"saraba" Ifang Bondi And The Afro Mandingue Sounds

During his final two years, Mario Bauzá and his newly formed Afro-Cuban Jazz Orchestra recorded three albums, of which 944 Columbus (made just two months before his death) was the last. Three of the ten selections on the CD are dominated by vocals, but jazz is a very strong element throughout these sessions with a variety of fine solos, particularly from trumpeter Michael Mossman. The percussion section blends in well with the horns in this 19-piece orchestra and the final statement from the father of Afro-Cuban jazz is a memorable one.

While bandleader and pianist Arturo O'Farrill has always sought to preserve the legacy of Latin jazz, he's never been one to do so it for its own sake, but always for evolutionary purposes. The Offense of the Drum features his 18-piece Afro-Latin Jazz band – a whopping 28 percussion instruments from all over the globe – and a notable host of collaborators including Donald Harrison and Vijay Iyer. The program highlights the cultural sounds and prismatic influences of South America, Spain, and the Caribbean in modern jazz. "Cuarto de Colores" weds the Brazilian, Colombian and Afro-Cuban rhythms to post-bop big-band jazz.

While not a universally praised piece of the Art Blakey discography, The African Beat is quite engaging. Yusef Lateef is the only horn player, featured on oboe, flute, tenor sax, cow horn, and thumb piano with Ahmed Abdul-Malik on bass, but trombonist Curtis Fuller is only heard playing tympani – it was that kind of session. The drum ensemble includes Chief Bey, along with five other percussionists on conboro, log, and bata drums with penny whistles, gongs, congas, and African maracas. This is reminiscent of Lateef's more exotic sessions from the same time period, but quite unlike other Blue Note releases from the early '60s.

GRAMMY-winning composer, bandleader, and pianist Arturo O’Farrill has fulfilled what he calls “a lifelong dream” with his signing to Blue Note Records and the release of his Blue Note debut …dreaming in lions… The album finds O’Farrill leading a colorful 10-piece assemblage he calls The Afro-Latin Jazz Ensemble, a scaled-down edition of his renowned Afro-Latin Jazz Orchestra. The program encompasses two inspired multi-movement suites that O’Farrill has conceived in collaboration with the Cuban Malpaso Dance Company: “Despedida,” a meditation on farewells, and “Dreaming in Lions,” inspired by Ernest Hemingway’s novella The Old Man and the Sea.

What does integrity do in the face of adversity / oppression? What does honesty do in the face of lies / deception? What does decency do in the face of insult? How does virtue meet brute force? These four questions posed by the great African American civil rights activist and author W. E. B. Du Bois in his 1903 book The Souls of Black Folk are expounded upon in a speech given by Dr. Cornel West based on his book, Black Prophetic Fire, given October 9, 2014 at Town Hall in Seattle.

There's a new spooky instrumental surf band on the scene - Atlanta-based El Capitan & The Reluctant Sadists! This 13 track platter has some of the darkest, reverb-drenched melodies that you'll have heard in recent years. The band features two members of The Mystery Men, Richard Hawes and Jamie Galatas on guitar and bass respectively. The CD version contains one bonus track, "Samhain Serenade", their latest single and unavailable on their vinyl LP.

John Foxx And The Maths return with a new line-up on their 5th studio album, Howl. Former Ultravox guitarist Robin Simon joins Foxx, Benge (Ben Edwards) and Hannah Peel after previously guesting with The Maths at their debut Roundhouse show in 2010.The Maths have created an album of dark, writhing glamour. Opener My Ghost sounds like haunted static in a cold wind, the title track is a twisted glam-punk celebration of ‘the outsider’ who leaves the fringes to make himself visible, while Foxx switches to a sinister Ferry-esque croon on Tarzan And Jane Regained.

Still disenfranchised about American society and riled up about it, the former Dead Kennedys singer takes issue with Wall Street, Hollywood, consumer nature, fast food, and white people in general on Jello Biafra & the Guantanamo School of Medicine's third album, White People & the Damage Done. Backed by a musically fierce band that includes Ween/Butthole Surfers bassist Andrew Weiss, drummer Paul Della Pelle, and guitarists Ralph Spight and Kimo Ball, the 54-year-old frontman sounds as spirited as he did in his early days. In fact, for the fast, furious "Road Rage" and "Mid-East Peace Process," he and his band match the blistering energy of early-'80s American hardcore staples like Black Flag (good to see that Keith Morris' OFF! isn't the only group carrying the torch) and, yes, the Kennedys.

This band again deals multiple influences, which in the end makes the sound hard to define. It sounds dark and into bombast arrangements, sometimes reminding me of the mysterious and somewhat ritual style of The Virgin Prunes, but then also more into psychedelic treatments. The vocals of Marthynna remain pretty intriguing and only accentuating the occult side of the sound.