Radio Salone

Travel Through Music

Post Top Ad

mayo 25, 2021

Voodoo Ceremony in Haiti


Voodoo albums are cool (and extremely W&W).  Come our way via a follower to this blog.  Many thanks.  This album proved to be very elusive - now we have it!

Voodoo Drums

Nibo Rhythms

Prayer to shango

Petro Rhythms

Nago Rhythms

Invocation to "Papa Legba"

Dahomey maize diouba rhythms

mayo 21, 2021

Richard Bona & Mandekan Cubano - Heritage - 2016


Richard Bona's ninth studio album, Heritage (2016), is dedicated to the Afro-Cuban tradition, those musics that traveled together with slaves from the west coast of the African continent to the Caribbean. A painfully vast number of African men and women who were uprooted from their villages, stripped of what little they had and forcibly taken to plantations in America to be exploited. Music was all they could carry and keep in the new lands.

Heritage is a kind of Cuban rhythms as delicious as they are rhythmic, lilting, enveloping, danceable and festive that follow one another. The multi-instrumentalist virtuoso is accompanied by Mandekan Cubano to produce a memorable album: Osmany Paredes (piano and keyboards, Cuba), Luisito Quintero (percussion, Venezuela), Rey Alejandre (trombone, Mexico), Dennis Hernández (trumpet, Cuba) and Roberto Quintero (percussion, Venezuela). An ensemble in which the montuno dialogues with East African jazz and folklore. Hence the name "Mandekan", ritual of ancestors under the influence of the Douala, Bambara and Mandingan languages. An outstanding work, which once again confirms Richard Bona's ability to assemble cultures and influences without losing an iota of his elegance and sophistication. 

01. Aka Lingala Tè

02. Bilongo

03. Matanga

04. Jokoh Jokoh

05. Cubaneando

06. Essèwè Ya Monique

07. Santa Clara con Montuno

08. Ngul Mekon

09. Muntula Moto

10. Eva

11. Kivu

12. Kwa Singa

mayo 11, 2021

Ibímeni & David de Gandarias - LABUGA - Guatemala


LABUGA (the mouth) is a celebration of Garífuna culture consisting of a montage of traditional anonymous musical works with compositions by David de Gandarias, made from traditional music. The LABUGA compact is the audio of a multimedia montage that comprises live organic, electronic processing, computerized music, digital video, dance, theater and lights. In the montage LABUGA worked for approximately two years a group of Garífuna artists and intellectuals from Livingston, Izabal, Guatemala, together with a team of mestizo researchers and artists from Guatemala City. LABUGA is the place where the aesthetic heritage of the rural and traditional Garífuna merges, without hierarchies, with its own principles of the mestizo, urban and current.

LABUGA was born from the idea of ​​confronting racism through the establishment of real intercultural links and the expectation of entering new aesthetic and sound paths through experimentation.

The LABUGA compact is divided into four sections that correspond to various genres of traditional Garifuna music. Each of these parts is made up of an electronic composition based on certain instrumental or vocal features that characterize these styles, together with the performance of the live instrumental group in an electroacoustic way. The organic interprets –generally, at the end of each section– traditional compositions of each of these genres.

In LABUGA the digital resource corresponds, both to an expressive need, and to an awareness of contemporaneity. Electronic paraphernalia has been used to extend and magnify the instrumental and vocal gesture. The live participation of the traditional Garífuna group in direct interaction with the computerized sound elaboration specifies that process of exchanges between complementary universes that is the engine of this musical montage.

Ibímeni is the most important traditional musical group in the Garifuna community of Livingston. For the specific assembly of LABUGA the group has been directed by David de Gandarias (Notes from the brochure)




Elvira Álvarez

Berta Sandoval

Cosme Baltazar

Xiomara Norales


Sergio Núñez: garaon first (Garifuna drum)

Higinio Flores: garaon second

Máximo Ramírez: sísiras (Garífuna maracas)

Edwin Álvarez: sísiras

Isidro Bonilla: sísiras

Tulio Baltazar: garaon first

Gregorio Lucas: coordinator

David de Gandarias: electronic composition, editing, direction and production


01 – Chumba

02 – Jungújugu

03 – Abéimajani

04 - Punta

mayo 10, 2021

Hamza El Din - A Wish - Nubia

Hamza El Din (July 10, 1929 - May 22, 2006) was a Nubian composer, player of Oud, Arabic and Tar lute, Nile tambourine, and vocalist.

He was born in the village of Toshka, near Wadi Halfa in southern Egypt, and was originally trained to be an electrical engineer. After working in Cairo for the Egyptian national railway, El Din changed direction and began studying music at the University of Cairo, continuing his studies at the National Academy of Saint Cecilia in Rome; he also studied at the Ibrahim Shafiq Institute of Music and the King Fouad Institute for Middle Eastern Music, and traveled in Egypt on a government collection of popular songs. His performances attracted the attention of the Grateful Dead, Joan Baez, and Bob Dylan in the 1960s, which led to a recording contract and his eventual emigration to the United States. Like much in his Egyptian Nubia, his hometown of Toshka was flooded due to the construction of the Aswan Dam in the 1960s.

After his appearance at the Newport Folk Festival in 1964, he recorded two albums for Vanguard Records released between 1964–65; His 1971 recording Escalay: The Water Wheel is recognized as one of the first world music recordings to gain wide recognition in the West, and was recognized as an influence by some American minimalist composers such as as Steve Reich and Terry Riley as well as Grateful Dead percussionist Mickey Hart. He also performed with the Grateful Dead, most notably during their 1978 Egypt concerts. During this period, he also mentored some musicians, including Sandy Bull. Later, he released albums for Lotus Records and Sounds True. His album Eclipse was produced by Mickey Hart. He had a performance with the Kronos Quartet in an arrangement by Escalay in 1992. His pieces were occasionally used in ballet performances and plays.

El Din held some ethnomusicology teaching positions in the United States during the 1970s, 1980s, and 1990s at the University of Ohio, University of Washington, and the University of Texas at Austin, eventually settling in Oakland, California, after studying biwa in Tokyo, Japan, during the 1980s. In 1999 he released his last album, "A Wish".

Brilliantly playing the Oud (the forerunner of the lute, pipa and biwa) and the Tar (the ancient drum of the Upper Nile), along with haunting voice and fascinating compositions, Hamza El Din combines the pleasures and subtleties of the Arabic language with his indigenous music from his native Nubia.

In his masterful hands, the oud became a virtuous instrument and an accompaniment to his soft and hypnotic singing. He just created new music, essentially an Arab-Nubian fusion, but in line with the traditions. His music has captured the interest of millions of listeners in Europe, Japan, and North America.

Hamza El Din is a legend of music around the world, A Wish is the last of the 14 albums published during his life, again he has produced seven masterpieces Dedicated to Toshka, the town of his birth flooded more than three decades ago For the Aswan Dam project, the wish is Hamza's prayer remembering his home.

Along with cellist Joan Jeanrenaud (formerly Kronos Quartet), composer and pianist WA Mathieu, Jordanian percussionist Hani Naser, and Japanese Shizuru Ohtaka, among others, Hamza's mastery of the oud is as undeniable as ever. In his longing for home, he has kept the voice of his people alive and calm with the virtuosity of his performance, and has created a fine addition to humanity's musical heritage. 

1. Greetings (7:38) - comp. Hamza El Din, lyrics Ismail Hasan

2. Sunset (10:29) - Variations on a Theme of Riad El Sumbati by Hamza El Din

3. Anesigu (4:04) - comp. Hamza El Din, lyrics Mohammed N. Toshka

4. Griffin 2 (11:10) - comp. Hamza El Din, lyrics Ilia Abu Madi

5. Nagrishad (7:04) - comp. Hamza El Din

6. Samai Husaini (6:41) - comp. Kemani Tatyos Efendi, realized by Hamza El Din

7. A Wish (9:03) - comp. Hamza El Din, lyrics Mohi El Din Sherif

mayo 05, 2021

Blick Bassy - Hongo Calling


Blick Bassy takes us on a true live adventure, from Central Africa, through Benin, Senegal and Cape Verde, to Brazil. He invites us to travel with him through very different soundscapes, with eyes closed, as in the trance induced by the ceremonies of the idingo, an ancestral ritual of the Bassa people of him. Thus, we follow, through space and time, the different variations of the "mushroom", traditional music related to the "assiko" that marks the rhythms of the life of the people, through the good and the bad. From track to track, we ran into some wacky musicians ... but from the first to the last note, all we really hear is "some Blick Bassy" ... 

1 Liké 3:41

2 Nyango 3:28

3 Likanada 4:40

4 Hongo Lipèm 2:37

5 Bolo Mo 3:32

6 Ndjéck 5:30

7 Lola 3:32

8 Je Te Ya Mo 2:48

9 Iléla 1:04

10 Hémle 2:58

11 Sabada 3:20

12 Fala Português 3:12

13 Omaya 3:56

14 SDF 3:47

15 Lullaby Mangond 1:18 

mayo 04, 2021

Art Blakey - Dr. John & David 'Fathead' Newman - Bluesiana Triangle I - 1990


Three great veterans combine efforts on this recording for an album of blues-oriented staple material. In a classic jam session format, Art Blakey, Dr. John and David "Fathead" Newman join forces in a fun and diverse gathering of three virtuosos.

Bluesiana Triangle was an American jazz, blues, and funk group, featuring Dr. John (keyboards, guitar, vocals), David "Fathead" Newman (saxophone, flute), and Art Blakey (drums). They released two albums for Windham Hill Records. Their second album also featured trombonist Ray Anderson, drummer Will Calhoun (who replaced Art Blakey, who had died prior to the recording session for the second album), bassists Essiet Okon Essiet and Jay Leonhart (on different tracks) and percussionist Joe Bonadio, The resulting music again justifies the name, blues played in a funky Louisiana style with plenty of room for extended jazzy solos. Although much of the material was written by Dr. John and he sings from time to time, this is not a conventional Dr. John vocal album.

For the Windham Hill Jazz label, this album offers a fresh and powerful perspective on the blues genre, which some may feel has stalled. This group has breathed new life and excitement into music while remaining true to its roots. Bluesiana Triangle is an excellent and diverse collection from an equally excellent and diverse group of musicians who came together to celebrate the styles they know. 

Bluesiana Triangle is an album by Art Blakey, as well as the name of the short-lived American jazz, blues and funk group that recorded it, consisting of Blakey (drums), Dr. John (keyboards, guitar, vocals) and David "Fathead" Newman (saxophone, flute).

After Blakey's death, the group released a second album, featuring drummer Will Calhoun (who replaced Art Blakey), trombonist Ray Anderson, bassists Essiet Okon Essiet and Jay Leonhart (on different tracks), and percussionist Joe Bonadio.

Bluesiana Triangle I (1990)

01. Heads Up (5:44)

02. Life's a One Way Ticket (5:35)

03. Shoo Fly Don't Bother Me (10:15)

04. Need To Be Loved (3:42)

05. Next Time You See Me (4:50)

06. When The Saints Go Marchin' In (6:19)

07. For All We Know (6:37)

mayo 03, 2021

Varios Artistas - Retro Remix Quality - 241 - 2019












11.Edward Maya&VikaJigulina-StereoLove(FETISHRemix)




























39.TheResistance-Plan X(Ognennaya-strast.npwY"•MykotankRmx!)










49.JoyceKidd-ThankU,Next(Git UpRemix)