Super+funk

Various Artists - Beginner's Guide To African Funk (2009) [3CD BoxSet] {Nascente}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.06 Gb | MP3 @320 -> 424 Mb
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© 2009 Nascente / Demon Music | NSBOX056
Funk / Soul / World Music / African

When it comes to world music, there are two labels that do it better than anyone else for the common man, Rough Guides and Nascenté with their Beginner's Guide To… series. While other labels certainly do a fine job, these two companies have a way of producing their recordings to appeal to those who have or may have heard something and want to know more. This triple-disc set, Beginner's Guide to African Funk, is no exception. It is loaded with historically and culturally important recordings from across the continent and styles that, while all modern (from the late '70s forward), are rooted in much older folk traditions.

The original Banda Black Rio were one of the great Brazilian bands of the 1970s and 80s. Formed by saxophonist Oberdan Magalhães, they were pioneers of the country’s soul, samba and funk movement, and played a key role in Rio’s black music scene in the days of the military dictatorship. The band stopped playing after Oberdan’s death in 1984, but have now been revived by his son William, a singer and multi-instrumentalist who wrote or co-wrote every track on a set that’s remarkable mostly for the number of celebrities who agreed to join in. Left to themselves, as on the title track, the band play cool, tight and rhythmic jazz-funk with a Brazilian edge, mixing brass with keyboards and guitar.

In 1978, Herbie Mann came out with two very different LPs. The more improvisatory Brazil: Once Again fulfilled his need to record a serious Brazilian jazz-pop album, while Super Mann is a commercial disco effort that finds Patrick Adams doing most of the producing. The two LPs aren't anything alike – while the instrumental Brazil: Once Again makes extensive use of the flutist's jazz chops, Mann doesn't do any improvising on Super Mann. This album isn't about his virtuosity as a soloist – it's all about the beat and the groove. So naturally, Super Mann was trashed in the jazz press by critics who made the mistake of judging it by jazz standards and wouldn't have known a good disco record from a bad one. Judging Super Mann by disco standards, one hears an LP that is uneven and isn't in a class with Chic, Gloria Gaynor, Donna Summer, or Sister Sledge but has its moments. While "Jisco Dazz" and "Rock Freak" are mechanical, stiff, and forgettable, Mann gets into a nice samba/disco groove on "Etagui" and demands attention with a speeded-up version of the haunting "Body Oil" (which he had previously recorded for 1975's Waterbed).