DOCSLIB.ORG

Bassekou Kouyate Biography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bassekou Kouyate Biography Bassekou Kouyate Biography Bassekou Kouyate was born on the 7 August 1966 in Garana, a small and multi-ethnic village 60 km from Segu located at the banks of the Niger river. Garana is at the nexus of several villages with deep griot traditions, and a long history. Only a few kilometers away is the grave of the legendary buffalo woman, Do Kamissa, who precipitated the founding of the Mali Empire. (She was the aunt of Sunjata Keita who founded the empire in 1235). Several centuries later these same villages provided many of the celebrated griots of the Bamana empire (1712-1861), and the songs of that period are the constant inspiration behind Bassekou’s music. Bassekou is descended from a long line of griots on both sides. He is the son of Moustapha Kouyate, who played the ngoniba, or large lute, and Yakare Damba, a singer. Moustapha Kouyate was married twice and had 13 children with Yakare (of whom eight are still alive, all of them musicians) and 5 with his second wife Oumou Damba. His ancestors originally came from the Mande heartland (Kangaba) but moved northeast into Segu a few generations ago and adopted the Bamana style of music as their own. Brilliant though he was, Bassekou’s father never made any recordings; he believed that God would punish him if his recordings were played after his death. He also refused to play live on the radio or on television, although Radio Mali tried on several occasions to record him. Neither would he allow his wife Yakare to record, despite the fact that she was a well known singer on the traditional griot circuit in the region of Segu, with a powerful voice much in demand at wedding parties. “Weddings were postponed if I wasn't free to sing at them, a wedding was not a wedding without me!” she says proudly. To this day Yakare remains a stern matriarch and musical mentor of Bassekou’s entire family, teaching her grandchildren how to sing before they can even speak. Bassekou was taught the ngoni by his father, who used to hold group classes with all the boys in his household in Garana (only boys learn to play the ngoni). But Bassekou did not study hard and often preferred to wander off into the village with his friends to play football. One day his father got annoyed and told his older brother to bring him to class. When Bassekou turned up, to his father’s surprise he was able to pick up in just a few minutes the tunes that everyone else had been struggling hard to learn the whole day. His father then understood Bassekou’s potential and told Bassekou’s mother Yakare not to force the boy any more to attend the lessons, predicting that “one day he will be a great ngoni player.” Nevertheless, Bassekou continued to be a bit of a rebel at home, spending more time on football than on music, until finally his dad decided to teach him a lesson by sending him to live with a very strict marabout (Muslim teacher and cleric) in Bamako. Bassekou’s job (he was about 12 at the time) was to shine shoes in the street. At the end of every day he had to bring home to the marabout 1000 CFA (then equivalent to about 4 euros). His main post was in front of the Amitie (one of Bamako’s main hotels, at that time a regular haunt for Bamako’s most famous musicians), and when he didn't bring home enough money, the marabout punished him by beating him. But most often he was able to earn the 1000 CFAs, and as a reward would cross town to visit his grandfather, the great old musician Banzoumana Sissoko, who regaled him with vivid tales about the Bamana empire, and taught him many things on the ngoni.Banzoumana was blind; they called him the “Old Lion”, and he was a fearless critic of Mali’s corrupt military government. “If you want to sing for people who really deserve your praises”, he would say, “go to the cemetery. Our rulers of today don't know true dignity and honour”. Bassekou would turn up at his grandfather’s house unannounced and walk quietly into his grandfather’s room; the old lion would grab his hand and know it was Bassekou just from the feel of it. Eventually, Bassekou was allowed to go back home to Garana where he consolidated his dexterity and knowledge of the Bamana repertoire, becoming a really outstanding young performer. Moustapha and Yakare were regularly invited to play at weddings and private gigs throughout the region and into neighbouring countries as well. But Moustapha became ill in the late 70s, and was unable to travel any more, so he ordered Bassekou to take his place on Yakare’s next tour, in Burkina Faso. Bassekou was only 16 years old and didn’t want to leave Garana, but his mother persuaded him to go with her, by promising to buy him a motorbike as soon as they returned home. She did buy the bike – but then gave it to Bassekou’s older brother! On tour, people in Burkina doubted that this boy was capable of accompanying his mum for a whole evening, but they soon realized that he was an exceptional player. This was a formative experience for him. Not long afterwards, his father died. Moustapha Kouyate may not have left any recordings, but his style of playing lives on in his sons who constantly pay tribute to him. After this, Bassekou moved to Segu (capital of the Segu region) in order to join the guitar player Cheikh Oumar Diabate and his wife Nainy Diabate, then one of Mali’s most popular young female singers. Cheikh Oumar’s group was made up of young virtuosi who were experimenting with new ways of playing griot music, and Bassekou began to develop his own techniques on the ngoni.(It was while he was living in Segou that he first met the very young singer Amy Sacko, whom he later married and who is now the lead singer in Ngoni ba.) This was in the mid 80s, Bassekou was in his late teens, and it was a period in which wedding parties held in the streets had become the musical hothouse of Mali. Young female griot singers were all the rage at such events, called sumu. These women became Mali’s new stars, overshadowing the once-famous dance bands whose popularity was now in decline. There was money to be had, and the opening of Malian TV in 1983 also created a new space for women to show off their dance styles and dress fashion, borrowing from Congolese and Caribbean sounds. Nainy Diabate and her band including Bassekou, lured by the bright lights of the capital, left Segu and settled in Bamako, and soon the word was out that a new and daring ngoni player had arrived in town. Bassekou started playing the traditional sumu circuit, which soon put him in touch with another extraordinary musician of the new generation: the kora player Toumani Diabate, who at that time was part of the group that accompanied the singer Kandia Kouyate. Toumani and Bassekou recognized kindred musical spirits in each other: their goal was to advance their style of playing and to transform their ancient traditions for the modern world; to open the music of the griots towards the rest of the world by expanding the scope of their instruments to accommodate elements of western harmony and jazz. Bassekou began adding strings to his ngoni to give him a wider melodic range. His father Moustapha had played with 4 strings. His paternal grandfather Djelimoussa Woulen Kouyate had played a 3 string ngoni. Now Bassekou’s ngoni had up to 7 strings. Around 1985 Bassekou played a concert with Nainy Diabate at the Buffet de la Gare, the legendary hotel bar at the Railway station in Bamako, where the Rail Band used to entertain visitors as they arrived off the long train ride from Senegal (you can see the train station and the hotel on the back of his second album). In the afternoon before the concert he decided to add metal pins to his ngoni to which he could attach a strap around his back, holding it like an electric guitar. In the evening he was playing with members of the Rail Band, seated at the back of the stage, when he suddenly walked to the front of the band and started playing his ngoni standing up. Some thought he was crazy, but many ngoni players soon followed his example playing their instrument standing up. This boosted the image of the ngoni as an instrument that could compete with modern guitars (which until then had been threatening to eclipse the ngoni). Around this time he also experimented with different ways of plucking the strings. Traditionally, the ngoni player only uses a downwards stroke (what the banjo players call “frailing”), but Bassekou introduced the technique of plucking upwards as well, which allowed for faster runs and more versatility. At the end of the 1980s, Bassekou became a founding member of Toumani Diabate’s Symmetric Orchestra, which then included among others a young Habib Koite as lead singer. Their concept was quite revolutionary in Mali; until then, traditional instruments like kora and ngoni had stayed firmly in the domain of life cycle ceremonies, and were not included in the dance bands that performed at concert halls and bars. The Symmetric’s 1990 album, “Shake the whole world”, released by Sony in Japan, was Bassekou’s first experience of the recording studio.
Load more

Recommended publications
  • Ngaraya: Women and Musical Mastery in Mali
    Bulletin of SOAS, 70, 3 2007), 569±602. E School of Oriental and African Studies. Printed in the United Kingdom. Ngaraya: Women and musical mastery in Mali Lucy DuraÂn School of Oriental and African Studies [email protected] Abstract This article aims to contribute to an understanding of the evaluation of musical artistry in Africa, through Mali as a case study. The discussion focuses on the informal discourses of the occupational group of Mande artisan-musicians known as jeli pl. jeliw, jalilu), concerning the ideal of musical greatness, signified by the polysemic term ngaraya; while there is consensus about the ideal, there is much debate about who qualifies. Drawing on extensive interviews and fieldwork with leading jeliw over the past twenty years, it pays special attention to the views of and about Malian women singers, who since the 1980s have ± somewhat controversially, as explored here ± been the ``stars'' on the home scene. The article shows how local discourses challenge the widely accepted view that only men are the true masters ngaraw). Many women jeli singers jelimusow) have a special claim to ngaraya, and some also seek to position themselves within the canon, as they increasingly move into centre-stage of Malian popular culture. The importance of learning directly from senior master jeliw remains a core issue in the evaluation of ngaraya for both men and women, encapsulated in the phrase ``the true ngaraw are all at home''. Introduction An important part of any musical culture is the recognition of certain artists as being exceptional in some way. This article looks at the informal discourses of the occupational group of artisan-musicians known as jeli among the Mande peoples of West Africa, concerning the evaluation of musical greatness, known in core Mande languages as ngaraya.
    [Show full text]
  • Flamenco Jazz: an Analytical Study
    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2016 Flamenco Jazz: an Analytical Study Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/306 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Journal of Jazz Studies vol. 11, no. 2, pp. 29-77 (2016) Flamenco Jazz: An Analytical Study Peter Manuel Since the 1990s, the hybrid genre of flamenco jazz has emerged as a dynamic and original entity in the realm of jazz, Spanish music, and the world music scene as a whole. Building on inherent compatibilities between jazz and flamenco, a generation of versatile Spanish musicians has synthesized the two genres in a wide variety of forms, creating in the process a coherent new idiom that can be regarded as a sort of mainstream flamenco jazz style. A few of these performers, such as pianist Chano Domínguez and wind player Jorge Pardo, have achieved international acclaim and become luminaries on the Euro-jazz scene. Indeed, flamenco jazz has become something of a minor bandwagon in some circles, with that label often being adopted, with or without rigor, as a commercial rubric to promote various sorts of productions (while conversely, some of the genre’s top performers are indifferent to the label 1). Meanwhile, however, as increasing numbers of gifted performers enter the field and cultivate genuine and substantial syntheses of flamenco and jazz, the new genre has come to merit scholarly attention for its inherent vitality, richness, and significance in the broader jazz world.
    [Show full text]
  • 15.1 Introduction 15.2 West African Oral and Written Traditions
    Name and Date: _________________________ Text: HISTORY ALIVE! The Medieval World 15.1 Introduction Medieval cultures in West Africa were rich and varied. In this chapter, you will explore West Africa’s rich cultural legacy. West African cultures are quite diverse. Many groups of people, each with its own language and ways of life, have lived in the region of West Africa. From poems and stories to music and visual arts, their cultural achievements have left a lasting mark on the world. Much of West African culture has been passed down through its oral traditions. Think for a moment of the oral traditions in your own culture. When you were younger, did you learn nursery rhymes from your family or friends? How about sayings such as “A penny saved is a penny earned”? Did you hear stories about your grandparents or more distant ancestors? You can probably think of many ideas that were passed down orally from one generation to the next. Kente cloth and hand-carved Suppose that your community depends on you to furniture are traditional arts in West remember its oral traditions so they will never be Africa. forgotten. You memorize stories, sayings, and the history of your city or town. You know about the first people who lived there. You know how the community grew, and which teams have won sports championships. On special occasions, you share your knowledge through stories and songs. You are a living library of your community’s history and traditions. In parts of West Africa, there are people whose job it is to preserve oral traditions and history in this way.
    [Show full text]
  • Josemi Carmona & Javier Colina: De Cerca
    MUSIC Josemi Carmona & Javier WASHINGTON, D.C. Colina: De Cerca Thu, March 09, 2017 7:30 pm – 9:00 pm Venue Former Residence of the Ambassador of Spain, 2801 16th Street NW, Washington, D.C. 20009 View map Phone: (202) 728-2334 Credits Organized by Spain-USA Foundation with the support of Faustino Winery. Photo by Anya Batels-Suermondt. Josemi Carmona and Javier Colina sign together a musical conversation, with deep flamenco echoes and their unique jazz swing, a natural dialogue blending different musical languages. Guitar and double bass, flamenco and jazz, meet together to explore a repertoire conceived with refinement and love to detail. Gems of the Latin American songbook live together with the elegant compositions of Josemi Carmona, and with some astonishing discoveries in jazz and flamenco. Their live performance is delicate and powerful at equal parts: they are accomplices in this dialogue and dive into all genres with a deep knowledge and personality. They know how to respect the meaning of time in each music, they dominate improvisation and understand when it is necessary to pause for a rest in an exquisite nocturne melody. They speak elegantly about bitter truths, love stories, long nights of music, flamenco tangos and ‘muñequitas lindas’, and weep with a flamenco farruca with a bouquet to Piazzolla. JOSEMI CARMONA Josemi Carmona is one of the fundamental figures in the recent history of Spanish music, flamenco, and guitar. A son of maestro Pepe Habichuela, Josemi is an heir to a crucial 4-generation legacy of decisive Granada artists. At 14 years of age he joined Ketama, one of the most influential and revolutionary bands in Spanish music, selling over 1 million of their 14 albums.
    [Show full text]
  • Andalucía Flamenca: Music, Regionalism and Identity in Southern Spain
    Andalucía flamenca: Music, Regionalism and Identity in Southern Spain A thesis submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Matthew Machin-Autenrieth © Matthew Machin-Autenrieth 2013 Tables of Contents Table of Contents i List of Plates iv List of Examples iv List of Figures v Conventions vi Acknowledgments viii Abstract x Introduction 1 PART ONE Chapter One: An Overview of Flamenco 6 The Identities of Flamenco 9 The Materials of Flamenco 12 The Geographies of Flamenco 19 The Scholars of Flamenco 25 Chapter Two: Music, Regionalism and Political Geography 36 Political Geography and Music 37 Region, Regionalisation and Regionalism 43 Regionalism and Music 51 The Theoretical Framework 61 Conclusions 68 Chapter Three: Methodology 70 Virtual Ethnography: In Theory 70 Virtual Ethnography: In Practice 79 Field Research in Granada 86 Conclusions 97 Chapter Four: Regionalism, Nationalism and Ethnicity in the History of Flamenco 98 Flamenco and the Emergence of Andalucismo (1800s–1900s) 99 Flamenco and the Nation: Commercialisation, Salvation and Antiflamenquismo 113 Flamenco and Political Andalucismo (1900–1936) 117 Flamenco during the Franco Regime (1939–75) 122 Flamenco since the Transition to Democracy (1975 onwards) 127 Conclusions 131 i Chapter Five: Flamenco for Andalusia, Flamenco for Humanity 133 Flamenco for Andalusia: The Statute of Autonomy 134 Flamenco for Humanity: Intangible Cultural Heritage 141 The Regionalisation of Flamenco in Andalusia 152 Conclusions 169 PART
    [Show full text]
  • Taj Mahal Andyt & Nick Nixon Nikki Hill Selwyn Birchwood
    Taj Mahal Andy T & Nick Nixon Nikki Hill Selwyn Birchwood JOE BONAMASSA & DAVE & PHIL ALVIN NUMBER FIVE www.bluesmusicmagazine.com US $7.99 Canada $9.99 UK £6.99 Australia A$15.95 COVER PHOTOGRAPHY © ART TIPALDI NUMBER FIVE 6 KEB’ MO’ Keeping It Simple 5 RIFFS & GROOVES by Art Tipaldi From The Editor-In-Chief 24 DELTA JOURNEYS 11 TAJ MAHAL “Jukin’” American Maestro by Phil Reser 26 AROUND THE WORLD “ALife In The Music” 14 NIKKI HILL 28 Q&A with Joe Bonamassa A Knockout Performer 30 Q&A with Dave Alvin & Phil Alvin by Tom Hyslop 32 BLUES ALIVE! Sonny Landreth / Tommy Castro 17 ANDY T & NICK NIXON Dennis Gruenling with Doug Deming Unlikely Partners Thorbjørn Risager / Lazy Lester by Michael Kinsman 37 SAMPLER 5 20 SELWYN BIRCHWOOD 38 REVIEWS StuffOfGreatness New Releases / Novel Reads by Tim Parsons 64 IN THE NEWS ANDREA LUCERO courtesy of courtesy LUCERO ANDREA FIRE MEDIA SHORE © PHOTOGRAPHY PHONE TOLL-FREE 866-702-7778 E-MAIL [email protected] WEB bluesmusicmagazine.com PUBLISHER: MojoWax Media, Inc. “Leave your ego, play the music, PRESIDENT: Jack Sullivan love the people.” – Luther Allison EDITOR-IN-CHIEF: Art Tipaldi CUSTOMER SERVICE: Kyle Morris Last May, I attended the Blues Music Awards for the twentieth time. I began attending the GRAPHIC DESIGN: Andrew Miller W.C.Handy Awards in 1994 and attended through 2003. I missed 2004 to celebrate my dad’s 80th birthday and have now attended 2005 through 2014. I’ve seen it grow from its CONTRIBUTING EDITORS David Barrett / Michael Cote / Thomas J. Cullen III days in the Orpheum Theater to its present location which turns the Convention Center Bill Dahl / Hal Horowitz / Tom Hyslop into a dazzling juke joint setting.
    [Show full text]
  • Antonio Carmona
    PERFILES Juana Martín (Diseñadora de moda) Antonio Carmona (Músico) La Fundación Secretariado Gitano puso en marcha, hace ahora un año, una campaña de sen- sibilización para la mejora de la imagen social de la comunidad gitana. Su principal objeti- vo es hacer reflexionar sobre lo injusto de las generalizaciones, estereotipos y prejuicios hacia los gitanos, y su principal y más grave consecuencia: la discriminación. Un año después, dedicamos un nuevo número de la revista Gitanos al tema de la "imagen social" coincidiendo con el lanzamiento de la segunda fase de esta campaña de sensibili- zación. Para la sección inicial de este número, contamos con dos personas gitanas con una destacada proyección pública: Antonio Carmona, sobradamente conocido por su trayectoria en el grupo Ketama, y Juana Martín, la diseñadora "revelación" de la Pasarela Cibeles 2005. Juana Martín (Diseñadora de moda) a diseñadora gitana-cordobesa Juana Martín Manzano, de 30 años, ha tenido un más que destacado protagonismo en los L medios de comunicación en los últimos meses, al presentar, el pasado 8 de septiembre, una colección en la Pasarela Cibeles 2005 de Madrid: "Una colección étnica, llena de vitalidad y fuerza, donde cada prenda es un arte que renueva y enriquece con ele- gancia el concepto tradicional de lo andaluz y lo gitano", como ha sido calificada en el certamen. Juana Martín comenzó su trayectoria profesional en 1999, año en el que su colección fue seleccionada, entre más de 150 propues- tas, para representar a su ciudad natal, Córdoba, en el concurso de
    [Show full text]
  • Concert & Dance Listings • Cd Reviews • Free Events
    CONCERT & DANCE LISTINGS • CD REVIEWS • FREE EVENTS FREE BI-MONTHLY Volume 4 Number 6 Nov-Dec 2004 THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA “Don’t you know that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers Music and Poetry Quench the Thirst of Our Soul FESTIVAL IN THE DESERT BY ENRICO DEL ZOTTO usic and poetry rarely cross paths with war. For desert dwellers, poetry has long been another way of making war, just as their sword dances are a choreographic represen- M tation of real conflict. Just as the mastery of insideinside thisthis issue:issue: space and territory has always depended on the control of wells and water resources, words have been constantly fed and nourished with metaphors SomeThe Thoughts Cradle onof and elegies. It’s as if life in this desolate immensity forces you to quench two thirsts rather than one; that of the body and that KoreanCante Folk Flamenco Music of the soul. The Annual Festival in the Desert quenches our thirst of the spirit…Francis Dordor The Los Angeles The annual Festival in the Desert has been held on the edge Put On Your of the Sahara in Mali since January 2001. Based on the tradi- tional gatherings of the Touareg (or Tuareg) people of Mali, KlezmerDancing SceneShoes this 3-day event brings together participants from not only the Tuareg tradition, but from throughout Africa and the world. Past performers have included Habib Koité, Manu Chao, Robert Plant, Ali Farka Toure, and Blackfire, a Navajo band PLUS:PLUS: from Arizona.
    [Show full text]
  • Bassekou Kouyate and Ngoni Ba
    Thursday Evening, October 20, 2011, at 8:30 Bassekou Kouyate and Ngoni Ba Bassekou Kouyate , Ngoni Barou Kouyate , Ngoni Fousseyni Kouyate , Bass Ngoni Mousa Bah , Ngoni Ba Amy Sacko , Vocals Alou Coulibaly , Calabash Moussa Sissoko , Tamani and Yabara This performance is approximately 75 minutes long and will be performed without intermission. Target is proud to sponsor Target ® Free Thursdays at the David Rubenstein Atrium at Lincoln Center. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. David Rubenstein Atrium Please make certain your cellular phone, pager, or watch alarm is switched off. WhiteLightFestival.org 39 The White Light Festival is sponsored by Time Upcoming White Light Festival Events: Warner Inc. Friday Evening, October 21 , at 8:00, Additional support for the White Light Festival is in Avery Fisher Hall provided by The Fan Fox and Leslie R. Samuels London Symphony Orchestra Foundation, Inc. and Logicworks. Sir Colin Davis , Conductor Helena Juntunen , Soprano Endowment support is provided by the American Sarah Connolly , Mezzo-soprano Express Cultural Preservation Fund. Paul Groves , Tenor Matthew Rose , Bass MetLife is the National Sponsor of Lincoln Center . London Symphony Chorus BEETHOVEN: Missa solemnis First Republic Bank is the Official Sponsor of the Pre-concert lecture by Benjamin Sosland at 6:45 in Fashion Lincoln Center Online Experience. the Stanley H. Kaplan Penthouse Movado is an Official Sponsor of Lincoln Center . Saturday Morning, October 22, from 11:00 to 12:30, in the Stanley H. Kaplan Penthouse United Airlines is the Official Airline of Lincoln Center . Conversations: The Self John Schaefer , Moderator WABC-TV is the Official Broadcast Partner of Jennifer Koh , Violin Lincoln Center.
    [Show full text]
  • 35 Music, Drama, Dance and Performing Arts Title of Case
    Impact case study (REF3b) Institution: SOAS Unit of Assessment: 35 Music, Drama, Dance and Performing Arts Title of case study: Bringing Malian Music to International Audiences (Lucy Duran) 1. Summary of the impact (indicative maximum 100 words) Dr Lucy Duran’s ethnomusicological research into the traditional musical forms, cultural practices and instruments of Mali has underpinned the studio production of two internationally acclaimed albums, Segu Blue, winner of two BBC Radio 3 Music Awards for Best World Music Album and Best African Artist in 2008, and I Speak Fula, a 2010 Grammy nominee for Best Traditional World Music Album. Both have raised awareness amongst musicians and global audiences of Bamana musical traditions, including the ngoni, the oldest of the West African lutes and, until Segu Blue, an instrument hardly known beyond West Africa. 2. Underpinning research (indicative maximum 500 words) Dr Lucy Duran has worked with musicians in Mali since the late 1980s, primarily as a researcher, but also as a music producer and broadcaster. Since 1992, Dr Duran has been Lecturer in African Music at SOAS, where she completed her PhD in 1999. Since 2000 she combined this role with presenting the World Routes programme on Radio 3 (1, below). Fundamentally, Duran’s research examines how music encapsulates the core values of southern Malian identities and explores how traditional music and song participate in communicating those values. Duran considers her work as a producer in Mali to fall within the rubric practice-based research as such participation in the mediation of the creative process can provide unique insights into the aesthetics and dynamics of a musical culture.
    [Show full text]
  • West Africa Manual English
    Manual Disclaimer The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu­ ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru­ ments GmbH. Mac, macOS, GarageBand, Logic, iTunes and iPod are registered trademarks of Apple Inc., registered in the U.S. and other countries. Windows, Windows Vista and DirectSound are registered trademarks of Microsoft Corporation in the United States and/or other countries. All other trademarks are the property of their respective owners and use of them does not imply any affiliation with or endorsement by them. Document authored by: Adam Hanley Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Contact NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc. Schlesische Str. 29-30 6725 Sunset Boulevard D-10997 Berlin 5th Floor Germany Los Angeles, CA 90028 www.native-instruments.de USA www.native-instruments.com NATIVE INSTRUMENTS K.K. NATIVE INSTRUMENTS UK Limited YO Building 3F 18 Phipp Street Jingumae 6-7-15, Shibuya-ku, London EC2A 4NU Tokyo 150-0001 UK Japan www.native-instruments.co.uk www.native-instruments.co.jp NATIVE INSTRUMENTS FRANCE SARL SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 113 Rue Saint-Maur 5F, Shenzhen Zimao Center 75011 Paris 111 Taizi Road, Nanshan District, Shenzhen, Guangdong France China www.native-instruments.com www.native-instruments.com © NATIVE INSTRUMENTS GmbH, 2018.
    [Show full text]
  • Nuevo Flamenco: Re-Imagining Flamenco in Post-Dictatorship Spain
    Nuevo Flamenco: Re-imagining Flamenco in Post-dictatorship Spain Xavier Moreno Peracaula Submitted in fulfilment of the degree of PhD Newcastle University March 2016 ii Contents Abstract iv Acknowledgements v Introduction 1 Chapter One The Gitano Atlantic: the Impact of Flamenco in Modal Jazz and its Reciprocal Influence in the Origins of Nuevo Flamenco 21 Introduction 22 Making Sketches: Flamenco and Modal Jazz 29 Atlantic Crossings: A Signifyin(g) Echo 57 Conclusions 77 Notes 81 Chapter Two ‘Gitano Americano’: Nuevo Flamenco and the Re-imagining of Gitano Identity 89 Introduction 90 Flamenco’s Racial Imagination 94 The Gitano Stereotype and its Ambivalence 114 Hyphenated Identity: the Logic of Splitting and Doubling 123 Conclusions 144 Notes 151 Chapter Three Flamenco Universal: Circulating the Authentic 158 Introduction 159 Authentic Flamenco, that Old Commodity 162 The Advent of Nuevo Flamenco: Within and Without Tradition 184 Mimetic Sounds 205 Conclusions 220 Notes 224 Conclusions 232 List of Tracks on Accompanying CD 254 Bibliography 255 Discography 270 iii Abstract This thesis is concerned with the study of nuevo flamenco (new flamenco) as a genre characterised by the incorporation within flamenco of elements from music genres of the African-American musical traditions. A great deal of emphasis is placed on purity and its loss, relating nuevo flamenco with the whole history of flamenco and its discourses, as well as tracing its relationship to other musical genres, mainly jazz. While centred on the process of fusion and crossover it also explores through music the characteristics and implications that nuevo flamenco and its discourses have impinged on related issues as Gypsy identity and cultural authenticity.
    [Show full text]