mixtapes for weathers and moods / music for good days and bad days


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2017. július 18., kedd

18-07-2017 16:38 WORLD:MiX # 43 selected ETHNiC FUSiON tracks # WmW 3h 38m


18-07-2017 16:38 WORLD:MiX # 43 selected ETHNiC FUSiON tracks # WmW 3h 38m Staff Benda Bilili,The Touré-Raichel Collective, Stefano Saletti & Piccola Banda Ikona, Janka Nabay & The Bubu Gang, Sotho Sounds, Krar Collective, Tango Crash, Malick Pathe Sow, Bao Sissoko, Ablaye Cissoko, Volker Goetze, Rokia Traore, Catrin Finch, Seckou Keita, Moreno Veloso, OqueStrada

M U S I C



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Collective of paraplegic Congolese who formed in '00s outside the Kinshasa Zoo, went onto international acclaim. / Staff Benda Bilili is a group of Congolese street musicians who play a fusion of rumba, reggae, and vintage R&B. Formed by Ricky Likabu and Coco Ngambali, the band consists of four middle-aged paraplegics, all of whom were confined to wheelchairs after suffering polio as children, as well as several younger members. Roger Landu, who joined the group as a teenager, acts as a lead guitarist of sorts, playing instrumental solos on a one-string electric he built out of a tin can. The other younger members comprise the rhythm section...
Staff Benda Bilili
Osali Mabe (Staff Benda Bilili / Theo Nsituvuidi) 3:53
Bilanga (Staff Benda Bilili / Paulin "Cavalier" Kiara-Maigi) 4:27
Ne Me Quitte Pas (Staff Benda Bilili / Paulin "Cavalier" Kiara-Maigi) 4:16
from Bouger Le Monde! 2012
Staff Benda Bilili rightly made a splash with their first album and the tale behind it. The question was, though, how much depth did they have to sustain a career? On the basis of this sophomore release, the answer is plenty. There's a new drummer and lead guitarist, and the return of their percussionist, as well as a greater sharing of the vocal duties...



Vieux Farka Touré, the second son of the late Ali Farka Touré, inherited his mantle, but his father never wanted him to be a musician and endure the same problems he had. Instead, Ali forbade his son from playing music and decreed that he'd become a soldier. But a father's wishes can't always be law; some children are destined to follow in their father's footsteps. Vieux was drawn to music, and growing up in his father's hometown of Niafunké and the Malian capital, Bamako, he began playing percussion, growing adept on both calabash and drum kit in spite of his father's antipathy. In 1999 Vieux became a student at the National Arts Institute in Bamako, taking up his father's instrument, the guitar, and writing his own music.
The Touré-Raichel Collective
b. c. 1978, Kfar Saba, Israel. As a child Raichel played accordion but later switched to keyboards. Following military service, he worked as a counsellor with Ethiopian children and through this began exploring that country’s culture. He attracted attention working with pop singer Ivri Lider and soon decided to form his own band, the Idan Raichel Project.
Azawade (Idan Raichel / Vieux Farka Touré) 8:12
Experience (Idan Raichel / Vieux Farka Touré) 6:21
Hawa (Idan Raichel / Vieux Farka Touré) 7:00
Touré (Idan Raichel / Vieux Farka Touré) 4:06
from The Tel Aviv Session 2012
Full marks to both Vieux Farka Touré and Israeli keyboard player Idan Raichel for this very daring venture. Going into the studio with two other musicians -- on calabash and bass -- to improvise and see what happens takes not only skill but also plenty of guts. Did it pay off? From the material here the answer is a resounding yes. This isn't about ego, it's about conversation -- which also means plenty of listening. The musicians trade ideas, push each other along, and explore each other's cultures and ideas along the way. It's a sign of how far Touré has come, and how quickly, that he sounds completely confident in this situation and company, utterly holding his own. It's also an indication of how much music transcends any geographical borders and refuses to be placed easily in any pigeonhole. There are traces of jazz, blues, West Africa, and more, but they're subsumed in the completely different whole of the sound...



Musician and composer who plays traditional mediterranean instruments (bouzuki, oud, tzouras), acoustic, classic and electric guitars, piano, percussion, sampler, programming. He is the founder and band leader of Novalia and the Banda Ikona. He is also the musical director of two international ensemble: 7 Sóis Orkestra e Les Voix du 7 Sóis...
Stefano Saletti & Piccola Banda Ikona
"...writers, musicians, and singers with this much talent, sympathy and vision, it can be pure magic".
Ian Anderson - Folk Roots / A fascinating journey between the sounds and cultures of the Mediterranean sea in the research for a musical and lyrical language that unites its various populations. This is the idea behind the show of Stefano Saletti and the Piccola Banda Ikona A journey to rediscover the different types of music that tell the stories about the passion of the Mediterranean people. 
Piazza Tahrir (Stefano Saletti) 7:36
Procurade 'E Moderare feat. Ambrogia Sparagna (Stefano Saletti) 4:20
Wein A Ramallah feat. Hakeem Jaleela (Stefano Saletti) 4:01
El Ejercito Del Ebro (Stefano Saletti) 4:26
from Folkpolitik 2012
The sights and sounds of the Arab Spring arriving from the streets of Tunis, Cairo and Damascus, make the mind return to the 1970's, when a wind of freedom blew across Europe and swept away the authoritarian regimes in Spain, Greece and Portugal. Those squares are the same: the same faces, hopes, colours, sounds, songs...



Janka Nabay, an exile from Sierra Leone who fled to the U.S., is the undisputed king of bubu music. / Sierra Leone's Ahmed Janka Nabay is the undisputed king of the country's bubu music. Bubu is a centuries-old folk music with mysterious origins. It is typically performed for high ceremonial purposes, such as the processions held during Ramadan, but its roots precede Islam. Nabay began his career by playing reggae inspired by one of his idols, Bob Marley, but he also played bubu, whose folk form features instrumentation such as bamboo flutes and blowing on metal pipes (often auto exhaust and building conduit) and handmade drums.
Janka Nabay & The Bubu Gang
Feba 4:55
Tay Su Tan-Tan 4:23
En Yay Sah 4:21
from En Yay Sah 2012
Sierra Leonean vocalist and songwriter Janka Nabay and his Bubu Gang play a massively hybridized form of traditional bubu, an ancient ceremonial folk music indigenous to Nabay's country that predates Islam. Nabay was an established musician at home, a rock star who sold tens of thousands of records. After he fled his war-ravaged nation for the U.S., it took a full decade working menial jobs before he found his way to Brooklyn and formed this band. Its members come from Skeletons, Zs, Saadi, Chairlift, and Highlife. En Yay Sah is their full-length debut on Luaka Bop. While traditional bubu is played on bamboo flutes, metal pipes, and percussion instruments, Nabay's brand is pure 21st century dance music. Using electric guitar, keyboards, percussion (organic and synthetic), and electric bass, Nabay's voice and Boshra Al Saadi's backing vocals provide a constant, frenetic call-and-response pulse that adds a layer of rhythm (to an orgy of it already) as well as melody in these eight songs...

Sotho Sounds began as herd boys in the highlands of Lesotho. Isolated in the mountains they became determined to make something out of nothing and crafted instruments from wood, tin, scrap metal, car parts, inner tubes and wire.   The result was a mini homemade collection of four-string tin-can guitars, metal one-string fiddles and oil-barrel drums. Fused with soulful vocals, whistles, pumping accordion and stomping gumboot dancing they created their own songs inspired by gospel, township jive, hip-hop, reggae and traditional stories.
Sotho Sounds
Jerusalem 4:25
Mobopong 3:42
Something To Think About 5:06
from Junk Funk 2012
'a sound that is both innovative and traditional, an extraordinary mix ... a joyous cacophony' 4****stars/Top Of The World Songlines /  Junk Funk is Sotho Sounds debut album and perfectly captures the excitement and humorous bounce of their live performances. The eccentric band met whilst shepherding in the lofty hills of Lesotho, a landlocked enclave surrounded by the Republic of South Africa. Junk Funk is one of the first international recordings to come from Lesotho and is set to spread the unmistakeable Sotho Sounds worldwide. Sotho Sounds cite the influence of Basotho traditional music and South African pop, especially the bubblegum pop stylings of Brenda Fassie. Yet ultimately the band is remarkable because of their fierce innovative streak – they have literally built their music from the ground up. Their home-made sound bestows their music with a deeply personal edge – every fibre of the sound was crafted by them, from the slap of the strings, to the crash of drums, to the call of the voice. This is raw Sotho Sounds. Let the Junk Funk revolution begin.

Hailing from London via Addis Ababa, Krar Collective are a trio whose unique and powerful take on Ethiopian music has made them rising stars in the world music community. The musical keystone of the group is the krar, a traditional Ethiopian lyre with six strings...
Krar Collective
Guragigna 6:07
Ambassel 5:28
Konso 6:01
from Ethiopia Super Krar 2012
Before gaining fame while touring with Damon Albarn, the Krar Collective were a London-based trio that performed at weddings in the U.K.'s Ethiopian community. While their repertoire is based on traditional songs from their native land, the Krar Collective have created a unique style by radically reworking the material that creates a timeless appeal. The "krar" is an ancient lyre. The group's leader, Temesgen Zeleke, employs acoustic, electric, and bass krars, with organic percussion and other traditional instruments such as Ethiopian fiddles and flutes underscoring and on top of various vocalists in a variety of ranges. Vocals are full of collective cadences and long solo poems; musical stops and starts create an organic syncopation, and the krars can often sound very similar to guitars...

A Germany based Argentinian Experimental-Tango-Jazz-Electronica fusion group with a strong emphasis on jazz and electronica. 
Tango Crash
Accidente De Tango 5:06
Dogstep 5:27
Molinga Laco 5:33
from Accidente de Tango 2012
Germany, Austria, & Switzerland






b. Malick Pathe Sow, 1959, Ndioum, Senegal. Born into a family of ‘griots’ (traditionally the caste of musicians and artists within West African society), Sow took up music from a young age, singing and playing the hoddu (a local relative of the banjo) and ‘Fulani’ violin. In 1978 he formed the band Yellitaire with Baaba Maal, which became Dande Lenol, Maal’s backing band for live appearances. Sow toured with the band throughout Africa and Europe and appeared on Maal’s classic Baayo (1991). Moving to Brussels, he formed Welnere, his own band, featuring both African and European musicians.
Malick Pathe Sow, Bao Sissoko
Bilbasi 4:36
Manio Be Kumbola 4:40
Aduna 4:14
from Aduna 2012
The finest African exile album of the year comes from two great Senegalese musicians now living in Belgium. Malick Pathé Sow is a singer, guitarist and exponent of the hoddu (the Senegalese n'goni), who moved to Europe in the 1990s after working with Baaba Maal and playing a key role on his classic album Baayo, while Bao Sissoko comes from a griot family and a long line of kora players. As a duo, they create an exquisite, trance-like set that is remarkable for Sow's warm, soulful vocals and for the interaction of the two players. There's occasional calabash percussion, female vocals and spike fiddle, and fine guitar work from Sow, but kora and hoddu dominate. This is an album rooted in tradition, but stories from Senegalese history and Islamic praise songs sit alongside a sturdy instrumental dedicated to an NGO fighting to end female circumcision.

Singer and kora player, Ablaye Cissoko is a part of new generation of artists from Senegal. Son of a Griot, living in Saint Louis in Senegal, Ablaye Cissoko incarnates the crossover between Mandinka traditions and contemporary musical creation. Ablaye Cissoko is know for his amazing display of musical genius and generosity. He is one of the finest kora player in the world and one of the most crossover african artist, able to collaborate with both jazz, world music and even classical artists.

Volker Goetze is an international touring performer, composer, filmmaker and media artist. He has performed and presented his work at Carnegie Hall, the Kennedy Center, Paris Jazz Festival, WDR Cologne, Gasteig Munich, Jazz-A-Vienne, World Festival of Sacred Music (Los Angeles), Caixa Forum Madrid and the Opera Festival in Munich. His work fuels cross-cultural dialogue, incorporates multiple disciplines and utilizes cutting edge technology.
Ablaye Cissoko, Volker Goetze
Kana Maloundi 6:12
Amanke Dionti 6:31
Togna 7:01
from Amanke Dionti 2012
Amanké Dionti is the most curiously beautiful record to hit shelves in the first half of 2012. Senegalese kora master Ablaye Cissoko and German trumpeter Volker Goetze have created a warm, engrossing, transcendent album that's glazed over with stark beauty and slight reverb, making it sound like a meeting of West African ideals and ECM-style production values...

Rokia Traoré (born 24th January 1974) is an award-winning Malian singer, songwriter, and guitarist.
Traoré was born in Kolokani, Mali as a member of the Bambara ethnic group. As her father was a diplomat, she travelled widely in her youth travelling to Algeria, Saudi Arabia, France and Belgium. As a result of this travel, she was exposed to a wide variety of influences.
Rokia Traore
Lalla 3:29
Sikey 3:28
Mélancolie 4:08
Beautiful Africa 3:34
from Beautiful Africa 2013
Though Rokia Traoré’s past albums established her as a fine singer, her new Beautiful Africa feels more accomplished than ever, her voice bending around her words (sung mostly in Bamana) with flourishes of subtle vibrato.
The first thing you hear on Rokia Traoré's Beautiful Africa is a drum beat, unadorned. It only lasts a few seconds before the guitars wrap around it like a veil, but it still feels revealing, as though we opened the door on the music just a few seconds before it was ready for us. That thump and tap, in a rhythm a bit like Radiohead’s “Idioteque,” tells us a lot about the album that follows: This is a record that grooves but also invites the listener to come closer, to step into its space, be still and listen. Traoré and producer John Parish have captured this music in all its rhythmic grace with great intimacy, capturing each slide up the bass or thrum of the n’goni with direct clarity.

International welsh harpist, Catrin Finch, is one of the most accomplished harpists of her generation. Since her inspiration to learn the harp at the age of five, she has been delighting audiences with her performances in the UK and worldwide... Since then, her musical journey has blossomed, appearing with the world’s top orchestras around the world and recording for most of the major international recording companies.
Seckou Keita is a true master of his instrument, a childhood prodigy, born of a line of griots and kings (Keita is the royal lineage, and not traditionally a griot name). Cissokho, his mother’s family name, gave life to his talent. His family includes Solo Cissokho, Seckou’s uncle, who introduced him to the International stage in 1996.
Genedigaeth Koring-Bato 6:38
Bamba 8:42
Llongau Térou-Bi 9:04
from Clychau Dibon 2013
Here's an intriguing Welsh/West African collaboration that really works. Catrin Finch is a celebrated harpist who is best-known for her classical playing but has also worked with the Colombian band Cimarrón and Malian kora virtuoso Toumani Diabaté, while Seckou Keita was born into a griot family in Senegal, now lives in Nottingham, and is the most inventive British-based exponent of the kora, the West African harp. In the past, he has matched African themes against Cuban and flamenco influences, and shown how the kora can be used to play jazz-funk, but this new set of instrumental duets is his most satisfying work to date. The interaction between the two players is remarkable, with the melody lines constantly switching between the kora and harp, as sturdy African themes are mixed with Welsh melodies, and they switch between tranquil, hypnotic passages and more rapid-fire improvisations. An elegant, gently exquisite set.

Moreno Veloso, son of Brazilian music icon Caetano Veloso, began singing at the age of three, improving his natural skills while learning how to play classical guitar six years later. Veloso made his songwriting debut in 1982 with "Um Canto de Afoxé Para Bloco do lle," which is featured on Caetano Veloso's Cores, Nomes. 
Lá e Cá 4:05
Em Todo Lugar 2:44
Coisa Boa 3:13
from Coisa Boa 2014
...Most of these songs were inspired after Veloso relocated to Salvador, Bahia. Much of the set was recorded there, as well as in Rio, Japan, and New York. His supporting cast includes Lancellotti and Kassin, guitarist/co-producer Pedro Sá, Arto Lindsay, Takako Minekawa, Rodrigo Amarante, Melvin Gibbs, Davi Moraes, Daniel Jobim, and many more. Rehearsals sometimes took place while Veloso's children were sleeping, adding a quiet dynamic that wound its way into the recording process. The sense of time here is dilated, the production aesthetic is economic, open-ended...

OqueStrada “has created a unique and cosmopolitan swing inspired in the roots of the Portuguese music that makes Portugal dance the world”. The description belongs to the Nobel Prize Committee when introducing “the amazing OqueStrada” at the official ceremony. This is the first Portuguese artist ever invited to perform at the unique event together with artists such as Seal, Jamiroquai, Herbie Hancock, Esperanza Spalding, Florence + The Machine, settling a turning point on the history of the Portuguese music.
Café Solo 4:31
Atlantic Beat 3:57
Sweet Old Country 3:58
from Atlantic Beat 2014
“AtlanticBeat Mad’in Portugal” is OqueStrada´s new album and it has already fans all over Europe. An album with an Atlantic breeze that invites the listener to look at Portugal as the balcony with the best view over Europe you could have. In between the strength of the Atlantic beat and the weight of the so called Old Europe, in between what we are and what we can become into, “AtlanticBeat Mad’in Portugal” innovates, creating the concept of the hand / home made danceable song. In this album, OqueStrada´s idea of “leaving to return” is stronger than ever, and it blinks an eye to the immigrant we all have inside.



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