Altai Hangai -Naariits Biilye ( Let's Dance)

Altai-Hangai is a group of musicians and singers from Mongolia. Named after the Altai mountains and the Hangai steppes, large natural reserves in Central and Western Mongolia. It all started in 1993, at the begining of summer, near a small village called Khudlaani Nuur. Here the locals, and some travellers gathered to celebrate - the summer games, like wrestling, arching and car maintanance all well supported by plenty of wild Kumis ( fermented mare's milk, beerlike alcoholcontent). Here after partaking the bandmembers, Palamshav Childaa (Good Day), Ganbold Muukha (Inflexible Metal), Ganzorig Nergui (Strong Heart) , Byambakhishig Lhagva (Saturday's Present) met and gave their first spontanous concert.Since they have spent much time spreading their music through Europe and the US. Using traditional Mongolian instruments and forms, not only do they produce traditional music, but they have recently started producing some jazz fusion music as well. As for releases its hard to get a picture, they lack a webpresence "Gone with the wind" and this Let's dance are the only titles ive come across.

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De Profundis - Miguelanxo Prado

El dibujante gallego Miguelanxo Prado, creador de ‘Trazo de tiza’, ‘Quotidianía delirante’ y ‘Fragmentos de la enciclopedia Délfica’, y que hasta ahora trabajaba para Spielberg en la serie de dibujos animados ‘Men in Black’, ha presentado su proyecto ‘De profundis’, la primera película hecha de pinturas al óleo animadas Harto de trabajar para otros y de tener que adecuar sus dibujos a plantillas de otros dibujantes, Miguelanxo se libera en ‘De Profundis’. “Hasta ahora tenía la frustración de tener que renunciar a mi propio estilo, adecuarlo al de otros 100 dibujantes en trazo o en colorido. Y eso es lo que he vencido en ‘De profundis’, en la que soy yo. Si algo está mal, el responsable soy yo. Puede parecer un experimento de laboratorio, pero yo reivindico espacio para nuevas experiencias narrativas y visuales

Alexander Petrov ya había utilizado una técnica similar en ‘El viejo y el mar’, pero se trataba de un cortometraje. Sin embargo, ‘De Profundis’ “es una gran metáfora de 75 minutos, un poema visual y musical”, como ha declarado el propio Prado. El filme no tendrá diálogos, únicamente poesía en off y la música de Nani García. Por ello, el director añade que la película “no quiere cœnvencer, sino sugerir. No pretende imponer su realidad al espectador a través del prodigio técnico, sino conseguir su complicidad sentimental y estética”. “A quien le aburra contemplar un atardecer durante 10 minutos, le resultará tediosa la película”, avisa el dibujante

El título ‘De profundis’, que nada tiene que ver con la novela epistolar de Oscar Wilde, alude al lugar donde se sitúa la película: el fondo del mar. El argumento, que apenas sirve de excusa, cuenta que un pintor viaja como marinero en un pesquero. Cuando se desencadea una tormenta, y una ola gigantesca hunde la embarcación, la mujer del pintor, desde la soledad de su casa, intuye y presagia la tragedia. El filme es “un paseo onírico de un personaje a través de una historia de amor alterada por su mundo creativo. Y es un homenaje al mar, nuestra reserva de vida y esperanza, y símbolo de nuestras pesadillas y sueños

De Profundis: Trailer De La Pelicula De Miguelanxo Prado - Click here for the most popular videos

Dirección y guión: Miguelanxo Prado.

País: España.

Año: 2006.

Duración: 75 min.

Idioma: Sin diálogos

Género: Animación, drama.

Música: Nani García

Formato: Avi

Tamaño : 700Mb

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Titi Robin by photographer Véronique GUILLIEN

Ash Dargan - Passions of Flamenco & Didjeridu

Ash Dargan an Australian indigenous recording artist world renowned for his mastery on the Didgeridoo has been pushing the boundaries of contemporary world music for the last eight years. His distinct blend of Australian indigenous and contemporary world music captures the essence of one of the oldest cultures on earth and with it transcends the boundaries of time. His music has been described as the soul of the Australian Dreamtime landscape with a timeless quality reflecting a deep connection and reverence for the spiritual wisdom of his ancestry.
A member of the Larrakia Nation, the traditional land owners of Darwin in the Northern Territory of Australia, Ash is an ambassador of his culture through his music, storytelling and live performances. Ash was classically trained in music from the age of eight on trumpet and came back to his cultural roots at the age of twenty two. His grandmother and great uncle, both traditional elders of the Larrakia people were instrumental in his musical adoption of the Didgeridoo and its deeper cultural significance. Through them he came to know of the Didgeridoo's unlimited potential for the expression of rhythm and its ability to represent the power of the natural and spiritual worlds. The vocal harmonies used in traditional corroboree‘s (ceremonies) and the natural voice of Australia’s native song birds have also had a great influence on his musical compositions.

Passions of Flamenco & Didjeridu with Don Emilio Fernandez de la Vega at their best as the Spanish guitar, didge and full percussion enchant you in this world first combination. Ash Dargan plays the ceremonial didgeridoo, wooden flutes, percussion and vocals

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Rapidshare - Part 1
Rapidshare - Part 2

Nadaka and the Basavaraj Brothers - Living Colours

Gato Barbieri - Bolivia

Leandro “Gato” Barbieri (Rosario, Argentina; 28 de noviembre de 1932), es un saxofonista argentino de jazz.A los doce años aprende a tocar el clarinete tras sentirse impresionado por la escucha de "Now's the Time" de Charlie Parker. Se traslada con su familia a Buenos Aires en 1947 y continua recibiendo lecciones de música, cambiándose al saxo alto; hacia 1953 se convierte en una celebridad musical gracias a sus actuaciones en la orquesta de Schifrin. A finales de los cincuenta, Barbieri comenzó a dirigir sus propios grupos, tocando ya el saxo tenor. Se traslada a Roma en 1962 y conoce en París a Don Cherry, uniéndose a su grupo y empapándose del jazz de vanguardia. Tocó también con Mike Mantler's Jazz Composers' Orchestra a finales de los sesenta. Ya en los setenta, Barbieri experimenta un cambio musical y se decide por la reincorporación en su música de melodías, instrumentos, armonías, texturas y ritmos sudamericanos con dos excelentes músicos como Domingo Cura y Adalberto Cevasco. Discos como el directo El Pampero on Flying Dutchman y sus obras para Impulse (con exploraciones de ritmos y texturas brasileñas, afrocubanas y argentinas) le proporcionaron un gran prestigio en el mundo del jazz. Fue, no obstante, un éxito comercial el que lo llevaría a sus cotas más altas de popularidad: su sensual banda sonora para la película de Bernardo Bertolucci El último tango en París, de 1972. Un contrato con A&M en los Estados Unidos le llevó a realizar discos de fusión entre jazz y pop a finales de los setenta. Se centró luego, a principios de los ochenta, en un sonido suramericano más intenso e influenciado por el rock, aunque sus oscilaciones estilísticas son constantes en su carrera.

Bolivia es una reedición de trabajos de estudio grabados en Nueva York en 1971 y 1973, y representan, una muestra del Gato en su esplendor donde tuvo el privilegio de registrar estos trabajos con varias de las principales figuras del género, como el baterista Bernard Purdie, el bajista Stanley Clarke y el guitarrista John Abercrombie, constituyendo un verdadero seleccionado para estas sesiones de Nueva York.

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Emir Kusturica - Le Temps Des Gitans Punk Opera

"Le Temps des Gitans" Punk Opera (Time of the Gypsies Punk Opera), an adaptation of Kusturica's 1988 award-winning movie by the same name, it is his entire idiosyncratic world that has been brought to the stage of the Bastille Opera Closer to riotous spectacle than lyric opera, the 100-minute single act show is held together as much by its imaginative staging as by a score that alternates between folksy gypsy music and hard rock. The voices blasting out of banks of loudspeakers in turn seem closer to those heard in musical comedy than in Mozart or Verdi. It is also, in a sense, what Kusturica's cultish followers might have expected of the Sarajevo-born director of "When Father Was Away on Business" and "Underground," which won the Palme d'Or at the Cannes film festival in 1995, as well as of "Black Cat, White Cat," "Arizona Dream" and "Time of the Gypsies," perhaps his most popular film, for which he won the award for best director at Cannes in 1989

The libretto, written by Nenad Jankovic, simplifies the plot of the movie to the ill-fated love story between two teenage gypsies, Perhan (Stevan Andjelkovic) and Azra (Milica Todorovic), along with Perhan's involvement with Ahmed (Jankovic), a sleazy villager who has grown rich in Milan by kidnapping gypsy children and turning them into beggars. Perhan invites trouble by following Ahmed to Milan in the hope of quick wealth. When he returns to his village, he finds that Azra has become pregnant by his uncle, whom he duly kills. Perhan marries Azra, but gives away her baby, only to discover a few years later that the boy is begging in Milan. Finally, when Perhan finds that his sister has become one of Ahmed's street walkers, a shoot-out leaves the stage covered in corpses

Composed by Dejan Sparavalo, Jankovic and Kusturica's son, Stribor, the score was made few days before the opera itself opens at Opéra Bastille in Paris on 26 June 2007 is driven along by Umpapa rhythms typical of gypsy songs and dances, occasionally interrupted by electric guitar solos and rock music, much of it catchy enough for some audience members to clap to the beat (surely a first at the Paris Opera).

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Jean Pierre Magnet - Serenata Inkaterra

Pese a que su nombre nos haga pensar en tierras Galas este músico Peruano agarro los ritmos de las culturas peruanas de la costa sierra y selva , los hizo suyos y nos los devolvió en sus tan diversas formas que solo su versatilidad pueden traducir Realizó sus estudios en el Conservatorio Nacional de Buenos Aires y en el Berklee School of Music de Boston. Ha compartido escenario con prestigiosos músicos peruanos y extranjeros. En 1984 Funda PERUJAZZ, cuarteto que conforma junto a los connotados músicos peruanos Manongo Mujica, Luis Solar y David Pinto


Jean Pierre Magnet se revela como gran intérprete de la música Andina, después de muchos años trabajando en diversas corrientes musicales. “Desde la infancia escuchaba la radio de música de la sierra con saxofones. Siempre sentí que debía investigar las posibilidades de colores musicales que son infinitos en el mundo andino, al igual que sus paisajes”. Sin un solo sintetizador, bajo ni guitarra consigue llenar todos los temas con un ritmo enérgico, y eso lo hace con saxos y arpas, dejando la fuerza armónica en el charango y las melodías en el saxo, el violín andino con su sonido rasgado y en el viento madera de las eternamente andinas zampoñas. Cada uno de los ocho temas pretende ser un recorrido por una región distinta de los Andes y en uno de ellos, “Llamas en libertad”, podremos adivinar de fondo recuerdos muy cercanos de “El cóndor pasa”. Una forma muy distinta de ver la música andina Peruana.

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Irene Schweizer Trio With Dewan Motihar Trio - Jazz Meets India

Swiss pianist Irene Schweizer (1941), who had cut her teeth in a local trio with drummer Mani Neumeier. A few months after British saxophonist Joe Harriott, she pioneered Indo-jazz fusion by recording Jazz Meets India (october 1967), that featured a jazz quintet with trumpeter Manfred Schoof and Neumaier improvising with and a trio of Indian musicians Irene Schweizer was 26 when she performed with the Dewan Motihar Trio. While her contemporaries like The Beatles had formed earlier in England and played Hamburg, Schweizer, a Swiss, probably influenced by Cecil Taylor and Archie Shepp, had formed a free jazz trio in Germany with Uli Trepte and Mani Neumeler

Prog rock and avant garde fans will recognise the duo as the founders of Guru Guru. Less than a year later, the duo would form the Krautrock band with Jim Kennedy. Guru Guru had one foot in jazz and the other in rock. They gave to the Irene Schweizer Trio a heaviness only drummer Mani Neumeier could invent.Schweizer was part of the Feminist Improvising Group, whose members include Lindsay Cooper, Maggie Nichols, Georgie Born and Sally Potter. At the time, this was radical stuff. Women in jazz were relishing their role as players and not just being the diva in front of the band. Schweizer has been compared to Cecil Taylor in The Penguin Guide To Jazz.

This concert was part of a series of shows recorded by Germany's SWF (Südwestfunk Baden-Baden) station. The tour was in support of artists from around the world and had the name Jazz Meets The World and included Americans like The Archie Shepp Quartet, Germany's Globe Unity big band, France's Barney Wilen, from India the Dewan Motihar Trio, flamenco jazz with the Pedro Itturalde Sextet with Paco de Lucia and the Indonesian All-stars led by Tony Scott. There was also a segment called Jazz meets Africa with Olatunji and American Philly Joe Jones.
This show offered covers only the Irene Schweizer Trio (Irene Schweizer p; Uli Trepte b; Mani Neumeier d) and is a merge of two excerpts recorded from German radio that contains two versions of the long Manfred Schoof composition, Brigach And Ganges, which features Indian classical music. In turns, the jazz trio weighs in with the melody led by Schweizer's piano then gives way to the sitar and tabla of the Dewan Motihar Trio. (Diwan Motihar on sitar, Keshav Sathe on tabla, Kasan Thakur on tamboura). It is a duel between free jazz and Indian raga. Neumeier's drumming thunders while the Dewan Motihar Trio offer an intriguing Asian variant to heavy drumming

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Susana Baca- Travesias

Susana Baca was born in Lima, although she grew up in the small black coastal barrio of Chorrillos, "populated with fishermen and cats," Susana remembers,. She grew up surrounded by music and her mother's good cooking. Señora Baca taught her daughter what she knew of both. "My father played guitar and my mother showed me my first steps - she was dancer, not a singer. I listened to the radio and watched Mexican movies, all those great rumba dancers and Cuban musicians like Pérez Prado and Beny Moré." As a child, she would accompany her mother when she cleaned homes and says that the only way she could keep still was when her mother put on classical music. Her father, who was a driver, was also the barrio's own street guitarist and would often play outdoors with a group of neighborhood musicians. Their instruments were usually guitars and a percussive instrument called the cajón (a wooden box). As world music divas go, Susana Baca is rivalled only by Omara Portuondo and Cesaria Evora. Hers is a gentle but still passionate art. She cuts a graceful figure on stage in her trademark flowing robes. A smile is rarely far from her lips when not singing, and when she is, her eyes are clamped shut as she traces slow abstract arcs with bare feet

Her newest release chronicles her exploration of oral traditions from Africa, Haiti, France, Ireland, and Italy, in addition to her native Peru. Simple arrangements combined with Susana's distinctive voice translate the essence of each song's sentiment of love and struggle. It is this kind of quiet intensity that pervades her Travesias album. It is a record she describes as a personal dialogue, a collection of intimate moments for the person who is alone and who is in love. The songs are stripped down, quiet, like a late-night conversation

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Yann Tiersen Comptine d'un autre ete L'apres midi

Jan Tilman Schade - Handkanten Act

Alpha Yaya Diallo - The Message

Guitarist and singer Alpha Yaya Diallo, from Guinea in West Africa, is one of the hottest acts on the current world music scene. Now based in Vancouver, Canada, he's earned a matchless reputation internationally for the excellence of his musicianship and the excitement of his live shows - whether performing solo or with his band Bafing. Diallo is a uniquely multi-talented artist. His dexterous acoustic and electric guitar-playing, with its fluid melodic lines and compelling grooves, places him in the front ranks of African axemen. In addition he is a skilled and experienced performer on a variety of percussion instruments, and on the balafon (traditional wooden xylphone). To complete the abundance of riches Diallo writes his own compositions, and sings with a supple and beautifully modulated voice. By successfully uniting the traditional and the contemporary, Diallo has carved a niche for himself beside such West African luminaries as Salif Keita, Baaba Maal, Youssou N'Dour, and Ismael Lo. But, if anything, the blend of musical elements to be found in Diallo's work is even richer and more diverse, a heritage from his childhood years.

With The Message, his third recording to date, Alpha YaYa Diallo has created a subtle history of West African music. Though he has lived in exile for many years, Alpha's roots are firmly planted in the rich soil of his African homeland. Many of the regional styles can be heard here, respectfully moulded into something quite unique. You will find the mystical funk of the Manding people, sleek and powerful Mbalax, a touch of Cape Verde, and infectious Soukous. You will hear the kora, balafon, sabar, and the djembe, as well as acoustic piano, violin, electic bass, drums.. Sinuous guitar lines intertwine, as finely woven as African textiles propelling the groove... playful, delicate, confident, effortless... qualities which disguise the hard workd and dedication Alpha YaYa Diallo has invested in his music. Listen carefully. These songs will transport you. They are made for travel. Take them with you and hold them close

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Willie And Lobo - Siete

Willie Royal nació en El Paso, Texas, hijo de un teniente de la fuerza aérea norteamericana, tuvo gracias a trabajo de su padre un temprano contacto con las culturas de Turquía, Alemania , Francia y Florida. Empieza a tomar clases de violín a la edad de ocho años , inspirado por el Rock’n’ Roll asi como los trabajos en el violín de Jean Luc Ponty, Stephane Grappelli, un buen dia Wille se revela contra su formación clásica para empezar a tocar Country-rock ademas de absorver estilos musicales como Reggae, Jazz y Salsa, con lo que comienza a regorer el mundo por Europa, Canada y Nueva Zelanda antes de establecerse en el soleado México a inicios de los 80s
Wolfgang "Lobo" Fink nacion en el pequeño poblado Bavaro de Teinserdorf, tiene su primer contacto con su instrumento a la edad de 18 años mientas servia como señalador en un navío alemán. Luego de escuchar un álbum de guitarra gitana de Manitas de Plata, el joven marinero descubre su afinidad por los ritmos románticos de estas guitarras, una vez completado su servicio, se da a la búsqueda de Plata, llegando a encontrar al guitarrista quien se había establecido en un campamento gitano en el sur de Francia, Lobo pasa un año con Plata y su gente enriqueciéndose y absorbiendo la música de esta cultura El primer encuentro programado por el destino para Willie y Lobo se dio en 1983 , cuando ambos músicos trabajaban en un restaurante en el poblado colonial de San Martín de Allende en México, Wille tocaba con un grupo local de salsa combo, mientras Libo hacia un solo de flamenco en el patio, desde entonces la amistad quedo sellada, Willie y Lobo estaban aun buscando un sonido personal, grabando cada quien varios trabajos como solistas, hasta que en 1990 en Puerto Vallarta realizan un registro en vivo nombrado TOCANDO FUERTE.

Willie & Lobo publicaron discos a mansalva antes de lanzar "Siete". Albumes como "Mañana", "Between The Waters", "Fandango Nights" y "The Music Of Puerto Vallarta Squeeze" encontraron adeptos por todo el mundo. Para el trabajo "Siete" de 2000, el dúo selecciona once temas totalmente nuevos. Willie Royal y Wolfgang "Lobo" Fink nunca han llegado a conocer la atención prestada a otros músicos de su mismo género como Ottmar Liebert, Strunz and Farah y Jesse Cook. Pero su internacional mezcla de flamenco, sonidos Latinos y Caribeños nunca han sonado mejor que en su séptimo álbum

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Richard Bona - Tiki

Richard Bona is a jazz musician and bassist, was born in October 28, 1967in the town of Minta, in eastern Cameroon. Bona was born into a family of musicians, which enabled him to start learning music from a young age. His grandfather was a singer (griot) and percussionist, and his mother was a singer. At 4 years old, he started to play the balafon. At the age of 5, he began performing at his village church. Not being wealthy, Bona made many of his own instruments: including flutes and guitars (with cords strung over an old motorcycle tank).
His talent was quickly noticed, and he was often invited to perform at festivals and ceremonies. Bona began learning to play the guitar at age 11, and in 1980 aged just 13, he assembled his first ensemble for a French jazz club in Douala. The owner befriended him and helped him discover jazz music and, notably including Jaco Pastorius in particular, whose work inspired Bona to switch his focus to the electric bass.Bona emigrated to Germany at the age of 22, soon relocating to France, where he furthered his studies in music.Whilst in France, he regularly played in various jazz clubs, sometimes with players such as Manu Dibango, Salif Keita, Jacques Higelin and Didier Lockwood. In 1995, Richard left France and established himself in New York, where he still lives and works.

TIKI, Bona's fourth solo effort, is a case study in world fusion. In addition to Bona's excellent chops (he plays many of the album's instruments himself, including the bass, for which he is particularly well known), the disc boasts an immediately appealing sound that draws heavily on Afro-Pop, but also boasts Latin rhythms, Indian melodies, American pop, R&B, and funk elements, and nearly everything in between. Bona's beautiful, soothing vocals carry TIKI's memorable melodies, while guest appearances by John Legend, Susheela Ramen, and guitarist Mike Stern raise the world-class profile of this impressive release.

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Gilles Coquard - Reisa

Gilles Coquard est né en 1960, apprend le solfège à 5 ans, le saxophone à 7 ans, l'accordéon à 12 ans et découvre la basse à 17 ans. et devient un arrangeur reconnu. Fin mélodiste et virtuose de la basse 6 cordes il parcourt le monde et multiplie les rencontres En 2004, il eleit residence au Theatre d’ Abbeville pour élaborer une création de musique instruméntale “Éclèctroproject” le supercolor Tryphonar avec Mino Cinelu, Olivier Louvel et Eric Moulin En 2006, il enregistre son second album en duo avec Loeffler et part en tourneé en France , a la Reunión, en Russie et au Québec. Dans son Dernier Album SOLI sorti le 10 déce,bre 2007, tous les sons proviennent de ses basees, de ses Manis, de ses pieds et de sa bouche.

REISA produit le 2001 avec la paticipation de Marcel LOEFFLER , Mino CINELU & Bireli LAGRENE Un disque a decouvrir. Coquard est un bassiste au touche unique, un touche leger, et plus inhabituel, il sort la basse de son classique role d'instrument d'accompagnement pour lui donner une vrai place dans la melodie

Gilles Coquard ( basse )

Marcel Loeffler ( accordéon)

Mino Cinélu (percussions)

Biréli Lagrène ( guitare)

Pascal Coquard ( batterie )

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Indo British Jazz Ensemble - Curried Jazz

In 1969, the imaginative indie record producer, and jazz-lover, Mark Sutton, who owned his own recording studio in Soho, gathered together some of the finest session jazz musicians working in London together with husband and wife, Dev and Sitara Kumar to record a series of what we might today call "fusion". The result was "Curried Jazz". The producer for the sessions was Ken Barnes and his notes together with a an extract of an interview with noted Sitarist (and father of Norah Jones) Ravi Shankar and the arranger on this session Victor Graham are included in the notes. The original release was unleashed on a n unsuspecting jazz world that didn't quite know what to make of it.

Composed, arranged and conducted by Victor Graham with
Dev Kumar (sitar),
Chris Karan (tabla),Sitara (tamboura),
Ray Swinfield (flute),
Kenny Wheeler (flugelhorn),
Jeff Clyne (bass),
Bill Eyden (drums).

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El Topo OST por Shades of Joy

Hablar de “El_Topo” es hablar de Alejandro_Jodorowsky . Este polifacético autor, envuelto durante la mayoría de su carrera por un halo violáceo de controversia y escándalo, genera siempre para si opiniones encontradas.Sus apologistas se refieren a él como “un poema viviente”, fuente de una creatividad sin comparación ni límites, que ha logrado en base a la experiencia y meditación una concepción integral del mundo, del hombre y del arte digna de culto; mientras, sus detractores lo consideran una especie de “chambitas” seudo esotérico, blasfemo hasta la medula, cuya obra entera fue concebida en base a infusiones lisérgicas. Así es en general su persona y así es su obra: o la amas o la odias. Las medias tintas no existen para referirse a Alejandro Jodorowsky y, por lo mismo, difícilmente existen las medias tintas para referirse a “El Topo”.

Sinopsis:
El Topo, un pistolero oscuro y renegado que viaja por el desierto haciendo justicia por propia mano (acompañado de su hijo de 7 años), descubre el saqueó y aniquilación de un pueblo. Asumiendo su habitual papel de juez y verdugo, busca a los responsables de la masacre, los cuáles resultan ser una serie de militares desertores y fetichistas que pervertidos por el poder realizan toda clase de depravación contra quién se interponga en su camino. El Topo cobra con violencia la sangre derramada hasta sentir que la justicia ha sido servida. Posteriormente el Topo abandona su hijo, intercambiándolo por una mujer llamada Mara. A partir de este punto, e influenciado por Mara, el Topo se dedica a buscar y vencer a los Cuatro Maestros del Revolver, súper hombres místicos que habitan el desierto. Este nuevo viaje llevará al Topo a caer una espiral de decadencia que eventualmente lo aniquila. Sin embargo el haberse precipitado tan profundamente le otorgará la capacidad de redimirse de sus pecados y errores.

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Pass: savagesaints


MUSIC OF EL TOPO Compuesta por Alexandro Jodorowsky SHADES OF JOY

Arreglos y Conducción por Martin Fierro

Thierry “Titi” Robin - Gitans

Thierry “Titi” Robin músico autodidacta nacido a fines de los años cincuenta en Angers al oeste de Francia, construye su universo musical tomando el instinto y el lenguaje musical para satisfacer su sed de expresión, siendo las culturas gitanas y orientales fuentes inagotables de este universo, en el seno de estas 2 comunidades que el tiene la ocacion de probar el color original de su acercamiento musical de cara a las ricas tradiciones musicales en las cuales se fusiona.; desde los incios de los años 80, empieza a componer en un estilo que es se ha vuelto el sello de este musico y que desde sus primeros trabajos conserva hasta la fecha, en 1984 produce junto a Hameed Khan, tablista Indio original de Jaipur el disco Duo Luth et Tablâ, ademas de un sin fin de colaboraciones con Gulabi Sapera, apodada por Robin como la Reina Gitana del Rhajastan, según Titi, el mestizaje de la música no es un valor en si mismo, sino mas bien una realidad; su realidad. Lo mas importante es encontrar la voz mas justa entre el sentimiento, la fuente de la creación y la forma artística cargada expresión.


Gitans , es un homenaje de Titi Robin para la comunidad gitana de la cual se enriqueció musicalmente, mosaico de encuentros entre amigos y que representan diferentes ramas de esta gran familia gitana, desde la India del norte hasta Andalucía vía los Balcanes, de donde el tomo su visión musical personal, con músicos invitados como Gulabi Sapera (cantos) Bruno el Gitano (canto, palmas, guitarra), Mambo Saadna (canto, palmas, guitarra), Paco el Lobo (canto, palmas), François Castiello (accordéon), Hameed Khan (tablâ), Francis Moerman (guitarra), Abdelkrim Sami (percusión), Bernard Subert (clarinete, cornemusa). este disco es un indispensable para todos aquellos que gustan de los ritmos mediterráneos

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Ali Farka Touré - Talking Timbuktu

Ali Farka Touré est originaire de Kanau, un village proche du fleuve Niger, à environ 65 km de Tombouctou. Il appartient à une famille noble de l’ethnie Djerma, elle-même issue de l’ethnie Songhaï. Son père était un militaire, il décède pendant la Seconde Guerre mondiale. Sa famille s’installe alors à Niafunké (250 km au sud-ouest de Tombouctou). Il ne fréquente pas l’école, il passe ses journées à travailler aux champs. Déjà, il s’intéresse à la musique, et plus particulièrement à certains instruments : le gurkel, petite guitare traditionnelle, le njerka, violon populaire, la flûte peul ou le luth ngoni à quatre cordes.

Farka Touré commence alors une carrière solo en donnant des concerts dans toute l’Afrique de l’Ouest. Son premier disque Farka sort en 1976. Dans les années 1980, il effectue plusieurs tournées internationales en Europe, au Japon et aux États-Unis. Après quelques albums à succès, il enregistre en 1991 The Source avec le bluesman Taj Mahal et s’ouvre ainsi à la fusion de la World music. La sortie en 1993 de l’album Talking Timbuktu en duo avec Ry Cooder, le guitariste américain, le propulsera sur la scène internationale avec succès : il reçoit un Grammy Award pour cet album.

Ali Farka Toure - TalKing Tinbuktu

Pass: Kristalna

Wah! - Jai Jai Jai

For Special Friends than like Western musical styles and Eastern spirituality come together seamlessly on Wah!'s Jai Jai Jai, an intoxicating album of chants themed after love, wisdom and praise. The serene sounds of light harmonium, pennywhistle, violin, percussion and guitar comprise the flowing backdrops on which Wah!'s call-and-response style Sanskrit mantras float airily, like whispers on the wind. Shri Krishna, which slowly builds in intensity as the song progresses, is a great example of joyous, uplifting chanting that has universal appeal. Another highlight is Om Mani Padme Hum - a beautiful song whose use of whistle, guitar and Wah!'s ethereal vocals almost make it sound

celtic

This melodic album proved a delight to listen to, sing along with, and gives the listener an opportunity to relax in its rhythmic tunes, from the round-like refrains of Bolo Ram to the soft chant of Gayatri. Bolo Ram consists of several distinct mantras, and begins with Wah!’s solo voice accompanied by the harmonium, then segues into a more up-tempo rhythmic praise tune with a jazz guitar and shaker, then into a more responsive choral effort complete with a men’s choir and additional instruments. As the end nears, the chants grow slower and quieter, bringing the listener to a devotional attitude. With Sri Krishna, Wah! gives us a more bluesy approach, not something one would expect for an Indian chant, but which works nonetheless. Also very reminiscent of the musical chants of the Hare Krishna movement in the 1970s (for those of us who happen to remember—and perhaps miss—those times of Flower Power and Free Love). Shyam Bolo Jai and Durge are two songs of praise, the first to Krishna, and the latter to the Divine Mother. Shyam is light, almost playful in its presentation, while Durge is more solemn, but still delightful. The album ends with Gayatri, a light, flowing musical meditation on the three planes of existence — mortal, immortal and divine. My one complaint? Wah! presents one song in English—What She Has to Give—a light jazzy blues number that, to be quite frank, I really don’t think fits in with the rest of the musical offerings. In spite of the fact that it’s written about a saint from southern India, this song’s style doesn’t suit the up-beat pop devotional aspect of the album.

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Nusrat Fateh Ali Khan - Mustt Mustt

Nusrat Fateh Ali Khan (born October 13, 1948, died August 16, 1997), was a Pakistani musician, primarily a singer of Qawwali, the devotional music of the Sufis (a mystical tradition within Islam). He featured in Time magazine's 2006 list of 'Asian Heroes'
Traditionally, Qawwali has been a family business. Nusrat's family has an unbroken tradition of performing qawwali for the last 600 years. Among other honorary titles bestowed upon him, Nusrat was called Shahenshah-e-Qawwali, meaning The Emperor of Qawwali
Initially, Nusrat's father did not want him to enter the family business. He had his heart set on Nusrat choosing a more respectable career path by becoming a doctor or an engineer, because he felt Qawwals had a low social status. However, Nusrat showed such an aptitude for and interest in Qawwali that his father finally relented and started to train him in the art. At first, he was taught to play tabla, playing alongside his father. He then learnt Raag Vidya and bolbandish. Once he had mastered such arts, he was taught to sing within the classical framework of khayal in the Qawwal Bachchon Gharana and learnt dhrupad from the Dagar family. This training was left incomplete when Fateh Ali Khan died in 1964, while Nusrat was still in school. However, the training was continued by Nusrat's paternal uncles, Mubarak Ali Khan and Salamat Ali Khan.

Mustt Mustt is the first Qawwali fusion album of singer Nusrat Fateh Ali Khan and guitarist and record producer Michael Brook. It was released in 1990 on Peter Gabriel 's Real World Records label.. Michael’s first collaboration became an early benchmark of the then-burgeoning world music genre; the sessions for Mustt Mustt found Brook adopting new approaches to studio recording. Putting Michael together with Nusrat Fateh Ali Khan, the foremost exponent of the Pakistani devotional singing known as qawwal, was initially the idea of Peter Gabriel, at whose Real World studio facility the sessions took place. With David Bottrill engineering, Michael embarked on an intensive four day session with Nusrat, the pair learning how to collaborate in spite of each man’s inability to speak the other’s language

Nusrat Fateh Ali Khan-Mustt Mustt

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Yerba Mater - Raga Praga

Coming back from long journeys, of different type, often not merely geographical, three guys met, somewhere on the outskirts of a big city, picked up their funny and awkward instruments and began to play. It was everything but an incident...They were sipping yerba mate to stay awake and play more. It worked...Yerba was truly the Mater of invention. From the very beginning there was this notion that the outcome of the event was quite unlike anything they had previously heard. Soon they had their first chance to record their music in an empty concert hall of the Warsaw Music Academy. That was spooky. All those empty chairs and the four of them Bart (cello), Cierlik (al-`ud), Raf (saz, baglama) and Seba( sopilka, bass recorder).

In 2002 Yerba Mater began to perform life in Poland playing at different kinds of folk festivals, refugees days, theatres, museums etc. They play almost only their own compositions, improvisation and maybe two folk tunes to ease the tension. The thing they played was always very different from everything else that was played. Some people were a bit suspicious as it might have sounded a bit Moorish, and that wasn't exactly the best time for anything with the sign of the Crescent on

Yerba Mater - Raga Praga