Kapingbdi “Hey Brother” 1980 Liberia Afro Funk,Afro Jazz,Afro Beat,Jazz Rock

Kapingbdi “Hey Brother” 1980 Liberia  Afro Funk,Afro Jazz,Afro Beat,Jazz Rock

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A masterpiece first album released in 1980 by the group Kapingbdi of West Africa-Liberia Republic, centered around E. Kojo Samuels. The 2nd “Do not Escape” announced the following year is also the best, but this is also a masterpiece that developed primitive and groovy Afro Jazz / Afro Funk. Afro · Beat · Manor’s track runs full of tracks A1, a wild party vocal and a perfect percussion and guitar beat, a slow break that reminds me of Cymande is cool A4, African percussion with a dusty sound Poly rhythmic Afro Jazz Suite B1 which is dynamic to the primitive is the best. Great recommendation. Recurrent release of 1994 release. (Chee)…~

Personnel: 
- Kojo Samuels - saxophone, flute, balafon, shekere, vocals 
- G. Charles Fyneah II - bass, percussion, vocals 
- M. Ciaffa Barclay - percussion, congas, vocals 
- Nana B. Johnson “Judas Of Africa” - drums, percussion, congas, vocals 
- Joseph K. Blamo - guitar, shekere, vocals 
- M. Ciaffa Barclay - lead vocals (4) 
- Joseph K. Blamo - lead vocals (5)

Tracklist 
A1 Hey Brother 4:33 
A2 Human Rights 4:14 
A3 Take The Guitar Out 5:12 
A4 Why I Can’t Get No Pay 4:58 
B1 Our Heritage 12:47 
B2 Kapingbdi 5:49 

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Tony Allen Hits With The Africa 70 “Jealousy” 1975 Nigeria Afrobeat,Afrojazz (feat Fela Kuti)

Tony Allen Hits With The Africa 70 “Jealousy” 1975 Nigeria Afrobeat,Afrojazz (feat Fela Kuti)

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Recorded in 1975 and 1977, Jealousy and Progress were the first two records Tony Allen released under his own name. He served as composer and arranger, with Fela producing and sharing arrangement credits. Although Fela’s presence (on sax and occasional vocals) lends some potency to the music, in general it is not very emotionally charged. “Jealousy” is a light jam with exciting, pulsating bass drum kicks; it is followed by the more earnest “Hustler,” whose riff closely resembles Fela’s “Don’t Worry About My Mouth O (African Message).” “Progress” opens the second album with an intense groove and an emphatic cry for progress, which is balanced by the dark yet perky “Afro Disco Beat.” Probably, most listeners will eventually view this music as little more than an interesting supplement to Fela’s catalog, but it certainly stands on its own merits…..by Jim Smith….~

Africa ‘70 - Fela Kuti’s band - back genius drummer Tony Allen on a couple of instrumental solo tracks. Unsurprisingly the result sounds very much like Fela Kuti but without Fela singing. It’s very much in the afro-funk style rather than Afro-Beat. 
The best of Fela’s output should, of course, be your first stop but this is well worth investigating once you’ve exhausted his top-ranking releases. …blowout ….~

Jealousy’ is according to many still the highlight of the legendary drummer’s 4 solo-albums featuring 2 afro-beat gems 'jealousy’ & 'hustler’. 
'jealousy’ is the first of the 3 solo albums by tony allen produced by fela kuti. in 1975 tony allen, the band-leader of afrika 70, got an opportunity to rehearse his compositions together with rest of the afrika 70. this ended up in his first record which was initially released on the private imprint soundworkshop records. part of the tony allen reissue series on kindred spirits, featuring remastered versions & original restored artwork. a must for afro-beat fans around the globe…..~
We are proud to announce the third release of the Tony Allen & Africa 70 (Disco Afro Series): featuring remastered original versions of “Jealousy” and remixes produced by Loya (Reunion Island). 

Multi-instrumentalist, initially playing jazz as well as African music, Sébastien Lejeune discovered electronic music when he was living in mainland France. This was the golden age of Warp Records figureheads IDM who had a huge effect on him, in particular the naïve melodies of Plaid and Boards from Canada. During a trip back to his homeland Sébastien became Loya. From that moment on, he started to mix Réunion maloya, Mauritian séga and Indian music with footwork tempo. He blends traditional maloya drums, beatboxes and synths, harmonizing the powerful vocals of Indian Ocean Island singers. 

“Tony Allen Afrobeat groove inspired me a lot to create the patterns with my drums machines which is the basic of my production work. The Indian Ocean Rhythms formerly coming from Africa recover the true sense on this beats.” 

In 1975, Tony Allen recorded his debut album, Jealousy, the first of three made with Afrika 70 and produced by Fela Kuti. Jealousy is according to many still the highlight of his 4 solo-albums, featuring 2 afro-beat gems “Jealousy” and “Hustler”. Recorded at Decca’s 16 track Abule-Oja studio in Lagos, Nigeria. Originally released on Soundworkshop Records in 1975….~

Credits 

Drums – Tony Allen (tracks: A) 
Piano – Fela Kuti (tracks: A) 
Saxophone – Fela Kuti (tracks: A) 
Songwriter – Shina Abiodun (tracks: A)

Tracklist 
A Jealousy
B Hustler 

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Peter King “Miliki Sound”1975 Nigeria Afrobeat,Afro Jazz Funk.

Peter King   “Miliki Sound”  1975  excellent Nigeria Afrobeat,Afro Jazz Funk..recommended…!

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Essential reissue ! Timeless album melting afro funk gems like ‘Jo Jolo’ and 'Ijo olomo’ and high standard Nigerian Highlife. Recorded 1975 in the UK and featuring Dudu pukwana on saxophone. This is the Tackle reissue (not the one by Mr Bongo)…..~

Originally released in 1975 via Sonny Robertsʼ Orbitone label, Miliki Sound is an album by Peter King, Nigeriaʼs most talented multi-instrumentalist, highlighting his unique blend of Afrobeat, Highlife, jazz and funk. As King remarked in later life Miliki Sound was his attempt to escape being tied down following a string of albums for the label by delving into his own Afrojazz fusion. Making little impact in his homeland, the album was particularly well received in America and Europe, increasing Kingʼs popularity. 

As with his other releases from the same period, Miliki Sound was entirely composed, written and arranged by King. Upbeat and funky the albumʼs six tracks feature plenty of impressive displays of Kingʼs saxophone skills, the instrument for which he was perhaps best known, alongside a talent for arrangement that plays the funk of the groove against the accompanying instruments and Nigerian chants. You only need to listen to Jo Jolo, Ijo Olomo or Gyinmi Komo to see why Kingʼs Afrojazz approach, a blend of modern jazz with highlife as the basis, has proven so popular and continues to endure for over three decades. 
Miliki Sound is part of a series of Peter King reissues on Mr. Bongoʼ s Classic African Recordings series. 
The LP features fully reproduced original artwork. Produced on heavyweight, old-style packaging, the same as the original LP with original label art. Also available on CD…..~

Some necessary disambiguation: this particular Peter King is the stellar Nigerian multi-instrumentalist, who plays much more than the saxophone. And Miliki Sound is the second album by him to be reissued as part of Mr Bongo’s laudable “Classic African Recordings” project. The first one, Shango, can be found reviewed here. 
Recorded a year after Shango, in 1975, Miliki Sound represents the beginning of a dazzlingly prolific period for King — he’d record another eight albums in the next three years. And if they’re all as good as this you should set aside a section of your record shelf to accommodate them. 
Originally released on Sonny Roberts Orbitone label, Miliki Sound is a hybrid of Afro-Jazz, High Life and African root music. It was produced by Roberts and features Eddie Tantan on trumpet, Dudu Pukwana on alto sax and Mfon Idem on tenor sax. Peter King himself also features on tenor, not to mention singing, playing the flute (as beautifully displayed on Jo Jolo), soprano sax, piano, percussion, and more. 
Indeed, on Boleya Koya King even proves adroit on the violin. This number has a flavour of Cajun dance music as well as township jive and even a hint of James ‘Blood’ Ulmer. It is shuffling and insistent, beguiling and captivating. Having demonstrated his ability on strings at the beginning of this tune Pete King comes weaving in again on tenor saxophone at the end, shining against the solid, unified backdrop provided by Tantan, Pukwana and Idem. 
Compared to Shango there is a more of an emphasis here on catchy, danceable tunes. The playful joyous lightness of Iya La Jole, for instance, carries us into the musical territory which would eventually sell millions of records when explored by Paul Simon. On the other hand, on Elelzy King’s violin once again conjures up a premonition of James Ulmer — specifically the Ulmer album Odyssey which featured the fiddling prowess of James Burnham. 
The record as a whole is a tightly packed box of musical tricks and treats, packing in many a surprise. Memorably described on the liner notes as a ‘Sweet Afro Casserole’ the music on offer is wide ranging but always presents a direct emotional appeal. 
The mood throughout this album is perhaps lighter than on the formidable Shango, so if you’re intrigued by Peter King this might be the ideal entry point to his recordings. You don’t necessarily have to chose between the two albums, though, as Mr Bongo is offering a bundle of the two on vinyl at a very advantageous price. 
As with the other Classic African Recording LPs, Miliki Sound is offered on lightweight but high quality vinyl and the sound is excellent: noise-free, deep and dynamic. 
The record is a faithful replica of the original, right down to attractive yellow and silver Orbitone label. There is one area where it might have been a good idea to be a bit less faithful and more practical, though. The sleeve has absolutely no printing on the spine, presumably to maintain fidelity to the 1975 release. So if this record gets misfiled, good luck ever finding it again. 
Perhaps the solution is simply never to take it off your turntable….by Andrew Cartmel….~

It’s almost ironic that Peter King, one of Nigeria’s best musicians, is better known in Europe and America than in his home country. Peter King’s is widely regarded as one of Nigeria’s most talented musicians. His name is synonymous with his Miliki Sound, a captivating fusion of African musical genres and influences. Miliki Sound was also the title of Peter King’s 1975 debut album, which was recently released by the Brighton based Mr. Bongo Records. This was the first of seven albums Peter King recorded between 1975 and 2002. However, there’s much more to Peter King’s career than seven albums. Here is a man who invented a musical genre, founded his own musical school, studied at London’s prestigious Trinity College of Music and performed in the middle of a war zone. Then there was Peter’s time as a member of the African Messengers who doubled as a backing band for Diana Ross, The Four Tops and The Temptations. Action packed describes Peter King’s long career, which I’ll tell you about. After that, I’ll tell you about his 1975 debut album Miliki Sound. 

Born in 1938 in the Enugu region of Nigeria. Growing up, he moved between Lagos, Port Harcourt and Lokoja. Then in 1957, aged just nineteen, Peter moved to Ibadan and joined the Roy Chicago Band. Initially, he was playing double bass andalto saxophone. After this he joined other bands in Ibadan and later, Lagos. Soon, he was playing double bass, drums and alto saxophone. When the time came to spread his wings musically, he headed to London. 

1960 saw Peter moved to London to study music. He played saxophone, flute, piano, drums, double bass and violin when ge studied at various colleges. This included the Central School of Music, the Guild Hall in 1961 and Trinity College of Music in 1963. Graduating in 1966, Peter formed his first band in London, the African Messengers. 

Following his graduation Peter met trumpeter Mike Falana and drummer Boyo Martins. Together, they became the African Messengers. They were they prolific group. Not only were they a prolific live act, but released numerous singles. Their best known single is Highlife Piccadilly. When they were neither playing live nor recording, they were the backing group for many Motown artists. Among them were Diana Ross, The Four Tops and The Temptations. Not content with playing in one group whilst in London, Peter King formed the Blues Builders. Like the African Messengers, The Blues Builders were a prolific live band, playing all over Europe and north Africa. However, when Peter returned home in 1969, he formed another group. 

On his return home to Nigeria, Peter’s formed another group, Voice of Africa. At one point, they even played in the middle of a war zone during the Nigerian Civil War. Voice of Africa were short-lived. When Peter returned to London in 1971, it was with Shango, his latest band. They toured Britain, Europe and America, further reinforcing Peter’s reputation as a musician. 

By 1971, critics were comparing Peter to some musical legends. His playing style was compared to John Coltrane, Gene Ammons and Sonny Rollins. Key to this was his ability to improvise and his tonality. Like Trane, Peter is the consummate professional. Even when he kicks loose, his playing is copybook. No wonder. Peter King was into his third decade as a professional musician. One thing he hadn’t done, was record a solo album. He would rectify this in 1975. Indeed, for the next couple of years, Lagos studios were home to Peter King. His first album was Miliki Sound, which I’ll tell you about. 

For Mikki Sounds, Peter King wrote and arranged six songs. He played tenor and alto saxophone, flute, piano, violin, percussion and sang. Accompanying him were trumpeter Eddie Tantan, alto saxophonist Dudu Pukwana and tenor saxophonist Mfon Idem. Sonny Roberts produced Miliki Sound which I’ll now tell you about. 

Opening Miliki Sound is Jo Jolo, a track that will be recognizable to anyone with a passing interest in Afrobeat. It’s an explosion of joyous music. The rhythm section create a pulsating, pounding beat, while percussion, piano and stabs of growling horns accompany Peter’s impassioned, pleading vocal. As the vocal drops out, the bank lock into the tightest of grooves. Then taking centre-stage is Peter and his trusty saxophone. He unleashes a frenzied, frantic solo. When it drops out, as if spent and exhausted, percussion, flute and his vocal pick up the baton. Each play their part in what is, an infectiously catchy Afro-beat classic. 

Boleya Koya sees the tempo drop slights. Just drums, percussion, flute and bursts of gnarled horns join forces. Soon, Peter and his band are creating another sensual groove. This is thanks to the rhythm section who provide the arrangement’s heartbeat. Peter’s vocal is heartfelt, emotive and sincere. Add to that jazz-tinged guitars, grizzled, bluesy horns and funkiest of rhythm section, and it’s a potent combination. Here elements of jazz, blues, soul, funk and Afro-beat are combined. They’re responsible to this invitation to dance, one that you neither resist nor help submitting to. 

Iya La Jole opens with a mesmeric and uplifting combination of percussion and stabs of blazing horns. Propelling the arrangement along is the rhythm section. Meanwhile, Peter’s vocal plays a crucial part in a track that’s best described as a carnival-esque slice of musical sunshine. 

Dramatic and urgent bursts of horns open Ijo Olomo. It’s as if their raison d’aitre is to grab your attention. Having done this, the joyous celebratory sound of previous tracks returns. Percussion and the rhythm section provide an irresistible rhythm, while the horns bray and blaze. Peter’s playing is peerless and flawless. Like his vocal, he plays with passion and a sense of urgency. This seems to spur his band on. They rise to his level, playing with the same energy, urgency and enthusiasm. 

A mass of violins, horns, percussion and the rhythm section open Elelzy. It’s an impressive wall of sound. Here, Peter plays violin which sounds slightly shrill, percussion and saxophone. Incredibly, he’s just as proficient on each instrument. As if that’s not impressive enough, he delivers the vocal. Unlike other tracks, it’s much more tender, and is also heartfelt and sincere. Then Peter’s saxophone takes centre-stage. He unleashes another flawless solo. When it’s finished, you realize just why Peter King was held in such high regard as a saxophonist by his contemporaries and peers. 

Closing Miliki Sound is Gvinmi Komo. Straight away, you realize that something special is unfolding. There’s a much more understated sound. Gone are the blazing horns. Instead, the rhythm section and percussion accompany Peter’s vocal. A pounding bass drives the rhythm section along. As it provides the track’s heartbeat an alto-saxophone makes brief appearance. Later, the horns braying bid a farewell to Miliki Sound. That seems fitting, given how important a role they’ve played in the album. Having said that, they’re used much more sparingly. This proves just as effective, as Peter’s vocal cajoles and encourages the band to close the album on a high. They don’t let him down. 

For anyone yet to discover Peter King’s music, there’s no better place to start than Miliki Sound. It’s easily his most accessible album. Not only that, but it’s truly irresistible album filled with delicious rhythms. Although only six songs and thirty minutes long, it’s an almost flawless album. From the opening bars of Miliki Sound right through to the closing notes of Gvinmi Komo, it’s a joyous, uplifting and irresistible musical experience. I’d describe Miliki Sound as a call to dance, one you can’t help but submit to. It’s almost mocking you, daring you to submit to its glorious rhythms. There’s more to Miliki Sound than some delicious rhythms. Much more. 

Intricate, multilayered and complex, Miliki Sound is filled with numerous subtleties, surprises and nuances. Musical genres and influences are thrown into the musical melting pot by Peter King and producer Sonny Roberts. This included everything from Afro-Beat, soul, funk, jazz and blues. Add to this Afro-Jazz, high life and wild life. It’s a glorious and unique fusion of styles and influences. Miliki Sound also proved to be a hugely influential album. So influential, that it gave birth to a new musical genre, Miliki Sound. This is a fitting tribute to the quality of music on Miliki Sound, Peter King’s debut album. Having earlier described Miliki Sound not just as an infectiously catchy, irresistible album, I’d add to that innovative, imaginative and influential. Standout Tracks: Miliki Sound, Boleya Koya, Elelzy and Gvinmi Komo….Derek music blog…..~

Credits 
Alto Saxophone – Dudu Pukwana 
Arranged By, Written By, Tenor Saxophone, Soprano Saxophone, Flute, Piano, Violin, Percussion, Vocals – Peter King 
Graphics – Alef (2) 
Liner Notes – T-Bone Wilson 
Painting – Hasida Arts 
Producer – Sonny Roberts 
Tenor Saxophone – Mfon Idem 
Trumpet – Eddie Tantan*

Tracklist 
A1 Jo Jolo
A2 Boleya Koya
A3 Iya La Jole
B1 Ijo Olomo
B2 Elelzy
B3 Gyinmi Komo 

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Almon Memela "Funky Africa" 1975 South Africa Afro Soul Jazz Funk

Almon Memela  "Funky Africa"  1975 ultra rare South Africa Afro Soul Jazz Funk

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Today we pick up the A.M Stragglers thread (sewn by fortherecord in February) with Almon Memela’s super rare Funky Africa. Information on Memela, like his records, is hard to come by and much of what I have gleaned below has been sourced from various auctions and the research of Yvonne Huskisson. 
Composer, guitarist and later producer for WEA Records in South Africa, Almon Sandisa Memela was born in Donnybrook, KwaZulu Natal in 1936. His first guitar was homemade, but his parents were not supportive of his musical endeavors and so he taught himself to play on borrowed instruments. After briefly working at the United Tobacco Company in Durban, Memela moved to Johannesburg in 1956 to work on the mines. While there he sought to take guitar lessons at the legendary Dorkay House in 1958. The three-storey education and performance centre was purchased by Union Artists (with proceeds from the 1954 farewell concert for anti-apartheid activist Father Trevor Huddleston) and became a fulcrum for artists to meet and share ideas. As it turned out, Memela, rather than becoming a student was asked to teach the guitar lessons! 
Memela made his first recordings in 1959 and his early career included band work with the United Artists’ productions of King Kong, In Township Tonight and Mhobelo as well as background music for the Jamie Uys film Dingaka. His first recording as composer was the track Nozizwe with the Travelling Singers in 1960. In 1963 his work began shifting toward instrumentals exclusively—interestingly, the same year that he formed his group, Almon’s Jazz Eight. 
The Jazz Eight recorded and performed throughout the 60s and 70s (listen to their HMV 78s in the Ballantine Archive) and the line-up included amongst others, future Drive members, Henry and Stanley Sithole (who joined the group around 1966) and Bunny Luthuli (in 1968). In 1969 the Sithole Brothers formed the Heshoo Beshoo Group before they and Luthuli established the Drive in 1971. In the meantime Memela and his group The A.M Stragglers recorded Soul Bandit (1969, Little Giant, G2) the album featured here on Electric Jive in February. 
Memela is remarkably versatile and his style shifts from soul jazz with the Stragglers to bump jive with Abafana Bamaswazi (on Highway Soul and the Swaziland Likwindla Festival, both 1977); from straight mbaqanga on some 45s to the rich afro funk textures featured on today’s offering: Funky Africa. 
In the world of eBay, Funky Africa has been elevated to “holy grail” status making this rare album even harder to come by and excessively expensive. The album is tight and excellent, but we might reserve the title of “holy grail” for Memela’s even scarcer album Broken Shoes (1976, Highway Soul, HSL 2009)… or at least until we listen to it!…..~

Composer, guitarist and later producer for WEA Records in South Africa, Almon Sandisa Memela was born in Donnybrook, KwaZulu Natal in 1936. His first guitar was homemade, but his parents were not supportive of his musical endeavors and so he taught himself to play on borrowed instruments. After briefly working at the United Tobacco Company in Durban, Memela moved to Johannesburg in 1956 to work on the mines. While there he sought to take guitar lessons at the legendary Dorkay House in 1958. [Huskisson, 1969] The three-storey education and performance centre was purchased by Union Artists (with proceeds from the 1954 farewell concert for anti-apartheid activist Father Trevor Huddleston) and became a fulcrum for artists to meet and share ideas. As it turned out, Memela, rather than becoming a student was asked to teach the guitar lessons! 
Memela made his first recordings in 1959 and his early career included band work with the United Artists’ productions of King Kong, In Township Tonight and Mhobelo as well as background music for the Jamie Uys film Dingaka. His first recording as composer was the track “Nozizwe” with the Travelling Singers in 1960. In 1963 his work began shifting toward instrumentals exclusively—interestingly, the same year that he formed his group, Almon’s Jazz Eight. [Huskisson, 1969] 
The Jazz Eight recorded and performed throughout the 60s and 70s (listen to their HMV 78s in the Ballantine Archive) and the line-up included amongst others, future Drive members, Henry and Stanley Sithole (who joined the group around 1966) and Bunny Luthuli (in 1968). In 1969 the Sithole Brothers formed the Heshoo Beshoo Group before they and Luthuli established the Drive in 1971. In the meantime Memela and his group The A.M Stragglers recorded Soul Bandit (Little Giant, G2, 1969), which can be viewed at Electric Jive 

Tracklist 
A1 Funky Africa (The Ghetto) 3:30 
A2 That Sweet Feeling 3:13 
A3 Telephone 3:33 
A4 Hi-Jack (Your Love) 4:23 
A5 Bumping The Wall 3:42 
B1 Hamba Kahle 3:15 
B2 Some Funky Things 3:32 
B3 Big Mama 4:20 
B4 Ntshonalanga 4:54 
B5 The Things We Do In Soweto 3:21 

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F. Kenya “Power House Vol. 2” 1976 Ghana Afrobeat,Afrofunk

F. Kenya “Power House Vol. 2” 1976 Ghana Afrobeat,Afrofunk

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“F. Kenya was born in the Ghanaian town of Asima in the Eastern Nzema District. Trained as a goldsmith, he started singing in the mid 60′s with the Ahamanos band and later joined Kaikaiku’s No. 1 band before going out his own in the late 70′s. He was one of the first popular singers to sing in his native Nzema language and the energy in his vocals and performances made him very popular in Ghana and neighboring Ivory Coast. F. Kenya moved to the Ivory Coast in the early 80′s and did a number of LP’s including the great LP’s Powerhouse Vol 1 and Vol 2. A few F. Kenya tracks have appeared in the Gun and Guitar compilations Vol 1 and 2 put out by John Booker, but nothing else has been available in the West. The song Ngaluka Ngaluka is from a 1977 Essiebon release of the same name. His nephew is the famous Cote de Voire musician Meiway….~

The music of F. Kenya is (in my humble opinion) some of the most stunning Ghanaian highlife ever recorded, music with a unique sound characterized by deep Akan harmonies, sweet organs, and heartbreakingly beautiful vocals. The Power House, released on Essiebons in 1975, is Francis Kenya’s first full length record. Like Kenya’s other work, these songs are beautifully arranged, with rich musical textures that feature an interplay between interlocking guitar parts and organ lines. In addition, these songs are unique in that they are sung in Nzema (Kenya’s own language) rather than the dominant Asante Twi (generally the language of highlife). The Nzema are an Akan ethnic group found on both sides of the Southern Ghana/Côte d'Ivoire border. As in the context of other African countries, boundaries imposed by European colonizers frequently divided ethnically similar groups across arbitrary national borders….~

Tracklist 
A1 Ewule Ama Mandobe 3:55 
A2 Benwonyia 3:30 
A3 Nzema Kotoko 4:42 
A4 Aya Bomo 3:14 
B1 Bodeba 4:10 
B2 Mewu A Bezume 4:15 
B3 Woahonl 2:55 
B4 Ada Melangoa 4:06 

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