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domingo, 24 de octubre de 2010

The Broken Keys – Gravity


The Broken Keys es un dúo formado por Benedic Lamdin, aka Nostalgia 77, y Nathaniel Pearn, aka Natural Self, es decir, dos talentos de la música negra surgidos en la cantera del sello Tru Thoughts. Cuando ambos comenzaron a editar singles en el 2001/2002, sus seguidores pudieron apreciar más de una similitud en sus estilos, porque compartían su amor por el jazz y la utilización de beats de hip hop, además de una común facilidad para producir temas bailables cuando lo desearan. Posteriormente, sobre todo Nostalgia 77, han evolucionado estilísticamente y han recorrido caminos muy diversos, pero estos viejos amigos, que ya habían colaborado en calidad de remixers (Nostalgia 77 remecló un corte de Natural Self), dicidieron cear el proyecto The Broken Keys y meterse juntos en un estudio. Su música ha sido descrita como una fusión del funk, soul y rock clásicos de los 60 y 70, sumado al hip hop actual, o, traducido a grupos y artistas, una versión desbocada de Gorillaz o una combinación loca de MF Doom, Edan, James Brown y Jimi Hendrix. Puede que alguien vea esa mezcla imposible, pero escrito de manera más sencilla, todos los que disfruten bailando con el soul, el funk y el jazz, sea o no electrónico, tienen una cita con The Broken Keys. En el 2006 el proyecto debutó con el álbum Gravity, editado por Tru Thoughts.http://lnx.indajaus.com/acidjazzhispano/content-803.html







1. Introduction
2. Redlight
3. Bone Train
4. Invisible
5. Witch
6. Black Farr
7. Stepping Stone
8. Burnt Popcorn
9. Slingshot (Part 1)
10. Slingshot (Part 2)
11. Razorblade
12. Why Jupite

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The Bahama Soul Club-Bossa Nova Just Smells Funky

There are three stages to establish an artist, and getting through the second one is always the hardest. The first stage is a fun phase with endless possibilities; there’s so much ahead, and you start to dream really big. All six of your fans are fiercely loyal and basically you have tons of freedom for getting to the top. – OK, done! Now, let’s skip ahead … The third stage is an amazing picture, larger than life. Touring internationally, headlining shows and selling millions of albums. Songs on hit radio stations, loved by millions and tons of groupies all around the world. You don’t cope with a stage three hero and you get stuck at stage one, if you don’t have a plan for stage two … In fact, you don’t even know what stage two is and make the mistake of wishing for that miracle …Solution: The second stage is all about making a good album. Roughly speaking, arrange exciting songs full of SOUL, AFROLATIN and JAZZ, with a special love to modern BOSSA NOVA, now create a unique sound with selected vintage gear for that legendary “Bahama Sound” and scan the world for unmatched singers and stoned troubadours. You can ask the exiting Pat Appleton from DePhazz for a couple of songs. She’ll give you a fantastic demonstration of her powerful soul and also a delightful atmospheric track. Then join geordie-man John Turrell from the great Smoove & Turrell for adding some gospel flavoured and soul powered melodies. And who can resist the amazing Ms. Bella Wagner for her wonderfully emotional and deep voice? For presenting some of the hottest talents please ask breezy dutch singer Sitzka for her sultry singing on big dirty beats. Furthermore, respect afro magic and fuse your latin beats with pure african high-life of inimitable multi-instrumenalist Kojato and twinkle to the afrolicious artwork of the CD-cover. Then you can probably add just a dear friend as A special Secret and let her sing magical notes to mystify the line-up. Finally do your very best on some remixes for selected fine artists like Xantoné Blacq, singer and keyboard player from Amy Winehouse and for incredible Bajka, probably the most unique female voice of this time and try to get these mixes on your album. This should complete a formidable bandwith of surpassing artists and voices around the globe, believe me. – So now: Let it simmer for a delicious chowder and you know what? It smells funky as … yeah, and -it’s not a crime- as an old recording from the legendary Juju Orchestra proclaims, “It just smells funky!”. Remember the wise words from a cherished musician with a proper moustache: “Jazz is not dead, it just smells funny”, FZ.

http://www.myspace.com/bahamasoulclub





01. King’s Wig 5:12
02. Afro Shigida (feat Kojato) 6:22
03. Bossa Bop (feat Pat Appleton) 4:29
04. Serious Soul (feat John Turrell) 3:27
05. Experience In Jazz (feat Bella Wagner) 5:57
06. Junkie (feat Sitzka) 4:39
07. Tangossa (feat Pat Appleton) 5:04
08. Bossa Corcovado (feat A Secret) 5:28
09. Open Wide (feat Xantone Blacq) 4:27
10. True (BSC Remix) (feat Bajka) 5:34
11. But Rich Rhythms (Club Des Belugas Remix) 5:03
12. Nassau Jam (Smoove’s Funky Jam-Remix) 5:57

The Bahama Soul Club

sábado, 23 de octubre de 2010

Astro Can Caravan-21st century drifting episode

Astro Can Caravan es una banda finlandesa que se forma en 2001 por Otto Eskelinen, Pharaoh Pirttikangas, Tomi Kosonen y Tuomas Eriksson. Su estilo es un avant-garde jazz del más original y novedoso que se haya creado. Como una orquesta jazzística de más de 20 músicos, la instrumentación es increíble: variedad de saxos, algunas trompetas, un par de clarinetes, muchas percusiones, oboe, acordeón, piano, pero además instrumentos eléctricos: guitarra, bajo, órgano y sintetizador. El resultado es el jazz más experimental y menos convencional al que jamás me he enfrentado, de por sí la armonía no está nada descuidada, y por otro lado, mientras que los vientos aportan todo el componente jazzístico-melódico, el órgano nos dibuja momentáneamente algunas figuras del blues, pero lo más interesante es que esto lo intersectan con inteligencia y gran habilidad con secciones electrónicas de sintetizador y efectos en la guitarra eléctrica, pero sin hacer abuso de esto último

- Otto Eskelinen / piano, organ, accordion, synthesizer, bandoneón
- Pharaoh Pirttikangas / synthesizer, guitar
- Joonas Hytti / trumpet, euphonium
- Tuomas Eriksson / trombone
- Joakim Berghall / soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone
- Tomi Kosonen / tenor saxophone, baritone saxophone
- Veli-Pekka Parkkinen / clarinet
- Suvi Pappi / bass clarinet, flute
- Arvi Hasu / bass
- Niko Votkin / drums
- Jari-Pekka Hautalampi / drums, percussion
- Torsti Tuovinen / percussion
- Jarkko Pellikka / trumpet
- Samuli Peltoniemi / trumpet
- Artturi Taira / alto saxophone, baritone saxophone
- Tapani Varis / baritone saxophone, bass
- Henna Karhunen / oboe
- Emil Luukkonen / electric piano, synthesizer
- Pentti Dassum / guitar, mandolin
- Jape Karjalainen / percussion, bass
- Teemu Mäenpää / percussion
- Rasmus Pailos / percussion

Astro Can Caravan official website



1. Tungar Tudu (6:21)
2. Mad Oracle (2:56)
3. De Revolutionibus Orbium Coelestium (6:17)
4. Beef Jeans (4:27)
5. Dark Bravos (4:16)
6. Moon Boots (1:40)
7. Tapernaakkeli (4:23)
8. The Scale of Anubis (5:11)
9. Meteor Shower Geel (4:17)
10. Kohoutek (9:47)

astro can caravan-21st

Otis Taylor - Clovis People - Vol.3 [Usa]


Otis Taylor cava en el pasado. Ya se trate de las canciones que escribió hace una década, o las antiguas civilizaciones que vivieron hace más de 10.000 años, es atraído por las historias de otros tiempos, y está obligado a contar de una manera que es relevante en la época moderna. Clovis People, vol. 3, Taylor escribe su propia historia.

Es el proyecto ideal para el arquitecto de un estilo hipnótico que ha llegado a ser conocido como "blues trance." Taylor ha pasado su carrera elaborando canciones que están muy abiertas a la interpretación - por temas, así como estructuralmente. "Le doy a la gente un punto de partida, y luego se puede tomar en un lugar donde ellos quieren tomar", explica. "Eso es cierto para la gente tocando mi música, así como el pueblo al escucharlo. Así es como el arte debe ser. Una persona que mira una pintura debe ser capaz de interpretar de la manera que él quiere. Cuantas más palabras usted pone en una canción , menos libertad tiene el oyente para decidir lo que significa. "

El título del álbum está inspirado en un descubrimiento científico reciente y muy cerca de la casa de Taylor en Boulder, Colorado. A escasos 100 metros de su propiedad, los arqueólogos desenterraron un alijo de herramientas y otros implementos que pertenece a una civilización conocida como el pueblo de los Clovis, quien caminó por la tierra brevemente cerca de 13.000 años atrás, y luego desapareció misteriosamente. "Sólo pensé que era un título genial", dice Taylor. "Volví a mi pasado musical con estas canciones. Es por eso que lo llamé Tomo 3. Realmente no hay volumen 1 o 2. Mi única música que se remonta a unos diez años, pero hay algo que se remonta a una época anterior y volver a examinar las historias del pasado desde una nueva perspectiva me parece convincente. "
Cómo ayudar a dar forma a esa perspectiva nueva a un equipo de musicos que prestan una variedad de tonos y voces a la mezcla. Entre ellos se encuentra el guitarrista Gary Moore, un músico invitado en dos de las grabaciones anteriores de Taylor (Definition of a Circle en el año 2007 y Pentatonic Wars y Love Songs en 2009), se mueve dentro y fuera de las pistas con un riff duro aquí, un acento sutil allí, y sólo los "factores atmosféricos, ahí es donde se presenta. También en nueve de los doce temas el guitarrista al pedal steel Chuck Campbell - un miembro de los Hermanos Campbell, el grupo de gospel afroamericano que ha desarrollado un sonido conocido como "Sacred Steel". Además, otros musicos en Clovis, vol. 3 son el cornetista Ron Miles y el bajista Cassie Taylor (hijo de 22 años de edad, de Otis).



De hecho, algunos instintos son eternos, si el marco de referencia es 2010, 1950 o algún tiempo antes de la historia conocida. Clovis People, vol. 3 es en algunos aspectos un vehículo para Taylor - un arqueólogo de otro tipo - para volver a examinar algunas de las verdades que ha descubierto en su propia época y preservarlas para ser escuchadas en algún momento futuro. "Volví a mi pasado musical con estas canciones - todo el camino de regreso a mi primer álbum," dice Taylor. "Me gusta encontrar diferentes maneras de contar las viejas historias. Siguen el sentido de algo - a mí, a la gente que los escucha, a los músicos que tocan conmigo - muchos años después."
Fuente: Amazon

TRACKS:
01. Rain So Hard
02. Little Willie
03. Lee And Arnez
04. It's Done Happened Again
05. Past Times
06. She's Ice In The Desert
07. Hands On Your Stomach
08. Harry, Turn The Music Up
09. Ain't No Cowgirl
10. Babies Don't Lie
11. Coffee Women
12. Think I Won't

Clovis People - Vol.3

Shye Ben Tzur - Shoshan


Shye Ben-Tzur is an Israeli composer/ producer and performer who has been living, and creating in India for the last decade. His journey to the Indian sub continent has begun while searching for a Classical Indian music teacher and a guide. After years of studying Indian classical music in the traditional manner, Shye had felt the urge to compose music using his own language. His debut album Heeyam (Supreme love), was recorded in India, Israel, and USA. It was released in 2003, and earned great applause. In Heeyam Shye has worked with traditional Sufi Qawwali singers, (Qawwali is a form of ecstatic Muslim devotional music) who have been learning his compositions and poetry, and sung them in Hebrew. From his personal life experiences Ben-Tzur has succeeded to bring his own ancient culture alive into a unique cross cultural work. Besides working with the Qawwal communities across India, in the past few years shye has been collaborating with deferent folk musicians from the Rajasthan desert. His first collection of poems Souls expressions was published in 1999 in Israel A new book with a collection of his poetry “Love poems of worship” is soon to be published in Israel. In present days Shye is concluding the recording of his second album titled “SHOSHAN” That is to be release with Earthsync on 2009.





01 Intro Shoshan
02 Shoshan
03 Intro Dil Ke Bahar
04 Dil Ke Bahar
05 To Die In Love
06 Dar E Yar
07 Sovev
08 Into Daras bin
09 Daras bin
10 Intro worshiper of love
11 Worshipper of love
12 shoshan katan

Shye Ben Tzur – Shoshan

Arabia A Musical Journey

01. Azzdine – Srir F’ Al Houbb
02. Al-Pha-X – First Transmission
03. Baaba Maal – Sidki
04. Abdel Aziz Lamiri – Babour
05. Deep Forest – White Whisper
06. dZihan & Kamien – Just You & I
07. Zohar – Ehad
08. Digital Bled – Cairo Bar
09. Radar & Christophe Goze – Caravane
10. Transglobal Underground – Pomegranate
11. Pressure Drop – The Calling
12. Nickodemus & Andrea Monteiro – Desert Dance
13. Omar Faruk Tekbilek – Shashkin
14. Djamal Allam – Tiziri (Mandalay Mix)
15. Christophe Goze & Nelio – Keep On
16. Cheikha Rimitti – Nouar
17. Bellemou Messaoud – Bledi
18. Abdel Aziz Lamiri – Babour ( Russian Rouble Mix)








Arabia A Musical Journey p1
Arabia A Musical Journey p2
Arabia A Musical Journey p3
Arabia A Musical Journey p4

Rail Band du Mali-Mélodias (1976)

The Rail Band, first formed in 1970, is one of the most popular musical groups in the history of Malian music; the band was later known as Super Rail Band, Bamako Rail Band or, most comprehensively and formally, Super Rail Band of the Buffet Hotel de la Gare, Bamako. Its fame was built upon the mid-20th century craze for Latin—especially Cuban — jazz music which came out of Congo in the 1940s. The Rail Band was one of the first West African acts to combine this mature Afro-Latin sound with traditional instruments and styles. In their case, this was built upon the Mande Griot praise singer tradition, along with Bambara and other Malian and Guinean musical traditions. Their distinctive sound came from combining electric guitar and jazz horns with soaring Mandinka and Bamabara lyrical lines, African and western drums, and local instruments such as the kora and the Balafon. At their height of fame in the 1970s, the Rail Band played to sold out venues and even stadia across West Africa, and launched solo careers for many of its members, including the legendary vocalist Salif Keita.http://en.wikipedia.org/wiki/Rail_Band





1 Soundiata
2 Mali tebaga mogoma
3 Maki
4 Armée Malienne
5 Mystery track

Rail Band du Mali – Mélodias

Bustan Abraham- Live Concerts


Many attempts have been made by musicians to create a synthesis between Eastern and Western cultures. Generally the result is that either the Western or Eastern form dominates while the other is merely used for ornamentation. For the past several years Bustan Abraham has met this challenge and has succeeded in pioneering a unique form of instrumental music which combines elements of both these Eastern and Western forms without sacrificing the musical integrity of either.

Bustan (Hebrew and Arabic meaning, "garden of fruits and essences," in this case the garden of Abraham, father of Isaac and Ishmail) was founded in 1991 by Avshalom Farjun. It comprises seven distinguished Israeli musicians, both Jews and Arabs, who have combined their musical experience as composers, soloists and heads of musical ensembles to create original music on a very high international level.

The musical backgrounds of Bustan Abraham's members are very rich and represent an astonishing variety of musical cultures including classical Arabic music, classical European music, jazz, Turkish, Persian and Indian music, flamenco and American folk music.

The instruments played are unusually diverse. Middle Eastern instruments include the oud (Arab lute), qanoun (oriental zither) and a range of percussion instruments such as durbakkeh, daff, zarb and bandir frame drums to name only a few. These are joined by Western instruments including transverse flute, classical and flamenco guitar, contrabass, electric bass, and 5-string banjo. In addition the violin is utilized in both Middle Eastern as well as Western forms of playing. Also represented is an astonishing array of international percussion instruments too numerous to mention! The successful integration of this combination of instruments has never before been presented on the concert stage. The music which embodies this rich diversity is entirely original and was composed and arranged in a cooperative effort by all members of the group.

Bustan aspires to create a new musical form, which speaks to both Eastern and Western audiences, and to pave the way for other joint creative efforts between Arabs and Jews. The group has become a symbol of uncompromising instrumental composition, which has created a new standard of originality in Israeli music, and world music in general, and has received rave reviews to that effect from audiences and critics alike.

Bustan have toured extensively throughout the world between 1992 & 2003 it's powerful stage performance have been always greeted with standing ovations by audiences.

Miembros:
Taiseer Elias-oud, violin
Amir Milstein-flute
Avshalom Farjun-qanoun
Emmanuel Mann -bass
Zohar Fresco-percussion
Miguel Herstein-classical guitar and banjo
Nassim Dakwar-violin
Yehuda Siliki-baglama



80 minutos mágicos de los mejores conciertos en vivo de Bustan Abraham, el más aclamado y destacado conjunto israelí músicas del mundo, compuesta por ocho músicos árabes y Judios. Original de música instrumental que combina elementos de ambas tradiciones orientales y occidentales

01 - Bustan (Paris)
02 - Suite for Deyzi (Hong Kong)
03 - Fountainhead (Paris)
04 - Jazz Kar-Kurd (California)
05 - Caravan (Israel)
06 - Toy Vivo (Israel)
07 - Journey (Hong Kong)
08 - Solaris (Israel)
09 - Hamsin (Israel)
10 - Gypsy Soul (Israel)


Bustan Abraham- Live Concerts

LOS ANDARIEGOS - Los Andariegos - [ARGENTINA]



El hombre caminó detrás del canto en íntima aspiración de lograr la voz eterna y renovada de la tierra, que es en suma su propia voz.

Este horizonte guía a LOS ANDARI EGOS¡en cuyas bondades artísticas creo innecesario detenerme. Pero quizá mis palabras estén dirigidas más propiamente a los jóvenes que en estos tiempos integran ese "sonoro malón guitarrero" que ha despertado al canto nativo en la ciudad.

Aquí están Juan Carlos Rodríguez, Rafael Tapia, Angel Ritro, Abel González y Raúl Mercado, voces provinciales que desde su
Mendoza natal, traen el mejor acento de la tierra cantada.

En sus bien afiatadas voces, lo telúrico gana en esencia trovera porque los acordes combinados sólo están al servicio de la mejor vocalización con alto respeto de la obra del autor que interpretan.

Aquí tiene pues la juventud un molde sincero y moderno, nativo y total, por cuyo camino, desde la raíz comarcal del canto,
se llega al alma de todos los pueblos con un mensaje puro y de alta jerarquía.

Este conjunto no se detiene en el aplauso que con tanta justicia logra. Por eso, este L. P. contiene obras en su totalidad de
reciente creación que sus autores le han confiado seguros del éxito que obtendrán. Es decir, que el aplauso de Uds., estoy seguro, premiará una vez más la labor de este personal y calificado conjunto de arte nativo. Y justo es decirlo, se lo merecen.

AMANCIO VARELA.

Para que estos humildes grandes de mi pais,a los que la dictadura militar les cortó las alas en pleno
vuelo (como diría Maese Mercado) puedan elevarse , si es necesario , habrá que prestarles
las alas...
Los escuchamos de pié maria antonieta

http://www.losandariegos.110mb.com/
http://www.raulmercado.110mb.com/

TEMAS:

01. GALLO CALAVERA - (Edgar Di Fulvio) - Zamba

02. EL COSECHERO - (Ramón Ayala) - Rasguido doble

03. SUEÑO DE UN POBRE - (Ritro, Mercado, Margarido) - Zamba

04. CHACARERA DEL ADIOS - (Sergio Villar, Víctor M. Ledesma) - Chacarera

05. BOLIVIA DE MIS RECUERDOS - (Arsenio Aguirre) - Bailecito

06. MUCHACHA AUSENTE - (Lucho Neves, Albino Gómez) - Zamba

07. ACUARELA DEL RIO - (Abel Montes) - Canción litoraleña

08. HISTORIAL DE LA ZAMBA - (Arsenio Aguirre) - Zamba

09. VIVA EL CARNAVAL - (Raúl Shaw Moreno) - Carnaval cruzeño

10. EN UNA ZAMBA - (Belisario Pérez) - Zamba

11. MONTE ADENTRO - (Angel Linares) - Galopa

12. RECUERDOS DEL PORTEZUELO - (Atahualpa Yapanqui) - Canción






LOS ANDARIEGOS
subido por maria antonieta

viernes, 22 de octubre de 2010

Astro Can Caravan-Questral Places


“Highly experimental, with one foot solidly in the RIO camp and the other in outer space, Astro Can Caravan is an unconventional mix of large ensemble post-Sun Ra cosmic jazz, Magma-influenced Euro-fusion and Herbie Hancock/Miles Davis-styled avant-jazz funk. The 20 members of ACC (most of whom are apparently Finnish) all display a consummate musicianship and a keen awareness of the intricacies of ensemble playing throughout the ten tracks on 21st Century Drifting Episode, and in the process virtually create a new sub-genre one might call “big band space rock.” The uncanny mesh of horns (trumpet, trombone), winds (sax, oboe, clarinet), guitar, bass, synthesizer and four percussionists, in addition to being unusual when transposed to the context of space rock, creates some undeniably astounding altered states of consciousness if listened to for extended periods of time. The more overtly Arkestra-influenced pieces (“De Revolutionibus Orbium Coelestium” and “Kohoutek”) are brilliant, if not wholly original, exercises in solar jazz, in some ways extending, though not surpassing, the experiments in cacophony and atonalism that Sun Ra pioneered on Heliocentric Worlds. But ACC is quite capable of rocking the house, too, as both “Meteor Shower Geel” and “Mad Oracle” show. The up-tempo pace allows for some dynamic jamming where the synthesizers and saxes literally race each other as if they were on some intergalactic speedway. Imagine if Sun Ra’s Arkestra were composed of members of Amon Duul II and Can – 21st Century Drifting Episode is the kind of album he would’ve done. Like most “difficult’ music, you’ll have to listen to it at repeated intervals in order to truly appreciate the thorough-going nonconformist approach that Astro Can Caravan adopts – especially on a piece like “The Scale of Anubis” – but rest assured that 21st Century Drifting Episode will clear out the cob webs in your CD collection and will probably find a place of distinction there in the near future.”

Astro Can Caravan es una banda finlandesa que se forma en 2001 por Otto Eskelinen, Pharaoh Pirttikangas, Tomi Kosonen y Tuomas Eriksson. Su estilo es un avant-garde jazz del más original y novedoso que se haya creado. Como una orquesta jazzística de más de 20 músicos, la instrumentación es increíble: variedad de saxos, algunas trompetas, un par de clarinetes, muchas percusiones, oboe, acordeón, piano, pero además instrumentos eléctricos: guitarra, bajo, órgano y sintetizador. El resultado es el jazz más experimental y menos convencional al que jamás me he enfrentado, de por sí la armonía no está nada descuidada, y por otro lado, mientras que los vientos aportan todo el componente jazzístico-melódico, el órgano nos dibuja momentáneamente algunas figuras del blues, pero lo más interesante es que esto lo intersectan con inteligencia y gran habilidad con secciones electrónicas de sintetizador y efectos en la guitarra eléctrica, pero sin hacer abuso de esto último

http://www.astrocancaravan.com/info.html
http://www.myspace.com/astrocancaravan



Muiscos 2010:
Otto Eskelinen – Woodwinds, Farfisa, Samples, Perx
Pharaoh Pirttikangas – Guitar, Perx, Keys
Tomi Kosonen – Saxes, Perx
Joakim Berghäll – Saxes, FX
Hepa Halme- Saxes, Perx
Tuomas Eriksson – Trombone, FX
Erno Haukkala- Trombone, FX
Tuomo Kuure – Bass
Rasmus Pailos – Drums

Musicos Antiguos
:
Torsti Tuovinen – Perx
JP Hautalampi – Perx
Veli-Pekka Parkkinen – Clarinet
Jere Nivukoski – Perx
Eki Joutseno – Perx
Teemu Mäenpää – Perx
Risto Yli-Härsilä – Perx
Jaakko Lukkarinen – Perx
Niko Votkin – Drums
Simo Laihonen- Drums
Emil Luukkonen – Keys
Tapani Varis – Bass, Saxes, FX
Arvi Hasu – Bass
Jape Karjalainen – Bass
Antti Lötjönen – Bass
Artturi Taira – Saxes
Suvi Pappi – Clarinet
Jarkko Pellikka – Trumpet
Samuli Peltoniemi – Trumpet
Eero Savela -Trumpet
Henna Karhunen – Oboe
Ilmari Pohjola – Trombone
Werneri Pohjola – Trumpet
Joonas Hytti – Trumpet, Euphonium
Pauli Lyytinen – Saxes, Perx
Pentti Dassum – Guitar, FX









1. Helios Universal (4:19)
2. Mohenjo – Daro (5:18)
3. First Astral Movement (6:05)
4. Dumuzi (6:24)
5. Second Astral Movement (5:00)
6. Baia (5:24)
7. Third Astral Movement (4:39)
8. Nile (10:49)

Astro Can Caravan-Questral Places

Kaliady – Belarusian Style

During our long cold winters, it’s easy to imagine that we’ll never see the sun again. The warm days of July and August fade as if only a distant memory and we fear that we’ll be forever consigned to woolly hats and scarves and our heavy fur coats. Our pagan ancestors naturally felt much the same way – hence Kaliady, a series of rituals to honour the sun god Yaryla and warm our hearts during the long dark days.

Since gaining independence from the USSR in 1991, the Belarusians have been celebrating their old festivals with verve, especially Kaliady; a time of parties and fun. In earlier days, people dressed up as animals and mythical beasts, wearing masks to hide their identities and to encourage great fun and high jinx. They paraded through their villages singing carols, playing games and generally having a festive time. These traditions are now being revived, with carollers visiting each house to wish the occupants health and wealth in the year ahead and beg for tasty treats. Of course, they are apt to play tricks on anyone not joining in the lively frolics. This has come to be known as ”going Kaliadying”. The festive groups carry a symbolic sun and toy goats’ heads (denoting fertility) on sticks. Belarusians are well known for their love of jokes and improvisation; a get-together isn’t complete without calls for poetry recitation, a few songs and a little amateur dramatics. Unsurprisingly, ”Kaliady” is a time for enjoying all of these simple pleasures.

The word ”Kaliady” may come from the Latin ”Calendae” or from ”Kola” (meaning wheel, hence the turning of the year). Since Catholic Christmas is on December 25th and Orthodox Christmas is on January 7, Kaliady is now celebrated between these two holidays, but this pagan festival really has no relation or religious relationship to Jesus’ birth. Like many of our ancient customs, it was ”highjacked” by the church to discourage people from indulging in their old and superstitious ways.

No celebration is worth its salt without food and Kaliady is a time for overindulgence as well as wistful moderation. Three ritual dinners are customary. The first is the ”fasting” dinner (no meat or fat), the second is a veritable feast of meat, eggs and sweets; traditionally held on New Year’s Eve, and the last meager meal is the ”hungry” dinner. These symbolic meals remind us that we shouldn’t take plenty for granted while we show true appreciation for the bounty we have received.

Kaliady is a time for family and friends and for frivolous fun and feisty frolics. Whether you are in Moscow, Kiev, Baku, St. Petersburg, or Minsk; as the year turns, remember to make a wish as the New Year is rung in. Give thanks for all the wonderful people in your life and smile at the thought of all the exciting moments yet to come.










Гэта працяг каляднай серыі "Залаты фонд каляндарна-абрадавага фальклору Беларусі". На гэтым дыску песні розных часоў. Сабраныя яны рознымі людзьмі. Ёсць запісы, якія зробленыя з дапамогай сучасных лічбавых тэхналогій, і запісы, якія ледзь паддаваліся рэстаўрацыі. Я лічу, што трэба змагацца за кожны запіс, бо гэты ўжо не толькі помнік ментальнасці нашых продкаў, але яшчэ і непаўторная культурная каштоўнасць, якая мае значэнне для ўсяго свету.


Kaliady part 1
Kaliady part 2

Debka Fantasia – Debka Fantasia

Debka is an Arab folk dance from the Levant region. A community stomping ritual to compact the dirt roofs on stone homes, it evolved to include music sung and played by Bedouin tribes in Israel.
Debka also describes a musical style in Israel started in the 1920s. This was a time when European Jewish pioneers reconnected to their ancient “promised land” – and met their new Bedouin neighbors.
Fascinated by traditional Debka music and its fiery, desert-inspired Bedouin rhythms and Arabian scales, these open-minded pioneers soaked up what they heard to build an entirely new genre of music – the first of its kind in World Music – and a first for modern Israel. Israeli poets and Debka musicians back then were able to boldly, yet naturally fuse the sound of Arabia to musical harmonies and structures from the west.
This new project Debka Fantasia is driven by a supergroup of jazz, ethnic and classical musicians who go one step further: for them the colourful, fiery Bedouin influence is undeniable.

Produced and arranged by Yisrael Borochov, the father of Israeli World Music from the East West Ensemble, and Omer Avital an American-Israeli jazz legend from New York, this new fusion of Israeli debka music takes the best of contemporary and traditional World Music from Israel. Critics say Dekba Fantasia has a life of its own, and creates a place – real or imaginary – where its roots of fire from the east meet branches of harmony from the west. The result is combustible.

Musicos/Grupo:
Omer Avital
Chaya Samir
Ravid Kachlani
Itamar Doari
Eyal Sela
Itamar Borochov
The Israeli Contemporary String Quartet
Yisrael Borochov
Avri Borochov










01. Eretz Zavat Halav U’Dvash 9:14
02. Alei Givah Sham Ba’Galil 5:37
03. Orha Ba’Midbar (Yamin Usmoll) 6:43
04. Bein Nahar Prat Unhar Khidekel 6:15
05. Al Givot Sheikh Abrek 5:12
06. Be’er Ba’Sadeh 6:06
07. Shtu Ha’Adarim 7:34
08. Ushe’avtem Mayim 4:19
09. Ballada Al Maayan Va’Yam 5:45
10. At Adama Be’lev Midbar 5:41
11. Shir Ha’Emek (Ba’ah Menuhah Layage’ah) 7:28
12. Lekh Lekh La Midbar 4:16

Debka Fantasia part 1
Debka Fantasia part 2

jueves, 21 de octubre de 2010

Susana Baca - Susana Baca [Peru]


Susana Baca canta a veces lastimera, a veces como un ronroneo, siempre evocadora canta con gracia sobre temas sofisticados, ritmo y emoción a partes iguales. La Sra. Baca, con su voz fresca, distinta, tan hermosa como ninguna, tiene la fuerza para crear su propia tradición.

Algo de mi se ha perdido
Entre tu casa y mi casa
Será el calor que no abrasa
No es de gozo
No es de ira
Como tampoco es mentira
Que algo de ti se ha escondido
Entre tu calle y mi alma
Será tal vez la esperanza
De un cariño adormecido
Yo sabré reír
Yo sabré llorar
Yo sabré entregarte mi cariño
Negra
Negra que te quiero
Goza
Negra presentuosa
Mira
Que me estoy muriendo
Dame
Vida de tu boca
Bota
Que me está pisando
Los talones de la libertad

1. Negra Presuntuosa - Susana Baca, Soto, Andres....
2. Molino Molero (Crushing Mill) - Susana Baca, Traditional
3. Heces (Sediment) - Susana Baca
4. Tu Mirada y Mi Voz (Your Gaze and My Voice) - Susana Baca, Soto, Andres
5. Zamba Malató - Susana Baca, Traditional
6. Luna Llena (Full Moon) - Susana Baca, Diaz, Simon
7. Caras Lindas (Beautiful Faces) - Susana Baca, Alonso, Tite Curet
8. Se Me Van los Pies (My Feet Go) - Susana Baca, Cotito, Juan Medran...
9. Enciéndete Candela (Light the Flame) - Susana Baca, Traditional
10. Señor de los Milagros (Lord of Miracles) - Susana Baca

Susana Baca

Sofi Hellborg - To Give Is To Get

Sofi Hellborg - To Give Is To Get

Sofi Hellborg - To Give Is To Get

Sofi Hellborg – a music biography 1979 – 1981 Sofi started playing music seriously at the age of seventeen in the music jazzschool in south of Sweden with the saxophone as her main instrument. 1982 From early on, Sofi was always drawn towards African music and decides with a friend to travel to Cameroon. Five months of playing with both modern and traditional musicians. 1983 – 1985 She returns to Sweden but only to stay for a short while until moving to London where she joined the London African based band Orchestra Jazira, and recorded with them the album “Nomadic Activities” (which features one of her tracks.) 1985 – 1991 Sofi left Jazira and moved to Paris, where she joined Guinean singer and Kora player Mory Kante, toured all over the world and played on the two albums “10 Kola Nuts” and “Akwaba Beach” which included the international hit “Ye Ke Ye Ke”. 1991 – 1993 She played with the french star Charlelie Couture and recorded on the live album “Souvenir Live”. 1993 – 1994 In -93,Sofi realesed her first album “Travel & See” and started touring with her own group Sofi Hellborg Gang. Her music is a reflection of the journey Sofi has travelled and is a mixture of African, jazz and funk music. 1995 – 1996 She moved her whole band to Sweden where she recorded and produced her second album “Hey Now” on the label Gazell Music. Apart from her own group, Sofi has also started two other projects; Klaxon Five, a lively brass band and Smadj & So, a drum..n..bass outfit with Rai and jazzy influences. 1997 She released with Smadj a vinyl called “Bon Voyage” on the english label Freerange. 1998 Sofi puts out her third cd “Time will tell”. The music is still her own mixture of afro, funk and jazz but adds in some drum..n..bass influence. She still plays the alto and soprano saxophone as her main instruments, but she also sings, plays the Thumb piano, composes and produces. With Smadj they put out their cd “Equilibriste” on the label Melt. 1999 – 2000 Sofi moves back to Sweden after 16 years! And prepares her fourth cd. 2001 With lots of new inspiration she puts out her fourth cd “Go Open”, with some musicians from the Paris gang and two new swedish musicians. A live recording in Sweden and a mature and groovy cd, still in her own style. This time with a more instrumental touch. The words “Go Open” comes from pidgin english “One way go close another one go open”. Touring and working with different projects as well as teaching music she records a new cd and invite this time Tony Allen, drummer and the master of afrobeat( Fela Kuti) on four songs. She also collaborates with the Swedish rapper Timbuktu for an interesting meeting in the afrosound on a swedish song. Still in her own stile of afrosound she records with the rest of the Gang this cd called “To Give is to Get”. Mixed by Jens Lodén it has a more modern sound to it. Cd out februari 2006. In march 2008 she releases her 6 th album “Drumming is calling” still with the afrogroove feeling and the same Gang of musicians. Autumn 2009 she produce music for relaxation. A cd called “Ethnic atmosphere for relaxing moments”. All instruments are played by Sofi.http://www.myspace.com/sofihellborg









1. Wouldn’t That Be Fun
2. My Dream
3. To Give Is To Get
4. Har Du Hört
5. If You Ever
6. Jungle In My Livingroom
7. Bring It On Through
8. The Light
9. My Heart Is My Home
10. We Want No More War

Sofi Hellborg – To Give Is To Get

miércoles, 20 de octubre de 2010

Mark Isham - Tibet [Usa]



Tibet is an electro-tribal world music symphony composed to honor that country. Mark Isham handles the task tastefully and tactfully. He uses Japanese haiku as a basis for rhythm and repetition. The only ethnic instrument is the bamboo flute. Isham's sound design incorporates traditional western instruments in honor of Tibet and its culture. This is not Tibetan music, but it does evoke imagery of the Himalayas and "the place where the earth and the heavens meet." The atmospheres are subtle and mysterious. Isham's soundscapes waver from new age to ambient to minimalism to worldbeat. The fluctuations are random. This disc will appeal to fans of Jon Jenkins, Greg Klamt, John Flomer, and Patrick O'Hearn. - by Jim Brenholts, AMG



Personal:
Mark Isham (Trumpet, Flugelhorn, Perkiphone, Gongs and Electronics)
Bill Douglass (Bamboo Flutes)
Ken Kugler (Bass Trombone)
Doug Lunn (Electric Bass)
Peter Maunu (Guitar)
Jean Roth (French Horn)
Tom Sassa (Voice)
Kim Scharnberg (Tenor Trombone)
Richard Todd (French Horn)
David Torn (Guitar)
Kurt Wortman (Percussion and Gongs)

Tracks:
1. Part I 13:14
2. Part II 4:52
3. Part III 6:23
4. Part IV 9:06
5. Part V 14:52
All compositions by Mark Isham


Tibet