Juno Recommends International: February 2025

Review: Columbian Afro-cumbia sensation Wganda Kenya drew acclaim for their group excursions in dance music, not least for the huge ensemble cast of nine-plus musicians that made them up. 'Shakalaode' came in 1976 as the infectiously slackened cover of Fela Kuti's 'Shakara', released five years earlier. Colombian Afrobeat leant more heavily on diasporic rhythmic elements, which differed from Nigerian Afrobeat in that these used regional cumbia, porro and mapale, descending from Afro populations who had settled along the Pacific and Caribbean coast. Less polyrhythmic and perhaps more tropical in feel, the A-side serves as a shining example, with rushy plucks and strident shouts intro'ing a flavoursome shakedown, and 'El Abanico' follows up as a surpriser Fatback Band cover.

Review: Analog Africa is back with a dedicated project celebrating Gnonnas Pedro, the king of Modern Agbadja, and they press it up on a marvellous double album that includes an eight-page booklet with a ton of extra info. This bumper pack features 16 of Pedro's best works, all of which captivated Africa at the time. His vibrant blend of Agbadja, Cuban fon, jerk, highlife and more unique styles, all of which come with vocals sung in Fon, Mina, Yoruba, French, English and Spanish, add up to one hell of a rich sound. A great testament to the artist's extraordinary legacy.

Review: Brazilian Jorge Ben, you could say, is a musical equivalent to football superstar Pele. He is known around the world, is hugely prolific and had a style all his own. A Tabua De Esmeralda is the 11th album the great singer-songwriter and guitarist recorded and it came back in 1974. It was soon lapped up by fans and critics alike for its timeless blending of samba rock with his unique alchemy and sonic satire and found Ben redefined the vocal style he has showcased on previous work Forca Bruta. This time his vocals occasionally go off-grid and sit behind the beats to make for an alluring effect, while the album was also the last to use guitar quite as extensively.

Review: A new take on a Jonathan Richman classic from 1977 which has lit up clubs for 45-odd years, especially during the punk era. The track's infectious rhythm has inspired various reggae remixes but now it's getting a fresh cumbia twist. Cumbia and reggae share a common groove, making them a perfect match for DJs to mix and this one was recorded in Lima by Pancho Acosta, founder and guitarist of Company Quinto, who transforms the track into an upbeat cumbia gem. The flip side features Acosta's 'Carnaval de Jujuy' blended with Money Chicha's modern take on Peru's fuzzed-out chicha sound.

Review: Nyron Higor's self-titled album is a captivating blend of tradition and innovation, rooted in the rich musical heritage of Northeastern Brazil. The Maceio-born artist weaves together influences from golden-era MPB with global sounds and contemporary production techniques, creating a dreamlike vision of hope and resilience. Following the success of his instrumental debut, Higor's new album takes a more lyrical approach, exploring themes of transcendence and triumph with a quiet yet potent sense of wonder and featuring collaborations with artists like Bruno Berle, Batata Boy and Alici Sol. 'Ciranda' sets the tone with its slow frevo rhythm and melancholic melodies, while lead single 'Sao So Palavras' captures the fleeting beauty of young love. 'Louro Cantador' builds upon the instrumental sound of Higor's debut, its playful organ and elegant acoustic guitar creating a sense of natural beauty. Through ten carefully crafted tracks, Higor's artistry shines, drawing listeners into a world that is both deeply personal and universally resonant.

Review: The liberation of Mali from French rule in 1960 led to an explosive musical renaissance, and on this latest 2xLP compilation, Mr Bongo seek to remonstrate the nation's excellence in the face of much strife. After 1970, amid revived drives to document many national and regional music productions from the West African nation, Malian culture underwent a fertile transformation, with state-sponsored bands and orchestras able to record with sound engineers for the first time. Compiled by French writer and journalist Florent Mazzoleni and Mr Bongo's own David Buttle, we hear here the likes of Ousmane Kouyate & Ambassadeurs Internationaux, Rail Band, Les Messagers du Mali, Mystere Jazz de Tombouctou and many more, where bright, fuzz-packed tones whirl about our ears in serene squalls of balafon-driven funk, rumba, wassoulou, jeli and blues.

Review: Afrobeat virtuoso Seun Kuti is soon to release his highly anticipated album, Heavier Yet (Lays The Crownless Head) later this year. It features guest appearances from Damian Marley and Sampa The Great so promises to be a global sensation. Ahead of that, we get a taste of things to come from his distinctive Afrobeat sound with this powerful new work on Milan's Record Kicks. First up here with get the bubbly rhythms of 'Emi Aluta' (Zamrock remix) then 'Emi Aluta' (feat Sampa The Great - 45 edit) comes complete with some hard bars.

Review: This is the first in a two-part series from Canopy which highlights the legendary Beninese supergroup T.P. Orchestre Poly-Rythmo, who have put out over 250 releases. Despite personnel changes, founder Clement Melome remained the band's guiding force. The title track translates as "My Fire Will Not Go Out" and has been remastered and reissued for the first time here. It's a fusion of soukous, disco and funk that features driving bass, triumphant horns and cosmic synths. Remixes by Jose Marquez and Sol Power All-Stars blend tradition with modern production for a fine package.

Review: There have been many concurrent sounds of 60s and 70s New York, but the Latin soul subsidiary of said multipli-city saw and heard its heyday in the sweet-spot of 1964-78, where the Latin American favourite label Fania Records reigned supreme in its niche. Bannering the likes of Willie Colon, Hector Lavoe, Ruben Blades, Johnny Pacheco and Celia Cruz, Fania was born of a desire to promote salsa music and adjacent styles in New York, after Dominican musician and label boss Johnny Pacheco underwent financial woes and sought respite in memories of a quaint Cuban luncheonette of the same name. The heady mix of sonic pimento collides several of the best salsa bands in a New York otherwise dominated by soul and funk, amounting to a charred, lively stew.

Review: Mexican singer-songwriter Natalia Lafourcade shared her tenth album De Todas Las Flores in 2022, drawing influence from a variety of folk and Latin jazz genres including bolero, cumbia, bossa nova, samba and son jarocho. Her first project of completely original material in seven years, since her fifth studio record Hasta La Raiz, the album was produced by French-Mexican musician Adan Jodorowsky, Lafourcade's former neighbour and multi-talent in his own right. A rare case of a "musical diary" among Lafourcade's catalogue, the album was a bittersweet, romantic jaunt from the get-go, dealing in themes of grief both thematically and formally: it was recorded entirely on analog tape in an El Paso exurb, not far, yet still a comforting ways away, from her home municipality of Veracruz, Mexico.

Review: The third studio album by the Nigerian artist Asake comes to vinyl through Empire, homing back in for a second time on the artist's pioneering flurry of several modish, "now" genre fusions for 2024. Asake has already garnered a name for himself as a neo-fuji artist, building on the classic Nigerian Yoruba dance genre in electronica fusion form, as well as incorporating elements of amapiano and funk. Lungu Boy was met with critical acclaim on its digital release, and now you can hear it in its fullest physical quality on marbled vinyl; the record's best moments have to be 'Worldwide' and 'Suru' featuring none other than British rap whiz Stormzy.

Review: Mongo Santamaria, a key instigator in the fusion of Afro-Cuban rhythms with American popular music, delivers a conga masterclass that shows why he was at the forefront of the Latin jazz scene, prefiguring the boogaloo explosion of the 1960s. 'Besito Pa Ti' and 'Kiniqua' shimmer with an irresistible blend of Afro-Cuban rhythms and soulful melodies, creating a sound that is both danceable and sophisticated. 'Canta Bajo' and 'Linda Guajira' offer a more introspective glimpse into Santamaria's artistry, with their beguiling melodies and intricate arrangements. 'Uncle Calypso' and 'Watermelon Man' inject a playful energy, their infectious grooves and catchy hooks demonstrating Santamaria's crossover appeal. A kaleidoscope of Afro-Cuban traditions interwoven with jazz, r&b and soul influences, a joyous celebration of rhythm and melody.

Review: The forthcoming reissue of Toumani Diabate's 1988 debut album, presented on 180-gram vinyl, offers a timely opportunity to revisit a seminal work in the kora master's discography. This album stands as a landmark in African music, being the first international release to feature solo kora performances without vocal accompaniment. Diabate's intricate playing on tracks like 'Kaira' and 'Jarabi' showcases the expressive range of the 21-string West African harp, weaving complex melodies that are both meditative and captivating. This reissue not only preserves the original's purity but also reaffirms its enduring influence on world music.

Review: La Sonora Mazuren, a vibrant force in Bogota's indie-tropical scene, infuses classic South American rhythms with a modern twist. Drawing on cumbia, chicha, guaracha, and champeta from Ecuador, Colombia, and Peru, the band skillfully merges traditional sounds with synthesisers and electric guitars. Their approach, guided by early innovators like Polibio Mayorga and Eblis Alvarez of Meridian Brothers, creates a psychedelic and forward-thinking blend reminiscent of Tropicalia's golden era. Their latest release, Magnetismo Animal, continues this innovative path. Recorded partly in rural Normandy during a European tour and finished in Bogota, the album explores the concept of animal magnetism as introduced by Franz Mesmer. Each track channels a shared trance-like energy through intricate rhythms and sound experiments. Drawing inspiration from Colombian gaita, vallenato, and cumbia, alongside Peruvian huayno and chicha, the album presents a futuristic take on Afro-Andean traditions with pulsating polyrhythms and psychedelic textures. Featuring members of Romperayo and LA PERLA, La Sonora Mazuren exemplifies Bogota's dynamic new tropical movement, merging past and present in a unique musical journey.

Review: Malian singer-songwriter and multi-instrumentalist Ali Farka Toure's self-titled album is a cornerstone of African music. It's a perfect example of his unique fusion of traditional Malian sounds with blues influences and is one of many albums of his that remain favourites with collectors. Released in 1984, this iconic long player captures Toure's intricate guitar work and ability to blend hypnotic rhythms and soulful melodies that reflect the rich heritage of the Sahel. His deep, resonant voice conveys a sense of spiritual depth, with lyrics often rooted in Malian culture and folklore and the whole thing is a masterclass in understated artistry, where each track is a meditative journey.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Mongo Santamaria, a key instigator in the fusion of Afro-Cuban rhythms with American popular music, delivers a conga masterclass that shows why he was at the forefront of the Latin jazz scene, prefiguring the boogaloo explosion of the 1960s. 'Besito Pa Ti' and 'Kiniqua' shimmer with an irresistible blend of Afro-Cuban rhythms and soulful melodies, creating a sound that is both danceable and sophisticated. 'Canta Bajo' and 'Linda Guajira' offer a more introspective glimpse into Santamaria's artistry, with their beguiling melodies and intricate arrangements. 'Uncle Calypso' and 'Watermelon Man' inject a playful energy, their infectious grooves and catchy hooks demonstrating Santamaria's crossover appeal. A kaleidoscope of Afro-Cuban traditions interwoven with jazz, r&b and soul influences, a joyous celebration of rhythm and melody.