African Blues (World Music Network, 1998)

«Blues? That’s American Deep South stuff, right? Well, not only. The quest for “authenticity” in music has taken so many spurious turns in recent years that it has perhaps managed to overlook the overarching patterns. It’s these patterns that have made up the blues, that inimitable form of misery set to music that’s as vibrant today as ever. It has a long history – musicologists have traced the origins of blues from India to Arabia to Spain, through to Africa, the Caribbean and America’s southern states.

African Blues, a valuable and exhilarating record, contains 15 songs ranging from Egypt’s Hamza El Din to Cape Verde’s unsurpassable Cesaria Evora. The Stayin’ Home With the Blues series, meanwhile, features vintage recordings with American blues artists such as Freddie King, Big Bill Bronzy, Lightnin’ Hopkins and Memphis Slim.

Although blues has its origins elsewhere, it’s the American records, made mostly in the 1940s and 1950s, that sound spare and dour. It’s impossible to say the same of African musician Ismael Lo’s “Talibe” with its sweetly sad vocals and lilting rhythms, or the mesmerizing progression of Oumou Sangare’s “Saa Magni”. But listen more closely and the connections become clearer: there’s something of Otis Redding about Kante Manfila and Balla Kall’s “Kankan Blues” from Guinea, and there’s a distinct doo-wop groove in the oldest track on the disc, Zambian Alick Nhata’s “Maggie”.

Turn to Lightnin’ Hopkins’ “Sad news from Korea” – a 1950s song which shows how well the old blues format adapts to accommodate new subjects – and we begin to hear the same kinds of empty spaces, quivering with expression, as in songs like “A Va Safy Va Lomo” from Mozambique’s Orchestra Marrabenta Star.

Blues has its sound roots in the music that the American slaves brought from Africa and its emotional roots in the experience of captivity. And African Blues is fascinating because it traces not only roots, but is made by musicians who have already been exposed to American Blues, especially in its soul and R’n’B incarnations.

But how authentic is that typical no-good-woman blues sentiment that the Stayin’ Home album has in abundance? Without knowing the languages it’s difficult to know whether misogyny prevails in African Blues. But it is intriguing to reflect on Cesaria Evora, the barefoot diva who slugs back whisky and smokes with the best of them, and who has by virtue of her Portuguese-language songs been enlisted into the ranks of fado – Portuguese blues – singers. Whatever the roots of blues, its routes through the world continue apace.» (New Internationalist)

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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)

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Dominic Kakolobango - African Acoustic (2000)

«Kakolobango is a Zambian guitarist, raised in Zaire (now the Democratic Republic of Congo), where he learned a guitar style that is now "relegated to the local equivalent of the 'oldies' bin," as the liner notes so aptly put it. The resulting album, in its updated traditional style and grassroots sound, recalls not only the legendary Jean-Bosco Mwenda, and Euro-American folk and blues singers, but diverse modern artists from the continent like Cameroonian Francis Bebey and Malian Neba Solo. While the style is inherently charming and intriguing, the appearance of this album is also made possible by recent releases of other African artists who play more contemplative music; Gabin Dabire, Habib Koite, and Geoffrey Oryema to name a few. In addition to paying homage to the style's greats on songs such as "Masanga" and "Doris," Kakolobango takes on "Take Me Back" by Texan Mance Lipscomb, and shows an adroitness on songs like "Baba Na Mama," both recalling blues themes and structure as well as Zimbabwean chimurenga in the staccato picking style. Throughout, Kakolobango's acoustic guitar is supported by the electric guitar lines of soukous sideman Dizzy Mandjeku and Belgian blues harpman Ludo Beckers.» (Craig Tower, Rootsworld)

«Dominic est le seul artiste dont les enregistrements rejoignent le style de la musique acoustique des années 50-60 de l’Afrique centrale et Sud-est. D’origine zambienne, il a vécut très jeune au Congo et a appris la musique avec les maîtres comme Jean Bosco Mwenda, Masengo, Losta Abelo, guitaristes jadis les plus populaires en Afrique. Il en est arrivé à un style unique et personnel. Dès sa jeunesse, il montre un intérêt particulier aux vieilles musiques régionales. Mais c’est son amour pour la guitare qui lui fait fréquenter et jouer avec les grands guitaristes de l’époque. Il a ainsi continué la tradition locale d’absorber les nouvelles influences, s’ouvrant à un nombre incroyable de styles, tels que la pop sud–africaine, le reggae, la soul, la country, la chanson anglaise et française… et le blues. Une telle mise en perspective nous permet de remarquer l’évidente unité d’un style est-africain et de la musique en général qui n’ont que faire de frontières coloniales absurdes. Dominic vit depuis quelques années en Belgique et se produit régulièrement en solo ou en groupe.» (Afrik)

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