If you have been reading this site for a while you might have realized I’m a bit of a pontificating ass that while not an expert in anything deeply wishes I played on on TV and now I’m turning my attention on Africa. Recently, there has been an upswing in the number of groups that are mining the sounds of Africa from the Seventies, with groups like Akoya, Antibalas Afrobeat Orchestra (also credited as simply Antibalas), Kokolo, and Afrodizz all paying homage to Afrobeat, Zimbabwean, and South African sounds by drawing upon the influence of Fela Kuti, Tony Allen, and Thomas Mapfumo. So it is with great eagerness that I snapped up the re-issue of Mapfumo’s work with Hallelujah Chicken Run Band released by Alula Records.

Take One is a compilation of the band’s hits between 1974 and 1979 and features some of the most infectious rhythms and melodies I’ve heard in a longtime. The guitar work is the most distinct aspect of the album featuring blistering passages played in a spritely staccato manner with a voicing transcribed from the scale of the mbira–Alula points out that this is the first appearance of this tuning and technique and has gone on to define the sound of much of Zimbabwe’s pop music. Combined with brain twisting time signatures, a bass line that dances just as quickly, and Mapfumo’s crisp drum work the music is timeless, intoxicating, and joyful.

In contrast to that joy is the fact that the music was, at the time, an open act of rebellion and highly political in nature. Singing in Shona as a form of protest against the then Rhodesian government, details the struggles of the poor and disenfranchised in themes of love, loss, and overarching political themes. Taurai Maduna of Kubatana writes that Mapfumo, himself, became an icon of the liberation movement because of his work during this period including still composing music while jailed. All About Jazz has an excellent write up about the birth and history of the band as well as providing some additional groups to look into.

I cannot recommend the album enough. If you have been caught up in the resurgence of African Pop than do yourself a favor and grab this album to hear the roots of the music, you will not regret it. Definitely one of the best releases this year.

So you might be asking, “WTF? Jazz? With a World edge? What, are you getting a Masters in Social Work?” Fair enough. Not all my listening falls into the categories of four-on-the-floor or three out of tune chords and although it is not rock, house, or punk ArcoLuz manages to growl, sing, and sway as Renaud Garcia-Fons demonstrates impeccable technique and lyricism double-bass. His work, especially on this album with its minimal setting, is worth sitting up and taking notice of.

The album, on face value, is a fairly traditional jazz set whereby each song begins with a statement of melody and each member of the trio then expands upon it through the course of the song. On this set the group explores folk traditions through the lens of Western Middle Eastern, and North African traditions while maintaining an air of improvisation. Garcia-Fons’ playing is light and nimble with some soaring passages, made possible by the extra fifth string in the upper register, and he is buoyed by Kiko Ruiz’s flamenco stylings and the understated percussion of Negrito Trasante.

The centerpiece of the album is obviously Garcia-Fons’ playing and it is well worth the price of admission. From the sweeping melody of the title track where his bow swoops over the strings lightly to the nimble pizzicato of “Berimbass” that skips about underneath Ruiz’s guitar and the quiet melody of “40 Dias,” Garcia-Fons ranges far and wide in his playing. While there are some that are left feeling a little cold hearing his performances it is hard to argue his musicianship and dedication to pulling the most that he can from his instrument is lacking.

Highly recommended if you have a hankering for microtonalism dressed up in Western methods and instrumentation or are a fan of the bass. You can find ArcoLuz at either eMusic or Amazon.

Loka’s Fire Shepherds is about texture, mood, and atmosphere.  Playing alternately like the backing track for dense Jazz-Fusion album and a Seventies action flick, bongo’s, organ, and buzzing double bass never sounded so good. Over at Ninja Tune Loka is billed as creating “a music which at times sounds like Miles Davis jamming with Carl Craig and the Kronos Quartet” and that is an apt description with equal parts of Bitches Brew, More Songs About Food and Revolutionary Art, and Night Prayers providing a swirling mass of psyche-groove.

“Freda Mae” is what Naked City would sound like if they scored porn. Horns and reeds grind and moan like a blue whale getting it on with a box car while the bas line slinks around like the pizza delivery guy with no pants. It is sleazy, slightly greasy, very decadent in a pay by the hour sort of way, but so very good. Not everything here is as wrapped up in sensual skank as the opening track, “Safe Self Tester” is a lush and sonorous number filled with rich orchestra back drop of thick cellos and trilling flutes that blanket a driving bass line.

Loka create what could be best described as Program Music as each song is written to push the listener to conjure images on their own that fit the thematic mood of the moment. “Airfling” is a dreamy piece that rolls and surges on a tightly locked rhythm section with gentle breezes of muted brass floating in from the distance like a far off bird calling out. The focus is less on resolving chords and providing a fully realized theme as it is about evoking the feeling of a certain place and time.

Fire Shepherds is a great album if you are looking for music that does not demand your undivided attention to parse meaning. If you are in the market to let you mind wander and to have a collection of songs that can seep into your surroundings than you can do no better than Loka’s effort. Highly recommended. You can grab it either at eMusic or from Ninja Tune.