Showing posts with label Musica Africana. Show all posts
Showing posts with label Musica Africana. Show all posts

Monday, November 10, 2008

Miriam Makeba (1932-2008)

So I wake up this morning and we've lost another legend of African music... And I mean, one of the titans.

Over the years, the continent has produced scores ofincredible musicians who have represented her admirably on the world stage, but ask me and I'll tell you that on a macro scale, there are probably only three true game-changers, three whose influence effected a paradigm shift in the way (sub-Saharan) African pop music is perceived universally: Miriam Makeba, Franco Luambo Makiadi, Fela Anikulapo-Kuti.

None of them left standing.

ROME (AFP) — South African singer Miriam Makeba has died aged 76 after being taken ill near the southern Italian town of Caserta following a concert, ANSA news agency reported Monday.

She died overnight after taking part in a concert for Roberto Saviano, a writer threatened with death by the Mafia, the Italian agency said.

Miriam Makeba, known as "Mama Africa", was the legendary voice of the African continent who became a symbol of the fight against apartheid in her home country.

She died just after having sung for half an hour for the young author of "Gomorrah" at Castel Volturno near Naples along with other singers and artistes.

She was taken ill and was quickly taken to a clinic in Castel Volturno where she died of a heart attack, ANSA said.

Miriam Makeba was born in Johannesburg on March 4, 1932. She made an international farewell tour in 2005.

Born from a Swazi mother and Xhosa father, Makeba captured international attention as vocalist for the South African group, The Manhattan Brothers, while they toured the United States in 1959.

The following year, when she wanted to return home to bury her mother, the apartheid state revoked her citizenship and later also banned her music. As a result she spent 31 years in exile, living in the United States and later in Guinea.

She became the first black African woman to receive a Grammy Award which she shared with folk singer Harry Belafonte in 1965.

Two years later her fame sky-rocketed with the recording of the all-time hit "Pata Pata" (Xhosa for "touch, touch" describing a township dance) although she unknowingly signed away all royalties on the song.

She hit an all-time low in 1985 when her only daughter, Bongi, died aged 36 from complications from a miscarriage. Makeba did not have money to buy a coffin for Bongi, and buried her alone barring a handful of journalists covering the funeral.

But she picked herself up again, as she did many times before, like when her father died at a young age, or when she recovered from cervix cancer, or her many unhappy relationships, or unfounded rumours of alcoholism, according to her biography.

She returned to South Africa in the 1990s after Mandela was released from prison but it took a cash-strapped Makeba six years to find someone in the local recording industry to produce a record with her.

She since released "Homeland" which contains a song describing her joy to be back home after the many years in exile in which she spoke out against apartheid and testified twice before the United Nations.

"I kept my culture. I kept the music of my roots. Through my music I became this voice and image of Africa and the people without even realising," she said in her biography.

That was a Swedish TV performance of "Khawuleza" from 1966.

I'll try to put up a fuller memorial a little later.

Sunday, January 27, 2008

Lome ladies of song

Just wanted to quickly share this cool video I stumbled upon:



An October 2006 rehearsal of a theatre troupe in Lome, Togo, featuring the grand dame of Togolese music, Julie Akofa Akoussah. Man, I could listen to her piercing, haunting soprano all day! Sadly, Akofa Akoussah passed away a few months after this footage was shot, in April 2007. She was 57.

It's easy to forget how relatively young she was, since she exerted a presence on the Togolese music scene for so long. She was only 16 when she began her professional career in 1966, representing Togo at the first World Festival of Negro Arts in Dakar, Senegal and spanned five decades as a respected singer, songwriter and presenter on radio and television.

Check out these tracks poached from our friend Pieter's excellent (though infrequently updated) Sea Never Dry blog

Julie Akofa Akoussah - "I Tcho Tchass"
Julie Akofa Akoussah - "La Lem"

and then check out Akofa Akoussah's site.

But Julie Akofa was not the only Togolese chanteuse whose career was launched on that Dakar stage; 21-year-old Bella Bellow also represented Togo at the festival and became a legend almost overnight. As her country's favorite singer and the one with the greatest chances for international success, she hooked up in 1968 with the ambitious Paris-based Togolese producer Gérard Akueson, who set out to position her as the next Miriam Makeba.

Akueson's aesthetic seemed to be based on the goal of packaging African music for upmarket European audiences, with snazzy arrangements, Broadway-ready choruses and Ipi Tombi-esque exotic ambience, as heard on Akue releases such as

Bella Bellow - "Bem-Bem"
Bella Bellow - "O Senye"

and "Zelie":



Bellow parted ways with Akueson in 1971 and returned to Togo, but not before she recorded some grittier sides with Manu Dibango, such as

Bella Bellow - "Dasi Ko"

(Akueson, for his part, quickly rebounded from the loss of Bellow, embarking upon a long musical and matrimonial relationship with the young Congolese diva Abeti Masikini.)

Tragically, Bella Bellow's meteoric rise was cut short in 1975, when she perished in an automobile crash at the age of 27. She has remained a sainted figure in the musical canon of Togo and also in neighboring Benin, where singers such as Angelique Kidjo cite her as a major influence.

Vive les reines!

Wednesday, January 23, 2008

Gnonnas Pedro -Dadjes encore!

Because you demanded it (well... b2v did, anyway!)...
GNONNAS PEDRO & HIS DADJES BAND - GNONNAS PEDRO & HIS DADJES BAND VOL. 1 (WORLD WIDE MUSIC, 1979, WWM 1 L)

SIDE ONE
1. Kalapchap

SIDE TWO
1. African Solidarity
2. La Musica en Verite
3. Maria Elena

Friday, January 18, 2008

Gnonnas Pedro: Voir le comédien, le musicien, le magicien

For some reason, when I was younger, every time I saw a "Gnonnas Pedro & his Dadjes" on a record sleeve, I read it as "Gnonnas Pedro & his Dandies." Looking back on it now, it seems somewhat appropriate. Dig: Yesterday I was reading The Painter of Modern Life, Charles Baudelaire's collection of essays explicating, among other things, the worldview of the dandy. This passage leapt out at me:
In this context, pray interpret the word 'artist' in a very narrow sense, and the expression 'man of the world' in a very broad one. By 'man of the world', I mean a man of the whole world, a man who understands the world and the mysterious and legitimate reasons behind all its customs; by 'artist', I mean a specialist, a man tied to his palette like a serf to the soil. M. G. does not like being called an artist. Is he not justified to a small extent? He takes an interest in everything the world over, he wants to know, understand, assess everything that happens on the surface of our globe.
Well, damn, I thought. That kinda describes Gnonnas Pedro, doesn't it?

Beninois singer, dancer, bandleader, guitarist, trumpeter and saxophionist Gnonnas Pedro was not an "artist" in the sense of being a specialist in one any one discipline, and if he was anything, it was certainly a man of the world. A dazzling showman who hewed to the old school entertainment ethos of giving the people want they want. You wanted to hear a bolero in Spanish? Gnonnas Pedro would sing it for you. French chanson? He was up to the task. American soul? Congolese rumba? Nigerian-style highlife? Your favorite country ballad? No matter the song or the style, you could count on Gnonnas Pedro to give it the old college try. At the peak of his popularity, Pedro's Dadjes were known as "the African band that speaks every language." His forte, however, remained crackling Afro-Cuban grooves as well as agbadja, a modernized form of Fon folkloric music.

The Republic of Benin never made a major impact on African or world music (or World Music™) culture. Perhaps due to being a tiny Francophone state wedged between the two Anglophone giants, Nigeria and Ghana, the nation was never able to produce and forcefully project anything like juju, soukous, benga or mbalax--a unique, homegrown style that changed the way the world listened to music and put its country of origin on the musical map.* What Benin did have in spades, though, was a slew of industrious, fanatically committed orchestras that mined borrowed styles like highlife, funk, jerk, jive and jazz for every drop of sweat, swing and soul they could wring out of them. Thanks to the tireless archaeological efforts of Soundway and Frank (not to mention Samy at Analog Africa), Cotonou is becoming a musical mecca for groove cognoscenti and the numerous works of Beninois bands like TP Orchestre Poly-Rythmo and Rego et Ses Commandos are now not only well known, but also keenly coveted.

It wasn't always like that, though. But while most of the Beninois bands toiled in obscurity, Gnonnas Pedro's stylistic versatility and affable stage presence earned him popularity across West Africa. His Yoruba highlife tune "Feso Jaiye" even became a standard among Nigerian musicians.

Gnonnas Pedro finally got to shine on a larger stage in the mid-90s, when he was recruited to replace recently-deceased singer Pape Seck in the Afro-Nuyorican salsa supergroup Africando, recording and touring with the band until he succumbed to colon cancer in 2004 at the age of 61.

This album here is a collection of covers that offers a sampling of his musical polymathy, with Pedro taking on everything from Merle Travis's "Dark as a Dungeon" to the cabaret of Charles Aznavour. Pedro was a great admirer of the French crooner (which whom he was privileged to record a single with in 1964) and there is a certain poignancy to his renditions of "À ma fille" and especially "Les comédiens" (here listed as "Les Commedies").

The lyrics of the latter song seem to describe Pedro's own metier to a degree: "Come see the actors, the musicians, the magicians..." On stage, Gnonnas Pedro was a musician and a magician, but perhaps beyond all that, an actor. His style-switching constituted more than just the essay of genres, but a deliberate reinvention of the self. When Pedro declares "Ladies and gentlemen... Now Gnonnas Pedro is gonna be James Brown!" before launching into a charmingly awkward phonetic reading of "I Got You," he dresses himself up in a constructed identity through music much as the dandy does through sartorial artifice.
And so, walking or quickening his pace, he goes his way, for ever in search. In search of what? We may rest assured that this man, such as I have described him, this solitary mortal endowed with an active imagination, always roaming the great desert of men, has a nobler aim than that of the pure idler, a more general aim, other than the fleeting pleasure of circumstance. He is looking for that indefinable something we may be allowed to call modernity...

****
GNONNAS PEDRO & HIS DADJES BAND - GNONNAS PEDRO & HIS DADJES BAND VOL. 2 (WORLD WIDE MUSIC, 1980, WWM 4 L)

SIDE ONE
1. I Got You
2. A Ma Fille
3. Les Commedies

SIDE TWO
1. Massaniyo
2. Dark as a Dungeon



*Frank does, however, strongly maintain the singular belief that the roots of the Afrobeat genre lie in Benin and not Nigeria. It's an interesting theory, actually, and one worth investigating.

Sunday, October 21, 2007

Lucky Dube - "I've Got You Babe"

I remember back in 1987 when my mother asked me who sang the song "I've Got You Babe," which seemed to be blaring out of every radio, every window, every passing taxi. It was a new song, but sounded pretty familiar to me: the sharp, skanking riddim, the tart female chorus offsetting the gravelly, aching baritone of the lead vocal... All of these were hallmarks of the classic Peter Tosh sound, so I went to the market with my mother to pick up the new Peter Tosh record. I was quite surprised to learn that not only was the song not by Peter Tosh, it wasn't even from a Jamaican artist but by a South African singer named Lucky Dube.

It seems like South African artists were getting a lot of play in Nigeria that year: The cassettes she bought that day included Dube's Slave, a few tapes by Yvonne Chaka Chaka, Paul Simon's Graceland, featuring Ladysmith Black Mambazo, as well as No Nuclear War, which actually was the new Peter Tosh album and would turn out to the final one.

Later in the year, on September 11th, Tosh was tragically gunned down during a botched robbery at his home. He was 43 years old. Not only had one of reggae's most insistent and articulate voices been silenced, Tosh's murder seemed to mark an official end to the golden age of Jamaican roots reggae.

The golden age of reggae in Africa, on the other hand, was just beginning. Reggae had been pretty popular since the early 1970s, but in '87 it became Africa's de facto musica franca, thanks largely to three landmark releases from homegrown Rasta messengers: From Côte d'Ivoire came Revolution by Alpha Blondy, Nigeria's Majek Fashek made a splash with Prisoner of Conscience, and then, of course, there was Lucky Dube's Slave.

The impact of these records was so momentous that it convinced the international community of roots & culture loyalists that since dancehall wasn't turning out to be the fleeting fad they had hoped it would be, and The Next Bob Marley™ didn't show signs of emerging out of the computer-generated sounds of Kingston, perhaps they should heed the words of Marcus Garvey and look to Africa for a new king to be crowned.

Alpha Blondy was the most logical choice for The Next Bob Marley™: Like Marley, he was possessed of a reedy tenor, a warm, likeable personality and an eagerness to adapt his music to appeal to the broadest possible audience. The deal had been just about sealed when no lesser band than The Wailers themselves backed him on his massive 1985 hit "Cocody Rock!!!"

Lucky Dube for all intents and purposes seeemed more suited for the role of The Next Peter Tosh. Apart from the obvious vocal resemblance, Dube's paramilitary wardrobe was reminiscent of Tosh. Slave didn't contain too much material that could be considered particularly politically radical, but I guess the fact that he came from a country that had some was quite famous for very visible oppression of black people and had had an earlier album banned by South Africa's apartheid government gave him the appearance of a true rebel, which was quite attractive to me, being 13 or 14 at the time.

Like Tosh, Lucky Dube was murdered, shot and killed on Thursday, October 18, 2007, the day before what would have been Peter Tosh's 63rd birthday. He was 43 years old.

All the Africans I've talked to over the past few days are all broken up about it.

My mom called me and asked me if the people who shot him were Nigerians.

Back in 1987, when I was in J.S. 3 (that's the ninth grade, y'all) and between periods, me and my boys Deinma, Baykar and Dog Wonder would entertain (and annoy) our classmates with our Take Style Reggae Radio Show. It wasn't a real radio show, but an extended comedy sketch in which we played a band of Rastas forever staging absurd pledge drives and harebrained moneymaking schemes to fund passage to Jamaica in order to represent Nigeria at Peter Tosh's funeral. Part of the joke was that we were still trying to raise the money long after Tosh had been buried.

"I've Got You Babe" was our theme song.
















Lucky Phillip Dube 8.3.1964 - 10.18.2007

Tuesday, June 12, 2007

Okay... Something a little different

But not too different.

My original intention was to continue with the BLO saga via a detour to the Lijadu Sisters, but for the past two days I've been trying to upload some video clips and YouTube is all acting brand new with me.

Meanwhile, my man dafriquan just asked me when the hell I'm gonna post the rest of the Ofege records, so I know that some cats are feening for some rawk.

So just to keep things moving, I'm gonna post some rawk. From Africa. But not from Nigeria.

This is an album that's been floating around some of the psychedelic rock blogs, so maybe some of you have already heard it. If you haven't, I envy you; for I would love to go back and relish once again the first delirious time I heard the Zambian band called The W.I.T.C.H (as in "We Intend To Cause Havoc").

(Needless to say, they fulfill this intention wonderfully)

This is their album Lazy Bones, from 1975.



> DOWNLOAD IT! <