Akoya Afrobeat Returns to Southpaw this Friday Night w/ Ikebe Shakedown, Superhuman Happiness and DJ Afro-Marc

I'll be on the ones and twos this Friday night at Southpaw when three seriously funky bands hit the stage. Akoya Afrobeat Ensemble is one of the most authentic afrobeat bands in North America. Led by Egypt 80 vet Kaleta, and boasting a 13 head deep lineup of musicians known across the Brooklyn scene, Akoya is the real deal.

They're joined by Ikebe Shakedown who released their first EP in December of 09 to critical acclaim, and have been building a following for their afro-influenced funky jams since. Superhuman Happiness is the solo project of Stuart Bogie, tenor sax player of Antibalas, TV on the Radio, and lead soloist in FELA! on Broadway. His band explores multiple genres and ideas creating a uniquely original sound.

I've seen Akoya rock at Southpaw more times than I can count on one hand, so I can vouch for their ability to make asses shake. I've also seen Ikebe and Superhuman Happiness move crowds, and you can bet I'll be unabashedly dispensing funk all night as well, so don't bother coming, if you're not ready to get down.

Album Review: 82-Just a Band

I've said it before, and I'll say it again: nobody is doing more to expose the best underground music in Africa to increasingly wider audiences than Akwaaba. The fair trade record label started by Benjamin Lebrave has given the world possibly their best album yet, 82 from Kenyan pop outfit Just a Band.

You may know Just a Band from their incredibly popular youtube video for Ha-He, but Just a Band has much more to offer than imitations of Chuck Norris. This album covers many bases, mixing bumping club tracks with cooler hip-hop and heartfelt down-tempo tracks. The three artists that make up Just a Band, Blinky, Dan and Jim, bring out different elements of their personality to collaboratively create a style all their own.

Just a Band accomplishes something truly impressive: they manage to create music that has widespread mainstream appeal without totally foregoing their integrity as artists. Many African musicians struggling to find their way often go for easy cop outs and cheesy effects, but Just a Band creates a production style that sounds contemporary and clean. They also know how to mesh hip-hop style lyrics in English or Swahili with R&B style vocals and electronic beats. The end result is something new and interesting you probably wouldn't expect to come out of Africa.

This album is something new and different. If you were to listen to it blindly, you might think it came from a house producer in Miami. That's what I like about it though, it's maintains its African identity while simultaneously being obviously affected by European and American electronic musical styles. While it's not easy to cross over as a Kenyan pop star, these guys have as good a shot as anybody.

War Don Don Screening

War Don Don means war is over in Krio, the language most widely spoken in Sierra Leone. War Don Don, is also a film examining the trial of Issa Sesay, the accused leader war criminal responsible for the dismemberment of hundreds of innocent people. Filmmaker Rebecca Richman Cohen gives the audience unprecedented access to all of the involved parties, including Sesay himself as he goes through the different stages of the trial. She also commissions Bajah + The Dry Eye Crew to contribute two songs to the soundtrack (reason to see the film alone in my opinion).

War Don Don is screening at the Lincoln Center Film Society beginning this Saturday night and running through the 16th of June. It travels to Silver Spring Maryland after that, and will most likely continue to tour film festivals internationally. Find out where and when you can see the film here.

Interview with Salif Keita

Salif Keita is known as the Golden Voice of Africa. He's become one of the most popular African musicians of all time due to his breathtaking voice, and his trail-blazing courage. That courage is on full display on his new album, La Différence. I had the honor of speaking to Salif about his new album, his decision to become a musician, and his upcoming N. American tour:

Marc Gabriel Amigone: You're about to embark on a N. American tour. Are there any dates in particular to which you're especially looking forward?


Salif Keita: I’m very happy to return to America and to see my American fans again.


MGA: How has the reception to African popular music changed in your eyes from the beginning of your career until now?


Salif Keita: Yes of course, it has really evolved and changed a lot because there are more and more collaborations between musicians, so it has become on a much more global scale.


MGA: As a pioneer of the World music genre, have you struggled at all in your career with not being able to escape the label of "World Music Artist?"


Salif Keita: Well in fact it’s a label the music industry has created. It’s not World Music, it’s African music. But the positive part is that it has helped African music to be known all over the world.

MGA: Right, personally I very much dislike the term “World Music” because it suggests two worlds from which music comes when in reality all music comes from THE world. Fela Kuti always hated the term World Music because it suggests its second class music.

Salif Keita: Voila, that’s it.


MGA: You make a powerful statement about Albinism on this album as well as about several other issues. Why did you feel that now is the time to make that statement?


Salif Keita: I feel that now is the time to stop atrocities and human sacrifices that are committed against albinos all over Africa. All over Africa, in Burundi, Tanzania, many regions of Africa. Albino people are killed, and sacrificed, and now is the time to stop, so that’s the reason why the message is so strong.


MGA: For those who are not familiar, could you please describe the dangers and obstacles Albinos face in African societies?


Salif Keita: Apart from human sacrifices, they are murdered, their body parts are sold on the black market. It’s really terrible.

MGA: On La Différence, you speak out most prominently about the discrimination of Albinos. To which other issues do you feel your message of tolerance could also be applied?

Salif Keita: The other concerns and issues that are occurring in Africa right now are desertification and degradation of nature. For instance, a lot of people earn their living by logging to the point where no forests are left on the continent. Pollution is also a big issue. Rivers are drying up. All these environmental issues are what I’d like to talk about.

MGA: Due to your royal lineage, it went against societal practices for you to become a musician. If you were not an albino and ostracized by your family as a result, do you think you would’ve gone on to become a musician?

Salif Keita: [If I wasn’t an albino] I would’ve done something totally different.

MGA: That was my thought exactly, since you were already outcast, it affected your decision.

Salif Keita: For me it was a way to go against my lineage. It actually helped other people, noble people, to stand up and take up music as well. It could’ve been a double-exclusion, but I still did it.


MGA: You use your platform as a musician and celebrity to affect change both in the statements you make as an artist as well as through your foundation. Do you feel that popular African musicians do enough to use their money and status to affect change in their home countries?


Salif Keita: Once you are known and you have an audience, it becomes your duty to really speak out and be a spokesperson for other people who don’t have that opportunity. So yes it is a duty.


MGA: You incorporate a wide variety of instruments on La Différence from a variety of regions and cultures. For instance, on Gaffou, you feature the oud alongside the n'goni and kora and other strings. Could you describe why you chose those instruments and what they have in common?


Salif Keita: They can complete each other. They compliment each other very well.

MGA: What would you say is the cultural significance of the oud and kora complimenting each other so well.

Salif Keita: Well, African music and middle-eastern music sound very well together. It’s good to be able use the two sounds together.


MGA: Could you describe the emotion behind the last song on your album, Papa?

Salif Keita: It’s a very emotional song since it talks about my father, who at first was not able to understand me, but then went on to become my confidant and my friend.

MGA: Could you elaborate on that a bit? How would you describe your relationship with you father?

Salif Keita: At first, since he had no information about what albinism is, he was not able to grasp, to understand what I am, but after that we became best friends. He became my best friend.

Chico Mann @ Glasslands Tonight

Chico Mann, my personal favorite musical act on the planet, is throwin down tonight at Glasslands in Williamsburg. If you've never seen Chico Mann in the flesh, and you have the ability to get to Williamsburg tonight, no legitimate reason exists for you not to be at this show. Seriously.

Underground System at Public Assembly May 20th

One of the newer Afrobeat bands on the BK scene, Underground System, are throwin down for their monthly jam at Public Assembly in Williamsburg, Brooklyn this Thursday night. They'll be joined by roots dub outfit Top Shotta and DJ Trainwreck.

Dirty Drummer-Chase The Barber EP

Dirty Drummer is a North Carolina based beatmaker whose people recently reached out to me regarding his new EP, Chase The Barber. While I'd never heard of Dirty Drummer before, I was immediately affected by the densely funky beats he's created. While I'm of the opinion the songs could be about four times as long, there's no denying they're jam-packed with hard-hitting breaks.

Album Review: Earthology-Whitefield Brothers

Earthology, the long-awaited sophomore album from The Whitefield Brothers out January 2010 on Now Again Records, represents the next chapter in the largely untold funky saga of Jan and Max Whitefield. Their debut LP, In The Raw, was an underground classic celebrated by those who heard it as one of the most intensely funky records recorded in the last twenty years. Earthology picks up where In The Raw left off, and goes in an entirely new direction.

Jan and Max Whitefield are more widely recognized as founding members of The Poets of Rhythm, German recording artists on the Daptone roster. They traveled from their native Munich to New York to record In The Raw in 2001. They used stripped down funk grooves combined with traditional African music samples to foster an irresistibly funky sound. Almost as soon as the record was cut (featuring now legendary funk revivalists Neal Sugarman, Gabe Roth, and Leon Michels of the El Michels Affair) it was out of print and all but forgotten. That is until Now Again Records re-issued and re-introduced the record to the world in 2006.

Now in 2010, The Whitefield Brothers have returned to continue on their funky mission. This time around they’re looking past Africa for their inspiration, sampling sounds, time signatures and instruments from everywhere from Indonesia to Ehtiopia. They also widen their approach to include hip-hop verses from MC’s like Percee P, MED, Mr. Lif, and Edan. Other guests include El Michaels Affair and Quantic.

While the same distorted funk sound is definitely present on this record, fans of In The Raw should not expect the same theme to be continued. This record is something different, the next step in the Whitefield Brothers’ progression. They take their raw funky dissonance to the next level on Earthology, expanding their horizon to include sounds and influences from new places and cultures. If you dug In The Raw, you’ll dig Earthology; just don’t expect more of the same.

Whitefield In Paris from MASSCORPORATION.COM on Vimeo.

Lagos Disco Inferno

If you've ever wanted to transport yourself to late 1970's Lagos, Nigeria, now you have the chance. Lagos Disco Inferno, the compilation of Nigerian disco, funk, and rock compiled by Frank Gossner, aka DJ Soulpusher, is an insanely danceable collection of songs capable of triggering an uncontrollable dance party at any moment. Featuring heavy-hitters from the late 70's Lagos music scene like Geraldo Pino, Asiko Rock Group, and BLO, this is music you don't hear everyday.

Frank Gossner is a legendary crate digger. He's made a name for himself with his blog, Voodoo Funk, where he documents his record collecting trips to West Africa. Anyone who's heard him spin can vouch for his ridiculously deep collection of obscure African gems. He collaborated with Daptone Records in 2009 to re-issue Pax Nicholas' forgotten Afrika 70 gem. Lagos Disco Inferno is his second re-issue project, and I believe he has more planned.

While not every track on the album is disco, every song will make you dance. The first time I heard this album, I immediately tracked it down on vinyl, and spun it at my next dj gig. This album is most definitely best administered in like-minded company and with generous doses of cold, alcoholic beverages.

Album Review: El Existential-Grupo Fantasma

El Existential, the new album from Grupo Fantasma out May 11, 2010 on National Geographic Records, is an energetic, free-flowing, collection of songs that blend a diverse array of elements and sounds. Following their Grammy-nominated third album Sonidos Gold (2008), Grupo Fantasma has made a name for themselves for their ability to combine Latin musical styles with psychedelic rock and funk elements to forge a trademark style all their own. El Existential exemplifies that style from start to finish.

The range on this album is truly impressive. They go from downtempo Cumbia to hard driving rock from song to song. Certain songs like Realizando, the album’s first track, emphasize the psychedelic funk aesthetic, which fosters an interesting mix with the accompanying more traditional-Latin sounding horns, vocals and percussion. The band’s horn section really makes it presence felt throughout the album. The multi-layered rhythm section provides a vibrant backdrop over which the horns resound.

El Exisential was recorded in the band’s home studio in Austin. GP purposely avoided the corporate studio route to immerse themselves in a collectively occupied homestead, so they could create communally in a non-corporate, domestic atmosphere engineered to foster collaboration and experimentation. You can hear the homemade, analog production quality when you listen to the album. Similar to Daptone Records’ signature sound, the soul and character comes across through the speakers.

This album was my introduction to Grupo Fantasma, and it made a great first impression. The album drops in a little over a week, definitely check it out.

Giant Panda and The Superpowers Tonight at The Mercury Lounge

If you're in NYC and looking to catch two tight bands, check out Giant Panda Guerilla Dub Squad and The Superpowers tonight at The Mercury Lounge. Giant Panda is a road-tested veteran crew of musicians who've made a name for themselves all over the country for their laid back but tight grooves. The Superpowers are an equally experienced group of musicians that are capable of kicking out some serious afrobeat jams. Definitely a show not to miss.

Africa Africa Africa Mixtape

If you've never heard of DJ Underdog, it's about time you have. He's known for inciting afro-influenced dance parties in the Metro-Atlantic region, contributing to a multi-cultural health conscious blog, as well as putting out legendary mixtapes. Africa Africa Africa, is his latest, and having heard it for the first time today, it doesn't disappoint.

The Afro-Dub Sessions @ Rose Live Music-This Saturday Night

If you can find your way to Brooklyn this Saturday night, you will forever regret not coming to this party. I'll be on the decks at Rose Live Music along with Brian Shimkovitz from Awesome Tapes From Africa, and resident SLF selectors DJ Linh, DJ Q Mastah, and DJ Lil' Tiger. NY's finest live Afro-Dub collective, Super Hi-Fi, will be hitting the stage. For lovers of African music, this is a night not to be missed.

Zozo Afrobeat Speaks out Against Mugabe

Zozo Afrobeat, a NY afrobeat ensemble led by Egypt 80 vet and Akoya frontman Kaleta, have released a new video calling out Robert Mugabe for his crimes against humanity in Zimbabwe. Zozo will be throwin down this Friday night at Zebulon in Williamsburg. Having seen Zozo several times, I can vouch for their ability to make people dance. Check the video:

Album Review: Madlib Medicine Show No. 3: Beat Konducta in Africa-Madlib

Madlib, one of the most distinctively inventive DJ-producers on the planet, has given African music fans a gift. Madlib Medicine Show No. 3: Beat Konducta in Africa, out March 23, 2010 on Stonesthrow Records, is a 44-track masterpiece that draws on a variety of African musical styles from different corners of the continent. Listening to this album is like watching a documentary about Africa in an acid dream.

Madlib uses his characteristically smooth production style to create a transformational soundscape. Almost every track on the album is under two minutes. The grooves are tight and catchy, but they change frequently and don’t always segue easily. Madlib uses the regular changes of pace to his advantage, however, incorporating a wide variety of samples and cuts. It’s almost as if he has musical ADD, changing styles and rhythms every two minutes and cramming as much into every track as possible.

The running commentary from a 1950’s documentary sounding voice sets the mood throughout the album. Madlib seeks to introduce people to the African continent and the diversity of sounds therein. He functions as a musical tour guide, exposing listeners to sounds and influences even avid African music fans will find enlightening.

Madlib has created something that is entirely new and original, yet pays homage to a plethora of established African musical styles. Some tracks are smooth and refined almost like mainstream hip-hop beats, while others are rough and ragged like putting on an old record you found in your uncle’s basement.

Whether you love African music, or simply respect the wizardry of Madlib, this album is totally worth exploring. It will broaden your horizons and make you re-examine conventional hip-hop beats at the same time. Hip-hop wouldn’t be possible without Africa, and Madlib exemplifies exactly how and why.

Kora Afrobeat Remix Contest

Akwaaba, the fair trade record label doing the most to expose popular African musical styles from every corner of the continent, is throwing a remix contest. Jali Bakary Konteh, a Gambian Kora player, is releasing one of his tracks here. The best remix will be selected and released by Akwaaba. Try your hand at using the album as inspiration for your own creation.

Vieux Farka Touré April US Tour

Vieux Farka Touré has evolved from a young talented African musician into an established star in the international music community. He's on the bill for the July World Cup Celebration Concert along with BLK JKS, Angelique Kidjo, Amadou and Mariam, Parlotones, South African legend Vusi Mahlasela, Tinariwen, The Black Eyed Peas, Carlos Santana, Alicia Keys, and Shakira. He's touring the US this April playing fourteen dates in sixteen days. If you've never seen Vieux in concert before, definitely take advantage of the opportunity:

Check out the interview I did with Vieux in July of 2008

4/11/10 – Ithaca, NY – The Haunt
4/12/10 – Pittsburgh, PA – Rex Theater
4/13/10 – Cleveland, OH - The Grog Shop
4/14/10 – Cleveland, OH – Case Western
4/15/10 – Chicago, IL – Martyrs
4/15/10 – Chicago, IL – Center For Inner City Studies
4/17/10 – St. Louis, MO - Billiken @ St Louis University
4/20/10 – Hattiesburg, MS – Thirsty Hippo
4/21/10 – Tallahassee, FL – Engine Room
4/22/10 – Athens, GA - New Earth Music Festival
4/23/10 – St. Petersburg (Tampa), FL – State Theater
4/24/10 – Miami, FL - Transatlantic Festival @ North Beach Bandshell
4/26/10 – Washington, DC – DC9
4/27/10 – New York, NY – Le Poisson Rouge

2000 Got to Be Black

The Black Power! EP Part 2: 2000 Got to be Black from Yogstar on Vimeo.

Afrofunky Tomorrow Night

Brooklyn's Afrofunkiest Dance Party is going down tomorrow night at Cameo in Williamsburg. Hosts Zongo Junction are joined by The People's Champions, The Drumadics, and DJ Offbeat this month. $5 before 10pm, $7 after. If you're in BK and looking for some Afrofunky flavor, you'll be sure to find it here.

Album Review: Seahorse and The Storyteller-Michael Leonhart and the Avramina 7

Seahorse and The Storyteller, the new album from Micheal Leonhart and Avramina 7 out April 20, 2010 on Truth and Soul Records, is far and away one of the most interesting albums I’ve heard in a long time. The impressive musicianship, the tight rhythms, and the diverse instrumentation all make this album extremely unique.

Michael Leonhart is a veteran musician who has performed with an impressive roster of musicians from A Tribe Called Quest to Yoko Ono. At age 17, he became the youngest person to win a Grammy in the award’s history. His work as a multi-instrumentalist, composer, and arranger has gained him various accolades and awards since.

On Seahorse and The Storyteller, Michael Leonhart has recruited an all-star roster of musicians, mostly veterans of the Brooklyn-Daptone scene including Luke O’Malley, Binky Griptite, Tommy Brenneck, Homer Steinweiss, Nick Movshon, Stuart Bogie, Dave Guy, and Mike Williams. If you’re a fan of bands like Budos Band, Antibalas, The Dap-Kings, Superhuman Happiness, or any of the other musicians responsible for the tight funky sound emanating out of Brooklyn these days, I guarantee you will dig this album.

From start to finish, this is a concept album. The lyrics are abstract, and the mood is other-worldly. A wide array of influences and sounds are combined to foster a trademark energy and vibe. While on the road with Steely Dan in 2005, Leonhart came up with the idea to record a concept record that would meld the styles of Bollywood funk scores, 60's psychedelic rock, and the mythical storytelling of artists like the Beatles and Donovan. Seahorse and The Storyteller is a modern kaleidoscope opera that in the words of Leonhart, "tells the story of two mythical creatures who meet, fall in love and begin piecing together the mysteries of each other’s past."

Listening to this album is like riding in a time-travelling space ship bouncing from Bollywood to Abbey Road to Brooklyn. While the lyrics might freak you out a bit, the funky grooves and tight horns will definitely make you dance. This is an album definitely worth checking out. It gives new meaning to the word unique.