{"id":33162,"date":"2019-02-16T18:04:07","date_gmt":"2019-02-16T17:04:07","guid":{"rendered":"http:\/\/www.freaksonline.it\/freaks\/?p=33162"},"modified":"2019-02-23T09:22:42","modified_gmt":"2019-02-23T08:22:42","slug":"kokoroko-al-miela","status":"publish","type":"post","link":"https:\/\/www.freaksonline.it\/freaks\/kokoroko-al-miela.html","title":{"rendered":"Kokoroko al Miela"},"content":{"rendered":"\n
\"\"
Kokoroko foto fornita da Il Miela<\/figcaption><\/figure>\n\n\n\n

Venerd\u00ec 22 febbraio ore 21.30 Teatro Miela
\nMiela Music-live<\/p>\n\n\n\n

KOKOROKO (UK)<\/strong><\/p>\n\n\n\n

La giovane band inglese sbarca al Miela sull\u2019onda di un inaspettato successo mondiale.<\/p>\n\n\n\n

Le bellissime composizioni soul e spiritual dei Kokoroko sono cibo per l\u2019anima e fanno muovere il corpo!
Sono gi\u00e0 un gruppo di culto prima dei pubblicare qualsiasi loro lavoro ufficiale (il prossimo marzo \u00e8 in uscita il loro primo EP). La loro popolarit\u00e0 \u00e8 dovuta al loro impatto dal vivo e soprattutto al singolo \u201cAbusey Junction\u201d che, pubblicato su Youtube come singolo di \u201cWe Out Here<\/a>\u201d, la compilation manifesto pubblicata dalla loro etichetta Brownswood Recordings (2018), ha superato la strabiliante cifra di 22 milioni di visualizzazioni.<\/p>\n\n\n\n


\u201cAbusey Junction\u201d \u00e8 stato da poco insignito del titolo di \u201cTrack of the Year\u201d al prestigioso Worldwide Award di Gilles Peterson, da anni il guru internazionale della musica jazz e ritmica.
Gli otto giovani londinesi, guidati dalla trombettista Sheila Maurice-Grey che conduce una sezione fiati tutta al femminile, si ispirano a maestri come Fela Kuti, Ebo Taylor e Tony Allen ed ai grandi musicisti provenienti dall\u2019Africa Occidentale. Lo stile musicale prende forma dai suoni delle loro radici Nigeriane e del West Africa mescolate a quelli urbani Londinesi.
La loro ampia fama \u00e8 stata costruita nelle esibizioni \u201clive\u201d (divenendo quasi leggenda): catturano il pubblico attraverso la loro abilit\u00e0 e presenza scenica. Esibizioni rimbalzate nella rete attraverso i loro stupendi video e collezionando ogni volta centinaia di migliaia di visualizzazioni. <\/p>\n\n\n\n

Video:
https:\/\/www.youtube.com\/watch?v=zUnKDK1iklo<\/a>

https:\/\/youtu.be\/FMbGZ3o1qik<\/a><\/p>\n\n\n\n

https:\/\/youtu.be\/YqQ2sODxH3o<\/a><\/p>\n\n\n\n

Prevendita c\/o biglietteria del teatro (tel. 0403477672) tutti i giorni dalle 17.00 alle 19.00 oppure on-line su www.vivaticket.it<\/p>\n\n\n\n

organizzazione: Teatro Miela \/ Bonawentura<\/p>\n\n\n\n

This is not idle music! <\/p>\n\n\n\n

London has long been a hotbed for experimentation for music from West Africa, and it\u2019s into this global-local story that we can situate London\u2019s newest afrobeat innovators: KOKOROKO. In the 40\u2019s World War Two veteran Ambrose Campbell and his West African Rhythm Brothers, were enticing Soho music lovers with sweet palm wine sounds. The following decade, a young Fela Kuti (and his Koola Lobitos outfit with drummer Tony Allen), would jam with Campbell, and the seeds for his global Afrobeat revolution were sown. <\/p>\n\n\n\n

The band\u2019s name is an Orobo \u2013 a Nigerian tribe and language \u2013 word meaning \u2018be strong\u2019. Sonically living up to their name, KOKOROKO are an all star band featuring leading lights from the London jazz community. Powered by seismic horn section (Maurice Grey, saxophonist Cassie Kinoshi, trombonist Richie Seivewright), guitar (Oscar Jerome), keys (Yohan Kebede), drums (Ayo Salawu) and percussion (Onome Ighmare); KOKOROKO are on a mission to fashion new languages using the medium of afrobeat. <\/p>\n\n\n\n

\u2018This is not idle music!\u2019 says Sheila Maurice- Grey, reflecting on the rich history of sounds that have inspired the band. Whether it’s the social commentary, the political stance of acts like the Black President, or the high power energy of afrobeat nights: the music is teeming with a potent energy the band want to propel forwards, London style. Make no mistake, this is not a band interested in performative tributes or pastiche. For Maurice Grey, part of the drive behind their creative impulse to is ask: \u2018what does this music sound like for my generation?\u2019<\/p>\n\n\n\n

\u2018We love this music and want other people to love it the way we do\u2019, shared Ighmare. Aside of the primacy of love for the music, a subtext of the bands creation was a sense of alienation at London\u2019s thinning pool of afrobeat and highlife nights – particularly of black listeners and players. \u2018We don\u2019t want this music to die\u2019, he added. <\/p>\n\n\n\n

Rather than launching straight into writing their own music, since the band\u2019s formation in 2014, they immersed themselves in the sounds of Pat Thomas, Ebo Taylor and others by playing covers to sell out crowds. \u2018I remember speaking with Dele Sosimi about the structure of Fela\u2019s songs – every element plays a part. But, before melody or harmony, there\u2019s rhythm. The rhythmic aspect of the solos from that era is amazing. The West African approach to jazz and improvisation is hip!\u2019, offered Maurice-Grey. <\/p>\n\n\n\n

In writing their own music, Ighmare emphasised how much the KOKOROKO sound is shaped by the capital. \u2018We didn\u2019t want it to sound too clean – that doesn\u2019t really fit into the London sound\u2019, he said. Instead, the band opt for grooves with added grit: \u201cwe wanted it to sound rough, like going out and hearing music pushed through speakers or the energy of people dancing at afrobeat parties: its music we\u2019ve seen work on dancefloors\u201d. <\/p>\n\n\n\n

Drawing as much from nightlife, the musical influences of West African Pentecostal churches, jazz and Western classical, its both in the middle of and beyond this mix of influences that KOKOROKO\u2019s self titled EP takes shape. <\/p>\n\n\n\n

Adwa opens deep-ridge grooves. Drawing from the syncopated funk of Ethio-jazz, it takes its name from the Ethiopian city of the same name. Composed by keyboardist Yohan Kebede, the victorious spirit of the track is a meditation not only on the infamous Battle of Adwa, but of the way societies evolve in the aftermath of conflict. <\/p>\n\n\n\n

Ti-de is a soft lullaby taking its cue from a medley of old West African folk melodies. A meditation on remaining present through change, the track is laced with opiating guitar lines, soft percussion and languid vocals that feel at times interchangeable with the grand sway of the horn section. <\/p>\n\n\n\n

The jubilant Uman arrives as a \u201ccelebration of women, black women in particular,\u201d shares Maurice Grey. \u201cI wrote the tune with my mother in mind\u201d. The track tackles the cultural trope of the \u2018black superwoman\u2019 and – similarly to Maurice- Grey\u2019s visual artwork – asks questions about why misrepresentations about black women exist. Ultimately, it’s a redemptive track that makes space for both the unique struggles black women face, and their vulnerability. <\/p>\n\n\n\n

Like Ti-de, Absuey Junction takes it\u2019s lead from Ebo Taylor\u2019s horn led approach, andshowcases the bands deft hand with palm wine infused ballads. The hit single, first featured on the We Out Here compilation, reached 15 million + views on YouTube. Based on a composition by guitarist Oscar Jerome, the track captures the sunset hum of Gambia\u2019s nocturnal soundscapes, winding horn solos and haunting vocals.
\nA precursor to their album, \u2018it\u2019s an honest capture\u201d of the band\u2019s progression and a stunning introduction to their sound. <\/p>\n","protected":false},"excerpt":{"rendered":"

www.youtube.com\/watch?v=tSv04ylc6To”<\/div>\n

kokoroko al miela<\/p>\n

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