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    It is always an occasion when Mali’s most renowned popular singer Salif Keita comes to town. His first visit to New York in three years drew a nearly full house to Town Hall on Sat., April 1, presented by the World Music Institute and Le Poisson Rouge. When it was all over, the audience seemed dazed and beaming, and that’s because there is something physically therapeutic about hearing this man sing. Though he never sings in English, you hang on every note and every word, as if he were reciting a cliffhanger tale. And when he builds to those blast-force gut cries, as on his immortal song for Guinean strong man Sekou Toure, “Mandjou,” it’s as if a cleansing dry wind has blown through the most inaccessible corners of your heart and soul. There is simply nothing like it.

    Keita gave a classic performance, beginning with his trademark kneeling greeting to the audience, and ending with a stage full of dancers behind which he quietly slipped away, not to be seen again. In between those signature gestures came a set of mostly familiar songs ranging from contemplative to ecstatic, and delivered with the joyful precision one always expects from Keita’s band. The band is smaller than it used to be. “Sequencer” Abou Cissé handles the roles of bass, keyboards, percussion and more, laying down beds that make a relatively small stage combo sound grand and full.

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    Salif Keita, Town Hall, New York (All concert photos, Eyre 2017)

    Last time Keita was in town, he presented as a griot, the band seated with kora and ngoni (Mande griot instruments) interacting with veteran Guinean guitarist Ousmane Kouyaté. This time virtuoso kamele ngoni man Harouna Samaké returned to Keita’s side, shifting the feel away from serene griot textures more in the upbeat direction of Wassoulou and hunter’s music. And guitarist Djessou Mory Kante, also from Guinea, commanded the all-important electric guitar position. A superb player with many fine recordings to his credit, Kante worked in lockstep with Samaké throughout the night, the two clearly enjoying each other’s playing immensely. It’s interesting that despite these changes, Keita’s stage repertoire changes little. The same songs simply come out with different colorations, evidence of their inherent richness. The backing singers included New York’s own Kaissa Doumbe-Mulongo, and special kudos to American Tim Keiper on drums, who did a phenomenal job, including two dynamic solos that clearly moved Keita and the rest of his all-African band. Most impressive.

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    In the hour before the show began, I had the privilege of conducting a live Q&A with Keita as the audience gathered. Keita reminisced about his breakthrough album, Soro, a landmark in African pop released 30 years ago this year. He talked about his songs and how they can express the deepest matters of history, morality and identity, or simply evoke uncomplicated expressions of joy and celebration. Both are essential in Keita’s creative world. I noted to the audience that those wanting to delve deeper into Keita’s remarkable story and multilayered compositions should find Professor Cherif Keita’s superb book, Outcast to Ambassador: The Musical Odyssey of Salif Keita, highly recommended.

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    Keita didn’t break a lot of news in this Q&A, other than putting to rest the notion that he’s retiring from touring (as he told Afropop in 2014); clearly he is not. He is working on a new album, though he wouldn’t say more about it, and he confirmed that he’s going to be basing himself in Philadelphia for the next year or so, to experience American life and musicianship. We shall see where that leads. He certainly picked an interesting year to spend among us!

    Keita spoke movingly of his activism on behalf of albinos in Africa, ostracized to the extent of being tortured and killed out of superstition and ignorance. His SOS Albinism Foundation has been in place for 15 years, and he insisted that it was making a difference, mostly by raising awareness of the true facts about albinism. At one point during the concert, some friends from his foundation joined Keita on stage, and his delight and surprise at seeing them there were a treat to behold.

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    Keita’s shows, for all their gravity and precision, always have a kind of informality about them. People come and go from the stage, not to dash him with cash, but generally to dance and greet. There were even a few mid-set selfies. The Town Hall staff did their best to keep this from getting out of hand, not always with help from the star, who has a penchant for hoisting willing dancers up to the stage. But the overall effect is unifying, making everyone present feel we are in Keita’s house, part of the party.

    Salif Keita remains one of the most powerful popular singers in Africa, indeed anywhere. And when you see him live, it’s all about that voice and his profound music. He’s not going to dance, tell jokes, leave the stage for costume changes or really do anything showy. Instead, he projects confident humility and excellence, and reinvents once again some of the most enduring and satisfying songs in the entire repertoire of African popular music.

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    Tim Keiper, Harouna Samaké, Djessou Mory Kanté

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    Harouna Samaké

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    Their booking agent was kidnapped and murdered. Their manager was also kidnapped. Shortly after, rock band La Vida Bohème left Caracas and made a new start in Mexico City.

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    Awa PouloAwa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa. Awesome Tapes from Africa release Poulo’s newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali.
    It’s not very common to find a female singer performing publicly among the Peulh. But Poulo’s mother’s co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music…

    80 MB  320 ** FLAC

    …by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo’s entree into the music world was auspicious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo’s first internationally-distributed record.

    On Poulo Warali, she and her band combine the hallmarks of Peulh music—warm flute floating over cross-rhythmic n’goni (lute) riffs and resonant calabash gourd hand percussion—with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shape-shifting layers of rhythm and woody overtones match Poulo’s commanding voice in a jocular yet deliberate dance.

    This is a relatively rare example of Malian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other.
    Poulo’s conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Mali’s melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders.


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  • 04/04/17--21:53: GORILLAZ – Gorillaz
  • Gorillaz

    Release Date: June 25, 2001
    Label: EMI Europe Generic
    Artist: GORILLAZ

    UK reissue of the indie supergroup's 2001 debut album includes two bonus tracks that aren't included on the U.S. edition, 'Clint Eastwood' (Ed Case Re-fix), '19/2000' (Soulchild Remix) & an interactive CD-ROM element.
    1. Re-Hash
    2. 5/4
    3. Tomorrow Comes Today
    4. New Genius (Brother)
    5. Clint Eastwood
    6. Man Research (Clapper)
    7. Punk
    8. Sound Check (Gravity)
    9. Double Bass
    10. Rock The House
    11. 19-2000
    12. Latin Simone (Que Pasa Contigo)
    13. Starshine
    14. Slow Country
    15. M1 A1
    16. Clint Eastwood (Ed Case/Sweetie Irie Refix) (Edit)
    17. 19-2000 (Soulchild Remix)

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    Антін Мухарський (Антон Мухарский) aka Орест Лютий / Дискография Обновлено 5.04.2017 Жанр : Поп-фолк / Chanson / Стёб Страна : Украина Год издания : 2006-2017 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 128-320 kbps #77 1.

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    320 kbps | 198 MB | UL | DF | TB |

    Recorded Live, Memorial Day Weekend, May 23-25, 2015
    Karin Bergquist: Vocals, Acoustic Guitar, Percussion
    Linford Detweiler: Piano, Acoustic Guitar, Electric Piano, Vocals
    Jay Bellerose: drums and percussion
    Jennifer Condos: hollow body bass
    Eric Heywood: Pedal Steel & Electric Guitar
    Bradley Meinerding: Electric and Acoustic Guitars, Mandolin, Vocals


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    Elida Almeida-Djunta Kudjer-CD-FLAC-2017-HOUND Download

    Elida Almeida-Djunta Kudjer-CD-FLAC-2017-HOUND

    Release Name: Elida_Almeida-Djunta_Kudjer-CD-FLAC-2017-HOUND
    Artist: Elida Almeida
    Album: Djunta Kudjer
    Genre: Ethnic
    Year: 2017
    Tracks: 7
    Duration: 00:28:03
    Size: 183.68 MB

    Tracklist:

    1. Elida Almeida - Bersu d'Oru - 3:48 (932 kbps , 25.38 MB)
    2. Elida Almeida - Forti Dor - 4:14 (878 kbps , 26.59 MB)
    3. Elida Almeida - Era Mintira - 4:21 (938 kbps , 29.14 MB)
    4. Elida Almeida - Discriminason - 4:21 (957 kbps , 29.81 MB)
    5. Elida Almeida - Di Mi Ku Di Bo - 3:54 (842 kbps , 23.51 MB)
    6. Elida Almeida - Txika - 3:40 (930 kbps , 24.38 MB)
    7. Elida Almeida - Bersu d'Oru (Versao Tabanka) - 3:48 (917 kbps , 24.87 MB)

    Download Links :

    https://file.al/ci7xijd1vpxz/Elida_Almeida-Djunta_Kudjer-CD-FLAC-2017-HOUND.rar.html


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    320 kbps | 345 MB | UL |

    Lambchop is a group that takes an obvious pride in working on a grand scale — this is a band that’s swelled to as many as 16 members at times and in 2004 released two full-length albums on the same day — so it should come as no surprise that they’ve come up with more worthwhile material than they’ve found room for on their LPs. The Decline of Country & Western Civilization, Pt. 2: The Woodwind Years compiles 18 performances that otherwise haven’t appeared on a Lambchop album: compilation appearances, B-sides, contributions to split singles, unreleased alternate takes, and one brand new number, “Gettysburg Address.” No one familiar with Lambchop should be surprised that this compilation reflects the stylistic shape-sifting that’s part of the group’s raison d’etre; while the witty but cryptic lyrics and evocatively murmured vocals of leader Kurt Wagner are the glue that holds this set together, musically this disc runs the gamut from thundering guitar-powered rock enriched with horns and steel guitar (“The Scary Caroler”), the jazzy atonalities of “Burly and Johnson,” and the muted trumpets and electronic treatments of “Two Kittens Don’t Make a Puppy” to the shambolic but easygoing drift of “Ovary Eyes” and the white-bread soul strut of “Alumni Lawn.” About the only thing that unites this stuff is that Lambchop is going to do what they want to do, and it’s always going to be at least interesting, while the best music is wildly evocative and truly moving stuff. However, given the scattershot nature in which this was recorded, The Decline of Country & Western Civilization isn’t especially cohesive, and a few tunes were clearly saved for B-sides because they weren’t quite A-list material. Still, anyone who already loves Lambchop will find several reminders of why on this collection, and it’ll tide over fans until Wagner and Company release their next major statement.


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    Elida Almeida-Djunta Kudjer-CD-FLAC-2017-HOUND Download

    Elida Almeida-Djunta Kudjer-CD-FLAC-2017-HOUND

    Release Name: Elida_Almeida-Djunta_Kudjer-CD-FLAC-2017-HOUND
    Artist: Elida Almeida
    Album: Djunta Kudjer
    Genre: Ethnic
    Year: 2017
    Tracks: 7
    Duration: 00:28:03
    Size: 183.68 MB

    Tracklist:

    1. Elida Almeida – Bersu d’Oru – 3:48 (932 kbps , 25.38 MB)
    2. Elida Almeida – Forti Dor – 4:14 (878 kbps , 26.59 MB)
    3. Elida Almeida – Era Mintira – 4:21 (938 kbps , 29.14 MB)
    4. Elida Almeida – Discriminason – 4:21 (957 kbps , 29.81 MB)
    5. Elida Almeida – Di Mi Ku Di Bo – 3:54 (842 kbps , 23.51 MB)
    6. Elida Almeida – Txika – 3:40 (930 kbps , 24.38 MB)
    7. Elida Almeida – Bersu d’Oru (Versao Tabanka) – 3:48 (917 kbps , 24.87 MB)

    Download Links :

    http://www.datafile.com/d/TWpVNU5UUTJOVFUF9/Elida_Almeida-Djunta_Kudjer-CD-FLAC-2017-HOUND.rar

    or

    http://rapidgator.net/file/7abedc6800693fca8c842570b405a350/Elida_Almeida-Djunta_Kudjer-CD-FLAC-2017-HOUND.rar.html


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    Urubamba - Urubamba Жанр : Folk, World, & Country Носитель : LP Год выпуска : 1974 Лейбл : Columbia/KC 32896 (First Press) Страна-производитель : US Аудио кодек : FLAC Тип рипа : tracks+.

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    The String Cheese Incident / Believe Жанр : Psychedelic, Rock, Jazz, Rock, Funk, Soul Носитель : CD Страна-производитель диска (релиза) : US Год издания : 2017 Издатель (лейбл) : SCI Fidelity Records Номер по каталогу : scifi1182v Страна исполнителя (группы) : US Аудиокодек : FLAC (*.

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    320 kbps | 106 MB | UL | TB | DF | OB | KT

    New release, Brighton alternative darlings Army of Bones have already gained a cult following through a succession of headline tours to sold out and pulsating venues, receiving exposure most notably so far on BBC Introducing and lighting up streaming platforms with their debut double A-sided single “Batteries/River”, and lead album track “Don’t Be Long”. The moment for Army of Bones to release the clarion call that ‘we will rise up from these ashes, we are singing over you’, as they do on ‘Love Song For A City’ could not be more right.


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  • 04/05/17--00:55: Blick Bassy – Akö (2015)
  • Blick%2BBassy%2B-%2BAk%25C3%25B6_front.j
    El cantante y compositor Blick Bassy, celebrado como "la nueva voz soul" de Camerún, nos trae su última producción Akö bajo el exquisito sello No Format!. Un disco íntimo y singular que marca un nuevo punto de partida en la carrera de este músico camerunés, afincado desde hace una década en Francia.
    Un trabajo que habla del hogar y la separación… pero lo más importante para él es el idioma en el que canta, principalmente, en el disco: el Bassa. Como el mismo señala "En Camerún tenemos 260 idiomas diferentes y en unos cuantos años la mayoría de ellos habrá desaparecido. El idioma todavía es el vínculo entre nosotros y nuestro patrimonio... si yo no hablo Bassa, mi abuelo no puede enseñarme lo que sabe".
    Blick Bassy creció en un pueblo llamado Mintaba en el centro de Camerún. Su padre construyó una iglesia donde su madre enseñaba a tocar kora, mientras que Bassy y sus hermanos cantaban. Bassy se nutrió desde la infancia de la cultura tradicional de su país, transmitida sobre todo por sus abuelos, al tiempo que sus padres lo conectaron con la música de Brasil y Estados Unidos, a través de la obra de Gilberto Gil o Nat "King" Cole, entre otros. Este es el punto de partida del mestizaje de su obra.

    Blick%2BBassy%2B2015.jpg
    Bassy empezó su carrera en Africa, inspirándose paralelamente en la tradición musical de Camerún, el jazz y la bossa nova. Tras ganar varios premios internacionales, se estableció en París, donde lanzó su primer disco individual, Léman (2009). En 2011 publicó Hongo Calling, una historia del ritmo tradicional hongo y de su viaje a países como Senegal, Cabo Verde o Brasil. Akö (2015) completa la discografía de Bassy e indica nuevos rumbos.
    Akö se caracteriza por su tendencia a la introspección y por una estética personal, presente ya en los trabajos previos de Bassy, pero llevada aquí a bellos gestos en forma de detalles diminutos. En sus canciones encontramos ecos de su herencia cultural y de las músicas que ha ido absorbiendo a lo largo de su vida. Son fragmentos inclasificables, que desafían cualquier intento de etiquetaje.
    El canto de Bassy va desarrollándose con las evocaciones del blues y de cierto sonido de Nueva Orleans, con un trasfondo de africano. A ese paisaje van añadiéndose formas como la armónica de Olivier Ker Ourio, los samples de Nicolas Repac, el cello de Clément Petit o el trombón de Fidel Fourneyron, texturas que se suman a las entonaciones de Bassy en Bassa. Bassy no solo utiliza el idioma Bassa como elemento diferenciador, de conexión con sus raíces, sino también como un modo de asumir el canto.
    Blick Bassy ha ido consolidando una propuesta musical muy personal, que adquiere fuerza y sentido a partir de su experiencia en dos continentes, y que sigue expandiéndose, acogiendo nuevas estéticas y nuevas combinaciones sonoras. Para no perdérselo.

    Página web oficial: Blick Bassy

    tracks list:
    01. Aké
    02. Kiki
    03. Wap Do Wap
    04. Lon
    05. Tell Me
    06. One Love
    07. SJ
    08. Mama
    09. Ndjè Yèm
    10. Moût
    11. Ndjèl






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    320 kbps|104 MB| UL | DF | TB | OB | KT

    Colorado jam act The String Cheese Incident have announced the upcoming release of Believe, the band’s 10th studio album. The LP is due in Spring 2017 and was recorded at the group’s newly founded “Sound Lab,” a hybrid recording studio and band hangout in Colorado.Jerry Harrison (Talking Heads) produced Believe just as he did the last SCI album, 2014’s Song In My Head.


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  • 04/05/17--02:48: Tarek Yamani – Peninsular
  • cover_1490475553766842-1024x1024.jpg

    Peninsular is a pioneering new work from Tarek yamani, blends the virtually unexplored rhythms of the Arabian Peninsula & frameworks of African-American jazz.

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    Mokhtar Samba & WDR Big Band Cologne - Musique d'Afrique (2016)
    Label: Jazzline Records
    Жанр: Jazz, World
    Год выпуска: 2016
    Формат: FLAC (tracks)
    Битрейт аудио: Lossless
    Продолжительность: 65:00
    Размер: 486 Mb

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    The String Cheese Incident • Believe Жанр : Country/Bluegrass/Jam Band Страна : USA (Boulder, CO) Год издания : 2017 Аудиокодек : MP3 Тип рипа : tracks Битрейт аудио : 320 kbps Продолжительность : 00:42:23 Наличие сканов в содержимом раздачи : нет Источник релиза : Lossless 01.

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