Radio Salone

Travel Through Music

Post Top Ad

enero 07, 2022

Gili Yalo - Gili Yalo


He is 36 years old, was born near Gondar, in Ethiopia, and lives in Tel Aviv, in Israel. Like so many other children in the Ethiopian diaspora, she had to go a long way into exile. When he was 4 years old, his parents ventured out of Ethiopia in the famous Operation Moses, a secret rescue of the Mossat, the Israeli intelligence service, which evacuated about 8,000 Ethiopians through a lengthy journey through Sudan to board secret flights. that left from Khartoum. Today, Gili Yalo is one of the names in Israel's emerging music scene, and his Ethiopian roots play a strong role in his sound, which he has regained on his recent return to the country where he was born. We were with him during the last Gibraltar World Music Festival, and we were able to learn more about this artist, as well as about the Falashas, ​​or Ethiopian Jews.

When being a Jew he saved the Ethiopians from famine:

Marxist President Mengistu Haile Mariam had banned the practice of Judaism and the teaching of Hebrew in Ethiopia, and famine was hitting millions, pouring thousands into neighboring countries. “The history of the Jews in Ethiopia goes back more than 2,000 years. It was 1984 and there were rumors that if we could get to Sudan, the Israeli government would move us to Israel. For us Jerusalem meant a land of milk and honey, and a place of spirituality. So we walked for months with other Ethiopian Jewish families, "says Gili Yalo.

The singer and songwriter is today part of a community of about 140,000 Jews of Ethiopian origin living in Israel, most of whom came to the Promised Land through Operation Moses or Operation Solomon, in 1991, where near than 14,500 people were transferred to Israel in less than 36 hours. For many, this maneuver by the Israeli government was a strategy to reinforce the Jewish settlements in the country, founded in May 1948. For the Ethiopians, it was a salvation from the humanitarian catastrophe that claimed close to a million lives and converted the country a symbol of poverty and hunger forever. Although Gili vaguely remembers that journey, he says that there is the genesis of his career. “I spent most of the journey on the back of my father, singing. And many people approached my parents professing that I would be a singer, "explains Gili. 

Gili Yalo's "making off":

The Yalo family was lucky. But the flight through Sudan was not without murder, rape, disease, starvation, robbery and separation from loved ones, which created bitter memories among the Ethiopian community. “Already in Israel, when I was 9 years old, I joined the school choir. And with them I went on a tour of France ", explains the musician. After several years in the choir, he had to do his military service at eighteen. “I didn't want to wield a gun, and they almost got me in prison for it. But I managed, although it is not very usual, that they let me be part of the military band ".

After finishing his military service, Gili Yalo joined the Zvuloon Dub System group. Being one of the most mythical reggae bands in the country, its presence makes Amharic, along with English, become symbols of multiculturalism in Israel. “When I started singing in Amharic I felt uncomfortable. I was very ashamed to use my mother tongue in Israel. I was very cautious when it came to showing my roots, “confesses Gili. "It was one thing to show my origin in fashion, in my clothes ... and another was to sing in Amharic," says the young man, well aware of the discrimination and racism that the Ethiopian community suffers in Israel. However, the band's message was peace, love, solidarity and equal rights for all, which, in such a controversial country, was absolutely necessary.

“It was clear to me when at a concert we did a cover of the song 'Tenesh Kelbe Lay', by Muluken Mellesse, an Ethiopian singer and drummer. The public went crazy, although they did not understand Amharic ", explains Gili Yalo. "That made me very proud of my roots, and I started to wonder why I didn't do more of that style." Zvuloon Dub System began to delve into Ethiopia's rich sonic tradition, and little by little, Gili found himself more and more comfortable in a style that had sounded in his home since childhood. 

Mixing his different influences and rich cultural background, Yalo finds a personal path to artistic expression. In it, Reggae, Hip-Hop, Dancehall, Jazz, Blues, Funk, Rock and Ethio-jazz are part of the inexhaustible sources from which he drinks, creating a very interesting eclectic style. “So, about two years ago, I decided to start a solo project, like Gili Yalo. I started to act and record some sessions, and it seemed to me a wonderful and fascinating journey, in which I am still immersed ", acknowledges the Ethiopian-Israeli, who has not yet given birth to his first album.

Claiming African roots in the state of Israel:

“When I started writing songs I didn't want to write about love, it was something too private. I wrote from my feeling as an Ethiopian in Israel. Rather political and social songs, "explains the singer, who acknowledges having felt discriminated against for being of Ethiopian origin throughout his life. “Whatever you do, even if you live in Israel, you are Ethiopian. Your parents have raised you as an Ethiopian, because they live in an environment of Ethiopian culture. Until about twenty-five years old, he struggled to be considered an Israeli. But there comes a point in your life that you realize that you are not just from Israel. And that you are both, "says Gili, claiming a hybrid and personal identity.

Like the Yalo family, tens of thousands of undocumented African immigrants, mostly Eritreans and Sudanese, have settled in Israel for decades. Fleeing poverty or violence, most have risked their lives crossing the Sinai desert on foot, and in the worst case, falling into the clutches of human trafficking gangs. But the Israeli state erected a wall in 2012 along the border with Egypt, drastically reducing the number of new arrivals, and a refugee detention center, Holot Camp, operational since 2014. The country's right wing argues for the need to preserve the "Jewish identity", whatever that means to them, of the State of Israel. In addition, since mid-2016, the state has offered free cash and flights to African asylum seekers who agree to return home or fly to other African countries, and obliges entrepreneurs who have contracted African migrants to give up part of their salary in the form of taxes to pay this return.

A reference for many of these Africans, Jews and non-Jews, settled in Israel, Gili Yalo is clear about the need to know and carry their origins with pride. “There is something very important that we must understand. Without roots, like trees, we can sink very fast. But if you have well-established roots, it doesn't matter what they tell you or what they do to you. You have to understand each other's history and culture. Carry it with yourself ", confesses the musician, who continues to investigate and discover, on a journey of inner self-discovery, Ethiopian culture.

“I was in Ethiopia two months ago, for the first time since I was a child. It was a real shock, albeit in a very positive way. And now I am absolutely obsessed with knowing more. I want to go back, and come back again, again and again. It has been wonderful to reconnect with my country of birth ”, confesses Gili, who wants to continue exploring Ethiopian cultural diversity and the different forms of diaspora that Ethiopia has generated outside and within Africa.

Immersed in the recording of his first album, Gili Yalo also advances that it will not only contain an exploration of Ethiopian musical roots, or of political and social issues. “Little by little I have been daring more with more personal issues, such as disappointment in love. So my first album will have these two themes: roots and love, which at the end of the day are the same for me ", reveals the ex-husband of the Ethiopian-Israeli singer Ester Rada and collaborator of producers of the stature of Beno Hendler (Balkan Beat Box) and Uri Brainer Kinrot (Boom Pam).



A1 Tadese 2:53

A2 Selam 3:50

A3 Sab Sam 4:40

A4 Africa 4:58

A5 Hot Shot 3:28


B1 Coffee 4:56

B2 City Life 4:05

B3 Fire 3:51

B4 Tebik'Ew 4:57

B5 New Life 3:37

enero 05, 2022

Fatoumata Diawara - Fatou - 2011


Fatou is the first album and the name by which Fatoumata Diawara is known, an actress and singer from Mali living in Paris, sponsored by the prestigious Alí Farka Touré and Oumou Sangaré label, World Circuit. Her magnificent voice acts as a great protagonist, with her own songs that convey folk melancholy and pop sound that naturally integrates ngoni or pumpkin.

Born in Ivory Coast to a Malian family linked to the world of art and dance in the mythical Wassoulou region of western Mali, Fatou became well known for her participation in films that have been very popular in western Mali. Africa (Mali, Guinea, Senegal and Burkina Faso). She also began in the artistic world participating in various theatrical productions, in her country and in France. In Paris, she Fatoumata sang in bars, where she was discovered by Cheikh Tidiane Seck, a magnificent composer and producer (of artists such as Salif Keita, Dee Dee Bridgewater or Oumou Sangaré). With the help of this popular Malian keyboardist and composer, she returns to Bamako and participates in various musical projects: both on the album Seya by the wonderful Oumou Sangaré and on the album by the Afro-American jazz singer Dee Dee Bridgwater, Red Earth. Her silky contemporary voice is also on recent records by Cheikh Lô, Afrocubism and Herbie Hancock.

After learning to play the guitar (encouraged by Rokia Traoré) and composing a good collection of songs, she made her debut for the prestigious British label World Circuit by the very hand of Oumou Sangaré, to whom she lovingly dedicates "Makoun Oumou", a guide and a role model when it comes to women's liberation ideals.

With the production of magician Nick Gold, she records twelve pieces in which her crystalline voice stands out. In her mix of styles, "Kanou" exudes sweetness with her message of the need for love as a restorative function of loneliness, the same tenderness that she shows to talk about the drama of emigration in "Clandestin". "Boloko" is a plea against female cutting; in "Bakonoba", it is an Afro-jazz electric guitar that surrounds a reflection on how cruel words are sometimes; On the other hand, in "Sowa", "Sonkolon" and "Alama", it is the cry of her deep voice that flies over a recollection that aims to encourage mothers not to abandon their children and highlight the suffering of the and the orphans, or the one that she had to live to change her destiny. Nothing escapes the dissection of an outstanding voice that certifies a magnificent album. 

Tracks list:

01. Kanou

02. Sowa

03. Bakonoba

04. Kèlè

05. Makoun Oumou

06. Sonkolon

07. Alama

08. Bissa

09. Mousso

10. Wililé

11. Boloko

12. Clandestin

diciembre 20, 2021

Zani Diabaté & The Super Djata Band - Mali


Zani Diabaté, a prominent guitarist for the Djata Super Band, one of Bamako's most popular bands during the 1980s, joined the National Ballet in 1963, where he sang, danced, and played guitar, kora, balafon, and percussion. In his spare time, he played the harmonica, Harmonica Jazz, and later formed the band with Ganoua Daouda Sangaré playing kamalenn'goni and on vocals, and with Maré Sanogo on djembé. In the early 1970s, the Ganoua Band was named the 3rd Mali National Orchestra. When they were out of work, Zani and his bandmates decided to switch to a private band they called the Super Djata Band. It was in 1974 when they began to record for Radio Mali.

The sound of Super Djata, is based on the soft malinke sound, melodies and Bambara rhythms, highly colored by the outstanding guitar of Zani Diabaté. 

Ensemble – Super Djata Band

Bass – AbouDrahamaneCamara

Drums – LamoussaDiabate

Guitar – OusmaneDicko

Keyboards – DoumankeKoita

Lead Vocals – Daouda "Flani" Sangare

Percussion – Bemba Dembele

Percussion, Timbales – BakariDiabate

Vocals – Alou Fane, IdrissaMagassa, SaliaSanogo

Written-by, Guitar [Lead] – Zani Diabaté

Super Djata


Djegnogo Djougou






Fadigna Kouma

diciembre 19, 2021

Youssou N´Dour - Immigrés - Bitim Rew - 1984


Immigrés-BitimRew (1984) was YoussouN´Dour's first studio-released album, an album considered one of the pillars of African music and one that music critics have included among the 1000 albums of all time. Distributed in 1989 under Virgin's Earthworks collection, it ranked Youssou N'Dour as the most valued in the West of all African musicians, and as a bulwark of mbalax, Senegal's popular music. The mbalax is a combination of traditional griot music and the influences of Afro-Cuban rhythms brought from the Caribbean to West Africa during the 50s and 60s of the last century. In the 70s this mix was steeped in the rhythms of Senegalese dances, including electric guitars and saxophones, tama solos, contributions from Sufi religious music, and the influence of rock and jazz.

Immigrés is a rare concept album for pop-rock-educated ears. In the first place, due to the distribution: four very long songs for a very short album and, above all, due to the need to adapt our ear for the full enjoyment of a rhythmic polysemy that radically differs from the much more basic forms to which the rock had gotten us used to it so far.

In these songs (with lyrics that evoke traditional stories from their country), the ingredients seem to have an independent life of their own. They circulate along its lane, intersect with other sections or rhythms, the melodies are sensed and disappear barely outlined; they are swept away by the keyboards, they are returned or not by the guitar, and all under the guise of an unpredictable jam between Youssou and his people from Le SuperEtoile de Dakar, which end up taking on an iron and secret coherence.

Immigrés: three songs made of devilish successions of rhythms and a song (if we can call it "Pitche Me") with a much more ceremonious appearance and where the beautiful voice of N'Dour leaves us knocked out with impossible arabesques. A call to his fellow immigrants and a sample of his efforts to bring his music to the rest of the world. 

Tracks list:

01. Immigrés/BitimRew

02. PitcheMi

03. Taaw

04. Badou

diciembre 19, 2021

World Music Network - The Rough Guide to Merengue & Bachata - 2001


01. Antony Santos - Dejelo Ahi

02. Frank Reyes - Lo que le gusta las mujeres

03. Eddy Herrera - Su Mirada

04. Aramis Camilo - El Repollo

05. Teodoro Reyes - El Matatan

06. Samuelito Almonte y su Conjunto Tipico - Que Pena

07. Luis Melo - Que diran la gente

08. Raulin Rodríguez - Las mujeres de quisqueya

09. Nelson Roig - El dueño de la noche

10. Luis Vargas - La Cosquillita

11. Pedro Veras - Te la compro

12. Luis Segura - Los Celos

13. Blas Duran - Crei

14. Samuelito y su Conjunto Tipico - Me Enamoro

15. Rumbanda - El toro joco

16. Antony Santos - Te dare una robaita

diciembre 16, 2021

Tamikrest - Tamotait - 2020


Tamotaït, their most powerful album since 2013's acclaimed Chatma, finds the band not only turning up the volume but also sharpening their meditative atmosphere and reflections on the state of the Sahara and the world beyond. It features the acclaimed Moroccan singer Hindi Zahra and a cut song featuring traditional Japanese musicians.

Sometimes the music is more than the notes played or the words sung. Sometimes it is a spirit that ignites and burns with a dangerous and dazzling flame. On Tamotaït, Tamikrest's fifth studio album, the music is bright and long. With the political situation so volatile and desperate in the Saharan ancestral lands where Tamikrest comes from, this is more than an album. This is resistance.

But there is also the dream of the future. "The definition of the album is there in its title," explains singer, guitarist and songwriter Ousmane Ag Mossa. 'Tamotaït means hope for a positive change'.

Change as an end to the fighting that has plagued northern Mali and the wider region for the past few years; changes such as the opportunity to thrive within their own homeland, Azawad, a proto-nation that nomadic Tuareg (or Kel Tamasheq, as they prefer to be called) briefly possessed in 2012. It is music fashioned from thoughts, dreams, inspiration and more. everything, collective experimentation.

“We are a band and when we play together everyone contributes their way of playing. For compositions, some pieces start from a riff, another part from a melody or rhythm, and each musician adds his input afterward. The idea was to keep a common thread that comes from Tamasheq music and take it through different worlds, whether they come from our influences or from our encounters during our travels. '

Tamotaït is the most expansive and adventurous album Tamikrest has made, exploring every corner of their sound. There is even music that they made far from the Sahara, in Japan. On tour there, Ag Mossa had been very impressed by the sound of his traditional instruments.

“I decided to return to learn more about the culture and the music. During my visit, I composed some songs on one of the remote islands of Japan. And since the composition of this album started in the desert and ended in the islands of Japan, we think it was a good idea to reflect this on the album as well. '

Most of Tamotaït, however, was recorded in rural France, working with producer David Odlum (Glen Hansard, Gemma Hayes, Tinariwen), leaving his mixing role at the band's 2016 release, Kidal.

'We wanted to make a modern album but with vintage sounds, and we fell in love with his studio, Black Box, when we visited him a few years ago,' explains Ag Mossa. “We wanted to work as much as possible on the sounds beforehand and not leave everything to mixing. So we spent time with him, finalizing the arrangements before we started recording, and he also helped us a lot in choosing amps and microphones. "

The Odlum effect is especially evident in 'Anha Achal Wad Namda'. Just hear that moment when Ag Mohamedine's uptight rhythm section, Cheikh Ag Tiglia (bass) and Nicolas Grupp (drums) spring into action and the track soars into the stratosphere with a full-throated roar. It's the pure and perfect bliss of rock, a reminder of how music can speak with such a commanding voice, and why a decade after its acclaimed career, Tamikrest has become one of the best rock and roll bands in the world. . 

1. Awnafin

2. Azawad

3. Amzagh

4. Amidinin Tad Adouniya

5. As Sastnan Hidjan

6. Timtarin feat. Hindi Zahra

7. Tihoussay

8. Anha Achal Wad Namda

9. Tabsit

noviembre 26, 2021

Ache Contigo - 30 Temas Santeros Originales - CD 2


01. Mi Veneración - Miguel Matamoros

02. Babalu Ave - Carmen Flores

03. Saludo a Chango - Los Compadres

04. Los tres amigos - Aragón

05. Papa Elegua - Orq. Reve

06. San Lázaro - Celina y Reutilio

07. Flores para tu altar - Jacqueline Castellanos

08. Mi ruego a Ochun - Caridad Cuervo

09. Yemaya - Alberto Tosca

10. Ochun del Cobre - Gina Martin

11. Oye mi ritmo - Cuarteto las D'aida

12. El hijo de Elegua - Celino y Reutilio

13. Elube Chango - Cheo Marquetti

14. El rey del mundo - Celina y Reutilio

15. Rezo a Oya - Manguare

noviembre 25, 2021

Leyla McCalla - Vari - Colored Songs - 2013


Born in New York and living in New Orleans, Leyla McCalla anchors her roots in Haiti. She is a member of Carolina Chocolate Drops, an American folk music group, she makes her solo debut with Vari-colored songs, an old school sonorous treatise that links the blackness of the Caribbean with the African American folk and blues heritage. She is a notable singer and outstanding cello player that she here plays without a bow, pinching the strings (she also plays banjo and guitar).

Leyla herself pays tribute to the poet, novelist and essayist Langston Hughes, whose work is linked to the so-called Harlem Renaissance. McCalla sets some of his vibrant poems to music. She also reviews other Hughes writing harmonized by Kurt Weill. In addition, the repertoire includes traditional songs sung in Creole (she recovers Kamèn sa w fè?, A piece recorded in Port-au-Prince, in 1937, by the musicologist Alan Lomax). Vari-colored songs is the work of a singular and necessary artist in times of excess and forgetfulness.

Leyla McCall has been a part of the Carolina Chocolate Drops for the past two years. The cross-pollination of her Haitian roots with the African-American folk blues tradition endows her music of her with a unique, highly poetic freshness.

Leyla McCalla - Vari-Colored Songs (2013)

A Tribute to Langston Hughes 

01. Heart Of Gold (3:00)

02. When I Can See The Valley (2:12)

03. Mesi Bondye (2:27)

04. Girl (2:53)

05. Kamen sa w fe? (2:21)

06. Too Blue (2:27)

07. Manman Mwen (3:19)

08. Song For A Dark Girl (2:51)

09. Love Again Blues (2:40)

10. Rose Marie (2:57)

11. Latibonit (3:49)

12. Search (3:19)

13. Lonely House (3:26)

14. Changing Tide (3:00)

noviembre 21, 2021

Issa Bagayogo - Timbuktu - 2002


Singer-songwriter Issa Bagayogo offers an innovative take on the rich musical tradition of Mali, his native land, combining his roots based on acoustic textures with the sounds of electronic music and dub. The result is one of the most personal and original fusions between West African traditional music and electronic music that can be found today, adding to that movement that has been called "afro-electro".

Released by Six Degrees, Timbuktu's recording began in Mali, where Bagayogo began to incorporate funky bass lines and electronic beats into the rich Wassulu tradition (century-old culture of the south-west of the country). Along with his ngoni, his velvety voice and with the production of Yves Wernert, Issa's songs are about community issues and social denunciation.

The most compelling aspect of Timbuktu is the way the rhythms come together, both those that belong to a western context of club music and the traditional sounds of griot music. "Baro", with its blues guitar, catchy backing vocals and acoustic yet contemporary sound, is a good example of this. "Sisi", which is about drug abuse by youth, begins with the ngoni and includes the balafon, traditional drums, a wind section and soft female choirs. "Tounga" has the sound that defines the Current Afro-pop: sharp electric guitars, rock tempo and a vibrant bass; it is in this song that Bagayogo sings about emigration and the fight for cultural and artistic integrity.

"Dambalou", a song composed in honor of the warriors who built the Mandingo empire, has been thoroughly worked, with a slowed electronic rhythm, an excellent acoustic guitar solo, and the sounds of Brazilian samba. On the other side of the musical spectrum of this album is precisely the piece that gives title to the album, "Timbuktu", which has a sound full of blues, timeless, even with a touch of Arabic roots, drinking from the same musical influences that other great figures from Mali such as Ali Farka Touré and Habib Koité. Bagayogo's lyrics idealize Timbuktu as a multi-ethnic city, where Muslims, Christians and people from different ethnic groups in Mali live together in harmony.

"Gnele" has an electronic rhythm that already sounds like a mix for dance floors. "Nogo" ("Pollution") has one of the most sophisticated productions of the work, thanks to the combination of traditional instruments and Issa's voice. "Saye Mogo Bana" is a fusion of acoustic and digital percussion, electric and acoustic strings, modern production techniques, and a timeless theme, "death makes flesh disappear, but not your name." And "Dama", the piece that closes the album and that also deals with death, is a party that manages to offset the weight of acoustics and electronics, recalling one of the oldest traditions in Mali: the drums that serve to mark funerals.

The late Charlie Gillet, one of the great BBC personalities who promoted the "BBC Radio 3 Awards for World Music", said at the time of Issa Bagayogo: "The more I listen to his music, the more I think it is destined to become a classic. of African music in general and of the Malian scene in particular ". 

Tracks list:

01. Sisi

02. Baro

03. Tounga

04. Nogo

05. Timbuktu

06. Dambalou

07. Toroya

08. Saye Mogo Bana

09. Banani

10. Gnele

11. Tamagnoko

12. Dama

noviembre 19, 2021

Gurrumul - Djarimirri - Child of the Rainbow


Geoffrey Gurrumul Yunupingu (Galiwin'ku, Elcho Island, Australia, January 22, 1971-Tiwi, Darwin, Northern Territory; July 25, 2017) was an Australian aboriginal musician, who sang in the Yolngu language.

He was born on Galiwin'ku (Elcho Island), off the coast of Arnhem Land, in northern Australia, about 580 kilometers from Darwin. He belonged to the Gumatj clan of the Yolngu and his mother was from the Galpu nation.He was born blind, never learned braille and did not have a guide dog or use a white cane. Yunupingu spoke a few words of English, and he was said to be extremely shy.

He played drums, keyboards, guitar, and didgeridoo, but it was the clarity of his singing voice that had attracted rave reviews. He sang stories of his land in both languages (Galpu, Gumatj or Djambarrpuynu, all Yolŋu Matha) and English. Before Yothu Yindi, he is now with the Saltwater Band. 

1 Waak (Crow) 5:08

2 Galiku (Flag) 5:01

3 Ngarrpiya (Octopus) 6:09

4 Djarimirri (Child of the Rainbow) 5:08

5 Djolin (Musical Instrument) 5:56

6 Marrayarr (Flag) 7:42

7 Gapu (Freshwater) 5:21

8 Djilawurr (Scrubfowl) 5:04

9 Baru (Saltwater Crocodile) 5:50

10 Gopuru (Tuna Swimming) 6:34

11 Djapana (Sunset) 5:08

12 Wulminda (Dark Clouds) 7:56