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Travel Through Music

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octubre 25, 2022

CLUB 70´s - the dancing years - 2 CDs .VOL 1 Y 2 - 1993

 


Disc 1


01. Boney M. - Ma Baker

02. Harpo - Moviestar

03. Kc and the sunshine band - That's the way

04. Village People - Y.M.C.A.

05. Gloria Gaynor - I am what I am

06. Grace Jones - La vie en rose

07. Third World - Now that we've found love

08. Stacy Lattisaw - Jump to the beat

09. Luisa Fernandez - Lay love on you

10. Clout - Save Me

11. Sheila B. Devotion - Spacer

12. The Drifters - Kissin in the back row of the movies

13. Leo Sayer - You make me feel like dancingt

14. Dr. Hook - Sexy Eyes

15. Earth, Wind & Fire - September

16. Sugarhill Gang - Rapper's Delight


Disc 2


01. Garland Jeffreeys - Matador

02. Donna Summer - Bad Girls

03. Labelle - Lady Marmalade

04. Dschinghis Khan - Genghis Khan

05. Lou & the hollywood bananas - Kingston

06. Jimmy Cliff - You can get it if you really want

07. The hues corporation - Rock the boat

08. George mccrae - Rock your baby

09. Curtis Mayfield - Superfly

10. Showaddywaddy - Under the moon of love

11. Dee D. Jackson - Automatic Lover

12. Van Mccoy and His Orchestra - the Hustle

13. the Spinners - Working my way back to you

14. Rose Royce - Car Wash

15. Blondie - Heart of glass

16. M - Pop Muzik



octubre 12, 2022

Ifriqiyya Electrique - Rûwâhîne

 


Sufi trance musicians and rituals – from the depths of the Tunisian desert – in conversation with post-industrial sonics. 


‘No theatre or stage or audience. The rûwâhîne have possessed and contorted the bodies of the Banga. Teenagers leap to the floor, their legs arched and tense, glaring transfixed [while] girls dance wildly, … accelerating the rhythm of the hand percussion’ 


‘This is, then, most certainly not a “world music” project (still less an ethnomusicological one), but a wild process of improvisation and re-composition that brings traditional instruments face to face with computers and electric guitars… [My work] is driven towards elevation, sweat, blood, poetry and tears – not to some pretty colour postcard’ — François R. Cambuzat / Ifriqiyya Electrique


1. Laa la illa Allah 02:49 

2. Qaadrii - Salaam Alaik - Massarh 07:32 

3. Mawwel 01:09 

4. Zuru el Haadi - El Maduulaa - Maaluuma 06:34 

5. Stombali - Baba ‘Alaia 03:39 

6. Annabi Mohammad - Laa la illa Allah - Deg el bendir 09:15 

7. Lavo - Baba Marzug - Sidi Saad - Allah 04:46 

8. Arrah arrah abbaina - Bahari - Tenouiba 05:42 

9. Sidriiya 02:05


octubre 11, 2022

Hanine y Son Cubano - Arabo-Cuban - 2002

 


tracks list:

01. La llave - Albi Wa Muftaho

02. Afro - Ana Wel Azab We Hawak

03. Cuando - Imta Ha Ti'raf

04. El mambo de los recuerdos - Aala Bali

05. El huerfanito - Ya Habibi Ta'ala

06. La flor - Ya Zahratan Fi Khayali

07. El gallo - Il Hilwa Di

08. El día feliz - Kan Ajmal Yom

09. Pot pourri - Medley

10. Descarga

11. El mambo de los recuerdos - Aala Bali (remix Michel Eléftériades)





octubre 03, 2022

Boulpik - Konpa Lakay - 2014

 


Boulpik is a group that was formed in Port-au-Prince a dozen years ago that, since its inception, have given continuity to a musical tradition that emerged in the streets, as entertainers in squares and private events, recalling times when street orchestras They performed a multitude of pieces, but also a few years when tourism came to the island and today is rare to find. Boulpik mainly interprets konpa, a danceable sound that appeared in the fifties of the last century, rhythms with an artisanal texture that would quickly spread throughout the streets and that would become the sound soul of the entire island, the konpa lakay.

"Chèche lavi", "search for life". An expression in Haitian Creole that sums up the phrase "to look for a way to make a living", and suggests that life is not something that comes easily, but that it is a goal to be sought (as if you were on a search for a lost prize or buried treasure). Thus, Franckel Sifranc and his fellow musicians from Boulpik are looking for lives. Nothing particularly extraordinary has happened in their careers. In fact, his past is very similar to that of millions of other Haitians. Except they have a gift for music.

The story of Boulpik is the story of Franckel Sifranc (founder of the group), which began around fifty years ago, in La Grand Anse, a remote region of the Republic of Haiti, to the west. Thinking back to his childhood in the seaside town of Dame-Marie, he recalls the sounds of the "ti djaz" (little jazz): acoustic bands of amateur musicians who were called that to distinguish themselves from the more prestigious "gwo djaz" (big jazz). , bands with their modern instruments and amplifiers). The ti djaz played at local gatherings using rudimentary local instruments: the Matamò six-string guitar (its name is a reminder of the strong influence of the Trío Matamoros on the genre), the trè (a guitar of Cuban origin with three double strings) or even a banjo. The instrumental formation was completed by the strings of a double bass or a maniboula (a plucked idiophone based on the Cuban marímbula) and percussion: drum, maracas and scratch board or kaskayèt (keys) to accompany the vocal choir that responded to the lead singer.

As a child growing up in a family dedicated to agricultural work, Franckel had no idea that one day he would use those tools to "search for life." A few years later, like thousands of other rural dwellers, he was forced to move from the countryside to the capital, Port-au-Prince, whose population has grown from 500,000 to almost 3 million in the last fifty years. Adolescent, Franckel arrived in the city in the late 1970s, invited by an older brother. Installed in a modest neighborhood in the lower part of the city, he found work as a "handyman" and began to explore the capital, meeting the many musicians who provided the soundtrack of the city night and the entertainment of the tourism that at that time era filled the Caribbean island. Franckel became a member of the Ti Okap band. Today, all that remains of the group's career are the name of its leader, the memories of his popular performances in different hotels, and the band with which Franckel learned to sing and play maracas and kaskayèt.


Later, in 1980, he decided to form his own group: Frère Desjeunes. He continued to perform with them for more than twenty-four years, despite frequent interruptions caused by the endless socio-political upheavals that rocked the country. It was in 2004 when Franckel proposed a new approach to the band, becoming Boulpik and incorporating five young musicians who he considered more talented and committed than his predecessors.

Since Franckel started, the situation in Haiti has changed radically. From the time when musicians used to perform to earn a little extra money, today music is his means of work. Unlike many others, Boulpik's musicians have refused to emigrate (always a temptation for life-seekers). They continue to believe in their lucky stars and show no signs of defeat or self-pity, but rather an unwavering determination to trust in happiness and good vibes. These are other times and Boulpik do not give up singing to peace, love and their country, dignity in the face of adversity.


tracks list:

01. Alakanpay

02. Boulpik Twoubadou

03. Si Lavi Te Fasil

04. Nèg Dafrik

05. Karol

06. Lakay

07. Rele

08. Jeremie

09. Twa Zan

10. Je Reviens Chez Nous

11. Souvenir d'Afrique

12. Lavi a Di






Fuente: Vecinos: Boulpik – Nèg Dafrik"


octubre 02, 2022

TRADITIONAL MUSIC FROM ETHIOPIA

 


Recorded in Ethiopia by Jean L. Jenkins, Horniman Museum, London

 ETHIOPIE MUSIQUE TRADITIONNELLE

Enregistrements de Jean L. Jenkins


Disques Vogue, 1967, collection Musée de l'Homme, CLVLX - 164

Jean Jenkins (1922-1990) was an American ethnomusicologist who worked mostly in England. She travelled a lot especially in Ethiopia where she recorded extensively. The music of this LP was recorded in 1964 and 1966. She is known (among other publications) for a very good series called ''The Music of Islam'' with 6 LP made of field recordings in company of Olsen Poul Rovsing and published by Tangent in 1976.

Here we have a good (although partial) image of the musical diversity in Ethiopia. Apart from the people in Center Ethiopia who speak Semitic languages and are the majority of the inhabitants there are many other populations speaking Cushitic languages and other types of languages. Singing is the main way of expression for Christians, Muslims, Jews and Animists. We can hear also the big lyre called bagana (played by King David on the cover), the masinqo and washint. The sanza-like toum is played by the Anouak people near Sudan (track A7). Track A5 is a surprising love song from Harar sung by 2 young girls reminding me of the way some Bulgarian women sing. Jenkins says that this kind of singing is unique to the Adare people. Track B1 is also a surprise with an ensemble of 14 players each of them blowing one tube; that way of playing preceded probably the panpipes played by one musician and is still in use in other countries like Tchad.

After listening to this record I think you would ask for more; so check Topic where you can get CDs with some of Jenkins' work.



Fuente: https://tradandfolk.blogspot.com/2021/06/