The Festival in the Desert / Le Festival au Désert (2003)

«It’s the unlikeliest place to imagine a festival, in the Sahara, not far from the Malian town of Timbuktu. But that’s the home of the Festival in the Desert, which celebrated its third anniversary in 2003. While it attracts international talent, the real focus is on artists who make their homes in the area, often of the nomadic Tuareg people. But there are others who live locally, like the legendary guitarist Ali Farka Toure, whose village of Niafunke lies just 40 kilometers away, and whose “Karaw” here is a masterpiece of desert funk. But so many of the bands here mine a wonderfully dark, spare, bluesy groove, like Tindé, or Tinariwen, whose “Aldachan Manin” has a muscular suppleness. Oumou Sangare, one of the great singers from Mali’s southern Wassoulou region, brings plenty of raw soul to “Wayena”, and kora genius Ballake Sissoko collaborates with Italian pianist Ludovico Einaudi for a fascinating piece. America’s Blackfire connect the dots between the Sahara and the Arizona deserts, although their punk-inflected rock is a little out of place, but still powerful. Lo’ Jo, one of the festival’s instigators, team up with Malian Django for a storming version of their “Jah Kas Cool Boy”, and with “Win My Train Fare Home”, Robert Plant and Justin “Scarecrow” Adams offer a circular blues that fits in perfectly with the other artists. Every performance is outstanding, but even more, they communicate the open nature of the festival, the feeling of what it was to be there on those nights and days in January 2003. And that is what makes this very special indeed, lifting it far above most live albums. This one definitely has the magic, making it simply one of the best live albums ever released.» (AMG)

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Moussu T e Lei Jovents - Home Sweet Home (2008)

«Co-founder of Massilia Sound System, Moussu T, returns with Home Sweet Home, the third studio album recorded with Lei Jovents [Blu on guitars, banjo and Ciotadin viola, Zerbino on drums, washboard and percussion, and Jam de Silva on percussion and berimbau]. As with previous recordings, this new album features several Moussu T tracks with more personal themes [La Cabussada, Le Divan, Il fait beau…]. It's a safe bet that had Jali, Gari and Lux B not left the group this summer, the name of the album would not be what it is. Calling it Home Sweet Home in English marks this album out from Massilia productions, but the lyrics and the music hold true to the original spirit of the group. The rhythm may be more discreet, more minimalist and it does flirt with the blues, but the feel is the same. Massilia played with their whole neighbourhood in mind, whereas here, the focus is just the road, Moussu's road 'the one we leave to head for the horizon, but since the world is round, we end up right where we started!' he sings in the intro to Ma Rue N'est Pas Longue. As always with Moussu T the local and the global dance together. A dance with clear African-American influences, a dance which pays tribute to the Marseilles of the 1920s, the Marseilles of Banjo – the novel by Jamaican author Claude McKay. This Marseilles, which before its love affair with ragga and hip hop began, had long absorbed the music of the new-world sailors, largely descendants of slaves, who came ashore and passed their time in the old part of town, by Panier. A Marseilles which embodies all the passion of Moussu T, the free-spirit who has chosen to live in La Ciotat, all the better to gaze upon Marseilles, his beloved city.» (Mondomix)

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Yengi Yol - De Seville à Boukhara (2003)

«Yengi Yol means “new way”, in Turkish as well as in Uzbek. The “Yengi Yol” Ensemble was born a few years ago when European musician E.H. During went to meet young musicians his age in Uzbekistan. Back then, when his flamenca guitar met their traditional Uzbek music, the result was convincing straight away. The band was born and several concerts and recordings were rapidly done, so that a new sound could be heard in European and Oriental countries.

Today, “Yengi Yol” has set off again, towards a new, totally original adventure where Turkish Ottoman music meets Uzbek music. The four European musicians (A.Espinouze, S.Halaris, A.Morineau et E.H.During) who took up the challenge already had sound experience of Ottoman high culture music, but they had never tackled high culture tradition from Central Asia.
The meeting occurred in May 2007 in Uzbekistan when three concerts were given (in Samarqand, Bukhara and Tashkent) to an audience dumbfounded by the new tones brought by “Yengi Yol” to their music. A few videos and some recordings give an account of what had probably never happened in centuries.
In the 15th century, exchanges were still flourishing between the door to Europe and the heart of Asia. Thus, musicians from Samarqand or Bukhara were able to play at the Ottoman court of Istanbul and vice versa. The works of the repertoire would travel over thousands of kilometres, from one end of a chain of transmission to the other, and were organized into a both refined and complex codified knowledge: the Maqam or the art of high culture music, shared by the elite of musicians from the Maghreb to China. With the passing of centuries and due to the setting up of political borders, the Maqam was progressively divided and interpreted in accordance with local claims, each region developing its own style and repertoire.
Yengi Yol proposes to go in the reverse direction. While keeping the specificities proper to each culture, they want to play Ottoman and Uzbek pieces having obvious similarities by drawing from the ancient – up to 15th century – repertoires of the court as well as Sufi brotherhoods.
As obvious and natural as the result may appear, such a meeting has never happened before.» (Yengi Yol’s MySpace page)

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Marabi Africa (2007)

«Marabi is the independant label created in 2002 by Christian Mousset, director of the Festival Musiques Métisses d'Angoulême in France.The festival, place of exchange and discovery, is widely opened to urban popular musics from the African Continent, Indian Ocean, the Caribbeans, America. Marabi is mainly a discographic extension of this event. On the same artistic line, the label puts upcoming artists forward as well as patrimonial leading figures. Marabi is the name given to the South African Jazz born in the townships of the thirties.

Marabi Africa is a compilation between blues from the Sahel and the Indian Ocean, Congolese rumba, Zulu beat, flamboyant Mandingo guitars, featuring awesome groove and melancholy songs. 17 tracks, modern yet permeated by the colours of tradition, take you on a musical journey into the heart of the African continent, with its divas, its troubadours, its “rockers” and its exceptional instrumentalists...» (Mondomix)

Featuring tracks from Malouma, Ba Cissoko, Boubacar Traoré, Djelimady Tounkara, Bembeya Jazz, Sékou “Bembeya” Diabaté, Mahotella Queens, Johnny Clegg, Gizavo-Mhlanga-Mirandon, Jaoyoby, Granmoun Lélé, Nathalie Natiembé, Menwar, Rajery, Rumbanella Band, Wendo Kolosoy & Ballaké Sissoko.

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Steve Shehan & Baly Othmani - Assarouf (1997)

Here are some Amazon customers reviews (click here for more):

«This is an amazing album. The Amazigh artist Othmani has created a once in a lifetime expression of the desert. As an Amazigh myself, I must commend Othmani on an impeccable and smooth collection. Highly recommended for anyone who wishes to get lost in the rhythms and melodies of the Algerian Sahara.»

«Baly Othmani makes some of the most entrancing, enchanting and beautiful music. He is Algerian Tuareg è[…] playing the oud, which is related to the guitar. I first heard 2 songs by him on the Desert Blues: Ambiances du Sahara album. Both are totally addictive. I highly recommend this artist and all of his albums.»

«This is one of my “desert island” CDs. I could easily echo my esteemed fellow reviewers in describing this music's Tuareg roots. But all I will say is that this music is pure beauty. Pure peace. A journey through an earthly paradise. An experience of unutterable joy. One of humanity’s great treasures.»

«I got this album because I loved Shehan’s collaboration with Omar Faruk Tekbilek on his latest album. In any case, Assarouf is so lovely. The music is intense, rich – and Baly Othmani provides the most perfect vocal accompaniment. […] It’s a shame that the album is not readily available new anymore».

Well, “no more available new”, but available here on Babe(b)logue. Enjoy it!

Steve Shehan’s personal Website: http://www.steveshehan.com/index_site.html

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Smadj - Take It and Drive (2004)

«Tunisian born, Parisian musician Jean-Pierre Smadja (Smadj) grew up listening to Oriental, Brazilian, funk, soul, and folk music. Entering a jazz school at age 15 due to his intense interest in the guitar, Smadj’s musical development came to be characterized by transforming traditional jazz styles into eclectic sounds. This interest in the mechanics of making music led Smadj to pursue a degree in sound engineering, which led to a fruitful career as a recording & sound engineer for famous classical and folk musicians. Releasing his first album in 1994, it wasn’t until 2000 that Smadj became recognized on an international scale for his signature blending of acoustic and electronic sounds on “Equilibriste”, which would ascend on the “European World Music Charts” to the number 4 position. In 2002, Smadj joined fellow “ud magician”, French musician Mehdi Haddab, for a special project that would transport the oud to the 21st century in “DuOuD”. Supporting their triumph of an album with a 2 year world tour, the album also received 2nd place in the “Best Album” category at the prestigious BBC World Music Awards. In 2003, Smadj joined master percussionist Burhan Öçal for “Burhan Öçal & The Trakya All Stars featuring Smadj” and in 2005 he stepped behind the scenes to serve as artistic director for Burhan Öçal’s “New Dream”. Smadj continues making music in the city where east meets west, Istanbul.» (Wikipedia)

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Various Artists: Corse (2003)

Here is a nice selection of Corsican recorded music. Most of these artists are not strictly polyphonic groups, at least not any more, since they don’t sing a capella traditional Corsican polyphony. Some of them, by the way, like Petru Guelfucci, still have their roots in Corsican polyphony, notwithstanding their musical evolvement. Those who do not innovate and develop their singing are likely to leave Corsican polyphony as a museum piece. But here you’ll find also valses bastiaises and monodic secular songs, instrumental tracks, modern songwriting etc. from l’ile de beauté (To learn more about traditional Corsican music click here).

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Paris Combo - Attraction (2001)

«There's a lot to like on Paris Combo's Attraction, the postmodern Parisian cabaret quintet's third album. As with previous efforts, the band updates the French chanson and gypsy swing tradition by adding a stylish hipster element that could be construed as French lounge music, but most of the arrangements for the album's 13 original tunes display a developing maturity that avoids gimmickry in favor of solid musicianship. Guitarist Potzi and trumpeter-pianist David Lewis in particular shine as tasteful soloists. Chanteuse Belle du Berry is convincing as well, sensually wrapping her voice around the French lyrics to project meaning even if you don't speak a lick of the language. Attraction also benefits from modern production touches and guest musicians, both of which add a lush new layer to the music that only enhances the band's depth and class. Leaving the winking self-awareness behind, Paris Combo has grown into a topnotch but still fun cabaret act.» (Tad Hendrickson, Amazon)

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Petru Guelfucci - Corsica (1991)

«Born in Sermanu in 1955, Petru Guelfucci was always impassioned since tender childhood by the Corsican song. Already adolescent, he joined a folk group called “A manella”. In 1973, he met the talented Ghjuvan Paulu Poletti, one of the principal actors of the cultural movement of the Seventies in Corsica. Shortly after that they formed a band of young people. This band, with, inter alia, Ghjuvan Paulu Poletti and Petru Guelfucci will lead to the foundation of the well known (even today) Corsican group: Canta U Populu Corsu. Crucible of the most known artists to date, this group will revive the nationalist flame within a whole generation. After 15 years of success, Canta U Populu Corsu disappears. Canta was the group of the FLNC and one found all the sensitivities of the nationalist movement there. After its dissolution, Petru Guelfucci continues a solo career, recording albums such as Isula, Memoria and Corsica (The album’s theme song, Corsica, was a great success, as well as another song, Catalinetta). Petru devotes his time also to his other group of polyphonies, Voce di Corsica.» (Last.fm)

«The absence of a percussive anchor to Petru Guelfucci’s pop version of traditional Corsican vocal music launches his operatic, thrown vocal style into the romantic ether without a tether. But aside from a single song, the famous Corsican polyphony is intermittent and used primarily as a dramatic device for thickening Guelfucci’s beautiful solo voice. Still, this is pop mastery at its best, with nods to flamenco, Mideastern genres, and other styles. While the pop vocabulary shifts from song to song, Guelfucci’s vocals stay the same, as if he’s pining for a genre that does him justice. For a hint of what might have been, check out the full-blown Corsican polyphony on the traditional-based I detti di u ventu.» (AMG)

Official site: http://www.petruguelfucci.com/

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Jean-Luc Ponty - Tchokola (1991)

«Every eight years, it seems, Jean-Luc Ponty picks himself up, gives himself a good shake, and switches direction. In 1967, he made his first life-changing visit to the U.S.; 1975 found him going solo permanently as a jazz/rock icon; 1983 marked a switch to sequencer music; and in 1991, Ponty discovered African music. Taking advantage of the huge interest in African music in France, Ponty recorded his electric violin over the churning, hypnotic grooves of a coterie of visiting West African musicians in Paris, and the results, on Tchokola, are delicious. In one sense, not that much has changed, for while Ponty has thrown out the sequencers and electronic gizmos, his music remains grounded in repeated ostinato patterns – those provided by the Africans. Ponty dabbles in all kinds of grooves – the Nigerian juju, Cameroon's makossa (there is an especially swinging example of that on "Mouna Bowa"), the Afro-French Caribbean zouk, the sabar from Senegal, West Africa's mandingo, and a few others. On top of these, Ponty imposes his own distinctive melodic ideas on acoustic or electric violin, gingerly negotiating his way over the bumps of the tricky rhythms. At times, one feels that even this endlessly pliable virtuoso is not quite comfortable with these exotic idioms, but the music is so infectious that it usually sweeps him – and us – right along.» (AMG)

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Sanseverino - Le Tango des Gens (2001)

«A descendent of Italian immigrants, Stephane Sansévérino was born on French soil in 1962. Thanks to his father's work, young Stephane was offered limitless travel opportunities throughout his early years. He was exposed to performers from all over the world, and by the age of 20 had fixed his sights on a career in performance. Initially focusing on theater, he studied comic acting for a number of years, learning guitar and banjo in the process. Sansévérino started his own troupe and worked primarily as a street performer, while surrounded with the alternative rock sounds that had sprung up during the mid-'80s. He began working as a musician with his hand in a few groups at any given time, maintaining a diverse array of musical and theatrical pursuits. The two disciplines met in the formation of Les Voleurs de Poules, an acoustic duo that explored Eastern European Gypsy styles with French chansons from the '50s. After years of busy touring, the group released its debut record, Tu Sens les Poivrons, in 1995. The group split four years later, and Sansévérino spent the next two years writing and recording his first solo record, Le Tango des Gens, which went gold upon its release in 2001. Following intense touring, the artist was honored with the Victorie de la Musique Award for Best Breakthrough Live Act of the Year in 2003. His sophomore project, Les Senagalaises, earned him the nickname of "Monsieur Swing." In that same vein, Sansévérino's 2006 album, Exactement, was his first to feature a full big band, a notable departure from former ensembles of from three to five musicians. In December of 2006, he took to the road again, accompanied by his 20-piece big band.» (AMG)

«Avec ce premier album solo, Sanseverino (ex-leader-chanteur des Voleurs de poule) nous donne envie de mettre nos petites contrariétés au placard. Accompagné par le violon, l'accordéon et les cuivres rutilants, le banjo et la guitare acoustique de ce zigomar font virevolter des rythmes d'une chanson à l'autre. Ici pas de répit. On se laisse mener par le bout du nez vers un drôle d'univers où les clins d'œil (notamment à Brel et Bruant pour "Frida") succèdent à l'autodérision ("Swing du nul", "Mal ô mains"). Le tout servi dans des ambiances de joyeux bastringue. Parfois, ça sent le petit vin blanc, les guinguettes du dimanche ou les caf'conc enfumés du quartier Saint-Germain d'après-guerre. Et c'est sans compter la voix éraillée de cette gouaille malicieuse qui court sans retenue sur les accords d'un swing jazzifié façon Django Reinhardt ("Mal ô mains") ou ceux du folklore tzigane ("André"). Le sarcastique "Tango de l'ennui" de François Béranger version Sanseverino se fait l'écho du très mordant "Tango des gens" et mérite une écoute particulièrement attentive. Un album sans concession, dont on appréciera les nombreuses influences. (Valérie Dupouy, Amazon.fr)

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Oc - La Musique Occitane à l'aube Du IIIeme Millenaire (1999)

«Fondé en 1999 par Christian Salès, OC vise à promouvoir la culture occitane à travers des créations artistiques. Notre collectif comprend musiciens, danseurs, plasticiens et spécialistes des technologies numériques de l'image et du son. OC collabore à des projets éclectiques de l'audiovisuel au spectacle vivant dans l'esprit d’ouverture occitan. Les créations OC comprennent des musiques, films et des objets du Pays d’Oc.

Ce jeune groupe musical, originaire des environs de Carcassonne, propose une musique électronique originale alliant voix et instruments anciens. Les chants, sur des textes occitans, évoquent l’histoire, les légendes et le rêve. Le style musical OC est original. Le public décrit cette musique comme “unique, positive, fascinante et atemporelle”. D’autres disent qu’elle offre à chacun le moyen d’atteindre ses rêves.

“Notre musique découle d’une interprétation actuelle de la mémoire occitane. C’est la musique telle qu’auraient pu l’imaginer les troubadours du XIIIe, s’ils s’étaient vus confier des instruments du IIIe millénaire”» – Christian Salès, fondateur du groupe OC.

OC vit avec passion sa terre, sa langue, sa culture. Dans le prolongement de la mémoire occitane, OC refabrique les instruments des troubadours. Il développe aussi des instruments électroniques uniques et s’inspire de concepts de jeux instrumentaux ancestraux, adaptés aux technologies d’aujourd’hui. L’ensemble musical est composé d’instruments anciens (vièle à archet, psaltérion, organistrum), d’instruments traditionnels (crava de la montagne noire), de percussions médiévales et méditerranéennes, d’instruments électroniques spécifiques (organisdrum) et de tout l’instrumentarium numérique actuel. (OCmusic.org)

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Jan-Mari Carlotti - Linhana/Lignane (1984)

«Après des études d'Histoire, d'ethnologie et de Sanskrit à Aix-en-Provence, Jan-Mari Carlotti commence à chanter en Provençal avec Mont-Jòia qui participe activement à la renaissance de la chanson et de la musique traditionnelle du Sud-Est (73-83). Responsable des Rescòntres de la Mar (premier festival dédié aux musiques méditerranéennes) il mène plusieurs enquêtes son et vidéo sur la culture populaire occitane et méditerranéenne (76-85) et participe à la fusion Bachas/Mont-jòia (81-83), avant d'enregistrer Linhana, premier disque sous son nom (84). Il est également auteur de l'Anthologie de la nouvelle chanson Occitane avec F.Bard (Edisud 1984), du catalogue et de l'exposition Affiches du Pays Valencian avec Soledad Desfilis (1985).

Depuis 1984, il joue en solo Ielis d'Emperi (chansons des confins de l'Empire) ou en groupe notamment Anita/Anita avec P. Vaillant, R. Tesi et D.Craighead (85-88)... Chants du Delta du Rhône avec D. Segrè et Ch. Zagaria. (85-91)... Trobar 1 avec Michel Marre (depuis 93)... Mont-Jòia repris, en 95, avec Patrick Verdiè, et depuis 2004 avec Silvio Peron et Gabriele Ferrero... avec la danseuse de Bharata Natyam Armelle Choquard (2003). Autodidacte, il est avant tout "troubadour" (auteur et compositeur de chansons).» (Mont-joia.com)

«Jan-Mari Carlotti, di Arles, in Provenza, è uno dei migliori e originali cantanti solisti nell’ambito della musica popolare di riproposta. Fondatore del gruppo Mont-Joia ha aderito in seguito al gruppo Bachas - Mont-Joia, per poi intraprendere un’attività solista e di collaborazione con Patrick Vaillant e altri musicisti. Il suo consistente repertorio spazia dalla rivisitazione di canzoni tradizionali e nouvè provenzali, al repertorio dei trovatori, fino alle canzoni di sua composizione. Da segnalare, tra le varie cose, la partecipazione di Jan-Mari come autore e cantante nel progetto Anita Anita che ha portato nel 1988 all'uscita dell'ormai mitico disco, emblema della nuova musica occitana, realizzato da Carlotti e Vaillant insieme a Riccardo Tesi e Daniele Craighead.»

Thanx to Giuliano for this post.

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Nicolas Krassik - Caçuá (2006)

«Caçuá, a word with Tupi (Indigenous Brazilian Language) origins, is a wicker or vine basket used to carry provisions and is transported by beasts of burden in the inland parts of the Brazilian Northeast.

It is also an inspired baião by João Lyra and Maurício Carrilho whose name Caçuá baptizes the second CD by French violinist settled in Rio since 2001, Nicolas Krassik.
The mixture of colors and spices very much Brazilian, this Caçuá brings together genres like choro, samba, baião and xote, framed by arrangements that highlight the sound of the quartet lead by Nicolas (with his violin, Nando Duarte on the seven string guitar, João Hermeto on percussion and Fabio Luna on drums), among guests Carlos Malta, Chico Chagas, Eduardo Neves and João Lyra.
One of the CD’s highlights is the participation of Seu Luiz Paixão, a rabequeiro from Pernambuco that dialogues with Nicolas’s violin on the last track of the CD, recreating the atmosphere of a Northeastern fair.
The repertoire of Caçuá is also the first registration of Nicolas as a composer in the cheerful Meu Maxixe and in the dense and slow samba, Petite Maman, dedicated to his mother Marie-Claude, who passed away in December 2005. The vibrant record exhibits the violinist’s talent in improvisation allied with his technique and sound characteristics. Nicolas, the Parisian is completely integrated into the Rio scene and is able to interpret all the classical repertoire of Brazilian instrumental music, an example being the waltz Santa Morena, by Jacob do Bandolim, whose arrangements allow for excerpts of traditional Turkish music.

In short, this is a caçuá filled with musical ideas that encourage dance, emotion, humor and contemplation. As well as, Nicolas’s first job as musical producer, here by my side in a demonstration of extreme sensibility, technical refinement and constantly maturing as an artist.» (Luís Filipe de Lima, NicolasKrassik.com. Review also available in French and Portugués version)

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Bevinda - Fatum (1994)

«A French journalist once tagged her the “fada” of the Fado (fairy of the Fado). If Fado may be an important element in her music, she proved through the years that she was quite an unusual singer who found her path and her voice as she built her own world between the realms Portugal of her native land and France the country where she now lives.

Well known to the French audience, Bévinda has already had a rich career that started in 1994, with her first album Fatum and is still going on eight albums later with Luz (which means light) which many consider as her most accomplished body of work.

Born in Fundão on the Portuguese shore of the Atlantic, nurtured in France where she grew up, she came to Paris at the age of eighteen and worked as a trekking guide, a job that allowed her to discover the many faces of Asia. Her music will later reveal the influence those countries had and still have on her. She entered the world of music by chance and discovered that singing was her new passion. She studied with Julia Pelaez who encouraged her to sing in her mother tongue and as a result, she decided to spend two years in Lisbon to find her roots again.

The creative path she has followed from one album to another has always genuinely reflected her inner personal path. Her music tells about far away lands, from India to Brazil, to the coasts of North Africa. She sings her own words, those of her mother or even Amália Rodrigues. In 1997, she dived into the realm of poet Fernando Pessoa and released a ground breaking album, only accompanied by two cellos: Pessoa em pessoas. The critics loved it and the audience was puzzled.

Now surrounded by new musicians, she brings her music even further towards the East while still retaining the nostalgic tones of the Fado and the blues of the Saudade. Now Bévinda is teaming up with Aaken to write new material, their first song being "O Verão". She has just released a tribute album to French songwriter Serge Gainsbourg entitled Serge Gainsbourg tel qu'elle which mainly focuses on his work from the 60's.» (http://www.myspace.com/bevinda)

Bevinda’s official website (English/French): http://www.bevinda.net/

Biografia in italiano: http://www.srijan.it/bevinda.htm

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Skolvan - Kerzh Ba'n' Dans / Entrez dans la Danse (1991)

«Créé en 1984, a été l'un des moteurs du renouveau de la musique bretonne. Cette période s'impose par le formidable travail de la part des musiciens pour la sauvegarde de la musique traditionnelle en Bretagne, patrimoine alors en péril. C'est dans ce contexte que Youenn Le Bihan tenta une expérience de groupe en invitant deux professeurs du conservatoire de musique traditionnelle de Ploemeur (violon et accordéon), ainsi que le guitariste Gilles Le Bigot. Skolvan est né avec son premier fest-noz le 14 avril 1984. Youenn Le Bihan créa dans la foulée son célèbre "Piston", inspiré du hautbois baroque, qui fait en grande partie l'originalité du "son" Skolvan.

En 1994, après trois album, Skolvan sort Swing & Tears qui sera désigné l'album de l'année en France, au Royaume Uni et au Portugal.
Parmi les invités figure Dominique Molard aux Percussions qui se joint finalement au groupe en 1996 développant ainsi la palette sonore et les couleurs rythmiques à travers les tablas, le cajon, la derbouka, le bodhran associés à la batterie.

En 1996, Skolvan revient avec une création, Gouel ha daeroù, réunissant chanteurs traditionnels et musiciens de jazz, unanimement applaudie par le public et la critique.

En 2000, Chenchet'n eus an amzer, leur dernier CD, traduit l'évolution musicale du groupe depuis l'arrivée, en 1997, de Bernard Le Dreau (saxophones). Au début de l'année 1999, Loig Troel (accordéon diatonique) intègre le groupe, en y apportant sa virtuosité et son énergie. Avec cette nouvelle formation se libèrent un nouveau son et un nouveau répertoire.

Unanimement reconnu aujourd'hui comme l'un des chefs de file de la musique actuelle, Skolvan s'impose par la beauté des thèmes (traditionnels, composés) et la richesse des arrangements associés à une rythmique très efficace consacrant à Skolvan une personnalité immédiatement reconnaissable.

Fort apprécié en Festou-Noz par les amateurs de danse, Skolvan propose également des formules de concerts.» (Skolvan.com – Biography also available in Italian & English)

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Putumayo Presents: Nuevo Latino (2004)

«This is the perfect chill disc to throw in your musical rotation. A mix and match grab bag of musical styles with one common thread; it's in a Latin groove. The artists span the globe which is what one comes to expect from Putumayo. The styles of music run the gamut of Latin exotica but with an edge of electronica that results in world beats with a modern attitude. It is very exciting to hear traditional music getting a musical makeover; it is music steeped in tradition with wings for the future. There are long established artists like Jarabe de Palo, Aterciopelados, Los de Abajo and Sergent Garcia but there is much more. Lesser known but not necessarily less talented artists abound for your discovery. Hey! That is what Putumayo is all about, discovery of cool music from elsewhere. Speaking of cool, all these tracks are way cool, especially "Mi Negra" which has that Manu Chao Clandestino multi-layered, percussive lush sound, punctuated by horns and quirkiness, the reggae-Cuban flavored "Original" by Kana and "El Indio" by Los de Abajo, which has a modern tropical feel to it and the ever-lovely voice of Andrea Echeverri from Aterciopelados on "Manana," where she invokes an electronica-driven sambaesque beat that has a retro-futuristic vibe that is pure nirvana. This is good music for relaxing late night and finishing off a good night, or anytime, for that matter. Highly recommended for world music aficionados.» (Amazon)

More info here

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Vincent Delerm - Vincent Delerm (2002)

«Dans la lignée un peu bancale de son père écrivain qui s’attache à la description minutieuse et drôle des petits plaisirs quotidiens, Vincent chante les drames familiers de l’existence. Il se situe lui-même dans la lignée d’une tradition qui évolue avec le temps, celle de la chanson à textes estampillée "rive gauche". Sa devise ? Trouver la légèreté en chaque chose…» (Lisez plus)

«In the almost pure tradition of his writer father who is attached to the meticulous and funny description of daily pleasures, Vincent sings about the familiar dramas of life. He situates himself in the tradition which evolves with time, that of songs with lyrics stamped "rive gauche" (the left bank-hippie, left-wing). His motto? Look for the bright side in everything...» (Read more)

Per una recensione in italiano, cliccate qui

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Thierry "Titi" Robin - Un Ciel de Cuivre (2000)

«Thierry Robin, known as “Titi”, the self-taught musician born at the end of the fifties in western France, has created a musical world for himself instinctively assimilating elements in response to his need to express himself. The two worlds in which he has navigated daily and that have both directly and deeply influenced him are the gipsy and oriental cultures.

Before the World Music trend was born, these communities were open and encouraging to him while French mainstream music struggled with his approach. Arab and gipsy community celebrations provided him with the opportunity to test his original musical sound against these rich traditions from which he took his inspiration while never imitating them, obstinately looking for the best way in which to express himself as a contemporary artist. The musicians accompanying him were almost all from these minority groups. The two artists of major importance to him were the flamenco cantaor Camaron de la Isla and the Iraqi master oud player Munir Bachir.

At the beginning of the eighties he began to compose in an extremely personal style that has stayed with him since. In 1984 he produced himself (playing the guitar, the oud and the bouzouki) in a duet with Hameed Khan, the Indian tablas player from Jaipur, performing both on stage and in local festivities, clubs and oriental restaurants. His repertory (instrumental) grew little by little, just as the foundations of his improvisational style. […]While working on the instrumental duo with Hameed Khan, mixing melodic improvisations and light-hearted rhythmical duels, Thierry Robin met the Breton singer Erik Marchand, a representative of what he considered to be the richest folk and traditional culture to be found near his region of birth. Together they would develop a repertory of compositions using quarter tone modes and the marriage of the Taqsîm style of oriental modal improvisation and the Gwerz, the very ancient monophonic lament that the singer is one of the few to preserve alongside Yann Fanch Kemener. Ocora Radio-France sent them into the recording studio: An Henchou Treuz (1990) was awarded the Charles Cros Academy Grand Prize. It was the beginning of the meeting of two duos that would turn into the “Erik Marchand Trio”, for which Thierry Robin composes and arranges the best part of its repertory. […]

With this group, Titi Robin had become known above all as an oud player. Gitans, released in January 1993, would better define the musician’s world, introducing the bouzouki and guitar player. It is a homage by the artist to the gipsy community that taught him so much. […] In 2000 “Un ciel de Cuivre” was released, an album that Titi Robin believes best represents his musical universe in all its diversity. Fifteen guest musicians include Farid “Roberto” Saadna, Gulabi Sapera, Keyvan Chemirani, François Laizeau, Renaud Pion, Negrito Trasante, Francis-Alfred Moerman,… Speaking of this album, Titi Robin said : “This new record is not performed by a precise orchestra, unlike Payo Michto or Kali Gadji, that precede it. It bears witness to the diversity of my influences and, I hope, to the coherency of my aesthetic universe. Gipsy cultures, both Mediterranean and Balkan, are still very present, but this is above all a personal vision of the world that I want to express through these musical marriages that make up my everyday life. This album, just like the record Gitans released in 1993, is a voyage, each melody has a particular flavour, each rhythm a story, the geography of its cultural origins is a mirror image of the traveller’s inner landscape. There are intimist melodies and festive rumbas, grief-stricken chants and a gipsy lullaby, highly-orchestrated dance music and calm trios, snowy mountains and sunny shores, blood, spices and honey, and many other things that you may discover before I do…”.» (Read more –Français)

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La Tordue - T'es Fou (1997)

«Au cours des années 90, un courant dit néoréaliste a envahi le paysage musical français en lui insufflant au passage une énergie poétique tout à fait revigorante. Parmi les figures de proue de cette nouvelle vague, est apparu un groupe tout en franchise gouailleuse, la Tordue.

C'est autour du quartier de Belleville à Paris que se sont rencontrés les deux premiers membres de la Tordue. Benoît Morel, rennais de naissance, est plutôt orienté vers l'écriture et vers le dessin. Il est graphiste chez Gallimard (un des plus fameux éditeurs parisiens) lorsqu'il croise le chemin de Pierre Payan, multi-instrumentiste en mal de textes. Tous les deux sont nés dans les années 60 et partagent un même goût pour une chanson littéraire, façon Ferré/Aragon, les frères Prévert ou Gaston Couté, chansonnier anarchiste de la fin de siècle. Benoît expérimente déjà l'écriture avec les Têtes Raides, autre groupe phare de ce mouvement qui nous transporte dans les faubourgs parisiens d'antan bercés par les airs de java et les odeurs d'absinthe.

Désormais, ils sont trois. Les a rejoint Eric Pfil dit Fil, originaire de Savoie. Dès octobre 90, année de leur apparition sur la scène musicale, ils sortent un 45 tours à compte d'auteur. On les voit tout naturellement en première partie des Têtes Raides. Leur premier passage en tête d'affiche se fait en mars 92 dans le petit théâtre parisien du Tourtour. Leurs prestations font craquer public, critiques et professionnels. Ils sont drôles, tendres, et manient un nombre incalculable d'instruments (bandonéon, guitare, piano, accordéon, contrebasse, scie musicale, casserole, …). […] En 94, ils reçoivent le Grand Prix du Sentier des Halles et le Prix du coup de cœur francophone.

Sans album et presque sans promo, la Tordue se fait un nom. Lorsque sort leur CD Les choses de rien en mai 95, le succès n'est donc pas étonnant. En trois mois, l'album part à plus de 3000 exemplaires, joli score pour un disque vendu sans publicité aucune. […] Les concerts continuent de plus belle. En mars 96, un concert est organisé à la Cité de la Musique avec leurs amis des Têtes Raides, mais aussi Casse-Pipe et Miossec, autres représentants actifs d'une chanson française alliant tradition réaliste et rock. Quelques mois plus tard, ils sont de retour aux Francofolies de la Rochelle.

C'est le 1er avril 1997 que sort leur second album, T'es fou. La Tordue ne déçoit pas et l'accueil est aussi bon que lors du premier opus de 95. Ils sont même récompensés du prestigieux prix de l'Académie Charles-Cros, et se retrouvent ainsi sur les traces des plus grands…» (Read more on RFIMusique)

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