Africanisms

Mondomix Media : n 1957, Cachao further transformed the dynamic Havana music scene by leading Latin jam sessions called “descargas” that improvised around Afro-Cuban genres, much in the same way as African American jazz sessions were doing further north.

The RootsWorld. : Kora player Toumani Diabate has long understood the connections between the world’s various musical sounds, and has made his name in both jazzitional Malian music and in a wide range of cross fusions with Americans, Europeans and even Japanese musicians.

Gekkobeat.com : For Majid Bekkas, the secular music is still considered the “healer of souls” from Essaouira to Marrakech, easily understandable when you listen to the spellbinding sound of Bekkas´ voice, guembri and guitar. Like a watermark, the mystery of Africa can be felt in the backround, alongside the blues.

Europe Jazz Network : Other than six months with the Elvin Jones quartet, Abdullah Ibrahim (who changed his name after his conversion to Islam in the late 1960s) has been a bandleader ever since, with his piano heard in many settings ranging from solo concerts to a big band, but most frequently with Ekaya (which means “home”).

Africa Music Centre : Today after producing more than 200 albums as well as composing over 1000 songs , Tabu Ley who has been dubbed the Sinatra of African music continues to wow audiences across the globe while continuing to sell thousands of CDs.

allmusic : Arranger/producer Johnny Pate is an important figure in Chicago soul as well as pop/R&B music. Pate’s name appears in the credits of classic hits by Curtis Mayfield and the Impressions and acts on OKeh Records.

The Cal Tjader Forum : Cal was first exposed to Cuban music at Ciro’s, a now defunct jazz club in San Francisco, in early 1950. Armando Peraza sat in with the Dave Brubeck Quintet. At the time, Cal was a competent jazz bongo player, but he was so turned on by Peraza that he asked Armando for lessons.

The Hard Bop Homepage : Kenny was a singularly gifted instrumentalist and improvisor who distinguished himself in Bebop but really came into his own during the Hard Bop period when his mature playing graced the Jazz Messengers and the Max Roach Quintet, both quintessential groups of the genre.

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