Note :

http://www.souadmassi.net

http://www.myspace.com/massisouad

Origine du Groupe : France , Algerie
Style : World Music Folk
Sortie : 2010

This is the first Souad Massi DVD ever released. Features 17 tracks specially recorded acoustically.

The world loves an enigma, and enigmas rarely come as talented, beautiful, honest and courageous as Souad Massi. Her music has been welcomed as a brave new dawn in the history of Maghrebi music. Her youthful obsessions with western rock, folk, country music, as well as the chaabi and classical andalusian music of her native land, gave birth to a style uniquely her own, an emotionally charged vehicle for themes of loss, nostalgia and the bonfire of innocence. She is now one of the leading female World Music Artists, having sold over 300,000 albums around the world. She has stamped her own identity, her own style, with her culture-blending sound - a mix of traditional, rock, folk, classical,flamenco,while her ballads are melodic, poignant, achingly beautiful. Just as Souad Massi herself is all light and shade, innocence and experience, melancholy and optimism, so is this beautiful representation of the best of her 3 albums reinterpreted.

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Tracklist :
1. Denya Wezman - That's Life
2. Hayati - My Life
3. Yemma - Mummy I Lie To You
4. Bladi - My Country
5. Matebkiche - Don't Cry
6. Raoui - Storyteller
7. Le Bien et Le Mal - The Good and The Bad
8. Dar Dgedi - Grandfather's House
9. Hagda Wala Akter - There's Worse
10. Talit El Bir
11. Amessa - A Day Will Come
12. Ghir Enta - I Only Love You
13. Khalouni - Let Me
14. Ech Edani - I Shouldn't Have Fallen In Love With You
15. Tant Pis Pour Moi - Too Bad For Me
16. Ya Kelbi - Oh! My Heart
17. Rani Rayha - I'm Leaving

Note :

http://iarabehs.com

Origine du Groupe : Brazil
Style : World Music , Piano
Sortie : 2005

Along the journey of musical discovery our preoccupations centre not on the well-trodden tourist retreats but on those digressions less known, unspoiled and far from the madding crowd. The music of Ernesto Nazareth represents one such destination bestowing new and undiscovered delights.

Born in 1863, Nazareth was profoundly affected by two key cultural influences.

During his lifetime Brazilian musical and cultural tastes were based on those prevalent in Europe. This subordination did not, for a long period, allow genuinely Brazilian classical music to blossom. Prejudice by the “establishment” inhibited the development of indigenous classical music and excluded it from current programmes of institutions such as the National School of Music in Rio de Janeiro. On one occasion an attempt to include four original compositions by Nazareth in the current programme of the School initiated such violent reaction that police intervention was necessary. Even until a few years ago very few pianists of serious intention dared to include the music of Nazareth in their repertoire, since he was not reputed to be a ”classical” composer.

Nazareth was not alone in having been strongly influenced by the folk music of his native country. This had in common with fellow countryman Heitor Villa-Lobos who on hearing the original compositions of Nazareth pronounced them to be the very embodiment of the soul of Brazil. Nazareth’s composition “Tenebroso”(Gloomy) is accompanied by instructions for the player to imitate the guitar in the lower register. This instruction recurs in one of his most famous compositions “Odeon.” In the composition “Plangente”(Lamenting) one hears echoes of the saudade found in the fado. This form of music, imported to Portugal from Brazil in the 19th century by members of the king’s consort in exile there, ironically became the national Portuguese music. (To explore the incredibly beautiful fado listen to Post-Scriptum, Cristina Branco - Empreinte digitale ED 13121).

In his youth, Nazareth was commissioned to promote the music of publishers, including his own, by playing in their establishments. With the invention of the cinema arose the need to accompany silent movies. Nazareth was given a contract by the Odeon Theatre. Here his accompaniment with original compositions, including “Odeon,” attracted many musicians who came just to hear him play.

Nazareth’s output comprises predominantly Brazilian tangos and waltzes of which he wrote more than eighty, and forty respectively. The titles of his work are often humorous and refer to everyday situations in Brazil, especially to the life of the cariocas or inhabitants of Rio de Janeiro. The influence of Chopin is particularly evident in the waltzes eg. Turbilhão de Beijos [track 7] brings to mind Op.69/1 “L’adieu” (Naxos 8.554539 - Idil Biret). He studied the composer’s scores in order to teach himself improved methods of composition, and often performed the works of Chopin on piano.

Nazareth died in 1934, during his lifetime having witnessed the emancipation of the slaves, and establishment of the republic. His charming music remains more powerful than any past debate on to which particular genre it belongs.

As one of Brazil’s most successful concert pianists, Iara Behs is particularly well qualified to perform the music of Nazareth. She is a fine player with excellent empathy for the rhythms and nuances of her country’s indigenous classical music. In addition she engenders audience interest and curiosity in the works she is about to play through informative introduction aided by knowledge of five languages in addition to her native Portuguese.

It may be more than co-incidental that some musicians appear to excel particularly in interpretation of music composed by fellow countrymen. If indeed such a relationship exists, no greater validation could be provided than that of Nazareth/Behs.

In a “perfect world” of classical music, new releases would contain all new and relatively unknown music; comprise a balanced and enjoyable programme; be exceptionally well performed and exhibit high levels of technical and sonic excellence. This new recording by Iara Behs fulfils all these criteria. An added bonus is the erudite and unusually informative accompanying notes presented by the performer. This is a recording that will bring joy to disciples of fine music.

by Zane Turner
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Tracklist :
1 Espalhafatoso (Boisterous) [2:30]
2 Brejeiro (Mischievous) [1:57]
3 Confidências (Confidences) [7:05]
4 Escovado (Cunning) [4:11]
5 Nenê (Baby) [3:20]
6 Ameno Resedá [2:35]
7 Turbilhão de Beijos (Whirlwind of Kisses) [6:54]
8 Gaucho [2:45]
9 Plangente (Lamenting) [5:12]
10 Topázio Liquido [3:16]
11 Ouro Sobre Azul (Gold on Blue) [3:16]
12 Sarambeque [2:59]
13 Epônina [5:47]
14 Escorregando (Going down well) [2:37]
15 Tenebroso (Gloomy) [3:19]
16 Odeon [3:09]
17 Apnahei-te Cavaquinho (I have grabbed you, Cavaquinho) [2:33]

Note :

http://www.soundwayrecords.com
Origine du Groupe : V.A Nigeria
Style : World Music , Soul Blues Rock , Psychedelic
Sortie : 1970s

Quand il y en a une, ça va. Mais quand il y en a plusieurs, ça pose un problème. Nous parlons bien sûr des compilations dédiées à l’Afrique de l’Ouest des années 60 et 70, très en vogue depuis ces dix dernières d’années. Du désormais classique « Nigeria 70 » réédité récemment par Strut, aux récentes explorations togolaises et béninoises d’Analog Africa, il est difficile de faire son choix face à une telle déferlante. Si la qualité des projets est parfois inégale, le label Soundway, autre incontournable dans ce créneau, risque fort de mettre tout le monde d’accord avec sa dernière livraison.

«The World Ends: Afro Rock & Psychedelia in 1970s» Nigeria fait la part belle aux productions nigériennes du début des années 70, -au sortir de la sanglante guerre du Biafra-, sur lesquelles soufflent un vent d’électricité et une soif de renaissance. Si aucun Fela ou Orlando Julius ne figure parmi la trentaine de titres ici présents, on y croise tout de même quelques pointures du genre tels Ofege et Sonny Okosun.

Mais l’immense majorité de ces enregistrements inédits est portée au crédit d’illustres inconnus aux noms fortement américanisés tels Chuck Barrister, Tony Grey, ou encore The Strangers et The Black Mirrors. Des blazes que n’auraient pas renié les groupes de garage US. Si Soundway avance le terme « psychedelia », n’imaginons pas pour autant un Grateful Dead à la sauce afro. En vérité, les nigérians lorgnent davantage vers Jimi Hendrix et James Brown mais ont suffisamment de personnalité pour insuffler aux guitares, cuivres et orgues un son bien local. Ajoutez des chanteurs survoltés et une section rythmique à l’efficacité redoutable… l’addition n’en est que plus salée.

Par Laurent Charrier
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Tracklist :
CD1
Ify Jerry Krusade – Nwantinti / Die Die
The Hygrades – Rough Rider
The Hykkers – Deiyo Deiyo (Akpuwunlobi)
Wrinkar Experience – Soundway
The Funkees – Breakthrough
The Mebusas – Mr. Bull Dog (45 version)
Foundars 15 – Don’t Take Me For A Ride
Ceejebs – Eti Ufok
Tony Grey Super 7 – Yem Efe
The Identicals – Akwa Kayi Ji Bia Nuwa
P.R.O. – Blacky Joe
Cicada – Oli Nkwu
The Lijadu Sisters – Life’s Gone Down Low
Eppi Fanio – Ikoko Ti Yio Jata (On Perseverance)
Bongos Ikwue – All Night Long

CD2
The Thermometers – Babalawo
Colomach – Ottoto Shamoleda
The Black Mirrors – The World Ends
The Semi Colon – Isi Agboncha
Lawrence Amavi Group – Money That’s What I Want
The Hygrades – Somebody’s Gonna Lose Or Win
Ofege – In Concert
The Elcados – Chokoi & Oreje
Sonny Okosuns & Paperback Limited – Ohomi
Chuck Barrister & The Voices Of Darkness – Be Kind, Be Foolish, Be Happy Tony Grey & The Black 7 – Ugbo Ndoma
Reme Izabebo’s Music Research – (Ayamayama) The Same Man
Action 13 – Active Action
The Actions – Kpokposikposi
The Strangers – Onye Ije
The Comrades – Bullwalk
Ofo The Black Company – Egwu Aja

Note :

http://saravahsoul.org

http://www.myspace.com/saravahsoul
Origine du Grouepe : U.K
Style : World Music , Afrobeat , Funk
Sortie : 2010

Quand des musiciens brésiliens, avec à leur tête  Otto Nascarella, rencontrent à Londres des autochtones et décident de marier la musique brésilienne au funk, à la soul et à l’afrobeat, ça donne Saravah Soul. Avec « Cultura Impura », le groupe réalise son 2ème album chez Tru Thoughts, deux ans après le 1er, en faisant exploser l’image qu’on peut avoir habituellement de la musique brésilienne. Cet album dégage une énergie cuivrée issu d’un cross over inhabituel entre la musique traditionnelle brésilienne, celle des carnavals toute en percussions, ou celle plus traditionnelle comme le bayo popularisé entre autre par Luiz Gonzaga, et la musique africaine, principalement l’afrobeat, ses cuivres et ses chœurs, mais aussi des petits airs d’inspiration éthiopienne ici ou là. Mais il est inimaginable de parler de cet album sans évoquer le bon vieux funk à la James Brown tant cet album groove du début à la fin. C’est un peu comme si Seu Jorge se retrouvait sur scène avec les JB’s et les Africa 70’s pour un répertoire bien loin de la douce mélancolie habituelle du crooner brésilien. Viva Brasil !

Par De la Lune on entend tout
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Tracklist :
1. Janaina
2. Funk De Umbigada
3. Cachorro De Igrejinha
4. Mussum
5. Milk And Mangoes
6. Alforria (Album Version)
7. Dá Ne Mim
8. Fire
9. Mestiço
10. Se Da Dó
11. Seu Problema
12. The Truth Is Hard To Come By

Note :

http://www.fmsuso.com

Bearing striking similarity to the Celtic music of the British Isles, Foday Musa Suso’s dancing yet melancholy playing and singing shows how various world musics have cross-fertilized throughout the centuries.  His role as chronicler of his people’s stories and history also places him in a similar position to the bard of Celtic lands.  And his playing of the kora, a twenty-three stringed West African harp lute, sounds much like the playing of traditional Celtic harpists, especially on “Beach Party,” “Lovers Dance,” and “Traveler.”  Other numbers sound a lot more African: “African Sunshine,” “Simaya Dua,” “Desert Wedding Dance,” and “Makola Markets.

I’m a little puzzled about the title of this disc, The Two Worlds, because it sounds like it almost entirely occupies only one world—that of the traditional Mandingo griot.  Perhaps the more Celtic-sounding numbers, plus the addition of Western percussion overlays (“Desert Wedding Dance” and “Makola Markets”), not to mention the westernized song titles, indicates a deeper blending of sensibilities than is obvious on the surface. Or maybe it’s simply because Suso has spent much of his adult life in the West, living in Chicago and recording for more than fourteen (!) record labels. 

Throughout his long career, Suso has managed to place himself in a variety of fascinating contexts, such as Carnegie Hall, the Yerba Buena Center for the Arts in San Francisco, the Franfurt International Jazz Festival, and the Cultural Center in Ulan Bator, Mongolia.  He has also performed on the film soundtracks Roots, Powaqqatsi, and Mountain of the Moon, and was a founder, with Adam Rudolph, of the Mandingo Griot Society.  This wide variety of experience he deftly incorporates into his traditional kora playing, giving it a complexity, subtlety, and vitality beyond what is found in most other practitioners of this somewhat static music.

by Jan P. Dennis
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Origine du Groupe : Gambia

Style : World Music

Sortie  2008
TrackList:
1 - Beach Party
2 - Maliba
3 - Many Faces
4 - Summer Time
5 - Lovers Dance
6 - African Sunshine
7 - Simaya Dua
8 - Desert Wedding Dance
9 - Traveler
10 - Makola Markets