Tag: african

Pig Hill No More! Swindon’s Fantastic Jazz & Soul Festival

If a rare journey to Swindon usually lands me in the Vic or Beehive, today things were going to be different. A lack of beer tap options was made up, tenfold, by outstanding acoustics of a nineteenth century church, a second stage in the accompanying community centre, an impressive all-day selection of jazz and African music, a delicious Jamaican food stall, and a unique and upfront experience locally with happy hospitality; welcome to the second day of Swindon Jazz & Soul Festival….I took my favourite jazzy hat, but left it the car!

Having been listing the regular club events of Jazz Knights at Swindon’s Royal Oak, generally on Tuesday evenings, for a while on our event calendar, it was high time I poked my nose in, and their annual jazz and soul festival at Old Town’s Christ Church was the ideal opportunity. It’s in its fourth year, folk there told me it’s become an unmissable annual attraction.

Arriving a day late, Friday concentrated on the soul element, climaxing with a Stevie Wonder tribute; would’ve enjoyed this but duty called. Saturday, I’m informed, is all about jazz; I’m somewhat in the dark with jazz hands and technicalities, but more than okay with that. Also, though, the community centre adjacent offers various styles and interpretations of African music; double-whammy.

The initial impressive element hits you before entry, the place is amazeballs. And once in, the acoustics in this colossal spire church are stupendous. This was supplied, at the time, by Cheltenham’s leading saxophonist and composer Kim Cypher, with the archetypal red beret and overwhelming quartet; nice hat, see?!

If jazz in its heyday was considered outrageous and one wouldn’t find it in a church, times change, clearly; all the pews accounted for by large age and ethnic demographics, all taking in the beautiful sounds of traditional jazz, in harmony, with a hint of red wine, said equally as much as the once popular Marlborough Jazz Festival. But I must check the community centre too, as Two-Man-Ting are already playing, and I know and love these guys, from them having played the trusty Southgate back in Devizes.

This Bristol-based duo consisting of English guitarist Jon Lewis, who has a clear penchant for Two-Tone and punk inclinations of yore, and Jah-man Aggrey, a Sierra Leonean percussionist, make for an amazingly unique sound with wonderful audience participation. They made it obvious, as a world music lover, this mini-Womad is going to be my preferred base for the day; found myself a comfy chair.

With an African fusion dance workshop with Morilie Taiwo of Dance Roots Africa in the centre, my two left feet sought the Jamaica Me Crazy stall to fill my soul food appreciation, which they did, mouth-wateringly. And between acts I sauntered from there to the main stage. Though my knowledge of jazz can be written on a matchbox, I know what I like. Bristol’s The Ibou Tall Jazzmates are causing an incredible sound, contemporary yet bebop, like Charlie Parker… to my untrained ear!

When I did drop back to the centre, a crazy-haired saxophonist was wandering through dancing crowds, and I guessed this must be Rhythm Of Africa, an experimentally yet entertaining, and often comical trio, exceptionally skilled in creating a beguiling sound through just djembe drum, guitar and balafon, the latter taken up by said saxophonist.

Things were more traditional jazz in the church, with the aptly named It’s Trad Dad, a passionate orchestra of accomplished musicians. All very conventional, tad swing, and delivered with an astute passion you couldn’t ignore. Here is what I was expecting to see, I got it with bells on, anything else was a bonus ball.

The crème de la crème of The African music showcase, Suntou Susso made my night, though; a bonus ball indeed. Half Gambian half Senegalese, Suntou Susso introduced the audience to his instrument of choice, the Kora. It’s a lute-harp multi-string instrument made from cow skin covered pumpkin, with a mahogany bridge, and he truly is a virtuoso of it. I’ve heard this instrument before, through an old cassette of Dembo Konte and Kausu Kuyateh, but I’ve never seen it played. To add to the already sublime ambience, Suntou completes this enchanting effect with a full funky backing band, proficiently tight and uniformed. It was, in short, a jaw-dropping awe moment.

I arrived at Swindon Jazz & Soul Festival concerned it might all be rather insular, born from a regular jazz club in a town erroneously preconceived to be cultureless, hence leaving my jazzy hat in the car! Figuring it’s akin to Mickey Mouse ears at Disneyland, or an I ‘heart’ NY in New York, isn’t it? Jazzy hat might suggest I’m desperately trying to conform, when really, I look like a twat in it; it can stay on the backseat, I didn’t need a cliché to fit in!

To consider if Oxford has its university and Bath has its Roman Baths, Swindon has its Magic Roundabout, is picky, you know this, and think of Spitfires, Doris Day, Edith New and the GWR; I believe anyone in a nearby town critical of Swindon has infrastructure jealousy issues! Still, I pondered that I shouldn’t expect miracles. I left feeling precisely the opposite. This comfy, quirky and buoyant mini-festival was certainly communal, but friendly and welcoming, and what’s more, the musical professionalism was of top quality. The hat wouldn’t have ruined the effect after all; it was as unpretentious as you’d want a jazz festival to be; bloomin’ marvellous!

Let me be the Melinda Messenger in your Billie Pipeline, local jazz aficionados take note, Jazz Knights is well worth trekking to Swindon for, and any and everyone looking for a unique and sincere music appreciation festival should bookmark next year’s Swindon Jazz & Soul Festival; I had fun there, my hat didn’t!

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N’Faly Kouyaté (Afro-Celt Sound System) Tour Includes Wiltshire Music Centre

Perhaps best known as the frontman of Afro Celt Sound System, the Belgium-based artist N’Faly Kouyaté will be hitting the road for nine intimate shows with his new solo project.  Beginning at Southampton’s Turner Sims on 8th February, the tour will include Bradford-on-Avon’s Wiltshire Music Centre on the 11th February….

N’Faly Kouyaté’s UK tour will be preceded by the release of a brand new single, “Premiers Pas”, a powerful, political track that finds the artist echoing Africa’s call for total autonomy. Offering a poignant reflection on Africa’s tumultuous history, the single will shine a light on the suffering, terror, and an unquenchable thirst for freedom the continent has endured. Merging French and Malinké languages, the lyrics reflect Africa’s fervent call for complete control, with N’Faly Kouyaté requesting the world recognise Africa’s right to shape its own destiny. It will be streaming on all services on 3 February 2024. 

The release of “Premiers Pas” will be accompanied by a striking official music video co-directed by N’Faly Kouyaté, his manager Sandra Werner, and their team. The metaphorical visuals will depict Africa’s journey to freedom, celebrating cultural diversity and the inner strength of its people. Filmed in South Africa, the choice of Nelson Mandela’s homeland as the filming location underscores continental solidarity in the pursuit of autonomy. In tandem, the artist sheds light on similar phenomena in daily life, such as workplace abuse of power, domestic violence, and many others. 

Speaking about the new single N’Faly Kouyaté says: “I am raising a cry with ‘Premiers Pas’ to demand total autonomy for Africa. This song is the expression of the determination of an entire continent to finally take control of its destiny.”

More than a song, “Premiers Pas” is the resounding cry of a continent seeking to reclaim its voice and place on the global stage, sung by one of its most passionate musical advocates. 

Originally hailing from Guinea, N’Faly Kouyate is a world-renowned Griot master musician and multi-instrumentalist. Moving to Belgium in 1994, he formed the ensemble Dunyakan (The Voice of the World), before joining Afro Celt Sound System in 1996. Frequently performing at WOMAD, the latter have released many albums through Real World Records and performed with stars including Peter Gabriel, Robert Plant, and Sinéad O’Connor. Owning an innovative sound that blends electronica with music from Ireland and West African countries, Kouyate prominently provides vocals, kora and balafon for the group.

Famed for his irrepressible energy and virtuoso performances on stage, N’Faly Kouyaté’s latest solo project will promise a spellbinding mixture of polyphony and electronic music in symbiosis with traditional instruments, called Afrotronix.

On his upcoming ‘Ré-Génération Tour’, N’Faly will be joined each night by his extraordinary ensemble, promising a unique opportunity for British audiences to experience this visionary artist like never before. He comes to Wiltshire Music Centre in Bradford-on-Avon on 11th Feb, Tickets here.

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Soukous at Wiltshire Music Centre with Kasai Masai

Okay, they’ve given me a seat number but I can’t imagine It’ll hold me for long. Soukous is infectious, in a word. The dance music of the Congolese, Kasai Masai wears its crown in the UK. Popular on the festival circuit, they’ve perfected this captivating sound over fifteen years and last night blessed the outstanding acoustics of the Wiltshire Music Centre in Bradford on Avon; an opportunity too good for nasty weather to distract me…..

Jesting with frontman Nickens Nkoso before they unleashed their hypnotic and irresistible rhythms, if he was from the Congo he could’ve at least brought the weather with him; yeah, a chilly evening, perhaps inapt for African music, but they sure warmed up the inside of this cathedral of music. Though Kasai Masai are London based, he originates from its capital, Kinshasa, and he briefly introduced me to the band from various areas of central and east Africa, such as Kenya and Tanzania.

I wanted to gauge Kassi if they treated a gig such as this, an audience predominantly unaware of soukous, any different than, perhaps, a London club where African rhythms are more recognisable, but he seemed certain they tackled them all with equal gusto, expressing the wealth of environments they played at, from arts centres to festivals such as Glastonbury and, naturally Womad. This said, one toe was eased in gradually, the opening songs steady in tempo and largely a Congolese rhumba, the root of soukous. Gorgeously layered, lengthy compositions, meld traditional aspects of the music of their homeland with their contemporary counterparts; the second he informed us is a lullaby, apparently! It was sweet and sentimentally executed, ambient, but still, I was edging off my seat.

It is not the structure of Kasai Masai, a six-piece combo of drummer, bassist, lead and rhythm guitarists, one sporadically swapping bongo and saxophone, and Kassi’s smooth vocals and occasional percussion with maracas, rather the unity and harmony of this tight-knit ensemble which charms one so evocatively. No player is upfront, the saxophone is subtle, bass levelled, the bongos drift, the singer binds it, sure, but the secret ingredient is proficient harmony.

Like many world music styles, you need to untrain your ear from the quadrille plod pop has accustomed you to, think of it like breaking in a pair of old leather boots. Unlike some others, soukous is made easy. Swapping to three chords midway, upping the tempo for the offbeat gives it this danceable surge, like those new air-wear souls which your feet slip straight into and off you walk; soukous is the Nike Air of African music! This theory was put to test last night at the Centre, as Massai began, an unassuming audience paid attention, as he encouraged the crowd to dance, it then became compulsory.

The last few songs of the first half I was aching to shake my thang, as the tempo upped and soukous became prominent, it demands it of you. Such is the main hall’s seated set up, you feel the British unmalleable obligation of reservation. The second half I was adamant, used the excuse I could get better photo angles to the few who made the dare to dance in the dancer’s corner, and abashed, added my real intention! Such colourful, electric rhythms, the like rare in these backwaters, I have to tip my hat to The Wiltshire Music Centre for providing such a diverse range of acts. Yeah, I was on my feet, it was hypnotic, but seconds later, I looked up to the seating, the majority were too.

They held the crowd spellbound as exquisite, exotic rhythms basked the Centre in African music’s opulence, a true and authentic show of the riveting and beguiling reverberations of a distant land; that is world music’s appeal, and that is what they delivered with certain perfection.

But the show is only a cornerstone to the whole experience at the Centre. This event was backed up earlier with a drumming workshop hosted by Kasai Masai, highlighting the educative element to the Centre’s ethos. Equal to this, upon me entering this wonderful purpose-built complex, the bar was filled with chat, and students jammed multiple xylophones, accompanied by one pianist, in the foyer; a clue to said ethos, there’s always something happening at the Wiltshire Music Centre, and as the name suggests, it’s usually something musical!

The Music Centre is hospitable and inviting, and gets full marks for its extensive and diverse programming. It was a brilliant evening, though with an act as mesmerising as Kasai Masai I can only begin to imagine the magnificence in atmosphere at a grassroots festival; if you see them on the lineup, head that direction. The remaining of us, The Wiltshire Music Centre in Bradford-on-Avon is a real gem, check out what is coming up and do pay it a worthy visit.

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Dakar Audio Club; Exeter’s African Secret

Such is the universal beauty of Bandcamp, one goes exploring music from another continent and discovers something sublime, from only ninety miles down the M5!

If it’s unlikely there’s an Exeter Audio Club in Senegal, there’s certainly a Dakar Audio Club in Devon, whereby afrobeat fusion knows no boundaries. I mean, I went searching for soukous, more Congolese rhumba-influenced than the dance music mbalax of Senegal, popularised by Youssou N’Dour, but when it boils down to the nitty-gritty, usage of the afrobeat blanket term averts erroneously pigeonholing outside Africa. Providing it’s got exotic riffs and danceable beats, I’m game, and the Dakar Audio Club certainly ticks those boxes.

If mbalax isn’t as frenetic as soukous, Dakar Audio Club partially reflects this; it rocks steady, offering euphoric soundscapes, citing Malian blues, Ghanan highlife and reggae, as well as soukous as key ingredients to its unique melting pot; afro-fusion.

Not put off by the algebra title, B+W is their second full album, released last year, but I’m mentioning it now because I’ve just discovered it, and love shines when tropical ambience washes up on our shores. Viability of catching a band live is problematic for world music fans, unless you’re an international jetsetter or, as is here, the mountain welcomely comes to Muhammad.

They boast as a seven-piece band formed with members from Senegal, Zimbabwe, Seychelles, UK and Ireland. The latter evident in the most diverse track Lines in Desert, which occupies an experimental place between their house style and something particularly eighties two-tone, English pop of The Selecter or Specials. To the untrained ear you’d be excused for imagining this might be Paul Simon’s Graceland influenced by north-western territories rather than South Africa, dashed with Can’t Stand Losing You from The Beat. That said, N’Dour featured on Graceland, so who’s splitting hairs?

Throughout the remaining eight tracks, though, which are far less European sounding, the subtle reggae element is more dub than ska, perhaps nodding to the resistance rhythms of Thomas Mapfumo and chimurenga, as this beautiful album offers hypnotic beats and melodic rhythms, encasing the blend, gorgeously and nimbly executed. In this comes my point, it’s engaging, moreish, absolutely divine and doesn’t stand on convention of any particular genre, which isn’t quintessentially necessary locally anyway.

In a pretend word, it’s Womad-tastic, opening with a jazzy track Howmoco, in which you should imagine as if The Brand-New Heavies were from Zimbabwe, the second tune wears a similar suit, immersing you in the hypnotical rhythm of their wholesale style. Next is aforementioned Paul Simon does Two-Tone Lines in Desert. Buganala though skanks perhaps more, really displaying the reggae influence inherit in many contemporary African genres. Nea Wurri Solo comes over township jive, whereas standout track Dancing The Moonlight, sounds like the soukous I was looking for, though steel drums add a Caribbean influence here, and there’s a club fashioned remix on offer as a single too.

From there we are treated to a continuation of this gorgeous melting pot of tropical sounds and rhythms, which will bring sunshine into your life on the cloudiest of days. By the penultimate Amuul Solo, I’m too locked into the flow to bother with categorisation as it wobbles with dub reverbs, but casts the hypnotic seven riffs of Africa, in accordance with Hugh Masekela, with a blissful ambient finale.

I confess, if I have an area of expertise, African music isn’t it, but least I know what I love, and this is it! It’s one those you have to listen to and get lost in yourself, so do it, and brighten up your Sunday!

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Was a TwoManTing at the Southgate

Managed to make it somewhere between out and Micky Flanagan’s out-out last night. In other words, I didn’t change out of my manky khaki shorts I’d been gardening in, but still got a pint or so down “the Gate.” I’ve been aching to witness the duo, TwoManTing for myself, Captain Obvious; yes, TwoManTing is a duo, you can’t make it up.

Appearing at the Devizes trusty Southgate a few times previously, it’s been something I’ve been meaning to catch-up with, being their appellation sounds all rather reggae, my favourite cup of tea. My residual curiosity though, how can a duo make reggae, something you surely need a gang for; a bassist, a drummer, brass section et all?

Two Man Ting

Answer revealed, the “ting” part might be misconceiving to our preconceived notion the phonologic is Jamaican patois. The Bristol-based duo consists of English guitarist Jon Lewis, who has a clear penchant for Two-Tone and punk inclinations of yore, and Jah-man Aggrey, a Sierra Leonean percussionist. They met playing together as part of dance band, Le Cod Afrique, at venues such as Montreux Jazz Festival and WOMAD, formed the duo in 2004, and make for an interesting and highly entertaining two-man show.

Something of a surprise then, and a rarity around these backwaters, to hear maringa, demonstrative folk of Sierra Leone, perhaps catered more to our tastes via Jon, but essentially the same ballpark, acoustic guitar and percussion. Somewhere between calypso but with the Latino twinge of rhumba, best pigeonholed, their sound is motivating and beguiling, and achieved with originality. In fact, to my surprise most of their compositions were their own creations, save the sublimely executed known cover of The Clash’s Guns of Brixton, Jon’s clear punk inspiration showing forth.

They told there’s a Clash cover on each album, of which they’ve produced three. Story checks out; Armagideon Time on their first album Legacy, which I could quibble is actually a Coxsone’s Studio One cover by the Clash, aforementioned Guns of Brixton on 2015’s Say What? and something of a rarity from Combat Rock, the poet Allen Ginsberg’s duet with Strummer, Ghetto Defendant, which can be found on their most up-to-date album, 2019’s Rhymes With Orange.

But this punk influence is sure subtle, the mainstay of their enticing sound is the acoustic maringa, palm wine music traditional throughout West Africa, at least for the start of the show. The most poignant moment for me was Jah-man attributing his homeland’s natural glory, rather than that which people tend to ask him about, the civil conflicts and war, in a chorus which went, “why not ask me about….”

Jah-man and George hanging out after the gig

As the performance progressed the fashion modernised, live loops upped the tempo, and it became highly danceable afro-pop, in the style of soukous, more spouge than cariso in delivery; how apt for the current heatwave! At times lost in the music, it was easy to throw-off the notion the wonderful sound was reverberating from just two guys, rather than an eight-piece band, reason enough for BBC 6Music’s Lauren Laverne to say of TwoManTing, “brilliant – if you want a bit of early summer, then get this into your ear-holes!”

Today they can be caught at Salisbury’s Winchester Gate, but appreciation again to The Southgate for supplying Devizes with something diverse and entertaining. Next Saturday at “the Gate,” Rockport Blues appear, for a night of blues, rock and soul classics, starting at 7:30pm.

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Local Artist Clifton Powell Commissioned for English Heritage Exhibition The African Diaspora in England

A proud moment for Devizes-based artist Clifton Powell as he poses for a photo next to his amazing portrait of Abbot Hadrian, in Canterbury.

Clifton joins Elena Onwochei-Garcia, Glory Samjolly, Mikéla Henry-Lowe, Hannah Uzor and Chloe Cox in a project by English Heritage. EH has commissioned a series of portraits depicting six historic figures from the African diaspora whose stories have contributed to England’s rich history. Each artist has been supported by their curators and historians to creatively portray their subject. Each painting will be hung at the English Heritage site connected to its subject this summer.

St Hadrian of Canterbury played a pivotal role in the early history of the English Church. He was born in North Africa and travelled to Italy, most likely as a refugee, before making the journey to Canterbury. He was abbot of the monastery of St Peter and St Paul (later St Augustine’s) in Canterbury, between 670 and 710.

During his time in Canterbury, he became an influential teacher and scholar, and helped shape the theology and rites of worship of the English Church.

Clifton Powell studied at the Jamaica School of Art in Kingston, Jamaica, and moved to the UK in the late 1980s. A versatile and skilled painter, Clifton is influenced by the places he has travelled to and the people he’s met. He has taken part in numerous exhibitions and art fairs in London, Bath, Stroud and the West Country including the International Black Art Fair, The House of Emperor Haile Selassie, Bluestone Gallery and Diaspora at Salisbury Arts Centre.

You may also remember me reporting on the day I attended the charity-run art group for the elderly, Arts Together, in Melksham way back in February 2019, where I met with Clifton, who is a mentor and volunteer.

Recent areas of exploration in his work include the Wiltshire countryside, wildlife, birds, still life and his remarkable series of paintings depicting unrest in the world. He is currently working on a painting project titled African Art. You can catch his work closer to home, from 21st June to 3rd July at The Yelde Hall in Chippenham when he exhibits as part of Breakout, the Alternative Art Show.

A follow-up to the 2019 exhibit Never Mind The Heritage, Here’s an Art Show, in which three local artists, Si Griffiths, Mike Long and Emma Sally exhibited their “alternative art,” Breakout extends the concept, with additional artists Clifton, Daniel Carmichael, Helen Osborne-Swan, Jimmer Willmott and Montague Tott, as well as Si, Mike and Sally. I’m looking forward to this one.

While I’m on the subject of art, don’t forget we have an online art gallery on Devizine, yes we do! Each artist gets a page to show off their work, Clifton’s is here, and if you’d like to be featured with links to your website, just drop us a line, there is no fee.

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Song of the Day 29: Bunny Wailer 1947-2021

Photo Credit: Redferns/Gem

I know, this feature is supposed to be for new music, promoting new and upcoming bands and artists. But here’s a notion, without the pioneers of many sounds their music would sound very different. So perhaps, when we lose a legend, we could also use it to pay tribute to them.

Sound like a plan?

Righty then, suitable for the agenda is the sad news today of the passing of the last of the three original Wailers, Neville O’Riley Livingston, aka Bunny Wailer. The red, gold and green flag flies at halfmast today, blessings to his family and friends.

And that’s my song of the day.

Tuareggae; Bombino is the African Hendrix

In conventional record shops of yore, albeit some survived, you’d find the mainstream alphabetically presented, and it’d be a dare on to yourself to venture to separate genres. They were usually labelled thus; Reggae, Classical, Easy Listening, and World, perhaps Blues too. While some conveniently slip into a standardised genre, others must have had grey areas. But, surely the most diverse was “World,” as if every remaining country in the world except the one you live in, and probs America, sounds the same, and furthermore, you’d be some kind of beatnik pseudoscientist weirdo to even contemplate browsing there.

It’s all so vague, and without the music industry pushing, a minefield of guestimation. I was fairly young when I figured there’s a world of music we’re not exposed to, pop was the tip of an iceberg. I dipped my head under, but it was freezing with typecasts, impossible to know where to search to find something affable.

Today, and thank goodness, the internet is a universal reference library, there are no excuses for not thinking outside your geographical sphere. But with anything foreign to your ears, you need to unlearn your ingrained judgements, and listen with an open mind. Rarely something comes along so exclusive and diverse, but with a familiar element to comfort you.

On November 27th Partisan Records will release, Niger-born Tuareg guitar virtuoso Bombino’s first live album as a solo artist, Live in Amsterdam. I’ve had this unique marvel on play for a while now, and if you’re put off by the presumption any African music never relates to our rock music, this could be the introduction to a world outside said sphere.

The ingenious part of this album, other than the atmospheric quality of a live performance, and Bombino’s sublime proficiently with a guitar, is the rich musical palette. It rings with genres you’re accustomed to, shards of funky soul and reggae, which often come into play in African music, but the man, I swear to you now, is the African Jimi Hendrix, so bluesy rock is prominent.

Tuareggae is his self-penned, totally unique genre to define it. The “Tuar” part derives from his own people, the Tuareg people, a Berber ethnic confederation of nomadic pastoralists, which populate the Sahara in a vast area stretching from far southwestern Libya to southern Algeria, Niger, Mali and Burkina Faso. So, what we have here is principally a fusion of these accepted European and American genres with this brand of North African folk.

Just as a bhangra-pop hybrid now appeases western ears, Bombino has something which will placate any preconditioned aversion of African musical styles. In fact, the untrained ear might liken it something Eastern, or middle eastern at least, as it is spoken in Bombino’s native tongue. Note though, his on-the-record fans includes Keith Richards, Stevie Wonder, and Robert Plant, and if it’s good enough for them……

This album will not only challenge your presumptions, it’ll do so while drifting you on gorgeous a journey of musical greatness akin to any known bluesman. Bombino knows precisely what buttons to press to evoke a mood, it can drift down a river at times, it can explode into up-tempo funk, but its ambience is awe-inspiring throughout.

Recorded in November of 2019, while Bombino and his band were touring behind his acclaimed latest studio album Deran. Live In Amsterdam is dedicated to the loving memory of long time Bombino rhythm guitarist and vocalist Illias Mohamed Alhassane, who sadly and suddenly passed away in September. The recording, then, features Illias in his final performance with his ‘brothers’ in Bombino’s band. Yet, you need no background, not really, if you’re looking for something different, but with shards of something familiar, if you like either blues, reggae, rock or funk, or if you want to be taken on a musical journey beyond your usual perimeters, Bombino is your newfound gem. You don’t have to thank me, but you will; I’m here all week.