DJ Moar
Cumbia's Beat / B.Batucada

1979. The suburbs of Paris. Five friends, whose origins stem from the West Indies and North Africa, came together to form Trenchtown Meditation, a “creole-speaking” French reggae band.Heavily inspired by the seminal sound of Bob Marley, Trenchtown Meditation was one of the pioneering bands of the burgeoning French reggae scene. It was also at this time that France saw the explosion of pirate radio stations; like many other bands of the era, Trenchtown Meditation would play live sets on-air in these small radio shacks in between gigs on the various scenes of Paris and its vicinity. The band also got their 15 seconds of fame in 1983 when they appeared on the French TV show “Aujourd’hui La Vie- ‘Spécial Exotisme’”. It was during this busy period that the band recorded an 8 tracks reggae album (which to this day remains unreleased). But in spite of their record and strong desire to make a living from music, the daily grind caught up with the band; in 1984 the guitar player quit the band. Subsequently, the four members decided to rename the band Cap’tain Créole with the aim – while remaining true to its reggae roots – of exploring new musical horizons, driven by the will to go beyond all that they’d done up to that moment.The group had access to a professional recording studio and quickly decided to cut a new project. With the help of 3 new members – among them a sax player and a trumpet player, both coming from the jazz scene, who helped define the new sound of Cap’tain Créole – they recorded their unique outing called Ni Bel Jounin. It’s a single composed of 2 titles Fré Moin / Ni Bel Jounin, both sung in créole, which was clearly unusual for the time. Both tracks are at the crossroads of many universes: Afro, Rock, Funk, Reggae and the result is quite unique! The band also used with great impact some subtle electronic elements. “Fré Moin” catches you instantly while “Ni Bel Jounin” strikes the listener with its beauty. The spiritual vibe that oozes from the record is an obvious marker of their reggae roots.Privately pressed and self-distributed in small quantities at the time, BeauMonde is proud to make the one and only record of Cap’tain Créole available again.

Born to a French mother and a Burkinabe-Senegalese father, Jennifer "Hawa" Zonou bathed from a young age into the world of the Afro-American music. Approaching its 20th anniversary, she shows a real talent as a singer and naturally begins his musical training with the best school, Gospel. She then entered the Soul-Hip-Hop scene from Lyon, multiplying gigs and collaborations.During a show in 2008, Hawa made the acquaintance of Bruno "Patchworks" Hovart (Metropolitan Jazz Affair, Uptown Funk Empire, Mr Day, Mr President) and in the same time of Pascal Rioux and Favorite Recordings label. Seduced by what he hears, Patchworks offered her his services and in 2009, Hawa revealed to the public with a remarkable cover of "D.A.N.C.E." by Justice, and fine appearances alongside Mr Day or Mr President.Naturally, the duo nourishes the common desire to embark further and in June 2011, Hawa presented her first solo album entitled My Little Green Box. Collecting first the support and praise from many French media (France Inter, FIP, Nova, Telerama, etc ...), the groove of the album will also trigger a long series of festivals & concerts throughout France. Hawa reveals herself with a genuine stage presence, spontaneity and ability to move, that will fulfill every audiences encountered, whether in Blues, Jazz, or Contemporary Music’ a stages, and whatever generations it was. This is also an opportunity for her and Patchworks, to surround them with a cohesive group, composed with the finest musicians of the Jazz and Soul scene from Lyon.With this positive environment around her, Hawa also starts writing her new album with exalted inspiration. Once again produced by Patchworks, Another Tree marks an important evolution for Hawa, both in sound and production, writing, or influences. Deliberately more live, the entire production is made both with analog equipment and tape recorder, and with the participation of the live band members.A perfect background to enhance Hawa’s songs, which are significantly looking towards Memphis, crossing the genres between Soul, Folk, or even Rockabilly. The sound of the album also permeates the footprint of artists like the Staple Singers, Isley Brothers, or Shirley Ann Lee, labels like Hi Records, Sun, or Stax, and finally great producers like Willy Mitchell, Jack Nitzsche, or Phil Spector. Hawa happens to be more direct and confident, but also more sensitive and more deep. And without a doubt, it makes her songs just more intense, original and elegant.

** Available exclusively at The Pusher **The official soundtrack of the 2021 'Rumba Rules, New genealogies' documentary movie by Congolese artist Sammy Baloji and Quebec filmmaker David Nadeau-Bernatchez. A deep dive into Kinshasa’s vibrant Rumba scene, including remastered classics by Brigade Sarbati, Werrason, Papa Wemba, Franco & le Tout Puissant O.K. Jazz Rumba Rules, New genealogies is about contemporary rumba in Kinshasa, but this music has deep historical roots nevertheless. Born in the interstices of the colonial world and thriving during the three decades of the Mobutu era in Zaïre, Congolese rumba has been iconic and popular all over Africa for decades. The roots of Rumba are even deeper, and the many paths it evokes trigger the imagination. The story goes that this music came with the migration of the ‘Kumba’ drum and dance in previous centuries, African slaves having carried it all around the Americas and giving birth to Cuban ’Rumba’, Colombian ‘Kumbia’ and many others. With its varied rhythms, guitars and horns, through LPs and radio stations, Rumba came back to (re)conquer Africa throughout the 20th century, paving the way for new practices. One could say this music is a sort of palimpsest, a memory in itself of Atlantic migrations and histories.Rumba is nowadays discussed all around the world, igniting many debates among the Congolese diaspora. Being the constant talk of the town sometimes overloads public debate, and many people get tired of this broken record. Thus, over the last decade, enterprising producers have worked hard to promote Kinshasa’s musical diversity and tried to emulate new sounds to reach worldwide attention. But Kin’ locals and urban dwellers will not be fooled : new shoots cannot hide the forest. Despite some difficulties to innovate, despite the pastoralist sermons and the diaspora fighters pushing for concert cancelations, rumba is still at the core of the Congo today. Talented artists such as Fally Ipupa, Ferré Gola, Brigade Sarbati and others are leading the fifth generation, and the religious world has also proven to be a nurturing environment for the cultural and economic dynamism of this music.Focusing on the music of Brigade Sarbati and his Orchestra, this record offers a deep dive into Kinshasa’s rumba scene. Halfway between professional studios and Zoom H4 field recordings, the rumba herein is about today’s youth: dense, full of energy and breakdowns, insights and name-dropping. The cavacha rhythm, the solo and bass guitar’s playing style, the singing style and numerous dedications all resonate with the history of Rumba. In an era where digital sound is taking over, it is interesting to highlight the instrumental and live performance compositions of this music. Digital technology is indeed used during the recording and mixing phases, but Congolese rumba still relies strongly on instrumental playing. There is all that but also, many other things to hear on this record… It’s time to let it be. A big thanks to Étienne Tron for making it possible: it is on his initiative and through his patience that this album is in your hands today. (David Nadeau-Bernatchez, december 2021)