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Analog Dakar Club

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Dakar - Marseille vinyls only collective. Digging, Parties & Radio Shows.

18/09/2025

The Cannonball Adderley Quintet – Accent On Africa (Capitol Records – ST-2987) US 1968

Today, we’re sharing something a bit different—but after all, we do as we please: an album inspired by Africa, remarkable in more ways than one.

First, because it’s a record by the brilliant Cannonball Adderley, joined by his brother Nat, and produced by the legendary David Axelrod! The lineup features Carol Kaye on guitar, Ray Brown on bass, Earl Palmer on drums, and—unfortunately unnamed—percussionists and backing vocalists, all arranged in a big band format. This album marks the beginning of Adderley’s « funk jazz » era, alongside Joe Zawinul and later George Duke, during which he electrified his alto saxophone and doubled on soprano.
Second, because this record is emblematic of the reclamation of African roots by Black American jazz musicians in the 1960s, a movement pioneered by John Coltrane (with whom Adderley played in Miles Davis’s group). Each track is titled after an African expression from different languages, (except the funky « Up And At It ») explained on the back of the album sleeve (check the liner notes in comments) and tied to a specific rhythm and harmony.
Third, « Accent on Africa », recorded in 1968 for the Capitol label is one of the best and most overlooked of the Cannonball Adderley Capitols years, a rumbling session that bursts with the joy of working in an unfamiliar yet vital rhythmic context. Cannonball Adderley notes that this is the first time in a recording he has utilized unusual instruments and devices in order to more strongly project specific sounds and intensities. An assortment of soprano saxophones was used to achieve different textures, an assortment of alto saxophones for various intensities, and the Selmer varitone electronic device to emulate the growing feeling of magnitude and dynamic expression that happens so often in African music.

As always, you’ll find a low-fi MP3 version of this album via the link—but do yourself a favor: head to your nearest independent record store and grab a copy! (Our copy is the Affinity – AFF 148 UK re-issue from 1986)
https://bit.ly/4mm7Zo6

13/09/2025

🕙 à partir de 12h30
📆 Samedi 20 Sept
📍 Parc Alexandre Ier, Pl. Gabriel Péri, Toulon
🎟️ Entrée libre

11/09/2025

Analog Dakar Club for #34 : « Jamm ak jamm » (Peace and only Peace)

For our 34th installment on —airing September 11th at 9 p.m.—we delve deeper into the vibrant African music landscape of the mid-1980s. This was a transformative decade, defined by a spirit of global exchange that resonated across cultures and continents.

Pioneers like Ray Lema (Zaire) and Salif Keïta (Mali) fused their musical heritage with Anglo-Saxon influences, crafting a sound that remained unmistakably raw and rooted in tradition. Meanwhile, Senegal’s Xalam, Thione Seck, and the legendary Youssou N’Dour propelled Mbalax into modernity, infusing it with new energy. In Ghana, Burger Highlife flirted with electrofunk, while Nigeria’s IMO funk cast its gaze toward Brooklyn’s burgeoning scene.

Tune in tonight for Jamm ak Jamm—live on radioalhara.net—or catch the replay tomorrow on our SoundCloud.

10/09/2025

Samedi 20 septembre, Le Festival Constellations et Tandem vous convient à un moment suspendu : un pique-nique en plein air rythmé par un set solaire mené par le surprenant Analog Dakar Club.

Installez-vous à l’ombre des arbres, laissez-vous emporter par les spirales dansantes et les vibes généreuses. Un après-midi pour célébrer le collectif, les corps en mouvement et les musiques en fusion. Ambiance festive, libre et sans frontières.

31/08/2025

Ray Lema – Medecine (Celluloid – CEL 6756) France 1985

Who said that ‘computers are not African enough’?* Not only is this condescending statement historically inaccurate, it is also
contradicted by numerous African artists who embraced this emerging technology (computer-assisted music programming) in the 1980s, including Salif Keita, Manu Dibango, Fela, Sammy Massamba and Wally
Badarou, to name but a few. Ray Lema was in Paris during those vibrant and multicultural 1980s. He recorded this wonderful album in 1985, produced by Martin Messonier on the initiative of the great Jean-François Bizot, a cultural and musical visionary and promoter of ‘Sono Mondiale’ on his Radio Nova.

Surrounded by a few heavyweights, including Tony Allen, he proves here that computers and programming are perfectly adaptable to traditional rhythmic sequences, which are the basis of African music, particularly
Congolese music. His background as an ethnomusicologist and his extensive research into traditional music are undoubtedly linked to his unfailing curiosity.
Released on the excellent label Celluloid, which specialises in discovering new musical styles, this record is a must-have for fans of
80s-style crossover, far removed from the saccharine sweetness of so-called ‘world music’ or tropical imitations of Western styles.

He would repeat this adventure with the Bwana Zoulou Gang in 1987, another stunning album that we will share with you soon.

As usual you’ll find a link of a lo-fi mp3 recording of this LP by your truly :
https://bit.ly/3JXkMzS

*Brian Eno

Pics taken from « Paris c’est l’Afrique » a documentary by Philippe Conrath (1989)

24/08/2025

Luís Morais – Boas Festas (Morabeza Records – 110 881 L) Netherlands 1967

After a long summer break, we’re back on the
sharing-good-music-side-of-life with that incredible instrumental LP
that I consider as one of the best music ever recorded on earth.

A little-known instrumentalist outside the archipelago, Luis Morais
was one of the first big stars of Cape Verdean music, long before
You-Know-Who. He plays on almost all the major record from Cabo Verde
of that time.

A clarinettist and saxophonist, he was co-founder of the group Voz De
Cabo Verde (one of the first groups to electrify the coladeira in the
late 1960s) and composer of the anthem ‘Boas Festas’. On his latest
albums and at his major concerts, Luis Morais had returned to lead a
peaceful life in his hometown of Mindelo, after years spent in
Senegal, Holland and Portugal.

He set up a music school there to pass on his passion to new
generations, but he ultimately passed away in the United States on the
very day of Cape Verde’s music festival. His death was experienced as
a national tragedy, and a huge crowd blocked the streets of Mindelo to
attend his funeral.

As usual you’ll find a link of a lo-fi mp3 recording of this crazy
good LP by your truly : https://bit.ly/45EM3hG

If you like it please go to your local record shop and grab it !

09/08/2025

Today From 5:00 to 6:00pm we host a very special Guest, Pano.

Pano recorded a tribute mix to his grand father Louis Fourment, made of records Mr Fourment produced under the N’Dardisc and Befor Labels.

In 1952, Louis Fourment was hired by PEYRISSAC in Bordeaux to manage a radio and sound department in Dakar, Senegal, until 1964. He then took over LA RADIO AFRICAINE, a store selling radios, sound systems, and records, moving it to Dakar. The store sold various music styles and specialized in Cuban music, significantly influencing local Senegalese music.

Under the labels N’DARDISC and BEFOR, Louis Fourment recorded local musicians, including Laba Sosseh and Dexter Johnson, in unconventional settings like nightclubs due to the lack of proper studios. These records were highly successful. He also recorded Malian and folk music, contributing to the cultural music scene.

He sponsored a radio show to promote Cuban and Senegalese music. In 1965, he managed the sound system for the Théâtre National Daniel Sorano in Dakar, working with international artists and significant events like the 1st World Festival of Black Arts.

He left Senegal in 1972 but retained business ties until 2000. Upon his death in 2002, a mysterious tam-tam player paid tribute to him on significant dates, marking a unique homage to his impact on African music.

Here is a selection of cover art from Louis Fourment productions and a picture of him and his wife.

12/07/2025

Kreyol-Utopia
Today - راديو الحارة
5.00-6.00 PM

What better way to celebrate summertime than with a mix of French West Indies music? Far from the clichés of festive, good-natured music, we have chosen to showcase the variety that these Creole islands (Martinique, Guadeloupe, and Haiti) have to offer. This includes feminist anthems, songs of resistance to colonial oppression, calls for local consumption, and awareness of a Caribbean culture that is mixed-race and anti-globalization. There will be traditional biguines, bèlè, and cadences blending with reggae, rock, latin and fusion influences. This non-exhaustive selection highlights the cultural richness of this sixth continent.

24/06/2025

Alhaji Sir Waziri Oshomah And His Traditional Sound Makers – Jealousy (Ebohon Records) Nigeria 1981

Here’s a record that blew our minds, shared by our good man is

Alhaji Sir Waziri Oshomah (born Isah Sule in the mid-western town of Osomegbe, 1948) conveyed his faith and spirituality in humanist sermons served up in a danceable cocktail of traditional music, local highlife, groove and Western pop. A fan of musical experimentation, Waziri developed his own musical language, a festive trance on which he sang in English as well as in etsako and other local languages, as on his first 15-minute track Jealousy, warning the faithful of the dangers of vice and jealousy.

Nicknamed the Etsako Super Star, Alhaji Waziri Oshomah began incorporating his faith into his compositions after his parents disowned him for fear he would stray from the teachings of Islam. While the Nigerian civil war was raging, he formed a band in 1970 with the means at hand: ‘We didn’t have a professional amplifier, so we used a locally-built one powered by ordinary torch batteries,’ says the artist from Afenmailand, in Edo State, southern Nigeria. A region known for the harmony between Muslims and Christians who live and dance together. A contemporary of his fellow musicians William Oneyabor and Fela Kuti and Ghanaian Ebo Taylor, Alhaji Waziri Oshomah shared with them a taste for musical cross-fertilisation and a fraternal, joyful message, while preserving his Muslim culture and faith by sharing values such as humility and modesty in his soul music.

https://bit.ly/4lpsQqS

For more info about this artist check also this amazing interview / post by Uchenna Ikone (Comb & Razor)
@ https://blog.superflyrecords.com/storyboard/sir-wazir-oshomah-oyoyo/

11/06/2025

ANGOLA 75
Homenagem à independência - 7 inches from 🇦🇴 Labels
Analog Dakar Club for Alhara Radio 11.06.2025 / 2:30-4:00pm

As far back as the 1960s, there was a thriving recording industry in Angola. The largest record company of colonial ruler Portugal, Valentim de Carvalho, set up a pressing plant in Luanda and officially pressed licensed repertoire from labels like CBS and EMI.

Urban Angolan music from the 1970s was made for a populace in revolt. It is a heady, rhythmic sound that swings with the recognizable semba (which draws from the same rhythms as the Brazilian samba) as often as it does with the Angolan merengue. It can jump into uncharted frenetic realms that are a unique mixture of local rhythms like rebita and semba, imported rhythms like samba and merengue, and rumba from neighboring Congolese tribes. (Egon / Stones Throw on npr.org).

We have humbly tried to reproduce this rich musical effervescence in this mix. 1h 21min made strictly of Angolan original 7inches carefully digged by our man DJ Afrosider Look. We carefully chose some of the best tunes from labels that existed before Angola’s independence (Rebita and Ngola, circa 1972-1976) and its brutal civil war (CDA and Merengue, circa 1975-1977).

07/06/2025

Celui qui trouve la vie ne la refuse pas pas.
Bal Poussière invite Ketu records ce soir au Ciné Bar : 100% Vinyles 100% Afro 200% 🔥

03/06/2025

Henri Guedon – Afro Blue (Le Chant Du Monde – LDX 74780) France 1982

Henri Guédon was born on 22 May 1944 in Fort-de-France, Martinique.
His family, of farming origin, comes from the North (Sainte-Marie). The musical home of the bélé, of African origin. At an early age he formed a group, La Contesta, and recorded an album with Alain Jean-Marie and André Condouant. In 1964, he moved to Paris, where he took part in numerous jazz fusion concerts. A pioneer in the modernisation of Afro-Cuban music, he formed the first Big Band Jazz Caraïbes. In 1972, he released the album Cosmo Zouk, with a group of Latin Caribbean musicians: Don Gonzalo Fernandez, Nicole and Jacky Bernard, Claude Vamur and Michel Pacquit. At the end of the 1970s, he imported salsa to France. At his Afro Caraïbe jazz meeting at the Olympia, he invited the stars of Latin music. At the beginning of the 1980s, he made his mark with the albums Afro-blue and Afro-temple, a solar jazz in the colours of an eternal summer, consistently deep blue, but not without storms, squalls and lightning.

🎁 https://bit.ly/45CLXsw 🇲🇶

Other Henri Guédon LP you’ll find on our page : « Cosmo Zouk » and « Kiké Aux Ondes » with La Contesta.

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100% VINYLE 100% AFRIQUE

Pas de fumée sans feu, pas d’amour sans rendez-vous.

ANALOG DAKAR CLUB remets au goût du jour les classiques et raretés de l’âge d’or de la musique Africaine. A travers le support roi : le disque vinyle, ou disque microsillon, qui avait pratiquement disparu dans les années 90, avec l’avènement des supports numériques, puis de la musique en ligne. Pour les amateurs, le vinyle reste un objet mythique. Et la demande est au rendez-vous. Afrobeat, Makossa, Soukouss, Highlife, Mbalax, Salsa, Rumba… toute la musique pop africaine des années 60 à 80 est concernée.

Nous proposons quotidiennement des albums mythiques et rares, avec possibilité de télécharger la version digitale et en expliquant le contexte et l’histoire derrière chaque LP.

Tout les deux mois nous partageons en live mixe 100% vinyl nos plus beaux disques dans des lieux mythiques et authentique de Dakar. Les dj’s du collectif Analog Dakar Club invitent régulièrement des dj’s internationaux.