Note :

http://www.myspace.com/ejigayehu

Sortie : 2001

Style : World , Alternative , Fusion , Ethiopia

Tracklist :

1     Gud Fella      0:05:35     
2     Mengedegna     0:05:33    
3     Tew Ante Sew     0:04:20    
4     Abay           0:05:18    
5     Bale Washintu     0:05:35    
6     Guramayle     0:04:27    
7     Sew Argeс     0:05:16    
8     Aynama           0:05:05    
9     Kahn           0:03:47    
10     Zomaye           0:04:00    
11     Abet Wudet     0:04:07    
12     Nafekeс     0:05:23
13     Adwa             0:05:02

Certains disques marquent des étapes dans la production des musiques du monde. Soro de Salif Keïta, réalisé par François Bréant, Kutche de Khaled, produit par Martin Meissonnier et Safy Boutella, ont fourni les repères aux nouveaux courants musicaux respectifs d'Afrique de l'Ouest et d'Afrique du Nord. Gigi de la délicieuse Ejigayehu " Gigi" Shibabaw, produit par Bill Laswell, fera date dans le domaine des musiques d'Afrique de l'Est. Depuis les années 70, personne n'avait encore pu faire oublier l'inaltérable suprématie de Mahmoud Ahmed sur le voluptueux son urbain de l'Ethiopie. Voilà qui est fait, de la plus élégante manière, par une jeune et belle femme débordant de talent. Le grain de sa voix, comme le parfum enivrant d'une plante, se love dans les volutes de la pensée qu'elle embaume aux franges incertaines entre rêve et veille. La construction de ses chansons, qui rompt superbement avec la dualité couplet refrain, trace un chemin inattendu dans l'univers modal si spécifique à l'Ethiopie. De plus, elle est servie comme rarement par une trame sonore aux motifs somptueusement déliés. Pour sa princesse, Bill Laswell est allé quérir les plus beaux joyaux à travers son réseau de relations. Herbie Hancock, Wayne Shorter, Pharoah Sanders et bien d'autres offrent le meilleur d'eux-mêmes et Bill en constitue l'écrin le plus précieux pour cette voix d'ailleurs. Même les bécarres provoquant des arrangements de cuivres signés Henry Threadgill - pape du jazz new-yorkais par trop engoncé dans son intégrité de façade - ne parviennent pas à rompre l'effet d'excitation hypnotique conduit par la modulation de cette voix. Deux mondes se rejoignent en une fusion inouïe, embrasée de lumière. Ce que Gigi nous montre là, personne auparavant ne l'avait imaginé.
par Marushka

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Note :

 

http://www.festival-au-desert.org

 

Sortie : 2003 - 2004

Style : World , Ethnic , Gnawa , Arabic , Afrique , Alternative , Fusion

 

Tracklist :

01 - Takamba Super Onze (Mali) - Super 11

02 - Afel Bocoum (Mali) - Buri baalal

03 - Tartit (Mali) - Tihar bayatin

04 - Robert Plant &Justin Adams (UK) - Win my trainfare home

05 - Sedoum Ehl Aïda (Mauritania) - Ya moulana

06 - Lo 'Jo +Django (France /Mali) - Jah kas cool boy

07 - Oumou Sangaré (Mali) - Wayena

08 - Ali Farka Touré (Mali) - Karaw

09 - Tinariwen (Mali) - Aldachan manin

10 - Adama Yalomba (Mali) - Politique

11 - Tidawt (Niger) - Ariyalan

12 - Ludovico Einaudi &Ballaké Sissoko (Italy /Mali) - Chameaux

13 - Kel Tin Lokeine (Mali) - Ihama

14 - Kwal +Foy-Foy (France /Mali) - Le juge mant

15 - Tindé (Mali) - Wana

16 - Aïcha Mint Chigaly (Mauritania) - Koultouleili-khalett là

17 - Igbayen (Mali) - Oubilalian

18 - Baba Salah (Mali) - Fady yeïna

19 - Blackfi re (USA) - What do you see

20 - Django (Mali) - Laisse-moi dire

 

 

 

The record label press about the CD:

Imagine a musical celebration so remote it can only be reached by camelback or 4x4. Add to the picture days fi lled with camel racing,impromptu jam sessions under traditional leather tents -and a modern stage full of electric guitars. You start to get a picture of what it must be like to attend the annual Festival in the Desert which takes place in the heart of the Sahara desert.The festival was started to provide a worldwide showcase for the music and culture of the Tuareg people in particular and of Mali and West Africa in general.Its goal is to stimulate global interest in the southern Sahara region -its people,culture,history, economic and social development.This year ’s festival,which featured 30 acts from Africa,Europe and North America,was hailed by the San Francisco Chronicle as “the only event on Earth where top-name Western musicians (like Robert Plant of Led Zeppelin) perform on the same stage as nomadic groups with guitars, where Muslim government leaders and devout adherents of Islam sit in the same audience as jeans-wearing men with tattoos, and where camels and donkeys are as common a sight as people.”

More press:
Imagine a community celebration so remote it could only be reached by camelback or 4x4. Add to the picture a day filled with camel racing, impromptu jam sessions under camel-skin tents, and a stage full of electric guitars. You are starting to get a picture of what it must have been like to attend Le Festival au Désert or The Festival in the Desert in the Sahara in January 2003.

Highlights from the 2003 Festival can be heard on Festival in the Desert (World Village / harmonia mundi), a CD to be released on October 14, 2003 . The recordings were made on a 24-track recorder during this remote festival, which featured 30 acts from North Africa, Europe, and North America. American media hailed the 2003 Festival as “one of the most surreal ever staged” (Boston Phoenix) and “the most thrilling music festival experience of my life” (Afropop Worldwide). World Village expects to release a Festival in the Desert DVD in early 2004.

It may not have meant as much to the local Tamashek people that Led Zeppelin singer Robert Plant performed at the event, with a schedule filled by legends of Saharan and Malian music. The CD captures Tidawt, who made the 1000-kilometer journey from their home in Niger to perform. And Sedoum Ehl Aïda—Mauritania’s pioneer of electric guitar—who arrived with his full band, having only heard about the Festival 20 days prior and knowing there was no room on the bill, nor money for his show. Mali’s global ambassadors Ali Farka Touré and Oumou Sangare were expectedly well received. But Plant’s live rendition of “Win My Train Fare Home”—also on the CD and backed by guitarists Justin Adams and Skin and members of Lo’Jo—will certainly go down in rock history.

The recording features three central spokes of the event: French band Lo’Jo, electric guitar nomads Tinariwen (whose manager, Mohammed ‘Manny’ Ag Ansar, is the festival director), and Justin Adams . All three have recent CDs on World Village. The stage was graced by known African performers like Afel Bocoum—Ali Farka Touré’s prodigy—and Tartit, and dozens of artists lesser known to the world stage. A historic pan-tribal meeting took place when Navajo punk band Blackfire, from the Arizona desert, took stage in traditional regalia before hundreds of Tamasheks.

The CD’s simultaneous diversity and seamlessness—with the high quality of footage from such a remote site—stand out. Charlie Gillett of BBC Radio has already called it “The best live album I’ve ever heard.” From Takamba Super Onze’s earthshaking opening traditional rhythm based on the gait of a camel, to the unlikely collaboration between Tamashek guitarist Foy-Foy and French rapper Kwal, the impossible combination of artists could have existed at no other place or time.

The Festival’s significance grows in light of the history of this region where civil war prevailed only a decade ago. The celebration manifests what was envisioned in the 1996 “Flame of Peace,” in which 3000 guns were publicly burned to signify the beginning of the reconciliation between the nomadic and sedentary communities of the southern Sahara. EFES, a Tamashek association whose aim is to develop the region, hit on the idea of grafting the Festival onto the great traditional gatherings of the Tamashek people on a grand scale. For centuries these gatherings have provided an invaluable opportunity for the nomadic Tamasheks to meet and celebrate with various forms of Tamashek song, dance, poetry, ritual sword fighting, games, and other ancient cultural traditions. EFES opened the event to the entire desert region, to the whole of Mali, and eventually to the world.

U.K. music critic Andy Morgan writes in his comprehensive, awe-inspiring liner notes, “Bambara and Manding musicians... to whom Timbuktu and the Sahara were feared no-go regions… suddenly found themselves walking amongst ferocious looking Tamashek nomads without trepidation or concern. Oumou Sangare’s rendition of the Malian national anthem was so much more than an inconsequential piece of enforced protocol. It was a heartfelt hymn to the peace and prosperity of an African nation, united, in music and feasting… Ali Farka Touré just beamed a forty-eight hour smile and kept repeating over and over, ‘Je suis très content, très fier!’ (‘I’m very happy, very proud!’).”

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Note :

 

http://www.russendisko.de

http://www.myspace.com/russendiskoberlin

 

Sortie : 2004

Style : World , World , WORLD !!!!

 

Tracklist :

01 5Nizza - Soldat
02 Oleg Skripka - Im Frühlingswald
03 Nol' - Ich laufe. Ich Rauche
04 Pelagea - Kossack
05 Zak May & Shiva - Viel Glück Im Privatleben
06 Dr. Bajan - Moldavaneska
07 Paperny T.A.M. - Tänze
08 Leonid Soybelman - Nur Einmal Im Leben
09 Amsterdam Klezmer Band - Der Traum
10 Horonko Orchester - Tschubtschik
11 Markscheider Kunst - Kokeiro
12 Sveta Kolibaba - Nicht Mit Mir
13 Wolga Wolga - Mein Böser Tod
14 RotFront - Zhenya
15 Leningrad - Terminator
16 La Minor - Die Bären

 

 

 

 

Berlín, Alemania. El autor y periodista Wladimir Kaminer de Moscú y el DJ Yuriy Gurzhy de Ucrania emigraron a Berlín en la década de 1990, que irrumpió en la escena del club nocturno de Berlín con su Russendisko en 1999. Lo que comenzó como una fiesta se convirtió en un éxito internacional y ha creado un gran interés en la música de Europa Oriental. Russendisko combina canciones rusas con un poderoso ritmo que atrae a todos a la pista de baile. Es similar a una mezcla de ska jugado en el acordeón, o la polka, con un riff de reggae, salsa, ragga o música gypsy balkánica.

por D@vid Ragga

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Note :

http://ghaliabenali.com

Sortie : 2001
Style : World , Arabic

Tracklist :
1. Divas
2. Tiflatan Arabiyan
3. Baidha
4. Hanine
5. Awaddu
6. Luiza
7. Apsara/Dinera
8. Leyca 9. Shaima
10. Anissia
11. Kaalia
12. Ya Rachiq
13. Oyrana




Ghalia Benali from Tunisia is one of the musical surprises to emerge from the Arab world at the turn of the millennium. A successful actress, she played a leading role in the film "La saison des hommes". Her highly acclaimed concerts in Tunis, Paris and Brussels had the record companies queuing to sign her up, but she preferred to wait until she had found her dream line-up. And now she has - Timnaa is an international ensemble whose virtuoso fiddles, flamenco guitars and Arab percussion carry her expressively smoky and profoundly emotional voice from Tunisia to Andalusia and back again, via the Balkans and Brazil. Ghalia herself describes her new project as "Arab music in new forms, sometimes festive but never profane, occasionally ro-mantic and elegiac, or even classical and medieval, and sometimes wild and over the top - a passport to many cultures, a microcosm that merges the centuries into some-thing new".
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Note :

http://www.vieuxfarkatoure.com

Sortie : 2007
Style : World Mali

Tracklist :
01 - Fafa
02 - Aï Haïra
03 - Souba Souba
04 - Sarama
05 - Walé
06 - Slow Jam
07 - Mali
08 - Diaraby Magni
09 - Chérie Lé
10 - Paradise
11 - Fafa (Reprise)