VAS - Offerings (1998)

September 27, 2017, 8:17 am

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Artist: VAS (Azam Ali & Greg Ellis)
Title Of Album: Offerings
Release Date: 1998
Location: Iran / India / USA
Label: Narada Productions (72438-46289-2-5)
Genre: Tribal, Modern Classical, Ethnic
Quality: FLAC (image+.cue+covers)
Length: 67:41 min
Tracks: 11
Total Size: 424 MB (+5%)

Offerings — второй студийный альбом проекта VAS, вышедший в 1998 году. Единственное качественное отличие от прошлого, дебютного альбома группы Sunyata — в его записи принимали участия такие музыканты, как Омар Фарук Текбилек и Стиви Стиванс.

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Patricia Kaas - Carnets De Scene (1991)

September 27, 2017, 8:23 am

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Artist: Patricia Kaas Title Of Album: Carnets De Sc?ne Year Of Release: 1991 Label (Catalog#): Columbia (471995 2), France Country: France Genre: Pop, Chanson, Vocal Jazz Quality: FLAC (tracks + .cue,log,scans) Bitrate: Lossless Time: 01:05:58 min Full Size: 428 MB

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Jake Leg Jug Band – Break A Leg (2017)

September 27, 2017, 9:02 am

≫ Next: The Nile Project – Jinja (2017)

≪ Previous: Patricia Kaas - Carnets De Scene (1991)

320 kbps | 106 MB | LINKS

The Jake Leg Jug Band bring you the authentic sounds of 1920’s and 30’s America – Jazz, Blues, Gospel, Ragtime – and put their own twist on it.

Duncan Wilcox – Vocals & Double Bass
Sarah Miller – Vocals & Washboard
Neil Hulse – Vocals & Guitar
Toby Wilson – Vocals, Banjo & Dobro
Liam Ward – Vocals, Harmonica & Jug)

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The Nile Project – Jinja (2017)

September 27, 2017, 11:24 am

≫ Next: NATHAN XANDER BLUE HOUSE - 2017 https://nathanxander.bandcamp.com/album/blue-house

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The%2BNile%2BProject%2B-%2BJinja_front.p

The Nile Project es una loable iniciativa hacia el panafricanismo: artistas de once países por los que pasa el río y sus afluentes se reúnen anualmente para impartir cursos y concienciar sobre la necesidad de cuidarlo. Una idea redonda y una maravilla musical, porque alcanza momentos de una intensidad y compenetración absolutamente asombrosas.
El proyecto, auspiciado por el etnomusicólogo egipcio Mina Girgis y la cantante etíope y activista cultural Meklit Hadero, comenzó en enero de 2013 cuando 18 artistas procedentes de Egipto, Uganda, Etiopía, Sudán del Sur y Sudán, se reunieron para desarrollar un proceso creativo colaborativo que duró 10 días. El resultado fue Aswan (2013) donde ya se preveía la trayectoria exitosa que tendrían estas y estos embajadores y diplomáticos de la música. El colectivo de intérpretes se va de gira por el mundo para difundir el mensaje ecológico y de interculturalidad, acontecimiento que en 2016 aprovechan para grabar Jinja (2017) en Uganda, lugar donde se encuentran las fuentes de El Nilo.

Más allá del sentimiento de hermandad que promueve, la música de la banda resulta atractiva justamente cuando reproducen sus valores de unión, cuando las tradiciones de Egipto, Etiopía, Sudán, Uganda… (y sus respectivos instrumentos) se van integrando o alternando a lo largo de una misma pieza. Una armonía que suena sorprendentemente accesible incluso para la o el oyente occidental, a pesar de la diversidad de instrumentos musicales, estética, estilos y lenguas. Los temas están compuestos por los y las artistas intérpretes en seis idiomas. Las voces de la egipcia Dina El Wedidi, la etíope Selamnesh Zemene (componente de Ethiocolor), o de la sudanesa Alsarah protagonizan de forma espectacular este mega-proyecto musical, destacando también la versatilidad, energía y gran voz del burundés Steven Sogo.
Como señalaban en un principio Girgis y Hadero, The Nile Project es más que panafricanismo, es "pan-niloísta". En este proyecto las conexiones entre los países del Nilo son, de tan evidentes, casi una denuncia: siendo tan claros los parentescos entre instrumentos, sonidos y ritmos, siendo tan claros los lazos que unen todos estos países, ¿por qué han vivido de espaldas unos a otros? Además, The Nile Project es un proyecto medioambiental, de sensibilización para remarcar la necesidad de proteger y valorar los ecosistemas de la cuenca del Nilo. Para quitarse el sombrero.

Página web oficial: The Nile Project

Personal:
Dawit Seyoum (Etiopía) – krar, bass krar
Dina El Wedidi (Egipto) - vocal
Hany Bedair (Egipto) – duff, tabla, riqq
Jorga Mesfin (Etiopía) - saxofón
Kasiva Mutua (Kenia) – ohangla, djembe
Meklit Hadero (Etiopía) - vocal
Micheal Bazibu (Uganda) – adungu, entongoli, engoma, engalabi
Mohamed Abozekry (Egipto) - oud
Nader Elshaer (Egipto) - kawala
Sarah Abunama-Elgadi (Alsarah) (Sudán) - vocal
Selamnesh Zemene (Etiopía) - vocal
Sophie Nzayisenga (Ruanda) – vocal, enanga
Steven Sogo (Burundi) – vocal, bajo, ikembe

tracks list:
01. Inganji - feat. Sophie Nzayisenga and Selamnesh Zemene
02. Allah Baqy - feat. Dina El Wedidi and Sarah Abunama-Elgadi
03. Ya Abai Wuha - feat. Selamnesh Zemene
04. Omwiga - feat. Micheal Bazibu
05. Uruzi Nil - feat. Steven Sogo
06. Dil Mahbuby - feat. Dina El Wedidi and Mohamed Abozekry
07. Tenseo - feat. Jorga Mesfin, Mohamed Abozekry and Selamnesh Zemene
08. Marigarita - feat. Sophie Nzayisenga, Hany Bedair, and Selamnesh Zemene
09. Biwelewele - feat. Steven Sogo
10. Mulungi Munange - feat. Micheal Bazibu, Sophie Nzayisenga and Steven Sogo

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NATHAN XANDER BLUE HOUSE - 2017 https://nathanxander.bandcamp.com/album/blue-house

September 27, 2017, 11:39 am

≫ Next: Josh Clauson – Driftless (2017)

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NATHAN XANDER

BLUE HOUSE - 2017

https://nathanxander.bandcamp.com/album/blue-house

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Josh Clauson – Driftless (2017)

September 27, 2017, 12:05 pm

≫ Next: American Epic S01 [2017, Documentary, Folk, 2xBlu-ray, 1080p]

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320 kbps | 72 MB | LINKS

Tracks:
01. Driftless
02. Eclipse and the Moon
03. Slipstream
04. Every Once in a While
05. Coming Back
06. Honey Yolk Moon
07. Don’t You Wait
08. Be Change
09. Filament

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American Epic S01 [2017, Documentary, Folk, 2xBlu-ray, 1080p]

September 27, 2017, 1:55 pm

≫ Next: Anna Tivel – Small Believer (2017)

≪ Previous: Josh Clauson – Driftless (2017)

American Epic S01 Жанр : Documentary, Folk Продолжительность : 04:56:58 Год выпуска : 2017 Качество : Blu-ray Разрешение видео/развертка : 1080p Контейнер : BDMV Видео кодек : H.

Тема на форуме

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Anna Tivel – Small Believer (2017)

September 27, 2017, 2:05 pm

≫ Next: Re: [CD] António Zambujo - Quinto [Reedição] (2012)

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320 kbps | 106 MB | LINKS

Anna Tivel’s wide-eyed celestial folk songs belong in a similar ballpark with Anais Mitchell, Gregory Alan Isakov and Laura Veirs, where gentle picking plucks among occasionally unconventional sounds and a gorgeous voice tells stories of life in a world of natural wonders. The resulting music is incredibly honest, lyric-driven, and deeply affecting.

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Re: [CD] António Zambujo - Quinto [Reedição] (2012)

September 27, 2017, 2:56 pm

≫ Next: (Country, Americana, Folk, Roots Rock, Singer/Songwriter) Eilen Jewell (The Sacred Shakers) - Дискография 2005-2017 (12 релизов), MP3, 256-320 kbps

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Valeu...

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(Country, Americana, Folk, Roots Rock, Singer/Songwriter) Eilen Jewell (The Sacred Shakers) - Дискография 2005-2017 (12 релизов), MP3, 256-320 kbps

September 27, 2017, 3:55 pm

≫ Next: Photo Essay: Brooklyn’s Labor Day Carnival Parade

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Eilen Jewell Жанр : Country, Americana, Folk, Roots Rock, Singer/Songwriter Год выпуска диска : 2005-2015 Страна : April 6, 1979-, Boise, Idaho, United States Аудио кодек : MP3 Тип рипа : tracks Битрейт аудио : 256-320 kbps Продолжительность : 08:28:46 Albums: 01.

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Photo Essay: Brooklyn’s Labor Day Carnival Parade

September 27, 2017, 3:59 pm

≫ Next: Tinariwen – Elwan (2017)

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Last year, Afropop Worldwide produced a program all about the kaleidoscopic bacchanal that is Brooklyn’s Labor Day Parade and the festivities that take place in the days around the parade. We’re back again this year to bring the sights that graced the streets of central Brooklyn in the first days of September. For the series of concerts that preceded the Labor Day Parade itself, check out our photo essay here.

The Labor Day Parade is a child of the big-time bacchanal that takes place across the Caribbean in February, with the Carnival in Trinidad and Tobago as the crown of these festivities. Carnival was imported to New York City way back in the 1930s by Caribbean immigrants, beginning in Harlem but eventually migrating to Brooklyn, which has become a massive hub of Caribbean culture and people.

Carnival on Eastern Parkway. Photos by Sebastian Bouknight

In 1967, the festivities began to be organized by a new group–the West Indian American Carnival Day Association (WIADCA)–which took the parade down the broad Eastern Parkway thoroughfare in Brooklyn’s Crown Heights neighborhood. This year, 2017, marks the 50th anniversary of WIADCA hosting the millions who flock to Brooklyn on Labor Day to dance, drink, eat and be merry. The thousands who march in the parade are grouped into masquerade (or “mas”) bands and are decked out in extravagant, technicolor and often revealing costumes adorned with feathers and jewels. The mas bands are accompanied by a succession of massive sound trucks–18-wheeler flatbed trucks jam-packed with enormous sound systems that have the volume to shake the earth. These trucks blast the latest soca and dancehall hits and often advertise local Caribbean businesses or recent soca albums.

Mas players

Mas band trucks on the road

The boundaries between participant and spectator have traditionally been relatively fluid, but NYPD barriers have been causing ire in recent years. On the other side of the barriers, along the Parkway, are something in the realm of a million or so people and an unending row of vendors selling fresh juices and an abundance of Caribbean food–jerk chicken, bake and shark, rice and peas, fried fish and so on. Roving salespeople with coolers hawk beers and small bottles filled with intensely sweet cocktails. Keep your eyes out for large reptiles too.

Roving entrepreneurs

Snakes on parade

It’s no small thing to go out to the Labor Day parade–you’ve got to be ready to dance for hours, especially when the Haitian truck makes its way to you. The Haitian truck, of the Francophone minority in an Anglophone Caribbean majority, brings up the rear of the parade and blasts non-stop compas louder than anything you’ve ever heard. This year, like last year, the truck was graced with the musical presence of none other than Sweet Micky, otherwise known as Michel Martelly, the compas star who served as Haiti’s president from 2011 to 2016. Once the cops shut down the truck’s sound system, the unstoppably dense crowd of dancers that surround the truck continued onwards down the Parkway, accompanied by the local rara group Brother High.

Haiti in the house

Sweet Micky on the Haitian truck

NYPD shuts down the Haitian truck

Rara group Brother High takes up the party

But long before anyone hits the Parkway on Labor Day Monday morning, the party gets started early. J’Ouvert (French for “daybreak”) gets kicking in the form of street parties somewhere in the depths of Sunday night/Monday morning and traditionally moves into a loose parade around 4 a.m. J’Ouvert is host to “dirty mas,” a complement to the daytime “pretty mas,” in which black oil, splattered paint, chains and devil horns are the name of the game, not feathers and jewels. Jab jabs, from the French diable, or “devil,” are these characters of the night who, depending on who you talk to, represent the dark side of human nature, the pains and brutality of slavery or the dangerous spirits that one must be sure not to anger. J’Ouvert’s also a time to get political: often you’ll see costumes that reflect current political debates, critique politicians or social ills, namely racism. There’s a whole variety of characters of all stripes who appear during J’Ouvert to the accompaniment of live music, largely made by steel pan bands and cacophonous “rhythm bands” on wheels.

J’Ouvert

Drummer with a J’Ouvert steel band

Mas player at J’Ouvert

Jab Jab at J’Ouvert

Unfortunately, over the years Brooklyn’s J’Ouvert has seen a few tragic deaths happen along the parade route or during its hours. The news coverage of the event has inevitably overshadowed the positive, culturally rich and fun-loving dimensions of the fête with suggestions that J’Ouvert causes murders. As you can hear in our 2016 program about Brooklyn’s Carnival, there are voices on the other side that say that gun violence and gang activity, which are a larger problem in the city on any day, are behind the deaths, not J’Ouvert itself. Others add that the intense police presence exacerbates the issue by making people feel caged in and stressed out, provoking them to lash out.

By a vast majority, J’Ouvert is a positive event that brings together people to celebrate. On the other side, the NYPD, among others, see J’Ouvert as dangerous. Thus, in recent years, the rules around J’Ouvert have gotten increasingly strict. This year, the J’Ouvert parade route was entirely cordoned off by barriers, with a few checkpoints where partiers were searched with metal detectors–no alcohol, no food and many fewer people. In addition, the parade was pushed to begin at 6 a.m., when the sun was beginning to rise. The combination of the daylight and the strict limitations changed the character of J’Ouvert starkly, to the chagrin of many of the partiers. In an interview with Afropop in 2016, local council member Laurie Cumbo had this to say in regards to the changes around J’Ouvert: “For our communities, which are people of African descent, we have gone through over five centuries of colonization, a trans-Atlantic slave trade, and a decimation of our entire culture. There are so many social ills that still ravage our community that that has to also be…taken into account when we are thinking about how do we simply have opportunities for celebration.”

J’Ouvert in the daylight

Beyond the heated debates over the Labor Day festivities, there are millions of people who make the fun happen, who come out in abundance to the road to party and spread the love. As always, we’re looking ahead forward to the next time we get to take part in the magic that is Labor Day in Brooklyn! Be sure to check out the full gallery of pictures from Labor Day below–more costumes, more crowds and more vibes. All photos by Sebastian Bouknight.

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Tinariwen – Elwan (2017)

September 27, 2017, 4:33 pm

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Elwan es el séptimo álbum de estudio de los míticos Tinariwen, grupo emblemático del llamado blues del desierto que lleva más de tres décadas en activo y que bandas, como Terakaft, Tamikrest o Bombino, les reconocen como su mayor influencia. Fiel a su idiosincrasia, pero también obligados por la a menudo sangrienta agitación imperante en su hogar sahariano, la referencial banda tuareg actúa, compone y graba de forma cambiante, según las circunstancias, pero siempre marcadas por la sensación de la tierra perdida. En esta ocasión registraron este disco en California (curiosamente en un lugar de connotaciones familiares para la afición roquera como es el parque nacional de Joshua Tree) y lo han completado en M’Hamid El Ghizlane, un oasis al sur de Marruecos. Apropiada dicotomía que refleja el contenido del álbum.

"Elwan" significa "los elefantes" y es una metáfora para describir a esas bestias que pisotean todo lo que les rodea. Se trata de un disco vital con canciones de lucha, cantos de esperanza y con ese sonido limpio y característico de la guitarra Stratocaster, además de las voces profundas de sus dos cantantes y compositores principales Ibrahim Ag Alhabib y Abdallah Ag Alhoussenyi. Las once composiciones del disco ofrecen su mayor virtud, un abanico que muestra el contraste entre temas vigorosos y relajantes: se abre con "Tiwàyyen", un blues con su marejada de punzadas guitarreras que acaba con esas aceleraciones típicas de los ritmos gnawa (que lleva la memoria a los inicios del grupo); en "Sastanàqqàm" las guitarras cíclicas e hipnóticas parecen cantar junto a los coros de la banda, y el choque con la realidad del grupo y su entorno queda patente en "Ténéré Tàqqàl", triste y espiritual lamento por el saqueo de su tierra. "Imidiwàn n-akàll-in" nos remite a la soledad del desierto para, de nuevo, volver con guitarras acústicas y vibrantes percusiones en la envolvente "Assàwt". Cierra el disco un emotivo blues, "Nànnuflày", un abrasivo tema sobre la inmensidad y el vacío del desierto.
Con las notables colaboraciones, además, de influyentes músicos norteamericanos como Kurt Vile, Mark Lanegan y Matt Sweeny, en Elwan la banda ha conseguido, de nuevo, recoger en el estudio el fascinante trance de sus directos.

Página web oficial: Tinariwen

tracks list:
01. Tiwàyyen
02. Sastanàqqàm
03. Nizzagh Ijbal
04. Hayati
05. Ittus
06. Ténéré Tàqqàl
07. Imidiwàn n-àkall-in
08. Talyat
09. Assàwt
10. Arhegh ad annàgh
11. Nànnuflày

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