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Carl Craig back on Honest Jon’s, in devastating form: nervy and urgent, epic and apocalyptic, kicking and funky. Lagos re-tooled in Detroit.
Paradigmatic yet forward-looking township jazz from 1975.
Braiding Wes Montgomery into marabi, the legendary guitarist leads a stellar line-up of musicians including Kippie Moeketsi, Barney Rachabane, Gilbert Matthews, Dennis Mpale, and Sipho Gumede.
The opener glances sideways at the commercial success of Abdullah Ibrahim’s recent Mannenberg — but the real magic follows on, when the players cut loose in their own, new directions.
This is the first vinyl reissue. Sleevenotes by Kwanele Sosibo feature interviews with key musicians, and previously unpublished photos.
This mix by Mark Ernestus — one half of the Basic Channel, Maurizio and Rhythm And Sound teams — kicks off our series of reworkings of tracks from Tony Allen’s Lagos No Shaking album.
Like a dream, but authoritatively, this remix from Jamaica magnificently crosses the Afrobeat of Fela Kuti with the grounation reggae tradition of Count Ossie.
Eight poetic songs attuned to the early 1970s chanson of Brigitte Fontaine, performed by Mauricio Amarante and Marine Debilly Cerisier.
Startling 1975 excursions into Tarantism — a kind of hysteria ostensibly triggered by spider bites, for which dancing is the only cure, with its own set of cultural traditions based in Basilicata, Apulia, Sicily.
Obsessive, hypnotic chants, rhythms, and drones, mixing together folk, avant-gardism, and psych, with shots of Dylan and North African drumming.
A fresh, engaging compilation, spanning 1978-1988: a decentred, porous map of the Gallic musical scene during the Sono Mondial era, running routes from the suburbs of Paris to and from the French Caribbean Antilles and throughout the African diaspora; and revelling in the new general access to electronic instruments like synthesizers and drum machines.
Superb singing, in Urdu, with reined-in accompaniment by Vijay Iyer on pianos and electronics, Shahzad Ismaily on bass and Moog.
Ary was the most celebrated of those singers and songwriters emerging from Belem do Para in the 1950s, with deep Afro-Brazilian roots. He kick-started the sixties with his best LP Aqui Mora O Ritmo, The Rhythm Is Here. One year later his album Cheguei Na Lua (I Landed On The Moon) revealed his passion for space travelling and for the moon in particular. He released one LP per year till he left RCA in 1966. He made a ton of money and lived notoriously large.
The sleeve-notes of his 1958 debut Forro Con Ary Lobo are quick to nail his accomplishment: ‘An absolute master of Baiao, Coco, Batuque and other related musical genres, and the owner of an art one hundred percent his own, Ary Lobo is the ideal
interpreter of northeastern songs.’