Note :

http://www.myspace.com/rajery

Origine du Groupe : Madagascar

Style : World Music

Sortie : 2001

Tracklist :

1- Misahotaka Ny Akama
2- Realy
3- Sarotra Ny Miaina
4-Mandry Ve?
5- Ny Fitiavako
7- Vonjeo
8- Mainte
9- Vavaka
10- Gasikara
11- Hanatra
12- Mamy Kha

Musiciens / Band
Rajery (Germain Randrianarisoa) : valiha, chant
Jean Charles Razanakoto : guitare, chant
Raymond Rakotoarisoa : percussions, chant
Tôty (Olivier Andriamampianina) : guitare basse, chant, arrangement, guitare, persussions

En septembre 2001 sort son second opus "Fanamby" (le défi), dans lequel Rajery et son quartet nous offrent un album d'une rare authenticité. Un disque acoustique avec lequel ils réussissent le fanamby d'une fusion entre l'héritage musical malgache et leur propre culture musicale. Les polyphonies 'a cappella' que le groupe Senge nous avaient fait découvrir côtoient les rythmes chaloupés du Salegy de Jaojoby, le blues mélodique des Hauts-Plateaux est évoqué comme les rythmes entêtants des danses Antandroy ou le groove du rija Betsileo.

par Sourakhata

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Note :

http://www.gillespetersonworldwide.com

http://www.myspace.com/gillespeterson

Origine du Groupe : Brazil , United Kingdom

Style : World Music Electro , Remix

Sortie : 2009

Tracklist :

01. Intro - Azymuth - Manha (Demo)
02. Friends From Rio 2 feat. Celia Vaz - Os Escravos Do Jo
03. Jose Mauro - Obnoxious
04. Krishnanda - Esta Tudo Ai
05. The Ipanemas - Canto Pra Oxum (Song For Oxum)
06. Clara Moreno - Deixa Nega Gingar
07. Sidney Miller - E Isso Ai
08. The Ipanemas - Malandro Quando Vaza
09. Grupo Batuque - Berimbal (Capoeira)
10. Aleuda - Galope
11. Krishnanda - Quem Sou Eu
12. Democustico - Vagalume
13. Azymuth - Melo Dos Dois Bicudos
14. Binario - Balinha
15. Joyce, Nana Vasconcelos, Mauricio Maestro - Chegada
16. Friends From Rio 1 feat. Celia Vaz - Fransisco Cat (Pressure Drop Remix)
17. Arthur Verocai - Tudo Do Bom (Domu Mash Reedit) (*)
18. Grupo Batuque - Na Batida Do Agogo (Osunlade Remix)
19. Azymuth - Depois Do Carnival (Spiritual South Remix) (*)
20. Jose Carretas feat. Zeep - Memories (*)
21. Joyce - Fejao Com Arroz (Bass Line Mix) (*)
22. Jose Roberto Bertrami & His Modern Sound - Joana
23. Alex Malheiros And Banda Utopia feat. Sabrina Malheiros - Uno Esta (*)

World renowned BBC Radio 1 DJ Gilles Peterson compiles a spectacular collage mix tape from the vaults of Far Out Recordings for this fifteenth anniversary celebration. A close friend to Joe Davis for 25 years, Gilles Peterson has been a constant supporter of the original and best UK based Brazilian record label. The pair released the original "Brazilika" compilation on Gilles' Talking Loud label 15 years ago and now go full circle with the fourth installment in Far Out's series, following block party mixes from Kenny Dope, 4 Hero  and Andy Votel. Brazilian music aficionados Peterson and Davis introduced a new generation to the cream of Brazil's bossa and post-bossa artists and here expertly blend the cream of the timeless with the new breed from Far Out's vast catalogue. Gilles Peterson's "Brazilika" includes five exclusive unreleased tracks and is the definitive collection of Far Out's work, taking us on a breathless ride through a beautiful, barmy Brazil.

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Note :

http://www.nathaliehandal.com

http://www.myspace.com/willsolima

Origine du Groupe : Palestine , Egypt

Style : Poetry , World Music

Sortie : 2006

Tracklist :

[.01.] Amrika
[.02.] Listen, Tonight
[.03.] Rachel's War
[.04.] Ephratha
[.05.] Wall Against Our Breath
[.06.] Abu Jamal's Olive Trees
[.07.] Maher Salem's Deaf Father
[.08.] Will Soliman Solo
[.09.] Electric Arabiya
[.10.] Quest for Pale Sand
[.11.] Spell, sung by Fawzia Afzal-Khan
[.12.] Spell

One of New York’s most gifted young poets (Lives of Rain, 2005, Interlink) has teamed
with multi-instrumentalist Will Soliman to join literature and music in a spare, intense
performance of understated emotional power that will surprise, delight and stun. Drawing
from published and new poetry, Handal explores themes that resonate with identities,
departures, losses and closely guarded aspirations, all coming out of her
Palestinian/American/Hispanic tossed salad of experiences. Her voice is in complete
command of her words, alternately forceful, tender, silky or indignant at injustice,
slipping amid English, French, Arabic and Spanish just enough to keep the listener
slightly off balance, not quite comfortable—for this is not a poetry of comfort—and as
rhythmic as Soliman’s atmospheric, often restrained accompaniments. Together they
produce an art that transcends the artists themselves, calling up recollections of Gil Scott-
Heron’s iconic musical poetry of African-American life in the 1960’s and 1970’s and
John Trudell’s white-hot poems, backed by Lakota song, from Native American
experience of the 1980’s.
by Dick Doughty
Saudi Aramco World

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Note :

http://www.lastfm.fr/music/Mezei-Bakos-Mezei

Origine du Groupe : Hungary

Style : World Music , Folk

Sortie : 2003

Tracklist :

01. Adjon Isten rózsáim
02. Nekünk a legszebbik estét
03. Elmegyek elmegyek
04. Búzaszemet szed a galamb
05. Veress az ég
06. Verjen meg az Isten
07. Készülj lovam készülj
08. Én vagyok az aki nem jó
09. Édesapám s anyám
10. Fejér retek fekete
11. Az éjjel álmomban
12. Mikor leány voltam
13. Szent István köszöntö
14. Édesanyám valahára
15. Kelj fel keresztény lélek
16. Zöld az erdő

The trio playing Hungarian folk music from the Voivodina. Flows out primarily onto the Moldavian folk music from his musical instrument combination concentrates. From Bakos Árpád complex folk musician and theatre musician working class, the actress's and directing Mezei Kinga specific folksong singing attitude and the composer's fields firm Improvisate one and free-jazz a folk music world interpreted peculiarly emerges from his musician attitude. The trio's capital aim a so folk music processing manner, which tries to remain loyal to the original diction,, at the same time in the Hungarian folk music like that present tries to make the music today's one and a living person through an improvisation naturally.

by http://bluesmen-worldmusic.blogspot.com

THANKS !

Note :

http://www.anamoura.net

http://www.myspace.com/anamourafado

Origine du Groupe : Portugal

Style : World Music

Sortie : 2009

Tracklist :
01 Leva-Me Aos Fados 3:00
02 Como Uma Nuvem No Cu 3:10
03 Por Minha Conta 3:32
04 A Penumbra 2:44
05 Caso Arrumado 2:22
06 Talvez Depois 3:16
07 Rumo Ao Sul 3:51
08 Fado Das Aguas 3:15
09 Fado Vestido De Fado 2:32
10 Critica Da Razao Pura 2:56
11 De Quando Em Vez 4:00
12 Fado Das Mgoas 2:44
13 Aguas Passadas 4:08
14 Que Dizer De Ns 4:42
15 Nao Um Fado Normal 4:23
16 Esta Noite 3:05
17 Na Palma Da Mao 3:17

Ana Moura is a Portuguese fado artist who, like her contemporary Raquel Tavares, has collaborated extensively with songwriter and producer Jorge Fernando, producing work shaped equally by pop and fado traditions. (Fernando has released pop records under his own name, but was also a guitarist for fado’s greatest star, Amália Rodrigues.) “Sou do Fado”, a song by Fernando which appears on Moura’s first album, was structurally quite far from fado, yet also insistently laid claim to the genre: “Sou do fado / Sou do fado / Sou fadista” (“I am of / from fado ... I’m a fadista”). Aconteceu (2004), her second album and a double CD, placed songs derived from pop songwriters such as Tozé Brito and writers of fado canção (the more modern refrain-based form of fado) on the first disc and a series of castiço (traditional) fado melodies on the second.

By the time of her third album, Para Além da Saudade (2007), constructed via a similar mixture of traditional and contemporary elements, Moura had perfected a style of singing as clear and direct as another contemporary, Katia Guerreiro, while also developing the look and outlook of a successful pop artist. This combination would earn her acclaim at home (Para Além was a critical and commercial success) and the notice of major international rock and pop stars. Following a concert by Moura at La Cigalle in Paris, it was reported that Prince had flown across the Atlantic in order to see her perform and that the two singers had made plans to record together. It’s unclear whether these plans will come to anything, but an earlier Rolling Stones-related project was released in 2008 (Moura also joined the group onstage in Lisbon to sing “No Expectations”).

Moura’s fourth album, first released in Portugal in late 2009, arrives on the back of a steadily growing fanbase and an increasing international visibility. It shouldn’t disappoint either her existing fans or those open to the twists and turns enacted on tradition by the so-called “new fadistas” of the last decade or so. Fernando is once more at the helm, providing production, guitar, and songwriting skills (more than half of the songs are written or co-written by him). In addition to Fernando, Moura is accompanied by the brilliant Custódio Castelo on guitarra portuguesa and Filipe Larsen on acoustic bass. The high production values evident on previous releases are extended to the production of the CD booklet, which includes (for once, excellent) English and French translations of the Portuguese lyrics.

It’s immediately obvious from the opening title track (translated in the CD booklet as “Take Me to a Fado House”) that the vocal attack and phrasing that Moura showcased so well on Para Além da Saudade has been retained. Backed by Castelo’s subtle interventions on the guitarra, Moura manages to evoke a number of fado’s most important elements: its sense of melancholy, of fatalism, and of itself (in a typically self-referential twist, going to the fado house is offered as the cure to the sense of melancholy being simultaneously hymned by this very fado).

It is tempting to describe the next track, Tozé Brito’s “Como uma Nuvem no Céu” (“Like a Cloud in the Sky”), as a much brighter piece. Certainly it is taken at a faster pace, the guitarra providing the necessary rhythmic constancy for Moura’s voice to skip through. But brightness suggests clarity and there was absolutely nothing unclear about the title track; rather, there is almost breathless optimism here where there was acceptance before. This is a song of love and fidelity; despite what the naysayers claim, these lovers will have the constancy of rivers flowing to the sea: “I, too, run to you / And that will never change”. The verses, in true fado fashion, list the challenges to love like a litany of the doomed, while the chorus offers a joyful renunciation. Personally, this is not what I go to fado for, and I have been rather underwhelmed by the increase in upbeat, clapalong numbers in recent recordings and performances by Mariza, for example. But here, Moura’s voice rescues the song, its grit rising to suggest defiance rather than naïve joy. It works, just.

“Por Minha Conta” (“On My Own”) deploys a strategy Fernando and Moura have used before, opening on a musical setting that suggests affinities with the big pop-influenced ballads of contemporary soul or country music. But the track is almost immediately reterritorialized by the entry of Moura’s voice, verging on dissonance and the minor language of classic fado. The background remains simple, allowing the singer to do the bulk of the work; there is no need for instrumental welling-up or other obvious emotional nudges. What marks a good Moura performance, as evidenced here and on the following track, “A Penumbra”, is the rising of the voice out of what Roland Barthes might call the song’s “studium” (its setting and narrative: what it is about) to emphasize a “punctum” (the point that pierces the listener’s consciousness).

And so it continues, a series of seemingly simple songs made markedly more complex by these outbursts of vocal emotion which, like Barthes’s arrow-like puncta, shoot from the text to pin the listener down with a demand that they hear this singer and the pain that haunts her. Many of these songs are expressions of haunting, listing memories, forgettings, regrets, and the fetishized objects to which memory and regret are fastened, even if these objects are only words. “What I kept are the phrases we exchanged”, sings Moura on “Talvez Depois” (“Perhaps Later”), “My clothes, books: these I left behind / Let them gather dust”.

The ventures into pop-balled territory are not always successful. “Rumo ao Sol” possesses considerable melodic beauty, but it seems an obvious beauty, lacking that extra grit which fado demands. Its sadness seems as gaudy as the joy of the Brizo track, but Moura’s voice does not rescue it this time. There is no depth or deconstruction to her reading of the lyric. Listening, you feel sadder but you don’t feel challenged.

“Fado das Águas” uses the melody by Alfredo Marceneiro made famous by Amália Rodrigues’s “Estranha Forma de Vida”. Because of the centrality of Amália’s song to both her career and twentieth century fado, “Fado das Águas” is already engaging in a considerable amount of cultural work before we even take account of the lyrics used by Moura, which are by Mário Raínho (who has also written for Mariza, among many others). It’s a beautiful piece, the timeless melody meshing wonderfully with lyrics in which the poetics of fado are writ large from the outset: “In the river that flows / Over the riverbed of my voice / There’s a longing that dies”. A fado album would not be complete without at least one mention of the famous Portuguese longing known as saudade. Here, singing is rather marvelously put forward as the magic key that will dispel saudade, a recognition of the sublimatory or cathartic powers of the voice.

Moura sensibly follows this history-referencing number with a melody from the traditonal “fado tree”, with the title “Fado Vestido de Fado” (“Fado Dressed as Fado”). Indeed it is, and this was the right time for Moura to remind us of her ability to play it straight. Another traditional setting is used for the brilliantly titled “Crítica da Razão Pura” (yes, “Critique of Pure Reason”), with a lyric by Nuno Miguel Guedes that asks, “Is it worth knowing / what makes up a passion?” “De Quando em Vez”, featuring another of Raínho’s lyrics, this time set to music by João Maria dos Anjos, provides one of the album’s finest examples of Moura’s timbral control and sense of phrasing, and also some of Castelo’s loveliest guitarra work.

The final track of Leva-me aos Fados signals a departure, as suggested by its title, “Não é um Fado Normal” (there is a version of the album with an additional two tracks on it, which was originally produced for exclusive sale in Fnac stores). Indeed it isn’t a normal fado, having been written by Amélia Muge and featuring the Portuguese folk group Gaiteiros de Lisboa, known for their use of pipes and choral singing. Muge is a Portuguese musician who has been releasing solo records since the start of the 1990s and whose own work is based on an experimental mixture of rural folk, jazz, world music and classical styles.  Her “Fado da Procura” was a standout of Moura’s last album. The collaboration is not unlike those found on recent albums by “new fadistas” Mariza, Cristina Branco, Mísia, and Mafalda Arnauth (who has recorded a number of songs written by Muge). Like those projects, the results are likely to be divisive. If the desire is to break down barriers between fado, folk music, and pop (and, in the case of Mísia’s recent work, rock), then it does the trick. For me, the use of polyphonic singing here is more intrusive than in the subtler work of António Zambujo, and I’m not sure the pipe really fits in with the other instrumentation.

Overall, though, this is another excellent showcase for Moura’s art, with at least half of the album’s tracks standing out as classics. It will be exciting to experience what the singer does with these new additions to her repertoire when she takes them on tour. As for the potential Prince collaboration, we will have to see whether fate wishes it to be or not.

By Richard Elliott

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