Vinyl - African Roots / Afrobeat

Charismatic guitar savant Sibusile Xaba reframes maskandi and the avant garde into his own humanist manifesto.

With a vocal style that is part dreamscaping and part ancestral invocation, Xaba divines as opposed to plainly singing. Combined with a guitar style that is rooted in expressive picking, Xaba's music shatters the confines of genre, taking only the fundamentals from mentors such as Madala Kunene and Dr Philip Tabane and imbuing these with a mythology and improvisational intensity all of his own. The song TRIBUTE TO BAFO that features on this new record is an homage to Madala "Bafo" Kunene.

Maskandi, malombo, the desert blues and jazz all figure in Sibusile Xaba's expansive vocabulary, albeit through a magnetic individual filter. After the acclaimed release of ‘Opened Letter to Adoniah’ in 2017, Sibusile’s second album NGIWU SHWABADA was recorded in one continuous take at Studio Pigalle in Paris, France, in May 2019. It features his long-time musical companion Naftali on additional vocals.

Sibusile explains the philosophy behind this second album NGIWU SHWABADA ( I am of SHWABADA – a spiritual lineage) : ‘The record is a dedication to my ancestors for all the love, blessings and guidance they continue to share.These songs are conversations I have had with them, transmitted into songs to be shared with mankind. The elements of the record are waters & the great feminine spirit.’ - Bandcamp

Official Mr Bongo Reissue | Highlife & straight up funky Musiq

Extremely hard-to-obtain LP from the Ghanaian master composer, producer and musician. Originally released in 1982 by the WEA International label and then again in Germany in 1985 by Ambolley himself; this is one of his finest albums in our opinion.

’Ambolley’ fuses Highlife, disco and boogie sonics perfectly and features the anthemic club cut, ‘Highlife’, that we have spinning for a while – always does the job! - Mr Bongo

Ladilikan, the new album by Trio Da Kali and Kronos Quartet, represents a landmark in cultural cross-fertilisation that both parties rank among the most satisfying musical experiences of their careers. David Harrington, Kronos’ artistic director and founder, enthuses that the album is “one of the most beautiful Kronos has ever done.” On first hearing their griot grooves being played by violins, viola and cello, Trio da Kali’s musical director Fodé Lassana Diabaté said, “This is going to be the best collaboration of my life.”

Da Kali means ‘to give a pledge’ – in this case to a musical heritage that dates back to the time of Sunjata Keita, founder of the great Mali empire in the early 13th century. The line-up of balafon (xylophone) bass ngoni (lute) and female singer is also based on ancient tradition, although the trio format and its repertoire is now an endangered species in contemporary Malian music.
The Kronos Quartet – violinists Harrington and John Sherba, violist Hank Dutt and cellist Sunny Yang - have built an enviable reputation as the world’s most adventurous string quartet. Known for their commitment to continually re-imagining the string quartet experience Kronos has released over 60 albums of extraordinary breadth and creativity, and they are no strangers to collaborations with some of the world’s foremost composers and artists. For this project, Kronos turned to the American composer and their frequent collaborator Jacob Garchik to arrange Trio da Kali’s repertoire. Combining the spirit of fearless exploration with expert craftsmanship and skill, Trio Da Kali’s original repertoire has been taken on a fascinating journey, giving a new voice to timeless sounds. – World Circuit

An extremely rare, never-before-reissued, in-demand set by an unknown, single-album band from the early 80s, recorded in Nigeria’s Tabansi studios by an augmented Ghana highlife band.

So, who plays and sings on this beautiful collection? Unfortunately little can be gleaned from the original sleeve, which features a picture of only two band members on the cover and no credits or notes whatsoever. The vocals are ‘pure Ghana’, but our guess is that some of the keyboard parts are taken by Tabansi’s peripatetic production genius Jake Sollo- who may have had a part in the characteristically clean production and engineering, too. And it wouldn’t be surprising if a handful of the Tabansi Studio Band- the incredibly versatile Martins Brothers and cohorts thereof - found their way into the mix somewhere along the line.

The music? Varied cuts of classic late 70s/early 80s Accra highlife, as well as South African township jive-flavoured horn sections and Afro-Cuban clave patterns. - BBE

On this rare pressing from Nigeria’s Tabansi label, reissued by BBE Music, we have the mystery man Ojo Balingo, juju music master.

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Popularised all over the globe by King Sunny Ade in the 1980s, juju music had actually been around for decades before. Resembling highlife music in many ways, juju could be described as a more traditionally African form, mainly played by Yoruba people for Yoruba audiences.

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Although the original sleeve artwork implies that this is a ‘various artists’ album, it’s pretty clear that it’s the same unnamed juju band throughout, performing two long tracks, one on each side. Side 1 calls forth more traditional juju sounds, whilst the darker Side 2 adds funk breaks galore. Psych-rock Hawaiian guitars, talking drums and political lyrics rub shoulders in this almost-unknown 70s juju rarity.

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Ojo Balingo, in Yoruba, means ‘rain comes’, or ‘a breeze comes’. And so it does, with this never-before reissued obscure collectors’ vinyl from the vaults of Tabansi Records.– BBE

Since the 60s, Congolese guitar combos and orchestras have always been popular across West and Central Africa. But the ‘natural fit’ element between East Nigerian Igbo highlife and Congolese rumba and soukous made for a unique beat: highlife-soukous.

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Although eclipsed internationally by Lagos, Yoruba, Fela Kuti and Afrobeat, it was highlife- soukous that you’d hear at parties all over southern Nigeria in the late 70s and early 80s.

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Outside Africa, the sound proved a special favourite with Colombia’s Carnival Champeta and Pico Sound system DJs – where, even today, you can hear super-rare Bota International original vinyls booming out over 20-foot-high speaker stacks along Colombia’s Caribbean coast, the records being ‘covered up’ in the style of British Northern Soul 45s, or reggae sound system dubplates, so that competitors can’t discover the name of the tune or band. Welcome to the mysterious world of highlife-soukous – and Bota Tabansi International. – BBE

Jake Sollo (Born in Nigeria as Nkem Okonkwo) started his career in the 1960s as a member of The Hykkers, a popular band that drew large audiences across the country (even during the turmoil of the Biafra civil war). After The Hykkers disbanded, Jake joined the Aba-based super-group The Funkees…a musical outfit turned into instant superstars due to the State Broadcasting Service’s heavy rotation of their demo tracks. The Funkees became a phenomenon that spread across the country fast (and eventually to England where they were championed by the legendary John Peel). By 1976, due to creative and personal tensions, The Funkees slowly started disintegrating. Jake Sollo was soon offered the golden opportunity to join the ‘crème de la crème’ of Afro-rock groups: Osibisa. Jake’s distinctive rhythm guitar graced their hits, but his tenure with them was short-lived…in 1977, Sollo and two other members left the band because of financial disagreements.

Jake Sollo quickly moved on and did just fine after his experiences with said bands…he got steady work as a session musician and became a hot producer in the London scene. Eventually, that chapter came to a close as well (with budgets and visas to record in the UK becoming increasingly scarce at this point). Jake returned to Nigeria where he started recording and producing albums, during this period he became the MOST in-demand producer in Nigeria. – Light In The Attic

Formed in 2002 in Ottawa, Canada, the Souljazz Orchestra have been releasing a series of genre-defying albums and touring throughout the world ever since. The band may mention soul and jazz in its name, but on their new album, Chaos Theories, the Souljazz Orchestra reveal themselves to be well-versed in the sounds of reggae, ska, disco, and punk, along with a little bit of both jazz and soul. The band also continue their tradition of outspoken political commentary throughout the album. 

Led by keyboardist/percussion/singer Pierre Chrétien, the Souljazz Orchestra includes Philippe Lafrenière (drums, percussion, vocals); Marielle Rivard (percussion, vocals); Ray Murray (baritone saxophone, percussion, vocals); Steve Patterson (tenor saxophone, percussion, vocals); and Zakari Frantz (alto saxophone, percussion, vocals). – Pop Matters

 Super-funky business from Nigerian-born multi-instrumentalist, Peter King; fuses funk, jazz and highlife vibrations. ‘Omo Lewa’ follows his ‘Miliki Sound’ album, also available on Mr Bongo. Recorded in London, originally released in 1976 by Orbitone, this is one of his finest records. 

Released November 8, 2019 Licensed from Clinton Roberts.

Official Mr Bongo reissue. – Mr Bongo

 Ghanaian highlife music has never been a single statement of artistic intent. Birthed from the indigenous rhythms of Akan music and incorporating western instrumentation such as electric guitars and horns before being played in the 1920s at exclusive gatherings of the upper colonial class – hence the music’s name – to now fusing American rap motifs in the sub-genre hiplife, Ghana’s most popular musical export is ever-changing. Yet, one of its greatest living exponents, vocalist Pat Thomas, has also been one of its most consistent representatives.

There is a palpable feeling of joyous inclusivity on Obiaa!, one that is harnessed in that necessary exclamation point, as this is active, kinetic music. While Thomas’s lyrics aphoristically tackle the perils of “showing off on social media” on Onfa Nkosi Hwee and the merits of “being patient in life” on Ntobuase, he delivers each line with an unshakeable optimism, his “golden voice” still radiant and full of light.

Amid our penchant for curated archive compilations of far-flung genres, here is the living, breathing testament to a music that is very much still alive and being championed by those who have spent their lives perfecting its craft. Long may it continue in all its world-spanning complexity. – The Guardian

Solid reissue of this piece of highlife history from Ghana!

'Extremely hard-to-find Ghanaian LP from legendary musician Gyedu-Blay Ambolley, originally released in 1980. Tough Highlife, funk and boogie moods with added synthesizer! Ambolley is still actively touring today, keeping these vibes alive – he will be touring Europe throughout 2019.' This is the third Gyedu Blay Ambolley LP that we have reissued on Mr Bongo, following on from his seminal ‘Ambolley’ and ‘Simigwa’ recordings.' - Mr Bongo

Tough, mid-tempo Ghanaian funk & Highlife grooves from Ebo Taylor Junior, son of the mighty Ebo Taylor. Originally released in 1978; now extremely difficult and expensive to find in its original form. Today Ebo Taylor Jnr plays keys in his fathers band that continues to tour when he is able to. – Light In The Attic