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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)



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