g l o b a l m u s i c a l v i l l a g e
02-01-2022 • • WORLD:MUSiC:MiX # 33 selected GLOBAL MUSiC tracks 2011-2000 # WmW 2h 48m: Terakaft, Los Destellos, Los Wemblers De Iquitos, Los Walkers, Le TPOK Jazz, Franco, Watcha Clan, Vinicio Capossela, Omar Bashir, Axel Krygier, Boris Kovac, Ladaaba Orchest, Besh o Drom, Oliver Mtukudzi, Cristina Branco
M U S I C / WmW 2h 48m
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2011-2000
Terakaft (meaning “caravan” in Tamasheq) is a genuine desert rock band, sculpted by the pure searing air and the endless rolling sands of the Sahara. The stark, harsh conditions of the desert have permeated their wild riffs, and as a result they are the perfect embodiment of all that is wild and free in desert blues today. Terakaft was formed in 2001 with a line-up that included two former members of Tinariwen, and they have since made the electric guitar their own...
Alghalem (Abdallah Ag Ahmed) 3:41
Aman Wi Kawalnen (Liya Ag Ablil / Sanou Ag Ahmed) 3:45
Ahabib (Liya Ag Ablil) 5:01
from Aratan N Azawad 2011
The new album from Terakaft presents the Tamasheq band in live performance, with a lean tightness to the sound that leaves the group positioned between the desert blues genre and rock. A song like "Aman Wi Kawalnen" has the suppleness of the best Sahara bands, but the flow of lead guitar work that characterizes rock. Even where acoustic guitar dominates, as with "Aratan N Azawad," that same feel is there. In part that's because the band is only a three-piece (two guitars, bass, and vocals, supplemented for the recording with percussion and some additional guitar), offering a sparer, cleaner sound. There's a liquid beauty to the music with its easy, rolling rhythms, but the intensity always simmers, occasionally firing into flame, as with the biting, incisive guitar breaks in "Ahabib." It's no longer fair to call Terakaft an up-and-coming band. On this basis of this, they've arrived, with their sound fully developed.
Los Destellos - Constelación (Enrique Delgado) 3:19
Los Ribereños - Silbando (Juan Benigno) 3:06
Los Wemblers De Iquitos - (Lamento Del Yacuruna (Emerson Sanchez) 2:47
Los Walkers - Siboney (Ernesto Lecuona) 2:34
Chicha started in the '60s when the Indian population of the Peruvian Amazon discovered the Columbian pop music known as cumbia and American rock & roll. With cheap electric instruments, Peru's Amazon Indians started dance bands that blended the cumbia, with a beat that sounds a bit like ska, Andean folk tunes, and their own indigenous music. When the Indians moved to Lima, they brought chicha with them. Like Afro-Peruvian music, chicha was shunned by "polite" society and it didn't gain an international profile until Olivier Conan, owner of Barbés Records, discovered the music on a trip to Peru in 2006. He found bootleg chicha cassettes on the streets and finally tracked down the master tapes of several chicha labels that had gone bankrupt. He put out a compilation of tunes called Roots of Chicha: Psychedelic Cumbias from Peru and started his own chicha band, Chicha Libre. Chicha isn't going to rule the world anytime soon, but the music caused a sensation in world music circles and Psychedelic Cumbias from Peru was praised by The New York Times, BBC, and other international publications. The Roots of Chicha, Vol. 2 continues to explore this hitherto unknown genre with 16 more mind-bending rave-ups cut between 1968 and 1981...
There's no doubt that Franco was, in every sense of the word, a big man in African music. Sometimes weighing in at 300 pounds, he also earned his nickname as "The Sorcerer of the Guitar," making it sing like no one before, with effortless, fluid lines. Also an accomplished composer and vocalist, Francois Luambo Makiadi remains a towering figure even in death, probably the greatest the Congo (later Zaire) has ever produced, and as the leader of the long-running O.K. Jazz group, he was one of the fathers of the modern Congolese sound. ..
Tokoma Ba Camarade Pamba (Franco Luambo) 11:25
Nostalgie (Josky Kiambukuta) 10:00
from Francophonic, Vol. 2 2009
Watcha Clan are a French quartet that fuses together influences as diverse as its members' heritages. Drawing on North African, Spanish, Arabic, Hebrew, French, and modern electronic musical styles for inspiration, the Clan claim a nomadic ethic, calling no single style "home." ...
Les Hommes Libres 4:43
Tchiribim (Traditional) 3:29
Les Courbes de Ton Corps 4:29
from Diaspora Hi-Fi A Mediterranean Caravan 2008
When they use the subtitle "A Mediterranean Caravan," they're not kidding. Drawing from everywhere around the Inner Sea -- often in the same piece -- it's a travelogue with a modern twist that's as happy on the dancefloor as while wandering a dusty desert... It's too dense, with no room to breathe, full-on from start to finish. They move around easily, with songs in Yiddish, Hebrew, English, French, Spanish, and Arabic, which covers most of the Mediterranean possibilities, and they travel even farther... Make no mistake, it's good, and there's plenty of invention, with seamless integration of real instruments, beats, and programming, but it's so busy that eventually it can seem a little overwhelming...
Perhaps best likened to an Italian Tom Waits, singer/songwriter Vinicio Capossela channeled influences spanning from two-fisted novelist John Fante to poet and philosopher Samuel Taylor Coleridge to forge an experimental, profoundly literary approach to popular music quite unlike anything else in the contemporary European sphere. Born in Hannover, Germany, on December 14, 1965, Capossela came of age in the underground clubs of Italy's Emilia-Romagna region...
Non Trattare (Vinicio Capossela) 6:06
Dalla Parte di Spessotto (Vinicio Capossela) 5:04
Medusa Cha Cha Cha (Roy Paci) 4:57
from Ovunque proteggi 2006
It would be nearly impossible to succinctly describe what Vinicio Capossela does musically on his album Ovunque Proteggi. It starts out intensely, almost menacingly so, and ends with a gentle, pretty love song, but the path to it -- Eastern-influenced chants to patriotic marches to waltzes to sad jazzy piano numbers to bolero -- somehow seems to follow a natural progression, or at least trick listeners into believing that's the case... Ovunque Proteggi is part love and hate and anger and lust, imparting the wisdom of the immortals (Melville, Pasolini, and Homer, besides the array of gods and God) to all the rest of us. Hardly an easy task, but Capossela keeps the album accessible through his great sense of arrangement and lyrical phrasing, making it a challenging, but ultimately rewarding experience.
Omar Bashir was born to be a musician. The son of late influential oud player Munir Bashir (1930-1997), Bashir has continued to explore the mode-based, raga-like Arabic Taqsim that his father helped to bring to the international stage. Taught to play the oud at the age of five by his father, Bashir studied music and ballet in Baghdad two years later...
Bint al Chalabia (Traditional) 5:40
Fantasy (Omar Bashir) 14:51
Irak (Traditional) 4:32
from Latin Oud 2005
WORLD MUSIC CENTRAL Omar Bashir was born in 1970 in Budapest, Hungary. He started playing the ‘ud at 5, next to his father, Munir Bashir, the Iraqi virtuoso who first made the oud a solo recital instrument and popularized it in the West. At 7, Omar Bashir joined the Baghdad Music and Ballet School. He would eventually become a teacher there and set up his own band of 24 musicians specializing in traditional Iraqi music... Bashir returned to Budapest in 1991 where he joined the Franz Liszt Academy...
Multi-instrumentalist and composer Axel Krygier was born in Buenos Aires in 1969, where he cut his teeth playing saxophone alongside Kevin Johansen with the group Instruccion Civica. Though sax was his first instrument, Axel attained proficiency on many instruments, including piano and flute.
Jungla de Pasto 4:27
Autoerótico 4:22
Final 4:13
from Secreto y Malibú 2004
...Axel had composed soundtracks for films and created backing music for dance companies for many years, but had not released those works in album format before the 2003 release of Secreto y Malibú. Having spent several years in Europe, Axel returned to his native Buenos Aires in 2003, where he formed Sexteto Irreal with longtime friends Fernando Sanalea, Alejandro Terán, and Manuel Schaller, a jazz-argentino improvisational group who went on to earn much acclaim throughout Latin America and Europe...
Boris Kovac is one of a handful of modern composers and performers from the region of Hungary, Bulgaria, and Yugoslavia whose names reached Western Europe and America. Strongly influenced by folk music from that region (a fascination he shares with István Mártha and Ernö Király), minimalism, Bela Bartok, and the philosophy of Bela Hamvas (also influential on Hungarian composer Tibor Szemzö), Kovac's music takes multiple forms. His production can be split in three categories: the deeply spiritual cycles he writes for his ensemble Ritual Nova; more formal contemporary chamber music for dance and theater; and finally his LaDaABa Orchest, a party band for the end of the world...
Boris Kovac, Ladaaba Orchest
Danza Transilvanica (Boris Kovac) 6:26
Damar of Istanbul (Boris Kovac) 6:25
Beguine at the End... (Boris Kovac) 3:31
from Ballads at the End of Time 2003
It's the morning after the apocalypse and (assuming you've survived) where are you? How are you feeling? That's the idea behind this disc. Boris Kovac is one of the most creative musicians to come out of Serbia, and his music breaks out of the gypsy/village ghetto to which most Balkan sounds are consigned. The second part of his "La Danza Apocalypsa Balcanica Project" shows the quieter, reflective, more rustic and impressionistic side of Kovac. The music on Boris Kovac & Ladaaba Orchestra's Ballads at the End of Time is slow and lovely. It isn't so much about devastation as new hope... Don't try and categorize this music; it simply won't fit into any pigeonhole. Traces of classical, jazz, gypsy, and more meld in the sonorities as the dogs bark. A wonderful record to make you think about life -- and what could be in our future.
Besh o DroM was formed in 1999 in Budapest, Hungary. This Hungarian band combines Hungarian folk elements with Balkan music. The band does not confine itself to the Balkan category, but draws its musical inspiration from Jewish, Afghan, Albanian, Egyptian, Lebanese, Armenian, Bulgarian, Romanian, and Greek tunes, using folk and electronic instrumentals.
Nekemtenemmutogatol Oro (Besh O Drom / Traditional) 5:30
Csángó Menyhárt (Traditional) 2:38
Manócsávó (Besh O Drom / Traditional) 4:41
from Can't Make Me! / Nekemtenemmutogatol! 2002
Hungary's Besh o Drom is, to put it mildly, all over the map. They're a gypsy band who breaks through many of the normal barriers associated with that style, while still rooted in their heritage... For anyone just coming to gypsy music, this probably isn't the place to start. But if you've already investigated it and you want to hear what a new generation is doing, you won't find better than this.
A musical and cultural icon in his native Zimbabwe, Oliver "Tuku" Mtukudzi's songs reflected the daily life and struggles of his homeland by blending together a number of South African music traditions including mbira, mbaqanga, jit, and the traditional drumming styles of the Korekore to create a distinctive style that his fans affectionately dubbed "Tuku music."
Wasakara (Oliver Mtukudzi) 7:28
Pahukama (Oliver Mtukudzi) 4:47
Wenge Mambo (Oliver Mtukudzi) 5:07
from Bvuma •Tolerance 2001
An inventive guitarist and passionate singer, Mtukudzi was also an astonishingly prolific recording artist, releasing 67 albums during his four-decade career. Having established himself in the late '70s, his popularity soared after Zimbabwe won its independence in 1980 and in the years that followed, he released a string of successful albums and branched out into acting as well, starring in his country's first two nationally made films, Jit (1990) and Neria (1992)...
By rights, Cristina Branco shouldn't sing the urban Portuguese song form called fado. The genre, whose name translates as 'fate,' has its history in Lisbon, a enigmatic, poetic, working-class style about accepting the lot life and love has dealt. But Branco, who grew up in rural Almeirim, Portugal, has established herself as one of the country's foremost fadistas, with a growing international reputation. Born in 1972, she grew up listening to blues, jazz, and music from around the globe...
Fado Perdicao 2:46
Magoa (Fernando Pessoa) 3:56
Abandono 3:14
from Murmúrios 2000
Cristina Branco is at the modern forefront of the Portuguese fado genre, a kind of national variation on the blues, although it has more in common with Greek rembetika. The lyrics are poetry, the music soft. But it's all about the signing, putting across the image, and emtion of the song, which is why Branco stands out so much. Her voice has a tenderness that could move easily from the intimate to the sweeping over a single phrase, all the while making the listener she's singing only to him. The scaled-down accompaniment helps that feeling. By its very nature, the form is quite sensual, and Branco accentuates that with her slightly breathy singing. But there's also a clarity to her, almost a translucence, which illuminates the words. By choice she uses modern lyricists, poets really, with the melodies coming from guitarist Custodio Castelo... Beautiful, sometimes almost erotic, this is music for the heart.
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