http://www.bentaleb.it
Origine du Groupe : Tunisia , Italia
Style : Alternative , Electronic , World Music
Tracklist :
01. Al Fager
02. Yawi
03. Tozeur
04. Indifferentemente
05. Amra
06. Farah
07. Zeru Zeru Napoli
08. Festa Di Santi
09. Altocalore
10. Da Yirbik
11. Yasmar
http://www.mokoomba.com
Origine du Groupe : Zimbabwe
Style : Alternative Fusion , World Music
Tracklist :
01 - Njoka
02 - Masangango
03 - Mangongo
04 - Mwile
05 - Misozi
06 - Yombe
07 - Nimukonda
08 - Ndundule
09 - Manunge
10 - Mabemba
11 - Mvula
12 - Welelye
http://www.mercandede.com
Origine du Groupe : Turkey , Canada
Style : Alternative Fusion World Music , Electronic Ethno
Discography :
Mercan Dede (born Arkın Ilıcalı, 1966, Bursa, Turkey), also known as DJ Arkin Allen, is a Turkish composer, ney and bendir player, DJ and producer. He divides his time between Turkey, Europe and North America. He is a world music artist, playing a fusion of traditional acoustic Turkish and other oriental musics with electronic sounds.
His best known albums include Seyahatname, Su, and Nar. He has worked in collaboration with Turkish and international musicians such as Susheela Raman, Dhafer Youssef, Sheema Mukherjee (Transglobal Underground) and Hugh Marsh.
Contents |
Dede was born to a working class and secular parents in Bursa.[1]
He moved to Istanbul from Bursa to study journalism and photography in Istanbul University. Upon his graduation, he received scholarship from University of Saskatchewan and moved to Montreal, Canada.[1][2]
The Mercan Dede ensemble was founded in 1997,[3] by which time Arkın had been working as a musician for some years. Their first album was Sufi Dreams, released in 1998. This album got a boost when the music was used in a German television documentary on Sufi music.
In 2001 he released his third album, Seyahatname, which means "travelogue" in old Turkish, evokes the era of the great caravanserai crossing Anatolia on the silk road. The sound of the ney goes back to this period, and the music aspires to the spirit of the mystic Sufi poets of that time, such as Mevlana. Dede describes the sound of the ney as "a pure, universal spiritual sound" evoking deep feelings, deeper than we can comprehend in just our short time on earth. The ney "speaks the language of love, instantly comprehensible in the heart, compared to which all the mosques, churches, temples built to decorate (our spirituality) drift away". The album is Dede's personal effort to reflect on his own spiritual journey.[4]
His 2002 album Nâr (which means "fire" in Turkish) continued in the same vein. In 2004 he released Su ("water") stayed at number one on European World Music Charts for two months. The album was recorded with an international line-up of musicians and has more vocals on it than the previous works. One track featuring folk singer Sabahat Akkiraz was particularly popular in Turkey. Dede made his U.S. debut at the first Globalfest that year, followed by a North American tour and the release of the album Fusion Monster under the name 'Arkin Allen', which has a slightly different twist on his familiar sound. He was commissioned by the Turkish Ministry of Culture as the music director of the Guldestan project to represent Turkish culture and arts all around the globe, working alongside choreographer Beyhan Murphy.
The February 2007 album Nefes ("breath") included Transglobal Underground sitar player Sheema Mukherjee in the line-up. The album includes spoken songs in Turkish, Arabic, and French.
Mercan Dede and his Secret Tribe have given live performances at festivals including the Montreal Jazz Festival, WOMEX, the Festival de Trans Musicales and Banlieus Bleus, Arezzo, the Montreux Jazz Festival, the World Roots Festival and the Rhythm Sticks Festival and at more than 100 shows in Vienna, Geneva, Brussels, Cologne, Paris, Amsterdam and Istanbul.
His sound incorporates traditional instruments and ney from Turkey and other parts of the world, with horns, dance beats, ambient electronic music, and a Sufi spirituality. The name Mercan Dede itself evokes Sufism as "Dede" is the word for 'elder' in the Sufi traditions, although the name Mercan Dede was taken from a character in a modern Turkish novel. Dede composes his own music, some of which is rhythmic, some new age.
He plays with groups of various sizes and fluctuating membership: the Mercan Dede Trio, the Mercan Dede Ensemble, and the Secret Tribe. The instrumentation used includes electronics and elements of classical Turkish music such as the ney (which he plays himself), percussion, violin, and zither. The groups often include Montreal-based percussionist Scott Russell, Canadian violinist Hugh Marsh, and Turkish clarinetist Hüsnü Şenlendirici. The shows often include men and women in Sufi costume doing Sufi whirling.
Dede works as a DJ under the name Arkın Allen, specialising in music related to that of his live groups, in this case house and techno dance music with an oriental flavour.[5]
Dede has been criticised by Turkish music purists for not being steeped in the Sufi traditions and for not properly representing Sufism in his music and writings.[6] Another criticism is that the whirling dancers he uses to accompany his shows do not accurately display the correct dervish routines. However, as more than a ney player, working just as often as a DJ as performing live in concert, with an audience consisting of clubbers, not Islamic scholars, Dede aims to synthesise several different traditions rather than recreate a historically pure music.
http://www.lucassanttana.com
Origine du Groupe : Brazil
Style : Alternative World Music
Tracklist :
1. O Deus que Devasta mas Também Cura
2. Músico
3. Jogos Madrugais
4. É Sempre Bom se Lembrar
5. Se Pá Ska. S.P.
6. Ela é Bélem
7. Vamos Andar pela Cidade
8. Para Onde Irá esta Noite
9. Dia de Furar Onda no Mar
10. O Paladino e seu Cavalo Altar
https://www.myspace.com/lanegraandband
Origine du Groupe : Spain
Style : Alternative , World Music
Sortie : 2012
From http://www.elvolcanmusica.com
Amparo Velasco es La Negra, una artista nacida y criada en Alicante. Vivió su adolescencia en América, viajando por Brásil, Méjico y el resto de Norteamérica. Una especie de viaje inciático que sin duda marcaría su futuro sonido. Ya en su primer disco, "La negra" (2006,Casa Limón), se alió con Javier Limón para vertebrar un sutil y elegante tratado de flamenco. Dejándose contaminar por el jazz, el tango e incluso la música brasileña, este debut sorprendió por su inusitada calidez y desparpajo soul. En él brilllaba con luz propia una voz rota y personal que sobresalía en el panoramoa nacional. Un primer asalto musical con el que comenzaba la revolución tranquila de La Negra.
2011 es el año en el que vuelve al estudio de grabación para armar su segundo disco. Esta vez se deja acompañar por Juan Fernández "El Panky", asumiendo las tareas de productor, compositor y guitarrista. También se une Fernando Vacas, del sello Eureka, como co-productor y compositor. Los tres juntos crean La que nunca (2012, El Volcán Música). Un álbum con el que reiventan el sonido gitano de La Negra. Un pop fusión que deconstruye géneros como el flamenco, el jazz o la psicodélia consiguiendo sonar sofisticado y rabiosamente contemporáneo. Así lo demuestra el primer single de adelanto, "La que nunca", con una producción orgánica y accesible que evita lugares comunes y dónde sobresalen unas adictivas cuerdas que arropan la voz de La Negra.
La heterogeneidad sonora que domina las 13 canciones que componen el álbum sirve de perfecto colchón sonoro para unas cuidadas letras. A través de ellas, La Negra nos narra en primera persona la historia de Yukele. Un personaje ficticio, sin género, abstracto, simbólico y universal, que emprende un viaje desde el sur hasta el primer mundo. Un final agridulce le espera al descubrir que lo que ve allí no era lo deseado, llegando a la conclusión que la mejor solución es volver a sus raíces: su única opción para recuperar la felicidad.
Uno de los mejores momentos del disco precisamente es la canción Yukele. Una joya de melodía infecciosa en el que colabora Howe Gelbb a los teclados y que ha sido mezclada por Renaud Letang, productor de artistas como Manu Chao, Feist, Jane Birkin o Amadou & Marian. Otros grandes momentos del disco son el original tratamiento de La costurera, con ese sampler de una fuente que ofrece una de las claves para entender el sonido acuático del álbum, fluyendo como un manantial. A veces la voz y el propio cuerpo de los músicos son utilizados como un instrumento, como en la imaginativa Celos. O en el caso de Gallina en medio del llano, un instrumental que acerca a La Negra al estilo de la Fela Kuti más visceral. En este álbum la voz de la Negra esta tratada de un modo versátil acercándola a territorios poco transitados para ella como la chanson francesa en la sorpendente versión de Black Trombone de Serge Gainsbourg.
En La que nunca han colaborado el ya citado Howe Gelb con su aportación a los teclados, el contrabajo de Thoger T. Lund, Lin Cortés, Kilema, los arreglos de cuerda de Isabel Vida y Fernanda Carmona y una selección de músicos de la costa de Marfil y africanos. que han aportado un sonido poliédrico y fascinante.
La que nunca fue grabado durante un año en los estudios Eureka en Córdoba y ha sido masterizado en Black Salloon por Manday Parnell.
Está previsto que se publique el próximo mes de mayo
Tracklist :
1.Costurera
2.Coda (Costurera)
3.La que nunca
4.A Morente
5.Los Celos
6.Tangos de la caña
7.Black Trombone
8.Perros Desvelados
9.Yukele
10.Al sur
11.La gallina en medio del llano
12.Canción India
http://www.nguyen-le.com
http://www.paolofresu.it
http://www.dhaferyoussef.com
Origine du Groupe : France , Sardinia , Tunisia
Style : Alternative Fusion World Music , Jazz World
Sortie : 2006
From http://www.allaboutjazz.com
Where does jazz stop and world music start? The boundaries are getting more blurred by the minute. We’re all postmodernists now, and many musicians under fifty reflect a range of influences beyond those traditionally associated with their own core style. Some, like French-Vietnamese guitarist Nguyen Le, are so polyglot as to be practically beyond category.
Le started out down the cultural miscenegation road with his first band, the multi-ethnic Ultramarine, whose 1989 album, De, was named World Music Album of the Year by the radical French newspaper Liberation. He’s continued to mix it up ever since—prominent genre-benders he’s worked with include Miroslav Vitous, Trilok Gurtu, David Liebman, Paul McCandless, Peter Erskine and Mino Cinelu. In the late 1990s Le became increasingly interested in Maghrebi music, working with Algerian singers Safy Boutella and Cheb Mami, and in 1998 he brought Maghrebi and Vietnamese musicians together on the album Maghrebi & Friends.
None of this, however, can prepare you for the galaxy of sound sources on Homescape, a series of alternating duets with Sardinian trumpeter Paolo Fresu and Tunisian oud player Dhafer Youssef. Some of these sources are developed and explored, others are referred to only in passing, and they include—but aren’t limited to—post-Hendrix rock, Milesian harmon-mute free improv, Maghrebi trance music, Ellingtonia, ambient, a Papua New Guinea vocal choir (sampled and replayed backwards), Delta blues, Vietnamese folk tunes, flamenco, Iranian modes, a Sardinian choir, Australian aboriginal ritual music, French chanson, Gregorian chant, and Indonesian gamelan/gong music.
Guitars, trumpet/flugelhorn and oud aside, the music is generated by loops, samples and overdubs, and the entire heavily post-produced album was recorded and mixed in Le’s Paris apartment – since 2003, his friends and neighbours Fresu and Youssef have been dropping by to home-record. The duets with Fresu are typically in free-improv mode (the exception being Duke Ellington & Billy Strayhorn’s lovely “Chelsea Bridge”), while the Youssef duets tend to be song or structure-based.
In the main sunny and joyful, though not without some darker and more abrasive moments, the fifteen tracks—average length three minutes, a handful six or seven—resemble a series of round-the-world postcards sent by Le, who mixed and post-produced everything solo, to his collaborators. As a soundtrack to an evening communing with the big bamboo, the exotic and the very exotic drifting in and out of the mix, it’s rich, colourful and beguiling.
Tracklist :
1 - Stranieri (Paolo Fresu / Nguyên Lê) (06:00)
2 - Byzance (Dhafer Youssef / Nguyên Lê) (04:25)
3 - Muqqam (Dhafer Youssef) (02:44)
4 - Mali Iwa (Nguyên Lê) (06:27)
5 - Zafaran (Dhafer Youssef / Nguyen Le) (06:02)
6 - Domus de Janas (Paolo Fresu / Nguyên Lê) (02:18)
7 – Kithara (Dhafer Youssef) (02:18)
8 - Chelsea Bridge (Billy Strayhorn) (03:00)
9 - Safina (Dhafer Youssef / Nguyên Lê) (03:27)
10 - Des Pres (Paolo Fresu / Nguyên Lê) (02:19)
11 - Thang Long (Nguyên Lê) (05:33)
12 - Neon (Paolo Fresu / Nguyên Lê) (03:12)
13 - Mangustao (Dominique Borker) (07:26)
14 - Lacrima Christi (Paolo Fresu / Nguyên Lê) (03:14)
15 - Beyti (Dhafer Youssef / Nguyên Lê) (02:53)
http://www.nguyen-le.com
http://www.paolofresu.it
http://www.dhaferyoussef.com
Origine du Groupe : France , Sardinia , Tunisia
Style : Alternative Fusion World Music , Jazz World
Sortie : 2006
From http://www.allaboutjazz.com
Where does jazz stop and world music start? The boundaries are getting more blurred by the minute. We’re all postmodernists now, and many musicians under fifty reflect a range of influences
beyond those traditionally associated with their own core style. Some, like French-Vietnamese guitarist Nguyen Le, are so polyglot as to be practically beyond category.
Le started out down the cultural miscenegation road with his first band, the multi-ethnic Ultramarine, whose 1989 album, De, was named World Music Album of the Year by the radical French
newspaper Liberation. He’s continued to mix it up ever since—prominent genre-benders he’s worked with include Miroslav Vitous, Trilok Gurtu, David Liebman, Paul McCandless, Peter Erskine and Mino
Cinelu. In the late 1990s Le became increasingly interested in Maghrebi music, working with Algerian singers Safy Boutella and Cheb Mami, and in 1998 he brought Maghrebi and Vietnamese musicians
together on the album Maghrebi & Friends.
None of this, however, can prepare you for the galaxy of sound sources on Homescape, a series of alternating duets with Sardinian trumpeter Paolo Fresu and Tunisian oud player Dhafer Youssef.
Some of these sources are developed and explored, others are referred to only in passing, and they include—but aren’t limited to—post-Hendrix rock, Milesian harmon-mute free improv, Maghrebi
trance music, Ellingtonia, ambient, a Papua New Guinea vocal choir (sampled and replayed backwards), Delta blues, Vietnamese folk tunes, flamenco, Iranian modes, a Sardinian choir, Australian
aboriginal ritual music, French chanson, Gregorian chant, and Indonesian gamelan/gong music.
Guitars, trumpet/flugelhorn and oud aside, the music is generated by loops, samples and overdubs, and the entire heavily post-produced album was recorded and mixed in Le’s Paris apartment – since
2003, his friends and neighbours Fresu and Youssef have been dropping by to home-record. The duets with Fresu are typically in free-improv mode (the exception being Duke Ellington & Billy
Strayhorn’s lovely “Chelsea Bridge”), while the Youssef duets tend to be song or structure-based.
In the main sunny and joyful, though not without some darker and more abrasive moments, the fifteen tracks—average length three minutes, a handful six or seven—resemble a series of
round-the-world postcards sent by Le, who mixed and post-produced everything solo, to his collaborators. As a soundtrack to an evening communing with the big bamboo, the exotic and the very
exotic drifting in and out of the mix, it’s rich, colourful and beguiling.
Tracklist :
1 - Stranieri (Paolo Fresu / Nguyên Lê) (06:00)
2 - Byzance (Dhafer Youssef / Nguyên Lê) (04:25)
3 - Muqqam (Dhafer Youssef) (02:44)
4 - Mali Iwa (Nguyên Lê) (06:27)
5 - Zafaran (Dhafer Youssef / Nguyen Le) (06:02)
6 - Domus de Janas (Paolo Fresu / Nguyên Lê) (02:18)
7 – Kithara (Dhafer Youssef) (02:18)
8 - Chelsea Bridge (Billy Strayhorn) (03:00)
9 - Safina (Dhafer Youssef / Nguyên Lê) (03:27)
10 - Des Pres (Paolo Fresu / Nguyên Lê) (02:19)
11 - Thang Long (Nguyên Lê) (05:33)
12 - Neon (Paolo Fresu / Nguyên Lê) (03:12)
13 - Mangustao (Dominique Borker) (07:26)
14 - Lacrima Christi (Paolo Fresu / Nguyên Lê) (03:14)
15 - Beyti (Dhafer Youssef / Nguyên Lê) (02:53)
http://www.sergeteyssot-gay.net
Origine du Groupe : France , Turkey
Style : Alternative Fusion World Music , Instrumental
Sortie : 2005
Pour http://www.regie2c.fr
C’est à Damas en avril 2002, lors de la tournée de Noir Désir au Moyen Orient qu’eut lieu la première rencontre entre Serge Teyssot Gay et Khaled Al Jaramani. Chacun écoute avec une extrême attention le concert de l'autre : ils décident de se revoir pour travailler ensemble, dès que possible.
Ce projet se concrétise en octobre 2003. Sergio ne sait pas l’arabe, Khaled ne sais pas le français : c’est tout naturellement en musique que leur dialogue s’incarne. Beaucoup parlent de « fusion », au risque de la confusion et des petits arrangements de la world music. Un rocker et un musicien oriental échangent, ils ne fusionnent pas ; leur culture musicale respective ne se fond ni se confond. Avec Interzone, c’est donc bien un dialogue que l’on entend.
Au moment où beaucoup ne voudraient nous laisser le choix qu’entre le communautarisme et la standardisation, il est particulièrement réconfortant et salutaire de constater qu’un guitariste de rock, n’aseptisant pas son jeu et un joueur d’oud, puisant le sien aux sources de la musique orientale, l’un venu d’Europe, l’autre du Moyen-Orient peuvent, par la sincérité et la qualité de leur dialogue, produire de la beauté. Portés par une même et profonde exigence d’honnêteté, Khaled All Jaramani et Serge Teyssot-Gay ont réussi avec Interzone un magnifique dialogue.
Tracklist :
1. Shataraban
2. Wings
3. Ayeb
4. Vitalité
5. Indian Raga
6. Rencontre
7. Out Of Walls
8. Helice Mouvement
9. On The Road
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