Archive | juin, 2015


10 Juin


The latest installment from the highly acclaimed and sought after Rewind! series features covers of classics such as “Dreams” by Fleetwood Mac done by none other than Shawn Lee and Adrian Quesada’s Electric Peanut Butter Company, a rousing reggae funk take by The Lions and Noelle Scaggs of Lynn Collin’s “Think (About It)” and Monophonics’ hit single “Bang Bang”. It also includes previously unreleased covers of “Spill The Wine” and “Daytripper” by jazz-funk master Johnny Frigo that were not included on his Luv N‘Haight “Collected Works” release. Brownout Presents Brown Sabbath’s well-received cover of “Planet Caravan” and post-punk anti-hero Black Randy’s manic interpretation of James Brown’s “Give It Up Or Turn It Loose” rounds out the eclectic vibe of the compilation.(ubiquity records)


10 Juin


7-inch records — be they 45 or 33, two tracks or an EP — are the ultimate DJ tool if you like playing vinyl because they are lighter and smaller and thus easier to take to gigs. My friend DJ Turmix confided in me once that he gave up bringing 12-inch records to parties and clubs because the weight over the years had damaged his body, and I heartily concurred. We both agreed, though, that the problem is not everything is available on 45! In fact, it’s long been a sticking point in jockey and collector circles that while there are certain coveted tunes that can be found on 45 (sometimes at great cost), sadly, other favorites do not exist on that format at all. At least now, when vinyl is experiencing a resurgence of interest, 7-inch records are back in style and labels are reissuing deep album cuts or rarities that never originally saw the light of day as a single, so thankfully the palette is opening up for DJs who stick to 45s only, and hopefully as a result there will be fewer injured backs and sprained wrists!

Back when I was first conceiving of the Afrosound of Colombia in 2009, I fantasized about making some limited edition 45s of just such a selection from the Fuentes vaults – putting out a few tracks that were either very hard to find and expensive to get on 45, or that had never been available before on 7-inch. But it was not until six years later that the stars aligned and this dream was fulfilled, the tangible product of which you now find in your sweaty little hands, dear reader.

Early on in the design process for Volume 2 of Afrosound, Iñigo Pastor, Vampisoul’s mastermind, had told me how much he liked CS Fossett’s artwork, especially the panel with all the portraits of Fuentes stars. In fact, he suggested we use that as a jumping off point to do a series of 45s utilizing the individual portraits as sleeve art, each one highlighting two songs by that artist, with the tie in concept that we pitch the project as “learn to dance the Afrosound with DJ Bongohead” or some such tag.

While I was excited that Iñigo loved Chris’ artwork and flattered that he was thinking of doing something along these lines that made it seem like I was making people hit the floor with my selections and perhaps teaching them about different Colombian genres in the process, I was a bit uncomfortable with the emphasis being on me (and also limiting it to the artists represented in the portraits). So I decided to dial it back a bit and came up with the concept for presenting a “Big Box of Afrosound” – as if it were some crate of contraband material found in the far off jungle abandoned by rebel DJs in the mountains, or perhaps a straw filled shipping container holding some precious relic or artifact robbed from a native tomb, Indiana Jones style. The main idea was inspired by Iñigo and Vampisoul’s brilliant box of Latin soul and boogaloo 45s from a few years back. This way I could do a special collection of ten 45s, not just a few singles, drawing from both of the already issued volumes of Afrosound and also putting in some selections that Iñigo and I wanted to have on 45. Some would be tunes released on this format for the first time, while others were cuts nearly impossible to find in the original vinyl; some would be specially remastered just for this project, coming from deep within the vaults at Fuentes HQ in Medellín. But the most important criteria was the tracks had to be fun and/or “crazy”…

I am betting that some of these will be favorites for people already familiar with Volumes 1 and 2, and hopefully others will become new top picks for future gigs. These twenty jams represent the taste not only of myself and Iñigo, but also several trusted advisors and fellow travelers down the road of Colombian music who tipped me off to certain amazing Fuentes tracks and artists over the years.

Pablo E Yglesias aka DJ Bongohead

A TRIO + ALAN BISHOP – Burj al Imam (ANNIHAYA/2015)

9 Juin


Entirely recorded at Tunefork Studios on the outskirts of Beirut, Burj al Imam’s five tracks include three largely improvised numbers, a loose reworking of early Sun City Girls track « The Imam, » and a cover of traditional Americana song « Gently Johnny. » The album displays remarkable coherence, for four musicians coming from such different backgrounds. True to their habits, the Lebanese trio of trumpeter Mazen Kerbaj, guitarist Sharif Sehnaoui, and bassist Raed Yassin create acoustic improvised drones that range from insistent, chiming resonances with emergency alarm bells to low, thrumming hums. The three musicians largely avoid conventional technique, instead using what sounds like motorized devices to generate rattling, metallic vibrations, building a mechanistic backdrop out of which the instruments’ true voices occasionally arise. Perched above the ambient din, Alan Bishop is in fine form, and alternates between gentle crooning and malevolent whispering. Alan Bishop: guitar and voice; Mazen Kerbaj: trumpet; Sharif Sehnaoui: acoustic guitar; Raed Yassin: double bass.


Lesiman – Here And Now volume 1 and 2 (Vedette Records in 1974 and 1973 / reissue by Schema records in 2015)

9 Juin



Aka Paolo Renosto, close Morricone collaborator — stuff like the horror flick Un Angelo Per Satana — and member of the Gruppo d’Improvvisazione. Here he is, undercover at the RAI, doing ‘music for industrial use’.Fresh, brilliant sketches in lightly baroque funk and suspenseful crimbo jazz, with dubwise sensibilities. Highly entertaining and here-and-now.(SCHEMA)


Playlist de l’émission PERSÉVÉRANCE vol 3 sur RADIO DIO 89.5 FM le 7/06/15

7 Juin


RADIO DIO 89.5 FM  ou sur le net ici :– ĒMISSION 3 – 7 JUIN 2015
SELECTED BY :  A l e x a n d r e P e r s é v é r a n c e
Musique de Générique Felt – Magellan (album: Ballad of the band maxi 45 tours -– Creation records- 1986) 
Joe Harriott and Amacio D’Silva’s –  Ballad For Goa (album: Hum Dono – Columbia- 1969 réédité chez Vocalion en 2014)
Dr Haki. R. Madhubuti –  Rain Forest (album: Spiritual Jazz – Vol 6, Compilation – 1984- Jazzman records – 2015) 
Aurélien Merle-  Carreaux tremblent (album: Remerle -– Le Saule – 2015 )
Daniel Darc –  Ne m’en veux pas de t’en vouloir (album: Crève Coeur -– Edition de Luxe chez Mercury – 2015 )
Czerkinsky – Pour être aimé il faut être aimable (album: Eponyme -– Le village vert – 1998)
Ignatus – T’es belle (album: L’air est différent -– Ignatub – 1997)
 Marcos Valle –  Estrelar (album: Compilation The Brazilian Boogie Connection From Rio to Sao Paulo (1976-1983)
Tom Zé –  Passageiro (album: Tom Zé -– Original 1970 – Réédition chez Mr Bongo- – 2015)
Jennifer Souza – Lugo tudo acabado (album: Impossivel Breve -– Novo Mundo – 2015)
 Anouassa Jazz de Parakou –  Un temps avec elle (album: De l’Afro-cubain au Vaudou Funk -– Fondation Zinsou- 2015)
 Quim Manuel and Espirito Santo – Eme lelu (album African records- Fondation Zinsou – 2015)
 Marumo – Khomo Tsaka Deile Kae? (album: Next stop Soweto Volume 4 – Strut Records- 2015)
Bush Taxi Mali – Morning in Djenne/ Les chaveaux de Sunjata (album: Bush Taxi Mali -– Sublime Frequencies- 2014)
Ahmed Malek – Silence des cendres (album: 1970’s Algerian Folk And Pop -– Sublime Frequencies – 2014)


durutti column – another setting (Factory Benelux/2015)

5 Juin

imageFactory Benelux presents an expanded edition of ‘Another Setting’, the third studio album by cult Manchester ensemble The Durutti Column, originally issued in 1983. ‘Another Setting’ was recorded at Strawberry Studio in Stockport with production by Chris Nagle, a favourite engineer of Martin Hannett. The 11 track album contains several acknowledged Durutti classics, notably haunting instrumental ‘Prayer’ (burnished with cor anglais by Maunagh Fleming) and ‘The Beggar’, an unusually muscular vocal song and probably the closest Vini Reilly has edged to rock music. Elsewhere, ‘Smile in the Crowd’ would be covered by Depeche Mode mainman Martin Gore on his 1989 solo project Counterfeit. Bonus tracks on FBN 30 CD include exemplary live versions of ‘The Beggar’ and ‘Bordeaux’, plus non-album single ‘I Get Along Without You Very Well’, a Hoagy Carmichael cover sung by Lindsay Reade, the former wife of Factory foreman Tony Wilson. Also included are two tracks issued on a highly collectible Japan-only 7″ single, ‘Love Fading’ and ‘For Noriko’, as well as Piece for Out of Tune Grande Piano from an earlier EP on Factory Benelux, Deux Triangles. This extended remaster of ‘Another Setting’ is packaged in a 6 panel digipack on white reverse board, restoring the original cover artwork by Mark Farrow with cover paintings by Jackie Williams.(factory Benelux)

David Kauffman and Eric Caboor ‎– Songs From Suicide Bridge (Modern Classics Recordings /2015)

2 Juin

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You’ll find a Suicide Bridge in almost any big city you care to visit, but few are more impressive than the Colorado Street Bridge connecting Pasadena to Los Angeles, which earned its nickname by being the scene of suicides in triple figures. It’s also the scene of a photo shoot in which singer-songwriters Eric Caboor and David Kauffman posed on the deserted structure, capturing an image that would eventually inform the spare, detached mood–and title–of their majestic debut album, 1984’s Songs From Suicide Bridge. Indeed, there’s a fatalistic quality to this LP that has much to do with its origins.

Kauffman, from Madison, New Jersey, and Caboor, from Burbank, California, met in 1982 playing the coffee houses of Los Angeles. Each was painfully used to playing to half-empty venues, which is a situation only half of the partnership would have been at peace with. “Dave had come to California to have a career in music,” Caboor says. “I don’t think it was quite the same for me. I was always kind of reluctant to go all out.”

Every week, the pair met in a converted utility shed in the backyard of Caboor’s childhood home in Burbank to play each other the songs they wrote. They were never a duo in the conventional sense–rather, as Kauffman put it, “two loners who happened to join forces.”

After two frustrating years of trying and failing to catch a break in a music industry that was focused on new wave, pop, AOR–anything but the folk-rock the duo were offering–the pair conceded defeat. One of them suggested, half joking, that they should put all their darkest and least viable works together on one record, if only to spite the industry that had rejected them.

The more they thought about it, the better an idea it seemed, and when they started to plot out a tracklist from their vast catalog of songs, something unique and special begun taking shape. The opening track, “Kiss Another Day Goodbye,” in particular, set out the stall: “I don’t know how much longer/ I can feel the way I feel/ And never cry/ I don’t know how much longer/ I can kiss another day goodbye,” it says.

Home-recorded on a four-track, Songs From Suicide Bridge was released on the pair’s own Donkey Soul Music in 1984. If this were a movie, the album would have been a huge success. Instead, the 500 copies pressed found their way to few willing ears. Though real life encroached, Caboor and Kaufmann continued to work together, releasing albums as The Drovers in 1989 and 1992. Now, their debut is to be released by Light In The Attic Records with brand new liner notes by Sam Sweet. Hopefully, it will finally find its audience–a listener who can see hope in the darkness. “People would tell us those songs were depressing,” Caboor says in his interview with Sweet, “but it wasn’t depressing to us. In a lot of cases, playing those songs in that little room was one of the only things that made us feel better.”(Modern Classics Recordings )


1 Juin



Oiseaux-Tempête‘s first album (SR 381CD/LP); it also extends it. The travels move this time to Istanbul and Sicily, providing the food for its urgent energy and indomitable drive. While the structures still hint at moments of post-rock, they go further now, almost into the area of free-jazz yet without losing a directness rooted in punk (highlighted perhaps by the presence of G.W. Sok from The Ex). In addition, the bass clarinet of Gareth Davis references both the roughest of experiments of Akosh Szelevényi and The StoogesFun House. There are, so the story goes, sea birds that reveal themselves only at times of approaching storms. This story though, is a little more complicated. For some, the pipers riding the deluge, yet for the mariner the prophets in the lingering final moments of calm. Ultimately, are they the creator or created if the existence of one requires the other? It is this Mediterranean Sea that Oiseaux-Tempête chose to roam. More or less anchored in Paris, Oiseaux-Tempête is the result of the meeting between Frédéric D. Oberland andStéphane Pigneul (members of both Farewell Poetry and Le Réveil Des Tropiques) and Ben McConnell (Beach House,Marissa Nadler). For Ütopiya?, the group is expanded with the addition of bass clarinet virtuoso Gareth Davis.(sub rosa)