02-01-2022 • WORLD:MUSiC:MiX # 33 selected GLOBAL MUSiC tracks 2011-2000 # WmW 2h 48m

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...

Terakaft 

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

from The Roots of Chicha 2 2010

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. ..

Franco, Le TPOK Jazz 

Tokoma Ba Camarade Pamba (Franco Luambo) 11:25

Nostalgie (Josky Kiambukuta) 10:00

from Francophonic, Vol. 2 2009

25-07-2018 13:35 # WORLD:MiX # 33 selected ETHNiC FUSiON tracks # WmW

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

M U S I C

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WmW label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza. 

Flamenco guitar and Cuban tres player Raúl Rodríguez Quiñones was born in Sevilla (Spain) in 1974. He started out playing electric guitar and drums, taking a particularly interest in blues and rock music, but by age 17 shifted his attention to playing flamenco guitar.
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 is a Lebanese singer/songwriter who has been paving her own path in the Arabic underground musical scene since 1990. Her voice is wise and true, a soft mix between the traditional Arabic music she was raised on and the western sounds she chose to follow. She writes about the daily worries of a troubled society, of love and hate and what’s in between. Her music follows the rhythm of her daily life and mirrors her changing mood, creating a boiling pot of tunes, feelings and love for innovation. 
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 is a musician and composer from Buenos Aires (Argentina). His music does not bear any simple definition, it is rather a fusion between the characteristic sounds of South America (cumbia, tango), European folk melodies (Klezmer, Balcan) with groove, dub, psychedelia, twist and countless styles, as Axel Krygier's sounds are a constant surprise.
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...

06-07-2018 16:06 # WORLD:MiX # 33 selected ETHNiC FUSiON tracks

Justin Adams

06-07-2018 16:06 # WORLD:MiX # 33 selected ETHNiC FUSiON tracks # WmW   Justin Adams, Kolinda, Lila Downs, Lo'Jo, Tony Allen, Samba Toure, Raul Rodriguez, Tania Saleh, Axel Krygier, Dina El Wedidi

M U S I C

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WmW label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza. 

Guitarist/producer and composer Justin Adams is both one of Britain's great bluesmen and African crossover music's leading proponents. First coming to prominence in 1990 with Jah Wobble's Invaders of the Heart, Adams laid the foundations of his career through working as a respected sideman. His list of credits grew to include internationally known artists such as Sinéad O'Connor, Damien Dempsey, and more. His love affair with the music of North Africa first became evident with the release of his debut solo record in 2001.
Justin Adams
Desert Road (Justin Adams) 4:28
Blue Man (Justin Adams) 4:07
Majonoun and Leila (Justin Adams / Salah Dawson Miller) 6:08
from Desert Road  2001
Justin Adams has a fascination with the space of the desert, and on his solo debut, he recreates the feel, openness, and rhythms of the Western Sahara, where it bleeds into Mali, Morocco, and Mauritania. A proponent of the less-is-more school of playing, he inhabits a place where North African, West African, and blues music intertwine and notes bend, hang, and ultimately mix with a late 20th century recording studio, where samples and beats co-exist. The percussion, from longtime collaborator Salah Dawson Miller, fleshes out the bones. Although Adams is very much a player's player, he lets the rawness of style show through, never flashy, always to the point, whether plucking lead lines or fingerpicking, letting his left hand dictate the melodies and rhythms. The overall effect is soothingly hypnotic, as mesmerizing as shifting waves of desert sand. It's beautiful, often eerily bluesy (a nod to Blind Willie Johnson, one of his idols), and evokes the mystery of one of the earth's last great places. A tiny masterpiece.

Kolinda plays complex folk music with diverse instrumentation and with medieval and Eastern influences. They lived in France for a time, and were produced by Hughes de Courson of the French folk group Malicorne. Kolinda disbanded in 1979, only to reform five years later.
After playing as a group for 11 out of the past 16 years, with 7 albums under their belts, Kolinda is still relatively unknown in their native Hungary and virtually unheard of in North America.
"They're one of the most interesting European groups that I've heard," says Gary Cristall, organizer of the Vancouver Folkfestival, "but they do it in a different way. Even though they were doing traditional stuff, it had a different edge to it. They've never been looked on very favorably in Hungary. They were always a little too far outside."...
Kolinda
Napforduló / Solstice 4:48
Elfelejtett Istenek / Forgotten Gods 6:10
Rohanás 9-ben / Rush in 9 3:38
from Forgotten Gods 2000
Double Bass – Péter Kôszegi
Oboe – Endre Juhász
Percussion – Csaba Gyulai, Tibor Pongrácz
Violin – Lilla Várhelyi
Vocals – Kriszta Kováts
Vocals, Flute, Violin – Dóra Kováts
Vocals, Mandocello, Gadulka, Synthesizer – Péter Dabasi

A Mexican-American Laurie Anderson or if Frida Kahlo were a musician instead of a visual artist. Singer Lila Downs grew up with the culture of her father, a professor from the United States, but eventually turned her back on it to explore the tradition of her mother, a Mixteca Indian from Mexico. In doing so, she has created a very individual strain of song that has indigenous Mexican roots and North American sonorities. Born in 1968, she spent her early years in Mexico, but after her parents split up, she was shuffled off to live with a relative in California. She grew to love music, specifically classical and opera, and began studying those in college. After two years, however, she experienced a crisis, questioning why she was singing and dropping out to become a Deadhead, following the Grateful Dead around the country in a VW bus, earning money by making and selling jewelry, and not singing at all.
Lila Downs
La Sandunga (Máximo Ramón Ortíz) 4:13
Naila (Chuy Rasgado) 3:14
Ofrenda (Lila Downs) 3:10
Bésame Mucho (Consuelo Velasquez) 5:24
from La Sandunga 1999
Downs weaves a numinous tapestry of indigenous Mexican and Latin American traditions with Tex-Mex, North American folk, blues, jazz, rock, funk, and hip-hop inflections. Hers is an astonishing voice whose mimetic brilliance, affecting coloration and soaring range (in Spanish, English, and indigenous Mexican idioms) reflect a mesmerizing creative tension that razes all categories. Listeners unfamiliar with her work may recall her riveting appearance in the 2002 film Frida, wherein she played a Vargas-like singer, a one-woman Greek chorus to the protagonist's unrelieved suffering (even against a powerful cameo by Vargas herself, Downs more than holds her own). The ensemble (piano, clarinet, tenor and baritone sax, guitar, bass, Latin percussion) commands a variety of idioms, in brilliant complement to the singer. For Downs, music entails a sacred quest, one not without risk; but laying personal claim to some untouchable Latin classics...