Album Review: The Electric Sound of Johnny Arrow-Cochemea Gastelum

Guardian Angel by afrobeatblog

To paraphrase the great Bill Cosby, this is the funkiest elevator music I've ever heard. The Electric Sound of Johnny Arrow, the debut album from Cochemea Gastelum out July 20, 2010 on MOWO! Records, is the soundtrack to the life of the fictional character Johnny Arrow. From the sound of the album, Johnny Arrow is a bad-ass player from the streets of Spanish Harlem in the year 2050.

Cochemea Gastelum is best known for playing Baritone Saxophone in The Dap-Kings, quite possibly the funkiest band on the planet. That funky sensibility is alive and well on this album but adjusted to Gastelum's electric modern sensibility. Fusing elements of Latin Jazz, Acid Jazz, Soul, and Funk, this album makes a unique statement. Certain tracks are danceably upbeat, while others are slow, soulful ballads. Using string arrangements, a fender rhodes, and a variety of soulful saxophones ranging from bari to electric alto, Gastelum has composed a complete album that conveys a range of moods and emotions, similar to the film score for The Mack (in case anyone besides me owns that record and therefore gets the reference).

The album's signature track is definitely Arrow's Theme. You can't help but imagine an opening montage to a movie about a smooth-talking street-wise hustler, or a slick spy with a bombshell on his arm. Either way the theme music fits. Other tracks have a decidedly Latin Jazz feel like Carlito! while still maintaining a strong Acid Jazz vibe. Then other tracks like You're So Good To Me and No Goodbyes have a smooth, funky attitude that tell a story all their own.

The tracks that grab my attention the most on this album definitely have to be the ones that most prominently feature electric drums fostering a vibe that's a mix between late Miles Acid Jazz like The Man with the Horn and Sly's 1973 funk masterpiece Fresh. Tracks like Guardian Angel, Impala '73 and Fathom 5 exude an elevator music vibe, but I guarantee you'll never hear elevator music as good as this.

While Cochemea Gastelum's work with Sharon Jones and The Dap-Kings might draw people to this record, potential listeners should be aware, this record is not a direct extension of the Dap-Kings. While soul has a strong presence throughout the record, this is something different and unique, a new direction altogether from The Dap-Kings' sound.


Arrow's Theme by afrobeatblog

Tim Turbo ft. Spoek Mathambo and Gnucci Banana

Tim Turbo Ft. Spoek Mathambo & Gnucci Banana - Hush (Iggy, Iggy) from BIG 'N' HAIRY RECORDINGS on Vimeo.

It's not terribly often that I write about German electronic music producers, but when they collaborate with African artists like Spoek Mathambo, who happens to be one of my favorite new African beatmakers, I make exceptions. Check out this tight video for their new single, Hush (Iggy, Iggy). If you like what you see, and hear, check out the rest of the album here.

Afro-Throwdown @ Sullivan Hall

If you're in or around NYC on September 17th, and you're looking for an injection of Afro-Funk flavor, check out Sullivan Hall for Emefe's Afro-Funk Throwdown. Underground System Afrobeat and Mokaad will be there to support, as well Antibalas front man Amayo. Emefe will be releasing their first full-length LP, Music Frees All--this is a jam not to be missed. Get tickets here.

Afrocubism

Have you ever imagined what it would sound like if the best musicians in Mali, recorded an album with all the best musicians in Cuba? If you have, your dreams have finally come true. Afrocubism, the upcoming release from World Circuit Records, is a collaboration between musical icons from Cuba and Mali, two countries whose musics have influenced each other across multiple centuries. Artists featured on this record include Eliades Ochoa, Bassekou Kouyate, Djelimady Tounkara, Toumani Diabaté, Grupo Patria, Kasse Mady Diabaté and Lassana Diabaté. Anyone who has read In Griot Time, the account of Banning Eyre's trip to Mali, will remember Buena Vista Social Club was originally conceived as a project between Cuban and Malian musicians. Afrocubism is the culmination of that project.


Dig this sample track until the album comes out next month.

AfroCubism - Al Vaiven De Mi Carreta by World Circuit Records

Interview with Chico Mann

I've often said, Chico Mann is one of my favorite musical acts on the planet. The musical brainchild of Marcos Garcia combines afrobeat with latin freestyle and electronic musical styles with other latin musics to create something entirely danceable and inventive. Analog Drift, Chico's second full-length LP, is being released on Wax Poetics Records October 26th. I spoke with Chico Mann creator, writer, singer, etc., Marcos Garcia, about the new album, Chico's rise in popularity over the last year, and what's in store for Chico as they tour the globe and spread their afro-freestyle message:


(Check out my review of Analog Drift here)

Ilusión de Ti by afrobeatblog

Marc Gabriel Amigone: First of all congrats on the album being released on Waxpoetics.

Marcos Garcia: Yea, I'm glad I held out, you know? I've been getting to know the waxpo guys and we've become friends and it's alright.

Marc Gabriel Amigone: So in the last year and a half, things have really taken off for Chico Mann. You guys have toured all over the country, your music is reaching a wider and wider audience, how've you enjoyed the ride?

Marcos Garcia: It's been really good. It definitely has its moments. I'm a one-man manager, booking agent, road manager, band leader, all those things, so it gets stressful at times, but overall it's been really fun. Traveling with David and Caito, we're just havin fun on the road.

Marc Gabriel Amigone: Yea, I saw you guys are going to Australia, that's gotta be pretty fun.

Marcos Garcia: Yea it's gonna be crazy. It's like five shows in five days and it takes two days to get there. It's gonna be a whirlwind down under. It's gonna be really fun because I don't think Australians have heard anything like Chico Mann before.

Marc Gabriel Amigone: Word, and they're really open-minded down there, right so I'm sure they'll dig it.

Marcos Garcia: Yea, hopefully. I went there with Antibalas in the winter, well our winter, their summer, and the response was overwhelmingly positive. So I'm looking forward to receiving a similar energy and response from the audiences down there.

Marc Gabriel Amigone: Word up. So in that regard, you've done a lot of touring in a lot of different parts of the country, you've been out west, you were down in Miami, Texas at SXSW. Have you noticed a difference in different people's reactions and receptions to your music?

Marcos Garcia: Yea, I think it's funny. The West Coast is so open and so down to get down, and then you get to a place like L.A. and people are so reserved compared to San Francisco, I always thought that was really odd. So that was interesting that people didn't want to let loose, and I'm not trying to single out L.A., but it was noticeable you know?

Marc Gabriel Amigone: Kind of like Williamsburg in a way?

Marcos Garcia: Well, you know Williamsburg has a reputation for being too cool for school, but I don't really think so.

Marc Gabriel Amigone: People act like that, but as soon as they're into it they let loose and get down.

Marcos Garcia: Yea, I've never really felt that in Brooklyn.

Marc Gabriel Amigone: Well that's cool. I've heard you talk before about places like Miami and L.A. where there's a large Spanish speaking population you feel like your music can really connect with people. Did you feel that connection in places like Texas?

Marcos Garcia: Definitely in Texas, we played a couple times where it was like man, they're getting it. And Miami was like a totally natural fit. It's one of those things, in Miami there's so many Cubans, that I felt right at home.

Marc Gabriel Amigone: About a year ago, you changed the personnel in your live shows to a paired down ensemble with just the three of you guys without the female vocalists. How has that changed the dynamic of the band and do you think you'll ever go back to having vocalists on stage?

Marcos Garcia: Yea, I don't even think it's been a full year. In regards to how it's changed the dynamic, it's created a completely new dynamic. Having a smaller lineup has changed it a lot.

Marc Gabriel Amigone: Yea, I feel like it's a different band altogether. You guys were way more of an ensemble before, not that you're not an ensemble now, but the logistics and the financials of it all have to be a lot easier to deal with.

Marcos Garcia: Well yea it is because we're smaller, but having three people as opposed to five or six makes our energy really focused and directed, and so the dynamic of the performance is really charged.

Marc Gabriel Amigone: More intense.

Marcos Garcia: Exactly, the punch is greater.

Marc Gabriel Amigone: Word that's interesting. I actually haven't seen you guys with the paired down ensemble.

Marcos Garcia: Yea, well when you see it you'll notice immediately the difference. And I love having the backup singers and having Ticklah and stuff, that was fun but it ultimately wasn't sustainable. To be able to do things like travel and do what I need to do to move forward...

Marc Gabriel Amigone: So Waxpoetics has really contributed quite a bit to Chico's rise in popularity. How did it start and how has it evolved since then.

Marcos Garcia: Well, how did it start. Let me think, Amir came up to me at a Sharon Jones and Dap-Kings concert at the Beacon Theater and and was like yo give me a call, we want to talk to you. And then that was my first interaction with Waxpo.

Marc Gabriel Amigone: And when was that?

Marcos Garcia: Um, whenever Sharon Jones played the Beacon Theater, it was a while ago, but I didn't follow up with them for a while. It was actually Linh Truong who was actually gunning for Chico Mann over there, keeping the buzz happening in the office over there. I already knew Andre at the time, but I didn't really know Dennis, so you know, I had never met the folks over there other than Andre in passing. Over time things developed, it was months before we signed a record deal. There was kind of a courting period.

Marc Gabriel Amigone: And then they released the one track on the 45 with the Africa Issue.

Marcos Garcia: Right, and that was like a good faith gesture, like, yo. It was really nice actually. I gotta say. And I'm really happy that they're local, I can drop in on them, go out for a drink, it's nice. They're my friends, I count them among my friends for sure.

Marc Gabriel Amigone: A lot of people identify you as your credibility outside of Chico Mann as a guitarist for Antibalas, but what have you done in your musical career besides Antibalas and Chico for people who don't know?

Marcos Garcia: Well, I play with Ocote Soul Sounds too. I'm not sure what you mean, like what have I done in my life outside of music?

Marc Gabriel Amigone: Well, a lot of people for your marketing line say Marcos Garcia, guitarist from Antibalas, but have there been any other projects or bands you'd like to let people in on?

Marcos Garcia: Well, dude I've played with a lot of bands. One of my favorite bands I've played with is American Watercolor Movement, that was before Antibalas. That band broke up a couple years ago. It was one of my favorite things to do. It was like an art rock. Really cool stuff, but you know I've dedicated my life pretty much to doing Chico Mann full-time. Antibalas is kind of a part-time gig right now. We'll do Antibalas when it comes up but it's not like it used to be. There definitely was a time when Antibalas was full time and Chico Mann was part time. Ocote is also, when they go on the road, I'll be in on that.

Marc Gabriel Amigone: Word, that's cool.

Marcos Garcia: I've actually been trying to create Chico as its own entity, and I don't really use Antibalas in any of my promotional materials. I also don't want to be perceived as riding on the coat-tails of Antibalas. I have my own thing, it's quite distinct. But people tend to want to reinforce that association which is fine. I love Antibalas, so that's cool but that's not ever something that I try to use to further myself.

Marc Gabriel Amigone: Exactly which is why I asked the question, if people don't know you from Chico Mann than they know you from Antibalas, or Ocote but I know from knowing you as a person that you've done a lot of projects over the years, so it's limiting to put you in one sentence, Antibalas and then Chico Mann.

Marcos Garcia: Right, another thing is I've also assumed this identity as Chico, so that's fine to be known as that. It's kind of the role I play on TV. It's funny when we were in Australia with Antibalas and we played a show in Sydney, after the show and I was walking outside and some guy came up to me and said. 'holy shit Chico Mann, I didn't know you played in Antibalas!' And I thought that was really hilarious. I was like where are we right now and how does this guy know Chico Mann?

Marc Gabriel Amigone: That's hilarious. So would you describe Analog Drift being released on Wax Poetics as a milestone for your career?

Marcos Garcia: I guess so, yea. I haven't really thought of it that way. Regardless of the status of the album ie. where it's been released, I think of the album as the milestone. Finishing that album was a crystalizing moment in terms of the musical statement I'm trying to make. The things that I touch upon on that album are looking back and then looking forward and it's positing this idea of afro-freestyle, you know, electro-afrobeat, and it's kind of pointing towards this next album that I'm working on right now. It's something sonically totally different. Wait a minute, I guess I don't need to be talking about my next album right now while I'm promoting this one. (laughs)

Marc Gabriel Amigone: Haha, well, I was going to ask about that eventually.

Marcos Garcia: Regardless of the status of this release, I'm always thinking about the next one, or working on it, or developing the concept. Analog Drift points toward this next album.

Marc Gabriel Amigone: Word, which leads me to my next question, which is Analog Drift is worlds apart from Manifest Tone Vol. 1 sonically, what do you think has allowed that evolution to occur?

Marcos Garcia: Well it's been a really natural progression and a really organic evolution of my production aesthetic and my musical practice governing this musical landscape along with people hearing it for the first time, I just maybe stumbled across it for the first time.

Marc Gabriel Amigone: Right, there's no model off of which to build an afro-freestyle band.

Marcos Garcia: Well there are elements, I did an interview yesterday where I started getting into all the different fundamentals of how you build my sound. All the different styles that I work within. Then I thought better of it after he left, and thought, oh my god, I just gave away my trade secrets. I emailed him today, you can't use any of that. My friend was like, you told him everything? I mean, I'm friends with the guy who was interviewing me so it was really easy to tell him this is what I do, but that doesn't mean I want to share this with the world.

Marc Gabriel Amigone: Right that's like giving away your secret formula.

Marcos Garcia: Yea, there's elements that are pretty fundamental. I feel like the guys in Antibalas, and the guys in the band, they understand it, but it's definitely not something I want to give away the blueprint of.

Marc Gabriel Amigone: Well I think listening to it you can hear it. If you've heard Latin Freestyle, and you've heard afrobeat, and you've heard certain Cuban musics, you can figure it out on your own without getting the exact recipe down. It's kind of like tasting something.

Marcos Garcia: Exactly, but most people, I'm sure there's plenty of people who can hear that clearly but most people I don't think can.

Marc Gabriel Amigone: Right, I'm sure you're introducing freestyle to a lot of people and afrobeat through Chico Mann which is not just those things but you're still introducing those ideas to some people.

Marcos Garcia: Right and a lot of people have that experience where it sounds so familiar to them, and its because all these elements are incorporated but most people can't, they'll be like this reminds me of, and they'll connect it to something in their past. In the interview yesterday, I was breaking down the nuts and bolts of everything, like afrobeat and how it intersects with freestyle, like I was getting all scientific with it, and I was like oh my god what am I doing?

Marc Gabriel Amigone: So when do you expect to release you next album, or would you prefer to stay focused on Analog Drift for now.

Marcos Garcia: Well it's hard to stay focused on Analog Drift because it was an independent release, and now it's going to have a life for the general public, which is what I wanted all along. That's why I held out, you know putting it on Itunes or doing anything major with it. I have no idea when the next album will be released or finished. As soon as I go on the road that will stop the production, and then when I get back it will take me a while to get back into it. So I don't know. I can tell you wholeheartedly that doing that creative work is one of my greatest joys. I love to discover aspects of this musical landscape that I've kind of encountered in my life. And I want to just keep discovering these landscapes and textures. It's the whole idea of what could've been and now is.

Marc Gabriel Amigone: Yea that's gotta be a very gratifying feeling, that Analog Drift is being released on a record label and you're touring Australia with Chico Mann that's gotta be a good feeling.

Marcos Garcia: Yea with this kind of momentum anything's really possible.

Marc Gabriel Amigone: Well do you have any specific goals or are you going to continue to make good music and let the rest take care of itself?

Marcos Garcia: I do feel to a certain extent that things will take care of themselves and yes, that I'm going along for the ride, but there's also a self-direction going on from the beginning. I've really envisioned what I want from my career and what I want from my life and I've been focused on building that over the years, building my musical catalog, building my studio. I eventually want to move into a new spot and build a dream studio. I'd like to start producing other artists. I'd like to get more production experience under my belt and as I get older and I have more miles on me. I feel like what I need to do in the future is start shaping the sound of other artists by doing production. Over the years I've met so many talented people that I would love to say this singer would sound great over a Chico track, and I've already started to do that a bit, and I think that's going to happen over time. That's kind of the natural evolution of things, you know, I can't be on the road forever.

Marc Gabriel Amigone: And that's the best way to transition.

Marcos Garcia: I love going on the road, and I don't anticipate not doing that anytime soon. but I would love to be able to pick and choose a little bit more when I go on the road so I can make more time for the studio, because I love being in the studio. I love doing shows and performing, but it's the travel that's so tiring. And being in the studio can be exhausting as well, but when you stumble across the right take or the right melody, whatever it is. It's a magical thing.

Marc Gabriel Amigone: Absolutely. Well I know you produced one track off of Planet Rump's EP which dropped the other day, as well as provided guidance along the way.

Marcos Garcia: Yea man, they're great. I'm glad you introduced us and put us together. They're so sweet, I love those guys. I just listened to the EP last night, it just puts a smile on my face. They're so great.

Marc Gabriel Amigone: I know they have such great potential, I wrote on my blog, download this EP now so when they blow up in five years you can say you knew them now.

S. African Dubstep Video from LV

For those who dug the Spoek Mathambo track I posted a little while ago, dig this bangin' video from S. African production team, LV. Check out their blog, and if you like what you hear, get some more of it here.

Africa Africa Africa Pt. 2

If you've downloaded any of DJ Underdog's mixtapes before, you've probably stopped reading by now and are already listening to this. If not, download this mixtape right now.

Welcome to Planet Rump

Have you ever wanted to travel through space in George Clinton's Mothership hijacked by Egyptian Lover? Well, now you have the chance. Electro-funk outfit Planet Rump released their long-awaited debut EP today online at PlanetRump.Bandcamp.com. Take a listen to embark on an interplanetary funky voyage.

Planet Rump is an unabashedly funky party waiting to unfold at any moment. DJ Tantric, Miss Strawberry, and Nasty Ness are three of the funkiest people I've ever met (and that's saying a lot). Their live shows have been known to get seriously out of hand, and they've managed to capture that electric energy in these five songs.

Their approach to production is unique in its appreciation of lo-fi simplicity. While most production outfits try to elevate their sound with technical complexity, Planet Rump throws it back, using the casio keyboard to convey their funky-retro attitude while sacrificing no modernity in their sound. Obvious parallels can be drawn to Electro-Freestyle master Chico Mann, who not coincidentally produced Play For Me.

Download this EP, so you can say you heard Planet Rump before they blew up, but only if you can handle it.

Album Review: Psycho African Beat-The Psychedelic Aliens

The name says it all. Psycho African Beat, the compilation out October 26th on Academy Records, is an unabashedly in-your-face collection of jams that are about as funky as anything you're likely to come across. The Psychedelic Aliens are a 1970's Ghanaian Psych-Soul band that had virtually fallen into obscurity. Academy Records and Frank Voodoo Funk Gossner kept that from happening by scouring crates in different corners of the globe for bits and pieces of their music in hopes of releasing this compilation.

Their efforts have paid off. Frank Gossner has once again completed his mission of reviving forgotten funky music from West Africa, and this could be one of the funkiest projects he's ever undertaken. The Psychedelic Aliens combine elements from several of the American musical genres that made their way back across the Atlantic--soul, fuzz rock, and psychedelic funk. Listening to this album almost makes me wonder what Funkadelic's first album might sound like if it was recorded in Accra.

While this album could start a great conversation about cross-cultural exchange in African and African-American musics in the 1970's, most of all, this is downright funky music made for dancing (especially the type of dancing one might find at a 1970's freak out full of Nigerian college students). Put simply, don't listen to this album if you can't handle some serious funk.

Extraordinary Woman by afrobeatblog

Crazy Nasty Video from Richy Pitch

This crazy nasty video is from Ghanain beatmaker Richy Pitch. He's got a new album coming out on BBE Records in October (more on that to come). I love this video for many reasons, but most of all, it just brings me back.

Afro-Beat Airways

If you're like me, and you dig old-school African funk that sounds like it's been picked up off the cutting room floor from a 1970's Accra recording session, then Afrobeat Airways is a gem you need to add to your collection. All fourteen tracks are hand-picked by Samy Redjeb, founder of Analog Africa. If that doesn't tell you enough about how ridiculously packed with afro-funk flavor this compilation is, allow me to elaborate further. Bands like Ebo Taylor, African Brothers, Apagya Show Band, all legends of the Ghanain 70's funk movement, are all in full effect on this collection of rare funky gems. Listen with caution: dance parties will definitely ensue.

Break Through - Marijata by afrobeatblog

Album Review: Donso-Donso

Donso means hunter in Bambara, a Mande language spoken in West Africa. It's also the self-titled debut album, out September 2010 on Comet Records, that could be one of the best records of the year. Combining hard hitting broken beats, laid down by French producer Krazy Baldhead, with Bambara vocals, sung by Malian vocalist Gedeon Papa Diarra, Donso creates a modern interpretation of Mande hunters' music, a tradition that goes back hundreds of years. The Donso N'Goni, or hunters' harp, is employed extensively throughout the album as well, providing an interesting texture that seamlessly meshes with the electronic beats.

This album is a perfect example of African musicians' bridging the gap between generations. Traditional instruments are paired with computer generated sounds. African griots, keepers of their cultural artistic traditions, partner with French producers. Combining tradition with modernity is a theme championed throughout this album, and the result is a totally inventive, dynamic sound.

Diarra's voice is the perfect match for Krazy Baldhead's beats. Diarra's rhythmic presentation and bending vocal pitches compliment the polyrhythmic beats that push the album forward from song to song. Tala, or talking drum, rhythms, electric guitars, and bass lines also contribute to deep textures and soundscapes. Certain songs are downtempo, exploratory tracks, while others are hard-driving, danceable compositions. Certain songs are less "produced" more traditional sounding songs, while others have a decidedly club feel.

This album will definitely catch your ear. All artists involved in the project display a strong desire to explore new mediums and styles, to create something original and unique. They've succeeded in that endeavor and created an album that will provide DJ's ammunition for their club sets, as well as inspiration for aspiring African artists and collaborators to draw from traditional sources to create something entirely new and modern.

Mogoya by afrobeatblog

Donso EPK from Comet Records on Vimeo.

New Release from Akwaaba

Akwaaba Productions, the fair trade record label doing more for African music than anyone, is back with a new hiplife compilation from legendary Ghanain beatmaker Appietus. Appietus has been an established icon of the Ghanain music scene for over a decade. This compilation is a collection of bumpin hiplife tracks that will get any dance floor shaking from San Francisco to Accra. If you like what you hear, and you'd like to know what else is blasting from soundsystems across the continent, check out Akwaaba's catalog.

Album Review: Adje! Adje!-Elikeh

Adje! Adje!, the new album from Washington D.C. based Togolese Afro-Rock ensemble Elikeh, out May 27, 2010 on Azalea City Records, is a politically charged collection of songs that utilizes guitars, horns, percussion and vocals to create a uniquely distinguishable sound. Coming from Togo, Elikeh's leader, Massama Dogo, is determined to forge an identity for Togolese music in the international music scene. His combination of funk, rock, highlife, and reggae have successfully created a hallmark brand of music all his own.

One of the things I like the most about Elikeh is their conscious decision not to fall into any one category. Elikeh has recently been touted as a modern extension of afrobeat's musical legacy by the mainstream media, and I can see why. The way the guitars play off each other forming polyrhythms and the political overtones of Dogo's lyrics are both reminiscent of afrobeat, but that's simply one element of Elikeh's style.

When Dogo chants Adje! Adje!, he means to say "Watch out! Here they come again - the multinationals and the corrupt governments." Adje! Adje! is music with a purpose. This isn't music to put on in the background, maybe dance a little bit, and feel good. These are songs that challenge you to think, songs that call attention to the injustices of global society especially from an African perspective. This is a soundtrack for a protest, music to make you stand up for that which you believe in.

Elikeh will be performing in the DC metro area in early August and then again at Joe's Pub on Saturday the 28th. Come check them out, but come prepared to stand up and dance.

Adje Adje by afrobeatblog

Grassroots Fest 2010

This Thursday, the 20th Annual Fingerlakes Grassroots Festival kicks off in Trumansburg, NY. While I don't usually cover events like this, I had to take notice of this festival due to the amazing lineup that includes a heavy dose of afrocentricity. Burning Spear, Chiwoniso, Arrested Development, The Black Seeds, Oliver Mtukudzi, John Brown's Body, Locos Por Juana, and a host of other acts will hit the stage ready to unleash a dance fervor upon the masses. Tickets are still available, so if you can make it to Trumansburg, NY this weekend (Just outside of Ithaca in the finger-lakes region of upstate NY) I highly recommend checking this jam out.

One band that's been rocking Grassroots for almost a decade straight is John Brown's Body. JBB has earned a reputation for their modern interpretation of roots reggae/dub all over the world. Part of the band hails from Ithaca, so they have a dedicated following upstate. Their latest album, Amplify, came out in 2008 on Easy-Star Records. I had the distinct pleasure of interviewing JBB drummer, Tommy Benedetti, on the band, Grassroots and Reggae music:

MGA: I've seen many labels attached to your music, Future Roots Music, the most commonly used. How would you describe your sound in your own words?

TB: I think the term "Future Roots" does describe our music pretty well. We all love and respect Jamaican reggae/dub from the 70s and 80s. So our songs are generally built from a heavy dub influence. But we have many other influences that go into our sound as well. And i think its our job to keep our sound progressing and keep things as fresh as possible. JBB is a thick sound. A big, loud machine.

MGA: How were you first introduced to reggae and who were the artists that made the biggest impact on your musical development?

TB: I was introduced to reggae as I was finishing up at Berklee College of Music in Boston. I took the gig with The Tribulations and went on a crash course of reggae and dub. Kevin Kinsella and Elliot Martin dropped some heavy stuff on me to check out. The Gladiators, Burning Spear, Black Uhuru, Alpha Blondy. It was a whole new world for me to dive into. Sly and Robbie had a huge influence on my approach to playing dub, and still do to this day.

MGA: The personnel in JBB has changed a lot over the years. How would you describe what the most recent changes have brought to the band?

TB: We've been lucky, that everytime we've lost someone, we've brought in a musician thats really helped JBB progress and get to where we are today. We are very much like a family. Theres a lot more involved in being a member of JBB than just being a killer player. This current lineup has been traveling the planet together for over 4 years, which is pretty good for our business.

MGA: How would you describe the evolution of Reggae music over the last twenty years and where it fits in the global music scene?

TB: Reggae is a very far reaching genre. I see a lot of kids all over the country that are being inspired by reggae; a lot of times on tour we will have a local act open the show ,so it's cool to see everyone's unique approach to playing the music. Some of my favorite reggae these days comes from all over the globe. Black Seeds from New Zealand and, Dubmatix from Toronto, Midnite from St Croix...there are alot of hard working bands doing some real good things these days.

MGA: You guys have played all over the world. How does the reception vary in different places and cultures?

TB: Generally, people come to our shows and are very appreciative i think. We bring something different to the table so not everyone gets it. But we've had some great shows in France, Hawaii, New Zealand, there's always gonna be some places that are better than others, just like in the states, but when we come to town we're gonna throw down, no matter where we are.

MGA: JBB has been playing grassroots for several years. Could you describe the vibe and energy of the festival for those who haven't been there before?

TB: I think i can speak for most of the guys and say that Grassroots is one of, if not our favorite summer fest to play. I always have a great time and the caliber of music is really off the charts. This is probably around our 10th one, so we play to a real big crowd and its an incredible feeling. I recommend it to all of my friends.

MGA: One band I'm especially looking forward to seeing is The Black Seeds, a band with a similar sound to JBB who you guys have toured with extensively. Could you describe their sound and how you feel about it?

TB: They have more of a soul/funk vibe than JBB does maybe, but we share many common influences. I am a huge fan. We had them open a US tour for us last year and they returned the favor by bringing us to New Zealand for 3 weeks of shows. It was a real life changer. To me,they have it all..theyre amazing musicians, great songs, and a sound thats all their own..and you know i have to say their drummer Jarney is one of my favorites!

MGA: Who are some of the other acts to which you're especially looking forward to seeing this year at G-Roots?

TB: Unfortunately this year we have to leave Saturday to play a big outdoor show in Boston,so i won't be able to catch as much music as i usually do, but i would be psyched to see Oliver Mutukudzi and Railroad Earth..we did the jam cruise with them back in January..they are a great band..and i think The Black Seeds are playing the same night we are, so i can not wait to see them and party with them

MGA: JBB has evolved and changed quite a bit over the years. Where would you like to see JBB go from here on out musically and otherwise?

TB: I want us to be happy continuing doing what we do..further crafting our sound and bringing it to the people.

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.