Cuban music aficionados know Floridita already. Having long been home to the sweet sound of Afro-latin polyrhythms, their doors will soon open to accommodate London’s afrobeat revolution (a movement which is showing no sign of flagging any time soon). In a link up with Boulevard La Palma (the force behind the awesome London Cuban Allstars), Floridita are set to host an Afrobeat season summoning two of London’s finest exponents of that addictive West African funk. First out of the blocks are IBILE. Formed in the early 80s by BABA ADESOSE WALLACE, Ibile’s blend of Afrobeat, Highlife and unadorned West African drumming is powerful to say the least. Having worked with everybody from GERALDO PINO (West Africa’s answer to James Brown in the 60s/70s), FELA KUTI, MIRIAM MAKEBA, HUGH MASEKELA and GASPER LAWAL, Baba Ade et al stand alongside a host of afro Jonny-come-latelys as very much the genuine article. Clearly, as my name appears on the flyer also, I have a vested interest, but, biases aside, I strongly recommend you reach! Starting out with a traditional Yoruban call to the ancestors and segueing into a live, 8-piece afrobeat explosion, it’s highly unlikely you’ll be disappointed – unless of course you don’t like afrobeat in which case you’re probably not reading anymore anyway….

Here’s a taste of how it will go down:

This Friday 11th June, fans of real black music are going to feel nice. The OKRA project has teamed up with Adesose Wallace’s Ibile and Dalston’s Passing Clouds venue to bring the people a night of tone, taste and texture spanning Africa, the Caribbean and South America.

Representing Africa, 11-strong outfit Ibile hit the stage with a serious blend of Afrobeat, Highlife and raw West African drums. For better or worse, there has been an exponential rise in the number of Afrobeat/Afro-Funk/Highlife bands in the capital over the last few years but be warned, Ibile is the real deal. If you read the excerpt from our interview with him, you’ll know that Adesose Wallace is as authentic as they come. He’s played with Geraldo Pino, the James Brown of Afro-funk, and the inspiration for Fela Kuti to transform his Hi-Life Jazz sound into Afrobeat. Ade has also worked with Hugh Masekela, Miriam Makeba and a host of other African music legends and to this day, teaches West African rhythm and song to students countrywide – basically, he’s real.

Representing the Caribbean, OKRA presents Ras Happa and the Harambe Drummers throwing down a live set of pounding Jamaican roots drums and dance. Long before reggae music warmed its first amplifier and rumbled it’s first speaker cone, the island of Jamaica danced to the beat of Nyabinghi, Kumina and Revival drums. Rhythms and dances which are so powerful, they still emerge in the beats and sequenced movements of the freshest bashment dancehalls. Unfortunately, the dancehall didn’t assimilate the spirit of the culture with quite the same vigour…..that’s where we come in. To compliment proceedings Duke Etienne and Suga Kan’n keep it raw, roots and occasionally, savage with a DJ selection linking the past with the buzz of the afro-future.

Representing South America, Otto Nascarella takes a pause from the rootical, tropical funk of his Saravah Soul project to throw down a scorching selection infused with his Brazillian roots.

The flyer is here. We hope you can join us…

World Cup fever is mounting steadily and despite not being a huge football fan, even I am beginning to succumb to the allure of what is to come. To those of you who are fans, have you ever wondered how so many African players come to be in our home leagues and teams? To be honest, I hadn’t, but after running into director Baff Akoto, at our most recent Heads High session, my curiosity is acutely awake.

I first met Baff through a mutual friend at one of many warehouse parties I was involved with way back when. I always knew he was creative, but was always to polite to admit that I didn’t quite know in which way. Reasoning with him in Brick Lane, it transpired that after a long and arduous process, his debut film ‘Football Fables’ was set to be released this week. The blurb reads something like this:

African football has more global stars than at any other time in history. Every youngster across the continent dreams of playing for glamorous European clubs to become the next E’to or Essien.

The award winning documentary “Football Fables” tracks Francis, a young Ghanaian hopeful as he comes to the UK for Premier League football trials whilst attempting to navigate the tricky terrain of agents & scouts back in Africa

“Football Fables” provides unprecedented insight into the workings of African football migration. This internationally acclaimed documentary’s unparalleled access sheds light on the middle men who earn a living making sure that it’s their cream rising to the top. A “system” which (although far from perfect and in spite of itself) manages to produce some of the best players in the world!

Truth time, I haven’t seen the full feature yet, but between the trailer and the write-up, I know its one I will have to make time for.

Us London dwellers are going to be spoilt for choice. There are 8 seperate screenings to choose from over the next two weeks in the capital….i.e. no excuse. Click here to make the jump to the Football Fables site where you can digest all the information about screenings and plenty more besides, and click here to join the 1000+ strong facebook group.

Peep the trailer here:

“Football Fables” Trailer from Baff Akoto on Vimeo.

As you may have noticed, my musical tastes have taken a definite turn toward the traditional of late. Heads High was (and still is) all about representing the sonics of the African diaspora in all it’s different forms but as you will know, our remit tends to focus on Jazz, Reggae and the myriad of styles and genres that have sprouted from these forms.

What is becoming apparent to me is that traditional drum music from the diaspora has a massively different intention and feel any other music I listen to. Traditional music is eternal, it’s timeless. It isn’t originally composed to be sold, and in this sense can be regarded as a comparatively pure cultural expression. As I come to understand the music more and more (and it is imperative to take the time to understand the culture the music emanates from), I’m realising it speaks in ways that at one time I could not hear.

Introspective blurb aside, drum music is HEAVY on the dancefloor and paradoxically (given what I have said above) when I listen to the repetetive grooves of the Techno, House or Hip Hop I hold so dear I can hear subconscious attempts at emulating the experience of traditional drum music via the MPC, TR808 or classic Western Band structures.

Now that’s out in the open, it will come as less of a surprise that i’ve started a new session focussing on traditional drum music from Africa, South America and the Caribbean and its modern incarnations. The session is called OKRA and our first official party Upstairs at Brixton’s Ritzy went so well we’ve decided to make it a regular.

Our next party on Sat 22nd May features the Gnawa musical tradtion as demonstrated by Simo Lagnawi, one of the UK’s handful of Gnawa masters. You can read more about the Gnawa tradition here, but to get a better feel for the music/movement, it might be worth checking the clips at the end of this post. Don’t make the mistake of painting OKRA as some kind of ethnomusicologists convention though. Our guests will vary from the strictly traditional to the freshly cut, and as you’ll know if you’ve made it to any of our private affairs, our crowd are much more likely to dance and look hot than stand and talk cold. Myself and Suga Kan’n provide the rest of the evenings soundtrack digging everything from the traditional to the warm buzz of the afro future. Connie Bell blesses the mic as only she can.

So. Join the facebook group here, check the flyer below and if you’re convinced, spread the word: OKRA is here…

Oh, and for the completely random element, word has it that Janet Jackson might be in the building on the 22nd as she’s promoting her new film with Tyler Perry….an intriguing combination no?

No matter where on the spectrum you lay your musical hat, chances are the name Nneka means something to you.

Since the release of her 2007 debut ‘Victim Of Truth’, Nneka’s songs of freedom have amassed a sizable global following.  Her own biography speaks the truth when it says this popularity has less to do with marketing budgets and a whole lot more to do with the content and delivery of her art. Although ‘Victim Of Truth’ was slept on by many, her sophomore offering ‘No Longer At Ease’ (which joins the Root’s “Things Fall Apart” as another LP title garnered from the mighty Chinua Achebe) refused to let us continue in our slumber with its tough-yet-soulful collection of treatises on the political and humanitarian crises we face in our times – not least in mother Africa.To date she’s shared stages with the Roots, Mos Def, Femi Kuti and Bilal and is now all set to hit the road with Damien Marley and Nas for their Distant Relatives album tour. Basically, this woman is not joking…

To cut a long, but pretty interesting story short, we’ve been given the opportunity to give away two pairs of free tickets to her London show at the Scala on Weds 28th April. Free entry to what is bound to be one of the capital’s hottest live shows this year goes to the two lucky people who can answer the following question:

What is the name of the single which Nneka released at the end of March?

The two winners will be picked at random from the list of entries with the correct answer. Good Luck!

EMAIL US YOUR ANSWERS HERE and see below for details of the show, an interview with the lady herself and a Lauren Hill inspired unplugged studio special.

Continuing with the African theme, I’ve been putting together a couple of articles around Richy Pitch’s ‘Ye Fre Mi Richy LP‘ set to drop in June on the ever-reliable BBE imprint. Watch this space for more info on the full pieces, but in the meantime, here’s a most excellent video for ‘Blackstar’, the first single release from the LP featuring US dwelling Ghanaian wordsmith M.anifest.

In some ways, ‘Blackstar’ is probably the least ‘African’ (in a traditional sense) cut on the album. It was actually my least favourite at first but it’s definately a grower. Props to Stringmouse for the video – takes me back to the days when computers took tapes and Mum took care of my washing. Good times….

You generally know when you’re in the presence of greatness. When I stepped into Adesose Wallace’s NW London abode to find him casually playing a Goje at his kitchen table, I had that familiar feeling of humility that only a learned elder can provoke. For those of you who don’t know who Adesose is, prepare to be amazed. Having roots in Nigeria, Ghana, Sierra Leone and Liberia, Mr Wallace is a West African in the expanded sense of the term. An accomplished artist, singer, percussionist and many other things besides, Ade’s existence has been rich to say the least. I was sent by East London venue Passing Clouds (an organization with whom Adesose shares a close artistic relationship) to interview him and create a biography for their artist roster. When we began to break bread, I realized that I could easily write a series of books charting Ade’s experiences. I’m not a biographer per se, but I do feel its important to record the achievements of our great cultural ambassadors – besides stories about the arts/music scene in 70s Lagos, Covent Garden’s Africa Centre before the Soul II Soul Soundsystem and first hand accounts of the showmanship of Sierra Leone’s Geraldo Pino (African Funk legend and one of Fela’s inspirations) are like drugs to me, I can’t help but listen.

So I thought it’d be nice to drop a post every once in a while and relate a little of our conversation to you. Rather than an overview of Ade’s achievements (which i’ll save for Passing Clouds), think of each post as a snapshot of a time gone by. A window into the sights, sounds and smells which still have relevance today and are ingrained in the very fabric of our artistic culture.

Geraldo Pino was a huge star in the West Africa of the late 60s/early 70s. Hailing from Sierra Leone Pino turned the African popular music scene upside down with his heavy brand of Funk. Here’s what Adesose had to say about Geraldo, his band, his influence on Fela and the club scene in 70s Lagos:

‘I’ve always been a musician but for a long time I didn’t play an instrument, my instrument was my mouth. In school I studied music theory, Brahms, Mozart, Schubert, Handel. I sang in the church choir and travelled from country to country singing gospel. In Sierra Leone [Adesose's place of birth] I wasn’t playing anything professionally, I used to go to gigs and fetes and just hang out. Around that time there was this band called the Heartbeats, Geraldo Pino & The Heartbeats. Geraldo Pino was the biggest musician ever to come out of Sierra Leone. You could call him a megastar. He was known all across Africa as early as 1964. His music was a combination of James Brown and Elvis Presley, and he even dressed like Elvis, with the big collars and the suits. He was a huge guy, a big womaniser and a good singer, he had all the star qualities. It’s only now he’s dead that people are starting to know about him. In Nigeria he is very famous. He’s the man who influenced Fela to make Afrobeat. There would be no Afrobeat music if Pino hadn’t toured there with his band.

Advertisment featuring ET Mensah and Geraldo Pino

He arrived in Nigeria like a true superstar. He drove a Pontiac convertible and he had a big bus that carried his musicians and his instruments. He travelled from country to country by road, so when he got to Nigeria, he arrived with all of that. Nigerian bands did not have anything close to the quality of equipment he had. Strobe lights, PA system. This guy had all these things in the early 60s. He had things that most Nigerian musicians had never even seen before. He was way ahead of time! Fela came on the scene in 1970. When Pino played in Lagos, that was where it was happening. People flocked to see him – wherever he is, its sold out. He was the godfather of soul in Africa.

So Fela is doing his Jazz thing with Koola Lobitos. He’d come back from England and was doing a mix of Highlife and Jazz. Something made him stop playing that, and that something was Geraldo Pino. Since Pino arrives, he’s the biggest star in the country. He’s playing for the President and the state house, right down to the grass-roots level. He was cleaning-up. That’s what led Fela to change. Fela had just begun to sing about cultural awareness, ‘Black Man’s Cry’ and those kind of songs. Pino arrived in town, confused the whole thing with his James Brown style and Fela got mad. He was like ‘no way is that going to happen in my home country when this guy comes from Sierra Leone – coming to disrupt what i’m just beginning to set up’. So Fela decided to disband his own group. That’s how Fela, Tony Allen, Tunde Williams (he and Fela used to play trumpet. I was there when he learned to play saxophone) and the others moved to Afrobeat. The sound that mixed the African drum rhythms, Jazz and Funk to create a new style. That first band was the Nigeria 70.

Back in Sierra Leone, Geraldo Pino’s house was just up the road from mine so I knew him and the band personally. We grew up together. I used to check out their gigs back home and they knew me as a singer from the choral stuff I was doing.When I came to Lagos in the 60s, my mother had a hotel which had a night-club called the Q Club. I moved in there, and Pino’s group used to come and check me. The Q Club name is originally from London. Africans have been coming to London for a long long time man – my mother is 85 and since she was a little girl she’s been coming to England. Africans know London & England inside out, it’s no mystery to us! Everybody came to the Q Club. It was in the centre of Lagos so a lot of artists used to pass through.

Because I knew Geraldo and his band from Sierra Leone, I went to every gig they played in Lagos. They knew I was a singer and because I’d heard them play so much, I became familiar with a lot of their music. I used to occasionally help out with backing vocals but that was about it. One day, one of their singers walked out. In 70s Lagos, musicians would play on a contract basis. you’d be booked to play a certain venue for like 3 months, and when that 3 months finish, you move to the next place. That means every night, 6 days a week you’re obliged to play. You pick your night-off and the rest of the time you’re working – from 9pm to 6am in the morning! There was also a thing called ’showtime’ which was when the featured artists for the night performed. From 12 midnight to 3am it’s showtime. After that, its over to the band and dance till daybreak. So Francis Fouster [asks me if I know who he is, to which I reply no]. People need to know about Francis Fouster. People need to know about the real people. Right now he plays congas and percussion for Hugh Masekela. He’s been playing with Masekela since 1974. Fouster was the band-leader of the Heartbeats. Pino was the owner of the band, the showman. he could sing and play a bit of guitar. Pino would come for showtime, sing, play guitar and his band would back him. He’d do his show, and then get in his Pontiac and leave! The rest of the night, the Heartbeats would play, and the leader of the Heartbeats was Francis Fouster. He’d play kit drum and sing lead at the same time. When the singer walked out that night, I stepped in and helped Francis because he was struggling man. He was on the kit, singing, and at the same time he had to organise all these other artists – it was a hectic night. From then on I became part of the band.

Eventually, the Heartbeats split from Geraldo Pino. They were touring between Ghana, Nigeria and the Ivory Coast. They got to Accra in Ghana and next thing the band was split. It was kind of Pino’s fault I think. There were times when the band were waiting to get their money, and Pino had just got into his car and drove out of town. Not necessarily that he didn’t want to pay them, he was just doing other things and wasn’t there to authorise the release of funds. Remember, he’s a superstar, a womaniser, after a show he’s leaving with his women and not thinking about his band. When the Heartbeats came back to Lagos, of course they checked me because I’m at the hotel, I could give them rooms, and my mother has a club so they’re thinking maybe something could work.

There was this half Lebanese guy who was very popular in 70s Lagos called Nabir. He was a club DJ. he used to play in a club which is actually still there today called the Phoenicia NIghtclub. It was owned by another Lebanese guy called Mahmoud. It was originally a nightclub but he converted it into a club with a restaurant. We went to Nabir and explained the situation to him. We had a band with all their instruments but no amps bacause they were owned by Pino. We wanted Mahmoud to let us play there and provide the missing amplifiers, supported by Nabir on the turntables. Mahmoud provided the equipment and we started playing.

Of course, we needed a new name. We came up with two. Barof and Baranta. They were both creole or patois if you like for rebel. Baranta sounded nice. Francis liked it so we went with that.  So a new band was born from what used to be Geraldo Pino & The Heartbeats. But Geraldo Pino, he never, ever faded…..(to be continued)

After an inexcusably long hiatus, the Duke drops some fresh gems on y’all. Detroit House, Hip Hop, Raw Roots music from Africa to the Caribbean? It’s all here:

Duke Etienne Podcast #15

Tracklisting

John Roberts//White
Chez-N-Trent//All about You
Bookworms//African Rhythms
Donaeo//Riot Music (Shy FX Mix)
Marcé//Ca Ca Ye (Frankie Francis Edit)
Georgia Ann Muldrow//Jina Langu Ni Afrika (my Name Is Afrika)
Brittany Bosco//Black Keys
Will – I – Am//Money
Pal Joey//Breakin’ Necks
House Shoes//The Makings
Georgia & Dudley//Shine On
Dabrye//I’m Missing You
Reggie B//Spoken Lenny
Flying Lotus//Quakes
Jay Electronica//Exhibit A (Transformations)
Fatima//Higher
Black Joy Edits//Edit 10
Red Earth Collective ft. Manasseh//Hard Times Dub
Vincent Taylor//Living A Lie
Connie Bell//Vampires
Midnite//Enter
Nneka//Africans
Baloji//Karibou Ye Bintou

Blogging is a curious thing…especially when there are major labels/sponsors involved. They make crazy money, invest in something dope, give us a whiff of it & we do the rest…..for free. That’s only one reason why I feel slightly strange blogging about Baloji. The other is that seeing as I don’t speak French, I have only a feint idea of what he’s saying. What I do know though is that the way he says what he says is on point. Don’t hate me but that’s my main criteria for judging MCs & singers anyway….unless they’re really talking shit….

Baloji is a Congolese MC via Belgium. He’s been around for a minute and his flows stick to anything from high speed 70s funk to raw roots traditional drums. He’s been working on the follow up to the acclaimed ‘Hotel Impala‘ LP and sources tell us the fresh ‘Kinshasa Succursale’ project is ripe to drop. As a taster, the Konono No 1 sampling ‘Karibu Ye Bintou’ is currently doing the rounds. Not only is the track tight, but the video is excellent too….thoughts?

BALOJI feat. KONONO n1 – KARIBU YA BINTOU from BALOJI on Vimeo.

We in the West have been bombarded with films, novels and more speculating on (and in some cases shaping) the future condition of our society, but how many times has this forward gaze been allowed to rest on Africa?

Pumzi, written and directed by writer/director Wanuri Kahiu, officially claims the title of Kenya’s first science fiction film. Set in a futuristic African society characterized by a totalitarian  government,  repressive social control systems and an absence of individual freedoms, the film centres on Asha, a young woman living in one of East Africa’s contained communities 35 years after water wars have ravaged the world, causing incomprehensible ecological devestation. With her discovery that a soil sample sent to her in the mail is capable of germinating new life, the stage is set for her quest to investigate the possibility of new life outside the confines of the community structures – against the wishes of the governing Maitu Council. Kahiu’s short film taps into current Third World realities and walks them forward to terrible, yet entierly possible conclusions.

Funded by Focus Features’ Africa First short film program, the Goethe Institut and the Changamoto arts fund, Pumzi has already screened as part of Sundance’s New African Cinema program. As far as I can ascertain, there is no release date as yet but see below for a taste of East African Dystopia. Think black THX1138 and you’re getting close…..

www.pumziemovie.com