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From Guinea, Conakry. Kora breaks 03:46 and 04:56. New song 07:28 .
http://www.myspace.com/espoirscoronthie
Uploaded by " barge182 "
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Denise Fort' s Drawings
Denise Fort's blogBorn in 1981, Denise Fort was raised in Munich Germany. Her parents are from Czech Republic. After finishing her final examination at a special school for creation in 2001, she started working in several workshops, later as a furniture seller and decorator for Ligne Roset in Munich. In the same year, she started her studies in Industrial Design in Munich. She spent 6 month in Italy Bolzano at the Free University of Bolzano and throughout 2001 to 2007, she had several internships in Graphic and Product Design. She started her freelance work in Industrial Design and Illustrations in 2006.
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Indian Percussion: Kanjira
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Indian Percussion instrument: Remo synthetic & tunable Kanjira start 00:50
The kanjira or ganjira, a South Indian frame drum, is an instrument of the tambourine family. It is used primarily in concerts of Carnatic music (South Indian classical music) as a supporting instrument for the mridangam. The kanjira is a comparatively recent innovation (having been used for fewer than 100 years), and was added to classical concerts during the 1930s.
Similar to the Western tambourine, it consists of a circular frame made of the wood of the jackfruit tree, between 7 and 9 inches in diameter and 2 to 4 inches in depth. It is covered on one side with a drumhead made of monitor lizard skin (specifically the Bengal monitor, Varanus bengalensis, now an endangered species in India), while the other side is left open. The frame has a single slit which contain three to four small metal discs--often old coins--that jingle when the kanjira is played.
The kanjira is a relatively difficult Indian drum to play, especially in South Indian Carnatic music, for reasons including the complexity of the percussion patterns used in Indian music. It is normally played with the palm and fingers of the right hand, while the left hand supports the drum. The fingertips of the left hand can be used to bend the pitch by applying pressure near the outer rim. It is not tuned to any particular pitch, unlike the mridangam or the ghatam.
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Indian Percussion instrument: Remo synthetic & tunable Kanjira start 00:50
The kanjira or ganjira, a South Indian frame drum, is an instrument of the tambourine family. It is used primarily in concerts of Carnatic music (South Indian classical music) as a supporting instrument for the mridangam. The kanjira is a comparatively recent innovation (having been used for fewer than 100 years), and was added to classical concerts during the 1930s.
Similar to the Western tambourine, it consists of a circular frame made of the wood of the jackfruit tree, between 7 and 9 inches in diameter and 2 to 4 inches in depth. It is covered on one side with a drumhead made of monitor lizard skin (specifically the Bengal monitor, Varanus bengalensis, now an endangered species in India), while the other side is left open. The frame has a single slit which contain three to four small metal discs--often old coins--that jingle when the kanjira is played.
The kanjira is a relatively difficult Indian drum to play, especially in South Indian Carnatic music, for reasons including the complexity of the percussion patterns used in Indian music. It is normally played with the palm and fingers of the right hand, while the left hand supports the drum. The fingertips of the left hand can be used to bend the pitch by applying pressure near the outer rim. It is not tuned to any particular pitch, unlike the mridangam or the ghatam.
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Joe Zawinul and Trilok Gurtu
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Joe Zawinul & Trilok Gurtu in Orient Express . Live in Frankfurt . Uploaded by "digimaton"
Josef Erich Zawinul (1932 – 2007) was an Austrian jazz keyboardist and composer.
First coming to prominence with saxophonist Cannonball Adderley, Zawinul went on to play with trumpeter Miles Davis, and to become one of the creators of jazz fusion, an innovative musical genre that combined jazz with elements of rock and world music. Later, Zawinul co-founded the groups Weather Report and the world fusion music oriented Zawinul Syndicate. Additionally, he made pioneering use of electric piano and synthesizers. Zawinul won the "Best Keyboardist" award 30 times from American jazz magazine Down Beat's critics' poll. ( Wikipedia )
. . . " Joe Zawinul is deservedly renowned for his pioneering role in the Jazz world combining the elements of world music rock and jazz. In fact, many of the worldbeat sounds we take for granted today, simply wouldn't exist without his revolutionary compositions and performances with Miles Davis in the late 60s, Weather Report in the '70-'80s, and The Zawinul Syndicate in the '90s evolving into the year 2004. " ( " All About Jazz " )
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Joe Zawinul & Trilok Gurtu in Orient Express . Live in Frankfurt . Uploaded by "digimaton"
Josef Erich Zawinul (1932 – 2007) was an Austrian jazz keyboardist and composer.
First coming to prominence with saxophonist Cannonball Adderley, Zawinul went on to play with trumpeter Miles Davis, and to become one of the creators of jazz fusion, an innovative musical genre that combined jazz with elements of rock and world music. Later, Zawinul co-founded the groups Weather Report and the world fusion music oriented Zawinul Syndicate. Additionally, he made pioneering use of electric piano and synthesizers. Zawinul won the "Best Keyboardist" award 30 times from American jazz magazine Down Beat's critics' poll. ( Wikipedia )
. . . " Joe Zawinul is deservedly renowned for his pioneering role in the Jazz world combining the elements of world music rock and jazz. In fact, many of the worldbeat sounds we take for granted today, simply wouldn't exist without his revolutionary compositions and performances with Miles Davis in the late 60s, Weather Report in the '70-'80s, and The Zawinul Syndicate in the '90s evolving into the year 2004. " ( " All About Jazz " )
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Orchestra Baobab
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At The Poet's Corner in the Botanical Gardens - Womadelaide 2006 . Posted by "cdnoz".
Senegal's Orchestra Baobab came together in 1970, taking their name from the Dakar night-club where they were resident for most of the following decade. Baobab were different because of their multi-ethnic membership which drew in musicians from all over Senegal and even players from Togo and Nigeria. Consequently, their music wasn't based in any one tradition. They sang mostly in Mandinka, Portuguese Creole and Wolof, but also other local tongues, French and even faltering Spanish. Mellow Cuban boleros and sones were favoured musical templates as well as a bewildering array of adapted traditional tunes and Senegalese styles.
Perhaps most distinctive was the flowing guitar of Barthelemy Attisso, whose playing clearly helped them capture an international fan base. At home they reigned supreme until the end of the 1970s, when popular tastes moved away from Latin-influenced music in favour of the more hard edged and percussive mbalax style championed by the young Youssou N'Dour and his band Etoile de Dakar.
. . . On 5 May 2001, a reformed Baobab performed in London at The Barbican Centre's Urban Beats festival. Though they hadn¹t played together for more than 15 years, fears that the old magic might have been lost were soon banished as they ran through a sublime set of old favourites and fresh material. ( BBC )
"Nijaay" FMM Sines 2008, Portugal . Uploaded by " bunks07"
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At The Poet's Corner in the Botanical Gardens - Womadelaide 2006 . Posted by "cdnoz".
Senegal's Orchestra Baobab came together in 1970, taking their name from the Dakar night-club where they were resident for most of the following decade. Baobab were different because of their multi-ethnic membership which drew in musicians from all over Senegal and even players from Togo and Nigeria. Consequently, their music wasn't based in any one tradition. They sang mostly in Mandinka, Portuguese Creole and Wolof, but also other local tongues, French and even faltering Spanish. Mellow Cuban boleros and sones were favoured musical templates as well as a bewildering array of adapted traditional tunes and Senegalese styles.
Perhaps most distinctive was the flowing guitar of Barthelemy Attisso, whose playing clearly helped them capture an international fan base. At home they reigned supreme until the end of the 1970s, when popular tastes moved away from Latin-influenced music in favour of the more hard edged and percussive mbalax style championed by the young Youssou N'Dour and his band Etoile de Dakar.
. . . On 5 May 2001, a reformed Baobab performed in London at The Barbican Centre's Urban Beats festival. Though they hadn¹t played together for more than 15 years, fears that the old magic might have been lost were soon banished as they ran through a sublime set of old favourites and fresh material. ( BBC )
"Nijaay" FMM Sines 2008, Portugal . Uploaded by " bunks07"
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Jaap Blonk performance with installation by Messa di Voce
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Funny scene from 01:47
Messa di Voce installation. artists: Golan Levin and Zachary Lieberman
Jaap Blonk (born 1953, Woerden) is a Dutch avant-garde composer and performance artist. Blonk is primarily self-taught both as a sound artist and as a visual/stage performer. He studied physics, mathematics, and musicology for a time, but did not complete his studies.
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Funny scene from 01:47
Messa di Voce installation. artists: Golan Levin and Zachary Lieberman
Jaap Blonk (born 1953, Woerden) is a Dutch avant-garde composer and performance artist. Blonk is primarily self-taught both as a sound artist and as a visual/stage performer. He studied physics, mathematics, and musicology for a time, but did not complete his studies.
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Bora Yoon
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"Sons Nouveaux " - Live at Brooklyn Academy of Music.
Yoon grew up in the United States outside Chicago, Illinois. A graduate of Ithaca College’s Conservatory of Music and creative writing program, she is classically trained in the school of studied thought and improvisational sciences, with a first love of choral music.
Yoon's eclectic musical style uses unconventional sources (everyday found objects, chamber instruments and digital devices) to generate music.
She explores where sound connects to the subliminal through the timbre languages offered in the voice, violin (now viola), water, ancient Tibetan singing bowls, cell phones, music boxes, glockenspiel, guitar, walkie talkies, metronomes, shortwave radios, kitchenware, found sounds, and electronics.
Bora Yoon with Ben Frost : "O Pastor Animarum" : Church of the Ascension, NYC
"O Pastor Animarum" antiphon chant by Hildegard von Bingen ( 1098-1179 ) -- a visionary abbess, composer, and mystic of the 12th century. Phonation Records released 2008.
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"Sons Nouveaux " - Live at Brooklyn Academy of Music.
Yoon grew up in the United States outside Chicago, Illinois. A graduate of Ithaca College’s Conservatory of Music and creative writing program, she is classically trained in the school of studied thought and improvisational sciences, with a first love of choral music.
Yoon's eclectic musical style uses unconventional sources (everyday found objects, chamber instruments and digital devices) to generate music.
She explores where sound connects to the subliminal through the timbre languages offered in the voice, violin (now viola), water, ancient Tibetan singing bowls, cell phones, music boxes, glockenspiel, guitar, walkie talkies, metronomes, shortwave radios, kitchenware, found sounds, and electronics.
Bora Yoon with Ben Frost : "O Pastor Animarum" : Church of the Ascension, NYC
"O Pastor Animarum" antiphon chant by Hildegard von Bingen ( 1098-1179 ) -- a visionary abbess, composer, and mystic of the 12th century. Phonation Records released 2008.
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Orchestre Poly-Rythmo de Cotonou Dahomey
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Afro Funk: "Gbeti Madjro" from the compilation "African Scream Contest" released on Analog Africa Records .
Orchestre Poly Rythmo de Cotonou is a funk band from Benin. Active since the 1970s, and having recorded over 50 full-length LPs and hundreds of 45s, they are still touring around the world today.
Uploaded by " diemsy "
What distinguishes Benin from its neighbours is the fact that it happens to be home to Vodoun - or as we know it over here Voodoo. So it should be no surprise that the popular music of Benin draws heavily upon the rhythms of Vodoun rituals, but what is surprising is the other influences that have come into play. The Vodoun Effect: Funk & Sato From Benin's Obscure Labels 1973-1975 a recent release on the Analog Africa from Germany, that has collected together fourteen tracks by one of Benin's most popular bands, Orchestre Poly-Rythmo de Cotonou. Recorded in the 1970s on a variety of small independent labels, they show not only the Vodoun influence but how music from both South and North America found its way back across the Atlantic Ocean.
According to the publicity material that came with the disc, in the late 19th century a group of freed slaves from Brazil - Bahia region - returned to Benin and over the years their dances and songs were incorporated into Beninese ritual, and from there worked their way into the popular culture. In the 1960s and 1970s American soul and funk music started making its presence felt in Africa, and along with the sounds of pop music from neighbouring Nigeria were assimilated into the popular music scene in Benin. ( mojorisings )
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Afro Funk: "Gbeti Madjro" from the compilation "African Scream Contest" released on Analog Africa Records .
Orchestre Poly Rythmo de Cotonou is a funk band from Benin. Active since the 1970s, and having recorded over 50 full-length LPs and hundreds of 45s, they are still touring around the world today.
Uploaded by " diemsy "
What distinguishes Benin from its neighbours is the fact that it happens to be home to Vodoun - or as we know it over here Voodoo. So it should be no surprise that the popular music of Benin draws heavily upon the rhythms of Vodoun rituals, but what is surprising is the other influences that have come into play. The Vodoun Effect: Funk & Sato From Benin's Obscure Labels 1973-1975 a recent release on the Analog Africa from Germany, that has collected together fourteen tracks by one of Benin's most popular bands, Orchestre Poly-Rythmo de Cotonou. Recorded in the 1970s on a variety of small independent labels, they show not only the Vodoun influence but how music from both South and North America found its way back across the Atlantic Ocean.
According to the publicity material that came with the disc, in the late 19th century a group of freed slaves from Brazil - Bahia region - returned to Benin and over the years their dances and songs were incorporated into Beninese ritual, and from there worked their way into the popular culture. In the 1960s and 1970s American soul and funk music started making its presence felt in Africa, and along with the sounds of pop music from neighbouring Nigeria were assimilated into the popular music scene in Benin. ( mojorisings )
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Mungolian Jet Set & Bugge Wesseltoft - " Navigator "
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Psychedelic / " Intelligent Dance Music "
Mungolian Jetset is a Norwegian duo perform with Bugge Wesseltoft , on piano, and DJ Strangefruit .
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Psychedelic / " Intelligent Dance Music "
Mungolian Jetset is a Norwegian duo perform with Bugge Wesseltoft , on piano, and DJ Strangefruit .
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Wildbirds & Peacedrums - "Doubt/Hope"
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Other / Blues / Pop
Wildbirds & Peacedrums is an experimental band from Sweden consisting of two members, Mariam Wallentin and her husband Andreas Werliin.
The band formed in 2006 when the members met while studying musical improvisation at the University of Gothenburg. The music mostly consists of only drums, various percussion and electronic samples, played by Andreas Werliin, and Mariam Wallentin's vocals. Mariam Wallentin also plays strings and Andreas Werliin provides additional vocals.
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Other / Blues / Pop
Wildbirds & Peacedrums is an experimental band from Sweden consisting of two members, Mariam Wallentin and her husband Andreas Werliin.
The band formed in 2006 when the members met while studying musical improvisation at the University of Gothenburg. The music mostly consists of only drums, various percussion and electronic samples, played by Andreas Werliin, and Mariam Wallentin's vocals. Mariam Wallentin also plays strings and Andreas Werliin provides additional vocals.
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Batata Y Su Rumba Palenquera - " Ataole "
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Afro-Colombian music from the album " Batata Y Su Rumba Palenquera: Radio Bakongo " . Released in Germany by Network Medien. Uploaded by " Hollywoodoofilms " .
..."Septuagenarian percussionist, singer and songwriter Paulino Salgado 'Batata' hails from the village of San Basilio de Palenque, hidden away in an isolated mountain range close to Colombia's Caribbean coast. This is the legendary 'village of the Cimarróns', founded four centuries ago by Africans who had escaped the slave port of nearby Cartagena. They successfully defended it from attack by the Spanish, who eventually gave up and 'granted' them their freedom.
Batata and his excellent band specialise in son palenquera and champeta, and may already have come to your attention through the inclusion of the track Ataole on the "Champeta Criolla Vol. 2" compilation. That CD focussed largely on Cartagena's sound system based form of champeta, a newish hybrid style which cannibalises pan-African and indigenous Colombian influences, spicing them up with mucho shouting and sometimes irritating use of trashy effects. What might be a lot of fun at a rum-fuelled street party makes for a sometimes wearing experience in other contexts.Thankfully Batata's band stick to a much rootsier groove, employing tiple, accordion, brass, twinkling soukous guitar, plenty of drummers and call-and-response vocals to create their hypnotic grooves..." ( BBC Review by Jon Lusk )
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Afro-Colombian music from the album " Batata Y Su Rumba Palenquera: Radio Bakongo " . Released in Germany by Network Medien. Uploaded by " Hollywoodoofilms " .
..."Septuagenarian percussionist, singer and songwriter Paulino Salgado 'Batata' hails from the village of San Basilio de Palenque, hidden away in an isolated mountain range close to Colombia's Caribbean coast. This is the legendary 'village of the Cimarróns', founded four centuries ago by Africans who had escaped the slave port of nearby Cartagena. They successfully defended it from attack by the Spanish, who eventually gave up and 'granted' them their freedom.
Batata and his excellent band specialise in son palenquera and champeta, and may already have come to your attention through the inclusion of the track Ataole on the "Champeta Criolla Vol. 2" compilation. That CD focussed largely on Cartagena's sound system based form of champeta, a newish hybrid style which cannibalises pan-African and indigenous Colombian influences, spicing them up with mucho shouting and sometimes irritating use of trashy effects. What might be a lot of fun at a rum-fuelled street party makes for a sometimes wearing experience in other contexts.Thankfully Batata's band stick to a much rootsier groove, employing tiple, accordion, brass, twinkling soukous guitar, plenty of drummers and call-and-response vocals to create their hypnotic grooves..." ( BBC Review by Jon Lusk )
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Zackary Canepari - Indian Circus Community
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Photography
Indian Circus Community
PhotographyIndian Circus Community
The citizens of the Kathputli Colony slum in North Delhi live much like the other 220 million slum dwellers in modern India. Large families overcrowd one room shanties with dysfunctional electricity, non-existent plumbing and poor sanitation. Street children, trash collectors and beggars are in abundance as is alcohol and drug use. But unlike the rest of the slum dwellers in India, this slum has been touched by magic.
For the past five decades, magicians, acrobats, jugglers, musicians, dancers and puppeteers have migrated from all over India to the small illegal settlement. Nearly all of the 1,500-3,000 (depending on who you ask) families in the colony are professional performing artists. Many have found success operating at 5-star hotels in India and at Cultural Festivals abroad, but they continue to return to their homes in the cramped, dirty streets of Kathputli. But these are also the streets where friends entertain each other by turning a burning piece of paper into a crisp 100 rupee note. Where the sounds of tablas and singing can always be heard in the distance. And where a daughter and father can be seen on a rooftop practicing magic… ( 100 Eyes )
Zackary Canepari' s website: look for Portfolio>Raikaismyname: photo essay about the demise of the ancestral camel breeders caste in Rajashtan, India. Striking portraits and slippers . See photos 5/16, 6/16, 8/16, 11/16 and 15/16.
Zackary Canepari is a American photojournalist who has worked extensively in India.
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Trilok Gurtu in Mali: The Making of " Farakala"
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World Fusion : duration 14:00 / the making of " Farakala " album.
04:20 , 09:30, 10:00, 12:06 and 12:57 .
Recorded live in the bush of Southern Mali and was produced by Frederic Galliano .
Working with Hadja Kouyaté (voice, Guinea-Conakry), Ali Boulo Santo (voice and will kora, Senegal), NGou Bagayoko (guitar, Mali), Filifin (kamélé goni and voice, Mali) and Sounkalo (dozon goni, Mali), Trilok Gurtu pushes the experiment to the point of giving up his tablas and drums. Exploring the compositions to the full while integrating the rare percussions of Southern Mali, his art brings out all of his Indian culture while embracing African vibrations.
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World Fusion : duration 14:00 / the making of " Farakala " album.
04:20 , 09:30, 10:00, 12:06 and 12:57 .
Recorded live in the bush of Southern Mali and was produced by Frederic Galliano .
Working with Hadja Kouyaté (voice, Guinea-Conakry), Ali Boulo Santo (voice and will kora, Senegal), NGou Bagayoko (guitar, Mali), Filifin (kamélé goni and voice, Mali) and Sounkalo (dozon goni, Mali), Trilok Gurtu pushes the experiment to the point of giving up his tablas and drums. Exploring the compositions to the full while integrating the rare percussions of Southern Mali, his art brings out all of his Indian culture while embracing African vibrations.
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