Artist: VA
Title Of Album: Lagos Shake: A Tony Allen Chop Up
Year Of Release: 2011
Label: Honest Jon's Records
Genre: Jazz, Broken Beat, Afrobeat, Dub
Quality: mp3
Total Length: 00:58:07
Bitrate: VBRkbps
Total Size: 80 Mb
Tracklist:
01 Hypnotic Brass Ensemble - Sankofa
02 Carl Craig - Kilode (Remix)
03 Bonde De Role - Awa Na Re (Remix)
04 Mark Ernestus - Moyege (Marks Disco Dub)
05 Wareika Hill Sounds - Reggae Land (Dub)
06 Newham Generals - Tetsuya's Theme
07 Son Palenque De Colombia - Samba
08 Diplo - Fuju Ouija
09 Salah Ragab & The Afro Egyptian Ensemble - Ole (Cairo Version)
10 Moritz Von Oswald - Ole (Remix)
The perception may still linger that Tony Allen's influence on modern electronic music is limited to Afrobeat or broken beat, but as this remix compilation attests, his influence looms large in other, unexpected places. On Chop Up, for example, Carl Craig finally delivers his response to his evergreen 2004 version of Beanfield's "Tides", with hypnotic chants, rolling drums and brassy breakdowns dominating his take on Allen's "Kilode". Equally, Mark Ernestus is inspired to push Allen legacy into the realms of low-slung house, with "Moyege" transformed into a languid, dubby disco rhythm. However, it's not just the more cerebral end of electronic music that has been seduced by Allen's genius: US star Diplo also contributes to Chop Up, with a squelchy, party take on "Fuju Ouija", while other unexpected contributors like Hypnotic Brass Ensemble and Salah Ragab keep the mood upbeat: the former drops an irresistible swaggering version of "Sankofa' and the latter brings a flavour of Notting Hill Carnival to "Ole", as celebratory brass competes with sunny day ivory tinkling. In spite of these joyful renditions of Allen's legacy, the version that we keep returning to is Moritz Van Oswald's take on "Ole". It's fascinating to hear that Allen's tumbling, rambunctious drums informed the Basic Channel member's work in the same way as King Tubby, but even more fascinating is what van Oswald does with Allen's drumming. Transforming them into solemn but understated marching beats, he uses them to underpin the most atmospheric, woozy dub chords this side of "M6".
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