Archive for ‘World’

octobre 15, 2010

Lloyd Miller & The Heliocentrics – Lloyd Miller & The Heliocentrics

https://i0.wp.com/www.lemellotron.com/wp-content/uploads/lloyd_miller_heliocentrics.jpg

http://jazzscope.com

http://www.myspace.com/drlloydmiller

http://www.stonesthrow.com/nowagain/heliocentrics

http://www.myspace.com/heliocentrics

Origine du Groupe : North America , U.K

Style : World Music , Psychedelic , Instrumental

Sortie : 2010

Né en Californie en 1938, Lloyd Miller commença à jouer du piano très tôt. Curieux de nature, il devint rapidement un multi-instrumentiste de renom. Il séjourna plusieurs fois en Europe ou il
joua avec les plus grands : Bud Powel, Kenny Clark, il découvrit avec ces artistes une ouverture culturelle vers les musiques du Moyen-Orient, il n’aura de cesse depuis ces rencontres de mêler la
tradition orientale et la modernité du jazz. C’est aujourd’hui avec The Heliocentrics  qu’on le retrouve pour un coup de maitre, il reprend ici son Spirit Jazz et grave une poignée de plages
où éclatent sonorités indiennes, balinaises, persanes. La grande qualité de cet enregistrement réside dans le respect que The Heliocentrics accordent à l’univers du maitre, sagesse héritée de
leur passé de backing band au coté de Madlib ou encore Shadow. Une bien belle rencontre a mettre au compte du non moins excellent label Strut.

par maï

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Tracklist :

1 Electricone (3:42)

2 Nava (4:55)

3 Pari Ruu (4:15)

4 Salendro (2:08)

5 Spirit Jazz (6:55)

6 Modality (3:19)

7 Rain Dance (3:22)

8 Lloyd Lets Loose (3:30)

9 Bali Bronze (6:14)

10 Latin (3:16)

11 Charhargah (4:07)

12 Sunda Sunset (5:39)

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octobre 13, 2010

La Caravane Electro – Tziganotronic

http://www.tire-laine.com/caravane.htm

http://www.myspace.com/lacaravaneelectro

Origine du Groupe : France

Style : Electro World , Electro Dub , Alternative

Sortie : 2008

From Official Myspace :

Le trio qui deviendra la Caravane Electro s’est formé vers 2000 à Lille autour de la pratique de la musique classique indienne : Jean Bernard Hoste aux tablas, par ailleurs batteur (Taraf Borzo),
Ambroise Yon, jeune tablaiste pakistanais, et Benjamin Collier au sitar, guitariste dans des formations electrofunk ou dub comme DaTaz ou Dubians.

À l’époque JB Hoste fait déjà partie de la Compagnie du Tire Laine, collectif qui gère plusieurs projets musicaux influencés par les musiques tziganes. L’idée germe alors au sein de la Compagnie
de confronter musiques traditionnelles indiennes et tziganes aux programmations electro, dans le cadre de concert d’un nouveau genre. La Caravane Electro donne son 1er concert en mars 2001 avec
le Taraf Borzo.

Sans finalité discographique au départ, la formation étoffe son répertoire, et sort en 2003 avec l’aide de Cyrille Brugère, ingénieur du son du groupe, un mini album 7 titres qui suscite
l’intérêt de nombreux professionnels et musiciens. On trouve sur ces morceaux un contrebassiste de l’ONJ (Nicolas Mahieux), des membres du Taraf Dekalé, le bassiste des Dubians (Marcos Cunat)

Parallèlement, le live s’enrichit de l’arrivée de la danseuse Manjushree et de Bergast, artiste plasticien, qui crée une installation de projection d’images innovante et originale, outre la
présence de Lord Bitum au micro. En 2004, La Caravane Electro écume les festivals en France et à l’étranger (Sziget Festival de Budapest), se fait remarquer au Printemps de Bourges et aux
Transmusicales de Rennes, invite Jamalski, Sista Scotie ou encore Mahabub Khan (Transglobal Underground) pour quelques concerts mémorables.

2005 voit la sortie attendue de l’album « tziganotronic », qui réunit 14 titres où l’on trouve à nouveau des musiciens invités : le Taraf Borzo, la chanteuse Norig, DJ Ill de Waz recordz. Mister
Samy a désormais remplacé Lord Bitum sur scène. La Caravane Electro travaille sur de nouveaux projets live avec la fanfare Panika, et prépare déjà pour son prochain album quelques remix du Taraf
Dekalé.

 

Tracklist :

01. Dehka

02. Fanfarelectro

03. Nu Gin

04. Gypsy Princess

05. Neil’s Interlude

06. Ballad of Haïdouk

07. Klezmatik

08. Neil’s Theme

09. Street number

10. Immense reward

11. La roulotte

12. Romane Tzigane

13. Radio

14. Farkass

mp3

 


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octobre 8, 2010

Ali Farka Toure & Toumani Diabate – Ali and Toumani

https://i1.wp.com/www.kotonteej.com/wp-content/uploads/2009/12/ali-farka-toure-toumani-diabate.jpg

http://www.myspace.com/alifarkatoureofficial

http://www.toumani-diabate.com

http://www.myspace.com/toumanidiabate

http://www.worldcircuit.co.uk

 

Origine du Groupe : Mali

Style : Africa Blues , World  Music , Folk

Sortie : 2010

 

media player

 

Après avoir enregistré un premier album en duo (In the heart of the Moon), Toumani Diabaté et Ali Farka Touré étaient retournés en studio quelques mois après, pour une nouvelle session
d’enregistrement à Londres. Une intimité artistique entre les deux hommes, rendue vivante grâce à l’album qui sort ces jours-ci, Ali & Toumani.

eux prénoms, deux sons, deux visions qui racontent une même histoire : les grandes épopées du Mali que ces deux musiciens, Ali Farka Touré et Toumani Diabaté, ont largement contribué à diffuser
au-delà de la sous-région depuis les années 1980. C’est cela que célébrait In the heart of the moon, un disque né de leur rencontre autour d’un classique, Kaira. Ce ne devait être qu’un duo, ce
deviendra un enregistrement mythique, le symbole de l’entente parfaite entre le guitariste et le joueur de kora, un dialogue instruit, le temps de trois séances improvisées.

Tant et si bien que le producteur Nick Gold les conviera à Londres un an plus tard, en 2005, afin de creuser au plus profond ce sillon. « Je crois que cet album est plus fort, plus sage et
meilleur… », analyse après-coup Toumani, unique survivant de cette session de trois après-midis londoniens où était également convié le contrebassiste cubain Cachaito Lopez, décédé l’an passé.

Du coup, on ne peut s’empêcher d’écouter Ali & Toumani comme un document-testament musical de la première importance. Certes, mais ce serait réduire la portée de ce moment de grâce que de
l’écouter de cette oreille-là, à savoir le circonscrire à une qualité d’hommage posthume.

Car, au-delà de la mort, Ali & Toumani est une vibrante ode à la vie, l’émouvant témoignage pour l’éternité de moments partagés en toute intimité et sérénité acoustiques où les cordes
sensibles de ces trois maîtres de musiques se mêlent pour ne formuler plus qu’un seul message de paix et de sagesse.

par Jacques  Denis

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Tracklist :

1. Ruby

2. Sabu Yerkoy

3. Be Mankan

4. Doudou

5. Warbe

6. Samba Geladio

7. Sina Mory

8. 56

9. Fantasy

10. Machengoidi

11. Kala Djula

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octobre 6, 2010

Viva Tirado – La Indecente

https://babylonburnradi0.files.wordpress.com/2010/10/caratula.jpg?w=300

http://www.myspace.com/vivatirado

Origine du Groupe : Spain

Style : Folk , World , Alternative , Rumba , Salsa

Sortie : 2005


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Viva Tirado es una formación mixta en la que predomina la fusión de músicas de muy diverso índole. En el álbum ‘La Indecente’ se pueden encontrar desde temas reggae hasta rumbas, flamenco y
tangos, pasando por el inigualable son cubano. Canciones de sexo, amor y otros menesteres son las que abundan en este disco lleno de ritmo y sobre todo de buen rollo.

Actualmente se encuentran preparando lo que será su próximo disco ‘Rodando las calles’ en el que prometen mantener su inconfundible fusión de estilos añadiendo toques funk, ska ó jazz. Gracias a
la familia de Renombra2 por este disco (incluido arte + letras).

by Liberando Musica

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Tracklist :

01 – Me voy de barras

02 – María Ladrón

03 – Masturbación

04 – Rodando las calles

05 – La Pepi

06 – Droga dura

07 – Que no

08 – La indecente

09 – Tengo el corazón

10 – Mercado negro

11 – Loca

12 – WC

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octobre 2, 2010

V.A – The Very Best Of Ethiopiques

https://babylonburnradi0.files.wordpress.com/2010/10/mantdcd245.jpg?w=300

http://ethiopiques.info

 

Origine du Groupe : V.A Ethiopia

Style : World Music , Jazz World , Ethio-Jazz

Sortie : 2007


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From Official Site :

Over the last 10 years, music aficionados across the world have become familiar with Francis Falceto’s remarkable work re-releasing vast quantities of modern Ethiopian music as
‘The Ethiopiques series’ on Buda Musique. But now this enthusiasm has spread to infect another top re-issuing label, as Union Square Music have taken it upon themselves to assemble an Ethiopian
music collection with a different slant. An enormous undertaking, drawing from all 21 volumes of the original ‘Ethiopiques’ series, ‘The Very Best of Ethiopiques’ (2CD) represents a new take on
Ethiopian Music as compiler and sequencer Iain Scott (assisted by Steve Bunyan and Francis Falceto) has made the first ever compilation of modern Ethiopian music specifically for the contemporary
western ear.

CD1 breaks new ground by focusing on modern Ethiopian tracks able to shake dance floors as much as any world music connoisseur’s mp3 headphones. Aimed at all those who were
dazzled by re-issue releases such as Russ Dewbury’s ‘Africa Funk’ 1998 (exposing Fela Kuti and Manu Dibango to a club audience for the first time), this does the same for ‘Ethiopian Groove’,
offering a sparkling collection of songs bursting with Ethiopia’s unashamed and open enthusiasm for absorbing the influences of 1960-70s Afro-America. Throw into this mix a few more tunes made
popular by the soundtrack for Jim Jarmush’s ‘Broken Flowers’ and you have the ultimate Ethiopian cross-over selection.

CD2 is a little different. A real delight for those slightly more accustomed to the exotic differences of World Music, as here the groove is hidden more deeply within,
requiring time to grow but then emerging more with each listening. If CD1 is the Ethiopian ‘Master Cuts’, then CD2 is the Ethiopian ‘Buena Vista Social Club’ selection, defining a unique modern
music scene at its discernible peak.

With ‘The Very Best of the Ethiopiques’ (2CD) perhaps the last great hidden treasure troves of modern African music has finally been made available to the mainstream
public.
A very special occasion indeed.

Enjoy!

 

Tracklist :

1. Tesfa Maryam Kidane — Heywete

2. Mulatu Astatqe — Yekermo Sew

3. Mulatu Astatqe — Yekatit

4. Girma Beyene — Enken Yelelebesh

5. Bahta Gebre Heywet — Ewnet Yet Lagegnesh

6. Mulatu Astatqe — Gubelye

7. Mahmoud Ahmed — Ere Mele Mele

8. Mahmoud Ahmed — Metcha New

9. Alemayeha Eshete — Tchero Adari Negn

10. Alemayeha Eshete — Telentena Zare

11. Wallias Band — Muziqawi Silt Play

12. Ayalew Mesfin & Black Lion Band — Gedawo

13. Tlahoun Gessesse — Tchuheten Betsemu

14. Menelik Wesnatcher — Tezeta

15. Tsegue Maryam Guebrou — Mother’s Love

16. Tlahoun Gessesse — Sema

17. Tewelde Redda — Milenu

18. Beyene Habte — Embi Lla

19. Mulatu Astaqe — Tezeta

20. Girma Beyene — Set Alamenem Play

21. Muluqen Mellesse & Dahlak Band — Bene Mote

22. Getatchew Mekurya — Antichi Hoye

23. Tlahoun Gessesse — Kulun Mankalesh

24. Getatchew Mekurya — Shellela

25. Seyfu Yohannes — Mela Mela

26. Mahmoud Ahmed — Atawurulegn Lele

27. Mahmoud Ahmed — Fetsum Denq Ledj Nesh

28. Alemu Aga — Abatatchen Hoy

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octobre 1, 2010

Sasha Sokol – Por Un Amor

https://babylonburnradi0.files.wordpress.com/2010/10/sasha_sokol-por_un_amor-frontal.jpg?w=300

http://www.sashasokol.org

http://www.myspace.com/sashasokoloficial

Origine du Groupe : Mexico

Style : World Music , Flamenco , Vocal

Sortie : 2004


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When I heard Sasha was going to record an album of rancheras I really did not know what to expect. She does not possess the booming voice of most singers of this genre. But that’s ok. Sasha’s
never had much of a voice to brag about. But that’s what I like about her. The honesty, the emotion that she evokes, the simpleness. Right off the bat one will notice the obvious influence of say
Chavela Vargas. Don’t dismiss this as a knock off. Sasha has taken traditional rancheras and stripped them down to their barest musical elements while adding to them jazz and even flamenco
(influenced probaby by her new residence in Madrid). I admire her for baring her soul as an artist and taking the biggest risk of her career. This album is at times dark, moody, but aren’t a lot
of rancheras? Sasha congrats on an amazing artistic achievment. I just hope the US will be exposed to this album as well. Also note that the Mexican edition of this CD (due in August) will differ
slightly to this Spanish edition (tracklisting mainly). If you can get your hands on this you will not be dissapointed.

by Joseph Valenzuela « milwaukee sister »

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Tracklist :

1 Por Un Amor

2 Te Solté La Rienda

3 El Crucifijo De Piedra

4 Arrastrando La Cobija

5 La Cucaracha

6 De Los Pies Hasta La Frente

7 Ella

8 En La Borrachera

9 El Gustito

10 La Noche De Mi Mal

11 Paloma Negra

12 Cuando Sale La Luna

 

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octobre 1, 2010

Samuel eLe Rumba – Despertares

https://babylonburnradi0.files.wordpress.com/2010/10/fronttxy.jpg?w=300

http://www.myspace.com/semossamuelelerumba

Origine du Groupe : Spain

Style : World Music , Rumba , Flamenco , Alternative

Sortie : 2009


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Este grupo de Sabadell, al igual que muchos grupos de los que han aparecido por estos lares, se caracteriza por la riqueza y la cantidad de registros musicales que incluye su música, entre los
que se encuentran la rumba catalana, el flamenco, la música latina, el funk, la bossa-nova ó el jazz, lo que nos garantiza un continuo espectáculo lleno de sabor, ritmo y fiesta dentro y fuera de
los escenarios, es decir, arte pa’ jartarte.

Después de varios años de conciertos y de asentamiento del grupo, este año lanzan su primera maqueta llamada ‘Despertares’, grabada en los estudios ‘La Butxaca’ de Sabadell. Compuesta por cinco
temas que representan las vivencias de la banda, este trabajo hará las delicias de los aficionados a esta fusión de músicas.

Actualmente, Samuel eLe Rumba está formada por 9 integrantes: Yolanda (voz), Helios (guitarra), Luis (bajo), Marc y Pol (percusión), Oriol (batería), Oleguer (flauta travesera), Junior (teclado)
y David (técnico de sonido).

by http://liberandomusica.blogspot.com

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Tracklist :

01 Tangos de afrodita

02 Mi vida

03 Buleriosa

04 La brocha

05 Noches de verano

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septembre 30, 2010

I.K. Dairo (M.B.E) – And his Blue Spots

http://bradwrolstad.files.wordpress.com/2010/07/i-k.jpghttp://en.wikipedia.org/wiki/I._K._Dairo

Origine du Groupe : Nigeria

Style : World Music

Sortie : 1968

 


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Whereas the last twenty years have seen a colossal amount of research carried out into all forms of black American traditional and popular music, the equivalent developments in Africa, often
reflecting and drawing from these cultures, has largely been overlooked.  The music of Africa is as diverse and as complex as the continent itself.  In addition to the countless forms
of native tribal music, many fascinating musicals hybrids have developed as a result of foreign influence – American, British, Latin, Arabic and Cuban amongst these.

The two most popular forms of West African popular music are currently High Life and Juju.  Broadly speaking, and I must stress this, High Life is essentially Ghanaian in origin, favouring
driving brass sections while Nigerian Juju music is more reflective and heavily features the guitar.  An easy, though not entirely satisfactory, comparison would be between R&B/Soul
(High Life) and Blues (Juju).

The development of Juju as a recognisable form also closely resembles that of the Blues from a rural background (the field holler and country dance tune) to a modern brash popular form (the music
to be heard in a South Chicago bar).  Juju is based on the centuries old traditional music of the Yoruba – choral singing and complex percussion – and was brought from the Nigerian
countryside to the towns of Lagos and Ibadan by migrant workers in the Twenties and Thirties.  Here the guitar lead was assimilated, often Western influenced, and, as cheap imports became
available, progressively amplified.  As with the Blues, Juju is essentially dance music however the vocals are far less radical or rebellious, normally extolling the virtues of traditional
Yoruba values and achievements.

Although not the founder of Juju, I K Dairo MBE was an important and influential exponent of the music and a top selling African recording artist of the sixties.  This article is a portion
of a slim volume ‘Songs of I K Dairo MBE’ delightfully written by Benson Corporo Okagbare, printed by the Nigerian National Press and published in 1969.

Isaiah Kehinde Dairo, a humble, gentle and a very polite man who today is and who forever may be holding the hegemony of the Juju empire was born in 1930 at Offa in Northern Nigeria. 
ikdairo1.jpg – 15.5 KThis genius who brought Yoruba’s indigenous Juju to nation-wide recognition attended the CMS School at Offa for only two years after which financial strains forced him
out.  In company of his retiring father who served the Nigerian Railway Corporation as a carpenter for many years, he left Offa for Ijebu-Ijesha – his hometown.  The year was 1937.

Shortly before they were to leave Offa something remarkable happened: the father drawing on his carpentry skill made a drum for young Dairo.  Little could it be guessed that such a gift
summarised his whole mission on earth.  Isaiah was so fond of this drum that he would not part with it – early in the morning, at meal time, going to fetch water or doing any other thing his
drum was beside him.

At Ijebu-Ijesha, he became a barber after some months of training.  When he was not busy at barbing, he was on his drum so much that his father was alarmed.  At evenings he would go and
watch his predecessors of Juju music at play.  These were Orioke, Oladele Oro and Mike – all of whom were then based at Ijebu-Ijesha.  From the knowledge I K gained from his father as a
carpenter, he made drum after drum for himself.  Not long after, he succeeded in gathering some boys to make up a band.  One Taiye Igese was the captain.  This was in 1942. 
The band soon broke up .

Dairo who afterwards was to become the most popular of Nigerian musicians, went to Ede as an Osomalo – a pedestrian cloth seller from one locality to the other.  He did this for four years
after which he became a road worker for six months.  When he saw that pays were not regular, he became a labourer clearing cocoa farms at Oko Apara near Oshogbo.  At Oshogbo I K heard
rumours about the construction of the Queen’s College, Ede and of the Ede Water Supply Scheme.  Soon after, he was at Ede working in these undertakings under Cappa and D’alberto.  Wages
then ranged from l/9d to 2s daily.  Kehinde made a little of savings at Ede and with this he came to Ibadan.  At Ibadan, he again worked with Cappa and D’alberto who were then busy on
the University of Ibadan.  This was the place where I K experienced the greatest hardship.  He carried blocks upon blocks on his bare head so much that these shove a ring on this
head.  He was, however, relieved of this heavy labour when he was made a carpenter.  Pays there were within the range of l/9d and 2/3d daily.  I K indeed did much of labourer work
to earn a living: to free himself from the fetters of inherited poverty.  What an encouragement to some of us!  If Isaiah had not inherited wealth, and if he had none thrown to him, he
was bent on achieving one.  And this he has done.

Kehinde did not at any time leave his drum behind.  At day, he did his manual labour; at night he played with Ojoge Daniel – a Juju musician based at Ibadan.  Ojoge soon stopped him and
I K sought fresh avenues.  Jobless he roamed for some time until advised by one Enoch to work with Hausa labourers in producing gravels for road.  In those days labourer work was much
valued and before one was taken he must have, at least, seen the foreman – to offer some sort of bribe.  This was probably the only certificate required for entry.

Having wandered so long, I K felt homesick.  Twelve years had elapsed since he left home and he had yet nothing.  So with only a sixpence a guitar and carpentry tools, he reached his
place of birth.  With nothing but confidence, he formed his first band.  The year: 1957.  They were all ten.  The band went by the name Morning Star Orchestra.  They were
invited to marriage ceremonies, burials, etc.  to play.  Fame attended this group and in 1961 they were to compete with some other Juju bands at the WNBS/TV.  I K won of the 16
artistes invited.  The new name of Blue Spot is also traceable to this time.  Of the many that I K could remember connected with this name are one European ‘Black Lench’, MacGregor,
Adebo, Olu Falomo and Kunle Olasope.  I K thanks all of them.

I K has played in various foreign countries.  He has played in England and he represented Nigeria at the Negro Arts Festival held in Dakar in 1965.

I K Dairo was the first African Musician to be honoured with the title of Member of the British Empire (MBE).  He has won this owing to his originality and the improvement he gave to the
Juju Music – an improvement, an innovation, which can hardly be forestalled by any living artiste.  ikdairo3.jpg – 17.0 KHe introduced the talking drum into Juju, he introduced the accordion
and made the guitar an essential part in Juju music.  The father of Juju is as old as the Yoruba race but the father of modern juju is I K Dairo.  This is particularly seen in the
number of Juju musicians that have sprung up following closely the footprints of I K Dairo.  Some, which are also admirable, have been striving to reach I K Dairo’s record.  In this bid
they have not only imitated I K’s brand of music, they have gone the whole length to copying his exact words and ideas.  They add slight changes to effect disguise.

The ship of the Blue Spot hit a huge cataract on the 23rd day of February, 1968 after a long laborious journey for eleven years.  The nine people with whom I K Dairo started in 1957 left on
this date.  The nine could not advance any reason why they decided to leave.  On their departure, I K gave to them the van they were formerly using, and also placed at their disposal
all the playing instruments which he bought for them.  The nine have long formed a band that operates here in Lagos.  I K has since made up a new Band which is indeed superior to the
former.  His later songs Ekun Rere and Baba Nigbati nba sako lo state this vividly.

The Yorubas are famous for their enjoyment of life.  They therefore have a variety of music: they have the Juju, the Sakara, Bembe, Were, Pankeke, the Apala and many others.  Each of
these has its origin from one or a combination of the dialects.  Juju comes from Ondo Province, Ijebu is very much associated with Apala and Sakara Pankeke is famous in and around Ilorin,
etc.  The Juju through I K Dairo has been the only one which has won not only national attention, but also international recognition.  Haruna Ishola has put the Apala on a line of fame
too.  It is currently attracting audience from non-Yorubas.  He is particularly famous in Dahomey where the Ajase people prefer his records in their radio request programmes .

I K has a character trait which is peculiar to him; he does not like to be interrupted when he talks and if you interrupt he will go on talking without a break in the line of thought .  This
peculiar character trait is much to his advantage.  In any hotel, whenever he is playing and Bacchus is at work, people go very close to him. Some even go to the extent of entering on the
stage to talk to him. All these do not disturb I K.  In certain cases when the crowd – particularly girls, in miniskirts crowd on him while playing, he will close his eyes to avoid
distraction; he prefers the audience far from the playing stage.  I K is one of the greatest admirers of beauty; he has a great likeness for girls but he loves them and admires them as he
would his sisters.  This is another candle placed on a candlestick.  I believe others will see light.

« The girls I sing of are not my girlfriends or lovers.  In certain cases I pick up certain names and sing of them.  Most of the characters are fictitious I am currently composing a song
on Sunbo – I know nobody of such a name.  I sing of girls and of ‘love’ because these are, in face essential factors in our lives.  They are necessary compliments to whatever we are
‘Love’ is indeed one of the essential ingredients of music and love songs are most appealing to all and sundry.  I therefore sing them merely to give satisfaction to the people whom I am
happy to see satisfied.  I have carefully avoided flooding the market with such songs as they are most likely to encourage immorality ».  I K then concluded that if a musician was to
retain his glory long he must abstain.

I K is a Christian and he belongs to the Aladura sect (Seraphim and Cherubim).  He and his family have chosen to serve the Lord.  All along with his music, I K Dairo observes his
religious duties.  ikdairo2.jpg – 14.0 KSome of his songs are religious some are taken from song books and are adapted to the rhythm of the juju music.  The tone and the language of the
psalmist are detectable in some of his songs.  He is a preacher and a reformer through the medium of record.

One of the reasons why I K s records sell like hot cakes is that they are full of prayer and good counsel.  Any sane man will prefer good statements of prayer and advice to those of
meaningless collection of sound – or less so, of curse, abuse, sorrow or regrets.

It is necessary at this point to state that most of I K’s 80 songs are in two or three parts.  Sometimes these parts are related sometimes they are not.  Any listener to a record of I K
will note that beats change after certain intervals.  When these happen it is usually another song within the same record.  This is a good device for eliminating monotony from his
songs.  This system is being employed by all musicians irrespective of brand.  It is the same thing outside the Yoruba World.  English songs are not like this.  For a record
there is only a theme.  Monotony is broken by instrumental interludes and the song resumed – it is never another song as in the case of Nigerian songs.

I K is no factionist.  He is not politically inclined.  He sings of people in different parties.  He sings of Kola Balogun, of Chief Awolow, of Late Major-General Ironsi and of
Major General Gowon.  He is more of an objective commentator on current Nigerian Affairs.  He is no tribalist nor a stooge of any power.  His songs in Urhobo, Hausa, Edo, Akan and
in some other languages are living witnesses to this.  I K sticks tenaciously to conviction.

He is a true embodiment of public opinion.

by Benson Corporo Okagbare

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Tracklist :

1 Taxi driver

2 Iku ye lori mi

3 Baba dami lare

4 Allau mo soli

5 Ijo olomo

6 Okan mi yo ninu oluwa

7 Bebe yi ga

8 Eri moha iye mi

9 Oluwa a da

10 Okan mi yin oba orun

11 Oju momi si pere ode

12 Baba mi gba nba sako

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septembre 29, 2010

V.A – Indestructible Beat of Soweto Vol.2 : Thunder Before Dawn

https://babylonburnradi0.files.wordpress.com/2010/09/indestructiblebeatvol-2front.jpg?w=300

Origine du Groupe : V.A South Africa

Style : World Music

Sortie : 1987


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Perhaps the easiest way to understand the differences between the Real World and Earthworks labels is to understand the differences between socialism and populism.

The Real World label, as formed and popularized by Peter Gabriel, features recordings from assorted artists around the world. Listening to most such recordings, the phrase which might most easily
enter the mind of the listener is « cultural displays ». That is to say, the « art » frequently seems quite deliberate — and, if not quite Westernized, nevertheless somewhat removed from
street-level scene in the musician’s place of origin. Some exceptions obviously exist, but the albums released in this series tend to have the same ethos about them as do government-funded art
projects in North America.

From my perspective — admittedly somewhat removed from the cultures in question — the Earthworks label is a bit different. One frequently gets the impression, listening to these records, that
the music would not be out of place in the casual venues of such cultures. In cruder terms, this might be more in line with the sort of music that profit-based corporations use for their
day-to-day business (though, given the economies of scale in many Third World nations, the practical impact of this assessment is probably rather limited).

This reviewer will not take a side my favouring one side over another — both have their place in the greater musical economy, and both promote forms of musical expression which the other is not
likely to touch upon. Nevertheless, this distinction may be of some importance in understanding the impetus behind works on these labels.

One frequent characteristic of populism is a misleading « front » or « cover » for the substance of the entire thing. This is certainly the case with Thunder Before Dawn (a.k.a. The Indestructible
Beat Of Soweto Vol. 2). The front cover of this release shows a group of South African tribesmen in a ritual dance, with one prominent figure in mid-air and possibly about to jab two spears into
the ground before him. This cover suggests that the music on the release will be traditional tribal fare. As per the above description, this is not quite the case — rather, the music seems more
appropriate for a tavern or club atmosphere … or perhaps even a specialized radio format.

That aside, this album does yield some interesting discoveries about black South African music in the dying days of apartheid (for the uninitiated, that is). Perhaps my greatest surprise,
listening to the work, was the predominance of Hammond organ chops in the musical setting — the vocal harmonies, rhythmic guitar lines and non-standard beats were all somewhat predictable; the
Hammonds were extremely less so. I’m quite curious as to whether this was typical of most South African music at the time, or whether this sample is simply misleading. One way or the other,
though, this certainly won’t interfere with a progressive fan’s take on the entire affair.

(Of course, given the ethnic distinctions within black South Africa, it may be inappropriate to make any blanket statements about the music of the area as based solely on this release. Although
the musicians featured herein are from a variety of ethnic backgrounds, all songs except one are sung in Zulu.)

In terms of song « form », the first track — by vocal trio Amaswazi Emvelo and singer Simon « Mahlathini » Nkabinde — is fairly typical of what one might expect of pop music of this sort.
Thankfully, though, it’s quite good in terms of content (not to mention rather catchy). The Hammond lick at the beginning gets this off on a fairly strong note, and there’s nothing to fault the
musicians for on this number — the bass solo, in particular, is pretty good. The focal element of the song, however, would be the vocal harmonies; not too aggressive in their melodic style, they
fit the tone of the quite well. In short, this is good pop music (and it grows on the listener with successive hearings as well).

Mahlathini Nezintombi Zomgqashiyo (hereafter « MNZ ») is described in the liner notes as a mbaqanga (ie. « township ») supergroup, featuring the aforementioned Mahlathini, the original Mahotella
Queens, the Makgona Tsohle Band, and guitar/composer Marks Mankwane. « Thuto Ke Senotlolo » (the only song on the album sung in Sotho), features extremely deep lead vocals (presumably by
Mahlathini) which are impressive enough to grant the song a fairly high rating on their own — and, on top of that, we also have more Hammond organ coolness throughout the number. About the only
problem with this track is the ill-considered « call and answer » vocal form — the Mahotella Queens wear on the nerves somewhat, after a while (those familiar with Pink Floyd’s backing vocalists
should get the idea).

Dilika are cited as a Zulu-guitar group led by David Mtshali, and the introductory Tomorrow-esque guitar line would seem to verify his dominance in the group. This is a nice, infectious number
which isn’t terribly hindered by the fact that the drums sound somewhat canned. The guitar is the high point of this song, of course; the vocals, though good enough, aren’t really superhuman.
Still, we’re easily three for three, so far.

Abafakasi (featuring Osiaz Ntsele on vocals) then follow with « Wakwami », perhaps the most immediately memorable vocal line on the album. The Hammond chops which begin the track seem quite proggy
in this particular instance (believe it or not), and the bass line throughout the verse is quite nice as well. This group is apparently known for its saxophone performances, one of which makes a
good enough appearance in mid-song. This track might seriously confuse some progressive fans, but it shouldn’t disappoint them.

Johnson Mkhalali, according to Trevor Herman’s liner notes, is a « prominent accordian jive specialist » (one wonders if accordion fans in this part of the world engage in Mkhalali/Rossy debates).
« Sunshine Boots », the track featured here, some JM’s skills in the foreground, with some nice guitar flavouring as well. This is clearly good stuff, though a tad repetitive.

Jozi, another zulu-guitar group led by Moses Mchunu, provide the first true masterwork of the album with « Phumani Endlini ». The drums sound rather canned here as well, but that’s hardly the point
— the acoustic guitar and amazingly urgent vocal delivery are strong, strong points in this song’s favour. The harmonious bass sound is pretty damned good as well, as are the vocal harmonies (I
have no idea what the spoken word bit is actually communicating, but it sounds fairly impressive nonetheless … actually, the lack of information about the actual songs is another distinction
between this label and Real World).

From here, we go back to MNZ, and their « Kwa Volondiya ». The airy guitar lines and heavy bass performances go well with Mahlathini’s deep voice (but where’s the Hammond?). This is probably a more
developed number than the previous MNZ track, though the unfortunate problem of the backing vocalists is common to both. The guitar soloing between the verses is rather impressive.

As this stage, the Makgona Tsohle Band step out on their own with « Vula Bops », a shuffle-driven number that’s probably about as good as « good-time » music can be. 😉 The prominent horn delivery
over this danceable number might draw a few similarities to Louis Armstrong in terms of « musicality which prevails in spite of restraint », though the content of the track is something rather
different. One way or the other, though, this is a thoroughly enjoyable number.

And, following this, it’s time for Amaswazi Emvelo to step out of their own. « Jabula Mfana » features some good electric soloing at the beginning, and a drum line which is fairly interesting in
spite of its apparently canned nature (some sudden shifts make it worthwhile). The vocals are, obviously, the lead element once again, and are notable for a strong element of chaos therein (the
complexity of the arrangement is fairly impressive in its own terms). A guitar solo follows afterwards; the entire track seems somewhat longish.

How ironic is it that « Siwuhambile Umhlaba », by Amaswazi Emvelo & Mahlathini, sounds quite similar to the Talking Heads? This is a somewhat more poppish number than some other tracks here,
with the deep vocals and guitar lines appearing as expected. The vocal arrangement, once again, is quite impressive here; moreover, this track actually improves by virtue of its length and use of
repetition.

The third and final MNZ track is, unfortunately, the least impressive number here. This is something of a ballad, and not completely removed from the stigma which is normally associated with that
term; the fact that this is also the only track sung by a female lead vocalist may be proof that some demographic arranging is cross-cultural. The instrumental elements of the song are proficient
enough, and the vocals themselves aren’t terribly obnoxious … but, really, this just isn’t that great of a song. Rather, this is one of the few occasions in which Thunder Before Dawn seems
rather … well … ordinary.

Thankfully, the next song is something completely different, and easily the most bizarre thing on this album. If there is a such thing as « mbaqanga psychedelia », I would suggest that Malombo
should probably be regarded as the godheads of the movement. A rather minimal guitar presence (vaguely akin to « Sweet Jane ») sets the musical tension, and a rather odd (and somewhat undermixed)
vocal line might easily make the listener wonder if this wasn’t improvised … late one night … at the tail-end of a lengthy festivity. The sheer sonic arrangement of the entire thing dominates
over any single element of musical performance (which isn’t a bad thing, of course). This track alone might be enough to recommend the album for fans of bizarre musics.

Thankfully, though, there are other tracks to impress listeners with adventurous tastes. There may be better albums of this sort of there, but this one shouldn’t disappoint.

The Christopher Currie

(review originally posted to alt.music.yes on 30 Jun 1998)

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Tracklist :

1 Amaswazi Emvelo and Mahlathini – Utshwala begazati

2 Mahlathini Nezintombi Zomgqashiyo – Thuto ke senotlolo

3 Dilika – Amazimuzimu

4 Abafakasi – Wakwami

5 Johnson Mkhalali – Sunsine boots

6 Jozi – Phumani endlini

7 Mahlathini Nezintombi Zomgqashiyo – Kwa volondiya

8 Makgona Tshole Band – Vula bops

9 Amaswazi Emvelo – Jabula mfana

10 Amaswazi Emvelo and Mahlathini – Siwuhambile umhlaba

11 Mahlathini Nezintombi Zomgqashiyo – Ngasebenza ngedwa

12 Malombo – Motshile

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septembre 29, 2010

Mulatu Astatke – Mulatu Steps Ahead

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http://www.myspace.com/mulatuastatke

Origine du Groupe : Ethiopia

Style : World Music , Ethio-Jazz , Alternative

Sortie : 2010


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Depuis sa fructueuse association discographique avec The Heliocentrics pour un Inspiration Information Vol. 3 (Strut) qui lui a valu le prix du meilleur album aux trophées Afro-Caribéens en 2009,
plus rien n’arrête Mulatu Astatke. Embrayant sur une tournée de salles combles et un best-of, New York-Addis-London, simple mise en bouche destinée à replacer son œuvre, il revient pour un album
sous son seul et unique nom. Enfin. Ouvert par la somptueuse inspiration mystico-méditative  » Radcliffe « , Mulatu Steps Ahead n’est que le reflet de l’idylle que Mulatu Astatke vit depuis
quarante ans. Une histoire d’amour entre un génial compositeur éthiopien et sa création, complexe assemblage musical qu’il nomme éthio-jazz, un édifice bâti à la force de ses maillets de
vibraphone. Quatre décennies durant lesquelles le démiurge d’Addis-Abeba n’aura eu de cesse de parcourir le monde à la recherche des nouvelles inspirations qui enrichiront et embelliront sa
musique, fusionnant des courants qu’on aurait juré incompatibles, développant une incomparable science de l’arrangement. Des plaines verdoyantes au Danakil, des rues brûlantes aux salles
obscures, des clubs de jazz new-yorkais aux bouges latinos enfumés, la musique de Mulatu est un passeport où toutes les pages sont martelées de tampons et de visas. Aussi à l’aise pour tresser
des cordes que dompter un groove radical afin qu’une kora s’y ébatte en toute quiétude (écoutez donc  » Mulatu’s Mood ! « ), capable d’ordonner un cortège de cuivres comme d’hypnotiser un piano,
Mulatu multiplie les clins d’œil à ses propres œuvres tout en allant de l’avant, laissant dans son sillon des mélodies envoûtantes. Efficace en électrique comme en acoustique, le Négus nous
confie neuf titres multidirectionnels promis à des écoutes répétées et prolongées.

par Franck Cochon

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Tracklist :

01 – Radcliffe

02 – Green Africa

03 – The Way To Nice

04 – Assosa

05 – I Faram Gami I Faram

06 – Mulatu’s Mood

07 – Ethio Blues

08 – Boogaloo

09 – Motherland

 

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