One of the 3 backing vocalists of I-Threes (backing vocalists who accompanied Marley with The Wailers) who had a great participation in the reggae scene in both the 70s and 80s. Her voice spiced works by Peter Tosh, Jimmy Cliff, Big Youth, Pablo Moses, Freddie McGregor, U-Roy, and the Wailing Souls. Judy's small leap came when Marcia Griffiths asked her to record arrangements for a song by Bob Andy at Studio One in 1974 and, consequently, meet Rita Marley and form The I-Threes. With this solo album adding Only A Woman (1982) we find a singer full of lyrics of religious content and in defense of women, with sweet harmonies and excellent bases played by excellent musicians, on this album we find Chinna Smith, Harold Butler, Steven Coore, Freddie McGregor.

Tracks

Strength To Go Through

Concrete Jungle

Slave Queen

Put It On

Zion Chant

Black Woman

Down In The Valley

Joseph

Many Are Called

Siters Chant

Tumba, seú, Antillean waltz, musik di zumbi, tambú, are words that designate some of the rhythms of the island of Curaçao, in the Dutch Caribbean, land where the prodigious voice of Izaline Calister emerged. With this vast musical identity in tow, which is also manifested in the fact that she sings in her mother tongue (Papaiamento), Izaline ventures into a project that pours into jazz a style that is as explosive as it is sweet.

She was raised in her native Curaçao until she was eighteen, at which age she emigrated to Groningen (Holland), she studied at the Prins Claus Conservatorium in the same city. Izaline began as part of Latin-jazz groups, participating in the work of Dissidenten, and as a vocalist for the Pili Pili Band, replacing the great Angélique Kidjo (until 1999). It was in this group where she met Tony Lakatos who would later accompany her in her first solo work, Soño di un muhé (2000), which was a real event in her country.

Mariposa (2002), Krioyo (Creolé, in Papiamento, 2004), Kanta Hélele (Sing Hélele, 2006) and Speransa (2009) are part of his works, an exciting musical experience full of native rhythms and powerful instrumentation in which the varied and tasty percussions stand out. Above all, Izaline's suggestive voice that she sings in Papiamento, as the best way to transmit the experiences of her people and to promote her language in the international community.

Recognized in musical gatherings as demanding as the North Sea Jazz Festival in the Netherlands, Izaline Calister's voice is governed by an irrefutable originality. Formed under the influence of jazz players like Dianne Reeves, Cassandra Wilson and Elis Regina, her passionate singing has found its own way, West Indian and irremediably contagious.

Official website: Izaline Calister

Tracks list:

01. Mi Pais (My Country)

02. Gym

03. Pueblo Lanta (People Get Up)

04. Kalor (Heat)

05. Porfin (Finally)

06. Awa (Water)

07. La la la

08. Speransa (Hope)

09. Juny

10. Forsa (Strength)

11. Amigu (Friend)

12. Preteksto (Pretext)

13. Kadena Enkantá (The Enchanted Necklace)

01. VOCES DE ÁFRICA

The CéU album was nominated, in 2007, at the Grammy Awards as "Best Contemporary World Music Album". And it is that Maria do Céu Whitaker Poças, Brazilian singer and composer, not only has a magnificent voice but also knows how to combine modern rhythms with traditional sambas to create a fresh and very personal sound.

CéU, which means sky, is inspired by the sounds of the urban jungle of São Paulo, by the rap of the streets and by the music with which he grew up at home (trained in music theory, he is a specialist in violão -typical Brazilian guitar- ). Influenced by Billie Holiday, Ella Fitzgerald, Lauryn Hill and Erykah Badu, her music is a journey through the variety of Brazilian rhythms that have their roots in the original African culture, be it samba, soul, rhythm and blues, hip hop, afrobeat or electrojazz music.

Tracks list:

01. vinheta quebrante

02. lenda

03. malemolência

04. roda

05. rainha

06. 10 contados

07. vinheta Dorival

08. mais um lamento

09. concrete jungle

10. véu da noite

11. valsa Pra Biu Roque

12. ave cruz

13. o ronco da cuíca

14. bobagem

15. samba na sola

How to celebrate the desert at home, how to protect it, develop it, unify it, respect it and, above all, never forget it, are the main themes of Bombino's new album 'Deran'. They are dressed in ten songs of rare maturity and power that mark a turning point in the career of a guitarist and composer who was born in the shade of an acacia tree some fifty miles northwest of the ancient city of Agadez, and who has since promoted to the new guitar Tuareg Generation. It's a throwback to the source of everything that makes Bombino who he is.

"My mission for this album was always to get closer to Africa," he says. It is no surprise then that the decision has been made to record 'Deran' as close as possible to his native Niger in the south of the Sahara. The ideal location arose in the form of Studio Hiba, a high-flying recording facility owned by King Mohammed VI located in an industrial suburb of Casablanca in Morocco. There, Bombino and his long-term stable band - including Tuareg Illias Mohammed on guitar and vocals, American Corey Wilhelm on drums and percussion, and Mauritanian (who lives in Belgium) Youba Dia on bass - slept, ate and music in happy isolation. His circle was widened by Moroccan percussionist Hassan Krifa, and by Bombino's cousins ​​Anana ag Haroun (vocalist of the Brussels-based Tuareg band Kel Assouf) and Toulou Kiki (singer and star of the film Timbuktu), who came to add some 'gang' voices. After Casablanca, the tapes were flown to Boston to be embellished by friend and Sudanese keyboardist Mohammed Araki.

Bombino and the crew conjured up an itinerant journey through the mystery of contemporary Saharawi sounds, from the raw diesel rock of opener 'Imajghane' ('The Tuareg'), to the camel gait of 'Tenesse' ('Idleness'), the tender cadence of Midiwan ('My Friends') and the 'Tuareggae' style which is Bombino's only contribution to desert music in the song 'Tehigren'. The whole desert is there, hard and gentle, tragic and playful. But more than anything 'Deran' is honest and true. Deran, Deran, Alkheir. "My best wishes, my best wishes, for peace."

TRACKLIST

1. Imajghane

2. Deran Deran Alkheir

3. Tehigren

4. Mikiwan

5. Tenesse

6. Ouhlin

7. Adouni Dagh

8. Tamasheq

9. Takamba

10. Adouagh Chegren

Youssou N´Dour, one of the most well-known Senegalese singers and composers worldwide, surprises us in 2010 with Dakar-Kingston. A self-confessed admirer of Bob Marley, he has recorded revisions of old and recent songs to the rhythm of reggae, resulting in surprising work if we take into account that Youssou is the master of mbalax music. In fact, the emblematic rhythm of the island of Jamaica has a similar origin to the Senegalese mbalax, if we take into account the rhythms carried by the African population forced to travel.

Produced by Marley's old friend and Wailers member Tyrone Downie, Youssou N'Dour is surrounded by the best: Earl "China" Smith on guitar, Patrice Bart-Williams and singer Ayo, legendary reggae band Morgan Heritage. , and Yusuf Islam (Cat Stevens) composing the first theme titled "Marley".

Tracks list:

01. Marley (feat Mutabaruka)

02. Medina

03. Joker (feat Patrice)

04. Bololene

05. Bamba

06. Black Woman

07. Survie

08. Africa Dream Again (feat Ayo)

09. Diarr Diarr

10. Don’t Walk Away (feat Morgan Heritage)

11. Bagn Len

12. Leteuma

13. Pitch Me

01. Dilon Djindji - Maria Teresa

02. Ochestra Marrabenta s star de - Matilde

03. Mabulu - Mahanhela 

04.Ghorwane - U yo mussiva kwini

05. Eyuphuro - Othiawene

06. Alberto Mula - Anghena bava mula

07. Francisco Mahecuane - Rosa

08. Mario Ntimane - Tchela Kuwomile

09. Wazimbo - Xigevengu

10. Antonio Marcos - Shywelele

11. Arakas Band - Sumbhulany

12. Nene - Africa

13. Gito Baloi - Marrabenta

14. Orchestra star de mozambiquke - Elisa Gomara Saia 

15. Lisboa Matavel - Hlamalane

From the vibrant multicultural melting pot of Marseille comes Temenik Electric's debut album, Ouesh Hada? (2013), an exquisite excursion through Arab rock that extends to both sides of the Mediterranean. The jagged electric guitars and rock rhythms of songs like "Hel El Bab" and "Arteni Boussa" ring with the energy of Led Zeppelin or U2, evoking the spirit of agitation of Rachid Taha or Cheikha Rimitti. But the infectious pop melodies and electro-rock beats are just one element of a splendid hybridity that also picks up traditional gnawa, chaabi, raï rhythms and influences from all over the Maghreb with hypnotically played ouds and other instrumentation.

Temenik Electric's Arab rock is not a copy of the Anglo-American formats. The rock of Temenik Electric, fronted by singer-songwriter Mehdi Haddjeri, comes from a very different place, crafting a sound that is essentially rooted in the spirit of North Africa but takes the language of Western rock music and dynamically absorbs the continuous lineage of Arab musical culture. It's "fusion" at its best and, like Tinariwen, a thrilling example of artists' ability to embrace western rock guitar and still sound wildly original, robust and unadulterated.

Staff:

Mehdi Haddjeri (voz, guitarra, coros)

Jerôme Bernaudon (bajo, coros)

Hassan Tighidet (guitarra)

Djamel Taouacht (batería, percusión, coros)

Mathieu Hours (programación)

01. Li Fèt Mèt (part 1)

02. Ness Jirènin

03. Dèouni

04. Hel El Bab

05. Arteni Boussa

06. Faïn Kount

07. Ouesh Hada

08. Rikha

09. Haïnik

10. Li Fèt Mèt (part 2)

11. Chibani

01. SIN SALSA NO HAY PARAÍSO

02. EL PROBLEMA ESTA EN EL COCO

03. ES LA MUJER

04. ACHILIPU

05. COLOMBIA TIERRA QUERIDA

06. A MI ME GUSTA MI PUEBLO

07. LA ESPUMA Y LA OLA

08. EL COMEJÉN 

09. LA RECETA DEL AMOR

10. ALGUIEN QUE ME QUITE TU AMOR

01. ELEGUA

02. OGGUN

03. OBATALA

04. YEMAYA

05. CHANGO

06. ELEEGUA

07. OGGUN

08. OBATALA

09. YEMAYA

10. OCHUM

11. CHANGO

Collection made by Virgin Spain (2000) in two volumes, in which the genres, the best performers and the emblematic songs of Cuban music of the 20th century are shown.

Tracks list:

Vol. I

01. Familia Valera-Miranda - Nengón para tí

02. Grupo Santiago de Cuba - Punto y zapateo

03. Orquesta Típica Odilio Urfé - San Pascual Bailón

04. Charanga Típica de Conciertos - La Revoltosa

05. Barbarito Díez con Orq. Antonio Mª Romeu - La Mora

06. Órgano de Manzanillo - Son de Manzanillo

07. Grupo Changüi de Guantánamo - María Guevara

08. Tumba Ntra. Sra. de la Caridad - Tumba francesa

09. Merceditas Valdés - Toque y rezo Lucumí

10. José Oriol Y Grupo Folklóriko - Toque Congo

11. Orq. Típica de Santiago de Cuba - Carabalí Isuama

12. Coro Folklórico - Marcha Abakuá

13. Comparsa El Alacrán - Tumbando caña

14. Orquesta Folklórica - Rompiendo la rutina

15. Orquesta Gonzalo Roig - Quiéreme mucho

16. Trío Matamoros - Mariposita de primavera

17. Dúo Cubano - María Cristina

18. Septeto Nacional - Lejana campiña

19. Conjunto de Arsenio Rodríguez - Mamí me gustó

Vol. II

01. Los Guaracheros de Oriente - Pregón de los chicharrones

02. Dúo Hermanas Martí - Longina

03. Rita Montaner - El golpe de Bibijagua

04. Esther Borja - Estudiantina

05. Joseíto Fernández - Canta el piano

06. Orquesta América - La engañadora

07. Orquesta Anacaona - Mambo mambí

08. Carlos Embale y Grupo Folklórico - La última rumba

09. Bola de Nieve - Chivo que rompe Tambo

10. Radeunda Lima - Mi tierra es así

11. Orquesta Aragón - Caserita Villareña

12. Muñequitos de Matanzas - Los Muñequitos

13. Parranda Espirituana - Tonada palmarito

14. Elena Burke - Canción de un festival

15. Comparsa Santiaguera - Orille oriental

16. Roberto Sánchez y la Gloria Matancera - Dos Gardenias

17. Benny Moré y su Banda Gigante - Qué bueno baila usted

18. Grupo Raison - Sucu suqueando

19. Pedro Luis Ferrer - Como me gusta hablar español

The impulse behind this album, developed by Mariella Berthéas, was to create a tribute to Albert Schweitzer by bringing together the two musical traditions that are central to his life: the works of JS Bach and the musics of Gabon, where he dedicated his life to serving as a medical missionary in the city of Lambaréné. To call this a crossover album, however, would be to misrepresent it; this is not an intelligent synthesis of two disparate traditions. It is difficult to characterize the relationship between the two musical cultures. To say that the musics are "coordinated" falls short of the surprising spontaneity of the juxtapositions, but to say that they are "thrown together" suggests a randomness that underestimates the skill and artistry of the arrangers, Hughes de Courson and Pierre Akendengué. Bach's music and the musical traditions of Gabon co-exist without giving up their own integrity, and interact with varying degrees of obvious connection. The CD includes classically trained European musicians, 10 ensembles from Gabon, and several Argentine musicians, who worked together in the studio for many months to create the album. The most successful songs uncannily capture the underlying musical impulse common to the two traditions, and the result opens up new meanings, and sounds natural and organic. For example, it's amazing, on track 2, how well a traditional Gabonese song fits and overlaps with "Lasset uns nicht den Zerteilen," from the St. John Passion, and how they complement each other in their affirmation exuberant of life. On track 6, the simultaneous performance of a ritual that includes a pattern of clapping and ululating vocalizations and a chorus of the Passion according to Saint John is impressive. Not all efforts are equally successful; the chant at the end of the Agnus Dei of the Mass in B minor simply sounds tacked on. But when the mix works, as it normally does, the effect is revealing and transformative. The sound is intensely clean and very well differentiated, highlighting the wonderful strangeness of the mixture of traditions.

2 Sankanda (traditionnel arr. P Akendengué) 5:70

3 Mayingo (traditionnel arr. P. Akendengue): Fugue sur Mayingo (T. Gubitsch) 2:12

4 Herr, Unser Herrscher 4:36

5 Mabo Maboe (traditionnel arr. P. Akendengué): Gigue de la Quatrième Suite en mi bémol majeur pour violoncelle 3:38

6 Bombé/Ruht Wohl Ihr Heiligen Gebeine 3:46

7 Pepa Nzac Gnon Ma (traditionnel arr. P. Akendengué): Prélude de la Partitia pour violon no3 4:23

8 Mamoudo Na Sakka Baya Boudouma Ngombi (traditionnel arr. P. Akendengué): Prélude No.14 BWV 883 4:28

9 Agnus Dei (Messe en si BWV 232 — arr. P. Akendengué) 5:60

10 Ikokou (traditionnel arr. P. Akendengué) 2:11

11 Inongo (traditionnel arr. P. Akendengué et H. de Courson): Invention à trois voix No3 en ré majeur BWV 789 5:40

12 Okoukoué (traditionnel arr. P. Akendengué et H. de Courson): Cantate 147 1:54

13 Was Mir Behagt, Ist Nur Die Muntre Jagd (Chorus "La Chasse" — J.S.Bach arr. P. Akendengué et H. de Courson) 3:30

14 Cantate 147 "Jesus que ma joie demeure" (J.S.Bach arr. P. Akendengué et H. Courson) 2:14