16-06-2021 > WORLD:MUSiC:MiX # 33 selected GLOBAL MUSiC tracks 1983-1994 # WmW

g l o b a l  m u s i c a l   v i l l a g e

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

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1983-1994

Uppers International - Aja Wondo

The Cutlass Band - Obiara Wondo

Los Issufu and His Moslems - Kana Soro

Waza-Afriko 76 - Gbei Kpakpa Hife Sika

from Afrobeat Airways, Vol. 2: Return Flight to Ghana 1974-1983

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.

Fabrizio De André 

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.

Lizzy Mercier Descloux 

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.

01-07-2020 WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1966-1959 # WmW

g l o b a l  m u s i c a l   v i l l a g e

Baden Powell, Vinícius de Moraes

01-07-2020 > WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1966-1959 # WmW: Baden Powell, Violeta Parra, Ravi Shankar, Eduardo Rovira, Solomon Ilori and His Afro-Drum Ensemble, The Mary Kaye Trio, Alfredo Marceneiro, Pedro Laza y Sus Pelayeros, Pete Seeger, Frank Hamilton, Shirley Collins

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1966-1959

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.
Baden Powell
Labareda (Vinícius de Moraes / Baden Powell)
Canto de Xangô (Vinícius de Moraes / Baden Powell)
Tempo de Amor (Samba Do Veloso)(Vinícius de Moraes / Baden Powell)
from Os Afro Sambas 1966
This album was released originally in 1966 in Brasil. A collaboration with Vinicius de Moraes. And it was an absolute landmark in the bossa nova movement.

Daughter of a music teacher and a singer/guitarist, Violeta Parra was influenced by her parents since being a child. 
Violeta Parra
Gracias a la Vida feat. Javiera Parra (Violeta Parra)
Run Run Se Fue P'al Norte feat. Javiera Parra  (Violeta Parra)
Volver a los 17 feat. Javiera Parra  (Violeta Parra)
from Las últimas composiciones de Violeta Parra 1965
At the age of nine, the young girl started singing and playing guitar, soon composing traditional Chilean music. After getting married to Luis Cereceda in 1952, the singer/songwriter began touring the country, assimilating the natural charm of her native land, which mostly inspired her work. In 1954, Violeta Parra moved to Europe, deciding to settle down in France, where the artist started recording her poetic songs. When returning to Chile in 1958, Violeta Parra got involved in painting and sculpture, extending her artistic skills even more. In 1961, the singer returned to Europe, this time singing along with her daughter Isabel Parra and her son Angel Parra being responsible for keeping their mother's legacy alive.

The foremost exponent of Indian classical music, largely responsible for introducing the sitar to both pop and classical Western audiences.

Rabindra Shankar Chowdery, aka Ravi Shankar, was born on April 7, 1920, in Varanasi, India, into a well-off orthodox Brahmin family. His father, ShyÆm Shankar, was employed as a diwan (minister) by the Maharajah of Jhalawar...

Ravi Shankar 

Tala Rasa Ranga feat. Paul Horn

Tabla-Dhwani feat. Paul Horn

Song from the Hills feat. Paul Horn

from Portrait of Genius 1964

Ravi Shankar has been described as one of the greatest musicians on the planet. This record, one of his classic World Pacific albums, clearly lends credence to that statement. But the thing that makes this record interesting is the fact that it contains a unique fusion of Shankar and his group performing with respected jazz flutist Paul Horn. It's an extremely gratifying combination, and Horn plays with a true jazzman's restraint on the five short selections that open the record... Shankar's awesome ability and stamina is matched only by that of his ensemble, especially Alla Rakha on tabla. Essential for any fan of Shankar or Indian music. Awesome.

Eduardo Rovira was an Argentinian composer, bandaneón player, and musical arranger best known for expanding El Nuevo Tango to unpredictable lengths. If it weren't for the Lanusian composer, tango would have probably never met with such intriguing composition techniques like twelve tone and counterpoint.

Eduardo Rovira 

Simple

Elegía Para el Amigo Negro

Contrapunteando

from Tango vanguardia 1963 

1963's "Tango Vanguardia" (Tango Avant-garde) reflects this positively anti-customary thinking.

One of the album's first tracks is the string dominated "Elegía Para el Amigo Negro", this track is a nostalgic reflection of disaster that showcases Rovira's poetic expertness. It is followed by "Contrapunteando" which, like the name implies, is an example of Rovira's strange relationship with counterpoint whose academic realization is by all means amplified by Nuevo Tango's seductive verses... Of course tango music wouldn't be tango music if it went by all the dodecaphonic norms, and that is exactly where Rovira's genius comes in, 12-tone music doesn't lose its whim and nor does Rovira's cerebrally engaging tango ideals.

Replete with intelligently adjoined harmonies, poetic bandoneón lines, and marvellous execution, "Tango Vanguardia" proves itself one of Nuevo Tango's most transcendental achievements.

04-06-2020 > WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1974-1963 # WmW

g l o b a l  m u s i c a l   v i l l a g e

PLANXTY

04-06-2020 > WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1974-1963 # WmW:   Planxty, Fela Kuti, Lafayette Afro Rock Band, Steeleye Span, Jorge Ben and Trio Mocotó, Willie Colón, Pentangle, Carlos Paredes, Baden Powell, Violeta Parra, Ravi Shankar, Eduardo Rovira

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1974-1963

Veritable supergroup of Irish traditionalist helped spark an Irish folk renaissance in the 1970s. Along with groups like the Bothy Band, Planxty helped to usher in a new era for modern Celtic music. While their sound remained rooted to traditional music, the band's virtuosic musicianship and high-energy delivery reflected modern influences, while their unique vocal harmonies and instrumental counterpoint were unprecedented in Irish music.
Planxty
Cold Blow and the Rainy Night
Johnny Cope 5:15
from Cold Blow and the Rainy Night 1974
Irish stalwarts Planxty begin Cold Blow and the Rainy Night -- their third record for Shanachie -- with a rousing version of the Scottish battlefield classic "Johnnie Cope." It's a fitting opening to a record that essentially rounded out their recording heyday as the members splintered off to form equally influential Celtic acts like the Bothy Band, Moving Hearts, and De Danann. Co-founder Dónal Lunny, despite contributing instrumentally to a few tracks and taking a seat in the production chair, left the group, allowing newest member Johnny Moynihan to take over bouzouki and -- along with Andy Irvine and Christy Moore -- vocal duties. The title track is one of the finest of their career, utilizing Liam O'Flynn's expert uillean pipes and the band's peerless harmonizing to a tee.... Cold Blow and the Rainy Night, along with The Well Below the Valley, and their legendary debut, are essential listening for those in love with, or merely intrigued with, the genre.

Nigerian singer who was a key figure in the development of Afro-beat, blending agit-prop lyrics and dance rhythms as a medium for social protest. It's almost impossible to overstate the impact and importance of Fela Anikulapo (Ransome) Kuti (or just Fela as he's more commonly known) to the global musical village: producer, arranger, musician, political radical, outlaw. He was all that, as well as showman par excellence, inventor of Afro-beat, an unredeemable sexist, and a moody megalomaniac.

Fela Kuti 

Alu Jon Jonki Jon (Feladey & Friends) 

Jeun Ko Ku (Chop'n Quench) (Feladey & Friends) 

from Afrodisiac 1973

The four (lengthy, as usual) songs occupying this album were originally recorded in Nigeria as 45 rpm releases. Afrodisiac consists of re-recordings of these, done in London in the early '70s. While it's true that Fela Kuti's albums from this period are pretty similar to each other, in their favor they're not boring. These four workouts, all sung in Nigerian, are propulsive mixtures of funk and African music, avoiding the homogeneity of a lot of funk and African records of later vintage, done with nonstop high energy. The interplay between horns, electric keyboards, drums, and Kuti's exuberant vocals gives this a jazz character without sacrificing the earthiness that makes it danceable as well. "Jeun Ko Ku (Chop'n Quench)" became Kuti's first big hit in Nigeria, selling 200,000 copies in its first six months in its initial version.

The often-sampled funk masters Lafayette Afro Rock Band emerged initially as The Bobby Boyd Congress then Ice, before claiming this moniker.

Lafayette Afro Rock Band 

I Love Music 

Conga (Lafayette Hudson) 

from Malik 1972

We can speak about "Killer french Funk" with this second lp from the band, issued in 1972 on french "America" label. Also enjoy the second press issued on US "Makossa" label (Makossa 2311). Recorded in Paris and New York under the production & direction of Pierre Jaubert ('Berjot') & Roland francis , the Lafayette Afro-Rock Band were a jazz super session group that created a heavy, ghetto funk that has since been sampled by everyone (Public Enemy for exemple) After the first release "Soul Makossa" LP, everyone recognize the talent in this group. The response was immediate with new rhythm music, that deliver the contemporary funky soulful disco feeling with "Malik".

Pivotal English folk-rockers who brilliantly interpreted traditional material before going electric behind Maddy Prior's ethereal voice. A highly influential British band who helped deliver folk-rock to the mainstream in the mid-'70s, Steeleye Span have enjoyed a lengthy tenure at the vanguard of British roots music, innovating their country's traditional songs while adding a host of their own original material to its canon. 

Steeleye Span 

The Blacksmith (Traditional) 

Boys of Bedlam (Traditional) 

from Please to See the King 1971

The debut of Steeleye Span (Mark II), with Peter Knight on fiddle and Martin Carthy on guitar, is more solid in almost every area from repertory to production. The group still had its feet in both modern and traditional sounds simultaneously, so Please to See the King mixes very beautiful, distinctly archaic sounding songs such as "Boys of Bedlam" with amplified, electric numbers like the rousing, ironic "Female Drummer" (which was a highlight of their concerts)... The use of electric guitars was also unique, and quite different from rivals such as Fairport Convention, occasionally mimicking the sound of bagpipes here...