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mayo 24, 2020

Bayete And Jabu Khanyile - Mmalo-We

Jabu Khanyile was born in Soweto, after his mother died he was forced to abandon his studies at the age of fourteen in order to earn a living, his father was a miner and sang traditional a cappella songs, and his brother John played in a reggae and soul band. Jabu followed them into music, and joined a local band called The Daffodils, and in 1974 he decides to join his brother John's band as a drummer, shortly after he became the group's vocalist. In 1977 he moved to the band The Movers, and by 1984 Khanyile had already joined Bayete as a drummer, a band that combined Afro-jazz and reggae.

In 1987 they released the immensely popular 'Mbombela' title taken from a song by Miriam Makeba. "We took Miriam Makeba" Mbombela "and we wanted to show that the same steam train was taking people away from their families to look for work in the cities. And many parents did not make enough money to ever go home, Jabu said" .

Bayete parted ways in 1992, and Khanyile embarked on a solo career with the album Wankolota, although none of Bayete's original members were involved at the time. Khanyile became internationally known in 1996 after an appearance at the Royal Gala in honor of Nelson Mandela.


In 1996 and 2000 he won the Kora award for the best artist in Southern Africa. He has worked internationally with Youssou N'Dour, Angelique Kidjo and Papa Wemba. He was known for his pan-Africanist approach to music, in an attempt to unite different African styles. He was generally dressed in a Masai suit, a symbol of African royalty.

Khanyile performed at the Live8 concert in Johannesburg in July 2005. Her last public appearance was in July 2006 at the "Africa Calling" award ceremony at the end of the World Cup in Berlin.

He died in November 2006 after a battle with diabetes and prostate cancer.

Jabu was one of those truly special South African artists; He first made an impact on the local music scene in the 1980s with the music group Bayete that caught the attention of Chris Blackwell, who released the album 'Mmalo-we on his World Music Mango label.

JabuKhanyile (vocals)
Tom Fox (guitar)
ThapeloKhomo (keyboards, background vocals)
JabuSibumbe, Andre Abrahams (bass)
ThembiKubheka, Khanyo Maphumulo, KhululiweSithole, Tshidi Mannye, BathoMhlongo, FuthiMhlongo, SkumbuzoKubheka, Wendy Mseleku, Baby Cele (background vocals)

Mmalo-We by Bayete and JabuKhanyile on Grooveshark

01. Mmalo-We
02. Thabo
03. Retrenchment
04. Ten Times Love
05. Ubugwala
06. Africa Unite
07. Emandulo
08. Ungayingeni
09. Culture Disgrace
10. Celebrate Life



mayo 23, 2020

Orquesta Andalusí de Tanger y Juan Peña Lebrijano - Encuentros - 1985

Juan Peña Fernández, "El Lebrijano", singer, member of a gypsy family and singer of rancid ancestry, that of Perrate de Utrera.

He was immediately considered one of the best singers of this time. To his round voice and beautiful timbre he combined a hobby and knowledge that allowed him to study and masterfully interpret the most different styles. Knowing orthodox cante so deeply, his artistic concern led him to seek the introduction of innovations in an art usually cornered by the immovable tradition defended by purists. Some personal artistic companies of Lebrijano have been a consequence of this renovating philosophy of the singer.

Encuentros (1985), in which he explores the potential points of coincidence of flamenco with North African music, is one of the first works, in our country, of fusion between flamenco and Arab-Andalusian music, accompanied by Paco's guitar Cepero and the Andalusí Orchestra of Tangier. With lyrics by the poet José Manuel Caballero Bonald, it is a vital, rich and interesting album that, for many people, is summed up in songs as endearing as "El Anillo (Chibuli)".

Trackslist:
1. Vivir un cuento de hadas
2. Dame la libertad
3. Las mil y una noches
4. Desafío
5. El anillo (chibuli)
6. Pensamientos
7. Amigo mío, no
8. Esos ojos asesinos


mayo 13, 2020

Mariza - Terra - 2008

Mariza is the stage name of Mariza dos Reis Nunes, fado singer, one of the most popular in Portugal and one of the Portuguese artists with the most international projection. A Portuguese father and a Mozambican mother, she began to be recognized in 1999 following the death of the greatest fadista in history, Amália Rodrigues, in whose posthumous tributes Mariza participated.

He released his first album in 2001, Fado emmim, which hit quadruple platinum in Portugal. Fado curvo followed in 2003, establishing her as an artist and giving her international success (for these two works she received the Gold Medal of the Portuguese Ministry of Tourism and the distinctive Artist of the Year by the Association of Marketing Executives in Portugal). In 2005 he published Transparent. In November 2005, this album was published in Spain with two versions in Spanish: Hay una música del pueblo (along with singer José Mercé) and Mi fado mío. In 2006 his live recorded DVD Concertoem Lisboa was released, nominated for the Grammy Awards for best folk album. Thanks to this magnificent career, she has been nominated as an ambassador for the Fado candidacy for the UNESCO program "Intangible Cultural Heritage of Humanity", and winner of the "BBC Radio 3 Awardsfor WorldMusic" as Best European Artist in 2003, 2005 and 2006.

After having worked with Jorge Fernando, Carlos Maria Trindade and Jacques Morelenbaum, Mariza chose the Spanish Javier Limón as producer for Terra, published in 2008. Terra is, according to Mariza herself, her greatest work, the album in which she has most grown at an interpretive level and in which she has faced new challenges (mixing with flamenco and morna, jazz and folk music) that make her once again the ambassador of fado throughout the world. For this he has had several collaborations, the Portuguese fado guitars of Bernardo Couto and Diogo Clemente are joined by the British guitarist Dominic Miller (one of Sting's musicians for the last twenty years), three pianists (the Brazilian Ivan Lins and the Cubans Chucho Valdés and Iván "Melón" Lewis), Javier Limón's own flamenco guitar, and the Spanish percussionist Piraña (Paco de Lucía's favorite percussionist). Mariza's voice mixes with that of Tito Paris (Cape Verde) and Concha Buika's voice, amply demonstrating her mastery of the genre and her ability to convey passion and sadness mixed with joy through her powerful voice.

Tracks list:
01. Já Me Deixou
02. Minh´Alma
03. Rosa Branca
04. Recurso
05. Beijo De Saudade (con Tito Paris)
06. Vozes Do Mar
07. Fronteira
08. Alfama
09. Tasco Da Mouraria
10. Alma De Vento
11. Se Eu MandasseNasPalavras
12. As Guitarras
13. Pequenas Verdades (con Concha Buika)
14. Morada Aberta



mayo 11, 2020

Steve Shehan & Baly Othmani - Assarouf - 1997

Assarouf (forgiveness, 1997) and Assouf (nostalgia, 1995), are two of the works jointly edited by Steve Shehan and the late Baly Othmani, an Algerian Berber artist and teacher of the oud.
Steve Shehan, producer, percussionist, multi-instrumentalist, member of Hadouk Trio, known worldwide for his extraordinary collaboration with Omar Faruk Tekbilek in Alif (2002) and for his studio work alongside Brian Eno, John McLaughlin, Vangelis, Herbie Hancock, Paul Simon , Vangelis, Ryuichi Sakamoto and Rokia Traoré, has composed and produced more than 15 albums and movie soundtracks in over twenty years. Rooted in both worldmusic and jazz, his compositions combine sounds from East Asia, Latin, African, and Indonesian influences.
Shehan, who has Irish and Cherokee blood, speaks fourteen languages and plays dozens of percussion instruments, plus guitar, bass, and piano. Fascinated by sounds, it combines sophisticated techniques with metal, wood and glass bells. For Steve Shehan, music is a way of communication between peoples, whatever their language, culture or religion.

Steve Shehan and Baly Othmani manage to create in Assouf and Assarouf the expression of life in the desert. Fascinating, beautiful music (Baly Othmani provides the perfect vocal accompaniment), highly recommended for anyone who wants to lose themselves in the rhythms and melodies of the Algerian Sahara.

Tracks list:
01. Phone call from Djanet
02. Amin Amin
03. Azouieghillougan
04. Maïgadaghtoughdahin
05. Assarouf
06. Taddeghaltara
07. Tannamertn'yalla
08. Tamalla
09. Taré (awalinalmadsaras)
10. Damaa
11. Ténéré (anmattaf s fassen)


mayo 09, 2020

Tim Story - Caravana - 2005

Caravan - A Journey to WorldApart ”, is a documentary co-production of the factories El Deseo and Transglobe Films that narrates in images the story of two ten-year-old boys who live in two of the most inhospitable regions on the planet; the Tenere desert and the Himalayas. Separated by thousands of kilometers, they have something in common: for the first time they are going to accompany, on a long and dangerous journey, their families who have been engaged in the salt trade for generations.

"Caravan" is the true story of these two trips told through Wahid and Tashi, the protagonists. The first will cross the desert of Tenerife - Niger - with a caravan of forty camels to the Bilma salt flats and the second, the Himalayas - Nepal - with fifty Yaks, to the Dabriéuna salt flats.

Gerardo Olivares, director of the film, has an extensive curriculum in documentaries of this nature, who during the filming of the film was accompanied by Tim Story's music at all times. So much so, that for the setting of the film the production team had no other soundtrack in mind, and contacted the composer himself directly.

Tim Story is a prominent name in the world of new music from the 90s (or new age, according to some trends), and specifically, from that magnificent group gathered by the Windham Hill label at its dawn of glory (Paul Winter, George Winston, Nightnoise, and many others).

The reader should note that the review of this soundtrack is based on artistic criteria outside the usual of film music, since “Caravan” offers a filmic transposition of the creative concepts of Story music. Don't expect the reader or listener to have powerful orchestral sections or giddy rhythmic developments; But don't be mistaken and expect an easy new age concept with bland endless chords, predictable harmonies and comfortable electronic sounds ...

If Tim Story's music is characterized by anything, it is its melodic and harmonic richness, built from a very personal, stimulating and deeply intimate sound. The composer fuses the acoustic with the electronic (generally, with the use of acoustic soloists in piano, oboe and cello), with a unique elegance in the genre. "Caravan" is an example of this chamber music, with some obvious ethnic touch due to the theme of the film (which is perhaps the least successful point of the work, falling a bit short on strength and personality).

Focusing on the recording edition, we have 22 tracks (plus a bonustrack) of short duration and without interruptions, a concept resulting from the composer's own later work. Artistically the progression of the CD seems to evolve from an initial section of exposure to a climax in the last five tracks (18 to 22), to which I will make a special mention later.

Already from the beginning, in “Caravan (Opening)” Story subtly immerses us in its sound, with a soft rhythmic ostinato performed on piano, and a sweet melody sung by the cello and the oboe in subtle counterpoint, which serves as a leitmotiv to the work (We can find it in "UncertainInterlude" and "Caravan (Closing)".

Throughout the CD we find intimate melodic cuts of remarkable beauty, "The High Dolpho" (with its distant harmonies and electronic games in opposition to the melodic delicacy of the oboe), "The Setter" (cut that outlines another beautiful melody, which seems born from the musical concept of the main theme), “Always the Same Dream”, “So Nearthe Clouds” (in that same intimate line), etc.

To this group of tracks are added more incidental ones, which are completed with the use of percussion in a rather peculiar way, and sometimes, the mixture of a choir of Tibetan monks (“Hidden Country”). I highlight in this block "Cloud of Sand", whose darkness is somewhat out of tonic, with an oriental percussion ostinato and very interesting electronic backdrops.

I stop especially from "Monster in These Mountains", the first of the block of last five tracks. In this cut a beautiful cello melody is developed accompanied by an electronic harp, with a soft folkloric air. The counterpoint of the oboe, once again characteristic of the composer, immerses us in a wealth of sensations already outlined by the previous themes.


"Lost Caravan" is another of the darkest pieces on the album, without aggressiveness but with deep emotional introspection. Sounds that prepare us for “Dusk”, for me one of the most interesting tracks on the CD. Built on the basis of an atonal rhythmic ostinato of prepared electronic piano sounds (or similar), which lead us to a beautiful section of oboes, accompanied by electronic pads and subtle percussions with cello counterpoints. Harmonies in delays, not obvious, complete an original and intimate soundscape of deep emotion.

"The Orchard and the Well" and "Caravan" close the work in a melodic and calm way, recapitulating the main themes of the score. A closure that unites the work, from the formal and emotional point of view (we also have a bonustrack, acoustic recording of folk songs).

Tim Story does a wonderful job in “Caravan”, transmitting a very personal identity stamp. A unique artistic work in the genre, which for those not initiated into Story music can mean finding highly recommended new emotional landscapes, an essential complement to the essential solo works "The Perfect Flaw" or "Shadow play".

1. Caravan (Opening) (02:07)
2. The High Dolpho (02:50)
3. Swimming in the Desert (01:42)
4. The Letter (02:16)
5. Tende (01:24)
6. Nomads (01:54)
7. Uncertain Interlude (01:22)
8. A Story in the Rocks (01:38)
9. Always the Same Dream (01:58)
10. Hidden Country (05:08)
11. So Near the Clouds (02:19)
12. Tomorrow Another World (00:51)
13. Doors of the Tenere (01:38)
14. Again Appear the Storms (01:25)
15. Cloud of Sand (01:19)
16. Amulet (02:11)
17. Emerald Lake (02:06)
18. Monster in These Mountains (02:32)
19. Lost Caravans (02:08)
20. Dusk (03:50)
21. The Orchard and the Well (02:19)
22. Caravan (03:12)
23. Bonus Track (00:37) 



mayo 08, 2020

Seun Kuti & Egypt 80 - Black Times

Strut presents the new album from the modern day leader of Afrobeat, SeunKuti. The youngest son of Afrobeat legend FelaAnikulapoKuti is as incensed by injustice as his father ever was and, with his mighty new album Black Times including features from Carlos Santana and Robert Glasper, he honours the revolutionaries who have gone before and rallies the torch-bearers to come.

Black Times is the fourth album by Seun and Egypt 80, the extraordinary dance orchestra created by FelaKuti as a conduit for the common people. Inherited by the 14-year- old Seun in 1997, the younger Kuti has been building to this, his most accomplished and honest album yet. “Black Times is a true reflection of my political and social beliefs,” says the singer, bandleader and musician, 34. “It is an album for anybody who believes in change and understands the duty we have to rise up and come together. The elites always try to divide the working class and the poor people of the world. The same oppression felt by workers in Flint, Michigan is felt by workers in Lagos and Johannesburg.”

1 - Last Revolutionary
2 - Black Times ft Carlos Santana
3 - Corporate Public Control Department (CPCD)
4 - Kuku Kee Me
5 - Bad Man Lighter
6 - African Dreams
7 - Struggle Sounds
8 - Theory of Goat And Yam 


mayo 07, 2020

Tamikrest - Kidal - 2017 - Mali

Around Kidal, the Mali desert stretches in all directions. Endless horizons of rock and sand, barren and parched. This is the southwestern tip of the Sahara, home to the Tuareg people, and the city of Kidal is one of its main cultural centers. He fought, conquered and reconquered, remains the symbol of the challenge and hope of the Tuareg, the spiritual home of a dispossessed people.

It is also the city where Tamikrest first joined as a group, and on Tamikrest's fourth studio album Kidal, the band pays tribute to this place that has nurtured them and their people.

It is a cry of suffering and the cry of rebellion. It is power and resistance. It is a pure rock'n'roll tuareg.

"Kidal talks about dignity," says Ag Mossa. "We consider the desert as a space of freedom to live. But many people consider it as a market to sell to multinational companies, and for me it is a great threat to the survival of our nomadic peoples."

The Tuareg have always been nomadic people, their lives moving through the desert, sometimes carrying only the essentials with them. But for a brief moment they had a home after the Tuaregs rose in 2012 and declared the independent state of Azawad in northeast Mali. It lasted less than a year, when al-Qaeda's first conduits swept in from the north, imposing the Islamic government, and then the French military arrived to liberate the area - once again leaving the Tuareg with little or no opportunity for self-determination. But the dream remains, still caught between governments and the greed of global corporations.

"Kidal, the cradle of all these revolts, continues to resist the many acts perpetrated by dark hands against our people," says gang associate Rhissa Ag Mohamed. "This album evokes all the suffering and manipulation of our pinched populations everywhere."

Kidal's songs evoke a long history. And for all electricity, as Ag Mossa observes, "It is very traditional if you go deeper into what I am playing."

Everything is in focus here. Everything burns. Ag Mossa punctuates his lyrics with inspired guitar bolts. Even an acoustic song like "Tanakra" maintains a luminous edge.

With Kidal, that glow is roaring. Recorded in Bamako, Mali in the summer of 2016, the album was produced by Mark Mulholland (Afro-Haitian Experimental Orchestra) and mixed by David Odlum, who received a Grammy for his work with Tinariwen. It is an album that takes two years to make, says Ag Mossa, "because we share the same difficulties as our people." And the songs here reflect their joys, their pain, and their unwillingness to accept things as they are.

There is a raw beauty to Tamikrest's rock'n'roll. It's there in the driving, the insistent groove that drives the songs, the bass lines and meandering bass and the guitars that intertwine and twist around the melodies, and the all-natural musical mix of the Sahel of Africa, Maghreb and the West . Influences as diverse as Pink Floyd, Rachid Taha, and flamenco. However, the Sahara, and the people who live there, are always firmly in their hearts.

"This music was founded on a very precise cause, the cause of the Tuareg," Ag Mossa told journalist Andy Morgan in 2013. They can be threatened from all sides, but they don't give up, and this album celebrates who the Tuareg are, El KelTamasheq. ("those who speak Tamasheq"), the guardians of an ancient and endangered cultural voice.

Tamikrest's new album is the music of challenge, of hope. It is the rock'n'roll of the Sahara, the sound of the Tuareg dream, a dream that will be renewed again, in its ancestral town: Kidal.

MawarnihaTartit
WainanAdobat
ManhouyInerizhan
War Toyed 
Atwitas
Tanakra
War TilaEridaran
Ehad Wad Nadorhan
ErresHinAtouan
AdoutatSalilagh
Adad OsanItibat




mayo 06, 2020

Imarhan - Temet - 2018 - Argelia

When Imarhan released their self-titled debut album in 2016, they entered a genre already awash with talent and exposure, but still managed to rise to the top and be heralded as the "new wave of Tuareg music" by Fact Magazine and The Guardian. It is with much anticipation that the Tamanrasset band Algeria has announced the details of their second album, Temet, due out on February 26 at City Slang.

Temet is a huge leap in production as well as creative for Imarhan. While his debut was anchored in the meditative tradition of the Blues Desert, Temet eclipses such notions, finding bounce and driving by mixing his sound with funk, fuzz, disco, and rock. This is not a novel concept for the band, since anyone who has seen them play will attest. There is a disparity between his emotional and thoughtful first album and the raucous and ecstatic live performance. And while Temet is decidedly more eclectic, the aesthetic wisdom and singular vision of his debut remain on display. Imarhan's experience as a touring band has reinforced the focus and meaning behind his music. Instead of traversing the desert, these nomadic travelers have globalized to reflect on today's struggles. "Temet" in Tamashek means "connections" and Imarhan uses it as an energetic alarm clock ... more credits released on February 23, 2018.

Imarhan son Iyad Moussa Ben Abderahmane, AbdelkaderOurzig, TaharKhaldi, HichamBouhasse, HaiballahAkhamouk, Eyadou Ag Leche

1     Azzaman
2     Tamudre
3     Ehad Wa Dagh
4     Alwa
5     Imuhagh
6     Tumast
7     Tarha Nam    
8     Tochal
9     Zinizjumegh
10     Ma S-Abok




mayo 05, 2020

Desafinado 2 - 32 clásicos inolvidables del Brasil

In this second double album Desafinado 2. 32 unforgettable classics from Brazil, a new dive is made in search of different pearls, some of them difficult to acquire. Delight of the senses, music in Brazil is not only this sublime art featured in this collection, but a truly popular way of life. Another essential.

rackslist:

CD 1
01. CHICO BUARQUE – A Banda
02. TOQUINHO – A Água Negra da Lagoa
03. MARIA CREUZA – Insensatez
04. JORGE BEN – Tal Mahal/Fio Maravilha/País Tropical
05. DJAVAN – Fato Consumado
06. RITA LEE – Lança Perfume
07. VINICIUS DE MORAES, TOQUINHO e A. CARLOS JOBIM – Carta ao Tom
08. FAFÁ DE BELÉM – Grandes Amores
09. GRUPO FUNDO DE QUINTAL – Nova Esperança
10. WANDA SÁ – Vivo Sonhando
11. ANTONIO CARLOS JOBIM – SóTinha de Ser comVocé
12. MARÍA CREUZA – Tomara (Ojala)
13. MIÚCHA e JOBIM – Pela Luz dos olhosteus
14. JOYCE e TONINHO HORTA – Este SeuOlhar/SóEmTeusBraços
15. ELIS REGINA e MARCOS VALLE – Terra de Ninguém
16. CARMEN MIRANDA – O que É Que A BaianaTem

CD 2
01. MARIA BETHANIA – É de Manhá
02. VINICIUS DE MORAES y TOQUINHO – A Tonga Da Mironga Do Kabuleté
03. CHICO BUARQUE – Será que Cristina Volta?
04. DJAVAN – Flor de Lis
05. WANDA SÁ e MENESCAL – Chega de Saudade
06. BELÔ VELLOSO – Desde que O Samba é Samba
07. JORGE BEN – A Banda Do AéPretinho
08. BETH CARVALHO – FolhasSecas
09. EMILIO SANTIAGO – Aquarela Do Brasil
10. QUARTETO EM CY – Isto Aquí o Que É
11. MAYSA – Agua de Beber
12. JAIR RODRIGUES – A Felicidade
13. VINICIUS DE MORAES e TOQUINHO – Tarde emItapoá
14. NANA CAYMMI – Codajás
15. ZIMBO TRIO – SóTinha de Ser comVoçé
16. AGOSTINHO DOS SANTOS – Manhá de Carnaval



mayo 03, 2020

Alsarah & The Nubatones - Silt - 2014

Silt (2014) is the first work of Sudanese vocalist Alsarah and her band TheNubatones. Considered as the "New Nubian Pop Star" by the British newspaper TheGuardian, composer and ethnomusicologist Alsarah describes the sound of her recording as East African Retro Pop, music that drinks from the sounds of the 60′s and 70′s of Nubian music, belonging to the region located in southern Egypt and northern Sudan.
Alsarah, a Sudanese by birth and currently based in Brooklyn, New York, is the main voice of the group; It is part of the group of artists that promote the culture of the Nile, Nile Project. On the other hand, the Los Nubatones project was cooked in the middle of a conversation about music from North Africa between Alsarah and percussionist Rami El Aasser in the latter's living room. Later HaigManoukian, a great oud teacher, and bassist MawuenaKodjovi joined.
Silt has its roots in the diaspora that the Nubian population suffered when the Egyptian government built Aswan High Dam in 1970, a dike to control the flooding of the Nile River, which in turn flooded large areas between northern North Sudan and Southern Egypt It is the forgotten music of the Sudan of the 60s and 70s, songs whose theme is exile by force and the nostalgic past disappeared. Especially touching sounds "Oud Solo" by HaigManoukian, even more so after hearing the news of his sad disappearance in early April 2014.

In short, Silt is a proposal that stands out as a very good way to review the past with respect, incorporating modernity and facing the future with originality.
01. Habibi Taal (Traditional)
02. Soukura (It's Late) (Alsarah)
03. Nuba Noutou (Traditional)
04. Oud Solo (Haig Manoukian)
05. Bilad Aldahb (Ahmed Mounib)
06. Fugu (Shams Alhurria) (Alsarah)
07. Rennat (Alsarah)
08. Wad Alnuba ft. Sounds of Taraab (Alsarah / Black Star Musical Club)
09. Yanas Baridou (Traditional)
10. Nuba Drums (Solo) (Rami El-Aasser)
11. Jibal Alnuba (Traditional)


mayo 01, 2020

Gnawa Bambara & Maâlem Abdenbi El Gadari - Sidi Mimoun - 2006

Maâlem Abdenbi El Gadari, a native of Marrakech and resident in Casablanca, edited Sidi Mimoun with his group Gnawa Bambara in Italy, in 2006, produced by Davide Ferrari. Habitual of the great music festivals of the world in Europe, and essential in the "Gnawa Festival of Essaouira", his style refers to both the Gnawa traditions of Marrakech and the most urban of Casablanca.

Accompanied by the tabal (drum), qraqeb (double metal castanets) and the guembri (three-string instrument and bass sound), the desert footprint becomes evident in the structure of their performances, in which the rhythmic melodies of the tabal accompany the characteristic call-answer songs and the palms of the choir.

Trackslist:
01. Chorfa
02. Bambara
03. Giungouba
04. SasadiManayou
05. La Ghmami
06. Foullani
07. Kakani
08. Lallayamma
09. Barmayou
10. Youbati
11. Elfatha
12. Benh'Sain