Afrobeat Vinyl 336 Items

Limited to 1000 copies worldwide, only available with GUTS and HHV.

In 2022, Guts brought together his musical family for his ‘Estrellas’ album. An ambitious project that brought together musicians from: Franc, Cuba and various African countries. For a journey that was as rich artistically as it was humanly. The list of superlatives was almost endless, "Formidable", "incredible", "unforgettable" and "magical" all thrown into the pot, during these magical moments in the Dakar studio. From the seventeen tracks heard on the original album, three have been entrusted to the expert and inventive hands of four producers, who have come up with new interpretations bringing Africa and the Caribbean together for a modern dancefloor.

‘Por Que Ou Ka Fe Sa’ (Poirier Remix)

From his studio in Montreal, Canadian Poirier has opted for a strong groove and relentless bass drum to keep out intruders, putting vocalists David Walters and Brenda Navarrete in a rhythmic cocoon. Accompanied in a slightly moody bassline that adds some driving muscle to the track. The hooky guitar line eventually gives way to the saxophone that emerges from the mix to parade around the front line. The original electric piano is replaced by a synth pad that loops and spins driving the track to its conclusion.

‘Por Que Ou Ka Fe Sa’ (David Walters Remix)

Before recording this track, David Walters and Brenda Navarette didn't even know each other. So in the magic of the moment that brought them together is a genuine and sincere artistic bond. It is no longer Guts but David who is at the musical helm, and before they too can savour the connection between the two artists, the dancers will have to pass through an overheated corridor where a Caribbean rhythm resonates with percussion. Digital and woodwind swirl and clash until the vocal encounter with the artists. It's a moment of respite that's as suspended as it is life-saving, because the exit is also via the famous corridor.

‘San Lazaro’ (Bosq Remix)

On Bosq’s mix, he’s opted to maintain things focused on the dancefloor, keeping the percussion persistent for the unleashed bodies of the dancers to smile. It's once again the walking bass line rises to the forefront of the groove, softening the shocks of the relentless kick drum. Roberto Valdes's timeless piano has disappeared, while guitars float and add to the atmosphere. The track is no longer awash in cigar smoke. Under Akemis's powerful vocals the low ceiling has disappeared, and the open roof is more a brass-lit spectacle. That doesn't make things any less overheated though, this one is sweaty until the end.

‘Medewui’ (Captain Planet Remix)

Captain Planet brings the dancer’s attention to the Afrobeat flavored jam that rocked the original, highlighting the Pat Kalla & Assane Mboup duet. Despite the track remaining mid tempo, laying back is no longer the order of the day as this mix really develops. The drums are more present jolting along with the organ in the first half. Once all the storytellers have taken their microphones, the rhythmic beats are doubled and the track is carried towards a frenzy of Afro-Latin dancing. Fired up by the brass and percussion, it’s this almost switch up that takes hold of the second part of the tune, with some righteous authority and relentless piano and trumpet.

This is Mulatu Astatke’s protege and Ethiopian saxophonist and composer Jorga Mesfin’s debut album. It’s a long foray into Ethio-jazz that takes this courageous syncretism further by fusing spiritual experimentation with bits from all kinds of situations in Ethiopian music, jazz music, and specifically Ethiopian jazz music that precedes it.

Jorga Mesfin is widely regarded as one of the most talented contemporary musicians and composers in Ethiopia. He started his professional career at the young age of 17 and has since collaborated with numerous renowned artists, including Tsegaye Gebremedhin, Carolyn Beard Withlow, The Last Poets, Vijay Iyer, Wayna Wondossen, Kirk Whalum, Takana Miyamoto, Gizze Reggae band, Dionne Farris, Aster Aweke, Mahmoud Ahmed, and Mulatu Astatke. Additionally, Mesfin was a resident at Astatke's legendary African Jazz Village in Addis Ababa every Thursday.

Jorga Mesfin is the founder of the Ethio-jazz group called Wudasse. He composed the music for the epic Ethiopian film "Teza" directed by Haile Gerima. His work on the film earned him the Best Music Award at the 22nd Carthage Film Festival and Best Composition at the 5th Dubai International Film Festival.

Muzikawi is an Ethiopian record label, music publisher, studio, artist management, and event organiser with offices in Addis Ababa and Stockholm. We understand and honour the culture of Ethiopia.

High-in-demand B-Edits return with a Jazz Funk heavyweight and a Tropical deep cut.

Continuing Four Flies' dedication to delving into lesser-explored periods of Italian music, Africamore takes us on a captivating journey into the intersection of Afro-funk and the Italian soundscape during the six years between 1973 and 1978 - a time when disco was looming on the horizon and the nightclub market was rapidly expanding.

Before reaching Italian shores, the infectious sound originating from African and Afro-Caribbean roots traversed both the Mediterranean and the Atlantic, landing on New York dancefloors, where DJ Dave Mancuso discovered "Soul Makossa" by Manu Dibango. In 1973, from Mancuso's Loft parties, the song's hypnotic groove spread to the rest of the globe, including in Italy, where it sparked a wave of imitations and variations.

Tribal influences thus found their way into Italian soul-funk and early-disco productions released between 1973 and 1978 – from psychedelic-tinged tunes like Jean Paul & Angelique's "Africa Sound"to the Afrobeat-inspired club banger "Kumbayero" by composer/producer Albert Verrecchia (aka Weyman Corporation); and from groundbreaking Afro-cosmic songs like Chrisma's "Amore", co-written by Vangelis and featuring the rhythms of Ghanaian-British Afro-rock band Osibisa, to mind-blowing floor-fillers like Beryl Cunningham's "Why O", a re-write of Nat King Cole's "Calypso Blues" arranged by Paolo Ormi, with percussion breaks that sound pretty much like what would later become known as techno.

Combining feel-good vibes with driving rhythms, world-style percussion, and even synths, all these productions pushed the boundaries of dance music at a time when disco had not yet taken over. In doing so, they sowed many of the seeds of the later Italian cosmic scene and its unique mixture of African elements, disco-funk and electronic music.

This was a brief but nuanced period in Italian music history, one that deserves to be rediscovered, with love.

Ferdinand "Maréchal" Papillon was part of the makossa wave that moved from Cameroon to France and across the African diaspora in the 80s and 90s, bringing the sounds of rhythms of Douala and Yaoundé to the clubs and dancefloors of Paris. Although best known for his Sakissa style - his own uptempo take on the makossa of Cameroon - Papillon also regularly featured zouk and reggae influenced tracks on his albums, combining Caribbean and African influences into a unique sound that has stood the test of time."Moulongo" originally appeared on Papillon"s highly sought after 1995 album "Homme fort....je suis sérieux" and was recorded at Studio de la Madeleine in Paris. The Moulongo session features a who"s who of the Paris scene of the time - Aladji Touré and Toto Guillaume from Cameroon as well as Congolese guitar greats Ngoma Lokito and Nene Tchacou - and combines dancehall, zouk and makossa elements for a pan-African dancefloor sureshot.

● Tokyo based band and Afrobayashi pioneers Ajate are back with their third album: experience the explosive encounter of Afro groove and Japanese traditional Ohayashi music!

During a stay in West Africa in the late 2000’s, Japanese musician Junichiro "John" Imaeda was taken aback by the similarities he felt between the Afrobeat that resonated in the streets of Accra, and the sounds of the "Ohayashi”, the music played during ancestral Japanese festivals, in which John had participated since his childhood.

On his return to the archipelago in 2009, Imaeda created Ajate, a collective of ten passionate musicians. Together they started crafting music that moves from one world to another, with intertwined roots. The drums, flutes and bells are joined by curious instruments handmade by John himself with the essential material of the Japanese countryside: bamboo. The “Jaate”, an amplified xylophone-balafon equipped with piezoelectric sensors on each of its keys, or the “Piechiku”, a bamboo version of the Malian “Ngoni” or the Gnawa “Guembri”, equipped with shamisen strings and connected to an arsenal of guitar pedals, give Ajate an absolutely unique sound. Powerful and catchy Japanese female and male vocals bring the final touch to an incredible groove where Afrobeat and Ohayashi music are woven together so seamlessly that Ajate has managed to capture a truly distinct fusion. The band sings about the power of human connections, the force of being and living all together, the joy of sharing, and the beauty of life. Ajate’s music is a magnificent example of the way sounds are able to migrate in contemporary music.

The band’s explosive live performances have taken Ajate to the most prestigious stages in Japan, such as the Sukiyaki Meets The World and Fuji & Sun festivals. The release on French label 180g of their “Abrada” and “Alo” albums, in 2017 and 2020 respectively, opened the doors to Europe, with memorable shows at the Transmusicales de Rennes festival - followed by a session on KEXP (Seattle, USA) - at Jazz a Vienne, and at WOMAD UK, among many others. With their brand new album “Dala Toni”, Ajate prove once again that they are at the forefront of global music "made in Japan".

Mexican sensation Pahua comes to Razor-N-Tape via a huge remix project featuring some of the hottest producer names in current outer-national dance music.

Remixers on this 12” includes both staples and newcomers to the RNT production stable. Label co-head JKriv turns in a late-nite bass mix of the exceedingly popular ‘Porque Yo,’ Captain Planet delivers a percussive & thumping afro-house flip to “‘Espantapajaros’, Tigerbalm brings her chugging international disco flair to ‘Pa’lante,’ Prince of Queens digs deep with a housey dub of ‘Calla,’ and Londoner Clive From Accounts takes ‘Cana Brava’ into moody nu-disco meets amapiano territory.

With a collection of remixes as prolific and solid as these, RNT opted for an expansive 12” and 7” package which features seven of the remixes across two slabs of vinyl, with gorgeous artwork that flips the moonrise eclipse motif of the original Habita album cover perfectly in a slick device that reveals a crescent moon as the record is removed from the jacket.

This package honors the essence of the original music, while flipping it in quintessential RNT club-ready fashion.

Hot Casa Records present Togo Soul 2: Selected Rare Togolese Recordings from 1974 to 1989 .

A treasure-trove of rare and unusual recordings mostly recorded in Lomé during the 70’s and 80’s . A fusion of traditional voodoo chants, raw soul and even Electro Funk . Finding these tracks and their rights holders hasn’t become any easier even after few trips all over this west African country bordered by Ghana , Benin & Burkina Faso. After 8 years, We , at Hot Casa Records with the kind help of Roger Damawuzan decided to select thirteen tracks, a snapshot of some hundreds of rare and often forgotten tapes from the most prolific, professional and exciting phase of the country’s recording history included international stars like Akofa Akoussah, Gregoire Lawani to Roger Damawuzan compared as the James Brown from Lomé to forgotten tapes and brilliant songs in Mina, Kabyié and Fon language.

Many of the tracks featured here are peppered with innovation and experimentation highlighting how diverse, the music scene in Togo was at the time even if the political context influenced their creation. Many of the original albums these tracks are taken from high prices online due to their rarity and so it’s with great pleasure that we present a selection here that evokes a golden boomtime in Togolese music history. Includes biographies and rare photos Remastered by Frank Merritt at The Carvery

The Soninke collective consciousness finds its origins in a founding myth, a blood pact: the legend of Biida and the decadence of the empire of Ghana or Wagadu (evoked by Léopold Sédar Senghor as a land of plenty in his poem Le Kaya Magan). From the 3rd century AD, gathered in the region of Sahel, on the edge of the Sahara desert, the Soninko ruled over their kingdom and its capital Kumbi Saleh. According to folklore, they were blessed with abundant rain and nuggets of gold could be picked directly from the ground. They owed this prosperity to a providential but cruel protector: the Wagadu Biida, a seven-headed serpent who lived at the bottom of the Kumbi well. Every year, as a reward for his favours, the Biida demanded an offering: the life of the most beautiful virgin woman in the community. Sacrifices took place for generations, until the 13th century AD, when fate chose Siya Yatabéré, Maamadi Sehedunxote's sweetheart... Centuries later in 1977, Gaye Mody Camara, a young Soninke raised in Mali's Kayes region, settled in France to found his own empire. Initially selling wax, kola nuts and other goods in his Parisian outlets, he rapidly started distributing cassette tapes and eventually producing a multitude of recordings for his own label: Camara Production. Crossing paths and collaborating over the next four decades with legendary artists, griots and industry moguls like Boncana Maïga, Jean-Philippe Rykiel, Ganda Fadiga, Diaby Doua or Ibrahima Sylla, Camara became one of the great independent music producers of his generation, and a pilar of the Parisian Soninke diaspora. Released in close collaboration with Gaye Camara and with the assistance of Daouda N'diaye, one of A.P.S' (Association pour la Promotion de la langue et de la culture Soninké) historical members, this selection of songs and accompanying notes aim to shed a light on an intricate culture and its modern music, injustifiably unknown outside of West Africa and the various Soninko diasporas around the world. From Malian Zouk to Mauritanian Reggae and other psychedelic groovers originally released on cassettes or digitally, we have given the utmost attention to bringing this music to a new format. It has been carefully remastered and pressed on a couple of 180g vinyls, with riso printed liner notes.

Brothers Gerard Mendes (also known as Boy Ge Mendes) and Jean-Claude Mendes display the intriguing combination of Creole Portuguese-African polyrhythms, American boogie, and Brazilian samba; the duo became massive stars among the Cabo Verde diaspora.

This LP includes the killer boogie anthem “Mitamiyo”

Singer, actress and cultural conduit for peace, Liraz releases a new collection of four songs, primed with an intensity and a raw musical revolt, energising the Middle Eastern musical landscape, sung in Farsi and driven by her deep desire for positive energy and much needed global harmony and light.

• 180 GRAM AUDIOPHILE VINYL
• HIS 1979 ALBUM IN COLLABORATION WITH KING JAMMY
• FEATURES THE DANCEHALL ANTHEMS “GIVE THE PEOPLE”
AND “I’M NOT FOR SALE”
• LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES
ON ORANGE COLOURED VINYL

Snips returns on Barbershop Records for a limited run of 7"s consiting of two classic remakes. Snips enlists Brazillian Yoruba artist Eduardo Brecho for a remake of Fela Kutis classic "Water Get No Enemy" on side A. An Uptempo take sung solely in Yoruba. On Side B Snips is joined by London poet Juno for a remake of a Gil Scotts clasic "The Revolution Will Not Be Televised". A Modern take on topics that seem as relevant today as they did at the time of the originals release.

Analog Africa No. 21 „bitori“ - Legend Of Funaná (The Forbidden Music of The Cape Verde Islands) - In 1997, a quiet, unassuming man of 59 years old named Victor Tavares - better know as Bitori - walks into a studio for the very first time to record a masterpiece which many Cabo Verdean consider to be the best Funaná album ever made.

Bitoris musical adventure had begun long before this point. It was 1954 when he embarked on a journey across the seas to the island of Sao Tomé & Principe. The young man´s hope was to return to Cabo Verde with an accordion.

Following two years of hard labour Bitori had succeeded in saving enough money to acquire what was to become his most valued possession, his cherished instrument. The two month journey back to Santiago, his island of birth, proved time enough to master it. Self taught, Bitori developed his own style, an infectious blaze, that quickly caught the attention of the older generation. Before long Bitori was being asked to share his musical talents, igniting the local festivities around Praia with his music.

But not everybody welcomed the rural accordion-based sound. Perceived as a symbol of the struggle for Cape Verdean independence and frowned upon as music of uneducated peasants, Funaná was prohibited by the Portuguese colonial rulers. Performing it in public or in urban centres had serious consequences - often jail time and torture awaited musicians that were “caught in the act”. In light of such persecution the genre of Funaná began to slowly disappear.

In 1975 Cabo Verde achieved independence from Portuguese colonial rule. Along with Cabo Verde’s independence came a lifting of the ban placed on Funaná. The musical repercussions in Cabo Verde were plenty - many upcoming artists embraced Funaná, translating and adapting its musical form in new ways. It was not to be until the mid-1990’s, however, that Funaná in its traditional form was actually recorded.

It was a young singer from Tarafal, Chando Graciosa, who was to play a key role in this event. Upon hearing Bitori, Graciosa immediately felt drawn to Bitori's unique playing style - a raw and passionate sound accompanied by honest lyrics that reflected the harsh reality of the Cabo Verdean working class. He eagerly approached Bitori suggesting they join forces and travel overseas with the objective of taking Funaná beyond its rural roots. The two of them, with others in tow, achieved their goal and travelled to Europe, introducing a receptive European audience to the vibrant energy of Funaná. Eventually Bitori returned to his beloved Cabo Verde. Graciosa opted to settle in Rotterdam in order to pursue his career - he vowed, however, to bring Bitori across to Holland at a later date to record an album.

In 1997 the time was ripe to immortalise the sound Bitori had shaped over a time span of four decades. Built around a formidable rhythm section, formed of drummer Grace Evora and bass player Danilo Tavares, "Bitori Nha Bibinha" was recorded. The recording catapulted Chando Graciosa to stardom, making him Cabo Verde´s No.1 interpreter of Funaná.

The success in Cabo Verde was phenomenal and Funaná rapidly gained the recognition it deserved, especially in urban dance clubs. Bitori´s songs quickly became standards - classics known and loved throughout the country. The musical success, however, was solely limited to the Cabo Verdean islands - until now!

Analog Africa is proud to contribute to the worldwide promotion of Funaná - the once forbidden sound of the Cabo Verde archipelago - by releasing a worldwide re-issue of Bitori and Chando Graciosa´s legendary recording. The release will herald Bitori´s first European tour taking place during the summer of 2016. Watch this space! And listen!

Debut 7" of a 7-piece Caribbean + Afrobeat + Dub combo led by Frente Cumbiero saxophonist/clarinetist Marco Fajardo! This is a masterpiece that shows how Colombian dance music has cultivated its mellow sound by greedily incorporating Caribbean and African music through the culture of the Pico Sound System, which is popular in the Caribbean Gulf Coast region, especially in the Caribbean city of Barranquilla. The artwork was drawn by Inti-Huayra Guevara Rios from Bogota.

The compilation ‘Les Belgicains – Na Tango Ya Covadia 1964-1970’ (‘Les Belgicains’ during the time of Covadia 1964-1970) tells the remarkable story of the first Congolese student orchestras in Belgium. During that time Congolese referred to countrymen living in Belgium as ‘Les Belgicains’. The music presented on this compilation blew a new, fresh wind through the musical landscape of Congolese popular music under the supervision of the legendary editor and producer Nikiforos Cavvadias (Ngoma label)

The largest country in Africa is experiencing its early independence. During that period, Belgium invites many Congolese students to take classes at its universities. They are the future executives and ministers of the new republic. Out of a feeling of homesickness for their beautiful country, these students set up music groups. To dance and get carried away by the music the 45 rpm records they brought with them from Congo were too short. That is why they decide to bring live music to the events of the Congolese diaspora. Their own compositions are strongly influenced by their life in Belgium, resulting in a unique sound.

Nikiforos Cavvadias arrives in Belgium around the same time. At that moment he is one of the best-known editors and producers in Congo and he works for the Ngoma label based in Léopoldville. Niki is at the origin of the success of, among others: Antoine Mundanda, Léon Bukasa, Manuel d'Oliveira, Wendo Kolosoy... Due to the political instability in Congo, he permanently moved to Belgium with his wife and two children (1964). The student orchestras, like Los Nickelos and Yéyé National, are quickly noticed by Niki, who is looking for young, talented musicians to house under his new label Covadia.

You can hear the extraordinary result on this compilation!

This album is available in a deluxe vinyl edition with gatefold sleeve (1lp) + insert or a CD with a 24-page booklet. Both editions contain the story of 'Les Belgicains' and the Covadia label, with unique photos of the original orchestras. Renown sound engineer Roger Verbestel made the recordings between 1964 and 1968 in the recording studio Studio Madeleine in Brussels. All music has been remastered from the original master tapes.

After their debut album the most multifaceted and unpredictable musical collective in Italy – Addict Ameba – come back with their sophomore album, “Caosmosi”. Faithful to the aim of bringing together different paths, traditions and horizons in their music, the band moves between desert-blues and afrobeat landscapes, with latin rock rides and ethio-jazz parentheses. The vision of the album is further enriched by two absolutely valuable features: Joshua Idehen, Anglo-Nigerian poet and singer and pen of Sons Of Kemet and The Comet is Coming, is the author and lead voice in “Look At Us”, a poem – or perhaps it would be more correct to say a prayer – an invitation to be protagonists and change this time, before it changes us; Rabii Brahim, Tunisian actor and musician, who in "Ya Bled" gives birth to a love song for his land, telling the nostalgia and disorientation of migrant, even when he returns to his homeland. To approach listening to this album you should project that state of melancholy euphoria that you would experience when taking part in the last great party before the disappearance of the human race... Caosmosi!

HHV exclusive vinyl edition on yellow vinyl, limited to 100 copies. Only available at hhv.de!

When the U.S. State Department announced in the mid-1970s that they were sponsoring a South African tour for the Oklahoma-born, Paris-based saxophonist Hal Singer, producer Rashid Vally took note. Even though his nascent record label As-Shams/The Sun (established in 1974) was making waves on the local scene, the idea of commissioning a recording from an international artist was a ballsy idea. With a discography that stretched back to the 1950s, Hal Singer was already somewhat of a legacy artist by 1976. Vally was well-versed on Singer’s accomplishments and specifically enamoured by his composition “Blue Stompin’,” which appeared on a Prestige album from 1959 that had struck a chord in South Africa. With his irresistible charm, Vally managed to coax Singer into a studio in Johannesburg, South Africa, to record a new version of “Blue Stompin’” with South African sax star Kippie Moeketsi, which became the title track of a 1977 album by Moeketsi. The recording session also yielded an album’s worth of new material by Hal Singer and his quartet that took its name from a track inspired by Singer’s trip to South Africa entitled “Soweto to Harlem.” Released in 1976 and only available in South Africa, Soweto to Harlem captures a laid-back, cheeky and nostalgic rhythm and blues set from the Hal Singer Quartet that is unlikely to have emerged for a different target market. With her irresistible charm, Vally was able to convince Singer to enter a Johannesburg studio. The recording session produced this album of new material by Hal Singer and his quartet named after a song inspired by Singer's trip to South Africa, entitled "Soweto to Harlem." Released in 1976 and available only in South Africa, "Soweto to Harlem" captures a laid-back, unabashed and nostalgic rhythm and blues of Hal Singer's quartet that would hardly have been born for a different market. Cinedelic’s 2024 edition of this rare album is sourced from the original tape masters and presents it on vinyl internationally for the very first time. The reissue follows Singer’s passing at the 100 in August 2020 as we contemplate and celebrate his extraordinary contribution to jazz in the United States and beyond.

Mampön are back! unleashing their Afrobeat enchantment on a new 45 release.

Crafted for the dancefloor, "Si Algún Dia Has De Caer" combines party beats with Spanish lyrics. Hectór Rodriguez, the band's guitarist and lead singer, creates a deep connection between celebration and introspection on an enchanting vocal-rhodes introduction before the rhythm takes you for a dance.

On the B-side, Mampön maintains the Afrobeat tradition as more than just dance music—it's a protest, a resistance. "Papeles Rotos" portrays people as slaves with rights on wet, torn paper, urging listeners to forge their path regardless of the cost.

Mampön emerges as a true soft power, destined for every dance floor, spreading Afrobeat magic.

Gabon, 1980’s. President Omar Bongo has been in power since 1967. Together with his wife, the infamous singer Patience Dabany, he invents one of the ultimate political propaganda machine: ‘animation groups’, massive female choirs and dancers, up to 60 women deep, singing the praise of his regime over some of the best soukous rhythms ever, broadcasted live on TV. Between 1982 and 1989, mainly thanks to the flourishing oil economy, a record-label is created, a state-of-the-art recording studio is set up, and the best Gabonese and Congolese musicians are recruited. Dozens of vinyls are pressed and sold with huge success all over the country. The Bongo family has reigned continuously over Gabon until the 2023 coup d’état.

Merengue Típico: Nueva Generación! delves into the heart of Dominican merengue, a genre whose significance often eludes the spotlight. Bongo Joe"s venture into unexplored terrain takes us to the Caribbean, specifically the Dominican Republic, shedding light on its musical tapestry. Curated by Xavier Daive, aka Funky Bompa, the compilation unveils rare "60s and "70s gems, providing a glimpse into a transformative period following the fall of the Trujillo regime.

Soundway presents a long-awaited remaster and re-cut of the 1976 album ‘Ifetayo’ by Black Truth Rhythm Band, an important and overlooked chapter in Trinidad’s rich musical history that blends West African influences with jazz, funk and the social commentary of the calypso tradition. Led by the charismatic Oluko Imo, the group drew on the strong connections to Yoruba culture and Orisa traditions in Trinidad, looking to Africa for inspiration and reflecting the burgeoning Black Power movement of the time. Recorded at KH studios in Port of Spain, Ifetayo (Yoruba for ‘Love excels all’) was the group’s sole album release. Imo contributed lead vocals and played bass, kalimba, conga, flute and percussion, channelling music from both sides of the Atlantic into a distinctive and unique slice of Afro Trinidadian expression. Includes bonus track “Imo” not included on the original LP