2013 erschien auf der Kopenhagener Bildfläche plötzlich eine Gruppe renommierter Jazzmusiker. Die Ideengeber und Komponisten Michael Blicher und Gustav Rasmussen setzen sich zum Ziel, die Faszination westafrikanischer Musik in der Tradition eines Fela Kuti mit denen des unnachahmlichen Bassisten Charles Mingus zu verbinden - The KutiMangoes waren geboren.

Sie mischten nicht nur nach kurzer Zeit die dänischen Clubs gehörig auf, ihre Erstlings-CD „Fire“ wurde 2014 Dänischer Grammy Gewinner für das Best World Music Album und der in einschlägigen Radiosendern international mittlerweile rotierende namensgebenden Titel des Albums zu dem Best World Music Track. Darüber hinaus gab es Nominierungen in den Kategorien Best Compostitions und das Best Alternative Jazz Album. Es folgten weltweite Festivaleinladungen, gefeierte Auftritte auf der Bremer Musikmesse jazzahead!, eine Tour im Rahmen der norddeutschen Konzertreihe FANTASTISCHE MUSIK und schließlich ein Auftritt auf dem Reeperbahnfestival.

Eine Videodokumentation über ihre anschließende Asienreise bezeugt, dass ihre Musik auf allen Kontinenten in den Kopf sowie in die Beine geht.

Die Kooperation mit dem Sänger und Tänzer Patrik Kabré aus Burkina Faso während des ersten Albums sowie bei einigen Auftritten und die Einladung als Headliner auf einem westafrikanischen Festival führte dazu, das zweite Album dort einzuspielen, wo ihre Musik ihren Ursprung hat. Darüberhinaus sollen Gastmusiker und eigene Kompositionen, neben teils ursprünglichen afrikanischen sowie zeitlosen Arrangements, auf dem neuen Werk einbezogen werden - ohne dabei selber Authentizität vorzugaukeln. „The KutiMangoes' musical mission is not to record African or Western Music: Our goal is to create music together - to share and meet through music.“

The KutiMangoes zu „Made In Africa“

„Ouagadougou, the capital of Burkina Faso, was the hottest place on earth in May of 2016, averaging a sweltering 43 degrees celsius. as we drove to the recording studio along the dusty, red roads day after day.

If we were lucky, the power stayed on long enough to put down a few songs, but the airconditioning had to stay off so it couldn't be heard on the recordings. In that small soundproof room, every drop of water we drank was sweated out a moment later, but the heat was matched in full by the musical exchange as we set out on an honest attempt to make something singular and new.

Recording with us were long time friend, singer Patrick Kabré and new acquiantances, Daniel Nikiema, Aboubacar Konaté and Dara Sanou, all masters of traditional West African percussion. Patrick had shown us some ancient folk songs that we rehearsed, arranged, composed new parts on, and recorded for this album.

Just before leaving for Mali a few days later, we received news that the musicians we were to meet there had canceled. Spirits were low when we landed in Bamako airport, lost one of our suitcases, broke down in the tour bus, and eventually arrived at our maximum-security fortress of a hotel.

With no other options, we set out to find the house of charismatic singer Rokia Traoré whom we had met earlier by chance. She had generously invited us to her house and offered to help us find new musicians.

Not knowing exactly where she lived, we roamed Bamako for hours in two rusted out old Mercedes, before finding the hidden gates of Rokia’s house. Once within the walls, we were greeted by her singing choir, rehearsing in the pitch-black night. The transformation was instant and complete. The evening became magical, coloured by warm hospitality, a soft summer drizzle, and the ethereal voices of the choir as were introduced to Alou Coulibali, Mamah Diabate and Diakaridja Mariko, who we went on to record with a few days later.

This is an album of compositions inspired by the musical traditions of western Africa and new interpretations of folk songs that date back alongside 1000-year old traditions:

"Hunting" is inspired by the "chasseur" ritual hunter's music of Mali and features an appearance by singer Diakaridja Mariko, a pupil of the legendary Yoro Sidibé.

On "Ouagadougou" and "Bamako By Bus" we pay tribute to the charming and vibrant capitals of Burkina and Mali.

„Tolma“ and „M'ba“ are new interpretations of ancient folk songs from Burkina Faso, sung by the masterful Patrick Kabré, now with newly composed harmonies, melodies, horn parts, keyboards and guitars.

"This Ship Will Sink" is an homage to Led Zeppelin whose exploration of all the worlds' music is an ongoing inspiration. 

The album ends with another traditional song, „Nin Gang (Hear My Call)“, that has a particularly relevant message, encouraging compassion and humanity towards those in need. "Hear my call, people of tomorrow,” Kabré beckons in his native Moré.

This journey has not been made to advance musical anthropology, it was made to advance the cause of music made together. To share it and unite people and cultures by and through it. We have loved African music since we first fell in love with music itself, which makes this collaboration a dream come true for each of us. It is with the greatest reverence and respect for that music and the stories they unfold that we unite West Africa with our own musical heritage, to offer something hard-won, heartfelt, and human-forward.“