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    Origine du Groupe : Portugal , Mozambic
    Style : Afrobeat , World Music
    Sortie : 2009

    From Official Myspace :
    Lisbon has always been a stage for the meeting of several cultures, mostly due to the past of the city as the capital of a colonial empire in Africa and Latin America. Nowadays it is a huge pot of creativity which attracts artists from all over the world and it is a privileged space where musicians find each other, share ideas and mix rhythms. It is from this mixture that, in 2005, afrobeat collective Cacique..97 was born.

    With musicians with Mozambican and Portuguese origins, this collective incorporates members from groups such as Cool Hipnoise, Philharmonic Weed and The Most Wanted, well known projects in the areas of funk, reggae and the afro sound.

    The passion for the music of Fela Kuti and Tony Allen has united these musicians for the pursuance of a common goal: to create a collective that mirrored the Lisbon mixture, by crossing the characteristic urban Nigerian rhythm which is afrobeat, with the musical tradition of the Portuguese-speaking African countries and of Brazil, whom has always been very present in the Portuguese capital.

    Cacique..97 intend to give birth to a global soundtrack of the new times without losing the activist approach and the promotion of social awareness so fond to afrobeat.

    Tracklist :
    01. Jorge da Capadócia 5:55
    02. Eu Quero Tudo 4:16
    03. Mifolo 5:05
    04. Sr.Diplomata 5:07
    05. Get No Stronger 5:25
    06. Come From Nigeria 6:23
    07. 13 4:32
    08. Dragão 6:06
    09. Kodé 5:28

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    "Yeah, we got our own thing", states matter-of-factly Ray Lugo, leader of New York City powerhouse KOKOLO. Based on the spiky and hyper-funky grooves found in the group’s latest album, "Love International", it would be difficult to argue with the man. Few groups in today’s global Afro scene generate as much attention and excitement as they do debate and criticism as KOKOLO. "It’s the result of going against conditioned expectations", expands Lugo. "People are used to expecting the familiar, but I’m doing my thing in my time. This is music that comes from my heart, humble music for the whole world. " KOKOLO’s ever-growing international appeal (to date, the band has performed in over 15 countries) appears to lend weight to Lugo’s words.

    A former punk rocker that grew disenchanted with the promise held by that genre, Lugo formed KOKOLO in 2001 in the Big Apple’s Chinatown district, along with long time cohort Chris Morrow. He took the name from Spanish Harlem slang used to refer to devout fans of afro music. From the outset, the duo sought to carve a path of their own. “There may be better afrobeat, funk, latin or polka groups around…but we were going to be the best KOKOLO in the world”. Within weeks of forming the group, they recorded their urgent “Fuss and Fight” debut and soon found themselves playing to receptive audiences both at home and abroad.

    Their second album, “More Consideration”, further expanded their audience and afforded the band performances in a score of new countries and on some of the world’s premier stages, such as The Montreal Jazz, Glastonbury Festivals and many others, where they shared the spotlight with acts ranging from Gilles Peterson, Roots Manuva, Taj Mahal and Issac Hayes to Zap Mama, Chic and Roy Ayers.

    During this time, their discography grew exponentially as well, giving them the opportunity to reach new audiences through a number of releases that also feature acts such as Zero 7, Femi Kuti, Masters At work, Ladysmith Black Mambaso, Quantic Soul Orchestra, U-Roy, Tony Allen, Afro Celt Sound System, Jazztronik and many others.

    KOKOLO’s reputation for mounting an explosive live show is the reason they continue to rack up frequent flyer miles year after year. "Each musician brings an important element...everyone just comes as they are". "Darren Lipper loves his hard rock, Casey Howard is a Jazz and Country music head, Eladio Gonzalez is Mr. Salsa personified, Chris loves his Zappa, John Turner is on the experimental side of the dial, Ando Kal lives for Reggae and lately, I've been getting into lots of Rai music, actually", says Lugo, "These guys have a lot of soul...and together, that mix makes KOKOLO unique onstage."

    On “Love International”, the group’s third studio album released on Adrian Gibson’s Freestyle imprint, KOKOLO astutely combines an intoxicating blend of afrobeat, funk, latin, hip hop and jazz elements into a sound that is at the same time thoroughly familiar yet remarkably fresh and intriguing. On tracks like the muscular “Our Own Thing” they spell out in no uncertain terms where they stand on the matter, on the brilliant cover of The Clash’s “The Magnificent Seven” they masterfully inject more fire into a song that was burning to begin with, musical worlds collide on the irresistible “The Way Up”, and we get transported to the motherland on the hypnotic “Let Compassion Be Your Fashion”. The Lyrics, half-sung, half-scatted in English, Spanish and even Portuguese, wiz by like sparks after an explosion at a firecracker factory. Yes, this is in fact, something new and exciting.

    Lugo’s ideology draws more from humanist philosophy than from conventional political ideas of right and wrong. “Billions of people today are manipulated via empty political slogans and organized religion”, he continues, “Only through changing how we educate future generations can we begin to move the human experience towards a universal spirit of brotherhood…the eradication of fear.” The socially conscious aspect of the group is reinforced through their consistent participation in a variety of projects and benefit concerts for causes ranging from the environment, to the Darfur Crisis, youth empowerment groups, and urban development organizations. “It’s not about ego or rock-star clichés…it’s about the luxury that is to be alive and have the opportunity of bringing a positive message to people.”

    The future looks bright for KOKOLO. For the moment, expectations seem to be the least of their concerns.

    by Malcom Traficant

    Origine du Groupe : Brazil
    Style : Afrobeat , Funk
    Sortie : 2004

    Tracklist :
    1. Mister Sinister (3:47)
    2. Mama Don't Want No Gun (4:15)
    3. Everybody (Tryin' To Get Buy) (5:31)
    4. Root To The Fruit (5:27)
    5. Late Night. Closed Eyes (4:30)
    6. More Consideration (4:44)
    7. Democrazy (3:28)
    8. Trouble Come. Trouble Co (5:17)
    9. Candela (4:10)
    10. Gimme Yaya (8:42)
    11. Candela - Richy Pitch Remix (5:17)
    12. Late Night. Closed Eyes - White Mike Mix (4:34)




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    Sortie : 2010
    Style : Afrobeat , Jazz , World , Big Band

    Tracklist :

    01 - Awakening
    02 - Agbara
    03 - Negus Negast
    04 - Lotus Flower
    05 - Mamaya
    06 - Serenity
    07 - Consecration
    08 - Rejoice, Pt. 1
    09 - Rejoice, Pt. 2



     Preview :


    Depuis sa création en 2002, The Souljazz Orchestra ne nous a jamais déçus. Après avoir sorti ses deux premiers albums, prolongeant et renouvelant avec brio l’afrobeat kutien, sur le label torontois Do Right!, le combo revient aujourd’hui avec un troisième “Rising Sun”, cette fois signé sur Strut Records. Quoi de plus naturel lorsque qu’on sait que ces musiciens originaires d’Ottawa partagent avec l’excellent label londonien une passion invétérée pour les rythmes afro venus tout droit des sixties et des seventies. “Rising Sun” se présente ainsi comme une savante restitution de ce riche héritage, couplée à l’inventivité et au talent du jeune orchestre. L’album s’ouvre sur un splendide “Awakening” porté par un piano et des cuivres étonnants de douceur, plantant un décor patiné et chaleureux, presque romantique, parfait pour mettre en condition avant d’attaquer le frénétique “Agbara”, ode à la danse et à l’afrobeat comme The Souljazz Orchestra sait si bien le faire. Mais quand “Freedom No Go Die” et “Manifesto” surfaient essentiellement sur ce genre de titres sur-vitaminés, la vraie richesse de ce troisième album réside dans une alternance parfaitement dosée entre un funk nigérian puissant (”Negus Negast” et son clin d’œil à la musique éthiopienne de Mulatu Astatke, “Mamaya”), et un afro-jazz plus langoureux dans lequel cuivres et percussions s’autorisent un brin de détente et de nonchalance (le soulful “Lotus Flower”, “Serenity”). Le sextet manie tellement bien ce subtil glissement d’un genre à l’autre qu’il parvient même à créer des ambiances hautement cinématographiques, dans lesquelles on s’abandonne volontiers, comme dans le sublime “Consecration” aux accents improvisés, ou dans les deux parties finales de la reprise de “Rejoice” de Pharoah Sanders, qui offrent une très belle relecture de l’œuvre emblématique du maître de l’ethno-jazz. “Rising Sun” marque donc une étape supplémentaire dans la carrière déjà brillante des canadiens. Lorgnant davantage vers le jazz, ce nouvel opus étonne par sa variété, son harmonie et son assimilation impeccable des influences africaines qui s’y nichent, dégageant une maturité exemplaire. Si bien que nous nous joignons volontiers à Gilles Peterson pour affirmer que “Rising Sun” constitue sûrement le meilleur album du groupe à ce jour. Un bilan qui n’est évidemment que provisoire, tant il ne fait pas l’ombre d’un doute que The Souljazz Orchestra a encore de merveilleuses surprises sonores à nous offrir.

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    Sunset was at 4:21pm on Saturday, but that didn't stop the lineup at at Martyrs' from playing into the wee hours of Sunday morning, winter doldrums be damned. The James Brown tribute band Get Up With The Get Downs kicked things off with their stellar brass section, front man Izzy's endless energy, and a guest drummer who filled in at the last minute with just a few hours to rehearse. The band roused the audience into singing along with Cold Sweat and Hey! Hey! I Feel Alright!, and secretly I hoped there would come a moment when Izzy collapsed onstage, only to be rescued by a cape-bearing well-wisher strategically waiting in the wings. Get Up With The Get Downs play every 3rd Thursday at the Cobra Lounge, and will be playing at the Hideout January 2nd. Catch them if you can, they put on quite a show.

    Chicago Afrobeat Project took the stage next, with up to 14 people performing at once, including vocalist Antar Jackson, and dancers Tosha Alston and Imania Detry from The Muntu Dance Theatre of Chicago. This was CAbP's first time performing in Chicago in several months, and the audience was clearly glad to see them. Between the dancers and the hypnotic mix of funk, rock, jazz and Afro-Cuban music, the energy was unstoppable. Each song was its own production, and it was early Sunday morning before they finished their set.

    You might have to wait a bit to catch CAbP in Chicago again, they'll be on tour beginning in late January in Missouri, Alabama and a few other states, returning to their Chicago home base in late winter. If you can't wait that long you can order CDs from their website.
    DJs Radiohiro and Warp of Bombay Beatbox rounded out the evening by transforming the boisterous energy of the room into an atmosphere of 2am electronic contemplation. I wondered for a moment at how they managed pull that off, and then realized that it was, in fact, 2am when they started their set. That may not sound like a big deal to some of you, but I haven't stayed out that late in years.



    Note :
    Tracklist :
    1 Talking Bush
    2 Tibet On It
    3 Jekajo
    4 Crunch
    5 West Ganji
     6 Zambi
    7 BMW

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    Attention ! Un nouveau Tony Allen tout chaud atterrit sur la platine et oh, surprise ! C'est sur le label de Damon Albarn (Blur, Gorillaz), né d'un partenariat avec le disquaire londonien Honest Jons, que le vétéran du groove nigérian ressort ses quinze bras et ses dix-huit pieds.
    Allen, l'alien du rythme, a beau avoir plusieurs décennies de musique derrière lui, sur cet album enregistré à Lagos, il sonne comme jamais. Les générations d'artiste du cru se croisent, du légendaire Fatai Rolling Dollar, qui donne de la voix sur quatre titres, jusqu'au jeune Omololu Ogunleye et à la belle apparition de la chanteuse yoruba Yinka Davies.
    Classique mais efficace, Lagos No Shaking n'est pas à ranger dans la catégorie OVNI, mais plutôt "bonne vieille galette".
    per Arnaud Cabanne

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