Travel Through Music

Post Top Ad

diciembre 30, 2019

Angélique Kidjo - Eve - 2014

Eve is the title of Angélique Kidjo's new work, a wonderful compilation with a series of songs dedicated to the culture of women in Africa, a tribute to their strength, their femininity and their constant struggle for independence and freedom.
Produced by Patrick Dillett (collaborator of artists of the caliber of David Byrne), the name of the album is a clear dedication to Angélique Kidjo's mother and has been recorded including up to ten choirs of women from Benin and Kenya, who accompany the " New Mama Africa "singing in different native dialects and languages, including Fon, Yoruba, Goun and Mina. The singer launches this new work in conjunction with the edition of "Spirit Rising: My Life, My Music", an autobiography published by Harper Collins.
"Eve is an album of memories of the African woman with whom I grew up and a testimony of the pride and strength behind the smile that hides everyday problems," says Kidjo, whose awards include a 20-year discography and thousands of concerts all over the world. "Their voices emanate positivity and grace in difficult times. In this recording I let the voices of women show their beauty to the world," he adds. "Eve shows the positivity they bring to their towns, cities, culture and the world."
For the realization of Eve, Angélique has also had an impressive team of artists such as guitarist Lionel Loueke, drummer Steve Jordan, bassist Christian McBride and with the extraordinary participation of the original Senegalese percussionist Magatte Sow. We can also listen to Dr. John (piano), Rostam Batmaglij (Vampire Weekend guitar), Kronos Quartet and the Luxembourg Philharmonic Orchestra on the album.

With the popular Nigerian singer Asa she sings "Eva", and for the traditional Congolese song "Bana" she has the charismatic voice of her mother Yvonne.

"Eve is dedicated to women in Africa, their resilience and beauty," says Kidjo. "These women have very little materially, but when they smile it is as if they had jumped on the moon and hung on it. As long as we are strong, we will move forward with dignity." Definitely, Eve stands as one of the summits of Kidjo's impressive career, a demonstration of her absolute technical level, a perfect album for those of us who love and admire African cultures.

01. M´Baamba (Kenyan Song)
02. Shango Wa
03. Eva (con ASA)
04. Interlude: Agbade
05. Bomba (con Rostam Batmaglij)
06. Hello (von Trio Teriba)
07. Blewu
08. Kamoushou
09. Kulumbu (con Dr. John)
10. Interlude: Kletedjan
11. Ebile (con Kronos Quartet)
12. Awalole (con Orchestre Philharmonique du Luxembourg)
13. Bana (con Yvonne Kidjo)
14. Orisha
15. Interlude: Wayi
16. Coari



diciembre 25, 2019

Mad Sheer Khan - 1001 Nights - 2000 - Argelia

Born in the Algiers casbah, Mad is the son of an Algerian mother and a Persian father. He began composing at age fifteen, with the idea that music is a universal language that everyone understands, that sound has the power to contribute to a better future. Mad plays the dilruba (former original violin from northern India born more than 300 years ago) and the esraj, and has delved into Persian music, Baul music, and Gnawa music.

At the age of 17 he took to the road with his guitar, and for a year he was living on the street, beginning his learning in a radical way.

Since the age of 18, when he founded the Rahmann group, Mad has played with John McLaughlin, Nico, from Velvet Underground, Mickael Riley (Steel Pulse / Reggae Philarmonic Orchestra), Sapho, Harem, Mickael Hutchence, Keziah Jones, Axel Bauer and Sting. The result of all those past experiences, and their personal feelings about the emigration of people and cultures is currently defined under the expression of "traditions avant-garde".

In 2000, Mad releases "1001 Nights" (Erato / Warner classic), a composition for 7 singers from 7 different cultures (Navajo, Tibetan, Algerian, Gnawa, Indian, Hebrew and Persian) combining a classical chamber orchestra with prestigious soloists as L. Subramanian or Alla. "1001 Nights" ranked 6th on the European List of World Music.

01  Night of Algeria 5:34
02  Night of Gnawas 9:44
03  Night of Hebrews 8:34
04  Night of Navajos 8:55
05  Night of Tibet 7:43
06  Night of India 11:20
07  Night of Persia 11:13

diciembre 20, 2019

Aurelio - Landini - 2014

Aurelio Martínez is a Honduran artist from Garifuna culture, and one of the main exponents (along with Andy Palacio) of his traditional music. The Garífunas are a town of African origin that lives on the Central American Caribbean coast, Belize, Guatemala, Honduras and Nicaragua. A town that has never renounced its identity or its culture.
His album entitled Garifuna Soul (2004) is probably, along with Umalali (The Garifuna Women´s Project), the best record recorded in the history of this traditional music. Originally from Paplaya, Honduras, his childhood town has become the cornerstone of his new work, Lándini ("landing" in Garifuna), a disc dedicated to his mother (his main influence and central character of his life, he says Aurelio himself) and a tribute to his land and its people.
Songs elaborated hand in hand with his mother María Martínez, along with traditional themes, in which he incorporates elements from a wide variety of sources but in which the heart of Garifuna music beats. Stories that Maria composes, based on community events and personal experiences. She teaches the verse and the chorus of the songs to her son, and Aurelio ends up finishing the theme, like a story, adding other verses, in the purest traditional style.
"My mother is the only source of inspiration for this album," says Aurelio. "My mother sees herself reflected in me, to a large extent, the only one in the family who has been able to fulfill her dream of singing professionally. She transmits the songs to me, and gives me advice about music. She is the best example that I have in my life what a human being should be, my main and confident advisor. " "Irawini" reflects this emotional bond. Composed by Maria, she tells us about the feeling of listening to Aurelio on the guitar in the distance, while anxiously awaiting his return home every night.

Garifuna songs, whether new or old, are full of humor and reflections. They are chronicles of events in the life of a community. Others talk about personal suffering (for example, "Durubei Mani" and "Nafagua", in which the loss of a loved one is lamented). The producer of the album, Ivan Duran, explains that "when a Garifuna song becomes popular in the community, it is usually not because it contains a catchy melody or because it is a fun song. It is because the experience that is transmitted in the song resonates with the listeners' own experiences. " These songs are reused, transforming over time thanks to the fact that those who interpret them add new names and places, new thoughts and verses.
In its simplicity is where Garífuna songs find their unexpected depth. These are issues that often have a double meaning that encompasses the ambivalence of life, the gray area between love and restlessness, between happiness and misfortune. It is a combination that Garífuna troubadours have refined to perfection, linking dynamic and optimistic rhythms with melancholic and felt melodies.

In the recording of Lándini, Duran, who is a native of Belize and has dedicated most of his professional life to working with Garifuna artists, strived to accentuate this double nature of the songs, with their complex emotional resonances. The touches of Duran are restricted and subtle, leaving the center of attention in Aurelio and in the delicate and passionate interpretations of his band, in the percussion sounds, vocals and guitars masterfully performed by Guayo Cedeño.

Tracks list:
01. Sañanaru (I Can't Handle Her)
02. Nando (Leonardo)
03. Milaguru (Miracle)
04. Nafagua (I Will Try)
05. Nari Golu (My Golden Tooth)
06. Lándini (Landing)
07. Lirun Weyu (Sad Day)
08. Durugubei Mani (Evil People)
09. Irawini (Midnight)
10. Funa Tugudirugu (Newborn Child)
11. Nitu (Older Sister)
12. Chichanbara (Ginger)




diciembre 16, 2019

Terra Incognita - Tribal Gathering - 1997

In Tribal Gathering Chinmaya Dunster, Ravi and Prem Joshua have gathered a collection of styles from around the world, from America to the Middle East, Africa, India and the Balkans. All handmade, the music is impressive a meeting of some of the most magical instruments in the world, kora, sitar, flutes, drum and Sarod giving a sense of color to the mixture of excellent rhythms and beautiful sounds, a highly recommended album.

Prem Joshua: sitar, flutes
Chinmaya Dunster: sarod
Ravi: kora (African harp)

01 Kafi (5:01)
02 Etruscan Places (6:24)
03 Tilak (4:54)
04 Sacred Dance (2:48)
05 Cala Violina (4:29)
06 Sufis And Gypsies (5:47)
07 Mountains Of The Moon (6:54)
08 Under The Carob Tree (3:33)
09 Rhythem House Classic (4:16)
10 Never Mind The Pandits (4:52)
11 Havana Baba (2:34)
12 Tribal Gathering (7:31)
13 Zenith (3:11)
14 Shahana (6:12) 






diciembre 15, 2019

Awa Poulo - Poulo Warali

Awa Poulo is a singer from Mali, more specifically from the Peulh, the largest nomadic people in the world.

Awesome Tapes From Africa now presents the new recording of Poulo, with large doses of folk-pop and a contemporary vision of the music of the Peulh. It is not very common to find a female singer who performs live among the Peulh, but coincidentally the other wife of Poulo's mother's husband is Inna Baba Coulibaly, also a renowned singer in Mali.

Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa. Awesome Tapes From Africa is proud to release Poulo’s newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali. 

It’s not very common to find a female singer performing publicly among the Peulh. But Poulo’s mother’s co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo’s entree into the music world was auspicious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo’s first internationally-distributed record. 

On Poulo Warali, she and her band combine the hallmarks of Peulh music—warm flute floating over cross-rhythmic n’goni (lute) riffs and resonant calabash gourd hand percussion—with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shape-shifting layers of rhythm and woody overtones match Poulo’s commanding voice in a jocular yet deliberate dance. 

This is a relatively rare example of Malian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other. 
Poulo’s conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Mali’s melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders.
credits

Awa Poulo — Voice 
Kande Sissoko — N’goni 
Cheickne Diabate — Guitar, Bass Guitar 
Souley Guindo —Flute 
Sana Diarra — Calabash 

Produced by Paul Chandler & Studio Mali Recordings 
Recorded by Konan Kouassi at Studio Mali Records in Bamako, Mali 
Edited by Philip Sanmiguel 
Photography by Oumou Diarra 

Awa Thanks: 
Inna Baba Coulibaly — My mother, my mentor and inspiration 
Mamadou Djadje Bah — My helpful friend 
Abdoulah Aziz Diallo — President of the Association of Peulh in Mali 
Abba Coulibaly — My brother, who helped in the recording studio

1. Dimo Yaou Tata 04:34 
2. Djulau 04:13 
3. Djara Wilam 04:31 
4. Mido Yirima 03:32 
5. Noumou Foli 04:24 
6. Poulo Hoto Ngari 03:39 
7. Poulo Warali 04:47 
8. Sidy Modibo 04:31


diciembre 14, 2019

Hit to win a wife (Pueblo Fulani)

The nomadic tribe of the Fulani practice "Sharo" before getting married. The boyfriend is beaten by the oldest members of the community in order to win a woman and respect her peers.

Groom flogging(sharo) of d fulani marriage is a reason & test of defiance that proclaims d groom worthy of marriage

If the man is not strong enough to resist the pain, the wedding is canceled.

She waits for the groom. She is a lucky #fulani : she knows who will be in her bed tonight

In addition to the lacerations, the bride's family can ask for an important payment for her relative ...

diciembre 13, 2019

Roberto Fonseca - ABUC - 2016

There are eight titles recorded in studio by Roberto Fonseca and, at this point, when the last one, ABUC, began filming in 2016, the primacy of this pianist and multi-instrumentalist in jazz music that is now being done in Cuba is hardly debatable. ABUC, which is nothing other than "Cuba" the other way around, becomes a record of true celebration of Cuban music since Fonseca has included a good part of the most popular music on the island: from bolero to jazz, mambo , chachachá and contradanza, a style that arrived in Cuba at the end of the 18th century with French influences throughout Haiti.

Born in Havana in 1975, Roberto Fonseca has shared the stage with Cuban music legends such as Cachaíto López, Manuel "Guajiro" Mirabal and Manuel Galbán, playing in various countries around the world in more than 400 concerts. He has lived with music forever; in fact, his mother Mercedes Cortés Alfaro is a singer who was a dancer at the Tropicana Club in Havana (sings in the album Zamazu, 2007), and his father Roberto Fonseca Durades, drummer. The pianist has a master's degree in composition obtained at the Higher Institute of Art of Cuba (ISA), and has been a music teacher. With only 15 years he recorded his first CD, En el Inicio, together with Javier Zalba and the Temperamento group, which was named Best Jazz Album of Cuba in 1999.

Roberto Fonseca made himself known to the world by the hand and voice of Ibrahím Ferrer, with whom he participated in the Buena Vista Social Club project in 2001. Such was Roberto's admiration for Ibrahím, who even produced the posthumous album of this one, my dream. This relationship finds natural prolongation in the fervor that Roberto also felt for the pianist Rubén González.

Both artists illustrated Roberto in the creation of Zamazu's agenda, his true international record debut. A monumental recording, made in 2007, that brought together more than 20 artists and managed to merge integrated elements of their diverse influences: Afro-Cuban, jazz, classical music and traditional Cuban music. Among the musicians in this diverse and ambitious recording are Omara Portuondo, Javier Zalba, Carlinhos Brown, Vicente Amigo, Ramsés "Dynamite" Rodríguez and many others. After the publication of Zamazu, Fonseca had the opportunity to present an intense repertoire in some of the most prestigious festivals in the world in front of bewitched audiences.

ABUC is the title of his new album under the impulse label !, also spectacular. Combining rogue rhythms with strong winds, interwoven with references, memories and contrasts, ABUC is a kaleidoscope where Roberto tells a story: the great and rich compendium of Cuban music, from yesterday to today.

Tracks list:
01. Cubano Chant
02. Afro Mambo
03. Tumbao de La Unidad
04. Contradanza del Espíritu
05. Tierra Santa
06. Sagrado Corazón
07. Family
08. Tierra Santa Santiago de Cuba
09. Habanera
10. Soul Guardians
11. Asere Monina Bonco
12. Después
13. Velas y Flores
14. Cubano Chant (Piano Solo)




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.

SCRIPTURE PLEASE....
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.

CD1
01. Malinga
02. Zing Zong
03. Belle Amie
04. Isambe
05. J.T.
06. Sai
07. Aime
08. Amour Fou
09. Bayembi
10. Monie

CD2
01. Naloti
02. Cantique
03. Iyole
04. Ebeneza
05. Djessy
06. Mosali
07. Mazina
08. Ekipe
09. Yonde Love Me
10. Emame



diciembre 05, 2019

The Soil - Nostalgic Moments

Capella singing is one of the great traditions of South African music, and The Soil has transformed the genre with a bravely contemporary approach. In just under four years, since the release of his self-titled album of multiple awards and double platinum disc, The Soil has already earned a place in the heart of the music world. His style is defined as "Kasi Soul", an eclectic mix of musical genres to swing, hip-hop, afro-pop, soul and jazz. Occasionally they sound like a simplified or updated version of Ladysmith Black Mambazo, with whom they interpret "Hamba Uyosebenza". Like Ladysmith, they might well be massively known, but they have chosen to preserve their African roots.

Each member of the group plays a distinctive role, with Buhlebendalo Mda as leader, Ntsika Fana Ngxanga who adds robust lines of harmony, and his brother Luphindo "Master P" as human beatbox. With Nostalgic Moments (2014), The Soil continues with its goal of merging their voices to give us melodic and harmonious messages aimed at raising the spirit for the enjoyment of all audiences.

01. Unspoken Word (Intro)
02. We Are One (Celebrate Humanity)
03. Susan (feat. Khuli Chana)
04. Noma Ungahamba
05. Streets of Soweto
06. Hamba Uyosebenza (feat. Ladysmith Black Mambazo)
07. Ndibambe Kanje
08. Before
09. Andinanto
10. Asante Sana
11. Mkhuluwa




diciembre 04, 2019

Mokhtar Samba - Wdr Big Band Cologne - Musique d'Afrique

Ende August 2015 zündete die WDR Big Band in der Kölner Philharmonie ein imposantes Feuerwerk der afrikanischen Klangfarben und Rhythmen. Die Gäste waren Mokhtar Samba - Schlagzeug, sein Sohn Reda Samba - Percussion, Rhani Krija - Perkussion, Henry Dorina - E-Bass, Woz Kaly - Gesang und Jean-Philippe Rykiel -Keyboard. Arrangiert wurden die Stücke von Michael Mossmann, der dieses Großprojekt auch geleitet hat. Präsentiert wird die Musik von Mokhtar Samba: hier geht es um pulsierende Rhythmen und hypnotisierende Melodien.

Mokhtar beschreibt: „ Für mich steht die Melodie an erster Stelle. Weil Melodien Menschen verändern können. Wenn man traurig ist und eine Melodie singt, kann es einen aufmuntern. Andererseits kann dich eine Ballade aber auch sehr traurig stimmen. Da muss man nur einmal einem großen Sänger wie Stevie Wonder zuhören, wie er die Melodien singt. Deshalb ist die Melodie für mich sehr wichtig.“
Weil sich Mokhtar Samba der Musik seiner Vorfahren ganz eng verbunden fühlt, sind seine Stücke natürlich auch ganz wesentlich von der Urkraft der afrikanischen Rhythmen geprägt.

Mokthar Samba führt aus: „In Marokko gibt es auf allen Festen Musik: bei Hochzeiten und Geburtstagen, überall spielt die Musik, laute Musik. Die Musik ist überall präsent. Meine erste Begegnung mit Musik war bei Hochzeiten, zu denen mich meine Mutter mitnahm. In Marokko haben wir solche Rhythmen: (singt). Für uns ist das ganz natürlich, wie vielleicht hier in Köln das Kölsch. Das mit den Rhythmen fängt bei uns schon im Bauch der Mutter an. Ich habe früh mit afrikanischer Percussion angefangen, dann bin ich mit 12 Jahren nach Frankreich gezogen. Ich bin zwar Autodidakt, mir wurde aber mit 15 Jahren klar, wie wichtig es ist, ans Konservatorium zu gehen, wo ich mich dann später eingeschrieben habe.“

Dass ein erfolgreicher Schlagzeuger ausgerechnet den Namen Samba trägt, ist reiner Zufall: „Das stimmt,“ sagt Mokhtar, „die Leute amüsieren sich oft, wenn sie hören: aha, Mokhtar Samba ist also ein Schlagzeuger. Der liebe Gott hat mir nicht viel geschenkt, aber dieses Geschenk hat er mir immerhin gemacht.“

Samba saugt die unterschiedlichen kulturellen Einflüsse auf, seine Musik ist damit auch stets so etwas wie eine in Töne gefasste Autobiografie. Die „mélange“ ist bei Samba ein zentraler Begriff:  Er mischt und kombiniert die Sprache des Jazz mit afrikanischen Elementen und versetzt damit die Grenzlinien dieser Mixtur um ein gutes Stück weiter.

1 Valse Des Pharaons 
2 Senegal 
3 Emattéo 
4 Suite for Africa 
5 Dou 
6 The Á la Menthe 
7 Malik


diciembre 03, 2019

Oumou Sangare - Mogoya - 2017

Oumou Sangaré was crowned long ago musical royalty in Mali. Known for her formidable voices and fearless messages, she is known both for her feminine sovereignty and for her comprehensive depth of traditional style. In the late eighties he gained popularity with his interpretation of Wassoulou music, a regional style based on long-standing hunter songs that have a strong bond with the African blues, soul and funk. The celebration of a Grammy in his name, is not only an African star, but an international figure.

His latest release, the last one in nine years, is called Mogoya which means 'The people of today', the album talks about the daily struggles of those who live in Mali, particularly the struggles of women. The songs reveal a lion heart soul dedicatedly delivering tales of emotional conflict.
The second song 'Yere Faga' with Tony Allen (former drummer of Fela Kuti) is a groove infested piece. This beat crawls directly under your skin. Starting with a flurry of beautiful voices of immediate layers, the back-beats ghosts begin to form the march to their protest. Sangaré is a diva with rich voices but unfortunately, the strength of her sensationally charged raw lyrics is stifled by reverberation. However, there is great strength in the minimalism of this track, where no instrument talks about the main voice and allows it to concentrate completely. The rapid rains of the electric guitar and the melodies that revolve around its vocal strides.

1. Bena Bena
2. Yere Faga Ft. Tony Allen
3. Fadjamou
4. Mali Niale
5. Kamelemba
6. Djoukourou
7. Kounkoun
8. Minata Waraba
9. Mogoya



diciembre 02, 2019

Bholoja - Swazi Soul - 2010

Bholoja (Mbongiseni Ngubane) is a young and gifted musician, very celebrated in his home country, Swaziland. His striking multicolored voice and his talent for writing songs has been redeemed the admiration of his court of followers, which has expanded beyond the borders of his land. His inspiration is the Swazi tradition and way of life; His music (which includes mbira, sitolotolo and traditional harmonies) seeks to ensure that an essential part of the Swazi cultural heritage is not a victim of historical negligence.

Bholoja's music, which is framed in the so-called “Swazi Soul” (a combination of folk, soul and afro-jazz), is gaining popularity in both Swaziland and South Africa, and fits as a social narrative, speaking to the listener's own conscience thanks to his strength as a lyricist. Most of his songs focus on social and economic issues that govern people's daily lives. With a contagious and optimistic sense of humor that prevails throughout all his music, his appeal extends to both young and old thanks to his ability to create a unique sound that can be appreciated by the multicultural audience.

Since he debuted in 2004, his growth as an artist has been seen as he has shared scenarios with big names like Lokua Kanza, Oliver Mtukudzi, Freshlyground and Hugh Masekela, among others.

Swazi Soul (2010) and Swazi Soul II: Luyasikwa Luyamila (2016) are the samples of his unique style, the foundations for the singers of his land to embrace his tongue and share Suazi stories through the channel of his conducted songs for his guitar

Tracks list: 
01. Indzawo Yami
02. Mbombela
03. Ikhonkhotsa llele
04. From Zero to Hero
05. Ngikhumbula Ngisemncane
06. Africa Unite
07. Iyakhalindvodza
08. Umkhuleko
09. You And I
10. Umhlaba Uyahlaba
11. Ilawonde
12. King Somhlolo's Dream