via Thorsten B:
BaianaSystem are on a mini-tour to Dublin and London, don't miss them, if you are close by. Here is a recent live gig by them in Salvador
It's hard to believe that it has been 20 years since we last heard from the Mahotella Queens. After Simon Mahlathini died they still toured, and I recall seeing them (seated for once) at the vast Zellerbach Hall in Berkeley, where I still managed to get backstage and have them autograph the concert poster [right]. I think they were a little surprised that white fans knew them individually by their names, but Hilda, Mildred and (at the time) Nobesuthu were very strong distinct personalities. Their return is marked by two newcomers: Amanda Nkosi on alto vocals (I wonder if she is related to West Nkosi their former pennywhistle player and arranger?) and Nonku Maseko, another familiar-sounding name. They recently toured Japan and made a huge splash but I have not seen any other concert dates announced for this new album. Their original band, the Makgona Tshole Band, have also gone to their reward, but the new recruits (especially the bass players) sound equally as ferocious in performance, and Nick Lotay, on lead guitar, sounds like Marks Mankwane. Their "indestructible beat", as it is so rightly called, pounds out from the speakers, urging you to shake your bones. "Jump to the music," appropriately, is the opener. This is followed by the title track, a song written by Hilda in 1966 and a hit which sold well on 78 rpm shellac discs. What is incredible is Hilda is now 83! She was a founding member of the group in 1964. What changes she has seen in her homeland as well as the world passing by as she whizzes around it! This is an even more incredible transformation than the world that say Martha & the Vandellas or the Ronettes witnessed, to name two of their contemporaries. The high-energy rave up of "Show me the way" returns to the familiar sound of their peak in the 90s when they toured endlessly and blew away crowds from Swaziland to San Francisco. I think their first world tour was in 1987. Nobesuthu has retired but showed up to sing a wedding song, with lively accordion (Lotay's keyboard?), "Phephezela." Hilda adds some growling reminiscent of Mahlathini, to invoke his presence. They reach back to the 60s again for a song that was a popular singsong in shebeens, "Thoko, ujola nobvani?" It teases a girl about her latest beau, and led to a series of follow-up answer songs. Again Nick Lotay seems to be channeling the classic gods of mbaqanga guitar. The lyrics are often amusing but sometimes describe the harsh realities of township life: betrayed trust, out of touch elderly relations, loose women. But in the end there is still a lot to celebrate.
AHMED MUKHTAR & IGNACIO LUSARDI MONTEVERDE
AL-HAMBRA: A Musical Dialogue Between Oud and Flamenco Guitar (ARC Music EUCD2972)
Ahmed Mukhtar from Baghdad on oud and Argentinian Ignacio Lusardi Monteverde on flamenco guitar make a logical connection between the related musical traditions of their two cultures. Mukhtar founded the Taqasim Music School, whereas Monteverde won the Latin musician of the year award in the UK. The compositions spark back and forth between the two, in an intricate and subtle exchange. Mukhtar is the author of Arabic Music and the Oud and the Mukhtar Method series, for learning the oud, darbuka and Arabic music theory. His partnership with Monteverde began in London in 2017. This album reflects their shared vision. Mukhtar says, "Since some oud techniques were challenging on the guitar and vice versa, I carefully composed with both instruments in mind. Even in my taqasim (improvised sections), which are deeply rooted in the Arab oud tradition, I aimed to draw the guitar into this musical language." They have performed together in Bahrain, India and Iraq, building a strong musical bond. With Al-hambra they bridge time and traditions fluidly. The oud came first of course but the Spanish guitar of Andalusia took the music into another realm. They share melodic structures such as maqãm and scales of flamenco, drawing on a range of influences, from Latin America and classical Arabic modes. "Baghdadi girl," "Iraqi Merengue," the ballad "Quietness" and "A Moment of Taqasim" stand out, but the surprise is the appearance of Rimsky-Korsakov’s "Young Prince and the Young Princess" which is a brilliant choice to close and showcase the "oriental" aspect of a lot of Western music. The title track, "Al-hambra," pays tribute to the masterpiece of architecture that shows the foundational solidity of Islamic culture in the Iberian peninsula.
I did not buy the new Alick Nkhata record from Mississippi because I have the one that came out on RetroAfric in 1991 and have not listened to it a lot. I put it on and discovered there are four overlapping tracks (a third of the LP), further justifying my decision not to buy it again, despite the great historical importance of the recordings. The Retro CD Shalapo has an odd opening title track (also included on the new release) with piano and organ lead though Nkhata was a famed guitarist and gentle, amusing singer. Nkhata recorded about 64 tracks in the 50s so we can assume either of these discs is the cream of his output, each containing about a quarter of his output. However we learn from the unsigned liner notes to the Retro CD that he also sang political tunes and some songs with strong sexual overtones which could never be recorded in those times. The Retro CDs were perhaps ahead of their time and also the packaging was so basic you could easily overlook them with their monochrome covers and generic Times Roman type. Nkhata was from Zambia, though it was the British colony of Northern Rhodesia when he was growing up, and the influence of South Africa is apparent in his hit "Taxi Driver." He travelled a lot, firstly as a soldier in the Second World War where he was plunged into the fighting in Burma, then as assistant (& interpreter) to Hugh Tracey who was traveling around Central Africa making field recordings. Doubtless these were very inspirational trips for the young guitarist. He also worked in Lusaka as a translator and broadcaster, but he was modest and did not promote his own music. He sang in at least three languages; his father was Tonga but his mother was Bemba, and they have rich traditions of musical culture. The pianist on his sessions was a Brit who had worked in a dance band in England before moving to Rhodesia to become a broadcaster. The piano is striking, and the horns on "Kalindwalo ni mfuma" also have a strong South African bent. This was a traditional tune that Nkhata turned into a big hit. South African swing and calypso are other discernible influences on his style. There is American country yodeling on "Naikwebele sonka," a Bemba song from 1949. Nkhata recorded in a quartet and sometimes with the Radio Lusaka house band. This makes a nice adjunct or companion to the Hugh Tracey recordings Guitars of Africa, or Musical Instruments 6. Guitars 1 as those treasure troves are called. A quiet, peaceful man, above all Nkhata liked being home working on his farm. One night he heard a ruckus and went out to investigate: soldiers and militants were having a running battle and Nkhata was killed in the crossfire.
Nadir Benmansour is a folk/pop singer in the Maghreb tradition. Born in Tlemcen* and raised in Oran he now lives in France. His longing for his Algerian homeland is manifest in his lyrics. His influences come from the Arabic mainstream as well as Gnawan music he recalled as a lad, and the Andalusian tradition which spanned the Mediterranean. Therefore Spanish guitar fits alongside krakrebs in his backing, along with violin, electric bass and percussion. We also hear sax, accordion, mandola and guimbri here and there. The Spanish guitar of Billel Mehsen is exceptional. "Sallou" his debut single can be seen on YouTube. "Baghi Ntoub" is familiar, maybe just the refrain: it has an anthemic quality and right on cue some Gnawan guimbri rocks into the foreground. But the last couple of tracks fall off, in my opinion, however the singles are pleasant enough and it's a good debut. *You may not have heard of Tlemcen, Ben's native city, but there is an exceptional book called Tlemcen or Places of Writing by Mohammed Dib (Paris: Revue Noire, 1994; [English] Los Angeles: Otis Books, 2012) that I urge you to check out. Is relates how reading and writing create spaces of freedom, and really takes you on a magical journey, like good music. The book also has evocative black and white photos.
This brief album (35 mins) is a foray into the folkloric wilds of Colombia, but as we now realize, world music does not exist in a vacuum. Part of their sound is a busy sax which is influenced by cumbia but also Antillean music. By now the soukous guitar, even the exhortations of the Atalaku from Congo, are thoroughly integrated into their sound and this is what makes this work: the horns and guitar have reinvigorated the folk music of the palenques and make it relevant and even vital for us. The beat is relentlessly up-tempo with speedy guitar and vocal exhortations, multiple drummers and a party on the verge of going out of control.
ESTRELLAS DEL CARIBE
LA TERIAPIA DEL PALENQUE (Polen Records)
Even more than Grupo Son San, Los Estrellas del Caribe have absorbed soukous into their sound. Yet they keep the rumba box, plus the accordéon which are essential components of the coastal Colombian music (not to mention the hoarse-sounding vocalist). He sings a love ballad to Angelina and then, presumably she wasn't home, he sings another to Catalina. There's also an Elena in the mix... on this song there's furious drumming and a soukous guitar diddling away discreetly in the background, but in the chorus he yells "Go away" which, although it is English, I am pretty sure was an exhortation in a Viva la Musica song, back in the day (the day in question being August 23, 1993). Their label, Polen is based in Bogotá, and also issued the early albums of Bomba Estéreo (including the classic Elegancia Tropical), Systema Solar and the Colombian Music Powerhouses series.
Year to date, in review
(click on maps at the top of the page to get to continent of choice)
July 2025
Edna Martinez is filed in world miscellany, though her music is from Colombia Music for a Revolution is definitely from Guinea
Gasper Nali and his babatoni can be found in Malawi
Haris Pilton and Balkan Voodoo Orchestra is in the Balkan and Gypsy section
Petit Goro's Dogon Blues went to Mali, part six!
June 2025
Ammar 808's latest Club Tounsi is filed in Arabia part 3 African Jazz invites OK Jazz can be found in Congo Classics part 2
Serbians Sekoyva are filed in Balkan & Gypsy beats
Tigray Tears' album is filed in Ethiopia
The Groove Africa compilation from Putumayo is filed in Africa misc
May 2025
Zulu Guitar Blues is filed in South Africa, part 2
Kwashibu Area Band are filed in Ghana part 2
Youssou's Eclairer le Monde is in Senegal part 4
Les Abranis can be read about in Algeria
Salif Keita's latest is in Mali part 6
Fanfare Ciocarlia is filed under Gypsy Brass
Ozan Baysal, from Turkey, is filed under Old World misc
April 2025
Tsapiky! is music from Madagascar
Orquesta Akokán's latest is filed in Cuba part 4
Trio da Kali is filed in Mali part 6
Mike Guagenti is filed in Salsa
March 2025
The latest from Baianasystem can be found in Brasil part 3 Sweet Rebels: The Golden Age of Algerian Pop-Rai is filed in Algeria Damily & Toliara Tsapiky Band are filed in Madagascar
Two new anthologies of Gnonnas Pedro are in Benin
Muslim Shaggan can be read about in India & Pakistan II
The Original Sound of Mali vol II is filed in Mali part 6
February 2025
Novalima's latest can be read about in Peru part 2
Aboubacar Traoré & Balima is filed in Burkina Faso
Tumblack are from the Caribbean
Brooklyn Sounds are filed under Salsa
...
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BACK IN PRINT (Second edition, November 2012)
A DISCOGRAPHY OF DOCTEUR NICO
By Alastair Johnston
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