Eba Aka Jerome & Sanwi Star - Trahison vol. 1 (Soukous form Ivory Coast, 1978)

(PAPA-DISCO 001).

A great soukous track from Ivory Coast, with interesting lyrics dealing with cheating in a couple (trahison = betrayal). Long track but with incredible guitar break (from 9th minute), those particularly apreciated by colombian picoteros (I found in a colombian uncredited bootleg these 3 minutes "repique" guitar part, which is actually the only part of the track they play on sound systems).

Orchestre Tropicana de Haiti - Doux Tropic (1978)

(Marc Records LP-301).

Rivalry among bands have always been part of Haitian musical history (check the competition between Nemours Jean Baptiste and Webbert Sicot about Compas Direct and Cadence Rampa forks). Orchestre Tropicana, named from the famous club from La Havana, was created in 1963 aiming to compete with the established Orchestre Septentrional, both bands from Cap Haitien. Septentrional being well introduced in the high society, Tropicana gained success initially in the lower class, but their professionalism quickly introduced their Compas allover the country.

Pico Culture #05: Zimbabwe Hits, with Pico master Alex Aleman (1986)

(Discafrique - AFRI LP 01).

This compilation presents various bands from Zimbabwe from the early 80's,  The LP remained a period at the back of Muzzicaltrips bag as the title track is perfect to lift the tropical dancers, including fresh inimitable rhythm, sebene and weird effects...

Carlos Alberto "Katchas" Martins - Broda (Funana pioneer and Bulimundo mentor, 1977)

(DMC 111-101).

One aspect I could not guess when I begun Muzzicaltrips blog, is the number of people around the world it would lead me to meet or to exchange with.  Today's post comes from one of theses interesting exchanges, as it's a contribution from Norway, proposed by Olav Aalberg, great connoisseur of music from Cabo Verde.

Okoi Seka Athanase L'Empereur du Kete Rock (Ivory Coast, 1977)

(Badmos BLP 50).

Okoi Seka Athanase recorded this wonderfull album in Decca studio (Lagos) with help of Black Santiagos horn section. This goes from deep afro soul to highlife and soukous. The funky "Melokon Membun Ou" cannot be shared via souncloud but many good tracks on this LP, and Mubades may be my favorite, including serious guitar plays and sebene.

Okok Rachar Band (Benga music, 1977)

(JICCO JCLP 017).

I have few information about this band and record, but it's just great music from Kenya (benga music) released on the nigerian label Jicco.

Jack Costanzo at the Garden of Allah - Bongo Fever (Afrocuban jazz, 1959)

(Liberty LRP 3109).

Here's a spicy version of "Quiere" by Jack Costanzo recorded live at the Garden of Allah, a famous place frequently visited by Hollywood intelligentsia from the late 20s.

Luis Agudo - Afrosamba (Afrobrazilian jazz&drums, 1984)

(VPA 172).

Luis Agudo (1940-) is an Argentinian percussionist who developed an unique style based on brazilian and african drums and rhythms. He's a real rhythmic explorer, building his own percussions. This led him to play worldwide for many jazz musicians (Baden Powell, Dizzy Gillespie, Elvin Jones, Junior Cook...).

This record is a solo recording realized in Italia (original press from Red Records) where he shows his wide variety of sounds, rhythms and effects.

Lemed Janvier et l'Orchestre African Allstar (Soukous from Benin, 1981-82)

(Oueme LJ001).

Lemed Janvier took part of recordings with Orchestre Poly Rythmo, Les Volcans du Benin and Tabu Ley from Congo.
Being form Benin but having lived in Kinshasa, he can also sing in lingala like a congolese  musician (and generally alternating some french or english parts). This late album was released in Benin and contains infectious soukous ryhtmic guitars (Señores Picoteros, pienso que le va a gustar). Global sound remains more in the 70s with African Allstar band, and includes also few suprisingly funky short breaks.

First tracks deals with a topic often adressed: the fact that the slanders and rumors do not affect the musicians.

Los Dementes - Descarga a la Ray (Venezuela, 1966)

(Prodanza - LP 1240).

First LP from Ray Perez with Los Dementes, playing in Caracas from the mid 60s. I found this Venezuelan version in Colombia. Los Dementes used the word "salsa" as a music style before it became widely used in New York, and this LP includes boogaloo, guaguanco, pachanga, and salsa. Despite the rough mix, "Descarga a la Ray" is totally crazy, also very innovative at this period comparing to famous local bands such as Billo and his Caracas Boys... 

The Natural Seven International - Free Advice (Nigeria, 1977)

(Hasbunalau records HRCL36).

This LP from Nigeria is realized by The Natural 7 International but the label credits The Sea Birds International. Anyway, Eddy Dada delivers an hybrid soukous sung in pidgin english and the following track with reggae-dub flavor.

Jose Mangual & Carlos Patato Valdes - Understanding Latin Rhythms (Latin drums, 1974)

(LPV-337).

Top latin percussions musicians from New York 70s give a masterclass titled: Understanding Latin Rhythms. Pick up your instruments, listen and play.

The Montagu Three - Love Alone (Calypso from Bahamas, 1961)

(Bahamian Rhythms LTD - BR 37-S).

At the turn of 1960 Cuba became closed to American tourists, which contributed to develop mass tourism (and financial facilities) in several other caribbean islands. Nassau being just in front of Miami, it became one hot spot full of fancy hotels proposing "local" music to foreigners...

Alpha (Chancy Records, Haiti, 1981)

(Chancy Records CCLP7994). 

Although Alpha band comes from Guadeloupe, this LP is produced by haitian bass player (Tabou Combo) Adolphe Chancy.
New York based label Chancy Records (CC Production for Coppet + Chancy) released from the late 70s many haitian bands (Tabou Combo, Coupe Cloue, Skah Shah, Gemini Allstars...) and few bands from the "french" West Indies as Alpha or Selecta International.  Another aspect of the significative influence of haitian cadence on Guadeloupe and Martinique musicians.

Sharing Heritage (Original roots voodoo music from Haiti)

(Center for African Studies, Haiti).

It is a well documented fact that the Dahomeans participated in the slave trade only as a measure of "self defense"... But they had sworn among themselves never to sell anyone from their ethnic group (the Aja people).

Unfortunately towards the end of the 18th century, a "crazy man" named Agongolo seized power in Dahomey : he violated the oath of the Aja, and he sold even his own parents into slavery. In 1806, 4000 Dahomeans of royal blood who fell victim to the heinous act of Agongolo, landed in Haiti. Henry Christophe, King of Haiti had "bought" them from an English trader... Once in Haiti, these Dahomeans were set free. They were entrusted with the upkeep of the affairs of the Court of the King Henry. When King Henry died, they followed their leader Alluda Mugnon into the Artibonite Valley. There they founded their own village...

This recording is the first recording ever of the religious Vodu practices of these people. (Liner notes)

Cutlass Dance Band of Ghana - Lassissi vol. 2 (Highlife, 1980)

(Lassissi LS26).

Ghanaian guitarist Osenkafo I.K. Anin (Annin) played within Police Dance Band in Kumasi, or Parrots Band, before creating the Cutlass Dance Band.
Initially heavily influenced from religous beleives, their music turned progressively into real highlife, giving space for horns to blow wonderfull solos. Great production by Ivory Coast label Sacodis.

Les Docteurs du Rythme - Haiti Goes Latin (Creole mambo, 60s)

(ANSONIA SALP 1538).

Michel Desgrottes (1923-1993) worked with Guy Durosier in Hotel Rivera orchestra in the 50s. This 60s LP is based on french popular themes brought back by producer Jean Huc and played in a haitian latin style. But Michel Desgrottes' own composition "Ce Pas Fot Moin" (meaning "it's not my fault") is an irresistible jazzy mambo sung in Creole.

Alejo Duran sings and tells his life (Colombian archives, 1986)

Alejo Duran is a legend in Colombia, as king of the most popular style: Vallenato. This day of 1986, going out the recording studio where he comes back to events of his life, Alejo Duran said to the interviewer: "I would like this reel to be kept up to the day I die... supposing this day ever happens". He died three years later and this LP was released in 1989.

Trio Select in Action (Haiti, 1971)

(Marc Records MDVG-219).

Haitian music can be very good setting fire to the dancefloor, but can also be very fresh and sweet to your ears. Here's a beautiful example with a song from Trio Select vol. 2, led by guitarist and popular singer Henry Gesner (1925-1998), very famous under his surname "Coupé Cloué".

Yusef Lateef in Nigeria (African tradition + jazz experiment, 1983)

(Landmark LLP-502).

Flute and tenor sax player Yusef Lateef (1920-2013) just passed away, so here's a post dedicated to this real sound explorer (before being a jazzman), who integrated eastern or african influences in many of his recordings. Famous for his deep, free and spiritual music all along the 60's and 70's in the US, he also directly enriched his open-minded approach spending years in Nigeria in the early 80's.