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

Note :

More dry guitars, let's go back in time.
In the new urban culture during the fifties in the copper mining towns of Katanga Province
in southern Congo and on the Copperbelt in northern Zambia, the guitar became an important status symbol.
Hugh Tracey the South African broadcaster turned field recordist amassed probably the largest body of pre-independence recordings of music in central and southern Africa.
This focus on guitar music offers a journey from remote forest villages into the cities and mining camps.
Depending on where they lived, miners and urban professionals heard on their radios American jazz and its South African imitators, Cuban pop, and its Congolese imitators, as well as all sorts of traditional music.....
All of that is echoed in these recordings from Congo, Zambia, Zimbabwe and Malawi during the 1950s.
An exciting document, the emergence of a new sound – with some famous names such as Mwenda Jean Bosco
and George Sibanda......

by nauma
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Origine du Groupe : Africa
Style : World Guitar
Sortie : 2002

Tracklist :

1957 &'58 recordings

Congo :
01-Ilunga Patrice & Misonba Victor-Mama Josefina
02-Ilunga Patrice & Misonba Victor-Masengu
03-Ngoi Nono & Kabongo Anastase-Muleka Mwene Yombwe
04-Kaseba Anatole-Muleka Mwene Ngoie

Zambia :
05-Stephen Tsoti Kasumali-Ematamno Waifwe Bantu
06-Stephen Tsoti Kasumali-Banakatekwe
07-T. Muntali & M. Sapao-Maio Wafwa
08-The Four Pauls-Nifwe Ba Four Pais
09-The Four Pauls-Maselino Yaya Yoyayu
10-John Lushi-Bamgufya Ba Kwati
11-Isaac Matafwana & Sunkutu-Katikalepuke Katikatobeke
12-Luson Mwape Muchalo-Chilomendo Chakumena
13-William Sivale-Nashe Nsapato
14-F. Musonda-Amatstotsi Mama Amaononge Chalo

Malawi :
15-Pearson Kapeni-Akazi
16-De Ndirande Pitch Crooners-Elube

1950,'51,'52 recordings

Zimbabwe :
17-George Sibanda-Gwabi Gwabi
18-George Sibanda-Dali Ngiyakuthanda Bati Ha-Ha-Ha
19-Josiah Nkomi-Itaula Bava Yami

Congo :
20-Mwenda Jean Bosco-Mama Na Mwana
21-Ombiza Charles-Nachelewa
22-Ombiza Charles-Safari Ya Baraka
23-Bembele Henri-Colette
24-Bembele Henri-Beni

Note : +

http://www.pharaohsdaughter.com

http://www.myspace.com/pharaohsdaughter

Réédition révisée et remastérisée d'un classique de la Renaissance de la Musique Juive (anciennement KFR 273) nous faisant entendre l'incroyable diversité vocale de BASYA SCHECHTER, juive orthodoxe de Brooklyn. Produit par une figure majeure de la Downtown Scene, ANTHONY COLEMAN, Out of the Reeds est traversé d'un bout à l'autre par un chant vibrant qui conjugue les traditions sépharate et ashkénite. De l'âme avant toute chose.

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Origine du Groupe : North America
Style : World
Sortie : 2000

Tracklist: :
1. Hevel
2. Afilu
3. Im Ein Ani Li Mili
4. Taitch
5. Eicha
6. West African Niggun
7. Lecha Dodi
8. Hamavdil
9. Koomi Lach
10. Shnirele Perele
11. Ija Mia

Note :

http://www.afrisson.com/Lesotho-1608.html

The album ‘He O Oe Oe!’  by the Sotho singer Puseletso Seema,  backed by the group Tau Ea Linares, translated ‘King of Buffaloes, was originally released in 1985 by Globestyle, the UK label of Ben Mandelson and is long out of print. The recordings on this album are unique because Ben, as a passionate music aficionado, arranged for the meeting of Puseletso Seema and Tau Ea Linare, who normally record separately.

Sotho traditional music is an integral part of Sotho social education and traditionally links hearing with the understanding of the natural and social worlds. The Sotho describe instruments as either liletsa tsa matsoho (those sounded by the hand) or liletsa tsa molomo (those sounded by the mouth). The former category includes the moropa and skupu drums, these days often made from oil cans because of scarcity of wood. The latter category includes the lesiba, a mouth-resonated stick-zither sounded by blowing. The primary use of the lesiba is in cattle-herding; bird sounds and actions are seen to affect cattle; these sounds can be imitated on the lesiba and the instrument is thus used to control the animals’ behaviour. The whistles and yipping are herdboy’s calls as recorded for the particular song.

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Origine du Groupe : Lesotho
Style : World Music
Sortie : 1985

Tracklist :
1 He o oe oe !
2 Leshano
3 Vatse halenone
4 Ha motsoane
5 Mathabo
6 Tsetala Linare
7 Thaba tsepe
8 Katla ka sotleha
9 Bajoetse saki
10 Kesetse mahlomolenu