A second volume of Charles Brooks’ magical recordings from central and southern Madagascar. Polyrhythmic rug cutters through stately Kabosy ballads.
Says Brooks — ‘The musicians on this album are storytellers and much of their craft is improvised and has a strong foundation of expertise in their respective cultural traditions… Seeking, recording, and sharing the intangible experience, the best of all of this, is to catch a ghost.’

Tipped by the New York Times: ‘I have heard no more beautiful record this year… a righteous calm takes over the album like a spirit force.’

Highly rhythmic ensembles of percussion, flutes, whistles and trumpets from the mountainous north of the country; and brilliant pichanchalassi playing, five flat stones struck with two oval stones.

How many fingers has the guy got? Truly jaw-dropping skill, from dazzling torrents of notes to beautiful simplicity, with a deeply spiritual undercurrent. In short, stunning and essential.

Two albums from the early 80s which made this king of Malian music known to the world. Here nicely packaged with notes, lyrics, photos. Highly recommended.

The Groupe Asko recorded in 1991, with Taj Mahal on two tracks.

Pure Malian blues for the heart and soul.

Hotly recommended, utterly ravishing Cubanismo by the great Amara Toure from Guinée Conakry. All ten releases, 1973 and 1980, starting with three sublime 7” singles recorded in Cameroon with the Black & White group, and ending with the LP recorded in Gabon, when AT was with the Orchestre Massako. 
‘Latin music, is it really foreign to us Africans? I don’t think so. Listen to the drums, to the rhythm. It all seems very close to us - it feels like it’s our own culture.’