A few out of print treasures from Ocora (RIP), probably the best global music label ever in terms of selection, recording quality, documentation and general dependable professionalism (The French perhaps always were the colonialists who paid the most attention to the cultures of those they conquered and continue to exploit, with Napoleon’s encyclopedia of Egypt still being the most comprehensive hundreds of years later), were first uploaded on my old blog a long time ago, and now have been revived by the kind soul who runs SEANCE (a place where you will find much more amazing gems).   I will also be re-upping many things from Africa, Asia, Middle East, South America, etc. in the days to come.

Gambie – L’art De La Kora
Jali Nyama Suso, The Gambia’s legendary kora player, for twenty years well known for his weekly program on Radio Gambia, touring England, France, Sweden, and Germany in the 1980s, died in 1991.  In 1971 he recorded the first solo kora album, later re-released as a CD (here), containing three new recordings with Jali Nyama and other musicians in Gambia in 1970.

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Bruitset Ambiances d’Afrique One

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2 volumes of very rare 12″ vinyl releases consisting of field recordings and atmospheres: villages, children, animals, work, markets, etc.

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Bruitset Ambiances d’Afrique Two

// back cover (with track listing)

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Anthologie de la Musique du Niger

A panorama of the vocal music of the Haoussa, Djerma and Songhay, as well as Touareg and Fula musics, based on lutes and percussion instruments.

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Cameroon – Flutes Of Mandara Mountains

In this presentation of music of the animist peoples of the mountains and the plains, we selected the most commonly found instrumental ensembles along with encounters of a more singular kind, proposing an instrumental and vocal range, representative of the multitude of sonorities, languages, and customs to be found in this region. The musics recorded come from ritual or profane repertoires, and do not necessarily accompany dancing. In the Mandara Mountains, the musical instruments used depend on the agrarian cycle, their playing being determined by different stages in the growing of millet: the Ouldeme flutes, for example, are played in turn for sowing time at the end of the harvest. ( – liner notes)