Rhythm Passport Magazine November 2017 by Rhythm Passport

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IssuE #3 NOVEMBER '17

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www.rhythmpassport.com

Dear Rhythm Passport holder. .

Rhythm Passport Magazine FREE | #3 | November 2017 Founder: Kia Coates Editor-in-Chief: Marco Canepari Advertising & Sales Director: Teto Parvanov Operation Manager: April Coffey Art Direction Swifty | swifty.co.uk Graphic Designers: Pete ‘Piwi’ White Sub-Editor: Lee J. Moran Contributors & Writers: Adolf Alzuphar Jane Cocklin Karl Hildebrandt Paola Laforgia Seb Pitman Griselda Sanderson Wayne Wright Photographer: Tato Fonseca Cover Photographer: Hassan Hajjaj

www.rhythmpassport.com Get in touch: info@rhythmpassport.com Advertise with us: advertise@rhythmpassport.com

Dear Passport holders, we left each other in Senegal with Orchestra Baobab and we dedicate the cover feature of our November issue to Mali and Amadou & Mariam. The duo from Bamako will play at Koko on Saturday the 4th and we have had the honour to interview them. This month, you’ll also find a chat with Bucovina Club architect Shantel, next to one of the most intriguing up-and-coming artists of the London music scene: Zara McFarlane and Rita Ray’s interpretation of afropop. Then, don’t miss our album reviews (including the latest releases by Tony Allen, Bomba Estéreo and Marcelo D2) and our event list with the most exciting gigs happening in town. See you in December for our winter double-issue.

COMPETITION: P. 4

Interv Amadouie&wM: pa.r6ia& 7 m

Your Ticket To.. P. 8

Event Previews (our picks): p. 9 & 10 Event Previews: p. 11, 12 & 13 GET YOUR PASSPORT STAMPED HERE!

Interview: p. 14, 16 & 17 POSTER: SHANTEL p. 18 & 19 Event Album Album of Reviews: Reviews: the Month: p. 25 p. 22 & 23 p.2 1 Gall &30 p. 26 &er27y : 29 , 28 p. : w ie v r e Int a McFarlane Zar Ev ent List gs: p. 31, 32, 33 &in34

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We at have made the big step and gone fully printed. We will keep you company all around London and beyond. Look for us outside tube and train stations, cultural centres, music venues, shops, universities and Cafes. We care about music and we will bring the world to your speakers.

RT RHYTHM PASSPO COMPETITION

Rhythm Passport are giving away lots of free tickets & CDS!

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“SAMBA IS NOT WHEN YOU WANT IT, IT’S NOT WHEN YOU DESIRE IT, IT’S WHEN YOUR HEART IS READY.”

INTERVIEW

Amadou & Mariam Chaos and confusion seem to dominate our lives at the moment, but one thing you can depend on is a steady stream of. new music from one of Mali’s most famous couples, Amadou & Mariam On the eve of the UK leg of their tour to promote the latest album La Confusion, Amadou spared a few minutes to talk to Rhythm Passport about their lives and music. We’re very excited to let our readers know a little more about you, so tell us about your new album, its style, and why you gave it that title? “First of all, we are very happy with how La Confusion turned out. It has elements of rock, traditional African music, afrobeat, blues and electro. We gave it this title because it’s a complex time in the world at the moment. There is always confusion everywhere. In our songs there are many metaphors regarding this situation, but men and women must continue to talk about what is going on. We both write the lyrics, sometimes Mariam and sometimes me (Amadou), and these are the words that speak about the situation of the world, work, immigration, African history and culture”. The album has an accessible ‘pop’ sound to it. Who produced this one? “The record label offered the French

producer Adrien Durand the chance to work with us, it was him who gave it its special sound”. Now, you are exceptionally well known throughout the world. Was there one pivotal moment that made your careers - one particular hit song, perhaps, that made your duo famous? “I could say many things, but ‘I Think of You’ [a single that came out in France on Polydor, 1998] is very popular everywhere. But there is also ‘La Réalité’ from Dimanche à Bamako and ‘Sabali’ [from Welcome to Mali, 2008]”. Yes, one album that really brought you to the attention of audiences here in the UK was ‘Dimanche à Bamako’ (produced by Manu Chao in 2005) – so many catchy tunes! ‘Bofou Safou’ from your new album seems like it will also be one of those tracks that ends up on repeat. Do you have a secret recipe for writing hits? “I hope also that the people will dance with ‘Bofou Safou’! But really there is no secret. It is the connection with the public - the ability to make a song that

touches all sides of humanity. For the mix of our sound, it’s basically entertaining music, songs that speak to people of the everyday things in life. I think that’s why we are so popular - especially in West Africa”. You’ve played for football anthems and opening ceremonies, for charities and alongside some of the world’s biggest stars like David Byrne, U2, Blur and the Scissor Sisters at huge arenas like the O2. You’ve even played on the main stage at Glastonbury in 2008. “Yes the list is enormous, and we can say that we have been very privileged by all the collaborations that we’ve done up to this moment. It’s always interesting to work with other artists, because it’s another way to be influenced and have different musical experiences”. If this is not too personal a question, is it sometimes difficult being a couple and working together on projects? “No, we have a good rapport and it works just at the moment - I hope that it will continue like that! [laughs]We’re always together and we talk a lot, so we get on very well. There is always good communication between us. Yes, music is our life, and our son is also a singer and guitarist. He makes rap”. For our readers who don’t know, you are both blind. It seems ironic that your image is such a strong visual part of your identity. You always look great posing together in your sunglasses. Does that feel strange to you? “No it’s normal. We’ve always been like that. Also our clothes are made in Africa and it’s just part of our style. Our latest publicity shots were done by Hassan Hajjaj”. Ah yes – London-based Moroccan artist Hassan Hajjaj has worked a lot with world music artists in his photographs (his exhibition La Caravane is on at Somerset House from 5th October until 7th Jan 2018).

Photo credits: Hassan Hajjaj

“Yes, he’s good to work with - the photo shoot was well spent - a very easy and fun session! ” Also you taught music to the blind children at the institute that you yourselves attended when you were young. It must be great for the children there to have such wonderful role models. “It is always touching to share things, so for us it is really a joy to talk about our experience with the people and to give something to them that will help in their lives.” And finally, is there one message you would like to pass on to people? “Education is important, and you need to have a special sensitivity. It is all about the wealth of the people, culture and history. We listen a lot to the radio and talk on the phone to know how it is in the world. We must share and know well what happens in our villages, our city, and our country. Our message to people in Europe, West Africa and all across the world is that we must talk!” Griselda Sanderson

PLAYLIST

YOUR TICKET TO... Afropop (by Rita Ray) If you’re not used to it, there’s an easy and engaging way to approach African music and it’s through its most contemporary and popular incarnation: Afropop. Afropop is an umbrella term referring to anything and everything in African music. It can be Tunisian or South African, Kenyan or Senegalese, but it constantly portrays the present-day sounds coming from the African continent. We have dedicated the cover of this issue to Amadou & Mariam, who have become two of the most recognised West-African artists and arguably the most acclaimed representatives of afropop. To have a better perspective over the style, we reached a Londonbased DJ who has built her musical selection on notes coming from all over the continent. We are talking about Rita Ray, “club DJ, broadcaster, presenter, curator, performer, compiler”, African music encyclopaedia and afrobeat whizz. Here’s her take on afropop… 1. Ami Yèrèwolo feat. Memo - Winner 2. Oumou Sangaré - Fadjamou 3. Sidiki Diabaté - Dakan Tigui Remix 4. Kaba blon - Furu Djougou 5. MHD - A Kele Nta 6. Wiyaala - Village Sex 7. Worlasi feat. Sena Dagadu & Six Strings - Scan the QR Code One Life (Prod. by Worlasi & Mixed by Qube) Or visit the link to listen 8. Becca feat. Bisa Kdei - Beshiwo http://bit.ly/rp17novpl 9. Sarkodie feat. Castro - Adonai 10. Tiwa Savage feat. Wizkid - Bad 11. Moelogo - Penkele 12. Tekno - Pana 13. Skelewu - Davido 14. Runtown feat. Uhuru - The Banger 15. Shatta Wale feat. Joint 77, Addi Self & Captan - Taking Over Rita Ray

WS IE V E R P T N E V E OUR PICKS KOKOKO! @ Archspace (London, 12th& 13th November 2017)

They said there will be two “intimate” shows, but when it comes to KOKOKO!’s vibe, there’s nothing intimate or cushy about it. You’ll jump up, dance and move relentlessly to their vibrant Afro-electro groove! Hailing from Kinshasa, the five-piece collective is one of the biggest up-and-coming names in today’s world beats landscape. Their music, which they call ‘tekno kintueni’, is arguably the best representation of the contemporary Congo capital’s soundscape. Inherently Central African, intrinsically electronic, ingeniously hand-crafted and hauntingly rhythmic. You can have plenty of it on the 12th and 13th of November at Archspace in Haggerston.No doubt it won’t take too long until KOKOKO!’s shows are sold out (as recently happened to their Brussels gig), so don’t miss your chance to experience the latest manifestation of the electrifying Afro-electro music scene. Marco Canepari

Baloji with débruit & Family Atlantica @ Islington Assembly Hall (London, 16th November 2017)

Dancing all the way from DR Congo to Venezuela with a stopover in Paris. That’s how you can sum up what Soundcrash is offering you on the 16th of November at Islington Assembly Hall, when Belgian MC (of Congolese origins) Baloji will share the stage with Parisian electro-beat wizard débruit and exhilarating London-based but tropical rooted band Family Atlantica. It will be about Congolese rumba, hip-hop, Afro-Latin and electro; constantly upbeat, smiling and shiny… You’ll hardly find a more exciting night to dance away.. Marco Canepari

EVENT PREVIEWS

OUR PICKS DakhaBrakha @ Oval Space

th They can be minimal and loud, traditional and visionary, polyphoni c and discordant, everything and nothing or better… anything and everything and they can afford to be all this because of their talent and creativity. They are DakhaBrakha, meaning “give and take”, and this November, will bring their very own musical Revolution to Oval Space in London for a radical show enriching Nest Collective and Dash Arts’ REVOLUTION17 programme (dedicated to the 100th Anniversary of the Russian Revolution and Post–Soviet cultures). Since 2003, the Ukrainian quartet has thrilled its listeners and will do the same on the Bethnal Green stage, like in every Revolution, there won’t be any compromise… Marco Canepari

(London, 29 November 2017)

Love Carnival with Daniel Haaksman, MC Fedzilla / Cal Jader / Selecta Mad Max Emily Dust & Oddscene (Visuals) @ CLF Art Café (London, 24 November 2017) th

We’re crazy for Love Carnival events and also for Daniel Haaksman’s sound. Combine the two and you have the perfect party. On the 24th of November, CLF Art Café in Peckham will offer you exactly that. For the November episode of Love Carnival, the extended family of Movimientos (joined for the occasion by Emily Dust and Selecta Mad Max) will pave the way for the man behind Man Recordings. The German DJ and producer brings worlds together with his far-reaching, distinctive sound which will be set loose upon South London for an all-nighter to remember... Marco Canepari

EVENT PREVIEWS Omar Sosa & Seckou Keita @ Milton Court Concert Hall, Barbican Centre (19th November 2017)

There’s no doubt that Senegalese and Cuban music are threaded together, being intertwined by an entangled knot that goes back generations. There’s no better evidence of this than in the two countries’ music. It’s not by chance that one of the best albums released in 2017 is Transparen t Water: a collaboration between Senegalese griot and kora player Seckou Keita and Cuban composer and pianist Omar Sosa - enriched with some outstanding guest musicians from all over the world. The London Jazz Festival organisers have surely listened to Transparent Water and, just like us, fell in love with it and the absolute harmony between the two traditions. So much so that on the 19th of November, the musicians will visit London to uplift Milton Court’s audience and reaffirm the Afro-Cuban cultural bond. Marco Canepari

Pharoah Sanders Quartet / Denys Baptiste / Alina Bzhezhinska: A Concert for Alice and John @ Barbican Centre (London, 8 November 2017) th

Here’s a call to every jazz appreciator and music lover at large: on the 18th of November, the 25th edition of the London Jazz Festival will arguably have its climax. The Barbican Centre will host a one-off event: a three-part show honouring the memory and music of the late Alice and John Coltrane. The evening will debut with none other than “the best sax tenor player in the world” (as Ornette Coleman said). Pharoah Sanders strengthens John Coltrane’s latest works sound, and, as he worked side-by-side with Alice for many years, it goes without saying that his “cosmic” music genius was a sure choice for paying tribute to the most remarkable couple in jazz. The following part will relish and luxuriate in the musicianship of saxophonists Denys Baptiste (who will introduce her latest album, The Late Trane), Steve Williamson and Tony Kofi, plus harpist Alina Bzhezhinska. The only worthwhile way to commemorate two events, like the 50th anniversary of John Coltrane’s death and the 10th of Alice’s one is letting the sax and harp do the talking. Marco Canepari

EVENT PREVIEWS Amadou & Mariam @ Troxy

(London, 4th November 2017)

By now, most of the world is familiar with the inspiring story of Amadou & Mariam. The musical duo met at Mali’s Institute for Blind Youngsters and found they shared a love of music. This lead to them performing with the Institute’s Eclipse Orchestra, falling in love with each other, and getting married in 1980, before embarking upon a hugely successful musical career together. November fourth will see them perform a headline show at London’s Troxy venue, thanks to ¡Como No! It’s no surprise to see them booking such big venues after their high profile collaborations with artists like Manu Chao, Santigold and Blur’s Damon Albarn, as well as appearances at Glastonbury Festival, Africa Express and most recently, Boiler Room. Their collaborations have evolved their style from what began as a more traditional Malian Afro-blues, to an increasingly diverse tapestry of pop, world, electronica and beyond. They are well known for their joyous, upbeat shows, so don’t miss the chance to see this iconic couple perform this month! April Coffey

a & The Ancestors @ Islington Assembly Hall Shabak (London, 8 November 2017) th

. His latest tour Afro-futurism exploration from tenor saxophonist Shabaka Hutchings voices of ancient showcases the album Wisdom of Elders wherein he re-imagines the his virtuoso elders through a free-jazz expression of South African music. Alongside of Ugandan African band (the Ancestors) he will introduce you to his influences Amadinda, calypso and Xhosa styles. with Sun Ra Hutchings has a Caribbean upbringing and found recognition playing Arkestra. He is an artist in demand, most recently playing with popular jazz bands Comet Is Coming’ and Sons of Kemet for which he won a MOBO. Islington Assembly Hall will be the perfect companion for this intimate yet upbeat gig. Jane Cocklin

EVENT PREVIEWS Thundercat @ O2 Shepherd’(London, s Bush Empire 16 November 2017) th

The musical eminence grise concealing himself behind the bass and influencing stars like Erykah Badu, Kendrick Lamar & Childish Gambino has finally started to enjoy a bright and well-deserved limelight all to his self. Despite Stephen Bruner, better known as Thundercat, being on the scene for a while, ever since his debut album Apocalypse, it’s only thanks to his most recent work titled Drunk that people are globally celebrating his remarkable talent. You can do the same on the 16th of November, when the artist from LA will visit the O2 in Shepard’s Bush for the London stopover of his world-tour. A bit of jazz, plenty of R&B and soul, pinches of visionary electronic effects (just enough to let your mind wander) and all-around musicianship that will let you energetically clap your hands throughout the show, that’s what you can expect from Thundercat’s gig… What you might not foresee is the exceptional quality of the performance. Marco Canepari

& Susso @ Rich Mix Hejira (London, 24 November 2017) th

Two intriguing new realities enriching the London’s music scene will please the Rich Mix audience on the 24th of November. Hejira and Susso will stage an exciting double-bill bringing to Shoreditch their musical interpretation of East and West African tradition. After a journey to Ethiopia, South-East Londoners Hejira fell in love with the ethio-sound, so much so that they carried it back to London and mixed it with the local urban soundscape, creating something unique that needs to be experienced live. Susso, on his part, has been captivated by the Mandinka tradition. Huw Bennet, the founder of the project, had his “musical epiphany” in Gambia. He welcomed West African griot tradition to his music and empowered the outcome with electronica and jazz. Don’t miss the opportunity to admire, and experience the new, and most recent directions undertaken by the London music scene. Marco Canepari

INTERVIEW

Shantel The Crossbred Sound of Contemporary Germany There was no better time or at least no more momentous occasion to have a chat with Shantel than the aftermath of the recent German election. The current German, but also European and even global state of affairs is indeed a subject that inevitably concerns the Frankfurt-born musician, DJ, producer and creator of the Bucovina Club phenomenon. 50% of his blood is Romanian, while his sound is 100% crossbred. Eastern European, Gypsy, klezmer, Turkish, but also a little North African and even Latin: you can find all this and more in Shantel’s music. “I’ve a problem if some people used to say that I’m kind of representative of the geographical area of the Balkans. I think that’s completely wrong because I never was into making traditional music or music that represents a particular geographical region. The power of my music comes from the fact that it’s a mix of many, many influences. That’s also how Europe is! I don’t believe in identities, I believe in similarities: everything is about similarities. We created a Frankenstein monster to which so many people and cultures can connect. Even when I go to Mexico or South America, they really love my music because they can relate to it”.

As a matter of fact, that’s also a reflection of the present-day German music scene: a mix of similarities. “I don’t think Germany ever had its own sound. For example, Germany doesn’t have a tradition in rock’n’roll or pop. What Germany has is a strong point in electronic music. Early techno or even early electronic music was deeply influenced by Germany. Frankfurt was also one of the main cities where the trance and techno movement started. It was a movement connected to clubbing and underground culture, linked to energetic subcultures. If, on one side, it has always been hard to make a living with music here, on the other side, everything I wanted to create and play I could do it really easily. The Bucovina Club was an invention that German culture never had before, but it was an invention that Germany easily welcomed. We are an immigrant country and I’m so proud of this fact even if today we just had an election and we are all shocked about its outcome. The results were expected and everybody feared that something similar would have happened because we have this situation going on all over Europe right now. Anyway, even if expected, it’s still something shocking to experience.

Photo credits: Michaela Kessler

What I stand for is to show the possibility of a cross-political open society with respect and freedom of speech and this getting along with sound and music: I wish that all this would become the soundtrack to everyone’s life”. Music and politics have always been deeply connected and at times they even mix with each other, so much that you can’t easily point out where one ends and the other begins. However, Shantel has a different and resolute vision regarding the subject. “Music with politics is always a difficult marriage. I really don’t believe in this because you have to make a decision and choose if you want to be a musician or politician. When I look at my activities and the international tours that I’m organising for German artists, I can say that I’m very glad to have the opportunity to bring so many different cultures together even if it’s only for a show, a party or a live gig going on only for two or three hours. That’s because in that limited time, people forget their living conditions and difficulties like borders between cultures… I mean, I’m so famous in Turkey for example and I already felt a deep change in Turkey many years ago. Nowadays, it’s become an anti-democratic, religion-oriented country, but there are many, many people who are not like that! People who don’t like what’s happening and we have to take care of them. The same situation is happening in Hungary or in Russia where I still tour. I just left Ukraine after some shows

and I could see that there’s an uprising young generation and they’re so promising: they’ve such a good awareness and critical background. I truly believe in this youth culture movement. All those right wing and nationalism movements that we’re facing right now are something more linked to the old and conservative generation: they’re all afraid of issues like refugees and immigrants. While the younger generation I see at my shows, they’ve grown up travelling with inter-rail, then they experienced the globalisation brought to them by the Internet in a positive way”. Talking about the younger generation, we asked Shantel who are the new artists or music scenes he’s passionate about and loves to listen to… “I’ve recently been for three months in South America, I spent almost all the time in Buenos Aires and I’ve been impressed by the local sound-clash between electronic music and local sound. There’re a lot of activities going on, for example it’s great what Fértil Discos are doing. Also in Germany we have a lot of interesting new projects and they’re not working with labels or industry players. For this reason you can discover new things almost on a daily basis. There’s a very democratic attitude in music production today, which is surprising. At the same time, the other side of the coin that affects everyone is the fact that people can’t make money anymore from it. That’s really sad because being a musician nowadays doesn’t work, especially if you’re not releasing the usual blockbusters or summer songs. That’s why I think that the future of music definitely lies in Africa and South America. There’re great things coming from those continents. For example, all the great

stuff coming out from West Africa with all the electronic influences”. Going back to Shantel’s music, his latest album is dated 2015. It was recorded and released in other eventful circumstances considering the recent European history. Since then, the name of the German musician literally travelled all over the world and does not have the slightest intention of stopping anytime soon… “I released Viva Diaspora, my latest album, two years ago. I almost entirely recorded it in Athens and I found the city really inspiring. It happened in the days of the economic crisis and I was meeting with a lot of musicians at the time. We had a fantastic time because there was a lot of creativity and cultural activities going on and I think that Athens was a really thrilling space. After I released the album, I toured it all around the world until recently. While, what I’m doing right now is getting ready to release a new album called The Bucovina Club Years. I will release it by the middle of November and it contains most of the collaborations that I’ve done over the years with a lot of different artists. I decided to include my first mixes and tracks. Some of them are already 20 years old. Then, there are also some new songs that I produced in the last two years. I think we have 40 songs on the table already, which is amazing! Actually, I was shocked to see that amount of songs: this is what I really love about the period when you’re not thinking about releasing the classic CD. Now we have the chance to go online and upload 40 songs on our channel. This is amazing because, it goes without saying, you can’t put 40 songs on a CD. Then, there’ll be a vinyl edition as well and I’m really looking forward to this production”.

When it comes to collaborations, Shantel’s list can almost go on forever and a day. So, we inevitably tried to understand if there was one that touched or inspired him more than the others. “Actually, I’m very proud of a collaboration that I haven’t done and the fact that I’ve turned down a collaboration with Madonna. A few years ago, the guys were asking me if I’d like to collaborate with her, but I said ‘no, thank you, I’m not interested in working with Madonna’. Collaborations are something very fashionable nowadays. I always work with different musicians, it’s more about chemistry and empathy. It’s about: do we have something to share? Collaborations are not like a marketing thing: I never do that”. On the last day of November, Shantel will bring his Bucovina Orkestar to London. It’ll be a one-of-a-kind show: an extraordinary occasion to see them on a London stage. “It is rare for me and the band to appear in London because of visa problems and it’s getting harder nowadays with all this Brexit bullshit and border control. So, it’s a rare, rare event for us to play there. That’d already be one reason for people to come and see us. Then, we will do our kind of crossover mix from all the tracks and songs that I released over the years with new arrangements. Shantel & Bucovina Club Orkestar is a kind of wild spectacle. I’ll not say that it’s a classic concert: it’s not something that you sit back and listen to it. People will be an integral part of this crazy, anarchic and romantic chaos!” Join the “crazy, anarchic and romantic chaos” of Shantel & Bucovina Club Orkestar on the 30th of November, when he will visit Rich Mix London for a “rare, rare” UK show. Marco Canepari

IssuE #3 NOVEMBER '17

4th No

ond L , y x o v @ Tr

on This is not a ticket

GE T YO UR PASS PO RT STA MP ED HE

RE !

Bringing together the sweet sounds of the Ecuadorian and Colombian Pacific Coasts, Marimba Del Pacifico packs a rhythmic marimba sound that evokes dreamy, sun-soaked images of this Afro-Pacific region. Based in Esmeraldas, a town on the Pacific coast in the north of Ecuador and led by the beautifully haunting vocals of Karla Kanora, Rio Mira is an exciting collaboration between award-winning artists spanning the Ecuador-Colombia border. This music is well-recognised and celebrated in Colombia, which in 2015 was granted Cultural Heritage status by UNESCO. However, the same can’t be said for Ecuador, where the African influenced musical style still has a negative stigma surrounding it.

On ‘Andarele’, which is probably the most well-known marimba tune from Esmeraldas, and is even sometimes called the “hymn of Esmeraldas”, the repetitive and rhythmic shaking of the guasá will make you want to dance until sunrise. According to Petita Palma, a famous singer from Esmeraldas, the word “andarele” makes reference to a marimba party that goes on all night long and where the people shout, “Andarele, vámonos!” (“andarele, let’s go!”)

8/10

Karl Hildebrandt

POR

Of the ten marimba pieces on Marimba Del Pacifico, the group has chosen five from Esmeraldas and five from Colombia. This is a true bi-national project, which is about the songs, music, food, rivers and social formation across “El Pacífico” region, where both Ecuador and Colombia host their most densely populated P areas of people of YTH M ASS African descent

Rio Mira’s distinctive sound is driven by the cyclical interlocking patterns of the marimba, alongside the bombo (a type of bass drum), the cununo (a hand drum), the guasá (a cylindrical shaker, and, with cantadoras and glosadores, types of singers from the region, it has regular interjections of call-and-response vocals.

AOFLBUM THE MONTH

Rio Mira - Marimba Del Pacifico (AYA Records)

M R E VIEW

With rhythm and melody intimately connected, each of the album’s songs develops in a mesmerising fashion, starting out with the uplifting, slower tempo ‘Adios Morena’ which is based on the characteristic singing and playing styles common with the genre, ‘Bambuco Viejo’. During ‘Patacore’, the tempo is lifted to almost fever pitch with very fast marimba rhythms becoming trance-like. These faster rhythms are often connected with people falling to the floor in spiritual convulsions during a Marimba gathering.

Tony Allen - The Source

ALBU REVIEWMS

(Blue Note Records)

Hot on the heels of his highly acclaimed EP, A Tribute To Art Blakey And The Jazz Messengers, drumming legend Tony Allen returns with his wonderfully crafted jazz LP, The Source. Having never truly explored the genre before, Allen has married jazz with his first love, afrobeat, the results of which raise the question as to why it has taken so long.

8/10

RHY

ORT

“Cool Cats” sits as the brightest example of how well these two styles collude. A Fela-style organ sound pulls us in, over the top of Allen’s drums, which he has swinging hard with his afrobeat accent. Cheery horns bounce out a chorus which itself bears more than a passing resemblance to a Soweto jive. On “Woro Dance”, one can almost imagine that Manu Dibango sat in on the PA T H M S S P recording, another African embrace that gilds this work. The hybrid nature of this record, with its eleven original compositions, has spawned a very enjoyable listening experience. If viewed as a venn diagram, the space where afrobeat and Jazz collide is plentiful, resulting LB in an exciting mesh of musical styles. Seb Pitman U M R E VIE

Marcelo D2 & SambaDrive - Living Room Live Vol.1

Samba, hip-hop, jazz, as in jazz by the hip enough to know its fine to wear a cool t-shirt at a jazz gig. Marcelo D2 is the MC, and Samba Drive the baixo, bateria, and piano. It makes for an elegant, and raw affair thanks to the timbre of Marcelo D2’s raps over the classicism of Samba Drive’s instrumentals. Beware: these six songs are very impressive, the sort that ask to visit Brazil. “A Maldicao de Samba” goes beyond the level of contemporary American hip hop, which is an astounding achievement. It seduces with the wedding of textures as the foundations to great flow in Marcelo D2’s rapping. “Desabafo” is lush jazz playing, very entrancing. SambaDrive does a good job to playing to the contemporary condition, or at least my contemporary condition: one found living an infatuation with both the present and the past. Sultry music, “Samba de Primeira” is the most captivating of the six songs and wonderfully experienced. This is contemporary Brazil, and it’s good.

Y T H M PA S S

ALB

8/10

PO RT

Adolf Alzuphar

RE VIEW

ALBUMWS REVIE

Bomba Estero - Ayo (Sony Records)

7/10

POR

The electro-tropical party machine Bomba Estéreo are back with their fifth album Ayo - their first for major label Sony. It’s concise, clocking in at 34 minutes. Clubby tracks – such as “Money, Money, Money” with its squelchy acid bass, pitched vocals and compressed electronic beats show a confident swagger primed for a commercial dance floor assault. The feel-good pop of title track “Ayo” - a commercial sounding and party-fueled, “Quimica (Dance With Me)” pale in comparison to Ayo’s album’s lead single “Duele” – a deliciously wonky, leftfield Latin affair, with scratchy violin and ringing telephones. Things cool down with penultimate track “Taganga” - a sublime, head-nodding, electro-reggae that bobs and weaves with stabs of laser FX. P YTH M ASS Ayo is a mixed, uneven collection where the pumped-up adrenalised tracks can leave you feeling jaded after a few listens. Standout moments are when the band gives songs space and time to breath – the introspective and experimental moments showcase the band’s strength. Wayne Wright B U M VIEW

McFarlane - Arise Zara (Brownswood Recordings)

Zara McFarlane cultivates her Caribbean roots with ‘Arise’. Born and raised in East London, McFarlane visits the rhythms of reggae, kumina, calypso and nyabinghi to form a personalised reggae-jazz fusion produced by friend and drummer Moses Boyd. Original composition “Fussin and Fightin” is a confrontational track written about the need to stand up for yourself. She also flaunts a more psychedelic side with “Freedom Chain”, as a heavy dominating bass line deftly spins you into a hypnotic trance.

8/10

RHY

For this record, McFarlane redevelops two popular seventies reggae classics: Nora Dean’s “Peace Begins Within” and the Congos’ “Fisherman”. The former is a dramatic track while the latter song has a darker intensity. This album sees McFarlane mature as a vocal artist as she delves into new territory and allows modern to give respect to the old. The UK jazz scene is diversifying with worldwide influences and this album is the perfect example of the personality and PA S S P O closeness that can be achieved as result. TH M Jane Cocklin

B U M RE VI

G-Dragonth @ The SSE Arena, Wembley

EVENT REVIEW

(London, 24 September 2017)

even ge spectacle to enchant and excite A pop star concert is not your avera ssionable people. impre least the pop the gig, even less so when A pop-star concert, we said, is star is Asia’s biggest singer, rapper, icon not your average gig. Music can songwriter, producer, and fashion Yet G-Dragon on his first European tour. sometimes get upstaged. G-Dragon managed not to let this At 5:30pm on Sunday 24th happen. He performed for two whole September, the queues stretching felt hours — no playback, nothing that in Arena along all sides of the SSE He also performed some of ated. fabric lously ridicu y Wembley were alread his lesser known songs and remained is long. Fans all know that G-Dragon true to himself throughout. 0 65,00 selling of le someone capab but es, minut 10 than And the best of it all? The humbleness less in tickets d of Kwon Ji Young, the man behin it is still shocking to see how many in G-Dragon, who revealed himself followers he has on a continent a long chat to the audience in the where he is totally absent from middle of the performance showing mainstream media. his true, unpretentious, shy, self. fact sing surpri most the What could be Art Indeed, the world tour was called ity divers the was itiated for the non-in ”, III : M.O.T.T.E., i.e. “Moment of Truth t expec would One ees. attend of the as a a moment to reflect upon himself y that the audience would be mostl pop-star and a man. d made up of East Asians, and indee There are two more letters there were many of them, but the in the acronym M.O.T.T.E. European contingent was significant. though. T.E. stands for A wide mix of ages and ethnicity n “The End”. What was were present and although wome G-Dragon trying to tell us? outnumbered men, the number of al We hope not the end of his music male fans was higher than the one career. Paola Laforgia you would count at an average male gon American pop-star concert. G-Dra lized is definitely a pop star of the globa world we live in. On stage everything was curated down to the tiniest detail. G-Dragon is known for being a fashion icon and in an art lover and that could be seen r the performance, with a strict colou y palette and outfits, which were runwa props material. Add the light show, the r and pyrotechnics, and we had a prope Photo credits: Bora

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GALLERY

Photo credits: Ila Brughal

Photo credits: Tato Fonseca

INTERVIEW

Zara McF a r l a n e

Savvy and oozing self-deprecating charm, Zara McFarlane is one of Gilles Peterson’s freshest jazz vocalists who has been signed with Brownswood Recordings since 2011. She has released two albums, won ‘Best Jazz Act’ at the MOBOs and is shortly due to publish her third release on 26th September. The latest LP reaches beyond the previous two. With Caribbean rhythms inspired by her Jamaican roots she mixes reggae and Congolese kumina with her London jazz upbringing. Her newest offering is also produced by close friend and drummer Moses Boyd. McFarlane talked me through her writing process for the new album, which she approached in an unfamiliar way. “My main focus for the album was to make it up-tempo; I wanted to make the rhythm the driving force before the songwriting. My first recording was more straight-ahead and my second more ballad-y. Growing as an artist involves exploring new territory and I wanted to delve into my Caribbean roots.

The lyrics took a long time to come and definitely came last in the writing process. This is because I had less of a specific theme to tie the album together, so it took me a while to decide what I wanted to write about. I would say the lyrics are less about direct inspiration but instead more poetic”. McFarlane’s compositions have previously been internally focused but her latest lyrics reveal her thoughts on wider socio-political issues. Maturing as an artist, could this be something that is particularly important right now given the current political climate? “I do touch on social and political issues but only lightly. For example Fussin’ and Fightin’ is about standing up for what you believe in and The Fire is about people’s mistrust of the government. However I wrote these songs before Brexit and I was just picking up on the vibes of the people around me. It feels to

Photo credit: Adama Jalloh

me like people are fed up. Ever since the 2011 London riots I just sense a feeling of unrest. This album actually took me three years to write because I was touring and so I guess it reflects things I’ve seen over that period of time. I wouldn’t say there is a single theme throughout though as it is the rhythm that defines this album”. Her first contract with Peterson’s label was a two LP deal. For the third album she chose to go back to the same record company. I asked what made her return to Brownswood and why she favours working with Gilles and his team. “I feel so honoured that Gilles liked what I was doing originally as this is why I am here in my career today. I met him at a festival and eventually managed to organise a meeting with him and the rest happened from there. Gilles is a busy man. He invites me round

and sits me down and just asks me loads of questions about what I’m enjoying listening to and how everything is going. He just asks so many questions. Then he plays me many records and sends me long playlists for inspiration. He really is an encyclopaedia of record knowledge and can connect where you are with music I would never have heard before. This helps to inspire my writing as I hear little bits of different songs that I think would sound good. He doesn’t get involved in the production. I did work with Matthew Halsall on the first album and of the two tracks we worked on, one song stuck: ‘Angie La La”. Her first release would be considered the purest jazz of the three. I asked her if she has seen any change in the popularity of the genre over her time in the industry. “Jazz was always seen as elitist, but

maybe the scene is changing as more publications are showcasing new music. The scene is evolving as more young people are mixing the traditional US elements with their own UK/World influences. There is a lot of excitement around lots of young artists from the UK and I’m biased as these are my friends but you should check out: Moses Boyd, Binker Golding, Camilla George, Ashley Henry and Shirley Tett. I don’t get much of a chance to find new jazz venues in London as I’m always touring but I always love Mau Mau Bar on Portobello Rd”. I was curious to see what else ignites McFarlane when breaking from music and how she spends her free time. “I love drama and theatre. I’m currently doing a play with the Royal Shakespeare Company, which is such an honour. The show is Anthony and Cleopatra and it will be coming to London’s Barbican this winter”.

It’s impossible to not notice that McFarlane is a female in a male-

From February I will be going on a UK tour. I will be publishing my dates on social feeds and my website as soon as they are finalised”. Zara McFarlane is part of a bubbling excitement of London musicians that are redefining jazz with a contemporary British edge, mixing conventional style with the relevance of their own voice. Join her on a crossAtlantic pilgrimage as she gets close to the heartbeat of the Caribbean islands, unearthing the rhythms that lay the foundation of her heritage. Jane Cocklin

ma Jalloh

One dream I have is to play with a full orchestra”.

With so much talent and seemingly endless dynamism what’s in store for her in the near future? “My album is out on 26th Sep which I’m excited about and I will be performing in Birmingham on 26th October and at London’s Rich Mix with a ten piece band on 15th November.

Photo credit: Ada

This makes sense as you learn McFarlane had an education at the well–known BRITS theatre school before moving onto the Guildhall School of Music and schooling in jazz. It’s admirable to see an artist have a strong career and also keep diversity in their day-to-day life. She tells me about her other aspirations and goals. “I just want to keep doing what I want in a sustainable way and making a living. I absolutely love working with independent labels and having full creative control and I don’t think I’d ever change that. Mainly it’s important to me to keep variety in my life with new excitement and to always stretch myself as a person.

dominated industry and I wondered if she had ever found this a challenge. “I never even noticed it when I first started out in music but it is something I get asked about a lot actually. I think it’s good to talk about it because I’m not just a singer, I’m a band-leader, run my own company and I’m a producer. I’m even my own manager at the moment”.

EVENT LISTINGS

WHAT’s on in NOVEMBER

For full LISTINGS VISIT WWW.RHYTHMPASSPORT.COM/WHAT’s-on

FRIDAY, 3RD NOVEMBER FROM 8PM

London International Artist Festival presents: Yorkston / Thorne / Khan & Kefaya Trio

RICH MIX; SHOREDITCH FUSION, EXPERIMENTAL, INSTRUMENTAL, INDIAN, MEDITERRANEAN

FRIDAY, 3RD NOVEMBER FROM 11PM

Channel One x Iration Steppas x King Shiloh ELECTRIC BRIXTON; BRIXTON REGGAE, DANCEHALL

SATURDAY, 4TH NOVEMBER FROM 7PM

Amadou & Mariam TROXY; LIMEHOUSE

AFRO-POP, MALIAN, WEST AFRICAN

SATURDAY, 4TH NOVEMBER FROM 7PM

Wahaca’s Day of the Dead: Sonido Gallo Negro / Voodoo Love Orchestra

THE VAULTS; WATERLOO MEXICAN, LATIN, ELECTRONICA, CUMBIA, BRASS BAND, AFROBEAT

WEDNESDAY, 8TH NOVEMBER FROM 7PM

Shabaka & the Ancestors ISLINGTON ASSEMBLY HALL; ISLINGTON JAZZ, ALT-JAZZ, AFRO-JAZZ

SATURDAY, 11TH NOVEMBER FROM 2.30PM

Chucho Valdes & Gonzalo Rubalcaba BARBICAN CENTRE; BARBICAN CUBAN, AFRO-CUBAN, LATIN JAZZ, PIANIST

WHAT’s on in NOVEMBER

For full LISTINGS VISIT WWW.RHYTHMPASSPORT.COM/WHAT’s-on

SATURDAY, 11TH NOVEMBER FROM 7PM

SEUN KUTI & EGYPT 80 / DELE SOSIMI / AGBEKO ISLINGTON ASSEMBLY HALL; ISLINGTON AFROBEAT, AFRO-FUNK

SATURDAY, 11TH NOVEMBER FROM 7PM

Tank & the Bangas

THE JAZZ CAFÉ; CAMDEN FUNK, SOUL, JAZZ, HIP-HOP, SPOKEN WORDS

SATURDAY, 11TH NOVEMBER FROM 8PM

Soothsayers, Arun Ghosh Sextet &RICH Lokkhi Terra MIX; SHOREDITCH INDIAN, JAZZ, REGGAE, FUSION

SUNDAY, 12TH NOVEMBER FROM 7PM

KOKOKO!

ARCHSPACE; HAGGERSTON AFRO-ELECTRO, CONGOLESE, CENTRAL AFRICA

TUESDAY, 14TH NOVEMBER FROM 7.30PM

ABDULLAH IBRAHIM & EKAYA ROYAL FESTIVAL HALL, SOUTHBANK CENTRE JAZZ, AFRO-JAZZ, SOUTH-AFRICAN, BEBOP, POST-BOP

WEDNESDAY, 15TH NOVEMBER FROM 7PM

Zara McFarlane & Gabriel Royal RICH MIX; SHOREDITCH ALT-JAZZ, SOUL, R&B, REGGAE

EVENT LISTINGS

WHAT’s on in NOVEMBER

For full LISTINGS VISIT WWW.RHYTHMPASSPORT.COM/WHAT’s-on

THURSDAY, 16TH NOVEMBER FROM 7PM

Thundercat presents “Drunk” O2 SHEPHERDS BUSH EMPIRE; SHEPHERDS BUSH FUNK, R&B, ALT-JAZZ

THURSDAY, 16TH NOVEMBER FROM 7PM

Baloji with débruit & Family Atlantica ISLINGTON ASSEMBLY HALL; ISLINGTON FUNK, SOUL, JAZZ, HIP-HOP, SPOKEN WORDS

THURSDAY, 16TH NOVEMBER FROM 7.30PM

Anchorsong with Live String Quartet & Rumors BIRTHDAYS; DALSTON KINGSLAND ELECTRONICA

FRIDAY, 17TH NOVEMBER FROM 7PM

Pussy Riot: Riot Days UK Tour BARBICAN CENTRE; BARBICAN RUSSIAN, PUNK-ROCK

TUESDAY, 18TH NOVEMBER FROM 7.30PM

Pharoah Sanders Quartet: ABARBICAN Concert CENTRE; for AliceBARBICAN and John Coltrane JAZZ, AFRO-JAZZ, ALT-JAZZ

WEDNESDAY, 19TH NOVEMBER FROM 7.30PM

Omar Sosa & Seckou Keita feat. Gustavo Ovalles MILTON COURT CONCERT HALL, BARBICAN AFRO-LATIN, AFRO-CUBAN, WEST AFRICAN

WHAT’s on in NOVEMBER

For full LISTINGS VISIT WWW.RHYTHMPASSPORT.COM/WHAT’s-on

FRIDAY, 24TH NOVEMBER FROM 7PM

Hejira & Susso

RICH MIX; SHOREDITCH EXPERIMENTAL, ETHIO-JAZZ, WEST AFRICAN, AFRO-ELECTRO

FRIDAY, 24TH NOVEMBER FROM 10PM

Love Carnival: Daniel Haaksman, Emily Dust, MC Fedzilla, Cal Jader & Selecta Mad Max

CLF ART CAFÉ, BUSSEY BUILDING; PECKHAM RYE GLOBAL BEATS, LATIN, WEST AFRICAN, AFRO-ELECTRO, ELECTRONICA

FRIDAY, 24TH NOVEMBER FROM 10.30PM

Night Thing: Osunlade THE JAZZ CAFÉ; CAMDEN

AFRO-ELECTRO, HOUSE, YORUBA, WEST AFRICAN

SATURDAY, 25TH NOVEMBER FROM 10PM

Sofrito-Mo Kolours (Live) & Analog Africa OVAL SPACE; BETHNAL GREEN DJS, GLOBAL BEATS, LATIN, AFRO-FUSION, AFRO-ELECTRO

WEDNESDAY, 29TH NOVEMBER FROM 8PM

DAKHABRAKHA OVAL SPACE; BETHNAL GREEN

UKRAINIAN, EASTERN EUROPEAN, FOLK, ETHNO-PUNK

THURSDAY, 30TH NOVEMBER FROM 8PM

Shantel & Bucovina Club Orkestar, Gypsy Hill Sound System

RICH MIX; SHOREDITCH BALKAN BEATS, EASTERN EUROPEAN, MEDITERRANEAN, GYPSY,

THE GUARDIAN

+SINIKK A L A N G E L A N D SUNDAY 1 9 N OV E M B E R ROYAL F E S T I VA L H A L L “Jaga Jazzist are, quite simply, one of the most extraordinary live bands on the planet” (Gigwise)

TA K S I M T R I O +DORANTES

CADOGAN HALL, MONDAY 13 NOVEMBER

Dorantes has created a whole new language of flamenco piano - joined by Taksim Trio, the great Turkish group who play Ottoman instruments.

CARMINHO SINGS JOBIM WITH PAULO JOBIM DANIEL JOBIM JAQUES MORELENBAUM PAULO BRAGA

BARBICAN FRIDAY 17 NOVEMBER

ZA K I R H U S SA I N CROSSCURRENTS WITH DAVE HOLLAND AND CHRIS POTTER Barbican Saturday 11 November

Omar Sosa & Seckou Keita

Milton Court, Sunday 19 November (matinee & evening shows) Serious and Marshall Arts present

Gipsy Kings & Chico Featuring the legendary members: Chico, Canut Reyes, Patchai Reyes & Paul Reyes

Saturday 18 November Royal Festival Hall

efglondonjazzfestival.org.uk Title Sponsor:

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