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11 mai 2010 2 11 /05 /mai /2010 18:15

http://www.caboverde.com/music2/mdb2.jpg

Note : ++

http://www.mariadebarros.com

http://www.myspace.com/mariadebarros

Origine du Groupe : Cap Verde

Style : World Music

Sortie : 2005

Tracklist :

(01) Amor Luz
(02) Oh Menel
(03) Bo Ke Nha Boy
(04) Espaco Infinito
(05) El Tambem J'dame
(06) Caresse Moi
(07) Pazinho Laxa
(08) Um Tem Um Amor
(09) Nos Tradicon
(10) Rosinha
(11) Sol Di Manha
(12) Oumai

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Révélation du festival 2004, la nièce de Cesoria Evora ensoleille la musique capverdienne par une interprétation sensuelle, fraîche et baignée de soul des morna et coladeira traditionnelles.

Être la filleule de Césaria Evora n’est pas chose évidente. Comment ne pas craindre la comparaison avec la diva aux pieds nus? Pourtant Maria de Barros s’est parfaitement sortie de ce parcours semé d‘embûches. Difficile en effet de faire mieux que sa musique aux rythmes chaloupés, sa voix chaleureuse, le tout dans le respect des morna et coladeira traditionnelles.

Cette chanteuse, née de parents cap-verdiens, chante essentiellement en portugais mais elle parle un français et un anglais impeccables grâce à son histoire faite de migrations. Elle voit le jour au Sénégal et grandit en Mauritanie. Puis, alors qu’elle est encore adolescente, Maria de Barros s’installe avec ses parents à Rhode Island. C’est là-bas, plus qu’en Mauritanie, qu’elle rencontre vraiment les membres de la communauté cap-verdienne. Finalement, elle attend les États-Unis pour se lancer dans la musique de ses racines, pour chanter son pays et sa culture d’origine.

Elle traverse ensuite son pays d’adoption pour s’installer à Los Angeles. Elle y sort son premier album, Nha Mundo, encouragée par Césaria Evora, qui maintient sa présence rassurante. «Elle tenait tellement à ce que je fasse ce premier disque... Elle m’a dit qu’elle ne serait plus ma marraine si je ne le sortais pas. Après tout, si elle m’a elle-même choisie comme filleule, elle peut également me retirer ce titre.» Heureusement, l’héritière a sagement suivi les conseils avisés de sa marraine. Un deuxième album, Dança Ma Mi, ne tarde pas à voir le jour.

En 2009, elle sort son troisième disque, intitulé Morabeza. Il porte les mêmes influences variées, d’Afrique, du Brésil, des Caraïbes, de France, d’Espagne, mêlant ainsi des rythmes reggae, zouk, boléro, sambas, salsa... Sa musique transcende les nationalités et les cultures. Les générations aussi : ses textes sont écrits par des paroliers installés tels que Manuel d'Novas, Betu, Kaka Barbosa, Jorge Barbosa ou Teofilo Chantre, mais également par des talents plus jeunes comme To Alves, Calu di Guida, Joe Andrade, Kalu Monteiro ou Djim Job.
Morabeza signifie «l’âme d’un peuple», une promesse de solidarité lors des périodes difficiles, de gentillesse, de tendresse, d’hospitalité, d’amitié. Une promesse que l’on retrouve à l’état pur dans les chansons de Maria de Barros.

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30 avril 2010 5 30 /04 /avril /2010 11:00

http://1.bp.blogspot.com/_7v8CSr9_K3Q/S8NdVSO6L8I/AAAAAAAACbE/u7xrYJx5Egw/s400/Ashanti+Brothers+Band,+front.jpg

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Origine du Groupe : Ghana

Style : World , Folk

Sortie : 1978

Tracklist :
1 Kill me and fly
2 Onipa retu ne nan
3 Saa na yede beye wo
4 Asem bone se hiani
5 Gyae nkonta buo yi
6 Kusa wo bankye
7 Me wu a mo bebre

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I was trying to find me some usefull information on this topic, but Ashanti Brothers Band's album 'Kill me and Fly' seemed ( how about this word ) ungoogleable. The leader of the band's called Osei Vasco, and that's really all I know. Being from 1978, I must say, the vinyl is in very good condition and spins beautiful. And then, the music, I have seldom heard such great highlife, I'm very fund of this sound with warm vocal harmony and hammond organ !

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THANKS Global Groove http://globalgroovers.blogspot.com

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27 avril 2010 2 27 /04 /avril /2010 21:00

http://2.bp.blogspot.com/_F9y63R_PM20/Sv6U0VXor1I/AAAAAAAAB5c/1IGWHZoK9bQ/s400/01.jpg

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http://www.badiassad.com

http://www.myspace.com/badiassad

Origine du Groupe ; Brazil

Style : World Music , Alternative ,Folk , Vocal

Sortie : 2005

Tracklist :

1. Cheguei Meu Povo
2. Asa Branca [Interlude]
3. Básica [De Blusinha Branca]
4. Não Adianta
5. One
6. Voce Não Entendeu Nada
7. Viola, Meu Bem
8. O Verde É Maravilha
9. Feminina
10. Bachelorette
11. Seu Delegado
12. Estrangeiro Em Mim
13. Bom Dia Tristeza
14. The Being Between [Daruma]
15. Valse d’Amélie
16. Implorando
17. In My Little White Top [Básica]

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The exotic, one of a kind Brazilian guitarist, singer, and rhythmic mouth and body percussionist has had a stop-and-start career with turns as mysterious and intriguing as her music. After splashing on the scene with her Chesky debut Solo in 1994, continuing the stir (including vast critical acclaim) with Rhythms (1995) and releasing Chameleon on Verve in 1997, Badi Assad suffered from a series of personal issues that drew her back home for a few years. Fans who were excited about her 2003 re-emergence on the trio date Three Guitars with Larry Coryell and John Abercrombie will be beside themselves with the long-awaited Verde, her first solo project in six years. Those expecting a typical Brazilian vocal album -- she explains the title as "the shades of the Brazilian rain forest" -- will be surprised by Assad's versatility, which incorporates rhythmic textures from around the world. She opens with the very African-flavored voice and dense percussion call-and-response "Cheguei Meu Povo" and a vocal percussion pitter patter interlude before tapping into a sound more typical of classic romantic samba ("Basica"). That sultry side is balanced by her more aggressive vocal and guitar on the feisty "Nao Adianta," which blends modern rock influences with indigenous soundscaping, complete with birdcalls. Other tracks have slight classical leaning, and there's even a little avant-garde oddity apparent on the brief "Feminina." More mainstream ears will be glued to her sly, sexy reading of U2's "One" and soaring, folk- and chamber music-tinged take on Björk's dramatic "Bachelorette," which further confirms Assad's incredible willingness to tackle exotic challenges. Though all the stylistic zigzagging is fascinating, Assad is first and foremost a vocalist of heartbreaking intensity, and tracks like the mournful "Bom Dia Tristeza" best reflect her ability to penetrate the heart.

By Jonathan Widran

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16 avril 2010 5 16 /04 /avril /2010 12:00

http://images.amazon.com/images/P/B00005NNOP.01._SCLZZZZZZZ_.jpg

Note :

http://www.myspace.com/ejigayehu

Sortie : 2001

Style : World , Alternative , Fusion , Ethiopia

Tracklist :

1     Gud Fella      0:05:35     
2     Mengedegna     0:05:33    
3     Tew Ante Sew     0:04:20    
4     Abay           0:05:18    
5     Bale Washintu     0:05:35    
6     Guramayle     0:04:27    
7     Sew Argeс     0:05:16    
8     Aynama           0:05:05    
9     Kahn           0:03:47    
10     Zomaye           0:04:00    
11     Abet Wudet     0:04:07    
12     Nafekeс     0:05:23
13     Adwa             0:05:02

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Certains disques marquent des étapes dans la production des musiques du monde. Soro de Salif Keïta, réalisé par François Bréant, Kutche de Khaled, produit par Martin Meissonnier et Safy Boutella, ont fourni les repères aux nouveaux courants musicaux respectifs d'Afrique de l'Ouest et d'Afrique du Nord. Gigi de la délicieuse Ejigayehu " Gigi" Shibabaw, produit par Bill Laswell, fera date dans le domaine des musiques d'Afrique de l'Est. Depuis les années 70, personne n'avait encore pu faire oublier l'inaltérable suprématie de Mahmoud Ahmed sur le voluptueux son urbain de l'Ethiopie. Voilà qui est fait, de la plus élégante manière, par une jeune et belle femme débordant de talent. Le grain de sa voix, comme le parfum enivrant d'une plante, se love dans les volutes de la pensée qu'elle embaume aux franges incertaines entre rêve et veille. La construction de ses chansons, qui rompt superbement avec la dualité couplet refrain, trace un chemin inattendu dans l'univers modal si spécifique à l'Ethiopie. De plus, elle est servie comme rarement par une trame sonore aux motifs somptueusement déliés. Pour sa princesse, Bill Laswell est allé quérir les plus beaux joyaux à travers son réseau de relations. Herbie Hancock, Wayne Shorter, Pharoah Sanders et bien d'autres offrent le meilleur d'eux-mêmes et Bill en constitue l'écrin le plus précieux pour cette voix d'ailleurs. Même les bécarres provoquant des arrangements de cuivres signés Henry Threadgill - pape du jazz new-yorkais par trop engoncé dans son intégrité de façade - ne parviennent pas à rompre l'effet d'excitation hypnotique conduit par la modulation de cette voix. Deux mondes se rejoignent en une fusion inouïe, embrasée de lumière. Ce que Gigi nous montre là, personne auparavant ne l'avait imaginé.
par Marushka

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1 avril 2010 4 01 /04 /avril /2010 12:00

http://i40.tinypic.com/wmckl3.jpg

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http://www.festival-au-desert.org

 

Sortie : 2003 - 2004

Style : World , Ethnic , Gnawa , Arabic , Afrique , Alternative , Fusion

 

Tracklist :

01 - Takamba Super Onze (Mali) - Super 11

02 - Afel Bocoum (Mali) - Buri baalal

03 - Tartit (Mali) - Tihar bayatin

04 - Robert Plant &Justin Adams (UK) - Win my trainfare home

05 - Sedoum Ehl Aïda (Mauritania) - Ya moulana

06 - Lo 'Jo +Django (France /Mali) - Jah kas cool boy

07 - Oumou Sangaré (Mali) - Wayena

08 - Ali Farka Touré (Mali) - Karaw

09 - Tinariwen (Mali) - Aldachan manin

10 - Adama Yalomba (Mali) - Politique

11 - Tidawt (Niger) - Ariyalan

12 - Ludovico Einaudi &Ballaké Sissoko (Italy /Mali) - Chameaux

13 - Kel Tin Lokeine (Mali) - Ihama

14 - Kwal +Foy-Foy (France /Mali) - Le juge mant

15 - Tindé (Mali) - Wana

16 - Aïcha Mint Chigaly (Mauritania) - Koultouleili-khalett là

17 - Igbayen (Mali) - Oubilalian

18 - Baba Salah (Mali) - Fady yeïna

19 - Blackfi re (USA) - What do you see

20 - Django (Mali) - Laisse-moi dire

 

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The record label press about the CD:

Imagine a musical celebration so remote it can only be reached by camelback or 4x4. Add to the picture days fi lled with camel racing,impromptu jam sessions under traditional leather tents -and a modern stage full of electric guitars. You start to get a picture of what it must be like to attend the annual Festival in the Desert which takes place in the heart of the Sahara desert.The festival was started to provide a worldwide showcase for the music and culture of the Tuareg people in particular and of Mali and West Africa in general.Its goal is to stimulate global interest in the southern Sahara region -its people,culture,history, economic and social development.This year ’s festival,which featured 30 acts from Africa,Europe and North America,was hailed by the San Francisco Chronicle as “the only event on Earth where top-name Western musicians (like Robert Plant of Led Zeppelin) perform on the same stage as nomadic groups with guitars, where Muslim government leaders and devout adherents of Islam sit in the same audience as jeans-wearing men with tattoos, and where camels and donkeys are as common a sight as people.”

More press:
Imagine a community celebration so remote it could only be reached by camelback or 4x4. Add to the picture a day filled with camel racing, impromptu jam sessions under camel-skin tents, and a stage full of electric guitars. You are starting to get a picture of what it must have been like to attend Le Festival au Désert or The Festival in the Desert in the Sahara in January 2003.

Highlights from the 2003 Festival can be heard on Festival in the Desert (World Village / harmonia mundi), a CD to be released on October 14, 2003 . The recordings were made on a 24-track recorder during this remote festival, which featured 30 acts from North Africa, Europe, and North America. American media hailed the 2003 Festival as “one of the most surreal ever staged” (Boston Phoenix) and “the most thrilling music festival experience of my life” (Afropop Worldwide). World Village expects to release a Festival in the Desert DVD in early 2004.

It may not have meant as much to the local Tamashek people that Led Zeppelin singer Robert Plant performed at the event, with a schedule filled by legends of Saharan and Malian music. The CD captures Tidawt, who made the 1000-kilometer journey from their home in Niger to perform. And Sedoum Ehl Aïda—Mauritania’s pioneer of electric guitar—who arrived with his full band, having only heard about the Festival 20 days prior and knowing there was no room on the bill, nor money for his show. Mali’s global ambassadors Ali Farka Touré and Oumou Sangare were expectedly well received. But Plant’s live rendition of “Win My Train Fare Home”—also on the CD and backed by guitarists Justin Adams and Skin and members of Lo’Jo—will certainly go down in rock history.

The recording features three central spokes of the event: French band Lo’Jo, electric guitar nomads Tinariwen (whose manager, Mohammed ‘Manny’ Ag Ansar, is the festival director), and Justin Adams . All three have recent CDs on World Village. The stage was graced by known African performers like Afel Bocoum—Ali Farka Touré’s prodigy—and Tartit, and dozens of artists lesser known to the world stage. A historic pan-tribal meeting took place when Navajo punk band Blackfire, from the Arizona desert, took stage in traditional regalia before hundreds of Tamasheks.

The CD’s simultaneous diversity and seamlessness—with the high quality of footage from such a remote site—stand out. Charlie Gillett of BBC Radio has already called it “The best live album I’ve ever heard.” From Takamba Super Onze’s earthshaking opening traditional rhythm based on the gait of a camel, to the unlikely collaboration between Tamashek guitarist Foy-Foy and French rapper Kwal, the impossible combination of artists could have existed at no other place or time.

The Festival’s significance grows in light of the history of this region where civil war prevailed only a decade ago. The celebration manifests what was envisioned in the 1996 “Flame of Peace,” in which 3000 guns were publicly burned to signify the beginning of the reconciliation between the nomadic and sedentary communities of the southern Sahara. EFES, a Tamashek association whose aim is to develop the region, hit on the idea of grafting the Festival onto the great traditional gatherings of the Tamashek people on a grand scale. For centuries these gatherings have provided an invaluable opportunity for the nomadic Tamasheks to meet and celebrate with various forms of Tamashek song, dance, poetry, ritual sword fighting, games, and other ancient cultural traditions. EFES opened the event to the entire desert region, to the whole of Mali, and eventually to the world.

U.K. music critic Andy Morgan writes in his comprehensive, awe-inspiring liner notes, “Bambara and Manding musicians... to whom Timbuktu and the Sahara were feared no-go regions… suddenly found themselves walking amongst ferocious looking Tamashek nomads without trepidation or concern. Oumou Sangare’s rendition of the Malian national anthem was so much more than an inconsequential piece of enforced protocol. It was a heartfelt hymn to the peace and prosperity of an African nation, united, in music and feasting… Ali Farka Touré just beamed a forty-eight hour smile and kept repeating over and over, ‘Je suis très content, très fier!’ (‘I’m very happy, very proud!’).”

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31 mars 2010 3 31 /03 /mars /2010 18:30

http://rsindex.pictures-hosting.com/2009-12-03/0010278e_medium.jpeg

Note :

 

http://www.russendisko.de

http://www.myspace.com/russendiskoberlin

 

Sortie : 2004

Style : World , World , WORLD !!!!

 

Tracklist :

01 5Nizza - Soldat
02 Oleg Skripka - Im Frühlingswald
03 Nol' - Ich laufe. Ich Rauche
04 Pelagea - Kossack
05 Zak May & Shiva - Viel Glück Im Privatleben
06 Dr. Bajan - Moldavaneska
07 Paperny T.A.M. - Tänze
08 Leonid Soybelman - Nur Einmal Im Leben
09 Amsterdam Klezmer Band - Der Traum
10 Horonko Orchester - Tschubtschik
11 Markscheider Kunst - Kokeiro
12 Sveta Kolibaba - Nicht Mit Mir
13 Wolga Wolga - Mein Böser Tod
14 RotFront - Zhenya
15 Leningrad - Terminator
16 La Minor - Die Bären

 

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Berlín, Alemania. El autor y periodista Wladimir Kaminer de Moscú y el DJ Yuriy Gurzhy de Ucrania emigraron a Berlín en la década de 1990, que irrumpió en la escena del club nocturno de Berlín con su Russendisko en 1999. Lo que comenzó como una fiesta se convirtió en un éxito internacional y ha creado un gran interés en la música de Europa Oriental. Russendisko combina canciones rusas con un poderoso ritmo que atrae a todos a la pista de baile. Es similar a una mezcla de ska jugado en el acordeón, o la polka, con un riff de reggae, salsa, ragga o música gypsy balkánica.

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28 mars 2010 7 28 /03 /mars /2010 20:00
http://1.bp.blogspot.com/_ryz40B6bO2c/R2hEliV0_bI/AAAAAAAABYk/RBaMOy6SQ2s/s400/FOLDER.jpgNote :

http://ghaliabenali.com

Sortie : 2001
Style : World , Arabic

Tracklist :
1. Divas
2. Tiflatan Arabiyan
3. Baidha
4. Hanine
5. Awaddu
6. Luiza
7. Apsara/Dinera
8. Leyca 9. Shaima
10. Anissia
11. Kaalia
12. Ya Rachiq
13. Oyrana

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Ghalia Benali from Tunisia is one of the musical surprises to emerge from the Arab world at the turn of the millennium. A successful actress, she played a leading role in the film "La saison des hommes". Her highly acclaimed concerts in Tunis, Paris and Brussels had the record companies queuing to sign her up, but she preferred to wait until she had found her dream line-up. And now she has - Timnaa is an international ensemble whose virtuoso fiddles, flamenco guitars and Arab percussion carry her expressively smoky and profoundly emotional voice from Tunisia to Andalusia and back again, via the Balkans and Brazil. Ghalia herself describes her new project as "Arab music in new forms, sometimes festive but never profane, occasionally ro-mantic and elegiac, or even classical and medieval, and sometimes wild and over the top - a passport to many cultures, a microcosm that merges the centuries into some-thing new".
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22 mars 2010 1 22 /03 /mars /2010 12:45
http://195.178.113.21/mondomixmp3/disk2/albums/20390/images/cover300.jpgNote :

http://www.vieuxfarkatoure.com

Sortie : 2007
Style : World Mali

Tracklist :
01 - Fafa
02 - Aï Haïra
03 - Souba Souba
04 - Sarama
05 - Walé
06 - Slow Jam
07 - Mali
08 - Diaraby Magni
09 - Chérie Lé
10 - Paradise
11 - Fafa (Reprise)

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Enregistré au célèbre studio Bogolan à Bamako, le son de Vieux Farka Touré est d'une qualité et d'une maturité impressionnantes pour un premier album. Deux titres réunissent pour la première fois Vieux et Ali Farka Touré, qui signe ici son dernier enregistrement. On ne peut s'empêcher de penser à un passage de flambeau, même si Vieux sait se démarquer de son père par un style résolument moderne, avec des pointes de rock ("Courage") ou de reggae ("Ana").
On retrouve quelques grands noms de la musique malienne : Toumani Diabaté, son père spirituel, à la kora, Bassekou Kouyaté au ngoni, Seckou Touré ou encore Hassy Sarré. 10% des profits contribueront à lutter contre la malaria qui sévit dans la région de Niafunké, la terre des Farka Touré. N'hésitez pas...
per Fabien Maisonneuve
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9 mars 2010 2 09 /03 /mars /2010 11:00
http://images.uulyrics.com/cover/j/john-mayer/album-dhammapada.jpgNote :

Sortie : 1976
Style : World , Psychedelic

Tracklist :
1. Maha-Samana
2. Sannyasin
3. Yamabushi
4. Sannyasin Two
5. Bhikkhu
6. Sannyasin Three
 7. Tri-Dandin
8. Chakka

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Dhammapada is a John Mayer work that was commissioned by EMI in 1976 but remained unreleased for 30 years. His work with Joe Harriott on Indo-Jazz Suite and Indo-Jazz Fusions is justifiably lauded, but Dhammapada expands on his East-West fusion by adding instrumentation not just from India (sitar, sarod, tabla) but also from Japan and China (koto and cheng, respectively) to his British jazz combo (sax/clarinet, trumpet, flute, piano, bass). In addition to drums and tabla, he utilizes a trio of percussionists who play everything from glockenspiel to marimba to temple bells. He also makes use of Japanese and Chinese scales in addition to his Indian classical influences. The results are amazing. The seemingly odd instrumentation works surprisingly well together as an ensemble, and Mayer's enormous talents as both composer and arranger really come to the fore. The longer pieces play like suites within a suite, with thoroughly composed sections seamlessly giving way to jazzy improvisational solos and musical conversations (for example, the trumpet/sitar dialogue on "Maha-Samana") before the introduction of new themes. Mayer's use of polyrhythms and counterpoint is fantastic and the band's ability to transition from chamber ensemble precision to jazz-rock vamping is incredible. There are no lengthy solos to speak of; the playing is concise and extremely focused but everyone gets a turn. The longer pieces are separated from each other by progressively more elaborate arrangements of the same theme inspired by "Rag Kafi," "Sannyasin." Starting with just glockenspiel and crotales (basically bells), sax is added, then galloping bass and percussion. These pieces keep the album tied together nicely thematically, and also highlight Mayer's arranging skills. The recording itself is also excellent -- crisp and clear, taking full advantage of the stereo spectrum so each instrument is clearly identifiable with no muddiness in the mix (no easy task with a 13-piece ensemble). That this album sat unreleased for 30 years is almost a crime. It's a brilliant, groundbreaking work that sounds fresh even after languishing for three decades. It's a shame that Mayer didn't live to see the eventual release of Dhammapada. It could well be his finest achievement.
~ Sean Westergaard
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8 mars 2010 1 08 /03 /mars /2010 11:15
http://2.bp.blogspot.com/_7v8CSr9_K3Q/S4Ljwxh-1aI/AAAAAAAACRU/psZmC-z00cc/s400/Dark+City+Sisters,+front.jpgNote :

Sortie : 1976
Style : World music , South Africa

Tracklist :
 1   Tamatie yoyo no. 3
 2   Langa more
 3   Emarabini
 4   Sekusile
 5   Insizwa
 6   Amangwane
 7   Jimmy
 8   Isinkwa no fishi
 9   Sihamba kancane
10  Izinto ezinhle
11  Umtshi tshimbo
12  Umlando
13  Soze ndende
14  Lomfazi uyangihlupha
15  Izintombi zika Mogatusi
16  Amahlokohloko
17  Bayangi zonda
18  Rosie
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thanks http://globalgroovers.blogspot.com



The Dark City Sisters were a group of session singers who came together to record an album and in the process popularized an innovative new style of singing. Rather than singing a common four-part harmony, the Sisters used five parts, which created a richer tone. Sometimes known as "vocal jive," this technique was subsumed under the umbrella term "mbaqanga," meaning, literally, dumpling, and figuratively, a homegrown style.
~ Leon Jackson
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