Note :

Sortie : 2006
Style : Jazz World , Piano

Tracklist :
01 The Homeless Wanderer
02 The Last Tears of a Deceased
03 A Young Girl’s Complaint
04 The Mad Man’s Laughter
05 Presentiment
06 Mother’s Love
07 Ballad of the Spirits
08 The Song of the Sea
09 Homesickness
10 Golgotha
11 The Jordan River Song
12 The Garden of Gethesemanie
13 The Song of Abayi
14 The Story of the Wind
15 Evening Breeze
16 Tenkou! Why Feel Sorry?

Une pianiste éthiopienne qui a enregistré des disques dans les années 60, ça vous dit quelque chose ? Si oui, bravo ! Moi, je ne connaissais pas, mais je me réjouis de combler cette ignorance. En 1963, Tsegue Maryam Guebrou avait 40 ans. Elle était issue de la haute société d’Addis-Abeba... La suite de l’histoire est à reconstituer via internet, si vous le souhaitez. Mais vous pouvez aussi laisser votre imagination inventer les choses. Ecoutez le morceau ci-joint, une composition personnelle, “The homeless wonderer”, une petite merveille qui ne ressemble à rien d’autre pour moi. Et dieu sait que je suis fan de piano solo ! Elle a le genre de phrasé qui vous enveloppe les jours où il fait trop gris et trop froid pour faire autre chose que de se draper dans une couverture avec un thé à portée de main. Bien aussi quand le soleil tape si dur que l’on se sent anesthésié. Bref. À écouter sous toutes les latitudes.
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The 21st volume in the grand Ethiopiques series (that reflects how deeply the country's popular music traditions are steeped in American and European colonial sources) is dedicated to the solo piano works of the outstanding composer and performer Emahoy Tsegué-Maryam Guèbrou, a daughter of Ethiopian high society who chucked it all to become a nun in the nation's Orthodox Church. Tsegué-Maryam Guèbrou was educated in Europe. She played violin (under the tutelage of Polish émigré Alexander Kontorowicz). She took up her piano studies while in the convent and teaching at an orphanage. Her first recordings -- two LPs -- were issued in 1963, when she was 40. The first nine cuts here come from these two albums. Guèbrou showcased her classical training on much of the first offering. But the opening cut also displays her incredible ability to play an extremely melodic blues piano as read through the great jazz masters of the instrument. One can hear a bit of Albert Ammons, a bit of Count Basie and Oscar Peterson, and even a trace of Art Tatum in "The Homeless Wanderer." She sticks to her wonderfully haunting classical compositions until "Presentiment" (track five), where she returns to the deep blues, which are nonetheless played light and airy in the middle and upper registers of the piano. Jazz injects itself deeply into her playing on the second recording, beginning with "Mother's Love." There is a spaciousness in her playing that is remarkable, and it is very much like song. "Ballad of the Spirits" may be an obvious example, but it is far from the only one. Her sense of phrasing is rhythmically complex; she shape-shifts, straying from standard time signatures into something more mercurial without losing form. On this tune one can hear Beethoven and Teddy Wilson. "The Song of the Sea" is the longest composition here. Clocking in at just under nine and a half minutes, it is complex yet utterly engaging. Here, scalar forms and ostinati assert themselves in the theme, which returns over and over again throughout. But the improvisation on the original changes is remarkable; it feels as if the piece is in three movements, and a different kind of improvisation is featured in each. The harmonic invention and the melodic interplay between her hands are seductive. There are three other tracks here from an album Guèbrou recorded in 1970 while in Jerusalem on pilgrimage. These, "Golgatha," "The Jordan River Song," and "The Garden of Gethesemanie," are among the strongest works here. Even as they engage classical themes, especially on "Golgatha," the early jazz of Fats Waller and Jelly Roll Morton is whispered into the body of these compositions. The final four cuts here come from an album issued in 1996 while she was living in the convent. These four pieces are evidence of the complete realization of her craft. Guèbrou's meld of blues, classical, and gospel music filtered through a jazz pianist's sense of time and voicings is unlike anything anyone has ever heard. It's ethereal yet rooted in the Ethiopian Orthodox sung tradition; it's gauzy and fluid, yet worldly in its command of the musical languages she has chosen to display. It's precise and ordered, yet unfettered and free to drift. It feels like songs of praise, prayer, charming conversation, and partying all rolled into a single exquisite voice that contains many. Fans of Abdullah Ibrahim's township-informed solo work will find this set intoxicating and irresistible, yet she sounds nothing like him, or anyone else. The Ethiopiques series has unearthed other soloists, but this volume stands out for its lyricism, its mysterious emotional depth, and its utter musical mastery.
Thom Jurek, All Music Guide
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Note :

http://www.lenachamamyan.net

Sortie : 2007
Style : World , Jazz

Tracklist :
1- Yomma Lala (5:04 )
2- Daouny Ajoudo (8:01 )
3- Seher (4:29 )
4- Ya Msafera (5:32 )
5- Sha'am (3:20 )
6- Hawel Ya Ghannam (4:43)
7- Kabel El Easha (3:04)
8- Baly Ma'ak (5:09) *New arrangment
9- Sareery hofin merneym (4:26) * Armenian Song






Calme , serein , onctueux  l'album de Leena Shamamian s'annonce comme une douce mélopée ennivrante qui charmera les plus endurcis .
 Difficile de ne pas se faire happer par les ondes lancinantes que procure la voix hypnotique de la charmante Leena , accompagner d'une musique jazz world de qualité .
Bluffant !
by DJ DemonAngel

 
L'esprit des ancêtres africains souffle sur ce nouvel album du pianiste cubain Omar Sosa. Certes, son jazz s'est toujours enraciné dans le versant le plus nègre et le plus vaudou des musiques de son île natale, car il est initié aux tambours de la santería et à leur mysticisme hérité des anciens esclaves noirs. Mais cette fois, il invite une chanteuse malienne (Mamani Keita) et un vocaliste sénégalais (Mola Sylla), aux côtés d'un flûtiste peul (Ali Wagué), d'un joueur de kora (Ali Boulo Santo) et d'un percussionniste mandingue (Baba Sissoko). Ces apports exogènes arrivent comme de lointaines réminiscences reliées entre elles par les couleurs plutôt jazzy du piano de Sosa avec, à ses côtés, la trompette de Stéphane Belmondo. L'ambiance générale est à la douceur médita­tive, quitte à ce que se dilue parfois la fougue swingante à laquelle Sosa nous avait habitués.
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A super-hip batch of soul jazz tracks by Albert Toodie Heath of the Heath Brothers -- working here on a rare session as a leader, with a sound that's right up there with the Heath Brothers' early work for Strata East!! The lineup is incredible -- as Heath is joined by players that include Don Cherry, Buster Williams, Mtume, Herbie Hancock, Jimmy Heath, and Ed Blackwell -- all coming together for a session that's nearly lost to the history books, but which is one of the strongest spiritual jazz sessions of the late 60s! Herbie plays all acoustic piano throughout, and the tracks are long, leaping, and loping -- with stretched-out spiritual solos from Jimmy Heath and Don Cherry -- and a proud and righteous sound that's extremely free-spirited without going too far out! Titles include "Baraka", "Maulana", "Dunia", and "Kamili".
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Note :

http://www.myspace.com/davidyengibarian




David Yengibarjan with Frank London - Pandoukht

« Pandoukht » : en arménien, ceux qui ne vivent plus dans leur pays natal. David Yengibarjan est de ceux-là puisqu’il a quitté le sol arménien en 1995 et qu’il n’y est pas retourné depuis. En quête de nouveaux horizons musicaux, c’est à Budapest qu’il s’exile. Il y découvre le jazz, mais surtout la musique d’Astor Piazzolla qui constitue pour lui une véritable révélation, la découverte d’un nouvel univers. C’est d’ailleurs à cet univers qu’il consacre son premier disque « Tango Passion » (déjà chez BMC), où ses propres compositions côtoient les pièces du maître. Avec son nouveau disque « Pandoukht », le jeune accordéoniste, sans renier ses premiers amours, change de cap et décide de confronter sa richesse musicale à celle d’un grand musicien américain, Frank London, représentant actif de la nouvelle scène klezmer New-yorkaise et membre fondateur d’un des groupes les plus prestigieux de cette mouvance : les Klezmatics. Le résultat, c’est un disque de rencontres : rencontre entre des hommes, rencontres entre des musiques, entre des cultures. Un vent de liberté souffle sur ce disque. Débarrassé des frontières, aussi bien musicales que géographiques, la musique s’épanouit librement et se joue des classements et des étiquettes. Jazz ? Klezmer ? Musique traditionnelle balkanique ? Tango ? « Qu’importe le flacon, pourvu qu’on ait l’ivresse. » Et l’ivresse est bien là !! (...)

Discographie

• Trio Yengibarjan: Tango Passion (2001)
• Balázs Elemér Group: Around the World (2002)
• David Yengibarjan – Frank London: Pandoukht (2003)