Tag: Tony Allen

Sangit Segal is a rising Israeli-born and based multi-instrumentalist songwriter and producer, best known as Sangit, whose passion for music has led him to collaborate with an eclectic array of artists from different backgrounds and cultures. Born in Hadera, Israel, Segal grew up on Kibbutz Kfar-Glikson, a collective agricultural community with an idealistic social mission. His father managed the kibbutz factory while his mother worked in the nurses, when she was taking care of Segal and his four sisters. At his parents’ insistence,  Segal took music and dance lessons throughout his childhood, but his love of music truly blossomed when he turned 11 and picked up the saxophone. Although his earliest musical influences came from listening to classical music records with his grandfather, the young Segal preferred Israeli, British and American rock music. Later in life, Sangit discovered African, funk and electronic music, which have gone on to become fundamental to his own sound.

Disgruntled with the kibbutz’s agenda, Segal’s parents relocated the family to nearby Zikhron Yaakov when he turned 14. In Zichron Yaakov, Segal began to play the drums and was inspired by his djembe instructor to develop both his musical and spiritual sides. When he turned 19, the self-described troublemaker and individualist flew to India rather than join the army. And while in India, he embarked on a journey of self-discovery: learning from the philosophies he encountered, he began taking tabla and sitar lessons. When he turned 21, Segal underwent a Sannyasa imitation ceremony, receiving the name Sangit, which means music in Sanskrit. (In Hinduism, Sannyasa is a life stage in which adherents renounce material desires and pursue a life of peace, love and simplicity.) “The name Sangit really grew on me, and it strengthened my true calling in life––music,” Segal recalls.

Returning to Israel, Segal attended the Rimon School of Music, studying composition and music arrangement, but after a year, he left to study percussion in Cuba — and later to play with African masters. In 2004, the Israeli-born multi-instrumentalist, songwriter and producer along with Alon Yoffe and Abate Berihun co-founded the Ethiopian jazz act Kuluma. The act released the critically applauded album Mother Tongue.

In 2012 Segal released Open Channels, his first collaboration with his wife Noa Golan, who he had met in Aviel, Israel, a small village in Northern Israel, where they currently live with their children. On their property, he built a recording studio, where he invites musicians and artists of diverse backgrounds to join him on his inventive recording and film projects, including a series of audio-visual collages as part of his Studio Sessions Project, which has featured dozens of musicians and darncers in each music video. Throughout the years, the Israeli-born multi-instrumentalist, songwriter and producer has collaborated with an impressive and eclectic array of artist including legendary Afrobeat drummer Tony Allen, video mash-up star Kutiman, vocalist Karolina, Ethiopian legend Mahmoud Ahmed, Tel Aviv-based funk act Funk’n’stein and many others. Interestingly, Segal has long embraced experimentation through collaboration, allowing the music to essentially write itself and evolve out of the ideas and styles of each musician and artist.

Sangit’s debut EP, 2016’s Afro Love found him blending African grooves with a funky, global fusion sort of vibe. Eventually, the Israeli-born artist’s work caught the attention of Cumbancha Records, who released his full-length debut Librar yesterday. Blending and meshing African, Afro-Cuban roots music, jazz, funk and Moroccan Gnawa trance music with Ethiopian scales and a bit of Caribbean flavor, the album finds Sangit crafting a unique, global-spanning, difficult-to-pigeon hole sound. The album as he describes in press notes, is “a reflection of my creative momentum. I am passionate and fanatical about my music. And this album,” he says “represents my spiritual journey, my evolution.”

The album’s material features musicians healing from Mali, Burkina Faso, Ethiopia, Morocco, Iran, Congo, as well as Isreali musicians repenting a diverse array of cultural influences — and naturally, the album continues his personal mission to collaborate with artists from different backgrounds in creative projects that move him and audiences across the globe. Interestingly, the album has lyrics written and sung in nine different languages by 11 different vocalists from around the planet. (His live band is a nonet and from what I understand is currently setting the groundwork for their first international shows in 2020. Hopefully, they’ll be a New York City Metropolitan area stop at some point!)

“Turn Your Head to the Light,” the infectious and incredibly upbeat new single off the recently released album is centered around a a propulsive and sinuous bass line that recalls Stevie Wonder‘s “Superstition,” an enormous and ebullient brass line, and features vocals from Funk’n’stein’s Elran Dekel. And while sonically being a seamless synthesis of Motown-era funk, gospel, and Afrobeat, the song has a decidedly positive message that reassures the listener that “if you are going through some bad days or a gloomy night, all you have to do is turn your head to the light, focus in the positive, believe in yourself.” 






New Video: Speed Through the Streets of Kinshasa in Visuals for TSHEGUE’s Thumping “The Wheel”

Born in Kinshasa, Democratic Republic of the Congo, Faty Sy Savanet and her family emigrated to Paris when she was eight. In her early twenties, a mutual friend connected Savanet with Robert Wyatt collaborator Bertrand Burgalat, whose label, Tricatel has been referenced as a major influence of the likes of Air and Daft Punk.

Burgalat encouraged and enabled many of Savanet’s formative musical experiments, including a short-lived voodoo ‘n’ roll band. Interestingly, Savanet’s latest project TSHEGUE, which derives its name from her childhood nickname, a Congolese slang term for the boys who gather on Kinshasa’s streets, can trace its origins to when she met her bandmate, French-Cuban producer Nicolas ‘Dakou’ Dacunha.

Their debut EP, 2017’s Survivor thematically explored the challenges faced by the African Diaspora paired with Dacunha’s forward-hthinking, hypnotic, club-banging productions which features elements of Afropunk, garage rock and electro-clash. Survivor EP was championed by the likes of Mura Masa and Noisey, which led to a growing international profile. And adding to a growing profile, the video for “Munapoto,” which was shot on the Ivory Coast received a UK Music Video Award nomination alongside videos for tUnE-YaRdS and Chaka Khan.

“The Wheel,” the first bit of new material from the duo since the release of Survivor EP, and I’m certain that it’ll further cement TSHEGUE’s growing reputation for crafting swaggering, forward-thinking, genre and style-blurring bangers. Centered around a wildly exuberant, hypnotic and percussive production featuring ricocheting industrial clang and clatter, stuttering, tweeter and woofer rocking beats, explosive blasts of bass synth paired with Savanet’s commanding flow, the song bears a resemblance to JOVM mainstays Kokoko! as it sounds as though it comes from a sweaty, post-apocalyptic future where the club and the ghetto are one and the same — but delivered with a decidedly punk aggressiveness.

Directed by Renaud Barret, who was also behind the Africa Express documentary featured Damon Albarn, Peter Hook and Tony Allen, the recently released video for “The Wheel” was filmed in a gorgeously cinematic black and white amidst the chaotic traffic of Savanet’s hometown, follows members of the local, mixed-gender, teenaged skating club, Club Etoile Rollers hitching rides on the backs of speeding busses, cars, motorbikes through the heaving megalopolis’ crowded streets. Speaking about the video Barret says ““An ordinary day in Kinshasa. I’m in a taxi on Lumumba Boulevard, when suddenly I’m in the middle of this gang of kids slaloming between cars. We exchange thumbs up, signs of complicity, rolling side by side for a moment. One of them spots my camera, and comes closer to shout ‘Hey sir! Do you wanna shoot something crazy?’ I couldn’t refuse. This is the magic of a limitless city where each and every day brings incredible spontaneous possibilities. Now as I watch the beaming faces of these kids, thrown at full speed on their crumbling rollers, almost out of control, intoxicated by danger and only protected by their faith in good luck; I can only see a metaphor for the Congo’s situation. But also a middle finger to a society trying to maintain an illusion that everything should be controlled, supervised. These free riders remind us that life must be lived in the present.”

The duo has begun to make a name for themselves with commanding live performances, including sets at Lowlands and The Great Escape Festivals and from what I understand the act will be announcing a series of headlining UK live shows to coincide with the release of more new material.

New Audio: Sampha Shimmering, Dance Floor Friendly Remix of Legendary Malian Vocalist Oumou Sangare’s “Minata Waraba”

Oumou Sangare is a Bamako, Mail-born and-based, Grammy Award-winning,  singer/songwriter and musician, who comes from a deeply musical family, as her mother, Aminata Diakite was a renowned singer. When Sangare was young, her father had abandoned the family, and she helped her mother feed the family by singing; in fact, by the time she had turned five, Sangare had been well known as a highly gifted singer. After making it to the finals of a nursery school talent show, a very young Sangare performed in front of a crowd of 6,000 at Omnisport Stadium — and by the time she was 16, she had gone on tour with a nationally known percussion act, Djoliba.

Sangare’s 1989 debut effort, Moussoulou (which translates into English as “Women”) was recorded with renowned Malian music master Amadou Ba Guindo, and was a commercial success across Africa, as it sold over 200,000 copies. With the help of the world renowned Malian singer/songwriter and multi-instrumentalist Ali Farka Toure, the father of Vieux Farka Toure, Sangare signed with English record label World Circuit — and by the time she turned 21, she had received an internationally known profile. Interestingly, Sangare is considered both an ambassador of Mali and the Wassoulou region of the country, just south of the Niger River, lovingly referred to as “The Songbird of Wassoulou,” as her music draws from the music and traditional dances of the region while lyrically her work has been full of social criticism, focusing on the low status of women within Malian society and elsewhere, and the desire to have freedom of choice in all matters of one’s life, from who they can marry to being financially independent.

Interestingly, since 1990 Sangare has performed at some of the world’s most important venues and festivals including the Melbourne Opera, Roskilde Festival, Gnaoua World Music Festival, WOMAD, Oslo World Music Festival and the Opera de la Monnaie, while releasing several albums including — 1993’s Ko Sira, 1996’s Worotan and 2004’s 2 CD compilation Oumou. Adding to a growing profile, Sangare has toured with Baaba Mal, Femi Kuti and Boukman Eksperyans, and she has been named a Commander of the Order of Arts and Letters in 1998, won the UNESCO Prize in 2001 and was named an ambassador of the FAO in 2003.

Mogoya which translates into English as “People Today,” was Sangare’s first full-length effort in over 22 years, and it was released to critical praise from the likes of Dazed, The Fader, The Guardian while making the Best of 2017 Lists of Mojo, the BBC, the aforementioned The Guardian as well as Gilles Peterson — and the album found the renowned Malian artist collaboration with the legendary Tony Allen and French production team A.L.B.E.R.T. and pushing her sound in a new, direction; in fact album single “Minata Waraba” features  Sangare’s gorgeous and expressive voice with shimmering African instrumentation paired with a slick and hyper modern production that emphasizes a sinuous, electric bass line and shuffling, complex polyrhythm that reminds me of a 2013 Fela Kuti tribute compilation, Red Hot + Fela, which featured contemporary artists re-imagining some of the Afrobeat creator’s signature tunes.

Sangare will be releasing the Mogoya Remixed album through Nø Førmat Records today, and the album features remixes of the album’s material by contemporary artists and producers, who have been high profile fans of her work; in fact the album’s latest single is from the British-born and based producer and artist Sampha. Sampha has split his time between solo and collaborative work, and has worked with the likes of SBTRKT, FKA Twigs, Jesse Ware, Drake, Beyonce, Kanye West, Solange and Frank Ocean. His full-length debut Process won the Mercury Music Prize last year, and earned him a 2018 BRIT Award nomination for Best British Breakthrough.

Sampha has publicly mentioned his love of Oumou Sangare’s music, explain in press notes, “My dad had a copy of Oumou’s album Worotan and no other album has spoken to me quite like that. Her music has been a huge inspiration ever since and it’s a real honour to have remixed some of her music.” Sampha’s remix retains Sangare’s crystalline vocals but pairs it with a thumping production, featuring tribal house like beats and shimmering arpeggiated synths that while modern, still keeps the song rooted to Africa. Interestingly, Sangare has mentioned being bowled over by Sampha’s remix, saying  “When I first heard Sampha’s remix, I was amazed at the beat. Our rhythmic patterns are not always easy for Western people. But, wow, Sampha’s beat is definitely African, definitely. Listening to it I can tell that Sampha has African blood in his veins. I am really excited by this version, I play it again and again.”

New Video: The Humanist and Globalist Pop Sounds of Daby Touré

Daby Touré is a Mauritanian-born, Paris-based singer/songwriter, who has had a lifelong love and obsession that began with listening to The Police, Stevie Wonder and Michael Jackson over the radio; however, he can trace the origins of his music career to when he taught himself the basics of guitar, while possessing an instinct that music was to be his life.

As a teenager, Touré relocated to Paris and his lifelong passion for music gradually drew him away from his studies in business; in fact, Touré began fully immersing himself in Paris’ jazz scene. And after several years of experimenting with his sound and songwriting, Touré met electronic music artist and producer Cyrille Dufay in 2003 — and the duo collaborated on Touré’s critically applauded breakthrough album Diam, an album that was signed to Peter Gabriel’s Real World Records. Interestingly, as a result the Mauritanian-born, Paris-based singer/songwriter opened for Gabriel during the renowned British artist’s 2004 Growing Up World Tour, which allowed Touré to have a growing international profile — with the album being added to playlists across France and the UK.

In 2006, the Mauritanian-born, Paris-based singer/songwriter was nominated for Discovery of the Year in that year’s BBC World Music Awards and he released his sophomore effort, in which he collaborated with sound engineer Ben Finlay, who has worked with Peter Gabriel, Sting, Simply Red, Jeff Beck and Robert Plant; and mixer and engineer Tom Oliver, who has worked with Sinead O’Connor, U2, Seun Kuti, Tony Allen, Susheela Raman and Charlie Winston. The following year saw the release of his third full-length effort Stereo Spirit, an album praised internationally for material that possessed catchy hooks and singalong-worthy lyrics — while pushing his sound towards the genre-defying.

By 2009, Touré collaborated with bluesman Skip McDonald on the Call My Name EP, an effort that Sing Out! described as being “neither African nor blues, but instead pulls from both and also from rock, a touch of pop and even dub for a unique, appealing and — its as to be said — quite commercial sound. The two voices and styles complement each other perfectly, and the songs they’ve created – for they seem more like creations than compositions – summon up echoes of their histories, but end up in a hybrid that’s essentially completely new.” With the success of his collaboration with McDonald, Touré has collaborated with an increasing number of internationally recognized artists including French pop artists Francis Cabrel and Maxime Le Forestier on Touré’s 2012 French language effort Lang(u)age — and he’s performed alongside Bob Geldof, Rihanna and Enzo Avitabile, among others.

As Touré explains in press notes “I was born in Africa And all the traditional music I picked up when I was young is still in me and that doesn’t change. But in my music I am still searching, and mixing, and trying things and that’s what I am doing now. I have travelled far from the ‘traditional’ or ‘folkloric’ music of my country.” In fact, over the past few years, the Mauritanian-born, French-based singer/songwriter has increasingly has merged the linguistic sounds of the six languages he speaks while moving towards a more globalized and universal sound — all while maintaining the accessibility that won him international attention.

Although his most recent effort was 2015’s Amonafi, which was released through renowned indie label Cumbancha Records, the internationally renowned singer/songwriter will be in town for two sets at Subrosa on Thursday night and to celebrate the occasion, released the music video for album single “Oma.” Sonically “Oma” is a breezy pop song that owes a debt to dub and reggae as much as it does to traditional African folk music in a seamless fashion and with an infectious, crowd-pleasing hook Throughout, Touré sings in several different languages — including English for part of the song’s hook, which gives the song a jet-setting, globalist universality. And yet, the song draws from a personal experience. As Touré explains of the song “One day as I was walking down the street, I passed a woman and her children. She was alone, sitting on the ground, and asking for charity and nobody seemed to care. This woman spoke to me that day. She inspired this song. Oma is this mother’s cry.”

The recently released music video for the song is a fairly straightforward take on the song, that follows after the song’s thematic concern with the video having Touré encountering a homeless woman and her child, and Touré approaching this woman and her child for a friendly and empathetic conversation that influences his song.

New Video: Afro-Haitian Experimental Orchestra Bridges the Sounds and Cultures of the African Diaspora with Funky Grooves

Album title track “Bade Zile” employs the use of propulsive and complex polyrhythms paired with call and response voodoo chants, a driving groove and swirling electronics to craft a sweaty and funky free-flowing jam that subtly nods to reggae and funk while directly and overtly nodding to Afrobeat and traditional Haitian music in dizzying and seamless fashion.

The recently released music video was primarily shot in Port-au-Prince during Fete La Musique and it captures the island nation’s stark poverty, its people’s beauty, dignity and pride, some gorgeous voodoo relics and the musicians of the Afro-Haitian Experimental Orchestra in the rehearsal room and on stage jamming, as well as the audience at the festival rocking out and enjoying the proceedings. And the entire time I watched the video I couldn’t help but be awed by such a proud, beautiful people, who have suffered so greatly.