Alkibar Gignor —
La Paix ... LP Mississippi, 2012. New Copy ...
A group with a great blend of old and new modes – a mix of rootsy sounds from their native Mali, and some more focused guitar lines that really help revolutionize their music! The notes bill Alkibar Gignor as a "garage rock band" – and while we think that's a bit of a stretch, as there's not that much rock in their music, there is a nicely gritty style of production that really helps them keep their edge – a slightly muddy mode that's a great contrast from some of the "too clean" Mali recordings out there in recent years! The vocals get distorted at times, and the guitar workouts almost verge on fuzz – even though they spin out in clear lines that are much more Malian than Anglo – and the drums have a bumping quality under the vocal interplay, bringing an unexpected vibe to the record. Titles include "Adounia", "Lahidou", "Aniya", "Adibara", "Tamala", and "Dakou". LP, Vinyl record album
An early gem from the great guitarist Paco DeLucia – and one of the first to feature his solo instrument right out front in the mix, without support from another player or any large arrangements! The setting is breathtaking – incredibly deft guitar lines, with a style rooted in flamenco, but a level of personal expression that's quite different – a rich new voice on the acoustic guitar, at a time when it already seemed like the instrument had been explored fully by so many others! The album's a landmark, and is filled with treasures that include "Gitanos Trianeros", "Impetu", "El Tajo", "Llora La Siguiriya", "Jerenza", and "Punta Umbria". LP, Vinyl record album
(Original 70s pressing.)
Possible matches: 8
Dois ... CD Soundway (UK), 2014. New Copy ...
The second album from Batida, and even more crackling than the first – bristling beats, bubbling electronics, and a strongly Brazilian undercurrent – all blended together in the best contemporary styles we've been hearing from the Soundway label of late! Vocals are by a shifting lineup of singers, but there's a core sound that always holds fast – thanks to creative production from Pedro Coquenao, who mixes favela-styled elements with a more thoughtful, intellectual approach that almost reminds us of the late Trama Records at their best. Things are nicely skittish overall – and titles include "Luxo", "Bantu", "Cooking Ugali", "Fica Atento", "La Vai Maria", "Chat With Mr Ochieng", and "Ceu". CD
One of the greatest things to ever come out of Hugh Masekela's association with Uni Records – an album of instrumental tunes that recalls the older sound of the South African scene, yet which also has more of that modern and slightly funky groove that Hugh was bringing to his own work in the 60s! The drums here are a lot heavier and fuller than they would be on older South African tunes – and instead of using penny whistles and more folksy instrumentation, the horn work here has a hipper LA-styled approach that's really quite nice – almost like The Crusaders teaming up with Hugh for the album's tracks. Titles include the incredibly dark groover "Thimlela", a sonic treat that's worth the price of the album alone – plus "What's The Matter Zulu", "Special Branch", "No Passport", "Letter To Prospect Township", "Isangoma", and "Foyi Foyi". LP, Vinyl record album
(Cover has some wear and a promo ink stamp on the back.)
A great groove from the legendary Peter King – an album served up in a wicked mix of jazz and roots – a perfect summation of his Miliki Sound of the 70s! The core rhythms are very focused – rooted in high life, but with a more skittish energy overall – and they're topped by Peter's own great work on tenor sax, flute, and piano – plus guest performances by Dudu Pukwana on alto and Eddie Tantan on trumpet! The mode shows King's unique trans-hemisphere journey in the 70s – his frequent time with other expatriates in England, and his sense of a place for a wider Afro groove on the European scene. Yet despite this all, the whole thing is served up without any easy cliches or attempts to go commercial – just a core sound that's mighty nice all the way through. Titles include "Iya La Jole", "Jo Jolo", "Boleya Koya", "Gyinmi Komo", and "Elelzy". LP, Vinyl record album
Do yourself a favor, and buy this album – you won't be disappointed! The record is a gem all the way through – a really unique mixture of LA soul jazz and African rhythms, with a sound that's almost like Hugh Masekela sitting in with the Jazz Crusaders! Of course, there's a lot of Jazz Crusaders in the set – as Wilton Felder plays electric bass on the album, giving it a fantastic loping groove – but there's also plenty of unique albums on the record, especially its way of approaching the rhythms with a sly, syncopated groove that's immediately infectious! Duke's trumpet solos are great, and they're augmented by tenor work by Chester Washington and trombone by George Bohannon – all nicely grooving on the album's brilliant blend of jazzy tracks. Titles include "Jungle Funk", "Afrikaloo", "Akagruge", "Like It Is", "Mafam", and "Peace Brother". Somebody put this one on CD – and do us all a treat! LP, Vinyl record album
A sublime blend of spiritual jazz and African rhythms – and one of the few 70s recordings made by Mombasa, a European group put together by LA trombonist Lou Blackburn! The record's got a much more righteous sound than any of Blackburn's work of the 60s – a boldness and sense of pride that comes from its blending of percussion, acoustic bass, and soaring horn lines on trombone, trumpet, and bamboo flute! Other African elements slide into the music too – like bits of kalimba – and the lack of piano or keyboards on the record makes for an especially earthy sound, one that trades rhythm from the percussion with melodies from the horns in a really magical way. Tracks are long, and the set was recorded with the same post-colonial energy as similar work from Paris or London at the time – a really righteous groove that longs to be rediscovered! Titles include "Nairobi", "Massai", "Holz", "Kenia", "Makishi", and "Shango". CD
A sublime blend of spiritual jazz and African rhythms – and one of the few 70s recordings made by Mombasa, a European group put together by LA trombonist Lou Blackburn! The record's got a much more righteous sound than any of Blackburn's work of the 60s – a boldness and sense of pride that comes from its blending of percussion, acoustic bass, and soaring horn lines on trombone, trumpet, and bamboo flute! Other African elements slide into the music too – like bits of kalimba – and the lack of piano or keyboards on the record makes for an especially earthy sound, one that trades rhythm from the percussion with melodies from the horns in a really magical way. Tracks are long, and the set was recorded with the same post-colonial energy as similar work from Paris or London at the time – a really righteous groove that longs to be rediscovered! Titles include "Nairobi", "Massai", "Holz", "Kenia", "Makishi", and "Shango". LP, Vinyl record album
An obscure soundtrack composed and arranged by Manu Dibango – and one of his most interesting albums! The sound's a lot rootsier than some of his other work from the time, especially his work from the post-1975 era, when things were sounding a bit too slick. The instrumentation here is very spare – with African percussion, some marimba, a little guitar, and the requisite funky sax from Manu. Tracks are long and complicated, and there's some nice slow funk moments on the album. Titles include "Ceddo", "Marabout", "La Boisson", and "Les Cavaliers". CD
Hugh Masekela kicks off the 70s with this wonderfully bold statement – a record that's light years from the shorter, simpler instrumentals of his earliest American years – and which really shows Hugh trying to reach out for a new groove! Masekela sings a bit on the set – often with this raspy tone that echoes his slight grimace on the cover – and instrumentation includes lots of work from other LA electric jazz giants, including members of The Crusaders – with Joe Sample on Fender Rhodes, Monk Montgomery and Wilton Felder on bass, Arthur Adams on guitar, and Larry Willis on piano. Some of the best tracks have earthy percussion at the bottom – congas by Francisco Aguabella – which complicates the rhythms in a great way – and titles include "Woza", "I Can't Dance", "Make Me A Potion", "Sala Le Mane", "Traces", and "Leave Us Alone". CD