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21 janvier 2010 4 21 /01 /janvier /2010 11:35
Living Colours
Nadaka & the Basavaraj Brothers - Living Colours

http://www.nadaka.com
http://www.myspace.com/ragaguitar

Nadaka, guitariste et compositeur canadien d'origine québécoise, vit en Inde depuis 1974. Sa passion pour la culture indienne l'a amené à étudier sa musique, ses différents instruments et techniques vocales. Il a conçu et réalisé une guitare acoustique particulièrement adaptée à la musique indienne qui lui permet d’obtenir des sonorités qui se rapprochent de celles de la veena du sud de l’Inde. Inspiré des raga et des rythmes indiens et tout en préservant sa propre technique de guitariste, il nous transporte dans son univers musical unique, à la fois moderne et riche en tradition.

The Basavaraj Brothers
À son époque, Sudharshana Rao Basavaraj souhaitait que ses fils grandissent immergés dans les grandes traditions classiques de la musique indienne, musique du Nord (hindoustani) et musique du Sud (carnatique). A leur naissance, il choisit pour chacun d’eux un instrument et leur enseigna la musique dès leur plus jeune âge. Plus tard, il les fit parcourir l'Inde afin d’approfondir leur art et étudier avec leurs gourous respectifs. Ensuite, leur maison à Chennai devint un endroit où convergèrent diverses disciplines musicales (Gharanas). La renommée des Basavaraj Brothers se propagea à travers l’Inde et ensemble, ils donnèrent plus de cinq mille concerts. Aujourd'hui, chacun d’eux est un instrumentiste très estimé dans le monde de la musique indienne.


Nadaka et les Basavaraj Brothers
Ensemble, ils nous offrent le fruit de leur collaboration, des titres de leur album
« Living colours » et divers improvisations sur des Raga traditionels, une musique acoustique harmonieuse, à la fois douce et puissante qui abolit en toute simplicité les
barrières entre différentes cultures musicales.
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Tracklist :
1. Hamsa Leela part 1
2. Hamsa Leela part 2
3. Rangavati part 1
4. Rangavati part 2
5. Caprice part 1
6. Caprice part 2
7. Chakra part 1)
8. Chakra part 2
9. Chakra part 3
10. Chakra part 4
11. Chakra part 5
12. Chakra part 6
13. Chakra part 7
14. Chakra part 8
15. Surya Shakti part 1
16. Surya Shakti part 2
17. Surya Shakti part 3
18. Shanti
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16 janvier 2010 6 16 /01 /janvier /2010 19:00
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http://www.dorantes.es/

The first work by this genius of the piano who comes from one of the great flamenco families, the same one as El Lebrijano. The record is a daring challenge in which an innovative, evolving kind of flamenco is throbbing, and Dorantes´ piano combines with the viola, violin and percussion, but without a guitar.
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Tracklist
1. Semblanzas de un río
2. Abuela perrata
3. Orobroy
4. Ventanales
5. Gallardó
6. Silencio de patriarca
7. Gañanía
8. Nana de los luceros
9. Oleaítas, mare
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8 janvier 2010 5 08 /01 /janvier /2010 17:00
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http://www.myspace.com/tagaq

C’est quoi?
C’est Auk/blood, le troisième album de Tagaq. Originaire du Nunavut, elle pratique et actualise le chant de gorge traditionnel et a collaboré, en 2004, à l’album Medúlla, de Bjork, qui a qualifié Tagaq d’« Édith Piaf ou quelque chose de totalement… émotionnel ».

Actualiser le chant de gorge, ça se peut?
Traditionnellement un jeu, le chant de gorge oppose deux femmes qui se font face et chantent dans le but de faire rire leur adversaire. Tagaq réussit à elle seule (à l’aide d’échantillonneurs) à reproduire l’ensemble du spectre vocal et à l’accoupler à des sonorités qui ne sont pas sans rappeler l’esthétisme folktronica.

Ça doit devenir redondant?
Presque, mais comme Tagaq semble consciente des limites esthétiques inhérentes au genre, elle s’entoure de collaborateurs qui l’aident à repenser constamment son projet musical. Et si Mike Patton (ancien Faith No More et Mr. Bungle) collabore à une pièce, c’est Buck 65 qui offre les contributions les plus intéressantes. Par contre, une réalisation très (trop) propre enlève un peu de vérité au côté plus organique de la chose. Mais c’est, dans l’ensemble, le seul bémol à émettre au sujet de ce disque fort intéressant.

Une écoute gutturale de François Lemay

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Tanya Tagaq @ YBCA


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Tracklist:
1. Fox - Tiriganiak
2. Fire - Ikuma
3. Growth
4. Gentle
5. Tategak
6. Force
7. Growl
8. Want
9. Hunger
10. Burst
11. Auk - Blood
12. Construction
13. Sinialuk
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7 janvier 2010 4 07 /01 /janvier /2010 11:00
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http://www.alexkajumulo.com/
http://www.myspace.com/alexkajumulo

I was born and raised in the bush of Tanzania, Africa. He moved to the city, Dar es Salaam, when he was 13 and started playing professional soccer at 15. I played Soccer all over the world: Tanzania, Djibouti, Yemen, Saudi Arabia, France, Holland, Japan, and the United States. After retiring from playing soccer, I ended up in Seattle, Washington. Here I coach a Youth Select Soccer Team and design, manufacture, and sell soccer uniforms and gear to teams and individuals around the world.

I have always played music since I was a kid, because when you are a bush man, you have to sing and play beats to yourself to keep entertained. In the bush when I was a kid I had no radio or TV. All my life I have been making music in my head.

In 1999, I had the chance to produce an album for "Cool James" Dandu. Also known as Mtoto wa Dandu. The Album was called "CJ Massive: African Most Wanted" and was a big hit in East Africa and in African communities around the world. Sadly, Cool James was killed in a car crash in Dar es Salaam, Tanzania. Myself and all Tanzanians miss his musical talent. But he inspired me to continue to create music.

This year I have begun putting together my own album. I am going to call this album "Never Before" because it’s a new style of music never heard before.
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Tracklist :
 01 One Love is the Law 04:34
02 Maza Africa 05:15
03 Whos the Real Cowboy 04:48
04 Like Me 04:31
05 Never Before 04:46
06 Its Me Again Jah 04:18
07 Malaika 04:19
08 Zuwena 04:57
09 Love is the Only Thing I Got 05:02
10 Nairobi 03:28
11 Be My Wifey Wifey 04:24
12 Babu Kaju 04:46
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22 décembre 2009 2 22 /12 /décembre /2009 18:57
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DJ DemonAngel present 50 World Music (2009)

PLAYLIST :

01 - Umalali - anaha ya (here i am)
02 - Mercan Dede - Napas
03 - Quantic and His Combo Barbaro - Un canto a ma tierra
04 - Toma  Bebic - tu-tu auto, vrag ti piz odnija
05 - Bzunesh Bekele - Atrakegn
06 - Gilberto Gil - Kaya N'gan Daya (Kaya)
07 - Felipecha - Juanitita
08 - Gal Costa - Tuang
09 - Kocani Orkestar - Papigo
10 - La Chicana - Sutil alarido
11 - LaXula -  Soberbía
12 - Gift of Gab - Lateef - Mixmaster Mike - Kalakuta show
13 - Groupe Oyiwane - Tagot
14 - The Klezmatics & Chava Alberstein - Ovnt lid
15 - African All Stars - Les champions
16 - EsperanSaharaui - La Kinky Beat + Bad Sound System + Sorkun
17 - Auk & Tagaq - Fire - Ikuma
18 - Moussu T e Lei Jovents - Ma rue n'est pas longue
19 - La Rue Ketanou - Ton cabaret
20 - Lura - Mascadjon
21 - Mukta - Fraction
22 - Nour - Une Petite Dose
23 - Rodrigo y Gabriela - Savitri
24 - Chang Loo - All the stars in the sky
25 - Shinichi Kinoshita with Roby Lakatos - So gu
26 - Tarika - Avelo (Ghost)
27 - Susheela Rama - Yoo do right
28 - The Pearl Sisters - A cup of coffee
29 - Zaka Percussion - Sahel
30 - Fanga - Natural Juice (Ashanti Mix)
31 - Varttina - Akkaralaisen turistin maahanpanopolkka
32 - Mari Boine - Skealbma (the Mischievous)
33 - Ninji-Ninji - Walkabout
34 - Kongar-ol Ondar And Paul Eart -  Kargyraa moan
35 - Suda Chuenbarn - Funky Broadway
36 - Geraldo Pino & the Heartbeats - Right in the centre
37 - Dikanda - Kaman song
38 - Champloose & Shoukichi Kinathe - bancho guwa
39 - Joe Cuba - Quinto
40 - Ferro Caita - Ferro gaita
41 - Seu Jorge - Eterna busca
42 - Mamani Keita & Marc Minelli - N'Ka Willy
43 - Arthur H - Mon nom est kevin b
44 - Ilya - River Of Light
45 - Abjeez - Immigrant
46 - Dub Colossus - Shem city steppers
47 - Leroy Sibbles - Blook in the street
48 - Goran Bregovic - Soferska
49 - Ikue Asazaki - obokuri-eeumi
50 - Oki - Utari

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10 décembre 2009 4 10 /12 /décembre /2009 17:00
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And this is how it all began... Around the 9th Century, for reasons unknown, thousands of inhabitants of the northwestern part of India began to emigrate west. They set out from the territories now known as the Punjab and Pakistan. In Persia they split, and some travelled via Palestine, Egypt and Morocco and through the Strait of Gibraltar, finally arriving, known already as Gypsies, in the south of Moorish Spain. In this region, previously known as Al-Andalus, various cultures co-existed for hundreds of years. That was perhaps the only place where Gypsies, Jews, Christians and Muslims lived peacefully together for a many years. Each group had its own customs, music's and instruments. After many years, in the beginning of the 19th Century, due to mutual influences and the mingling of their musical expressions, a mysterious and expressive type of music emerged. Today, it is know as Flamenco. The Middle East, specifically India, was a cradle of the culture and language of most of Europe. Inhabitants of its northern regions together with Egypt, Mesopotamia, and China constituted the oldest civilizations in the world. It was there, in the Indus river valley, where the first religions, first laws and first instruments and musical notations appeared. The oldest record, written in India around 2000 BC, sets out mantras chanted to honour their gods. Based upon one, two or three notes, these chants were over time transformed into a heptatonic scale. The seven-note scale, already popular in 350 BC, was written as Sa, Re, Ga, Ma, Pa, Dha, Ni, and remains in this form today. Somewhere between the Second and Fifth Centuries the first book devoted to the art was written. It was called Bharata Natya Shastra. It contained a detailed description of vocal, dance and instrumental music. According to this book, Indian music is based on raga, that is a sequence of at least five notes of one scale. A melody governed by raga is performed according to specific principles and with a certain mood. In the Sixth Century canons for music and art were established. This gave rise to the development of classical Indian music, which was based upon the system of ragas and rhythms accompanying them. To this day, they remain unchanged. This musical culture also influenced other countries. Indian Brahmins introduced it to Persia and Arabia, and from there it was disseminated through the West. Simultaneously, Arab music entered Andalusia, than ruled by the Moors. The first monarch of Al-Andalus, Abd ar-Rahman I, invited to his court Arab musicians, who brought poetry, songs, musicians and musical instruments. In 822 a poet and singer came from Baghdad to Cordoba. His name was Abu al-Hasan Alî ibn Nafi and he was known as Zyryab (black bird). This extremely talented man played a key role in the musical education of the whole of Al-Andalus establishing an academy in which numerous musicians were trained. He introduced an Arab-Persian system of musical notation and improved the Arabian oud, which became a prototype of the contemporary guitar. Many years later musical development in India reached its peak. The great poet, musician and expert in Indian, Persian and Arab music, Amir Khushro (1254 - 1324) became a minister of a Mughal sultan. What he did for Indian music was unequalled by anything done before or after his time. He introduced many ragas and rhythms and, above all, he created two new instruments, which today is the basis of Indian music: the sitar and tabla. Banished from their native country these Indians wandered slowly further west, absorbing facets of the cultures of the countries through which they passed. When they reached Spain they were no longer the same people. Although they looked similar, in terms of culture, language, customs as well as music they had considerably changed. Unfortunately, they did not record their music; we do not know how it sounded, or how much of it has survived. And do not know what mark it has left, if any, on the flamenco and which of its elements are rooted in India and which in Andalusia. But even if both these fascinating genres cannot be proved to be closely related, listening their emotionality, expression, rhythm, depth and sensitivity must convince the listener that related they must be. Text by Miguel Czachowski
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29 novembre 2009 7 29 /11 /novembre /2009 12:00

Dobacaracol en concert
envoyé par jadi.
 
DobaCaracol est un groupe québécois composé à l'origine des deux percussionistes-chanteuses Doriane Fabreg (Doba) et Carole Facal (Caracol). Leur style musical particulier s'inspire de musiques traditionnelles d'Afrique, Amérique du Sud et d'Europe. En septembre 2008, les deux fondatrices du groupe annoncent une pause, pour qu'elles puissent réaliser leurs propres projets - soit pour Carole son début solo sur le nom Caracol . Mais en fait, cette pause signife la fin de la formation DobaCaracol .
Discographie

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27 novembre 2009 5 27 /11 /novembre /2009 18:30


The third release from traditional fusionists Ghazal, combining Persian and Indian musics, which are closely related but highly differ in their own ways. Kayhan Kalhour is a virtuoso on the kemantche, as is Shujaat Khan on the sitar. Together they are able to make stunning runs through the combined sounds of the two traditions. The opening number, "Fire in My Heart," allows for a nice run of call and response between the two instruments, with Kalhour switching over to plucking the kemantche for a bit as well. Eventually, the two players combine to create a texture of sound that swirls around the backing tabla and tamburas at top speed. The interplay between the two stringed instruments is outstanding here, as is the accompaniment by Swapan Chaudhuri on tabla. In the second number, the duo opts for a light dhun, powered largely by the lighter tones on both the kemantche and the sitar's more carefree twang. In the third number, Khan breaks out of his usual Urdu singing and into Persian for a relatively long composition about the nay. Rather surprisingly, the nay isn't utilized at all in the song to its tribute. Instead, the kemantche mimics its sound to the best of its ability. Also, the tombak is added to the ensemble to add an additional bit of Persian flavor to the sound. The Indian and Persian traditions are closely tied, both historically and in their mutual strife to re-create the perfection of the human voice. Here the traditions are joined to wonderful effect. Pick it up for a nice fusion of two virtuoso instrumentalists performing in largely traditional manners, a rarity for fusionists it would seem. Moreover, pick it up as a generally enjoyable album for newcomers and the initiated alike. ~ Adam GreenbergThe Wire (6/00, p.64) - "...Continues the duo's graceful blending of Persian and North Indian musical styles....a finely crafted and evocative fusion of adjacent traditions."
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20 novembre 2009 5 20 /11 /novembre /2009 17:30

    CONNECT REVIEW
Une carrière en pointillé : un album suivi d’une longue absence. Voilà le cycle auquel nous a habitué Lhasa depuis son premier album, et qui ressemble à tout sauf à un plan de carrière établi. Six ans après "The living road" et douze depuis "La Llorona", "Lhasa", album éponyme déboussole et ancre son imaginaire dans une Amérique du Nord rêvée et unique.
Il y a chez Lhasa une combinaison géographique cryptée et complexe. Le premier album faisait immédiatement penser au Mexique, à une Amérique centrale imaginée, imagée aussi, s’accrochant aux figures mythiques ancestrales (la Llorona). Le second glissait déjà, en voyageur habité vers des latitudes septentrionales, se jouant des langues, chantant indifféremment l’Anglais, l’Espagnol et le Français. Lhasa aujourd’hui rêve l’Amérique du Nord, chante en Anglais exclusivement, s’entoure des sonorités de la harpe, du dobro et du pedal steel, en Americana globale. Les pistes avaient dès le début été faussées avec ses origines aux sangs mêlées, son mode de vie nomade et bohème. La situer faussement au Mexique avait quelque chose de rassurant, le mythe pouvait bien se construire. C’est aussi la raison pour laquelle le deuxième album avait sonné comme une forme de trahison aux yeux de certains. "The living road" (voir notre article) était pourtant nécessaire pour permettre la réalisation de "Lhasa", l’album autant que la chanteuse, dont la voix grave prend ici toute sa dimension, humaine, profonde et délicate à la fois. Dans cette Amérique parcourue du Sud au Nord, Lhasa reste insaisissable et totalement perméable à son environnement, tirant sa force de sa fragilité et irradiant ce disque d’une présence presque palpable.
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15 novembre 2009 7 15 /11 /novembre /2009 17:30

 
Having experienced the Polish group Dikanda live in concert, you are completely blown away . The quintet was founded way back in 1997 with members from Szczecin and Zakopane, in the north and south of Poland respectively, and is going from strength to strength in the meantime. Anna Witczak (vocals, accordion), Katarzyna Dziubak (vocals, violin), Piotr Rejdak (guitar), Grzegorz Kolbrecki (double bass) and Daniel Kaczmarczyk (percussion) partly take traditional tunes, partly write their own songs. They created a somewhat original and unique folk sound. It is not Polish folk and traditional music, and not what to expect from a typical Polish folk band. On the other hand, Dikanda is not one of those crossover roots bands springing up all over the place. They take their source material from the greater east European area. "Ajotoro" features six traditinal songs (coming from Macedonia, Russia, Gypsy traditons, etc.) and four original compositions in the very same vein, including the catchy title track. One might suspect the worst, but Dikanda circumnavigates all crags and cliffs. They make such songs their own and create a highly original roots sound, including all emotions traditional music has to offer: the highs and lows of a life, joy and pain, love and death.
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