Hi!

Since I'm leaving again for a while, I will answer to your messages and e-mails as soon as I'll be back. Thanx, anyway, and keep writing me. Without your love and appreciation, this blog wouldn't have much sense. Cheers, Radu

Please, report dead links here. Thanx!

Postcards from Istanbul: On the Bosphorus

Asiaminor - Sokak Boyunca (1991)

«Sokak Boyunca (Along The Street) is the title of a CD by the Turkish group Asiaminor, released by Face Music Switzerland. Contemporary and creative music which is equally characterised by updated traditional ethnic influences and by suspenseful dealing with additional material, for instance from the sectors of jazz, jazz rock and rock, in the meantime has become the trademark of Face Music. The seventh production by this label even exceeds its own standards.

For Asiaminor is a quartet which fascinates both by virtue of its collective unity and by the soloistic talents of each musician. This constellation makes it possible to combine traditional Turkish music and influences from contemporary jazz in such a terse and incisive style that in this one case the term "Ethno jazz" is surely appropriate, although the four musicians probe their free space in such a way that such labels are right away becoming absurd.

Thus this CD is an example for possible statements that tie different nations and cultures with each other – nations and cultures which in the final analysis are only apparently in contradiction to each other.» (Peter Dürsteler, Face Music, read more)

For more info and links, click here

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African Party Volume 1 (1966-1968)

Hello everybody! I’m leaving for a brief holiday, but I’m not gonna leave you thirsty for music, ‘cause this is a real gem, which I am sure will be in heavy rotation in your mp3 player for the whole summer! So, have fun with the African Party!

See ya soon, Radu

«In the nineteen-seventies, many quality recordings of classic Congolese bands were issued in the AFRICAN 360 series, distributed by SonoDisc of Paris. […] The lack of recording information, beyond titles and composers of songs and occasionally licensing, frustrates any attempts at scholarship but foregrounds the music, which is consistently great. The attitude of the label was very much like that seen in the “Colonie Belge” genre of Congolese paintings which showed the superior whites treating the Africans like wayward children, humiliating and punishing them. […] This brutal attitude even permeates the music where the 360 series was concerned. A fragile and rare treasure of the world's music was bungled, mishandled and tossed off by the French publishers. Clearly they didn't give un crotte.

The oldest archive of Congolese music in Europe (dating from the 1950s) belonged to Editions Ngoma, who recorded in Léopoldville but pressed their records in France. According to (Congolese music historian/biographer) Vincent Luttman, around 1961 Fonior (a subsidiary of the Decca Records empire) began issuing 45s of the orchestra African Jazz on Decca for European and African (non-Congolese) release. This deal was set up by Grand Kalle – where Fonior paid for and held the recordings, but granted Kalle license for release in Congo under his own editions label “Surboum AJ”. The European- and Congolese-pressed editions differed, using different artwork and catalogue numbers throughout. Around 1963-65 Decca also began reissuing some of these 45T as a series of 4 track 45T EPs. At this time the only artists to appear on the European editions produced by Fonior/Decca were African Jazz, OK Jazz, African Fiesta, Loup Jazz and Pierre Rasins (Antilles-based artist).

By 1967-8 Fonior (by then semi-independent of Decca) were distributing Congolese records on many smaller Congolese labels (Editions Boboto, Paka Siye, etc) and these later became the mainstay of the early African 45T catalogue (being repressed and re-issued as the 90xxxx 45T series from around 1968-ish on. These re-issues were primarily made for European-Francophone markets and African (non-Congo) distribution.

The 360 series of LP releases began to appear from around 1966-67 (the first ten releases only – with the series beginning properly from around 1969), and were either LP's licensed directly from Congolese labels (see Izeidi below) or were compiled (in later releases) from previously licensed 45Ts taken from the labels 90 series.

When the once mighty Ngoma label collapsed in the early 1970s, Fonior secured the rights to their catalogue and began integrating previous Ngoma product into their African (LP & 45T) series, repackaging them and issuing them with new Editions African 90xxx or 360xxx catalogue numbers.

The African 360 series of LPs also added to their catalog from the (Fonior-owned) Fiesta label. Fiesta was begun in the early 1970's (1971-73) and concentrated on releasing non-Congolese 33T including a number of Camerounian artists (Manu Dibango's Soul Makossa being their most famous 45T). Congolese artists however did sometimes appear on editions Fiesta 45T (as did a number of Middle-Eastern artists) including many works by both OK Jazz (licensed from Franco's Editions Populaire) and Negro Succes.

As stated above, back in 1961 Decca licensed their Congolese recordings to Fonior in Brussels for sale in Belgium. Fonior also sometimes pressed records for Loningisa and Esengo. According to Gary Stewart, in Rumba On The River, the technically superior Fonior studios in Brussels became the site of pilgrimage for African artists, beginning with Kalle and African Jazz, with whom Manu recorded his first sessions. The musicians would go into the studio and work until they had recorded over forty songs. Some had already been composed, but a great many were written in the studio. Manu's biography (7 Kilos Of Coffee) gives a unique account of this spontaneous composition and recording process. The pay for 40 songs was usually about $200 to share among band members who would sometimes collapse from hunger or fatigue during these long, arduous sessions.

As the 1960's progressed into the 1970s, the once profitable Decca recording empire began to decline. By the mid-1970s the decline became terminal. Fonior struggled on, licensing product from the 'new wave' of Congolese artists (Veve, Zaiko, LipuaLipua, Stukas, etc) as well as retaining links with the old guard (Franco/Rochereau/Izeidi, etc), but by the late 1970s the African catalogue already contained many gaps. The production of African 45T seems to have ended around 1978, although the LP series continued. In those later years poor pressing/mastering facilities also meant that when 45T records were pressed/repressed there were many faulty discs – this probably accounts for the decline and abandon of the 45T singles catalogue. Finally Fonior went into bankruptcy in 1981 and its entire catalogue was purchased by Sonodisc for a nominal fee.

Sonodisc was formed in 1970 by two former employees of Ngoma (the Congolese label that operated a pressing plant in France), Marcel Perse and Michel David. They left Ngoma with contacts and even recordings but mainly acted as distributors of Umm Kalthum records from Egypt and some from the Caribbean. When the Fonior catalogue went to Sonodisc for a pittance, Franco, Tabu Ley & Verckys sued to regain control over their recordings but were over-ruled in court. Token payments were made to them, but no other African artist ever received a sou for their music which was now in the hands of Sonodisc. […]

The AFRICAN 360 series has two main sub-categories: L'Afrique Danse and Les Merveilles du Passé. Both focus on mid-60s to mid-70s Zairean popular music. There is also a 425 series of modern releases. […] The mainstays of the AFRICAN 360 catalogue are, naturally enough, the most popular artists from Congo (Zaire): "Franco" (Luambo Makiadi), "Docteur Nico" (Kassanda wa Mikalay), "Rochereau" (Tabu Ley Pascal), Kiamuangana Verckys, and Camerounian multi-instrumentalist Manu Dibango.» (Muzikifan – click for much more!)

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Ghazal - Moon Rise Over The Silk Road (2000)

«Westerners have become increasingly familiar with the classical music of India since it first became fashionable in the 60s. But the Persian tradition, without a Beatles/Ravi Shankar collaboration to promote it, has remained a mystery, although it is becoming more recognized. Ghazal creates (or rather, re-creates) a musical bridge between two of the world's most expressive and distinctive musical traditions.

Improvisation lies at the heart of both Indian and Persian classical music. According to Kalhor, “The music that we play together reflects the improvisatory styles of our cultures. This means taking a small idea or melodic form or phrase and developing it into something much larger, beyond its primary character.”

Kayhan Kalhor is a master of the kamancheh, the traditional fiddle of Persian classical music who has performed with and composed for some of Iran's greatest artists. As a son of the legendary Ustad Vilayat Khan, Shujaat Husain Khan is a virtuoso sitarist and scion of one of the greatest families of Hindustani (North Indian) music. They are accompanied on tabla by either Swapan Chaudhuri, one of India's most acclaimed artists, or Sandeep Das, a rising star of the younger generation.

The Persian and Indian traditions are, in a sense, musical cousins. In fact, there is a connection that goes beyond the notes themselves: Several centuries of Moghul rule in northern India left a strong imprint on Hindustani music: a result of the mysticism, poetry, and musical subtleties of the Persian language and culture. The name Ghazal reflects that link: in the Persian tradition, a ghazal is a specific genre of poetry, characterized by an unusual blend of ecstatic spirituality and earthy desires. In India, ghazal has evolved into a form of semi-classical music that remains popular to this day, and usually takes the form of a love ballad.» (World Music Institute)

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Sopwith Camel - Fazon (1972)

One of my favourite "summer songs".
Have fun!

Lynda Lemay - Live (1999)

«French Canadian singer/songwriter Lynda Lemay has been a star in her native Quebec since the early '90s, and also has a large following in Europe, where her playful, poignant writing style is appreciated for its compassionate, literate, and often humorous approach to both the large and small requirements of contemporary life. With a novelist's eye for detail and an endearing ability to make light of her own phobias, Lemay writes melodic songs (almost always sung in French) that are fast becoming national treasures in Canada, and her popularity in France stems from her clear understanding of the French chanson tradition.

Lemay was born on July 25, 1966, and grew up in Portneuf near the St. Lawrence River outside Quebec City…» (AMG, read more)

«Des sujets de société les plus divers, Lynda Lemay sait créer des perles poétiques, piécettes tragi-comiques ou photographies d'un instant de vie. De part et d'autre de l'Atlantique, un large public se retrouve dans des textes souvent bouleversants. Depuis le début des années 90, il a alors suffi de quelques chansons pour que cette jeune Québécoise s'impose comme un nom essentiel de la chanson francophone.» (RFI Musique, lisez plus)

Lynda’s official site: click here

Some lyrics here

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Re-Posts

Rachel's – Music fo Egon Schiele (1996)

Dazkarieh – Dazkarieh (2002)

Iva Bittova - River of Milk (1991)

Postcards from Italy (59) - Angels' Band (Ruffia, Piedmont, Italy)

Quartetto Marini - Cantata Profana (1990)

One of the best female Italian folksingers, here in action with her wonderful vocal quartet, in a more experimental mood. Well worth diggin’it!

«Il quartetto vocale nasce nel 1976 con lo scopo di eseguire alcune musiche che avevo scritto con intento polifonico, ma che eseguivo sempre da sola non avendo amici musicisti cantanti in grado di leggere la musica né tanto meno in grado di cantarla come immaginavo. (Vivevo allora nell’ambiente della ricerca del canto contadino e nel mondo della canzone politica, dove i cantori non erano musicisti, ma piuttosto antropologi, sociologi, scrittori, registi, architetti, intellettuali di ogni genere, con la passione della musica, ma senza la conoscenza necessaria a leggere una partitura, intonare in modo perfetto, ecc.).
Piano piano c’è stata un’evoluzione nello studio della musica, negli anni settanta abbandonata la canzone politica, molti sono entrati nel mondo della musica professionale: è nata a Roma la Scuola Popolare di Musica di Testaccio, e finalmente, insegnando in questa scuola che divenne anche centro di confluenza di molti musicisti stanchi del ghetto costituito dai conservatori di musica, incontrai molti giovani appassionati di canto, che già conoscevano le mie canzoni, e con queste (all’epoca erano solo donne) formai il mio primo gruppo polifonico.
Eravamo undici, progressivamente molte dovettero lasciare il gruppo prese dai loro impegni, e così siamo rimaste in quattro.

Dal ‘76 ho incominciato a scrivere per il Quartetto Vocale molti madrigali che ora compongono il nostro repertorio.
C’è stato un avvicendarsi di cantanti, al mio fianco, tutte hanno contribuito con il loro studio e la loro esperienza vocale alla crescita del quartetto. Grazie all’impegno vocale delle mie amiche [Patrizia Nasini, Patrizia Bovi, Francesca Breschi] ho potuto scrivere pezzi sempre più acrobatici. […] Con questa formazione il Quartetto Vocale può ricoprire secoli e secoli di produzione vocale eseguendoli con maestria e rigore: un sogno che non credevo di riuscire a realizzare. Ogni volta che ci incontriamo per cantare è una gioia. In ogni Cantata eseguiamo pezzi da me scritti espressamente per il racconto della Cantata, scritti in partitura, che la grande sensibilità delle mie colleghe permette di cantare come fossero pezzi di tradizione orale. Ognuna di noi ha, a lato, le proprie attività musicali, concertistiche, di insegnamento: Patrizia Nasini è molto richiesta dai compositori contemporanei per eseguire la loro musica grazie ai suoi straordinari colori vocali, Patrizia Bovi ha formato con altri musicisti umbri il gruppo Micrologus di ricerca ed esecuzione di musica medioevale, Francesca Breschi ha un suo gruppo di esecuzione di canzoni d’autore, e inoltre è una magnifica assistente musicale istruttrice di cori e di canto tanto da garantire un’esecuzione perfetta dell’opera a lei affidata. Con queste tre amiche cantare è un piacere.» (Giovanna Marini)

Ringrazio il mio amico Giuliano per il post di questo splendido disco. Many thanx!

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Bembeya Jazz National - Authenticité 73 / Parade Africaine (1973)

«During the 1960s and '70s, Guinea's all-powerful president Sekou Toure created a system of state-sponsored national orchestras and instructed them to create modern interpretations of the country's folkloric music. Toure's policy of authenticité forced bands to meld traditional music with the Cuban styles and Congolese rumba popular at that time. Guitarists learned to echo the fluid melodies of the kora and balafon. Horn sections harmonized ancient airs. Rhythm sections learned how to make indigenous music danceable, arriving at the sound called Manding Swing. Singers affected the grand vocal dynamics of the griots. From the ranks of the National Orchestra came supergroups Keletigui Traore et ses Tambourinis and Bala et ses Balladins. But the great Bembeya Jazz National from northern Guinea proved the most popular of the new dance bands. Formed in the town of Beyla, far from Guinea's capital, Bembeya's success ultimately spread throughout the countries of the old Manding Empire – Mali, Guinea, Gambia and Senegal – legitimizing Toure's cultural renaissance. In 1973, after a long run of blockbuster concerts and recordings, Bembeya suffered the loss of its fabulously charismatic lead singer, Aboubacar Demba Camara in a car accident in Senegal. Down, but not out, Bembeya continued until 1991, largely relying on the strength of Sekou "Diamond Fingers" Diabate, one of African pop's most innovative guitar virtuosos. Today, a few Bembeya veterans carry on the roots pop tradition, notably singer Sekouba "Bambino" Diabate, who has become a major Guinean star, playing with his mostly acoustic ensemble.» (Afropop)

Another good biography here

Full discography here

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Lisboa

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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Northern France

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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The Rough Guide to the Music of Brazil: Rio de Janeiro (2005)

«Cutting down the usual mass of music contained in any given Brazilian compilation, and following the more regional focus of the Bahia Rough Guide, this album covers the more urban music of Brazil — the samba, bossa nova, carioco, and so on. Some electronic samba opens the album, followed quickly by a rendition of a classic Gilberto Gil piece. Fusions of samba with electronica, bossa nova with funk, and MPB with soul and jazz make themselves heard here. The classic compositions of Jobim, Gil, Powell, and others also find their way in simultaneously. Some of the most interesting stuff here is the least standard for the area. Ed Motta sounds like an old Michael Jackson dance record, Beth Carvalho enhances an old piece with notions of "Over the Rainbow." The sounds aren't as contemporary as one might expect given the massive life in Rio currently, but there are some interesting pieces here that make a decent cross-stylistic set.» (AMG)

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Star Band Number One - N°2 de N°1 (2000)

«Number 2 de Number 1 is the second instalment in the Senegalese salsa/mbalax story of Star Band and Number One de Dakar. Number One were the main rivals to Orchestre Baobab in the 1970s. Both had similar sounds apart from the guitars. Baobab's Barthelemy Attiso is the consummate technician and plays quietly but his understated leads creep up on you till you are totally engulfed in his sound. Yahya Fall is more of a chancer: he uses dramatic effects so tube screamer and fuzz-tone pedals pop on when you least expect them and jarringly remind you of acid rock. Star Band are well-known for applying the traditional Wolof instruments sabar and talking drum to Cuban rumba rhythms. Yahya Fall joined the Star Band in 1970 but quit 6 years later, feeling he wasn't getting his due from bandleader Ibra Kassé. He left with other disgruntled musicians and they formed a new band called Starband Numero Un, claiming they had the original members aboard. But Ibra Kassé had the Minister of Internal Affairs on his side and the breakaway group were told to think of another name and leave Star Band alone. Thus they switched the Numero Un to English and became Number One de Dakar. Founder Pape Seck (beloved for his work with Africando) was chef d'orchestre. Other vocalists included Mar Seck and Nicolas Mennheim. Ali Penda Ndoye also joined on trumpet.

But don't expect slick New York-style salsa horn charts, these guys ain't the Fania All-Stars: they have their own ideas about horn playing so there is some very ragged (but charming) soloing on here. And the guitar work shimmers. […] These 15 musicians were the hottest thing going and it was some time before the remainder of the band, fronted by Youssou Ndour, came to rival and then surpass them, as Etoile de Dakar. Two of the five vocalists of Number One were heavily into salsa at the time. Years later one of them, Pape Seck, enjoyed the accolades of the world fronting Africando as a salsero in his final years. But back in the day, like they say, there was still the smoky guitar styling of Yakhya Fall to contend with and, with Mamane Fall on tama or talking drum, it was clear that mbalax was the wave of the future rather than Senegalese salsa. There's a three-man horn section (the trumpeter is the weakest member of the ensemble) and a good bass and rhythm guitar adding momentum to Yakhya's far-out trips.

The tracks are drawn from their third through seventh album releases. (one of the best tracks, #7, listed as "Ngomar," is actually "Lii Lumuy Nuru.") On Mar Seck's "Mory," the guitarist stomps his echo pedals and works out, feeding back and landing the Roland Space Echo, and trying out all the effects at once, over a haunting sustained 4-bar repeated groove punctuated by the tama.» (Muzikifan)

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Coffee Time

Cuarteto Patria & Manu Dibango - Cubafrica (1998)

«Founded by vocalist and maracas player Maria Emilia Garcia, guitarist Pancho Cobas and the group's first director, Francisco Coba La in 1939, Cuarteto Patria achieved international success after guitarist/tres player and lead vocalist Eliades Ochoa assumed leadership in 1978. Under the guidance of Santiago, Chile-born Eliades Ochoa, the group expanded its early bolero and criolla repertoire to include a dance-inspiring mix of son montuno, guaracha and guajira.

Although they released no albums prior to Ochoa's arrival, Cuarteto Patria has released four memorable albums since – A Una Coquesta in 1993, Se Salto Un Leon in 1995 and Cubafrica, recorded with Cameroon-born saxophonist Manu Dibango, in 1998. Released in September 2000, Tribute To The Cuarteto Patria celebrated the band's 60th anniversary.

Cuarteto Patria was featured on Ochoa's solo albums, including his masterpiece, Sublime Illusion, a Grammy nominee in the category of "Best traditional tropical and Latin performance of 1999."» (Craig Harris, AMG)

«This CD opens with a veritable chestnut, the Mexican "Cielito Lindo," played by an African saxophonist and a Cuban son ensemble. The vocals are a bit hokey, yet it works. The idea to get together and record disparate material was born at a gig in France in 1996, and the studio was arranged tout de suite. Dibango plays with restraint, sinuously weaving his warm tones in, under, around and over the by-now telepathically tuned-in-to-each-other players of Cuarteto Patria. On a few tracks, he mostly lays out; on others, his guitarist, Jerry Malekani, joins the proceedings, and the two of them bring in a more African feeling. A very enjoyable session, though not as essential or as ultimately satisfying as separate releases by the participants.» (Janet Rosen, AMG)

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Tamara Obrovac &Transhistria Ensemble - Daleko Je... (2006)

Many thanx to Mladen from Zagreb for this post!

«The composer singer and flutist Tamara Obrovac from the Croatian city of Pula is one of the most impressive artists on the Croatian music scene, and in the past few years she has become very popular due to the influence of the Istrian folk music that has been the creative force of her works. Istria is a beautiful Croatian region, a North Adriatic peninsula, particular for its musical and dialectal tradition. She writes lyrics in a local dialect and sings in an ancient dialect which is not spoken any more – the Istriotic dialect.

In addition to her international concert activities she composes for theatre performances, cartoons, movies, musicals, etc. and she is also a member of the international Balkan winds ensemble. Tamara has released four author CDs; 1996 Triade, 1998 Ulika, 2000 Transhistria, and with the last one Sve pasiva / All fades away, 2002, she remains true to her expression bound with her native Istria. Her international Transhistria Ensemble incorporates elements of Istrian and Mediterranean national music, jazz, and many elements of modern music skilfully and naturally, “the warm bowed and stringed instruments played by the excellent musicians from her current Transhistria Ensemble make up genuine musical mohair, warming and softening even the chilliest of souls.”

Her music, completely original and autochthonous, goes beyond time and geographical boundaries, thus becoming a universal artistic message, establishing Tamara Obrovac as an exceptional artist who managed to create her own unique musical expression.

This creative musician has become known for her highly aesthetic performances, her interpretations are suffused with spontaneity, inventive improvisation, freedom, humour and the ability to communicate with the audience, an artist of a strong persona, a life and artistic force able to enchant any audience; there is undeniably more than a few ways to define Tamara Obrovac. It’s like those who write about her are competing to produce the most extravagant discourse to describe her stroke.»

More info and complete biography in Croatian, English, Italian & French at:

www.tamaraobrovac.com

“My approach towards music went from jazz standards, through my own compositions, to my finding of an original expression by connecting the language of the folk music of my homeland (Istria, Croatia) with the rhythms and improvisation typical for jazz, so jazz is my freedom and my roots are my inner truth” - Tamara Obrovac

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The Rough Guide to Bhangra (2001)

«The Rough Guide to Bhangra marks a milestone in the history of Bhangra by bringing together, for the first time ever, most of the key artists and labels onto one CD. Every track is a classic, no padding, no 'fillers', just hit after hit. You don't need to understand the words, just get the vibe.

From humble beginnings in the North Indian Punjab region, where Bhangra began as traditional folk music, the last half decade has seen it transported to Western Europe, a million miles away, to be missed with every music style non-Asian could throw at us: house, hip-hop, swing, reggae, drum'n'bass and UK garage. British Bhangra has merged with flying colours in its own styles. Bhangra music is now Britain's major Asian export, accounting for huge sales across the world notably in other parts of the scattered Asian diaspora.

What hasn't changed from the Punjabi villages, though, is that the music is still simply brilliant. Vibrant, colourful, entertaining and exhilarating, this music is built for dance with the dhol, the tumbi, the alagozi, the electric guitars and synths, the hook lines, catching lyrics, 'chak de pahtteys' and 'hoi hois' amid the dance moves – playful skipping, jubilant arm waving and expressive facial expressions.» (DJ Ritu, Red Hot Curry)

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Les Bantous de la Capitale - 1963-1969 (1993)

«Attention, groupe mythique! En effet, son histoire commence lorsque six musiciens, auteurs, compositeurs jouant dans diverses formations déjà réputées (Rock-A-Mambo, OK Jazz, Négro Jazz…) à Léopoldville – aujourd’hui, Kinshasa – rejoignent leur Brazzaville originel au début de l’indépendance.

C’est précisément le 15 août 1959 que se créent les Bantous de la Capitale qui ne tarderont pas à devenir l’emblème de cette époque cruciale de l’histoire du pays et les pionniers de la rumba congolaise. Après maintes séparations et re-formations, le groupe compte encore aujourd’hui dans ses rangs quatre des membres originaux.

Le quartet de doyens que constituent Nino Malapet, Essous Jean Serge, Nkouka Célestin et Edo Nganga est désormais renforcé par la présence de jeunes et moins jeunes artistes.

Plus qu’un groupe, les Bantous de la Capitale représentent également une véritable institution et une authentique tranche du patrimoine historique de la musique africaine en général et congolaise en particulier.» (Les Bantous de la Capitale’s MySpace Page)

Les Bantous de la Capitale – Live in Njimegen (Holland), 2007
More (beautiful!) pics and concert review at Vibes d’Afrique

«On the 15 August 1959, les Bantous de la capitale played their first concert in Brazzaville, one year exactly before independence was granted to the Republic of Congo. At that time, quite a lot of local music fans were surprised to discover that the famous musicians who had founded this ensemble actually ranked among their fellow countrymen.

At that time, Jean-Serge Essous, Dieudonné «Nino» Malapet, Saturnin Pandy, Edouard «Edo» Ganga, Célestin «Célio» Kouka and Daniel Loubelo «De la Lune» were the forerunners of a musical movement which was to turn the culture of Central Africa upside down.

On the other bank of the Congo river, in Léopoldville (present day Kinshasa, capital of former Zaïre, and of present day Democratic Republic of the Congo), they lit the spark which was to give birth to the very first urban orchestras, which in turn unleashed a craze for Congolese rumba which was to spread to the four corners of Africa and beyond. Suave voices, elegant guitars, sensual melodies and a discreet beat – this was the style which became a musical expression of the Pan African ideal borne of the struggle against colonialism.

In fact, the Bantous played an important role in the breakthrough of two formations which were to dominate the Kinshasa music scene, African Jazz and OK Jazz. After having followed the launch of the former, they created the latter – Essous and De la Lune became its band leaders.

Later, a compilation called Pont sur le Congo, featuring hits by OK Jazz and the Bantous side by side, was a clear record of this filiation creating a sonic chain linking «the two closest capitals in the world». Kinshasa has often been the focus of musical interest, often at the expense of Brazzaville and this compilation aimed to put the record straight. It also emphasised the unique and irreplaceable role of the Bantous de la capitale in pushing rumba into the limelight.

This is a long story which started one summer, 48 years ago […]» (Bureau Export, Read more)

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