g l o b a l m u s i c a l v i l l a g e
19-08-2021 WORLD:MUSiC:MiX # 33 selected GLOBAL MUSiC tracks 1998-2007 # WmW: Jah Wobble, Ali Farka Touré, Lila Downs, Lúnasa, Tenhi, Danyel Waro, Olivier Ker Ourio, Nigun, Amadou & Mariam, Cheikh Lo, Rabih Abou-Khalil
M U S I C / WmW 2h 48m
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1998-2007
London bassist who brought the funk and dub to Public Image Ltd. before going on to a collaboration-heavy solo career within world music. Jah Wobble is one of the genuine polymaths to emerge from the British post-punk scene of the late 1970s. He is a virtuoso bassist, composer, producer, journalist, poet and author. As a musician, his dub-heavy style weds reggae, jazz, funk, punk, and numerous global folk traditions (from Celtic to Asian music and more)...
Mehmeda Majka Bubage 3:10
St. Mary-Le-Bow 4:04
Mount Zion 12:10
from Umbra Sumus 1998
The strange, spiritual album that is Umbra Sumus is one of the more interesting items released in 1998. Bassist and composer Jah Wobble creates strangely compelling soundscapes that draw textures from a variety of ethnic traditions without explicitly evoking any one of them. .. At times, Jah Wobble's music verges on art-jazz, at times electronica with melodic sound effects, and at times it is in territory that doesn't have a name because nobody else sounds quite like this. Whatever you call this music, it is interesting throughout. .. The name of this album translates as "We Are Shadows," but many listeners will find that this music sheds welcome light on the possibilities of musical fusion.
This talented African guitarist's technique has often been compared to Delta blues legend Robert Johnson. One of the most internationally successful West African musicians of the '90s, Ali Farka Touré was described as "the African John Lee Hooker" so many times that it probably began to grate on both Touré's and Hooker's nerves. There is a lot of truth to the comparison, however, and it isn't exactly an insult...
Ali's Here (Ali Farka Touré) 3:13
Saukare (Ali Farka Touré) 2:51
Instumental (Ali Farka Touré) 4:13
from Niafunké 1999
Malian guitarist Ali Farka Toure's music has always managed global travel with ease and musical grace, shrinking the miles between Western Africa and the Mississippi Delta and seemingly visiting every city in between. Toure has received his share of accolades for blurring the lines between his contemporary/traditional fingerpicking style and "country blues."... He establishes a firm aesthetic residence on Niafunké, his first and most welcome CD in five years. Niafunké was recorded using a state-of-the-art portable studio in Toure's home village of Niafunke, which clearly lends a decisive authentic flavor and sense of musical place to the disc. Each tune is a lithe and resonant labyrinth of call-and-response patterns: a fingerpicked guitar speaks to a one-stringed njarka fiddle, calabash pummelings weave into those of the conga drums, and a lively small chorus answers Toure's authoritative lead vocals. A couple of the best cuts include "Ali's Here" and "Saukare." A beautifully rendered and intoxicating record.
A Mexican-American Laurie Anderson or if Frida Kahlo were a musician instead of a visual artist. Grammy-winning singer and songwriter Lila Downs is among the most globally popular singers of Latin music. One reason is that despite long established roots in Mexico and the United States, her cultural vision is anthropological. Hers is informed by ancient and earthy cultures both from her native Oaxaca -- boleros, rancheras, and mariachis -- and U.S. with its jazz, blues, and soul standards. Her own songwriting topics reflect themes of political and social justice, immigration, transformation, and environmentalism, all rooted in the human condition.
Nueve Viento (Paul Cohen / Lila Downs) 4:46
Luna (Paul Cohen / Lila Downs) 3:38
La Iguana 3:05
from Tree Of Life 2000
Downs' remarkable voice has been compared to both Cesaria Evora and Susana Baca, combining operatic training and jazz chops, while maintaining her Mixtec Indian heritage and incorporating music from many different Latin cultures. Inquisitive fans of worldbeat music will want to investigate Tree of Life.
The seeds of one of the most highly rated contemporary Irish bands were sown in 1996, when former Waterboy and Sharon Shannon bassist Trevor Hutchinson teamed up with guitarist Donogh Hennessy for a Scandinavian tour. From such tiny acorn beginnings have grown mighty oaks. Back home in Dublin, they drafted uillean piper John McSherry and flutist/piper Michael McGoldrick to record some shows, then hit the jackpot when they landed Kevin Crawford, also a member of Moving Cloud, whose flute and whistle work took them to another level, alongside the whistles and fiddles of Sean Smyth (a qualified doctor who'd achieved musical prominence with his 1993 solo album Blue Fiddle). Their 1997 debut, Lúnasa, leapfrogged them ahead of the competition, and not only became a best-seller in Ireland, but was named one of the albums of the year by the prestigious Irish Echo - not a bad beginning. ..
Aoibhneas Eillis Ni Cheallaigh/Jimmy Ward's/Not Safe With a Razor (L.E. McCullough) 4:22
Killarney Boys of Pleasure (Traditional) 4:06
Return from Fingal (Traditional) 3:16
from The Merry Sisters of Fate 2001
Lúnasa has become one of the best and most exciting Celtic ensembles in the world by updating Irish tradition in a way more subtle than usual. Where other bands incorporate Asian or African percussion, synthesizers, and electric instruments, Lúnasa mostly relies on a different rhythmic approach while keeping the core instrumentation largely traditional (with the exception of string bassist Trevor Hutchinson). That said, there are a few electric guitars and other exotica (clarinet, lap steel, etc.) on The Merry Sisters of Fate -- but they mostly provide little more than subtle shadings of texture. As usual, the sonic focus is on the outstanding fiddler Sean Smyth, flutist Kevin Crawford, and piper Cillian Vallelly...
Tenhi is a Finnish band formed in 1996, playing melancholic neofolk music. The music of Tenhi is minimalistic and dark. Usually, the rhythm instrument lines follow the customs of modern rock music. The melodical instruments and vocals are however very heavily folk-influenced. The basic instrumentarium of the band consists of acoustic guitar, bass and drums. Frequent additional instruments include piano, violin, viola and flute and less frequent didgeridoo, mouth harp, harmonium, cello, udu and synthesizer.
Vastakaiun 7:54
Yötä 5:21
Tenhi 6:11
from Väre 2002
You just want to close your eyes and enjoy the moment. On their second album, Tenhi once again take the listener into the endless depths of Lapland. However, the development of the band is clear to hear. The pieces are more diverse, combining the atmospheric, partly rocky moments of their debut album "Kauan" with the shamanistic sounds of their mini CD "airut:ciwi". "Väre" creates images before your mind's eye ... pictures of unspoiled country-sides and deep forests far away from civilisation...
Danyel Waro was born and raised at the Ile de la Réunion, a French territory in the Indian Ocean east of Madagascar. A descendant of French colonists, he is the most renowned proponent of the Maloya, a compound rhythm which had its origin in chants of enslaved workers on the sugar cane plantations, a sort of "blues à la Réunion."
Paris-based musician, composer, band leader, and highly-regarded soloist, Olivier Ker Ourio has established himself as one of the world’s premiere chromatic jazz harmonica players.
Banm Kalou Banm 7:35
La Météo 5:50
Gardyin Volkan 4:18
from Sominnkér 2003
«Two first-rate musicians, the Paris-based jazz harmonicist Olivier Ker Ourio and THE voice of the maloya, namely Danyel Waro, have come up with this "path of the heart" (Sominnkér), an invigorating mix of jazz and maloya. With its magical music, powerful lyrics and emotional intensity, this album will stand out in the history of Reunion music. "Eleven years ago, I left Reunion and settled in Paris to fully live my passion for jazz. I have remained haunted by this magical island, its landscapes, its contrasts, its cultural diversity. The Creole culture is very present in my life. I eat and speak Creole, and I listen to Reunion music, sega and especially maloya. I had been dreaming for years of blending the tones of jazz with the irresistible beat of maloya. I could not wish for a better way than this 'path of the heart' with Danyel Waro and this gang of amazing musicians" (Olivier Ker Ourio).» (Africultures).
Nigun was founded by Andras Parniczky guitarist and composer in 2001. Uniquely in the European jazz scene, the formation originates its music from the Eastern European Jewish traditions. Although Nigun’s music can be best labelled as "Klez-jazz”, the creativity and spontaneous spirit of its musicians are also very significant, as well as their attempt to combine different genres.
Dror Yikra 6:39
Szászrégeni Zsidó Tánc 7:30
Der Gasn Nign 6:56
from 'Standard' 2004
Acoustic Bass – Nagy Péter
Alto Saxophone, Soprano Saxophone – Bacsó Kristóf
Drums – Gavallér Csaba
Guitar – Párniczky András
This Malian afro-pop duo combines spare Malian blues with Latin, Middle Eastern, and Western influences. A musical husband-and-wife duo who got their start in Mali, Amadou & Mariam met in 1975 at Mali's Bamako Institute for the Young Blind.
M' Bifé (Manu Chao / Mariam Doumbia) 2:11
Coulibaly (Amadou Bagayoko) 3:18
Beaux Dimanches (Amadou Bagayoko) 3:31
Taxi Bamako (Manu Chao) 3:44
from Dimanche a Bamako 2005
Amadou & Mariam, the blind couple from Mali, have certainly paid their dues over the last 30 years, and it's about time they received their big break. Certainly given the excellent reviews in Europe, Dimanche a Bamako could be it, thanks to the production and participation by the elf prince of world music, Manu Chao. He brings a playful lightness to their soulful, bluesy Malian sound, letting in plenty of sunshine, and drawing in a sense of place through the ambience of traffic sounds and snippets of conversation... Even if you don't understand the words, however, the entire disc is an absolute aural joy, poppy enough to be exquisitely memorable, yet with layers of resonance underneath. Likely to be one of the world music albums of 2005, it can hopefully find the kind of wide audience it surely deserves.
Acclaimed artist from Burkina Faso who has incorporated a wide array of influences, including reggae, Latin, jazz, funk, and soul. Mbalax, the intricate dance music of Senegal, has been made more accessible to Western listeners by Cheikh Lô (born Cheikh N'Digel Lô). Softening the hard edges of mbalax and incorporating elements of salsa, Zairian/Congolese rhumba, folk, and jazz, Lô has created an infectious, hook-laden style of pop music.
Sou (Bembeya Jazz National) 3:03
Lamp Fall 4:32
Sénégal-Brésil 4:24
Bamba Mo Woor 3:48
from Lamp Fall 2006
Lamp Fall is the first international release from the Senegalese singer/songwriter and guitarist Cheikh Lô. Issued on World Circuit, it is a collection of traditional and original songs that heavily showcase his trademark mbalax drums, reggae grooves, and funky polyrhythms, with a host of colors and textures added by widely varying instrumentation. This time out, Lô goes to Brazil for inspiration -- about half the album's tracks were recorded in Bahia... In sum, Lamp Fall is a further extension of the already heady mix of styles, rhythms, and harmonics Lô has amassed over the past decade and a half. It's an utter joy in that it's so dense that most of its secrets won't be revealed until many repeated listenings are undertaken. That said, its sunny sheen and easy, airy atmosphere are intoxicating and elegant. This is early candidate for one of the best recordings of 2006.
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 CMJ New Music Report noted that Abou-Khalil has "consistently sought to create common ground between the Arab music mileau of his roots and the more global musical world of today." Down Beat praised Abou-Khalil's music as "a unique hybrid that successfully spans the world of traditional Arabic music and jazz."
Mourir Pour Ton Décolleté 7:29
Best If You Dressed Less 7:29
Para O Teu Bumbum 6:55
Le Train Bleu 6:
from Songs For Sad Women 2007
After twenty-five years and eighteen albums, it is unlikely that Rabih Abou-Khalil is going to spring any great surprises; long ago he found a distinctive individual style and has stuck to it since – with sufficient variations to keep it fresh and interesting. One need only hear this music for a few seconds to identify its creator. Aficionados will find everything that keeps them coming back for more; the characteristic blend of jazz-inflected Arabic melody with subtle rhythms combines into a hypnotic whole, as ever with Abou-Khalil’s fluent oud playing in a central role. On this album, the variation that stops the music becoming formulaic is the inclusion of guest artist Gevorg Dabaghyan, who plays duduk, a Georgian instrument similar to an oboe. In Dabaghyan’s hands, it has a haunting, mournful sound that dominates the album. The opening track, “Mourir Pour Ton Décolleté” is a prolonged showcase for Dabaghyan, and one of the album’s highlights...
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