Two Afrocentric NY Shows This Weekend

Zozo Afrobeat Ensemble is throwin down tonight at Zebulon in Williamsburg along with To Nokwe all the way from South Africa. Zozo is a draw by themselves--their afro grooves will send tremors through any dance floor. Having To Nokwe on hand is all the more special of a treat. She's been singing, educating, acting, and writing in her native S. Africa for decades and has garnered praise from abroad several times over.

Tomorrow afternoon, a crazy nasty lineup will be hitting the stage in the Prospect Park Bandshell. Konono No. 1 will be headlining along with Chiwoniso, Omar Pene & Super Diamono, and Meta & the Cornerstones. Summertime is when African musicians go on world tours and beautiful happenings like these take place. Take full advantage of the opportunity because it only comes once or twice a year.

Album Review: The Budos Band III-The Budos Band

The Budos Band III, the third full-length album from Staten Island's funkiest collective, out August 10th on Daptone Records, wastes no time kickin out some seriously funky grooves. The multi-layered percussion, the funky guitars, the organ and horn-lines straight out of a B-Horror Movie, they're all back in full Budos form. They're currently touring across N. America in support of the new record.

While Budos I and II both were seriously funky, tightly arranged albums, Budos III has a different attitude. It's almost as if they've proven they can bring the funk, now they want to do something a little different. The first two tracks on the album, Rite of The Ancients and Black Venom, set the tone for the entire record. They both have a dark, creepy vibe. Black Venom especially could serve as a soundtrack to a "being chased" nightmare sequence. Other songs on the album are slower, deeper tracks like The River Serpentine and Nature's Wrath.

The Budos Band has always had a distinctive attitude. This album doesn't necessarily forge a new identity for the group, but it does reinforce and accentuate what was already there. Any record cut in Bushwick, Brooklyn at Daptone Records will have a certain old-school, earthy sound, and Budos Records are no exception. As Gabe Roth often says, however, it's not the recording techniques, it's the musicians.


Black Venom by afrobeatblog

Album Review: Dunya - Bibi Tanga & The Selenites

Dunya, the new album from Bibi Tanga and The Selenites out June 1, 2010 on National Geographic Records, is a multifaceted collection of songs that touch on a variety of influences and worlds. Jazz, funk, broken beat, and African musics all appear throughout the album filtered through an intellectual Parisian sensibility. Singing in French, English and Sango (his mother tongue) Bibi Tanga puts his stamp on the future of funk and its global presence.

Born in Paris in 1969, bassist and vocalist Bibi Tanga traveled extensively throughout his childhood due to his father's career as a diplomat. After a coup d'etat in his parents homeland, Central African Republic, ended his father's international career, he settled in the suburbs of Paris at the age of ten. It was there that his musical education took shape.

"My father had a lot of records. I grew up listening to everything. Franco and Tabu Ley from Congo, Fela Kuti from Nigeria, Bembeya Jazz from Guinea, I grew up on all of that," Bibi describes the music to which he was exposed during his youth, "American music, too - James Brown, Curtis Mayfield, Jimi Hendrix and of course Bob Marley. I love disco, funk, soul, reggae, R&B. It's all like a big library to me. I feel like there's this heritage of black music from around the world, and I'm the heir to it."

Listening to Dunya, one can hear all of that and more. I feel a strong Prince presence throughout, both in Bibi's voice, as well as in the general attitude and vibe. Certain tracks are more funk and less African, like Swing Swing, while some are a page ripped right out of Fela Kuti's song book, like Shine.

My personal favorite track off the album is Be Africa, the album's signature track in my opinion. It's distinctly African while at the same time maintaining a signature Parisian attitude. The lyrics are in Sango with a hard driving bass line laid down over an electronic drum beat. Similar to the way Tony Allen incorporates electronic drums into his music, Be Africa forges a uniquely contemporary African identity.



Be Africa by afrobeatblog

Spoek Mathambo - Mshini Wam

Spoek Mathambo is hitting the world hard with his take on Afro-futurism. His forthcoming release, Mshini Wam, out July 27th 2010 on BBE Records, is one of the most bangin tracks I've heard in a really long time. If this track doesn't make you stop in your tracks and take notice, you need to check your pulse to make sure you're still breathing...


Spoek sees himself as a part of a new wave of energy in Africa, which is intent on nurturing a sense of progressiveness while maintaining a pride in culture. He represents the contemporary wave of musicians building on the ingenuity and progressive creativity for which South African musicians have been know for decades.

SPOEK MATHAMBO - GHOST OF BONES from spoek mathambo on Vimeo.

Body Beat Pool Party

For those in and around DC looking for an afrofunky jam, check out the Body Beat Pool Party July 17th presented by The Lunchbox Theory. DC's hottest dj's will be on the one's and two's including DJ Jahsonic, Underdog and Cam Jus. Since we all know afrobeat parties often turn into a sweaty hot mess, this soirée will be poolside to cool off after a night of getting after it on the dancefloor.

Femi Kuti and Positive Force @ Lincoln Center

For those in and around NYC, Femi Kuti and Positive Force will be performing at Lincoln Center July 12th. For those who would like to improve their ability to shake their nyash, a dance lesson will be facilitated at 6:30 by Rich Medina, Sahr Ngaujah, and Maija Garcia (associate choreographer from FELA!). Femi hits at 7:30.

Lemi Ghariokwu, Fela's Cover Artist

Vieux Farka Touré Live

If you've ever seen Vieux Farka Touré in concert, then you know it's an event you won't soon forget. If you haven't had the privilege, now is your chance to see what you've been missing. Vieux Farka Touré Live, out June 29th on Six Degrees Records, exhibits why VFT is one of the fastest rising acts on the international music scene. Following up his performance at the World Cup opening concert in Johannesburg, South Africa earlier this month, VFT Live gives listeners a taste of what makes him such a dynamic live act.

Vieux's self-titled solo debut, released in 2005 by Modiba Productions, introduced him to the world and symbolically passed the torch from his legendary father, Ali. While Ali was known as a bluesman of the desert, Vieux has established himself as the Hendrix of the Sahara. If people listened to his debut due to his father's reputation, people listened to his sophomore follow-up, Fondo, due the its widespread critical acclaim. VFT Live only builds on that progression, further establishing him as an African guitar hero.

Interview with Tony Allen

Tony Allen is a legendary musical icon. He was the drummer of Afrika 70 and influential co-creator of afrobeat music with Fela Anikulapo Kuti. He is currently on tour promoting his latest album, Secret Agent, out April 13, 2010 on Nonesuch Records. I had the distinct honor of speaking with Tony a couple weeks ago before he set out:

Marc Gabriel Amigone: 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.

MGA: Word, word.

Tony Allen: 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.

The Black Seeds Summer Tour

The Black Seeds are one of the premier music acts to come out of New Zealand. They toured with John Brown's Body last year, and are bringing their tight reggae grooves back to N. America this summer hitting festival stops like Camp Bisco, Grassroots, and High Sierra along the way. Their album Solid Ground is a must have for any reggae aficionado. No matter where you are in North America, you'll have a chance to see them throw down:

July 03 - High Sierra Festival - Quincy, CA
July 04 - High Sierra Festival - Quincy, CA
July 07 - The Venue - Vancouver, British Columbia
July 08 - Gariabaldi Lift Co - Whistler, British Columbia
July 09 - Tofino Community Hall - Tofino, British Columbia
July 10 - Victoria Ska Festival - Victoria, British Columbia
July 11 - Nectar Lounge - Seattle, WA
July 14 - Cervantes' Other Side - Denver, CO
July 15 - Fox Theatre - Boulder, CO
July 16 - Music Hall of Williamsburg - Brooklyn, NY
July 17 - Camp Bisco - Mariaville, NY
July 18 - Higher Ground Showcase Room - S. Burlington, VT
July 20 - The 8X10 - Baltimore, MD
July 21 - Electric Factory - Philadelphia, PA
July 23 - GrassRoots Music Festival - Trumansburg, NY
July 25 - Belly Up Tavern ­ Solana Beach, CA
July 26 - Velvet Jones - Santa Barbara, CA
July 27 - Catalyst Club (Atrium) - Santa Cruz, CA
July 28 - Slim's - San Francisco, CA

Chico Mann East Coast Swing

Chico Mann has some dates coming up in NYC and Miami. If you can make it to either city, and you want to get down, come check one of the hottest acts in the country.

Angelique Kidjo Video

If you need something to brighten up your day...

Dub Inc Comes to NY

For all those in NYC interested in the Dub side of things (and you should be) def check out Dub Inc, the French-N. African Dub outfit that's coming to NYC this week. They're throwin down at 92Y Tribeca with Sengalese rockers Meta and The Cornerstones this Friday night. Definitely a show not to be missed.

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.