In another concerted effort to get more Ivoirian music onto the site, here’s Benn loxo listener, Ian, with a guest post:

“After Cote d’Ivoire gained independence in 1960, Abidjan became the center of the francophone African music industry. Huge stars from all over the continent recorded there. Like many other French-speaking African countries, CI was mostly dominated by Afro-Cuban salsa, Ghanaian highlife and Congolese soukous; for the most part, local styles were overshadowed by the slick, studio-produced music of big-name artists.

Ernesto Djedje, from the Bete ethnic group of southwest CI, was originally a school teacher. He played guitar in his spare time, mostly copying American soul and Congolese rumba. Seeing the lack of a “native” Ivoirian pop style to rival those of neighboring countries such as Guinea and Ghana, he was inspired to modernize a traditional Bete rhythm called “ziglibithy.” He combined a traditional rhythm section with a modern arrangement of guitars, bass and horns to develop the unique sound that is considered to be CI’s first original pop style. It was a huge hit that dominated the airwaves and discos for much of the late ’70s.

Unfortunately, Djedje’s success was short-lived. He released only two records, then died in 1983 of a mysterious stomach ailment blamed, inevitably, on sorcery. Some lesser-known Bete artists continued to play ziglibithy with some success, but the style was overshadowed in the ’80s by zouglou and, especially, the reggae of megastar Alpha Blondy.”

Thanks for the great music, Ian. I really enjoyed this pick. You can buy these tunes on the 2001 release, Le roi du ziglibithy available at Stern’s.

Ernesto Djedje - Assouna
Ernesto Djedje - Zibote

As a tip of the hat to one of my favourite audioblogs, today’s post is called “Gospel Friday”. I won’t go so far as to steal the Boogie; that’s all yours, Lee.

Machanic Manyeruke (and that’s not ‘Mechanic’ despite what Google tells you) has been singin’ the bible in Zimbabwe for over 30 years. His simple, happy style is perfect for a Friday afternoon. Electric guitar with no effects, the occasional female backup or a splash of organ, and lots of get-your-way-to-heaven vocals.

Today’s track is off the 1992 Flyish Fish release by Machanic Manyeruke and The Puritans.

Machanic Manyeruke - Kana Vatsvene Vopinda (When The Saints Go Marching In)

When I was younger I played jazz trombone. This musical hobby was dropped quickly after I started college and moved into a series of horn-unfriendly apartments, but I still have a soft spot for the sound. I was happy, then, when Benn loxo listener Scott passed me a copy of Toumani Diabate and Roswell Rudd’s album, Malicool.

Malicool features Rudd on trombone, Diabate on kora plus others on balafon, ngoni, djembe and guitar. While the trombone meets Mali sound may not always click, there are some serious high points on the album and it makes for, at the very least, an interesting listen.

Malicool was released by Sunny Side records in 2003 and is available in most good music shops.

Toumani Diabate & Roswell Rudd - Rosmani

Last night I took some much-needed down-time and read a couple articles in the Lagos Glendora review. Lagos always strikes me as a simulatenously sad and incredible city, and this edition of the Glendora sums that feeling up pretty nicely. As much as I love the city’s energy, arts and contrasts, I can’t help but feel bad for the majority of its residents. Yes, Lagos is unlike any other city and yes, it’s a vibrant, interesting place to live. But most of its inhabitants live in squalor, and even those with a reasonable income live in constant fear of violent crime, police corruption and robbery.

I mention all this because I was listening to some early Afro-Cuban music from 1960s post-independence Congo today and had that same feeling. Although I’ve never been to the DRC, the word on the street is that you get a pretty similar feeling to the one I felt in Nigeria. The DRC is a vibrant place filled with intelligent people that’s going absolutely nowhere due to continued strife and bad government.

So then why are the guys singing this song so happy? Yes, their country just gained indpendence (the song is from 1961), but listen to the politicians they sing about: Kasavubu, Congo’s first president who is soon to be deposed by Mobutu; Adula, the short-lived prime minister who took over the job after the American-ordered assasination of their first prime minister; Mobutu, the army-leader who will soon either fire or kill everyone in political office and lead his country for 30 long, dictatorial years. Time for a rhumba!

Then again, if you’re a regular reader of this blog you’ll know my feelings on this one: West and Central Africans possess an amazing resiliance. In times of peace or war, wealth or famine, you’ll find someone, somewhere whipping out some great tune for whoever’s around and feels like dancing.

Today’s track comes off a great collection of 1960s music from Congo’s Ngoma label, Souvenir ya l’independence.

ps- we can all thank Dominique for passing me this track and more at the Couleur Cafe festival in Bruxelles, Belgium, earlier this summer.

Depiano - Gouvernement Ya Congo

While biking home today some Ivoirian music popped into my head. So many of you have been asking for it, so…

This track is a big shout-out to my good friend in Dakar, Ed. Ed is many things: a sweaty salsa breakdancer, Dakar party scene prime motivator, confidante, and the reason why I am where I am today. Thanks again, Ed.

If you’ve never been to Chez Diamy in Dakar, you’re missing out. It’s the place where Meiway was our soundtrack and chicken dibi and West African beer were our staples. Several “generations” of Dakar folks spent at least a night or two here, from Thomas the raging Norwegian to Elo the shady Guinean (and soon to be proud father? Say what, Elo?)

While upon hearing a Meiway song some may say, “what’s with the synth accordian, guy?” We say, “encore des Gazelles, waye!”

From Abidjan direct to your living room, here’s some music from the kings of the zoblazo sound.

Meiway - Miss Lolo (link now fixed)

Guest post today from Ron Meza. Ron used to play trumpet for Salif Keita’s band and toured with him to several cities. Here’s what Ron has to say about Salif and today’s pick, Sina, live at the Milkweg in Amsterdam:

“From a concert in Amsterdam circa 1989-1990. It was just after Ko-yan, me and the trombone player (Mark Sims) had just been re-hired only to find a saxplayer in the band. When I joined the group it was just me and a trombone player named Yoro (from Senegal). Yoro left the group so I called my friend Mark to play trombone.

We were in the band for a bit but because I was constantly arguing with the drummer Brice Wassy I got the boot and Mark got the boot for being my friend (my first firing). They did the record with studio dudes (who didn’t get the 12/8-ness of salif) and as much as I like the record it is missing the soul in the horns.

This tour was cool though for the horns because I got to re-arrange the parts to have 3-part harmony. You’ll hear the minor 6th voicings that the bone plays on the minor chords. As Mark and I use to play in many salsa bands together in paris and this was a typical voicing heard in the arrangements and I thought it was pretty hip on SINA.

The sax player is named Nicolas Gueret, Bass was Doumbe Djenge, Brice on drums, Jean françois (jeff) Kellner on guitar (the most african white boy you’ll ever meet) He got it! he produced a malian singer about 4 years ago but I don’t remember her name. Herve Boufartigues on keys (another funky white boy that the african girls loved). Solo (salif’s sidekick forever) on percussion. Mama (assitan keita) and Djeny on vocals (they are that sound!!!!!).

This recording is from the stage on a walkman pro that I carried with me. Phillipe Brun was the FOH engineer. I hope that I didn’t leave anybody out.”

Thanks for the music and stories, Ron. More guest posts like this are always more than welcome.

Salif Keita - Sina (live bootleg)

Ok, so I’m still at work after nearly 11 hours. Time to mix it up a bit.

I picked-up the Gilles Peterson In Africa compilation a while ago. I like the way he divides the double-CD set into one disc for pan-African soul and funk and the other for songs inspired or influenced by African music.

Easily my favourite track on the double set is something I’d heard on the radio while in Portugal and couldn’t get out of my head since. Great for driving, jogging or Sunday morning hungover dish washing. (If you haven’t noticed these are frequently my criteria for a good album.) This track in particular features some Tony Allen-esque percussion.

While not the most African pick, whatever, I’m over it. Isn’t that what I am anyway - African-inspired?

ps- check back tomorrow for some Salif Keita bootlegs courtesy of one of his ex-trumpet players.

Thievery Corporation featuring David Byrne - The Heart’s A Lonely Hunter

Number one seller at Stern’s? This album is hot hot.

From the master of the Malian blues, Ali Farka Touré, and the master of the Mande kora, Toumani Diabaté, comes a beautiful, acoustic instrumental album called In The Heart Of The Moon.

I’ll write more about Ali Farka Touré tomorrow and you might have already read about Diabaté here. For now, just relax and enjoy the music.

Great for my mid-workday coffee break when I close the door to my office for an oh-so-sweet 15 minutes of peace.

Ali Farka Touré & Toumani Diabeté - Simbo

The beaches of the French Atlantic coast left me tanned and wanting more. I was definitely not ready for a multiple crisis-filled workday. Only one thing can get me out of this funk and through this mound of paperwork: West African psychedelia.

It occurred to me this morning that I’ve never posted any Manu Dibango. While today’s selection may not be the conventional pick, it comes by way of yet another gift from a Benn loxo listener.

Cameroonian by origin, mainly French at this point, Manu Dibango is one of Africa’s most well-known musicians. He’s still playing big gigs and releasing albums fairly regularly - you can catch him almost monthly in Paris and he plays in a few of the European festival circuits. He’s most famous for his saxophone-based jams that helped popularize the African soul-funk sound on a global level.

Today’s track is from the 3rd and latest release from the World Psychedelic Classics series: Love’s a Real Thing, The Funky Fuzzy Sounds of West Africa. And no, it’s not Soul Makossa.

Manu Dibango - Ceddo End Title

A while ago Benn loxo listener Michael sent me a fantastic compilation that he put together of music from 10 African countries from the 1930s to 60s. Big belated thanks for the gift, Michael, and nice work on the mix. Several tracks struck me, but none so much as the two by Dorothy Masuka.

Masuka was born in Zimbabwe but came of musical age in South Africa. She was and still is great friends with Miriam Makeba and has played with many great Southern African musical greats over the years. She spent many years in and out of South Africa during the apartheid years as authorities had a nasty habit of banning several of her songs.

Dorothy Masuka is, to me, another great example of a South African musician who grew-up under apartheid and managed peaceful protest through joyful music. No cries for revenge can be heard, no violent message, just uplifting, jazzy melody with politically twinged lyrics.

If you want more Masuka you can check out the BBC review of a recently released album, The Definitive Collection. I’ve also included something by the Professional Uhuru Dance Band also off Michael’s compilation. Yet again, a great name for a group. Charlotte Dada, a personal favourite here at Benn loxo, sings on the track.

It’s a long weekend here in France so there won’t be a post until Tuesday. Until then..

Dorothy Masuka - Hapo Zamani
Professional Uhuru Dance Band - Ewu Ngyadze

When I was in Boston a few weeks ago K surprised me with a great gift: Celestine Ukwu. Now, if you’re a big music guy like myself I don’t think there’s anything sexier than a cute girl with good taste in West African highlife. Thanks, Kate.

During the 1960s Rex Lawson and a host of other Igbos popularized highlife music before it fell out of favour during the civil war of 1967-70. By the mid-1970s, however, the Nigerian highlife scene had started up again with bands like the Oriental Brothers, Prince Nico and perhaps most importantly, Celestine Ukwu.

Ukwu’s style is slightly different from that of his contemporaries; he was apparently a soft-spoken, relaxed kind of guy and this is reflected in the music he plays. You’ll hear slower rhythms and even things like steel slide guitar poking up from beneath the palmwine acoustic. Even the name of his band is pretty chilled-out: Professor Celestine Ukwu and the Philosophers National. Why don’t bands give themselves names like that anymore?

You can pick-up today’s track at Stern’s on Celestine Ukwu Best Collection Volume 1.

Celestine Ukwu - Ife Sina Chi

Fatai Rolling Dollar, the ex-highlife music legend from Lagos, Nigeria, is staging a comeback at the tender age of 78. His recently released album, Won Kere Si Number, is enjoying great success in Nigeria. Dollar, whose real last name is Olagunjo, suddenly finds himself playing loads of gigs and getting some media attention from major Nigerian publications.

Fatai Rolling Dollar, like so many other highlife musicians of the 60s and 70s, was largely forgotten during the 1970s when Nigeria entered its sketchy phase of multiple military dictatorships, corruption and violence. For years he worked as a security guard and did some gigs as a church guitarist. It wasn’t until 2003-2004 that anyone remembered his music or he recorded anything new. Jazzhole put out three new albums in two years and suddenly he was a household name again.

Unfortunately his albums’ success didn’t make him any money. He still lives in a dusty one-bedroom in Mushin, Lagos. To quote Lagos’ Sun News, he “doesn’t even have a car” and until recently had to play his guitar on the street for smokes. Not surprisingly, Fatai feels that Jazzhole, the label/store that released his album, is ripping him off. If you’ve ever been to Lagos you’d understand that this is entirely possible, even though Jazzhole has a great reputation and is one of the better West African music stores.

Following the success of his latest release he’s now split from Jazzhole and is putting together an album for wider global release with a guy named Barry White (no, not the dead, smooth talking master.) Look for it soon and in the meantime here’s some music from Won Kere Si Number. Sorry for no purchase links but I think you can only buy this in Nigeria.

ps- thanks again to Didier for this CD. I’m very jealous that he got to see all this great music in Lagos last week.

Fatai Rolling Dollar - To Ba Fe Mo Dollar (acoustic version)

First of all, big shout-out to my friend from Dakar, Didier, his sons, Max and Tito, and the lovely Caro. Didier just got back from a business trip to Lagos and was nice enough to bring me a signed copy of Lágbájá’s latest album, Africano. (Didier caught Lágbájá live on the Lagos mainland last week.) Fantastic. The CD reads, “MATT! LAGBAJA!”, which is appropriate given how I feel about his music.

Anyway, the gift sprung me back in Benn loxo action. I’m really sorry there hasn’t been much music here lately - things have been wildly busy and I need to find new ways to build a daily post into my schedule. I’ll try my best.

Lágbájá is one of the quintessential Nigerian musicians still living and playing music in Lagos. He’s probably most famous not for his music but rather for the mask he always wears. Lagos urban legend tells that nobody except his mom knows what he looks like.

The word Lágbájá is Yoruba for nobody or everybody at once. Lagbaja wears his mask so that he can remain faceless, most likely due to his frequent sharp criticism of Nigeria’s corrupt Big Men. You have to respect a guy who shies from public recognition and fame, especially in an often bling society such as the one you often find in Lagos. He has a great web site if you want more info - check it out here.

His music is fun, too. Loads of Yoruba percussion, positive lyrics and a some of the Nigerian afrofunk that continues to touch so much of the music coming out of Lagos.

Lágbájá - Skentele Skontolo