thebudos.com

myspace.com/budosband

TONIGHT we welcome the amazing 10 piece Ghanaian drum and dance group – Kusun Ensemble as well as host the after party for Ghanaian Afro Roots sensation Rocky Dawuni and Israel Reggae star Mosh Ben Ari’s show at the Wilshire Theatre!!------------------:~0~:---------------------
THURSDAY JUNE 26, 2008
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AFRO FUNKE’
WEEKLY FUNK INVOCATION
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Afrobeat, Brazilian, Dub, Reggae, Cumbia, Samba Disco,
African Salsa, Afro-Latin House, Indian Beats, Makossa,
Balkan, Funk, Blues, Highlife, Broken-Afro-Beat, Salsa,
& Other deep-rooted soul music from around the world
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AFRO FUNKE’ LIVE PRESENTS
live performance by:
KUSUN ENSEMBLE
Kusun Ensemble is an extraordinary ensemble of musicians and dancers based in Ghana, West Africa. Founded by Nii Tettey Tetteh, the group includes past members of The National Ballet and The Pan African Orchestra. Although rooted in traditional music,t he group has developed a new brand of music and dance they have dubbed “Nokoko.” They have created innovative rhythms and dances by fusing bass and lead guitar, electrifying jazz and African rhythms, and traditional Ghanaian instruments. In their quest to develop a new style of Ghanaian music, they have been dazzling audiences in Ghana and around the world.
www. kusunensemble. com
+
AFTER PARTY FOR:
ROCKY DAWUNI & MOSH BEN ARI ..
www. rockydawuni. com
@
WILSHIRE THEATRE

BUY TICKETS NOW!
Hotline: 310.202.

3100
www. ticketmaster. com

FOR MORE INFORMATION PLEASE CHECK OUT:
www. wtbh. org/
www. moshbenari. co. il..

resident deejay:
DJ JEREMY SOLE’S MUSAICS
www. myspace. com/musaics
*hear Sole on KCRW (or kcrw. com) Wednesdays nights 12-3am
www. myspace. com/branchesradio

host:
ROCKY DAWUNI
www. rockydawuni. com
www. myspace. com/rockydawunimusic

afro funke’ photography, booking & production:
CARY SULLIVAN
www. myspace. com/carysullivan
afrofunke@yahoo.com

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AFRO FUNKE’: Thursdays @ Zanzibar
1301 5th St Santa Monica, CA 90401
9pm | 21+ | 310-451-2221 | $10
www. zanzibarlive. com
www. afrofunke. com

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*Exclusive Afro Funke’ T-Shirts @ the club each week..
Plus hand made hats, bags, belts & more provided by
Big Al Hats & www. livity. org

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TAKE A SEC TO JOIN THE FAMILY:
ADD AFRO FUNKE' AS A FRIEND
JOIN OUR EMAIL BLAST

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With a little help from our friends:


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"The future belongs to those who prepare for it today.

”

Malcolm X
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myspace.com/kutiman

website | myspace

I found out about Vampi Soul Records on accident after stumbling on an Orlando Julius album [remember?] on accident in Amoeba. While I was at the register paying for the album, the cashier started ranting and raving about the label it was on and encouraged me to look into them. I listened but didn't really make any effort to look further into them. Months passed and Vampi Soul kept coming up and throughout that time people would recommend artists on the label or I'd run into interesting-looking albums from the label [refer back to "Best In the Basement"].

There's not too much I know about them, but their catalogue is pretty outstanding. They are located in Spain and specialize in rare soul, samba, acid jazz, avant garde, disco, highlife, lounge and a slew of other pretentious genres that make music geeks incredibly excited.

Here are a few of their latest releases:

Fela-Ransome Kuti

Licensed from The Fela Kuti Estate and Premier Records, this deluxe Vampisoul package, available both on double CD set and triple vinyl LP, features extensive notes by African specialist Max Reinhardt and artwork by artist Victor Aparicio. The vinyl version consist on two 12" LPs, and one special 10" LP, exact reproduction of Kuti's legendary 1966' "Afro Beat On Stage, recorded Live At the Afro Spot (PLP001)", with all the same songs, in its own jacket with original artwork, and liner notes!

Highlife Time - V/A

In our collection you'll find all of these Highlife stars and more, from the most celebrated to the obscure one-hit wonders. Not content with just churning out material available from European and American catalogues, Vampisoul journeyed to Lagos, scoured the record crates, dusted off the forgotten mastertapes and started afresh. As the radio DJs used to say back then: "People, Highlife is King! Long live Highlife!"

Available on 2CD and 2LP formats, both with complete and informative essay by African music authority John Armstrong.

Kokolo 7"

KOKOLO create a unique blend of Fela Kuti-inspired afrobeat, Cuban, Brazilian rhyhms and straight up funk. Guaranteed to move eben the most reluctant of feet!

Membre du groupe:

Abdelati Laoufi : chant, percussions
Aïcha Lebga : chant, percussions
Serge Lavalette : guitare
Tayeb Laoufi : chant, violon, guembri, mondole
Amar Chaoui : derbouka, percussions
Hervé Le Bouche : batterie
Pierre Eric Rakotoarivony : basse

*19 juin 2008, 19:00 - LA BELLEVILLOISE

19 - 21 rue Boyer, Paris, Ile-de-France 75020 - 15 euro et 12 euro tarif réduit

avec dj Big Buddha le groupe Bania les deambulations chorégraphique de Rahim l’artiste peintre Mustapha Moutadjine et d’autre surprise

*20 sept. 2008, 20:00 08:00 PM - Barcelone, Espagne

*5 sept. 2008, 20:00 08:00 PM - Le colisée, Oran, Algérie

http://www.myspace.com/gaadamusic

La mención de Bigbrotha de Miriam Makeba ha sacudido mi memoria. La primera vez que la vi fue en el concierto que Paul Simon dió en Graceland allá en 1986 (doce años han pasado ya, guau) No, no es que yo estuviera allí, es que lo he visto decenas de veces en una cinta de VHS a lo largo de mi vida. Muchos recuerdos han venido a mi memoria de las primeras veces que vi ese concierto. Mi sensación al ver al blanquito Paul Simon entre tantos músicos de raza negra, la alegría de la gente bailando y cantando, la identidad, y las imágenes que intercalaban de África. Fue uno de mis primeros contactos con El Continente y con sus gentes. Fue el primer despertar de una conciencia.

Algunas melodías resuenan como canciones de cuna, son ecos de todo un pueblo, claras y suaves, bajo los cielos de África...

Como esta...

Since releasing Lagos No Shaking by revered Nigerian drummer and Africa 70 bandleader Tony Allen about 2 years ago, the UK label Honest Jons has commissioned a series of 12" records by artists around the world that use the original Allen tracks as jumping off points for modern explorations of the Afro Beat sound. Now many of those tracks have been compiled for a new album, Lagos Shake. While the results are a mixed bag, standout cuts by Hypnotic Brass Ensemble, Salah Ragab & His Afro-Egyptian Ensemble, Mark Ernestus, and Warieka Hill Sounds make the investment well worth while. And the stunning cover photograph will strike up conversation when on display in your home.

If you ever have the chance to get yourself to Africa take it; go there. I don't care what color your skin is, Africa is the motherland and a place that we all should try to explore at least once in our lives. You won't be disappointed.

Just don't expect it to be like any of that stuff you've seen on National Geographic. Maybe that goes without saying but Africa is all at once more sophisticated and more raw than you'd ever expect. It defies the paradox and is constantly morphing itself into something else, something beyond expectation. It is completely organic. Magic.

The music on this mix is a prime example. Tribal and futuristic, the music compiled here by the good people at ANALOG AFRICA is completely unto itself and would influence American popular music for decades to come. Good stuff from all places. Get with the JUJU, here...now.

LISTEN!!! - ANALOG AFRICA VOL. 1

My bro, sent this to me today and i found the info @ http://www.summerstage.org/
Seun Kuti & Egypt 80
Afrika Bambaataa
Love Trio with U-Roy

previous post - Happy Feet ft. Bobbito & Rich Medina, June 6th @ Echoplex

It is seen before and now it seems to be finding its way back into popular music. Afro beat has in the past few years been increasing its appearance. One of the pioneers that has adapted the afro beat is Vampire Weekend. The band was formed back in 2006 where the four fellows met at the Columbia University. With a common love for popmusicians as The Zombies and The Beatles and a passion for afro beat, a genre from the 1970's, they started a band together.

A different and unique way of using traditional instruments is what characterize afro beat and this gives the music a special and admirable vibe. On the self-titled album Vampire Weekend make use of this and combine it with simple, african rythems and elements from classical music such as violins. This may sound a bit odd, however, the band manage to create a very unique univers. The references to african music makes the music organic and recognizable. Additional genres like punk and classical makes it sound new and exciting but still natural and familiar. This is why Vampire Weekend can add an odd instrument like the panflute into a track without you even notice it.

The album is very recommendable, and maybe that is why they topped the list of 'most read reviews' on pitchforkmedia in past two months. VW (not das auto) is the sound of a sunny day, a great summer, love and harmony. Peace.

Listen to the first five tracks on myspace - they're great!

Vampire Weekend on myspace

Vampire Weekend on the web

Review on pitchfork

Fresh from the pampa Sonido del Principe will bring you the best new Argentinian beats at Kunstpodium T. It's free, it's art and it's Vince, so be there!

Seun kuti + Egypt 80 - Think Africa

[audio http://www.fileden.com/files/2008/5/3/1895115/01%20think%20africa.mp3]

Seun Kuti + Egypt 80 - Na oil

[audio http://www.fileden.com/files/2008/5/3/1895115/04%20na%20oil.mp3]

Foals is gonna be the most important band in 2008. Mm, that's right. The hype is now long gone and you know what? I found that very convenient. We can really concentrate on listening to the music now. And this band is really making good music.

Foals is a band from Oxford, UK. The band members went to university together and gave this up because they wanted to play music instead. Now, three years after the band was formed, they released their long play debut. Foals themselves describe their new album as a dualistic combination of dansable and thougthful music - an album for the friday nights but also an album you would reflect on at home. Furthermore, this description includes an odd artistic reference as Gwen Steffani. Refenrences the music press has offered are genres like dance pop mixed with afro beat and distinctly math rock. Actually Foals is doing anything in their power to avoid the manipulating, hyping music press - especially the british. And the ferocious press has been out there, just waiting to pronounce the coming of 'the next big thing', namely Foals. Right at the beginning the members agreed on their position on music. It should be pop music with a cutting edge, cointain elements from all over the world and first of all the music should be anti-élitist. They intend to maintain a close relationship to their roots. Foals make music for people to enjoy it, that's all.

With an admirable opinion to music Foals indirectly proclaime themselves as best new act this year. 'Antidotes' is an amazing album. Bringing a whole new musical perspective to life Foals has commited an absolutely original piece of musical art. These five guys from oXXXford invented their own retarded, stoned, anti-pop. Accompanied by the New York-based afro beat collective Antibalas Foals merged math rock and world music, and what came out of it is this exciting new pop music. Anti-pop, Antibalas, Antidotes.

All tracks are great but the brilliant ones are songs like 'The French Open', 'Olympic Airways' and 'Two Steps, Twice'. In the french opening is easy to hear their inspiration of world music. The horns and guitar rythems has a distinct foreign character. With the intensity increasing as the beat goes faster the first (french) words seems like punchlines for me: "Un peu d'air sur la terre" (a bit air on Earth) - building up a massive amount of energy and releasing it at once: "Wasted games / Rackets and gadgets". 'Olympic Airways' has an amazing passage with a double guitar figure while 'Two Steps, Twice' alike the first track is very energetic.

'Heavy Water' and 'Electric Bloom' are great live performance songs. Foals commited an absolutely fantastic gig at Train, Århus, the 8th of March.

Hummer EP, 2007

None of the previous myspace-hits or rather singles Foals made before the album is included on the album. All songs on 'Antidotes' are brand new and the first single is called 'Balloons'. Later on Foals launched 'Cassius' and 'Red Socks Pugie' as the second and third single from the record. The previous singles 'Hummer' and 'Mathetics' are to be found on the 'Hummer EP' from 2007 which also contain the brilliant 'Astronouts and All'. Foals did not want to release a record which people already heard.

Facts:

• Dave Sitek (from Tv On the Radio) recorded and produced but the final mix was declined by Foals. They wished a different sound.
• Foals was formed in 2005.
• Foals play math rock, afro beat and pop.
• Foals' friends are making their coverart and music videos. The guy who makes Foals' music videos works full time at a kebab bar.
• The famous afro beat band Antibalas made additional horn music on 'Antidotes'.
• Foals should be seen live (accompanied by Antibalas).

Foals on Myspace

Foals.com

Foals on virb.com

via Frolab who I actually met in person at Rhettmatic's Bday party at Nightlife

I got to hear a track from this by Akira S & As Garotas Que Erraram [which my friend told me translates to Akira S and The GIrls Who Made Mistakes -- awesome] and I was really intrigued. It sounded like a Brazillian Joy Division. Kind of a dark wave band with cold-as-steel synths and droning vocals. Of course, I only heard one song but I was definitely impressed and want to hear more.

Yuda - Dackin Dackino

I had the hardest time putting this album back. The smaller print beneath the big title reads: "A Celebration of rare and unreleased Afro-Beat quarried from across the continent." I got the chance to listen to the song on there called "Yuda" and it stopped me in my tracks. I'm sure to most it sounds like your average polyrhythmic occasion but my brain catches on cymbal-centric percussion. Definitely a gem/jam.

It's A Vanity - Gabo Brown & Orchestre Poly-Rythmo [SAMPLE]

First stumbled upon this gem/jam on Analog Africa and my mouth started watering. After some asking around, some rotten liar told me alllllll about this album and then told me I wouldn't be able to find it very easily. Why the lies?! I had resigned to this false truth and then while flipping through the Africa section this album appeared.  I bet most of my fellow shoppers must have thought I was schizophrenic because I started cursing the liar under my breath;  I had hung my heart on this album as a lost cause and then it showed up waaaay out of my budget. Expensive find but it's the jam. So, I urge you: find it, buy it and be redeemed.

When it comes to Seattle hip-hop, there is Sir Mix-A-Lot and honestly nothing else if you're talking about national recognition. For a city that dominated mainstream music in the '90s with its grunge icons, Seattle hasn't broken its rappers in the same way it did with its alternative-rock acts. Ironically, Sir Mix-A-Lot was on the verge of a commercial breakthrough years before Nirvana, and you'd think a hip-hop revolution would've followed. Maybe it's because the Seattle rap scene hasn't found its voice yet, still trying to find its own identity from the overpowering shadows of East and West Coast hip-hop. Local talent Diano Garcia has the potential of turning that around. Built from parts of funk, rap, soul, psychedelic rock, and world music, Garcia has an adventurous style that could only emanate from the creative open-mindedness of Seattle.

Howie Mitchell: The Afro-Beat genre hasn't been absorbed by mainstream hip-hop, which seems to me suffering from creative stagnation. Why do you think that is?

Diano Garcia: I'm not really sure. They both spring from the same ancestral well. Of course in West African music you hear more and more hip-hop influences being absorbed into Afro-Beat music. I think Afro Beat needs more time to find its way into mainstream American music; maybe then we'll hear it seeping into hip hop.

Mitchell: Your music offers a variety of flavors, from psychedelia to world to funk. How did you become so eclectic in your tastes and creative expression?

Garcia: When I was a kid I listened to a lot of late '60s early '70s rock. At the same time I was really into War, the Ohio Players, Marvin Gaye, Steve Wonder. Eventually I got into Herbie Hancock. Miles' progression 
through the '70s still inspires me. I'd always been a vocalist, then in the mid-'90s I started studying traditional West African percussion. That opened the door to the amazing world of African music which obviously influences everything I do.

Mitchell: What artists moved you the most while growing up and in what ways did they affect you?

Garcia: I mentioned the artists and music I listened to growing up. Even though the styles were different, they all seemed to have to have a similar psychedelic effect on me. I grew up in a conservative suburban 
family. There wasn't a frame work for me to relate that kind of experience to, but that's how the music affected me. 10-years-old on the living room floor with the head phones on tripping balls. Definitely got me hooked.

Mitchell: You're based in Seattle, which is best known for grunge. How does your music fit into the musical menu of the Emerald City?

Garcia: Seattle has a lot of world music fans. There's also a vital hip-hop scene. It's obviously a rock town. Hopefully, what I do will relate to a cross section Seattle music fans.

Mitchell: What can people expect from seeing Diano Garcia in live performance? Do you have a band? What is the set-up like?

Garcia: People can expect a high energy, deeply grooving show with beautiful harmonies and rhythms that move you you from the inside out. I'm really excited about the band I've put together. They do an amazing job of interpreting the music into a live format. You can expect to hear all the music from Turn It On plus songs from an album I'm just now in the process of finishing. We like to stretch things out in the live performance. Play the songs as written while using the grooves as templates to improv off of.

http://www.dianogarcia.com

Jagua Nana - Orlando Julius & His Modern Aces

Ise Owo - Orlando Julius and His Modern Aces

This album immediately registers more as Afrobeat than any form of soul on my radar. I have to confess that my World Music cache is quite unimpressive. To be perfect honest, besides the random gems/jams in my catalogue, the only African musician that I am really familiar with is Fela Kuti. With that in mind I thought it might be helpful for me to use Kuti as a comparison specimen until I began to deconstruct what I was actually listening to and realized that I was being too literal for my own enjoyment.

My ear looks to recognize genre from an American perspective and I think I sometimes miss the nuances and just focus on the traditional, polyrhythmic percussion whose roots are traced back to West Africa. This album was released in 1966 in Lagos, Nigeria five years after both Nigeria and Ghana were granted their independence from Britain. Literally, what you're hearing is liberation music but technically what you are hearing is the lovechild of two different influences.

The first is a branch of Nigerian music called Highlife, supposedly West Africa's first popular music genre. This genre is most identifiable by it's guitar-based sound that Africanizes the European-influenced society bands and military marching bands. The next influence comes from the traditional worship music which incorporated 'kokoma' beats. An anecdote about Orlando Julius paints him following priests and worshippers around to their performances to observe and later mimic their music.

In 1964, Julius formed the Modern Aces and released their first single "Jagua Nana" the following year. When the soul from the States began invading the airwaves acts like Smokey Robinson, Otis Redding and the rosters of influential labels like Motown, Atlantic and Stax began being incorporated into Julius' sound.

Overall, it's an interesting listen with mild echoes of recognizable elements of American soul music but is obviously more closely linked with more traditional West African sounds. Definitely worth a listen.

myspace.com/aiff

War, famine and disease

Dying, poor, and dirt

Dilapidated shacks, burden

Cue the "African" music

The sunshine and singing

Children with big smiles

Mixed with sad eyed faces

Clapping and dancing

Cue the plea for money

Any amount will help

Five dollars goes far

Please, send something

Staring eyes fill the screen

CAN WE CELEBRATE AFRICA'S HAPPINESS?

Nigeria's literary and music masters

Achebe, Soyinka, Okri and Adichie

Fela Kuti and King Sunny Ade

Afro-beat and ju-ju

Advanced civilizations

And influential empires

Lalibela, Gondar and Axum 

The Great Zimbabwe

           *******

When we see all of Africa

We will see ourselves

More completely and

Not see victims but

Human beings, living