Few recordings came out this formation from Guadeloupe including great names such as Georges Desplan or Edouard Benoit and directed by Freddy Mars. I would have post it just for the great cover art, but it also turns out to be a heavy tropical track...
Ghanaian guitarist Osenkafo I.K. Anin (Annin) played within Police Dance Band in Kumasi, or Parrots Band, before creating the Cutlass Dance Band. Initially heavily influenced from religous beleives, their music turned progressively into real highlife, giving space for horns to blow wonderfull solos. Great production by Ivory Coast label Sacodis.
Candomble beleives and culture, originated from african voduns and musically based on drums, are widespread in Brazil, but also traveled south down to Uruguay, where exist also expressions of this religion.
Successful meeting of jazz and candomble rhythms is not so common, so I hope you enjoy this track from Manolo Guardia, uruguayan pianist both interested in jazz and tango, and who experimented unique afrolatinjazz fusion during the 60s.
Michel Desgrottes (1923-1993) worked with Guy Durosier in Hotel Rivera orchestra in the 50s. This 60s LP is based on french popular themes brought back by producer Jean Huc and played in a haitian latin style. But Michel Desgrottes' own composition "Ce Pas Fot Moin" is an irresistible jazzy mambo sung in Creole.
A cuban classic from Puchito records label, sung by duo Celina y Reutilio, the track "A Santa Barabara" is more famous under the name "Que viva Chango".
Celina Gonzales and Reutilio Dominguez begun their duo in Santiago de Cuba, playing originally countryside music as Punto cubano (popular style based on poetic improvised verses, including clave and guiro, and played with several guitars using picking technique). Collaboration with Nico Saquito led them to La Habana and then New York.
Santa Barabara is the catholic saint used to represent Chango, the fire divinity from the Yorubas, probably due to the red color and the sword they have in common. African salves brought their culture and believes in the Caribbean, but Orishas devotion was prohibited by colonists, which led to a syncretic alternative : almost each voodoo divinity has a correspondence with a catholic figure, allowing the believers to practice their religion, fitting with colonial catholic rule. In parallel, secret societies were created, likeAbakuá, in order to preserve and perpetuate african religions and traditions.
Therefore, presence of Orishas culture in cuban recordings was not very common before the 60s. This song praising Santa Barbara (lyrics deal with Orishas but music is not based on traditional voodoo rhythms), it represents an interesting expression of the veiled devotion for afrocuban gods (which remains popular up to now).
Lemed Janvier took part of recordings with Orchestre Poly Rythmo, Les Volcans du Benin and Tabu Ley from Congo. Being form Benin but having lived in Kinshasa, he can also sing in lingala like a congolese musician (and generally alternating some french or english parts). This late album was released in Benin and contains infectious soukous ryhtmic guitars (Señores Picoteros, pienso que le va a gustar). Global sound remains more in the 70s with African Allstar band, and includes also few suprisingly funky short breaks.
First tracks deals with a topic often adressed: the fact that the slanders and rumors do not affect the musicians.