AFRICAN MUSIC CDS

 Is Bole2Harlem  just another Ethiopian hiphop group? I haven't a clue since we've never heard Ethiopian hiphop before, but the effect is definitely North Africa meets contemporary African-American music. Of course, American black music has had a big influence on Ethiopian pop for decades: James Brown in particular.

 The sound of Bole2Harlem is updated without giving up the funk. There's something about the way Ethiopian horn sections play their saxophones: it sounds so distinct. If you've heard it before, you'll recognize it immediately. 

 The raps tend to be short and aimed at party time rather than the angry, nasty tone we've gotten used to in the USA. Rap quickly gives way to the caterwauling style of singing and ulating for which the Middle East is famous.

 I wish USA rap and hiphop was this much fun.

 Since Bole2Harlem was actually recorded in NYC by folks now living there, perhaps their influence will spread across America - we hope so.

 Bonga was the first singer and songwriter to bring the music of his native Angola to the world. He's known for his sweet, gentle songs and he shows on ANGOLA that he can do kickin', danceable music as well.

 Echoes of South Africa and Brazil can be found on ANGOLA. South Africa is not far from Angola and its had powerful radio stations long before most African countries. Both Brazil and Angola were Portuguese colonies and many of Brazil's slaves came from Angola.  Portuguese is the main language in both countries today.

 For a man with a reputation for sweet ballads Bonga's raspy voice would seem inappropriate, but he overcomes this with an emotion that projects, really caring about every word he sings.

 This collection is from several of Bonga's LPs and so it gives the listener a broader range of song styles than any one of his usual cds.

 If I was to have only one Bonga cd in my collection (impossible), I could choose ANGOLA.

  The Gnawa people are a small minority in Morocco, for they are black Africans in a sea of Caucasians (Berbers and Arabs), but musically they are really being noticed. Gnawa musicians now tour the world both as members of multi-ethnic groups and Gnawa groups.

 All the members of Maalem Mahjoub & Les Gnawa de Marrakech have many years' experience (decades in the case of group leader Maalem Mahjoub) in many kinds of groups. In the world of Gnawa music you could call this an all-star band.

 The Gnawa people are believed to be from the area now known as Upper Volta. Strangely, their music is thought to be closer to the sound of that country centuries ago than is the sound of Upper Volta today.

 There is a spiritual side to this music, yet it can shake the body as well as the soul. LILA is as close to a Gnawa spiritual rite (or 'lila') as the outside world will ever get.

 You'll also find out why bass players all over the world buy all the Gnawa cds they can find!

  When was the last time you hard a band with a strummed banjo? Most people in the USA forget this instrument has its roots in Africa and until the mid-20th century was associated with black folks. Like most Malawai groups, the Kamwendo Brothers Band, which includes at least one female on vocals, has a somewhat amateurish quality (it's nearly impossible to make a living playing music in Malawi), but make up for it with charm.

 Acoustic instruments dominate. The sound is a little like an old-time jug band, even with the use of string bass on all cuts.

 Kamwendo Brothers started as a family band in 1975 but most of the oreiginal members have since died.  I believe bass player Henry Holla Kamwendo is the only original left, but it's still primarily a family band - and a powerful one, as Mwatonyana Dsanje demonstrates.

 Malawi, like most African countries, went through a time of dictatorship after colonialism, but unlike Guinea (where a ruthless dictator supplied musicians with instruments, set up a school of music and sponsored concerts) the musicians of Malawi were on their own in a land of abject poverty - hence the bands here are of amateur quality: the quality of their instruments and the recordings aren't the best.  The musicians had to hustle just to stay alive, but still there is a certain charm to these recordings, much like the field recordings done in the American South and in the Caribbean in the 1920s and 1930s. 

 Malawi is a small country south of Tanzania, East of Zimbabwe and West of Mozambique. Its musicians sometimes take influences from even further away, like the Congo and South Africa - hence there is a good variety of sounds on these recordings.

 I occasionally hear sounds that remind me of the Caribbean: places like the Bahamas and Trinidad mixed with South African growls. On MOYO WANGA (the cd, not the song) all the tunes were cut in 1992. Since that time Malawi has opened up to the outside world a bit. Hopefully the charming styles are not being replaced by disco and rap: if so, all the more reason to buy MOYO WANGA and other cds now!

  ACOUSTIC AFRICA is a great compilation of modern African artists in an acoustic setting. Some of these artists are now working primarily in an acoustic setting while others use electric instruments - even synthesizers.

 Who ever thought we would ever hear an international pop star like Angelique Kidjo do an acoustic tune? Even more of a surprise was sukous superstar Faya Tess doing an acoustic duet with Lokua Kanza.

 ACOUSTIC AFRICA offers listeners a chance to concentrate on the singers' voices while giving up the electric power. While I do like to dance, ACOUSTIC AFRICA is a great change of pace.