15-05-2019 * WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks # WmW

Buda Folk Band

15-05-2019 * WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks # WmW    Buda Folk Band, Estusha, Kandia Kouyate, Las Hermanas Caronni, Maria Arnal i Marcel Bagés, Dead Can Dance, Kronos Quartet, Marjan Vahdat, Mahsa Vahdat, Combo Chimbita, Femi Kuti, Warsaw Village Band, Lajkó Félix

M  U  S  I  C / WmW

LISTEN THE PLAYLIST ON DEEZER.COM

This music, to wich you can dance to, is played on instruments mainly used in the Carpathian Basin and is drawn from authentic sources. Taking the original melody as a template, their music retains the phraseology so characteristic of the Hungarian folklore tradition.
Buda Folk Band
Repülés / Flying 3:09
Várj meg / Wait For Me 2:50
Erdö / Forest 3:59
Elindultam / I Left My Homeland 2:29
from Saját gyűjtés / Own Collection Work 2015
We, Hungarians, with the appearance of the first audio recording devices have always been at the forefront in folk music collection; collecting our folk music traditions. In order to find our way in this music, it is essential that we get acquainted with it in contemporary peasant communities.  Folk music played in the village arrives in a city environment on recordings from collection work; it creates its own survival and awakens new musical thoughts. This is the kind of music on this recording. We share memories of rural cultures, from our own collecting work - expressed in our own style.

Estusha, Mexican artist fuses her peculiar form of singing with ethnic instruments of the world and electronic music to create an ethno-electro project.
"Nature created sounds. Men imitating nature, created instruments and chants. Thousands of years later we continue to celebrate the origin of music." 
Estusha
Tihowayo 3:11
Aportua 3:44
Yahe 3:33
from Wotan 2016
Estusha's latest album “Wotan a Contemporary Ethnic Celebration” gives recognition to all her musical and life experiences, creating a fusion of sounds, instruments and ethnic chants from different cultures from the world over, electronic music, and her own unique style resulting in an exquisite contemporary ethnic celebration.

Kandia Kouyaté (also known as Kandja Kouyaté, born in 1959 in Kita, Mali) is a Malian jelimuso (a female griot) and kora player; she has earned the prestigious title of ngara, and is sometimes called La dangereuse and La grande vedette malienne. Kouyaté's dense, emotional, hypnotic manner of singing and her lyrical talents have earned huge acclaim in Mali, though she remained relatively little known outside Africa, due to extremely limited availability of her recordings. Her home town of Kita is known for love songs, which form a large part of Kouyaté's repertoire. She also sings praise songs.
Kandia Kouyate
Koala Boumba 5:45
Kassi Doundo (the Crying Rooster) 5:06
Mandjala (take Off The Headscarf!) 4:50
from Renascence 2015
...Renascence certainly rewards the long wait; it is a terrific record on all counts. The first thing longtime fans will notice is that Kouyaté's contralto has become deeper and even more powerful than when she became famous in Africa three decades ago. Kouyaté was born in 1959 in southwestern Mali. She grew up immersed in the music of her Mandé people. Her father, a well-known balafon player, saw his daughter's potential when she was a child; her mother was a singer. When she was still a schoolgirl she sang with her uncle Mady Sylla Kouyaté's band, the Apollos, in Bamako. Captivated by the Malian capital's music scene, she moved there after completing school. In Bamako, she married a prominent singer of jeliya, a traditional Mandé genre. Kouyaté studied jeliya vocal techniques and its repertoire of praise songs and historical narratives...

Argentinian twin sisters Laura and Gianna Caronni were born in a family of Swiss, Italian, Russian and Spanish origins, where the music of Opera and Tango intertwined. They studied classical music, moved to France in 1998 where they played with Argentinian musicians (Juan Cedron, Juan Carlos Caceres), then started to write their own songs and instrumental compositions and perform as a duo. The sisters' music reflects all these musical influences and something more, intimate and personal, that only belongs to them. 
Las Hermanas Caronni
Agua De Rio 2:22
Maria / Percussion – Ceïba 4:03
Spanish Caravan
Songwriter – The Doors 4:07
from Navega Mundos 2016
"The third album from the Argentinian sisters, now living in a France, is a wonderfully unexpected, spare joy. Two voices that enjoy the perfect synchronicity only siblings can manage, and some unlikely instrumentation (Gianna on clarinet and bass
clarinet, while Laura contributes cello and violin; their only guest adds accordeon to two tracks)...  to the wildness of their take on the Doors’ Spanish Caravan. Most of the work is their own, and they take great care over the way they fill space... The beauty here is far from fragile; there’s an exactitude that’s worked out so perfectly it sounds casual, giving everything core of steel. Plenty of subtle layers to discover with repeated playing. And superb on every level."  Chris Nickson - FRoots magazine

At the musical level, Arnal bases her background on the oral tradition of the Iberian Peninsula. According to the artist, she wants to approach tradition from the perspective of free culture in the digital age. She has published three albums, with the musical accompaniment of Marcel Bagés on the electric guitar.
Maria Arnal i Marcel Bagés
Canción Total 3:55
45 Cerebros y 1 Corazón 4:05
Tu saps 5:29
from 45 Cerebros y 1 Corazón 2017
45 Brains and 1 Heart
Inspired by the macabre finding in a forgotten mass grave, this album is as its title suggests: 45 Brains and 1 Heart. Intact. A powerful being, spiced with an amalgamation of flamenco, avant-rock and folk. A complex beauty that delivers experimentation at the highest level. A wondrous entity that will haunt your blood.

Dead Can Dance combine elements of European folk music, particularly music from the Middle Ages and the Renaissance, with ambient pop and worldbeat flourishes. 

Dead Can Dance 

Act I: Sea Borne/Liberator of Minds/Dance of the Bacchantes 16:38

from Dionysus 2018

The follow-up to the pioneering Australian art pop duo's 2012 comeback LP Anastasis, Dionysus dispenses with the more song-oriented approach of its predecessor in favor of an atmosphere-driven bacchanalian oratorio inspired by the Greek god of wine and ecstasy. Split into two tracks with a sum of seven movements, Dionysus unfurls like a guided ayahuasca trip; a curl of aromatic smoke that develops into a roaring, pre-Byzantine bonfire replete with primeval chants and ancient rites...

Bridgers of the gap between classical and popular music, with increasingly expanded parameters to include rock, jazz, and world music. 

Kronos Quartet, Marjan Vahdat, Mahsa Vahdat

Placeless (Mahsa Vahdat) 3:14

The Might of Love (Mahsa Vahdat) 3:08

Lover, Go Mad (Mahsa Vahdat) 3:26

from Placeless 2019

Many of the Kronos Quartet's biggest-selling albums, going back to 1991's Five Tango Sensations, have drawn on vernacular traditions from outside the European-American sphere, and some, such as Caravan (2000), have drawn from the music of the Near East. Placeless, though, is a standout among the bunch, for several reasons. The album contains settings of Persian poetry by Rumi and various other classical and modern writers in the same ecstatic vein, hovering between religious mysticism and sensuality. The title comes from a poem by Rumi, who famously proclaimed, "I am not from the world, not from beyond. My place is placelessness. My trace is tracelessness." 

Brooklyn-based quartet bring more psychedelic impulses to traditional Colombian forms. Combo Chimbita honed their sound by playing together for years, experimenting with different styles until they landed somewhere between lively guacaracha rhythms and cosmic psychedelia.

Combo Chimbita
Sola 1:30
Ahomale 3:40
El Camino 3:47
Testigo 4:56
from Ahomale 2019
While creating music firmly rooted in Columbian traditions, Brooklyn-based outfit Combo Chimbita often sound like they're broadcasting live from another planet entirely. Ahomale is the band's second full-length album and expands on their cosmic approach to Afro-Latin styles, incorporating a wealth of celestial synth sounds into performances that are both fiery and controlled. The first of many striking things about Combo Chimbita's sound is the power of singer Carolina Oliveros' voice...

The son of legendary Nigerian singer Fela Kuti, he has added young Lagos and American dance music to his father's sound. 
Femi Kuti
Africa Will Be Great Again (Femi Anikulapo-Kuti) 4:48
One People One World (Femi Anikulapo-Kuti) 3:35
Corruption Na Stealing (Femi Anikulapo-Kuti) 6:27
from One People One World 2018
...One People One World is Kuti's tenth album with his longstanding band Positive Force and its musical director and guitarist Opeyemi Awomolo. Unlike the righteous anger that inspired almost all of his previous recordings, One People One World is by contrast more affirmative; it's celebratory without sacrificing its activism. While Afrobeat is at the core of these 12 songs, Kuti picks up on the mosaic he began weaving on No Place for My Dream by incorporating the harmonies and rhythms of reggae, highlife, soul, R&B, hip-hop, and other global sounds into its mix, adding depth and complexity without sacrificing immediacy and accessibility....

Global experimentation, Polish-style. Warsaw Village Band are one of the most inventive folk groups in Europe, with an edgy, driving style in which the harsh-edged female-harmony vocals of Magdalena Sobczak-Kotnarowska and Sylwia Świątkowska are matched against violins, percussion, dulcimer and brass.
Warsaw Village Band
Fly My Voice 4:50
She Celebrated Kupala 5:12
Issue/Sun Celebration 3:30
from Sun Celebration 2017
...Their compositions are usually based on traditional themes, but the old Polish influences are transformed by a remarkable cast of special guests. From Galicia, Spain, there’s the experimental multi-instrumentalist Mercedes Peón, who adds vocals, electronics or bagpipes on eight of the tracks. Then there’s the Iranian master musician Kayhan Kalhor adding the kamancheh fiddle on the rousing Towards the Sun, and an Indian contingent, including the Dhoad Gypsies from Rajasthan and the singer and sarangi player Ustad Liaqat Ali Khan, bringing unexpected textures to the throbbing and atmospheric Perkun’s Fire. An inventive and often thrilling exercise in breaking down musical borders.

Felix Lajko is a hungarian violinist, zither player and composer. He plays a blend of musical styles in an own unique way: traditional pannonian string music, Romani music, folk music, classical music, rock, blues, jazz and improvised melodies.
Lajkó Félix
Még azt mondják / They even say 2:55
Harangszó / Bell Rings 4:01
Diófa / Walnut  4:05
Most jöttem /  I just arrived 4:23
from Most jöttem /  I just arrived 2016
Virtuoso variations of Félix Lajkó on folk themes for violin and zither with extraordinary singers.
Félix Lajkó’s music draws richly from the music traditions that influenced his everyday life from childhood. This means the folk music of his native Voivodina region which includes also Hungarian, Gypsy, and even Romanian folk music. On this record entitled “Most jöttem/ I just arrived” we hear virtuoso variations on folk themes for violin and zither with extraordinary singers such as Bea Palya, Gabriella Tintér and Anna Csizmadia, and musicians such as László Porteleki, Antal Brasnyó and Gergő Szabó Csobán...