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last decade. As it turns out, only one of the
tracks I hoped for is included – Mario, and
that’s an alternative version to the one usual-
ly heard – but no complaint. Added to Vol. 1,
this release amounts to a large and impecca-
ble testament. There have been other best-
ofs, but these are the ones.
In many ways, Franco’s last years were
troubling. What in the ‘50s had been a small,
zippy group was now an orchestra of 40
members, though their numbers were divid-
ed by location – the house band in Kinshasa
“I doubt if the huge audience that now exists for world and
and the touring band based in Belgium. Musi-
roots music would be there if it weren’t for fRoots.” Joe Boyd
cians moved between one and the other;
both groups recorded and performed under
“The people of fRoots care a lot about the diverse musical
the TPOK Jazz name, with or without Franco.
expression coming from Africa and they write about it with
But the strains of running such an enterprise,
the amount of force, cajolery, politics (with
objectivity and with joy.” Youssou N’Dour
the dictator Mobutu always to be reckoned
“fRoots proves that Englishness and multi-culturalism do go
with), manipulation, dissimulation, general
hassle – and especially in an enterprise that
together.” Billy Bragg
depended on talent – all seem to have finally
“fRoots provides a focal point for a scene so diverse it would
encouraged uncomfortable feelings in the
leader. No coincidence that many of his songs
seem impossible to represent, but they manage it with taste,
rail at rumour, gossip and disloyalty.
objectivity, humour and intelligence.” Eliza Carthy
At one point he turned his back on Zaire,
“Probably the most independent magazine dealing with world
as the Congo then was, and his band, and
lived in Paris and Brussels. Nevertheless, the
music: a rare and vital quality to be supported.” Rokia Traore
music continued, sometimes with pick-up
“I read fRoots to keep up with who’s making the best music
bands. The songs remain fresh and well-venti-
lated – always something outlandishly accu-
in the world these days, but also for enjoyment! The sheer
rate about his layering, his construction of
volume of information is awesome.” Charlie Gillett sound structure, of tones and correspon-
dences: as soon as any of these tracks start
“fRoots has not only been a pioneer in promoting ‘world
you know you can relax, you’re in the hands
music’ but has most often been the first magazine to carry of someone who can deal in subtle energies
the big story about the best new talent.” Orchestra Baobab
and not let you down. He gives you the confi-
dence to open out. You agree.
“fRoots is a definitive part of the UK music scene – the only
Of course, there is a kind of formulaic
published port of call to embrace such an eclectic range of quality to his music. Only with a sound tem-
music.” Thomas Brooman MBE
plate are you going to produce five albums in
a year, as Franco did in 1986. Anyway, African
“Incredibly stimulating.” Robert Plant music does not generally value out-and-out
novelty. The point of the music is not to
“No effRoots, no effing comment!” Ian Telfer, Oysterband
invent new forms but to take a recognisable
structure and dazzle with the quality you
To get your regular supply of fRoots you can place an then bring to it.
order at your newsagent (tell them that we’re distributed
Ken Braun’s excellent and extended
by Seymour). But better still, relax and have fRoots
sleeve note makes the point that Franco was-
n’t the best singer, or guitarist, or indeed the
appear through your letterbox early each month. UK
only songwriter in TPOK Jazz. But the one
postage is included free of charge and fRoots is posted quality he possessed in prodigious quality
to you a week before street date.
was bandleaderness. Such characters used to
be common 50 years ago – in Europe, Ameri-
1 year is ten issues including the festival special and ca – but with the arrival of rock bands, they
double issues with exclusive full-length CDs.
seemed clumsy and redundant. But from cen-
tral Africa we hear the reverse. The irre-
U.K: 1 year 46.00 (2 years £92.00) sistible sound of a great man and his many
men, sailing in synchronised ease over deep
Airmail Europe, Scandinavia, Ireland or Surface Mail
waters, catering to our wellbeing. And this,
elsewhere: 1 year £63.00, 2 years £126.00 given Franco’s vast output, is only scratching
Airmail rest of world: 1 year £80.00, 2 years £160.00
the surface. www.sternsmusic.com
Rick Sanders
Digital (online or download, no CDs): 1 year £36.00,
2 years £68.00
Lifetime! See column opposite.
KAMEL EL HARRACHI
Ghana Fenou Turn Again Music TAM09/001
We have secure online ordering for new, gift, renewal
and lifetime supporter subscriptions on our web site at
Dahmane El Harrachi
was one of the great
www.frootsmag.com Or you can pay in £ Sterling
heroes of Algerian
cheques/ postal orders/ IMOs, payable to ‘Southern Rag music. A leading fig-
Ltd’ and drawn on a UK bank. Post to fRoots, PO Box 337,
ure in the 20th centu-
London N4 1TW. See opposite for FREE! offers!
ry evolution of chaabi, he met an untimely
end in a car accident aged 55. Today, El Har-
rachi is best remembered for Ya Rayah – an
enduring classic, recently brought to world-
Digital Edition Now Launched!
wide attention by Rachid Taha.
Kamel El Harrachi is the eldest son of Dah-
A full digital edition of fRoots has now been launched, available on secure
mane. His new album Ghana Fenou is present-
subscription, providing an economic alternative to readers who find overseas ed as a homage to his father, with the cover
postage rates prohibitive. See a full sample at www.frootsmag.com
juxtaposing photographs of the two. The
resemblance in their music is no less uncanny.
Chaabi evolved as the music of the poor,
played in the cafés of the Algiers Casbah
www.frootsmag.com or tel (+44) (0)20 8340 9651
neighbourhood. Raï took the traditional
Magreb style and layered it up with electronic
beats, synthesisers and western instrumenta-
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