The Afrobeat Blog

New Track from Analog Players Society

2012-01-07T05:50:00.002-05:00

If you love funky soul music as much as I do, you'll love this new track from The Analog Players Society. I recently discovered these days and am totally blown away with their soulful ways. Dig the track here.

Africa in Your Earbuds Vol. 8-DJ Sabine

2011-12-13T05:18:00.002-05:00

Dig the latest in the afro-heavy mixtape series from OkayAfrica, Africa in Your Earbuds, courtesy of DJ Sabine.

AFRICA IN YOUR EARBUDS #8: DJ SABINE - 'MZANSI' by okayafrica

Afrika 21 Mixtape Vol. 3

2011-12-04T23:58:00.003-05:00

Society HAE has turned a mixtape into an institution. Dig the latest installment, then read more about what they've got going on here.
AFRIKA21 The Mixtape vol. 3 by AFRIKA21

Ocote Soul Sounds Kickstarter

2011-11-17T02:20:00.003-05:00

Ocote Soul Sounds is going on tour, and they could use some extra help in paying their bills along the way. Won't you lend a helping hand?

Ocote Soul Sounds - Primavera by afrobeatblog

Felabrations Across the World

2011-10-16T15:27:00.003-04:00

As I write this blog post, I'm sitting in front of my computer in Accra, Ghana. I'm privileged to be on the continent on the day the chief priest Fela Anikulapo Kuti was born seventy-three years ago. I'll be writing in detail about my trip for OkayAfrica.com, so look for that in the coming days. Until then, I'd like to give a shout out to a few Felabrations going down all over the world. Today, Femi Kuti is hosting Les Nubians and Blitz The Amabassador at The Shrine in Lagos, Nigeria to celebrate his father's life. In the coming weeks, there are several more parties going down:

Joe's Pub - New York, NY w/ Emefe

All-Asia Bar - Cambridge, MA w/ Uhuru Afrika

Knitting Factory - Brooklyn, NY w/ Zongo Junction

DJ Afro-Marc in BK this weekend

2011-10-05T22:48:00.003-04:00

It's about that time. I'm returning to the big apple this weekend to spread the afrobeat message before I take a pilgrimage to Ghana with Blitz The Ambassador next week. I'll be spinning at Southpaw tomorrow night when Emefe, Mokaad, and Ms. Lady hit the stage.

Then on Sunday, I'll be spinning at Disco Recovery, a benefit party for the Jillian Lanier Fund at the Tip Top Bar in Bed-Stuy, BK. Funk will be doled out in extra-large portions at both occasions. I'll be blogging about my trip to Ghana both on The Afrobeat Blog as well as OkayAfrica.com, so stay tuned for what will be unfolding from here on out.

FELA! Afterparty w. The Funk Ark in DC

2011-10-05T22:43:00.003-04:00

For all those in D.C. who have yet to see FELA!, what are you waiting for? Tomorrow night is a particularly good night to catch it as the FELA! band will be playing an afterparty with The Funk Ark at The Rock and Roll Hotel. An extremely talented group of musicians will be collaborating throughout the evening so if you're in or around the capital, def check it out.

Elder's Corner Kickstarter

2011-10-03T13:05:00.008-04:00

If your a fan of Nigerian music of any era, whether it be Orlando Julius, Osunlade, Sunny Ade, or Fela, you owe it to yourself to support this project. Siji is a Nigerian filmmaker and musician attempting to document the history and music of Nigerian's legendary music scene. He's got some distance to travel to reach his goal, so please help him reach his goal. A small donation can go a long way...

Joni Haastrup/Mono Mono Reissue

2011-09-21T20:57:00.005-04:00

Joni Haastrup is one of the most influential forces in 1970's Nigerian music. He was at the forefront of the burgeoning Afro-Rock movement and rode the wave all the way through disco to afrobeat. Soundway and Tummy Touch Records are collaborating to showcase that progression by reissuing three albums: two releases from MonoMono, Give The Beggar a Chance and The Dawn of Awareness, and Haastrup's debut solo album, Wake Up Your Mind.

The World Might Fall Over - MonoMono by Soundway

Joni Haastrup descended from Yoruba royalty in Western Nigeria. While his choice to pursue a career in music was not embraced by his family, he rose to popularity quickly with his flashy stage presence and strong voice. He eventually sang lead vocals on Orlando Julius Ekemode's Super Afro-Soul LP and became known as Nigeria's Soul Brother #1.

I first discovered Haastrup via Nigeria Special as his disco jam Greetings made recurring appearances in my dj sets. These three albums provide an unabridged look at Haastrup's work, showcasing the span of styles he embraced throughout his career. Any of these three albums will provide some interesting listening material, but my favorite is definitely Wake Up Your Mind. I love Nigerian Disco, this is some of the best out there. Dig a free track off of The Dawn of Awareness here.

Fela Soul

2011-09-16T13:23:00.004-04:00

Don't you love it when beatmakers mashup afrobeat instrumentals with hip-hop lyrics? I do, which is why I love Fela Soul, Amerigo Gazaway's remix creation combining De la Soul and Fela Anikulapo Kuti. If you love either artist, you're going to especially love this. Dig it here.
&amp;amp;amp;lt;a href="http://gummysoul.bandcamp.com/album/fela-soul"&amp;amp;amp;gt;Fela Soul by Amerigo Gazaway&amp;amp;amp;lt;/a&amp;amp;amp;gt;

Bazzerk

2011-09-13T19:49:00.004-04:00

If you haven't heard Kuduro, the crazy sounds coming from Angolan beatmakers, it's about time you have. I don't think I could find a better introduction than Bazzerk - African Digital Dance, a compilation put together by Jess & Crabbe for Mental Groove Records that showcases not only the original Angolan beats but also their descendants in Brazil, Cape Verde, Portugal and elsewhere. Be careful with this one.

&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://mentalgroove.bandcamp.com/album/bazzerk-african-digital-dance"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;BAZZERK - African Digital Dance by Jess &amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp; Crabbe&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

Zongo Junction, The Funk Ark, Big Mean Sound Machine, and DJ Afro-Marc @ Southpaw Tonight!

2011-09-10T11:03:00.002-04:00

I'll be on the 1's and 2's this evening when three seriously funky afrobeat bands hit the stage at Southpaw in Brooklyn, NY: Zongo Junction, The Funk Ark, and Big Mean Sound Machine. Definitely a night not to be missed. $10 at the door, come prepared to dance...

Dub Invasion 2011

2011-09-09T13:41:00.004-04:00

The Dub Invasion is officially about to take over New York! Over the course of the next week, The Sound Liberation Front is curating a series of dub-related concerts, classes, film screenings and lecutres at different locations across the city. If you're into dub, this is the week it all comes together for you. Find a complete list of events below:

Fri Sep 9At Dominion 428 Lafayette St, NYC 21+ 10:00 pm $12 Advance / $16 Door

Adrian Sherwood ft. Brother Culture
Adrian Sherwood ft. Brother Culture- Subatomic Sound System- Channel U
UK-based music producer Adrian Sherwood has been a pioneer in expanding the scope and context of dub music. To celebrate the 30th anniversary of his legendary On-U-Sound label, he will be making a rare US appearance alongside UK rasta MC Brother Culture and NYC’s mighty Subatomic Sound System.

Sat Sep 10At Dubspot 348 West 14th Street 1:00 pm OPEN DOOR

Dubspot Hi Fidelity EDU Session
Photo Expo by Seb Carayol(1-6PM)- Panel Discussion(TBD)- Gear Demo(1-6PM)
Come celebrate Dubspot’s expansion with a showcase featuring the latest in music technology from Ableton, Propellerhead, iZotope, Native Instruments, and more. Join us for revolving presentations, workshops and sound sessions about DJing, music production and the history of dub.

Sat Sep 10At Dubspot 348 West 14th Street 3:00 pm Free with RSVP

Dub Masterclass Pt 2

Clive Chin (3-4PM)
Legendary producer Clive Chin, along with innovative engineer Errol Thompson laid down the foundation of the dub sound and originated some of the genre’s earliest recordings. He will demonstrate how to dub a track using original material. Experience the culture with one of its originators… A festival highlight! Workshop will be streamed live on the Dubspot website. Event is Free but space is limited so make sure you RSVP.

Sat Sep 10At B.B. King's 237 West 42nd St, NYC 21+ 8:00 pm $22 Advance / $25 Door

Lee “Scratch” Perry
Lee “Scratch” Perry- Subatomic Sound System- Jahdan Blakkamoore
Whether you call him a genius or a madman, Lee «Scratch» Perry is without a doubt a towering figure in reggae. The Grammy award winning producer, mixer, and songwriter, was behind the early Bob Marley classics, and along with King Tubby, helped shape the sound of dub music. Collaborators on recent Perry dubstep releases, Subatomic Sound System & Jahdan Blakkamoore, will be supporting.

Get limited super-discount $19 advance tickets at Ticketmaster by entering our festival code “dub”!

Sun Sep 11At Sullivan Hall 214 Sullivan Street, NYC 21+ 9:00 pm $10

Universal Sundays presents Alive Dub
Dub Poet Infinity- Super Hi-Fi- Top Shotta Band feat. Screechy Dan- Prince Polo- Double 05- King of Zulu Entertainment- DJ Sal P
A night of live performances headlined by Dub Poet Infinity alongside Super Hifi, cornerstone of the critically acclaimed Afro Dub Sessions concert series.

Mon Sep 12At Cielo 18 Little W 12th St, NYC 21+ 10:00 pm $12 with RSVP / $15 Door

Francois K & Badawi aka Raz Mesinai
Francois K- Badawi aka Raz Mesinai- Dub Poet Infinity
Consistently acclaimed as one of New York’s Top DJ party, Deep Space is the project of legendary house music producer Francois K. This special festival edition features “sound alchemist” Raz Mesinai aka Badawi.

Tue Sep 13At Dubspot 348 West 14th Street 2:00 pm Free with RSVP

Dub Documentary Screenings
Devon D’s Dub History(2-3PM)- Musically Mad(3-4PM)- Dub Echoes(4-6PM)
Get inspired and learn about the history and culture behind the sound during this day-long music documentary marathon. Event is Free but space is limited so make sure you RSVP.

Wed Sep 14At Kush 191 Chrystie St, NYC 21+ 9:00 pm Free with RSVP

Liondub Presents Pressure “Dub”
Ticklah- Dave Q- Liondub- DJ Lifeline- DJ Deluxe
Pressure Drop is downtown NYC’s freshest Wednesday night reggae affair with resident DJ’s Liondub, Lifeline and Deluxe. This dub edition will feature multi talented producer/instrumentalist Victor “Ticklah” Axelrod and Dave Q of the famed Dub War parties.

Thu Sep 15At Happy Ending 302 Broome St, NYC 21+ 10:00 pm FREE with RSVP

DTR in a Tribute to King Tubby’s
Deadly Dragon Sound System featuring Artists TBD- DJ Linh
NYC’s premier foundation reggae party, Downtown Top Ranking, presents a Tribute to the Father of Dub – King Tubby’s with Deadly Dragon Sound and guests celebrating and expanding upon the music, the mixes and vibes of the man himself in pure vinyl style.

Thu Sep 15At Dominion 428 Lafayette St, NYC 21+ 10:00 pm $10 Advance / $ 12 Door

TOTH International Dub Showcase
Spy from Cairo- Dr Israel- Nickodemus- DJ Lil Tiger
Nickodemus, founder of the legendary Turntable on the Hudson parties, curates this international dub showcase with a set of globe-trotting producers. Expect middle eastern influences, punk rock and ragga jungle sounds to blend seamlessly into a dubwise dancefloor extravaganza!

Fri Sep 16At Dubspot 348 West 14th Street, New York 6:00 pm Free with RSVP

Dub Masterclass Pt 3
Mad Professor (6-7PM)
Legendary second wave UK dub producer and disciple of Lee Perry unveils the secrets that made the Ariwa label one of the leading forces in dub music. Workshop will be streamed live on the Dubspot website. Event is Free but space is limited so make sure you RSVP.

Fri Sep 16At Knitting Factory Brooklyn 361 Metropolitan Ave, BK 18+ 11:45 pm $18 Advance / $20 Door

Mad Professor
Mad Professor- Twilight Circus Dub- Q-Mastah- Majestic Twinsound
Since the early 80s, Mad Professor has been one of the leading figure of dub’s new generation. His legendary Ariwa studio in South London has been the epicenter of dub’s foray into the digital age. Supporting the mad prof will be Twilight Circus Dub as well as NYC’s Q Mastah and Majestic Twinsound

All Together Now Kickstarter

2011-09-07T21:05:00.004-04:00

If you've been following my blog, you know I'm a huge fan of a specific family of musicians based in Brooklyn, NY. One of those musicians, Tim Allen of Thought and Hylofi among others, is taking on an amazing project to capture the energy and collective consciousness taking place right now via a documentary film. In order to make his vision a reality, he needs your help. Make a donation via his kickstarter page, and check out the concerts they'll be documenting at Southpaw in December.

Underground System Afrobeat EP Teaser Video

2011-08-28T22:36:00.004-04:00

Dig this video from Underground System Afrobeat, a Brooklyn based afrobeat ensemble who plan to release their debut EP in the coming months. This video is dedicated to the bootyshakers of the world...

Album Review: From The Rooftops - The Funk Ark

2011-08-25T22:16:00.008-04:00

I've often said, funk is the universal language. The Funk Ark, an 8-piece afro-funk band out of Washington D.C. who released their debut LP From The Rooftops August 16, 2011 on ESL Records, definitely subscribe to that philosophy. Blending elements of 1970's Latin, African, and American funk music, The Funk Ark truly does embrace the ark of what funk is all about.

This album has a gritty, rhythmic vibe that gets inside of you and makes you want to move, or at least strut with a bad-ass look on your face. Due in part to the fact the majority of the album is instrumental, the interlocking guitars, keys and bass take on the identity of The Funk Ark's sound. Like a dirty funky Afrika 70 hook, Meters' Jam, or Juan Pablo Torres ostinato, their polyrhythmic, patchwork textured sound has an infectious effect on your midsection. It's that indescribable funky thang all good funk music has in common that's all over this record.

I'll be on the 1's and 2's when The Funk Ark throws down at Southpaw in Park Slope, Brooklyn (one of my favorite music venues on the planet) on September 10th along with heavyweights of the BK afro-scene, Zongo Junction and upstate afro-representatives The Big Mean Sound Machine. If you're in and/or around New York, definitely come get your doctor prescribed dose of funk as it will be doled out in extra strength portions all night.

The Funk Ark - Diaspora by afrobeatblog

Afropop Takes You Inside the Antibalas Experience

2011-08-17T14:31:00.004-04:00

Of all the amazing bands I've ever seen perform, and all the inspiring musicians I've interviewed, Antibalas and Martin Perna sit at the top of both lists. This video from Afropop gives you an idea why.

A Dub for Mali from Afrolicious

2011-08-13T11:32:00.002-04:00

If you've ever been to an Afrolicious party in San Francisco, you know they bring the funk. If not, dig this track to get an idea:
Afrolicious - A Dub For Mali by INgroovesmarketing

New EP from The Green

2011-08-12T09:25:00.006-04:00

Love and Affection, the new EP from The Green out August 9, 2011 on Easy Star Records, is a contemporary, updated take on traditional roots reggae sounds. As with anything that comes out on Easy Star Records, there is a high standard of production quality and musicianship that shines through on this release. Definitely check it out.

Love&Affection by thegreen

Concert Review: Seun Anikulapo Kuti and Egypt 80 @ SOB's

2011-08-09T09:02:00.008-04:00

Contributed by Erin Steadman

Seun Anikulapo Kuti & Egypt 80’s most recent New York show at SOBs on July 27^th, proved that Afrobeat is still a very sought-after sound and experience. Possessing the high cheekbones and sweet eyes of his Father, you would have thought you were in front of the man, Fela, himself. Seun might be the youngest son of Afrobeat pioneer Fela Anikulapo Kuti, but in no way did he fall short of mesmerizing the crowd with his high energy and political disquisition. Between saxophone solos in “Rise” from their newest album, ‘From Africa with Fury: Rise’, Seun set a more solemn, yet groovy, mood over the crowd as he chants about Africa needing to rise against diamond and petroleum companies bringing them down.

At sight of the band, the crowd was already dancing. Though the ultra-high BPM of “Mr. Big Thief” is what really turned the venue known as SOBs into 4,000 square feet of a mini World dance party. It was no longer a show anymore; it was an experience. If you closed your eyes, you could hear the different layers in the music and you were suddenly moving your body in ways you didn’t know you could. Political verse would then make its way through, telling African soldiers that they need to put their uniforms down. At the end of this powerful song, Seun stands shirtless, in the famous stance of his Father. Seun then proceeds to break the ice even more by letting Americans know that they should always turn Kuti on when things go down in the bedroom.

All in all, Seun Kuti & Egypt 80 is an experience not to be missed. If you have the chance to see this band, do yourself a favor. If you are unable to see them live, at least familiar yourself with their new album ‘From African with Fury: Rise’ and be ready to embark on a real, raw journey.

Album Review: Janxta Funk! - The Pimps of Joytime

2011-08-07T16:00:00.007-04:00

There are some who believe the golden era of funk music has come and gone. Bands and artists like P-Funk, Prince, James Brown, and Rick James either have their best days behind them or have passed on. Then comes along a band like The Pimps of Joytime, proving funk is still very much alive and well as evidenced on their album Janxta Funk!, out June 21, 2011 on Wonderwheel Recordings.

01 Janxta Funk! by The Pimps Of Joytime

Janxta Funk! takes contemporary funk music to new levels. Incorporating elements of hip-hop, Latin, blues, and New Orleans style musics, The Pimps of Joytime definitely have a unique take on the world and their own funky attitude. Hailing from Brooklyn, NY, it's apparent they're influenced by the variety of cultures and styles present in the Brooklyn scene. Right from the first track, Take the L Train, The Pimps bring the funk with a Brooklyn attitude.

What I love the most about this album is how The Pimps pay homage to classic voices and artists while still maintaining a contemporary original identity. One can definitely hear a lot of Prince in lead singer Brian J's voice, as well as a lot of JB's in the horn lines throughout. Several funk luminaries guest including Roy Ayers and The Neville Brothers. While the funk legends all make their presence felt, The Pimps have a way of sampling the best of all them to create their own sound.

Janxta Funk! is available on Itunes or via thepimpsofjoytime.com. The Pimps will be touring all over the US during August and September, so def look out for them as they come to a town near you. These guys know how to throw it down, so whether you just download the album or see them live, prepare yourself to get funked up.

Live From the Continent @ Lincoln Center

2011-08-04T19:02:00.004-04:00

If you're physically able to get to Lincoln Center in Midtown Manhattan this weekend, DEF go see the finest music makers of today's generation coming from the continent throw it down. Blitz The Ambassador, Spoek Mathambo, Iyadede and Chief Boima will all be in attendance. If you need any more inspiration, check out the preview video below:

Live from the Continent! from MVMT on Vimeo.

Seun Kuti Returns to SOB's

2011-07-20T22:15:00.005-04:00

While I'll be checking out Seun Kuti this weekend at the Grassroots Festival, he'll be playing SOB's in NYC one week from tonight. Seun is currently on tour playing several dates across North America. Definitely catch him live if you have the opportunity.

Chorizo Chunks 10

2011-07-19T14:42:00.008-04:00

chorizo chunks 10-live afro-latin mix by chorizofunk

If you're looking for the perfect soundtrack for an outdoor summertime barbecue/dance party, hit play on this live mix recorded at the monthly Body Rock party by DJ Chorizo Funk in Austin, TX.

Roots of Chicha Album Release Party and Free Mix

2011-07-18T16:21:00.004-04:00

If you caught any of The Roots of Chicha, the compilations that unearthed volumes of Peruvian psychedelic cumbia, then you'll be excited to hear Barbes Records is teaming up with Fat Beats to re-issue a best of double LP, out tomorrow. They're throwing an album release party at Drom this Thursday the 21st. To get an idea of what to expect at the party and on the comp, check out this free mix:

Barbes Chicha mix tape by Barbes Records

Album Review: Labrador - The Polyrhythmics

2011-07-17T13:31:00.003-04:00

The Polyrhythmics are an 8-piece afrofunk band from Seattle, Washington. Labrador, their latest album independently released June 1st, 2011, is a downright funky collection of songs that embrace the phenomenon of the polyrhythm whole-heartedly. Similar to other instrumental afrofunk bands like The Budos Band, Ikebe Shakedown or The Superpowers, their fierce, yet smooth horn section assumes the identity of their sound although their rhythm section lays down a seriously funky back drop over which the horns do their thing.

This album is about as funky as anything you're likely to hear. The Polyrhythmics definitely put Seattle on the afrobeat map. They're hoping to make an east coast swing in the fall, but until then you can catch them up and down the west coast. If you're out that way, definitely check them out. While I haven't seen them live myself, a band with this kind of attitude and style always can put on a good show.

The Polyrhythmics - Moonroof by afrobeatblog

Sound Liberation Soundsystem Returns to Coney Island

2011-07-15T13:01:00.004-04:00

Some of the funkiest people with which I've ever had the pleasure of associating, The Sound Liberation Front, are returning to the Coney Island Boardwalk this Sunday to bump some sounds and spread some good vibes. If you can make the trek out to the beach, it'll def be worth the trip. Dig the vibe in the video from last year:

Afrika Bambaataa Meets Chico Mann

2011-07-10T21:01:00.005-04:00

In case you were wondering where I'll be July 28th, the Waxpoetics Records Showcase: Afrika Bambaataa Meets Chico Mann is going down at Le Poisson Rouge. Chico Mann is my favorite musical act on the planet. Enough said.

Chico Mann - Ilusión de Ti by afrobeatblog

Ghostfunk

2011-07-10T19:15:00.004-04:00

If you dug Mos Dub, you'll really dig Ghostfunk, the latest mixtape from Max Tannone, pairing Ghostface Killah with vintage African funk, highlife, and psych-rock. Dig it.

Ghostfunk by Max Tannone

Quantic Remixes Owiny Sigoma Band

2011-07-08T09:54:00.002-04:00

Dig this Quantic remix of Owiny Sigoma Band's Tafsiri Sound. The original album, a collaboration between traditional Luo musicians from Kenya and British artists visiting the East African nation, was released April 18, 2011 on Brownswood Recordings with the support of Gilles Peterson. The Remix EP drops July 12th. Def cop it when it drops.

Owiny Sigoma Band - Tafsiri Sound 12" by Brownswood

Interview with Martin Perna

2011-07-05T21:26:00.001-04:00

Martin Perna is perhaps best known for founding Antibalas Afrobeat Orchestra, but his work with Ocote Soul Sounds is equally respected and renowned. Taurus, the fourth studio album from Ocote out June 7, 2011 on ESL Records, represents the latest progression of his collaboration with Adrian Quesada and a host of other extremely talented musicians. I've interviewed Martin twice before, both times in connection to his work with Antibalas. This time we focused on Ocote (although we did sneak in a question or two on Antibalas). If you haven't heard the album yet, I would absolutely pick up a copy, but only if you like danceable, smooth, funky ass music:

Ocote Soul Sounds - Primavera by afrobeatblog

Marc Gabriel Amigone: First of all, congrats on an amazing new album, I've been spinning this a lot when I dj as of late and it's been getting people dancing. I feel like this album has a different vibe than Coconut Rock. Was that a conscious effort, or more of a natural evolution?

Martin Perna: One of the biggest difference between Taurus and the previous albums was that we had a chance to do some touring last year, opening for Thievery Corporation where we first had the chance to play several shows over a concentrated time, and this allowed us to really see how the music resonated in different people in different places. We didn't sit down and consciously address these reflections in the album-making process but I think it ultimately shows on Taurus- there's more songs people can sing to, and the bass and drums have a lot more clarity than on previous albums which translates into a heavier impact on the dance floor. Working with Eric Hilton and the engineers at ESL helped us get much better results sonically.

MGA: The thing that stands out to me the most about this album is the groove. It steadily flows from song to song throughout with a very smooth, danceable production value and rich texture. Was that a goal you set out to accomplish when recording the album?

MP: Again, I don't know how explicitly conscious it was but it was the result of working together with a shared vision that we didn't always need language to articulate. All of our previous albums are definitely groove-oriented to them but this album probably has the most sonic consistency from song to song. It helped that we worked on all the songs at the same time rather than piece by piece months apart like we did on previous albums.

MGA: Could you give a run-down of who played what on the album?

MP: Adrian Quesada- guitars, some bass, some keys. Martín Perna- flutes, baritone sax, some acoustic guitar, some bass, shekere, and other percussion and vocals. John Speice plays drums, congas, bata, and other percussion. Will Rast plays keys, organs, and clav--all the solos and elaborate stuff are him. Marcos García and Courtney Morris sing. We also have some guest vocalists: Courtney Morris and from Thievery Corporation- Verny Varela, Natalia Clavier, Sitali Siyolwe, and Sista Pat. Eric Hilton of Thievery Corporation makes some cameo appearances on percussion as well. They were all around in the DC neighborhood when we were making the record and we became friends with them while in the road so it made sense to make some music together. The live band

MGA: Marcos Garcia definitely makes his presence felt on this album. How did you and Marcos first meet, how would you describe your musical relationship with him and the impact he has on Ocote?

MP: Marcos and I have been playing together for almost ten years with Antibalas, and are close friends. I love the music he makes with Chico Mann, and on our last album Coconut Rock, he recorded some vocals and other instruments. Over the years he and Adrian have started a good collaborative relationship and we all work together pretty well, over time and space. It's fun working with him and he brings a lot to the group, especially on the albums..

MGA: Who is your target audience for this album, if you have one?

MP: That's a tough question because I never have felt like my music has had one target audience. When you consciously try to please everybody, you don't end up pleasing anybody. Ultimately, if my peers- musicians and DJs like it, it is successful to me. However, it makes me really really happy when people tell me, "my twelve year old brother who only listens to Lil Wayne really dug the album" or "my mom heard you on NPR and went out and bought your record."

MGA: Living in Austin, Texas, your music has access to a Spanish speaking population. Is your music marketed and/or distributed in Spanish speaking countries in Latin America at all?

MP: This is kind of a loaded question since folks were speaking Spanish on the continent for at least a hundred years before English was common place and we find both new and generations-old Spanish speaking populations across North America so Austin is just one of many bilingual cities. We do a fair amount of Spanish press down here and have performed in a lot of Spanish language events like Pachanga Festival and some big Cinco de Mayo jams, and our music gets air play on a lot of university, public, and underground radio stations in the Spanish speaking US and Latin America, but hasn't ever cracked the big bubble of Spanish commercial radio. We performed at Summerstage last year for the LAMC and got a really good response, but the mainstream Latin music world can be as shallow, fractured and corrupt as the Anglo music industry. I'm not really concerned about kissing anyone's butt or trying to convince people to like the music- if they get it, good.

MGA: Has Ocote ever toured/performed in Mexico, Central or South America?

MP: Adrian and I have been there with our other groups but not yet with Ocote. With Ocote, touring is harder to do because we have to squeeze everything in between other tours and family stuff. I would love to do some more performances in Latin America but it's considerably harder to do because there's not the same amount of resources or infrastructure to tour there as opposed to western Europe. Given the violence along the border, there are a lot more very real risks dipping down to Monterrey or Torreon to play a show, even if it's only five or six hours away by car.

MGA: Your work with Antibalas makes no attempt to hide its anti-establishment message. Ocote's message although definitely anti-establishment, is a bit more subdued. Do you feel like you can reach a wider audience with Ocote due to the fact the songs are more palatable to a mainstream audience and record industry standards?

MP: I don't think the songs are any less political...they just have a different mood and a different voice. That said, with Antibalas and Afrobeat music we operate within a genre, a musical idiom and musical legacy that is explicitly political, or should be anyway given the history of the music. Ocote isn't necessarily beholden to the expectations or inheritance of solely one genre or tradition so there's not that same push to be explicit, although several songs on the album definitely are. Politically, I think the music is shaped mostly by the nueva canción protest music tradition of the 60s/70s in Latin America more than anything else- artists like Victor Jara, Daniel Viglietti, Mercedes Sosa, Violeta Parra, Silvio Rodriguez, as well as some Brazilian artists from the Tropicalia era like Caetano Veloso and Tom Zé.

MGA: What are you listening to these days that's inspiring you?

MP: At this very moment, Donald Byrd "Street Lady". I have been going back to a lot of the early funk that i grew up listening to like Slave, Aurra, Lakeside, and a lot of the eclectic soul and funk, and house played by the great djs at the Loft, Paradise Garage, Warehouse, and Music Box. I love the latest Erykah Badu album. I'm always inspired by music made by my musical family- Budos band, Echocentrics, Dap Kings, Charles Bradley, Lee Fields, Karl Hector, Michael Leonhart, Superhuman Happiness, Beyondo, TVOTR, Brownout, etc. I'm biased, but I do feel like thats some of the best music being made today.

MGA: What artists/bands would you recommend to fans of Ocote looking to hear what inspired you and your bandmates to create this music?

MP: Cymande, Larry Harlow, Frankie Dante, Celso Piña, Grupo Folklorico y Experimental, Los Pasteles Verdes, Toto la Momposina...

MGA: I just picked up a copy of Rat Race on vinyl, does Antibalas have any plans to record more new music anytime soon?

MP: I don't know about soon, but definitely, yes. Antibalas has a very deep well of creative juice. It just takes a long time to extract it.

New EP from Beyondo

2011-07-01T12:16:00.005-04:00

Dig this new EP from Antibalas trumpeter Eric Biondo featuring several other members of the Antibalas/Daptone/Truth and Soul fam. It can be yours forever for only one dollar, but no one will complain if you feel like paying more...

Free The Twin by Beyondo

New EP from Captain Planet

2011-06-26T21:23:00.004-04:00

Dig this track from Captain Planet's new EP, Ningane, out June 28, 2011 on Bastard Jazz Recordings. If this track doesn't get you moving, you better check your pulse.

Dame Agua by DJ Captain Planet

Interview with Seun Anikulapo Kuti

2011-06-22T22:02:00.004-04:00

Seun Anikulapo Kuti is one of the most dynamic young musicians in the world. Youngest son of Fela Anikulapo Kuti, founder of afrobeat and African musical icon, Seun released his second full-length album, From Africa With Fury: Rise, yesterday on Knitting Factory Records. He's currently touring Europe and is about to cross the Atlantic for a string of dates all over North America, including the Grassroots Festival the third week in July. I had the honor of speaking with Seun on music, politics, working with Brian Eno, and more:

Seun Kuti - You can run by djdemonangel4

Marc Gabriel Amigone: I read you set out to do something different with your new album, a departure from your first. When I listen to the new album I feel like the horn lines are more complex and aggressive. The album as a whole is a lot more aggressive. What did you focus on to achieve your goal of doing something different?

Seun Kuti: Well, when I set out to do something different I wanted to improve on the last album. I had in the back of my mind when I was working on the album, without leaving afrobeat I have to make my music as different from the last album as possible. While still making an improvement without leaving the genre, that was difficult, you know, staying in the genre while still improving it. But I guess I was able to do that, I was able to complete that.

MGA: So did you focus on anything specific like the horn lines or the rhythms or something?

SK: Yea, from the horn lines to the music, to the rhythm section, I was more confident. With my first album, I didn't want to be too brash or too soft, you know, a lot of things go through your mind when it's the first time. It's just like having sex the first time, you don't know how to do it, you really don't know what's up. About the second time , you're more confident than the first time.

MGA: Right, right you have experience from which you can draw the second time around.

SK: Exactly, so that's how it went with the new album.

MGA: How did your relationship with Brian Eno come about? Who contacted who?

SK: For this album I contacted him. I told him about it. For me I like him because he invited me to come with the band to play a show, I was actually surprised he knew my music, that was two years ago.

MGA: What was it like working with him?

SK: Brian is one of those people who will teach you about you. He'll show you things you didn't even know, and if you're really honest with yourself he's telling you the truth, you'll be like yea man you're right.

MGA: To me the song Rise captures the essence of what you're trying to say with this album. When you talk about companies like Haliburton and Monsanto and you're asking people to rise up agains their power. Who are you targeting specifically with that message? Is that for Nigerians, Americans, everyone in the world?

SK: No, no this is Nigeria! I'm talking about Africa, Haliburton and Monsanto in Africa, not Haliburton and Monsanto in America, no, this is in Africa. Dick Cheney has been indicted in my country like three months ago for everything, for a deal he tried to run under the table, it was an 18 million dollar scandal. Haliburton bribed people, they paid our officials to take bribes. Contracts, real things you know?

MGA: So do you think many people in Nigeria are aware of the role Multi-National companies play in their lives as well as the global economy?

SK: Yea they know, but they are led to believe that without these international companies, they cannot have jobs, we cannot do anything on our own. We are made to believe without these countries Africa cannot develop. This is what is ruining Africa.

MGA: Who do you think is brainwashing them to think that? Is the government playing a role along with the companies?

SK: Of course, they give them all these kickbacks, they come to Africa and they donate four hundred million dollars to Nigeria. They're not giving this money to the people, the government officials take this money and steal it. They don't want Africa to develop. In Africa, Nigeria, wherever they will never create an operating system for a computer that we can use in Africa and buy and make money for Africa, whichever way Microsoft believes, Africa needs to develop as a manufacturer. Do you understand what I mean?

MGA: Yes I do.

SK: This is what is happening, it's not just Haliburton and Monsanto. All the multinationals are in Africa.

MGA: Right, it's a bigger problem than just those two companies.

SK: You don't come and make all kinds of donations in Africa never to the people, always to the government officials to help the people, but they never give the money to the people, they put it in their pocket.

MGA: Right. Which is something that's been going on for decades in Nigeria.

SK: That's right, yea.

MGA: What did you think about the way the most recent elections were carried out in Nigeria?

SK: All these politicians have dragged the ruling politicians into court. The elections were not free and fair.

MGA: Would you ever consider running for political office in Nigeria?

SK: Yes of course, it's one of my big plans for the future. When we get to that I will call you again.

MGA: Ok, cool. What are your thoughts on the way the West is choosing to intervene or not intervene in the uprisings across the middle east and North Africa?

SK: I do not support any intervention in Africa by Europe and America, political, economical, social, any kind of intervention. We should be able to manage all of our own situations ourselves. What the West is doing in Libya today is a big shame. What's going on in Libya is wrong.

MGA: Well, what about the situation in the Ivory Coast? The final resolution to that came after the French troops extricated the president from his palace, right?

SK: What they are teaching Africans is that only through force can you achieve any kind of progress. When a big country like France brings their military to commit a coup, because what happened in the Ivory Coast was a coup. When the military goes and kicks out the president, that's a coup. Whether they call it a good coup, it's still a coup. This is what they teach us. They come here, and the only way they get anything is by power. We will come and remove this guy. Why? So whenever anyone else wants to kick this new guy out, they will use force because that's the only option we've been taught here in Africa to use.

MGA: Right so that's the model that Africans now use for their own power struggles in the future, and that's dangerous.

SK: Well in Africa using force is easy. Why aren't they going to bomb North Korea, man? If they're worried about Gaddafi killing his own people, why don't they bomb North Korea? The people of North Korea are not protected. How about Syria, Yemen, Bahrain? They're killing their own people there too. Why isn't anyone doing anything there? Because the governments there are submitting to the West, you know?

MGA: So do you think the West should intervene in Bahrain and Syria and all of those other countries?

SK: No, they shouldn't because it's none of their business. That is none of their business as well.

MGA: So what do you propose should happen?

SK: If they intervene in Libya, they should be in Syria, Bahrain and Yemen as well. Do you understand what I mean?

MGA: I don't really. It seems like you're advocating they don't intervene but if they are going to intervene, they should intervene everywhere.

SK: Exactly, the only way they can justify their intervention is to be everywhere. So if they're not everywhere and only in Libya, that makes me ask, why Libya? Do the people of Libya deserve freedom more than the people of Syria? Do the people of Libya deserve democracy more than the people of Bahrain? I don't understand that. They are in Libya for the oil. Nobody should tell you otherwise because I know the west, France, US, Britain, they were all in the United Nations discussing human rights in Africa. They were all in their pocket. They all went in to negotiate how BP can get in there to get some oil. Tony Blair went to Libya to do business. They released the Pan-Am bomber, The Lockerbie they released him so that they can get their oil.

MGA: I agree. Well let's get back to music for a little while. Are there any other musicians or bands playing afrobeat today that you listen to?

SK: Right now, I listen to a lot of reggae right now. I listen to a lot of reggae, I'm not a hip-hop fan anymore, so reggae is my thing right now. Hip-hop is boring.

MGA: Are there any African hip-hop artists you find inspiring?

SK: Just the way I don't think Americans can play afrobeat, I don't think Africans can play hip-hop. If you want to make hip-hop music, go out and make hip-hop music the way it's supposed to be made. If you want to make African music, make African music the way it's supposed to be made.

MGA: That's interesting. What did you think of the FELA! play on broadway and its effect on afrobeat's popularity globally?

SK: It was great for afrobeat. Everyone in the world loves something successful. I think it was successful. It increased the popularity of afrobeat in the US.

MGA: Is it true that you were offered the role of Fela in the play?

SK: Yes I was.

MGA: And you didn't want to do it.

SK: No I didn't want to do it because of my music career, you know? I would have to move to New York to rehearse, to tour with the group, and be there with them. I'd have to put my music on the side.

MGA: People are constantly comparing you to your father and other members of your family. What are some of the ways you feel you're different from your father the most?

SK: I was wondering when this question was going to come up. Well for me I don't try to be different from my dad because that's not my aim. I'm a musician of afrobeat music. I never try to enter into a competition with my dad. I only try to be a good afrobeat musician. We have a different personality too. I feel like your personality plays a big role in your music, it gives it that feeling of my identity which is different from my father's. My father's music has its own personality. I'm looking forward to a world where there are lots of afrobeat bands playing the music correctly with their own personality in the music.

MGA: Does it bother you that every interview you do someone asks you about Fela?

SK: No it doesn't bother me. I get used to it. He's my father, you know. I expect that. Actually, I look forward to it, I think when is this question going to come?

New Single from Superhuman Happiness

2011-06-22T13:28:00.006-04:00

Check out Needles and Pins, the new single from one of my favorite bands, Superhuman Happiness, led by one of my favorite people, Stuart Bogie. You know Stuart from his work with Antibalas, FELA!, The Sway Machinery, TV on the Radio, and a whole bunch of other great music. If this is an introduction to Superhuman Happiness for you, let it be the beginning of a lasting relationship. This is a band on the rise with a unique sound, def check them out.

"Needles & Pins" Superhuman Happiness by Royal Potato Family

Lagos Disco Inferno @ Zebulon This Weekend

2011-06-15T21:41:00.002-04:00

To all those interested in receiving a heavy dose of afro-funk in and around Brooklyn, NY, go to Zebulon this Saturday night to hear Frank Voodoo Funk Gossner kick out some serious jams. To those who are unable to make it to BK this weekend, check out his preview mix to tide you over.

101 Things to Do in Bongolia

2011-06-07T21:00:00.003-04:00

Electric Cowbell Records is an independent record label based in Brooklyn, NY specializing in pressing the freshest new music to 45's. I first heard of Electric Cowbell when label founder Jim Thomson handed me a 45 while I was spinning at Southpaw last summer. "How'd you like a piece of vinyl?" he said as he reached across the turntables. "I'd love one," I responded. He handed me a copy of Think (Pensamiento) by Spanglish Fly backed with Let My People Bugalu and said, "That's what I thought." Not coincidentally, Superhuman Happiness was on the bill that night, the other Electric Cowbell 45 handed to me that night by Stuart Bogie.

"GMYL" | Superhuman Happiness by Calabro Music Media

Both bands are featured on 101 Things to Do in Bongolia, Electric Cowbell's first digital release compilation. Dozens of DJ's across NY could probably recount stories identical to mine. Electric Cowbell is the essence of a grassroots, guerrilla marketing, old-school indy record label. No corporate money to finance PR campaigns, fancy packaging or major distribution. They're an artist-run operation dedicated to putting out good music, plain and simple.

Bands featured on the comp include Bio Ritmo, Debo Band, CSC Funk Band, Amazing Ghost, and several more. This comp gives listeners a taste of some of the best music happening in NY today. It's like a snapshot of a musical family that stretches across genres and styles. Use it as an introduction and dig deeper into any and/or all of the bands that sound good to you. You won't be disappointed.

Interview with Blitz The Ambassador

2011-05-31T15:41:00.009-04:00

Blitz The Ambassador is the epitome of a conscsious hip-hop artist. He describes himself as a combination of Public Enemy, Desmond Tutu and Fela Kuti. Originally from Accra, Ghana, he moved to Brooklyn after studying at Kent State University, and has quickly moved to the forefront of the class of hip-hop musicians hailing from the continent. Blitz manages to keep a foot in both worlds, maintaining a strong African identity while still bridging the gap with American audiences. His latest album, Native Sun, which features guest appearances from Les Nubians and Chuck D, is the latest in his ongoing ascent to the top of the hip-hop world. His short film with the same name is currently available online as well on the film festival circuit. I had the pleasure of speaking with Blitz several weeks ago upon his return from his European tour:

Blitz the Ambassador - Dear Africa ft. Les Nubians by embassymvmt

Free Track from Native Sun

Marc Gabriel Amigone: So you've been touring as of late over in Europe?

Blitz The Ambassador: Yea man I was in Europe for the past month or so mainly France, Germany, Switzerland, but yea man it was a great time getting around playing this music.

MGA: That's great, how was the reception over there?

Blitz: The reception's been awesome, I mean when you're playing music of any kind that people appreciate that's a huge deal for me, so I've been fortunate and lucky enough to be at a point in my career where people want to hear what I have to say so it's a good look.

MGA: Absolutely, was that your first time performing in Europe?

Blitz: No, I've been about three times, this is my forth, and every time I go it gets bigger and better. It's dope.

MGA: How would you compare your reception over there to your reception in the States?

Blitz: Obviously you're playing for people who don't live where hip-hop was born so there's always a greater appreciation, which is to be expected, you know? In America, and especially in New York, people have kind of seen it all. It's much harder to get them hyped about anything. In Europe they're just beginning to find out what hip-hop is so it's much more exciting to them especially with the live band feel, it's bigger and better.

MGA: What's the meaning of your name, Blitz The Ambassador?

Blitz: Well, first the Blitz part is really out of the style that I wanted to have. My style has always been fast-paced something that comes at you hard. That's kind of the name that after I evolved past the rapper and I realized my role in this game is much bigger than just rap I added the ambassador and that's quite obvious coming from Accra, Ghana. Not everybody's up on what's happening outside of America so I found myself in that position all the time having to kind of school people. And vice versa, back home I find myself being the liaison to what's happening outside of Ghana so I found it appropriate to name myself the ambassador putting the two of them together.

MGA: That leads me to my next question, you definitely have a foot in both words. You're an African representing the continent but you're also living in the Western-US world. Do you feel that gives you a unique perspective most people don't have?

Blitz: Absolutely man, more than a perspective it actually gives me an advantage because I'm able to have influences that most regular people don't due to my background of course. I have a new look at hip-hop that most people who grew up here don't. It's kind of like an outsider looking in. I've had a chance to scope it much wider than people who were born in it. When I first integrated here it wasn't much of an advantage because hip-hop was still in a place where it hadn't hit the stalemate where it is right now. As years have gone by, I'm realizing that's my biggest fortune, I'm able to bring something from a new perspective to hip-hop that doesn't exist currently.

MGA: Do you feel like people are opening up to more worldly sounds from different parts of the globe than they had before?

Blitz: Absolutely. It's quite obvious the reason why it is because we kind of hit a point in hip-hop where it's kind of plateaued you know? Things are not that exciting right now, so if there was ever a time where people would be curious, this is the point where they can be curious because there's something they're not up on and it's entertaining enough to be interested in.

MGA: Right and I feel like as a culture we've become more and more open to new things and cultures just because of the internet and all kinds of factors have opened people up to new ideas and things.

Blitz: You don't have to look past Barack Obama, that's the big example to me. A guy who's of African and American ancestry, half and half, ends up being the first black president. It's like the time where if anything international was going to be popular in America, this is the time.

MGA: Do you credit any other artists out there like K'Naan or Bajah that are leading the charge with you from the continent bridging the gap?

Blitz: Absolutely, man, these guys are all people that I know personally and between K'Naan, Bajah, Nneka, these are all people who have been on their grind for many years, and this thing is a movement. For me to make sense, K'Naan has to make sense, Bajah has to make sense, a lot of people have to make sense so it's important that we're all moving and striding, keeping this movement moving forward. I truly believe this is the next step, even if it's not African hip-hop, I believe it will be hip-hop with an international lean to it.

MGA: You can really hear the intentional consciousness in your music. You were talking about the IMF in one of your songs, have you ever heard another rapper reference the International Monetary Fund in one of their rhymes before?

Blitz: I mean, you know, I'm sure many people talk about these issues. These conglomerates exploit different parts of the world, not just the African continent. South Americans and other places, I'm sure if you look into Latin American rappers, the ones who have a message at least, you'll find this content. It's really about bringing this all together under one thing. That's really what this is all about. When I say a movement, I really mean that this thing has to end up congealing into one solid thing that people can put their heads around. That's the next step for us as rappers with international, global consciousness, working in conjunction with one another to fully make sure these subjects we're talking about aren't just a drop in the bucket but are part of a larger conversation people are having. I think it's an important time.

MGA: Right, I wouldn't necessarily call it a movement, but it's definitely a dynamic where the multinational corporations and the multinational organizations like the IMF and the World Bank are all working together on the same page to impose their will and it's up to us to join together to fight back against them.

Blitz: That's important stuff, man. They don't sleep, so why do we sleep?

MGA: Exactly.

Blitz: That's how I look at it.

MGA: There was one rhyme on your album, you liken yourself to a combination of Public Enemy, Fela Kuti and Desmond Tutu. I couldn't think of anyone else who would pick those three iconic images. Could you expand on that a little bit for me? What attributes from each would you say you encompass?

Blitz: Man, from Day One, Public Enemy has been the reason why I started rapping so if you want pure unadulterated hip-hop in its most raw form, you're talking PE. Fela Kuti is the other extreme, you know? He's another guy that's so unapologetic about his ideas while at the same time sonically brought the fire. And then linguistically, there's no better icon of the South African apartheid era besides of course Nelson Mandela, there's no one who's more able to speak on what's going on during those times. Linguistically, that's the Desmond Tutu in me. So it's like sonically those two parts and the vocal part. That's the equation.

MGA: That's powerful, that's three powerful images to combine like that. So tell me a little about the film Native Sun. It's a short film?

Blitz: Yes, it is a short film, we shot it in Ghana and basically it combines what's going on sonically with visuals. When we got to Ghana we tried to capture visuals that would compliment the sonics that people were hearing, so that's how we arrived at this short film.

MGA: So what are you guys trying to do with the film? Are you submitting it to film festivals, how are you putting it out there?

Blitz: Absolutely, it will be on the film circuit, and eventually it will come out as a dvd with the album so that people can see it when they purchase it.

MGA: Do you know of any specific festivals the film will be playing at so people can look for it and go check it out?

Blitz: Currently the only one is the African Film Festival in New York. It just played at BAM, we've submitted to a plethora of other places and we're just waiting to hear from them.

MGA: The thing that always blows me away when I see you perform is you come with a full ensemble with a full horn section. Is there a specific hip-hop band that inspired you to bring that paradigm or are you taking different elements from a few like you talked about before with Afrika 70 and PE and stuff like that.

Blitz: It's definitely a combination of a lot. If you see a PE show, that's what we're bringing, if you see a Roots show, that's what we're bringing, if you see a James Brown show, that's what we're bringing. For me, I'm a student of this, I spend hours dissecting, I watch videos, I watch tapes, I'm constantly focused on how can I make my band better and bigger. The reality is that we don't have a hit record, at least not yet, so when people come see you, you're expecting them to stand around for 35-50 minutes of stuff they don't know, so they have to be presented in the most in your face way and the most punchy way so they at least can't look away because it's stuff they don't know. That's the way the old Motwon cats did it. Those bands, when they put them on the road they made sure the show was impeccable because at the time none of them had a hit record. Your show is really your hit record, you know? So that's what I take it back to, I make sure the stage presence is impeccable and the sound is on point.

MGA: Right, giving people their money's worth when they come see you.

Blitz: That's it.

MGA: That's what's up man, I feel like that's a knock that people have on live hip-hop these days that it's just some cat up there and wit turntables and they've got ten dudes on stage all with microphones and they're not really performing. When you bring the live instrumental presence it really fights against that stereotype.

Blitz: That's it.

MGA: Are there any other hip-hop cats that when you go see you feel like you get your money's worth that are performing these days?

Blitz: Um yea, absolutely, The Roots are always worth the price of admission no matter when and where you see them. I mean it's a lot of the old heads, De la Soul, KRS-One still puts on one of the best live shows ever, I just came off of doing a gig with PE at Central Park Summerstage, impeccable showmanship. These guys are still on that level. At the end of the day they're still unstoppable live. Honestly I can't really name a whole lot of new guys who I can pay money for who I'm fully entertained. One person I can say I saw recently that was beyond my money's worth is Janelle Monae. I would pay extra to see her live, she brings the passion and she's a true artist.

MGA: Yea man, I haven't actually seen her live but a friend of mine saw her and said she was incredible.

Blitz: She is beyond bro, she is what the game needs to be, you know?

MGA: Is this your first or second full-length album?

Blitz: My second.

MGA: Are there any specific goals you have for this record or are you just trying to steadily keep building, and keep getting your message out there.

Blitz: Definitely it's important to make sure there's consistency in the art, but very important to me I hope this album somehow lays down some kind of foundation, some kind of blueprint, for guys like us who are of immigrant background who are trying to forge a way and trying to figure out a way to combine that background with popular music. I hope there's some kind of groundwork for that. I hope this inspires this movement that I'm talking about so we can all get together and join and work together. Those are my goals.

MGA: Are there any African artists out there you feel should be getting a bigger shine, cats you might have listened to growing up like Reggie Rockstone, if you stopped people on the street they wouldn't know who he was, but if you're a fan of African music then that's a big name to you. Are there any other cats like that out there that you wish more people knew about?

Blitz: Yea man, absolutely. There's a guy Wanlov The Kubulor, a guy named HHP from South Africa, another guy named Tumi and The Volume from South Africa who plays with a dope live band, a guy named MI from Nigeria who's super worth checking out. There's a song on my album called Wahala I feature a guy from Mexico named Bocafloja who rhymes in Spanish, a guy names Baloji who rhymes in French, he's from Belize but lives in Belgium, I feature this guy out of Brazil out of Rio, who rhymes in Portuguese, so for me it's all about trying to make sure all these guys have legitimate voices in the game. That's my goal.

MGA: So you're really trying to take the global movement approach.

Blitz: Yes sir.

Native Sun • A short film by Blitz the Ambassador & Terence Nance from MVMT on Vimeo.

Zongo Junction and Turkuaz Summer Tour

2011-05-26T18:52:00.005-04:00

Zongo Junction/Turkuaz Brooklyn Bowl Residency & Summer Tour from Zongo Junction on Vimeo.

Two of the dopest young bands on the Brooklyn scene are hitting the road this summer playing 14 dates across the east coast, Zongo Junction and Turkuaz. Zongo is more inclined towards afrobeat and Turkuaz more towards the funk, so no matter where you come from, your preferences will be met. Definitely check them out:

5/28 - 5/30 - Equinunk, PA - Equinunk Express Festival
6/2 - Philadelphia, PA - The Blockley Pourhouse
6/4 - Washington, DC - The Bayou
6/6 - Brooklyn, NY - Brooklyn Bowl*
6/13- Brooklyn, NY - Brooklyn Bowl *
6/17 - Hardford, CT - Sully's Pub
6/18 - Burlington, VT - Nectar's (w/ Buru Style)
6/20 - Brooklyn, NY - Brooklyn Bowl*
6/27 - Brooklyn, NY - Brooklyn Bowl *
7/7 - Brooklyn, NY - Cameo Gallery
7/8 - Cambridge, MA - The Middle East Downstairs (w/ Love in Stockholm)
7/9 - Worcester, MA - Tammany Hall
7/14 - Hamden, CT - The Space
7/16 - Portland, ME - The Big Easy

&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://zongojunction.bandcamp.com/album/thieves"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Thieves! by Zongo Junction&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

Music Frees All Festival-June 1-3 NYC

2011-05-22T12:05:00.010-04:00

Music Frees All is a concept and saying coined and embraced by Miles Arntzen, one of New York's most promising young musicians. As a drummer, he plays with Superhuman Happiness, Antibalas, and his own band EMEFE. Miles is producing a three-day multiple venue music festival June 1st-3rd in New York to join together as many musicians, dj's and fans of liberating joyful music as possible. I'll be on the 1's and 2's on Friday June 3rd at Drom in the East Village. The details for all three nights of the festival are as follows:

June 1 – Southpaw – Opening Night  w/ Turkuaz, Melanie Charles & the Journey, Top Shotta, and Super Osei & Money Jungle  feat. DJ Cool Hand Luke  18+, $5, 7:30 doors, 8pm show
The kickoff show with hip hop, soul, reggae and funk to set the mood and celebrate the music.
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June 2 – Public Assembly - Horns Take Over w/ Ikebe Shakedown, Gato Loco, Brooklyn Soul Survivors, and Underground System Afrobeat  feat. DJ Petra  19+, $10, 7:30 doors, 8pm show
Night 2 brought to you by four powerful bands and four powerful horn sections.
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June 3 – Drom – A Benefit for Scotty Hard  feat. Mago (John Medeski/Billy Martin), EMEFE, Ben Perowsky’s Moodswing Orchestra, Mokaad, Nyle x Naysayers, DJ Afro-Marc and more TBA  18+, $10, 7:30 doors, 8pm show 
The Music Frees All festival concludes with a special night on June 3rd at Drom for producer Scott Harding aka Scotty Hard. Proceeds will go directly to the Scotty Hard Trust.

I interviewed Miles a couple weeks ago about his inspiration for the festival, the goings on of his music career, and a few other topics that came up in conversation:

Marc Gabriel Amigone: So how did you come up with the idea for the festival? Is this something you've been wanting to do for a while?

Miles Arntzen: I hadn't had the idea to put a festival together pretty much ever until this one day, I wanted to bring together all these bands that I love and I know a lot of other people love and that are doing really great things for live music. And wanted to bring them all together for a few nights. Thats really it, I called it a festival. I have this idea of Music Frees All which is all about playing music for the cathartic side of it, the side of music that releases you from anything that's bringing you down for that particular moment. I first experienced that with afrobeat music and that's what turned me on to this whole idea, a lot of other types of music do the same thing, but anyways I just wanted to bring together a bunch of bands who fit that mold.

MGA: Word up, so it's a benefit festival as well right?

MA: Yea the third night of the festival, on June 3rd is going to be a benefit for Scott Harding, who is an old friend of my dad, so through my dad he's basically been a part of my family. He's an amazing producer and engineer. He was partially paralyzed in a car crash a few years ago. Since then a bunch of his friends, he knows so many people in the music industry who have played on records he produced or just friends of his, there's just so many people that know him that have been coming together over the last few years to help raise money and keep the support going and so I thought that this would be a perfect opportunity to do that.

MGA: So he's got a foundation?

MA: Yea his close network of friends set up the Scotty Hard Trust which is a website where you can go straight in and donate money or help plan an event or anything like that. The website is scottyhardtrust.org. Basically its just his close friends keeping track of him getting the support that he needs because something like that is such a drastic change of life style that he really needs people around him to help out. And luckily he has a lot of amazing people around him to help out, so that's what the Scotty Hard Trust is.

MGA: That's really cool. Who are some of the musicians with whom he's worked?

MA: That I know of, Antibalas, Wu-Tang Clan…I need to do my research a little, he's done a lot of underground hip-hop, Sex Mob, Medeski Martin and Wood, Charlie Hunter, DJ Logic, just this whole circle of people, Michael Blake is another one.

MGA: So he's still doing his thing musically? He's still able to work and produce and stuff?

MA: Yea, it's obviously been hard for him, but he has kept working. Since the accident he's gotten a studio together and adapted to his new situation. It's really inspiring because his spirits are so high and he's such a positive person that he's such an inspiration to all of us to keep doing what you love no matter the obstacles.

MGA: That's really awesome that he keeps moving forward like that. So tell me a little more about what you're up to these days, you were just down in Miami with Antibalas this past weekend?

MA: Yea I was in Miami with Antibalas on Saturday night. Playing with them just keeps getting better and better for me just because I'm such a huge fan of them and I love playing that music so much. That was an amazing show.

MGA: What was the show? It was part of a festival or something?

MA: The Antibalas show was part of the Heineken Trans-Atlantic Music Festival or something like that. And it was at a bandshell on North Beach, with one opening act and then Antibalas played a long set. The weather was beautiful. With those guys…they're one of the reasons why I'm getting all this together just because of their whole group of friends and musicians that play together to me is really inspiring. Just the fact that there are so many people in their circle that make music, as a side note the music they make happens to be the best music out there.

MGA: Yea I totally agree with that. But I think that whole Daptone, Brooklyn, whatever you wanna call it family, definitely ascribes to that mentality of Music Frees All, and is in it for the right reasons for that cathartic release.

MA: Yea what they have is so great and I want to create that with not necessarily a specific group of people but just to keep that feeling going of having a circle of people that have each other's backs and at this festival cross contamination with each other's bands is highly encouraged, someone playing with one band and jumping in with another, just getting the whole feeling of community is really important and something that really sustains for a long time.

MGA: How did you start playing with Antibalas? Was that through your relationship with Stuart?

MA: Well, with Antibalas it's kind of a full-circle story. There was a benefit for Scott a couple years ago at The Highline Ballroom where there was a ton of amazing musicians where I went with my parents because he's a friend, and my dad who plays trumpet sat in a little bit, so I was just watching. Antibalas was the very last band to play at 1am or something. I wanted to leave but I couldn't find my dad because he was off backstage or something, so I just ended up staying and watching. And that was the first time I heard afrobeat or Antibalas and that night it was just like BOOM, something got in me, from that day on, I listened to them all the time, I checked out Fela, so if it wasn't for Scott I wouldn't have even known who Antibalas was and then a few years later I got in touch with Stuart Bogie of Antibalas as well as Victor [Axelrod] separately and kind of told them about how much I love their music and basically started meeting up with Stuart a lot to play in my basement and also met up with Victor here and there and started becoming friends with them and simultaneously learning all about the music. Stuart kind of became a mentor of mine and teacher and then I started playing with his band, Superhuman Happiness, then eventually Antibalas needed a sub and Victor contacted me. And they saw how much I listened to their music and how much I listened to Fela's music and how consumed I was with it so I think that's what made it a good fit.

MGA: Did you study with Victor at The New School? You go to the New School right?

MA: No, I go to NYU.

MGA: Oh word. So you didn't study with Victor and Aaron Johnson's afrobeat ensemble at the new school or anything.

MA: Yea I did actually sit in once and watched him teach that class, just because I would meet up with him weekly just to talk about stuff, and I did sit in on that class, but no I didn't formally take lessons with any of them, it was purely just on our own time.

MGA: Yea the night we first met at Southpaw last summer I think Stuart was telling me you guys met through Facebook or something. Is that how you first reached out to him?

MA: Yea after I saw the FELA! show on broadway I messaged Stuart on Facebook and that was our mode of communication for trying to find time to meet up for dinner or something.

MGA: I think that just speaks to Stuart's personality, he's one of the most open-minded chill dudes. You can just straight up be a fan and just hit him up and he's totally open to it. Not that many musicians in the world, but especially New York where people tend to have really big egos and would let that get in the way of that sort of thing. I just think that's such a telling story that you guys just met from being around each other and then eventually you're playing together. Not everyone would be so open to that experience, you know?

MA: Oh yea, I know. I owe so much to Stuart after only knowing him for only a couple years, I feel like I've known him for so long. He's really taken me and introduced me to so many people. It's because of him I'm playing in Antibalas and meeting a lot of other people, doing sessions, it's true he's a great guy. You can't really say anything else. I'm really grateful to know him.

MGA: That's really cool, man. So what are you doing with Emefe these days? You guys put out your first full length album Music Frees All like six months ago or something like that?

MA: Yea, we put out Music Frees All, the first record, also we put out another EP called the Europe EP, we basically have been playing as much as possible the last few months, trying to spread our music to as many people as much as possible and build up a fanbase which has definitely helped us out a lot. I think the next step for us is to move out of New York a little bit and start playing in Boston and Connecticut and Philly. We're pretty soon going to be honing in on our new songs. I really think we'd like to record a new album on an indy label or something like that. For me Emefe is a really amazing thing to write songs for, play amazing shows, it's actually because everyone in the band is so in love with playing in it. It's not just some band where I take every gig and I get all these subs to come in just so I can play my music. That's not really the situation. It's more like we actually have this tight knit group of eleven people and everybody is at every show. And everybody is totally committed and its becoming a brotherhood. I couldn't be happier about it because I'm all about that.

MGA: That's really exciting. I've seen that dynamic play out in a lot different ways in a lot of the different afrobeat bands I'm friends with, because it's just so hard to keep such a big group of people together. That's really cool you guys have such a good thing going.

MA: I owe so much to the guys, they make it so easy for me.

MGA: How do you all know each other? Do you all go to NYU?

MA: Half of them I know through NYU and half I have been playing with my whole life basically. Me and the bass player have been playing together in a lot of different bands forever. A couple of guys like that. But yea it's kind of half and half. It's kind of putting together musicians from my past and my present. That's what exciting about it for me I could put tougher these two sides of my career as a musician and luckily they all get along.

MGA: So you're saying you're trying to get out of New York a little bit and spread the music around and what not?

MA: Yea, little by little we're seeing opportunities to come and play, and other colleges want us to come up there. We had a really successful weekend in Boston recently, and we're gonna possibly go down to Florida this summer. We have stuff in Chicago down the line. I just want to spread the word, spread the vibes around. I just want to bring our amazing show that we have here in New York, I want that to happen everywhere, every night of the week.

MGA: That's dope man, I definitely hear the passion in your sound. You guys really have that youth, that youthful energy and that's something you really have to hold on to and stuff. I don't mean to be cynical, but I've seen other bands start out like that and then lose their stride. You can hear that in the music when a band is passionate and energetic, it comes through on the records for sure.

MA: You have to be energetic and passionate. In my eyes you have to let other people into that. Include the audience in that feeling. There are a lot of great bands who play a lot of great music, but they kind of have an attitude like you know, when they're playing on stage and then you can hear that, like they're not letting it go too much. The way I like to do things is to let it all out there every time, include the audience in it, creating a unified feeling in the room get everyone on the same wavelength on the same page and its all kind of swirling together. I always try to get that when I play. That's definitely something playing with Stuart has taught me and Antibalas has taught me and playing with Superhuman Happiness and I took that and wanted Emefe to get that same feeling, where you're out of breath, and you just say let's keep doin it, I don't want to stop.

MGA: I think that's an afrobeat thing. When you're at a live afrobeat show, there's so many musicians in one room and there's so many elements where the rhythm section meets the horns and it's such a unique genre like that. That's the way it was designed. When Fela invented afrobeat he created it in order to make people just go nuts and unleash this frenzy in the shrine or wherever he was playing. Whenever someone really does it, because not everyone can really pull it off, but whenever someone unleashes that energy in a room its so evident. You can really feel it.

MA: You know Fela was making music for more serious of a cause. He wasn't lying when he said Music is a Weapon because he was making music to help deal with all the pain they were going through where they were in Nigeria in Africa in that time. He made his music to have a release from that and also fight it. That can't be forgotten either. There's still that spirit of getting together to fight and unite.

MGA: Absolutely, so before we wrap up, tell me a bit about the bands you've got going in the festival, you've got Mokaad, a seriously nasty funk band, your band, Emefe, who are some of the other cats you want to shout out a bit.

MA: Well on Friday night at Drom I'm excited to have John Medeski and Billy Martin playing, Billy Martin is another person who I've learned a lot from. They go way back with Scott so I'm excited to have them playing. As well as Nyle, the rapper who's a friend of mine. As well as DJ Afro-Marc, cutting it up all night.

MGA: Haha yea I'm pumped for that.

MA: And then the other nights we have some awesome bands including Ikebe Shakedown, Turkuaz, Gato Loco, Melanie Charles and The Journey, just a bunch of different bands, differing in genre here and there. Just all musicians that are making great music.

MGA: Yea, it's a really dope lineup. I'm looking forward to feeling the energy in the room because like you said it's not all just afrobeat, so as the dj I'm looking forward to playing with the energy between all the different acts throwing a lot of different stuff out there and seeing how it sticks.

MA: It's going to be a really special night. I only have the resources that I have, I mean it's not going to be Bonnaroo or Coachella but it's definitely a start and I want to make it something that people depend on every year to not pay that much for tickets and see the same energy shows that they would at some big name festival if not more energy or more connection to the people that are playing. So I think it's going to be a really special few days.

MGA: Word up, well thanks so much for asking me to be involved I'm really looking forward to it. I'm going to do my best to bring some people out, and it's going to be a really good time that's for sure.

Fokn Bois

2011-05-21T14:15:00.005-04:00

M3NSA and Wanlov the Kubolor are two of the baddest mc's on the planet in their own right, but when they combine forces to become The FOKN Bois, they are downright unstoppable. Their new album out on Akwaaba Music is an innovative collaboration influenced by their journey through Eastern Europe. If you've ever wondered what Eastern European club music combined with Ghanain hiplife would sound like, this is your chance to find out:

&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://foknbois.bandcamp.com/album/the-fokn-dunaquest-in-budapest"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;The FOKN DunaQuest in Budapest by FOKN Bois&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

Preview Mix from Osunlade

2011-05-17T10:33:00.009-04:00

I've never heard anything like hearing Osunlade spin. He is a god among DJ's. Dig this mix...many thanks to Underdog The DJ for the look.

Pyrography by Osunlade

DJ Logic remixes Sierra Leone's Refugee All-Stars

2011-05-17T09:50:00.003-04:00

If you dug Sierra Leone's Refugee All-Stars album Rise and Shine, I'm willing to bet you'll dig this as well. DJ Logic, one of the world's preeminent beatmakers, has lended his talents to a remix project collaborating with the All-Stars on an EP of dubbed out reinterpretations of their amazingly soulful album, out May 10, 2011 on Cumbancha Records. Preview the tracks here and then pick up a copy if you like:
Rise & Shine Remixes by Sierra Leone's Refugee All Stars

Free Single from VFT

2011-05-11T19:54:00.000-04:00

In advance of Vieux Farka Toure's upcoming album, The Secret out May 24, 2011 on Six Degrees Records, check out Aigna, the first single featuring Derek Trucks. The budding guitar hero kicks off a tour across the western US this Friday. If you haven't seen him live before, definitely take advantage of the opportunity.

&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://sixdegreesrecords.bandcamp.com/album/the-secret-may-24th"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;The Secret (May 24th) by Six Degrees Records&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

Happy Mother's Day from The Very Best

2011-05-09T20:39:00.004-04:00

To all the mothers and their children in the world who love good music that will make you dance, dig this.
04 The Very Best feat Moroka - Ndekha by Ragged Words

Interview with Orchestre Poly-Rythmo

2011-05-04T21:51:00.007-04:00

Orchestre Poly Rythmo de Cotonou are some of the most influential and virtuosic African musicians ever to play a note. Similar to the Rail Band of Mali and Afrika 70 of Nigeria, OPR were superstars in their home of Benin and throughout West Africa in the 1970's. After Analog Africa put out two compilation albums in 2008 and 2009, the band was re-introduced to the world and their popularity sky-rocketed as more and more African music fans discovered their hypnotic sound. I had the honor of speaking with founding member Vincent Ahehehinnou and producer Elodie Maillot several weeks ago about their new record Cotonou Club, which recently came out on Strut Records, as well as a range of other topics. Our convo got cut a little short, but we managed to fit plenty in:

Orchestre Poly-Rythmo - Pardon by Strut

Elodie Maillot: Hello Marc!

MGA: Hi how are you?

Elodie: We're good, where are you calling from?

MGA: I'm in NY.

Elodie: Oh ok.

MGA: And you guys, where are you? In Benin or somewhere else?

Elodie: No, we're in London we're about to go to Paris. We have a big show over there.

MGA: That's great, let's get started then. My first question is who are some of the musicians to whom you listened and who inspired you the most to create your own sound?

Elodie: American musicians, French musicians, African musicians?

MGA: Any of those.

Vincent Ahehehinnou: Of course Fela, also Congolese music and James Brown and other American musicians.

MGA: Who are some of the other American musicians besides James Brown?

Vincent: Wilson Pickett, Aretha Franklin, Ray Charles, Elvis Presley so many…all of those people who were so successful in those years.

MGA: And some of the other African musicians, besides Fela?

Vincent: Fela and Franco from Congo mainly.

MGA: Vodun is such a major source of your sound. When one listens to your music which elements specifically could one hear which are taken from Vodun?

Vincent: We take Vodun rhythms and modernize them, we don't really take Vodun rhythms because they're traditional rhythms, we use elements of them and modernize them. If we want to do traditional Vodun rhythms, we need huge drums and some outfits, some clothes, so it's not possible to record these, so we take from it and to mix it with other influences.

MGA: Right, I understand. Since 2008, when the first compilation album was released on Analog Africa, how has your life changed since your music has been re-introduced to a contemporary international audience?

Vincent: It has changed significantly because in the beginning when people came to look for our records in Contonou, we were surprised we didn't really know what they were looking for. Some people came to buy the record and make a compilation, we didn't believe in it. We thought they'd take the cash and run away with it, get a little bit of money. We didn't think it would bring other things to us. The real change was when we came to Europe and were able to perform there. When we met Maillot we were surprised that people had heard our music before from the compilation.

MGA: Yea when that record came out it mad a big impression on a lot of people. And I'd imagine it was a really big event back in Benin as well to have the international music community take notice of something that had been going on locally for so long.

Vincent: For us it was a big big emotion especially for our generation and see old guys like us. Some people even cried when we told them we're traveling through Europe. We thought our time was finished. I think that has really changed. People look at us so much differently.

MGA: That's great. So since the band last recorded together, how much time has passed between then and now with the new record coming out on Strut?

Elodie: 25 years.

MGA: Wow, so how did the project come about? Did Strut approach the band or did the band approach the label?

Elodie: Actually I'm the producer. Strut is distributing the record in the US and Europe.

MGA: Oh ok, so did you approach the band?

Elodie: Well, yes, it's kind of a long story actually. I was a radio producer in France and I went to Benin to produce some radio shows in 2007. I knew the band from the record library at Radio France where we have about 1,000,000 records, so when I travelled I always listened. So I became a fan of the band and I thought if I go do some interviews and some work I could meet the orchestra. So when I started to ask some people, they told me no, they're dead, they're not playing anymore, you're not going to find them again. Then I find them when they were playing at the national independence day. I tried to record them live but the sound was really rough. I interviewed them, and they saw how much I love the band. So they told me, you help us, you help us travel and play in Europe, because we've never done this, not even one day outside Africa. I told them I don't think I can help them because I'm just a journalist. But they said yea but you can do it. You have to promise us, you can help us travel and make a good show. And then they keep on calling me, and then a few months later and I interviewed Franz Ferdinand, and we started to talk about African music and they told me Orchestre Poly-Rhythmo they signed a deal to put out a compilation with Luaka Bop, and how much they love the band and their dream is to play with them. They keep on calling me, to help them. On the other hand I saw there is an interest for musicians to play with them, and I wrote an article in a magazine in France for a jazz festival and I talked to them and they said they we are ready to program the festival and bring the band if you can manage to bring them which was a big long story because people wouldn't believe they're still alive and playing good. There's no record, just old compilations so there's no proof they're still alive and playing good. So I realized in order to find shows for them, I'd have to start producing an album. Financially, I had a car accident so I got some money from the insurance, and that's how it all started.

MGA: Well, that's an interesting story, the world will definitely thank you for your efforts. As soon as the compilations came out on Analog Africa the demand and popularity of the band sky-rocketed. I didn't even know who they were before the compilations came out and I'm a huge fan of African music. I've listened to the album and it's really great. What do you think is different about the new album, what can someone expect to hear in this album that will distinguish it from their previous work?

Elodie: You want me to ask Vincent?

MGA: I'd be interested in your opinion as well as Vincent's.

Elodie: Ok well in my opinion, the idea was to keep the energy and sound that is not always perfect and sometimes a bit funky, which is the great energy the band has. So the idea was to capture the same energy and to reach a certain level of quality of song which can reach radio stations and achieve a little more clean sound, not to change the song at all, to respect the song, but to embellish it a little bit because of the means. That was the idea. It's a real journey for us. You want me to ask him?

MGA: Yes Please.

Vincent: Well today, we're convinced there's no other album we can do. This is our best album because when we released a record in the 70's we did them very quickly, and our producer was just releasing it very local on vinyl, but this time we're making an album that can reach such an international audience which will be distributed worldwide on the same day. It's a real gift from god. It's very exciting for us to penetrate the rest of the world.

MGA: Do you think the popularity of African music has grown over the last several years?

Vincent: Yes, not only African music but all music. Which is what we realize and we're so happy about it.

MGA: You mentioned it a little earlier, but how has your music been received on your first European tour and your more recent tour dates?

Vincent: We had a warm welcome wherever we went. The music is perceived in a totally different way than in Benin. From country to country, but it's always really warm. People are clapping, people are standing, something people don't really do in Africa.

MGA: How does the reception vary between Europe and Africa?

Vincent: It's a very big difference because in Africa if you really play good, people don't really clap for you. In Europe, people really clap though. So when people really clap you can't disappoint people.

MGA: Does the band plan to tour The US and Canada?

Elodie: Yes in the summer.

MGA: Awesome, I hope to catch you guys.

Elodie: Yes it depends on the album, hopefully it will go well.

MGA: How does it make you feel to have your music compared to Fela Kuti.

Vincent: Fela is the greatest. We cannot be compared to Fela. We really respect him and his memory. We cannot really be compared to him, he is too big for us.

MGA: Really too big?

Vincent: Of course. Because of his political involvement, and also the way he stands on stage.

MGA: Did you ever see him perform live?

Vincent: Of course, we used to record in the same studio in Lagos. And the best tribute we could do we covered one of his songs at a big festival in 77 in front of 10,000 people. We played Lady. He saw us on TV and he came to the national arena. So its's important for us to give people tribute.

MGA: How did the dictatorship of Mathieu Kerekou effect the band and its ability to function?

Vincent: He really stopped people from going out. So there's no music without and audience. He put a curfew at 11 o'clock so it killed all the nightclubs. Some bars tried to play music in the night and some people got arrested

Les Nubians' New Album Drops Today

2011-04-19T19:56:00.004-04:00

Nu Revolution, the new album from Afro-Parisian chanteuses Les Nubians, drops today from Shanachie Entertainment. Les Nubians blend an array of soulful afrocentric elements to create a truly unique sound. Singing in French and English, mixing various African elements with neo-soul, jazz, funk, and afrobeat this album is definitely in a genre all its own. The sisters sing of a Nu Revolution, bringing love to the forefront of society in place of war and negativity.

Les Nubians are touring the US kicking things off Thursday in Philly. They'll be performing material from their new album and spreading their positive message of love and empowerment ten cities from coast to coast. Definitely check them out when they come near you.

April
21- Philadelphia, PA @ Kimmel Center for Performing Arts
29- New York, NY @ BB Kings

May
11- Cleveland, OH @ Beachland Ballroom
12- Minneapolis, MN @ Dakota Jazz Club
13- Minneapolis, MN @ Dakota Jazz Club
14- Chicago, IL @ The Shrine
17- Seattle, WA @ The Triple Door
18- Seattle, WA @ The Triple Door
19- San Francisco, CA @ Yoshi’s (2 shows)
20- San Francisco, CA @ Yoshi’s (2 shows)
21- Los Angeles, CA @ Conga Room
22- San Diego, CA @ Anthology
24- Santa Cruz, CA @ Kuumbwa Jazz Center (2 shows)

In the meantime, check out this dope new video for Afrodance:

Les Nubians - Afrodance from Nice Dissolve on Vimeo.

New Single from The People's Champs

2011-04-19T13:55:00.004-04:00

Dig the new single, Family, from Brooklyn based afro-funk ensemble The People's Champs. They'll be throwin down for their EP Release Party May 6th at Piano's. Dig the single until the EP drops.

&amp;amp;amp;lt;a href="http://peopleschampsnyc.bandcamp.com/album/peoples-champs-ep"&amp;amp;amp;gt;People's Champs EP by People's Champs&amp;amp;amp;lt;/a&amp;amp;amp;gt;

Tony Allen in Toronto this Friday Night

2011-04-12T22:11:00.005-04:00

Without Tony Allen, there would be no afrobeat. While, I certainly believe that to be the case, Fela Anikulapo Kuti once said the same thing. The legendary drummer and African musical icon is touring N. America starting tomorrow night at LPR in New York and continuing on in Toronto Friday night at the Phoenix Theater presented by Small World Music. If you can catch him when he comes to a city near you, definitely take advantage of the opportunity. In the meantime, check out an interview I did with him last year:

MGA: My first question is you’re about to embark on a N. American Tour, are there any dates about which you’re particularly excited?

Tony Allen: No, not really.

MGA: So you’re excited about the whole tour?

Tony Allen: I’ll be coming to NY, and Toronto, and then I go back through the states and do the rest of my shows in the states.

MGA: I heard you’re going to be on Jimmy Fallon with The Roots and ?uestlove?

Tony Allen: Yes, in New York.

MGA: Do you have a relationship with ?uestlove or the Roots? Have you played with them before?

Tony Allen: I’ve never played with them before, but I’ve seen them play. You know,` so now we’re going to be working on the same program.

MGA: And you like The Roots?

Tony Allen: Oh yes, ?uestlove is a drummer himself too, so…

MGA: Right. So on your new album, Secret Agent, I’ve been listening to it a lot recently. How would you describe the direction you’re taking your music on your new album?

Tony Allen: Direction? It’s afrobeat I’m playing, you know? And I like different styles of afrobeat. It just comes from evolution.

MGA: Cool, cool. So throughout your career, I’ve heard a lot of your albums, you’ve been doing it for a long time. You’ve always demonstrated openness to new ideas, new sounds and instruments. For instance on Secret Agent you feature an accordion, which is not traditionally seen as an “afrobeat instrument” per se. Could you describe you the way that new sounds inspire you and the process by which you incorporate them into your music?

Tony Allen: Well, you know, it’s music. It’s not the instrument, the instrument doesn’t play itself anyway, you know? The point is the music of the instrument, whichever instrument I put in my music. It’s the sound, it’s soundwise, you know? It’s not a question of which instrument I use, it’s what I compose.

MGA: So if a sound catches your ear, it doesn’t matter what it is, you just want to put it into your music.

Tony Allen: Exactly.

MGA: Cool. So how would you describe how your music has developed and evolved from your first solo album, NEPA, to now, with Secret Agent.

Tony Allen: Ah, I will not try to explain it, I’ve done enough explaining. I’ve done NEPA, I’ve done Afrobeat Express, I’ve done Black Voices, I’ve done Psycho on The Bus, I’ve done Homecooking, Lagos No Shaking, and this one. Every one has its direction, but its still afrobeat.

MGA: One of the most famous quotes that’s most often associated with your name is from Fela Kuti, who said, ‘Without Tony Allen, there would be no afrobeat.’ Could you elaborate on that a bit, and explain how you contributed to afrobeat’s creation?

Tony Allen: Well, that is something that people are not supposed to be saying that, people that have been watching me, people that spoke with me. I’m just doing my job. I’m doing my job, and I’m creating. I like to be creating all the time because I can’t just keep playing the same shit all the time, you know? I have to create something else, whether people are going to take it or not, I’m just going to be moving forward, you know? That’s all.

MGA: What musicians or musical styles were you and Fela listening to when you were coming of age in Nigeria?

Tony Allen: I was playing my music before I met Fela, you know? There is a lot of music in the country, all different types of music. Jazz, waltz, two-step, tango, whatever, highlife, before I met Fela. Then when I met Fela, he said ‘ok, stop playing all those other styles’ and dictating.

MGA: Right, and do your own thing.

Tony Allen: Right.

MGA: So who are you listening to right now that’s inspiring, what are you listening to these days that you find interesting?

Tony Allen: Right now, I’m working with my band, I just finished our latest album, and now we’re taking things on the road, so that’s what I’m concentrating on now.

MGA: Cool, so what other bands or musicians within the genre of afrobeat do you find interesting or inspiring?

Tony Allen: Ah well, there’s a lot of them. Everybody’s doing their own style, so as long as they have the afrobeat, it’s cool. I don’t want to commit myself for anything. They’re all good.

MGA: You don’t want to single anybody out since there’s so many out there?

Tony Allen: No, I don’t.

MGA: What is your take on the Antibals-Bill T. Jones FELA! Production currently running on Broadway in New York?

Tony Allen: It’s afrobeat, so it’s cool. I’ve said before I would not comment.

MGA: Have you noticed any increased interest from the mainstream culture due to the popularity of the play?

Tony Allen: No.

MGA: Really, you haven’t noticed any increased interest?

Tony Allen: Well, when I said I wouldn’t comment, it means that… well you know there’s positive side of things. I can’t analyze everything, but it’s very good to expose afrobeat to people that never know what afrobeat is. I know there’s a positive side of things there, and I just hope it expresses enough to make more spring up.

MGA: Right, right. So in what direction do you see afrobeat evolving as more and more musicians take up afrobeat? Do you think the electronic side of things will take the lead with artists like Wunmi is going to grow, or do you think on the instrumental side of things?

Tony Allen: Well, it’s ok, I just know that afrobeat is music that has to be played by human beings together. I’ve experimented with electronics in my music but not taking out the drums that’s supposed to be played with it, so it depends on what everybody likes, you know? That’s why I don’t like to criticize what everybody’s else is playing. I just know what I’m playing.

MGA: Are there any goals or things you’d like to accomplish by the end of your career?

Tony Allen: The point is I look forward, I look forward. I never preview nothing, with my music. The day I decide, the day is there. If I decide I like something then I do it. There is a song on Secret Agent called Celebration.

MGA: Right, Celebrate Your Life, that’s a great song.

Tony Allen: Celebrate means celebrate everything, not just Christmas, or marriage, or anything it means celebrate all the time. Why should we not celebrate every day? Every day. You see, because every time you can go to sleep and wake up the next day, that’s something to celebrate. Because whatever you do is whatever you do. Simple as that.

MGA: Yea man, I agree 100%.

Tony Allen: Haha, you agree 100%?

MGA: Absolutely. I agree, I think every day should be a celebration.

Tony Allen: Absolutely, that’s the way I look at my life.

MGA: One last question. Your album Psycho On The Bus, I’ve always thought of as the quintessential afro-dub album. Were there any particular dub artists that inspired you to make that album?

Tony Allen: No it was a collaboration. It’s music. It’s afrobeat with a certain production style. You know, I have other things to think about.

Hammock House 'Africa Caribe'

2011-04-11T19:42:00.004-04:00

What do you get when you take classic cuts of Fania Records' glory days and hand them over to Joe Claussell, one of the dopest Nuyorican house producers alive? Africa Caribe, the new compilation of remixes out May 17, 2011 on Fania Records. This album is extremely danceable, featuring remixes of Fania greats such as Lou Perez, Celia Cruz, Eddie Palmieri, Mongo Santamaria, and Ray Barretto. Dig Claussell's remix of Santamaria's jam Mambo Mongo:

Club D'Elf-Electric Morocco Land Tour

2011-04-07T21:58:00.008-04:00

If you dig deep, entrancing songs, dig this: Electric Morocco Land, the new album from Club D'Elf, the Boston-based ensemble led by Mike Rivard. Featuring Moroccan rhythms, instruments, and musicians, Club D'Elf is a revolving cast of musicians including John Medeski and DJ Logic. Electric Moroccoland includes everything from deep, downtempo trance to danceable groove-laden funk. Rivard, a bassist by trade, was first turned on to traditional Moroccan Gnawan music while studying at The Berklee School of Music. He eventually learned to play the sintir, and fell in love with the music. Club D'Elf has since earned a reputation as an original and signature voice in the Boston music scene. They're touring the Northeast starting tomorrow night at World Cafe in Philly. Def check em out when they come near you:

04/21/2011, Thu Portland, ME Port City Music Hall, 504 Congress St. Tix: $10 adv/$15 door/$28 VIP, Doors Open: 8:00 pm, Show: 9:00 pm with John Medeski. Ph: 207.899.4990

04/22/2011, Fri Cambridge, MA Lizard Lounge, 1667 Mass Ave. Tix: $15 adv/$17 door, Doors Open: 7:00 pm, Show: 8:00 pm with John Medeski. Ph: 617.547.0759

04/23/2011, Sat Newmarket, NH Stone Church, 5 Granite St. Tix: $8 adv./$10 door, Doors Open: 7:00 pm, Show: 9:00 pm with Dave Tronzo. Ph: 603.659.0878

04/30/2011, Sat Cambridge, MA Mimouna Festvial @ Harvard University, Northwest Labs Bldg, Harvard University 52 Oxford St Tix: $30 Adv./$40 Door/$20 Student, Doors Open: 9:00 pm, Show: 10:15 pm Ph: 617.531.4610.

Shotnez-New Collaboration from Members of BBB

2011-04-04T21:32:00.002-04:00

Shotnez, the new album/side project featuring members of Balkan Beat Box, is out tomorrow on JDub Records. This album takes the inventive production style and unmistakable energy of BBB and combines them with industrial sounding elements of crime-Jazz and trash rock. Check out the first single, Stolen Goods. If you like what you hear, dig the whole album tomorrow.

Dear Africa

2011-03-31T19:40:00.006-04:00

Blitz The Ambassador is one of the most inventive hip-hop artists on the planet. Coming originally from Accra, Ghana by way of Brooklyn, NY, Blitz has a consciousness that spans continents and cultures. Native Sun, his new album out May 3, 2011 on Embassy MVMT Records, is a portal into his soul capturing the essence of who he is and from where he comes. The first single to drop, Dear Africa, is a letter to the motherland featuring Les Nubians. I'll be delving much deeper into this album and Blitz as an artist in the near future. In the meantime, dig this track and do what you gotta to catch Blitz on his spring tour:

Blitz the Ambassador - Dear Africa ft. Les Nubians by embassymvmt

4/1/2011 Ferme du Buisson Marne la VallÃ©e, France
4/2/2011 106 ROUEN, France
4/6/2011 LE CARGO CAEN, France
4/7/2011 LA SIRENE LA ROCHELLE, France
4/8/2011 GAROROCK FEST MARMANDE, France
4/9/2011 Le Transbordeur / ORIGINAL FEST LYON, France
4/10/2011 Cabaret AlÃ©atoire MARSEILLE, France
4/13/2011 LUNE des PIRATES AMIENS, France
4/14/2011 LE TAMANOIR GENEVILLER, France
4/15/2011 LE HANGAR IVRY, France
4/16/2011 SUPREMASSY FEST MASSY, France
4/19/2011 L'ATELIER CLUSES, France
4/20/2011 Bahnhof Ehrenfeld Cologne, Germany
4/21/2011 Cafe Nelson Mannheim, Germany
4/22/2011 EXIL ZURICH, Switzerland
4/23/2011 PRINTEMPS FEST 22 EST D'AURON / BOURGES, France
4/28/2011 La Pena Oakland
4/29/2011 Stanford University Stanford
4/30/2011 Kimmel Center Philadelphia
5/4/2011 SOBS New York
5/5/2011 TBC Washington
5/11/2011 Beachland Ballroom (w. Les Nubians) Cleveland
5/12/2011 Dakota Jazz Club (w. Les Nubians) Minneapolis
5/13/2011 Dakota Jazz Club (w. Les Nubians) Minneapolis
5/14/2011 The Shrine (w. Les Nubians) Chicago

Africa Undone

2011-03-30T10:45:00.007-04:00

If you read my blog, you know damn well you should download this mixtape immediately. If not, DJ Underdog is an incredibly gifted curator of afro-love doled out on free mixtapes with the support of The Lunchbox Theory on a regular basis. This is his/their latest. Dig it.

&amp;amp;amp;lt;a href="http://lunchboxtheory.bandcamp.com/album/frica-undone"&amp;amp;amp;gt;▲FRICA UnDONE ▊▊▉▇ ▆ ▅ ▄ ▄ ▂ ▁ by Lunchbox Theory&amp;amp;amp;lt;/a&amp;amp;amp;gt;

New Remix from DJ Underdog

2011-03-28T19:51:00.004-04:00

Troy (dj underdog refix) — Bobo ft Wunmi & Lijadu Sisters in rehearsal by DJ Underdog
Dig this new remix from DC's dopest beatmaker, DJ Underdog.

Album Review: The Liberators-The Liberators

2011-03-22T22:27:00.001-04:00

As the afrobeat wave continues to crest, more and more bands are tapping into the power of the afro-groove from every corner of the globe. The Liberators, an afrobeat band out of Sydney, Australia whose self-titled debut album came out March 14, 2011 on Record Kicks Records, is the latest addition to the global afro-repertoire.

This album is about as good as any afrobeat record I've heard in a long time. The production quality is extremely high throughout the record. They've mastered the delicate balance of guitars and percussion that make up the rhythmic afrobeat backdrop over which their horn section careens and cuts. Several vocalists appear on the record, including Afro-Legend Jojo Kuo, Roxie Ray, and Afro Moses, each lending their own style and attitude to their respective tracks.

What I like the most about this album is the attitude and feeling it has from track to track. Similar to Budos Band or the early Antibalas albums which came out on Daptone Records, there's a production value and sound quality that conveys a theme throughout the record. The grooves are tight, the horns are intoxicating. Listening to this record puts you into a certain mood. This is the type of record to which you can't help but strut.

The Liberators - Monkeyface by afrobeatblog

Dele Sosimi Spring UK Tour

2011-03-22T22:20:00.003-04:00

Former musical director of Egypt 80 and current musical director of FELA! in London's National Theater, Dele Sosimi, is about to embark on a tour of the UK. After beginning his musical career at the foot of the master at age 16 as part of Egypt 80, Dele went on to tour with Femi Kuti and Positive Force for ten years. In that time he developed his own sound, which he'll be showcasing on his spring tour. If you're in the UK, check him out on one of these dates:

Afrobeat Vibration Spring Tour 2011

19 March Manchester Band on the Wall

Tel. 0161 834 1786 / www.bandonthewall.org

24 March, Bristol Fiddlers

Tel. 0117 987 3403 / www.fiddlers.co.uk

25 March Exeter Phoenix

Tel. 01392 667080 / www.exeterphoenix.org.uk

26 March London Afrobeat Vibration New Empowering Church, Hackney

Tel. 07944286822 / www.delesosimi.org

8 April Birmingham Midlands Arts Centre

Tel. 0121 446 3232 www.macarts.co.uk

15 April Colchester Arts Centre

01206 500 900 / www.colchesterartscentre.com

Turbulent Times (live) - Dele Sosimi from Beija Films on Vimeo.

Kokolo European Tour

2011-03-17T21:02:00.004-04:00

Kokolo, one of the dopest afro-bands on the scene who've been doing it for about as long as anybody, are going on a European Tour kicking off in Toulouse, France on March 31st playing 26 shows in 30 days in 13 countries. No matter where you are in Europe, they're coming to a city near you, so definitely go check them out:

March 31 Thu Toulouse, France @ La Dynamo
April 1 Fri Montpelier, France @ Le Jam
April 2 Sat Cambes, France @ Salle des Fetes
April 3 Sun Bordeaux, France @ Le Sain
April 6 Wed Zagreb, Croatia @ Klub Purgeraj
April 7 Thu Cadiz, Spain @ Jerez De La Frontera
April 8 Fri Granada, Spain @ BoogaClub
April 9 Sat Lisboa, Portugal @ Music Box
April 10 Sun Sevilla, Spain @ Malandar
April 12 Tue Terracina, Italy @ La Scalette
April 13 Wed Rome, Italy @ Big Mama
April 14 Thu Athens, Greece @ Gazarte
April 15 Fri Thessaloniki, Greece @ Block 33
April 16 Sat Sofia, Bulgaria @ Sofia Live Club
April 17 Sun Bucharest, Romania @ Popa Nan 82
April 19 Tue Koln, Germany @ Club Banhof Ehrenfeld
April 20 Wed Strasbourg, France @ Mudd Club
April 21 Thu Newport, Wales @ Delilah's
April 22 Fri Newcastle, England @ World Headquarters
April 23 Sat Birmingham, England @ The Yardbird
April 24 Sun Leeds, England @ The Hi-Fi Club
April 25 Mon Nottingham, England @ The Golden Fleece
April 27 Wed Usti Nad Labem, Czech Republic @ Circus
April 28 Thu Dresden, Germany @ Altes Wettburo
April 29 Fri Antwerp, Belgium @ Storm
April 30 Sat De Panne, Belgium @ Dranouter Festival

KOKOLO "Afrika Man"

KOKOLO | Myspace Music Videos

Bomba Estereo-Ponte Bomb EP

2011-03-16T20:53:00.004-04:00

If you haven't heard of Bomba Estereo, it's been about time you have. Their new EP, featuring a rediculously bangin' cover of Technotronic's 90's classic Pump Up the Jam, several remixes of their hit Fuego and La Boquilla, came out in January of this year on Nacional Records. They're touring all over the country this year, so definitely take advantage of the opportunity to see them live. Hook up some speakers or headphones and turn them up loud before hitting play on this cut. Don't say I didn't warn you though:

Bomba Estero - Ponte Bomb by afrobeatblog

Fania Records Retrospective Comp

2011-03-09T21:52:00.007-05:00

Fania Records 1964-1980 The Original Sound of Latin New York, the new collection of Latin music gems out March 29, 2011 on Strut Records, is a monumental collection of some of the best Latin music ever recorded. Featuring legends like Ray Beretto, Celia Cruz, Willie Colon, and Mongo Santamaria, this comp is everything any fan of Latin music could ever ask for.

Founded in 1964 by Dominican salsero Johnny Pacheco and Italian-American lawyer Jerry Masucci, Fania Records was instrumental in defining the New York salsa sound. As the Spanish-speaking immigrant population continued to grow over the 1940's and 50's, mambo-kings like Tito Puente and Charli Palmieri rose to prolific stature. As the 60's rolled around and popularity of mambo started to wane, Pacheco cultivated a new movement of inventive sounds that would overtake the dance floors of Spanish Harlem and eventually the rest of the Latin communities across the city and the world. By signing budding stars like Celia Cruz and Ruben Blades as their careers were first starting, Fania quickly defined what became the New York Salsa sound.

This comp is like an encyclopedia of Latin music. If you're a huge fan, or if you have a passing interest, this is a must-have. Everything from salsa to boogaloo from Ray Beretto to The Fania All-Stars, all of the legends are featured. Definitely check it out.

Willie Colon - Che Che Cole by afrobeatblog

Afrobeat Blaxploitation Video from The Liberators

2011-03-06T21:54:00.003-05:00

The Liberators are an afrobeat band from Sydney, Australia. They laid down the funk for this Blaxploitation video shot and directed by Ken Karpel of Don't Look Back Pictures. Check it out.

DJ Afro-Marc in BK This Weekend

2011-03-02T21:11:00.009-05:00

I'll be touching down in NYC this Friday night and heading straight to Southpaw in BK to lay down some funk along with Zongo Junction, Mokaad, and Thought. Kaleta, leader of Zozo Afrobeat, lead singer of Akoya, and veteran of the legendary Egypt 80, will be in sitting in with Zongo Junction. It should be a night to remember. Preview Zongo's new album Thieves! here:

I'll be gracing two parties on Saturday night with my presence as well. The legendary dj's of Sofrito Tropical Discotheque are throwing a party at Public Assembly in Williamsburg along with Nickodemus to celebrate the release of their compilation album which came out earlier this year on Strut Records. This party will promise to be a crazy dance extravaganza featuring a mix of Congolese soukous, Columbian cumbia, West African funk, and Caribbean calypso. Check out this sampler from their mixtape to get an idea of what to expect:

Sofrito: Tropical Discotheque mini-mix by DJ Hugo Mendez by Strut

Also on Saturday, Frank Voodoo Funk Gossner will be throwing down at Zebulon to celebrate the release of the new Orlando Julius comp. Frank has given the world another gift, unearthing another forgotten gem of African gold. Def pick up a copy asap. He'll be on the decks laying down some serious Afro-grooves as always. I'll def be stopping by to see one of my favorite dj's on my favorite club in the city.

New Video from Spoek Mathambo

2011-02-25T09:04:00.005-05:00

South African Beatmaker Spoek Mathambo continues to push the envelope with his music and his videos. His new video for Control takes things to a new level.

Panamerika Mixtape

2011-02-23T20:54:00.002-05:00

Need some Latin flavor? This Panamerika Mixtape from Telesforo will add some sabor picante to your day...

Tropic-All Mixtape por Telesforo - PanameriKa by PanamériKa

Ministry of Corruption Mixtape

2011-02-21T16:30:00.004-05:00

Dig this new mixtape from Kahli Abdu, a burgeoning Naija MC.

Afrika21 Mixtape

2011-02-16T21:15:00.005-05:00

Afrika21 is a new initiative from Society HAE to create a massive platform to introduce 21 of Africa's emerging young creatives in the fields of art, music, fashion and film. The Afrika21 project will give audiences a first hand look at 21st century contemporary African culture, and open up a new dialogue about Africa as a go to market place for creative synergy. The first installment of this project is the AFRIKA21 MIXTAPE featuring the work of Africa's young musicians who are re-defining African music and the continent in general.

The Afrika21 Mixtape vol. 1 by afrika21

AFRIKA21 vol. 1 Playlist

1.Lakeside - BLK JKS (South Africa)
2.Heartbeat - Nneka (Nigeria)
3.If You Ask Me - Omawumi (Nigeria)
4.See Me Now - MPHO (South Africa)
5.Maria - Tumi (South Africa)
6.Emergency - Iyadede (Rwanda)
7.Dream Chasin - Chiddy Bang (Nigeria)
8.Yaa I Get It - Shad (Rwanda)
9.Mshini Wam - Spoek Mathambo (South Africa)
10.Brand New Masquerade - Mister Rae (Nigeria)
11.Fear Fear Factor - Kahli Abdu (Nigeria)
12.A L'Heure D'Ete - Saison Sèche - Baloji (Congo)
13.Bonafide - Tabi Bonney (Togo)
14.Music & Lights - Hip Hop Pantsula (South Africa)
15.Share My Blessings - Naeto C feat. Asa (Nigeria)
16.Warm Heart of Africa - The Very Best ft. Theophilus London (Malawi)
17.Licky - African Rock (US)
18.Pracatatumba - Cabo Snoop (Angola)
19.Lagos Town - Afrikan Boy (Nigeria)

Album Review: Ebo Taylor-Life Stories

2011-02-14T21:18:00.004-05:00

As I've said before, Ebo Taylor is one of the funkiest people to ever walk the earth. Life Stories, his second collaboration with Strut Records set to be released April 11, 2011, is a retrospective compilation showcasing his work with several ensembles throughout his career. Any lover of African funk has to take notice of Ebo Taylor. His ability as a composer and arranger put him in an elite class of musicians and allowed for him to collaborate with some of the best musicians in West Africa throughout the 1960's and 70's.

Taylor released his first internationally distributed studio album, Love and Death, on Strut late last year. Life Stories represents his songwriting and arranging work with several different artists and ensembles. Taylor's ability to combine African rhythmic elements with the American funk aesthetic set him apart from other musicians of his generation. Talylor's signature wah-pedal infused guitar lines combined with inventive horn lines distinguished him as an arranger. Life Stories captures that signature style on several tracks throughout.

If you're serious about African funk or you simply have a passing interest, you should def check out this comp. To amass this much music in one place would have taken years of crate digging and several trips to Africa. Strut has done all the work, so take full advantage.

Ebo Taylor - Heaven by afrobeatblog

New Track from Bajah and Saadi

2011-02-14T21:05:00.004-05:00

Dig this new collaboration between Saadi and Bajah:

Lights Up NYC Featuring Bajah-Like for Free Download! by Dither Down

Help Support Take Me Away Fast - A New Film about Frank Voodoo Funk Gossner

2011-02-08T13:59:00.005-05:00

Interview with Gabe Roth (aka Bosco Mann)

2011-02-02T17:51:00.006-05:00

Gabe Roth (aka Bosco Mann) is the founder, chief engineer, producer and songwriter of Daptone Records, the label that's brought acts like Antibalas, The Budos Band, Lee Fields, Charles Bradley, Sharon Jones and The Dap-Kings to the world, to name a few. Roth is one the most sought after producers in the music business due to his knack for capturing that quintessential soul sound. Of course, it helps to have some of the most soul-savvy musicians around in your house band, something Roth would be quick to point out. I had the privilege of speaking with Gabe a couple weeks ago in advance of Sharon Jones and The Dap-Kings upcoming show in my hometown of Buffalo, NY. SJDK are playing six dates in the Northeast starting tomorrow night in Ithaca, NY. Then beginning the second week in March, they'll be touring through the south. Def keep an eye out for when they come to your hometown as these road warriors are known for their live shows as much as they are their soulful records:

Marc Gabriel Amigone: Thanks for taking the time to talk to me, I'm a huge fan of the whole Daptone Family, Budos Band, Antibalas, Lee Fields and what not.

Gabe Roth: Cool, thanks.

Marc Gabriel Amigone: So my first question, is when I reviewed I Learned the Hard Way, I wrote that it represented a progression from previous albums in that it was deeper, more soulful, more emotional, less funky raw grooves. Would you agree with that characterization?

Gabe Roth: Um, I feel like that's true, the direction the studio albums have evolved. I feel like the live show is still based around more of a dance groove, but as far as the songwriting I think Sharon as a singer has really grown a lot. She's gotten stronger and stronger. I think songwriting wise and arrangement wise I think the band is getting more expressive. It's more of a deeper groove, you know?

MGA: Right I feel like the first couple albums were more just dance party records. I Learned the Hard Way is deeper than that, it's just different.

GR: Actually it's funny you say that because we actually recorded a lot of up-tempo and down-tempo stuff that didn't actually make the album so part of it was the sequencing. Part of it was trying to figure out what we wanted to keep, what went well together, and what was going to make it a strong album. There's a song called When I Come Home that we put out on a 45 and didn't put on the album. He Said I Can wasn't on the album, the vocal version of The Reason, there's a lot of up-tempo joints, an instrumental song called Thunder Clap, there's a number of things that actually didn't make the record that were recorded during that session that were kind of up-tempo.

MGA: So you're putting a lot of that stuff out on 45's?

GR: Yea, we've got plans for some of it, some of it we don't. It's almost all really good, it came out great. We worked really hard, that's the hardest record I ever had to pick songs for because usually we record 16 or 17 songs for a record and it's usually pretty obvious which ones are the best. Maybe we'll fight a little bit about it but it's not that hard getting it down to 10 or 12 songs. On that record though, we recorded like 20 songs and every one of them was somebody's favorite.

MGA: That's gotta be tough to leave stuff on the cutting room floor like that.

GR: It's a good problem to have.

MGA: I know you've gotten this question a few times before, but Daptone's motto is putting soul up. What's your definition of Soul?

GR: Oh, that's tough. Man I've gotten that question before, but it never gets any easier to answer. I think soul to me is something that's honest. It touches people in a real way, in a genuine way and reaches them in a genuine way. Sharon always says what comes from the heart reaches the heart, and I think that could be a real heartfelt blues or it could be a really heavy rhythm or it could be anywhere in between. It could be a ballad, it could be a song about the government, it could be anything, but if you're singing it with your heart and you're playing it with your heart, and people are able to feel it that way. Obviously there's always the academics of the genre. Who's going to file stuff where in a record store but beyond that there's some country music that's real soulful. There's music from all over the world that's soulful. There's classical music that's soulful. I think obviously it's subjective, it has to be subjective because not everybody's going to relate to everything. If everyone related to it, it wouldn't be saying much.

MGA: Right, it's whose soul you're reaching.

GR: Yea it's something about the common human experience you gotta brush up against.

MGA: I bought I Learned The Hard Way for my Dad for Xmas. He grew up on Motown, Stax, soul and R&B, so he’s digging Sharon Jones. Have you had other people tell you that?

GR: Yea that's one thing that's helped us be successful is the music has a pretty broad appeal that way. People have different contexts for it. People into hip-hop used to hearing those kind of grooves sampled or people that are into modern R&B hear the roots of it. People who are into punk rock can identify with the way we put the business together and the independent spirit of it, you know? The idea of the individuality of it. But it's definitely real commonplace for us for people that are into Motown and Stax, it's def a real easy connection for them.

MGA: How has your life changed since SJDK has blown up, and started touring the world, playing the late night TV circuit, selling out the apollo, etc.?

GR: Man I started doing this about 15 years ago. So yea, it's changed a lot. In 15 years I've been married and divorced and slept on a lot of different couches. So now I'm doing great, I've got a house and two kids here in California. My personal life is doing great, there's a lot of other factors and stuff. I guess I've changed a lot, I've probably slowed down a bit.

MGA: That's gotta be gratifying to know, to use a played out term, you never sold out, you stayed indy the whole time and you've done it your own way and that's something to really be proud of.

GR: Yea staying indy was real hard. The thing I'm really proud of is not so much my personal gains, but there's a big family of people who have done well and are making an honest living now from making good music. I'm real proud of being able to be fair to them. You know, Sharon was finally able to buy a house down south, she's been trying to that for years, and last year she finally did it, and that's a huge thing for me man, because that's something she's been talking about forever. Living out in the projects out in Far Rockaway, and she never really owned anything. That's huge for me, I'm real happy about that.

MGA: That's awesome.

GR: The guys in the band are starting to have kids and to be able to feed their families that's a really good thing.

MGA: Yea man you guys are really working hard. You're touring all over the world, every dollar make you're working hard for, so you guys deserve all your success.

GR: Thank you.

MGA: In your opinion, what were the moments that allowed for SJDK rise to where they are today? Being featured on the Up in the Air soundtrack? The Back to Black album?

GR: I think being on Fresh Air with Terry Gross was a big thing for us, we got to a lot of people quickly that way. There's a lot of other things along the way like Sharon being in the Great Debaters and the Amy Winehouse Record, being sampled by Kanye West, there's a bunch of things like that that certain people saw and think this has been some kind of overnight success, but it's been very gradual, you know every city we went, we went from 20 people to 50 and 50 to 100 and 100 to 200 to 400, we just kept going back. There's very few places we've been where we've had 1,000 people show up the first time we were there.

MGA: Does the reception to the music vary when you tour to different parts of the world?

GR: Honestly, the short answer is no. It varies from town to town. It varies from night to night and it varies from crowd to crowd. I think you'll find London has more in common with New York than it does with Manchester. You know what I mean, and New York has more in common with London than it does with Buffalo. It's definitely different scenes in every town, the size of the town and how much music is there. And also what the context is. There's plenty of small towns all over the world where some local dj has been throwing a funk party for years and people are into certain music. All along we've been very fortunate to be able to connect with audiences in a pretty consistent way.

MGA: Yea when I think you're playing soulful music, that will be common, everyone can relate to that. I wanted to ask you, the song The Stroll, by Binky Griptite and the Mellomatics, that's one of the funkiest songs I've ever heard.

GR: Aw man that's good to hear, I'll tell him you said that.

MGA: Does Daptone plan to put out an EP/LP of Binky Griptite and the Mellomatics?

GR: Man you know that's a painful question the truth is we tried to record one and it came out no good, so we felt like we could do better, and there was some frustration with it. We ended up putting out a handful of 45's but I would love to put a record out of Binky, Binky needs to have a record out more than anyone in the world.

MGA: With the Antibalas re-issue of Who is this America? coming out last year, what parallels do you draw between when the album first came out and today between the political climate than and now? How it applied to what was going on then, what's going on now...?

GR: I wrote that song Who Is This America? and I think it was relevant but I don't know if it was necessarily timely in that way. The idea was, for a lot of the world and even a lot of Americans, people don't really understand the intensity of the plurality of this country, you talk about America and you talk about some of the most racist people in the world but also some of the most progressive people in the world. Some of the people who are the most conservative and the most liberal. There's so much extremes here and it's all America. I think that's really hard for the world to understand. When Bush was president people looked at us like such a backward nation and being on tour with the band, you'd see that. You'd go to places and during the worst of it you almost had to hit the stage with an apology. It reflected on Americans. What kind of people, what kind of country could elect this guy? By the same token when Obama got elected, Bush was way too conservative and crazy and violent and incompetent, he could never get elected in England or in Germany or in some place like that, but by the same token Barack Obama could never get elected there either. I think it's really hard for people to get around the idea of how plural this country is. So that is still relevant. Obviously the war situation is slightly different, not as different as I'd like it to be. I don't know how much I can really speak to that. I'm not as politically engaged as I should be.

MGA: Well, I definitely hear what you're saying. A lot of what was going on then is going on today, but a lot is changed. It's a different world. It's just the timing of all of it. I think you guys toured in the fall of 2004 when that album came out, and it just got re-issued in 2010 in time for the 2010 election. I found it interesting, the timing of it all. When I listen to that song, I feel like it's like a horror movie soundtrack. Did you have any of that in mind when you wrote the song?

GR: Not really no.

MGA: That was the last album for which you were a full-time member of Antibalas?

GR: Yea.

MGA: So you stepped away to work on other projects?

GR: Well the thing was, at the beginning there was a lot of guys who were in Antibalas and The Dap-Kings. Binky Griptite, myself, Victor Axelrod, Martin Perna, Fernando Velez there was a lot of us in both bands, Todd Simon. As both bands started touring more and getting more successful you had to start throwing in subs here and there to keep the lineup covered and at a certain point it just became too much. I think everybody kind of went where they were needed most. Victor really needed to go with Antibalas and Martin. Me and Binky needed to go with The Dap-Kings. It was a little painful at the time. I still miss touring with those guys, those were some of the funnest tours I ever did. We played a lot of really great shows, we had a really fun time at a lot of those shows.

MGA: Do you feel like The Daktaris Soul Explosion (the mock 1970's re-issue afrobeat record that came out in 97) was the beginning of the afrobeat revival movement?

GR: It's funny we almost didn't put that record out. We recorded it before Fela died. There weren't a lot of people that were into that kind of music at that time, we're talking like 1996 or something. And everybody we played it for said it sounded messed up, like distorted or something. We weren't really going to put it out, but after Fela died there was some more interest, and we decided to put it out.

MGA: Really, that's interesting.

GR: There's an interesting record coming out you'd probably dig, you know Amayo and his side project, The Fu Arkest-Ra?

MGA: Oh yea, I've seen them live a bunch of times.

GR: Well, he's got this whole concept like an epic Kung-Fu-Lion Dancing-African Proverb-Zeus-Opera epic story that's been in his head for years. All of the Fu songs are part of that story. When I had a studio in his basement at the Afro-Spot in Brooklyn where we recorded Dap-Dippin and Pure Cane Sugar and Talkatif and a lot of stuff I started recording with him the Fu Arkest-Ra record. We got through the rhythm section stuff, and we never really finished it and he got evicted and I got evicted and things went sour, not between us, but with the landlords. We always talked about getting back into it and re-recording, but I was always so busy with touring and he was trying to keep bands together. And it never really came together. So recently, he came back to me, actually it was about ten years ago he came to me and he wanted to record again, and I was out of town I didn't really have time, so I recommended him to Tommy Breneck to Dunham Studios to see if he was into it. And I guess he brought some rhythm section there, and it wasn't really happening and Tommy wasn't really sure about it. So Tommy said do you have some tape we can record on, so he said oh yea, we can record on this old blank tape, so the tape he brought on was the rhythm section tape we recorded ten years before. So Tommy put it on and was like wow, this shit is bangin, it's weird but it's been so long its been 10 years, but we forgot about that sound from that time. So Tommy brought in all the original guys, Stuart Bogie and Martin Perna, to do some overdubs, and I went in and mastered it the last time I was in New York. We're trying to put out a 12-inch of it, but it's kind of an interesting story because it was a record that was recorded and then 10 years later the rest of it was put down. Hopefully we'll put that out sometime soon.

MGA: I would love to hear that. The first time I saw Fu I was totally blown away. So do you feel like The Daktaris was the beginning of the afrobeat revival movement along with Antibalas?

GR: The Daktaris was definitely a catalyst, obviously I think Fela was the ultimate catalyst, he architected the whole thing. But in terms of reviving Fela's music I think The Daktaris acted as a catalyst for getting a handful of guys in Brooklyn excited about that sound. The Daktaris wasn't really a touring band, I think we did one show as The Daktaris. That really inspired Martin to get this thing together and get Antibalas going.

MGA: How did you and Martin first meet?

GR: Ah man, I don't even remember. It was the early 90's, we were at NYU, he just moved there from DC or something. He was playing in a ska band called the Defactos when I met him. I was recording for them. Fernando was in that same band. I think I met him around then. Him and Mike Wagner also became the horn section for Cinshango this latin ska band that I toured with first as the sound engineer and then as a guitarist. We were roommates for years, we lived in several different apartments together in New York, 3 or 4 different apartments. We had a really good time. It's always good when I go Austin when I get to see him.

MGA: Yea I was in Austin for ACL. He's a really cool cat. I always like talking to him, he's got a unique perspective on things.

MGA: So there's a growing movement behind vinyl these days, more and more people are buying record players and records. More record labels are putting things out on vinyl. Do you take any credit for the movement behind the growing enthusiasm for vinyl and record players?

GR: I would say we contributed alongside a lot of other people, but we definitely can't take any credit for that. I think that's a natural thing. Especially with CD's disappearing I think people who are active listeners, people who are discerning, people with a real aesthetic concrete connection to music and want to hold something and touch something and want to actually see the artwork for the album bigger than on the screen of their phone or their watch or whatever. People like that, as CD's disappear are going to go more and more to vinyl. The way that people are using mp3's it's getting so far from the experience people used to have with records. I think it's a pretty strong reaction of people who really want to have a personal connection to the music, want to sit down and listen to a record and hear the songs in the order they were supposed to be heard. Listen to them on big speakers, and not listen to them on really crappy audio files. People are going to get back into it. People who like to roll their joints on a record, they're never going to be able to do that on a mp3.

MGA: What 5 pieces of vinyl that you own do you value the most?

GR: Ah man, I'll answer that question different than I will tomorrow morning. It changes from time to time. That's a hard one. Otis Redding Dock of the Bay would probably be up there. Johnny Shines and Little Willie John-Talk to Me. Lately I'm Aware of Love, Jerry Butler. It's hard to say, there's a lot of them.

MGA: Do you have a favorite Fela record?

GR: Let me think about that. That's a good one too. Why Black Man Dey Suffer Today?, that's a good one.

MGA: London Scene has always been my favorite. It's one of the early ones. So what's coming down the pike from Daptone we should be aware of?

GR: The Charles Bradley album is about to drop. That's a great album. I think that's going to do a lot to get his name out there. That's the biggest one. There's an El Rego record that I just mastered yesterday. It's a guy from Benin, a bunch of recordings from the 60's and 70's, you'd probably be really into that It's all kind of Afro-funk, music from Benin. That'll be out in a few months. We're going to try to do another Naomi Shelton and The Gospel Queens record this year. We're working on a real bluesy R&B Lee Fields record. Like I said there's some more Sharon stuff coming out. There's some more Dunham stuff like Budos IV.

New Video from Planet Rump

2011-02-01T17:08:00.001-05:00

This video is pretty much self-explanatory. Dig it.

Africa Africa Africa pt. 4

2011-01-26T15:02:00.004-05:00

It's about that time again...DJ Underdog and The Lunchbox Theory have joined forces yet again to unleash a frenzy of afrobeat, afro-house and a variety of other danceable beats in the form of a mixtape. Underdog is joined by DJ Cam Jus this time around who brings some new elements to the party. As always, prepare for the danceparty that will undoubtedly ensue.

Album Review: Chopteeth Live-Chopteeth Afrofunk Big Band

2011-01-25T20:36:00.007-05:00

If you've ever been to an afrobeat show, you know what it's like to experience the power of a ten-piece ensemble unleashing their energy as it reverberates throughout the crowd. If you haven't, this album is about as close as you can come to the real thing. Chopteeth Afrofunk Big Band is a D.C. area afrofunk ensemble that fuses a variety of Afro-influenced musical styles. Their self-titled debut, released in 2008, made waves in the international music community and introduced themselves to the world. Chopteeth Live, out February 1, 2011 on Grigri Discs, validates Chopteeth as a band not only capable of going into the studio and laying down a world-class album but also able to hit the stage and kick out some dance-floor shaking jams.

Chopteeth Live kicks off with a cover of JJD, a song originally recorded by Fela Anikulapo Kuti. The call and response horn arrangements grab your attention from the jump and are immediately followed up with a multi-layered percussion attack. The energy of the horns sets the tone for the rest of the album featuring covers of tunes from several different countries in Africa including Ghana, Senegal, The Congo, and Guinea. As displayed on their debut studio album, Chopteeth is able to pay homage to a variety of African styles while incorporating their own individual style.

While listening to this album will give you an idea of what it's like to be in the audience at a Chopteeth show, experiencing it live is something totally different. If you can't get to D.C., go find an afrobeat band close to where you are. Seeing live afrobeat is like nothing else. In the meantime, however, this album is a great substitute.

Chopteeth - J.J.D. by afrobeatblog

SLF Afro-Dub Session One Year Anniversary Party

2011-01-20T21:05:00.008-05:00

Sound Liberation Front (SLF), an arts and music organization based in Brooklyn, presents the Afro-Dub Sessions One-Year Anniversary Party at Rose Live Music in Williamsburg, BK on Saturday, January 29. Afro-Dub Sessions combines live music and DJs to celebrate the best in Dub and African-influenced sounds.

To celebrate the success of their one-year run, Afro-Dub Sessions will feature special guest DJ Carter Van Pelt, host of WKCR 89.9FM's Eastern Standard Time, a Jamaican music program that airs live every Saturday from 6-10 a.m. The show highlights roots reggae of the ʼ70s and early ʼ80s, Rocksteady from the mid ʼ60s and Ska from the early ʼ60s. Carter Van Pelt also co-hosts the weekly Roots Rock Reggae party at Motor City Bar, and organizes the popular Coney Island Reggae Soundsystem parties, one of which SLF co-hosted this past summer.

He will be joined by renowned MCʼs, K Vibes and Willow Wilson. K Vibes has been singing reggae professionally for nearly 20 years. She was one of the last of a new generation of Brooklyn-based reggae artists to record for iconic Jamaican record producer Clement “Coxsone” Dodd, scoring a cult-hit with “Frenemies” in 2001. Willow Wilson was widely recorded at the height of Brooklynʼs digital reggae/dancehall era in the mid/late 1980s. His voice can be heard on dozens of recordings, including a full length self-titled LP, made primarily for Whitfield Henryʼs prolific Wittyʼs label. His latest release, a cover of Bob Marleyʼs “Slave Driver” for Taitu Records, reveals his strong affinity for singer Dennis Brown.

As it does every month, Afro-Dub Sessions will also feature a pair of live performances by resident Afro-Dub band Super Hi-Fi, which has been packing the house with their creative melding of Afrobeat, Dub, live remixing and special guest appearances. The five-piece collective features members of Aphrodesia, Slavic Soul Party, Peopleʼs Champs, and the Blue Man Group. SLFʼs resident DJs Linh, Q-Mastah and Lil Tiger will bring their diverse musical selections to the turntables to round out the night.

Afro-Dub Sessions is dedicated to the idea that dub, born in Jamaica, and African musical styles like Afrobeat, Afropop and Afrofunk are natural partners in the origins of global dance music. Each month SLF explores these connections by hosting a different guest DJ specializing in Dub or African-influenced styles.

New Track from Swedish Beatmaker

2011-01-16T15:19:00.001-05:00

Dengi Riddim - Makks by Makks

Dig this track from Swedish afr0-inspired beatmaker Makks.

New Video from Spoek Mathambo

2011-01-11T15:47:00.001-05:00

This video is quite literally nasty...

The Afrobeat Blog Best of 2010

2011-01-03T14:23:00.012-05:00

2011 is officially upon us. Now is the time to assess where we're at, where we're going, and what has been. As such, I've put together my list of the best music released in 2010 that reverberated in range of my ears. I've expanded the list to include a section for comps as well as an honorable mention section to recognize some great music that didn't quite make my top 15. If I left anything out, feel free to let me know, as it's never too late to share! Here's to more great music in 2011!

Best Albums of 2010
1. Ye Fre Me Richy Pitch-Richy Pitch
2. Seahorse and the Storyteller-Michael Leonhart and The Avramina 7
3. Blue Eyed Black Boy-Balkan Beat Box
4. Afrocubism-Afrocubism
5. La Difference-Salif Keita
6. Donso-Donso
7. Medicine Show # 3: Beat Konducta In Africa-Madlib
8. Love and Death-Ebo Taylor
9. The Electric Sound of Johnny Arrow-Cochemea Gastelum
10. The Budos Band III-The Budos Band
11. Rise and Shine-Sierra Leone's Refugee All-Stars
12. Wake Up!-John Legend & The Roots
13. Oyo-Angelique Kidjo
14. Secret Agent-Tony Allen
15. Adje Adje-Elikeh

Best Compilations
1. Black Man's Cry-Now Again
2. Afrobeat Airways-Analog Africa
3. Angola Soundtrack-Analog Africa
4. Lagos Disco Inferno-Academy
5. Afrolution Vol. 2-Afrolution

Honorable Mention (In no particular order):
Seu Jorge and Almaz
Music Frees All-Emefe
Lero Lero-Luisa Maita
I Learned the Hard Way-Sharon Jones and The Dap-Kings
82-Just A Band
El Existential-Grupo Fantasma
Ali and Toumani-Ali Farka Toure and Toumani Diabate
London Afrobeat Collective-London Afrobeat Collective
Fried Speakers-Monareta
Thieves!-Zongo Junction

Album Review: Music Frees All-Emefe

2010-12-27T13:34:00.006-05:00

Music Frees All, the debut album from NY based afro-funk ensemble Emefe, is a seriously funky collection of eight songs packed with energy and attitude. The album was recorded in the basement of drummer/band-leader Miles Arntzen, and you can hear that raw, untapped energy of young musicians pouring their hearts out onto all eight tracks on the album. Emefe is a highly talented group of musicians dedicated to paying homage to the tradition of Fela Anikulapo Kuti and the musicians who have followed in his lineage. This album is a great initial offering and a sign of even greater things to come if the group can continue to work together.

Music Frees All features several tracks that range in tempo and dynamic. Uptempo tracks such as Free Yourself, 221 Groove and Oh, That's What It Is are highly danceable, energizing tracks that will make any dancefloor jump. Slower tracks like The War and Consequence and Sumo are more sneaky, relaxed grooves that showcase Emefe's horn-section and its ability to accentuate winding, languishing lines. There are also tracks that display a range of tempos and dynamics within a single composition such as the opener Jump and Stomp and The Night.

As afrobeat continues to grow and flourish as a growing movement in multiple cities across the globe, bands continue to sprout from every direction. Emefe represents that growing trend of musicians riding the cresting afrobeat wave. While certain bands will label themselves afrobeat without delving into the history of the music or putting in the time to learn the form, Emefe clearly understands and respects those who have came before them in the afro-tradition. Judging from the quality of the horn and percussion arrangements on this album, they know what afrobeat is really about and how to build on its tradition.

Dig the album for whatever price you like here.

Ariya Astrobeat Arkestra Remix

2010-12-26T14:33:00.006-05:00

It seems these days more and more afrobeat inspired bands are popping up all over the globe. It truly is a beautiful thing. Check out this remixed track from UK-based outfit Ariya Astrobeat Arkestra.

Herma Puma Jollys - (Ariya Astrobeat Remix) by Herma Puma

Zozo Afrobeat on BreakThru Radio

2010-12-26T14:11:00.004-05:00

Check out this dope video courtesy of BreakThru Radio that takes you inside the world of afrobeat with NY-based ensemble Zozo Afrobeat as your tour guide.

The Wudos Band Mixtape

2010-12-17T08:20:00.004-05:00

What do you get when you take the funky beats of the Budos Band, and combine them with the ferocious lyrics of the Wu-Tang Clan? The Wudos Band, yes, that's right, the two best things to ever come out of Staten Island have joined forces. 8 mashups of Budos jams with Wu-Tang lyrics. What more could you ask for?

Some Afro-Love from Australia

2010-12-12T21:20:00.000-05:00

Harmon - Melbourne World Edits #1 by congotardis
Check out this dope track from Melbourne beatmaker Paul Harmon...

Album Review: Analog Africa No. 9-Angola Soundtrack

2010-12-01T22:12:00.008-05:00

Analog Africa has unearthed yet another treasure chest of African funky goodness. This time around they draw from Angola, the Southwestern African nation, with Angola Soundtrack. Featuring several hypnotic styles such as Semba, Merengue, Kazukuta, and Rebita, these are songs you most likely have never heard, although due to the styles they amalgamate, they have a familiar feel. The percussion backdrop, the entrancing guitars, the call and response vocals, will all be familiar to any listener with an interest in post-colonial African musical styles. Highlife, afro-funk, and Mande swing all take elements from the musical styles of the Americas and combine them with homegrown percussion and vocal styles. The popular music of 1970's Angola is no different, but these songs definitely have their own style unique to the cultural factors present in Angola as opposed to Nigeria, Ghana, or Mali.

Analog Africa has an amazing track record of hunting down original music on the African continent, re-packaging it, and introducing it to a new audience. The world is a better place for it, and they have helped contribute to the budding revival African music is currently enjoying. Angola Soundtrack is the most recent release in the line of compilation albums that continue to push that revival forward. If you've enjoyed any of their other compilations thus far, definitely check this one out as well. You will not be disappointed.

Zé Da Lua - Ulungu Wami by afrobeatblog

Akoya Afrobeat Ensemble at Southpaw Next Friday Night

2010-11-29T20:29:00.011-05:00

One of the nastiest afrobeat bands on the planet, Akoya Afrobeat Ensemble, is hitting the stage at Southpaw in BK next Friday night. $10 is a small price to pay to hear this afrobeat juggernaut send earthshaking afro-grooves through the dancefloor at one of Brooklyn's premier music venues. They're joined on the bill by dub outfit The Top Shotta and soul ensemble The Corner Club featuring members of Antibalas, Akoya Afrobeat and Ikebe Shakedown. If you want to dance, show up at Southpaw next Friday night with ten dollars in your pocket.

Akoya Afrobeat Ensemble - Wahala by afrobeatblog

Chorizo Chunks 9

2010-11-29T20:29:00.006-05:00

If you need a soundtrack for your dance party, hit play on this bangin set from DJ Chorizo Funk.

Chorizo Chunks 9 - DJ Chorizo Funk Live @ Night Fever V. 7 by chorizofunk

New Sofrito Tropical Discotheque Mixtape

2010-11-22T14:29:00.005-05:00

If you've been to one of the legendary Sofrito Tropical Discotheque Parties in either London, Brooklyn, Greece, or wherever else, you don't need me to tell you, they know how to make people dance. If you haven't, check out this track from their new comp due out January 24th of 2011 on Strut Records.

Fair Nick Stars - Arrete Mal Parle by afrobeatblog

Concert Review: Luisa Maita at Lula Lounge, Toronto-November 12, 2010 (photos courtesy of Dave Burke)

2010-11-16T23:10:00.009-05:00

Luisa Maita proved why she's one of the hottest acts on the international music scene last Friday night at Lula Lounge in Toronto. Her stage presence, passion, and beautiful voice were all on full display in a night packed with Brazilian music from start to finish featuring Roda de Samba, Baque de Bamba, and Rino.

Luisa kicked the night off with an early performance around 8:30. Performing for the first time in Canada, she came across as being truly honored such a large audience was in attendance. Her performance was full of passion, and the crowd responded to her energy enthusiastically.

Next up on the bill was Rode de Samba, a Toronto based Samba ensemble. As their set went on, the audience began to congregate in front of the stage singing along to their songs and dancing. The six-piece ensemble injected a large dose of energy into the night after Luisa Maita's mellow performance that set the tone for the rest of the night.

Baque de Bamba, a maracatu ensemble led by Aline Morales, followed Rode de Samba, and picked up where they left off. The thundering drums of the legion of percussionists filled the room with an incredible energy that unleashed a frenzy on the dancefloor. Morales voice contrasted beautifully with the percussion backdrop as she sang in Portuguese. I was totally blown away by the power and energy of Baque de Bamba, and I definitely hope to see them again sometime soon.

Rino finished off the night with a bang. Rino featured guitar, bass, trombone, trap drums, as well as maracatu bass drums creating a loud, intensely unique sound. They combined elements of funk, rock, samba, and something totally new and original. Watching a band cover songs by Jorge Ben with a presentation similar to punk rock was something I've never seen before. Despite a somewhat lengthy gap between their performance and Baque de Bambe while they setup, Rino managed to not lose any of the energy that was building throughout the night.

This Post is Supported by Concert Tickets Toronto 2011

Album Review: Afrocubism

2010-11-08T22:20:00.008-05:00

Afrocubism is the project of which lovers of international music have only dreamt. One such dreamer, British producer Nick Gold, originally conceived of the project in 1996--pairing the best musicians from Mali with the best musicians from Cuba, two countries that have been speaking each other's musical languages for generations. The project failed to materialize the first time around; the Malian contingent couldn't make it to Havana, so Gold improvised and came up with Buena Vista Social Club. Not a bad substitute, but Gold persisted. He reconvened the all-star cast of musicians, this time in Spain, and "the music just poured out" according to Gold, recording 17 songs in 5 days. Musicians featured on the record include Eliades Ochoa, Djelimady Tounkara, Toumani Diabate, Bassekou Kouyate, Kasse Mady Diabaté, Lassana Diabaté, and Eliades' Grupo Patria.

Afrocubism - DJelimady Rumba by afrobeatblog

The album came out November 2, 2010 on World Circuit Records, and has universally lived up to the astronomical expectations which preceded it. It's infinitely interesting to listen to this album and ponder whether the African or Cuban elements are more prominent. It's a nearly impossible task to decipher since Cuban music is deeply influenced by its African roots. In part for that reason, West African music is deeply influenced by Cuban music. Francophone West African post-colonial governments also sent their budding musicians to train in Havana which helped usher in a generation of African musicians who were trained to emulate the Cuban aesthetic. Records and 45s from several Latin-American countries were widely distributed and consumed throughout West Africa beginning around the 1950's. Djelimady Tounkara even honed his guitar skills by accompanying Cuban radio hits.

This album has an entrancing sound that flows from song to song. Djelimady's mesmerizing guitar meshes with the relentlessly propulsive churning bass, gliding over the backdrop of congas, shekere, guiro, tala, and other varied percussion. Ochoa's vocals blend perfectly with the instrumental backdrop. Certain songs feature one instrumentalist more than others, such as Dakan featuring Bassekou Kouyate, Djelimady Rumba featuring Djelimady Tounkara, and Eliades Tumbao 27 featuring Eliades Ochoa. The instrument that provides the most character to the album throughout, in my opinion, is the balafon. It cuts through the already rich texture and adds a concise timbre to the composition.

This album is a testament to the cross-cultural exchange that has occurred for centuries and made its creation possible. Hopefully it will serve as inspiration for future collaborations. The ensemble is performing at Town Hall in midtown Manhattan tomorrow night and then touring Europe. If you are in any way able, I highly recommend seeing this group of musicians live. This collection of music provides a new definition to the term, Afro-Cuban.

Luisa Maita - New Remix Album - N. American Tour

2010-11-02T21:26:00.004-04:00

If you haven't heard about Luisa Maita by now, it's about time you have. She's the Brazilian songstress taking the international music scene by storm, and her North American Tour kicks off tomorrow night at SOB's in New York. Her debut internationally released album, Lero Lero, came out earlier this year on Cumbancha Records and has garnered widespread critical acclaim. Her second release on Cumbancha, Luisa Remixed, is due out November 9th.

Luisa Maita - Lero-Lero (Seiji Remix) by afrobeatblog

If you can make it to one of the cities on Luisa's tour schedule, definitely check out this rising star while you have the chance:

11-03 New York, NY - S.O.B.'s
11-04 Washington D.C. - Bohemian Caverns
11-05 Philadelphia, PA - Kimmel Center
11-06 Montreal, QC - Belle et Bum
11-07 Burlington, VT - Flynn Space
11-09 Portland, ME - One Longfellow Square
11-10 Somerville, MA - Johnny D's
11-11 Montreal, QC - Balattou
11-12 Toronto, ON - Lula Lounge
11-13 Chicago, IL - Logan Square
11-14 Minneapolis, MN - Cedar Cultural Center
11-15 San Francisco, CA - Amoeba Records Instore
11-16 San Francisco, CA - Yoshi's
11-17 Santa Cruz, CA - Kuumbwa Jazz Center
11-18 Los Angeles, CA - KCRW's Morning Becomes Eclectic
11-19 Los Angeles, CA - Conga Room

Album Review: Hard Proof

2010-11-01T22:10:00.004-04:00

Hard Proof, the self-titled debut album from the Austin, Texas based afrobeat ensemble is a groovtastically funky collection of jams that display a range of dynamics and themes.

I've often said, it's much harder to play slow afrobeat well than fast, and this album is a great example of how to execute a dynamic range. Utilizing slow, winding, interlocking guitar grooves, multi-layered percussion, and deep horn arrangements, Hard Proof sets a down-tempo, sinister mood on tracks such as Stolen Goods, Jimma and Mahout. They pick up the tempo on tracks like No Consideration, Buffalo, and Move In, but it's the slower tracks that creep along that truly stick out on this album.

Hard Proof will be celebrating the release of their new album on November 19th at the Ghost Room in Austin. If you're in the Lone Star State and you're hungry for some afro-love, definitely check them out. I haven't seen them live in concert yet, but listening to the album, you can hear their ability to push, build and release the energy of the music from song to song.

Hard Proof - Jimma by afrobeatblog

Bouncing Cats-New Film about Hip-Hop Culture in Uganda

2010-11-01T21:37:00.004-04:00

Bouncing Cats is the inspiring story of one man's attempt to create a better life for the children of Uganda using the unlikely tool of hip-hop with a focus on b-boy culture and breakdance. The film features narration by Common and interviews with Will.I.Am, and K'Naan. Stay tuned for screenings in your community. Get tickets for the DC screening here.

Bouncing Cats Trailer from Bouncing Cats on Vimeo.

Society HAE Interview w/ Femi Kuti

2010-10-24T21:56:00.002-04:00

Find more videos like this on SOCIETY HAE
Check out this dope interview Ngozi from Society HAE did with Femi Kuti

New Superhuman Happiness Video

2010-10-24T21:43:00.004-04:00

GMYL by Superhuman Happiness from Tatiana McCabe on Vimeo.

Don't you love it when one of your favorite bands makes a video for one of their best songs, and the video makes you love the song even more? I do. Check out this new one for Superhuman Happiness' jam GMYL by Tatiana McCabe.

Sapabonde Remix EP

2010-10-17T22:17:00.004-04:00

Dig this new Remix EP from the Brazilian lesbian Baile Funk group, Sapabonde. I guarantee it's something you don't hear every day.

Help Kickstart Zongo Junction's First Album

2010-10-17T21:34:00.005-04:00

Zongo Junction, one of the dopest bands on the BK afrobeat scene, are heading into the studio to record their first album, but before they can lay down their first track, they need your help. They're looking to raise $5,000 by November 12th to finance the project. Go to their kickstarter page to kick in a few dollars and help them get further down their path. Depending on how much you give, you can get a physical copy of the album when it's finished, a Zongo t-shirt, or even a live performance by the band at your next private party. Give what you can to help some young artists get their music out into the world.

Ebo Taylor-Love and Death

2010-10-17T14:14:00.006-04:00

If you haven't done so already, check out my piece on Ebo Taylor's new album, Love and Death, for The Huffington Post.

Ebo Taylor - love and death by afrobeatblog

Fela Day

2010-10-15T12:00:00.004-04:00

I'd like to take a moment to honor the great Fela Anikulapo Kuti as today is his birthday. Enjoy this dope ass video, and try to listen to at least one Fela song all the way through today (that is if you're not going to a Felabration to dance like Fela would have liked).

Felabration 2010

2010-10-12T21:39:00.011-04:00

It's that time of year again. Olufela Olusegun Oludotun Ransome-Kuti was born in Abeokuta, Nigeria on October 15, 1938. He went on to make an indelible mark on the world, musically and otherwise, under the name Fela Anikulapo Kuti. As his birthday approaches, the world will rightfully celebrate the day he was born. The flyer below shows a list of parties across the United States where Fela's legacy will be alive and well. Come prepared to party like you know you should, "Everybody say yeeeeaaaahhh yeeeaahhh!!!"

Fela Anikulapo Kuti - Zombie by afrobeatblog

Album Review: Afrolution Vol 2-The Original African Hip Hop Collection-Various Artists

2010-10-11T21:45:00.007-04:00

Afrolution Vol 2 is an impressively diverse collection of African Hip Hop that represents artists from multiple regions of the continent and highlights the emerging African hip-hop movement. This album makes an excellent introduction to African hip-hop to an interested observer or a great addition to the collection of a connoisseur. Representing French or English speaking countries, this album is a masterful collection of songs that represent the cutting edge of African music today.

Negrissim - My People by afrobeatblog

Afrolution is a UK-based website, label, and web TV station offering videos, interviews and more, all focused on the ongoing wave of young musical acts emerging from the continent. This is their second African hip-hop compilation. Their first, Yes We Can, featured artists like K'Naan who have left the continent. This album features mostly artists who still reside, representing twelve nations in East, West, and Southern Africa.

My favorite track off the album is Green Card by Wanlov the Kubolor from Ghana. It details a common predicament immigrants face, "Just to get of the slave yard, I must fight to get us a green card." Other tracks that distinguish themselves from the rest are She Smiles Easy by Goreala from Kenya and My People by Negrissim from Cameroon. Some tracks incorporate live instrumentation into their presentation such as Trenton and The Free Radicals and Tumi and The Volume, both from South Africa.

The wide range of nations represented on this album shows how wide ranging the African hip-hop movement is becoming, and outlets like Afrolution are greatly contributing to its proliferation.

Interview with Martin Perna

2010-10-03T20:54:00.009-04:00

Of all of the musical accomplishments Martin Perna has claimed throughout his career, he is probably most famously credited as founding Antibalas. I had the pleasure of speaking with Martin last week about the re-issue of Who Is This America?, the state of American politics, the state of Antibalas as a band, and a whole lot more:

Who Is This America Dem Speak Of Today? by afrobeatblog

Marc Gabriel Amigone: When I listen to Who Is This America, I feel like I'm listening to a horror movie soundtrack. How does that jive with the mood and attitude you guys were going for when you wrote the album?

Martin Perna: Haha, well, the United States is definitely in the role of the climax of a particular type of horror movie in that time. You know, we didn't really sit down and say let's write a concept album, let's cover these songs. It was what was in everybody's head. And it was in the heads of the specific people who wrote those songs, but because we work as a collective, it was in everybody else's heads too. We were like alright, we see where you're coming from, cool, I didn't write it, but I'm down with it, let's do it, let's record it. And living in New York, the days after September 11th were some of the brightest moments that we had ever experienced living in new york in terms of seeing how kind and how generous and helpful people can be like that tragedy created a sense of community at least for a minute, that has never been created, at least in our lifetimes before or since. That moment was hijacked. For me the tragedy of the planes was a tragedy, but the bigger tragedy was how that moment has hijacked. And how that tragedy became basically a pretext to hijacked democracy, hijacked the world.

Martin Perna: Who Is This America? was before the second Bush Elections. Actually we finished the album in the spring of 04 and we toured all summer. Our second to last date on that tour after being on the road for months was in Portland, Maine the night of the Bush-Kerry election. It was this dark rainy night. It was funny because the tour was pretty good and we were pulling into Maine, and I was like, 'Man it's cool we didn't have to play any sports bars or have any rude awakenings.' And low and behold, when we showed up, the place that our agent had booked us at was this sports bar with all these big televisions. So we were playing and watching the election results come in, and the night just got darker and more and more depressing.

Marc Gabriel Amigone: So it was like a horror movie in a way?

MP: Yea, yea it was like playing the soundtrack to all these horrible things going on. Um, so yea it was definitely distopian and angry, and kind of like why? I don't think we ever felt alone in it, but this still is a culture of like, if you're a patriot you don't, patriotism and descent are like opposite sides of the coin.

MGA: That used to piss me off so much when people would say that shit, it used to drive me crazy when people would try to make that claim.

MP: But as a band none of us really bought that. And that's a cool thing, that there's an understanding and enough support that Stuart Bogie could go and write a song like Indictment, and we're all right there behind him. Or a song like Big Man. And I think a lot of our stuff, just in the vain of afrobeat it's a music that it's time still hasn't really come. More people know about it and are sort of attuned to it, but I still think it's very futuristic music because as the years go on, whether it's Fela's compositions or stuff that we're writing, it just becomes more and more relevant, rather than less relevant. It's a major difference between what some flash in the pan indie rock or some rock band will wear some crazy shit or be part of a look but it's like a fad. And Afrobeat's never been a fad for us. We're evolving but the intention and the feelings behind the songs are something that's momentary, but it's larger and deeper than that.

MGA: Now that the album's being re-released, where in today's political context do you see Who Is This America fitting? Where does it still apply?

MP: I feel like it's part of a lineage of other, I don't know if people consider it a concept album, looking back I don't know if it was a deliberate deliberate concept album because that's just where our heads were at but there are other albums that I like that I still listen to like Eugene McDaniels' Headless Horsemen of the Apocalypse. I don't know if you know the album but if you listen to it, you'll hear like thirty classic hip-hop samples in it. And he was writing that during Nixon's era in the 1970's, and it's a statement of the times that was never really necessarily meant to be like, he didn't put it out saying this is a statement of our times.

MGA: Right he was just reacting.

MP: He was calling it as he sees it, but you realize that compared to a lot of other albums, people really don't call it as they see it. Either they're trying to be fashionable or caught up on their own personal bullshit and they're working that out on the album or something. It's something that we're proud of that we're happy we were able to create and I don't know if it's changed or anything. You know we have a different president but the conditions are pretty much the same as they were when we wrote it, you know there's all this political double speak and the wealth in the United States, just looking at a song like Big Man, you know, the whole financial crisis, it's just a a continuation of the reshuffling of wealth from the poor to the rich, it was one of the largest losses of wealth by the black and latino communities in the history of the country. Stuff has gotten a lot worse since then. We all hoped that stuff would get better, and it wasn't like we're making this album and we had any illusions that, we're going to make this album and America's going to get better, but it's not our job to fix all these problems. What is our job as musicians is to be present and bare witness to these things and name them and try to express them in ways that other people can connect to.

MGA: Right, to speak out. Similar to other artists, particularly Fela how he was able to frame the argument and be the commentator. Draw attention to certain things that other people were afraid to say. I feel like your guys' album and the statement that it made was just like coming out and saying it. And, like you said, not everybody was willing to do that for whatever reason. And there's not a lot of people who would of made that statement at that time. Just when you play the song, Who Is This America?, when the horns come in on that song, it just kind of like, boom, it just hits you. It wakes you up, and calls you to attention, you know? And I think that's the function that the music really plays, trying to wake people up and ask the pertinent questions.

MP: Well, I mean that's the idea. Because the songs are so long, you can really flesh out certain ideas, and you can have 7, 9, 12, 19 minutes to flesh out an idea, you can basically do this subconscious mental climbing of the mind, where you can cognitively get people in a better place to receive those messages than if you try and cram everything into a three minute pop song.

MGA: Yea, totally. What was the reaction like when you guys toured, you mentioned you finished the tour in Maine on election night, what was the reaction like as you toured around the country?

MP: Well, I mean we were basically 3 and half years through the first Bush term and I think the tour in a lot of ways brought a lot people together who were furious and were horrified that this was happneing and we don't want this to happen anymore and this has got to stop. We don't know how but coming to a place where people are thinking the same way makes us feel good and hearing a band that's up on stage that isn't afraid, that's foolish enough, or unafraid enough or both to make songs about the same things we're talking about at work or around the kitchen table. It definitely created a sense of community. You know again, America in so many ways has been one disappointment after another, one false hope after another. I'm optimistic, but really, I volunteered and campaigned for Obama, I don't even want to go into it. I"m not really quite sure what it's going to take to see America become what it is capable of becoming because there are too many powerful people here who are too comfortable with the power that they have and really not try to extend that to anyone else.

MGA: Did you guys tour abroad after it came out?

MP: Yea in 04 we had been in France for something like 6 weeks. In 2004-2005 we were there quite a bit. We did a total of like 3 and a half months over those two years.

MGA: And did you guys play Womex around then?

MP: Yea we did Womex before the album came out in 03 in Seville.

MGA: Yea because someone told me they saw you guys there and the reception was really great, like you guys really brought it and people were really charged about what you guys were putting out.

MP: Yea it was a really good reception. We were the only band from North America that was invited to play, so that was really quite an honor because there's some really fantastic bands in North America, but the world music community in certain ways feels that America doesn't need any help promoting American music.

MGA: Yea, because we have the mainstream music culture.

MP: Right. So that those critical audiences and curators found value in our music and thought it was relevant. And didn't choose all of these other fantastic artists that could have been there and were playing whether it was Puerto Rican music or Tejano music, or country, or bluegrass or anything like that, but I feel a lot of that had to with the fact that we were from here but speaking to these ideas that generally, it wasn't just a national disappointment what was going on in the United States but a global disappointment. I think Bush being elected and the way that the response to September 11th was like, if anyone had it in their mind that the United States was still a friendly global superpower, all of that shit was washed away. Just in the way all of that was handled and just overnight, um, Muslims, particularly of Middle-Eastern descent were criminalized.

MGA: Right, and people just rounded up and locked up illegally and stuff.

MP: Yea, it's horrible, and it's still happening. It's still horrible.

MGA: Yea it just goes back to the way you described it as a hijacking. The international community was so behind the United States and was so willing to work with us. Even the people who came out to criticize us, the French government or the German government, when 911 happened everyone stood with us, and then we just flushed that all down the toilet. It all just went away the way that the government handled it. It's a really sad story in American history for sure.

MP: Yea

MGA: The first time I met you, when I interviewed you in 2007 at Governor's Island, I asked you if you feel like Antibalas carries the torch for Fela's legacy. Your answer was that's something people gave you but not necessarily something you wanted. You used the metaphor of a fruitcake, nobody really wants it, but it's been given to you so you're stuck with it.

MP: Hahaha, that's funny, yea I remember that. I still feel like it's like that. If you're a serious musician in any genre of music, inevitably you're going to try to honor the people that came before you. That created or contributed to that history and that lineage and that architecture.

MGA: But you want to be your own artist.

MP: But even more than what we want, we're from New York, we're a multi-cultural group, we're in the digital era. His torch, I don't know if anybody can carry his torch. You know even his sons who are in so many ways so much closer to his legacy, I don't think they're carrying it, Fela was a force of nature.

MGA: Well the reason why I asked is, now that the band is associated with the FELA! Broadway production which is introducing so many people to who Fela was and what his music was all about, it's kind of been re-dubbed upon the band. People considered Antibalas to be a torch-bearer before the play started its run, but now its on another level. That's why I asked the question.

MP: It's definitely not bad that we're associated with Fela, I don't think we'll ever disassociate. It's a real strange position to find yourself in because people inevitably place expectations on you, that you sound too much like him or not enough like him. Or people will listen to an album and say, it sounds just like Fela, and there are only two or three songs that really fit into the classical afrobeat mold, and there's all this crazy other shit on the album too. I think those pronouncements have a lot more to do with people, and music journalists', and the public's lack of literacy in music than actually what we're trying to do or what our musical goals are.

MGA: Yea it's more the reception than what you guys are putting out.

MP: It's like if you really really know music, you can listen to us and hear so many other things besides Fela that are so much stronger and more pronounced than Fela, but because they're so much more underground, Fela is the most recognizable thing. Like I remember the first 45 we put out in 98 or 99 and someone was talking about it in this column in Vibe Magazine, and he was like 'Wow that sounds like Santana.' Santana was his only frame of reference for a big-ass band that has horns and drums and isn't rock. An old Santana is awesome, I love it. I wasn't insulted by it, but I was just like, 'Ok this is where this guy is.' So I'm happy that people are becoming more musically literate than when we started the group in 98 until now.

MP: The internet barely had anything to do with music when I started the band in 98. If I wanted to burn a CD it took me like an hour and a half to burn a blank CD of some demo. And now, if I google us, I can find places to illegally download our music on like 90 blogs or 130 blogs across the world, but I think the upside of that is that people at least have the opportunity to be more musically literate. Whether they are or how they listen to music, or if they have ADD or if they're paying attention or not, I don't know. Some bands are real good at having real close connections to their fans and I feel like our fans are so broad and diverse that it's not like, some bands are playing to people who are basically exactly like them. You know, they're the same age, the same ethnicity, the same geographic area, the same aesthetic. And when we play it's not like there's a typical Antibalas fan. When you show up you could just as easily be a 65-year old black American who went to Nigeria in the 70's as you could be a 20-something white fresh faced college student whose friend ripped them a cd or put some stuff on their ipod. So that's been difficult because there's not some go to place where we can automatically, all of our fans gravitate to. But when we go out on tour we went to the west coast, this summer we did San Diego to Seattle, we don't have a new record out or anything, and they places were packed, a bunch of the people were sold out so people are still interested in us, and the audiences are as diverse as always. Although a note on the audiences, it depends on where we're booked sometimes we go to a city and sell tickets in a rock club or a world music club, or a festival so the venues which are generally beyond our control will shape the arc of who comes out. As well as the time, the time of the show, the night of the week.

MGA: How would you describe the ebb and flow of Antibalas' playing out as a group these days? With a band that big and the amount of work you guys do as musicians, I'd imagine it's gotta be tough to keep everybody together for long periods of time. What do you see yourself doing over the next couple years? Do you see yourself recording a new album anytime soon?

MP: Yea we have a bunch of stuff in the works. One of the things that we're working on right now is we're recording a bunch of cover tunes, basically recording other people's songs that we like that are really relevant to now. We've had a sort of double or triple curse in terms of breaking out with Antibalas. For starters we're playing this music that's a genre that's completely anathema to American pop music, second, a lot of this music isn't in standard English for people to listen to and get. Then on top of that, our average song is the length of three to four average pop tunes strung together, and all the music we've recorded has been original music. So there's nothing familiar about what we're doing at all.

MP: On a couple occasions, like a couple years ago the folks who are in charge of Bob Marley's catalog asked us to come into the studio, Island Records, asked us to come into the studio to record a couple Bob Marley songs, but not make them sound anything like the original. Totally twisted them, stretch them out, change the tonalities all these different things, recorded them, but that project never came out. One of the songs we recorded, Rat Race, we'd been playing out live, and people loved it, like crazy. People were saying, 'You've gotta record it,' We've discovered this other thing about ourselves that we have this odd particular talent for putting our own stamp on other songs. It sorta seems weird, we don't want to be known as a cover band, but all of our musical heroes from John Coltrane, Mongo Santa Maria, to Miles Davis to, um, whoever, they wrote their own stuff and they put their own voice into compositions written by someone else.

MGA: Right, in the Jazz tradition.

MP: Right, if you take Coltrane for instance, he took some cheesy ass showtune My Favorite Things from the Sound of Music, and made it this whole epic song that's nothing but Coltrane. So we're writing original stuff, but we're doing a whole bunch of different arrangements. Rat Race will be the first thing to come out on vinyl probably in the next month or two. We've had a lot of problems with getting a sold press of it, like actually a physical pressing of it that doesn't sound strong, but that's done along with a new original coming out.

MGA: That's dope.

MP: Yea so the next thing we're sinking our teeth into in terms of recording is covers, which is not something we intended to do but we discovered we have a knack for it, so I think it will be a real interesting thing to put out and record five or six songs that are familiar to people but will be listening to them in a totally unfamiliar way. Just to see what that does to people, you know, are you familiar with the producer Mark Ronson?

MGA: Yea.

MP: Yea he did Amy Winehouse and a bunch of other stuff. He called us the best cover band in the world.

MGA: Wow.

MP: It's kind of a weird compliment. It's sort of backhanded but sort of like well shit there's something to this.

MGA: Coming from Mark Ronson I'd say that's a compliment.

MP: Yea, so he's acknowledging this about us, what can we do with this? How can we actually take that and make something out of it that's interesting and maybe make a record that other people will be motivated to check out maybe our other original stuff or our side projects or something like that.

MGA: That's really cool. I definitely think it's in your best interest to release something now riding the wave of the FELA! production since it's introduced so many people to who you are. Also I guarantee you that almost every Antibalas fan out there is a Bob Marley fan and will love your guys interpretation of it.

MGA: You're living in Texas these days?

MP: Yea I moved down here a couple years ago, and I'm in grad school and married and am making a ton of music and working on some non-for-profit stuff.

MGA: Word, you're studying at UT?

MP: Yea at University of Texas.

MGA: What are you working on?

MP: A Masters in Education Technology.

MGA: That's cool.

MP: Yea, Austin is a good place to be a grad student.