Spring Season II

Cissoko - Bakine Percussion (2001)

«The Senegalese Jules Souleymane Cissokho, together his brother Moussa Cissokho, created the percussion group "Cissoko Bakine Percussion". It is a wonderful album inspired by traditional African music and instruments, including the balafon played by Lansiné, the peul flute, the kora and a mixture of djembé. Listen»

«Le Sénégalais Jules Souleymane Cissokho, avec le concour de son frère Moussa Cissokho crée le groupe de percussion appelé "Cissoko Bakine Percussion". C’est un superbe album de musique traditionnelle africaine avec le balafon de Lansiné, la flûte peul, le kora et un mélange de djembés. Écouter»

«Der Senegalese Jules Souleymane Cissokho hat gemeinsam mit seinem Bruder Moussa Cissokho die Gruppe "Cissoko Bakine Percussion" gegründet. Das Album basiert auf traditionneller afrikanischer Musik mit Lansiné am Balafon und anderen traditionellen Instrumenten, wie die Peul-flöte, die Kora und einer Mischung aus Djembé. Anhören» (Lansiné Kouyaté)

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Rogério Tavares - Galope (2004)

«Rogerio Tavares is undoubtedly one of the greatest new talents to play Spanish guitar. This exceptional debut album somehow manages to mix the traditional side of Brazilian traditions with modern influences. His superb mastery of the Spanish guitar is evident on nearly every track, but unlike many players he brings in very light touches of electronica to help fuse the sounds. Galope is an intimate, introvert album, sometimes sad, sometimes joyful, with flashes of serenity and warmth, rhythm and party.» (Amazon)

«Rogério Tavares nasce a Pau dos Ferros, (Brasile). Comincia a suonare la chitarra all’età di dieci anni per accompagnare il papà al canto e prosegue gli studi da autodidatta e in parte presso il conservatorio di Natal, Brasile. La musica non lo abbandonerà più nelle riunioni in famiglia, tra amici e nelle prime esibizioni in pubblico nel Nord-Est brasiliano dove cresce e prende la maggiore influenza ed ispirazione per la sua musica. Cantante e compositore, vive stabilmente in Italia dagli anni 90. Partecipa ai festival latino-americani di Modena, Torino e Bologna e alle manifestazioni Blu Rimini (RN), Radio Villazza (VC), Appennino Music Festival, Veneto Jazz Festival. Nel 2004 esce Galope, il suo primo lavoro discografico, distribuito da Halidon (H.squared), ma anteriori e successive sono le collaborazioni con altri artisti e la realizzazione di alcuni brani per compilation. Il suo ultimo disco è Round, Tavares Quintet (vedi http://www.myspace.com/tavares5%29.).» (MySpace)

Intervista a Rogério Tavares qui.

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Spring Season

Urban Trad - Erbalunga (2007)

«Une rencontre entre musique traditionnelle et arrangements contemporains, folk ancré dans le XXI e siècle... C'est ce que propose le groupe Urban Trad […]. Composé de six musiciens et de deux chanteuses, Urban Trad est né avec le nouveau millénaire en Belgique, lorsqu'un folkeux, Yves Barbieux, rassembla autour de lui, pour un premier CD, une vingtaine de musiciens de la scène belge.

Huit ans et quelques albums plus tard, le groupe s'est taillé une solide réputation sur de nombreuses scènes d'Europe, sillonnant les festivals de l'Espagne au Danemark, en passant par la République tchèque, la France, l'Italie ou le Royaume-uni. Rejetant l'idée de frontière et de barrières culturelles, Urban Trad mêle les langues, chantant tant en français et en néerlandais qu'en castillan, en galicien, en suédois, ou même en un langage imaginaire qui avait fait leur succès en 2003, pour leur single "Sanomi". Des barrières qu'ils font également tomber à travers leur musique, qui fut un temps fortement inspirée par le trad’ celtique, mais qui s'est depuis élargie à toute l'Europe.» (Le Télégramme)

Official site here: Français, Nederlands English Español

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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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Dengue Fever at Póvoa de Varzim

Movers! A collection of greasy soul, sleaze funk, psychedelic cumbia, fuzzy jazz and more... (2006)

«Greasy soul takes on a rather visual meaning with Andre Williams demanding his “chicken thighs” (“I’d give my right eye for a thigh, ‘coz I’m a greedy greedy man”) in Vampisoul’s Movers. And the food theme continues in “Soul Butter” and there are other rarities here some people would chew their right arm off for.

This is real dirty soul: some of the production is appalling, raw, untouched, and it’s precisely this which gives the finishing touch to the energy, the raw soul energy.

You’ll hear horn lines lifted straight from James Brown (Nathaniel Mayer’s “I Want Love and Affection” in all its fuzzy gloriousness), Lucho Macedo’s version of Tito Puente’s “Guayaba” has a Santanaesque solo of epic proportions and The Soul Survivors version of Otis Redding’s “Respect” is glorious (apart from the ridiculous and highly annoying whistle noises).

The fuzziness reaches levels you rarely come across and the whole collection demands massive respect for Vampisoul for yet again pulling some classics out of the vaults. Twenty-three Spanish and American filthy soul tracks to get you going.» (Fly)

Vampisoul’s website: http://www.vampisoul.com/

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Riccardo Tesi - Presente Remoto (2007)

«A composer, an instrumentalist and a researcher: these are the aspects of the complex and multifaceted musical personality of Riccardo Tesi, a true pioneer of ethnic music in Italy.

From his debut in 1978 with Caterina Bueno, strongly rooted in the folk tradition, to the present day collaborations, the musical curriculum of Tesi, born in Pistoia, is characterized by a precious continuity based on eager passion and curiosity that have led him to compare his Tuscan heritage to the Italian, Basque, English, French and Madagascar traditions, as well as to jazz, liscio (Italian popular dance music) and songwriting.

His instrument, the diatonic accordion (melodeon), is an example of perfect symbiosis with his conception of memory. For the first time in Italy, he even dedicated a whole record to this instrument, a forerunner of the accordeon.

What is amazing about Tesi is his easily recognizable style, allowing his concertina to speak both an archaic and modern language, widening the vocabulary and the technique of an instrument for a long time preserved as part of a traditional heritage. A brilliantly outdated choice that places Tesi, thanks to his lyrical and virtuoso skills, among those who have brought the accordeon and all the instruments alike back to their dignity all over the world.» (Riccardo Tesi’s official website. Click here for more info)

Presente Remoto is a nice collection celebrating Riccardo Tesi’s 30-year career in the music biz.

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Gladys Moreno - El Disco de Oro (1987)

«Gladys Moreno es, sin duda, la intérprete más notable de la canción boliviana. Nacida en Santa Cruz de la Sierra, con su voz transformaba en clásicos las canciones que interpretaba. [...] Las décadas de 1950 y 1960 marcan el período más notable y activo de doña Gladys, con permanentes giras y recitales a lo largo y a lo ancho de Bolivia; período que también es el de sus más difundidas grabaciones, muchas de las cuales fueron realizadas por el Maestro Daniel Salinas en el Brasil. No es arbitrario que ese período haya sido de la articulación entre el Oriente y el Occidente de Bolivia. Desde Santa Cruz doña Gladys Moreno tendía con su canto otro puente, donde las cuecas, digamos, convivían perfectamente con los taquiraris.» (La Pascana de Gladys Moreno)

«Gladis Moreno Cuellar nació en la ciudad de Santa Cruz de la Sierra, el 28 de Noviembre de 1933 [...]. La afición por la música empezó desde corta edad interpretando chovenas y taquiraris que escuchaba cantar a su madre, ya en la escuela era la voz preferida de maestros y alumnos en las horas cívicas, cuando cumplía los 13 años se presento en una función de beneficencia, donde fue admirada por la gracia y prestancia que acompañaba su cálida y exquisita voz.

Durante varios años radico en la ciudad de La Paz, [...] donde [...] realiza sus primeras grabaciones discográficas en el sello “Méndez”en discos de 78 rpm con el marco musical del conjunto Nacional “Los Planetas”. [Esos discos] incluyen los taquiraris “Haragán” y “Cuando un Camba se enamora”, el bolero “Para decir te quiero” y la polka “Vida de mi vida”, grabaciones que son todo un éxito en el País; posteriormente realiza una gira a la Republica del Brasil donde su arte es bien apreciado en muchos escenarios de Río de Janeiro y San Paulo llegando a grabar en el sello “Masterdisc” de la RCA Víctor internacional junto a la gran orquesta del maestro Daniel Salinas cuyo trabajo esta considerado como la mejor etapa del arte de la “Señora de la Canción” en el que se citan obras de los mejores compositores bolivianos. [...]

En 1962, [Gladis Moreno] es nombrada “Embajadora de la Canción Boliviana” y posteriormente canta en la sede de la OEA. Su arte ha sido reconocido por el Gobierno al recibir la condecoración del “Cóndor de los Andes”y de varias instituciones publicas y privadas del País, declarada ciudadana notable en su natal Santa Cruz, de donde es fiel exponente de la música, el canto y el estilo oriental con una técnica completa que nunca fue igualada, convirtiéndola en dueña de una voz de dulce sonoridad, de fonación exquisita, que con una correcta dicción expresa inigualables emociones y sentimiento, con la que dejo impresa muchas grabaciones de la que destaca la canción mas popular que se canta en su tierra, el taquirari del Compositor Orureño Gilberto Rojas “Viva Santa Cruz”. [...]

La “Diva de la Canción Boliviana” falleció en su ciudad natal la noche del jueves 3 de Febrero del año 2005, a consecuencia de un infarto; sus restos fueron velados en el Salón Los Cirios, donde recibió varios homenajes de las instituciones y el publico Boliviano.» (Pentagrama del recuerdo)

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L’âme du Gospel: la lumière du peuple noir (1994)

A great cross section of ultra-legendary Gospel performers, somewhat to my surprise ignored by the Internet world. The track listing speaks for itself: 27 timeless songs from some of the best Gospel singers (and bands) of all times:

Disc One

1. "Oh Happy Day" -The Edwin Hawkins Singers
2. "He's Got The Whole World In His Hands" -Marion Williams
3. "How Many Times" -Alex Bradford
4. "Nobody Knows The Trouble I've Seen" -Mahalia Jackson
5. "Said I Wasn't Gonna Tell Nobody" -The Abyssinian Baptist Choir
6. "Shadrack" -The Golden Gate Quartet
7. "Go Down Moses" -Louis Armstrong
8. "Didn't It Rain" -Marion Williams
9. "Old Ship Of Zion" -Bessie Griffin
10. "Pray On" -The Staple Singers
11. "Joshua Fit The Battle of Jericho" -Mahalia Jackson
12. "Hush!" -The Golden Gate Quartet
13. "That's Enough" -Dorothy Love Coates & The Original Gospel Harmonettes
14. "I Want To Ride That Glory Train" -The Abyssinian Baptist Choir
15. "I've Been Bucked" -Liz McComb

Disc Two

1. "When The Saints Go Marching In" -Mahalia Jackson
2. "Swing Low, Sweet Chariot" -Frances Steadman & The Stars of Faith
3. "Wade In The Water" -The Staple Singers
4. "Search Me Lord" -Bessie Griffin
5. "Heaven Belongs To You (If You Live Right)" -The Abyssinian Baptist Choir
6. "Jezebel" -The Golden Gate Quartet
7. "In The Upper Room" -Mahalia Jackson
8. "What Could I Do" -Marion Williams
9. "It's A Highway To Heaven" -Alen Bradford
10. "Are You Sure?" -Aretha Franklin
11. "You've Got To Bear The Consequence" -The Abyssinian Baptist Choir
12. "Come Sunday" -Duke Ellington and his Orchestra feat Mahalia Jackson

Happy Easter holidays!

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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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Abdelli - New Moon (1995)

«The poetic and passionate music of a man who brings his ancient culture into the twentieth century, in collaboration with musicians from South America and the Ukraine.

Abdelli is a Berber of the Kabyle people, indigenous North Africans who inhabited the region since pre-Arab times. His instrument is the mandole, an Algerian instrument that is similar to the Portuguese guitar. Abdelli blends traditional Berber music with Arab music of the urban environment.

His musical ensemble includes Moroccans, a percussionist on darbukka and bendir, violinist, and a Tunisian ney (flute) player. He currently lives in exile in Belgium, has won continental acclaim for his performances and collaborations throughout Europe and has recorded with the Real World label.» (Real World Records)

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Kolinda - Kolinda 6 (1988)

«Kick-butt underrated Hungarian band. They probably don't like to call themselves progressive but they're just as progressive as most other 70's output. They're also very innovative. Masterminded by their founder Peter Dabasi, Kolinda invites you to partake in their sometimes insane, sometimes beautiful, sometimes hypnotic world of Hungarian folk and gypsy prog which includes a plethora of exotic instruments, bombastic (at times) female/male vocal harmonizing, sometimes beautiful vocal harmonizing, etc. I cannot say enough good things about Kolinda. They've been around since 1975 and have released a bunch of albums. They are still alive and recording even today.» (New Gibraltar Encyclopedia of Progressive Rock)

For more albums of and information about this amazing band, click here and here.

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Houria Aïchi - Hawa (1993)

«Née au pied du massif des Aurès dans le Nord-Est algérien, Houria Aïchi, qui vit en France depuis trente ans, perpétue une tradition de poésie populaire chantée, héritée de sa grand-mère. Dans sa famille et depuis au moins trois générations, les femmes sont de grandes solistes qu’on appelle pour chanter lors des cérémonies familiales.

Qu’elle reprenne une tradition ancienne de chants a cappella ou des pièces pour danser, Houria Aïchi anime un répertoire où des poèmes d’amour côtoient des chants d’exil, des chants de travail, des berceuses et, pour son dernier album Khalwa, des chants sacrés d’Algérie.
Découverte à Paris en 1984, elle entame très vite une tournée internationale. En 1990, Bernardo Bertolucci la choisit pour la bande sonore de son film Un thé au Sahara et l’année suivante, après un récital au Théâtre de la Ville à Paris, elle enregistre un chant sur une musique d’Arthur Honnegger, en compagnie du musicien japonais Ryuichi Sakamoto.
Avec une percussion qu’elle frappe à la main (bendir) et la complicité de la flûte traditionnelle (gasba) du virtuose Saïd Akhelfi, Houria Aïchi célèbre la force d’une tradition qu’elle s’attache à faire partager à Paris, New York, Montréal, Bruxelles, Barcelone, Fès et Alger. […]» (Algeriades)

«L’Aurés è una regione montagnosa dell’entroterra orientale algerino, a sud di Constantine, abitata da una delle tante comunità berbere che sono disseminate nel Maghreb e che costituiscono la popolazione originaria di quest’area, conquistata in seguito dagli arabi nel corso della massiccia espansione iniziata nel VII secolo d.C., dopo la morte di Maometto. I berberi del Maghreb furono gradualmente convertiti all’islam dagli invasori, nel periodo fra il settimo e l’undicesimo secolo, ma ciononostante mantengono ancora oggi una cultura che presenta aspetti distintivi rispetto a quella araba. Grazie anche al loro isolamento negli insediamenti montagnosi del Marocco e dell’Algeria, i berberi infatti non si sono mai completamente sottomessi all’autorità statale e ai costumi delle città e hanno sempre praticato forme di dissenso e resistenza. Fra gli aspetti caratteristici delle popolazioni berbere va citato il ruolo delle donne che, a differenza delle donne arabe di città, non portano il velo e sono protagoniste in determinate circostanze (ad esempio, i matrimoni) di eventi espressivi in cui possono dar voce liberamente alle proprie idee e ai propri sentimenti.

Houria Aïchi […] appartiene a una famiglia le cui donne sono da generazioni cantanti semiprofessioniste, frequentemente invitate nel paese e nei villaggi vicini per animare le feste con il canto chaouia, proprio dei contadini berberi della regione Dalla madre e dalla nonna Houria Aïchi ha così appreso uno stile di canto e un repertorio che si è impegnata a mantenere vivi, in quanto espressione della cultura musicale e in particolare delle tecniche vocali proprie dell’Aurés. Il repertorio cui si ispira Houria Aïchi è in realtà ancora più ampio di quello appreso in famiglia e fa riferimento alla tradizione trovadorica delle azryat (donne libere) e in particolare al repertorio di Aïssa El-Jarmouni, che conosceva centotrenta canti in parte in lingua berbera e in parte in lingua araba. Dal punto di vista melodico, il repertorio di Houria Aïchi si organizza in tre categorie principali…» (Suoni dal mondo)

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Alta Madera - Alta Madera (2004)

«Our musical “voyage” begins with the traditions of Cuban music, passing then through Brazil, Argentina and Venezuela, going back to its Hispanic origins. The strong acoustic impact and jazz language our music carries with it, takes us in a direction we could perhaps define as “Acoustic Latin Jazz” or “World Latin Jazz”.

A characteristic of Alta Madera’s sound is definitely the absence of percussion typical of a “Latin sound” that is replaced here by instrumental arrangements explicit in their rhythmic.

Alta Madera is: Ruben Chaviano (violin), Mino Cavallo (guitar) and Filippo Medol (double bass).»

«Il percorso musicale di Alta Madera è un “viaggio” che parte dalla tradizione della musica Cubana, passando dal Brasile all'Argentina al Venezuela fino a raggiungere le sue origini ispaniche. Il forte impatto acustico e il linguaggio jazzistico accompagnano questa esperienza musicale in una direzione che potremmo definire “latin jazz acustico”.

L'elemento che caratterizza il suono di Alta Madera è l’assenza delle percussioni tipiche del “latin sound”, sostituite da arrangiamenti attraverso i quali si espone l'idea ritmica.

Il “viaggio” di Alta Madera percorre prevalentemente musiche originali, filtrate dal carattere artistico dei tre musicisti; in particolare la musica cubana, terra del violinista Ruben Chaviano, ma anche dall'esperienza degli altri musicisti Mino Cavallo e Filippo Pedol, che nonostante la diversa provenienza geografica, sono accomunati da lungo tempo da una ricerca stilistica sulla musica latina.» (Alta Madera on MySpace)

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Abou Chihabi - Folkomor Ocean (1997)

«Abou Chihabi is a folk singer and songwriter from Grande Comore who fights against social injustice and racial discrimination. Abou Chihabi chose to call his group "Folkomor Ocean" because his main source of inspiration is his native land, the comors, which is insular and which no distance will ever make him forget. Folkomor Ocean has been released in 1997 on Playa Sound» (Mondomix)

«Abou Chihabi est un compositeur-interprète qui lutte contre l'injustice sociale et la discrimination raciale. Il envoie dans ses chansons des messages pour plus de liberté et appelle à la sauvegarde de la tradition et le développement de la culture.
Originaire de la Grande-Comore, l'une des îles qui composent l'archipel des Comores situé dans l'océan indien, approximativement entre la côte Est-africaine et le nord de Madagascar, Abou Chihabi est né dans les années 50 dans une modeste famille des Comores. Très jeune, il manifeste un vif intérêt pour la musique et commence à flirter avec le monde musical. […] Membre de l'Association Musicale de Moroni en 1969, Abou Chihabi voit sa carrière artistique, pour ainsi dire, sur la rampe de lancement. Tour à tour chanteur, accompagnateur et soliste de l'ensemble "Anges Noirs" ainsi que de divers orchestres de Moroni, il acquiert une expérience et une maturité qui le poussent tout naturellement à voler de ses propres ailes. Il part donc en tournée en Tanzanie, au Kenya, en Ouganda, où il connaît un certain succès. De retour aux Comores, il forme son propre groupe, Folkomor Ocean, une formation d'avant-garde qui a pour but de promouvoir un style original, mariant habilement les sonorités folkloriques comoriennes, africaines et jamaïquaines.

En 1976, Abou Chihabi devient subitement célèbre aux Comores grâce à un concours organisé par le pouvoir "révolutionnaire" du moment, qui choisit sa composition comme nouvel hymne national. Alors que sa carrière est en pleine progression, un coup d'état la stoppe brutalement en 1978, obligeant Abou Chihabi à fuir le pays, en abandonnant son matériel. Il s'expatrie au Kenya et reprend son travail... Il se produit dans toute l'Afrique de l'Est, avant d'arriver en France en 1980 avec sa femme.

Après avoir côtoyé l'existence difficile de l'exilé, il obtient le prix des Auditeurs au concours "Découvertes 1981", le premier prix remporté par un chanteur comorien dans un concours international. […] Depuis, il partage sa vie entre ses tournées internationales et les concerts en France.

Abou a choisi d'appeler son groupe Folkomor Ocean car sa principale source d'inspiration provient de cette terre natale, insulaire, que son éloignement ne saurait faire oublier.
Les aspects de la société comorienne sont présents dans ses chansons. Sans être un combattant, ou un militant, il témoigne à sa façon des grandes pages de l'histoire de "son" continent et de ses difficultés sociales: le départ des mercenaires, la fin de la discrimination raciale en Afrique du Sud... et dénonce tant et plus l'injustice, le déni des droits, l'hypocrisie, l'oppression. Mais Abou sait aussi décrire la pureté de l'innocence, l'honnêteté des sentiments et la paix. Ses chansons sont traversées d'une douleur, celle qui coupe, sépare, oppose: "Quand donc serez-vous réunis?"

L' oeuvre d'Abou ne s'inscrit dans aucune des traditions musicales établies dans son pays. Il s'agit plutôt d'une "récréation personnelle" traversée d'échos, de souvenirs, de rythmes, d'expressions parfois obsolètes, d'images, de tableaux évoqués en deux ou trois mots, riches souvenirs d'une histoire, d'une époque, comme celle de l'enfance. Des chants en Shingazidja non violents, même dans la dénonciation, préférant rappeler qu'il faut parfois accepter de faire face à ses responsabilités. Son univers est délicat, rafraîchissant, éthéré, léger, apaisé. Abou, musicien autodidacte, nourri par les chants et les danses qui rythment la vie, est avant tout un homme libre.» (Comores online)

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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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Max Cilla - La Flûte des Mornes (1988)

Max Cilla is the master of the traditional flute; his country [Martinique] calls him “Le Père de la Flûte des Mornes” (“The Father of the Mountain Flute”).

The mountainous regions in the French West Indies are called the “Mornes”. The term also refers to the deep countryside, “the big forests”, which inspire mystical dreams and feed the imagination of storytellers and poets. The “Mornes” used to be the hide-out of run-away Negroes, those who by their acts of courage and revolt had thrown off the bonds of slavery and were persecuted by the colonialists. The “Mornes”, our mountains are rich in history and life, where the breath of the spirit is felt and heard more intensely: the house of the Gods, as legends have it. It is in the “Mornes” of Martinique, in the middle of the countryside, deep in the forests, where the bamboo flute was born. It is a transverse flute with six holes, and went by the popular name of “toutou’n bambou” (the sonorous bamboo tube).

[…] Max Cilla, as the precursor of the “toutou'n bambou”, became conscious that a sum of various attributes had gathered around the “Mornes” which predisposed them to be the symbol of natural and cultural values, the symbol of the authenticity of being, and resistance to all attempts of alienation and indoctrination.

With deep conviction he went about to restore this musical instrument of the countryside and to give it the place it deserved in organology; from the outset he had the inspiration to legitimize it by naming it “la Flûte des Mornes”. He has made a living symbol of this flute whose breath propulses and animates the energies of Life, of Joy, of Light... Indeed, as from 1970, Max Cilla has defended the qualities of this flute, not only as a specific instrument, but also as the vehicle of a style of musical expression typical of our countryside. He had to persevere for long years to see the flute emerge, in a context where the general alienation condemned it to disappear. His research enabled him to work out a precise method of making this flute in all tonalities, of creating a tablature, thus proposing a more extended field of technical possibilities.

At the same time, he composed tunes with a traditional character, and others more elaborate, which today are part of the classical tunes of Martinique.

All this has contributed that, in the early 1980's, art critics, the entire press of the country and public opinion, recognized him as the precursor of the traditional flute and gave him the title of “Le Père de la Flûte des Mornes”.

Author, composer, instrumentalist, flute maker, leader of a musical group, whose compositions are inspired by the rural oral tradition of Martinique, Max Cilla, after a 30-year career, offers music of both universal spirituality and deep roots, full of life, joy and “dancing”: a harmonious alliance of melodies and rhythm. (MaxCilla.com; Spanish version here; French site here)

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Haiti: How to Help

Some useful links:

Haiti Earthquake: How to Help

Terremoto a Haiti: gli aiuti

Cómo ayudar a las víctimas del terremoto de Haití

Please, integrate this short list with other reliable links. Thanx.

Lhasa de Sela - Con Toda Palabra

Adiós, querida!

Ludovico Einaudi & Ballaké Sissoko - Diario Mali (2003)

«Mali Diary (Diario Mali) is a studio recording of duets between the highly successful Italian classical-crossover pianist, Ludovico Einaudi, and Mali musician Ballake Sissoko – one of the most gifted kora players in Africa. This unexpected collaboration was recorded in February 2003, less than a month after they had appeared together at the now famous Festival in the Desert. They had a track included on the best-selling CD of the event.

At this time, Einaudi was just beginning his breakthrough to a much wider UK public. His Echoes Best-of collection was released in the September of that year and early in 2004, he had a track featured on Buddha Bar vol.6 – a sure sign of musical “lifestyle chic”.

Dismissed by large sections of the classical media, his accessible, melodic minimalism – compared by some to Philip Glass and Michael Nyman – has undeniably produced music of wide appeal, and championed by Classic FM in particular, the 8 CDs he has so far issued in the UK have all achieved substantial sales. Born in 1955, Einaudi was awarded a diploma in composition at the Milan Conservatory, and continued his studies with Luciano Berio. He has also composed chamber and orchestral compositions, music for dance and the stage, and film soundtracks, as well as a variety of multimedia works. He completed a sell-out 13-date tour of the UK in Feb 2005.» (Discovery Records)»

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