Soul from Nigeria, part 2

Soul from Nigeria

Afro - We - Asiko (Take A Trip With Asiko, 1977)

Agboju Logun - Shina Williams and His African Percussionists (Agboju Logun / Gboro Mi Ro, 1984)

Alabeke (Part 1) - Dan Satch & His Atomic 8 Dance Band Of Aba (Alabeke (Part 1) / Alabeke (Part 2), 197?)

Asalam Aleikum - Afro Express (Asalam Aleikum, 1976)

Be Yourself (And Don't Let Nobody Be You) - Akwassa (La'Ila, 1975)

Christian Community - W. Roy Featuring Rational Men (W. Roy Featuring Rational Men, 1979)

Cool Money - Prince Nico Mbarga & Rocafil Jazz International (Cool Money, 1979)

Igbehin Lalayo Nta - Dynamic Africana (Dynamic Africana In U.S.A. - Unity And Strength Vol 1, 1977)

I Wanna Do It - The Mebusas (Mebusas Vol 1 - Blood Brothers, 1973)

Just because You are a Woman - Frances Kuboye (The Black Way - La Mémoire Du Peuple Noir, 1979)

Let’s Love Each Other - Emma Baloka (Freedom, 1982)

Na Teef Know De Road Of Teef - Pax Nicholas And The Nettey Family (Na Teef Know De Road Of Teef, 1975)

Road Man (Mystic) - Mighty Flames (Metalik Funk Band, 1978)

Sako Sako - Effi Duke's Love Band (Joy Of Living, 1980)

Sweet Nothing - Saaji "A" (Lover Boy, 1979)

Take Your Time - Dan Satch & The Professional Atomic 8 Band (Ikoro's 70 Special, 1970)

Tenkim Kpoho - Mary Afi Usuah (African Woman, 1978)

Thief Man - Ogiza (Ogiza, 1977)

Tire Loma da Nigbehin - MonoMono (The Dawn of Awareness, 1974)

When Soldier Say No Coming Back - Audience Limited (Vol. 1, 1977)

More Soul Songs

Soul from Nigeria

Soul from Ghana

African Funk from the Seventies

Ethiopian Grooves

Funk from Africa in 20 tracks

Soul from South Africa: 18 tracks

Black Market Brass - Hox - the heaviest Afrobeat band around (with the possible exception of The Budos Band)

Black Market Brass is proud to present Hox, due out on Colemine Records on September 8, 2023. Their third LP is a new take on afrobeat that combines traditional grooves with heavy, hypnotic, sci-fi sounds that reflect the band’s myriad of influences as record collectors across genres. “We didn’t leave the traditional afro-beat sound behind, but we did allow ourselves to pull from different places with less hesitation.” Shared saxophonist Cole Pulice. Like their previous albums, the 9-piece band recorded Hox live to tape. “The sound and aesthetic of the analog recording process is important for this kind of music,” Pulice explained. “We’re looking to capture lightning in a bottle.” With that, the album features several sections of heavily processed synthesizers, harsh glitches, fuzzed out guitars, and a burning percussion section that pays homage to the traditional drumming cultures of Nigeria and Ghana. The performances are dynamic and confident. The grooves are infectious and hypnotic. BMB has pushed further into musical experimentalism, but at the end of the day, they’re still making dance music. Krautrock, free-jazz, doom metal – the inspirations for Hox stem from all kinds of musical backgrounds, but the sound is far from scattered. It’s a polished, innovative record that’s sure to exceed expectations and keep the listener engaged from start to finish.

Remi Kabaka — Son of Africa (BBE)

Son of Africa by Remi Kabaka

“Kachunga!” This ebullient cry—a word that means creative, happy and sociable in a West African dialect— kicks up a hornet’s nest of trebly funk guitar, burbling keyboards and a knife-edge sharp horn section. It’s the lead-off track to Remi Kabaka’s Son of Africa, originally released in 1976 and long out-of-print, and a fitting introduction to this smoking amalgam of funk, afro-beat, jazz, pop and rock.

Kabaka was born in Ghana to Nigerian parents and spent his earliest years immersed in West Africa’s communal multi-drumming traditions. He moved to London as a teenager, however, and came into his own in that city’s rock scene. He played various kinds of percussion with Paul McCartney, the Rolling Stones (including a live version of “Sympathy for the Devil”), Jimi Hendrix, Ginger Baker’s Air Force and Traffic (whose Steve Winwood plays guitar on the eponymous first track). Chris Blackwell of Island Records was enough of a fan to sign Kabaka for this album, but while Blackwell did a lot to make reggae ubiquitous in 1970s rock, he couldn’t do the same with Afrobeat. The record sold poorly and disappeared from circulation.

It's hard to see why. This was, of course, pre-Nigeria 1970 and the Fela revival, and western ears were simply not as accustomed to the polyrhythmic grooves coming out of Lagos. But even so, Son of Africa leans heavily on American funk and soul sounds. Anyone who had spent time with James Brown or Motown or classic Stax discs would find much that felt familiar. “New Reggae Funk,” even anticipates disco by a couple of years with its insinuating slink and airy falsetto. “Sure Thing” struts its consciousness funk like a lost Funkadelic cut, the blurt of brass bursting from slap-and-pop bass. The only cut that comes across as mildly exotic is the thunderous, “Aqueba Masaaba,” and it’s so irresistibly body-moving that you can’t imagine an objection.

You could spend a lot of time picking apart the threads of funk, Afrobeat, jazz and rock, trying to decide where Kabaka’s African heritage leaves off and his youth in swinging London kicks in, but in the end, it’s probably pointless. This album bangs all the way through, and if you missed it the first time, now’s your chance.

Jennifer Kelly

Cultural Conscious African Edition

Op 13 april, tijdens Cultural Conscious African Edition op het terras van Theater Thalia, gaan we samen op een mooie culturele reis naar Afrika met diverse Afrikaanse snacks en gerechten, heerlijke Zuid-Afrikaanse wijnen en muziek in de stijlen Makossa, Bongo Flava, Funaná, African Jazz, Afrobeat, Afropop, Amapiano, Bolero en meer. Cultureel bewustzijn beslecht barrières en brengt begrip en waardering voor onszelf en anderen. Het doel van de serie Cultural Conscious is om met verschillende edities het culturele bewustzijn te vergroten middels (podium-) kunsten, eten en drinken. Cultural Conscious African Edition heeft Afrika als focus. Afrika is 185 maal groter dan Suriname, ongeveer even groot als Verenigde Staten + Europa + China + India + Japan! Afrika bestaat uit 54 landen en er worden in totaal meer dan 2000 talen gesproken. Suriname is geworteld met Afrikaanse roots! Vanaf het moment dat dit gebied een Engelse kolonie werd in het midden van de 17e eeuw, zijn er geroofde Afrikanen ingevoerd en dit heeft ongeveer 150 jaar lang geduurd. Er zijn naar schatting 300.000 personen naar Suriname getransporteerd vanuit Ghana en de personen kwamen uit onder andere uit Senegal, Gambia, Guinee, Guinee-Bissau, Sierra Leone, Liberia, Ghana, Benin, Togo, Nigeria en Kameroen. Het event is een reservation-only event en bij registratie kunnen verschillende Afrikaanse snacks en gerechten besteld worden zoals Akara (gefrituurde bonencake), African Meat Pie (Afrikaanse vleespastei), Chin Chin (zoete gefrituurde snack) en Moi Moi (bonenpudding cake), Okra soup (Afrikaanse okersoep met kip), fufu (deegachtige pap van een aardvrucht), jollof rijst (rijstgerecht, meestal gemaakt met langkorrelige rijst, tomaten, pepers, uien, kruiden en soms andere groenten en/of vlees in één pot) en fried rice. Er is ook Zuid-Afrikaanse wijn beschikbaar, zowel voor de zoete als de droge wijndrinkers. De line-up is zeer gevarieerd en de artiesten kijken naar u uit: Joan de Bies is vocaliste en zingt al 37 jaar. Vijf jaar geleden heeft ze besloten om professioneel te gaan zingen. Ze zingt in de stijlen jazz, rap, rhythm-and-blues R&B, dancehall en haar favoriete stijlen zijn jazz en R&B. Ze maakt deel uit van de muziekformatie FRESH en is gastzangeres bij de formatie Orquestra Alafa. Ze heeft songs geschreven en uitgebracht met onder andere Kenneth Moerli, Triple en Jah Prince en het grootste event waar ze aan mee heeft gedaan is SuriPop Golden Edition, waarbij ze onder leiding van Helianthe Redan koorzangeres was bij een compositie van Rudi Fernand. Joan is 15 jaren peuterjuf geweest in haar eigen instelling Joshua Oppashuis. Ze is tevens moeder, kapster en herbalist met haar eigen bedrijf Joan's Herbal Products. Ze brengt haar publiek graag de ervaring van vreugde met muziek. Afrika en Afrikaans muziek geven haar het gevoel van “reconnecting yourself with your roots”. Smooth Groove is ontstaan door vrienden die bij elkaar zijn gekomen om muziek te maken. Ze zijn in 2022 gestart onder de naam Mani & Friends Music band en in oktober 2023 is de naam vanwege de vibe en speelstijl van de band veranderd naar Smooth Groove. Ze spelen in diverse muziekstijlen zoals Gospel, R&B, Latin, Pop, Jazz, Kaseko, Reggae en Afro. De bandleden zijn: Daniel Zeeman-keys-15 jaar actief, Darrell Zeeman-keys-11 jaar actief, Miquel Zeeman-bass-8 jaar actief, Anthony Patrick-drums-14 jaar actief, Timothy Kemble-guitar-8 jaar actief, Jose Parami-vocalist-30 jaar actief en Regina Haakmat-vocaliste-13 jaar actief. Voor Smooth Groove is Afrika de plek van waar hun voorouders vandaan komen. Wanneer ze Afrikaanse songs spelen doet het ze heel goed van binnen; het brengt ze terug naar waar ze als bandleden van afstammen. Deejay Javier, Javier Somoredjo, is 14 jaar actief als allround deejay. Hij heeft gedraaid op Lustig Events en in verschillende Surinaamse clubs als Touche, Zsa Zsa Zsu, Havana Lounge, Margaritas, Dejavu, Club Next en Euphoria. Ook heeft hij in 2016 mogen draaien in Club Lustig in Den Haag, Nederland. Deejay Javier is overal te vinden – op huisfeestjes, events en bekende bars en clubs. Hij was finalist van Parbo Kings of Clubs 2023 en hij is resident DJ van D’BAR en Qle. Zijn levensmotto is dat je geen dingen moet overhaasten, als je geduldig wacht zal het naar je toekomen. Zijn ambitie is om verder te groeien qua muziekstijlen en zijn droom is om internationaal te performen. Voor Deejay Javier betekent Afrikaanse muziek een levendige mix van ritmes en culturele invloeden die een unieke sfeer creëren op de dansvloer. Het brengt een gevoel van verbondenheid en feestelijkheid, met een diversiteit aan genres zoals Afrobeat, Afropop en de Zuid-Afrikaanse muziekstijl Amapiano. Amapiano is in het Zulu 'de piano's', een verwijzing naar de jazzakkoorden die een grote rol spelen in dit genre, naast de repeterende saxofoontonen en de vocalen in één van de elf Zuid-Afrikaanse talen, waaronder Xhosa en Zulu. Indra Hu-Ramdas is sinds 2022 actief als creative book-artist, waarbij zij unieke diaries, notebooks, agenda’s en meer bekleedt met prachtige stoffen die de verschillende culturen van Suriname weergeven, als uiting van liefde voor haar land. De inspiratie om aan book art te doen komt door de vraag van volwassenen naar literatuur voor hen. Aangezien Indra gelooft dat iedereen een eigen verhaal kan schrijven, stimuleert ze hen door deze (blanco) boeken te maken om hun eigen verhaal in te schrijven. Met de stoffen maakt zij ook bijpassende tassen. Indra is ook jeugd- en kinderboekenschrijfster. Ze debuteerde in 2002 met haar serie ‘De avonturen van Leena en Jopie’ en heeft al meer dan 26 werken op haar naam staan. Zij is in 2012 uitgeroepen tot schrijfster van het jaar en heeft ook twee onderscheidingen ontvangen van de staat Suriname: Ridder in de ereorde van de Palm in 2018 en de Eenheid is Kracht jubileumjaarspin in 2023. Daarnaast is zij sinds 2017 tenorsaxofonist in het Rein Rier Orkest. Indra vindt dat Afrika net als Suriname een grote culturele diversiteit kent en dat hun culturele identiteit terug te zien is in met name hun kleding en stoffen. Door haar book art kan ze de wereld kennis laten maken met dit gedeelte van de Afrikaanse cultuur. Cultural Conscious African Edition wordt georganiseerd door Harmony Blend Media (HB Media), lange termijn change enabler. Zij leveren entertainment om van te genieten en nieuwe inzichten te ontdekken over zichzelf en anderen als respectabele delen van de Surinaamse samenleving, de drijvende kracht achter de dringend noodzakelijke duurzame ontwikkeling en welvaart van Suriname. Zij richten zich enerzijds op het vergroten van het culturele bewustzijn van de gehele Surinaamse gemeenschap en anderzijds op de verdere ontwikkeling van podiumtalent in Suriname. Met elke productie dragen ze bij aan de Sustainable Development Goals SDG's 1, 3, 4, 8, 10, 11, 16 en, afhankelijk van een productie, ook aan andere SDG's. Arrangementen voor cultural Conscious African Edition zijn beschikbaar vanaf SRD 300,- Registratie kan per HB Media WhatsApp +5978747874 of https://forms.gle/yXgPk4gAQvCza6sw6 Read the full article

Rising Ghanaian Afro-Fusion Singer, Mega EJ Releases New Song, “Taya” With current struggles arising in communities and the wave of drug influence hitting the youth, “Taya” is a statement for all who are against vile activities by corrupt leaders which has impacted on their citizens negatively.  Born Johnson Elike Kondobrey, Mega EJ, a Ghanaian Afro-fusion Singer and Songwriter has teamed up with Germany-based Producers, pappuy and Favela to register his discomfort about the wary economic situation in his home region, Ghana on a new song titled, “Taya”, released under Yaadie Supply. Listen to “Taya” by Mega EJ on Boomplay; Experimenting with sound and fusing genres curated by Pappuy; a Germany based producer, and mixed and mastered by Favela, and Bass Guitar by Nee Mantse, “Taya” depicts a story of beautiful town which is be stained by the activities of incompetent and corrupt leaders. Also, forecasting the repercussions of their activities, Mega EJ warns of possible instability if the youth are awakened and demand accountability from these corrupt leaders.  Again, Mega EJ invites you to embrace a sound that breaks free from conventions and celebrates the power of musical exploration. This song is not just a track; it's a testament to Mega EJ's commitment to pushing the limits and leaving an indelible mark on the ever-evolving music scene.  Listen to “Taya” by Mega EJ here ABOUT MEGA EJ In the early days, he recalls skipping classes and driving to Hohoe, a town in the Volta Region of Ghana, for his first recording. From pursuing his dreams to earning over organic 50k plays in the US in the past year over his favorite song Feel Am for Body, Mega EJ clearly has the road ahead of him spotted with stardom and greatness.  He believes his music serves a bigger purpose of impacting lives. Mega EJ is never afraid to delve into his spirituality, and draw inspiration from the world around him, tapping into the sounds of Reggae, Jazz, Rap, and other diverse genres. Out of his loved genres, his musical influences are Chronixx of Jamaica, Worlasi of Ghana, and Burna Boy of Nigeria, hoping to perform with them on world stages someday. Mega EJ released his first single on all digital distribution platforms in 2018 and since then has released personal EPs, a collab EP, and a charting album in 2021. His most recent EP, Amber, with four songs, exudes a feeling of softness and peace toward the listener to be appreciated. The future of Mega EJ is written in the stars. In a couple of years, it will be no surprise to see him headlining arenas worldwide with superstar exposure. As an artist who is constantly on a reflective journey, advice he would give to his younger self is that there is never a reason to panic. Everything passes – advice passed down to him that he holds dearly in his daily walk of life.

MUSICAL FUSION: Slovenia joins Ghana in Wiyaala's Lioness Kingdom

New Post has been published on https://plugzafrica.com/musical-fusion-slovenia-joins-ghana-in-wiyaalas-lioness-kingdom/

MUSICAL FUSION: Slovenia joins Ghana in Wiyaala's Lioness Kingdom

The Yaga yaga’s from Slovenia are travelling to Funsi a small town in the Upper West Region for a musical and cultural exchange with local musicians and Wiyaala. Besides enjoying the traditional African vibe of the Upper West, they will jam and rehearse for three landmark concerts, firstly performing an inaugural concert at Wiyaala’s Arts Centre and then moving to Accra to perform two back to back concerts on the 26th and 27th of January at the Alliance Francaise Af Accra and the +233 jazz bar and grill

This groundbreaking Afro-Euro collaboration was inspired by Wiyaala’s invitation to the Yaga Yagas to enjoy the Upper West Region’s unique attractions and hospitality, not forgetting the opportunity to bring together the contrasting musical styles and influences of their respective continents.

The Ghana/Slovenia collaboration began in May 2019 after Wiyaala received an invitation from the Ministry of Foreign and European Affairs of Slovenia to perform at an Africa Day celebration in the capital city Ljubljana. Wiyaala was introduced to four classically trained Jazz fusion musicians from Ljubljana for the gig and they immediately hit it off musically and became firm friends.

Their musical chemistry continued to flourish as they embarked on a European tour during the summer of 2019, gracing stages at renowned festivals such as Afro-Pfingsten Festival in Switzerland, Riddu Riđđu Festivála in Norway, and Welcome to The Village in the Netherlands. Their performances garnered positive acclaim, cementing their status as a compelling musical ensemble.

The COVID-19 pandemic interrupted their musical endeavours and it wasn’t until 2022 that the band (by now known as Wiyaala & The Yaga Yagas) reunited for the Kamfest Festival in Slovenia. This reunion rekindled their creative fire, leading them to embark on a collaborative recording project in April 2023. The album, titled “Segerege (The Elephant’s Ears Are On Fire),” with 11 songs inspired by the traditional melodies and songs of Wiyaala’s homeland in the Upper West Region of Ghana.

Recorded live at Studio Metro in Ljubljana, the project is currently in its final mixing and mastering stages, with an expected release in the first half of 2024. The band’s lineup is as diverse as their music: Wiyaala, the charismatic vocalist, guitarist and percussionist from Funsi, Ghana.

Miha Petric, the Slovenian guitarist and award winning composer. Jošt Lampret, the Slovenian bass player, composer, and arranger. Nejc Skofic, the talented Slovenian jazz pianist and composer. Žiga Kožar, the versatile Slovenian drummer, with experience across many musical styles. The collaboration represents a fusion of cultures, genres, and talents, offering a fresh and captivating musical experience that transcends borders and genres.

ABOUT THE LIONESS KINGDOM

Famed international travel bloggers, Drew Binsky & Wodemaya’s 2020 visit to Funsi prompted Wiyaala to renovate a couple of rooms in unused missionary buildings to accommodate her guests in some comfort. After the visit, Wiyaala saw potential and created 16 guest rooms with individual bathrooms and a restaurant.

Not satisfied she went on to build a stage, borehole, an Arts Centre, a recording/rehearsal studio and a traditional film village. More works are said to be in progress. Other famous visitors to the Lioness Kingdom include John Dramani Mahama, Jon Benjamin (former UK Ambassador to Ghana), Thomas Naadi BBC, Berla Mundi, DW Africa, KING AYISOBA

Photo Credit: Peter Giodani

Cultural Identity

What’s in a name? For many of us it is taken for granted - our identity since birth, a direct connection to our heritage. Yet millions among us do not have this privilege; their names were taken and replaced with the names of the colonizers. As we navigate the uncertain waters of the 21st Century, we look to the past to identify, clarify, and narrate the true stories of our evolving culture. For this we need leaders - those who recall and share with us the heritage that has been written off. Music holds a central place in this process, as it cannot be removed from a culture in one generation. And so, we look to those that hold both the understanding and the rhythm of the past to inform our path.

Today we focus on the personal journey of a cultural anthropologist of the musical kind:

Multi-instrumentalist, producer and Chieftain and OBA of the Xodokan Nation of New Orleans, Chief Xian aTunde Adjuah announces the release of his fourteenth studio album and first under his reclaimed name as a distinguished tribal leader. Previously known to many as boundary-breaking jazz auteur Christian Scott, Chief Adjuah continues his legacy as a sonic architect and pioneer on Bark Out Thunder Roar Out Lightning, out July 28, presenting a stupendous body of work that aims to save the rock ‘n roll and blues of tomorrow via the excavation of their storied roots and past in New Orleans, the Diaspora, and West Africa. In a first offering from the album, Chief has shared standout single “Xodokan Iko – Hu Na Ney,” a familiar melody is re-imagined as a call to the emancipatory energies of the venerated ancestors and self-liberated leaders of the African Diaspora and maroon communities of the Americas. “Xodocan Iko – Hu Na Ney” inspires future leaders to continue to face off and rise against opponents of freedom. It is a revelatory acknowledgment of today’s valiant leaders that also honors those who fought for liberation before the Emancipation Proclamation and Juneteenth.

The culmination of over two decades of trailblazing 21st-century music, BOTROL is a riveting exhibition of genre blindness and a comprehensively sharpened ethnomusicological approach to limitless fusion. Make no mistake, this is not a jazz album but rather Chief Adjuah’s new vision of the future of music and a reflection on the past, centered around storytelling and song. On BOTROL, Chief replaces his trademark trumpet here with a new instrument of his own design—Chief Adjuah’s Bow, an electric double-sided N’goni/Kora/Harp. BOTROL bridges past and future by marrying New Orleans culture and the folklore, ceremonies and rituals of the maroon and Afro-Indigenous chiefdoms with his own innovation: Stretch Music. The result is a spellbinding exhibition of Afro-New Orleanian and West African expression where music, dance, and cultures unite.

“Everything from call and response to thunderous drums, music that lives with us in celebratory, proclamatory, preparatory, joyous, and determined moments of our journeys. It was without measure the amount of healing it did to sing the old songs the old way and the new, the new. The Album is a part of my journey into Chiefdom, the gathering of community, and the inspiration it created and continues to foster.  It is another kind of Ancestral Recall. Bark Out Thunder Roar Out Lightning was performed on Chief Adjuah’s Bow, a double-sided harp I created in 2021. It was built to serve as a bridge to the African forefather nations of the blues and its descendants, places like Mali, Senegal, Ghana, Benin, and Nigeria, and Instruments like the Ngoni, Ankoting, and Bolon. But now in a plugged-in, lightning in a VOX  and smokin’ pedals kinda way. Each record is sung and sewn with the song and story of the Xodokan Nation, and that of the Nations of my kin, ancestors, and predecessor Chieftain. My Grandfather who led many nations Big Chief Donald Harrison Sr. of the Guardians of the Flame and my uncle NEA Jazz Master Big Chief Donald Harrison Jr. of the Congo Square Nation. It’s that roaring sound of the Maroon Nations of New Orleans. Drums make thunder and boom, tamborines ring through time itself it seems. And other times it feels like it's hailing a future of Rock n Roll that's fully connected to all these skeleton keys, threads, and seeds. Each thread unites in possibility. Simultaneously centuries-old and focused forward—a Sankofa’n approach to Rock n Roll, Blues, and yeah Stretch Music.” (Chief Xian aTunde Adjuah)

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Watch Ghanaian drum artist, Shadrack “Shaddy” Oppong steals the show at 20th Panama Jazz Festival!

As part of only four drummers accepted into Berklee College of Music’s exclusive Masters program known as the “Berklee Global Jazz Institute” for the 2022-2023 academic year, Ghana’s Shadrack “Shaddy” Oppong has been scaling heights ever since! In a latest update on his experiences gathered so far, the Ghanaian power-drumming enigma has found himself thrilling thousands at the world renowned Panama Jazz Festival which took place from the 16th to 21st of January 2023 at the Ciudad del Saber as its educational venue & Wyndham Panama Albrook Mall Hotel & Convention Center. Founded in September 2003 by pianist and Grammy winner Danilo Pérez, Panama Jazz Festival which has spanned a period of 20 years witnessed the mastery of big names in the game perform to an audience of over 60,000 music lovers. https://youtu.be/6zG2Bhiy9Io Shaddy, who participated as the official drummer for Berklee Global Jazz Ambassadors, shared stages with mega names in the world of jazz music including Cuban pianist Chucho Valdes; singer Catherine Russell (daughter of Panamanian native pioneer of jazz Luis Russell); Children of the Light featuring bassist John Patitucci, drummer Brian Blade and pianist Danilo Perez; Latin pop star singer-songwriter (of the global sensational song “Despacito”) Erika Ender, master drummer from Cuba Roman Diaz; and the all-star ensemble Global Jazz Womxn featuring Israeli sax player Lihi Haruvi. Other artists that performed on the night were Proyecto Acustico from El Salvador and distinguished national projects such as the Luis Russell Collective, Hijas del Jazz Big Band, Anthony Morris Kuna Jazz Quintet, Panamanian folk star Celsito Quintero, Idania Dowman, and many more.picture with the “Children of the Light” – from the left (Brian Blade – drummer, Shaddy, Danilo Perez – pianist and John Patitucci – bass) In addition, through the program Arts Envoy, the Embassy of the United States in Panama hosted distinguished global jazz musicians Farayi Malek, Nadia Washington and Chase Morrin. It was a week of enriching concerts highlighting the great gala night held at the Anayansi Theater in Atlapa Convention Center on Wednesday, January 18, 2023. The same theater presented great live jazz performances on Thursday, January 19, and Friday, January 20. Ateneo Theater, located in the City of Knowledge, also presented night concerts on Monday and Tuesday of the week of the festival; and Wyndham Hotel presented intimate performances every afternoon. The Panama Jazz Festival’s signature educational events happened at the City of Knowledge and hosted distinguished institutions such as Berklee College of Music and the Berklee Global Jazz Institute of which Shaddy put up a sterling performance while sharing knowledge & experiences gathered in his years of drumming, with students and patrons. It also hosted the New England Conservatory, and New York Jazz Academy, among others. The Festival celebrated the 11th Latin American Music Therapy Symposium bringing together music therapists from Panama, Chile, the United States, Puerto Rico, Dominican Republic, among other countries. Other important symposiums that took place during the festival included the 2nd Symposium of Natives Peoples, the 7th Symposium of the Culture and Music of Afro-Panamanians, and the first Symposium of Panama and the Caribbean in Jazz History. https://youtu.be/4Cc2qydK66s This is only a testament to the unparalleled laurels awaiting the young chap who took a step of faith to walk on water all the way from Obuasi to Boston with nothing but a dream, a persevering spirit and an incredible talent! Read the full article

Irregular Frequencies 019: Soul in a Funk

Songs for when you’re in a bit of a funk and the world is getting you down. Featuring soul, funk, jazz, psych, synth, pop and more.

Eine Kleine Nachtmusik (1943) by Dorothea Tanning Songs for when you’re in a bit of a funk and the world is getting you down. Featuring arpa Peruana from Cusco, Pyotr Ilyich Tchaikovsky via Japan, afro-pop from Kenya, some lover’s rock and reggae, and even a protest song against Mitsotakis via Ghana. Plus, bedroom daydreaming, outsider melancholy, teenage tragedy and synth funk morality…

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Soul Around The World in 34 songs

Soul Around The World: Soul music became popular around the world, influencing countless artists across the world. We’ve put together a list with 34 songs

Ain't Sittin' Down Doin' Nothing - The Drive (Drive Unlimited, 1975) - South Africa

Aries - Ahmad Nawab (Ahmad Nawab, 1979) - Malaysia

Arrêté Mal Palé - Fair Nick Stars (Fair-Nick Stars, 1978) - Guadeloupe

Atrakegne - Bizunesh Bekele (Atrakegne / Eneramed, 1977) - Ethiopia

Aw'ye Douba Ke - Cissé Abdoulaye (Les Vautours, 1978) - Burkina Faso

Bej Ge Le - Polish Radio Orchestra, Peter Sander And His Players – Melody And Rhythm Volume 10, 1976) - Poland

BRC's Groove - Blue Rhythm Combo(Magumba , 1972) - Barbados

Cataluña Rag - Conjunto Olivino (Cataluña Rag / Nostalgia Belga / Eco Castellano / Sobre Tu Sien, 1973) - Spain

Cool Money - Prine Nico Mbarga & Rocafil Jazz International (Cool Money, 1979) - Nigeria

Dolana Ay Dolana - Mustafa Özkent (Gençlik İle El Ele, 1973) - Turkey

Drugstore - Saori Minami (Cynthia Street, 1978) - Japan

Etuei - CK Mann Big Band (C. K. Mann Big Band, 1976) - Ghana

Gowa - Afro National (Tropical Funkmusic, 1978) - Sierra Leone

Hametegnaw - Seyoum Gebreyes (Hametegnaw / Yehagere Gegna, 1973) - Ethiopia

Harari - The Beaters (Harari, 1975) - South Africa

Instant Groove - The Belles Combo Of Dominica (Instant Groove / Un May Que, 1973) - Dominica

Just because You are a Woman - Frances Kuboye (The Black Way - La Mémoire Du Peuple Noir, 1979). - Nigeria

Kamo Aho - Simon Randria (Kamo Aho / Tsy Ho Ela, 1976) - Madagascar

Loose - Group Meeting (Daybreak, 1976) - Italy

Lost Island - Gökçen Kaynatan (Gökçen Kaynatan, 2017) - Turkey

Man With A Gun - Funkgus (Man With A Gun, 1974) - Singapore

Money Is - Pepe Lienhard Sextett (Happy People, 1973) - Switzerland

Nasze Kung Fu - Kram (Biała Sowa, Biała Dama, Biały Kruk, 1976) - Poland

Ngon Engap - Olinga Gaston (Ngon Engap / Be Ngon Ya Nnam Ewondo, 1977) - Cameroon

El País de las 1000 Danzas - Alex y Los Findes (El Pais De Las 1.000 Danzas = Land Of 1.000 Dances, 1967) -

Never Too Late - The Apostles (The Apostles, 1976) - Nigeria

Le Petrole - Ambroise Bia (Le Petrole / Je Cherche Une Femme, 1975) - France

Razbila Bom Ure - Alenka Pinterič (Hanibal, 1968) - Yugoslavia

Silence - Roxy Robinson (Silence / Movies, 1976) - Italy

Spouge Explosion - Aubrey Mann & The Lunar 7 (Here I Am Come And Take Me / Spouge Explosion, 1976) - Barbados

Tei-Egwu - Afro Funk (Body Music, 1975) - Ghana

What'cha Gonna Do - Lynne Randell (Lynne Randell Presents, 1966) - Australia

У мельницы - Оризонт (Оризонт, 1978) - Moldavia

Zigarillo - Botho Lucas Singers Und Die Sound-Masters (Dannemann Tanzparty, 1972) - Germany

Soul Around The World

Soul Around The World in 27 Songs

Soul Music Around the World

Soul Around The World in 19 tracks

Soul Around The World in 13 tracks

Soul Around the World in 20 tracks

Soul Around The World in 22 tracks

(Gyedu-Blay Ambolley and Hi-Life Jazz | Gyedu-Blay Ambolleyから)

Gyedu-Blay Ambolley and Hi-Life Jazz by Gyedu-Blay Ambolley

新譜

“Afro-American jazz, soul and funk with Ghanaian highlife, enhanced by his signature Simigwa style and powered by polyrhythms.” Pan African Music

“Gyedu-Blay Ambolley continues to explore the infinite possibilities of his afro-groove cocktail as militant as it is danceable.” FIP

“Wonderful” Debbie Golt

Gyedu-Blay Ambolley and Hi-Life Jazz is the new album from revered Ghanaian highlife and Simigwa Do exponent Gyedu-Blay Ambolley, known for his deep, soulful, and funky highlife sound and sometimes referred to as the “James Brown of Ghana.”

A 360-degree musical tour de force as evidenced by his impressive and eclectic back catalogue, Gyedu-Blay Ambolley and Hi-Life Jazz makes his 35th album release to date. His third release on the German Agogo label, the release sees him breathing new life into some jazz classics, revisiting works by John Coltrane (Love Supreme), Thelonius Monk (Round Midnite), Wayne Shorter (Footprints) and Miles Davis (All Blues) alongside some brand new compositions, powered by polyrhythms and his signature highlife style. The record coincides with multiple live dates through October visiting Paris, Amsterdam, Rotterdam, Lisbon, Copenhagen, Brussels, Gothenburg, Malmo, Saubriges & Mugron.

Since his breakthrough in the early 1970s with his own Simigwa style he has shared stages and studios with some of Ghana's greats like Ebo Taylor and Sammy Larteh with whom he played In the Uhuru Dance Band. Together they founded the Apagya Show Band in 1974. He has since continued to push back boundaries, embrace, explore, create and cultivate an impressive catalogue of work. In recent times, he has become a go-to example of Ghana's rich traditional music form, so much so that he has performed tirelessly through Europe and US and most notably at Utrecht's Le Guess Who Festival and the Montreux Jazz Festival.

Gyedu-Blay Ambolley and Hi-Life Jazz jumps right out of the blocks with 3 straight-up, groove-laden highlife numbers in Sankumagye, Yekor Ye A Yea and Enyidado, a spontaneous mix of Afro-soul and groove with Ambolley's deep tonal and vocal interventions giving a sense that the influence of Afro-American soul music is never far away. Things continue to heat up as the maestro and bandleader approaches various songs from the songbook of classic modern jazz. The rhythmic pulse within each standard is pushed and pulled, ensuring the original is recognisable yet rooted in Ambolley's ancestral home. In John Coltrane’s Love Supreme he proclaims “John Coltrane said love is supreme & we heard him in Africa very loud and clear.” Taking a very different but direct approach filled with Ghanaian swing Ambolley matches the colours and energy with a rhythmic dexterity and an African spiritual sensitivity that immediately draws you in, allowing a space for the spiritual to rise. The Wayne Shorter classic Footprints receives a similar treatment - it's a toe-tapping workout that leaves you wanting more. Round Midnite, a Thelonious Monk staple, has been covered so many times as a ballad yet here Ambolley gives things an uptempo re-work, a wholly unique inception that makes total sense when you hear it. All Blues by Miles Davis is a well-loved staple of jazz players the world over and is known as a vehicle for endless improvisations and here, in the hands of this master craftsman, is a mesmerising and unapologetic dance floor journey.

Polish, panache, melodic and harmonic invention run riot throughout Gyedu-Blay Ambolley and Hi-Life Jazz. It's so much more than an experiment in bringing a Ghanaian pen to jazz standards rather a wonderful collision of Ghanaian roots, highlife and Ambolley's Simigwa stylings with Afro-American jazz, soul and funk. クレジット2022年10月7日リリース

From the amazing Soundway compilation - Ghana Special - Modern Highlife, Afro-Sounds & Ghanaian Blues 1968-81

Angbakou Ludovic Et Le Yapi Jazz ‎– Nun Nun Se [Lossless]

- Contact me for digital exchange!

Jembaa Groove - Susuma - from Berlin, “Ghana’s Highlife going by the heartbeat of 70s Soul Music” (Agogo Records)

Jembaa Groove is a Berlin based Afro-Soul group founded in late 2020 by Yannick Nolting (Bass, Composer, Producer) and Eric Owusu (vocals, percussion, songwriter). They first met fortuitously at a playground in Berlin early 2020 whilst collecting their young sons from kindergarden and soon after realised they were onto something special. Speaking the same musical language, the two musical nomads quickly realized the fruitful outcome of their musical encounter. Digging deep into both their backgrounds and musical identities, they came up with a new and yet authentic vibe ready to be spread across the world. After seeking for the right companions for the upcoming journey and stumbling on a few of Berlin's finest musicians, they finally formed Jembaa Groove, a 7-piece band that combines jazzy sounds from Berlin's uprising underground music scene with traditional West-African sounds from Ghana and Mali, such as Highlife, Adowa and Wassoulou. The music of Jembaa Groove is as much influenced by the soulful rhythms and baritone chords of 70's black America and contemporary artists like Lee Fields and Ikebe Shakedown, as it is by highlife artists such as Ebo Taylor and Pat Thomas, with whom Eric has been touring and recording for many years. Garnering a smattering of support from the media world like KEXP, KCRW, Worldwide FM, Rinse FM,WDR Cosmo and enough stations round the world off the back of their "Bassa Bassa" track, Jembaa Groove are causing a storm with their hybrid West African meets US soul & jazz sound.  Eric Owusu (Ghana) – Vocals/Percussion Yannick Nolting (Germany) – Bass/Bandleader Moses Yoofee Vester (Germany/Ghana) – Keys Babatunde Agonglo (Benin) – Guitar Nir Sabag (Israel) – Drums Merav Goldman Isreal) – Horn Goncalo Mortagua (Portugal) – Saxlicenseall rights reservedtagsTagsworld afrobeat dance groove Berlin

Rocky Dawuni, Buyepongo, Jeremy Sole, Glenn Red, Kahlil Cummings, More for Afro Funke's 20th Anniversary

New Post has been published on https://plugzafrica.com/rocky-dawuni-buyepongo-jeremy-sole-glenn-red-kahlil-cummings-more-for-afro-funkes-20th-anniversary/

Rocky Dawuni, Buyepongo, Jeremy Sole, Glenn Red, Kahlil Cummings, More for Afro Funke's 20th Anniversary

KCRW & the iconic Grand Performances are teaming up for an extraordinary night in honor of the 20th Anniversary of Afro Funke’ on Saturday, July 22, 2023 from 6 to 10pm at Grand Performances in downtown Los Angeles! The event is free, all ages and picnics are welcomed. ​ Please come out and celebrate the legacy of the once weekly party night that turned global, with live performances from Rocky Dawuni and Buyepongo, plus DJ sets from Afro Funke’ resident DJs Glenn Red, and Jeremy Sole (resident KCRW DJ too!) and live drumming and dancing by the amazing Kahlil Cummings & friends! Join us for Afrobeat, Latin, Brazilian, Indian, Jamaican and other traditional and remixed world rhythms, plus African drumming and dancing, DJ Culture, arts & crafts, merch and much more!

About Afro Funke’​ ​Afro Funke’ which is celebrating its 20th Anniversary in 2023, was the brainchild of 3x GRAMMY nominated Afro Roots musician and activist, Rocky Dawuni, who realized LA’s need for a night dedicated to African music, culture and art and it’s far reaching legacy around the world. Afro Funke’ was a super successful weekly event every Thursday night at Zanzibar in Santa Monica for over 10 years with the generous support of owners Louie & Netty Ryan and then moved on to be periodic event throughout Los Angeles at various larger and smaller scale venues including Levitt Pavilion, Grand Park, Hammer Museum, Fowler Museum, Townhouse in Venice as well as international events.

​ ​Dawuni (who is now based back in his native Ghana,) together with producer, talent curator and photographer Cary Sullivan created Afro Funke’, bringing on board resident DJ and co-founder DJ Jeremy Sole (KCRW, Le Frique Sonique) Afro Funke’ has presented international guest DJs, live band performances, guest musicians, dancers, cutting edge films, record release parties, fundraisers, fashion shows, art and photography installations, crafts and more. Sole spins his unique “Musaics,” or sound collage-blends of hip hop, jazz/funk, dub reggae, afro beat, and remixed world beats; pieced together with tribal breaks, and uplifted by dubbed-out turntable manipulation and live instrumentation. DJ Glenn Red (La Junta) is our second resident DJ and is an integral part of the Afro Funke’ Sound System. Afro Funke’s profile has been greatly enhanced by its unique photo-based flyers which feature Cary Sullivan’s cutting-edge photographs of West African life.

  About Rocky Dawuni​ Afro Funke’ founder, Rocky Dawuni with his full 12 piece “Afro Roots Band” will headline the night. The three-time GRAMMY nominated musician and activist, straddles the boundaries between Africa, the Caribbean and the US that unites generations and cultures. A galvanizing performer, Dawuni has shared the stage with luminaries including Stevie Wonder, Ozomatli, Sauti Sol, Peter Gabriel and John Legend. Named one of Africa’s Top 10 global stars by CNN, he has showcased his talent at prestigious venues such as The Kennedy Center, Lincoln Center and The Hollywood Bowl. Rocky is a UN Goodwill Ambassador for the Environment for Africa. Through these and other designations he uses his music to shine a light on crucial issues facing humanity cross the globe through live concerts, speaking roles, panels, youth empowerment and much more​! ​http://www.rockydawuni.com ​ ​https://www.instagram.com/rockydawuni​ ​

About Buyepongo ​Hometown favorites, Buyepongo make contemporary pan-Latin music in the style they intriguingly call “buyangú” — an eclectic but cohesive mezcla of global beats and spicy flavors influenced by their California home base as well as the band members’ travels to Central and South America. https://www.instagram.com/buyepongo​ ​https://buyepongo.bandcamp.com/

  About Jeremy Sole ​

Jeremy Sole’s upbringing was seeped in the rich Chicago history of Blues, Jazz, Disco, Salsa and Soul – and he reveled in that space where they all blend together. As a teenager, Sole threw loft parties that were a culture clash during the birth of Hip Hop and House music. His obsession grew to include music from every corner of the world and, in 2001, Sole moved to LA. With a broad musical palette, he felt right at home in the spiciest melting pot in the country. ​ In April 2006, Sole was in the studio working with Ms. Lauryn Hill. After hearing him mix, she asked if he had ever considered getting into radio, “…because this is the music the people need to hear”. Months later, KCRW called to ask him that same question, and since then you can hear him Wednesdays from 12-3am on 89.9FM and KCRW.com.​​ https://www.instagram.com/jeremysole/​​ ​https://www.kcrw.com/music/shows/jeremy-sole​​ ​

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About Glenn Red ​ ​Known primarily for his work as half of Santa Monica’s legendary Afro Funké Sound System and one-third of beloved Afro-Latin deejay/producer collective, La Junta, GLENN RED quietly continues to forge a loyal following among fans of eclectic music, steadily rocking crowds in the city’s most respected venues alongside the finest selectors and musicians from around the world. With the honest music of passionate artists as a common thread, his deejay sets weave fluidly through time and across genres, connecting the traditional sounds of Africa and the Americas with their modern expressions around the globe. Afrobeat, Cumbia, Rumba, and Samba rhythms embrace Funk, Soul, Hip-Hop, and Reggae, as Glenn’s rhythmic and multifaceted sound echoes the deep, colorful, and spirited energy of LA and its soulful people. ​​https://glennred.com ​ ​http://www.instagram.com/glennzenn10​

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About Kahlil Cummings​ Kahlil Cummings, a Los Angeles native, is an acclaimed drummer, exceptional performer, composer, and educator. Kahlil was recognized as a child prodigy very early. He has played with numerous reputable groups including Ballet Folclórico Do Brasil, Sona Sané, Abalayé, Mila Samba School, Inu Olorun, Debbie Allen Dance Company, Les Amazones, and Viver Brasil. Kahlil honed his rhythmic gifts with noted teachers including Mestre Amen Santo, Jose Ricardo Sousa, Kobla Ladzekpo, Esteban “Cha Cha” Bacallao (Ibae), and Sandy Perez. His studies in Guinea, Brazil and Cuba have helped to widely broaden his knowledge and musical strength. However, he is most profoundly influenced by West African master drummer Mamady Keita, with whom he has studied since the age of 13. Kahlil is the founder of Extra Ancestral which began in 2017 as an ensemble that aims to educate audiences through the fusions of hypnotic Afrobeat, Reggae, Jazz, Afro-Latin, and traditional African diasporic rhythms, narrated by powerful ancestral dancing. Kahlil also plays and tours with international recording artists Rocky Dawuni, Kamasi Washington & many more. ​​http://www.kahlilcummings.com

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About Cary Sullivan​ Cary Sullivan is the co-founder and producer of Afro Funke’. She is a multi-talented photographer, artist manager, event producer, talent curator, promoter, activist and mother who has run the gamut of the culture, music & art landscape from coordinating festivals in Africa to producing progressive radio in Los Angeles. Cary co-owns and operates AQUARIAN Records, which is a record label and production company dedicated to bringing the eclectic culture of Ghana to the world through music, live concerts, photography, philanthropy and wellness; working primarily with GRAMMY Nominated musician and creative activist, Rocky Dawuni as well as a group of amazing up & coming artists. ​​http://www.instagram.com/afrofunke​

  About KCRW Summer Nights ​KCRW Summer Nights is BACK! We’ve teamed up with some of the best cultural hotspots around Southern California to throw the perfect summertime parties. These nights are FREE, all-ages, outdoors, and will feature your favorite KCRW DJs, bands, exhibits and more. So mark your calendar, dust off your dancing shoes, and spend the season with us! https://www.kcrw.com/summer-nights ​​

About Grand Performances ​Grand Performances, the longest running presenter of free outdoor concerts in Los Angeles, is returning this year to the newly renovated California Plaza in DTLA for its 37th season! Grand Performances mission is to inspire community, celebrate diversity, and unite Los Angeles through free access to global performing arts. ​ ​Please JOIN US on Saturday, July 22, 2023​ 6 to 10pm / FREE / ALL Ages Parking available on site for a fee Picnics and families welcome **Special thanks to Fusicology for all of their support!

Grand Performances ​350 South Grand Avenue Los Angeles, CA 90071 213-687-2190 ​http://www.grandperformances.org

PLUS we are doing a very special After Party from 10pm to 2am at ​The Moroccan Lounge right after the Grand Performances event which is just a few minutes away!! Please come through and let’s continue the Afro Funke’ 20th Anniversary Celebration!! ​ ​The Moroccan Lounge 901 E. 1st Street Los Angeles, CA 213.295.0610 ​$10 presale and $15 at door

Introducing the West to world music, this Nigerian drummer also fought segregation with MLK, Malcolm X

From a Yoruba family in Lagos State, Nigeria, Babatunde Olatunji, while living in the U.S. after winning a scholarship to study at Morehouse College in Atlanta, wanted to become a diplomat. Thus, after graduating from Morehouse in 1954, he enrolled in the Graduate School of Public Administration and International Relations at New York University.

But two things later moved him towards a career in music. The first was his visit to Ghana as a delegate to the All African People’s Conference organized by Ghanaian president Kwame Nkrumah, who told him he thinks he should be a cultural ambassador. The second was his meeting with Columbia Records producer John Hammond after a concert at New York’s Radio City Music Hall. Hammond would help Olatunji produce his 1959 debut Drums of Passion album which some say may have been the first African music release recorded in a modern U.S. studio.

That album became a major hit, selling millions of copies globally and helping introduce Americans to world music. Olatunji would go on to promote African music, earning a Grammy nomination, being behind compositions for Broadway and Hollywood, as well as appearing on programs including the Tonight Show, the Mike Douglas Show and the Bell Telephone Hour.

In 1964, after performing at the New York World Fair’s African Pavilion, he used the proceeds to open his own Olatunji Center for African Culture in New York’s Harlem neighborhood, where he offered classes in African dance, music, language, folklore, and history. Soon, Olatunji became highly recognized as a pioneer in the fusion of African music and jazz. “…We were playing ‘Afro-jazz’ before anybody called it that,” the recording artiste, who grew up in a fishing village in Nigeria where drumming accompanied every celebration, recalled in an interview.

But while his contribution to music is well known, his commitment to social activism is rarely talked about. “He really deserves to be remembered more for his role as a political activist in the US civil rights movement – before it was even a movement,” Robert Atkinson, who collaborated with Olatunji on his autobiography The Beat of My Drum, was quoted by the BBC in a report. Indeed, Olatunji’s social activism work started right from his days at Morehouse, where he debunked common myths about Africa.

“They [classmates] had no concept of Africa,” he recalled. “They asked all kinds of questions: ‘Do lions really roam the streets? Do people sleep in trees?’ They even asked me if Africans had tails! They thought Africa was like the Tarzan movies. Ignorance is bliss, but it is a dangerous bliss. “Africa had given so much to world culture, but they didn’t know it.”

Thus, Olatunji started educating his colleagues about Africa, including its cultural traditions and music. He then went ahead to play African music at university social gatherings while organizing and performing at concerts featuring African and African-American students. These activities were during the height of Jim Crow, and soon, Olatunji was organizing students to challenge the status quo in the south.

Even before Rosa Parks would spark the Montgomery bus boycott, Olatunji was already staging protests on public buses with some of his fellow students.

As president of the Morehouse student body in the 1950s, he was able to meet scores of civil rights leaders, including Martin Luther King Jr and Malcolm X. As a matter of fact, when King delivered his historic I Have a Dream speech in August 1963 during the March on Washington, Olatunji was among the over 200,000 people at the event. The percussionist, social activist and educator performed many times for the NAACP and King’s Southern Christian Leadership Conference.

And at many civil rights rallies, Malcolm X would request him to drum. The man, who is to date described as “the father of African drumming in the U.S.”, was also on the civil rights jazz album We Insist! with playwright Oscar Brown Jr and Max Roach. Back home in Africa, Olatunji was also a part of the anti-colonial resistance movements that had risen across the continent, attending the All African People’s Conference organized by Nkrumah.

The conference, attended by delegates from African countries, prominent African Americans and liberation movements, held discussions on how to achieve continental freedom. Nkrumah had argued that Ghana’s independence would be meaningless if other African states are still colonized by the European powers, and Olatunji couldn’t agree more.

As stated in a report, his involvement in the civil rights movement in the U.S. was largely inspired by the several forms of resistance to colonialism that was occurring in Africa. “He saw himself as a pan-Africanist who always reached out to unify Africans and African Americans,” his wife, Iyafin Ammiebelle Olatunji, told BBC in an interview.

Olatunji in his last years continued to perform while teaching others about African culture and drumming. Before he passed away in 2003 aged 76, he had become known for recordings such as “Celebrate Freedom, Justice and Peace”, “Healing Rhythms, Songs and Chants”, as well as the 1998 Grammy-nominated release, on Chesky Records of “Love Drum Talk”.