MARY CONWAY revels in a powerful reminder that human lives are not defined by physical perfection
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Ernesto Djedje was one of the most innovative and successful artists Cote d‘Ivoire has ever produced
(L to R) Ernesto Djedje in 1977; Statue of Djedje at the entrance of Insaac (school of Arts) Cocody, Abidjan
[(L to R) Analog Africa; Ariel Palmon/CC]
PAUL DONOVAN recommends the fine performances in this account of the pre-war meeting between the US president and the British king
TECLYN AROD relishes an intimate celebration of jazz improvisation that mixes local and national musicians
The missing sister, the vengeful WAG, cruise ship claustrophobia, and reanimated Avengers
Three great releases of lost concerts by Duke Ellington Orchestra, John Taylor & Stan Sulzman, and Joe Henderson
To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
A RISING star in the 1960s, when he became the guitar player and leader of the group Ivoiro Star, Ernesto Djedje set out to modernise Ivorian music and popularised the ziglibithy style of music, a pulsating hot mix of makossa and funk.
In 1968 he headed for Paris to record his first singles, arranged and produced by Manu Dibango and influenced by US soul, the music of Cameroon and Zaire as well as traditional Ivorian music.
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