• http://ecx.images-amazon.com/images/I/41HF54HH6TL._SL500_AA300_.jpg

    Origine du Groupe : V.A Cuba
    Style : World Music , Rumba
    Sortie : 2000

    Kip Hanrahan is one of the most enigmatic figures in American music. He presides over recording sessions like a sage elder (or perhaps a dictator). Though he often takes no part in the actual musical performances, his mere presence as Producer and Composer seems to direct his loyal musicians in interpreting his music, which has been described as “soundtracks to films that don’t exist”. His earlier releases on American Clave, likeDesire Develops An EdgeandVertical’s Currency, paired the surreal vocals of ex-Cream bassist Jack Bruce with noir jazz charts of rich exoticism. More recently he’s taken a more accessible interest in Afro-Cuban music and channeled it through the excellent group Deep Rumba (Rumba Profunda). His taste for dark moods still predominates, even on the more upbeat selections. This disc, the second Deep Rumba recording, effectively transportsBuena Vista Social Clubto the seediest of Havana bars, with junkies shooting up in the back booths and slutty waitresses with overflowing cleavage proffering powerful rum concoctions. For all its lightlessness, however, Deep Rumba is far more appealing to the mainstream audience than the Hanrahan/Bruce collaborations. The titular leader didn’t even compose any of these works; he simply bills himself as Musical Director and offers up a background vocal on track #6.

    Hanrahan gathered some outstanding company for this session. Tenor man Charles Neville (of those famous New Orleans brothers) rubs elbows with fusion drummer Robby Ameen,Buena Vistatimbalero Amadito Valdes, and Latin jazzers like bassist Andy Gonzales, drummer “El Negro” Horacio Hernandez, and conguero Giovanni Hidalgo. The rhythms and song structures are mostly true to traditional Cuban forms. The disc opens with a woeful lament by Neville’s solo tenor sax, which leads into a hot drum duet by Ameen and El Negro. The percussionists take us from Bourbon Street to Birdland, then finally down to Old Havana where the enchanted voice of Xiomara Lougart tempts us with pensive beauty. Track #2 has a discomforting juxtaposition, so typical of Hanrahan: the slow, gentle ballad sounds of Lougart and violinist Alfredo Triff float ethereally over a veritable volcano of percussion. Triff also plays wild, distant jungle howls on the unusual #15, which features Gonzales’ bowed bass.

    More traditional Cuban sounds are scattered around the disc, with many unexpected twists. Track #7 is especially abstruse, a trio of tenor sax, vibrant bass, and El Negro clicking two large metal keys together like claves. The next track is a brief, memorable rendition of the classic Besame Mucho ; Lougart sounds like she’s lounging half-drunk on a worn couch, a full ashtray sitting on the floor. Vocalist Haila Monpie’s contributions are also noteworthy, her voice being more youthful and less dusky than Lougart’s. Other excellent lead vocals are provided by the soulful Pedro Martinez and Puntilla Orlando Rios, a nice variety overall. The disc closes strangely, with the disembodied telephone-voices of Velibor Pedevski and El Negro over a pointillistic ground of handclaps and percussion played on some type of metal “sculptures”. As always, Hanrahan leaves us puzzling over the unforeseen. This is an unconventional but most entertaining disc, especially recommended for those who like a middle ground between Latin jazz and Buena Vista-style traditionalism.

    by TODD S. JENKINS  for All About Jazz  permalink

    Tracklist :
    1.- Cubana
    2.- Medley: Robby And Negro Opening Time/Pensamiento
    3.- Bom Bom Bom Bom
    4.- Prelude To Un Golpecito Na' Ma
    5.- Kip Quest
    6.- Quimbara 2000
    7.- Charles And Andy Discuss The Science Of Voodoo And The Voodoo Of
    8.- Science
    9.- Besame Mucho
    10.- Tradicion
    11.- Sugar And Cotton (Black Hands In White Labor)
    12.- Cantar Maravillioso
    13.- Giovannito
    14.- Arabian Nights
    15.- El Solo Nino
    16.- Yambu De Las Cocas
    17.- Work And Play (Real Life Dramas)


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  • http://1.bp.blogspot.com/_OC5UKPNRm5o/TGLhiawHsgI/AAAAAAAACHE/6JEfo9XEQxM/s320/Ray+Callao+-+Salsonando+%282009%29.jpg


    Origine du Groupe : Spain
    Style : World Music , Latin Jazz , Salsa , Rumba
    Sortie : 2009

    Creative Commons License

    From Official Myspace :
    Ray Callao se reune por primera vez, en Barcelona, en Septiembre del 2007; sexteto de fusión Afro Latina, de aires frescos . Sus integrantes proceden de distintas partes del mundo, Barcelona, México, Canarias, Perú...

    Van desde el formato acústico con contrabajo, bongó y tres, hasta la formación de pequeña orquestra con 9 integrantes; destacan por su versatilidad y por la facilidad con la cual pasan por distintos rítmos afrocubanos, sin perder ese sonido tan propio que les caracteriza. Tampoco tienen complejos cuando salen a tocar a la calle ni cuando suben a los escenarios más conocidos de la ciudad condal, siempre buscan la complicidad del público. La voz callejera, el sonido jazz selvático de la guitarra, los metales explosivos y una sólida base rítmica, proponen una nueva opción dentro del género y la actual escena musical barcelonesa.

    tlf: 657751716

    Tracklist :
    1. El Muerto
    2. Tiradito
    3. Nadie se va
    4. Maria
    5. Baratija
    6. El Gallo
    7. Pepe Cobra


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  • http://4.bp.blogspot.com/_UvPF4OtoCCE/St4jQkPRIUI/AAAAAAAAAIA/1kVkn_sRzAU/s400/Cover+LIVE+IN+ZAGREB+CD+%26+DVD+final+3+HR.jpg



    Origine du Groupe : Macedonia , Serbia
    Style : World Music , Guitar
    Sortie : 2009

    NEWS !!! This player HERE

     Creativity is something that cannot be forced and the most distinctive and rewarding artistic fellowships are those that follow a natural path to fruition. What brought together guitarists Vlatko Stefanovski and Miroslav Tadic 15 years ago was an act of faith. They were introduced to each other by another musician who was aware of their mutual love for guitars and Macedonian folk music. In the period that followed they went to work on  Krushevo (M.A. Recordings 1997), a record that is considered to be seminal and groundbreaking.

    Since Krushevo was released, Stefanovski and Tadic have not only made three records together, but they have continued to unite in concert settings, despite the numerous projects they both have in addition to this partnership. Their collaborative project proved to be anything but problematic, instead feeding and nurturing an alchemical connection. The tours that followed have allowed them further to continue to explore the possibilities that have been laid at their feet. Building upon their shared love of bending genres until they break, Stefanovski and Tadic seamlessly blur the lines between traditional folk music, jazz, rock, flamenco and classical. It isn't about where the songs begin but where they end, and that gives the duo its distinct flavor.

    In 2005, the duo welcomed a new member, the Bulgarian flautist Teodosii Spasov, adding a new dimension to the music. Live in Zagreb was recorded during a summer tour in Croatia in 2007, when the trio itself expanded into a quartet by introducing the Indian master percussionist Swapan Chaudhuri. The album is a stunning celebration of the project's past, present and future. It sums up the whole trajectory, as it begins with the duo guitars, then the trio is introduced, and finally the quartet is heard.

    Starting with "Dafino Vino Crveno," (Dafina with cheeks like red wine), the guitar duo plays with a bright fire that never goes out, even on more laid-back, plaintive numbers such as this one. It seems that the two players are completely engaged in conversation as they magically complete each other's lines. "Izlezi Vido" (Come out Vida, to see a miracle), is a funky folk song with the two guitars setting off into improvisations like twins joined at the hip, something to be expected from virtuosi with such distinguished backgrounds.

    "Ej Ti Momche Ohridjanche" (Hey you boy from Ohrid) is an upbeat reel that introduces the trio with Spasov. What is amazing about this trio is that the unit has no single sound identity, though their aesthetic is distinct and readily identifiable. Owing to their long-standing association, the three communicate with heightened perception, anticipating each others' curveballs and responding in kind. When improvising, the trio weaves in and out of meter and harmony, yet always emerges together before the mood shifts anew. The structure of the melody is respected but outside of that it's open season.

    For a long time, this project drew associations with guitarist John McLaughlin's Shakti, because of the musicians' virtuoso abilities, improvisational madness and breadth of influences, their folk music associations, and the emotional depth of their style. The introduction of Chaudhuri makes such comparisons more vivid and tangible. Apart from holding a master's degree in music and being conferred honors for his distinguished contributions in the field of tabla by the government of India, and as well as performing with world renowned artists such as sitar maestro Ravi Shankar, Chaudhuri is also a member of the teaching staff at the California Institute of the Arts in California. So is Miroslav Tadic.

    On tracks such as "Prosheta Se Jovka Kumanovka," (Yovka from Kumanovo went for a stroll), and especially "Anadolu oyun havasi," which is a 16 minute tour de force, the quartet's seamless interplay is quite remarkable. It delivers consistently inventive music while combining the discipline of classical chamber music with the openness of free improvisation. There is a perfect balance between the two, strung halfway between heaven and earth.

    The group's music in general is a milestone in cross-cultural music, fusing Macedonian folk music with various styles including the arcane percussion disciplines of Indian music. This is thoughtful, inspired guitar work woven out of tasteful tones and performed with brilliant virtuosity against a sublime backdrop of percussion and flute. The album is the audio equivalent of pure beauty.

    by  NENAD GEORGIEVSKI  permalink

    Tracklist :
    01.Anadolou oyun havasi
    02.Dafino vino crveno
    03.Ej ti momce ohrigance
    04.Eleno kerko
    05.Izlezi Vido
    06.Jovano, Jovanke
    07.Kales Ango
    08.Kasapsko oro
    09.Proseta se Jovka kumanovka



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  • http://magiska.vlsweb.net.br/wp-content/uploads/2010/08/Cover_Natacha_Atlas_Mounqaliba_c_HegeSaebjornsen-11781-400x400.jpg


    Origine du Groupe : U.K , Egypt
    Style : World Music
    Sortie : 2010

    NEWS !!! Desktopify this player music HERE

    Après s’être frottée à la dance métissée, et à des reprises farouchement sensuelles (« Mon amie la rose », 1999) ou branchées sur le secteur (« I Put A Spell On You », 2001), l’ancienne chanteuse de Transglobal Underground a, en 2007 (et l’album Ana Hina), négocié un prolifique virage vers une inspiration plus authentique, et naturelle, et des racines musicales directement en phase avec la tradition égyptienne ou libanaise.
    Mounqaliba/In A State Of Reversal poursuit heureusement ce cheminement métissé et acoustique, et, bien que certaines machines de studio, en particulier des boîtes à rythme, se soient immiscées dans le projet - mêlant ensemble à cordes et inspiration ottomane, piano de jazz (la brillante Britannique Zoe Rahman tient le clavier) et percussions orientales. Enregistré à Londres, l’album s’orne d’une majorité de compositions de la chanteuse et de son fidèle associé artistique le violoniste Samy Bishai (bien que l’ancien Transglobal Underground Tim Whelan soit venu prêter main forte à l’élaboration d’une mélodie), chansons plutôt mélancoliques, ou désenchantées.

    Natacha Atlas, et jusque dans les illustrations du livret, croit manifestement encore à la force de l’amour, même si c’est sur un mode mineur. Trois reprises ont été sélectionnées : celle de « La Nuit est sur la Ville » de Françoise Hardy (et qui, en 1964, figurait assez curieusement sur le même 45 tours que « Mon amie la rose »), un « River Man » emprunté à Nick Drake, et extrait du premier album du chanteur folk anglais, et la partition de « Le Cor, le vent », que l’on doit à Khaled Mouzanar (compositeur de la luxuriante musique du film Caramel). Enfin, six introductions ou interludes – l’un deux s’intitule joliment « Direct Solutions Interlude » - complètent le menu, offrant chacun, en quelques poignées de secondes, bruits du quotidien empruntés aux rues de Marrakech ou du Caire, chant proche du liturgique, et évocations des concepts développés par le cinéaste expérimental Peter Joseph.
    Toutes ces facettes esthétiques tendent à permettre au disque d’atteindre la dimension d’un objet conceptuel, dans lequel s’entremêlent cultures musicales occidentales et orientales, sentiments humains génériques, et tentatives de développer, dans le contexte étroit d’une chanson, une véritable rêverie en images. Une nouvelle réussite à mettre au crédit de la chanteuse belge.

    par Christian Larrède

    Tracklist :
    1. Intro (00:55)
    2. Makaan (04:27)
    3. Matrah Interlude (01:00)
    4. Bada Al Fajr (02:01)
    5. Muwashah Ozkourini (03:43)
    6. Riverman (05:39)
    7. Batkallim (05:58)
    8. Mounqaliba (03:39)
    9. Le Cor, Le Vent (03:43)
    10. Direct Solutions Interlude (01:38)
    11. Lahazat Nashwa (03:04)
    12. La Nuit Est Sur La Ville (03:35)
    13. Fresco's Interlude (02:08)
    14. Ghoroub (02:25)
    15. Evening Interlude (01:09)
    16. Taalet (03:11)
    17. Egypt Interlude (02:13)
    18. Nafourat El Anwar (02:57)



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  • http://2.bp.blogspot.com/_OC5UKPNRm5o/TGLaLS1MwcI/AAAAAAAACG8/5C5CO8xlJes/s1600/El+Tumbao+de+Juana+-+Maqueta.jpg



    Origine du Groupe : Spain
    Style : World Music
    Sortie : 2009

    From Official Site :
    In part by coincidence, in part from years of friendship, at the end of the year 2008 the band El Tumbao De Juana was born. The members (from different parts of Latin America) met each other in the musical metropolis Barcelona and since then have been mixing their different musical influences. This mixture of Vallenato, Cumbia, Champeta, Raggae and the Catalan folk music has lead to the incomparable music of El Tumbao De Juana.

    That the concept of the band, to spread sensation and lust for life, works well, can be seen in the streets of Barcelona. With their incredible energy, charisma and enthusiasm the band gives daily concerts in the streets and presents day by day an unbelievable spectacle: Pedestrians from all over the world that have never seen each other before dance, sing and celebrate together the music of El Tumbao De Juana.

    Tracklist :
    01 Pajarillo
    02 Saco Roto
    03 De Lunes a Domingo
    04 Que Linda
    05 La Reina
    06 Pajarillo (Bonus Track)



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