Kaxexe

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Kaxexe album cover
Album Information

Total Tracks: 14   Total Length: 47:19

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Kaxexe Bonga 2003

OA74

The advent of Bonga from his 1970 albums, re-released as Angola series in the West to the present 21st century releases (Kaxexe, Bairro, etc) is primarily directed at his European audiences. As they've matured, they've allowed him to move past his Afroportuguese roots to more native Congolese lyrics and sounds. The best lyrics and sounds from Angola are in semba, kizomba, merengue and salsa, styles borrowed from Brazil, Portugal and Latin America. In Kaxexe this mix is obvious with most of the music in the these styles. Poeira represents this style best, a medium beat semba sung in Portuguese with tremendous emotion. Samania sounds more like a typical fado from Portugal. The beat picks up quite a bit for Kiamangongo sung in Angolan Congolese, still a semba, but it shows the conflict in Angolan life today. Luanda is where the best Portuguese is spoken, it's also at the center of a power struggle between all of the people of greater Congo.

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They Say All Music Guide

Bonga’s 2003 album Kaxexe (reissued in the U.S. by Times Square Records on March 9, 2004, after its initial appearance on the French Lusafrica label) finds the expatriate Angolan singer with the gruff, expressive voice performing with the largely acoustic Semba Master band, which conceives percolating rhythms and melodic guitar and accordion passages to accompany his introspective lyrics. He sings those lyrics in a combination of Portuguese and Angolan that the CD booklet helpfully translates into French (the Times Square reissue just reprinting the Lusafrica release). Rendering them a step further into English may be one iteration too many for perfect understanding, but the title song, for example, “Kaxexe,” becomes “En Cachette” in French, which means secretly in English, and the French version tells a tale of a man’s difficulties with a mysterious, generally absent woman, a sense backed up by Bonga’s vocal interpretation. Not all the sentiments are so disquieting, and at times the music has a playful feel, as Bonga trades lines with the backup singers in a familiar South African style. The result is a varied collection that will appeal beyond those who understand Bonga’s language. – William Ruhlmann

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