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Manu Dibango
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The most widely known musician from the African nation of Cameroon, Manu Dibango was one of the pioneers of world music in the early 1970s and remained one of the most internationally celebrated African musicians into the mid-1990s. Long recognized for combining African, American, European, and techno sounds, Dibango first achieved global fame in 1973 with “Soul Makossa,” through which he popularized makossa music, a Cameroonian form of early-century West African dance music. Born Emmanuel Dibango on February 10, 1934, in Douala, Cameroon, Dibango first discovered his interest in music as a boy at home and in church
Yakir Arbib & Conti Bilong: Afro Baroque
by Neil Duggan
The fusion of jazz, baroque piano, vocals and traditional Central African and Middle Eastern rhythms might sound like an ambitious overreach, with too many influences competing for space. Yet Afro Baroque proves that what could have been a chaotic collision of styles instead shows how rhythm, melody and cultural expression can complement each other to produce ...
Ola Onabulé: A Tapestry of Soul, Jazz and Global Roots
by Angelo Leonardi
Singer-songwriter and producer Ola Onabulé shares insights into his life and work, spotlighting his eclectic collaboration with guitarist Nicolas Meier, which led to the release of Proof of Life (Self Produced, 2025). Both based in London, the British-Nigerian vocalist and Swiss guitarist discovered, during the isolation of the pandemic, a shared empathy in their ...
Ola Onabulè: una musica senza confini
by Angelo Leonardi
Il cantautore e produttore Ola Onabulé ci parla della sua vita e del suo lavoro a partire dall'eclettica collaborazione col chitarrista Nicolas Meier, che ha portato alla recente uscita dell'album Proof of Life. Entrambi residenti a Londra, il vocalist britannico d'origine nigeriana e il chitarrista svizzero hanno scoperto, nei mesi dell'isolamento pandemico, di condividere empaticamente i ...
Roy Ayers, Kwashibu Area Band, Red Snapper, Calibro 35, Manu Dibango, John Lamkin, & More
by Tony Poole
The show opens with a brief tribute to the late Roy Ayers and a special moment from my 1990 interview for BBC Essex with Roy during his first residency at Ronnie Scott's. In a jovial mood, he recalls the time he “felt like a Beatle"--a wild night at the Hammersmith Odeon, London, in 1978 when the ...
Joni Mitchell Jazzed: Ten Essential Mitchell Covers
by Ian Patterson
Canadian singer-songwriter Joni Mitchell's spectacular transition from acoustic folk singer in the '60s through folk-rock 'n' roller in the early '70s to leader of jazz-inflected bands in the mid-'70s was a gradual process. This musical transformation can be traced over the course of five albums for Asylum, beginning with the multi-million seller and Grammy-winner Court and ...
Record Store Day 2024 Jazz Releases
by Kyle Simpler
Every year, Record Store Day (RSD) promises limited edition vinyl releases for all tastes in music. From the latest popular artists to the most obscure archival releases, RSD drops try to cover a lot of musical territory. Practically all genres of music are represented and, of course, jazz is no exception. Fortunately, the April 2024 drop ...
Rami Atassi: Dancing Together
by Gareth Thompson
The Chicago-based guitarist Rami Atassi went on a south American journey with his wife to explore Mexico and Colombia. Amid the daily background music, he heard different styles and rhythmic foundations than those he was used to and took percussion lessons locally. All this later began seeping into his solo work. A Syrian-American, Atassi ...
Fela Kuti: Army Arrangement
by Chris May
Fela only occasionally used outside producers on his albums. Mostly, the results were good: EMI producer Jeff Jarratt's Afrodisiac (EMI, 1973), British dub master Dennis Bovell's Live In Amsterdam (Polygram, 1983) and keyboard player Wally Badarou's exceptional Teacher Don't Teach Me Nonsense (Philips, 1986). But on one occasion it was spectacularly bad: avant-funk bassist Bill Laswell's ...
Gyedu-Blay Ambolley: Gyedu-Blay Ambolley And Hi-Life Jazz
by Chris May
In the beginning, that is to say the 1950s and 1960s, there were two main strands of highlife, Ghana's national dance music. One was rural based, played by ensembles using acoustic guitars and traditional percussion instruments. The other was urban based, played by bands using kit drums as well as traditional percussion, and with large horn ...
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