Global Grooves — All Formats  

Pure 70s genius from Hugh Masekela – a record that's quite different than his earlier Afro-soul styled albums, but somehow even better! The format here is much more straightly soulful – with larger arrangements and a strong vocal groove on a number of tracks – but Masekela's trumpet is still blasting firmly over the top of the tunes, infusing them with a soaring sense of soul that's really great! Rhythms change up nicely from the early days – getting complicated at times, and matching the seriousness of the message on the best tracks – and titles include "Black Beauty", "Makonko", "You Told Your Mama Not To Worry", "Hangover", "Soweto Blues", and "The Mandingo Man".

Dramatic funk from 70s Iran – some really compelling grooves, set to rich vocals by the lovely Ramesh! The approach here definitely borrows bits from Western culture – some rhythms and elements that echo American mainstream soul and funk of the time, with moogy touches too – but the overall execution is often a lot more exotic, and often has the same sort of appeal as Bollywood funk – with all the offbeat references that might imply! In another setting, Ramesh might sound too soppy or emotive – but here, amidst some very groovy grooves, her vocals are wonderful – and ring out as just the right topping for the creative instrumentation of the tracks. Titles include "Nago na", "Delakam", "Labe Daryaa", "Ghoroobaa Ghashangan", "Zoj", "Sharm-E Boos-E", and "Afosoos".

Dramatic funk from 70s Iran – some really compelling grooves, set to rich vocals by the lovely Ramesh! The approach here definitely borrows bits from Western culture – some rhythms and elements that echo American mainstream soul and funk of the time, with moogy touches too – but the overall execution is often a lot more exotic, and often has the same sort of appeal as Bollywood funk – with all the offbeat references that might imply! In another setting, Ramesh might sound too soppy or emotive – but here, amidst some very groovy grooves, her vocals are wonderful – and ring out as just the right topping for the creative instrumentation of the tracks. Titles include "Nago na", "Delakam", "Labe Daryaa", "Ghoroobaa Ghashangan", "Zoj", "Sharm-E Boos-E", and "Afosoos".

Nice groovy Afro soul, recorded by Letta with some hip arrangements by Hugh Masekela. This record grooves much more nicely than her Capitol sessions, and includes some nice tracks that mix African rhythms with 60's LA pop soul production. Titles include "Qonqoza", "Macongo", "I Need Your Love", "What Shall I Do?", "Use Mncane", and "Melodi".

One of those British sessions from the early 70s that mix African grooves with British prog rock, in a mode that's similar to some of the Ginger Baker albums from the same time. Percussionist Anthony Reebop Kwaku Baah sings on the whole record, but the real strength comes from the ensemble backing him up, who have a good talent for mixing elements of funky rock – like organ, piano, flute, and drums – into grooves that would be a lot more rootsy without them. The drummer's the strongest force on the record, and he gives the best cuts a very strong kick that produces some good funky moments. Titles include "Kye Kye Kule", "If You Want To Go", "Silly Boy", and "Meda Mena".

Some great work that will completely redefine your ideas about calypso music – especially if they're mostly relegated to cliches about Harry Belafonte! The tracks here were all recorded by Rupert "Lord Invader" Grant in New York during the late 40s and early 50s – and done with a rough-edged quality that really lives up to the dynamic promise of the title! Most tunes are heavy on acoustic percussion underneath the vocals – used starkly and strongly to underscore the brash lyrics of the songs. CD features 17 tracks that include "Chicago Chicago", "New York Subway", "Out The Fire", "Ten Thousand To Bar Me One", "Cousin Family", "When You Hear I Die", "Labor Day", and "Brown Girl In The Ring".

Beautiful work from reed player Tony Scott – recorded during a time when he was doing a lot of soul-searching with Eastern cultures! The set's a stripped-down batch of long tracks, with Scott's clarinet in the lead, and backing by 2 Japanese musicians on Koto and Shackuhachi. The tracks are shortish, and are designed as platforms for Zen Meditation. Titles include "To Drift Like The Clouds", "Satori", "Za Zen", and "Is Not All One?".

One of the weirdest sub-genres of Indian film scoring we've ever seen – tunes that are heavy on steel guitar, and which often have undercurrents of the music you'd find in a western soundtrack! The steel guitar's often mixed with lively Indian rhythms – but there's often some other odd instrumentation too – including accordion, which is employed on a number of these tunes in almost an Indian take on Tex-Mex. Other numbers use the steel guitar with more of a surf-like frenzy – really letting the electric tones ring out, almost in ways that remind us of Japanese action scoring at the end of the 60s. The whole thing's wonderful – every bit as compelling as its title might imply, and supported by some surprisingly good notes on the music. Titles include "Chahe Mujhe Koi Junglee Kahe" by Van Shipley, "O Haseena" by Kazi Aniruddha, "Mast Baharon Ka" by S Hazarasingh, "Aao Twist Karen" by Kazi Aniruddha, "Amar Akbar Anthony" by Sunil Ganguly, "Manje Re" by Charanjit Singh, "Duniya Mane Bura To Goli Maro" by Gautam Dasgupta, "Main Hoon Pyar Tera" by Kazi Aniruddha, and "Ghar Ki Murgi" by Van Shipley.

A great set of music that's literally as it's title indicates – compiled from the memory cards from cell phone users in the Saharan Desert – not only a fascinating selection of modern West African music, but a bit of a time capsule of modern "connected" musical culture of the region! It's actual songs, not some collection of ring tones or phone sound errata – with songs by Group Anmataff, Yeli Fuzzo, Amanar, Mdou Moctar, Bayta Ag Bay and others – many with a sound informed by the modernity that goes along with the cell phone era – home studio recordings, synths, loops, etc. It's music that is listened to, and passed along, via modern telecommunications – possibly the primary means of distribution for some of it! Includes "Tinariwen" by Group Anmataff, "Abande" by Yeli Fuzzo, "Tahoultine" by Mdou Moctar, "Faroter" by Joskar Et Flamzy, "Aicha" by Bayta Ag Bay, "Guetna" by Negib Ould Ngainich and more.

Beautiful work from Haitian singer Toto Bissainthe – a live performance from the mid 80s, but one with a really timeless feel! Toto sings in French throughout – and backing is usually just a bit of guitar and percussion, used sparely so that Bissainthe's vocals ring out beautifully in the concert space – with a full, rich quality that almost takes us back to Parisian singers like Edith Piaf, with the acoustic core of a Georges Brassens album from the 60s. Lyrics are beautiful, and titles include "Rotterdam", "Rastaquette", "Ou Soti Post Machand", "Papa Damala", "La Manic", and "Les Vieux Amants".

"Nande" is a mighty burner from the African Souls Band – a tune that mixes balafon lines in with Afro Funk rhythms, and a bit of strings too – all to create a really compelling blend that's unlike most that we know from the time – yet still damn funky, and with a great lyric too! "El Abanico" has more trippy bass, almost psychedelic at times – and pops and percolates with some great funky energy on the back/forth vocals!

A great step forward for the Afro Latin Vintage Orchestra – even better than their previous album, and a set that beautifully mixes together jazz, Latin, and African elements into one seamless groove! Percussionist Masta Conga is at the head of the group – leading the ensemble with a unique vision that's less of the overdone Afro Funk you might know from other contemporary combos – and more of a classic 60s blend of elements – especially that unique hybrid of Latin modes you'd get from west coast groups – like the Afro Latin Soultet or Afro Blues Quintet – both clear choices of inspiration, given this group's name! Yet there's also some 70s elements moving through the grooves too – thanks to great Fender Rhodes lines, and bits of other keyboards too – often used in these cool spare ways that work perfectly with the mix of funk and Latin in the rhythms, and occasional bits of strings as well. Most tracks are instrumental, although there are a bit of vocals on the set – and titles include "Requiem Pour Un Grooveur", "Petrof Sublimination", "Onze De France", "Gibbon's Dub", and "Dimension 7".

A long-awaited full length set – one that finally brings together all of the amazing Tony Allen reworks done by the Honest Jon's label! These "chop up" tracks were originally issued over a range of limited 12" singles, and they're really amazing stuff – not just remixes of Tony Allen's work, but re-recordings and re-interpretations as well – a batch of music that stands amazingly well on its own, even if you're not a fan of Tony originally – and which takes his music into even more exotic territory than just Afro Funk! The choice of artists here is key to the set – as players from other Afro-influenced genres really take a new spin on Allen's music – and are allowed to strongly bring their own sounds to the set. Titles include "Ole (Cairo version)" by Salah Ragab, "Sankofa" by Hypnotic Brass Ensemble, "Kilode (rmx)" by Carl Craig, "Awa Na Re (rmx)" by Bonde De Role, "Mark's Disco Dub" by Mark Ernestus, "Reggae Land Dub" by Wareika Hill Sounds, "Samba" by Son Palenque De Colombia, "Kilode (rework)" by Wajeed, "Ole (rmx)" by Moritz Von Oswald, "Fuji Ouija" by Diplo, and "One Tree (TP's spirit of unity mix)" by Terrence Parker.

Amazing work from a legendary Peruvian guitarist – an electric player who works here with a really wonderful sense of groove – and often an echoey tone that's completely sublime! Most numbers have this bouncy, tropical sort of vibe – but the guitar really gives them all an edge, and seems to underscore the strong percussion work that really gets things moving – a balance that's a bit like champeta at times, but maybe a bit more unique! Teo's instrument is often recorded with a style that's more 60s surf than you'd guess from the date of the sessions – and that echo trips things out nicely, and almost brings a spacey edge to some of the best numbers on the set. The package features a bonus insert with notes and images – and titles feature Teo in a number of groups – "El Sha La La" by Cielo Gris, "El Rey Loco" by Los Blue Kings De Nana, "Mi Orgullo" by Los Sanders De Nana, "El Borrachito Peruano" by Conjunto Luz Roja, "Los Hombres Tambien Lloran" by Los Jharis De Nana, and "La Tanga Carioca" by Costa Azul.

A really wonderful document of of the Takamba style of music in Northern Mali and Niger – passionate, energetic and hypnotically performed by Ali Ag Amoumine! Ali's home is in Timbouctou, a couple hundred kilometers upriver from the Takamba region, and it was here that this excellent recording by Christopher Kirkley took place. It's essentially traditional regional guitar music, electrified and played in droning, wholly entrancing patterns, while the rhythm is played on the calabash. The songs here are described as being informed by Ali's travels and including his own compositions, and it does have inimately personal feel, while also pulling us in strictly on the basis of the soaring, hypnotic sounds. Includes "Adernibah", "Khomeissa", "Fatimatou", "Damara", "Kalitay", "Hali Diallo", "Taliat Nouhirase", "Nouvelle Annee" and "Mali".

The collected work of a mighty trippy group from the Indian scene – a psychedelic combo who worked in the 70s, but who had the same sort of edge you'd hear from the American and British scenes of the late 60s! In truth, there's a fair bit of Anglo influence going on in the music – not just in the English language lyrics, but also in the way the guitars come together with stretched-out, soaring brilliance – flying eight miles high to the sky in a heady brew of freak and fuzz – and turning this approach to some surprising soundtrack numbers too! Production is perfect for the band's vibe – often spacing things out in a really cool way – with some slightly primitive modes that also remind us of the South American psych scene of a few years before. Now Again did a brilliant job with the package – bringing together a host of the group's best tracks from the mid 70s, and a bonus 20 page booklet with full notes on the group, and some very cool photos and ephemera. The whole thing even features a few unreleased numbers – and titles include "Obsession 77", "Sunshine Day", "Butterfly Version 1", "Theme From The Godfather", "Theme From The Fox", "Windmills Of Your Mind", "Booboo Lullaby", "Man You're Not Number One", "Travel On", "Gesthemene", and "Foxy Lady".

Hypnotic Fuji music from Alhaji (Chief) Sikiru Ayinde Barrister and his Supreme Fuji Commanders! The rawly and heavily percussive sound is makes a strong sensory impact – with nicely recorded, echoey vocals out front of that thundering, though impressively rhythmic backdrop. The album features 2 longer songs on one side and a handful of shorter pieces on side two. 10 in all. Titles include "Iwa", "Alhaji Rasaq Okoya", "Late Alhaja Sidikat Abeni (Haruna Ishola Bello)", "Olabisi Ilori", "Owolabi Ilori", "Fuji Americano" and "Singing Roundabout".

Ginger Baker recorded late in the 80s – but still keeping up the Afro-styled grooves he forged with Fela during the decade before! The set's got Baker very much upfront on drums – but he's also working with a range of African percussionists who really help shape the rhythms – plus great work on guitar, trombone, and a range of saxes as well! Many tunes are very heavy on the groove – building things up before adding in more from the horns, or the occasional vocals – and the set features material recorded with two different groups, but both around the same stretch in 1987, with relatively similar lineups. Titles include "Brain Damage", "Sokoto", "Go Do", "Adoa", "Abyssinia", "Want Come Go", and "Ginger's Solo".

A wonderful collection of work from Balla Et Ses Balladins – one of the leading group on the Guinean scene during its "authenticite" years of the 60s and 70s – presented here in a massive 2CD package of their work for the Syliphone label! The group have a really wide-ranging approach to their grooves – a sound with space for both modern and traditional elements of African music, as well as some of the Cuban touches that were showing up in the scene during the 60s. The rhythms here are always pretty lively, crafted out of heavy percussion and guitar lines – and most numbers have vocals in French. As with others in the Syliphone Years series, this collection is beautifully done – with a 44 page booklet that features extensive notes in both French and English, as well as color images of the group and it's orignal records. 2CD set features 28 tracks in all – including "Toure", "JRDA", "Belebele", "N'Na Soba", "Kaira", "Sakhodougou", "Tara", "Sara 70", "Nyo", "Ancien Combatant", "Sankaran Ka", and "Yadhai Gere".

Crucial work from Moreno Batamba – a set that brings together his Sister Pili album with a few bonus tracks as well! The core record is a cracker from 1983 – a set that shows the farther-reaching style in East African music at the time, yet without any too-commercial styles at all – just a really strong focus on the uniquely raspy vocal approach of Moreno, set to these long-spun grooves that beautifully intertwine rhythms and guitar lines! All tracks are more than nine minutes in length – really allowing for some spontaneous interplay as things spin out – and titles include "Adidja", "Kaka Punguza Wivu", "Aoko", and "Sister Pili". CD also features two tracks from 1977, even rootsier than the Sister Pili material – "Rehema Piri" and "Teresia (edit)", both recorded with L'Orchestra Banza Nzadi.

Two great new tracks from Gyedu Blay Ambolley – both reworks of older Afro Funk classics! "Mumunde" features sharp arrangements from Ebo Taylor – and a tight groove that has the vocals wrapped firmly around the tune's infectious rhythms – a blistering blend of bass, guitar, and percussion – topped with a bit of chorus vocals as well. "Fa No Dem Ara" is even better – a really funky track with some great organ in the middle, and a groove that's almost more James Brown than Afro Funk!

Sprightly, modernist Kollywood pop from the mid 80s – beautifully sung by KS Chithra, with the boundary-busting sounds and arrangements of Ilaiyaraaja! The songs are wonderful, time-honored regional pop sounds – traditionally-constructed songs blended with some 80s studio touches – loops, multi-tracking, drum machines, synths and electric keys – which all then fuse seamlessly with the haunting strings, percussion and achingly beautiful female vocals you'd expect from Kollywood – mixed with some madder, pulpy bits too! KS Chithra is as lovely of a vocalist as Asha Bhosle and other more internationally known singers, adding the warmth and depth of the songs collected here. We might even love this more than the earlier Ilaiyaraaja work Finders Keepers put together for the Solla Solla compilation – we didn't expect this to surpass it! Wonderful! Includes "Indha Vennila", "Yaaro Sonnaangalaam", "Vandadhe", "Oh My Love", "Pon Maaney", "Kankaliley", "Rathiri Thookkam", "Velli Kizhamai", "Oru Pooncholai", "Nethu Oruthara", "Hey Maina" and more.

A very dubby remix of this tune by Tony Allen – one that features plenty of brooding basslines amidst the percussion! The track almost takes us back to some of the first few Tony Allen singles during his Comet Records comeback years in the 90s – and Moritz Von Oswald brings a nicely abstracted feel to the music. "Ise Nla" is fairly dubby too – but in a very different way, and one that has all the Jamaican flavors you might guess from the title – including a bit of echoey horns over the top!