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21 mai 2014 3 21 /05 /mai /2014 14:00



Country : U.K
Genre : Afrobeat
Style : Instrumental , Latin Jazz , Afro Funk Soul
Label : Cartel Records , Paris DJs
Year : 2014
DJ DEMONANGEL Rating : 5/5
FAN Rating : 5/5 








THE BETA CLUB is a new, fresh collective of musical minds from around the globe, gathering band members from London, Paris, Los Angeles, San Francisco & New York…
Expect their forthcoming projects to be cemented on wax and brought to you live in a venue/festival over the coming months.

The Beta Club... Think PSYCH LIBRARY AFRO LATIN FUNK!!! Plus elements of Soul, Dub, Hip Hop & Jazz, fused along lo-fi breaks and grooves with a sinister cinematic edge!

The first single, 'Brassa Nova', will be available on may 6th, 2014, and will soon be followed by a reggae rework of the same tune.

Coventry-based funk and soul DJ, sound engineer and multi-instrumentalist Sten La' Ren (a.k.a. Shaun Stenton) is leading the project from the UK, along with his label partners from Cartel Records UK, Carl Platt & Matty Thompson, also from Coventry.

Carl Platt, percussionist is also a Funk and Soul DJ… Singer, guitarist and harmonicist Matty Thompson from Coventry-based band Jopsons Mercury is co-writing & part of the adventure. L.A.-based Steve Haney (from Jungle Fire) is bringing in his instantly recognizable percussion skills. Trombone player Ben Greenslade-Stanton (The Mighty Mocambos, The Getup, Gizelle Smith) is in charge of the horn arrangements. London-based multi-instrumentalist, producer and tiger masks owner Shawn Lee applies some of his magic in The Beta Club projects, be it drums, guitars, ethnic instruments or synths. Also from London, The Rufolo Bros., Nick Rufolo & Michael Rufolo (also known as The Brothers Nylon), are in there to compose and arrange the string parts. Nick Rawe, also from the Jopsons Mercury band, is the lead guitarist. Andy Black Rose' role in the project could be summed up as 'drummer & animal.'

And finally the Paris DJs trio (A&R/web master Djouls, producer Grant Phabao and graphic designer Ben Hito) is completing the worldwide collective, taking care of the digital distribution, direct-to-fan sales, visuals & of course some reggae remixes…

The Beta Club is a hub of musicians and producers from all over the world, with headquarters in the UK and antennas in the US & France. 'Brassa Nova' is their scorching first single, released jointly by the Cartel Records (UK) and Paris DJs (France) labels on may 6th, on digital and 7 inch vinyl formats.

'The times they are a-changin' as the Bob saying goes, and indeed when like-minded artists from the same musical universe gather forces to build a mutual brand (and band), eyebrows get raised and something seems to be floating in the air…

With a broad sweeping theme over busy movements, 'Brassa Nova' is a panoramic sunrise song growing in magnificence to climax. Utterly dusty while dynamically uplifting, the tune's mood covers past centuries and also present-day ceremonial. Try to imagine The Budos Band recording a song for a Steven Soderbergh or a Kim Jee Woon soundtrack with David Holmes and you're nearly there!

B-side 'Freak Beat' adds more mystery to the international project that is The Beta Club, and could easily be extracted from the same movie music as the tune on the flip. Opening with an ethnic feel and doomful strings, before engaging into a captivating feel with a multi-cultural vibe, 'Freak Beat' is a pure cinematic, post-trip hop experience.

With influences ranging from David Axelrod, Ennio Morricone & John Barry to Joe Cuba, Lee Perry, Norman Whitfield, Antibalas or The Poets Of Rhythm, The Beta Club are zealous about what is pleasurable for the senses.



Tracklist :
1.  Brassa Nova 04:14
2.  Freak Beat (Cinematic Mix) 03:38

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29 mai 2013 3 29 /05 /mai /2013 12:30



Country : Nigeria
Genre : Afrobeat
Style : World Music , Afro Jazz

Production : Sombrero & Co - Oléo Films
Year : 2013



Seun Kuti est le plus jeune fils du grand Fela, et est, d’une certaine manière, celui qui a repris le flambeau avec le plus de fidélité. Car c’est à la tête d’Egypt 80, le groupe de son père –que Seun a lui-même intégré enfant comme choriste, puis comme saxophoniste- qu’il se produit désormais. C’est donc en présence d’un afrobeat « canal historique » que l’on se trouve. Tant dans sa forme, un funk jazz nourri de rythmes africains, en appuie sur l’hypnotique pattern en 6/8 de Tony Allen.


Avec lui, le génial saxophoniste/rappeur britannique Soweto Kinch, improbable progéniture de John Coltrane et de KRS One, et David Neerman, dont l’onirique vibraphone avait déjà eu l’occasion de nous séduire lors de sa collaboration avec Lansiné Kouyaté au Cosmo Jazz de Chamonix (également à l’affiche de l’édition 2010 de Jazz sous les pommiers).


Photo Seun Kuti © Wheelzwheeler 



À voir aussi
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3 décembre 2012 1 03 /12 /décembre /2012 12:00









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Birth name Olufela Olusegun Oludotun Ransome-Kuti
Also known as Fela Anikulapo Kuti
Fela Ransome-Kuti
Born 15 October 1938
Abeokuta, Nigeria
Died 2 August 1997 (aged 58)
Genres Afrobeat, Highlife
Occupations Singer-songwriter, instrumentalist, activist
Instruments Saxophone, vocals, keyboards, trumpet, guitar, drums
Years active 1958–1997
Labels Barclay/PolyGram, MCA/Universal, Celluloid, EMI Nigeria, JVC, Wrasse, Shanachie, Knitting Factory
Associated acts Africa '70, Egypt '80, Koola Lobitos, Nigeria '70, Hugh Masekela, Ginger Baker, Tony Allen, Femi Kuti, Seun Kuti, Roy Ayers, Lester Bowie
Website www.felaproject.net



Fela Anikulapo Kuti (15 October 1938 - 2 August 1997), or simply Fela ([feˈlæ]) was a Nigerian multi-instrumentalist musician and composer, pioneer of Afrobeat music, human rights activist, and political maverick.[1]



Early life and career

Fela was born Olufela Olusegun Oludotun Ransome-Kuti[2] in Abeokuta, Ogun State, Nigeria[3] into a middle-class family. His mother, Funmilayo Ransome-Kuti was a feminist activist in the anti-colonial movement and his father, Reverend Israel Oludotun Ransome-Kuti, a Protestant minister and school principal, was the first president of the Nigerian Union of Teachers.[4] His brothers, Beko Ransome-Kuti and Olikoye Ransome-Kuti, both medical doctors, are well known in Nigeria. Fela was a first cousin to the Nigerian writer and Nobel laureate Wole Soyinka, the first African to win a Nobel Prize for Literature.

Fela was sent to London in 1958 to study medicine but decided to study music instead at the Trinity College of Music. While there, he formed the band Koola Lobitos, playing a fusion of jazz and highlife.[5] In 1960, Fela married his first wife, Remilekun (Remi) Taylor, with whom he would have three children (Femi, Yeni, and Sola). In 1963, Fela moved back to Nigeria, re-formed Koola Lobitos and trained as a radio producer for the Nigerian Broadcasting Corporation. He played for some time with Victor Olaiya and his All Stars.[6]

In 1967, he went to Ghana to think up a new musical direction.[4] That was when Kuti first called his music Afrobeat.[4] In 1969, Fela took the band to the United States. While there, Fela discovered the Black Power movement through Sandra Smith (now Izsadore)—a partisan of the Black Panther Party — which would heavily influence his music and political views and renamed the band Nigeria '70. Soon, the Immigration and Naturalization Service was tipped off by a promoter that Fela and his band were in the U.S. without work permits. The band then performed a quick recording session in Los Angeles that would later be released as The '69 Los Angeles Sessions.


After Fela and his band returned to Nigeria, the band was renamed The Africa '70, as lyrical themes changed from love to social issues.[5] He then formed the Kalakuta Republic, a commune, a recording studio, and a home for many connected to the band that he later declared independent from the Nigerian state. Fela set up a nightclub in the Empire Hotel, named the Afro-Spot and then the Afrika Shrine, where he performed regularly. Fela also changed his middle name to Anikulapo (meaning "he who carries death in his pouch"),[7] stating that his original middle name of Ransome was a slave name. The recordings continued, and the music became more politically motivated.[citation needed]

Fela's music became very popular among the Nigerian public and Africans in general.[8] In fact, he made the decision to sing in Pidgin English so that his music could be enjoyed by individuals all over Africa, where the local languages spoken are very diverse and numerous. As popular as Fela's music had become in Nigeria and elsewhere, it was also very unpopular with the ruling government, and raids on the Kalakuta Republic were frequent. During 1972, Ginger Baker recorded Stratavarious with Fela appearing alongside Bobby Gass.[9] Around this time, Kuti was becoming more involved in Yoruba religion.[10]

In 1977, Fela and the Afrika '70 released the album Zombie, a scathing attack on Nigerian soldiers using the zombie metaphor to describe the methods of the Nigerian military. The album was a smash hit and infuriated the government, setting off a vicious attack against the Kalakuta Republic, during which one thousand soldiers attacked the commune. Fela was severely beaten, and his elderly mother was thrown from a window, causing fatal injuries. The Kalakuta Republic was burned, and Fela's studio, instruments, and master tapes were destroyed. Fela claimed that he would have been killed had it not been for the intervention of a commanding officer as he was being beaten. Fela's response to the attack was to deliver his mother's coffin to the Dodan Barracks in Lagos, General Olusegun Obasanjo's residence, and to write two songs, "Coffin for Head of State" and "Unknown Soldier", referencing the official inquiry that claimed the commune had been destroyed by an unknown soldier.[11]

Fela and his band then took residence in Crossroads Hotel as the Shrine had been destroyed along with his commune. In 1978, Fela married twenty-seven women, many of whom were his dancers, composers, and singers to mark the anniversary of the attack on the Kalakuta Republic. Later, he was to adopt a rotation system of keeping only twelve simultaneous wives.[12] The year was also marked by two notorious concerts, the first in Accra in which riots broke out during the song "Zombie", which led to Fela being banned from entering Ghana. The second was at the Berlin Jazz Festival after which most of Fela's musicians deserted him, due to rumors that Fela was planning to use the entire proceeds to fund his presidential campaign.

Despite the massive setbacks, Fela was determined to come back. He formed his own political party, which he called Movement of the People. In 1979, he put himself forward for President in Nigeria's first elections for more than a decade, but his candidature was refused. At this time, Fela created a new band called Egypt '80 and continued to record albums and tour the country. He further infuriated the political establishment by dropping the names of ITT Corporation vice-president Moshood Abiola and then General Olusegun Obasanjo at the end of a hot-selling 25-minute political screed titled "I.T.T. (International Thief-Thief)".

1980s and beyond

In 1984, Muhammadu Buhari's government, of which Kuti was a vocal opponent, jailed him on a charge of currency smuggling which Amnesty International and others denounced as politically motivated.[13] Amnesty designated him a prisoner of conscience,[14] and his case was also taken up by other human rights groups. After 20 months, he was released from prison by General Ibrahim Babangida. On his release he divorced his twelve remaining wives, saying that "marriage brings jealousy and selfishness".[12]

Once again, Fela continued to release albums with Egypt '80, made a number of successful tours of the United States and Europe and also continued to be politically active. In 1986, Fela performed in Giants Stadium in New Jersey as part of the Amnesty International A Conspiracy of Hope concert, sharing the bill with Bono, Carlos Santana, and The Neville Brothers. In 1989, Fela and Egypt '80 released the anti-apartheid Beasts of No Nation album that depicts on its cover U.S. President Ronald Reagan, UK Prime Minister Margaret Thatcher and South African Prime Minister Pieter Willem Botha.

His album output slowed in the 1990s, and eventually he stopped releasing albums altogether. In 1993, he and four members of the Afrika '70 organization were arrested for murder. The battle against military corruption in Nigeria was taking its toll, especially during the rise of dictator Sani Abacha. Rumors were also spreading that he was suffering from an illness for which he was refusing treatment.


On 3 August 1997, Olikoye Ransome-Kuti, already a prominent AIDS activist and former Minister of Health, stunned the nation by announcing his younger brother's death a day earlier from Kaposi's sarcoma which was brought on by AIDS. More than a million people attended Fela's funeral at the site of the old Shrine compound. A new Africa Shrine has opened since Fela's death in a different section of Lagos under the supervision of his son Femi Kuti.


The musical style performed by Fela Kuti is called Afrobeat, which is a complex fusion of Jazz, Funk, Ghanaian/Nigerian High-life, psychedelic rock, and traditional West African chants and rhythms. Afrobeat also borrows heavily from the native "tinker pan" African-style percussion that Kuti acquired while studying in Ghana with Hugh Masekela, under the uncanny Hedzoleh Soundz.[15] The importance of the input of Tony Allen (Fela's drummer of twenty years) in the creation of Afrobeat cannot be overstated. Fela once famously stated that "without Tony Allen, there would be no Afrobeat".

Afrobeat is characterized by a fairly large band with many instruments, vocals, and a musical structure featuring jazzy, funky horn sections. The "endless groove" is used, in which a base rhythm of drums, shekere, muted West African-style guitar, and melodic bass guitar riffs are repeated throughout the song. Commonly, interlocking melodic riffs and rhythms are introduced one by one, building the groove bit-by-bit and layer-by-layer to an astonishing melodic and polyrhythmic complexity. The horn section then becomes prominent, introducing other riffs and main melodic themes.

Fela's band was notable for featuring two baritone saxophones, whereas most groups were using only one of this instrument. This is a common technique in African and African-influenced musical styles, and can be seen in funk and hip hop. Fela's bands at times even performed with two bassists at the same time both playing interlocking melodies and rhythms. There were always two or more guitarists. The electric West African style guitar in Afrobeat bands are paramount, but are used to give basic structure, playing a repeating chordal/melodic statement, riff, or groove.

Some elements often present in Fela's music are the call-and-response within the chorus and figurative but simple lyrics. Fela's songs were also very long, at least 10–15 minutes in length, and many reaching the 20 or even 30 minutes, while some unreleased tracks would last up to 45 minutes when performed live. This was one of many reasons that his music never reached a substantial degree of popularity outside Africa. His LP records frequently had one 30-minute track per side. Typically there is an instrumental "introduction" jam part of the song, perhaps 10-15 minutes long, before Fela starts singing the "main" part.

His songs were mostly sung in Nigerian pidgin, although he also performed a few songs in the Yoruba language. Fela's main instruments were the saxophone and the keyboards, but he also played the trumpet, electric guitar, and took the occasional drum solo. Fela refused to perform songs again after he had already recorded them, which also hindered his popularity outside Africa.

Fela was known for his showmanship, and his concerts were often quite outlandish and wild. He referred to his stage act as the Underground Spiritual Game. Fela attempted making a movie but lost all the materials to the fire that was set to his house by the military government in power. Kuti thought that art, and thus his own music, should have political meaning.[10]

Political views

Imagine Che Guevara and Bob Marley rolled into one person and you get a sense of Nigerian musician and activist Fela Kuti.

Herald Sun, February 2011 [16]

As a supporter of traditional religions and lifestyles, Kuti thought that the most important thing for Africans to fight is European cultural imperialism.[10] The American Black Power movement also influenced Fela's political views; he was a supporter of Pan-Africanism and socialism, and called for a united, democratic African republic. He was a candid supporter of human rights, and many of his songs are direct attacks against dictatorships, specifically the militaristic governments of Nigeria in the 1970s and 1980s. He was also a social commentator, and he criticized his fellow Africans (especially the upper class) for betraying traditional African culture. The African culture he believed in also included having many wives (polygyny) and the Kalakuta Republic was formed in part as a polygamist colony. He defended his stance on polygyny with the words: "A man goes for many women in the first place. Like in Europe, when a man is married, when the wife is sleeping, he goes out and fucks around. He should bring the women in the house, man, to live with him, and stop running around the streets!"[17] His views towards women are characterized by some as misogynist, with songs like "Mattress" typically cited as evidence[18] In a more complex example, he mocks the aspiration of African women to European standards of ladyhood while extolling the values of the market woman in his song "Lady".

Bypassing editorial censorship in Nigeria's predominantly state controlled media, Kuti began in the 1970s buying advertising space in daily and weekly newspapers such as The Daily Times and The Punch in order to run outspoken political columns.[19] Published throughout the 1970s and early 1980s under the title Chief Priest Say, these columns were essentially extensions of Kuti's famous Yabi Sessions—consciousness-raising word-sound rituals, with himself as chief priest, conducted at his Lagos nightclub. Organized around a militantly Afrocentric rendering of history and the essence of black beauty, Chief Priest Say focused on the role of cultural hegemony in the continuing subjugation of Africans. Kuti addressed a number of topics, from explosive denunciations of the Nigerian Government's criminal behavior; Islam and Christianity's exploitative nature, and evil multinational corporations; to deconstructions of Western medicine, Black Muslims, sex, pollution, and poverty. Chief Priest Say was cancelled, first by Daily Times then by Punch, ostensibly due to non-payment, but many commentators[who?] have speculated that the paper's respective editors were placed under increasingly violent pressure to stop publication.

The Fela revival

In recent years there has been a revitalization of Fela's influence on music and popular culture, culminating in another re-release of his catalog controlled by Universal Music, off- and on-Broadway biopic shows, and new bands, such as Antibalas, who carry the Afrobeat banner to a new generation of listeners.

In 1999, Universal Music France, under the aegis of Francis Kertekian, remastered the 45 albums that it controlled and released them on twenty-six compact discs. These titles were licensed to other territories of the world with the exception of Nigeria and Japan, where Fela's music was controlled by other companies. In 2005, Universal Music USA licensed all of its world-music titles to the UK-based label Wrasse Records, which repackaged the same twenty-six CDs for distribution in the USA (replacing the MCA-issued titles there) and the UK. In 2009, Universal created a new deal for the USA with Knitting Factory Records and for Europe with PIAS, which included the release of the Fela! Broadway cast album.

Thomas McCarthy's 2008 film The Visitor depicted a disconnected professor (Oscar nominee Richard Jenkins) who wanted to play the djembe. He learns from a young Syrian (Haaz Sleiman) who tells the professor he will never truly understand African music unless he listens to Fela. The film features clips of Fela's "Open and Close" and "Je'nwi Temi (Don't Gag Me)".

In 2008, an off-Broadway production of Fela Kuti's life entitled Fela!, inspired by Carlos Moore's 1982 book Fela, Fela! This Bitch of a Life,[20][21] began with a collaborative workshop between the Afrobeat band Antibalas and Tony award-winner Bill T. Jones. The show was a massive success, selling out shows during its run, and garnering much critical acclaim. On November 22, 2009, Fela! began a run on Broadway at the Eugene O'Neill Theatre. Jim Lewis helped co-write the play (along with Bill T. Jones), and obtained producer backing from Jay-Z and Will Smith, among others. On May 4, 2010, Fela! was nominated for 11 Tony Awards, including Best Musical, Best Book of a Musical, Best Direction of a Musical for Bill T. Jones, Best Leading Actor in a Musical for Sahr Ngaujah, and Best Featured Actress in a Musical for Lillias White.[22] On June 11, 2012, it was announced that FELA! would return to Broadway for 32 performances.[23]

On August 18, 2009, award-winning DJ J.Period released a free mixtape to the general public via his website that was a collaboration with Somali-born hip-hop artist K'naan paying tribute to Fela, Bob Marley and Bob Dylan, entitled The Messengers.

In October 2009, Knitting Factory Records began the process of re-releasing the 45 titles that Universal Music controls, starting with yet another re-release of the compilation The Best of the Black President in the USA. The rest is expected to be released in 2010.[dated info]

In addition, a movie by Focus Features, directed by Steve McQueen and written by Biyi Bandele about the life of Fela Kuti went into production in 2010. It was announced in 2010 that Chiwetel Ejiofor would play the lead role.[24]



  • Fela in Concert, 1981, (VIEW)
  • Music is the Weapon, 1982, Stéphane Tchal-Gadjieff and Jean Jacques Flori (Universal Music)
  • Fela Live! Fela Anikulapo-Kuti and the Egypt ’80 Band, 1984, Recorded Live At Glastonbury, England (Yazoo)
  • Femi Kuti—Live at the Shrine, 2005, recorded Live At Lagos, Nigeria (Palm Pictures)


  1. ^ "Seattle Weekly: Barack Obama and the Original First Black President". Retrieved 2009-07-17. 
  2. ^ Ogunnaike, Lola (17 July 2003). "Celebrating the Life and Impact Of the Nigerian Music Legend Fela". The New York Times (Manhattan, New York, USA: Arthur Ochs Sulzberger, Jr.). Retrieved 18 November 2010. 
  3. ^ Hamilton, Janice. Nigeria in Pictures p. 70
  5. ^ a b Olatunji, Michael (2007). "Yabis: A Phenomenon in the Contemporary Nigerian Music". The Journal of Pan African Studies 1: 26–46. 
  6. ^ David Ryshpan. "Victor Olaiya, All Star Soul International". Exclaim!. Retrieved 2009-11-03. 
  7. ^ "Meaning of Anikulapo in". Nigerian.name. 2008-01-11. Retrieved 2011-10-01. 
  8. ^ "Fela Anikulapo Kuti: The ‘ghost’ resurrects and the beat goes on, a preview by The Independence". Emnnews.com. Retrieved 2011-10-01.
  9. ^ Bobby Gass credits Allmusic
  10. ^ a b c Grass, Randall F. (1986). "Fela Anikulapo-Kuti: The Art of an Afrobeat Rebel". The Drama Review: TDR (MIT Press) 30 (1): 131–148. doi:10.2307/1145717. JSTOR 1145717.
  11. ^ Matthew McKinnon (August 12, 2005). "Rebel Yells: A protest music mixtape". Canadian Broadcasting Corporation. Retrieved 2009-11-22.
  12. ^ a b Culshaw, Peter (2004-08-15). "The big Fela". The Guardian (London). Retrieved 2010-05-02.
  13. ^ Adenekan, Shola (15 February 2006). "Obituary: Dr Beko Ransome-Kuti". The Guardian (London).
  14. ^ "Success stories". Amnesty International. Retrieved 9 June 2012.
  15. ^ As Iwedi Ojinmah points out in his article "Baba is Dead - Long Live Baba,"
  16. ^ Man of Beats Brings a Message with him by Blanche Clark, Herald Sun, February 4, 2011
  17. ^ "Fela Kuti". Jaybabcock.com. Retrieved 2011-10-01.
  18. ^ Stanovsky, Derek (1998). "Fela and His Wives: The Import of a Postcolonial Masculinity". Jouvert. english.chass.ncsu.edu. Retrieved 2010-03-16.
  19. ^ This section includes material copied verbatim from "Chief Priest Say", at chimurengalibrary.co.za, released under GFDL.
  20. ^ Gregory Bossler, "Fela!: Review Roundup", 13 July 2012.
  21. ^ R. Scott Reedy, "Theatergoers can’t stay in their seats during ‘Fela!’" Marshfield Mariner, 3 May 2012.
  22. ^ Tony Award Nominations, 2010[dead link]
  23. ^ [1]
  24. ^ "Chiwetel Ejiofor Fela Kuti Steve McQueen-Directed Biopic". Collider.com. 2010-05-05. Retrieved 2011-10-01.


  • Moore, Carlos (1982). Fela, Fela! This Bitch of a Life. Allison & Busby. UK. [authorized biography]
  • Idowu, Mabinuori Kayode (2002). Fela, le Combattant. Le Castor Astral. France.
  • Olaniyan, Tejumola (2004). Arrest the Music! Fela and his rebel art and politics. Indiana University Press. USA.
  • Olorunyomi, Sola (2002). Afrobeat: Fela and the Imagined Continent. Africa World Press. ??.
  • Schoonmaker, Trevor (ed) (2003). Fela: From West Africa to West Broadway. Palgrave Macmillan. USA.
  • Schoonmaker, Trevor (ed) (2003). Black President: The Art & Legacy of Fela Anikulapo Kuti. New Museum Of Contemporary Art, New York. ISBN 0-915557-87-8.
  • Veal, Michael E. (1997). Fela: The Life of an African Musical Icon. Temple University Press. USA.
  • Jaboro, Majemite. (2009). The Ikoyi Prison Narratives: The Spiritualism and Political Philosophy of Fela Kuti. lulu.com. ISBN 978-1-4452-2626-2.

External links




This is a discography for Fela Anikulapo Kuti, or simply Fela, a Nigerian multi-instrumentalist musician and composer, pioneer of afrobeat music, human rights activist, and political maverick.[1]

Year Title Label
1963/69 Lagos Baby 1963-1969 Vampisoul
1969 The '69 Los Angeles Sessions Wrasse Records
1971 Why Black Man Dey Suffer Wrasse Records, Knitting Factory Records
1971 Live! (with Ginger Baker) Barclay Records, MCA Records, Wrasse Records
1972 Stratavarious (with Ginger Baker) Polydor Records
1972 Na Poi Barclay Records
1972 Open & Close Barclay Records
1972 Shakara Barclay Records
1972 Roforofo Fight Barclay Records
1973 Afrodisiac Barclay Records
1973 Gentleman Barclay Records
1974 Alagbon Close Barclay Records
1975 Noise for Vendor Mouth Barclay Records
1975 Confusion Barclay Records
1975 Everything Scatter Barclay Records
1975 He Miss Road Barclay Records
1975 Expensive Shit Barclay Records
1976 No Bread EMI Nigeria
1976 Kalakuta Show Barclay Records
1976 Upside Down Barclay Records
1976 Ikoyi Blindness Barclay Records
1976 Before I Jump Like Monkey Give Me Banana Barclay Records
1976 Excuse O Barclay Records
1977 Zombie Barclay Records
1976 Yellow Fever Barclay Records
1977 Opposite People Barclay Records
1977 Fear Not For Man Barclay Records
1977 Stalemate Barclay Records
1977 Observation No Crime EMI Nigeria
1977 Johnny Just Drop (J.J.D Live!! at Kalakuta Republic) Barclay Records
1977 I Go Shout Plenty EMI Nigeria
1977 No Agreement Barclay Records
1977 Sorrow, Tears, and Blood Barclay Records
1978 Shuffering and Shmiling Barclay Records
1979 Unknown Soldier Barclay Records
1979 V.I.P. (Vagabonds in Power) Live in Berlin Barclay Records
1980 Coffin for Head of State Barclay Records
1980 I.T.T. (International Thief Thief) Barclay Records
1980 Music of Many Colours (with Roy Ayers) Barclay Records
1980 Authority Stealing Barclay Records
1981 Black President EMI Nigeria
1981 Original Suffer-Head Barclay Records
1983 Perambulator Barclay Records
1983 Live in Amsterdam Barclay Records
1985 Army Arrangement Barclay Records
1986 Teacher Don't Teach Me Nonsense Barclay Records
1989 Beasts of No Nation Barclay Records
1989 O.D.O.O. (Overtake Don Overtake Overtake) Barclay Records
1992 U.S. (Underground System) Barclay Records
1996 Buy America Movie Play Gold
2000 The Best of the Black President Barclay/MCA Records[2]/Wrasse Records (2002)[3]/Knitting Factory Records (2009)
2004 The Underground Spiritual Game Quannum Projects
2012 Live in Detroit, 1986 Knitting Factory Records, Strut Records
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12 novembre 2012 1 12 /11 /novembre /2012 12:00



Origine du Groupe : Brazil
Style : Afrobeat







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Tracklist :
1 - Eru 7.00
2 - Malunguinho 7.38
3 - Obatala 6.52
4 - Emi Yaba 5.58
5 - Afrodisíaco 6.45
6 - No Shit 9.11

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1 novembre 2012 4 01 /11 /novembre /2012 12:00



Origine du Groupe : Canada
Style : Afrobeat







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Tracklist :
01 - Bibinay / 06:23
02 - Kelen Ati Leen / 03:39
03 - Cartão Postal / 03:55
04 - Ya Basta / 03:42
05 - Jericho / 03:26
06 - Serve & Protect / 06:26
07 - Conquering Lion / 04:14
08 - Kingpin / 03:44
09 - Tanbou Lou / 03:19
10 - Nijaay / 04:08

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13 octobre 2012 6 13 /10 /octobre /2012 12:00



Origine du Groupe : Japan
Style : Afrobeat
Sortie : 2012

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From http://monkeyboxing.com
Japan’s hard-gigging Jaribu Afrobeat Arkestra (not to be confused with Leeds, UK-based Ariya Afrobeat Arkestra) have got a new album out and it’s called Mediacracy. It’s a slightly unfortunate name because with a Yank accent that could end up sounding like ‘mediocrity’ rather than a neologism presumably intended to be a comment on our media-obsessed culture. And that’s unfortunate because those in the know (and among them I include funk connoisseur Tobias Kirmayer of Tramp Records on whose label this is being released) rate JAA’s second LP of eleven tracks rather highly. Check them in action on the video to the title track (below) as the band all seemed to be having a whale of a time – particularly the young lady and her maracas at the front. Yes I did just say that. And you have to agree, it’s not often you get news of an epic double-Afrobeat LP and a lame double entendre in the same post. Don’t worry – it’ll all make sense when you see the forthcoming movie tie-in Carry On Fela.

Tracklist :
1. Mediacracy (9:04)
2. Suffer Dey (4:47)
3. Legend Of Yoruba (6:53)
4. Mvua Dance (0:58)
5. Afro Soul Knows (7:54)
6. Tricky Liars Pt.1 (6:24)
7. Tricky Liars Pt.2 (4:47)
8. Maneno Ya Roho (0:56)
9. N.N.G. Pt.1 (7:45)
10. N.N.G. Pt.2 (5:35)
11. Natural Vibes (4:41)

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28 août 2012 2 28 /08 /août /2012 12:00



Origine du Groupe : Ivory
Style : Afrobeat , Soul Funk , Psychedelic , Compilation
Sortie : 2012

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From http://hotcasarecords.com

Bonne Arrivée ! “Ivory Coast Soul” is back, with Djamel Hammadi aka Afrobrazilero and DJ Julien Lebrun have dug deeper into the country’s vinyl archives!

After much painstaking research and investigative work, we are finally able to catch-up and gather together some key members of seminal Afro and Psychedelic outfit. We selected 13 afro-soul gems, centered mainly on the musically rich and creatively volatile Republic of the Ivory Coast during the 70s.

However the country has recently lived the unfortunate civil war, the deep socio-political crisis and instability, strong FRCI visa checkpoints or road killers, we’ve worked even harder with the help of our local friends to find the rarest and most interesting records. Last but not least, after many new trips, from Abobo “Baghdad “area, Yopougon, Bouaké, to Akoupé, or Jacqueville,… we also had to find their original producers or heir producers, to finalize the licensing process. This new volume highlights some extraordinary music and immense talent working in a variety of styles and approaches.

Ivory Coast gained its independence from France on August 7th 1960 and became a republic with a strong executive power, personified in the son of a Baoule chief, Felix Houphouët-Boigny. It has quickly become the musical center of West-Africa, attracting musicians from across the continent. The borders with Liberia, Guinea, Mali, Burkina Faso, and Ghana made the country, and especially Abidjan, the crossroads of millions of culture and Diasporas.

It’s an honor to share with you this amazing music period, when urban music transcended tribe conception, and when panafricanism wasn’t a simple word, but a real philosophy and musical adventure.

The triple vinyl is presented with posters, dozen of photos, original covers, interviews, etc… The double cd is presented with a full coloured 24 pages booklet, with historical informations written by Ivorian historian Anicet Boka.

Tracklist :
1.Pierre Antoine - Ye Man Noun 11:50
2.Okoi Seka Athanase - Me Houe Gnoun 05:26
3.The Sumo Brothers - I Love Music 09:24
4.Nguenang - Wouck 07:07
5.Houon Pierre - Mansou Djouwi 04:41
6.Bony Castro - Labazo 07:32
7.Dr Appia Morroh - Man Moeu 07:05
8.Charles Atangana - Onguindo 06:57
9.Stanley Murphy - Kossokpa 08:26
10.François Lougah - Bravo Sotra 07:37
11.Soro N'Gana - Mi Gnan Mi Nibi 05:29    
12.Assalé - Ameniwa 06:38    
13.Martial Droubly - Wanossa 05:02
14.Wey Len Nobel - Kay Len Fecce 06:04

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7 mai 2012 1 07 /05 /mai /2012 12:00



Origine du Groupe : Ghana
Style : Afrobeat , Afro-Jazz-Funk , World Music
Sortie : 2012

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By Robin Denselow    from http://www.bbc.co.uk

A fine new studio set mixing traditional sounds and sturdy funk.

Ebo Taylor may be in his mid-70s, but the versatile guitarist, singer and songwriter is still one of the finest musicians in West Africa, covering Highlife to Afrobeat, jazz and traditional songs. Starting out in Ghana in the 1950s, he was influenced by Highlife pioneer E.T. Mensah, who mixed West African influences with American big band styles brought to the region during the Second World War. Since then, Taylor has released solo albums and worked with a series of bands, including the Apagya Show Band. He has been helped recently by London-based label Strut, behind Taylor’s excellent 2010 studio album Love and Death and the following compilation, Life Stories.

Appia Kwa Bridge is a new studio album, recorded in Berlin with members of the Afrobeat Academy, with whom he was been touring since they recorded Love and Death together. It’s a sturdy set of mostly new material mixing Afrobeat and funk with traditional influences. “I wanted to go back to a Highlife feeling with this album,” he has explained. “The songs are very personal and it is an important part of my music to keep alive many traditional Fante songs, war chants and children’s rhymes.”

The results switch between sturdy brass-backed big band pieces and solo works. Opener Aysesama – “a Fante war song… the song of victory” – struts confidently, driven by fine saxophone work. Elsewhere, there’s insistent, chugging brass on the religious song Abonsam, one of several tracks on which Taylor contributes powerful vocals and delivers a finely fluid, jazz-influenced guitar solo.

There’s more of his excellent guitar work on the upbeat Assomdwee, another religious piece that features compelling percussion from the great Tony Allen. Then comes a jangling funk piece, based on a nursery rhyme said to have been “composed by a lunatic in Saltpond, my home town on Ghana’s Cape coast”, and the cheerful title-track, also influenced by life in Saltpond (Appia Kwa Bridge is apparently a favourite lovers’ rendezvous).

Taylor may be best-known for his guitar solos with big band backing, but there are a couple of solo tracks featuring  just his guitar and voice. Yaa Amponsah, a favourite song in Ghana that dates back to the 1920s, and Barrima, a finely-sung lament for the death of his first wife, are further reminders of his impressive range.

Tracklist :
01. Ayesama 7:04
02. Abonsam 5:31
03. Nsu Na Kwan 4:47
04. Yaa Amponsah 4:26
05. Assom Dwee 5:55
06. Kruman Dey 4:39
07. Appia Kwa Bridge 5:30
08. Barrima 3:27


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14 janvier 2012 6 14 /01 /janvier /2012 12:00



Origine du Groupe : Nigeria , North America
Style : World , Afobeat , Afro Jazz Funk
Sortie : 1992

From http://www.soundunwound.com

Kotoja is an Afrobeat/Afrofunk group out of the Bay Area, led by renowned Nigerian bassist/vocalist/songwriter Baba Ken Okulolo, who was first seen in the U.S. with King Sunny Ade's African Beats. He played with many great Nigerian musicians, including Fela Kuti, and was 5 times voted Nigeria's best bassist. Their lead guitarist is Soji Odukogbe, who was lead guitarist for Fela for 5 years. The music is funky, jazzy, very danceable, with a message of peace and love for the world.

Tracklist :
01. Sawale
02. Ejiro Oghene
03. Money Wahala
04. Axe Da Fe
05. Evil Eye
06. Be My Friend
07. Vami Duwe (Let's Dance)
08. Water No Get Enemy
09. Iye Iye
10. We No Dey Run
11. Save The World For Our Children

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19 novembre 2011 6 19 /11 /novembre /2011 15:00






Origine du Groupe : North America
Style : Afrobeat , Afro Jazz , Free Jazz
Sortie : 2009

From http://www.rockpaperscissors.biz

Musical Nomads Taking Root: Guitarist On Ka’a Davis Builds a Home for Deep Black Grooves that Lead from Jazz Abstraction to Afrobeat

An incessant pulse runs through the African diaspora; it’s the beat that tears the roof off the cerebral avant garde. Classically trained experimental guitarist On Ka’a Davis discovered it while squatting in the once derelict tenements of the Lower East Side. Davis and his Famous Original Djuke Music Players take this pulse on Seeds of Djuke (LiveWired Music; released April 21, 2009) and retrace the long-lost taproot of a future music.

“The very first time I saw Sun Ra and his Arkestra was in Central Park,” Davis recalls. “They walked through the crowds, passing right by me. They were all wearing Egyptian make-up on their faces and I thought, ‘This is the Blackest band I have ever seen in my life. This is Deep Nubian music.’” Two years after this revelation, Davis was playing in the Arkestra himself, living in the communal setting in Philadelphia that was the social basis for Sun Ra’s group.

Davis traveled far to reach deep: from the R&B and prog rock grooves of his childhood home in Cleveland to the rigorous classical guitar training at Vienna’s Hochschule für Darstellende Kunst, to the rollicking Roma riffs of the Austrian streets. There, he saw the ripple effect of jazz in a whole new light, discovering the bebop solos of Charlie Parker, the European classical gestures of Keith Jarrett, the worldly improvisation of John McLaughlin. Busking alongside Roma musicians for pocket money, Davis experienced the “subset culture” of gypsy life, a world that caused him to reflect on his own complex African American heritage.

Davis eventually wound up on New York’s Lower East Side, where he played for punks in the squatter revolution that transformed the neighborhood in the 1980s. The squatters’ battle to reclaim the derelict shells of Lower Manhattan had its sonic side, with a groundbreaking (and regulation-defining) micro-broadcasting radio station and infamous shows in myriad basements. It was in the squat that the outlines of what Davis calls djuke emerged, a music that draws on everything from Afrobeat sensibilities to Spanish classical guitar to space culture.

“The first idea for my music came out of basement rehearsing,” says Davis. “Our building on 13th Street hosted a lot of ‘Squat or Rot’ parties, and all the punks would come. That was the first beginnings of the music, and ‘I Stayed Cool,’ for example, is an original tune, a Malian blues kind of thing, that survived from my band rehearsals in the squat. Some of the point of view I express in my music has been tempered by my experience of being in a squat, by my need to express socially conscious ideals.”

As a musical squatter, Davis bivouacked wherever he went, but with djuke, he found an essence beyond genre, the Deep Blackness that united Sun Ra’s remapping of ancient Egyptian culture and cosmic interpretation of Dogon legends of African space travel with Fela’s defiant poetics and rhythmic discipline.

It powers Davis’ perception of pulse-beat, a call to movement and rhythm that defies genre while defining it. “People learn to identify the beat of a music by genre, by namesake, a reggae nyabinghi beat, or a mambo, or a rock beat,” Davis explains. “The idea of pulse-beat goes beyond that. It gives me the opportunity to create dance rhythms based on pulsations and the freedom to work with rhythms that are overlapping, elliptic rhythms if you will, with 3 over 5.” The many shades of the pulse-beat shine on “Yea Yea!” and “No! No Go For It!” — setting  what Davis calls the “rhythmic cornerstones” of djuke.

Rhythm, for Davis, is about more than percussion; it is rooted in traditions like the “two-guitar” approach in R & B, when the guitars have a rhythmic as well as a melodic mission. This approach dominates tracks like “Voodoo Ultralux,” where rhythmic parts combine in a fugue that “flows in and out like ocean waves.”

Deep Blackness inspires Davis’ quirky use of English, a personal pidgin and shout-out to Fela’s linguistic medium and message. "By altering the language, I can make it fit phrasing and rhythmic schemes differently,” Davis notes. “That’s one thing I noticed about Fela's music. The language itself presupposes the rhythmic values of the music. You cannot get the same things in straight English that you get with a patois.”

The power of patois is in full force on “Ain’t Nobody Teach Nobody Nothin’!” where the message has been transformed into a rhythmic statement that throws meaning in a new light. “I wanted to bend it a certain way to force people to relate to the music divorced from any ownership of a high-brow identity,” Davis explains, “where everything is neatly said and nicely said and well understood. I wanted people to have to think about what the words mean."

Deep Blackness is also why Davis adopts a more theatrical stage persona, inspired more by Hendrix or P-Funk than by the tennis shoes and black jeans of the New York experimental music scene. “Les Paul, in his first efforts, took his electric guitar to a club to demonstrate. It was a block of wood with a guitar neck attached. Nobody was interested. They laughed at it,” Davis recounts. “He realized if it looked more like a guitar, people would accept it better. So he built his next model with the outside shape of a guitar. He realized that people see the music first before they hear it.”

Music’s impact on the eyes brought to mind the flamboyance that African American musicians had long employed to heighten their musical presence, a physicality often missing from the musical avant-garde. “Having a style, a personality on stage has always been a tradition in Black music. It’s always been that either you dressed up looking sharp or you had some kind of atmosphere you create with your look. I’d like to re-identify with that. It would help the music a lot.”

Reuniting body and soul with the fringe of sonic possibility lies at the heart of djuke, and Davis is building a new music with Seeds of Djuke, drafting “blueprints for future designs in the music, whether it be harmonic or rhythmic schemes or both.” It brings the beat back to free jazz, getting listeners out on the dance floor. It creates avant-garde music that makes you “pat your foot, snap your fingers,” Davis laughs, “makes you jump and dance around.”

“Jazz music is the ability to integrate music and dance,” Davis muses. “Charlie Parker recognized that. If I am using elements of the abstract, then the music has to be centered in the round.”

Tracklist :
1. ...Speaking of You   
2. Yea! Yea!   
3. No! No Go for It!    
4. Ain't Nobody Teach Nobody Nothin'!   
5. Voodoo Ultralux   
6. There, In Theatre    
7. Return-Send    
8. Splendor    
9. Zero, Zero    
10. I Ain't Scared   
11. Na Na Not Me!   
12. Ain't Nobody Teach... (Reprise)
13. Put It To It   
14. We've Been Observing You   
15. I Stayed Cool   
16. Djuke No Go Die   
17. Stars At On



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