DRC Music in Kinshasa: Rumble In The Jungle

If you’ve been diggin’ the Owiny Sigoma collaboration that Gilles P released via his Brownswood imprint you’ll be up for checking Damon Albarn’s latest project.

Recorded in the Democratic Republic of Congo with XL Recordings boss Richard Russell, Dan the Automator, Actress, Kwes, T-E-E-D (Totally Enormous Extinct Dinosaurs), Jneiro Jarel, Marc Antoine, Alwest, Remi Kabaka, and Rodaidh McDonald as DRC Music the project has an album ready for release entitled ‘Kinshasa One Two’.

This album was recorded over the course of five days in Kinshasa and in collaboration with a host of Congo’s finest contemporary musicians and it’s a million miles away from the soukous of Wenge Musica, Kofi Olomide at al. Watching the video took me back to the innovative B&W Melt2000 recording sessions in Jo’burg and Cape Town; there’s a real sense of exchange and mutual discovery at work in these sessions.

‘Kinshasha One Two’ is set for release via Warp digitally on October 3rd/4th in the UK & US and physically on November 7th/8th. Proceeds will go to Oxfam to help their relief efforts in Democratic Republic of Congo.

Below: check out ‘Hallo’ (featuring Tout Puissant Mukalo and Nelly Liyemge), ‘Ah Congo’ (featuring Jupiter Bokondji and Bokatola System) and ‘Lingala’ (featuring Bokatola System and Evala Litongo)



Info: http://soundcloud.com/drcmusic/

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CARNIVAL 2011… It’s on… & it’s HOT HOT HOT!

The first big question that went through my mind the day the riots kicked off in Hackney and around the country was, “Carnival… what about Notting Hill Carnival?”

That was back on August 8th and as the debates swirled and the column inches mounted the one thing that was ominously absent was any mention of carnival. Behind the wall of silence, it was obvious that Government and the police were confronted with a serious scenario. One that the Met describe as “unusual and exceptional”. However, at a largely unreported meeting between the acting Commissioner of the Met, Tim Godwin, and the home affairs select committee, he made it clear he wanted Carnival to go ahead. Maybe it was the spat between Cameron and the Met which prompted Godwin’s commitment to carnival. After all, the police have to demonstrate both their independence and their ability to control the streets.

I was at carnival back in ’76 when it first exploded into a battle between the youth and the police and up until recent times remained a carnival devotee. Despite the fact that the event has gone from attracting around 150, 000 people in ’76 to being the biggest street party in Europe with a million revelers, I’d argue that carnival is rooted in constantly shifting, culturally volatile territory. Lest we forget, Carnival was initiated in 1958 after gangs of youth went “nigger hunting” in Ladbroke Grove.

Times have changed and while the physical identity of Notting Hill Carnival has been under constant threat it remains Black Britain’s most expressive and high profile event. I, for one, give thanks for the community groups and associations and the pan orchestras (and the more recent additions of Brazilian blocos and samba schools) who work all year round to produce their themes and costumes for carnival. As a nation we have to give thanks for that. That’s the root of Notting Hill Carnival. It’s now part of our collective history and that needs to be encouraged and supported both culturally and financially.

Carnival is an institution and any talk of a post-riot ban would have result in serious conflict. Therefore, one has to conclude that the lack of media has been orchestrated to reduce both consciousness of the event and numbers taking to the streets.

It all makes sense as it’s the policy of the Met that clubs and venues are not allowed to advertise certain artists, who have a reputedly troublesome following, simply because the police do not want them in their area. Plus, following the riots, Operation Razorback, is in full swing monitoring the social networks and busy arresting any potential troublemakers and drug dealers ahead of the event.

So, people, if you’re heading off to the Grove this weekend, be aware that the Carnival organisers have decided the street parades will start and finish earlier this year to avoid any potential trouble as darkness falls. Also, pubs are being encouraged to close by 9.

Basically, policing will be heavy. They plan to use Section 60 of the Criminal Justice and Public Order Act 1994. This could definitely spark off aggravation as it gives officers powers to stop and search individuals in a designated area without reasonable suspicion that they are about to commit an offence!

Police Perks! Nuff winin' & Grindin'

On Sunday, the children’s carnival, 5,500 police will be on the streets. On Bank Holiday Monday, which can attract a million people, 6,500 police will be at the event. Add to that a reserve of 4,000 additional officers who will be available across London to cope with any disturbances in other areas. In fact on the day a total of total available at 16,000 police officers will be on duty in London town!

All in all, past experience tells us that carnival will be carnival. While I’m 100% sure Gaz Mayall will be doing his thing, that other veteran of Notting Hill Carnival, Norman Jay MBE, will not be offering up his usual and most popular dose of Good Times! Let the sun shine… let life, love and unity prevail!

Carnival '76: How many rivers do we have to cross!

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What’s the Word: ACID Jazz… LIVE at Dingwalls… Rescued from the vaults!

Here’s a rough & ready little gem of a movie that film editor Paul Bates found in his archive. Acid Jazz… the word! It’s 30 minutes long and 21 years old.

This brought back a few memories. According to Paul, who edited it and added a little slo-mo and a few effects, the title sequence was shot on a roof in Waterloo while everything else was shot on one camera at those sweaty, smokey, down and dirty Talking Loud & Saying Something sessions at Dingwalls on various Sunday afternoons back in 1990.

Acid what? Adid Jazz? Get the word from a fresh faced version of yours truly, an impish Gilles Peterson and Acid Jazz boss Eddie Piller. Musicians in the mix include James Taylor, reflecting on how the quartet he and Eddie P had thrown together for a gig became a phenomenon, the pre Ndea Davernport Brand New Heavies, Southend’s Mr Hard hands – Snowboy- with his the Latin Section and a very dynamic Steve Williamson taking flight on the tenor!

Apparently, the driving force behind the project was one Tony “Crash” Williams – a runner/tape-op, he was responsible for the interviews, the dancers and much else besides. Basically, it’s was a labour of love crafted in their spare time.

Enjoy!

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Flip The Script… Q Tip… A comp!

OK people… just got this from fellow cultural activist and indie publisher, Kingsley Davis:

“Q~tip appears in the new book ‘Flip the Script ~ A Photographers Music Diary’ and returns to London for a gig on Fri 26 August. As soon as the Abstract received the book he started flicking through it straight away! To mark the occasion we have a special copy of the book signed by the legend himself up for grabs… to enter the competition just click ‘like’ at http://www.facebook.com/flipthescriptbook

In addition, we would like to see your pics of Q tip, please post them with any stories and gig memories, Good Luck!”

Time to get busy!

Flip The Script is available in Hdbk (29.99) & Pbk (9.99)from soundsoftheuniverse.com roughtrade.com, united80.com & amazon.co.uk

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Meet The Interrupters! Redemption & Intervention

THE AWARD WINNING DIRECTOR OF HOOP DREAMS TAKE US ONTO THE WAR TORN STREETS OF THE WINDY CITY WITH CEASEFIRE.

Ameena Matthews

Last Tuesday evening, after spending two hours immersed in of Steve James’ latest award winning documentary, The Interrupters, I staggered out of the Curzon Cinema into Shaftsbury Avenue dazed, exhausted and feeling like I’d been put through an emotional wringer. On the other hand I felt inspired, motivated and a more than a little vexed that, in the wake of last week’s riots across the UK, there appear to be so few screenings of this powerful and supremely relevant film.

Filmed in Chicago over a year this dramatic and poignant documentary captures a period when the city became a national symbol for violence. For that same period, the death toll in the Chicago was more than US casualties in Iraq. While the politicians talked about bringing in the army, Steve James – the director of the acclaimed Hoop Dreams – and celebrated author, Alex Kotlowitz, took to the streets of Englewood.

They filmed the gut wrenching and deeply moving stories of three Violence Interrupters – Ameena Matthews, Kobe Williams and Eddie Bocanegra – who try to protect their Chicago communities from the violence they once employed as former gang members. They work on the front line in explosive and dangerous situations. They are not there to dismantle the gangs. The see their task as saving lives – right there and then – and while all three are stalked by the shadow of redemption they also exude an inner power and a natural charisma. Kobe and Eddie are compelling in their own quiet way but Ameena Matthews is something else. Daughter of Jeff Fort, a complex and legendary Chicago gang leader who was sentenced to 155 years in prison, she is a veteran of the game but today Ameena is a muslim and devoted to her job. Watching her at work – one on one or with ‘clique’ of kids intent on revenge – is mind blowing. I loved the scene of her family getting down at a roller rink birthday party!

On the streets the violence interrupters represent a not for profit organization called CeaseFire. It was founded by an epidemiologist, Gary Slutkin. As the violence in the city is like a plague CeaseFire treats it like a disease that spreads and therefore has to be interrupted. This film asks crucial questions and offers no simple panacea. It goes deep into the community and the lives of those involved. There is a lot of pain and it hurts. Moved to tears more than a few times I gave thanks for those welcome flashes of humour that allow you breathe again. The Interrupters will eventually arrive on our TV screens via the BBC’s Storyville series but the power of the big screen is indisputable. Maybe Dogwoof and some local cinemas can be cajoled into doing a few well publicized free screenings for schools, colleges, youth organisations and the local gangs . Lessons can be learned.

Photos courtesy of Kartemquin Films

Kobe Williams


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INNER CITY INSIGHT: Words, Sound & Power – MC Akala’s Life Of Rhyme & Life in Grime!

A blazing beacon of cultural enlightenment emerged from beneath the post-riot smokescreen in the form of UK MC, Akala’s ‘Life Of Rhyme’ on Channel 4. Following on from Saturday night’s well publicized but low budget and lame ‘How Hip Hop Changed The World’ came this unpublicised slice of pure inspiration.

By chance, I met Akala, one evening last year, just before an ill-conceived sound clash at the Roundhouse. I didn’t know who he was but he had clearly served his time in the north London hip hop scene, was working on his third album, ‘Double Think’, and on spoken word projects with the youth. He was well traveled and deep into esoteric ideas and spiritual matters. I was impressed and quietly enquired who he was. The answer was, “Akala. He’s won a MOBO, runs The Hip-hop Shakespeare Company and he’s Ms Dynamite’s brother.”

So, when I saw he had a TV doc. coming up I was excited but wondering whether TV would blunt his intellectual but streetwise rigor. ‘Life Of Rhyme’ was totally compelling and beautifully constructed. It was immensely relevant to the previous week’s events and was a proud and intelligent look at the lyrical art of MCing in the UK. Akala took an art from that has been demonized by the press and politicians and to counter their assertions he simply introduced us to a succession of London’s grime and rhyme dons who immersed us in the craft, in the poetry, the skills of delivery the grimey realities and the music. The 16 Bar performances from were Rodney P, Malik et al were genius. Don’t sleep on this. You can still catch it on 4od. Pass the word.

http://www.channel4.com/programmes/life-of-rhyme/4od#3219550

http://www.channel4.com/programmes/life-of-rhyme

AS A BACK UP to ‘Life Of Rhyme’, dig out Dan Hancox’s impressive piece in the Guardian: Rap Responds To The Riots: “They have to take us seriously”.

This excellent piece of journalism took the accusation that British urban music has been promoting a culture of entitlement to leading Grime artists like Professor Green, Lethal Bizzle, Wiley and co. and gets them to illuminate a world that politicians can’t wrap their heads around and explain how grime is helping to give that world a voice. Read this piece and then tell me you’re not interested in what these guys are doing.

Along with some valuable and reasoning we get a journey through the music al and lyrical landscape. From Giggs’ nihilistic “road raps” to Real’s ‘Talk That’ – which Hancox declares, “eerily prophetic all of a sudden, a grim answer to the questions so many are now asking – though too few will hear.” There’s also the incisive and moving spoken word of Genesis Elija and if you check ‘I predict A riot’ you’ll discover that Reveal’s whole second verse was written from his Twitter comments outside Tottenham police station on that explosive Saturday night. Top read.

http://soundcloud.com/revealpoison/i-predict-a-riot

http://www.guardian.co.uk/music/2011/aug/12/rap-riots-professor-green-lethal-bizzle-wiley

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APOLOGIES… bit of a reflection comin’ on… steppin’ back to north London in the mid 80’s… then jumping to now… time to ‘Get Up, Get Into It Get Involved’…

It’s been a vexing time. The lame speeches, the frustrating TV debates, David Starkey…. I’ve even had recurring images of the intro to Shameless… the burning car, the estate… and philosophical Frank ‘avin’ a “Paaaaarty!” I’m tired of them all. The only shimmering ray of light in all this chitter chatter was Akala’s ‘Life Of Rhyme’ on Channel 4. But that’s the next piece… so, I need to get this stuff out of system and move on!

This friggin’ piece is all down to Guardian journo, Gary Younge. On Monday morning he was drawing a whole heap of flak from the bloggers but had pointed out “that most attempts to establish a definitive reason for what happened last week have inevitably imploded under the weight of their own dogma”.

His conclusion that “the situation is too complex for any one template” had me thinking back to the time Broadwater Farm went off in October ’85. At that time, Mike Connolly (now a celebrated documentary film maker) and I were involved in running a daytime project for unemployed youth (16-25) in Stamford Hill. We’d witnessed the 1980/1 uprisings that went from St Pauls in Bristol to Toxteth and Brixton and took in a rake of cities along the way. But on that fatal day, a sense of genuine dread permeated the high road between Dalston Junction and Tottenham.

It was a different time but as with now, it was complex. Back then inner city crime was rife, teenagers left school at 16 marginalised and unqualified, relations with the police were dire and underpinning it all was the legacy of racism. There were few jobs and Thatcher was unstoppable after defeating the miners. The elements in 2011 have shifted around. The culture may have morphed and the conflict appears less racial but the root problems that stymied some young people’s aspirations remain entrenched. Adding complexity to all this has been the rise of organised gangs that currently plague our community and the financial fuel provided by a massively influential drug trade.

The clientele at the project were mostly young black Londoners with roots in the Caribbean. First and foremost, the youth club provided a meeting place, a relaxed safe haven. Beyond the table tennis and the dominoes the aim was to develop self- reliance, confidence and possibly self-employment and on a number of levels it was definitely successful. While I became a decent pool player who was quick to resolve disputes, the challenge was to break new ground. It had to be practical. You could sign up for photography or women’s self defence (not if you was a geezer!), get help with form filling (jobs colleges, benefits) or learn interview techniques. We even took people who had never been out of Hackney to the West End for job interviews! With members we also researched and initiated radical self-employment initiatives and ambitious funding applications in conjunction with Hackney Co-operative developments. It was all in an afternoon’s work.

That said, there’s nothing new under the sun and one trip to Margate led to our coach being surrounded by police after some people had rinsed out a local sports shop. Two other youths had been caught breaking into a house (they took a mini cab (!) back to London after being charged the next day.). Some people were involved in crime and it was our job to equip our members with knowledge of their legal rights even if they were as guilty as sin. It was part of the process. Do you continue in the life or get out? People have to be able to take control of their lives to make those decisions.

It was their strong sense of injustice that sparked off a massive local campaign around one club member who was accused of murder. We sought out allies like activist and Chairman of the New Cross Massacre Action Committee, John La Rose, an associate of Darcus Howe and Linton Kwesi Johnson. With his help the campaign united the elders with the youth. There were large, rowdy marches, one particularly volatile demonstration outside the Hackney Police Station and protests at the Old Bailey. Lifelong lessons were learned!

Overall, there was a modest but real sense of empowerment. It gave motivation for one collective to set up a building co-op. Their first job was to work on the Orthodox Jewish school next door to the club. That was also an exercise in race relations. One group of young women initiated their own lunch bar. It even led to setting up our own development agency independent of the club on Stoke Newington High Street.
I still live in N16 so I’m still in touch with people who were project regulars. Inevitably there those who fell by the wayside and are either still in the life or incarcerated or dead. That said, one of the lunch-project remains a devoted Rastafari and now works with victims of domestic violence. Another woman studied business and fashion and last time I saw her she was doing stone carving. One regular who helped mentor the classic B Boy crew, Zulu Rockers, went on to dance with Rock City and is now living and teaching in Bologna. One co-op member is still a local carpenter while his brother did a degree in Fine Art at Chelsea. Another drives the 341 bus. A fellow youth worker and former co-op member battled with drugs and is now a preacher who works with ex-offenders. The list goes on.

Calvin & Zulu Rockers - Stamford Hil YC

Life is complex – people grow up, have kids and deal with their responsibilities. It’s tough out there but I do believe that the Stamford Hill Project touched lives. That moment in time boosted some people’s confidence and suddenly they had options. You need strength and willpower to negotiate the community divides and the disparities of wealth in this city.

So, in 2011 and in order not implode under the weight of my own dogma (former Commie ‘n’ all that!) we have to zoom in the issues…small things can change lives… maybe we have to build from below to create a voice. That said, we need investment in our youth and our communities. Hackney Council has done well stave of the attack on our front line services but in Camden the whole Youth Service went with a stroke of the pen. In my experience everybody, whether they are involved with youth or the arts, is hustling change to stave off collapse. If you’re under siege you can look ahead. It’s pure survival. To make an impact there have to be long term strategies that are well inventive, creative, fully resourced and staffed by skilled and paid workers.

What was the Prime Minister thinking when he delivered his latest post riot diatribe at Base 33 in in the heart of his Oxfordshire constituency to crew of bored kids against a graff backdrop of kids in “hoodies”. It was an image loaded in ironies and Irony No. 1 was that this flagship ‘Big Society’ youth centre is in danger of closing due to a lack of public donations.

I’m not knocking the work the voluntary organisations. We have a long history of philanthropy and I’ve seen more than enough episodes of the Secret Millionaire to appreciate the efforts and initiatives of selfless individuals in crumbling, forgotten communities around the UK.

There is a cycle of inequality that seems stronger than ever. Consider the cancellation of the EMA with the findings of the Sutton Report on the public schools and Oxbridge. It’s not surprising that people are furious and as the inner city communities turn in on themselves it’s clear that some people are literally burning the illusion that things will change.

Cameron and the Tory party do not have a mandate to rule this nation alone but that’s what it looks like to me. Just as Blair ignored the people over Iraq, Cameron and his crew are equally arrogant, riding rough shod over a weak opposition. They don’t care that about the human impact of their cutbacks. It’s simply the price we have to pay and the cost is high. As the real impact of the Tory agenda filters through to the bottom of our society where it hurts the most you can’t be surprised that the pain causes some people to lash out. This is not over.

The global economy is in tatters, we are spending billions bombing Tripoli, we have banks refusing to invest and our economy which is hardly a model of growth. It doesn’t look good but life goes on. I’ve met people that are deeply pessimistic about the future but there are plenty of people (I personally know hundreds!), on the ground who, given something to unite around, could develop a serious, positive and creative culture of resistance. We don’t need another groundhog day. We need radical, fresh ideas and a new generation of young activists who can “Reprazent!” Take heed of what Mr. James Brown – the first Black President of the USA – said after some other devastating riots: “Get up, Get Into It, Get Involved”.

Cameron talks tuff while Downing Street...

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Soul Jazz, Brownswood, Ninja Tune, Rough Trade… their future threatened by rioting & looters!

Ohhhh maaan… I was distressed to hear about the fire at Sony’s DADC distribution centre in Enfield which was burnt to the ground during the riots. This is a tragedy… a tragedy that will seriously impact on the most creative and independent sector of the UK music industry – something that is close to our hearts!

While the media (and Cameron) preferred to focus on the more iconic mom and pop furniture store in Croydon, this Enfield warehouse was the home to PIAS UK, the distribution organisation for more than 150 independent record labels (Soul Jazz, Brownswood, Acid Jazz, Kartel, Warp, Drag City, Independiente, Domino, Ninja Tune, Fat Cat, Turnstile, Mute, Rough Trade eetc) and numerous film/DVD distribution companies (Dogwoof Films, Pecadillo Pictures, BFI, Artificial Eye, Terracotta, Guerilla) in the UK.

I have a lot of good friends running the record labels listed above and this disaster will undoubtedly force their backs to the wall. All these labels have lost some, or in the worst cases, all of their stock. Please take note that whilst it is expected that insurance will cover the lost stock, the reality for many labels is that they will not be compensated or insured for an interruption of trade or the additional capital to reproduce the stock that they have lost and the promotion in which they have invested. Disaster.

Basically, all these companies rely on steady sales of their wide and varied catalogues that they have lovingly built over time. For them it may not be cost-effective to reprint sections of their catalogue that only sell a small amount each year, but which collectively amount to a large part of their income.

Over the past 48 hours PIAS and AIM (Association of Independent Music) have been in dialogue with MCPS, PPL and other companies and organisations to discuss ways in which these additional and un-insured costs can be mitigated. Additional efforts are being made to ensure the wheels of supply continue to turn and there has been a genuine outpouring of support from big names in the business and individuals, all of whom want to ensure the vibrant creativity associated with independent music continues.

Basically, without these record labels and film distribution companies we wouldn’t have access to a host of great musicians and film makers, from around the globe, who exist outside of the mainstream.

So, what can you do? If you were thinking about buying any music or films digitally from Soul Jazz, Brownswood, Rough Trade, Artificial Eye… whoever… now is the time to do it. This will put some dosh back in their bank accounts. It will contribute to their survival and it will ensure that we have continued access to the deeper culture that the corporates are simply not interested in.

Here’s a few suggestions to check out:

‘Black Goddess’ – Ola Balogun. This legendary movie soundtrack is Soundway’s deepest venture into experimental afro-jazz – composed and produced in 1978 by Remi Kabaka.
Cartagena! Curro Fuentes & The Big Band Cumbia & Descarga Sound of Colombia 1962 – 72′ – A Soundway collection of pure Colombian dancefloor thunder. Follow it up with ‘Aqui Los Bravos!
Warpaint – Wikkid album on Rough Trade
The Best of Michi Sarmiento y su Combo Bravo 1967 – 77′ (Soundway)
Austin Peralta — Endless Planets (Brainfeeder BFDNL014). Via Nija this is a deep one.
The Golden Age of Apocalypse: Thundercat (Brainfeeder). Baaad bass-man – pre-order now!
Owiny Sigoma (Brownswood) If you don’t already have it… a wonderful collaboration!
Ghostpoet – Peanut Butter Blues & Melancholy Jams (Brownswood) Mercury nominee… solid!
Studio One: Rude Boy (Soul Jazz) Ska for REAL rude boys!

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WOMAD 2011: Global Visions & New Dimensions

Words: Paul Brad / Photography: David Corio

WOMAD is 30 in 2012 and while other festivals have gone to the wall this summer WOMAD has succeed in growing!

WOMAD is a mind expanding but relaxed affair that delivers an amazing spectrum of music and embraces an incredibly wide age range – from toddlers to pensioners! It seems like yesterday that I, along with a posse of friends, all WOMAD regulars, were pushing our kids around in their buggies. However, today, those kids are in their teens and looking out for global sounds that mirror their own urban realities. While the inclusion of Submotion Orchestra, Nextmen, Mungo’s Hi-Fi, Kitty, Daisy & Lewis went down well with the youth crowd, I’m convinced WOMAD needs to go deeper into what’s happening on the ground and refine their future programming in order to nurture this potentially new generation of global music devotees.

For an overall review of WOMAD – Dub Colossus, Afro Cubism, Axel Kygier, Baba Maal, Penguin Cafe Orchestra, Aurelio, Abigail Washburn, CW Stoneking, Le Trio Jobran, Submotion Orchestra et al – I’m going to refer you to http://www.mondomix.com, where I share the honours with fellow scribblers Jody Gillett, Max Reinhardt and Harry Johnstone. That said, I’ve pulled out a couple of my fave moments and used them as captions to the photography of the most excellent David Corio , which he has kindly donated to Ancient To Future.

Saturday 6pm: Fatoumata Diawara is wise to shun the image of the Malian diva perfected by her memtor, Oumou Sangare. She strapped on her electric guitar and gave a conscious and spirited performance that addressed issues of war and orphaned children. She even called for a woman president in Mali. The polish and sheen of her debut LP, ‘Fatou’, was displaced by a raw energy generated between Fatou, her band and an adoring audience. It rocked!

above: Danyel Waro (l) + Aziz Sahmaoui (r)

Walking past the workshop in the All Singing All Dancing tent we a were drawn like moths to the flame by stirring vocal harmonies and percussion of Danyel Waro, a cultural activist from Ile de Réunion. It provided a taste of his music and guaranteed that we’d check him out late Saturday night. Ile de la Réunion is a French territory in the Indian Ocean east of Madagascar and Wayo is known for his resistance against French colonialism. He did prison-time for refusing to do national service and his band plays rebel music – Maloya – which has its origin in chants of enslaved workers on the sugar cane plantations. The intensity of the workshop experience was inevitably magnified as the powerful call and response vocals in Creole meshed with deep harmonies and the rhythms of hand drums and self-made percussion. A potent force in the struggle to reassert their own identity, Maloya has the serious similarities with the rhythmic power of Haitian Vodou.

above: University Of Gnawa

SUNDAY: Following a midday musical brunch in the form of Louisiana’s Savoy (pronounced “Sovoir”) Family Cajun band came the much anticipated Umiversity Of Gmawa. Despite a shattering overnight journey from Portugal, Aziz Sahmaoui and his crew, took no prisoners. This 5 piece fused chanted vocals, tight bass lines and compelling rhythms skillfully delivered on hand drums, an upturned calabash, caxixi and metal castanets. Aziz shone on ngoni and oud and his experiences in Orchestra De Barbes and as a percussionist with Joe Zawinul, underpin a vision that shone through on his mentor’s ‘Black Market’.

(The University Of Gnawa’s esteemed producer, Martin Meissonier, informs us that the album is out in the UK in September!)

Basically, the sun shone and we were blessed with a multitude of fine musical moments that will ensure we’ll be at WOMAD 2012.

CONTACT or CHECK OUT David Corio’s photography at http://www.davidcorio.co.uk/
plus here’s a couple of his books:

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Beyond The Burning & Looting….Sumpn positive….

Jonzi D & Kenrick Sandy (Boy Blue) combine forces on ‘One Man Walking’… a dance film/drama – that deals with “social uprising” on Channel 4 next Monday (Aug 15th) at 10.40pm… expect serious Krumping and b-boying

Check: http://www.channel4.com/programmes/one-man-walking/articles/video-behind-the-scenes

Kenrick Sandy

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