France

The return of the Zanzibara series: a Deep Taarab masterpiece from legendary singer Zuhura Swaleh, recorded in Nairobi in 1981.Taster for the forthcoming Zanzibara double vinyl compilation: Taarab experiments in 70s Mombasa - due Spring 2019Zuhura Swaleh & Party initially rose to fame on the Mombasa scene in the 1970s with a new fast-paced taarab style led by the electrically amplified tashkota (actually a Japanese instrument correctly spelled as taishokoto), that resembles a mix of electric guitar, slide guitar and sitar.Zuhura’s chakacha-styled taarab sound and stinging lyrics became popular up and down the coast, leading to invitations for performances all over Kenya, Tanzania and Uganda throughout the 1970s.Her no-nonsense way of speaking out openly and voicing women’s concerns helped pave the way for the new “modern taarab” sound that came to fore in the 1990s.While playing a wedding in Nairobi in 1981 Zuhura & Party were approached by the local Polygram studio to record some songs, but the record did not catch on as the lp format was not suited to the tiny portable record players in use in Kenya back then, and the record industry as a whole collapsed in the wake of the 1982 coup d’état attempt and the resulting economic slump. Only a few records were pressed and have since become collectors’ items. Locally the songs survived and remained popular as pirated dubs (first on cassette now on CDR).Buda Musique is proud to present one of the few Taarab LPs ever recorded for the first time on vinyl outside of Kenya.

Hypnotic percussion tracks and organic soundscapes drawing on Africa, Asian, Indian & South American traditions, recorded deep in the French countryside in 1984.Komos Records are proud to present the first-time reissue of a cult French private press rarity at the intersection of jazz, percussion and experimental sounds.Founded by long-time friends Gerard Kurdjian and Stéphane Olivier alongside compatriot Christian Berthier in 1983, Nakara Percussions was a trio from the south of France, fascinated with percussion instruments, rhythms and textures from across the world.Steeped in Jazz and ethnographic recordings, the trio designed and built their own instruments and played across the South of France throughout the 80s, recording a single album in the tiny village of Alliens in 1984.Self-produced and mainly sold at gigs, the record reflects the inquisitive, experimental approach of the group and has become a cult album among DJs and music lovers for its blend of complex rhythms and organic soundscapes, taking in everything from Brazilian batucada to Indian tabla rhythms by way of West African thumb pianos and the drums of the Maghreb.The track “Balimba” has become a dancefloor classic, finding a home in the sets of open-minded techno DJs as well as on the jazz dance and tropical scenes.Press kit contains interviews with Gerard and Stéphane and vintage band and concert photos.

Guadeloupe 1986. The football World Cup has all the Islanders' eyes riveted to their TV sets. At every half time breaks, local TV channel RFO broadcasts a music video on repeat: ‘’Tou’t Jou Pa Min’m". Max Rambhojan, the local singer responsible for this monster tune, has arrived.In the video, he effortlessly sings and kickstarts a joyous street party with his band, Show Man, his dancers, kids, friends, family and what seems like the whole neighbourhood. The song will gain cult status from then on, cementing the power of the 'Zouk Chiré' sound, a high tempo version of Zouk, highly influenced by Guadeloupe's Carnival mass drum bands. Max self-releases his first solo album on vinyl in 1985, enrolling some of the best musicians the scene has to offer: his band leader King Klero, Guy Jacquet of les Vikings de la Guadeloupe fame on production duties, Ramon Pyrmée on synths, Claude Vamur, Meliza… In 1992 a new solo album follows. By then the artists have familiarized themselves with computers and the sound has gone full-on digital. In that album Max records an updated version of his “Tou’t Jou Pa Min’m” anthem to great effect.Reducing Max Rambhojan to a zouk artist would be a mistake. He’s first and foremost a master of Gwo-Ka, a musical practice born during the transatlantic slave trade and performed by all ethnic and religious groups of Guadeloupe. It has never ceased to exist and has become a major part of the Island folk music culture. Max Rambhojan was schooled as a kid by Gwo-Ka pioneer Guy Conquette, and quickly joined the backing band of another legend, Ti-Sélès. That sound is the root of his particular style, especially vibrant on two tracks in his repertoire: “Cecilia” and “On Jou Matin”, both featured on this release's b-side. A touch of Spiritual Jazz is also palpable, allowing a magical vibe to spread, giving birth to some of the deepest music from this era.In 2019, Max still performs Gwo-Ka every week-end in Guadeloupe and also hosts a show on local radio Media Tropical, 88.1FM. Secousse and Hot Mule are proud to present those 4 lost gems on wax and digital, carefully restored and remastered.