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A következő címkéjű bejegyzések mutatása: Richard Bona. Összes bejegyzés megjelenítése
A következő címkéjű bejegyzések mutatása: Richard Bona. Összes bejegyzés megjelenítése

2019. november 11., hétfő

11-11-019 19:06 # WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 2011-2001

11-11-019 19:06 WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 2011-2001 # WmW:    Fémina, Simphiwe Dana, Os Mutantes, Madredeus & Banda Cosmica, Elsa Valle, Richard Bona, Caetano Veloso and José Miguel Wisnik, Gipsy Kings, Värttinä, Liz Carroll, Radio Tarifa

M  U  S  I  C / WmW

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2011-2001



Fémina is a fusion rap group led by three Patagonian women, characterized by the rhythm of their poetry, the combination of musical styles and the vigor of their live performances.
Femina
Deshice De Mi 4:18
Mi Eje 6:06
Los Senos 5:06
from Deshice De Mi 2011
In 2011 Femina edits their first album "Deshice de mi" independently and performs live in Buenos Aires and in different cities around the country. In 2014, they released their second album "Traspasa", which they continue spreading throughout the country and abroad, touring through different World Music festivals around the world. In 2017 they are preparing new songs that will be recorded on a third album.


Born and Raised in the Eastern Cape, her name means ‘gift’ and many of her fans would agree that she is just that, a gift to the SA music scene. In a short period of time this Soul Sistah has become one of South Africa’s favourite daughters. Her music has a fresh sound and her unique voice complements it perfectly.... Simphiwe Dana says that her music is mostly influenced by what is going on in people’s daily lives. She talks about the struggle that black people are going through, despite South Africa’s supposed freedom, and status as a democracy.
Simphiwe Dana
Ndim Nawe 5:16
Ilolo 6:12
Fela's Azania 5:44
from Kulture Noir 2010
Simphiwe Dana has complained in the past that the younger generation of South African musicians have not been successful in the west because "the world is satisfied with the old guys", the likes of Hugh Masekela and Ladysmith Black Mambazo. But her country needs new celebrities, and great new female singers to take over from the late Miriam Makeba, and Dana is a major contender...  shows even greater sophistication, both in the production work (five producers are credited, including Dana herself) and in her relaxed vocal style, which can switch from cool balladry to gospel and jazz. There's a late-night feel to her songs, and she's at her best on gently driving jazz ballads such as the harmonica-backed Ilolo, or Ndim iQhawe...

Brazilian rockers who blended pop packaging, avant-garde experimentation, and an irreverent attitude during the late-'60s tropicalia movement.
Os Mutantes
Querida Querida (Sergio Dias / Tom Zé) 4:13
Baghdad Blues (Sergio Dias / Tom Zé) 5:17
Samba do Fidel (Sergio Dias / Tom Zé) 5:30
from Haih or Amortecedor 2009
Reunited (partially) in 2006 by the acclaim of their fans, Os Mutantes sound just as vital as they did back in 1968 on Haih...Ou Amortecedor..., their first record together in 30 years. Unfortunately, the original trio is only one-third represented. Specifically, there's no Rita Lee (who was replaced in 2006) and no Arnaldo Baptista (who appeared in the 2006 reunion but decided to continue as a solo act). Still, the band -- now a seven-piece -- gets songs from Tom Zé and Jorge Ben, as well as the band's prime songwriting linchpin, Sérgio Dias. Tropicalia fans yearning for another "Panis et Circenses" won't find their hopes far off the mark; although there's a noticeable lack of production experimentation, the band's strengths are all here...

The Portuguese group Madredeus comprises vocalist Teresa Salgueiro, guitarists José Peixoto and Pedro Ayres Magalhães, violin player Francisco Ribeiro, harmonica player Gabriel Gomes, and keyboard player Rodrigo Leão.
Madredeus & Banda Cosmica
Vou (Larga O Navio) (Carlos Maria Trindade) 4:05
O Eclipse (Habitas No Meu Pensamento) 12:01
O Mar 18:02
from Metafonia 2008
... The list of new instruments alone, most notably electric guitar, bass, and drums, hints at a music deemed unthinkable for the original Madredeus, a band that chased the purity of the acoustic sound (often using period instruments) with almost religious zeal. All this make it quite hard to objectively judge Metafonia. Let something be made absolutely clear, however: this is by no means a bad album. In fact, it is often quite beautiful -- but it is not like previous Madredeus albums. If Madredeus was often criticized for making the same record over and over again, that certainly does not apply to Metafonia. This album is as tastefully crafted as ever, but the music this time is less original, or perhaps one should say, less Portuguese. On the other hand, the influences of Brazilian, Caribbean, and African music, or even good old-fashioned pop/rock music, come to the fore with unprecedented force. Instead of the hypnotic lullabies of the past, the new Madredeus makes songs, some of which would not be out of place in the records of say, Bebel Gilberto or Césaria Évora...
Madredeus