El último álbum de Lido Pimienta, Miss Colombia, cuenta con 11 canciones nuevas y originales que celebran audazmente la extática hibridez musical de electrónica y cumbia de Lido, siendo a la vez desafiante y delicada, exploratoria y confrontativa, como ya estableciera en sus dos primeros álbumes, Color, lanzado en 2010, y La Papessa (ganador del Premio Polaris 2016 como álbum canadiense del año).

La ascendencia y el mestizaje exaltados por la autora, afincada en Canadá desde 2005, se acentúan con aspereza en la portada, que hace juego con el título del álbum. En ella, por cuenta de la fotógrafa Daniela Murillo, Lido Pimienta encarna a una suerte de santa o reina, o ambas, en un altar color pastel que remite a los retablos sincréticos y populares de la América hispanizada y evangelizada.

La segunda mitad de Miss Colombia es una reafirmación valiente de la herencia cultural recibida por Lido. En el preludio a la canción "Quiero que me salves", el maestro cantor Rafael Cassiani Cassiani narra el origen del Sexteto Tabalá, agrupación legendaria de la música caribeña colombiana oriunda de Palenque de San Basilio –el primer pueblo negro libre de América– que, enseguida, acompañan a la cantante en la canción del mismo nombre. "Pelo Cucú" es una exaltación del pelo de los afrodescendientes y cuenta con el respaldo vocal de las cantaoras del Grupo Raíces de Palenque.

Antes del epílogo, el álbum concluye con "Resisto y ya", una invitación festiva, bailable y sencilla a salir al encuentro y a celebrar el cambio a pesar de quienes se oponen a la transformación de la sociedad y el cambio de paradigmas por cuenta de las personas marginadas.

Página web oficial: Lido Pimienta

Tracks list:

01. Para transcribir (SOL)

02. Eso que tú haces

03. Nada (feat. Li Saumet)

04. Te quería

05. No pude

06. Coming Thru

07. Quiero que me salves (Preludio feat. Rafael Cassiani Cassiani)

08. Quiero que me salves (feat. Sexteto Tabala)

09. Pelo Cucú (feat. La Burgos)

10. Resisto y ya

11. Para transcribir (LUNA)

Fuente: http://lauvaylaparra.blogspot.com/2022/09/lido-pimienta-miss-colombia-2020.html

Eric Bibb's main appeal has always been his positive and hopeful tone conveyed with a warm voice, impeccable acoustics and Glen Scott's balanced production. All this is present in his new work Blues People, but in addition, here, he wants to push the listener towards racial harmony by reminding him of the main redemptive achievements that emerged from a bad past. This album is in part a tribute to the memory of the great Dr. Martin Luther King.

Here the power of the blues community in its historical aspect to help document abuses and promote change is recognized, and it is recognized by bringing on board many of its esteemed colleagues such as Taj Mahal and The Blind Boys of Alabama and more recent stars such as Ruthie Foster and Popa Chubby. Still, Blues People avoids the tedious "and friends" title by being one of Bibb's most coherent efforts to date. His unforced mix of country blues, folk, gospel and soul, even with Scott's application of modern touches, firmly supports his vision, making it difficult to overlook the connection between these styles of music and their inherent heritage of being used to bring the greatest messages to humanity, not just about personal relationships.

As one of the sharpest practitioners of Real Blues for quite some time, there may be no one today more qualified (except Otis Taylor) to use the blues as an instrument to promote social progress, and he does so with careful craftsmanship, through of the diversity and intensity that we find in Blues People.

1. Silver Spoon – featuring Popa Chubby

2. Driftin' Door To Door

3. God's Mojo

4. Turner Station

5. Pink Dream Cadillac

6. Chocolate Man – featuring Guy Davis

7. Rosewood

8. I Heard The Angels Singin' – featuring JJ Milteau & The Blind Boys Of Alabama

9. Dream Catchers – featuring Harrison Kennedy & Ruthie Foster

10. Chain Reaction – featuring Glenn Scott

11. Needed Time – featuring Taj Mahal, The Blind Boys Of Alabama & Ruthie Foster

12. Out Walkin'

13. Remember The Ones – featuring Linda Tillery

14. Home – featuring Andre De Lange

15. Where Do We Go – featuring Leyla McCalla 

Fuente: http://somethingelsereviews.com/2014/10/30/eric-bibb-blues-people-2014/

The fusion of electronic music with traditional rhythms and folk sounds is a fact in all corners of the world; from Asia to Latin America, the Balkans, the Middle East or Eastern Europe. However, most of the time everything comes down to a single formula: running “ethnic” melodies and instruments over pre-programmed beats of questionable artistic value. Far from falling into this reductionism, appears Dhafer Youssef, who has taken Arab and North African music along the electronic path while maintaining the spirituality and depth that characterizes Islamic music.

Born in Tunisia in 1967, since 1990 he settled in Europe, where he began to get involved in the avant garde and world music movements; to which he added the sound of his oud (a Middle Eastern lute) and his traditional training in Sufi music and Islamic singing learned since he was a child.

In order not to fall into the trap of electronic clichés, this album uses a luxury roster, with outstanding figures of European jazz and monsters of electronics and North American rock that give the project a global dimension and countless levels. deep.

Recorded in New York, the enormous contribution of Doug Wimbish and Will Calhoun, the rhythmic basis of Living Color and avant-garde electroacoustic projects such as Headfake, stands out here. Both Wimbish on bass and Calhoun on drums contribute all the wisdom acquired in a long career that for several decades has been characterized by the intelligent use of technology in music. Far from getting bogged down in disco resources, the Calhoun-Wimbish duo adds postmodern sound and body to Youssef's Sufi mysticism, through the expressive use of pedalboards, effects and settings that enhance the spiritual atmosphere through which the album takes us.

The lineup is completed by a selection of the highlights of European jazz: the Germans Markus Stockhausen (trumpeter with solid classical training) and Dieter Ilg (double bass); the Austrian guitarist Wolfgang Muthspiel, the South African of Indian origin Deepak Ram (bansuri, Indian classical flute) and the now legendary French percussionist Mino Cinelu (known for his work with Miles Davis Weather Report).

The album opens showing them in a very tight jazz ensemble in “Mandakini”, where Youssef on his lute and Cinelu on percussion mark the beginning of what grows and develops as a great improvisation to which they join in the leadership of Ram on flute and Muthspiel on guitar.

With “Yabay”, the Tunisian exploits to the full his expressiveness as a soloist, the melancholy of his singing and his oud, and the moving heights to which he reaches with his high notes.

  Next, the electronic army makes its entrance on “Electric Sufi”, with the drum’n bass of Calhoun and Wimbish supporting Ram and Youssef. The openness and sensitivity of both Americans to incorporate rhythms and melodies from Africa and the East into their electronic combo is notable here. Something that is repeated in “Man of wool”, where Wimbish's touch to achieve climates through effects and pedals with his bass accompanies a surreal atmosphere created by Calhoun's electronic drums, on which the singer mounts to achieve a of the most mystical and mysterious pieces on the entire CD.

In solo passages such as “Oil on Water” and “La nuit sacre” Youssef offers with his oud a break from the tension that is generated in those complex combinations of electronica and ethnic music. Likewise, the ballad “La prière de l'absent” is supported by Stockhausen's trumpet and the rest of the European jazz combo that supports him, to offer a bit of necessary peace and harmony.

“Nouba” runs along the same path, where Youssef's vocal and instrumental abilities emerge in all their splendor to achieve one of the tightest points of sonic fusion of the entire album along with the exceptional “Suraj”.

As if something else were missing, the Tunisian surprises with a brilliant performance of Maghrebi flamenco in “Farha”, supported by an impeccable solo percussion performance by Cinelu, and his continuation in “Nafha”.

“Al-Hallaj” (mystical martyr tribute to Islam from the 10th century) constitutes the strongest reference to the religiosity that inspires Youssef's music; and “Langue muette” solemnly closes an ecumenical work that is moving because of the plurality and quality with which Islamic, African, European and American cultural traditions coexist.

Dhafer Youssef vocal, oud, sounds

Wolfgang Muthspiel guitars

Markus Stockhausen trumpets, flh

Deepak Ram bansuri

Dieter Ilg ac. + el. bass

Doug Wimbish electric bass

Mino Cinelu drums, perc.

Will Calhoun drums, loops

Rodericke Packe ambient sounds

1. Mandakini 05:07

2. Yabay 03:14

3. Electric Sufi 04:56

4. Oil On Water 02:43

5. La Priere De L Absent 06:43

6. Man Of Wool 07:03

7. La Nuit Sacree 06:23

8. Nouba 06:47

9. Farha 05:34

10. Nafha 05:24

11. Al Hallaj 03:18

12. Suraj 06:13

13. Langue Muette 03:33