Tabla Beat Science - Tala Matrix (2000)

«The North Indian drums know as the tabla were said to have been invented in the 13th century by Amir Khusrau, a disciple of the Sufi saint Hazrat Nizemuddin Aluya. At the time, Khusrau sawed a pakhawaj (a single two-headed wooden drum) in two. Though no one may never know exactly why Khusrau felt it necessary it to saw a pakhawaj in half, his act gave birth to the tabla. Since that time, the tabla have been conceived to accompany vocalists and such instruments as the sitar (a multi-stringed lute), bin (a seven-stringed tube zither), venu (a side-blown cane flute), saord (a lute with a parchment soundboard and metal frets), and the sarangi (bowed lute).

The late Ustad Alla Rakha, who played for many years with Ravi Shankar, is widely credited with having expanded the repertoire and the role of the tabla. Thanks in great part to his ingenuity and determination, today the tabla is no longer considered to be merely an accompanying instrument. In honor of his impressive contributions to the world of tabla, the musical consortium known as Tabla Beat Science has dedicated their debut CD, Tala Matrix, to the memory of Ustad Alla Rakha. By asking some of the most highly regarded tabla players in the world to play with a variety of musicians and programmers, producer and bassist Bill Laswell has essentially appropriated the ancient tradition of the tabla and fused it with contemporary electronica studio wizardry. Tabla Beat Science is comprised of Ustad Alla Rakha's son and tabla superman Zakir Hussain, venerated sarangi player Ustad Sultan Khan, Indian and jazz percussion innovator Trilok Gurtu, New York drummer Karsh Kale, bass and drum visionary Talvin Singh, music programmer Brad Somatik, and producer/bassist Bill Laswell. Laswell, who “conceived and constructed” the CD, acts as the catalyst for the outfit, adding the bottom end with his dub basslines and the overall aesthetic with his studio prowess. More of a consortium than a full-blown collaboration, not one of the songs on Tala Matrix features all members of the group. Zakir Hussain's many tracks are among the best on the album, though Trilok Gurtu's funky Big Brother and Talvin Singh's Don't Worry.com are both extremely compelling. The often zombie-ridden doldrums of electronica should benefit immensely from this experimental union with tabla. An excellent CD that deserves to be heard many times by many people, Tala Matrix manages to be innovative without loosing sight of tradition.» (AMG)

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Lokua Kanza - Wapi Yo (1995)

Pascal Lokua Kanza was born in Zaire, the first of eight children. After his father died tragically while captaining a ship at sea, Kanza helped provide for his family by taking part-time jobs while he was still in school. Setting aside a few hours each day to teach himself guitar, he soon began playing with friends in local bands. As he got older, his approach to music grew more serious. After studying at the Kinshasa Music Conservatory and performing with Abeti in Zaire, Kanza moved to the Ivory Coast for a fresh start. For three years, he played guitar and handled vocal duties for a handful of African bar bands. After being accepted to Paris' prestigious CIM, Kanza moved there to study jazz and was given the opportunity to perform with many of his role models. Working with Franky Vincent, La Mafia, Ray Lema, and Papa Wemba, Kanza continued to carve out his own style while making valuable connections. In 1991, he joined the Soul Makossa Gang after adopting his middle name as his performance moniker. 1992 saw Kanza debut his own material, first in a performance with Angélique Kidjo and later on his first solo offering. Intent on honoring his musical heritage, Kanza crafted an album of honest and intimate songs in a small studio, while keeping post-production to a minimum. The accolades that followed helped Kanza attract the attention of Youssou N'Dour, who invited Kanza to sing on Womat. In 1994, he reunited with Papa Wemba at Peter Gabriel's Real World Studios to lend his talents on Emotion. His experiences that year culminated at the African Music Awards when in December, he was awarded Best African Album for his solo debut. In 1995 Kanza released his second effort, Wapi Yo. After working with Geoffrey Oryema later that year, Kanza picked up his second African Music Award. In 1998, he appeared on Natalie Merchant's Ophelia and began work on his third album. 3 expanded where Wapi Yo left off, featuring a broader, more orchestral sound. In 2002, he returned to subtlety, releasing Toyebi Te'. Although the folk-tinged album was a more restrained affair than 3, Kanza brought in a variety of guests to lend their talents.» (AMG)

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The Roots of Chicha - Psychedelic Cumbias from Peru (2007)

An amazing compilation! Guaranteed: you’ll love Chicha!

«Chicha started out in the late 60’s, in the oil-boom cities of the Peruvian Amazon. Cumbias Amazonicas, as they were first known, were loosely inspired by Colombian cumbias but incorporated the distinctive pentatonic scales of Andean melodies, some Cuban guajiras, and the psychedelic sounds of surf guitars, wah-wah pedals, farfisa organs and moog synthesizers.
Chicha, which is named after a corn-based liquor favored by the Incas, quickly spread to Lima. It became the music of choice of the mostly indigenous new migrant population – mixing even further with rock, Andean folklore and Peruvian creole music.
Very much like Jamaican Ska or Congolese Soukous, Chicha is western-influenced indigenous music geared toward the new urban masses who wholly identified with the new hybrid . Chicha is at once raw and sophisticated -–and until now, it had never been released outside of Peru.» (Barbés Records – click for many more infos)

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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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Re-Posts! Re-Posts!

Le Palm-Jazz de Macenta - Les Palmes du Succes (1979)

A great and very hard to find Syliphone (SLP 73) release from Guinée-Conakry. More to come!

«Guineans celebrated the dawn of a new era in 1958, waking up to their newly won independence. But once the celebrations had died down, President Sékou Touré was faced with a harsh reality. After years of French cultural influence, the former colony had totally lost touch with its musical heritage and its own cultural roots. When President Touré wished to organise a grand musical gala in Guinea, he had to call in ET Mensah, the Ghanean king of high-life, because no local group had ever developed a repertoire based on traditional home-grown songs and rhythms.
In a bid to turn this disastrous situation around, President Touré instituted a government initiative based on reviving authentic Guinean culture and creating a popular style of Guinean music by modernising tradition. President Touré saw in this cultural initiative a vital means of forging an all-important sense of national pride amongst his compatriots.
National orchestras were set up in Guinea and members automatically acquired the status of civil servants. Meanwhile, each individual region of Guinea organised its own federal orchestra. The orchestras were encouraged to compete on a regular basis, coming together at a national contest which involved pre-selection auditions across the country before a grand final in Conakry.
Meanwhile, the state-owned label Syliphone played a supportive role in this elaborate national structure. Syliphone was responsible for releasing 33rpm and 45rpm recordings by the best groups in the land. These were made in the studio of the national radio station which dipped into these precious music archives to fill its programmes, Western sounds having been banned from the airwaves.» (More at RFIMusique)

Radio Africa’s Complete Illustrated Syliphone Discography here.

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Martin Stephenson & The Daintees - Salutation Road (1990)

«Martin Stephenson's English brand of folk/roots rock underwent a cultural translation of sorts on Salutation Road. For this album, he traveled to the U.S. to work with Los Angeles-based producer/guitarist Pete Anderson and engineer Dusty Wakeman. At this point, Anderson and Wakeman were best known for their involvement in the burgeoning Bakersfield sound of the 1980s – especially their work with Dwight Yoakam. The pairing of the Geordie with these equally roots-minded Americans in the town south of Bakersfield, along with the participation of a stellar group of musicians from the Anderson-Wakeman circle, was a mouthwatering proposition. Stephenson's first two albums (Boat to Bolivia and Gladsome, Humour & Blue) had displayed a considerable stylistic range; that versatility is not diminished here. Working within his familiar folk-rock idiom, Stephenson incorporates simple acoustic fare ("Morning Time"), more jazzy numbers ("Heart of the City"), and even a smattering of Latin grooves ("Long Hard Road"). With its smooth beat and sunny horns, the latter is the standout track. Although the making of Salutation Road took Stephenson far from home, he didn't forsake his roots in the northeast of England. This is especially clear in thematic terms, as Stephenson pays homage to his Geordie origins on the title track with its joyous brass and on "Big North Lights," which is enhanced by the warm melody of Skip Edwards' Hammond. "Left Us to Burn" takes a more politicized look at the Northeast, denouncing the Thatcher government's betrayal of the region's coal miners in the 1980s. In comparison with his previous recordings, the expansive arrangements of Salutation Road offer a grander setting for Stephenson's talents as a singer/songwriter.» (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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Postcards from Italy (62): Stairs (Bernalda, Basilicata)

Darker Than Blue: Soul from Jamdown 1973-1980 (2001)

«Arriving months before this Blood & Fire compilation was a similar release from Soul Jazz Records. Studio One Soul was just that, a collection of 18 covers of American soul tunes by the famous Jamaican label's finest '60s and '70s artists. Darker Than Blue however, has a distinct advantage over its predecessor. As it is not tied to the output of any one particular label, it manages to come up with a selection that's broader in scope and more diverse in sound. Bassist Boris Gardiner's band, with the help of organ maestro Leslie Butler, gets the proceedings off to a superb start with "Ghetto Funk," one of two originals that bookend the set. A series of gems follow. Carl Bradney turns out a suitably heavy version of War's "Slipping into Darkness," Al Brown adds a touching reading of Bobby Bland's "Ain't No Love in the Heart of the City," and Freddie McGregor performs a wake-up call to the silent majority via George Jackson on "Get Involved." Though Sly Johnson's "Is It Because I'm Black?" can also be found on Studio One Soul, there's plenty of room for another version, particularly when the artist in question is Ken Boothe. Stripping away the horns that appeared on the original U.K. pressing, this mix reveals the rhythm in all its glory, letting it churn between Boothe's exceptional verses. Following a series of love songs, Darker Than Blue delivers another series of excellent reality themes. Among them are the Curtis Mayfield song that titles the set (performed by Lloyd Charmers) and Timmy Thomas' "Why Can't We Live Together?," presented in discomix form by Tinga Stewart and the Revolutionaries. The finest in Jamaican reggae meets the finest in American soul – the combination is superb.» (AMG)

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Music of Cyprus / Kibris'In Sesi / Tragoudia Tis Kyprou (2007)

Greek and Turkish Cypriot musicians present the musical traditions of the island of Cyprus.

Directed by Mehmet Ali Sanlikol (voice, ud, cura, zurna, ney, kaval, def)

Musicians:
Theodoulos Vakanas (violin, voice Panayiotis League, kemençe, lyra, laouto, davul, voice)
Cem Mutlu (percussion)
Engin Günaydin (voice, percussion)
Noam Sender (voice, ney)
Robert Labaree (voice)

Produced by DÜNYA

I. Wedding Songs / Düğün Müzikleri / Tou Gamou
1. Kozan Marşı/Syrtos (Turkish and Greek)
2. To Tragoudi Tou Gamou (Greek)

II. Love Songs / Aşk Şarkilari / Tis Agapis
3. Sabahın Seher Vahdında (Turkish)
4. Dolama/Na Sou Goraso Mihanin (Turkish and Greek)

III. Sacred Music From Cyprus / Kibris'ta Dini Müzik / Thriskeftiki Mousiki Tis Kyprou
5. T'ai Giorki (Agios Giorgis, Greek Orthodox para-liturgical song)
6. Sem-i Ruhuna (ilahi: Sufi devotional song)

IV. The Village / Köy / To Horkon
7. Abdal Zeybeği/Aptalikos (Turkish and Greek)

V. Cyprus "Re-Constructed" / Kibris'ta "Geçmise Yolculuk" / Kypros: "Mousiki Anadromi"
8. Kartal (Turkish)
9. Sousta (Greek and Turkish)

VI. Dance Songs / Zeybekler / Zeybekikos
10. Varys Zeybekikos (Greek)
11. Sarhoş Zeybeği/Ime Tze Ganomatzis (Turkish and Greek)

VII. Music Of Cyprus / Kibris'in Sesi / Tragoudia Tis Kyprou
12. Agapisa Tin Pou Karkias (Greek)
13. Feslikan/Syrtos (Turkish and Greek)
14. Orak/To Mashairin (Turkish and Greek)
15. Dillirga/Tillyrkotissa (Turkish and Greek)

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John Martyn - May You Never (Old Grey Whistle Test, 1973)

Kutumba - Folk Roots (2005)

«The word ‘Kutumba’ holds a special meaning in the Nepali language. It stands for a unique bond amongst community members. As their name, Kutumba is all about bringing together traditional folk tunes and instruments with new and improvised sounds and ideas.

Kutumba is a folk instrumental ensemble, group of seven professionals from Kathmandu. Having come together for the preservation of their culture and art, Kutumba wishes to spread love and joy of Nepali folk music throughout the world. Self motivated and self driven, Kutumba is a group with their own unique sound and vision.The seven members have different roots and backgrounds in music. Kutumba is the harmony of traditional roots, culture and new sounds.» (Kutumba’s Official Site – Click for more info)

Many thanx to Bijay for this post.

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Jack DeJohnette & Foday Musa Suso - Music from the Hearts of the Masters (2006)

«When Foday Musa Suso teamed with drummer Hamid Drake in the ‘80s to form the Mandingo Griot Society, the usage of kora and the American drum kit was a novelty, and successfully but precariously placed the traditions of African village music and jazz oriented polyrhythms in a new place. Suso and the veteran drummer Jack DeJohnette team up in duets that do not juxtapose, but complement the rhythmic strengths of the different instruments, creating a language of their own. Suso is happy to play the vibrant shimmering melodies his 21-string instrument uniquely brings to the table, while DeJohnette adopts a sensitive, supportive rather than similarly melodic role, forming funky beats, cymbal accents, and colorations that shade rather than drive the music. There are two traditional pieces: "Kaira" sports a repeat melody buoyed by DeJohnette's slight R&B strut, while "Sunjatta Keita" is a simple 4/4 jam. The delicate, organic, minimalist blending of instruments during "Rose Garden" displays an extension of traditions, while the 6/8 "Mountain Love Dance" evokes the kind of magnificent natural sounds you expect from these two. A loose drum solo and kora separate traded-off identities in "Voice of the Kudrus," there's a boogaloo flavor from DeJohnette for "Ocean Wave," and Suso's kora cascades on the danceable and playful "Worldwide Funk." The sound of the hunter's guitar or douss'n gouni is featured on "Ancient Techno." Though DeJohnette is also known for playing piano, hand drums, or electronics, none of that is present here, nor much of a mainstream jazz content. It is a consistent and playful dialogue between two incredible musicians who need no definitions, restrictions, or guidance to make their spare, soulful, diverse, and heartfelt original music happen.» (AMG)

«Temporaneamente libero dagli impegni col trio di Keith Jarrett, che predilige ora i "solo-concerts", Jack DeJohnette si diverte ad esplorare la musica ad ampio raggio, con la curiosità e la voglia di aprire nuovi scenari che lo possano stimolare. A 64 anni, il grande batterista di Chicago che vive a Woodstock passa da un’avventura all' altra, dal duo con John Surman e orchestra al trio con John Scofield e Larry Goldings. Ed ora al dialogo afro-americano tra l’etno e il jazz con Foday Musa Suso, il virtuoso della kora, che è una specie di arpa tribale della cultura africana. […]

Enciclopedico maestro delle percussioni ma anche buon pianista, Jack DeJohnette non è solo uno dei batteristi più importanti della storia del jazz, ma un vorace esploratore del ritmo e della musica a 360 gradi. La sua libertà di battuta "dentro" e "fuori" del tempo lo rendono unico e adatto a qualsiasi tipo di cultura sonora. L' incontro con Foday Musa Suso, che non è uno di quei menestrelli etnici chiusi e dogmatici, sembrava in qualche modo predestinato.

La storia: dopo il blues, primo amore, Jack scopre il jazz al liceo. Diplomato al conservatorio e all’università, passa dal piano alla batteria emigrando nel 1966 a New York. Tra il 1970 e il ‘72 entra nella band di Miles Davis. E da allora, richiestissimo, collabora con i più grandi. Per fare solo qualche nome: Ornette Coleman, Sonny Rollins, Chet Baker, Pat Metheny, Herbie Hancock, Dave Holland, Lester Bowie, John Abercombie e, soprattutto, Keith Jarrett nel supertrio con Gary Peacock al contrabbasso.

Fenomenale solista di kora e discendente dei Griot, i cantastorie africani di antica dignità ancestrale, Foday Musa Suso è universalmente riconosciuto come un fuoriclasse della world music. Nato in Gambia, è cresciuto a stretto contatto con le tradizioni e la cultura della sua terra. Ma da quando nel 1970 si è trasferito a Chicago, non a caso la città natale di DeJohnette, la sua carriera si è aperta alle collaborazioni con gli artisti più diversi come Herbie Hancock, Philip Glass, Pharoah Sanders e Ginger Baker. Nei dieci brani di Music from the hearts of the masters Jack DeJohnette e Foday Musa Suso […] spaziano dal jazz improvvisato alla world con un’attenzione particolare all’evoluzione del ritmo in un crescendo […] spettacolare e coinvolgente.» (Repubblica)

Vedi anche Mandingo Griot Society.

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The Wailin' Jennys - Firecracker (2006)

«Though Cara Luft, a founding member of the Wailin' Jennys, was replaced by Annabelle Chvostek, the band's tight harmonies and pretty folk songs haven't changed at all on their second album, Firecracker. In fact, they've even gotten better. Chvostek's voice is seductively low and versatile, and it blends well with and adds a lot of strength and depth to the higher ranges that Ruth Moody and Nicky Mehta provide. All three Jennys are also great songwriters, and everything on the album is well done, with thoughtful reflective lyrics about love and friendship and death, the cold autumn wind of the Canadian prairie blowing through the record, shaping and influencing the mandolin, the banjo, the acoustic guitar, the violin, the National Steel. It's music with a dark, sweet edge, like it understands the pain in the world but still chooses to focus on what's good instead. "Swallow," though in its attempt to maintain rhythm and rhyme the lyrics can occasionally sound a little corny ("You got me, arrow shot me/Now come connect the dot me"), lilts along like the bird itself as it explores love's transience, while "Avila" is simple and pretty, with a delicate chorus of "O sweet peace never have you fallen/never have you fallen upon this town," sung in three-part harmony, that sense of longing lodged between the notes of a slow, aching electric guitar solo that winds its way through the song. A similar feeling is also apparent in "Glory Bound," manifested as a desire for a reprieve from life's hardships. It's not morbid, it's simply sad and honest in that uplifting way that only country and folk music can be. There is a melancholy that lies within many of the Wailin' Jennys' songs, but there's still an overwhelming sense of hope and happiness that is even stronger, and makes Firecracker a really great, uncontrived album.»

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

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Dave Grusin - 3 Days of the Condor (1975)

A great soundtrack to a great movie! Check’em out!

«Dave Grusin adopts a superb white funk sound, incredibly crisp and clean. The orchestra on this album are unbelievably tight, and very funky. It's a mix of short funk themes and longer strings-laden tracks. The theme is superb, and much covered, and check out "Flight Of The Condor".» (Blaxploitation)

«In the 1970s, when prominent movie stars started to become the driving forces behind films, the jazz musician Dave Grusin was a favorite choice for film composer by several above-the-title male actors, notably Robert Redford, Paul Newman, and Warren Beatty. Redford starred in director Sydney Pollack's spy thriller 3 Days of the Condor, and Grusin got the scoring nod. The film was set in the New York City of the present day, the present day being 1975, and Grusin turned in music imbued with familiar elements of jazz fusion and R&B-funk. His "Condor! (Theme From 3 Days of the Condor)" could have been the instrumental track for a Steely Dan song of the time, and "Yellow Panic" was one of several tracks to employ wah-wah guitar à la Shaft. "Yeah! Make it funky," declared Jim Gilstrap at the outset of "I've Got You Where I Want You," a funk workout.» (AMG)

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Three Days of the Condor (1975) movie trailer

Anouar Brahem, John Surman & Dave Holland - Thimar (1998)

«The role of the Arabic, lute-like, stringed instrument, the oud, has been revolutionalized through the playing of Anouar Brahem. While used in the past to accompany vocalists, the oud is used by Brahem as an imaginative solo instrument. In 1988, Tunisian newspaper, "Tunis-Hebdo", wrote, "If we had to elect the musician of the 80s, we would have, without the least hesitation, chosen Anouar Brahem". The British daily newspaper, "The Guardian", wrote that Brahem was "at the forefront of jazz because he is far beyond it"…» (More here)

«A strikingly attractive "transcultural" project initiated by Tunisian oud virtuoso Anouar Brahem, who is both an innovator and a traditionalist in the deepest sense (he has been credited with "restoring the sovereignty of the oud" in Tunisian music). There is no glib fusion of traditions on Thimar but rather a coming together of three very distinctive musicians who sacrifice none of their individuality in the search for common ground. Arab classical music and jazz are the reference points here, but Anouar Brahem, John Surman and Dave Holland meet as improvisors not limited by genre definition.» (ECM)

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The Strawbs - When the Sun Came Shining Through (1969)

A little gem from the past.

Re-Up

Gal Costa - Gal Costa (Cinema Olympia) (1969)

Postcards from Italy (61): L'Aquila (Abrutium)