Followers

DISCAFRIC BAND & Robert Degbevi


C'est la première fois que l'orchestre Discafric Band est évoqué sur le blog. Malheureusement je n'ai aucune information sur le groupe. Par contre le togolais Robert Degbevi n'est pas inconnu, je vous conseille ce lien.

Robert Alognon Degbevi était ce qu'on pouvait appeler le "débrouillard talentueux" de la chanson. Longtemps il s'était autoproduit et vendait ses disques dans la rue avant que son chemin ne croise celui de Jimmy Hope qui sera son premier producteur. Surnommé le "philosophe", l'artiste à la guitare sèche saura désormais sécherons larmes. Alognon Degbevi est décédé en fevrier 2010. Ce disque est le premier auto-produit par l'artiste et les deux morceaux sont vraiment excellents. Ceux qui, à l'époque, l'ont acheté dans la rue étaient vraiment chanceux.

This the first time that Discafric Band is mentioned on the blog. Unfortunately, I don't informations about the band. Robert Degbevi is not unknown, here is a post that I recommend.

Robert Alognon Degbevi was what might be called "the resourceful talent" of the song. For a long time he had self-produced and sold his records on the street before his path croosed that of Jimmy Hope who will be his first producer. Nicknames the "philosopher", the acoustic guitar musician will now dry up tears. Alognon Degbevi died in February 2010. This excellent record is the first self-produced by the artist and people were very lucky buying it in the street.

Sam Fan Thomas (Cameroon/1985)


J'ai souvent parlé de Sam Fan Thomas car il fait partie intégrante de l'histoire de la musique Béninoise. Il a souvent enregistré sur le label Satel et a repris des chansons d'auteur béninois qu'il a exporté dans le monde. Cet album enregistré en 1985 n'est pas le meilleur pour moi, à cause de la batterie électronique qui me procure des électrochocs.

I have often spoken of Sam Fan Thomas because he is a part of music from Benin. He has recorded on the label Satel, picked songs composed by Beninese authors for exporting them worldwide. This album recorded in 1985 is not the best for me, because of the electronic drum that gives me electric shocks.

Orchestre BLACK SANTIAGO (SAT 044/1973) feat. Danialou Sagbohan


Satel Tropiques N°044, 1974. Extremely rare LP that I have been waiting for several years. It compiles a series of 7 inches recorded in 1973 on the same label. I had already posted two of them here. This album is anthology, the variety of rhythms (Pachanga, Soukous, Rumba, Sega, Bolero, Son Montuno, Afrobeat, Biguine) and talents have made of this band one of the best of West Africa. Let's tank its leader Ignace de Souza, its afro beat singer Honore Avolonto and of course its young genius drummer haunted by the rhythms of Benin, the great Danialou Sagbohan. 

Ignace de Souza founded the Black Santiago band in 1966. Born in 1937 in Cotonou, Ignace creates, in the 50's, the Alfa Jazz band and plays a mix of highlife, bolero and fox-trot. He incorporates two Nigerian musicians, Zeal Onyia and Babe Face paul, and displays a style influenced by the sound of ghanaian trumpeter E.T. Mensah. In 1955, he traveled to Ghana where he stayed for ten years. He founded his own band, the Melody Aces, and train a number of artists including Nana Ampadu from the African Brothers Band. Ignace de Souza was also know to have imported into Ghana soukous music from Congo.
In 1966, he founded the Black Santiago in Accra and manages the The Ringway Club where he invites famous artists such as Geraldo Pino and Fela Kuti. According to Ignace de Souza's nephew, De Souza and Fela Kuti both created afro-beat rhythm during those hot nights at the Ringway Hotel. In 1969, the arrival of Ghanaian president Kofi Busia forced all foreigners to leave the country. Ignace de Souza returned to Benin and perpetuated the Black Santiago with musicians from Ghana, Benin, especially the young phenomenon drummer Danialou Sagbohan. Since 1973, the Black Santiago recorded on "Les Tropiques Satel" label several 7 inches records and a LP that will compile all the titles. Here are some of these great and very rare recordings.


Tropiques Satel N°044, 1974. Un disque extrêmement rare que j'ai attendu plusieurs années. Il compile une série de 45 tours sorties le même label et enregistrés en 1973. Je vous avais déjà présenté deux disques dans ce courrier. Cet album est d'anthologie, la variété des rythmes (Pachanga, Soukous, Rumba, Sega, Bolero, Son Montuno, Afrobeat, Biguine) et les talents qui les exécutent ont fait que cet orchestre était le meilleur d'Afrique de l'Ouest. Remercions son leader Ignace de Souza, son chanteur afrobeat Honore Avolonto, et son petit génie de l'époque, survolté, hanté par les rythmes de son pays, le grand batteur Sagbohan Danialou.

Ignace de Souza fonde l'orchestre Black Santiago au Ghana en 1966. Né en 1937 à Cotonou, Ignace crée, dans les années 50, l'Alfa Jazz qui diffuse un mélange de highlife, de boléro et de fox-trot. Il intègre dans sa formation deux musiciens nigérians, Zeal Onyia et Baby Face Paul, et affiche un style très influencé par le son du trompettiste ghanéen E.T. Mensah dont il reprend des tubes. En 1955, il se rend au Ghana ou il restera dix ans. Il fonde son propre orchestre, les Melody Aces et formera nombre d'artistes dont Nana Ampadu des African Brothers. Ignace de Souza est aussi connu pour avoir importer au Ghana la musique soukous du Congo. 
En 1966, il fonde à Accra l'orchestre Black Santiago, un formation pépinière, et anime le Club du Ringway Hôtel où il invite des artistes de renom tels que Geraldo Pino et Fela Kuti. Selon le neveu Bayo de Souza (aujourd'hui leader des Black Santiago) Ignace de Souza et Fela Kuti ont crée ensemble le rythme afro-beat durant les soirées bouillonnantes du Ringway Hotel. En 1969, l'arrivée au pouvoir Ghanéen de Kofi Busia contraint tous les étrangers a quitter le pays. Ignace de Souza rentre au Bénin et pérennise l'orchestre Black Santiago avec des musiciens Béninois, mais aussi Ghanéens, et surtout le phénomène de l'époque le jeune batteur fougueux Danialou Sagbohan. A partir de 1973, le Black Santiago enregistre, sur le label Satel, plusieurs 45 tours et un 33 Tours qui compilera tous les titres. Voici aujourd'hui quelques extraits de ces disques extrêmement rares à trouver.


Polaroid of Poly-Rythmo (1971)


Il y a toujours de bonne surprises avec l'orchestre Poly-Rythmo. En voici une chantée par Lohento Eskill et sa voix si mélodieuse. Les deux morceaux sont composés par Roberkin Kinnou, compositeur inconnu. J'adore le morceau "Assiba", un rythme du folklore Fon. La qualité exceptionnel de l'orchestre fait oublier la mauvaise du vinyl.


There are always good surprises with Poly-Rythmo. Here is one sung by Lohento Eskill and his melodious voice. Both sides are composed by Roberkin Kinnou, unknown composer. I love the song "Assiba", a rhythm taken from traditional Fon rhythm. The exceptional quality of the band make forget the bad of vinyl.

GROUPE AMIKPON (1977)


Le Groupe Amikpon est dirigé par Antoine Sagbohan et ses frères. Oui, Antoine est un cousin de Danialou Sagbohan. Il vit comme lui à Porto-Novo, mais il est connu comme chanteur traditionnel.

Amikpon Band is leaded by Antoine Sagbohan. Yes, Antoine is a cousin of Danialou Sagbohan. They have the same age but Antoine is known as famous traditional music singer. As Danialou, he lives in Porto-Novo.

Initié aux masques Vodoun Egoungoun, il chante en langue Yoruba, Fon ou Goun, sa langue d'adoption. Il est surtout le "Roi du rythme kpalongo".Le Groupe Amikpon enregistre son premier album en 1977 sur le label Satel. Le style kpalongo est déjà présent chez Amikpon. Un rythme enivrant dès la première écoute.


Initiated into voodoo religion and Egungun masks, Antoine sings in Yoruba, Fon or Gun. He is mainly known as the "king of kpalongo rhythm". Amikpon Band recorded its first album in 1977 on label Satel Records. The kpalongo style is already present in Amikpon. A heady pace from the first listening.

En 2005, j'ai rencontré et enregistré le Groupe Amikpon. J'ai été surpris par le talent de son leader Antoine Sagbohan. Le morceau "Achiko" est celui que je préfère,  Antoine joue du tambour acouba (congas). Il crée aussi ses propres tambours comme le patengé, une mini batterie que l'on peut entendre sur "Amikpon solo". Enfin sur le morceau d'inspiration vodoun "Agbe", Antoine joue du gangan (talking-drum).

In 2005, I met and recorded Amikpon. I was surprised by  the talent of its leader, Antoine Sagbohan. The song "Achiko" is my favorite, Antoine plays acouba drum (congas). He also creates his own drums like patenge drum, a small battery that can be heared on ""Amikpon Solo". Finally, on Vodun inspired title "Agbe", Sagbohan plays gangan drum (talking-drum).



Maurice Sempore & L'HARMONIE VOLTAIQUE (Burkina/1976)


Encore une bonne surprise venue du Burkina (Haute Volta) et comme toujours pressée au Bénin. Le morceau "Sona Voci" est anthologie, ça parle de cinéma et de cinéma....
Voici une histoire de l'orchestre Harmonie Voltaique et de son leader Maurice Sempore racontée par Benjamin Medou (ici).

L’orchestre Harmonie Voltaique a été fondé en 1948 grâce à un fonctionnaire colonial de l’époque, Antoine Joseph Ouédraogo dit « Borfo ». Rentré du Mali, ce dernier constata que, pour faire une soirée, il fallait recourir à des orchestres étrangers (de la Côte d’Ivoire en particulier). Il décida donc de créer un groupe dans la nouvelle Haute-Volta.
Le groupe musical, composé d’amateurs à l’époque, jouait alors à Koulouba, dans la cour du vieux Saré (père d’Antoine Saré, accordéoniste de l’orchestre) avec 50 francs comme prix d’entrée aux soirées. En 1950, le gouvernement, sensible à cette initiative d’Antoine Ouédraogo, accorde une subvention de 50 000 FCFA à l’orchestre. C’est en 1960 que le président Maurice Yaméogo aide l’Harmonie voltaïque à acquérir des instruments en France. Le groupe, avec son compositeur vedette, Maurice Semporé, va illuminer toute la Haute-Volta et d’autres contrées africaines de ses compositions splendides.




Another pleasant surprise coming from Burkina (Upper-Volta), and as always pressed in Benin. The song "Sona Voci" is anthology, it's about cinema and cinema again...
I also join a story of orchestra Harmonie Voltaique and its leader Maurice Sempore written by Benjamin Medou (here).


The orchestra Harmonie Voltaïque was founded in 1948 by a colonial official at the time, Antoine Joseph Ouedraogo called "Borfo". Returned from Mali, he found that it was necessary to use foreign orchestras (from Ivory Coast in particular). So he decided to create a new band in the Upper Volta.
The band, composed of amateurs at the time, played at Koulouba in the courtyard of old Sare (Sare Antoine's father, accordion player in the band) with 50 francs CFA as entrance for the party. In 1950, the government, sensitive to the initiative of Antoine Ouedraogo, gave a grant of 50 000 francs CFA to the orchestra. It was in 1960 that president Maurice Yameogo helped Harmonie Voltaique band get modern instruments coming from France. The band, with its featured composer, Maurice Sempore, will illuminate the entire Upper Volta and other African countries for its splendid compositions.

MATI & THE MUSIC: 52 Records covers (1955 / 2005)


Limited edition book of only 500 numbered copies.

Accompanying the launch of this book is a double album of a previously unreleased MILES DAVIS concert that was part of his 1969 "BITCHES BREW" European tour, with a portrait of Betty Davis on the cover. The painting known as Zonked had been commissioned by the trumpet player but was never used at the time, due to their separation.

The double album
will be sold exclusively with the book.
ORDER NOW
at
antoine@galerie213.com
Price: € 290

Mati Klarwein’s place in the history of 20th century art is unique, nestling at the crossroads of painting and music. From the end of the 1960s, a period as fruitful as it was revolutionary, numerous musicians such as Miles Davis, Carlos Santana and Jimi Hendrix recognised a statement of intent in his work and used it on their record covers as a manifesto. At a time when it was all about vinyl, the cover was more than just a simple illustration, it was a form of visual support, an object of meditation that listeners would gaze at relentlessly while playing their records. Mati Klarwein’s paintings, through their thematic wealth and visionary depth, fitted perfectly with the new values these musicians wanted to express and they subse-quently became the artistic counterpoint to legendary albums like Bitches Brew, Abraxas and This is Madness by the Last Poets, the prophets of hip hop and rap.


Musicians continued to identify with Mati Klarwein’s paintings over the following decades. Antoine de Beaupré, a passionate collector, has found more than 50 album covers coming from almost every genre, from classical to electro-jazz, all with the artist’s signature. Some used an existing painting; others were commissioned especially such as the portraits of Buddy Miles, Greg Allman and the group Earth, Wind and Fire. For the first time ever this book presents the album covers in their entirety, accompanied by related texts, photos and documents with a preface by the writer Serge Bramly (Prix Interallié 2008), a life-long friend of the artist.

Mati Klarwein, visionary artist

Son of a Bauhaus architect and an opera singer, Mati Klar-wein was born in Germany in 1932, he grew up in Palestine, started painting in Paris, in Fernand Léger’s studio where he met Salvador Dali, then later in the Viennese painter Ernst Fuchs’ studio, he obtained French nationality with the help of Madame Malraux, played jazz with Boris Vian before moving to New York in the mid 1960s in the middle of the hippy revolution and he never stopped moving his studio across the world from India, Bali and Morocco to Brazil, Greece, Ghana, Cuba and elsewhere, before ending up in his Balearic village of predilection, Deia, where he passed away in March 2002. His oeuvre consists of more than 600 paintings, including 270 portraits, 280 landscapes, which he called Inscapes, and over 100 Improved Paintings, canvases bought at flea markets which he then adapted into his own work.