Manu Dibango – Africadelic (1972)

OriginalFrontCover1Emmanuel N’Djoké “Manu” Dibango (12 December 1933 – 24 March 2020) was a Cameroonian musician and songwriter who played saxophone and vibraphone. He developed a musical style fusing jazz, funk, and traditional Cameroonian music. His father was a member of the Yabassi ethnic group, though his mother was a Duala. He was best known for his 1972 single “Soul Makossa.” He died of COVID-19 on 24 March 2020.

Dibango was born in Douala, Cameroon. His father, Michel Manfred N’Djoké Dibango, was a civil servant. Son of a farmer, he met his wife travelling by pirogue to her residence, Douala. A literate woman, she was a fashion designer, running her own small business. Both her ethnic group, the Duala, and his, the Yabassi, viewed this union of different ethnic groups with some disdain. Emmanuel had no siblings, although he had a stepbrother from his father’s previous marriage[7] who was four years older than he was. In Cameroon, one’s ethnicity is dictated by one’s father, though Dibango wrote in his autobiography, Three Kilos of Coffee, that he had “never been able to identify completely with either of [his] parents.”

ManuDibango01Dibango’s uncle was the leader of his extended family. Upon his death, Dibango’s father refused to take over, as he never fully initiated his son into the Yabassi’s customs. Throughout his childhood, Dibango slowly forgot the Yabassi language in favour of the Duala. However, his family did live in the Yabassi encampment on the Yabassi plateau, close to the Wouri River in central Douala. While a child, Dibango attended Protestant church every night for religious education, or nkouaida. He enjoyed studying music there, and reportedly was a fast learner.

In 1941, after being educated at his village school, Dibango was accepted into a colonial school, near his home, where he learned French. He admired the teacher, whom he described as “an extraordinary draftsman and painter.” In 1944, French president Charles de Gaulle chose this school to perform the welcoming ceremonies upon his arrival in Cameroon.

He was a member of the seminal Congolese rumba group, African Jazz, and has collaborated with many other musicians, including Fania All Stars, Fela Kuti, Herbie Hancock, Bill Laswell, Bernie Worrell, Ladysmith Black Mambazo, King Sunny Adé, Don Cherry, and Sly and Robbie. He achieved a considerable following in the UK with a disco hit called “Big Blow”, originally released in 1976 and re-mixed as a 12″ single in 1978 on Island Records.


In 1998, he recorded the album CubAfrica with Cuban artist Eliades Ochoa. At the 16th Annual Grammy Awards in 1974, he was nominated in the categories Best R&B Instrumental Performance and Best Instrumental Composition for “Soul Makossa”.

The song “Soul Makossa” on the record of the same name contains the lyrics “makossa”, which means “(I) dance” in his native tongue, the Cameroonian language Duala. It has influenced popular music hits, including Kool and the Gang’s “Jungle Boogie”[13]. The 1982 parody song “Boogie in your butt” by comedian Eddie Murphy interpolates Soul Makossa’s bassline and horn charts while “Butt Naked Booty Bless” by 1990s hip-hop group Poor Righteous Teachers heavily samples its musical bridge and drum patterns.

He served as the first chairman of the Cameroon Music Corporation, with a high profile in disputes about artists’ royalties. Dibango was appointed a UNESCO Artist for Peace in 2004.


His song, “Reggae Makossa”, is featured on the soundtrack to the 2006 video game Scarface: The World Is Yours. In August 2009, he played the closing concert at the revived Brecon Jazz Festival. In July 2014, he made an 80th anniversary concert at Olympia, France which was broadcast by TV5Monde.

In 2009 he filed a lawsuit claiming that Rihanna’s and Michael Jackson’s “Don’t Stop the Music” and “Wanna Be Startin’ Somethin'” used the “Mama-say, mama-sa, ma-ma-ko-ssa” hook without his permission. According to Dibango, the line is from his 1972 single “Soul Makossa”. Agence France-Presse reported that Jackson admitted that he borrowed the line for “Wanna Be Startin’ Somethin'” and settled out of court. When Rihanna asked Jackson in 2007 for permission to sample the line, he allegedly approved the request without contacting Dibango beforehand. Dibango’s attorneys brought the case before a court in Paris, demanding €500,000 in damages and asking for Sony BMG, EMI and Warner Music to be “barred from receiving ‘mama-say mama-sa’-related income until the matter is resolved”. The judge ruled that Dibango’s claim was inadmissible: a year earlier, a different Paris-area judge had required Universal Music to include Dibango’s name in the liner notes of future French releases of “Don’t Stop the Music”, and, at the time of this earlier court appearance, Dibango had withdrawn legal action, thereby waiving his right to seek further damages.


On 8 September 2015, Michaëlle Jean, Secretary General of the Organisation Internationale de la Francophonie, honours Manu Dibango with the title of Grand Témoin de la Francophonie aux Jeux Olympiques et Paralympiques de Rio 2016[19] (Special Representative of Francophonia to the Rio 2016 Olympic and Paralympic Games).[citation needed]

Dibango died on 24 March 2020 of COVID-19. (by wikipedia)

And here is of his earl album from the Seventies. And this is the story behind mthis brilliant album:


AFRICADELIC is the classic 1972 album composed and recorded in the span of one week by Manu Dibango, after the encouraging success of his monster hit “Soul Mokossa.” Here he continues to fuse Afro-Caribbean flavors with the contemporary Latin and funk influences of the day, resulting in a highly soulful, highly danceable album. (by AllMusic

And yes, this is an extraordinary album, by one of the finest musicians of Africa !


Manu Dibango And His African Pop Group

Alternate frontcovers:

01. Soul Fiesta 2.09
02. Africadelic 2.16
03. The Panther 2.29
04. African Battle 3.01
05. Black Beauty 2.50
06. African Carnaval 3.17
07. Moving Waves 4.03
08. Afro-Soul 2.44
09. Oriental Sunset 1.48
10. Monkey Beat 2.43
11. Wa-Wa 3.04
12. Percussion Storm 1.54

Music composed by Louis Delacour & Manu Dibango



ManuDibango05“Manu” Dibango (12 December 1933 – 24 March 2020)

I have to thank !

Jose Feliciano – And The Feeling’s Good (1974)

FrontCover1José Monserrate Feliciano García (born September 10, 1945), better known simply as José Feliciano [xoˈse feliˈsjano], is a Purto Rican-American musician, singer and composer, best known for many international hits, including his rendition of The Doors’ “Light My Fire” and the best-selling Christmas single, “Feliz Navidad”. His music is known for its fusion of styles: Latin, jazz, blues, soul and even rock, created primarily with his unique, signature acoustic guitar sound. His oftentimes mellow easy listening influences are easily recognizable in many songs heard around the world.

In the United States, he first received widespread popularity in the 1960s, particularly after his 1968 album Feliciano! reached number two on the music charts. Thus far, he has released over fifty albums, worldwide, in both English and Spanish. (by wikipedia)

This nice album from 1974 contains Feliciano’s last Top-100 hit to appear on thye US Charts: “Chico and the man”. This song was used as the soundtrack for the TV series by the same name and reached widespread popularity, eventually being performed by such artists as Sammy Davis Jr. The album especially contains a wonderful rendition of “Golden Lady”, a Stevie Wonder song and, in my opinion, one of the best things ever recorded by Jose’ Feliciano, a soul samba cover totally reinvented “a-la-only-jose-can-do”
Nice set also for “Essence of your love”, “Stay with me” and “Virgo”. This last piece is noteworthy for being one of the few instrumental pieces recorded by Jose’ on electric guitar in a “Hendrix way” (by Markjm)


Duke Bardwell (bass)
Janna Merlyn Feliciano (handclaps, vocals)
José Feliciano (guitar, vocals, mellotron)


01. Hard Times in El Barrio (José Feliciano/Janna Feliciano) 3.01
02. I’ve Got to Convince Myself (Toussaint) 2.44
03. You’re No Good (Ballard) 3.09
04. Differently (Graham) 4.18
05. Virgo (José Feliciano) 3.13
06. Golden Lady  (Wonder) 4.18
07. Stay With Me (José Feliciano/Janna Feliciano) 2.44
08. Chico And The Man (José Feliciano) 2:55
09. And the Feeling’s Good (Fox/Gimbel) 3.17
10. Essence Of Your Love (José Feliciano) 3.21



Ximo Tebar – A-Free-Kan Jazz Dance Big Band (2019)

FrontCover1Ximo Tebar (March 30, 1963 in Valencia) is a Spanish jazz musician (guitar, composition).

Tebar started taking guitar lessons at the age of seven. His first music genre was flamenco. At the age of 15, he was attracted to Brazilian music. When he was 17, he decided to take up a career in the professional music and founded his own Jazz Group. He won with his group the international competition of the jazz festival Getxo in 1990. In 1989, he played as the representative of Spain in the big band of EBU.

Since then, Tebar made regularly international tours with his band or as a solo guitarist. Also, he performed with Lou Bennett in Europe in 1992. In 1995, he made a record contract with Warner Brothers. In 1997, he made a tour with Lou Donaldson, Lonnie Smith, Idris Muhammad and Billy Lewis Brooks. His album Goes Blue, which was published with his own label Omix, was praised as an excellent work by critics. In 2002, he appeared for the first time in the New York jazz club, Birdland. At the end of 2003, he moved to New York for working with Arturo O’Farrill and the Afro Cuban Jazz Orchestra of Chico O’Farrill. he has produced also albums for Dave Schnitter and Ester Andujar. Besides, he has worked with Johnny Griffin, Benny Golson, Joe Lovano, Tom Harrell, Tete Montoliu, Anthony Jackson, Louie Bellson, Pedro Iturralde or Jan Akkerman.


With IVAM jazz ensemble, founded on the initiative of the Museum of Modern Art in Valencia, Tebar merged Erik Satie’s music with flamenco jazz. He has collaborated also with Joc Fora, Ricardo Belda, Lou Bennett (Now Hear My Meaning), Presuntos Implicados, Roque Martinez and David Pastor.

Tebar as a soloist and as a member of this group was awarded Muestra Nacional de Jazz by the ministry of Culture in 1989 and 1990. His group won the competition of Getxo in 1990. In 2001 and 2002, his band was awarded Premio Jazz Promusics as the best group. The album Homepage achieved this award again in 2001. In 2007, he was appreciated by the award for extraordinary performance in the field of jazz education of the International Association for Jazz Education. (by wikipedia)


Curious and unusual instrumental composition with traditional African, classical and flamenco voices, instruments and dances led by jazz guitarist Ximo Tebar. Artistically, highlights the fusion of traditional African music and dance with the most modern jazz in a curious and unusual instrumental composition with voices, itraditional African instruments and dances, flamenco dance, classical and modern instruments; cello, percussion, guitar, bass and drums creating a curious combination of environments cello-kora (traditional African instrument), and the African voices playing original music or arrangements of renowned composers such as Wayne Shorter or Miriam Makeba. The collective improvisations between the instruments together with the percussionists and the dances, create a rhythmic, mysterious and magical spectacular environment. This project is a multicultural breakthrough in the fusion of World Music. (by


Andrés Belmonte (flute)
Mariano Díaz (piano)
Will Martz (keyboards)
Vinx, Kwamy Mensah (vocals)
Matthieu Saglio (cello)
Ximo Tébar (guitar)
Héctor Gómez – Nathaniel Townsley – Vicente Climent – Donald Edwards
David Gadea – Mortalla Gueye – Dauda – Ibu – Aboo Zeze – Samuel – Harol Martínez
Xavi Alaman – Nacho Mañó – Luis llario.
José Luis Granell – Víctor Jiménez – Roque Martínez – Pepe Calatayud – Javi Forner – Lara Canet – Carmen Calatayud – Mari Cruz Lozano – Aure Company – Jaime Pérez
David Pastor – Juan Luis Crespo – Ángel Girón – Lorenzo Atencia – Ferrán López – Voro López – Richar Aguado.
Ferrán Verdú – Israel Soriano – Frank Liza – Dimas Rubio – Salva Sánchez – Aron Beltrán


01. Peter Gunn (Mancini) 7.37
02. Caravan (Ellington) 7.37
03. Velours (live) (Anomalie) 4.08
04. Summertime (I.Gershwin/G.Gershwin) 7.22
05. Con Alma (Gillespie) 4.54
06. Always And Forever (Metheny) 5.28
07. Footprints (Shorter) 9.16
08. Pata Pata (Makeba) 6.01


Paul Winter Consort – Miho-Journey To The Mountain (2010)

FrontCover1Paul Winter (born August 31, 1939) is an American saxophonist, composer and bandleader. A seven-time Grammy Award-winner, he is recognized as one of the pioneers of the world music genre, and also for his genre of “earth music,” which interweaves the voices of the greater symphony of the wild with instrumental voices from classical, jazz and world music traditions. The music is often improvised, and recorded in natural acoustic spaces, to reflect the qualities and instincts brought into play by the environment. With his various ensembles—the Paul Winter Sextet, the Paul Winter Consort, and the Earth Band—he has recorded more than 40 albums, and performed in 52 countries and six continents. (by wikipedia)

And here´s one of his finet recordings, a musical celebration of I.M. Pei’s Miho Museum in the Shigaraki Mountains of Japan


In this, the finest album by Paul Winter and friends in many a year (2010 Grammy finalist, thus far, at time of this review), we hear a large variety of sounds and rhythms performed on saxophone, sarangi, koto, bansuri, taiko, bendir and other percussion, English horn, oboe, organ, keyboard, carillon, plus voice and chorus. All-star musicians include Winter, Paul McCandless, Eugene Freisen, Glen Velez, Don Gruisin, Steve Gorn, Yangjin Lamu, Dhruba Ghosh, and Japanese specialists. The rich acoustic resonance of the recording chamber is in the Shigaraki Mountain museum designed by I. M. Pei in the form of a Japanese farmhouse, though the bulk of the collection is actually underground. The variety of musical forms reflect the diverse Asian collections of this famous museum, and although they are not traditional but contemporary and musical fusions, they are instilled with the spirit of the ethnic source.

Paul Winter & Yukiko Matsuyama

Certainly quiet and slow, spiritual and meditative, the frequent changes in timbre and style excite and maintain attention. As Winter has done in the past, samples of animal sounds, e.g., birds and whale, are part of some tracks. Unusual in setting and format, this outstanding and beautiful music will be particularly appreciated by jazz fans of Oregon, new age enthusiasts of Paul Winter, and devotees of world music. As the sublime natural site of the museum inspired the musicians, this recording will delight the listener. (Dr. Debra Jan Bibel)


And yes, this is my answer to the fucking corona virus !

Recorded by Akira Kato at the Miho Museum (Shiga, Japan) and Dixon Van Winkle in the Cathedral of St. John the Divine (New York City) and at Living Music Studios (Litchfield, Connecticut). Additional recording by Bobby Cochran at Laughing Coyote Studio in Redwood Valley, California


Tim Brumfield (organ on 07., piano on 18.)
Eugene Friesen (cello on 08., 11., 18., 19. + 22.)
Dhruba Ghosh (sarangi on 02., 15., 20.
Steve Gorn (bansuroi on 07., 08., 13., 20. + 22.)
Don Grusin (keboards on 02., 04., 06., 16., 17., 21. + 22.)
Eriko Koide (carillon on 12., 21.)
Yangjin Lamu (vocals on 08.)
Yukiko Matsuyama (koto on 05., 13.
Paul McCandless (english horn on 04., 13. + 17., clarinet on 20., oboe on 22.)
Jordan Rudess (keyboards on 03., 11., 19.)
Cafe (Edson Aparecido da Silva) (percussion on 08.
Arto Tuncboyaciyan (vocals on 03., 11., 13., 16., 20., percussion on 20.
Glen Velez (percussion on 06., 14., bendir on 09.)
Uguisu (vocals on 12.)
Paul Winter (saxophone)
Shumei Taiko Ensemble (drums on 14.)
Chorus Of Worcester Polytechnic conducted by Wayne Abercrombie (on 19.)
The Shumei Chorus conducted by Hiroko Matsui (on 20.)
The Peach Valley Precision Marching Band (on 20.)
Asian Elephant, African  Elephant (voice on 14.)
Humpback Whale (voice on 15.)
Western Wind (on 17.)



Part I: Many Paths To Paradise:
01. Saxophone (Song Of Miho) (Winter) 3.20
02. Sarangi (Dawn Raga) (Ahir Bairav) (Ghosh) 5.19
03. Arto (Before It’s Too Late) 4.48
04. English Horn (Theme From “On The Steppes of Central Asia”) (Borodin) 4.09
05. Koto (Matsuyama) 1.42
06. Frame Drum (Cedar Grove Dance) (Velez) 2.09
07. Bansuri & Saxophone (Winter/Gorn) 3.53
08. Yangjin (Words Of Wish Fulfillment) (Lamu) 4.48
09. Bendir & Heckelphone (Velez/McCandless) 2.25
10. Saxophone Reprise (Winter) 0.43
11. Arto (Singing To The Mountains) (Tuncboyaciyan) 4.39

Part II: Shangri-la:
12. The Welcome (Song Of Miho): Mitarashi Waterfall  / Carillon (Winter) 0.50
13. Koto Spring (Tuncboyaciyan/McCandless/Gorn/Matsuyama) 5.02

Jakuchu Suite:
14. Elephant Dance (Velez/Winter) 2.55
15. Whale Raga (Gosh/Humpback Whale) 4.25
16. Love Is Not In Your Mind (Tuncboyaciyan) 4.13
17. Twilight (Grusin/McCandless) 2.15
18. Andante (From Sonata #2 In A Minor For Unaccompanied Violin) (Bach) 6.01
19. Remembering (Winter) 4.13
20. Saturday Night In Peach Valley (Tuncboyaciyan) 2.53
21. Song Of Miho (Winer) 0.48
22. Morning Sun (Grusin/Friesen/McCandless/Winte/Gorn) 6.32




Septeto Nacional & Guests – Mas Cuba Libres (1999)

FrontCover1Founded by Havana-born bassist and vocalist Ignacio Piniero in 1927, Septeto Nacional De Ignacio Piniero have played an important role in Cuba’s music for more than seven decades. Pioneers of Son, a rhythmic blend of African and Cuban music that evolved into Salsa, the Mambo, and Latin jazz, the group was the first Son band to incorporate trumpet as a lead instrument.

Attracting global recognition with their performance at the World Exposition in Seville in 1928, Septeto Nacional De Ignacio Piniero were, reportedly, the first band to mention “salsa” in a song, “Echale Salsita,” recorded in 1933.

Sexteto Occidente, New York (1926)

The song, composed by Piniero, was adapted by George Gershwin for the opening theme of his “Cuban Overture.” Since Piniero’s death in 1968, following 41 years at the band’s helm, Septeto Nacional De Ignacio Piniero has been directed by a series of leaders. Guitarist and composer Rafael Ortiz, who took over after Piniero’s death, bequeathed the position to lead singer Carlos Embale in 1982. Leaving the band due to illness in 1998, Embale’s leadership was inherited by guitarist Richard Aymee Castro. Remaining true to their original musical roots, Septeto Nacional De Ignacio Piniero continue to serve a dance-inspiring mix of montano, merengue, bolero, rumba, and cha cha cha. (by Craig Harris)

Septeto Nacional01

And this album was recorded in 1999. the seventieth aniversary of its foundation by Ignacio Pineiro in 1927 !

This is a must have for the cuban son-afficionados. It’s solid, great music, in the classical form, that’ll keep you entertained for hours. I have three or four of CDs like this and put them on a loop during the day, haven’t gotten bored of it yet 🙂 If you like those, check out Orgullos de los Soneros, and the Israel Lopez Cachao Descargas CD. As well as the Estrellas de Areitos, which is a bit more coarse but still so much closer to the real stuff that some of what the music industry’s been trying to promote after the BVSC hype (which was good nevertheless to promote the style and introduce listeners to this kind of music – for which I am very graceful). (Herve Bronnimann)

Septeto Nacional02

This is a star-studded album, which will remain on the best selling lists for a long time. Guests include “tresero-magnifico” Pancho Amat, composer/pianist Gonzalo”Rubalcaba”,veteran percussionist “Tata”Guines,rookie singer Bertha Portuondo, veteran sonero Pio Leyva and to increase the historical importance and value of this CD, the last recordings of cuba’s guarachera singer Caridad Cuervo, who unfortunately died right after these recording sessions. All I can say is that by listening to these recordings by the all new Septeto Nacional, I know the great tradition of excellence of this group will continue under its new administration. Excellent job by “Network”. (luis de quesada)

Septeto Nacional04
In the rich flow of wonderful Cuban music reaching our part of the world, this is a true pearl. As the already worldfameous recordings from World Circuit this recording from Network deserves the same world fame. With legends in the son traditions such as Pin Leyva, Francisco Loenel Rodriquez “Pancho Amat”, Guillermo Gonzalez Camejo “Rubalcaba” and the percussion highpriest of Cuba ,Tata Günes, the listener will be merged into the true magic of African-Cuban music tradition. (Susan Rahim)


Ignacio Esteban Aymme Castro ‘Richard’ (guitar, vocals)
Fernando Carlos Sánchez Chavez (trumpet)
Enrique Abdon Collazo (tres)
Francisco David Oropesa Fernández (percussion)
Apolinar Orlando Aguiar Hernandez (vocals)
Eugenio Rodriguez ‘Raspa’ (vocals, claves, maracas)
Bárbaro Sánchez Illa (bass)
Pancho Amat (tres)
Tata Güines (percussion)
González ‘Rubalcaba’ (piano)
Pío Leyva – Bertha Portuondo – Caridad Cuervo


01. Llora Como Llore (Ramirez) 3.50
02. Oye Como Suena (Leyva) 4.48
03. Sazonabdi (Martínez) 3.34
04. No Jeges con los Santos (Piñeiro) 4.33
05. Arrolla Cubano (Vera) 4.47
06. La Vida Es Una Semana (Ortiz/Ginoris) 4.58
07. La Mulata del Cha Cha Cha (Landa) 5.11
08. Coco Mai Mai (Piñeiro) 3.56
09. Se Te Olvido la Sal (Mena) 4.29
10. Dulce Habanera (Ortiz) 4.06
11. El Mujeriego (Rodriguez) 4.13
12. Alma Rumbera (Blanco) 4.57
13. Uno, Dos y Tres (Ortiz) 3.26
14. Quimera (Daza) 3.28
15. Tu Mi Afinidad (Piñeiro) 3.56



Septeto Nacional03

Ignacio Piñeiro
Ignacio Piñeiro Martínez (May 21, 1888 – March 12, 1969)


Flora Purim – Speak No Evil (2003)

FrontCover1Speak no evil is a 2003 album by the Brazilian singer Flora Purim. The name of the album is a tribute to a 1965 album and song by Wayne Shorter.

The album is a fusion of jazz, samba, and other Latin rhythms, featuring Airto Moreira, Oscar Castro Neves, and her daughter, Diana Booker.

The album reached number fifteen on the jazz album chart at Billboard magazine. (by wikipedia)

Two realities are abundantly clear from listening to this Brazilian songstress legend’s latest mix of standards and originals — she swings magnificently with great jazz company (including her husband, percussion legend Airto Moreira) and she’s far more emotionally effective singing in her native Portuguese than in her heavily accented English. Her phrasing is solid on classics like “You Go To My Head” and the samba flavored “I’ve Got You Under My Skin,” but her thick accent keeps the ears distracted somewhat from the message her heart seeks to convey. Fortunately, on these and other English language tunes by Don Grusin, Wayne Shorter and the vastly underrated L.A. keyboardist/songwriter Bill Cantos, she’s surrounded by bandmates that propel her to great heights.


On the opener “This Magic,” that includes Moreira’s jamming with flutist Gary Meek and members of The Yellowjackets. The same crowd turns “Speak No Evil” into a similarly wild trad-jazz affair. But compare her strained vocals on those tracks with her effortless vocal magic on Brazilian classics like “Tamanco no Samba” and “O Sonho” and the distinction between mere very good and close to perfection is clear. Another gem is the samba-lite tune written by Airto and Yutaka Yokokura, “Primeira Estrela,” which rolls along on the strength of Purim’s vocal harmonies with Yutaka and Oscar Castro Neves’ beautiful acoustic guitar. To truly speak no musical evil, Purim should concentrate on mas Portugues. (by Jonathan Widran)


Oscar Castro-Neves (guitar, keyboards on 04.)
Trey Henry (bass)
Gary Meek (flute, saxophone, clarinet)
Airto Moreira (drums, percussion, vocals on 07.)
Flora Purim (vocals)
Diana Booker (vocals on 07.)
Jimmy Branly (drums on 01, percussion on 03.)
Gary Brown (bass on 05., 07. + 10.)
Bill Cantos (keyboards on 06. + 09.)
Russell Ferrante (keyboards on 01. + 03.)
Jimmy Haslip (bass on 01. + 03.)
Christian Jacob (keyboards on 02. + 08.)
Michito Sanchez (percussion on 01. + 03.)
Marcos Silva (keyboards on 05. + 10.)
Yutaka Yokokura (keyboards on 07.)

01. This Magic (Grusin/Booker) 5.06
02. You Go To My Head (Gillespie/Coots) 3.55
03. Speak No Evil (All for One) (Rubin/Shorter) 5.13
04. I’ve Got You Under My Skin (Porter) 2.52
05. Tamanco No Samba (Divo/Menezes) 5.05
06. Don’t Say A Word (Cantos) 6.29
07. Primeira Estrela (Moreira/Yokokura) 5.02
08. It Ain’t Necessarily So (I.Gershwin(G.Gershwin 5.22
09. I Feel You (Cantos) 4.38
10. O Sonho (Moon Dreams) (Gismonti) 6.40



The Lafayette Afro Rock Band – Malik (1974)

FrontCover1Lafayette Afro Rock Band was an American funk rock band formed in Roosevelt, Long Island, New York in 1970 and soon relocating to France. Though little-known in their native United States during their recording period, they have since become celebrated as one of the standout funk bands of the 1970s and are particularly noted for their use of break beats. The band also recorded under the names Ice, Crispy & Co. (Krispie & Co. in Europe), Captain Dax, and others.

Upon their relocation to Paris, the local music scene influenced the group’s work, inspiring the addition of rock and African elements. They recorded their debut album as Ice and then adopted the name Lafayette Afro Rock Band. The band’s next two albums, Soul Makossa and Malik, included the songs “Hihache” and “Darkest Light” which would be sampled in numerous culturally significant hip-hop compositions. They broke up in 1978. (by wikipedia)

Lafayette Afro Rock Band01

You’ve probably heard Lafayette Afro Rock Band without even realizing it. Their song “Darkest Light” has been sampled by Public Enemy (“Show ‘Em Watcha Got”), Wreckx-N-Effect (“Rump Shaker”), and Jay Z (“Show Me What You Got”). Other snippets of LARB tracks also have appeared in cuts by LL Cool J, Biz Markie, De La Soul, Wu-Tang Clan, Gorillaz, and Pizzicato Five. And it’s easy to hear why: LARB brought the funk with pizzazz. Through these stealth methods, they’ve become integral to club culture. But they created plenty of riveting music that’s worthy on its own merits, not merely as fodder for other artists’ output.

Lafayette Afro Rock Band02

The Lafayette Afro Rock Band consisted of seven musicians from Long Island, New York who cut two albums in Paris after deciding they’d have a better chance of breaking out in Europe instead of in the funk-saturated United States. Things didn’t quite pan out for LARB commercially, but 1974’s Soul Makossa and 1975’s Malik have emerged as underground funk classics. Aided by French producer Pierre Joubert, LARB created a flamboyant brand of funk that soared with buoyant horn charts and grooved with intricate bass/drum interplay. Ultimate party jam “Conga” predates the stark, percussion-heavy Latino funk of ESG and Konk by about six years. The title track is a laid-back, summertime-cruise joint whose loping rhythms, organ swells, and Kool & The Gang-like soul-jazz horn swoops evaporate your worries and LARB dabble compellingly with Afrobeat on “Raff.” The notorious “Darkest Light” is a paradoxical classic: It rolls sublimely on an utterly seductive rhythmic undercarriage, but above it there ululates a deeply melancholic sax motif, all of it filigreed with rococo guitar and some weirdly distorted organ (or electronically muted trumpet?). Whatever the case, the song endures as a moving (in all senses of the word) tribute to LARB’s phenomenal chemistry and arranging skills. They conclusively proved that a funk band didn’t need vocals to keep you interested. Every instrument on Malik sings with great eloquence and vibrant litheness. (Buckley Mayfield)


Frank Abel (keyboards)
Bobby Boyd (vocals)
Ronnie James Buttacavoli (horns)
Ernest “Donny” Donable (drums)
Lafayette Hudson (bass)
Larry Jones (guitar)
Michael McEwan (guitar)
Keno Speller (percussion)
Arthur Young (horns, percussion)

Lafayette Afro Rock Band03

01. I Love Music (bonus track) (unknown) 7.13
02. Raff (Gomes) 3.16
03. Conga (Hudson) 5.04
04. Avi-Vo (Young/James) 3.37
05. Malik (Donable) 5.13
06. Darkest Light (McEwan) 6.24
07. Djunji (Young/Donable/Abel) 3.08
08. What You Need (bonus track) (unknown) 6.37
09. Baba Hya (Abel) 5.33