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julio 31, 2020

Rajery - Volontany - 2004

Germain Randrianarisoa, Rajery, is a magnificent musician, one of the most respected on the African continent, not only for the excellence of his music but also for his commitment to the various problems of his country, which he often criticizes in his songs, and for his strives to preserve indigenous cultural traditions.

Nicknamed "the prince of the valiha" in Madagascar (an instrument of which Rajery has become a true virtuoso, despite missing the fingers of his right hand), he presents in Volontany ("the color of theground", 2004) his compositions inspired by traditional music from the highlands of Madagascar (a country with a rich musical heritage, where each region has its own musical identity). Supported by a quartet, with skillful spurs towards jazz by using the voices in a similar way to melodic instruments, his music takes on an international flavor in his fusion of styles, addressing social issues, denouncing the situation of poverty experienced by the childhood of his country and conveying respect for their cultural heritage.

01. Mangina Zaza
02. Tsikirilem
03. ToroyLalana
04. Mifankatiava
05. Mahafinaritra
06. TsyMenatra
07. Marodona
08. Zavavy
09. Viavy
10. Veloma
11. MihodinaNyTany
12. Hafatra

julio 29, 2020

Salif Keita - Amen - 1991

Salif Keita, considered Mali's "golden voice", began to be recognized internationally, after the appearance of Soro, a brilliant fusion of Mali's traditional rhythms with modern technology while maintaining a general Islamic style. . Amen is edited in 1991, with the production of Joe Zawinul and the participation, among others, of Carlos Santana (guitar), Wayne Shorter (sax), Bill Summers (percussion) and musicians from Mali and France.

The songs included on the LP address issues like the political struggle for democracy in West Africa in the song "Waraya", but we also find love songs like "Yele n Na", and songs that address social issues like "Karifa" (a beautiful vindication of the dignity of the immigrant). Throughout the album, producer Joe Zawinul harmoniously reconciles Keita's vocals with wind arrangements and the technical mastery of fusion jazz. This recording brought Keita a Grammy nomination that year.

Tracks list:
01. Yele n Na
02. Waraya
03. Tono
04. Kuma
05. Nyanafin
06. Karifa
07. N B´I Fe
08. Lony

julio 25, 2020

Cesária Évora - Nha Sentimento - 2009

Cesária Évora, born on the island of São Vicente (Cape Verde), is known by the nickname "la reina de la morna", for having made her known internationally, and as "the diva of bare feet" due to her habit of presenting herself barefoot on stage, in solidarity with the homeless and the children and poor women of her country.

La Morna is a Cape Verdean genre of music related to Portuguese fado, Brazilian modinha, Argentine tango and Angolan lament. The compositions are sung, as a general rule, in the Creole language of Cape Verde and among the instruments the cavaquinho, clarinet, accordion, violin, piano and guitar are usually used. Compared to blues, there are interesting similarities and significant cultural connections between these two musical genres.

Cesária Évora was made known with the work Miss Perfumado, which in 1992 became a bestseller. In all its records, African American culture, especially from Cuba and Brazil, is reunited with its original roots, as if it were a trip, integrating and uniting the soul of black music from around the world.

In Nhasentimento, the queen of the morna returns to work with Teófilo Chantré, composer of most of the songs on the album. Producer José da Silva had the idea to merge this Cape Verdean style with Arabian tones, including the string arrangements by the Egyptian Fathy Salamam, who conducted the Cairo Orchestra, on the three album days: "Vento de sueste", " Sentiment "and" Mam'Bia É So Mi ". But the most explicit tribute to her country is the song composed by Luis Pastor and translated by Chantre, "Verde Cabo di Nhas Odjos", in which Évora sings "I want to die in your fields and live in your songs". This album, Nha Sentimento, with European influence, oriental touches, African presence and Caribbean memories, reminds us that the beautiful islands of Cape Verde are at the crossroads of three rich continents of multiple cultures and that Cesária Évora is already an international ambassador for mestizo music.

01. Serpentina
02. Verde Cabo di Nhas Odjos
03. Vento de Sueste
04. Ligereza
05. Zinha
06. Fatalidade
07. Esperança di Mar Azul
08. Sentimento
09. Tchôm Frio
10. Noiva de Ceu
11. Holandesa Co Certeza
12. RespostaMenininhas de Monte Sossego
13. Mam'Bia É So Mi
14. Parceria E Irmandade

julio 21, 2020

Caribbean Playground - 2004

CaribbeanPlayground is one of the best compilations of the “Putumayo Kids” collection, constituting an extraordinary journey through the rich interculturality of the Caribbean.

Caribbean music comes from the mix of native, European, African and other cultures that have lived in the region. Like food, music is full of flavors that combine local ingredients with influences from other places. French, Spanish and English are some of the languages ​​spoken in the Caribbean, as well as Creole and Patois, which combine European and African languages.

The "journey" begins in Jamaica, home to reggae and other styles such as mento and ska. It stops in Martinique and Guadalupe, the birthplace of zouk music, a danceable, rhythmic and fun style, very popular throughout the Caribbean. Haiti, with a great cultural wealth, is another country to visit. There, the African influence is very strong and, among its different types of music, we can highlight some such as compas, rare and twoudabadou.

Puerto Rico, one of the three Spanish-speaking islands of the Caribbean along with Cuba and the Dominican Republic, is also the nerve center of salsa. Their traditional music includes styles of African influence like the bomba and the Plena. On the other hand, Trinidad is the birthplace of the calypso, the soca and of an Indian-influenced dance genre called chutney. The calypso is a kind of musical newspaper dealing with the lyrics of the songs, about daily life, current affairs and politics, generally in a fun way. The steel drum (steeldrum) is a musical instrument invented in Trinidad and made from barrels of oil.

In short, a very well selected and documented material (as Putumayo is accustomed), ideal to enter and enjoy the music of this wonderful land.

Tracks list:
01. Taj Mahal & The Hula Blues - Great Big Boat (blues-folk USA)
02. Desmond Dekker - Jamaica Farewell (ska Jamaica)
03. Kali - Tambou Dan TcheNou (tradicional Martinica)
04. Keith Frank and the Soileau Zydeco Band - Three Little Birds (zydeco USA)
05. Karl Zero & the Wailers - Coconut Woman (calypso Jamaica)
06. Marlene Dorcena - Panama (tradicional Haití)
07. Asheba - Little Anancy (calypso Trinidad)
08. José González y Banda Criolla - Bomba Te Traigo Yo (bomba Puerto Rico)
09. Lole-Lolay - Pa ´PiyeSou Do M´ (twoubadouHaití)
10. MissionIriez - Reggae Dancin´ (reggae Tonga/Jamaica)

julio 16, 2020

Anouar Brahem Trio - Astrakan café - 2000

Astrakan café (2000) is an exceptional work of fluidity between the soft lute of the Tunisian composer Anouar Brahem, the percussion of the darbuka or the bendir of Lassad Hosni and the clarinet of Barbaros Erköse.

The result is that of a particular and relaxing sound, mystical (perhaps because it was recorded in the St. Gerold Monastery in Austria) but, above all, Arabic (there are versions of classics from the Ottoman Arab tradition), North African and Mediterranean ( visit the indissoluble fusion between Iberian and Maghrebi culture), and also influenced by jazz, with numerous instrumental solos, but without ever breaking the rhythmic and melodic line. Ideal to taste with a good Moorish tea.

01. Aube rouge à Grozny
02. Astrakan café
03. The Mozdok´s train
04. Blue jewels
05. NihawendLunga
06. Ashkabad
07. Halfouine
08. Parfum de gitane
09. Khotan
10. Karakoum
11. Astara
12. Dar es Salam
13. Hijazpechref
14. Astrakan café (2)

julio 11, 2020

Wally Badarou - Echoes - 1984

Badarou manages to create in “Echoes” a sophisticated synthesis, halfway between the danceable and enjoyable at rest, between the growing Dub experiments oriented to the Club (Larry Levan, Walter Gibbons and others would be influenced and really passionate about the magnificent “Chef Inspector ”), The tropical airs that arose from the mythical studio at Compass Point in Bahamas (where the Compass Point AllStars of Chris, owner, Island owner, resided with Sly And Robbie or Barry Reynolds together with Badarou, who programmed productions and instrumental section for titans like Herbie Hancock, Grace Jones, Spandau Ballet or Talking Heads, among many others) and experimentation with synthesizers like the Moog. The slow yet meandering beats, the refreshing combination of gentle melodies, and its environmental and ethnic resources created an archetype in itself.

Wally Badarou (vocals, piano, guitar, tambourine, mini moog, prophet 5, linn drum, synclavier)
Rebop Kwaku Baah (congas)
Kristina Bengtsson, Genevive Aucer, Andy Lyden, Frankie Gibson, The Gambier School Children (background vocals)

1. Keys, 2:20
2. Hi-Life, 4:42
3. Mambo, 4:57
4. Voices, 3:20
5. Canyons, 3:26
6. Endless Race, 3:41
7. Chief Inspector, 5:58
8. Waltz, 3:43
9. Jungle, 4:58
10. Rain, 3:01 

julio 02, 2020

Bako Dagnon - Sidiba - 2009

Mali has a very rich musical heritage. And Bako Dagnon is one of his living legends, in which it is not difficult to recognize the origin of the Africanity of the Cuban son, cumbia and many of the melodies that have been developed throughout Latin America.

After 35 years of career, Titati (2007) was her discovery to the world, a work that consecrates her among the great African artists. At Titati we can listen to 12 impeccable songs that show the tradition of the Mandingo culture of which Bako Dagnon is a great representative, a production based on respect for the unmistakable acoustic sounds of guitars, flutes, string arrangements with Arabian airs, some precious women's choirs, a double bass and a djembe. But the powerful and fine-tuned voice of Bako Dagnon is the true protagonist of the album, resulting in that magical atmosphere that great masterpieces have. The freshness that exudes the entire work is perhaps due to the direct recording technique, so used in Africa, with all the musicians in the studio at the same time.

In Sidiba (2009), a continuation of Titati, the stories told are of oral tradition, passed down from generation to generation through the griots. Both Titati and Sidiba give us the unique opportunity to get to know intimately the original melodies that are heard inside any Malian house. A precious work.

01. WouyaLarana
02. N'Ouhoumba
03. M'Ba
04. Le Guide De La Révolution
05. Sidi Ba
06. Badjigui
07. Tiga
08. Alpha Yaya
09. Kônô
10. FadeenTô
11. BèBéBorii No Fè