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28 décembre 2012 5 28 /12 /décembre /2012 12:00



Origine du Groupe : India , Nepal
Style : World Music







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Tracklist :
1 Ghansi        
2 Tamangselo    
3 Sim Sime Panima        
4 Mustang        
5 Ratna        
6 Bhairavi

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16 décembre 2012 7 16 /12 /décembre /2012 12:00



Origine du Groupe : India , Mali
Style : Alternative , World Music







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Tracklist :
1 Agne Yano     
2 Mil-Jul      
3 Dhine Dhadhin     
4 Doukhontou      
5 Kalpana      
6 Swapan      
7 Roots No Fruits      
8 Soumou     
9 Di Bues Indian    
10 Farkala 

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9 décembre 2012 7 09 /12 /décembre /2012 12:00



Origine du Groupe : Egypt
Style : World Music , Arabic Music







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Birth name Fatima Ibrahim
Also known as Oum Kalthoum, Om Kalsoum, Om Koulsum, Om Kalthoum, Oumme Kalsoum, Umm Kolthoum, Om Koultoum
Born December 30, 1898
Tamay Ez-Zahayra, El Senbellawein, Dakahlia Governorate,Ottoman Empire
Died February 3, 1975 (aged 76)
Cairo, Egypt
Genres Arabic classical music
Occupations Singer, actress
Years active c. 1924–73
Labels EMI Arabia
Associated acts Fairuz
Abdel Halim Hafez
Mohammed Abdel Wahab
Maria Callas




    Discography :

    Albums (108) 


  • Aghadan alqak ("Shall I see you tomorrow?") maqam ajam (1971)
  • Ana Fi Entezarak ("I am waiting for you") (1943)
  • Alf Leila wa Leila ("One Thousand and One Nights").....maqam nahawand (1969)
  • Arouh li Meen or Arook Lemeen ("Whom Should I Go To").......maqam rast (1958)
  • Al Atlal[12] ("The Ruins")......maqam huzam (1966)
  • Amal Hayati"; Sono ("Hope of My Life") (1965)
  • Ansak Ya Salam ("Forget you? Come on!") (1961) maqam rast
  • Aqbal al-layl ("Night has arrived") (1969)
  • Araka asiya al-dam ("I see you refusing to cry") (1964)
  • 'Awwidt 'ayni ("I accustomed my eyes") (1957) maqam kurd
  • Baeed Anak ("Away From You").......maqam bayyati (1965)
  • Betfaker fi Meen ("Who Are You Thinking Of?").....maqam bayati (1963)
  • Dalili Ehtar ("I am lost") (1955) maqam kurd
  • Dhikrayatun (Qessat Hobbi or the story of my love) ("memories") (1955)
  • El Hobb Kolloh[13] ("All The Love").......maqam rast (1971)
  • Ental Hobb ("You Are The Love").......maqam nahwand (1965)
  • Enta Omri – Sono ("You Are the love of my life")........ maqam kurd (1964)
  • Es'al Rouhak ("Ask yourself") maqam hugaz kar (1970)
  • Fakarouni ("They reminded me").......maqam rast (1966)
  • Fit al-ma' ad ("It Is Too Late" or "the rendezvous is over") Sono Cairo.......maqam sikah (1967)
  • Gharib' Ala Bab erraja ("Stranger at the door of hope") (1955)
  • Ghulubt asalih ("Tired of forgiving") (1946)
  • Hadeeth el Rouh ("The Talk of The Soul")......maqam kurd (1967)
  • Hagartek or Hajartak ("I left You") EMI (1959)
  • Hasibak lil-zaman ("I will leave you to Time") (1962)
  • Hathehe Laylati ("This is My Night")......maqam bayyati (1968)
  • Hayart Albi Ma'ak ("You Confused My Heart")......maqam nahwand (1961)
  • Hakam 'alayna al-haw'a ("Love has ordered me") (1973)
  • Hobb Eih[14] ("Which Love").....maqam bayyati (1960)
  • Howwa Sahih El-Hawa Ghallab ("Is love really stronger?") (1960) maqam saba
  • Kull al-ahabbah ("All the friends") (1941)
  • La Diva – CD, EMI Arabia, 1998
  • La Diva II – CD, EMI Arabia, 1998
  • La Diva III – CD, EMI Arabia, 1998
  • La Diva IV – CD, EMI Arabia, 1998
  • La Diva V – CD, EMI Arabia, 1998
  • Leilet Hobb ("a Night of Love") (1973) maqam nahawand
  • Lel Sabr Hedod ("Patience Has Limits")......maqam sikah (1964)
  • Lessa Faker ("You Still Remember").......maqam ajam (1960)
  • Men Agl Aynayk ("For your eyes") (1972)
  • Othkorene ("Remember Me") (1939)
  • Raq il Habeeb ("My Beloved Tendered Back") (1941)
  • RetrospectiveArtists Arabes Associes
  • Rihab al-huda (al-Thulathiyah al-Muqaddisah) ("the paths to repentance or the holy trinity") (1972)
  • Rubaiyat Al-Khayyam ("Quatrains of Omar Khayyám").......maqam rast (1950)
  • Sirat el Houb ("Tale of Love").......maqam sikah (1964)
  • Toof we Shoof ("Wander and wonder") (1963)
  • The Classics – CD, EMI Arabia, 2001
  • Wi-darit il-ayyam ("And Time Passed By").......maqam nahwand (1970)
  • Ya Karawan ("O Plover") (1926)
  • Yali Kan Yashqiq Anini ("You who enjoyed my cries") (1949)
  • Ya Msaharny ("You that keeps me awake at night") (1972) maqam rast
  • Ya Zalemny ("You who were unjust to me") (1954) maqam kurd
  • Zalamna El Hob ("We Have Sinned Against Love") (1962)
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5 novembre 2012 1 05 /11 /novembre /2012 12:00


Origine du Groupe : North America
Style : Jazz World







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Tracklist :
A1 Myself When Young 5:16     
A2 For Some We Loved 4:02     
A3 Wax And Wine 4:25     
A4 Drink 2:30     
A5 Wine 3:56     
B1 Dust 2:51     
B2 Joyful Grass And Grape 3:38     
B3 Shadow Shapes 3:32     
B4 Heaven And Hell 3:10     
B5 The Moving Finger 5:39

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26 septembre 2012 3 26 /09 /septembre /2012 12:00


Origine du Groupe : Gambia , V.A
Style : Compilation , Psychedelic Funk , World Music
Sortie : 2012


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From http://www.kindred-spirits.nl

Touki Ba Banjul is a compilation of the Gambian psych sensation Guelewar who played a major part in the development of the Afro Manding sound. From 1979-1982 the band released four albums, featuring some of Gambia's best funk tunes. This official first time ever reissue features the highlights of their career.

Before Guelewar, Laaye N’Gorn, the lead singer of the band, was already one of Gambia’s most celebrated artists. He was the centre figure in The Supreme Eagles, with whom he played as the main act in one of Gambia’s succesful clubs ‘The Bambo No.1 Night Club’. In return for the succes the clubmanager offered them instruments, after which they renamed their band to the Super Alligators. Due to the mixture of western influences such as soul and funk with traditional and regional rhythms like boogaraboo and sawrouba, The Super Alligators had a unique sound. The result of this blend is known as the psychedelic sound of Gambia (Senegal).
In 1973 the Super Alligators decided to rename the group to Guelewar, Wolof’s for ‘noble warrior’.

After a turbulent couple of years with many musicians joining and leaving the band, Laaye managed to reform the band in order to record their first album in 1977. Over the course of the following five years Guelewar released a total of four albums, which are all filled with deep psychedelic funk gems. Due to the limited pressings, these albums are very much sought after by collectors. Kindred Spirits compiles the highlights of these albums which are presented on this double LP. Touki Ba Banjul is not only a must have for collectors of African music, but for music lovers worldwide.

Tracklist :
1. Sama Yaye Demma N’darr [07:42]
2. Sunu Makaan [06:55]
3. Ya Mom Samaray [07:18]
4. Njarama [06:55]
5. Tasito [06:10]
6. Wollou [07:22]
7. Kele Fasane [08:11]

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19 septembre 2012 3 19 /09 /septembre /2012 12:00



Origine du Groupe : Republic of the Congo
Style : World Music
Sortie : 2012

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From http://www.crammed.be

One of the most inspiring success stories in the global music scene, fearless Congolese band STAFF BENDA BILILI is back with its long-awaited follow-up album "Bouger le monde", which bears witness to the spectacular musical evolution of the group, and to its intent to keep making... the world shake! (as stated in the album's title).

Everyone must know their story by now: formed by paraplegic street musicians who, at the time, slept on the streets of Kinshasa and rehearsed in the half-abandoned city zoo, STAFF BENDA BILILI conquered worldwide audiences and media thanks to their enchanting music, their relentless energy and their uplifting optimism. Upon the 2009 release of their first album, "Très Très Fort" (Crammed Discs), the band  instantaneously became one of the most emblematic African bands around, as well as a symbol of resilience and triumph over adversity.

Released in movie theatres and on TV, "Benda Bilili!", the feature film dedicated to the story of the group was a sensation at the Cannes film festival, and achieved a high level of success. As for the "Très Très Fort" album, it won several awards and sold upwards of 150 000 units. STAFF BENDA BILILI  have toured nonstop for the last 3 years, and they keep performing in front of a constantly growing number of devoted, fervent fans. The band have appeared in the largest festivals & concert halls across Europe, Australia and Japan.

This new album, recorded once again in Kinshasa, DRC, contains a collection of 11 superb songs, and benefits from the musical transformations which gradually took place during Staff Benda Bilili's 350+ shows: the band are louder and rockier, their level of musicianship has further risen, and the adjunction of three new members brings richer textures and added excitement to the arrangements: drummer Montana had joined the band right after the recording of the 1st album, lead guitarist Amalphi is a new recruit, and young percussionist Randy (who played with the Staff when he was a kid, and later vanished for a couple of years) is back in force.

Another significant innovation is that the lead vocal duties are now shared between no less than seven singers: in addition to Coco, Ricky and Theo (who sang most of the songs until now), bass player Cavalier, drummer Montana, "hype-man" Kabose, and Roger (he of the amazing tin-can-and-string solos) are all featured as lead vocalists on the album, which contains lyrics in no less than four different Congolese languages, plus the customary sections in French.

"Bouger le monde" wonderfully translates the band's new sound: it's more powerful and sophisticated, yet retains and showcases all the idiosyncratic qualities of their makeshift instruments, and is as lyrical and moving as it ever was.

The album was produced once again by Crammed's Vincent Kenis (of Congotronics fame) who, this time, didn't set up his mobile studio in the zoo, but in the old Renapec studio, where legendary rumba/soukouss stars such as Franco, Tabu Ley, Papa Wemba and Pepe Kalle recorded some of their best work.

According to STAFF BENDA BILILI, "Bouger le monde" — "move the world" or "make the world shake"— refers to several things at once: 1. their wish to modestly contribute to changing the world (through the message conveyed by their music and their attitude); 2. their will to help change their own, local world (as explained below); and 3. their firm intention to get their audiences to get up on their feet and dance!

Let's mention finally that STAFF BENDA BILILI are still living in Kinshasa. Although success has changed ther life conditions (each of the band members now has a house, or is building one; they've bought new motorbikes, and they can now afford to send their children to school), they aren't considering moving to anywhere else on the planet.They say that they would be cut off from their roots if they did. And they've set themselves a goal: they're eager to help disabled people and homeless children around them to get homes and jobs, and are founding a school which will give them professional tuition (in mechanics, carpentry, music and computer science). They've just created an NGO for that purpose.

L'une des success stories les plus glorieuses et rocambolesques qu'ait connu la scène musicale mondiale de ces dernières années est sans conteste celle de l'intrépide orchestre congolais STAFF BENDA BILILI. Les voici de retour avec "BOUGER LE MONDE", un nouvel album très attendu qui témoigne de la spectaculaire évolution musicale du groupe, ainsi bien sûr de sa détermination à faire, plus que jamais... bouger le monde.
L'histoire est désormais connue de tous: fondé par des musiciens de rue paraplégiques qui, à l'époque, dormaient dans les rues de Kinshasa et répétaient dans un jardin zoologique à moitié abandonné, STAFF BENDA BILILI a conquis le public du monde entier grâce à sa musique enchanteresse, son énergie implacable et son optimisme euphorisant. Suite à la sortie de leur premier album "Très Très Fort" (Crammed Discs, 2009), le groupe est devenu l'un des plus emblématiques d'Afrique, ainsi qu'un symbole de résilience et de triomphe sur l'adversité.

Sorti en salle et à la télévision, "Benda Bilili!", le long-métrage consacré à l'histoire du groupe, a fait sensation à Cannes et a récolté un large succès. L'album "Très Très Fort" (disque d'or en France) a remporté plusieurs prix, et s'est écoulé à plus de 150.000 exemplaires dans le monde. Les trois années qui viennent de s'écouler ont vu STAFF BENDA BILILI triompher sur les scènes des plus grands festivals et salles de concert à travers l'Europe, l'Australie et le Japon, face à un public toujours plus nombreux et plus fervent.

Les onze superbes chansons de ce nouvel album - enregistré à nouveau à Kinshasa, RDC - témoignent de la métamorphose de Staff Benda Bilili après plus de 350 concerts: le groupe joue plus fort, plus rock, plus assuré, plus virtuose, l'adjonction de trois nouveaux membres élargit la palette sonore, dynamise les arrangements: il y a le guitariste soliste Amalphi, nouvelle recrue éminente; le batteur Montana, qui a rejoint le groupe juste après l'enregistrement du premier album; et le jeune percussionniste Randy, recruté par le Staff quand il était enfant, puis porté disparu pendant quelques années, et désormais revenu en force...

Autre innovation importante, le rôle de vocaliste principal se partage désormais entre sept chanteurs: à Coco, Ricky et Théo (qui avaient chanté la plupart des chansons jusqu'ici), viennent s'ajouter Cavalier (le bassiste), Montana (le batteur), Kabose (“l'animateur”), et Roger (rendu célèbre par ses solos de satonge, cet instrument qu'il a construit à partir d'une boîte à conserve électrifiée). Tous chantent en solo sur l'album, et cela dans pas moins de quatre langues congolaises différentes, en plus de quelques parties en français.

"Bouger le monde" traduit parfaitement le nouveau son de STAFF BENDA BILILI, plus puissant, plus sophistiqué, les particularités sonores des instruments de fortune non seulement préservées mais mises en valeur, le lyrisme et l'émotion plus présents que jamais.

L'album a été produit à nouveau par Vincent Kenis (le réalisateur attitré de Crammed, qui s'est notamment illustré par son travail avec Konono N°1 et la série Congotronics). Cette fois, Kenis n'a pas installé son studio mobile dans le zoo mais dans l'ancien studio Renapec, où des légendes de la rumba congolaise telles que Franco, Tabu Ley, Papa Wemba et Pepe Kalle ont enregistré quelques-uns de leurs meilleurs disques. Selon les membres de STAFF BENDA BILILI, "Bouger Le Monde" fait référence à plusieurs idées à la fois: 1. leur souhait de contribuer modestement à changer le monde (à travers le message véhiculé par leur musique et leur attitude); 2. leur volonté de contribuer à changer les choses au niveau local (au moyen de leur ONG, voir ci-dessous), et 3. leur ferme intention d'inciter leur public à sauter sauter (sur ses pieds) et danser danser.

Signalons pour finir que les membres de STAFF BENDA BILILI vivent toujours à Kinshasa. Le succès a modifié leurs conditions de vie : chacun des membres est désormais propriétaire de sa maison, ou est en train d'en construire une; ils ont acheté de nouvelles bécanes, et peuvent à présent se permettre d'envoyer leurs enfants à l'école. Mais ils n'envisagent pas de vivre ailleurs: ils disent que, loin de Kinshasa, ils seraient coupés de leurs racines. Et ils se sont fixé une tâche qui leur tient à c?ur: aider d'autres personnes handicapées et des gamins des rues à trouver un logement et un travail. Ils travaillent notamment à la création d'une école qui dispensera des formations professionnelles (menuiserie, carrosserie, musique, informatique), et ont créé une ONG dans ce but.

Credits :

Ricky Likabu: leader, vocals
Coco Yakala Ngambali: vocals, guitar
Theo Nzonza Nsituvuidi: vocals guitar
Djunana Tanga-Suele: vocals
Kabamba Kabose Kasungo: vocals
Roger Landu: satonge, vocals
Amalphy Ketikila Masamba: guitar
Randy Makana Kalambayi: percussion
Paulin 'Cavalier' Kiara-Maigi: bass guitar
Montana Kinunu Ntunu: drums, vocals

Tracklist :
1. Osali Mabe
2. Sopeka
3. Bilanga
4. Tangu I Fueni
5. Kuluna / Gangs
6. Djambula
7. Libala Ya Mungwa
8. Souci
9. Apandjokwetu
10. Ne me quitte pas
11. Mutu Esalaka (The Brains Are OK)

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16 septembre 2012 7 16 /09 /septembre /2012 12:00



Origine du Groupe : North America
Style : Alternative , World Music
Sortie : 2012

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From http://tribecastan.tv

This is an exciting day! After much hard work, love, and mischievous world-domination plans, our third album, New Deli, is officially available world-wide!

It’s TriBeCaStan’s most adventurous and danceable record to date, with The Village Voice calling it a mixture of “New York cool, explorer energy, and outer space vibes” and Time Out Magazine calling it “a crowded caravansary alive with music to feed the hungry soul.” Please take a moment to check out New Deli. All of us here hope you enjoy listening to it, as much as we loved creating it!

Tracklist :
01 - Song for Kroncha
02 - Louie’s Luau
03 - Freaks for the Festival
04 - Please Don’t Let Me Be Misunderstood
05 - Dive Bomber
06 - A Crack in the Clouds
07 - Bed Bugs
08 - Jovanka
09 - Daddy Barracuda
10 - Two for Ornette (Dee Dee/Theme from a Symphony)
11 - Guinea
12 - (One Day) His Axe Fell into Honey
13 - El Bumpa
14 - The Brain Surgeon’s Wife Serves Lunch
15 - The Mystery of Licorice McKenchie


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3 septembre 2012 1 03 /09 /septembre /2012 12:00



Origine du Groupe : Colombia
Style : Alternative , World Music
Sortie : 2012

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By Nick MacWilliam  from http://www.soundsandcolours.com

Ondatropica have delivered an album of startling quality and animation that crosses the musical spectrum in a relentless blend of Latin grooves, global beats and universal flourishes. Whether taking to the dancefloor or just sitting back to enjoy the ride, there is no denying that this is a modern masterpiece.

As everyone knows, the one thing you really shouldn’t do with music is categorise it. Why bracket something of limitless possibility and permutation as if it were just a sterile supermarket brand? Why restrict it within the worded guff of some corporate twonk obsessed with marketing and sales performance? Music should be free, man! But sadly the reality is that categorisation is necessary when it comes to talking or writing about music (try explaining a sound without referring to any style), while also being pretty important in matters of self-identity and individual expression. You may not like it but that’s the way it is.

So, it’s always nice to remember that there are those out there who remain unrestricted by an imposed tag or so-called ‘market appeal’. The sensational Ondatropica project is one such example, featuring the talents of UK musician and producer Will Holland, better known as Quantic, alongside Colombian cumbia-experimentalist Mario Galeano of Frente Cumbiero. Supported by some of the finest musicians to currently grace the South American music scene, it’s no surprise that Ondatropica has been making big waves recently.

According to the Ondatropica website, the project ‘exists to explore and expand the tropical sound of Colombia in its rawest form and to marry it with the cool sound of London’. As typically happens with labelling, this description simplifies things (any idea what the ‘cool sound of London’ is?) and does little justice to the enthrallingly wide range of influences that characterise the group’s debut album. The word ‘fusion’ is often pretty liberally applied but in the case of the Ondatropica sound, which laces Colombian cumbia and traditional coastal sounds with salsa, bossa nova, jazz, funk, hip-hop, afrobeat, electro and dub, to name a few, it seems a fair term with which to describe the music.

For Holland and Galeano, the two leaders of the group, this is a natural progression from previous work. Quantic’s shift into Latin music began after Holland moved to the Colombian city of Cali in 2007 and launched Flowering Inferno, a blend of native roots music over dubby beats and bass-lines, followed by the afro-latino sounds of Combo Bárbero. Both took influence from the music of Colombia’s coasts, featuring local musicians and songs based in the rhythms and vocals that characterise the region. Galeano’s involvement in Ondatropica comes off the back of Frente Cumbiero’s alliance with Mad Professor which resulted in 2010’s excellent Meets album. Also on board are the likes of singer Markkitos Micolta, owner of one of the most distinctive voices in Pacific folklore, trumpeter Jorge Gaviria who has played and recorded with pretty much everyone in the world, and pianist and composer Alfredito Linares, a legend of tropical South American music who is behind some of its best-known tunes.

With such an impressive line-up (singer Nidia Góngora of Grupo Canalon de Timbiquí and renowned musician and ‘Recochan Boy’ Wilson Viveros are just two more), it’s no surprise that Ondatropica is one of the most hotly anticipated releases of the year but does that mean it’s any good? As soon as the opening tune “Tiene Sabor, Tiene Sazòn” opens up, the answer slams into you like a train into a school bus. This is an absolutely sizzling tropical sound that sparks off in all kinds of whirling directions, but one that, with its modern brew of influences, carries an urban undercoating that transplants itself nicely to the rain-sodden and grime-strewn streets of, oh I don’t know, London for instance. Although best listened to under a palm, in a hammock and sucking on a piña colada, this also sounds pretty sweet while wading through the quagmire of daily graft.

There are some exquisite tunes, those that reflect the coastal harmony of the Caribbean and others that stir the hipster gene with their crafty cultural references and inner-city beats. The cumbia comes thick and fast in the likes of “Punkero Sonido”, “Gaita Trópica” and “Locomotora Borracha”, songs whose pulsating rhythms blend in fresh innovations and inject the classic cumbia sound with numerous external styles, making the album a scintillating joyride through all manner of vivid musical landscape. Other tunes like “El Caimán y El Gallinazo” and “Curro Fuentes” are a throwback to the fifties tropical scene that sent electric volts throughout the Latin music world.

In other places the album excels in its diversity. One of the numerous standout tunes is “Suena”, featuring Chilean rapper Ana Tijoux, a delicious blend of hip hop and tropical vibes in celebration of Latin American solidarity. There’s plenty of vigour in “Ska Fuentes”, which dashes in with the hard-paced grooves that the song title suggests. Things get trippy with the vocal beats and dub echoes of “3 Reyes de La Terapía”, another personal favourite. The excellent “Libya” sounds like two rival tribes of geese getting feisty before slipping into a beautiful melodic courtship of angry bird unity. Stretched over a whopping twenty-six songs, there are one or two moments that fall a little short of the remarkably high standard on show but they are minor. The scale of ambition is impressive enough but the execution is mind-blowing on the vast majority of the album.

With its stellar cast of musicians, I’ve heard the term ‘super-group’ used in reference to Ondatropica but this conjures up, in my mind at least, images of fading and forgotten old rockers cashing in on their dwindling fame one final time, so I’d prefer to paraphrase that expression with ‘brilliant band’. Ondatropica have delivered an album of startling quality and animation that crosses the musical spectrum in a relentless blend of Latin grooves, global beats and universal flourishes. Whether taking to the dancefloor, such a vital aspect of tropical music, or just sitting back to enjoy the ride, there is no denying that this is a modern masterpiece.

Tracklist :
01 - Tiene Sabor, Tiene Sazón
02 - Punkero Sonidero
03 - I Ron Man
04 - Suena
05 - Locomotora Borracha
06 - Remando
07 - Linda Mañana
08 - Ska Fuentes
09 - 3 Reyes De La Terapia
10 - Bomba Trópica
11 - Descarga Trópica
12 - Libya
13 - Gaita Trópica
14 - Curro Fuentes
15 - Rap-Maya
16 - Dos Lucecitas
17 - Cumbia Espacial
18 - Donde Suena El Bombo
19 - Swing De Gillian


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17 juillet 2012 2 17 /07 /juillet /2012 12:00



Origine du Groupe : Tchad
Style : World Music
Sortie : 2012

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By Matthew Forss from http://insideworldmusic.blogspot.fr

As a follow-up to Talou Lena (Marabi, 2008), Chili Houritki, which means, "independence," is an album that builds upon the traditional roots and rhythms of Chad's great musical resources. "Choukrane" is a Sai tune, while the title track is composed in the Bilala ethnic style that celebrates African female independence. A host of other tracks highlight various beats and styles, including n'gandja, guissesse, kidi kotoko, meund, kidi gourane, klaguu, nielim, gourna toupouri, mbong, toumtoum, and gourna. The overall sound is upbeat, contemporary Afro-pop that is rarely heard beyond Chadian borders. The music incorporates guitars, bass, shakers, calabash, kora, udu drum, and assorted percussion throughout the twelve tracks. Pleasant melodies, backup vocals, and sparkling instrumentation driven by historical traditions even contain some ululations and hand-clapping. At any rate, Chili Houritki is a long-awaited sophomore release from Chad's Mounira Mitchala.

Tracklist :
01. Haguina
02. Hourra
03. Tourabi
04. Choukrane
05. Independance [Chili Houritki]
06. Saboura
07. Al Salam Alena
08. Imane
09. Anina Nina
10. Antina
11. Hirate
12. Nadira


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14 juillet 2012 6 14 /07 /juillet /2012 10:07



Origine du Groupe : France
Style : World Music , Ethiopic Music
Sortie : 2012

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From Official Site :

It is an improbable story: one that reunites, a group of young Parisians with the Swingin' Addis sounds of the seventies. In October 2008, five musicians got together on a wild project: to delve into the repertoire of the ethiopian golden age, discovered through “Ethiopiques”, the famous series of reissues. “The idea was to transcribe songs from this period and rearrange them to the sound of our times. First off, it eliminated the need to write songs that risked falling into ethio-jazz clichés. The aim was not to bring about some artistic revolution through our work but simply to give and take pleasure by performing this music!” Through this retro-futuristic alchemy, the Akalé Wubé quintet was born: a curious name borrowed from a song by the saxophonist Getatchew Mekurya, a bit of an old-fashioned expression which can by translated as “my beautiful” in amharic.

“Since our very first concert in December 2008 we were surprised by the audience’s enthusiasm.” Since then, Akalé Wubé have played a series of concerts, refining a retro sound which resounds perfectly with the contemporary aesthetic of a generation of musicians that juggle genres around. Funk, reggae, jazz, tango... “All of this is found in the vocabulary and aesthetic of the ethiopian productions of the sixties and seventies. It is a cross-bred style of music - so much so, that even by sticking to the repertoire, it can be taken in different directions...” A mix of stripped-down funk soul and smart pop, of garage rock and vintage jazz, this spatiotemporal collision ultimately invites us to a fresh journey in sound, guided by the good sense of groove.

C’est l’histoire d’une rencontre improbable : celle qui réunit, à quarante ans de distance, de jeunes Parisiens et le son du Swingin’ Addis des années 70. En octobre 2008, cinq musiciens se réunissent autour d'un projet fou : s’attaquer au répertoire de l’âge d’or éthiopien, découvert sur la fameuse série de rééditions « Ethiopiques ». « L’intérêt était de relever des titres de cette période et de les réarranger à l’aune de notre époque. Dans un premier temps, ça nous évitait d’écrire des morceaux qui risquaient de sombrer dans les clichés éthio-jazz. Il n’y avait pas de prétention de révolution artistique dans notre démarche. Juste prendre et donner du plaisir à jouer cette musique ! » C’est ainsi, sur la foi de cette alchimie rétro-futuriste, que naît le quintet Akalé Wubé, un drôle de nom emprunté à un thème du saxophoniste Getatchew Mekurya, une expression un tantinet désuète que l’on peut traduire par « ma jolie » en amharique.

« Dès notre première scène, en décembre 2008, on a été surpris par l’emballement du public. » Depuis, Akalé Wubé a enchaîné les concerts sans relâche, affinant un son à l’ancienne qui résonne dans l’esthétique contemporaine d'une génération de musiciens qui fait valser les étiquettes. Funk, reggae, jazz, tango…  « Tout cela se retrouve dans le vocabulaire et l’esthétique des productions éthiopiennes des années 60/70. C'est déjà une musique métissée, si bien qu'en s'attaquant à ce répertoire, on peut l’emmener dans toutes les directions.... ». Mélange de de soul funk désossée et de pop délurée, de rock garage et de jazz vintage, ce télescopage spatio-temporel nous invite au final à un voyage sonore inédit, guidé par le bon sens du groove.

Band Members :
PAUL BOUCLIER : trumpet, mélodica, percussions
ETIENNE DE LA SAYETTE : tenor sax, flutes
OLIVER DEGABRIELE : electric bass

Tracklist :
01. Marye [04:47]
02. Dodo [04:28]
03. Mata [03:50]
04. Jour de Pluie [02:22]
05. Kasalefkut Hulu [05:24]
06. Almaz Yeharerwa [04:14]
07. Asmarina [03:54]
08. Bazay [05:42]
09. Besetchet [02:39]
10. Sabye [04:37]
11. Tinchel [03:45]


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