Alpha Blondy - Apartheid Is Nazism (1985) [Costa de Marfil]

subido por camilo.leon8

While it might be sacrilege in reggae circles to say that any artist could challenge Bob Marley's mastery of the genre, Alpha Blondy fires a dead-on shot literally heard around the world with Apartheid Is Nazism. Furthermore, this work proves that great reggae does not have to come from Jamaica. "Afriki" opens the album with a nod to Jamaica, but while the music is classic, offbeat reggae, there is a strong African feel here, especially in the backing vocals. On every track, the carefully arranged and smartly played music of Blondy's band, the Solar System, tickles the ears with muscular polyrhythms and a variety of stealthily intoxicating percussion. Maneuvering skillfully on top of all of this is Blondy's uniquely plaintive voice. Blondy, like many reggae stars before him, tackles political issues with a dagger wit and thundering basslines. The title track, one of only two songs sung predominantly in English, pleads for America to "break the neck of this apartheid." Like the patois in which Blondy makes his incantations, his religious message is more mixed than the standard reggae paeans to Jah Rastafari. With tracks like "Come Back Jesus" and "Jah Houphouet" on the same album, it's clear that Blondy is attempting to strike a universal theme in the same way Marley did. While Blondy's career can't measure up to Marley when taken as a whole, Apartheid Is Nazism can stand up to most Marley releases.

FUENTE DEL REVIEW: WWW.ALLMUSIC.COM

Artist Credit
Michel Abishira Drums
Patrick Artero Horn
Alpha Blondy Composer, Primary Artist, Vocals
Anne-Marie Constant Vocals (Background)
Nyaha Yodan Emmanuel Horn
Georges Kouakou Keyboards
Yao Mao Guitar
Paula Moore Vocals (Background)
Julie Mourillon Guitar (Rhythm)
Christian Polloni Guitar
Kamassa Seth Bass

Alpha Blondy - Apartheid Is Nazism (Costa de Marfil, 1985)
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Etran Finatawa - The Sahara Sessions (2013) [Niger]

The Sahara Sessions was recorded deep in the desert. Sheltered only by an animal-skin tent and the vast canopy of midnight stars, Etran Finatawa played their guitars and sang straight from the heart. Each poignant song and every slap of the calabash drum articulating the deep-set divisions in the Sahel region that are threatening their Nomad way of life.


Track List

Matinfa (5:54)
Gonga Timouhar (5:43)
Icheraid Azaman (5:32)
Wa Oyan A Wa Imouss I Bastila (1:42)
An Mataf Germanawen (4:00)
Eldam (6:15)
Ahewalan (4:35)
Bakuba (4:40)
Atherkal (3:44)
Djojaréré (4:24)
Issuad (2:14)
Is Ler Is Salan (4:50)
In De Hallad (4:03)
Im Raharan (4:58)
Taborilit (1:23)
Toumast (5:10)




flac + covers

THE SAHARA SESSIONS

Etran Finatawa - Desert Crossroads

Etran Finatawa is a Niger-based band, formed in 2004 during the Festival au Désert near Timbuktu, Mali. The music of Etran Finatawa blends the traditional music of the Wodaabe and Tuareg people with western instruments such as the electric guitar.
Since 2005 they have toured extensively in Europe, the United States, Canada and Australia.In 2007, their debut album Introducing Etran Finatawa (2006) was nominated for a BBC Radio Award for World Music. They released their follow-up, Desert Crossroads, in 2008, and in 2010 released Tarkat Tajje/Let's Go. In 2013, the band released their fourth album, "The Sahara Sessions".
The name of the band means "the stars of tradition".
http://en.wikipedia.org/wiki/Etran_Finatawa


01. Saghmar N Nanna 4:55
02. Kel Tamascheck 5:07
03. Iguefan 4:11
04. Tea Ceremony I 1:42
05. Jama'aare 4:47
06. Tekana 5:28
07. Ganyo Maada 4:45
08. Soto 4:50
09. Asistan 3:44
10. Bagui's Soundscape 1:33
11. Gaynaako 4:30
12. Alghalem Taxat 5:19
13. Tea Ceremony II 2:26
14. Amidinine 4:28
15. Naanaaye 5:14
16. Tea Ceremony III 1:14

Etran Finatawa - Tarkat Tajje / Let's Go

Etran Finatawa’s hypnotic desert blues are as captivating and distinctive as the band themselves. They are the only group in the world to combine the cultures of the Wodaabe and Touareg people from Niger, and together they create a wholly unique blend of nomadic blues.
Niger has served as a crossroads between the Arabs of North Africa and the sub-Saharan traditions for thousands of years. Located south of Algeria and north of Nigeria, it is an area of incredibly rich musical and cultural heritage. The Touareg (renowned around the world as desert nomads) and Wodaabe (distinctive in their colourful traditional dress and striking face paints) are just two of eleven tribes in the area.
Despite different heritages and languages, Etran Finatawa, meaning ‘the stars of tradition’, are the first ever group to use the songs and music of the Wodaabe in a modern context. The Wodaabe traditions add an incredible vibrancy to the music, with distinctive polyphonic singing and mesmerizing percussion adding another layer to the Touareg traditions. Together, they draw on their shared experience as nomads of the Sahelian savannah to produce an explosion of desert blues, full of acoustic percussion and haunting melodies.
Formed in 2004, Etran Finatawa quickly became popular in Niger and were invited to perform at festivals in Mali and Morocco. They released their BBC Award-nominated debut, Introducing Etran Finatawa, in 2006, and released a second album, Desert Crossroads – a nostalgic look at life in the desert – in 2008. Since their creation they have toured all over the world, including stops in Australia, New Zealand, the USA, Singapore, South America and Europe.

Tarkat Tajje/Let’s Go!

I visited the band in Niamey, Niger, in February 2009 to listen, for the first time, to the new songs for this album. Before I arrived, they had told me that I would be surprised, and they were not wrong! What an incredible new groove, new arrangements, mature voices and sophisticated lyrics…
They had begun to write and compose much more closely together. In the process, they had created a more unique sound with which to voice their ideas and concerns regarding their endangered traditional way of life. It felt that this album would be a new step on the road of their exciting musical journey. It was not until July – in the middle of a hectic tour of the USA and Europe – that the five herdsmen began recording Tarkat Tajje/Let’s Move! in England. Bagui was explaining the lyrics of ‘Duuniyaaru Dillii’ to me and I was struck by the maturity that Etran Finatawa have reached since they first began making music together:
Life is always changing, life is so strange and sometimes it seems unreal It makes one frightened We want to work, to study, we want to make relationships, get to know everything and to feel good But life is always surprising and sometimes misleading and always changing
Etran Finatawa use music as a means to communicate their thoughts and philosophies. Their last album, Desert Crossroads, was an exploration of the realities of being a nomad in a changing society, but this new album reaches a whole new philosophical level. They have begun to explore their role as human beings and cultural ambassadors in a society of continuous global change.
This album is more than a statement. It is an appeal to a global consciousness and to the decision makers and reactors all over the world. As Alhousseini says in ‘Imuzaran’:
Those who are leading the world pay attention to the tears of the children of this world that you are spending every morning and the tears of the women and the men. Because you are responsible for wars and the men dying. Children have lost their fathers and wives their husbands. Pay attention to this because it is you sending those men to wars. You are responsible for the tears falling every morning.
Etran Finatawa are sending out a powerful message. They demand to be heard, and when I’m listening to them recording the poignant ‘Ummee Ndaaren’ (‘Stand Up And Go For The Right Thing’), I feel that it would be nigh on impossible not to listen…
Sandra van Edig


01. Aitimani (7:07)
02. Diam Walla (4:31)
03. Aitma (10:01)
04. Ndiiren (6:09)
05. Gourma (6:36)
06. Daande (3:21)
07. Duuniyaaru Dillii (6:58)
08. Imuzaran (4:40)
09. Ummee Ndaaren (6:57)
10. Kalamoujar (7:02)

Monoswezi - The Village

The Village, Monoswezi’s debut album, is a collection of rearranged Zimbabwean traditional songs blended with a cool Nordic edge. What the band prize about Zimbabwean music is its inherent openness, a quality that shares much with that fresh airy feel inherent in the Scandinavian jazz sound.
Creatively they carve a musical link that not only sounds entirely new, but crosses the oceans, eschews politics and embraces wholeheartedly the values of cross-cultural collaboration. With members hailing from Mozambique, Zimbabwe, Norway and Sweden the boundary-crossing band’s sound is entirely unique. Articulated mbira rings out atop colourful woodwind and the gentle rhythm section.
The music is structured via looping cyclical riffs that lock down into solid rhythmic patterns. The band describes their music as ‘strong’, a term that communicates well the steady, circuitous nature of the music. It is an idea that has been a source of interest for other composers, including minimalist maestros Philip Glass and Steve Reich, whose parallel influence can be heard on works such as the cell-like track ‘Metal Drum’. Here the atmosphere conjures up the same spooky, anticipatory feeling as Glass’s Glassworks or Reich’s Music for Pieces of Wood.
Hope Masike, who can be heard playing mbira and singing throughout the album, is a remarkable musician, trained in traditional music, jazz, dance, and more. Not only can she interlock tight rhythms while singing with a smooth unforced voice, but she is one of a relatively small number of females who play the mbira. Following in the footsteps of pioneers such as Stella Chiweshe, Hope plays the instrument – which has historically been male-dominated – with pride. Hallvard Godal’s saxophone technique is clean and unadorned, a sound that locks in perfectly with the struck aesthetic of the mbira. Calu contributes gentle rolling vocals which he sings in Ronga, his Mozambican mother tongue.
Listening to the quirky cool sounds on this collection, the Monoswezi brand is set to expand even further afield, and who knows where their next experiment could take this back-bendingly flexible band…

1. Hondo
2. Ndinewe
3. Kuenda Mbire
4. Mapfunde
5. Kalahari
6. Heya!
7. Nhemamsasa
8. Xitimela
9. Matue Tue
10. Metal Drum

Waititu, Mburu & Namu Kulu - Ethno Lounge From Africa - Part 1

El lounge es un género de música, una variación, principalmente del jazz, que se conoce desde la década de 1950. Se caracterizaba por presentar ritmos sensuales y desprovistos de una instrumentación recargada. Está basada en los abundantes sonidos del Swing y el Big Band de la década de 1950, combinado con ideas del worldbeat, para convertirse en un híbrido sonoro muy placentero y de fácil escucha. El lounge es sobre todo un “modo de interpretación”, por el que pueden pasar géneros tan diversos como jazz, bossa nova, mambo, chachachá, música étnica o electrónica. Se debe considerar como padre de este género musical al mùsico mexicano Juan García Esquivel.

01. Jua - Waititu
02. Moonrise Over the Camoe - Mburu
03. Lake Evolution - Waititu
04. Monkoto Affair - Namu Kulu
05. God's Window - Waititu
06. An Hour Before Sunrise - Mburu
07. Elements - Waititu
08. Deep Kungu - Namu Kulu
09. Blue Nile - Waititu
10. Ashanti Hills - Mburu
11. Gift of Ngai - Waititu
12. Achikouya Fling - Namu Kulu
13. La silence de Togo - Mburu
14. The Ritual - Waititu

Akoya Afrobeat Ensemble - Introducing the Akoya Afrobeat Ensemble

Akoya Afrobeat Ensemble takes to the stage an explosion of dance rhythms. Featuring members from Panama, Ghana, Benin, South Africa, Japan and the US, this 13-piece ensemble embraces unity and positive vibrations. The group features lead vocalist Kaleta, who for 10 years performed and recorded with the immortal Fela Kuti and Egypt 80. He has also toured with Femi Kuti as well as the legendary King Sunny Ade.
Their debut CD "Introducing The Akoya Afrobeat Ensemble" has been very well received, as it has been getting regular airplay on radio stations in South Africa, Nigeria, Benin, France, London and Panama, as well as New York's WKCR, WBLS, WBAI, and WFMU.

Alto Saxophone – Noriki Danjo
Artwork – Miki Araki
Backing Vocals – Akōya
Baritone Saxophone – Will Jones
Bass – Gregory Kage
Congas – Yoshi Takemasa
Drums – Chale Lcaza
Engineer – Joe Blaney
Guitar [Tenor] – Abe Seiferth
Keyboards – Gabe Hays
Lead Vocals, Percussion – Kaleta
Mastered By – Nyk Fry
Mixed By – Joe Blaney
Percussion [Sticks] – Joe Ofuso Miller
Photography By – Hugo Arturi
Producer – Akōya*, Felix Chen, Gregory Kage
Rhythm Guitar – Steve Lustig
Shekere – Yoshio Tony Kobayashi
Tenor Saxophone – Duke Mseleku, Mike Kammers
Trombone – Felix Chen
Trumpet – Owuor

1 Akōya Chant 1:00
2 U.S.A. (Unilateral System Of Attack)8:39
3 Mutiny 9:09
4 Pelotera 6:23
5 Star Wars 8:59

Francis Bebey-African Electronic Music 1975 - 1982

El músico camerunés Francis Bebey es verdaderamente único en su clase. Entró en la escena musical con sus composiciones africanos para guitarra clásica. Dio recitales mientras que una carrera en el periodismo y luego como funcionario internacional. El mismo impulso creativo también lo llevó a escribir canciones pop, y algunos de los cuales (basada en las novelas que había escrito) se convirtieron en grandes éxitos en África y en el mundo francófono. Pero pocas personas saben que en los años 70, Francis Bebey se adentró en la música electrónica. Los teclados electrónicos, los órganos de primera y cajas de ritmos le ofrecía nuevas posibilidades de controlar totalmente sus composiciones. Abrazó a la técnica de sonido en la grabación de sonido (grabación de varias pistas, de forma secuencial yuxtapuestas en la misma cinta). Esta nueva etapa en su carrera musical incluyó la producción de varios registros (Savannah Georgia, New Track, Haití), rarezas, tanto para sus exploraciones creativas, así como sus manifestaciones en vinilo. Este fue un período particularmente rico para él, como lo probaron las ilimitadas posibilidades del medio, e hizo uso de instrumentos sorprendentes y novedosos.

01 New Track 08:18
02 La Condition Masculine 03:24
03 Wuma Te 05:28
04 Divorce Pygmee 05:28
05 Fleur Tropicale 03:53
06 Tiers Monde 03:26
07 Agatha 07:06
08 Pygmy Love Song 03:50
09 Catching Up 02:37
10 Sahel 05:08
11 The Coffee Cola Song 05:06
12 Super Jingle 09:18
13 Savanah Georgia 03:32
14 Il Ny A Pas De Crocodiles A Cocody 02:39

Kirsten Braten Berg - From Senegal to Setesdal

De Senegal a Setesdal combina la calidez africana y el frio nórdico en una colaboración única. La vocalista Noruega Kirsten Braten Berg y los solistas africanos Solo Cissokho y Sereba Kouame mezclan sus tradiciones en un sonido fresco y atemporal que va desde canciones populares para violín hasta melodías de canciones de cuna.
Aunque predomina el sonido de Noruega, África sigue siendo la especia suficiente para que De Senegal a Setesdal sea un híbrido sin estudiar.
Kirsten Braten Berg tiene una de las más bellas, voces puras del planeta, y vaya que si suena bien enmarcado por la magnífica kora y percusión africana proporcionada por sus colaboradores. Una experiencia encantadora, divertida de escuchar, hermosa que demuestra que la música es realmente el lenguaje universal

Kirsten Braten-Berg, Bjorgulv Straume (vocals, mouth harp);
Solo Cissokho (vocals, kora);
Kouame Sereba (vocals, mouth-bow, djembe).




From Senegal to Setesdal
Saludos!!...fulca..

Cesaria Evora - Mae Carinhosa (2013) [Cabo Verde]

Disco de temas inéditos, recogidos de descartes de otros discos o de actuaciones en directo de temas no publicados que ha salido después de un año de la muerte de la gran cantante caboverdiana.

Cesaria Evora’s velvet-and-grit voice flowed from her humble beginnings and from her striking intuition for interpretation. Evora put Cape Verde and its characteristic musical form, the bluesy and bittersweet morna, on the global map. When she passed late in 2011, the world lost one of its most distinctive artists.

From her career as a bar singer in the Cape Verdean city of Mindelo to her triumph on Europe’s foremost stages, Evora kept her trademark style. Engaging but never pandering, she managed to woo the world, often performing with no shoes to earn the name “the barefoot diva.” Over the course of eleven studio albums, Evora and her close collaborators—including producer and longtime champion Jose da Silva—gathered a plethora of high-quality performances, songs that worked on their own but didn’t quite fit on a particular album. Now these gorgeous, characteristically subdued yet passionate tracks are finally seeing the light, with Mãe Carinhosa (Mother Affection, Lusafrica; March 5, 2013).

With exquisite instrumentation behind her, Evora’s voice sounds as fresh and melancholy, as sweet and heartfelt as ever. With songs by Evora’s favorite songwriters and with cameo appearances by musicians like Manu Dibango (who plays marimba on “Esperança”), Mãe Carinhosa draws on Evora’s love for mornas (the lush “Dor di Sodade”) and rollicking coladeras (“Tchon da Franca”), for wry lyrics (the almost goofy but instructive culinary mix up in “Cmê Catchôrr”) and deep emotion (the touching “Mãe Carinhosa“).

Tracklist:

01. Sentimento (5:01)

02. Tchon De França (4:32)

03. Mae Carinhosa (3:42)

04. Dor Di Sodade (5:55)

05. Talvez (4:17)

06. Dos Palavras (2:39)

07. Essencia D'Vida (4:40)

08. Quem Tem Odio (2:23)

09. Cabo Verdeanos D'Angola (4:56)

10. Emigue Ingrote (3:26)

11. Esperança (3:38)

12. Cme Catchorr (2:48)

13. Nos Cabo Verde (5:16)

14. Campiao D'Parodia (3:35)

nota: en realidad en todos los sitios de ventas viene como formado por 13 temas, pero en todos los sitios dónde he mirado en internet viene para descargar con 14 temas. que cada uno decida si quitar el último tema o dejarlo como está.

320 kbps + covers

CESARIA EVORA - MAE CARINHOSA

NEW LINK

CESARIA EVORA - MAE CARINHOSA

Franco & Le TPOK Jazz - Francophonic (2008) [Zaire] (2x2cd)

As his recording career stretched over about 35 years and more than 150 albums, it would be impossible for any Franco compilation, even a two-CD one, to give but a taste of his overall work. If you're willing to accept the limitations inherent in a two-CD set for such a prolific artist, however, Francophonic does a pretty good job of both assembling highlights from his discs and providing some sort of outline to his musical evolution. It samples from numerous eras over the course of its 28 tracks, spanning the years 1953-1980 and lasting a good two and a half hours. In some ways it reflects the changes in African popular music as a whole during this period. It almost sounds a little like a light fusion of Latin and jazz influences in its early rhumba-like tunes, growing toward a more steadily rhythmic and ebullient Zairian sound by the end of the '60s, and stretching out into far longer groove-oriented pieces on the '70s recordings that take up most of disc two. It's important to remember, however, that guitarist-songwriter Franco was not simply following trends, but was among the most prominent initiators of these developments in African music. The cluster of recordings from the early '70s on this set seem to be the ones in which he both cements his musical vision and lays down some of his best tracks, particularly in the more haunting tunes that include some call and response vocals, and the tougher outings that contain some of his most forceful guitar work. The 48-page booklet presents an historical overview of his life and music (in both English and French), though some might find it frustrating that more thorough discographical information beyond the original years of release isn't included. It can be a little confusing for Franco newcomers in particular to get a handle on the personnel he used as well, though to be fair to the compilers, discographical data is hardly an easy thing to acquire for African recordings of this vintage, and the booklet does list years of service for many of the singers and musicians with whom Franco played in his bands.


VOLUMEN 1

CD1

01. Esengo Ya Mokili

02. Tika Kondima Na Zolo

03. Anduku Lutshuma

04. On Entre O.K., On Sort O.K.

05. Tcha Tcha Tcha De Mi Amor

06. Mosala Ekomi Mpasi Embonga

07. Sansi Fingomangoma

08. Bato Ya Mabe Batondi Mboka

09. Bazonzele Mama Ana

10. Bolingo Ya Bougie

11. Ku Kisantu Kikwenda Ko

12. Tozonga Na Nganga

13. Annie Ngai Nalinga

14. Marie Naboyi

15. Boma L'heure

16. Nzube Oleka Te

17. Likambo Ya Ngana

18. Infidelite Mado


CD2

01. AZDA

02. Mambu Ma Miondo

03. Minuit Eleki Lezi

04. Mabele

05. Kinsiona

06. Alimatou

07. Cherie Bondowe

08. Liberte

09. Lisolo Ya Adamo Na Nzambe

10. Nalingaka Yo Yo Te





Franco spent the final decade of his career mostly in exile, overseeing his franchise. A national treasure in Zaire (he was to the former Belgian Congo roughly twice what Springsteen is to Jersey), he lived in Paris for a good deal of the 1980s, as he fell in and out of favor with Zaire's dictator Mobutu Sese Seko. His group Tout Puissant ("The Almighty") OK Jazz-- a dance band, not a jazz band-- had one cluster of members based in Brussels, another back home in Kinshasa. They marked their 25th anniversary with a series of four albums, and followed that up with a "just like old times" collaboration with their former singer Sam Mangwana, then a "we're buddies despite our differences" collaboration with Franco's longtime professional rival Tabu Ley Rochereau.


That all sounds like a recipe for tepid cash-ins, right? But this 2xCD sequel to the first Sterns anthology of Franco's recordings (which covered 1953-1980) is thunderbolts and fireworks, start to finish. Maybe it's just canny song selection by compiler/annotator Ken Braun, who boiled down the dozens of albums Franco released in the 1980s to these 13 songs, but it sure sounds like the final quarter of TPOK's career was its best, which would make them close to unique in pop history.


That may be because they operated on a different model from most bands. Franco was the guy who ran the show, and a superb musician (his chiming, flickering guitar parts defined soukous as much as Jimmy Nolen's defined funk), but he was only one of many guitarists in the group, one of many songwriters, and one of many singers (far from the smoothest). The band needed Franco-- they imploded after his 1989 death, at 51, of what nobody's quite willing to say for sure was AIDS-related causes-- but they were a lot more than just sidemen. "Tokomo Ba Camarade Pamba", the glorious opener here, flutters along Francolessly for its first couple of minutes, stacking up interlocking guitar figures and sinuous vocal harmonies; then the boss's gruff voice lurches into the mix a second before the horns kick in and the whole thing achieves liftoff.


The excellence of '80s TPOK Jazz also had a lot to do with the band's shift, a few years earlier, from 45s to LPs. Soukous songs are meant to stretch out: the sebene that was a feature of a lot of Franco's best numbers is less a jam or a rave-up than a good bit that goes on for a while with limited variation. Of the 13 tracks on these two discs, only three are under 10 minutes long. "Bina Na Ngai Na Respect", written and sung by Ntesa Dalienst, is a brief, stately stroll followed by 15 minutes of spark-spitting dance-floor blowout. 1985's "Mario", arguably Franco's greatest hit, is an all-sebene hipshaker on which he and Madilu Bialu sing in the character of a widow with a moocher for a boyfriend-- its functional Anglophone equivalents are probably UTFO's "Roxanne, Roxanne" (who might they be talking trash about?) and the Velvet Underground's "What Goes On" (just keep playing that riff forever, please).


Mostly, though, the late-period work collected here is a joy because Franco was perpetually pushing his band toward the future, almost always with excellent results. (The embarrassingly dated synth-drums on "Pesa Position Na Yo" are a rare exception.) These songs are formally riskier than most musicians with a catalog as successful as his would ever dare, and there's a wonderfully mischievous streak to them. The prettiness of TPOK Jazz's records was often threaded with rage and indignation, and the last couple of songs here understandably address mortality face-on, but even in his darkest moments Franco treated moving the crowd as a sweet responsibility.


VOLUMEN 2

CD1

01. Tokoma Ba Camarade Pamba

02. Bina Na Ngai Na Respect

03. Sandoka

04. Princesse Kikou

05. Nostalgie

06. Cooperation


CD2

01. Suite Lettre No.1

02. Missile

03. Pesa Position Na Yo

04. Kimpa Kisangameni

05. Mario

06. Testament Ya Bowule

07. Sadou





FLAC+ARTWORK

VOLUMEN 1

VOL1CD1

VOL1CD2

ARTWORK VOL1


VOLUMEN 2

VOL2CD1

VOL2CD2

ARTWORK VOL2

Ladysmith Black Mambazo & Friends

Although they did not start recording until the 1970s and didn't become well known outside their native South Africa until their appearance on Paul Simon's "Graceland" in 1986, Ladysmith Black Mambazo formed 50 years ago, when Joseph Shabalala started the vocal group. They have released dozens of albums, some geared to Western audiences, some more anchored in South African isicathamiya and mbube traditions, all infused with the group's deep and joyful harmonies.

This new double-disc collection is not a traditional greatest-hits collection, but it plays like one: It's a compendium of collaborations, and the guests range widely, from Dolly Parton to Andreas Vollenweider to various club remixers.

The "Graceland" tracks "Homeless" and "Diamonds on the Soles of Her Shoes" are here, as are wonderful a cappella tracks with Emmylou Harris, Natalie Merchant, Sarah McLachlan, and Zap Mama and gospel songs with Betty Griffin and others. A few cuts suffer from dated, late-'80s production that diminishes the strength of Black Mambazo's personality, but overall, this set is a stirring and varied showcase for one of the great vocal groups of our time.
-- STEVE KLINGE, Philadelphia Inquirer

YOUTUBE

Disc 1: 
1. Knocking On Heaven’s Door (with Dolly Parton) 5:39
2. Weeping (with Josh Groban & Vusi Mahlasela) 4:44
3. Homeless (with Paul Simon) 3:48
4. Ain’t No Sunshine (with Des’Ree) 3:47
5. Diamonds On The Soles Of Her Shoes 5:41
6. Shosholoza (with L. Dube/B. Luthful/H. Msaekela/V. Mahlasela) 4:51
7. World In Union (with PJ Powers) 3:50
8. Passage To Promise 2:28
9. Amazing Grace / Nearer My God To Thee (with Emmylou Harris) 3:28
10. Chain Gang (with Lou Rawls) 3:48
11. Rain Rain Beautiful Rain (with Natalie Merchant) 3:01
12. Jabulani “Rejoice” (with The English Chamber Orchestra) 3:33
13. Swing Low Sweet Chariot (with China Black) 3:47
14. Bread Of Heaven “Wales Forever” 3:26
15. Dlondlobala Njalo (Soul Drummers Mix) 4:43


Disc 2:
1. Homeless (with Sarah McLachlan) 4:12
2. Diamonds On The Soles Of Her Shoes (with Melissa Etheridge & Joe McBride) 5:42
3. Hello My Baby (with Zap Mama) 4:56
4. People Get Ready (with Phoebe Snow) 5:53
5. Abezizwe (Uniting Nations Together) (D’Influence Mix) 3:50
6. Paradise Road 4:33
7. One Blood 5:33
8. O Happy Day (with Betty Griffin) 5:41
9. River Of Dreams (with Bill Champlin) 5:28
10. Mbude (with Taj Mahal) 3:58
11. I’ll Take You There (with The Golden Gospel Singers) 6:37
12. Inkanyezi Nezazi (Spiral Staircase Remix) 4:07
13. Sohlabele Hasana (with Nana “Coyote” Motijoane) 4:05
14. Angimboni Ofana Naye (With Sabc Choir) 4:11
15. Mamizolo (Women Of Mambazo) 3:25

The Rough guide of Senegal (2013) [Senegal]

Among the fabled sounds of West Africa, Senegal is a land of musical giants. This Rough Guide includes a roll call of the legends; Baaba Maal, Cheikh Lo, Orchestra Baobab, Ismael Lo and a young Youssou N'Dour all feature alongside contemporary sounds from the rootsy kora of griot Diabhel Cissoko to the cutting edge Sister Fa.

Bonus CD: Daby Balde - ‘Introducing Daby Balde’

Daby Balde is one of Senegal's best-kept musical secrets, long celebrated at home and now exploding on to the international scene. His stunning arrangements are based on his Fula traditions from the south of the country and feature the fiddle, accordion and flute alongside the more familiar West African sound of the kora, acoustic guitar and percussion. With strikingly rich and beautiful melodies, captivating vocals and a repertoire that ranges from euphoric to melancholic, Daby Balde is a West African star on the rise.




THE ROUGH GUIDE TO THE MUSIC OF SENEGAL

CD1:

1. Cheikh Lo - Jamm

2. Orchestra Baobab - Ami Kita Bay

3. Mansour Seck - Ndiatigue

4. Sister Fa - Amy Jotna

5. Nuru Kane - Bayil (Violin Mix)

6. Fallou Dieng - Weex Bet

7. Etoile De Dakar Feat. Youssou N'Dour - Thiely

8. Baaba Maal - Baydikacce

9. Africando All Stars Feat Thione Seck - Sey

10. Ousmane Hamady Diop And Mansour Seck - Soukabe Leydam

11. Amadou Diagne - Diamano

12. Diabel Cissokho - Senegal-Mali

13. Ismael Lô - Talibé


CD2:

1. Mamadiyel

2. Heli

3. Kaye Waxma

4. Tamania

5. Waino Blues

6. Sora

7. Mbadi

8. Halaname

9. Fouladou

10. Douna

11. Hakurujamane

12. Mbeugel

13. Mido Waino

320 kbps + covers

DESCARGAR

Fela Kuti with Ginger Baker - Live [Africa-Uk]

Live! es un álbum grabado en 1971 por la banda de Fela Kuti Africa 70, con la adición del ex baterista de Cream Ginger Baker en dos canciones. Fue lanzado en 1971 por EMI en África y Europa, y por Capitol / EMI en los Estados Unidos y Canadá. Fue reeditado en CD por Celluloid en 1987 y fue reeditado en CD en formato remasterizado por Barclay con un bonus track de 1978.

Baker con Kuti viajó a África en un Land Rover para aprender acerca de los ritmos del continente. El bonus track en la reedición Barclay CD incluye un dueto de tambor de 16 minutos entre Baker y el baterista Tony Allen de África 70 grabado en el Festival de Jazz de Berlín 1978.
Wikipedia...



Fela Kuti (vocals)
Ginger Baker (vocals, drums)
Peter Animashaun (guitar)
Igo Chiko (tenor saxophone)
Lekan Animashaun (baritone saxophone)
Tunde Williams, Eddie Faychum (trumpet)
Maurice Epko (bass)
Tony Allen (drums)
Henry Koffi, Friday Jumbo, Akwesi Korranting (congas)
Tony Abayomi, Isaac Olaleye (percussion)


01 Let's Start - 8:06
02 Black Man's Cry - 12:12
03 Ye Ye De Smell - 13:55
04 Egbe Mi O (Carry Me I Want To Die) - 12:37
Bonus track :
05 Ginger Baker and Tony Allen Drum Solo - live 1978 (Fela Kuti, Ginger Baker, Tony Allen) - 16:21

Fela Kuti with Ginger Baker - Live
publicado por fulcanelli 

In the Name of Love Africa Celebrates U2

En 2008, fue lanzado un álbum tributo a U2 con una serie de músicos africanos, quienes decidieron honrar a Bono por sus campañas contra la pobreza en África. El álbum producido por Shawn Amos y liberado por Shout Factory se llama "En el nombre del Amor: Africa Celebrates U2" y con la participación de Angelique Kidjo, Bastos Waldemar, Les Nubians, Tony Allen, African Underground All Stars-o Sierra Refugee All Stars Leona, un tema que también participa en el guitarrista de Aerosmith Joe Perry. Parte de las ganancias del álbum fueron entregados al Fondo Mundial, una asociación que lucha contra enfermedades como el sida y la tuberculosis en África.



 
1. Angelique Kidjo - Mysterious Ways
2. Soweto Gospel Choir - Pride (In The Name Of Love)
3. Keziah Jones - One
4. Vieux Farka Toure - Bullet The Blue Sky
5. Ba Cissoko - Sunday Bloody Sunday
6. Waldemar Bastos - Love Is Blindness
7. Tony Allen - Where The Streets Have No Name
8. African Underground Optimus & Iyoka - Desire
9. Sierra Leone's Refugee All Stars - Seconds
10. Les Nubians - With Or Without You
11. Cheikh Lo - I Still Haven't Found What I'm Looking For
12. Vusi Mahlasela - Sometimes You Can't Make It On You Own

Vusi Mahlasela - Sing To The People

His music is generally described as "African folk" and he is often dubbed as "The Voice" of South Africa. His work was an inspiration to many in the anti-apartheid movement. His themes include the struggle for freedom, and forgiveness and reconciliation with enemies. Vusi has released seven studio albums on Sony in South Africa and was signed to Dave Matthews' ATO Records in 2003.
Vusi can also be heard performing on Warren Haynes' Live at Bonnaroo release during the song "Soulshine", and the Dave Matthews Band song, "Everyday", from the album of the same name as well as a live version of the song with him which appears on the album The Best of What's Around Vol. 1. Vusi was also one of the performers at the Live 8 concerts and at Live Earth. Vusi performed at Nelson Mandela's inauguration in 1994 and has subsequently performed at Mandela's 90th Birthday 46664 celebration in Hyde Park, London[1] in 2008 and at Mandela Day at Radio City Music Hall July 2009.
 His song "When You Come Back" was used at ITV's theme song for their World Cup coverage in 2010[2] and Vusi performed at the FIFA World Cup Kick Off concert at Orlando Stadium in Soweto, South Africa.[3] In 2012, the SAMA Awards honored Vusi with a lifetime achievement award








1. Tonkana
2. Amdokwe
3. Our Sand
4. River Jordan
5. Say Africa
6. Ubuhle Bomhlaba
7. Silang Mabele
8. Kolozwana
9. Loneliness
10. When You Come Back, Nakupenda Africa
11. Tswang Tswang Tswang


| UP |

Fanga & Maalem Abdallah Guinea - Fangnawa Experience

Here's an unexpected collaboration linking a French-based Afrobeat band with a Moroccan maâlem, a master of gnawa – the religious trance music of the descendants of African slaves transported across the Sahara to North Africa. Fanga and Abdallah Guinéa first played together in France last year, and discovered how much they have in common; their lengthy songs are dominated by a hypnotic blend of rhythm and groove, in a fusion in which Afrobeat funk and jazz is combined with gnawa. There are times where the Afrobeat dominates, but it's always driven on by delicate and insistant percussion, while other songs start with gnawa call-and-response vocals and the gimbri lute, before the brass and keyboards join in. The finale Wouarri begins with a simple insistent bass riff, and builds to a furious, exhilarating climax involving wild chanting, and wailing brass and guitar. Play it very loud.



1 Noble Tree
2 Gnawi
3 Kelen
4 Kononi
5 Kononi
6 Wouarri


|MC|UP|

Youssou N´Dour - The Guide( Wommat)

Youssou N'Dour, a superstar at home in Senegal and in most of Africa, possesses an astonishingly strong and supple high-tenor voice, and he writes tuneful, insightful songs about his fellow West Africans' transition from isolated rural villages to cosmopolitan big cities. The Guide (Wommat) includes several calculated enticements to lure an Anglo-American audience: a bilingual duet with hip-hop star Neneh Cherry on "Seven Seconds," a guest appearance by saxophonist Branford Marsalis on "Without a Smile," and a bilingual version of Bob Dylan's "Chimes of Freedom." The Marsalis and Dylan experiments work, while the Cherry one doesn't, but they're superfluous to the main focus of the album, which is N'Dour's shift from a bandleader to a singer-songwriter with a backing band. The infectious mbalax rhythms of Senegal are still there, but they're pushed down in the mix so the focus is on N'Dour's vocals. There are some missteps, like the simple-minded cheerleading of "Tourista" and "Love One Another," but for the most part N'Dour comes across as the Stevie Wonder of West Africa. --Geoffrey Himes



1: Leaving (Dem)
2: Old Man (Gorgui)
3: Without A Smile (Same)
4: Mame Bamba
5: 7 Seconds (Duet with Neneh Cherry)
6: How You Are (No Mele)
7: Generations (Diamono)
8: Tourista
9: Undecided (Japoulo)
10: Love One Another (Beuguente)
11: Life (Adouna)
12: My People (Samay Nit)
13: Oh Boy
14: Silence (Tongo)
15: Chimes Of Freedom

DESCARGA

Mokoomba - Rising Tide

Subido por Marhali.

Mokoomba es un joven grupo de Zimbabwe que nos trae una electrificante mezcla de Afro-fusión y ritmos tradicionales de la minoría Tonga del país, un disco que emana una eufórica energía juvenil, talento musical natural y ritmo contagioso. Escogen el nombre de Mokoomba para mostrar el profundo respeto que las gentes de Tonga tienen para con el río Zambeze y las Cataratas Victoria, y mostrarnos la energía y dinamismo que este rasgo geográfico imprime a su música y cultura.

Rising Tide (2012) nos muestra el excelente trabajo a la guitarra de Trustworth Samende y los dotes vocales de su lider, Mathias Muzaza, en canciones sentimentales y rítmicas que evocan al mayor héroe musical del país, Oliver Mtukudzi, con sonidos del oeste africano, salsa africana, reggae, funk y rap. La excelente producción es de la gran Manou Gallo, de Costa de Marfil, que anteriormente fue bajista y guitarrista de Zap Mama. En el presente trabajo dirige y produce musicalmente, completando los sonidos con teclados y con el trabajo de trece artistas invitados/as que aportan kora, flautas, saxos y cello.

Sonido panafricano del mejor, una música arraigada en su realidad abierta a los ritmos del mundo.

01. Njoka
02. Masangango
03. Mangongo
04. Mwile
05. Misozi
06. Yombe
07. Nimukonda
08. Ndundule
09. Manunge
10. Mabemba
11. Mvula
12. Welelye

Hamza El Din - A Wish [Nubia]

Hamza El Din (10 de julio de 1929 – 22 de mayo de 2006) fue un compositor de Nubia, intérprete de Oud, laúd árabe y Tar, pandero del Nilo, y vocalista.

Nació en la villa de Toshka, cerca de Wadi Halfa en el sur de Egipto, y fue originalmente entrenado para ser un ingeniero eléctrico. Después de trabajar en El Cairo para el ferrocarril nacional de Egipto, El Din cambió de dirección y comenzó a estudiar música en la Universidad de El Cairo, continuando sus estudios en la Academia Nacional de Santa Cecilia en Roma; también estudió en el Instituto de Música Ibrahim Shafiq y el King Fouad Institute for Middle Eastern Music, y viajó en Egipto sobre una colecta gubernamental de canciones populares. Sus actuaciones atrajeron la atención de Grateful Dead, Joan Baez, y Bob Dylan en los años 1960s, que lo condujo a un contrato de grabación y a su eventual emigración a los Estados Unidos. Como mucho en su Nubia egipcia, su villa natal de Toshka fue inundada debido a la construcción de la Presa de Asuán en los años 1960s.

Después de su aparición en el Newport Folk Festival en 1964, grabó dos álbumes para Vanguard Records lanzados entre 1964–65; su grabación de 1971 Escalay: The Water Wheel (Escalay: La rueda de agua) es reconocida como uno de las primeras grabaciones de world music en ganar un amplio reconocimiento en el oeste, y fue reconocida como una influencia por algunos compositores minimalistas estadounidenses, tales como Steve Reich y Terry Riley así como el percusionista de Grateful Dead Mickey Hart. Él también hizo presentación con Grateful Dead, más notoriamente durante sus conciertos de Egipto de 1978. En este periodo, él también fue mentor de algunos músicos, incluyendo a Sandy Bull. Después, lanzó álbumes para Lotus Records y Sounds True. Su álbum Eclipse fue producido por Mickey Hart. Tuvo una presentación con Kronos Quartet en un arreglo de Escalay en 1992. Sus piezas fueron ocasionalmente utilizadas en espectáculos de ballet y obras de teatro.
El Din tuvo algunos puestos de enseñanza de etnomusicología en los Estados Unidos durante los años 1970s, 1980s y 1990s en la Universidad de Ohio, Universidad de Washington, y la Universidad de Texas en Austin, estableciéndose eventualmente en Oakland, California, después de estudiar biwa en Tokio, Japón, durante los años 1980s. En 1999 lanzó su último álbum, "A Wish".
http://es.wikipedia.org/wiki/Hamza_El_Din
http://www.hamzaeldin.com/

Ejecutando de manera brillante el Oud (el precursor del laúd, pipa y biwa) y el Tar (el antiguo tambor del alto Nilo), junto con la voz inquietante y fascinantes composiciones, Hamza El Din combina los placeres y las sutilezas de la lengua árabe con su música indígena de su Nubia natal.
En sus manos magistrales, el oud se convirtió en un instrumento virtuoso y un acompañamiento a su canto suave e hipnótico. Él solo creó una música nueva, esencialmente una fusión árabe-nubio, pero en línea con las tradiciones. Su música ha captado el interés de millones de oyentes de Europa, Japón y América del Norte.

Hamza El Din es una leyenda de la música en todo el mundo, A Wish es el último de los 14 álbumes publicados durante su vida, de nuevo ha producido siete obras maestras Dedicado a Toshka, el pueblo de su nacimiento inundado hace más de tres décadas por el proyecto de la presa de Asuán, el deseo es la oración de Hamza recordando su casa.



Junto con Joan Jeanrenaud violonchelista (antes de Kronos Quartet), el compositor y pianista WA Mathieu, el percusionista jordano Hani Naser, y el japonés Shizuru Ohtaka, entre otros, el dominio de Hamza del oud es tan innegable como siempre. En su anhelo por el hogar, ha mantenido la voz de su pueblo viva y tranquila con el virtuosismo de su ejecución, y ha creado una buena adición a la herencia musical de la humanidad.

1. Greetings (7:38) - comp. Hamza El Din, lyrics Ismail Hasan
2. Sunset (10:29) - Variations on a Theme of Riad El Sumbati by Hamza El Din
3. Anesigu (4:04) - comp. Hamza El Din, lyrics Mohammed N. Toshka
4. Griffin 2 (11:10) - comp. Hamza El Din, lyrics Ilia Abu Madi
5. Nagrishad (7:04) - comp. Hamza El Din
6. Samai Husaini (6:41) - comp. Kemani Tatyos Efendi, realized by Hamza El Din
7. A Wish (9:03) - comp. Hamza El Din, lyrics Mohi El Din Sherif

 Hamza El Din - A Wish