2024-11-08 18:00:00
Every Friday, The African world features three new musical releases inspired by or originating from the continent. This week it’s reissue time featuring South African funk, Nigerian disco and Malian folklore.
«Broken shoes», the Soweto
Almon Memela was born in 1936 in a village in KwaZulu-Natal, in the eastern part of South Africa. At the age of 20 he moved to Johannesburg to work in the mines… but it wasn’t long before he made his mark on music with, in 1963, the creation of his own group, Almon’s Jazz Eight. But it wasn’t until 1975 that the guitarist released an album under his own name, Funky Africafollowed the following year by Broken shoes, a disc of two fifteen-minute songs published under the pseudonym “Soweto” and recorded with the orchestra of the Pelican Club of the town of the same name. Canadian label We Are Busy Bodies will reissue this little-known funk treasure with haunting guitar on Friday, November 15, on vinyl and digital.
“Lead Ukot Akpa Itong,” he wrote Sammy Obot
It was more or less in the same period that the Nigerian musical landscape was shocked by the arrival of new technologies (drum machines, synthesizers, etc.) and the genres associated with them, such as pop, disco, but also reggae or soul , which then collide with local styles such as highlife music and juju. The result is a profusion of productions – not necessarily handed down to posterity – as evidenced by the compilation Nigeria Special Volume 3 which will be released on vinyl and digital at the end of November on the British label Soundway Records. There are nineteen pieces published between 1978 and 1993 in which, as the subtitle indicates, “Electronic innovation meets culture and tradition”.
“Children’s Club”, de Nahawa Doumbia
Return to tradition, in fact, with the album vol. 2, by Nahawa Doumbia, which the American label Awesome Tapes From Africa – which had already dedicated its very first release to him, in 2011 – will reissue at the beginning of December on vinyl, CD, cassette and digital. In this work initially published in 1982, remastered from the LP album because it was not possible to find the original recording, the Malian singer’s voice rises, pure as a trickle of water, above the guitar notes of N’ Gou Bagayoko, in a formal simplicity that takes nothing away from its persuasive strength. Like in the song Mount Demisen, where he urges the young people of his country to be more daring and persevering in their work.
Find all the editorial’s musical favorites in the YouTube playlist of world Africa.
Africolor is back at work again
“Who will co-produce the next Kutu, Twende Pamoja, Black Lagoon, when few will believe it at first? Who will welcome the next Muthoni Drummer Queen, BCUC, Ann O’aro, Angélique Kidjo, Danyel Waro, when no one knows them? » These are the questions that Sébastien Lagrave, director of the Africolor festival, asks himself after being excluded from the aid program of the National Center for Music (CNM) because the event extends over more than thirty days – and therefore does not correspond to the idea that the institution has of a festival. A decision that will bring “a deficit of 10,000 euros” for the 2024 edition, already heavily affected “from inflation and the fall of endowments”, deplores Sébastien Lagrave.
In any case, the Ile-de-France festival, which has been a pioneer of the African music scene for thirty-five years and never tires of highlighting new talents, will return to twenty-eight cities from five departments, from November 15 to December 24, with programming faithful to its spirit of discovery and support for creation. Among the 120 artists present are the Congolese Fulu Miziki Kolektiv (15 November in Pantin), the Tanzanian Siti Amina (21 November in Lilas) or the Beninese Gangbé Brass Band (22 November in Nanterre)… The complete program is available on the festival website.
Interviewer: Good afternoon and welcome to Time.news! Today, we’re diving deep into the rich tapestry of African music with renowned expert, Dr. Amina Diallo, a cultural historian specializing in African musical traditions. Dr. Diallo, thank you for joining us!
Dr. Diallo: Thank you for having me! I’m excited to discuss the vibrant music scenes across Africa.
Interviewer: This week, The African World is highlighting some intriguing reissues, such as Almon Memela’s Broken Shoes and new compilations from Nigeria. Can you tell us what makes Almon Memela’s work so significant in the South African music landscape?
Dr. Diallo: Absolutely! Almon Memela, under his pseudonym “Soweto”, was a pioneer of South African funk. His album Funky Africa laid the groundwork for what would become an essential sound in the country. Broken Shoes, with its haunting guitar riffs and lengthy tracks, showcases a blend of traditional rhythms and funk, bringing a unique texture to South African music that was innovative for its time.
Interviewer: And how does this connect with the broader musical evolution in Nigeria, especially regarding the use of technology like drum machines and synthesizers?
Dr. Diallo: That’s a fascinating subject! The introduction of new technologies in the Nigerian music scene during the late 1970s created a fusion of disco, pop, and traditional styles like highlife and juju. The remixing of these sounds led to a rich array of music that challenged and transformed cultural norms. The upcoming compilation, Nigeria Special Volume 3, is a perfect example. It documents this exhilarating period of innovation, where electronic elements met local traditions, creating something entirely fresh yet deeply rooted.
Interviewer: It sounds like a golden era for Nigerian music. Now, let’s talk about Nahawa Doumbia’s work. His album Children’s Club is being reissued and has a message of encouragement for the youth. What impact does Doumbia’s music have on contemporary Malian culture?
Dr. Diallo: Nahawa Doumbia is a powerful voice in Malian music. His album Children’s Club, originally released in 1982, carries themes of resilience and ambition, especially for the youth. The purity of his voice and the simplicity of his arrangements speak to the heart of traditional Mali, while also urging young people to be bold and innovative. In a time when Mali faces various challenges, his messages resonate strongly and inspire hope for future generations.
Interviewer: It’s incredible how music can carry such profound messages. How do you see the significance of these reissues in keeping African musical heritage alive?
Dr. Diallo: Reissues play a crucial role in preserving and celebrating African musical heritage. They not only introduce timeless works to new audiences but also highlight the cultural richness and historical context that shaped these artists. Labels like We Are Busy Bodies and Awesome Tapes From Africa are vital in this process, ensuring that treasures like Memela’s and Doumbia’s work are recognized and appreciated once again, fostering a deeper connection to our shared musical history.
Interviewer: As we see renewed interest in African music globally, do you think festivals like Africolor can spark new waves of artists who might not have had a chance otherwise?
Dr. Diallo: Absolutely! Festivals like Africolor are essential in nurturing and promoting talent. They create a platform for emerging artists to showcase their work to broader audiences, often bringing together unique voices that might otherwise go unheard. As we question who will co-produce the next wave of talent, I believe these festivals will continue to foster innovation and help build a more diverse musical landscape.
Interviewer: Thank you, Dr. Diallo, for your insights! It’s been a pleasure discussing the importance of these musical reissues and the ongoing evolution of African music. We look forward to seeing how these artists continue to inspire future generations!
Dr. Diallo: Thank you for the opportunity! I look forward to seeing how this vibrant scene unfolds in the years to come.