African Drums For Sale

Feb 5, 2012

African Drums & Voices

$11.98

Mention South African vocal music and people tend to imagine the Zulu harmonies of Ladysmith Black Mambazo. Tinyela mine different territory, being very much a choir (the African Works Choir, in fact), more in the Western mold, but singing with percussion. The melodies are very African, and the harmonies are something that singers from other countries likely couldn’t produce, as with the deep sonorities of “Amadoda” or the voices imitating animals on “Iqula” (which means “The Waterhole at Night”). There’s real beauty here, and plenty of thought. Everything works just as it should, the blend of voices exquisite and the percussion adding to the sound rather than taking it over. On “Phakamisa” the two come together, a track that’s purely vocal percussion. With plenty of invention in the arrangements of every track, there’s a great deal of joy throughout. There’s plenty to love here, whether as deep listening or simply as background, and it’s certainly an impressive offering. ~ Chris Nickson, Rovi Performers: Barry Van Zyl – African Percussion; Solo – Kudu Horn, Metal Percussion, Shaker, Marimba; Deborah Fraser – Choir, Chorus; Faith Kekana – Choir, Chorus; Mduduzi Ntombela – Choir, Chorus; Sifiso Ndawonde – Choir, Chorus; Sipho Mbhele – Choir, Chorus; Stella Khumalo – Choir, Chorus

AFRICAN DRUMS: AFRICAN DRUMS

$8.78

Description not provided.

Japanese Drums

$11.98

The term “taiko drum” included in ads for the various virtuoso Japanese drumming ensembles that have found success touring in the U.S. is something of a misnomer, for the word taiko simply means drum in Japanese. Taiko refers to ensemble drum music of various kinds, not to music for a specific type of drum. This disc, by a top-flight Japanese high school taiko group, serves to introduce the Western listener to something of the flavor of the music in Japan, the substructure that underlies the international touring groups. The music consists of traditional pieces, mostly depicting specific activities or scenes. The late West African drummer Babatunde Olatunji once said that there’s a rhythm for everything, and listening to this disc it’s easy to agree. A slight hint from an instrument added to the ensemble is enough to conjure up a range of images evoked by the music. Sample Kaikyo (Sea Sounds), track 7, with its spare use of a shell horn; the shifting drum patterns evoke patterns of waves. The booklet, translated from Japanese (text appears here in English and German) explains the significance of each piece and gives an idea of the contexts in which taiko music is played in Japan. A nice change of pace for anyone who has bought a ticket to hear the Kodo drummers over the past few years. ~ James Manheim, Rovi Performers: Akane Makino – Taiko Drums; Akemi Okazaki – Taiko Drums; Ayaka Senga – Taiko Drums; Ayaka Suzuki – Taiko Drums; Ayumi Goto – Taiko Drums; Chie Ito – Shinobue; Chieko Morita – Taiko Drums; Eriko Takaya – Shinobue; Hirotaka Koizumi – Taiko Drums; Hitomi Umehara – Taiko Drums; Keiko Ebina – Taiko Drums; Maho Miyazawa – Taiko Drums; Maki Yamamoto – Taiko Drums; Mami Furui – Taiko Drums; Mika Suzuki – Taiko Drums;

The Drums

$33.59

The Drums became the buzz band of summer 2009 with the irresistible Summertime! EP, and their self-titled debut album arrived a year later with the song that generated all the commotion. “Let’s Go Surfing” is re-recorded here, boasting major-label polish and softer, more thoughtful verses, but that whistled hook is as irrepressible as ever, and as instantly recognizable as Peter Bjorn and John’s “Young Folks” was a few years earlier. The rest of The Drums makes it even clearer that the band isn’t afraid to be pop with a capital P, and that the Drums know and love every trick in the pop handbook. The album is drenched in glossy reverb and awash in handclaps and harmonies, all of which help unite the band’s fetishes for spindly ‘80s indie guitars, innocent ‘50s melodies, and tinny drum machines and synths. They’ve also got a knack for picking singles: “Forever and Ever Amen” has some bite in its beats, but it’s still a perfect soundtrack to a summertime fling; the ultra post-punky “It Will All End in Tears” is the brisk and heartbroken aftermath. Indeed, the poignancy of summer giving way to fall informs many songs on The Drums, and the bandmembers spend as much time with tears in their eyes as they do going to the beach. They’re skilled at writing lonesome love stories such as “Me and the Moon” and joyous breakup songs like “Book of Stories,” both of which bury their sting with jaunty melodies and synth washes. As immediate as the band’s songs are, their workings are interesting in their own right. The way the Drums juxtapose the heightened emotions of ‘50s and early-‘60s pop with the often-jaded moods of post-punk and indie is fascinating, with “Down by the Water”’s slow dance haze sharing space with “Best Friend”’s impatient yelps. The way their riffs borrow equally from Buddy Holly and the Smiths shows that the jangly simplicity of those styles isn’t so far removed after all. Even when the band’s songwriting falters — “I Need Fun in My Life” and “I’ll Never Drop My Sword” are a touch too simple and repetitive compared to what came before — The Drums’ sound is still distinctive, and even if the album feels a little calculated at times, it’s still greater than the sum of its parts. ~ Heather Phares, Rovi Performers: Adam Kessler – Guitar; Connor Hanwick – Drums; Graham Jacob – Guitar; Johnny Pierce – Vocals

For Sale

$11.19

Singer/songwriter Tom Burris is also a published author who has taught creative writing, and it’s not impossible to guess that after a listen to his first album, For Sale. Burris is not a bad singer (imagine the love child of Dave Wakeling and Pat DiNizio), and his melodies are solid enough (if a bit on the basic side), but it’s obvious that the real selling point is meant to be his lyrics, and the guy certainly sounds literary as all get out. Burris has a genuine knack for capturing characters and incidents with words, and the best songs here play a bit like short stories, particularly “The Fisherman,” “The Voice of Gideon,” and “Sailor Song.” However, while Burris can certainly write a solid character, he doesn’t always sound quite so comfortable bringing them to life, and while careful scrutiny reveals the diversity of Burris’ themes and approaches, the album sounds awful samey as a casual listen. And while producer John Alagia has created some fine backdrops for Burris’ songs, the singer often sounds a bit low in the mix, which hardly helps matters when the whole show is riding on the lyrics. For Sale certainly shows that Tom Burris has talent, but the album also suggests he has the potential to make a stronger album under different circumstances, and one can only hope that will happen. ~ Mark Deming, Rovi Performers: Jonas Tauber – Cello; Brian Johnsen – Drums, Keyboards; Chris Bittner – Bass; John Alagia – Keyboards, Guitar; Juliann Klopotic – Violin; Rich Kulsar – Drums, Percussion; Tom Burris – Harmonica, Vocals, Guitar

African Drums

$19.2

By Charly Wambold. Edited by Sponsel. For 4 Percussion. Sheet Music. Published by Zimmermann

African & Afro-American Drums

$15.98

African and Afro-American Drums is an examination of African drumming and its influence on the music of the Americas. Representing eight countries in the American continents, Harold Courlander has compiled an anthology of drum music from three continents and explores its various uses as well as chronicles the evolution of drum music. Extensive liner notes accompany this album and include a transcription of Haitian Juba Dance drums by George Herzog.

Varieties African American Rel

$20

“Anthony Pinn’s engrossing survey highlights the rich diversity of black religious life in America, revealing manifestations of an ever-changing black religious quest in four non-Christian indigenous movements.>Based on extensive interviews, travel, and research — embellished with ample photos, bibliographies, and case studies — Pinn provides an insider look at Voodoo, Orisha devotion, Santeria, the Nation of Islam, and Black Humanism in the U.S. Focusing less on institutional and doctrinal history and more on the varied popular religious practices and sites, his volume highlights the influence of Caribbean religions in the U.S., practices of divination and healing, the surge of black Muslim religion, the emergence of black humanism, religious influences on the ethical practices of black women, and the import of previously overlooked religious settings (e.g., church women’s clubs, local politics, Pentecostal religion, private religious practices).>The emergent picture, more subtle, varied, and vibrant than traditional black Christian marks a new era in African American religious studies.”

Drums of Passion [Legacy Edition]

$19.98

Having come to the U.S. from his native Nigeria to study medicine, percussionist Babatunde Olatunji eventually became one of the first African music stars in the States. He also soon counted jazz heavyweights like John Coltrane (“Tunji”) and Dizzy Gillespie among his admirers (Gillespie had, a decade earlier, also courted many Cuban music stars via his trailblazing Latin jazz recordings). And, in spite of it being viewed by some as a symbol of African chic, Drums of Passion is still a substantial record thanks to Olatunji’s complex and raw drumming. Along with a cadre of backup singers and two other percussionists, Olatunji works through eight traditional drum and chorus cuts originally used to celebrate a variety of things in Nigeria: “Akiwowo” and “Shango” are chants to a train conductor and the God of Thunder, respectively, while “Baba Jinde” is a celebration of the dance of flirtation and “Odun De! Odun De!” serves as a New Year’s greeting. The choruses do sound a bit overwrought and even too slick at times (partly due to the fact that most of the singers are not African), but thankfully the drumming is never less than engaging. The many curious world music fans who are likely to check this album out should also be sure to look into even better African drumming by native groups like the Drummers of Burundi and the percussion outfits featured on various field recordings. [The 2002 CD reissue on Columbia/Legacy adds the track "Menu Di Ye Jewe (Who Is This?)", which was recorded at one of the 1959 sessions for the album, but was previously unissued in the U.S.] ~ Stephen Cook, Rovi Performers: Ladji Camara – Gende; Jerome Richardson – Piccolo, Sax (Tenor); Stacy Edwards – African Drums, Gong, Conga; Hosea Taylor – Oboe, Sax (Alto), Flute; Ray Barretto – Timbales, Conga, Bongos; Yusef Lateef – Wind; Akwasiba Derby – Vocals; Al Schackman – Guitar; Barbara Gordon – Vocals; Bob Hamilton – African Drums, Conga, Drums; Christine Chapman – Vocals; Clark Terry – Trumpet;

Sacred Spirit Drums

$12.78

Sacred Spirit Drums by brothers David and Steve Gordon is the sequel to their best-selling Sacred Earth Drums. With these two albums, the brothers begin to acknowledge their separate musical contributions (admittedly, they play many of the same instruments, but Steve adds guitars to the mix) and offer extensive liner notes, which in this case offer the story of the rituals of a shaman. Although the brothers play many African drums, the beats for most tracks are either basic Native American (4/4 or 1/1), with just slight embellishments; or, once established, the drum patterns remain a constant and easy groove. Native American flutes and jaunty Incan pan pipes provide the song, while guitar (the Spanish guitar on “Path with a Heart” is lovely), mandolin, electronic instruments, vocals, and nature sounds (birds recorded at Anzo Borrego National State Park) provide expansive musical depth. Sacred Spirit Drums is an intoxicating musical experience, accessible on many levels. The shaman’s story is wonderful. ~ Carol Wright, Rovi Performers: Steve Gordon – Multi Instruments, Vocals

The African Beat

$23.99

While not a universally praised piece of the Art Blakey discography, The African Beat is quite engaging. Yusef Lateef is the only horn player, featured on oboe, flute, tenor sax, cow horn, and thumb piano with Ahmed Abdul-Malik on bass, but trombonist Curtis Fuller is only heard playing tympani — it was that kind of session. The drum ensemble includes Chief Bey, along with five other percussionists on conboro, log, and bata drums with penny whistles, gongs, congas, and African maracas. This is reminiscent of Lateef’s more exotic sessions from the same time period, but quite unlike other Blue Note releases from the early ’60s. ~ Al Campbell, Rovi Performers: Robert Crowder – Bata Drums, Conga, Percussion; Curtis Fuller – Tympani [Timpani]; Garvin Masseaux – Maracas, Chekere, Conga, Percussion; Chief Bay – Conga, Percussion; Chief Bey – Gong, Conga, Drums; James Ola. Folami – Conga, Percussion; Ahmed Abdul-Malik – Bass; Art Blakey – Gong, Tympani [Timpani], Drums (Snare), Drums, Percussion; Montego Joe – Log Drums, Gong, Drums, Percussion; Solomon G. Illori – Talking Drum, Penny Whistle, Whistle (Instrument), Vocals, Drums; Yusef Lateef – Piano (Thumb), Horn, Oboe, Sax (Tenor), Flute, Piano

African Wind

$11.98

This collaboration between soul singer Frankie Lee and multi-instrumentalist bluesman Dan Treanor definitely utilizes some African elements, but the title might be an exaggeration. At heart it’s very much a straightforward (and excellent) blues record. Of course, the blues does have its roots in African music, but they’re not as widely explored as they might be. “African Wind” comes closest, with kalimba (and Lee doing his best Taj Mahal imitation), and “Cane Flute Soul” brings in fife and drum — again, originally from West Africa, but really more familiar from Mississippi hill country. “The Griot” pays tribute to the African historian storyteller and historian, but with very American style. That said, Treanor does use ngoni and khalam (although it’s hard to hear the former). But don’t come looking for the kind of African-American connection you’ll find in, say Ali Farka Toure; it’s not there and doesn’t pretend to be. In spite of Treanor’s instrumental abilities, it’s Lee who’s the star of the show here, with a big, broad voice that’s perfectly at home in the blues, whether on the acoustic “Tell Me Mama” or the fast shuffle of “Who’s Playing Who.” He’s a talent who deserves much broader exposure, and if there’s any justice, he’ll get it from this. ~ Chris Nickson, Rovi Performers: Dan Treanor – Diddley Bow, Ngoni, Khalan, Bamboo Flute, Harmonica, Dobro, Keyboards, Guitar (Acoustic), Flute, Bass, Percussion; David Booker – Vocals (Background); Gary Flori – Turntables, Djembe, Surdo, Shaker, Conga, Drums (Snare), Percussion, Drums; David Henderson – Lap Steel Guitar, Guitar (Electric); Erica Brown – Vocals; Frankie Lee – Vocals; Reuben Flores – Percussion; Sammy Mayfield – Vocals (Background), Guitar; Tom Quinn – Drums; Tony Arceneaux – Flute

Sacred Earth Drums

$12.78

Brothers David and Steve Gordon came up with a winner when they recorded Sacred Earth Drums, and it quickly became a bestseller in the new age market. This drum-based album marked a departure from the musical styles already offered by the brothers (namely, music and nature sounds and electronic music). The album begins with a lively Native American drum beat, 4/4 pulse (there is more pulsing, phrasing, and embellishment than a traditional Indian beat), rattles, a Native American flute, and bird songs. As the album progresses, the music becomes more elaborate; the flute melodies are more fanciful, warm guitars are added, and more complex rhythms (Latin and African) are added with other drums and percussion instruments. Eventually, other animals, keyboards, and space music effects fill out the sound spectrum. Though the music progresses (even into a light ambient), the beat’s cadence remains constant. This is not a “percussion” jam album; no one element will overwhelm the room. The album’s carefree spirit is perfect for trance-dancing or as a background energizer. You can’t help but jump on board this rhythm wagon. The album liner notes are a story line for a shamanic journey for those who wish to relate to the album in this way. If you like this album, check out their follow-up, Sacred Spirit Drums. ~ Carol Wright, Rovi Performers: David Gordon – Multi Instruments; Steve Gordon – Multi Instruments

African Waltz

$9.58

The music on this CD reissue is better than it should be. Cannonball Adderley had a fluke hit with “African Waltz” so a full album was recorded with the hope of coming up with additional hits. These 11 selections (which include “African Waltz”) feature altoist Adderley backed by an 18-piece big band with arrangements provided by Ernie Wilkins and Bob Brookmeyer. The tunes clock in between two and five minutes and leave little room for much improvising by anyone other than Cannonball, his brother Nat on cornet, and pianist Wynton Kelly. There is some strong material on the set (including “West Coast Blues,” “Stockholm Sweetnin’” and a remake of “This Here”) but the results are not too substantial and this was not that big a seller; it is still a reasonably enjoyable effort. [Originally released in 1963, African Waltz was remastered on CD in 1993.] ~ Scott Yanow, Rovi Performers: Michael Olatunji – Drums (African); Babatunde Olatunji – Conga, Bongos; Charlie Persip – Bongos, Drums, Percussion; Don Butterfield – Tuba; Nat Adderley – Cornet, Trumpet; Ray Barretto – Conga, Bongos; Arnett Sparrow – Trombone; Arthur Clarke – Sax (Baritone); Bob Brookmeyer – Trombone; Cannonball Adderley – Sax (Alto); Clark Terry – Trumpet; Ernie Royal – Trumpet; George Dorsey – Sax (Alto), Flute; George Matthews – Trombone; Jerome Richardson – Piccolo, Sax (Tenor), Saxophone, Flute; Jimmy Cleveland – Trombone; Joe Newman – Trumpet; Louis Hayes – Drums; Melba Liston – Trombo

African Portraits

$13.58

This fascinating work traces the African-American experience from the Motherland, through slavery, and up to the modern day through a common musical thread. To realize this ambitious project, musician/composer Hannibal called on a host of artists, including Al-Haji Papa Bunka Susso, gospel singer Jevetta Steele and the Chicago Symphony Orchestra. While the end product suffers from the strain of overambition, there are many thrilling moments, especially Honeyboy Edwards’ terrific contribution as the Delta bluesman. ~ Tim Sheridan, Rovi Performers: Al-Haji Papa Bunka Susso – Kora; Enoch Williamson – Drums (African); Barton Green – Tenor (Vocal); Brian Smith – Soprano (Vocal); Theodore “Pepper” Jones – Baritone (Vocal); Cecil Brooks III – Drums; Cecil McBee – Bass; Jevetta Steele – Vocals; Ron Burton – Piano

African River

$11.18

For this excellent date, pianist Abdullah Ibrahim performs eight of his compositions with a particularly strong group of players: trombonist Robin Eubanks, John Stubblefield on tenor and flute, Horace Alexander Young switching between soprano, alto and piccolo, Howard Johnson on tuba, baritone and trumpet, bassist Buster Williams and drummer Brian Abrahams. But more important than the individual players are the colorful ensembles and the frequently memorable compositions. Highlights include “African River,” “Sweet Samba,” “Duke 88″ and a beautiful version of “The Wedding.” ~ Scott Yanow, Rovi Performers: Horace Alexander Young – Sopranino, Piccolo, Sax (Soprano), Sax (Alto); Howard Glover “Johnny” Johnson – Tuba, Sax (Baritone), Trumpet; Howard Johnson – Tuba, Sax (Baritone), Trumpet; Abdullah Ibrahim – Piano (Grand), Piano; Brian Abrahams – Drums; Brian Adams – Drums; Buster Williams – Bass; John Stubblefield – Sax (Tenor), Flute; Robin Eubanks – Trombone

African Dub

$22.39

This isn’t really so much a Michael Rose album as it is a Ryan Moore (aka Twilight Circus Dub Sound System) album. It’s one more product of Moore’s welcome expansion from homemade, one-man-band instrumental dub — of which he remains the world’s finest exponent — into a more generalized roots reggae production outfit. African Dub is primarily the remixed version of African Roots, Michael Rose’s equally welcome return to the old-school roots fold following his long wanderings in the wilderness of conscious dancehall. Moore’s production style is pretty heavily dub-flavored to begin with, so none of these remixes will sound especially drastic or adventurous to those who are used to the dub sound. But newcomers to the genre may be taken aback by the echoed shreds of vocal, the bottomless bass, the appearing-then-disappearing guitars and keyboards, and the generally enormous sonic space that Moore creates so skillfully. Note in particular the effective way he completely deconstructs the track about halfway through “Dub Thunder,” and the way he preserves just enough of Rose’s eerily sad and beautiful vocal on “Dub Burial” to retain the flavor of the original version, while busily knocking down the walls around it. And don’t miss the guest appearance by fellow dubmeister Manasseh, either. Brilliant. ~ Rick Anderson, Rovi Performers: Lukie D – Vocals (Background); Bobby Ellis – Trumpet; Chinna Smith – Guitar; Dean Fraser – Saxophone; Franklyn Waul – Keyboards; Noel “Scully” Simms – Percussion; Ryan Moore – Bass, Guitar, Drums, Keyboards; Sly Dunbar – Drums; Steven Stanley – Keyboards;

African Force

$10.39

Ginger Baker will forever be best known for his influential drum work as part of British blues-rockers Cream. But as most serious admirers of the drummer know, Baker subsequently tackled countless other styles. Case in point, African Force. Joining Baker is a supporting cast of percussionists with a tribal drumming background, and expectedly, this style is reflected throughout the album. In fact, it sounds very comparable to David Byrne’s solo albums and also Paul Simon circa his Graceland period, especially on such tracks as “Brain Damage” and “Sokoto,” while the over-epic twelve-minute album-closing title track adds some funk bass to the mix. For those who think that all of Baker’s work sounds like Disraeli Gears, you’re in for quite a surprise with African Force. ~ Greg Prato, Rovi Performers: Ludwig Götz – Das Pferd, Trombone; Ampofo Acquah – Percussion; Ansoumana Bangoura – Vocals, Percussion; Francis Mensah – Percussion; Ginger Baker – Drums; J.C. Commodore – Vocals, Percussion; Jan Kazda – Keyboards, Guitar, Bass; Wolfgang Schmidtke – Sax (Tenor), Sax (Soprano), Sax (Baritone)

African Magic

$24.78

African Magic is a sweeping 24-part suite recorded live at the 11th and final Jazz Across the Border Festival in Germany in 2001 by the Abdullah Ibrahim Trio. Ibrahim’s trio features acoustic bassist Belden Bullock and drummer Sipho Kunene distilling the melodic sounds of South Africa into a personal improvisation of jazz, religious, and traditional world music coupled with European classical and chamber music influences. Recurring cubistic style fragments of Ibrahim’s multi-themed tone poem “Blue Bolero” are sequenced throughout this enchanting program and encourage listeners to participate in the invigorating rhythms that are abstract yet romantic. African Magic, which was inspired by nature, Duke Ellington, and Africa’s Diaspora, also features “Duke 88,” a 16-second sampling of “Solitude,” and “In a Sentimental Mood” in recognition of Ellington’s outstanding talent as a songwriter whose jazz standards have left enough room for reinterpretation by artists from around the world. Ibrahim’s six-minute tribute to John Coltrane also epitomizes the depth of Ibrahim’s talents as a composer and attests to his cubistic style of deconstructing and reconstructing, which he has also lent to such film scores as those for Chocolat and No Fear No Die. Overall, African Magic cannot be compared to any of Ibrahim’s previous concerts. However, it deftly captures the emotion, exploration, and exciting impulses generated from the stage that evening. A must-have for any serious jazz collection. ~ Paula Edelstein, Rovi Performers: Abdullah Ibrahim – Piano; Belden Bullock – Bass; Sipho Kunene – Drums

Lou Harrison: Drums Along the Pacific

$12.78

People uncertain about the appeal of an album of percussion music should know two things up front. First, the three longest pieces on Drums Along the Pacific feature a non-percussion solo instrument. Second, Lou Harrison’s interest in percussion music was split equally between rhythm and melody. In percussion-only pieces like “Simfony #13″ and “Song of Quetzalcóatl” — both performed here by the William Winant Percussion Group — he uses sets of instruments with different pitches (glasses, woodblocks, cowbells, tom-toms, etc.), allowing him to state a melody and develop variations on it, even though pitches are not rigorously respected from one set of instruments to the other. The latter piece is particularly effective. The album begins with its highlight, “Threnody for Carlos Chavez.” Written for viola (Geraldine Walther) and gamelan ensemble (led by William Winant), it is irresistibly moving. The composer has kept the viola’s lament elegant, almost classical even though it gets highly emotional. “Music for Violin With Various Instruments” doesn’t profit from such strong melodic material, but its unheard-of combination of violin (by David Abel), four mbiras (African thumb pianos), psaltery, and reed organ makes it stand out. On the other hand, the “Canticle #3,” for percussion group (conducted by Dennis Russell Davies), ocarina (Leta Miller), and guitar (Robert Strizich) remains somewhat rigid, almost academic. Drums Along the Pacific is not a drum bash. On the contrary, most pieces show a high level of restraint and ceremony that goes against preconceptions about percussion music. ~ François Couture, Rovi Performers: Carla Fabrizio – Gamelan; David Rosenthal – Glass, Temple Bells, Washtub Bass, Tamtam, Brake Drums, Contrabass Drum, Gong, Guiro, Tom-Tom, Triangle, Drums (Snare), Sound Effects, Drums (Bass), Percussion; Gordon Smith – Mbiri, Gamelan, Maracas Mbira; Joel Davel – Gamelan; Sam Ospovat – Gamelan; Scott Evans – Pearl Drums, Metal Pipes, Wood Block, Pipe; Jennifer Cass – Mbiri, Psaltery, Maracas Mbira; Julie Steinberg – Reed Organ, Mbiri, Maracas Mbira; Todd Manley – Rattle, Temple Bells, Gamelan, Tamtam, Cowbell, Triangle, Gong, Cymbals, Drums (Bass), Drums;

Senegal African Drums

$9.32

Description not provided.

Roots African Drums

$21.59

Description not provided.

African Drums, Vol. 2

$8.78

Description not provided.

Minuet/African Drums

$4.99

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Djembe And African Drums

$4.99

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Bad Ass African Drums

$4.99

For everything you do, there’s a song that hits the spot. MOG brings them all to you: a world of music on demand, unlimited mobile downloads and ways to discover music free from the limitations of Pandora. The music you love, with you everywhere you go.

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