16-06-2021 > WORLD:MUSiC:MiX # 33 selected GLOBAL MUSiC tracks 1983-1994 # WmW: Afrobeat Airways, Fabrizio De André, Robbie Basho,Lizzy Mercier Descloux, Highlife, Afro-Funk & Juju, Baden Powell, Rabih Abou-Khalil, June Tabor and Oysterband, Cesária Évora, Kiko Veneno, Kampec Dolores, Café Tacvba
M U S I C / WmW
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1983-1994
The Cutlass Band - Obiara Wondo
Los Issufu and His Moslems - Kana Soro
Waza-Afriko 76 - Gbei Kpakpa Hife Sika
From the coastal cities of Accra and Cape Coast, basked in a tropical sound heavily influenced by highlife, to the semi-Saharan cities of Tamalé and Bolgatanga (part of a self-proclaimed 'Islamic Funk Belt') via the central city of Kumasi, Analog Africa has criss-crossed Ghana in search of rare tracks for the Afrobeat Airways series.
Following the success of the first instalment in 2009, Analog Africa is proud to present the second volume - a selection of 13 ultra-rare tracks composed by some of the musical giants who had created a movement that rocked the West African nation throughout the '70s...
With the death of Fabrizio de André from cancer on January 11, 1999, Italy lost one of its best and most modern singer/songwriters. Inspired by the songwriting of Bob Dylan and Leonard Cohen, De André's songs encompassed Genoese folk songs, French protest/social commentary, beatnik "stream of consciousness" poetry, and the soundtracks of Italian film Westerns.
Creuza de Mä (Fabrizio de André / Mauro Pagani)
'A Pittima (Fabrizio de André / Mauro Pagani)
Sinan Capudàn Pascià (Fabrizio de André / Mauro Pagani)
from Crêuza de mä 1984
A curious, fascinating release, Creuza de Ma was named by none less than David Byrne as one of his favorite albums from the '80s -- and, for once, it seems like he really meant it beyond reasons of simple cred-seeking. Creuza de Ma itself isn't in fact an Italian album per se, but a Genoese one, with all lyrics sung in that particular dialect, a blend of Italian, French, and Catalan that's different enough from Italian to require full translations of the words into that language in the liner notes...
Globetrotting French musician whose eclectic body of work encompasses New York's no wave scene and authentic African rhythms.
Long Voodoo Ago
Bravado
from One for the Soul 1986
After her deep dive into South African music on the 1984 album Zulu Rock, Lizzy Mercier Descloux had hoped to follow in a similar vein with an album recorded in New Orleans featuring both the Soweto crew she had worked with on Zulu Rock and local Cajun and zydeco musicians. However, securing visas for the South Africans proved impossible, and Mercier Descloux and producer Adam Kidron instead traveled to Brazil, where they recorded One for the Soul in Rio de Janeiro.... As it is, for the most part, One for the Soul is a good and clever dance record from an artist capable of a great deal more.
Odeyemi - Oni Suru
Felixson Ngasia & The Survivals - Black Precious Colour
International Brothers Band - Onuma Dimnobi
The U.K.'s Strut label is well-known among music fiends for its fine compilations, unusual yet savvy collaborations, and provocative new releases.... Among the label's accomplishments are the Nigeria 70 comps that began release in 2001; they are chock-full of stunning cross-pollinations of funk, jazz, rock, soul, and traditional African musics.
Nigeria 70: No Wahala (Highlife, Afro-Funk & Juju 1973-1987) is the fourth volume in the series and the first in more than eight years. It is one of the more provocative and satisfying entries in the collection. Compiled by Duncan Brooker with copious notes and interviews by Quinton Scott, this set collects 12 fine specimens of West African groove music, seamlessly sequenced. Opener "Oniu Suru" by Idowu Odeyemi is an excellent example. Originally issued on LP by EMI Nigeria in 1987, it is a late high life masterpiece, with a staccato horn section engaged in interplay and counterpoint with layers of electric guitars and organic percussion, while Odeyemi's sweet vocals range inside rhythm and melody to meld with some of the foremost instrumentalists on the scene...
A legend of Brazilian guitar, emerging on the cusp of the bossa nova boom of the 1960s. Baden Powell is a Brazilian musician with a solid international reputation. A gifted instrumentalist and composer, he bridges the gap between classical artistry and popular warmth and was a key figure in the bossa nova movement.
Rosa (Pixinguinha) 5:39
Valsa Sem Nome (Vinícius de Moraes / Baden Powell) 3:32
Cançao Do Amor Ausente (Vinícius de Moraes / Baden Powell) 3:41
from Seresta Brasileira 1988
An excellent Brazilian guitarist, Baden Powell has played with his share of American jazz greats (including Herbie Mann and the late Stan Getz). But there's no jazz to be found on Seresta Brasiliera, which was recorded for the Brazilian Caju Music label in 1988 and released in the U.S. on Milestone/Fantasy in 1994. The title Seresta Brasiliera translates to "Brazilian serenade," and an unaccompanied Powell embraces the Brazilian serenade style on personal, introspective versions of Pixinguinha's "Rosa,"... A melancholy mood defines much of the CD, and Powell's playing is often as beautiful as it is sad and remorseful. Seresta Brasiliera is an album with little optimism and plenty of soul.
Lebanese-born oud player who mixes traditional Middle Eastern folk with jazz improvisation..The musical traditions of the Arabic world are fused with jazz improvisation and European classical techniques by Lebanese-born oud player and composer Rabih Abou-Khalil.
The Fortune Seeker (Rabih Abou-Khalil) 4:55
Bukra (Rabih Abou-Khalil) 8:02
Time (Rabih Abou-Khalil) 4:31
from Bukra 1989
...Part new world jazz, part old world Middle Eastern rhythms, it creates a very unique sound in a world where everyone tends to sound the same or else follows the same pop receipes. The opening track, "Fortune Seeker" is a fierce performance that rises and falls with forays into jazz and Arabic sounds. The master musician and composer, Rabih Abou-Khalil plays an incredible oud that delivers this song into ancient Arabesque musical charts. Meanwhile a mean jazz sax breaks in to create a musical and cultural fusion that is spectacular, innovative and timely. On the song "Time" the slow melody is pushed along by the oud with mental images created of a marching caravan moving across the desert...
June Tabor is probably the finest female traditional British folksinger of the late 20th and early 21st centuries -- if not the best British folksinger of her time, period. What links her to Britain's past traditions is the chilling and emotional qualities of her voice.
England's Oysterband rose from their early days as a traditional ceilidh dance band in Kent to become a highly influential force in the '80s and '90s U.K. roots music scene by melding fiery, soulful punk and alt-rock with folk and traditional music.
June Tabor and Oysterband
Dives and Lazarus (Traditional) 4:19
Susie Clelland (Traditional) 5:14
from Freedom and Rain 1990
Tabor teams up with one of Britain's leading folk-rock outfits, the Oyster Band, with fairly successful results, although it won't be the favorite of June's most traditionally-minded fans. She takes all the lead vocals on these fully electrified arrangements...
The Cape Verdean singer was the preeminent force of morna music, which combines fado, jazz, and Latin. A native of the island nation of Cape Verde, Cesária Évora was known as the country's foremost practitioner of the morna, which is strongly associated with the islands and combines West African percussion with Portuguese fados, Brazilian modhinas, and British sea shanties.
Mar Azul 3:38
Cabo Verde 3:14
Separação (Ramiro Mendes) 4:51
from Mar Azul 1991
From Cesaria Evora's opening wail on Mar Azul's title track, one knows that this disc, a short set comprised of only eight songs, is going to be something special. This is the album that won Evora the praise of Paris, and was released prior to her international hit, Miss Perfumado. These are classic mornas at their most haunting -- all the songs are devastating, slow-burning, and stellar. The subject matter is about love, loss, and the heartbreak of life in Cape Verde. The music is acoustic, with guitars, sweeping pianos, and the occasional horn or violin to augment the effect. The liner notes set up the image of Evora ("Cize," as she is known to those close to her) as she prepares to sing in a smoky Cape Verdean nightclub. The overlying feel of this album is that of a dark and intimate seaside bar, under a starry sky, featuring a beloved singer who woos the audience with her dreamy, mesmerizing voice. Highlights include the haunting "Mar Azul," the elegantly moody "Cabo Verde,"... and its heartbreaking finale, "Separacao." This truly original and understated album burns with the underlying ferocity of an emotional roller coaster, and introduced to the world the mornas of Cape Verde and their most famous interpreter, Cesaria Evora.
Singer/songwriter Kiko Veneno was born in Figueres, Spain, and later settled in Sevilla making his live debut at a local university in 1971. After participating in a duet called Kiko y Germán, he joined brothers Rafael and Raimundo Amador to form Veneno, a flamenco/pop act that disbanded a year later. In 1981, Kiko Veneno made his first solo record, Seré Mecánico por Tí...
Lobo López 4:55
Echo de Menos 3:47
En un Mercedes Blanco 4:22
from Échate un cantecito 1992
...A seminal but erratic artist, Veneno benefited here from the key support of Radio Futura's Santiago Auserón and producer Joe Dworniak, and was thus able to focus his talents for a set that included classics such as "Lobo López," "En un Mercedes Blanco," "Echo de Menos," and "Joselito."...
Listeners who learn the name of this band will in the process learn an old Hungarian proverb, meaning "the end of pains," and normally used to describe the situation when someone dies. Neither of the words is actually Hungarian -- "kampec" is Yiddish, "dolores" is Latin -- but the band itself has been the most successful touring Hungarian rock band since the collapse of the Soviet Eastern bloc in the mid-'60s.
Tű fokán 4:41
Jeges hevület 4:04
Ödögök 3:38
from Tű fokán - Eye Of The Needle 1993
...For the following decade Kampec Dolores toured the entire European continent more than two dozen times. Musically the group started with the kind of new wave, post-punk styles that were prevalant in the '80s. The musicians worked with many different influences from ethnic music and avant-garde music including free improvisation. The vocalist Gabi Kenderesi developed her own style of scat singing, using made-up languages and extended vocal techniques. She is also a fine violinist...
At the forefront of the Rock en Español movement, the band mixes rock, punk, electronics, and the occasional traditional Mexican flavoring. The Mexican quartet has remained one of the biggest acts on the Latin music scene since, inspiring two generations of rockers in their wake...
El Aparato (Rubén Albarrán) 3:18
Esa Noche (Elorza Rangel) 3:28
El Fin de la Infancia (Joselo Rangel) 2:18
El Puñal y el Corazón (Rubén Albarrán) 4:21
from Re 1994
For Re, Café Tacuba experimented with different styles and sounds, resulting in one of the most wildly varied releases of the '90s... Re proves that Café Tacuba is lyrically and musically more adventurous than most of its '90s peers.
...The band employs a standard rock lineup of guitar/bass/drums with vocals, certainly, but the members also incorporate electronics as well as exotic instrumentation into their music, which encompasses styles as divergent as punk and ballads, as well as regional Mexican sounds like norteña, cumbia, ranchera, and even mariachi and electronica, indie pop, and garage rock. .. While critics look at these reasons to signify Café Tacuba's importance, legions of global music followers are enamored with them simply because of their music, which is broadly appealing not only because of its groundbreaking nature, but also because of it's fun, madcap, and ever-changing...
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