Rocafort Spain レコード& CD

Review: The Spanish label Rockafort is having a busy old time of it right now. They are in the midst of a superb run of 7"s that bring the best of classic cumbia back to the fore. This one has again been taken from the vast vaults of the legendary Colombian cumbia label Disco Fuentes. The a-side is from Afrosound who were famed for a hybrid sound that came in response to the early 1970's Chicha movement in Peru and Bolivia. On the flip, it's Los Golden Boys - which believe it or not translates to The Golden Boys - with the hefty drum funk and singing guitars of 'Se Trabo La Banda.'

Review: More fabulous, funk-fuelled brilliance from the Beat Bronco Organ Trio, who earlier in the year delivered a fine debut album on Swiss imprint Rocafort Records (the must-check Road Trip). This two-part missive is not featured on that set, and instead sees them deliver a decidedly tropical fusion of loose-limbed, Tony Allen-style polyrhythmic drums, bubbly organ riffs, warming bass and reverb-laden guitar riffs that reminded us a little of both heady psyche-rock and Ghanaian Highlife. 'Missoula-Nairobi (Part 1)' is arguably the more potent and focused of the pair, with just a little more dancefloor grunt, though the flipside 'Part 2' version, with its extended solos and more freestyle feel, is every bit as alluring.

Review: A prize gem in Rocafort's Africa Gone Funkee crown, "Aw' Ye Douba Ke" was the final salvo of Burkina-born Cisse's debut album Les Vautours. Kudos to the Rocafort crew for this 7" reissue! With its soft build, the classic highlife guitars play the perfect subtle backdrop for Cisse's strong yearning vocals as we develop into something really funky indeed with big horn and organ solos. Flip for a special, percussion-heavy shake-up of his 1975 single "A Son Magni". Overwhelming.

Review: In a bid to celebrate the widespread influence of Afro-Cuban music - and in particular the work of one of Cuba's most storied songwriters, Silvestre Mendez - the Rocafort Records crew has decided to dig into the archives and offer up two stone cold classics from the golden age of Cuban music. On side A you'll find Celia Cruz and La Sonora Matancera's 1963 version of "Mi Bomba Sono", an infectious dancefloor number in which Cruz's fantastic vocals rise above a Tito Puente style rhythm, squealing horns and cheeky pianos. Over on the flip you'll find the killer salsa vibes of Joey Pastrana and his Latin orchestra's superb version of "A Bailar Oriza". Even more percussive than the A-side, it's absolutely essential.

Review: ***B-STOCK: Slight surface mark on the record, but otherwise in excellent condition***


Spanish label Rocafort specializes not only in reissues, but also fresh jams that sound like they could have been produced in the 1970s and early '80s. Here they offer up something that combines contemporary production chops, real instrumentation and classic influences. It comes from debutant Spanish trio Kokoro Disco San, a trio of experienced musicians with a passion for goodtime grooves. You'll find a particularly hot and heavy disco groove at the heart of "Isla Fantasia", a track marked out by tasty jazz-funk instrumental flourishes and the kind of spacey synth lines most often associated with the likes of Dexter Wansel and Herbie Hancock. There's more meandering deep space synths on flipside "Sonic Feeling", a lolloping disco-boogie number powered by a classic sounding walking bassline and layered percussion.

Review: Spanish label Rocafort specializes not only in reissues, but also fresh jams that sound like they could have been produced in the 1970s and early '80s. Here they offer up something that combines contemporary production chops, real instrumentation and classic influences. It comes from debutant Spanish trio Kokoro Disco San, a trio of experienced musicians with a passion for goodtime grooves. You'll find a particularly hot and heavy disco groove at the heart of "Isla Fantasia", a track marked out by tasty jazz-funk instrumental flourishes and the kind of spacey synth lines most often associated with the likes of Dexter Wansel and Herbie Hancock. There's more meandering deep space synths on flipside "Sonic Feeling", a lolloping disco-boogie number powered by a classic sounding walking bassline and layered percussion.

Review: Spanish reissue label Rocafort present this wonderful slice of highlife from Konkolo Orchestra, this time on nice blue wax as well as a plain black version. It's not exactly clear where, or indeed when, exactly the band came from, but their sound is all you need to worry about. 'Blue G' is a lilting, shuffling message of love and support for future generations, and from the message to the effervescent musicality, it's a no-brainer. On the flip, 'That Good Thing' is an instrumental that spirals outwards on the sweetest keys, joyous brass and dreamy guitar, driven by a pattering drum section to radiate good vibes wherever it's played.

Review: Spanish reissue label Rocafort present this wonderful slice of highlife from Konkolo Orchestra. It's not exactly clear where, or indeed when, exactly the band came from, but their sound is all you need to worry about. 'Blue G' is a lilting, shuffling message of love and support for future generations, and from the message to the effervescent musicality, it's a no-brainer. On the flip, 'That Good Thing' is an instrumental which spirals outwards on the sweetest keys, joyous brass and dreamy guitar, driven by a pattering drum section to radiate good vibes wherever it's played.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


If you love modern updates of the Afrobeat sound, you need to check out Konkolo Orchestra. Hailing from Zurich and brought together by Alexis Malefakis, this project has been bubbling up for a hot minute since their debut single 'Blue G' snuck out on Rocafort back in 2022. Now their debut album is ready, and it's an effervescent celebration of all things Afrobeat with some incredible singers and players feeding into the mix. Nongoma Ndlovu makes frequent appearances on vocal duties, as well as the unmistakable lilt of Sir Frank Karikari on 'Yese Yese'. This edition of the album comes on yellow vinyl, so if you're swayed by wax as sunny as the music contained within, this is the pressing for you.

Review: Konkolo Orchestra are keepers of the Afrobeat flame. They may be based in Zurich, but their assembled ensemble has a deeply rooted sound which brings a vibrant modern twist to the foundations laid down by the likes of Fela Kuti. They've been teasing their fully fledged arrival since 2022 when we first heard their debut single 'Blue G', but finally Rocafort are able to present their first album. It's a true celebration of West African music culture, fronted by Nongoma Ndlovu on the lion's share of vocal duties and with Eric Owusu laying down the djembe and kpanlogo in front of Alexis Malefakis' rhythm section. It's a joyous album from start to finish that does credit to the Afrobeat tradition while adding its own touches to the mix.

Review: If you love modern updates of the Afrobeat sound, you need to check out Konkolo Orchestra. Hailing from Zurich and brought together by Alexis Malefakis, this project has been bubbling up for a hot minute since their debut single 'Blue G' snuck out on Rocafort back in 2022. Now their debut album is ready, and it's an effervescent celebration of all things Afrobeat with some incredible singers and players feeding into the mix. Nongoma Ndlovu makes frequent appearances on vocal duties, as well as the unmistakable lilt of Sir Frank Karikari on 'Yese Yese'. This edition of the album comes on yellow vinyl, so if you're swayed by wax as sunny as the music contained within, this is the pressing for you.

Review: Last year Rocafort Records delivered a rather good retrospective of the early works of Peruvian band-leader Alfredito Linares, an unheralded star of Latin jazz and later salsa and boogaloo who made some seriously good music in the late 1960s and '70s. This sequel, which features six scintillating tracks stretched across three seven-inch singles, tells the next chapter of the story, following Linares' relocation to Cali, Colombia in the early '70s. What's an offer is a heavy, club-ready mixture of righteous boogaloo - all infectious grooves, loose-limbed South American percussion, breathless group vocals and rising, big band style horns - and breezy salsa workouts, all of which hits the spot and then some.

Review: Having previously compiled two boxsets of dusty, sought-after "Nuyorican" boogaloo and salsa jams, Rocafort Records has decided to continue on a similar tip via a triple seven-inch set focusing on the early works of Peruvian artist Alfredito Linares. The set mines his first two albums, El Pito Y Otros Exitos (1968) and Yo Traigo Boogaloo (1969), delivering horn-heavy, percussion-rich, piano-sporting boogaloo and salsa treats. Our picks include superb opener 'Cool', the expansive vibraphone solos and "party atmos" style spoken word vocals of 'Tutu Tata' and the downlow brilliance of closing cut 'Sin Tu Querer'. Throw in extensive liner notes by DJ Timber and you have an indispensable package.

Review: Spanish outfit Mampon is a 10-piece Afrobeat collective that is hear to get you dancing liek you have never dance before. And what better time to do that as we emerge from lockdown, with the sun beating down? The single they serve up here on Rocafort is 'Quierete,' with its mad horns, juggling beats, organic percussion and angular guitar riffs all making you shake every bone in your body utterly loose. The call and response vocals are hypnotic and finish the party in style. There is a real disco vibe to the flip side remix courtesy of another Latino artist, Voodoocuts

Review: Mampon unleash their latest Afrobeat enchantment on a new 7" release. 'Si Algun Dia Has De Caer' is a clean, bouncing neo-Afrobeat whirlwind, combining the infectious vocals of Spanish singer Hector Rodriguez with a dynamic backup production that is as irresistible as it is ineluctable. The B-side pares back the dance and pierces the political veil, with a Spanish-language plea to listeners to carve out their own paths in life, regardless of cost.

Review: Destination Paris, 1980: Gabonese singer Jean Ondeno is in the eye of the French capital's afro-disco storm. Championed by broadcaster Alphonse Marie Toukas and partnered with songwriter, producer (and 70s TV host) Philippe Brejean, Ondeno blessed the world with one eponymous album and "Mayolye" was the opening cut. Vibrant, upbeat and loaded with effortless funk and Ondeno's soft falsetto, it's a vital slice of afro-disco fusion that comes complete with a subtly-charged, floor-primed Mukatsuku edit from Nik Weston. One per customer; this is not to be slept on.

Review: During the late 1960s and early 70s, New York's Latin music scene was the envy of the world, with a swathe of immigrant musicians from Central and Southern America joining forces to perform and record new variations on traditional themes and hybrid fusions of multiple styles, most notably Harlem-born Boogaloo. This Rocafort Records release pays tribute to some key NYC Latin combos of the period, delivering two tracks apiece from three acts over a trio of seven-inch singles. It's a hugely vibrant and enjoyable set, with highlights including the jaunty salsa of Orquestra Olivieri's 'Los Muchachos De Belen', two fiery boogaloo heaters from Ozzie Torrens and his brilliantly named "Exciting Orchestra", and the carnival-ready rush of Brooklyn Sounds' 'Guaguanco Tropical'.

Review: Peyo Torres y sus Diablos del Ritma's La Veterana is the sound of Colombia in the 60s and 70s. This tune has never been on 45 rpm before and is taken from Diablos Del Ritmo: The Colombian Melting Pot 1960-1985, a compilation by the excellent Analog Africa. Side one is the hypnotic 'La Veterana' with its chunky hand drums tumbling beneath an intoxicating lead flute sound with accordions hurried beneath, handclaps and bustling vocals. It would make an excellent source record for Ricardo Villalobos to remix. On the flip, 'Lucy' is fiery and low-slung international funk with big horn energy.

Review: The popular Spanish ensemble Pyramid Blue come back, and do so in brilliantly fantastic fashion with this red-hot new 7" featuring a captivating mix of Afrofunk and Ethio Jazz. Oscar Martos is the composer and producer who heads up this group and is fresh off big collabs with Tito Ramirez. He manages to draw from modern sounds as well as classic genre tropes here and push both into all new ground with 'Lince Rojo' opening up with an enchanting lead and raw rhythms. On the B-side, 'Doctor One' brings a hint of hip hop edge to psyched-out guitars and cosmic synths.

Review: In its 1970's prime, the Buffet Hotel de la Gare de Bamako used to mix a broad and diverse clientele of Bamako's fine society and hookers, Western, Chinese, Russian and Arab businessmen with diplomats and African entrepreneurs. Rail Band's music became the exciting soundtrack of modern Mali, blossoming like a big bright bouquet of tropical flowers. In its heyday, the orchestra pretty much defined by itself the idea of afro-pop.

Musicians such as singer Salif Keita, singer Mory Kante, guitar player Djelimady Tounkara and the late bandleader and sax player Tidiani Kone all graduated from the Rail Band before turning to more or less successful solo careers. The Rail Band got started in october 1969 as a regular orchestra in the railway station premises.

In order to keep up with new forms of fusion music which could be heard in Dakar or Conakry night clubs or "paillotes", trumpet player, sax maestro and bandleader Tidiani Kone recruits some bold element for his orchestra. Both a griot and a jazzman, Tidiani Kone was a former Orchestre National A musician. His main idea was to bring Malian music out of the dead-end of afro-cuban and Western imitations. He took the chance to recruit a young albinos singer, accompanying himself with a cheap Chinese guitar.

Kone was the first one to understand that Salif Keita's voice was pure gold. At the end of 1969, Salif Keita, Tidiani Kone and rythmic guitar player Mamadou Diakite practiced for weeks as a trio in order to forge a repertoire of their own. Other musicians such as guitar player Ousmane Sogodogo and lead guitarist Nabe Baba, timbales player Marius as well as percussion player Abdouramane Koumare soon join in, encouraged by Kone.

In July 1970, the Orchestre du Rail Band de la Gare de Bamako gave its first concert, on a tiny open air stage, with palm trees breeze and stars above them. The Rail Band rapidly became one of the city's main attraction. According to its initial status, the Rail Band must "explore and propel mandingo repertoire in order to aim at the neo-classicism of African chanson". Born in the heart of the Mande griot tradition, Salif Keita knew the classic songs. Soon, the folklore part of the repertoire was more prominent than the blues and afro-latin numbers.
Musicians were paid by the Malian train company, ie by the state, who also owned their instruments. Combining mandingo and bambara traditions, French pop, afro-cuban rhythms, Congolese rumba, American rhythm'n'blues and calypso, the Rail Band's rise to fame was striking, paving the way for numerous modern orchestras to follow. They rehearsed five days a week from 5 to 6 pm, before changing, dining and taking the stage from 9 pm till the last customer left the Buffet, sometimes early in the morning. In order to help empty the premises from its patrons, Rail Band musicians played late night jazz themes, strongly encouraged by Tidiani Kone.

With his saxophone hollering at some distant tropical moon, his heartfelt horns arrangements added a sense of epic grandeur to the Rail Band songs. His bold musical mastery set Salif on orbit while modern instruments and instant melancholy radiate through a song like Massare Mousso. He sings about some impossible love : "If you don't have anything to do, fall in love with a woman who doesn't love you / If you dont have anything to do, fall in love with a man who doesn't love you". His voice was frail but Salif shows evidences of his vocal grandeur to come. In the early 1970's, it seems that the Rail Band knew instinctively how to go down in musical history.
The orchestra took off, thanks to Salif's youthful vocal prowesses and to the sheer intensity and dedication of musicians led by Kon'.

Guitar player extraordinaire Djelimady Tounkara joined the band in 1971 as a new recruit. His arrival enabled the Rail Band to reach new heights in a dazzling ascension of recordings done in a tiny Radio Mali studio. His rumbling electric guitar became one of the band instant trademark. Guinean balafon and kora player Mory Kante also jumped in as the Rail Band was by far Bamako's finest orchestra in the 1970's.
Directly inspired by James Brown's funk achievements, Sex Machine belongs to the band's legend, an incredible cover which is both heroic and mesmerizing. It is a pure slice of raw and spicy Malian funk, one of those "straight to your face" songs with a devastating outcome, courtesy of Mamadou Bagayoko's heavy drums and Cheick's Traore sturdy guitar bass playing. Alfred Coulibaly's Vox organ adds up to the hypnotic mood of the song.

Looking for the Rail Band's trails these days, one has to stop by the old Buffet Hotel de la Gare in downtown Bamako in order to feel the countless, panoramic and moving memories of this unrivalled musical golden age and this masterful orchestra.

Review: On the latest volume in their ongoing Latin Underground Revolution series, Rocafort Records has dipped into the vast archives of Ansonia Records, the NYC-based Latin American division of Decca Records. With six tracks stretched across three seven-inch singles, there's much to enjoy, from the organ-laced Latin soul shuffle of Gilberto Sextet's 'Do You Want To Be Free' and the punchy mambo madness of Mon Rivera Y Su Orquestra's 'A Mi Piln', to the scintillating salsa of Cartiho Y Su Combo's 'Calefaccion Aqui' and the horn-heavy dancefloor strut of Joseito Mateo Y Su Combo's 'Boogaloo Para T'. Throw in some superb, authoritative liner notes and you have another brilliant package from the on-point Rocafort Records crew.

Review: Rockafort looks to Climaco Y Su Orcquesta Sarmiento and Michi Sarmiento Y Su Combo Bravo for this newly assembled 7". They have been dug out deep in the vaults of the influential Colombian label Discos Fuentes and make for some fiery and tropical dance floor heat. They are vintage bangers that fuse cumbia with hints of the Mexican 'snider' sound. Both are laden with percussion, big horn energy and slinky, slowly seductive grooves. Finding originals of these is prohibitively expensive so cop this crucial double header while you can.

Review: More essential triple-"45" action from Spain's Rocafort Records, who over the last few years have become an essential outlet for those seeking reissues of dancefloor-igniting Latin American obscurities. This time round, they've mined the vaults of legendary Colombian imprint Discos Fuentes in order to serve up a sextet of cumbia bangers originally released at different points between 1961 and '81. Highlights include the classic, sing-along shuffle of Climaco Sarmiento Y Su Orquestra's 'Cumbia Sabrosa'; the hard-spun cumbia-psychedelia of Afrosound's 'Tiro Al Blanco', the tango-influenced party sound of Peyo Torres Y Sus Diablos Del Ritmo's 'Le Veterana' and the warming, densely layered horns and distinctive drums of the same band's fabulous 'Lucy'.

Review: In the same vein as the infamous Honest Jon's complications from London, Spain's Rocafort imprint heads into the underbelly of Latin funk from New York City in the years between 1967 and 1978. There is much heavenly music to be found in this tiny corner of time and space, a cultural pocket that surely led to the future proliferation of salsa internationally. Boogaloo is the official terminology given to this particularly nutty variation of funk, and each one of these six tunes is allocated one side of the vinyl each, a tactic which makes all the sense in the world. Tunes by the likes of Mike Guaguenti Y Orquesta, Los Africanos and Brooklyn Sounds are a timeless, essential addition to anyone's record collection. This comes highly recommended.

Review: The love affair between Colombia and African music tracks back to the 17th Century and the establishment of San Basilio de Palenque, the first free town in colonial Latin America which offered refuge and commune for Black slaves. It was a place where African culture could thrive and joyously intermingle with local customs, and centuries later the Afro-Caribbean communities in Colombia established their own twist on Jamaican soundsystem culture in the 20th Century known as 'picos', where styles such as Kenyan Benga music were able to wow crowds on homemade rigs. This compilation takes a loving look at the unique guitar-picking style which developed its own distinct qualities that could only come from one time and place at the intersection of vibrant cultures.

Review: Various cumbia compilations are jostling for the limelight at present, but perhaps one of the headsier ones to potentially divert your attention is this latest from Rocafort. This time diving into the Discos Tropical Records vaults, the label bring together a compelling six-track array of Latin fruits, with songs from Pacho Galan Y Su Orquesta, Cuarteto Del Monaco and Andres Landero Y Su Conjunto all in tow. The second of the Cumbia Sabrosa series, these are readymade, tailored soundsystem bangers, doing thorough justice to the woofers despite their now vintage rust n' dust.