Thiago França from São Paulo plays saxophone with Metá Metá among many other projects. On his last album “Coisas Invisíveis” (Invisible Things) with his solo project “Sambanzo” he created a great minimal but rhythm fueled mix of just Afro-Brazilian percussion and saxophone. The record aims to capture energy, invisible, but concrete from a nearby and distant Africa, present and past. The intention, according to França, is to evoke the myth of a pre-diasporic African unity, in which several societies have developed by taking a horizon with habits and relatively common beliefs.
- Tag Archives Afro
From the press release on their website:
“Alabê presents the traditional percussion of the Afro-Brazilian religion known as Candomblé in a jazz context. The compositions are dialogues between the percussion of the Ketu nation and the saxophone, like the Rum (the drum that leads the ceremony) converses with the Orisha (a spirit embodied by a person in trance).
Brazilian music has its roots in the African rhythms which were played in places of worship of the Candomblé. Around the world, African musical heritage has spread giving birth to Blues, Jazz, Rumba, Salsa and Samba.
The riches of African percussion are immense. This knowledge is transmitted from master to apprentice in ritual spaces and ceremonies. Each sacred drummer, called an Ogan, possesses a piece of that knowledge. In this oral tradition, where there is no formal study, it is rare for outsiders to encounter archives of these musical treasures. Many famous Brazilian percussionists are inspired by this tradition, but it is very rare to encounter it in its original form outside of the Candomblé.
Bringing this traditional knowledge in a contemporary setting and making it accessible to a larger public is a way to contribute to the preservation and the valorisation of this intangible culture.
The group was founded by Antoine Olivier, a French percussionist living in Rio de Janeiro who performs as an Ogan in the Candomblé, and Brazilian saxophonist Glaucus Linx (Isaac Hayes, Salif Keita, Elza Soares, Carlinhos Brown…). The band also features the Grand Master of the Candomblé drums : Dofono de Omolu and percussionists Tiago Magalhães e Gabriel Guenther.
The sacred rhythms of the Candomblé offer their power and complexity in a modern context: this is Alabê Ketujazz. Four percussionists and a saxophonist explore new musical landscapes with original compositions and classics by the likes of Baden Powell.”
The new Afro-Brazilian Band Höröya from São Paulo wants to re-frame the origins and influences of African and Afro-Brazilian cultures in a new format. Made up of Brazilians, Senegalese and Guineans they reinforce the cultural dialogue between Brazil and the African continent. The name of the band is of Mandeng origin and means freedom and autonomy.
This mini-documentary is only in Portuguese:
After the album “Dois Cordões” from 2009 Alessandra Leão. just released the first of a trilogy of EPs that features other excellent musicians such as Caçapa, Juçara Marçal and Kiko Dinucci.
Check more info on Sounds & Colours.
Etnohaus is a physical space and collective for artistic and cultural production that is made for the exchange of experiences and reflections on the contemporary creative urban environment. People related to the maintenance of the independent art scene circulate and articulate in the house establishing partnerships and collaborating in their productive processes. They released for free download this compilation of bands that rehearsal there or are associated to the collective in another way.
André Sampaio is lead guitarist of one of the most popular Roots Reggae bands from Brazil, “Ponto de Equilibrio”, and a pioneer of the new wave of Brazilian musicians working with Afrobeat. But the ingredients used for his first solo album “Desauguou” do not finish here. Jazz, Blues, Afro-Brazilian rhythms, Dub and Samba are also part of the explosive and diversified mixture that he and his band brew together. Counting with the participation of guest musicians from Brazil, Mali, Burkina Faso, Mozambique and Portugal André Sampaio says he is dedicated to contructing a bridge to “unite tradition and modernity, africanity and brazilianess through sound”.
Mixed in big by Buguinha Dub the record gains a 60s/70s flavor and extra Dub versions from Brazil’s Dub master.
Apart of own songs the album counts with two cover tracks from Jorge Bem and Nelson Cavaquinho.
“Well tempered Brazilian-Jamaican music, for all tastes, eyes and ears, which satisfies the senses and causes the body to dance. Connecting ideas with lyrics that speak about the everyday, the street, the human being, politics and culture. Strong rhythm with catchy melodies and well stuffed arrangements. Versatile formation allowing the band to pass through several musical languages with originality, from Brazilian popular music like Baião, Afoxé and Maculelê to modern Jamaican Ragga/Dancehall. Reference to Hip Hop, Funk, Jazz and some Latin rhythms like Salsa. Samba and good and old Ska is not missing either.”
“Founded in 2009, the band Afroelectro creates its sonic identity revisiting the African continent through contact with artists and their contemporary sound production, the direct experience of some members of the band with musicians from there and the experience of living in a large metropolis like São Paul, who has been the major catalyst of Brazilian and world culture. It is where the Brazilian styles like Côco and Embolada get in dialogue with Hip-Hop, where Rock meets Camdomblé, where tradition meets the new.
Brazilian culture is found with great force in the music of Afroelectro, especially in the verses and sung parts. Chants from popular cultures from different regions of the country such as the singing of the Tambor de Crioula de Taboca do Maranhão, Seahorse verses that originate in Nazaré da Mata (Pernambuco), Capoeira and Candomblé chants are evident in the songs of the group.
In 2012 Afroelectro released his first album, the result of a year’s work between hours of studio and live performances, thus creating an album differentiated in rhythmic and sound experiments but at the same time accessible and danceable.”