Your basket is empty
Upful, late-eighties singjaying, with nuff namechecks and squiddly diddlies, over a crisp, bustling rhythm.
‘Following up This Is Frafra Power, from the same Top Link studio, this is the music you hear on the cell phones, car speakers and sound systems around Bongo and Bolgatanga, the major cities of Ghana’s Upper East region. A mix of local rhythms and melodies played on traditional instruments, combined with producer Francis Ayamga’s Fruity Loops madness and Cubase electro, topped with the rhymes of local youngsters.
‘Zologo means crazy in Fare Fare (also known as Frafra), the main language here. This is fierce, energetic, joyfully obstinate music; wonderfully bonkers.’
A new album by one half of the mighty Pilotwings crew. Guillaume Lespinasse convenes a sublimely alluring, ambient seance, invoking the spirits of Jon Hassell and Terry Riley, as befits the soundtrack of a dreamt Jacques Rivette movie. Imagine an impossible, questing collaboration between Les Disques Du Crepuscule and deep ECM. Imagine the long-awaited return of Berceuse Heroique and pinch yourself.
‘I was a music teacher. I wasn’t trying to make a record to compete, I was trying to make a record so the students would have something to remember the experience that we had… I was doing it for the kids.’
The reissue of a private pressing in 1973 by Prof James Benson and his students at Cal Poly, California, inspired by their recent trip to Africa, blending in the radical jazz idioms of early-seventies black America.
Insurgent music; full of life. Jazzman strikes again.
As originally, in a heavyweight tip-on sleeve.
‘Dizzying close harmonies and indestructible grooves on this lost classic from Ethiopia’s Golden Age.
‘Raised in the bustling cosmopolitan milieu of late-empire Addis Ababa, two young women released one single and a full-length LP in 1976, before disappearing from the music business entirely. Originally released on Kaifa, the label responsible for some of the heaviest and funkiest Ethiopian records of all time, Beauties was a hit, selling out in a few days. But it came out at the beginning of two decades of darkness and oppression in Ethiopia, and this is the first full reissue of this overlooked classic.
‘Beauties is at once totally unique and an amalgamation of all that came before it during Ethiopia’s explosive two decades of creativity in the 60s and 70s. Fans of Ethio-jazz will hear Mulatu in the dark, minor-key piano runs, turning in on themselves on songs like Amlak Abet Abet and Metche Neow. Interlocking percussion and rock steady basslines are a signature of the Army Band, which also backed greats like Tlahoun Gesesse and Mahmoud Ahmed. Arranger Teshome Sisay is also an incredible flutist, playing with both sensitivity and swagger on tracks like the majestic Ayinouma.
‘But the vocals are the most stunning part. Aselefech and Getenesh met at the legendary Hager Fikir Theatre in Addis, where centuries-old Ethiopian culture combined with the modern music of the capital’s elite. Trained in traditional music, their dual vocals lead in extremely close harmony, intertwined and infinitely creative in their phrasing.
‘By the time this record was released, the Derg Regime was imposing strict crackdowns on music and artistic expression. Targeted as allies of the deposed Emperor Haille Selassie, the artists (and most musicians) had to keep a low profile. This is one of the last great releases of the Ethiopian Golden Era.’
Rocksteady murder, both sides.
Val Bennett wails over a brilliantly percussive, troubled, fresh rhythm, with descending, prowling bass; Roy Man leads the heart-broken flip, with piano riding east, and rocking horns.
From the master tapes. It’s a must.
Forty-eight Alvin Ranglin productions… The Ethiopians, Cynthia Richards, Charlie Ace, The Slickers, The Maytones…