Hi from Roland Garros. Just saw the lovely Ivanovic get thumped by Henin. As I wait for the photo editors to finish up I thought I’d get a quick post in. (That’s a pic of Roland Garros to the left.)

A while back a Benn loxo reader suggested I have a listen to a 4 CD compilation of Angolan music recorded betweeen 1960 and 1975, Angola - as 100 grandes músicas dos anos 60 e 70.

What a find. Often compilations like this are stuffed with fillers, with maybe two or three gems per disc. However, Angola 100, as it’s known in English, is jam packed with an amazing variety of great songs by musicians, most of whom I’ve never heard of.

The compilation is from the archive of the Portuguese record company, Valentim de Carvalho, who recorded hundreds of tracks by local Angolan musicians from 1960 until independence.

ps- Benn loxo reader, Tony, wrote to say he’s posted a summer African music mix for all to hear.

Elias diá Kimuezo - Zé Salambinga

Today we have another urban Angolan guest post by Benn loxo listener, DJ Chief Boima:

“So Kuduro. It seems to be making some waves on the international scene. And reflections on why lead me to thoughts on post war youth expression. Young people who grow up seeing humanity at it’s worst feeling the need to create something put something in the world, blow it up, and not themselves. Youth, fueled by emotions: anger, sadness, jubilation, create.

When the war is over, the world takes a peak into a society that many times is left for years, isolated to deal with its issues on its own.

So now we have Kuduro. Another ghetto expression where dancing replaces shooting. While the roots of Kuduro go way before the war was over, it is now that it’s getting some international attention. As for reasons why it’s getting attention, I would like to speculate on some deep emotional connection to violence that is counteracted by music, or go off on how many times the internet creates bandwagon trends, and then leaves when they find the next it thing, but the explanation could be as simple as the fact that so many people become displaced from a country and it’s culture during conflict times that their culture gets dispersed throughout the world in the diaspora. People living abroad want to connect to home, especially if they can’t go back, so they bring a part of home with them. The original international distribution is migration.

I don’t know a lot about the history of Angola, so I won’t go any further on what’s going on there now. All I can say is I love this music. It resonates with me, and always gets the crowds movin’. It’s crazy danceable with a clave backbone, (we are close to Congo here, and as hinted in my previous post I know, there’s a Rumba/Soukous/Kuduro Connection) an electronic 808 thump, created on the computer and ready for internet distribution, some hand claps for those disco/house throwbacks, (percolator eat your heart out!) and a fast orgulloso lyric that represents “where you’re from.” With all these ingredients, you have a mix for great music.

If you want to pick some of this music up a good starter is Frederic Gaillano’s CD available on Calabash. Buraka Som Sistema available on iTunes. Dog Murras is available on various Portuguese mail order sites, Puto Prata, Os Alameda, and Se Bem have also made some great tunes.

And if you’re in the states and you don’t know someone that just visited Africa who can sell you CD’s at three times the cost, these are two sites for music called CaboVerdeOnline, and Acheio.com. I’m not gonna vouch for them because I haven’t used them, but if you’re dying to get your hands on some hard copies here’s a start. Also if you’re in Europe FNAC Portugal carries Kuduro CD’s and DVD’s. I don’t think they have a ton, but you can order them online. Some of these groups are touring and Kuduro is spreading through Europe by way of Portugal, so just look around your town to get involved. Watch Kuduro dancing on You Tube.

These are my favorite Kuduro songs that I’ve heard so far. Nao Reipeitao Neh has the best beat I’ve ever heard. Hand claps I can’t get enough of! And Meu Povo’s drum intro and Angola Chants make me jump everytime I hear them. Enjoy…”

Amazing, as usual. Thanks, Boima.

Alameda - Nao Reipeitao Neh
Dog Murras - Meu Povo

Last week I got back from an 11-day trip in Cuba. I spent about a week in Havana plus a few days time in the west of the country, seeing Pinar del Rio, Vinales and finally the beaches and underwater life at Maria la Gorda.

It goes without saying that Cuban music, both old and new, is amazing. I heard the tourist-ringed but high-quality live salsa and rumba on every corner in Havana Vieja, Santaria rumba with the Conjunto folklórico, Afro-Cuban jazz at La Zorra y El Cuelvo, late nights, hard reggaeton and I-wish-I-could-dance-like them action at numerous clubs in Miramar and Vedado, sub-par big-name salsa at La Casa de la Musica and much more.

I try my best not to get political on this site, but let me say that visiting Cuba is a bit like going to a maximum security prison on the beach, snapping pictures of friendly inmates as they go about their business.

Most Cubans aren’t allowed to travel at all, even inter-city within their own country. The average monthly cash take-home is about 15 Euros a month. Prostitution is a disturbingly tolerated practice on a scale that outstrips Nigerian oil bars and Senegalese nightclubs. There are no boats on the water or in the harbour aside from patrols and tourists, not even for fishing. The vast majority of people aren’t allowed to own a car or pretty much anything else. If you’re a Cuban and have a relationship with a foreigner living in Cuba you will usually kiss your chances of getting a travel permit goodbye. The whole system is setup to reward those who play by the rules and punish those who don’t. Never question Fidel and you might get a TV. Organize enough anti-US parades and you might just get a job at a hotel… and the tips that come with it.

As I said to a friend earlier today, Cuba is a beautiful, fascinating… and ultimately very sad place. Any positive things I had thought about certain aspects of Fidel’s Cuba, such as good medicare, innovative urban agriculture policies, etc, went out the window. All of that is worthless if you have absolutely no freedom. And for all those who keep telling me “it was good you went before he dies” - no hurry, it’s not going to change anytime soon. If anything, rules are tightening these days. State-appointed company heads are being replaced with pro-Revolution activists by the dozen and authorities are cracking down on previously overlooked practices. I saw a bunch of “Viva Raul” signs around Havana, albeit small ones not quite ready for the prime time.

Anyway… very glad I went.

And as this is an African music web site I thought I’d post a song by a Congo-born Angolan who has been heavily influenced by Cuban music, salsa in particular. We can all thank Benn loxo listener, CC Smith of The Beat Magazine in San Francisco, for today’s music. I’ll share some real Havana Afro-Cuban later in the week.

Ricardo Lemvo combines salsa, soukous and some Afro-Portuguese elements into his music. He’s lived in the States since he was 15, but was born in Congo to parents of Angolan descent. He normally records with Makina Loca, but he’s also done some work with Africando.

Lemvo’s latest album, Isabela, was released this month. I’ve had it on repeat this afternoon while I cook a spicy, end of winter chilli con carne.

Ricardo Lemva & Makina Loca - Kasongo Boogaloo

Benn loxo listener Chief Boima comes through with a great Afro-Portuguese hiphop guest post today:

“I don’t know why but I too have become infatuated with Afro-Portuguese music. Maybe it’s because I’m Sierra Leonean and the Portuguese were the first to colonize before the British, and some Portuguese words survived in Krio like “sabi.” Or, maybe it’s because I speak Spanish not French and the it is much easier for me to get the general meaning behind the Portuguese lyrics than songs in other languages. Or, maybe because when I first heard Kuduro it blew my mind, and as a dj I became obsessed with the music that moves your booty like the Chicago House I used hear to at our middle school dances, but has roots in music like the dance tunes I knew from the African parties of my parents’ generation. But, here I am today collecting anything I can get my hand on from Bahia to Lisbon to Luanda and beyond.

Here are two hip hop tracks that also blew my mind when I first heard them. They are from two hip hop artists from Angola.

The first is Das Primeiro whom I heard the first time on some hip hop compilations when I took a trip to Portugal, he also has a track on the Rough Guide to African Rap. I think that he lives in Europe somewhere now, (Amsterdam?) but he reps Angola, and has a monster flow, with the confidence and delivery that could stand up to any of the greats in any language. I like his use of samples and really seems to be aware of his cultural roots while maintaining a strong hip hop identity. I chose the song Mana Maria because it has a real nice guitar sample that reminds of some of the Kizomba tunes or the other guitar based tunes that I’ve heard from Angola.

The second is Sonho Africano from Hemoglobina two Angolan MC’s, who live in South Africa now. (?) I heard them first on DJ Edu’s show on BBC 1xtra. This song is my favorite African hip hop song, because it reps a bunch of different nations, as well as the dope lyric content about what a gwan in Africa. It also has a beautiful guitar sample, and the beat drops heavy! I haven’t tracked down their album yet, but writing this has reminded/inspired me to do so. If any one knows where I can get it, hit me up: boima [at] ironmilitis.com. There are ton of great rappers in Portuguese out there, not just from Angola and who all use cultural influences to make their own brand of hip hop, like Sir Scratch, Rappin’ Hood and Marcelo D2. Check em’ if you get the chance.”

Thanks, Boima.

Das Primeiro - Mana Maria
Hemoglobina - Sonho Africano

Yesterday I realized that in 322 posts about African music we’ve never heard any Bonga on Benn loxo. For the sake of completion and out of respect for Angola’s most famous musician, here you are.

One thing I just learned about Bonga is that after exiling himself from Angola following his role in fighting for independence, he became a professional football/soccer player for Lisbon’s Benfica club and also a champion 400m runner. Talk about multi-talented. His status as professional athlete allowed him to travel easily throughout Europe.

What most would consider his best recordings were made in Paris during the early 70s. He recorded several solo albums and performed with high-profile African musicians living in Paris at the time like Manu Dibango. He’s still recording today having released successful albums right up to 2005, though they sound a bit too polished for my taste.

You can find today’s track on Bonga’s legendary 1972 recording re-released by Lusafrica ten years ago.

Bonga - Balumukeno

Thanks again, many of you, for all the great music you’ve sent me over the past while. For example, Benn loxo listener, Ken, came through with a great find a while back: Paulo Flores from Angola/Portugal.

I use the “/” because Flores was born in Angola in the early 70s but moved to Portugal quite early. Despite this, he stayed true to his native musical heritage by fusing it with great success with styles from ailleurs. The title of this post refers to just that: fusing Brasilian Samba with Angolan Semba.

The track on today’s post comes off his 2003 release, Xe Povo.

Paulo Flores- N’Guxi

LINK FIXED

As promised, today I’ll continue with my World Cup Africa series by featuring music from Angola. Nobody really expects the Angolan team to win, but it’s great that they’ve made it this far.. and as far as I’m concerned, Angola is already winning.

This country, long ravaged by 27 years of ultra-violent civil war, is finally recovering. Luanda is on the up, landmines are on the down, and inflation has dropped from highs in the mid-300s to around 10-20%. Let’s hope that Angola continues its recovery and becomes the stable, oil-rich and democratic country that it could be.

José and Moises Kafala are two brothers from Angola who sing in two-part harmony over smooth, well-played acoustic guitar. They’re one of the few contemporary Angolan groups to be heard outside of the country. They’ve released two albums since forming in Luanda in 1987, Ngola and Salipo. Both of today’s tracks are off Salipo.

Allez Angola!

Kafala Brothers - NGuxi
Kafala Brothers - Crucifiuxo

Spring is here, the weather is good, I’ve been travelling to some great places lately, I’m enveloped in white ginger, work is fun, people are visiting, concert season is in full force, I just ate some mean French toast, this coffee is great…. May in Paris makes me want to dance around my living room to, among other things, Angolan samba. Windows open, I’m likely to be found bothering the neighbours with today’s track on full volume.

Belita Palma was a politically active musician in Angola during the turbulent 60s and 70s. At this time Portuguese colonial hold-outs and Angolan militias were still embroiled in a struggle for control of the country. When first written in 1973, today’s track, Manazinha, was not allowed to be sung in public.

Unlike many Angolan musicians who were murdered by the Portuguese and later by power-hungry local militias, Palma escaped the revolution(s) in her country unscathed and lived right-up until 1988. Even so, it’s a shame that she never saw her country emerge from the bad years. Angola is just now starting to shake-off its past and get on its feet. I’d love to visit some day soon.

Today’s track comes off the amazing Buda Musique compilation, Angola 70’s: 1974-1978.

ps- spent last weekend in Istanbul. Any Anatolian listeners out there? I love your city.

Belita Palma - Manazinha

Many thanks to Benn loxo listener, Richard, for sending me some great music this week. Much appreciated.

A couple of you have asked for any Angolan music that’s “not Bonga”. A little while ago I featured some music from mid-1970s Angola, stuff released shortly before the Angolan government’s shut-down of all things cultural. Today we’ll hear some contemporary Angolan music by Waldemar Bastos.

Bastos, like most of Angola’s popular musicians with the resources to do so, fled Angola in the mid-70s before the country descended into decades of civil war. People like Bonga headed up to Holland, while Bastos moved to various countries in the USSR. Eventually he settled in Brazil for many years where he restarted to redevelop his musical career, mixing Brazilian samba with Angolan semba. He released his first album, Estamos Juntos, while living in Brazil and began to earn immediate success.

Bastos moved to Portugal in the 1990s where he continues to record and release music. Today’s track comes off his first wide-release, 1998’s Pretaluz. He’s often touring around Europe and North America, so keep an eye-out on those world music tickets if you’re into checking him out live.

Waldemar Bastos - Sofrimento

After 1959 most African nations started gaining independence. Portugal, then ruled by super-fun dictator Salazar, wasn’t so quick to free its African colonies. In fact the opposite happened: despite numerous uprisings by rebel groups Portugal upped its troop levels in Angola to 40,000 by 1964 and began a massive campaign of intimidation and repression. Angola became a police state in various stages of war for over a decade. To give you an idea of the scale of the conflict, up to 40,000 Angolans died fighting or as a direct result of the conflict between 1961-64.

It wasn’t until 1974-75 when Portugal itself fell apart that Angola managed to gain indpendence. It was never really granted to them, but rather Portugal just ceased to control the area. With such an organized hand-off one can only expect the best: various ethnic and rebel groups competing, often violently, for power of the new “nation”, and a political and economic situation rapidly becoming worse than it was pre-indpendence.

For many, however, independence marred by violence, civil war and disorganization was better than no independence at all, so they did what any sensible person would do: picked up some guitars and drums and started rocking out. In the late stages of its colonial control of Angola, Portugal had also actively encouraged local music and culture as a last-ditch effort to placate the masses. The resulting pre-independence mini-music industry combined with the excitement of freedom produced a whack of great musicians and original musical styles from the mid 1960s to the mid 70s.

This all came to a big halt when May, 1977, the new Angolan government silenced the arts community that it felt was critical of the new regime. Several well-known musicians and artists were murdered, including the two featured today, Urbano de Castro and David Ze. For years many of the records of the 1965-75 Angolan golden age were lost. Luckily, recent re-releases like the one featured today have brought the music back.

Both tracks today come off the 2 CD compilation, Soul of Angola, that features Angolan guitar music from 1965-1975. You can grab a copy on Afropop or Amazon. Thanks again, Zim.

Urbano de Castro - N’vula
David Ze - Mona Ku Jimbe Manheno