Mandingo Watto Sitta Mp3, Flac, Wma

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Mandingo Watto Sitta mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Watto Sitta Country: France Style: Electro, Synth-pop MP3 version RAR size: 1802 mb FLAC version RAR size: 1442 mb WMA version RAR size: 1220 mb Rating: 4.9 Votes: 217 Other Formats: MOD AIFF ASF MMF VOX APE ADX Tracklist Hide Credits Harima 1 6:05 Synthesizer [DX-7] – Herbie Hancock 2 Muso 6:23 3 Natural Dancer 6:17 4 Kansala 5:57 Dewgal 5 6:18 Synthesizer [DX-7] – Herbie Hancock Don't Worry 6 5:24 Djembe – Manu Washington Companies, etc. Recorded At – Evergreen Studio Recorded At – Studiomedia Mixed At – Eldorado Recording Studios Mastered At – Masterdisk Remastered At – Orange Music Designed At – Randesign Credits Artwork – Yoko Yamabe Backing Vocals – Isatou Walker, Nora Harris, Robin Robinson Bass – Joe Thomas Congas, Bongos, Bells, Shekere – Adam Rudolph Drum Programming [DMX] – Bill Laswell, Foday Musa Suso Drums – Hamid Drake Engineer – Rob Stevens Engineer [Assistant Evergreen Studio] – Hahn Rowe Engineer [Assistant Studiomedia] – Sam Fishkin Guitar – Abdul Hakeen Kora, Kora [Dousongonni], Kalimba, Talking Drum, Lead Vocals, Written-By, Arranged By – Foday Musa Suso Mastered By – Howie Weinberg Mixed By – Dave Jerden Percussion [Chatan], Talking Drum – Aiyb Dieng Performer [Dundungo] – Reymond Sillah Producer – Bill Laswell, Foday Musa Suso Remastered By – James Dellatacoma Other versions Category Artist Title (Format) Label Category Country Year Mandingo Mandingo CEL 6103, Featuring Featuring Foday Celluloid, CEL 6103, US 1984 CELL 6103 Foday Musa Musa Suso - Watto Celluloid CELL 6103 Suso Sitta (LP) Mandingo Mandingo Featuring Foday Featuring TRCD 4116 Musa Suso - Watto Terrascape TRCD 4116 Belgium 1997 Foday Musa Sitta (CD, Suso Unofficial) Mandingo Mandingo Featuring Featuring Foday Celluloid, CELL 6103 CELL 6103 UK 1984 Foday Musa Musa Suso - Watto Streetwave Suso Sitta (LP) Mandingo Mandingo Featuring Featuring Foday CELD 6103 Celluloid CELD 6103 US Unknown Foday Musa Musa Suso - Watto Suso Sitta (CD, Album) Mandingo Mandingo Featuring Featuring Foday CELD6103 Celluloid CELD6103 Netherlands 1987 Foday Musa Musa Suso - Watto Suso Sitta (CD, Album) Related Music albums to Watto Sitta by Mandingo Evergreen - Evergreen Quincy Jones, Herbie Hancock - Walk On The Wild Side Herbie Hancock & Chick Corea - An Evening With Herbie Hancock & Chick Corea In Concert Herbie Hancock, Wayne Shorter - 1+1 Herbie Hancock - Monster Pharoah Sanders - Message From Home Herbie Hancock - Dis Is Da Drum Herbie Hancock - Rockit b/w Rough Herbie Hancock - My Point Of View Herbie Hancock - Future Shock George Kawaguchi - George Kawaguchi Plays Herbie Hancock Herbie Hancock - River: The Joni Letters.

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Le Mandingue
André Larquié président Brigitte Marger directeur général le Mandingue : l’empire de la parole introduction Ce n’est pas un hasard si la cité de la musique, à la veille de l’an 2000, s’est intéressée aux héritiers d’un Royaume qui a connu son apogée au XIIe siècle de notre ère… C’est même un défi lancé au temps : découvrir une musique contemporaine de notre Moyen Age euro- péen qui a su rester vivante, populaire, évolutive, «classique » au sens noble du terme… Car si cette musique émerveilla les premiers décou- vreurs de l’Afrique noire, c’est aussi celle qui se joue aujourd’hui à l’ombre des gratte-ciel d’Abidjan comme dans les faubourgs de Bamako ou de Conakry, sous ces auvents de toile qui barrent les rues lors des mariages ou des funérailles ; vous l’entendez dans les cours des chefs de village comme à la radio ou à la télévision : dans toute l’Afrique de l’ouest, c’est la musique la plus écoutée, la plus respectée. En cassette, en disque compact, on l’enregistre jour et nuit dans les studios où elle s’accommode sans honte de tous les sons à la mode : synthétiseurs et boîtes-à-rythme ne risqueront pas de dénaturer la musique « mandingue », avec ses voix héroïques, ses instruments de bois et de peaux parfaitement sem- blables à ceux que décrivait le grand explorateur arabe Ibn Batouta en 1352. Cette musique presque millénaire - car elle a sûre- ment précédé la fondation de l’empire du Mali, celui des Mandingues - c’est avant tout celle des « griots ».
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JACK Dejohnette NEA Jazz Master (2112)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JACK DeJOHNETTE NEA Jazz Master (2112) Interviewee: Jack DeJohnette (August 9, 1942 - ) Interviewer: Dr. Anthony Brown with sound engineer Ken Kimery Date: November, 10-11th, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, pp. 107 Brown: Today is November 10th, 2011, and this is The Smithsonian Oral History Interview with NEA Jazz Master, percussionist, pianist, bandleader, composer, arranger, educator, and my hero, Jack DeJohnette, in his house in Silver Hollow, Upstate New York. How are you doing today, Mr. DeJohnette? DeJohnette: I'm doing great! Brown: Great, great. DeJohnette: Great. Brown: If we could start the interview by you stating your full name, full birth name, birthplace and birth date? DeJohnette: Okay. Jack DeJohnette…born in Chicago, Illinois in the county of Cook, August 9th, 1942. Brown: And if you could tell us the names of your parents. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 DeJohnette: Yeah, my mother's name was Eva Jeanette Wood and my father's name is Jack DeJohnette Sr. in that case. Brown: Oh, so you're a Jr.? DeJohnette: Yeah, I'm a Jr. Brown: No middle name? DeJohnette: No. Brown: And do you know where your parents are originally from? DeJohnette: Yeah, my mother was from Lionel, Georgia. My father was from Oak Ridge, Louisiana. Brown: And did they meet and marry in Chicago, do you know anything about that? DeJohnette: Mm-hmm.
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• CHARLIE BENANTE • TRAPT • PEARL FIRECRACKERS • JACKJACK DDEEJOHNETTEJOHNETTE CCHANGINGHANGING DDIRECTIONSIRECTIONS SSCOTTCOTT UUNDERWOODNDERWOOD TTRACKINGRACKING WWITHITH TTRAINRAIN TTOMMYOMMY SSICKLESICKLES OFF NOTHINGFACEOTHINGFACE WIN! O N Super Gear From Smith Drums, RROBOB BBOURDONOURDON Sabian Cymbals, LINKININKIN PARKARK CHARTHART Gibraltar Hardware, L P C and Evans Heads YYAMAHAAMAHA’’SS AABSOLUTEBSOLUTE NNOUVEAUOUVEAU KKITIT $4.99US $6.99CAN 10 MDMD F FESTEST 20032003 MMONSTERONSTER PPLAYERSLAYERS && MMASSIVEASSIVE KKITSITS!! 0 74808 01203 9 Contents ContentsVolume 27, Number 10 Jazz Legend Jack DeJohnette Jack DeJohnette has remained one of the world’s premier drummers by always looking forward, and never losing the passion. Oh, and by playing some of the most uniquely beautiful music on the drums ever. by Ken Micallef 38 Paul La Raia Train’s UPDATE 22 Scott Underwood 54 Charlie Benante While fans discuss Train’s “new direction,” followers of Scott of Anthrax Underwood know at least one thing is beyond debate: That’s one helluva player behind the kit. by David John Farinella Sam McCandless of Cold Paul La Raia Stix Hooper of The Crusaders Modern Drummer’s 66 Festival Weekend 2003 J.R. Conners The MD Fest turned Sweet Sixteen this year. How sweet? Check of Cave In the lineup: Steve Smith, Airto, Mike Portnoy, Shawn Pelton, Nick D’Virgilio, Antonio Sanchez, Matt Wilson, Nathaniel Townsley, The Drumbassadors, Hip Pickles, and the two hottest “undiscovered” Stan Frazier drummers around. Yeah, that’s sweet. of Sugar Ray by T. Bruce Wittet Alex Solca Playback 120 Tommy Sickles Aerosmith’s Of Nothingface 130 Joey Kramer Every now and then, a drum roadie seizes that once-in-a-lifetime Everything old is new again, at least on opportunity of replacing the drummer he schleps for.
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LEARNING CULTURE THROUGH A MUSICAL PRACTICE WITH MANDING JALIS IN NEW YORK A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Lisa Karen Feder May 2007 © 2007 Lisa Karen Feder LEARNING CULTURE THROUGH A MUSICAL PRACTICE WITH MANDING JALIS IN NEW YORK Lisa Karen Feder, Ph.D. Cornell University 2007 This study depicts the music and culture of Manding jalis in New York through the perspective of non-African New Yorkers who interact with them. The non-Africans, the author included, move through the cross-cultural learning process as they attend live jali musical performances and learn to play and perform this music themselves. Jali refers to a person born into a particular caste and specific family lineage in the Manding region of West Africa. In Western literature, jalis are described as musicians, singers, oral-historians, advisers, diplomats, ceremony participants, teachers, and bards, among other things (Hale 1998; Charry 2000; Hoffman 2000). This dissertation depicts jalis who play the balafon, the kora, and the guitar in New York. Up to date, there is almost no literature on the topic. The author applies Gregory Bateson’s notion of cultural “ethos,” construed as schismogenic balances of tension and resolution, to both musical and non-musical social aspects of culture (Bateson 1972). Meter and rhythm create tensions and resolutions in people’s minds and bodies, giving them a common frame of reference. Simultaneously, participation in music exposes our cultural proclivities. This makes it an ideal place to begin the cross-cultural learning process.
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Various Ancient Heart - Mandinka and Fulani Music of the Gambia Mp3, Flac, Wma
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2005 Next Wave Festival
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Jazz Enciclopedia
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BAM Presents Philip Glass' Global Collaboration—Orion
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