"), and eventually achieved widespread popularity among South African blacks and whites alike. But, even so, their existence was a threat to the status quo and they lived in constant danger of arrest or worse. As their fame grew, they reached audiences throughout the world with their incongruously joyous blend of conscious lyrics, mbaqanga (township jive), traditional Zulu folklore, and hook-laden Western pop. The present compilation of ten infectious tunes gathered from six albums makes it very obvious how this gentle insurrection gained so many adherents. Mchuno eventually left in search of a more traditional sound while Clegg went on to found a later group called Savuka, but together they had fired a well-aimed shot straight into the evil heart of apartheid when it was very dangerous to do so, and lived to tell the tale.» (AMG)

Link in comments

Putumayo Presents: Women of Africa (2004)

«While the African music scene is currently dominated largely by men, there has never been any stigma to speak of against women performing (with the possible exception of some of the North African Islamic nations). The catch is that women tended historically to spend less time playing instruments in favor of other portions of the rituals and work, and stayed primarily within the vocal field as a result. Putumayo is taking advantage of this to combine three of their favourite forms of compilation: African music, women's music, and vocal music. The range here covers essentially the whole of Africa, with representatives from each of the major areas. South African Judith Sephuma opens the album with a contemporary piece, followed by Benin's great Angélique Kidjo with something based on Brazilian idioms. Following the Portuguese influence a step further (or closer, as the case may be), Maria de Barros performs a bit of morna from Cape Verde before the album makes a return to South Africa with Sibongile Khumalo. A quick run to the east allows for a nice Malagasy work from Tarika, and a jump north to Cameroon precedes the third South African piece, this time a bit of classic jazz from Dorothy Masuka. Firmly moving away from the South African sphere of influence, a wonderful piece from the often-excluded Comoros is included, preceding Ivorian Dobet Gnahore with a chipper work. A beautiful ballad from Souad Massi's Island release takes up the North African end, followed by an acoustic guitar-based rhythm from Burundi's Khadja Nin. Closing the album is a bit of female isicathamiya, courtesy of the Women of Mambazo, led by Joseph Shabalala's wife prior to her murder. Overall, it's quite a good album, with nice coverage of the various regions and the use of some underexposed but noteworthy artists. The only possible complaint would be that it's a bit heavy on South African music.» (AMG)

Link in comments

African Jazz Pioneers - The Best Of (2002)

«The background of the African Jazz Pioneers stretches back to the 1950’s, when jazz was the fashion and big bands were the name of the game.
The late Ntemi Edmund Piliso, leader and founding member of AJP, nourished the group from their humble roots to their current international acclaim.

In the early 1950’s Bra Ntemi and his Alexandra All Star band hit the cutting edge of South Africa’s music scene, blending American big band sound with traditional Majuba tempo’s and Marabi influences. The African Jazz Pioneers enjoyed enormous success and had a huge following in those days. Sadly, all this came to an end in the late sixties with the demolition of Sophiatown, when big bands went out of fashion.

However, in June 1981, Bra Ntemi decided it was high time to re-unite the band and get them back on stage. African Jazz Pioneers were back on the road, their first performance was at a church in Alexandra. Despite the pass laws, discriminatory practices and censorship, African Jazz Pioneers survived apartheid and evolved their music.

International fame came soon after their first overseas tour as part of the Casa conference in Amsterdam in 1987. After the easing of the boycott in 1990, the African Jazz Pioneers were among the first to travel all over the world and perform at festivals throughout Europe. During these years they shared the stage with the likes of Youssou N’Dour, Quincey Jones, Gilberto Gil, Nina Simone and Chick Corea, to name but a few. Their music has been released in more countries than can be named here.

Since that first performance in Alexandra, African Jazz Pioneers have evolved to a point where their invigorating concerts have become famous at venues throughout the country and neighbouring states. The band reaches everyone, from high society to liberation movements and political rallies, including the honour of performing several times for out country’s first democratically elected president, Nelson Mandela.

The driving force behind the Pioneers has always been Bra Ntemi. Musicians have come and gone, but he was always at the core of the band, ensuring the continuance of its unique township jazz sound. But even he found it difficult to categorise the Pioneers’ music. It derives from Marabi and evolved to include the instrumental sound of the big swing bands of Duke Ellington, and Count Basie. Since the band’s early days, Bra Ntemi has changed from one structure to another without giving up anything along the way.

Just over fifty years ago the young Ntemi settled for the saxophone, after his cherished trombone got stolen. The saxophone soon became his trademark and he was one of the country’s best and most enduring saxophonists, fact for which he was honoured by Minister Ben Ngubane in August 2000, during a ceremony at Morelete park, Mamelodi. Bra Ntemi passed away on 18 December 2000.

The African Jazz Pioneers are honouring their promise to Bra Ntemi to keep the music going. The Ikageng Jazz Festival, established in 2001, has been named ‘The Night of the Pioneers’ and AJP closes each edition as top of the bill. […]

There are few bands in South Africa – and, indeed the world – that do the big band sound more infectiously and with more accomplishment and just plain love for the genre than the African Jazz Pioneers. There is profound feeling in their music, as well as humour too. Like Sip ‘n’ Fly, an ode to African tactics for sneaking booze past the police pass patrols. With their wonderful happy music that celebrates life, the African Jazz Pioneers will make your head spin with joy.» (Jam Ally)

Link in comments

The Indestructible Beat of Soweto Vol. 1 (1985)

«This has to be one of the seminal series of recordings of what has come to be called "world music." When Trevor Herman collected and released these albums of South African township music from the 1980's on his Earthworks label, it pretty much created the genre with music that demanded a bin of its own in the record store. Here was a rock solid collection of folk, jive and groove that told the world what South Africa already knew, that this music could absolutely rock you to your bones. It introduced us to Mahlathini, the voice of mbaqanga. His groaning style, an outgrowth of a gimmicky style developed by studio producers in the 70s, became a respected and important sound, and with the Magaona Tshole Band and the Mahotella Queens, he became one of South Africa's most unique artists.

It was our first taste of the Zulu neo-traditional style of acoustic guitars, bass and drums, often with fiddle or accordion, brought to life here by the amazing Moses Mchunu, whose "Qhwayilahle" is still one of my all time favorite recorded works with its grinding fiddle (reminiscent of a good Holy Modal Rounders set) and thumping bass line.

The driving bass, drum and accordion sound of Nganezlyamfisa No Khambalomvaleliso was a revelation. And it was the proving ground for the classic vocal sound made famous by Ladysmith Black Mambazo, whose mix of traditional choral music and a touch of American gospel laid the foundation for Graceland a few years later. The Indestructible Beat Of Soweto is world unto itself, still one of my most frequently visited recordings, both at home and on my radio program. It sings of a time of political unrest and cultural hope. It is one of the few compilations I would ever call "perfect."» (Cliff Furnald, Rootsworld)

Link in comments

African Rebel Music: Roots, Reggae and Dancehall (2006)

«Presenting hits from 10 countries African Rebel Music – Roots reggae and dancehall gives a first insight into the new reggae dancehall movement in Africa (24 page booklet). So far only two reggae artist have had real international success: Lucky Dube and Alpha Blondy. A new generation has long arrived but although many of them are stars at home and regulars in their local charts, this compilation is the first chance for most of them to release their music internationally. The East African Reggae Bashment Crew is a cooperation of two famous line-ups from East Africa: the duo Necessary Noize from Kenya and Bebe Cool from Uganda. They were nominated for one of the most important African music awards the Kora Awards in South Africa end of 2005 in the category Best African Reggae Group. Another highlight is Tiken Jah Fakoly from Ivory Coast who is no doubt the next reggae star to emerge from Africa. In 2005 he became the most successful reggae artist in France. The 994 Crew recorded the first dancehall track ever from Mauretania. […] Ethiopia pitches in the song ‘Shashamane on my mind’ in which Sydney Salmon praises a piece of land that was once given to the Africans in the Diaspora by Haile Selassie as a place for repatriation. Batman is one of the most popular dancehall artists from Ghana adding the newest style of music now rocking the nightclubs of Accra: raglife. Musicians like Dully Sykes, H2O, The Danfo Drivers, Peter Miles, Teba or Rebellion are the heroes of a new generation of African pop music, that has long surpassed the usual world music stars still being celebrated in Europe. The language is reggae and dancehall. The sound and lyrics of their music represent the feeling of an urban Africa in the 21st century.» (Out Here Records)

«African reggae has always been a hit-or-miss affair. While there have long been reggae artists working the local music scenes of South Africa, Mauritania, and Uganda, the continent has produced only two real international stars: Alpha Blondy (from Ivory Coast) and, even bigger, Lucky Dube (from South Africa). This compilation of tracks presents a wide variety of artists from such disparate locales as Mauritania, Ethiopia, Tanzania, Ghana, Nigeria, and Senegal, and it raises hopes for the future of African reggae while still revealing a pretty uneven musical landscape. On the evidence here, it appears that the most exciting developments are taking place in Nigeria: there's a subtle complexity to Mad Melon and Mt. Black's "Sinsemilia" that you wouldn't necessarily expect from a song by that title, and Bantu brings a nice hip-hop flavor to "One Vive One Flow, Pt. 2." In fact, there's quite a bit of hip-hop-reggae fusion going on here, as well as some fine Afrobeat/dancehall (courtesy of Peter Miles and Leo Muntu). There's also the odd sprinkling of political banality (Alif's "Wooyo") and musical banality (H2O's "African"), but overall this is an exciting and encouraging compilation. Recommended.» (AMG)

Link in comments

Hugh Masekela - The Boy's Doin' It (1975)

«Hugh Masekela has an extensive jazz background and credentials, but has enjoyed major success as one of the earliest leaders in the world fusion mode. Masekela's vibrant trumpet and flugelhorn solos have been featured in pop, R&B, disco, Afropop and jazz contexts. He's had American and international hits, worked with bands around the world, and played with African, African-American, European and various American musicians during a stellar career. His style, especially on flugelhorn, is a charismatic blend of striking upper register lines, half valve effects, repetitive figures and phrases, with some note bending, slurs and tonal colors. Though he's often simplified his playing to fit into restrictive pop formulas, Masekela's capable of outstanding ballad and bebop work. […]

No other work during Hugh Masekela's long and fruitful career blended all of his interests – jazz, funk, pop, Afrobeat, and R&B, plus a little Latin and a lot of disco – into such an exciting mixture as 1975's The Boy's Doin' It, his first record for Casablanca. Influenced by Kool & the Gang as well as the growing tendency for Latin artists (like Joe Bataan) to cross over toward contemporary dance trends (and labels), Masekela recruited a few veterans from the Ghanian highlife band Hedzoleh Soundz – with whom he'd worked with on one album before. Recorded in Lagos, Nigeria and dedicated to Fela Kuti, The Boy's Doin' It has six extended jams, each of which does an excellent job of playing off deep grooves against ensemble vocals and catchy hooks, with plenty of room for Masekela's own trumpet and every note polished to a fine '70s sheen. It didn't matter what type of music fan you were: pop, disco, funk, world music, and any but the most hidebound jazz purist could get into these tracks.» (AMG)

Link in comments

Putumayo Presents: Acoustic Africa (2006)

«While the market for African music is heavy with new forms of Afro-pop, synth-driven reggae, and piles of high-energy soukous, there is a movement afoot for music in the more restrained end of the spectrum. Acoustic Africa takes a stab at compiling some of the newer sounds of this movement, à la MTV Unplugged. There are a few names on the album with massive recognition value: Angélique Kidjo presents a song to be released on a future album of her own, Habib Koité has his old hit "Baro," and Djelimady Tounkara (from the Super Rail Band, among others) contributes a recent piece for the guitar. Moving away from West Africa, South Africa's old master Vusi Mahlasela contributes a nice work for the guitar as well. Aside from these better-known artists, though, the real joy of this album comes from the unheard of, or at least less heard of. Senegal's Diogal has a gentle touch on the guitar, as does Madagascar's Rajery on the valiha (with a mangled hand and a technical style similar to Django Reinhardt's old playing technique). While Lokua Kanza has had a bit of fame outside of the Congo, Faya Tess is somewhat less known outside of Africa – on this album they combine for an uncharacteristically (for her, at least) somber piece. Laye Sow's gentle approach to protest music and a pair of works from the Cape Verdean repertoire fill out a relatively diverse set quite well. While North and East Africa, and indeed most of the central and southern portions, are underrepresented, the album covers the acoustic movement well, and touches upon the acoustic tips of more electronically based styles as well. The music is top-notch without exception, and the performers make a nice grab bag of exploration for the intrepid listener.» (AMG)

Link in comments