Two neighboring countries in West Africa, Benin and Nigeria, have much in common. At the same time there are distinct traditions that set them apart. Of course, I’m talking about their music. Listen to the two “halves” of this program and you will see what I mean. Otherwise, Benin is best known for its history – referring to the local kingdom with its roots in the 10th century leading up to the British Punitive Expedition in 1897 wherein the entire royal treasury of bronze “art” works (“the Benin bronzes”) were looted. Nigeria, the most populous nation on the continent, has long been a country of contrasts: a thriving economy for the upper classes versus struggles for vast numbers of the poor and under-represented; major divisions have arisen between the Christian and Muslim populations; a land of plentiful resources where hunger is not uncommon (i.e. Biafra). But enough of all that. We’re here to sample the popular music of both countries with just a whiff of what’s available. After a...

  Al compás del mundo - programa #167, 2-13-25, jazz vocals   01 World Saxophone Quartet with Fontella Bass - Suffering with the Blues 02 Charles Mingus - Weird Nightmare 03 Courtney Pine - I've Known Rivers 04 Don Was & the Pan-Detroit Ensemble - I Ain't Got Nothing 05 Roland Kirk - Baby Let Me Shake Your Tree 06 Gary Bartz NTU Troop - Uhuru Sassa 07 Gil Scott-Heron - The Prisoner 08 The Pharaohs - Freedom Road 09 Pierre Dorge & New Jungle Orchestra - Bobo Sanneh   For the summary of this week’s program on Al compás del mundo radio, I’m going to let the song lyrics and performers’ backgrounds tell their own story. First off, I have to admit I’m not a big fan of jazz with vocals. Maybe it’s all the cutesy and torch-y songs or the 50th recorded version of Blue Moon and umpteen other jazz standards from “the great American songbook.” As a rule, they don’t get under my skin. But that’s not to say there is nothing redeeming (to my ears) in lyri...

I realized it’s been a long time since I’ve featured Middle Eastern music on Al compás del mundo. The remedy is found herein, and it’s not only Arab music but the playlist includes tunes from Kurds, Nubians, Iranians and Amazight (formerly referred to as “Berbers”). It’s fair to say everything here is rooted in traditional music, though at least one piece, by Amina Aloui and the Ahmed Ensemble, refers back to a classical Arab-Andalusian music that evolved from 9th century Spain to 21st century Algeria. Another Algerian, Abdelli, sings in the Amazight language and is probably the example that strays most beyond its folk origins. Some stand-outs, in my mind, are the anonymous Tunisian number – slow, evocative, powerful and earthy via a dreadnaught drum, flute and women’s chorus and the first tune of the program by Yemeni Mohammad al-Masuri, marked by the same pure and unadorned substance that defines the very essence of “folk” music.   [continues below]    Al compás de...