Afro-Jersey | Afro-Jersey

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World: World Fusion Folk: Alternative Folk Moods: Mood: Upbeat
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Afro-Jersey

by Afro-Jersey

Three NYC musical treasures, blending American and West African Folk music, produce a solid, hyphenated, musical hybrid, rich in joyful, rhythmic discovery, and captivating lyrics.
Genre: World: World Fusion
Release Date: 

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  Song Share Time Download
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1. Captain Sully
4:48 $0.99
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2. Towia
3:27 $0.99
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3. Doin' the Job
5:47 $0.99
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4. The World Is Not a Surprize
3:48 $0.99
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5. Tsunami
3:21 $0.99
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6. Remember the Elephant (Cuz She Remembers You)
4:44 $0.99
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7. Senero
3:46 $0.99
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8. American Autumn
4:00 $0.99
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9. Alpha Conde
4:33 $0.99
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10. Shenandoah
3:33 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Afro-Jersey was formed in 2008 when old friends Terre Roche and Sidiki Conde began to write songs together in both English and Mandingo just for fun.
Terre Roche is best known for being one of The Roches. She has worked with Paul Simon, Laurie Anderson, Was Not Was, Philip Glass, Kathy Mattea, Meredith Monk and the Indigo Girls to name a few. She sang the role of Squeaky Fromme in John Moran's opera, The Manson Family. She was one of the soloists on Robert Fripp's album "Exposure". In 1998 she put out a solo CD, "The Sound of a Tree Falling". Terre collaborated with jazz pianist Garry Dial on the 2008 release "Us an'Them", a collection of national anthems from around the world featuring musicians from the countries all of whom were living in New York City. From 2002 to the present, Terre has led the popular "Sunset Singing Circle", a Battery Parks City sponsored singalong which takes place in May and June. Currently she is the musical coordinator for Lanny Harrison's "Characters in Motion" class at the New York Shambhala Center and has been a featured artist in Mark Lamb Dance's spectacular multi-media salons, featuring music, dance and spoken word performances.
Sidiki Conde hails from Guinea, West Africa. In 1987, he became a member of Les Merveilles de Guinea, founded the year before by Komoko Sano, who urged him to learn the West African music and dance that the group performed. Conde became a soloist in the troupe and served as rehearsal master, composing and directing the company’s repertoire. He also worked as a musician and arranger with Youssou N’Dour, Salifa Keita, Baba Maal and other popular musicians. In 1998, Conde’s music brought him to the United States, and he founded the Tokounou All-Abilities Dance and Music Ensemble the next year. . He is the subject of the 2013 documentary "You Don't Need Feet To Dance".
In 2010 Afro-Jersey became a trio with the addition of multi-instrumentalist Marlon Cherry. Marlon's musical history includes work with a wide array of artists in many genres. In the mid 80's he spent time as bassist for southern punk legends Anti-Seen before releasing a solo ep "Life After Theatre" and moving to New York where he became a member of the tribal rock group Mecca Bodega, releasing 6 cd's with them including the soundtrack to the HBO original film "Subway Stories", working with directors including Jonathan Demme, Abel Farrara, & Alison McLean. He's also done extensive work with Chris Rael's indo-pop outfit Church of Betty, performance artist Penny Arcade, Australian didjeridoo player Simon 7's Didjworks, NYC ukelele duo Sonic Uke, singer-songwriter Rachel Loshak, transgender punk icon Jayne County and in recent years has recorded and performed with The Roches (Maggie, Terre, & Suzzy) in their various trio/duo forms. He also perfomed with dancer / choreographer Wendy Perron in her original work "Downtown Underground" at the 1997 Lincoln Center Summer Festival. Marlon currently creates music for various dance companies. He is an accompanist for dance classes at The Paul Taylor Studio, Barnard College and other schools in New York City.

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Reviews


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Patty Larkin

Kudos!!
I'm really enjoying the Afro-Jersey project!! It's a beautiful, uplifting piece of work. I love some of the sounds they're getting. Very cool! Wonderful vocals. Kudos!!
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AJ Garcia / Shakefire.com

Music Is The Universal Language
Their music is a positive blend of West African culture, American folk, and beaming with fantastic personality that draws you in as more then a listener, it makes you feel like a friend. The songs are a mix of English and Mandingo so I was halfway there, but like all great music, the artistry of the musicians brought to life the old saying, "Music is the universal language". What makes Afro-Jersey so special is that they play from the heart and they make no efforts to hide that they love what they do. Their chemistry on the album is mind blowing, their ability to create this amazing high tempo positive music with so much unison, and the topics all make for a universally accessible album that is infectious and hard to ignore. I highly suggest picking up this album. Enjoy.
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Jay Paul / WRUV Reviews 90.1FM Burlington, VT

This Folksy African-inspired Gem
In 1979 three sisters from New Jersey released "The Roches", a sweet lp featuring gorgeous vocal harmonies. Three decades later, sister Terre Roche is still singing sweetly, but now has teamed up with Sidiki Conde of Guinea, West Africa & multi-instrumentalist Marlon Cherry to produce this folksy African-inspired gem.
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Chris Frank / efolkmusic.org

Soul Music Of The First Water
This album moves us in a very pleasant way, hard to describe but unique, for sure, and it makes us want to listen and feel our bodies "do" the move again and again. This is soul music of the first water here. Very cool in a way-post-modern "hyphenated" style!
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Iman Lababedi / Rock NYC Live and Recorded

It Shifts Your Ears From Where You Are Used To Having It
Imagine Paul Simon's "Graceland" rewritten for The Roches and with more musical give and take. "Senero" has a Sunday afternoon calm and beauty. "American Autumn", a sort of timeless half remembered track, it plays somewhere far away, with the harmonies a gentleness playing off each other than moving together. The album ends with a version of "Shenandoah" for the ages and as in so many covers, it gets to the point by comparison. It also leads you back to the beginning and another sense of the song as notice board, town crier, hailers of heroes, with the lovely "Captain Sully" (the man who landed the plane in the Hudson). The drums, more than the different languages or instrumentation or voices, places you somewhere else. It's a subtle shifting, it shifts your ears from where you are used to having it. It is like there is more of it, not the pace but the frills seem to be filling you up. GRADE B+
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Patricia Dahl / Counterpunch

The music of Afro-Jersey
Politics abound, yet so non-doctrinally it is entirely possible not to notice. As the songs soothe rather than rev, the polemics come through what Afro-Jersey does with the music and how. In a cabin deep in the Catskills there lies a multitude of cd's. All are loved. Yet for the particular now that forms this moment, "Shenandoah" is entry to an altered state. Afro-Jersey's rendition Of "Shenandoah" as celebrated common song, celebrates in the common woman and man a longing, nostalgia even, for all that defies name and remains unharnessable. I hit replay, full-circle over and over, just to be near it.
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