A selection of compilations

Here you'll find a coincidental selection of African compilations. Coincidental, but exciting.

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JUPITER'S DANCE  
Label Kinoise Film/2007

This is not an ordinary CD of African music, this is a documentary film from Kinshasa, with a soundtrack included. The film is produced in France, directed by R. Barret and F. de la Tullaye, and I have to say at once: This is a very good and interesting film about musical hardships in today's Democratic Republic of Congo. The film is not at all about the mainstream ndombolo or soukous, or what you would like to call the Congolese African rock. This film takes you to the backyards of Kinshasa where people really struggle to make ends meet, but where music still lives on, as a medium of expression that seems utterly necessary. The people in the poor quarters of Kinshasa don't have the possibillities to buy exspensive instruments, so what do they do? They make their own! In this film people play on practically everything, and it still swings. And more: It moves your heart to see the street kid Roger Landu play on his self made "satonge", a single stringed instrument made from a tin can, a supple branch and a steel string. He often jams with the "Staff Benda Bilili", with most of the members sitting in wheel chairs!
Music becomes a way for ordinary people, but extraordinary musicians, to express themselves in this desperate situation. Most people in the ghetto are forced to live under conditions with no clean water, poor housing and general lack of work and money. The music produced under these conditions sounds very different from the slick ndombolo we are used to hear from crooners like Koffi Olomide or Papa Wemba. Nothing wrong said about them, but "Jupiter's dance" gives you the whole picture. No wonder Jupiter Bokondji and his friends in Okwess International don't fancy love songs too much, they prefer to tell stories from their lives in the ghetto, and they don't always sound as sweet as Koffi's ballads.
The main character in the film is bandleader Jupiter Bokondji, and the story of the film simply leads us through his struggles to perform for the people in his neighbourhood. On his long and tough struggle to make it to the concert we pass through the guitar maker's workshop, the back yard where the band rehearses and so on. We get very close on these people's lives. What makes the deepest impression is that people in this film don't give up. They keep going, they critisize the politicians that are not able to give the majority of Kinshasa's population descent conditions, and they keep digging in their old musical traditions from their different tribes. Congo has about 450 languages and cultures, so there is certainly more than the ndombolo music to be inspired from! Oh man, this documentary hits hard!
(Click label company adress for trailer.)

WORLD CIRCUIT presents  
World Circuit/2006

When one of the leading labels of world music presents its artists as part of in 20th anniversary, could it be anything else but a top score? Of course not. A double album with 29 tracks, 13 of them are African, the rest Cuban.
The party starts with the opening track from the Buana Vista Social Club, the World Circuit million seller, that secured the economy of this small label with its incredible history. Even if the other albums of World Circuit have not been hits to the same extent, almost every album has been of the same quality. It has been said many times, I can repeat it: The World Circuit label is now in the position that nearly everything that is produced, is of top quality: If you buy a World Circuit album, you can't be wrong!
Anyway, the number two track is from Ali Farka Touré's grammy album "Talking Timbuktu", with Ry Cooder, another top disc, and in my opinion even better than Buana Vista.
6 tracks are new, meaning having not been released before, and 1 track is released for the first time on CD, "Dr Binol" by Shirati Jazz. (I should like the whole album.)
Well, what more is there to say? A lot actually, but I just mention that this is the perfect Christmas present for anyone interested in world music. You get a perfect taste of a lot of different styles, in the best wrapping you could imagine.
Have a sweet X-mas and a Happy New Year!

TRAMO  
Kultur&Spetakkel/2006

This record is a result of a bigger cultural exchange program between Chuo Cha Sanaa (Art School) in Bagamoyo, Tanzania and the University in Stavanger. I have to admit that I'm sometimes a bit sceptical to CD issues from projects like this. They have a tendency to become "politically correct", there are so many aspects to take care of in addtion to the music, that recordings like this plain and simple becomes boring. But this time producer duo Didrik Ingvaldsen & Sigbjørn Nedland have avoided this, by simply putting musical professionalism in the front seat. This mix of traditional Tanzanian music, partly played on modern instruments has become a pretty good CD. The bands taking part are Mradi Group, that has issued a CD earlier, and Bagamoyo Players. They perform folk music from a row of Tanzania's 125 ethniskal groups, the variation is good. The sound is light and open and may ressemble Mradi Group's earlier production, also produced by Sigbjørn Nedland. Well, sometimes the synth sounds a bit cheap, not easy to solve, in the interplay with traditional instruments. But as a whole, the music flows into an organic unity, the voices are fine also. A couple of the Wagogo song have been recorded by the late Hukwe Zawose, but these new versions are not far behind his classic ones. One of the best tracks on the album is, I think, "Tanzania" with Mradi Group, the naked and sore voice of Esrom Rudala grips.
All in all a pretty successful mix of traditional and modern music, this one.

AFRICA PLAYS ON  
Onda/2006

This CD is a campaign record for Africa and African football, released as part of shoe company Puma's charity support of African football teams. The CD is produced by New York based Onda production collective.
Let me put it straight at once: This CD is made in the same spirit as African teams play football; energetic, playful and full of joy. In the same way as the Ghana National team won the hearts of every true football fan in The World Soccer Championships, this music will win the heart of every true music fan.
The collection is based in modern West African music, you might call it Afrofunk, with artists like Cheikh Lô, Daara J and Baaba Maal. "African plays on" is a potent mix of existing recordings, new mixes and totally new songs. This mix works perfectly, it gives you that easy going summer feeling when you want to dance, play football on the beach and just enjoy yourself. The Onda team has managed to create something very close to the ultimate summer record. From Cheikh Lô's catchy "Keli Magni" to Daara J's positive hip hop in "Number One", to the cool, but funky "Watusi" by Osibisa, this just works! If you like cool and danceable summer music, you just have to enjoy this compilation!
As every one should know by now, all kinds of rhythmic music, funk, blues, rock, reggea, hip hop AND SO ON.. originates from Africa. If you don't you believe it, listen to "Africa plays on" and feel the groove.
For more recording details, sound samples, etc., click the "record company" link above.
Artists:
1. Cheikh Lo 'Kelli Magni'
2. Amadou & Mariam featuring Akon 'Coulibaly' (Akon remix)
3. Alpha Blondy featuring Neg' Marrons 'Cocody Rock' (2005 remix)
4. Wahala Project 'Wahala'
5. Daara J 'Number One'
6. Baaba Maal 'Kettode' (The Roots mix)
7. Wasis Diop 'Defaal Lur Wor'
8. Ba Sissoko featuring K'Naan 'Silani'
9. Osibisa 'Watusi'
10. Tic Tac 'Yaa Densoa'
11. Onda featuring Manu Dibango 'Ngando'
12. Waldemar Bastos featuring Chaka Demus 'Pitanga Madurinha II'
13. King Mensa 'Amen'
14. Roy Ayers & Fela Kuti '2000 Blacks Got To Be Free' (Louie Vega EOL mix).

SOUTH AFRICAN GOSPEL  
ARC Music/2006

Gospel is a very popular genre in South Africa, being one of the first African countries to be influenced by Christian missionaries. The gospel music is, of course, not only European/Christian, but a mix of what the missionaries brought and traditional African call and response song. Later gospel in South Africa has been influenced by pop music and even jazz, resulting in the fact that South African gospel today sounds very modern and dynamic. Much of the best in African tradition is found here: Engaged choire voices, a strong common expression and catchy melodies. No matter what you think of the message, this music moves you. Simply because this is good.
Found on this quite good compilation are different groups and choirs from all over South Africa. The artists are: Soweto Gospel Choir, Steve Kekana, African Youth Band, Youth in Action, Solly Mthiya, Paul Gwala, Sammy Malete, Masole a Tumelo, Queen Ranyama and a few others. This mix gives a good variation on the record. There's a lot of synt backing, but in some way this works very well with this choir music. Enjoyable!

VIVA CABO VERDE  
Docura/Lusafrica/2005

It can't really go wrong. With artists like Cecaria Evora, Boy Ge Mendes, Teofilo Chantre, Lura and Tito Paris, to name some of them, you have to be totally in lack of talent to produce a bad album. This is creme de la creme of Cape Verdean artists, many of them world artist in the true sense of the word. This compilation represents a very fine blend of what these artists have created, slow mornas, faster coladeiras, but always with this "little country" feel.
Cesaria opens the ball with the song "Primero de Maio", a song that doesn't appear on any of her albums. Boy Ge continues with his cool "Pampario".
Many of the song on this album are laidback mornas, but when things slow down too much Kompass, for instance, musicians from Cesaria's band, come up with the fresh "Mexe mexe".
I can't put my finger at anything negative on this album. It's good, plain and simple.

MALI  
Putumayo/2005

There are a lot of African compilations around, of different quality. This is one of the best I've come across so far. The Putumayo editor says in his foreword that the company hoped to include tracks by well-known Malian artist like Oumou Sangare, Salif Keita and Rokia Traoré, but were not able to obtain the necessary permissions. Well, maybe it is a pity, but in fact it doen't matter that much. That says something about the quality of what goes on in contemporary Malian music.
The trick of making a good compilation is to create a certain atmosphere, even if the artists are different. This CD hits the goal perfectly. The focus is on what I would call modern accoustic Malian music. From here Putumayo has created a very cool atmosphere. Moussa Dially sets the standard with "Maninda", a traditional story teller song, accoustically performed with traditional instruments.
The atmosphere is close to blues, kept up with Habib Koité's "Kanawa", from his very fine "Baro" album followed by Idrissa Soumaro's very blueslike "Ouili Ka Bo".
Tom Diakité's "Fala" is also a brilliant song, carefully modernized, with electric guitar in the backing. Tom Diakité is playing in the band Tama, among other groups. With "Fala" his is going solo. I'm very excited to hear the rest of his forthcoming album. "Fala" is a totally captivating song, moving, with its choir of children backing him. Boubacar Traoré's song "Kanou" is a newly recorded piece with Regis Gizavo on accordion backing.
Well, I can't mention all the tracks. I just assure you its all top quality, a splendid compilation!
Many people say Mali will be the next country to break the barrier to influence the world music scene for the years to come. Listen to this album and find out why. Tracks:
Moussa Diallo • Maninda
Habib Koite • Kanawa
Idrissa Soumaoro • Ouili Ka Bo
Tinariwen • Amassakoul 'N' Tenere
Ramatou Diakite • Gembi
Keletigui Diabate • Koulandian
Tom Diakite • Fala
Boubacar Traore • Kanou
Issa Bagayogo • Bana
Mamou Sidibe • Bassa Kele
Habib Koite • Saramaya (Live)

GNAWA  
ARC Music/2005

Arc Music is a UK based company with an active profile within the world genre. The company has an interesting catalogue, for instance one resently released Orchestra Makassy "The original recordings", a five star classic in African recording history.
I'm in doubt about Arc's last issue, "Gnawa - music from Morocco". Gnawa is the name of religous, trancelike music from North Africa, to put it very general. The sleeve notes, by the way, give a good description of the music's function and history. The album is recorded in Casablanca, Morocco, and the band is "Altaf Gnawa Group". But in contradiction to the music style, the band is given no presentation at all! Strange. The group consists of three men on "qraqeps" (a kind of traditional steel castanets) and vocals, and one man on "guembri", a relative of the Malian ngoni. This is all we get to know about the group. I'm in no doubt that these lads play a genuine and traditional form of gnawa, but I can see no good reason for publishing this album in this form. Listening to this on record is very different from listening in the original social setting.The music is very monotonous, naturally, as this is ritual, trancebased music. The "guembri" is in front in the sound picture, with long solos, sometimes quite strenous to listen to. Seen from a neutral listerner's angle: When a British company issues this, with world wide distribution, wouldn't it then be natural to add something to this music, seek to develop, make it more accessable for an international audience?
Another thing I'd like to say to Arc Music: If I had been a musician, published on Arc, I would have rejected, at the same time as publishing my own record, to advertise on the cover for 5 other CDs in the same genre! It looks cheap.

ANCIENT CIVILISATIONS  
ARC Music/2005

I would'nt call this compilation an ordinary commercial record. It's a selection of 31 songs from the ethnical groups Zulu, Venda, Xhosa, Tswana and Qwii (Bushman) lasting from 43 seconds up to 5 minutes. The tracks are compiled from other Arc albums, and mixing the different tribal expressions from Southern Africa sounds like a good idea. The recording quality on these tracks is very fine, the sound is organic and the musicians feel close, not always easy to achieve when the recordings sometimes are made outside with large groups of musicians. The music is of course very traditional, with no modern instruments added. This is the point here, to let the original sounds be exposed are they are, as close to the original tradition as possible, before the tradition is lost. In 50 years or so recordings like these will be very valuable, a source for African musicians, or others for that matter, to come back to, in search for the roots, when modern society has transformed the music into art. The interesting thing about original music like this, is that it always has a practical function, as work songs, celebrations or prayers, being an integrated part of village life. That is why music like this makes you feel so good, it makes you feel part of the community, a real human being. In other words: This is real music.

CLUB SODADE  
Lusafrica/2003

This CD with techno versions of Cesaria Evora's songs is according to the press material from Lusafrica made as a homage to Cesaria. I'm not so sure that I would have felt honoured to have my name on this record. Here are 12 tracks altogether where different DJ's have sampled Cesaria's voice into all kinds of digitally produced sounds. I can't see the point, but I see the attraction. (As Graham Parker would have put it.) Most of the stuff is dull, not even danceable There are a couple of exceptions. "4 Hero"s remix of "Miss Perfumado", that now stands out as a cool acid jazz tune, is not completely out of fashion, to put it like that. A danceable "Sangue de berona" also works. It's OK to let the boys to experiment in their rooms, but to publish it on record is not always a good idea.

THE GUITAR AND GUN  
Sterns Africa/Earthworks/2003

The sleeve notes advertises this compilation of highlife music from Ghana as "timeless music (that) sounds as good today as it did when originally released."
Well, I don't know, exactly-.
To me this music is new, as I've heard very little of it before. And to me it sounds like Ghanian highlife music from the 80s. No more, no less. If you were there when this music was recorded and released, a compilation like this one will make you happy - and nostalgic. I wasn't, and I'm not particulary trigged by these rhythms: To me the advertisement doesn't quite keep its promises. To me most of these tracks sound outdated - with one great exception: F.Kenya's Guitar Band. Francis Kenya and his band from the western Nzima region in Ghana is really special. Fortunately they are represented with 4 tracks, and these are what I would call timeless. The style is something in between Fela Kuti and reggae, with a pumping Hammond organ in the background and original and wizardlike guitarplaying by a certain Samuel Paa Gyimah.
The other tracks don't touch my nerves, with bands like Kuntum 13 Band and Salaam and his Cultural Imani Group, even if it is historically interesting.
The name of this record and the cover has, by the way, its own story: As one of the bands was to record at Bokoor Records one of the guitarists, a Sergeant Yabuah, was serving in the army and could only play if he could join in in his working hours. And he did, wearing a full uniform and his gun still on his back!
Good sleeve notes and lyrics are added.

GLOBAL SOUL  
Putumayo/2003

Another "world collection", of which there are now quite a bundle. This one consists of soul/rhythm & blues from the whole world, and 4 tracks are African. There is also music from Korea, Italy and Brazil. The most remarkable thing about this CD is the fact that the music still sounds quite similar. Most of this is syntbased, melodious rap/hip hop. It's pretty nice, actually, here is in fact lots of catchy dance music in a laidback style. What for me becomes the real kick on this record, is undoubtly Tanzania's new star TID, alias Khalid Mohamed from Dar es Salaam. TID means something as prosaic as "Top in Dar es Salaam". He has created the incredible catchy tune "Zeze", sung in Swahili, that for the last six months has been a major hit in Tanzania. (TID/Khalid Mohamed is also out with a full length CD, we're coming back to that one.) But otherwise: A fairly good compilation with modern soul from the whole world. Not bad at all for partying!
Click record company for sound samples

AFRICAN CHILL  
Manteca/2002

Think of African music; think of drums, right? Wrong.
The comany Manteca has twisted the cliché and presents a collection of cool African music, with artists such as Baaba Maal, Gigi and rumba congolais veteran Wendo Kolosoy, and with both old and new stuff.
The 70 minutes long session satrts off with Paulo Flores from Angola, who rolls off in a West African/Portugese mix that reminds a lot of Cape Verdean music. But its cool and laidback. Then follows Djelimady Tounkara from Mali with a slow guitar tune that goes well together with Flores’ intro. In this way it continues, in an almost perfekt mix for the first 35 minutes. Until the hip hip-band Bisso na Bisso breakes the atmosphere on the 8th track. Tony Allen continues to help the record off the track, something which is totally done by Bembeya Jazz. It's not that these artists are not good enough, it's just that they don't fit in with the others. The chilly, cosy atmosphere is broken. “African Chill” is not on the track again until the one but last song - with Stella Chiweshes thumb piano, but then it's too late. It's a pity, this could have become a brilliant album!

MUSIQUES DES ARUUND
RSC-Divar/2002

This is not an ordinary commercial recording, rather anthropological material for especially interested listeners. it goes about a double CD with recordings from a village in the Katanga Province i South Eastern Congo, the home of the Aruund or Lunda people. This is one of Congos several hundred ethnical groups, and the CD is an interesting glimpse into the village culture. CD 1 consists of song performed on guitar, with vocals, with rythminstruments like bottles and calabashes. Here one can hear the characteeistic African way of playing guitar, it is used as melodic and rythmic instrument simultaneously. (Guitar was hardly the original instrument, but it is interesting anyway.)
CD 2 consists of traditional drum dances, what is called ngoma in Swahili. The lead singer starts, a choir of villagers answers. This is the basic African music.
The CD is hardly in sale in record stores, but if you are interested in going to the roots of Congolese music (or one of the Congolese music styles), the record can be obtained here:
RSC-Divar
Boite postale 340 Lubumbashi/Katanga
Republique Democratique du Congo

AFRIQUE DYNAMIQUE  
Nascente/2001

Veru solid collection of danceable music from all over Africa, however mainly based in soukous/makossa styles. A natural place to start if you have chosen this angle, is with Franco/Sam Mangwana, who sneaks upon you with their sensual rumba congolais. The album continues from here, the tempo increases, and we take trips to South Africa and Nigeria with song by Mahotella Queens and King Sunny Ade. There is a fine nerve all the way, there is an organic flow, even if the artists are different. A banker on the dance floor!
Artists: Franco/Sam mangwana, Pepe Kallé, Prince Eyango, Mahalathini & Mahotella Queens, Baaba Maal, Eric Agyeman, King Sunny Ade, Super Rail Band,
Kanda Bongo Man, Tshala Muana, Charlotte Mbango, Ismael Lo and Africando.

PALOP AFRICA  
Sterns Africa/Earthworks/2001

"PALOP" is short for "Paises Africanos de Lingua Oficial Portuguesa", contries in Africa where portuguese is the official written language. These are of course the old colonies Angola, Guinea Bissau, Cabo Verde, Mocambique and the island Sao Tomé: These countries still have, strange enough, a common cultural community, through language. Even if they are spread from each other geografically on the African continent. It is therefore not a bad idea to compile the music from these countries on the same CD; the music also has some common afrolatin patterns.
The one to open the ball is Manecas Costa from Guinea Bissau who presents a cool accoustic guitar based track. Bius from Cabo Verde speed the whole thing up, he has been playing with Boy Ge Mendes. The most refreshing artists to get to know here is however the group Africa Negra from Sao Tomé, that swings along in a style between Nigerian highlife and soukous.
All together a nice and fresh introduction to one of the incredible lot of exciting mixes that African music can offer.

TEA IN MARRAKECH  
Sterns Africa/Earthworks/2001

Ydmykelse er stikkordet i forbindelse med terroraksjonen mot World Trade Centre er det blitt sagt. Årtier med ydmykelser av arabiske interesser fra Vestens side, nå ydmykelse av USA.
Dette tenker jeg på mens jeg hører denne varme og fengende plata fra Stern's/Earthworks. Her medvirker artister fra land som for øyeblikket (4/10 01) i media først og fremst forbindes med terror og terrornettverk: Sudan, Algerie, Egypt, Marokko og Tunis. Stern's er uheldig med utgivelsestidspunktet, altså, folk vil ikke ha arabisk kultur nå. Heller motsatt: Mer enn noen gang trenger vi å føle musikkens varme og frigjørende potensiale. For her handler det ikke mye om ydmykelse, her dreier det seg om forførelse, kjærlighet og liv! Plata representerer flere retninger innen nordafrikansk musikk. Variasjonen er stor, fra Orchestre National des Barbés' ganske så funky "Poulina" til nærmest tradisjonelle "Tarazina" med Setona fra Sudan. Plata holdes likevel godt sammen av en grunnstemning skapt av arabisk språk og orkestrering, med varierende grad av modernisering. Det er mye oud og tradisjonelle trommer å høre. I sum en oppløftende og oppfriskende samling arabisk musikk som gjør meg glad.

ONE WORLD  
Lusafrica/2000

Dette albumet lever opp til navnet sitt på en fascinerende måte. Her er ikke musikk fra hele verden, men fra landene rundt Atlanterhavet, 6 i tallet: Kapp Verde-øyene, Kuba, Angola, Kamerun, Elfenbeinskysten og Korsika. Alle spilt inn for Lusafrica, selskapet til den utrettelige kappverdianske produsenten Jose da Silva. Han har spesialisert seg på musikk i den "latinske" tradisjonen i krysningspunktet mellom afrikansk og sør-europeisk. Denne tradisjonen er godt representert i Sør-Atlanteren og utgjør faktisk en stor del av verden, nesten hele den vestlige halvkule. Slektskapet mellom musikken på Kapp Verde, Kuba og Angola er lett dokumenterbar og de ulike artistene glir godt sammen på plata, den ene låten glir fint over i den andre. Kapp Verde er representert med 5 artister, med en tidligere ikke utgitt låt av barfotdiva Cesaria Evora som sterkeste kort. Men også Teofilo Chantre og Boy Ge Mendes (ex Mendes & Mendes) leverer varene. Det blir mye smektende mourna og ditto salsa, men de mange ulike stemmene og arrangementene gjør dette til en usedvanlig variert og spennende presentasjon av Lusafricas repertoar. Anbefales!

THE MUSIC IN MY HEAD  
Sterns Africa/1998

Ei unik plate satt sammen av forfatteren Mark Hudson som et bilag til hans roman av samme navn. Albumet har undertittelen "Uerstattelige klassikere og ukjente perler fra en gylden epoke i afrikansk pop." Denne gyldne epoken er ifølge Hudson 70-tallet og området er hovedsakelig Vest-Afrika. Den eldste innspillinga her er med Franco fra 1970, den nyeste med gambieren Jaliba Kuyateh fra 1995. Mark Hudson har gjort et grundig arbeid og virkelig spadd fram godbiter fra kjente og ukjente artister. Høydepunktet på plata er nok låten "N'Toman" med Salif Keita et Ambassadeur International fra 1978, karakterisert av Hudson som en "fetish piece". Utvilsomt Salif Keita på sitt beste. En annen perle er Youssou N'Dours "Njaajan Njaay", innspilt omtrent samtidig som "7 seconds" , men en helt annen type låt. Mye mer autentisk og jordnært enn N'dours siste internasjonale plater. Til slutt skal nevnes "Miniyamba" av senegalesiske Coumba Gawlo, som er nok en begavet kvinnelig sanger fra Vest-Afrika. Hun har gitt ut flere plater i hjemlandet og er her representert med en nydelig låt, kompet av bl.a. Sekou Diabate fra Bembeya Jazz på gitar.
Gode presentasjoner av artister og tekster følger med.

CARAVAN BLUES  
Norsk Folkehjelp/1999

Ei meget sterk samling bundet sammen i en slags tematisk enhet gjennom karavanemotivet. Kamelkaravanene har til alle tider krysset Afrika på langs og på tvers. "Caravan Blues" er sjeldent organisk til samleplate å være. Musikken er omhyggelig plukket ut av Svein Olsen, Ole Bernt Frøshaug og Sigbjørn Nedland for å danne en enhet. Mye har samme grunnstemning her, sjøl om plata inneholder 14 spor med like mange artister. Kjendiser som Angelique Kidjo og Cesaria Evora er med side om side med mindre kjente artister som f.eks. Orchestre Marrabenta Star de Mocambique. Sistnevnte for øvrig et svært hyggelig bekjentskap. Det meste er rolig og tilbakelent, men likefullt variert og spennende.
Den forrige samleplata til Norsk Folkehjelp er nå utsolgt, det kan denne fort også bli. Nydelig!

LEOPARDMANNENS MUSIKKGUIDE
Eget/2000

Leopardmannens favoritter, sentrert i Kinshasa og omegn, med sideblikk til Tanzania og tradisjonsmusikerne Hukwe Zawose og Safari Ingi. Sistnevnte presenterer ei helt ny innspilling med zeze(kalebassfiolin) og sang. Tekster følger med.
Artister: Pepe Kallé, Koffi Olomidé, Diblo Dibala, Kanda Bongo Man,
Hukwe Zawose, Safari Ingi, Virunga

SLOWS CLASSIQUES (Vol. 1)  
Sonodisc/1998

Ei artig plate fru "Kuba-perioden" i kongolesisk musikk, med klassiske artister som Franco og Tabu Ley Rochereau. Det låter gjennomført harry, en ser for seg de dresskledde musikerne i Kinshasas hotellrestauranter og foajeer. Plata gir et fint tilbakeblikk på perioden før f.eks. Zaiko Langa Langa rocket opp denne musikken. Det låter veldig latinsk, men har en sjarmerende touch av Afrika. En perle er "Ata ozali" med Franklin Boukaka som sitter lekende ved sitt piano. En helt utrolig genreblanding sett fra europeisk synsvinkel: Låten skifter mellom pop, jazz og klassisk nærmest fra takt til takt. Papa Wemba har hentet mye inspirasjon her. "Yeba nameki komeka" med Vicky høres ut som Carlos Santanas versjon av Peter Greens "Black Magic Woman". Afrikansk musikk er fantastisk.

WOMEN`S WORLD MUSIC  
SDC/1995

Grensesprengende samling utgitt av det sveitsiske Development Cooperation. Ikke alt her er afrikansk, men prosenten blir ganske høy med 11 av 17 låter. De ikke-afrikanske låtene er bl.a med Mercedes Sosa og Sainkho. Her er mye for pengene, ei spennende reise i kvinnelige artisters uttrykk fra hele verden. Angelique Kidjo har laget en egen introduksjon til plata, og siden går det slag i slag med Letta Mbulu fra Sør-Afrika, Zap Mama live og Myriam Makeba . Zap Mamas låt er forresten noe av det beste jeg har hørt med dem, jeg fryser på ryggen av Marie Daulnes urskrik i en av låtene fra "Adventures-" i opptak fra jazz-festivalen i Montreux i 1993. Dette er virkelig verdensmusikk, plata har som "Caravan Blues" (se over) en indre sammenheng hvor låtene glir fint over i hverandre sjøl om artistene er tildels svært forskjellige.

SPIRIT OF THE EAGLE  
Earthworks/Virgin/1989

Bra samling med musikk fra Zimbabwe. Det beste på denne plata er to spor med Thomas Mapfumo som jeg ikke har funnet noen andre steder. Tette, dansbare låter som oser av atmosfære. Andre artister er bl.a. Robson Banda, Patrick Mkwamba & The Four Brothers.

RHYTHM RIOT (Vol.6)  
Sterns Africa/Earthworks/1999

Fantastisk samling av dansbare rytmer fra Sør-Afrika, satt sammen av den allestedsnærværende sør-afrikaneren Trevor Herman, bosatt i England. Samlinga spenner vidt fra hedersmannen Mahlathini, som døde i juli 99 og som plata er tilegnet, via gospel og til den nye sør-afrikanske discoretningen kwaito. Sistnevnte med en artist ved navn Aba Shante som har laget en virkelig killer av en låt, "Girls( come and dance)". Kwaito er en blanding av hi-tech disco, reggae og zulu-rytmer som går rett i fletta og rett i beina. Den sør-afrikanske soul-dronninga Brenda Fassie (som i 1999 utga det knallsterke albumet "Memeza") er også med. Alt her er laget med en friskhet og en entusiasme som smitter. Full pakke!

AFRICAN SALSA  
Earthworks/Sterns Africa/1998

En retning av vest-afrikansk musikk gikk etter 1980 inn på en "afrikanisering", med bl.a Youssou N'Dour i spissen. Andre ble værende i den kubanske tradisjonen og fortsatte å spille salsa. Dette er artister som Pape Fall, Super Cayor de Dakar, Alioune Kasse og Mapenda Seck og ikke minst gruppa Africando. Disse folka er aktive i Senegal og du finner dem alle på denne samlinga. Det er ganske artig å høre hvordan denne musikken forandrer farge og atmosfære på sine stadige krysninger over Atlanteren. Disse afrikanske variantene er mildere og rundere i smaken enn den kubanske og er oppblandet med vest-afrikansk rock'n roll, mbalax. F.eks. godt hørbart på Super Cayor de Dakars "Dego" hvor "snakke-trommene" fungerer fint i bakgrunnen. Min favoritt på denne plata er likevel Africandos "Yaye Boy" som svinger vanvittig, og som var en stor hit for gruppa i 1996. En feiende fiolinsolo(!) avslutter låten.

DISCOTEQUE 70 GUINÉE  
Melodie/Syllart/1999

Dette er ei samling eldre musikk fra gullalderen i Guineas musikkliv på 60- og 70-tallet. Gruppene som er med er mange av de statlige bandene som ble stiftet etter frigjøringa for bygge opp en ny, afrikansk musikkultur: Bembeya Jazz National, Keletigui et ses Tamborinis, Bala et ses Baladins etc. Disse platene utgjør en serie, utgitt av Syllart/Melodie. Det er kanskje musikk for de spesielt interesserte, men det er mye snadder å finne hvis du tar deg tid til å lytte. Stilmessig befinner det meste seg i skjæringspunktet mellom det Kuba-inspirerte og den nye, afrikanske stilen man ønsket å dyrke fram. Teknisk er det jevnt bra, sjøl om blåserne av og til er lovlig sprø i tonen. Beholdninga av 1970-utgaven er først og fremst en 17 minutter (!) lang gitarimprovisasjon av gitaristen i Bembeya Jazz Sekou "Diamond Fingers" Diabate og hans slektning Papa. Det er interessant å høre hvor en mann som Habib Koité har plukket opp sin kora-inspirerte spillestil på gitaren fra.
Videre finnes en låt som her går under navnet "Exhumination Folklorique" med vokalisten i Bembeya Jazz og hans gruppe, som også finnes under annet navn på live-plata med Bembeya Jazz. Det gnistrer av spilleglede og entusiasme på disse låtene.

DISCOTEQUE 71 GUINÉE  
Melodie/Syllart/1999

Mer av det samme som på 70-utgaven, flere perler å finne for den som leter: Bala et ses Baladins med "Sakodougou" en jazzinspirert låt hvor gitaristen (Sekou Diabate?) går folk som Peter Green og Carlos Santana en høy gang. Det samme kan sies om "Dagna" med Bembeya Jazz (og her er det hr. Diabate som trør til). Storartet! Ei linje til Miriam Makeba blir også trukket med en instrumentallåt fra Miriam's Quintette. (Makeba bodde i Guinea på denne tida.) Afrikansk musikk har utrolig mye å by på.

ROUGH GUIDE MALI/GUINEA  
Rough Guide/2000

Knallsterk samling som virkelig omfatter det beste fra Malli og Guinea (med noen få unntak.) Her er hele 13 låter med ei spilletid på over 74 minutter og artistene er Ali Farka Touré, Sekouba Bambino, Abdoulaye Diabate, Rail Band, Bembeya Jazz osv. Informativt teksthefte medfølger, pluss artikler fra "Rough Guide to World Music" på en egen CD-ROM-del av plata som du lese på PC'en. Bedre introduksjon til vest-afrikansk musikk får du ikke.

KWAITO  
Stern`s Africa/Earthworks/2000

Flere nye, digitale studioer har dukket opp i Sør-Afrika de seinere årene, og resultatene begynner å bli synlige - og hørbare. En ny blandingsmusikk har oppstått med utgangspunkt i vestig techno. Den blir i så mixet med det meste, hip hop, reggea, drum'n'bass, og ikke minst tilført store doser lokale tilsetninger. Den eksplosive blandinga går etterhvert under navnet Kwaito og tar luven fra det meste innen disco/dansemusikk. Det svinger utrolig og ikke engang den sør-afrikanske nasjonalsangen får stå uberørt. Artistene heter Arthur, Aba Shante, M'du, Brenda Fassie, Boom Shaka og Spokes "H". Dette er navn en kan merke seg først som sist. YO!

PIECES OF AFRICA  
Elektra/1992

Kronos Quartet er en britisk strykekvartett som har spesialisert seg på ulike "crossover"-prosjekter: Man arrangerer musikk som i utgangspunktet står langt fra tradisjonell strykemusikk for kvartetten og oppnår overraskende resultater. I dette tilfellet har kvartetten alliert seg med et knippe afrikanske musikere fra Zimbabwe, Marokko, Gambia, Uganda, Sudan, Ghana og Sør-Afrika og spiller deres musikk sammen med dem i nye arrangementer. Det fungerer stort sett meget bra. De tradisjonelle afrikanske instrumentene står godt til fiolin, bratsj og cello. Det oppstår et organisk, instrumentalt fellesskap, en stofflig klang som på sitt beste får fram det ypperste i begge instrument- og musikktypene. Det beste eksemplet er det 12 minutter lange stykket "Water wheel" med Hamza el Din fra Sudan. Stykket er skrevet spesielt for Kronos-Kvartetten og handler om mannen som sitter på vannhjulet mens oksene drar. Hamza el Din sier: "Alle som sitter bak oksene på vannhjulet vil finne sitt eget uttrykk (i en sang) i forhold til sin egen alder. Jeg skrev dette stykket for en eldre mann, så med Kronos ble det et religiøst stykke". "Water wheel" bare går og går, fullstendig hypnotisk, som mannen på vannhjulet glemmer en tid og sted og lar seg drive rundt og rundt - og innover i sin egen bevissthet. Fantastisk.
Det er mye annet bra på denne plata også, men med så mange afrikanske nasjoner representert spriker det litt. Men en tur på vannhjulet er verd plata alene.

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