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diciembre 20, 2021

Zani Diabaté & The Super Djata Band - Mali

 


Zani Diabaté, a prominent guitarist for the Djata Super Band, one of Bamako's most popular bands during the 1980s, joined the National Ballet in 1963, where he sang, danced, and played guitar, kora, balafon, and percussion. In his spare time, he played the harmonica, Harmonica Jazz, and later formed the band with Ganoua Daouda Sangaré playing kamalenn'goni and on vocals, and with Maré Sanogo on djembé. In the early 1970s, the Ganoua Band was named the 3rd Mali National Orchestra. When they were out of work, Zani and his bandmates decided to switch to a private band they called the Super Djata Band. It was in 1974 when they began to record for Radio Mali.


The sound of Super Djata, is based on the soft malinke sound, melodies and Bambara rhythms, highly colored by the outstanding guitar of Zani Diabaté. 


Ensemble – Super Djata Band

Bass – AbouDrahamaneCamara

Drums – LamoussaDiabate

Guitar – OusmaneDicko

Keyboards – DoumankeKoita

Lead Vocals – Daouda "Flani" Sangare

Percussion – Bemba Dembele

Percussion, Timbales – BakariDiabate

Vocals – Alou Fane, IdrissaMagassa, SaliaSanogo

Written-by, Guitar [Lead] – Zani Diabaté


Super Djata

Bina

Djegnogo Djougou

Randjila

Tindoro

Noumousso

Facia

Farima

Fadigna Kouma


diciembre 19, 2021

Youssou N´Dour - Immigrés - Bitim Rew - 1984

 


Immigrés-BitimRew (1984) was YoussouN´Dour's first studio-released album, an album considered one of the pillars of African music and one that music critics have included among the 1000 albums of all time. Distributed in 1989 under Virgin's Earthworks collection, it ranked Youssou N'Dour as the most valued in the West of all African musicians, and as a bulwark of mbalax, Senegal's popular music. The mbalax is a combination of traditional griot music and the influences of Afro-Cuban rhythms brought from the Caribbean to West Africa during the 50s and 60s of the last century. In the 70s this mix was steeped in the rhythms of Senegalese dances, including electric guitars and saxophones, tama solos, contributions from Sufi religious music, and the influence of rock and jazz.

Immigrés is a rare concept album for pop-rock-educated ears. In the first place, due to the distribution: four very long songs for a very short album and, above all, due to the need to adapt our ear for the full enjoyment of a rhythmic polysemy that radically differs from the much more basic forms to which the rock had gotten us used to it so far.


In these songs (with lyrics that evoke traditional stories from their country), the ingredients seem to have an independent life of their own. They circulate along its lane, intersect with other sections or rhythms, the melodies are sensed and disappear barely outlined; they are swept away by the keyboards, they are returned or not by the guitar, and all under the guise of an unpredictable jam between Youssou and his people from Le SuperEtoile de Dakar, which end up taking on an iron and secret coherence.


Immigrés: three songs made of devilish successions of rhythms and a song (if we can call it "Pitche Me") with a much more ceremonious appearance and where the beautiful voice of N'Dour leaves us knocked out with impossible arabesques. A call to his fellow immigrants and a sample of his efforts to bring his music to the rest of the world. 


Tracks list:

01. Immigrés/BitimRew

02. PitcheMi

03. Taaw

04. Badou




diciembre 19, 2021

World Music Network - The Rough Guide to Merengue & Bachata - 2001

 

01. Antony Santos - Dejelo Ahi

02. Frank Reyes - Lo que le gusta las mujeres

03. Eddy Herrera - Su Mirada

04. Aramis Camilo - El Repollo

05. Teodoro Reyes - El Matatan

06. Samuelito Almonte y su Conjunto Tipico - Que Pena

07. Luis Melo - Que diran la gente

08. Raulin Rodríguez - Las mujeres de quisqueya

09. Nelson Roig - El dueño de la noche

10. Luis Vargas - La Cosquillita

11. Pedro Veras - Te la compro

12. Luis Segura - Los Celos

13. Blas Duran - Crei

14. Samuelito y su Conjunto Tipico - Me Enamoro

15. Rumbanda - El toro joco

16. Antony Santos - Te dare una robaita

diciembre 16, 2021

Tamikrest - Tamotait - 2020

 

Tamotaït, their most powerful album since 2013's acclaimed Chatma, finds the band not only turning up the volume but also sharpening their meditative atmosphere and reflections on the state of the Sahara and the world beyond. It features the acclaimed Moroccan singer Hindi Zahra and a cut song featuring traditional Japanese musicians.



Sometimes the music is more than the notes played or the words sung. Sometimes it is a spirit that ignites and burns with a dangerous and dazzling flame. On Tamotaït, Tamikrest's fifth studio album, the music is bright and long. With the political situation so volatile and desperate in the Saharan ancestral lands where Tamikrest comes from, this is more than an album. This is resistance.



But there is also the dream of the future. "The definition of the album is there in its title," explains singer, guitarist and songwriter Ousmane Ag Mossa. 'Tamotaït means hope for a positive change'.



Change as an end to the fighting that has plagued northern Mali and the wider region for the past few years; changes such as the opportunity to thrive within their own homeland, Azawad, a proto-nation that nomadic Tuareg (or Kel Tamasheq, as they prefer to be called) briefly possessed in 2012. It is music fashioned from thoughts, dreams, inspiration and more. everything, collective experimentation.



“We are a band and when we play together everyone contributes their way of playing. For compositions, some pieces start from a riff, another part from a melody or rhythm, and each musician adds his input afterward. The idea was to keep a common thread that comes from Tamasheq music and take it through different worlds, whether they come from our influences or from our encounters during our travels. '



Tamotaït is the most expansive and adventurous album Tamikrest has made, exploring every corner of their sound. There is even music that they made far from the Sahara, in Japan. On tour there, Ag Mossa had been very impressed by the sound of his traditional instruments.



“I decided to return to learn more about the culture and the music. During my visit, I composed some songs on one of the remote islands of Japan. And since the composition of this album started in the desert and ended in the islands of Japan, we think it was a good idea to reflect this on the album as well. '



Most of Tamotaït, however, was recorded in rural France, working with producer David Odlum (Glen Hansard, Gemma Hayes, Tinariwen), leaving his mixing role at the band's 2016 release, Kidal.



'We wanted to make a modern album but with vintage sounds, and we fell in love with his studio, Black Box, when we visited him a few years ago,' explains Ag Mossa. “We wanted to work as much as possible on the sounds beforehand and not leave everything to mixing. So we spent time with him, finalizing the arrangements before we started recording, and he also helped us a lot in choosing amps and microphones. "



The Odlum effect is especially evident in 'Anha Achal Wad Namda'. Just hear that moment when Ag Mohamedine's uptight rhythm section, Cheikh Ag Tiglia (bass) and Nicolas Grupp (drums) spring into action and the track soars into the stratosphere with a full-throated roar. It's the pure and perfect bliss of rock, a reminder of how music can speak with such a commanding voice, and why a decade after its acclaimed career, Tamikrest has become one of the best rock and roll bands in the world. . 


1. Awnafin

2. Azawad

3. Amzagh

4. Amidinin Tad Adouniya

5. As Sastnan Hidjan

6. Timtarin feat. Hindi Zahra

7. Tihoussay

8. Anha Achal Wad Namda

9. Tabsit