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Par DJDemonAngel le 7 Août 2010 à 16:00
Note :
Origine du Groupe : V.A Brazil
Style : World Music
Sortie : 2010
Uma coisa bem diferente pra variar. Eu também tenho um coração
Brasileiro e fiz ese compilação para vocês. Espero que vão gostar.
Thanks Global Groove
Tracklist :
1 Alberto Mota e seu conjunto - Tamborim
2 Marilia Medalha - Ausencia
3 Ary Cordovil - O que é que eu dou
4 Gal Costa e Caetano Veloso - Coração vagabundo
5 Thelma Soares - Palhaço
6 Noël Rosa - Gago apaixonado
7 Chico da Silva - Sambaterapia
8 Garota de Ipanema
9 Manoel Conceição - Genta humilde
10 João Gilberto - Este seu olhar
11 Thelma Soares - Fora do baralho
12 Cartola - Peciso me encontrar
13 Alberto Mota e seu conjunto - Jogado fora
14 Maria Bethânia - Ultimo desejo
15 Aparecida - Saravá, Saravá Bahia
16 Maria Creuza - Pouco importa
17 Raul de Barros - Folhas secas
18 Doris Monteiro - Nos e o mar
19 Abel Ferreira - Chorando baixinho
20 Tito Madi - Chove la fora
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Par DJDemonAngel le 7 Août 2010 à 15:00
Note :
Origine du Groupe : Congo
Style : World Music , Soukous
Sortie : 1986It is hot in the Netherlands. With temperatures rising up to 36º C, or more
this weekend. The whole country is in a hot summer mood, hanging out
on terraces with big glasses of cold beer. Same time we are all very exited
about being in the finals of the worldcup. Orange fever going 'round the land.
The music that fits a hot summer night like no other, a nice piece
of steady soukous. Choc Stars are the band to fulfil that request
for us tonight. Make a slow but groovy dance with Choc Stars.
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Tracklist :
1 Kelemani - djeuni
2 Deserteur
3 Presence
4 Ozi
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Par DJDemonAngel le 4 Août 2010 à 20:00
Note :
http://www.myspace.com/massisouad
Origine du Groupe : France , Algerie
Style : World Music Folk
Sortie : 2010This 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 LeavingWARNING : 2 PART
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Par DJDemonAngel le 4 Août 2010 à 19:00
Note :
Origine du Groupe : Brazil
Style : World Music , Piano
Sortie : 2005Along 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]
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Par DJDemonAngel le 4 Août 2010 à 15:00
Note :
http://www.soundwayrecords.com
Origine du Groupe : V.A Nigeria
Style : World Music , Soul Blues Rock , Psychedelic
Sortie : 1970sQuand 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
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