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diciembre 12, 2019

Festival of the Dead (Malaui)

The Chewa community is a Bantu town that is found in Malawi. During the burial ceremony of one of its members, it is customary for the body to be cleaned.

Chewa People And Their Practice Of Cooking With Water Squeezed From The Dead
The body is taken to a sacred place where washing is done by opening the throat and pouring water through the cavities of the deceased.

Chewa Tribe of Malawi:
Chewa festival

The Chewa are a Bantu people of central and southern Africa and the largest ethnic group in Malawi. Internationally, the Chewa are mainly known for their masks and their secret societies, called Nyau, as well as their agricultural techniques. They however have a more interesting ritual that some people may find disturbing. It is the custom of the people that when a tribe member dies, the body is taken to a sacred place where they cut the throat of the deceased open. The corpse is then cleaned by pouring water inside the dead body and squeezed through the stomach until water comes out clean. What is most shocking of this is that they use that same water to cook a meal for the whole tribe.
Water is squeezed until it comes out clean. Then, this liquid without impurities is collected and used to prepare a feast everyone will eat...

Chewa culture

Chewa people also have many rituals. However, one is very interesting and disturbing at the same time. When a tribe member dies, a body is taken to a sacred place where other members cut throat of the deceased open. After that, they clean the corpse by pouring water inside the dead body and squeez the stomach until water comes out clean. But wait, here’s the most interesting part – later they use that same water to cook a meal for the whole tribe.

diciembre 11, 2019

Totó la Momposina - Tambolero

Tambolero is the "new" work of singer Toto la Momposina, considered cultural treasure of her country. Since the 1970s he has been singing and dancing to the music of the Caribbean coast of Colombia on stages around the world.
Her album La Candela Viva, which she recorded for Peter Gabriel's Real World Records in 1993, was her debut album, internationally, despite being an artist with a lot of experience on stage, a definitive outbreak of the vibrant mix of African influences, indigenous and Spanish women who make up the majestic sound of their land along the Caribbean coast. His latest collection, Tambolero, is a recreation of that seminal album.
Reviewing the original recordings, producer John Hollis discovered more than 20 songs that had not been used. For this new production the original tapes were restored, taken to digital formats and reissued and mixed. Some instruments were also added and the choirs were reinforced with the voice of two granddaughters of Toto, Mª del Mar and Oriana Melissa Hollis.

Tambolero is another definitive artistic manifestation of an artist who has just entered her 75th anniversary wearing sixty-seven as an interpreter.

01. Adiós Fulana
02. El Pescador
03. Chi Chi Mani
04. Curura
05. Gallinacito
06. La Sombra Negra
07. Dame la mano Juancho
08. La Candela Viva
09. Dos de Febrero
10. Malanga
11. La Acabación
12. Tambolero

diciembre 10, 2019

Daniel Zamir - Missing Here

"Missing Here" is the seventh album of the great saxophonist / Israeli composer Daniel Zamir, one of the most renowned Israeli jazz musicians born in the country, who also managed to establish an international career. Zamir was born in a secular family, but during his stay in the United States he rediscovered the Jewish religion and became an Orthodox Jew. Zamir lived in the USA. UU. Since 2000 and returned to Israel in 2006, where he now lives, writes music, acts and records. During his stay in the United States, John Zorn "discovered" it and finally recorded four (so far) albums for the Tzadik de Zorn label. This is his third album recorded and released in Israel. His music is a wonderful mix of Klezmer, Jewish music, Eastern Europe and, of course, Jazz, which is completely unique. His technical fluency and unlimited expressionist powers place him among the virtuosos of the world saxophone.

Now he plays the soprano saxophone exclusively and its sound is often reminiscent of that of John Coltrane. This album includes music composed entirely of him and is accompanied by some of the best Israeli jazz performers: Omer Klein - piano, Omer Avital - bass and Cohen - drums. Invited players include trumpeter Itamar Borochov and trombonist Avi Leibovitch. The Israeli singer / pianist Eviatar Banai invited in the main song. The album is a beautiful listening experience for all lovers of sensitive music, and everyone can discover the different facets of this great music. Totally recommended!

01. Poem 33 (6:06)
02. Poem 54 (5:19)
03. Letter He (7:14)
04. Scent of an Apple Redness of Red (4:39)
05. Poem 42 (4:33)
06. Poem 51 (9:48)
07. Eleven (Question Mark) (6:29)
08. Poem 47 (Duet) (4:22)
09. 7 Measurements (6:22)
10. Love (7:18)
11. Missing Here (3:07)

diciembre 09, 2019

Lip stretching (Sudan and Ethiopia)

The people of the Surma tribe extend between southern Sudan and southwest Ethiopia.

The adolescents undergo a process of lengthening of the lips, removing the teeth below to accommodate a traditional dish, which year after year is changed to a larger one.

Some men do the same with their ears. In addition, they indoctrinate their warriors as "stick fighters", injuring themselves with long sticks. The more scars, the more attractive they are for females.

The tribe surma. Women wear pumpkin discs or clay plates embedded in their lower lips and ears, the larger the plate, and consequently the deformity of the lower lip, the greater the marital dowry, usually in cattle heads.

Some men do the same with their ears. In addition, they indoctrinate their warriors as "stick fighters", injuring themselves with long sticks. The more scars, the more attractive they are for females.

diciembre 08, 2019

NO Blues - Oh Yeah Habibi - 2015

If we look for the word "arabicana", we will find a genre and its inventors: NO Blues, a unique mix of American musical culture (folk, blues and country) and Arabic music. Even after ten years as a band, it remains unique in the world. In the new album Oh Yeah Habibi, NO Blues builds a bridge between East and West navigating the Nile and the Mississippi and its musical deltas.
In 2004 Rob Kramer - artistic director of productiehuis Oost-Nederland - invited three virtuosos of the strings for a three-day session that resulted in a joint concert. The spontaneously developed synergy between Anne-Maarten van Heuvelen (bass), Ad van Meurs (guitar) and Haytham Safia (u'd - Arabic lute) led to hundreds of shows and four albums such as NO Blues, with his debut being Farewell Shalabiye (2005) an immediate success. In 2007 NO Blues became a quintet with the incorporation of percussionist Osama Maleegi and vocalist and producer Ankie Keultjes. Since then, they have conquered their music lovers in France, Greece, Mexico and Arab countries with Ya Dunya (2007), Hela Hela (2011) and Kind of NO Blues (2013). With Oh Yeah Habibi (2015) the band continues its musical journey. Ten years of its unique Arabicana mix!
Oh Yeah Habibi sounds direct and fresh like a debut album. The oud performer Haytham Safia points out that they have returned to the essence of the guitar, oud, bass and percussion. Unlike previous albums, in NO Blues they have decided to use current events as themes of their songs. Topics such as "Exodus" and "The World" revolve around the refugee drama, and "Two Trains" and "Gods Move" refer to religious clashes. "We were struck that our music seemed to have a different energy after the terrorist attack on Charlie Hebdo," says bassist Anne-Maarten van Heuvelen. Guitarist Ad van Meurs points out: "We have never been a band with political content, but we definitely can't look the other way either."
Oh Yeah Habibi goes beyond the previous theme of NO Blues, and his critically acclaimed "Arab" still has great impact and surprise. In this new work of twelve tracks up one more level in his musical embrace between east and west.

Tracks list:
01. Into The Caravan
02. Imta
03. Doubt
04. Two Trains
05. Ehsas
06. Exodus
07. The World Keeps Turning
08. Sudani
09. Oh Yeah Habibi
10. The Moment
11. Osama Blues
12. Gods Move

diciembre 07, 2019

Ballaké Sissoko & Vincent Segal - Musique de Nuit - 2015

It is a story we like: a story that sings the truths and virtues of friendship and musicality. In 2009, the Kora player Ballaké Sissoko and cellist Vicente Segal decided to enter an album with instrumental conversations that they like to weave four hands for many years. Enrolled in Bamako in the studio of Salif Keita, Chamber Music, which will be selected in the best albums of the year for the NPR, The Guardian or Le Monde, attracts a true critic and public plebiscite, outside the reach of genres, Patterns, borders. Since then, the music of the duo of great nobility of spirit and the simplicity of a deep, has not stopped strolling its universal beauty throughout the world. Over two hundred concerts, such as a nomad and the naked queen, she projects from Europe to China, the United States, Brazil, to navigate the prestigious rooms - City Theater, the Barbican Center, Wiener Konzerthaus, the Gulbenkian Foundation of Lisbon, Jacob Bloomington School of Music (master class) ... - and festivals as diverse as the Womad, Chicago World Music Festival, Cartagena World Music or Jerusalem Festival of Sacred Music ...
Six years after Chamber Music, the long-term complicity between the two men, which has continued to expand and grow throughout their travels, resonates more than ever on Music Night. This is also one-on-one, without the assistance of other instrumentalists, such as Sissoko and Vincent Segal Ballaké have this time chosen to join forces - unprimed forces or limitations that don 'have nothing to hide, and still has much What to offer The basic idea was, as for chamber music, to establish their dialogues in Bamako. How to foster a kind of poetic conspiracy, in an intimate place exempt from the empire of the crowd, far from anything that can distract attention and inspiration. The madness of this century was responsible for the interruption of this end a bit; but ultimately it justifies even more. "I left Paris January 11, 2015, Vincent Segal says, that is, a few days after the death of Charlie Hebdo-, just when France took place in the great demonstrations of support."

Disastrous circumstances that put the two friends in gloom, but confirm that in their determination of "refuge from the rumor of the world" - in the words of the cellist. Music Night is by no means a review of the news; but it rises at least as a counterpoint of intense sweetness. Designed in the heart of a country, Mali, which was also not saved by violence, and a few hours of flight a battered France, this album sounds in the great uproar of men as an ode to the irreducible power of whispers and listening , good and beautiful intelligence, sensitive knowledge developed in harmony. Music night is the result of two sessions captured on the fly, with minimal captures.

The first night was held after midnight on the roof of Ballaké Sissoko's house: there is the question of four titles - "Beside" of the album - that have the beauty that is both precise and released a dance. The second day took place in a Bogolan study room whose natural vibrations shelter each note, each melodic terrain. In both cases, the impression of places, of life and of the hot and dry air around, is palpable. From Niandou, the duo music is adorned whisper of Ntomikorobougou, this border district, while being near the heart of Bamako, already announces campaign and the desert surroundings. On the first open-air beaches of the album, it is only slightly dampened time of clean reverberation of the night, the listener can thus enter the alert in the background hiss of cars, the sneaky flight of a bald -souris, the sound from a prayer mat that shakes the distant and disturbing song of the sirens or police train, the ballaké Sissoko's quiet sheep's mound ... And it's like, gently, tenderly The duo invited the world to enter its circle. In the second and solar part of the album, it is the music itself that seems to escape and radiate a myriad of echoes and evocations. These discrete chips stolen from the Night Music real makeup disc disc with a depth of field of a recording field. The directory assembled by Sissoko and Vincent Segal Ballaké interweave songs played long (Niandou, Music to dance ...), in which the duo is working to excavate new paths and pieces created in the full truth of the moment. It began as a meditation for almost mystical accents, which soon becomes a light melody, Passa Quatro takes his title from a town of Minas Gerais, in which Vicente Segal stopped in the middle of an intense tour in Brazil - "I woke up In the morning, if you remember, and seeing the hills, feeling the sun warm me, I thought Ballaké and took my cello ... "Balazando pays homage to the wonderful land part but suffering from the north of Mali, an arid breath of the desert and lush music that fed for centuries. With his stately, traditional N'kapalema outfit he displays his majesty and rhythmic patterns, more of a virtuous exercise that unites the instruments developed for printing, sometimes the feeling that two kora are intertwined ... Throughout the album, the distribution of roles and sounds and form more poetic disorder, and the lower pair of the same poetic ambiguity melting pot of beautiful music that plays all distances. With Diabaro opens the daytime Night pending music: an ancestral song of blessing benefactors, in which the voices of Morello Babani Kone, the only guest on the album, stands, fires and creaks like a jondo sing under Andalusian summer - a way to Celebrate the opening of Mandinga music to other cultures. With Super Etoile, a tribute to all Youssou N'Dour

Vicente Segal, referring to his discovery of African music in the Paris of the 90s, the duo watching Senegal and Gambia sabars - half-family house of Ballaké Sissoko. Preceded by a Prelude that displays its chord progression as a delicate round of hot pre-concert, Samba Tomora (the name of a special tuning kora, especially practiced in the Gambia) sings a dance song and party enjoys turning its back and samba beaten to better align the heartbeat of the two musicians reverse. Drawn between the first compositions of the duo, music of the night, as a climax, affix to finish a last normally Mandinga notes the charming travel notebook and drift. On both sides, and through multifaceted Night Music reveals the same low freedom and acts, where minds meet Mandinga, Baroque, Brazilian music, jazz, gypsy ... If Vicente Segal evokes this About Codona, the fabulous hitch without Borders formed In the late 70s and 80s by Don Cherry and Collin Walcott Naná Vasconcelos, he also thinks several times to play and clairvoyant inventions about Penguin Cafe Orchestra of the English Simon Jeffes, who dreamed that his music sounds like "a great yes to the heart of survival, at a time when it is attacked by the forces of coldness, darkness and repression "...

The words that seem to describe the open and unrestricted paths Sissoko and Vincent Segal Ballaké. Two musicians sufficiently owners of their traditions, their art, their art and their respective instruments, in order to concentrate the heart and soul of everything that transcends and exceeds: breathing, interaction and exchange. And this is how music of the night, the serene virtuosity treaty made immune to terrible rumors of humanity, far from any demonstration of force, which celebrates still knows poetically to make this world habitable. Away from his anger, and closer to his true signs. - Richard Robert

"I left Paris to find Ballaké in Mali after a week trying January 2015. In Bamako hope seemed too weak. Music is a cure, which protects us from the fury of the world. We play the roof of the night at night Ballaké house right in Bamako.Ntomikorobougou is the Ballaké district.Of Sissoko, by Diabaté, a street of laterite land prodigious musicians, brave craftsmen, often difficult lives, much elegance and discretion.We always had the idea of recording and that the area be our nest. It was like listening to Ntomikorobougou kora and cello finally able to sleep like a child. The next day, the neighbors said we heard our whispers dreaming ... "- Vicente Segal

01. Niandou (6:27) 
02. Passa Quatro (4:58) 
03. Balazando (6:20) 
04. N'kapalema (7:54) 
05. Diabaro (feat. Babani Kone) (5:19) 
06. Super etoile (3:54) 
07. Prelude (1:12) 
08. Samba Tomora (3:50) 
09. Musique de nuit (2:43)

diciembre 06, 2019

Kanda Bongo Man - King Of Kwassa Kwassa - 2011

The "Kwassa Kwassa" is a variant of the soukous (a very peculiar type of African rumba) characterized by the speed of its rhythms, in which traditional African instruments are combined with others of European origin. And it is the Kwassa Kwassa that places Kanda Bongo Man as one of the giants of African music.

His solo career began to take off after moving to Paris in 1979, where his music began incorporating elements of the then vibrant zouk music (originally from the French West Indies). His first solo albums, Iyole in 1981 and Djessy in 1982, soon became great successes thanks to the structural changes he implemented to soukous music by encouraging guitar solos after each verse and at the beginning of each song. This way of approaching the soukous gave rise to the Kwassa Kwassa as a dance rhythm, where the hips move back and forth while the hands move along the hips.

Behind the voice and charismatic scenic presence of Kanga Bongo Man are the guitars of Diblo Dibala and Rigo Star (which also enriched, at the time, the albums of Paul Simon and Papa Wemba), and those of Nene Tchakou and Dally Kimoko, considered of the best soukous guitarists in the world, giving rise to a twinning that gave his music a wonderfully cheerful and resonant quality.

The present compilation, King Of Kwassa Kwassa (2011), gathers its main songs recorded between 1984 and 1991, songs that marked an entire era of Parisian soukous and that show us a band at the height of its fullness.

01. Malinga
02. Zing Zong
03. Belle Amie
04. Isambe
05. J.T.
06. Sai
07. Aime
08. Amour Fou
09. Bayembi
10. Monie

01. Naloti
02. Cantique
03. Iyole
04. Ebeneza
05. Djessy
06. Mosali
07. Mazina
08. Ekipe
09. Yonde Love Me
10. Emame