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  • 10/16/17--02:39: Joe Henry – Thrum (2017)
  • 320 kbps | 139 MB | LINKS

    Joe Henry is hitting the road to promote the release of his fourteenth studio album, Thrum.

    Recorded over four days at United Studios in Hollywood, Calif., Thrum features longtime collaborators Jay Bellerose, Levon Henry, David Piltch, John Smith, Patrick Warren and Asa Brosius.

    “I recognize at this point in my professional creative life, and in ways that perhaps have not been true before, that I am seeking lees to move along the paths of my earliest musical influences,” Henry said in a statement. “And more toward true alignment with the mystic poets Rilke and Whitman, Rimbaud and Rumi.”


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    Songs_from_Albion_II.jpg
    Cuando la primera entrega de una trilogía engancha, se arde en deseos de completar su lectura. Stehen Lawhead ha publicado numerosos ciclos de novelas de fantasía épica con bastante éxito, y en cada uno de los casos es difícil la espera para conocer la continuación de la historia. En vez de ser llevadas al cine, algunas de estas sagas fueron plasmadas en música por obra y gracia de dos artistas que se conocieron en Portland a finales de los 80, el espiritual norteamericano Jeff Johnson y el folclórico irlandés Brian Dunning: "En 1989, contraté a Brian para que tocara en un proyecto infantil que yo estaba produciendo, 'The tale of three trees'. No pasó mucho tiempo que me fue presentado un proyecto que casaba música con el primer libro de la trilogía de Stephen Lawhead, 'The song of Albion'. Pregunté a Brian acerca de colaborar conmigo en esto, ya que la historia tenía una inclinación muy celta. Poco podría haber imaginado que ese sería el comienzo de una colaboración musical rica entre los dos, así como de una gran amistad". Una vez conseguido el éxito con la primera entrega (referida al primer volumen, 'La guerra del paraíso'), publicada en 1992, un año después vió la luz la segunda (que glosaba asimismo el segundo libro, 'Mano de plata'), titulada sencillamente "Songs from Albion II". Ambas llegaron un año después de la publicación de las propias novelas.

    Segundas partes nunca fueron buenas, reza el dicho, aunque hay numerosos ejemplos que aprueban lo contrario. Igualando cuanto menos a su antecesor (superándolo por momentos), este álbum es un claro ejemplo de buen hacer y de saber aprovechar la oportunidad. Conocedores de los nexos, las puertas entre ambos mundos, estos dos músicos parecen componer realmente desde el 'Otro Mundo' de la novela, introducidos de lleno en su trama y su urdimbre mágica. Así, de igual forma que el protagonista, Lewis Gillies, cuando cruza por primera vez el umbral en el primer libro, podemos nosotros encontrar de golpe la paz y la belleza del 'otro lado' en su música, igual de bella, serena y entusiasta. "Silver hand" (el título a su vez del segundo libro, 'Mano de plata') es un toque de atención, una tonada aventurera, limpia y efectiva, cargada de fantasía y dominada por las flautas, una estupenda presentación de un trabajo que tiene una vertiente folclórica muy definida. Por ejemplo, "Nemeton" (nombre galés del bosque como si fuera un santuario, de hecho en la novela se trata de un lugar ancestral consagrado a Gofannon) es una estupenda pieza que presenta una primera parte mas recogida, sensible, que conduce a otra altanera melodía de flauta con el añadido del violín y una gaita -interpretada por el propio Brian Dunning- que transporta definitivamente a territorios de Albión. También "Dinas Dwr" ('Water City') (un crannog -construcción sobre una falsa isla hecha de troncos-, una ciudad levantada en medio de un lago, según la visión del bardo Tegid) es una melodía embriagadora, de apariencia más comercial, con los afortunados aires celtoides que susurra la amable flauta de Brian, protagonista total de "Lament", un lamento hermoso de flauta en solitario. Todas ellas llevan la firma de Brian Dunning, así como la otra gran melodía del trabajo junto a la mencionada "Dinas Dwr": "Flight of ravens", un auténtico temazo donde una intrigante introducción vocal cede el protagonismo a una genial tonada magnética de teclado y violín, que ya tiene un hueco importante en las nuevas músicas de los 90; mas allá de quedarse ahí, la pieza sabe fusionarse con un adecuado desarrollo épico donde no faltan una buena percusión, flauta, teclados y guitarra, que desembocan en las fanfarrias de inicio en sentido inverso: "la bandada de cuervos acudirá en tropel, y el graznido será su canción", decía la profecía. Como nota importante y colaboración destacada, el violín es del escocés Johnny Cuningham, compañero desde entonces de Brian en Nightnoise; los demás colaboradores del álbum son igual de eficientes y repiten de la primera entrega, Derry Daugherty (guitarras), Rick Crittenden (bajo), Brian Willis (batería), Roger Hadley (percusión) y Sylvia Groener (voz). No podía faltar un reprise algo descafeinado pero necesario (un recurso muy cinéfilo) del maravilloso tema principal de la primera entrega de la saga ("The enduring story (Reprise)"), con una buena sección de bajo. "The enduring story" era una composición de Jeff Johnson, como lo son en este trabajo la mencionada "Silver hand", melodías tranquilas como "Time between times", "Inner sight", "Sea caves" (estas dos últimas de marcado carácter ambiental, pero muy llevaderas, aunque les harían falta unas imágenes en las que apoyarse), y en un creciente final de la obra (un punto y seguido, pues faltaría la tercera entrega), la canción de 'títulos de crédito' ("Swift sure hand", en el característico estilo progresivo de su autor, enfatizando el enfoque peliculero), y "Spirit evermore", otra de las tonadas destacadas en el álbum, que confirma de manera hermosa, muy ensoñadora, la vena fantasiosa, mística, de esta recreación, plena de movidos pasajes sinfónicos adornados (dominados, de hecho) por el bucolismo de las flautas.

    Todavía hoy se usa el antiquísimo término griego Albión para referirse poéticamente a Inglaterra, emparentado a su vez con el nombre gaélico de Escocia, Alba. Lawhead recogió el apelativo y condujo a sus lectores a una tierra excitante y llena de aventuras en esta trilogía que Johnson y Dunning musicaron eficazmente. Sin ser de los músicos más célebres de la new age (aunque el segundo de ellos haya formado parte de una de las mejores bandas que el género haya dado, Nightnoise), estos dos artistas legaron a la causa composiciones gratamente recordadas ("The enduring story", "Flight of ravens") y una saga legendaria, un CD para cada una de las novelas de esta trilogía, además de un cuarto álbum recopilatorio, "The enduring story", en el que -aparte de alguna ausencia injustificable como "Dinas dwr" o "Sycharth"- se incluían las composiciones más emblemáticas (y dos temas nuevos) inspiradas en 'Song of Albion'. La lectura de esas novelas, más que un complemento de esta música (aunque lógicamente sería al revés, la música es el complemento de los libros), es prácticamente una obligación para el seguidor de estos artistas, que abrieron puertas musicales a la fantasía épica de Stephen Lawhead.

    ANTERIORES CRÍTICAS RELACIONADAS:




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    Ο Νίκος Καχτίτσης (Γαστούνη 1926-Πάτρα 1970) είναι ένας από τους πιο αγαπημένους μου πεζογράφους. Ορισμένοι κριτικοί της λογοτεχνίας λένε πως είναι και από τους πλέον σημαντικούς της μεταπολεμικής γενιάς. Δίκιο έχουν.
    Είχα την τύχη να έρθω σ’ επαφή από πολύ νωρίς (για μένα) με το έργο τού Καχτίτση, κάποιο από το έργο του τέλος πάντων, παρότι, ποτέ, ούτε τότε που τον «γνώρισα» εγώ (στα μέσα του ’80), ούτε σήμερα το όνομά του ήταν από ’κείνα που απασχολούσαν και τόσο τα λογοτεχνικά κυκλώματα. Περιστασιακά μόνον, από δω κι από ’κει, κάποιοι γράφουν για τον Καχτίτση, τα λίγα βιβλία του οποίου ποτέ δεν εντοπίζονταν, όλα, ανά πάσα ώρα και στιγμή.  
    a166.jpg
    Ο Νίκος Καχτίτσης σε νεκροταφείο του Μόντρεαλ, γύρω στο 1960
    Ήταν λοιπόν ένα τεύχος του πατρινού περιοδικού Παράθυρο, το υπ’ αριθμόν 4 από τις αρχές του ’85, εκεί όπου ο πατρινός λογοτέχνης Βασίλης Λαδάς παρουσίαζε ένα μονοσέλιδο κείμενο για τον Καχτίτση, προτείνοντας μάλιστα να δοθεί το όνομά του και σ’ ένα δρόμο της πόλης…
    «Θα ήθελε άραγε να ταφεί κάπου στην οδό Αγίου Ανδρέου (σ.σ. κεντρικός δρόμος των Πατρών) ο Καχτίτσης; Ή μήπως σ’ ένα σιδηροδρομικό σταθμό του ηλειακού κάμπου, πλάι σε πυκνές φυλλωσιές; Είτε το ’θελε είτε δεν το ’θελε ενταφιάστηκε στο Β Νεκροταφείο Πατρών. Να τολμήσω να προτείνω πως αν όχι η Αγίου Ανδρέου ένας άλλος δρόμος παρακατιανότερος θα μπορούσε να λάβει το όνομα Νίκος Καχτίτσης; Ή θα παρεξηγηθώ από το Δήμαρχο και τους δημοτικούς συμβούλους, αφού ο Νίκος Καχτίτσης δεν είναι και δεν μπορεί να αποτελέσει σύμβολο λαϊκίστικης νοοτροπίας και ήθους».
    Το ονοματεπώνυμο «Νίκος Καχτίτσης» να πούμε πως δόθηκε όντως, κάποια στιγμή, σ’ ένα δρόμο της Πάτρας, σ’ ένα χαμένο αδιέξοδο στενό με πέντε σπίτια, κάπου στα Συχαινά (συνοικία της πόλης, στο δρόμο προς το Πανεπιστήμιο).

    a178_20171016_0001.jpg
    Τέλος πάντων εκείνο το κείμενο τού Λαδά (που συνέδεε την εμπορική αρτηρία της πόλης, την Αγίου Ανδρέου, την γεμάτη, κάποτε, με πρατήρια εδωδίμων και αποικιακών, με τον εγκατεστημένο στην άλλη άκρη του κόσμου συγγραφέα) με είχε κινητοποιήσει, τότε και κάπως έτσι είχα οδηγηθεί στα βιβλιοπωλεία, ώστε να βρω και να διαβάσω τον Εξώστη και τον Ήρωα της Γάνδης, που αναφέρονταν και στο κείμενο. Αν και δεν μπορώ, τώρα, να θυμηθώ λεπτομέρειες… είμαι σίγουρος πως εκείνη την εποχή είχα βρει δύο βιβλία του Καχτίτση που μόλις είχαν επανεκδοθεί –για το 1985 λέμε πάντα– χωρίς να είμαι 100% βέβαιος αν ο Λαδάς είχε γράψει τα σχετικά στο Παράθυρο πριν τις επανεκδόσεις ή μετά (μάλλον πριν).
    Τα βιβλία αυτά ήταν ο Εξώστης και Η Περιπέτεια Ενός Βιβλίου (η περιπέτεια της έκδοσης του Εξώστη και η μακρόθεν αντιπαράθεση του συγγραφέα με τον γνωστό καλλιτεχνικό επιμελητή και άλλα τινά Κάρολο Τσίζεκ), αμφότερα τυπωμένα από τις εκδόσεις Στιγμή. Τρία χρόνια αργότερα (1988) η Στιγμή θα τύπωνε και τον Ήρωα της Γάνδης κι έτσι κάπως θα ολοκληρωνόταν στη δεκαετία του ’80 μια προσπάθεια αποκατάστασης του ονόματος του Καχτίτση (και του έργου του βεβαίως), που ήταν για χρόνια έξω από τα βιβλιοπωλεία και άρα σχεδόν άγνωστο.
    a164.jpg
    Οι πρώτοι που έκαναν μια προσπάθεια να φέρουν τα βιβλία και τις ιστορίες τού ήδη πεθαμένου Καχτίτση μπροστά στο φως ήταν ο Η.Χ. Παπαδημητρακόπουλος και ο Ηλίας Πετρόπουλος μέσω του μικρού βιβλίου τους Μνήμη Νίκου Καχτίτση, που είχε κυκλοφορήσει από το περιοδικό Φάσμα(του Δημήτρη Παναγιωτάτου), το 1972. Το βιβλιαράκι ήταν καλαίσθητο, γιατί καλαίσθητα ήταν τα βιβλία και του τυπογράφου Καχτίτση, και σ’ έμπαζε όντως σ’ ένα κλίμα, αφού περιείχε αποσπάσματα από τα εκτενέστερα πεζογραφήματά του, τα Ποιοι οι Φίλοι, Η Ομορφάσχημη, Ο Εξώστης, Ο Ήρωας της Γάνδης μαζί δε και το έξοχο μικρό αφήγημα Ο Θάνατος του Κροκεβιλέ, που θύμιζε Poe ή καλύτερα κάτι από τη Μουσική του Έριχ Ζαν του H.P. Lovecraft.
    Λίγα χρόνια αργότερα, το 1976, ο Κέδρος θα επιχειρούσε και την πρώτη κανονική επανέκδοση πεζών του Καχτίτση με τα Ποιοι οι Φίλοι Η Ομορφάσχημη Το Ενύπνιο, που πέρασε όμως απαρατήρητη.

    Να πούμε, ώστε να είναι κάπως ολοκληρωμένη αυτή η αναφορά, πως ο Καχτίτσης είχε γεννηθεί στη Γαστούνη της Ηλείας και πως τα εφηβικά του χρόνια τα είχε περάσει στην Πάτρα. Το 1952, στα 26 του, βρίσκεται στο Καμερούν, όπου δουλεύει ως λογιστής σε μια εταιρεία στη Ντουάλα, ενώ το 1956 εγκαθίσταται μονίμως στο Μόντρεαλ του Καναδά. Ζούσε, στην αρχή, παραδίδοντας ιδιαίτερα μαθήματα ελληνικών, αγγλικών και γαλλικών, ενώ αργότερα θα διοριζόταν διερμηνέας (Ελλήνων) στα καναδικά δικαστήρια. Ήξερε ότι θα πέθαινε από οξεία λευχαιμία και ίσως γι’ αυτό επέστρεψε στην Πάτρα, όπου και συνέβη το μοιραίο το 1970 (25 Μαΐου) στα 44 μόλις χρόνια του. Άσχετο. Ο Νίκος Καχτίτσης γεννήθηκε και πέθανε τις χρονιές που γεννήθηκε και πέθανε και ο Γιάννης Χρήστου. Τα βιβλία του, που κυκλοφόρησαν με τα χίλια ζόρια, κατά τη διάρκεια της ζωής του, συνήθως τα έστελνε, λίγα-λίγα, ο ίδιος μέσω ταχυδρομείου σε έλληνες εκδότες και τυπογράφους, είτε τα τύπωνε ο ίδιος μετά το 1968 (καθώς έμαθε και να τυπώνει από προσωπική ανάγκη).
    a168.jpg
    Το Δεκέμβριο του 1985, που ήταν μια κομβική χρονιά (το ’85) για τη γνωριμία ενός κάπως πλατύτερου κοινού με το έργο του Καχτίτση, κυκλοφορεί το 8ο τεύχος του περιοδικού Το Τέταρτο (επί Χατζιδάκι ακόμη) κι εκεί δημοσιεύονται τρεις ανέκδοτες επιστολές του προς τον φίλο του και επίσης λογοτέχνη Ε.Χ. Γονατά (επιστολές του Καχτίτση είχαν δημοσιευτεί και σ’ άλλα περιοδικά εκείνη την εποχή).
    Ο Καχτίτσης, που ήταν παράξενος άνθρωπος και όμνυε στη μοναξιά επικοινωνούσε με τους λιγοστούς φίλους του στην Ελλάδα μέσω αλληλογραφίας (υπήρξε μανιώδης επιστολογράφος), δίχως, μάλιστα, ορισμένους απ’ αυτούς, να καταφέρει να τους γνωρίσει και δια ζώσης. Το έργο του είναι βαθύ, δαιδαλώδες, με πολλά αυτο-υπονομευτικά στοιχεία, συμπαγές, καφκικό, θριλερικό με πρωταγωνιστές ήρωες συντριμμένους, απόλυτα δέσμιους των ενοχών τους, που είναι σχεδόν πάντα αόρατες (οι ενοχές), καθώς αποκτούν όψη μόνο μέσα από τα οδυνηρά αποτελέσματά τους.
    Εδώ, ένα απόσπασμα από επιστολή τού Νίκου Καχτίτση στον Ε.Χ. Γονατά, που αφορά στη δημιουργία ενός ιδιότυπου κοινοβίου για δύο…

    Πολυαγαπητέ μου Κύριε Γονατά, (επιστολή σας 10σέλιδος 10ηςΑυγ.) 

    Σχετικά με τα περί κοινοβίου, σας ανακοινώνω με απάθεια ότι ουδόλως πλέον με θορυβεί το γεγονός της ταυτότητος των απόψεων (ίδε και τα περί πολιορκίας). Θ’ αρχίσουμε να ψάχνουμε σε τι δεν μοιάζουμε. Ας σημειωθεί ότι, βέβαια, έχω βρει το μέρος κι εγώ: Είναι σε μια βραχώδη περιοχή μεταξύ Αιγίου και Κορίνθου, και συγκεκριμένα πάνω σ’ ένα βράχο στον οποίο είδα, από το παράθυρο του τραίνου, ένα τερατώδες σπίτι, το οποίο κάποιος μού εξήγησε ότι ανήκει στο ζωγράφο Θωμόπουλο (την τέχνη του οποίου απεχθάνομαι). Κατά μίαν εκδοχήν, γύρω από το σπίτι που θα χτίζαμε, θα υπήρχαν ηλεκτρικά πολυβόλα τα οποία θα έβαλλον συνεχώς – προς τα έξω βέβαια… Την περιοχήν θα διέτρεχον επίσης αποτρόπαιοι σκύλοι-μολοσσοί, απ’ αυτούς που ακόμα και προς τα αφεντικά τους φέρονται με τραχύτητα, και έχουν το βλέμμα κακεντρεχούς ανθρώπου, και συνεχώς δείχνουν τα δόντια. Οπότε, έστω και αν κανένας ανεπιθύμητος διέφευγε τα πυρά, θα κατεξεσκίζετο και κατεσπαράσσετο από αυτούς. Στα υπόγειά μας, εκτός από τα κρασιά και τυριά, θα είχαμε αποθέματα από μελάνι (φτιαγμένο από μας τους ίδιους, ακολουθώντας μια παληά φόρμουλα – από βελανίδια ίσως), χαρτί χειροποίητο, πέννες και άλλα τρόφιμα – τουλάχιστον για μερικά χρόνια, ώστε να είμαστε αυτάρκεις, οπότε, αν, για τον α’ ή β’ λόγο (λόγω πανώλης π.χ.) είμαστε υποχρεωμένοι να μείνουμε μέσα, να μην κινδυνεύσουμε να πεθάνουμε. Από το άλλο μέρος, εξασφαλίζουμε και διάφορα τρόφιμα μόνοι μας επιτοπίως – κυνηγώντας στα γύρω δάση, μαζεύοντας χόρτα, ψαρεύοντας στη θάλασσα. Θα μαζεύουμε ως και βότανα ακόμα – από τα οποία βρίθει η περιοχή. Θα φτιάνουμε κολώνια μόνοι μας, ροδοζάχαρη, κ.λπ. Όλα αυτά, από το ένα μέρος θα αποτελούν την οικονομία της εγκαταστάσεως, ενώ από το άλλο θα είναι ωραίες απασχολήσεις – ώστε να μην παθαίνουμε κόπωση από το πολύ γράψιμο και την εν γένει καθιστική ζωή. Εννοείται ότι τα φαγητά που θα τρώμε θα είναι λιτά. Άσπρο τυρί με μαύρο ψωμί. Εληές. Κρέας ψητό στην πέτρα. Όσπρια σκέτα. Χορταρικά. Σαλάμια. Το κρασί, θα το πίνουμε – ΟΧΙ με την «κοσμική έννοια των μοδέρνων ταβερνείων της Αθήνας, παρά ως ευφροσύνη του λάρυγγος, και  σαν ερεθισμό της φαντασίας, κ.λπ. Για να μη βγάνουμε τα μάτια μας λόγω συνεχούς επαφής ο ένας με τον άλλον, θα εφαρμόζουμε «μέρες σιωπής» (αυτή τη στιγμή σ’ αυτό αποδίδω τη σχετική συνήθεια των τραππιστών*). 

    *Τραππιστές: Αυστηρό θρησκευτικό μοναστικό τάγμα της Ρωμαιοκαθολικής Εκκλησίας. Οι μοναχοί, ανάμεσα σε άλλα, μιλούσαν μόνον όταν ήταν απαραίτητο.

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    Jack Lee - Asianergy 2 (2007)

    Label: Truspace
    Жанр: Jazz, Fusion, World
    Год выпуска: 2007
    Формат: FLAC (image) / MP3
    Битрейт аудио: Lossless / 320 
    Продолжительность: 56:07
    Размер: 342 MB / 139 MB

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     ^-^ :obrigado...

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  • 10/16/17--05:27: King Krule The OOZ
  • King Krule
    The OOZ
    (True Panther Sound, 2017)
    more details


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  • 10/16/17--05:31: Leni Stern - Africa (2007)
  • Leni Stern - Africa (2007)
    Label: Leni Stern Recordings
    Жанр: Jazz / World
    Год выпуска: 2007
    Формат: FLAC (tracks)
    Битрейт аудио: Lossless
    Продолжительность: 1:05:54
    Размер: 391 MB 

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    320 kbps | 102 MB | LINKS

    After a six-year break from the recording studio, Hellbound Glory makes its return this fall, firing twin barrels of swampy country-blues and roots-rock hedonism on the band’s upcoming fourth album, Pinball.

    Produced by Shooter Jennings and released via Jennings’ own Black Country Rock label, Pinball is a continuation of the band’s rowdy prior efforts, with a clear evolution both sonically and lyrically. Tracks like “Empty Bottles” show a more vulnerable side of Hellbound Glory and make for a nuanced listening experience.


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    320 kbps | 101 MB | LINKS

    Tracklist:

    01. Intro
    02. The Both of Us
    03. How Can You Know
    04. 45 Days
    05. Too Much & Too Fast
    06. The Waiting Around
    07. Hannah
    08. Judy
    09. Undercover Lovers
    10. The Hinges of Luck
    11. A Long Time Ago
    12. Montreal


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    ...y mientras llega... Recorremos la geografía y sus músicas. Para más detalles: https://slumdar2.wordpress.com/ TIME AND TRACK LIST 01.-00:01:13 paper compass - autumn 02.-00:04:33 michael manring - wide asleep 03.-00:10:16 shadowfax - a thousand teardrops 04.-00:16:10 philip aaberg - marias river breakdown 05.-00:20:59 shaky knees - life wont wait 06.-00:24:54 all them witches - charles william from lightning at the door 07.-00:30:30 ásgeir - unbound (hljóðriti session) 08.-00:35:31 kneebody - uprising (studio session) 09.-00:43:18 kneebody - cupcake baby 10.-00:46:29 cyrille aimee - where or when 11.-00:49:10 dejohnette grenadier medeski scofield - a hard rain’s a-gonna fall 12.-00:59:47 lindi ortega - waiting round to die 13.-01:03:35 popol vuh - hore, der du wagst 14.-01:10:39 popol vuh - morning sun 15.-01:13:56 holden days - absence 16.-01:18:01 green carpet players - judas song part ii-the betrayer 17.-01:21:14 green carpet players - judas song-psalm 41-9-10 18.-01:25:57 india arie - ready for love .. ::

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  • 10/16/17--05:39: Leni Stern - Africa (2007)
  • Leni Stern - Africa (2007)
    Label: Leni Stern Recordings
    Жанр: Jazz / World
    Год выпуска: 2007
    Формат: FLAC (tracks)
    Битрейт аудио: Lossless
    Продолжительность: 1:05:54
    Размер: 391 MB 

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  • 10/16/17--05:44: Leni Stern - Africa (2007)
  • Leni Stern - Africa (2007)
    Label: Leni Stern Recordings
    Жанр: Jazz / World
    Год выпуска: 2007
    Формат: FLAC (tracks)
    Битрейт аудио: Lossless
    Продолжительность: 1:05:54
    Размер: 391 MB 

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    320 kbps | 109 MB | LINKS

    Hailing from Saranac Lake, NY, in the heart of the Adirondack mountains, The Blind Owl Band has been creating what they call Freight Train String Music since 2010. And a freight train it truly is. Although the quartet’s sound is rooted in traditional stringed instruments (guitar, basses, banjo and mandolin), their music surges forward with the strength and power of a hundred-ton diesel locomotive.


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    obrigado pela partilh...

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    Obrigado pela partilh...

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    DJ Rukus Remix Pack: September Part 001 (2017)

    Artist: Various Artists
    Title: DJ Rukus Remix Pack: September
    Label: Los Angeles, CA - DjRukusManagement
    Style: Reggae Fusion, Trap Music, Dancehall, G-Funk, Neo Soul, Quiet Storm
    Release Date: 15-09-2017
    Format: CD, Compilation
    Quality: 320 Kbps/Joint Stereo/44100Hz
    Tracks: 75 Tracks
    Size: 491 Mb / 03:29:31 Min

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    Mdou Moctar is a Tuareg guitarist and singer/songwriter from Niger. He has been touring in the United States in support of his third album, Sousoume Tamachek. It’s a beautiful, intimate session, blending acoustic and electric guitar, male voices and light percussion, essentially on the reflective, folky side of Tuareg music. As Mdou explained in conversation with Banning Eyre before his recent concert at the Lincoln Center Atrium in New York, this is the “desert blues” side of his repertoire. He also has a rock side, as he and his two accompanists amply demonstrated in a rich, wide-ranging show that had the chock-full space enraptured. Here’s Mdou’s conversation with Banning.

    Banning: It is a great pleasure to meet you. To start, is this your first visit to New York?

    No. It’s my second time. But the first time was for a screening of the film Akounak Tedalat Taha Tazoughai (Rain the Color Blue, With a Little Red in it).  It was not for music. This time, it’s for music, so it’s very different.

    I’ve heard about this film. Describe it.

    Is a very interesting film. It’s as if we did a remake of the film by Prince, Purple Rain. It was the first time for me to be an actor in a film, and I was pleased to have the opportunity. It great for me to become an actor. It was also a way for me to recount something of my musical story, my musical life.

    How was the film received in Niger?

    It was very well received in Niger. People really liked it. It is actually the first Tuareg language film, so people really appreciated that. And what’s impressive is that the original Purple Rain film was made in 1984, the year I was born. Also, the week our film was released was Prince’s birthday. So these are kind of magical things. It’s too bad that Prince never got a chance to see the film. He had left us by then. I really wanted to meet him, and it’s too bad that never happened.

    Very sad.

    Yes. Very sad. But that’s the way it happened.

    Before making the film, were you familiar with Prince’s music?

    I didn’t know the music of Prince in my childhood. But what really touched me is that we have almost the same story.

    How so?

    Concerning his private life, it’s as if he made the film and it’s almost the same life as mine, considering the problems I had in my life. The histories are similar. We just added a few things.

    Tell me about your history. You were born in a village, right?

    Yes, in Tchintabaraden. And the significance of this word in Tamashek is “the town of beautiful girls.” That’s what it means. My name Mdou [pronounced EM-doo] is an abbreviation of my name Mahamadou.

    Got it. So in the village when you were young, what was your life like? How did you get introduced to music?

    I didn’t stay in the village for long when I was young. I traveled to a place near Arlit with my mother. So then I stayed there, and it was there I did my primary school, up to college. So I really grew up Arlit, near Agadez. That’s where I met an older musician called Abdala Inbadougou, and became interested in being an artist.

    When were you born?

    1986.

    So your childhood coincided with the first modern Tuareg groups, especially Tinariwen, were first emerging. Is that right?

    Yes. Ever since I was young, I heard that music on cassettes, but I did not know the artists. The only artist I knew by name was Abdala Inbadougou, who was a very famous in our area. Abdala Inbadougou had started in Tinariwen, with Abdallah Catastrophe [Abdallah Ag Alhousseyni]. This group was called Desert Rebels.

    Interesting. we’ve known those guys for about 15 years. But you grew up with that music.

    Yes. I grew up with that music, and there was a young person who played it at that time, a younger artist named Koudédé, and after him came Moli. I grew up listening to their music as well, but I was very young.

    What other kinds of music did you listen to on cassette? Or on the radio?

    I loved Farka Touré. I also like traditional music, especially takamba. This music pleases me deeply. I’ve always kept that taste, that rhythm of music, even if it’s influenced by a few modern elements, it has to always stay within the same taste. This is one side of my music. Because I play two different kinds of music. I play some music that is more rock, and then I play desert blues.

    Interesting. So the new record, Sousoume Tamachek, that would be more desert blues, right?

    This is my beginning in music. This is like my first foray. These are the songs I made when I was young. I never had done them in the studio. I never had a chance. So I took advantage of the chance to bring them back, to bring back my youth, the things that passed in my youth. So this is a very rich. These are very different songs, with very strong messages. This is an album that talks about the revolution, religion and love. Revolution, religion and love.

    Interesting. Where did you record this?

    In Portland, Oregon. With Chris. But not in his house, in a studio.

    Tell me about the title, Sousoume Tamachek.

    Sousoume tamashek is something you say when a person is sad. You might tell them to quiet down. Calm down. It’s like we would say in English, we would say this in Tamashek.  “I know you have problems. I see that you are crying.” I would be trying to calm her down with these words. Calm yourself. Why is she crying? Because our land has been divided during the time of colonization, right up to the present. It’s not finished. But I’m talking about the past. People were divided—some in Algeria, some in Libya, some in Mali. So we didn’t have a homeland. And now there is all the suffering that takes place in the desert. We don’t have nice houses. We don’t have hospitals and schools. Our children are not well educated. There’s so much suffering.

    But despite all that, our land has a deep soul, even if that soul has been exploited. We are not recognized in Mali, as Malian citizens. We do not have proper consideration. And this is also true in Niger. Even in Algeria. Even in Libya. It’s not as it should be. So we have all these difficulties that have happened to us. This is why we had rebellion. The idea was that the world would come to help us after all this. But instead, people have come to divide us.

    Especially after the troubles in 2012, with the rebellion in Mali.

    Yes, yes. All of that as well. This is what I say in the song “Sousoume Tamachek.” We are orphans of three countries: Mali, Niger, Algeria. This is what’s behind the title of this album.

    Mdou dancing takamba at the Lincoln Center Atrium (Eyre 2017)

    Mdou dancing takamba at the Lincoln Center Atrium (Eyre 2017)

    I understand. That is powerful.  I want to ask you about one song that I particularly like, “Tanzaka.”

    “Tanzaka” talks about religion. As I’ve just told you, this album is very diverse. It talks about three things: revolution like the title song, religion, and also love. So this song is a song about religion. “Tanzaka” is like sleeping from eight in the evening until 11 o’clock in the morning. You sleep and sleep. But you must get up. You must pray and work. This is what builds a man. Life is not about sleeping. When you wake up, if there are problems, you must face them. Homelessness. Poverty. But you’re just sleeping. You must wake up, dress yourself, wash and work. So this is the advice I give in this song.

    You’re trying to encourage people not to give in to hopelessness.

    Yes. Yes. You must get up and work. You should not be sleeping in. Then there is the song “Ilmouloud,” another song about religion. The mouloud is like the birthday of the prophet. So I am talking about the values in our religion, tracing lineages back to him. I’m explaining his importance. This kind of thing.

    O.K. Tell me about one of the love songs. You pick.

    Well, for example “Anar,” the first song. Anar means eyebrows. This is the name of my album from 2008. But I played this song in a different way on this album. It’s a sensitive song for me, full of memory. Because it’s a composition I wrote when I was very young. I speak about a lot of things in it. I’m speaking to my girlfriend, telling her how I love her. When I pass the night with her, the night becomes very short because we are together. It passes so quickly for me. The whole night becomes like a single hour of time. And afterwards during the day, when I am not with her, I pass the whole day thinking about her.

    Nice. So this is your third album.

     Anar was very electric. My second album was a live album, Afelan. Then, there was the the soundtrack for the film.  But for me personally, this is the third.

    And it’s a more acoustic album. You are going back to your early songs.

    Yes. When I was young, I composed many songs. But I never went to the studio. So when it came to making the album Anar, I had a lot of songs to choose from. So I just took eight out of some 20 songs and made that album. This time, I wanted to make a simpler album, a solo album, drawn from my early compositions.

    Mdou Moctar at the Lincoln Center Atrium (Eyre 2017)

    Let’s talk guitar for a moment. How did you learn guitar?

    When I was young, it was difficult for me. Because I was from a very religious family that really didn’t like music. They wanted me to go to school and complete my studies. I did my studies, and I learned the Koran. This is what was welcome in my family. But me, I was too interested in music. I liked the religious side, but it was very difficult for me to combine the two. Among us, there is a difficulty. It’s hard to be both a student and an artist. You’ve been in Africa. You’ve seen this. It is hard to do these two things. But I did it. I realized that I loved too much playing music too much. I couldn’t stop playing music.

    I had no money to buy a guitar. And anyway, it was pretty much impossible to buy a guitar, so I made my own. I made my first guitar with my hands. By the time I had a chance to get a real guitar, I was growing up. I was 16. That’s when I got my first proper guitar. Afterwards, I had to travel. So I had to leave the guitar. My family told me that I was obliged to travel to earn money for the family. So I left in 2003 to work in Libya. I spent two years in Libya working. It was very difficult.

    What sort of work did you do?

    I was one of those young kids who drills to make wells for drinking water. You call these boreholes in English. I did this to the point of becoming an expert in it.  I wound up in the town called Ouadane in Libya. And there, I met was a guitarist named Hadani. He was also from Niger, living in Libya and working. So one day there was a wedding, a Tuareg marriage. And it had been a long time since I had been among the Tuareg. I saw him playing, and wow! I found myself once again going crazy for the guitar. I had to buy a guitar.

    So I did buy a guitar. I came back to the guitar. I played all the time. I left Libya. I went back to my home with my guitar and a little money. And then in 2005, I played, and played. And then in 2008, I made that first album.

    Did you ever the traditional lute, the tehardant?

    No. I never played the tehardant. Never. I love it, but I did not grow up with that. I did not grow up among artists like that.

    So on guitar, did you have any teachers, any role models? How did you learn?

    I really didn’t find people to help me. The problem is I’m left-handed. All the guitarists I knew played right-handed. Being left-handed made it very difficult. But I listened, I learned, little by little. And I started to get somewhere. I loved the guitar so much, I could not be discouraged. Even when I was not good. I worked. It was not unusual for me to spend the whole day playing. Even if it was just two notes, I would spend the whole day learning those two notes. I was just too interested.

    So by the time you recorded in 2008, you had found your way. And did you play both acoustic and electric?

    I did both. It wasn’t very difficult for me to change. I had spent so much time playing alone. In the beginning, it was a little strange with the electric, that big loud sound. But after a little while, it was O.K. My first electric guitar was given to me by an artist, Aroudeni. He’s in Niamey now. He gave me my first electric guitar.

    Mdou Moctar's hands on his guitar

    So on this new album, you play both. A lot of the songs start with an acoustic guitar introduction, and then the electric comes in. You have a nice conversation between the two.

    Yes. These are all my ideas.  It’s a crazy thing. It’s like when I did my first album Anar, the Tuareg had never heard AutoTune. They never used that on their voices. So it was this electronic voice. But me, I had been listening to Hausa music from Nigeria. And I said, why not? Why can’t I try that in Tuareg music? I was curious. What would that sound like? So that’s why I did that. I decided I would just try it. It became something quite extraordinary for people. They really liked it. Really, really liked it. And of course after me, lots of people are now doing it.

    Fascinating. We were in Kano earlier this year. And we were quite interested in that music with all the AutoTune in the voices. Have you ever been there?

    I was in Kano when I was young, but it was not for music. But I presented my album in Sokoto, which was very far from me. I was young and didn’t have a lot of means, but I felt I had to seek things out.

    So is that Hausa film music well known in Niger?

    Oh yes, yes. Very well known. Very popular. Because there are a lot of Hausa in Niger.

    It’s interesting. That music is very beautiful, but there is no guitar in it. Almost none.

    Yes. Well. I don’t know what I can say about that. They’re not really instrumentalists. They play keyboards in the studio. And those people from Nigeria, they really don’t play live. It’s all background music for films. It’s playback. They really can’t do it live. So that’s a big difference between us and them. We play live.

    We did meet one artist there, Ali Jita, who told us he was one of the only ones to play live with a band. He had two guitarists, but they were from Niger.

    You see? That’s it.

    So how did you meet Chris Kirkley and get hooked up with Sahelsounds?

    Here’s the story of my connection to Chris Kirkley. In the beginning, he heard my music. He heard it while he was in Mali, and he asked people for my contact. People didn’t know where I was. Afterwards, he went to Mauritania and again he heard my music. By this time he was very interested. He wanted to release a compilation of artists from the Sahara. So eventually, he met an old man in Mali, and he could tell by his accent that he was from Niger. He was even from my region, Tahoua.

    So now Christopher sent out a message by Facebook. And anyone he met with a guitar, he would ask, “Do you know Mdou Moctar?” Now me, I don’t look at Facebook very much.  But afterwards, he found a friend, someone who lives in my same neighborhood. And he said he knew me. “Good. Very good. Have you got his contact?” “No I don’t have his contact, but I have the contact of his friend.” He gave Christopher the context of my friend. And he wrote to my friend on Facebook. My friend sent him my number. And one time when I went back to visit my birth village, and Christopher called me.

    “Hello, I am an American,” he said with a very bizarre accent. “Hello, I am an American. I want to work with you. Your music really interests me.” With a very strange telephone number.

    He had heard your first album?

    Yes, he had heard a few songs from Anar. So I said, “O.K., I will give you my contacts.” He asked me to send him some music, but that was very difficult. The Internet connection is almost nothing. So I couldn’t send anything and after two or three weeks, he wrote me a message: “Listen, please, if this is not you, Mdou Moctar who I am looking for, please let me find him, because I want to work with him. Please don’t waste my time.”

    So I wrote him right away and said, “Listen. It is me, Mdou Moctar. Please call me and I will show you.” So he called me and I took my acoustic guitar and played for him all the songs that he knew. He was very happy and very surprised, so that was how it started. Afterwards, he came and visited me and we started working together.

    And was he the one who suggested that you work together on the film?

    It was his idea, but after I told him my story, he remarked that it reminded him of the story in Purple Rain and he suggested that I might be the actor in the film he was planning. So it started like that.

    A new fan dancing at Mdou's Lincoln Center concert (Eyre 2017)

    A new fan dancing at Mdou’s Lincoln Center concert (Eyre 2017)

    We were in Mali last year reporting on the history and music of the Tuareg people. It’s still a tough situation there in the wake of the 2012 rebellion. What’s your take on the situation today, in the region, but especially in Niger? By the way, I haven’t been to Niger yet.

    Well, you will come. I will give you my contact and welcome you there.

    Thanks very much. But what’s your take on the situation there?

    Well, people are too caught up in their studies. The Tuareg are divided into two sections in Niger. There are the Tuareg of Azawad. That’s based out of Tahoua. Azawad includes Mali also, but the Azawad of Niger is not the same as the Azawad of Mali.  And then there are the the Tuareg of Aïr. When we talk about Aïr, we’re talking about the region of Agadez. So the Tuareg are divided in Niger. Most of the Tuareg of Azawad, the great majority, are students. This is why I say they are too caught up in their studies. And they are politicians also.

    Now when you talk about the Tuareg of Aïr, most of the youth are artists. Of course there are students as well, but not like in Azawad. And there are politicians too, but again, not like in Azawad. Do you see what I’m saying?

    But the problems began in Aïr. This is the richest part of Niger, but also the least developed. There is a lot of unemployment. There are three factories there. Even four. But despite all that, it is not developed there. Not well built up. People are radiated by uranium. There are no good roads, no good work as there should be. It is things like this that make people become rebels and bandits. Because they see people taking the riches from under their very feet.

    You’re talking about the mineral riches.

    The mineral riches, yes.  But when we say Tuareg, really, we are all the same. When you touch the Tuareg of Mali, you have touched the Tuareg of Niger. The countries may have borders, but we have no borders among us. The Tuareg are the Tuareg. This is what I’ve found. I don’t know. Maybe things will change in time, but it’s not easy. It’s not easy.

    Mdou Moctar trio at Lincoln Center Atrium

    Mdou Moctar trio at Lincoln Center Atrium

    Do you think music has a role in this evolution?

    Yes, music is very important. It has brought about changes in my understanding. I am one of the artists who works a lot with youth, to help them, educate them, especially about music. My drummer is 23 years old, and my accompanist, Ahmoudou Madassane, is 25 years. He has been working on a film with Christopher Kirkley. It’s called Zerzura!. It came out recently. And the drummer too. He makes his living with music and he tours with me. And then Ahmoudou Madassane is also the manager of a women’s group from Azawad who are on tour, Les Filles de Illighadad. So music can rescue people from unemployment. It’s work. It’s a career for young people as well.

    Thank you very much, Mdou. It’s a pleasure to meet you. The problems you face are deep, but you are right. Music is a powerful tool of resistance. Good luck with it.

    Thank you.

    For more on Mdou, including his 2017 tour dates, as well as the films and other artists mentioned in this interview, visit sahelsounds.com, a rich online source on the music of Niger and the entire Sahel region.

    Ahmoudou Madassane

    Ahmoudou Madassane

     

     

     

     

     


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    Download Banteay_Ampil_Band-Cambodian_Liberation_Songs-(AKUCD1004)-WEB-2017-MOHAWK Free
    Artist: Banteay Ampil Band
    Title of Album: Cambodian Liberation Songs
    Genre: Ethnic
    Year of Release: 2017
    Tracks: 12
    Total Time: 51 minutes and 8 seconds
    Format: MP3
    Bitrate: 320 Kbps
    Total Size: 117.25 MB

    # Song Title Artist Time
    01 My Last Words Banteay Ampil Band 4:33
    02 Please Take Care of My Mother Banteay Ampil Band 5:03
    03 Tuol Tneung (The Hillock of the Vine) Banteay Ampil Band 5:11
    04 Don’t Forget Khmer Blood Banteay Ampil Band 2:30
    05 Sereika Armed Forces Banteay Ampil Band 4:52
    06 Follow the Front Banteay Ampil Band 3:23
    07 I’m Waiting for You Banteay Ampil Band 3:09
    08 Please Avenge My Blood Darling Banteay Ampil Band 5:14
    09 Destroy the Communist Viet Banteay Ampil Band 4:29
    10 Look at the Sky Banteay Ampil Band 4:08
    11 Vietnamese Sparrows Banteay Ampil Band 4:08
    12 The Vietnamese Have Invaded Our Country Banteay Ampil Band 4:28

    Release: Banteay_Ampil_Band-Cambodian_Liberation_Songs-(AKUCD1004)-WEB-2017-MOHAWK

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    Download Jo_Tongo-African_Funk_Experimentals_(1968-1982__2017)-(ASVN048)-WEB-2017-MOHAWK Free
    Artist: Jo Tongo
    Title of Album: African Funk Experimentals (1968-1982 + 2017)
    Genre: Ethnic
    Year of Release: 2017
    Tracks: 14
    Total Time: 1 hour, 3 minutes and 29 seconds
    Format: MP3
    Bitrate: 320 Kbps
    Total Size: 145.37 MB

    # Song Title Artist Time
    01 Jangolo Jo Tongo 4:52
    02 Funky Feeling Jo Tongo 4:49
    03 Piani Jo Tongo 4:37
    04 Those Flowers Jo Tongo 4:21
    05 American Lady Jo Tongo 4:55
    06 Dig It Babe(Part 1) Jo Tongo 3:53
    07 Dig It Babe(Part 2) Jo Tongo 2:31
    08 Ewande Jo Tongo 4:10
    09 The Lion Roar Jo Tongo 5:15
    10 It’s The D Day Jo Tongo 4:55
    11 Mystic Power Jo Tongo 4:39
    12 A’Muna Jo Tongo 3:41
    13 Get Down And Freak Jo Tongo 6:40
    14 Get It The Way I Like It Jo Tongo 4:11

    Release: Jo_Tongo-African_Funk_Experimentals_(1968-1982__2017)-(ASVN048)-WEB-2017-MOHAWK

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    CTI-Three-Front.jpg?resize=800%2C808

    CTI ALL-STARS CTI Summer Jazz at the Hollywood Bowl Live Three 1977 CTI Records – CTI 7078   A1 Funkfathers (Stanley Turrentine) 7:46 A2 Cherry (Don Redman, Ray Gilbert) 8:00 B1 Bowl Full O’Blues (Hank Crawford) 7:46 B2 Cherry Red (Joe Turner, Pete Johnson) 4:39 B3 God Bless The Child (Arthur Herzog, Jr., Billie Holiday) 7:02   Bass – Ron Carter Drums – Jack DeJohnette Flute – Hubert Laws Guitar – George Benson Keyboards – Bob James, Deodato*, Johnny Hammond … Continue reading

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