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| Raul Rodriguez |
25-07-2018 13:35 # WORLD:MiX # 33 selected ETHNiC FUSiON tracks # WmW Raul Rodriguez, Tania Saleh, Axel Krygier, Dina El Wedidi, Boubacar Traoré, Helsinki-Cotonou Ensemble, Brzzvll, Anthony Joseph, Carrie Rodriguez, Aziza Brahim, Amadou & Mariam
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Raul Rodriguez
Razón De Son (Intro) 1:14
Razón De Son (Punto Flamenco) 4:18
El Negro Curro (Sonería) 6:53
Si Supiera (Blueslería) 4:24
from Razon de Son 2014
Interview with Raúl Rodríguez “Razón de Son”
Tania Saleh
Beirut Windows [As Janelas De Beirute] 4:03
A Few Images [Algumas Imagens] 3:50
Hushed Scat [Silêncio] 2:39
from A Few Images/Algumas Imagens 2014
A Lebanese woman writes about love. The songs are about love, though not the sweet romantic kind. Rather this is about all-consuming, passionate love, and lost and failed love. This is love seen from a woman’s point of view in a region of the world where men rule, where a woman's needs are silenced or suppressed...
Axel Krygier
Hombre de Piedra 4:37
Alcohol 3:43
Mosquito 3:31
Mi Piel de Animal 4:35
from Hombre de Piedra 2015
Inspired by the French prehistoric documentary Lascaux: Le Ciel des Premiers Hommes, Argentine maverick composer/musician Krygier’s fifth album is his first concept work. He uses a dizzying array of musical genres to tell his tale of Big Foot’s journey from the Stone Age to the Information Age. Though the vocals are in Spanish, anyone can enjoy the musical delights to be found here. Among genres one encounters on this journey are B movie lounge music (on the title track), disco, rockabilly, and he even pays homage to Italian maestro Ennio Morricone with a spaghetti-western theme. And that’s just the tip of the musical iceberg on this world-music cornucopia. With his deft ability to morph from one style to another between tracks, it’s easy to see that Krygier’s résumé includes music for films, plays and dance performances...
Dina El Wedidi
In Wonderland [Fi Belad El Agayeb] 4:59
Circles [Dawayer] 4:5
The Night [El Liel] 5:01
from Turning Back 2014
Scene Noise correspondent Kamila Metwaly heads to the official album launch concert of beloved Egyptian songstress Dina El-Wedidi who effortlessly straddles the line between underground and commercial, redefining folk music for the 21st century.
Master Malian guitarist has had three separate periods when his music was in and out of fashion, but his reputation and mastery remain unquestioned.
Dounia Djanjo (Boubacar Traoré) 4:51
Sagnon Moni (Boubacar Traoré) 3:46
Mbalimaou (Boubacar Traoré) 4:04
from Mbalimaou 2015
So much of the time in reviewing a recording, we look for the new, the surprising, the twist or the turn. Once in a while a recording like Mbalimaou comes along offering none of these, and is still fresh and exciting.
Boubacar Traoré is now in his 70s and well into his second time around as a career musician. This is his 9th album since 1990's Mariama (Stern's Music), the European recording that relaunched his music to the world, right at the beginning of the 'world music' scare. Mariama was a solo affair, just voice and guitar, recorded so raw you could hear his fingers on the strings and his breath between vocal lines. It was my introduction to him and I was spellbound. Since then he has presented his music with ensembles large and small, sometimes decidedly local, other times globally enriched.
Mbalimaou rides the middle ground with a core group of African musicians on n'goni, percussion, kora and voices. Primarily recorded in Bamako (with some added dubs and mixing done in France), it is simple and clean - truly folk music in spite of all but one song being Traoré originals. Producers Christian Mousset and Ballaké Sissoko (who also contributes kora on a number of tracks) have kept the sound clean and dry, as if you are sitting in a small room with the musicians instead of a hall or studio. It's personal...
"Weather Report meets Fela, you might say. They are good enough." - This is how Rick Sanders of fRoots magazine wrote about Helsinki-Cotonou Ensemble. With their debut album Beaucoup de Piment (a lot of pepper) released in May 2013, the band demonstrated they are a sharp and intelligent gang of musicians able to produce arrangements that are complex but at the same time clean and powerful.
Helsinki-Cotonou Ensemble
The Road Is Long 6:22
Ile Baba Va 4:57
Hope 8:24
from Fire, Sweat & Pastis 2014
Considering the music of the Helsinki-Cotonou and their vibrant recording Fire, Sweat & Pastis; if we can credit African music for giving us our history and the blues, then we can certainly credit the African musician for the funk and the union of drum and bass. And while supplanting the sintir and the ubiquitous konga with the contemporary drum and bass may add to the acoustic loudness, depth and volume that tears it way out of the speakers on stage or might not offer the same warmth and voluptuousness as the original instruments – just as the balafon has a more natural (woody) earthy resonance than the metallic one from the vibraphone. Does this mean that the African musician cannot move forward and modernize? Certainly not; although it will change the nature of the musical aura...
BRZZVLL was founded by Vincent Brijs in 2006. This Antwerp collective plays improvised dance music with a jazz-fusion, funk and rare groove sound like those of the 70’s: bass and drums very tight and funky, horns, guitar and keyboards very imaginative and sexy. The bands’ unique cross polination of cosmic jazz, spoken word & afrobeat makes them stand out in today’s jazz scene.
Brzzvll
featuring Anthony Joseph
Engines 7:27
Combustible And Frozen 5:28
Mind Is A Jungle 3:51
from Engines 2014
"...I met the Brzzvll in Antwerp, 2012, at one of Mourad Bekkour’s Nuff Said events where they are the house band. They are an incredible band who have worked together for many years, developing an almost telephatic interaction which is as soulful as it is technically brilliant. Is that Jazz? It is. About 18 months ago, after a few more collaborations, we went into their studio in Antwerp and recorded this album, in a one day improvisational session. You can hear this sense of freedom, this searching quality in the music, none of which had been written prior to the session. The poems were chosen on the spot, some improvised, some pulled together from disparate sources. They even got me to sing! I’m really proud of this album, my second of 2014! There is an honesty to it, some raw emotions in there, and the band swing very hard..."
Reared in Austin, Texas, and schooled at Boston's Berklee College of Music, the fiddle-playing singer/songwriter Carrie Rodriguez made her recording debut in 2002 by contributing to Chip Taylor's Let's Leave This Town.
Carrie Rodriguez
Perfidia (Alberto Dominguez) 2:59
I Dreamed I Was Lola Beltrán (Susan Gibson / Carrie Rodriguez) 5:23
Z (Susan Gibson / Carrie Rodriguez) 4:28
from Lola 2016
No album in Carrie Rodriguez's ample catalog better represents her as an artist than Lola. It was recorded in Austin with producer Lee Townsend and the Sacred Hearts: bassist Viktor Krauss, guitarists Bill Frisell, David Pulkingham, and Luke Jacobs, drummer Brannen Temple, and Max Baca guesting on bajo sexto. Rodriguez delivers a set of originals and thoroughly reimagined standards by Mexican composers in English, Spanish, and Spanglish. She draws heavily on the inspiration of her great aunt, San Antonio singer Eva Garza who, during the 1940s, established herself internationally...
Aziza is a Saharawi from Western Sahara, born in a refugee camp in Algeria. At the age of 11 Aziza received a schoolarship to study in Cube where she spent seven years, before abandoning her studies in order to dedicate herself to music. She won the first prize in a national song competition in a cultural festival of the Saharawi Arab Democratic Republic - the self-proclaimed Saharawi state, exiled in the refugee camps and recognized by over 80 countries...
Aziza Brahim
Buscando la Paz (Aziza Brahim) 3:08
El Canto de la Arena (Aziza Brahim) 4:48
Abbar el Hamada (Aziza Brahim) 3:36
from Abbar el Hamada 2016
...languid and bluesy...
The Sahrawi refugee camps in Algeria are a bleak reminder of the plight of those displaced from what they have called “occupied western Sahara” since the . Aziza Brahim was born in the camps before moving on to Cuba and Spain, and her 2013 album , a deserved bestseller in Europe, matched powerful songs of Sahrawi defiance with laments for the refugees. She returns to the same issues here, but sounds unexpectedly laid-back...
This Malian afro-pop duo combines spare Malian blues with Latin, Middle Eastern, and Western influences.
Amadou & Mariam
Bofou Safou (Mariam Doumbia) 3:10
Filaou Bessame (Mariam Doumbia) 3:34
La Confusion (Amadou Bagayoko) 3:44
Massa Allah (Amadou Bagayoko) 6:12
from La Confusion 2017
On their first full-length studio album since 2012's excellent Folila, Malian power couple Amadou & Mariam deliver sleek retro-fusion with the disco-oriented La Confusion. Pairing desert blues and various Afro-pop traditions with Western production is nothing new for the duo, but the thickly layered '80s synths and the electro dance framework surrounding many of these 12 tracks initially come across as a bit jarring, though not entirely unwelcome. At its most dramatic, La Confusion is draped in vibrant swaths of funky synth bass, disco strings, vocoders, and tinny electronic drums, which are some of the hallmarks of Parisian producer and Bon Voyage Organisation mastermind Adrien Durand...
Boubacar Traoré is now in his 70s and well into his second time around as a career musician. This is his 9th album since 1990's Mariama (Stern's Music), the European recording that relaunched his music to the world, right at the beginning of the 'world music' scare. Mariama was a solo affair, just voice and guitar, recorded so raw you could hear his fingers on the strings and his breath between vocal lines. It was my introduction to him and I was spellbound. Since then he has presented his music with ensembles large and small, sometimes decidedly local, other times globally enriched.
Mbalimaou rides the middle ground with a core group of African musicians on n'goni, percussion, kora and voices. Primarily recorded in Bamako (with some added dubs and mixing done in France), it is simple and clean - truly folk music in spite of all but one song being Traoré originals. Producers Christian Mousset and Ballaké Sissoko (who also contributes kora on a number of tracks) have kept the sound clean and dry, as if you are sitting in a small room with the musicians instead of a hall or studio. It's personal...
Helsinki-Cotonou Ensemble
The Road Is Long 6:22
Ile Baba Va 4:57
Hope 8:24
from Fire, Sweat & Pastis 2014
Considering the music of the Helsinki-Cotonou and their vibrant recording Fire, Sweat & Pastis; if we can credit African music for giving us our history and the blues, then we can certainly credit the African musician for the funk and the union of drum and bass. And while supplanting the sintir and the ubiquitous konga with the contemporary drum and bass may add to the acoustic loudness, depth and volume that tears it way out of the speakers on stage or might not offer the same warmth and voluptuousness as the original instruments – just as the balafon has a more natural (woody) earthy resonance than the metallic one from the vibraphone. Does this mean that the African musician cannot move forward and modernize? Certainly not; although it will change the nature of the musical aura...
Brzzvll
featuring Anthony Joseph
Engines 7:27
Combustible And Frozen 5:28
Mind Is A Jungle 3:51
from Engines 2014
"...I met the Brzzvll in Antwerp, 2012, at one of Mourad Bekkour’s Nuff Said events where they are the house band. They are an incredible band who have worked together for many years, developing an almost telephatic interaction which is as soulful as it is technically brilliant. Is that Jazz? It is. About 18 months ago, after a few more collaborations, we went into their studio in Antwerp and recorded this album, in a one day improvisational session. You can hear this sense of freedom, this searching quality in the music, none of which had been written prior to the session. The poems were chosen on the spot, some improvised, some pulled together from disparate sources. They even got me to sing! I’m really proud of this album, my second of 2014! There is an honesty to it, some raw emotions in there, and the band swing very hard..."
Carrie Rodriguez
Perfidia (Alberto Dominguez) 2:59
I Dreamed I Was Lola Beltrán (Susan Gibson / Carrie Rodriguez) 5:23
Z (Susan Gibson / Carrie Rodriguez) 4:28
from Lola 2016
No album in Carrie Rodriguez's ample catalog better represents her as an artist than Lola. It was recorded in Austin with producer Lee Townsend and the Sacred Hearts: bassist Viktor Krauss, guitarists Bill Frisell, David Pulkingham, and Luke Jacobs, drummer Brannen Temple, and Max Baca guesting on bajo sexto. Rodriguez delivers a set of originals and thoroughly reimagined standards by Mexican composers in English, Spanish, and Spanglish. She draws heavily on the inspiration of her great aunt, San Antonio singer Eva Garza who, during the 1940s, established herself internationally...
Aziza Brahim
Buscando la Paz (Aziza Brahim) 3:08
El Canto de la Arena (Aziza Brahim) 4:48
Abbar el Hamada (Aziza Brahim) 3:36
from Abbar el Hamada 2016
...languid and bluesy...
The Sahrawi refugee camps in Algeria are a bleak reminder of the plight of those displaced from what they have called “occupied western Sahara” since the . Aziza Brahim was born in the camps before moving on to Cuba and Spain, and her 2013 album , a deserved bestseller in Europe, matched powerful songs of Sahrawi defiance with laments for the refugees. She returns to the same issues here, but sounds unexpectedly laid-back...
Amadou & Mariam
Bofou Safou (Mariam Doumbia) 3:10
Filaou Bessame (Mariam Doumbia) 3:34
La Confusion (Amadou Bagayoko) 3:44
Massa Allah (Amadou Bagayoko) 6:12
from La Confusion 2017
On their first full-length studio album since 2012's excellent Folila, Malian power couple Amadou & Mariam deliver sleek retro-fusion with the disco-oriented La Confusion. Pairing desert blues and various Afro-pop traditions with Western production is nothing new for the duo, but the thickly layered '80s synths and the electro dance framework surrounding many of these 12 tracks initially come across as a bit jarring, though not entirely unwelcome. At its most dramatic, La Confusion is draped in vibrant swaths of funky synth bass, disco strings, vocoders, and tinny electronic drums, which are some of the hallmarks of Parisian producer and Bon Voyage Organisation mastermind Adrien Durand...
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