Manu Dibango
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2015 FALL/WINTER SEASON the Apollo Theater Launches
2015 FALL/WINTER SEASON The Apollo Theater launches Apollo Comedy Club The new series marks the extension of the Theater’s late night programming and will kick-off with the Apollo Walk of Fame Induction of comedic legends Redd Foxx, Jackie “Moms” Mabley and Richard Pryor Other 2015 Season Highlights Include: The return of the global hip-hop dance theater festival Breakin’ Convention Just added celebrated French dance duo Les Twins Also featuring a new work developed at the Apollo by acclaimed choreographer Rennie Harris Irvin Mayfield, Dee Dee Bridgewater & the New Orleans Jazz Orchestra For the New York Concert Premiere of Bridgewater and Mayfield’s New Album ‘Dee Dee’s Feathers’ A Festive Halloween Weekend Celebration To Include A New Orleans Masquerade Themed Concert and After Party World premiere of renowned Brazilian choreographer Fernando Melo’s latest work; A co-commission with Ballet Hispanico Apollo and Jazz à Vienne’s artistic and cultural exchange continues with Je Suis Soul: A Salute To French And African Jazz And Soul A Celebration for the 35th Anniversary of the Jazz à Vienne Festival featuring French soul’s leading artists The Legendary Manu Dibango, Ben l’Oncle Soul with the Monophonics and Les Nubians The Classical Theatre of Harlem presents The First Noel: A World Premiere Musical; Book, music and lyrics by Lelund Durond Thompson and Jason Michael Webb (Harlem, NY –September 21, 2015)—On the heels of the recently announced expansion of its daytime programming with the Billie Holiday hologram show, the Apollo Theater today announced another exciting new addition to its 2015 Fall/Winter season with the launch of a new comedy initiative – Apollo Comedy Club. -
Jazz Collection: Manu Dibango
Jazz Collection: Manu Dibango Dienstag, 16. Dezember 2014, 21.00 - 22.00 Uhr Samstag, 20. Dezember 2014, 22.00 - 24.00 Uhr (Zweitsendung) Er ist einer der Väter der World Music. Manu Dibango hat mit seinem Saxophon und Soul Makossa eine der grossen Hymnen afrikanischer Musik geschaffen. Der Berner Saxophonist Jan Galega Brönnimann ist zu Gast in der Sendung. Manu Dibango kommt am 12. Dezember 1933 in Kamerun, damals noch französische Kolonie, zur Welt. Seine Eltern schicken ihn mit 16 Jahren zu weiteren Ausbildung nach Frankreich, wo er das Saxophon und den Jazz entdeckt. In Belgien kommt er in Kontakt mit Musikern aus dem Kongo. Ab 1967 leitet er seine erste Big Band, und 1972 feiert er seinen grössten Erfolg mit «Soul Makossa», was ihm auch eine USA-Tournee einbringt. Manu Dibangos Cocktail aus westafrikanischer Musik, Blues, Reggae und Jazz fasziniert auch Pop- Stars wie Michael Jackson und Rihanna, die Soul Makossa covern. 2009 verklagt Dibango die grossen Musikkonzerne wegen der Rechte an seiner Komposition und erreicht einen Vergleich. 2010 wird er zum Chevalier der französischen Ehrenlegion ernannt. Jan Galega Brönnimann, der Saxophonist der Gruppe Brinkmanship, hat seine frühe Kindheit selbst in Kamerun verbracht. Er ist vertraut mit Manu Dibangos Musik und würdigt den grossen alten Mann zu dessen 9x9ten Geburtstag. Redaktion: Beat Blaser Moderation: Andreas MüllerCrepon Manu Dibango: Saxy-Party (1967) LP Mercury, 185 217 Track 7: Wouri Manu Dibango: Soul Makossa (1972) CD Accord, 139215 Track 1: Soul Makossa Manu Dibango: African -
The Challenge of African Art Music Le Défi De La Musique Savante Africaine Kofi Agawu
Document generated on 09/27/2021 1:07 p.m. Circuit Musiques contemporaines The Challenge of African Art Music Le défi de la musique savante africaine Kofi Agawu Musiciens sans frontières Article abstract Volume 21, Number 2, 2011 This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a URI: https://id.erudit.org/iderudit/1005272ar new anthology, Piano Music of Africa and the African Diaspora, edited by DOI: https://doi.org/10.7202/1005272ar Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of See table of contents creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the Publisher(s) encounters of Steve Reich and György Ligeti with various African repertories. Les Presses de l’Université de Montréal Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, ISSN Uzoigwe, Euba, Labi and Osman serve as illustration. 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Agawu, K. (2011). The Challenge of African Art Music. Circuit, 21(2), 49–64. https://doi.org/10.7202/1005272ar Tous droits réservés © Les Presses de l’Université de Montréal, 2011 This document is protected by copyright law. -
French Stewardship of Jazz: the Case of France Musique and France Culture
ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs. -
Explore African Immigrant Musical Traditions with Your Students Recommended for Grade Levels 5 and Up
Explore African Immigrant Musical Traditions with Your Students Recommended for Grade Levels 5 and up Teacher Preparation / Goals African immigrant musical traditions are as rich and varied as the many languages and cultures of Africa. There are many different reasons for their formation; to explore new influences, to reshape older practices, or to maintain important traditions from the homeland. In these reading and activities students will learn about the African immigrant musical traditions found in the Washington, D.C. area. Special programs held after school and during the weekend and summer have been initiated to teach children more about their culture through the medium of music and dance. In the African immigrant community, music and dance groups immerse the students in the culture of their ancestors’ homeland. Some of these groups have been here for many years and are an important part of the community. Many African-born parents value these programs because they fear that their American-born children may be losing their heritage. In preparation for the lesson read the attached articles, "African Immigrant Music and Dance in Washington, D.C." and "Nile Ethiopian Ensemble: A Profile of An African Immigrant Music and Dance Group." See what you can find out about the musical traditions to be found in your area, and not just those performed by African immigrants, but by others as well. For example, when you start looking, you may find a Korean group or a group from the Czech Republic. If possible, visit a performance of a music or dance group and talk to the teachers or directors of the group. -
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
90'S Medley Rihanna Medley Motown Medley Prince
Adele - Rolling in the Deep Jackson 5 - ABC Outkast - Miss Jackson 90’S MEDLEY Alabama Shakes - Hold on James Brown - Get Up Oa That Thing Outkast - Rosa Parks TLC Alicia Keys - Empire State of Mind James and Bobby Purify - Shake A Tail Feather Patrice Ruschen - Forget Me Nots Usher Alicia Keys - If I Ain’t Got You James Blake - Limit To Your Love Percy Sledge - You Really Got a Hold On Me Montell Jordan Al Green - Let’s Stay Together Jamie XX - Good Times Pharrell – Happy Mark Morrison Al Green - Take Me to the River Janelle Monae - Tightrope Prince – I Wanna Be Your Lover Next Amy Whinehouse - Valerie Jerry Lee Lewis - Great Balls of Fire Prince - Kiss Beck – Where It’s At Justin Timberlake - Can’t Stop The Feeling Ray Charles - Georgia Beyonce – Crazy In Love Justin Timberlake - Rock Your Body R Kelly - Remix to Ignition RIHANNA MEDLEY Beyonce - Love on Top King Harvest - Dancing in the Moonlight Sade - By Your Side What’s My Name Beyonce - Party Kendrick Lamar – If These Walls Could Talk Sade - Smooth Operator We Found Love Bill Withers - Ain’t No Sunshine Leon Bridges - Coming Home Sade - Sweetest Taboo Work Blondie – Rapture Lil Nas X - Old Town Road Sam Cooke - Wonderful World Blood Orange - You’re Not Good Enough Sam Cooke - Cupid Lionel Richie - All Night Long MOTOWN MEDLEY Bob Carlisle/Je Carson - Butterfly Kisses Little Richard - Good Golly Miss Molly Sam Cooke - Twistin’ Your Love Keeps Lifting Me Higher and Higher Bruno Mars - 24k Magic Lizzo - Juice Sam Cooke – You Send Me You Really Got a Hold On Me Bruno Mars - Treasure -
“Which Way Nigeria?”
J EAN-CHRISTOPHE S ERVANT “Which way Nigeria?” MUSIC UNDER THREAT: A QUESTION OF MONEY, MORALITY, SELF-CENSORSHIP AND THE SHARIA “WHICH WAY NIGERIA?” Music under Threat: A Question of Money, Morality, Self-Censorship and the Sharia by JEAN-CHRISTOPHE SERVANT Published by Freemuse Editor in Chief: Marie Korpe Translated from French by Daniel Brown ISSN 1601-2127 Layout: Sigrún Gudbrandsdóttir Cover illustration: Ali Bature Printed in Denmark 2003 by Handy-Print © Freemuse 2003 The views in the report do not necessarily represent the views of Freemuse. Report no. 04/2003 Freemuse Wilders Plads 8 H · 1403 Copenhagen K. · Denmark tel: +45 32 69 89 20 · fax: +45 32 69 89 01 e-mail: [email protected] web: www.freemuse.org OTHER PUBLICATIONS BY FREEMUSE: 1st World Conference on Music and Censorship (2001, ISBN: 87-988163-0-6) “Can you stop the birds singing?” – The Censorship of Music in Afghanistan, by John Baily (2001, ISSN: 1601-2127) “A Little Bit Special” – Censorship and the Gypsy Musicians of Romania, by Garth Cartwright (2001, ISSN: 1601-2127) Playing With Fire – Fear and Self-Censorship in Zimbabwean Music, by Banning Eyre (2001, ISSN: 1601-2127) TABLE OF CONTENTS PREFACE 5 ABSTRACT 7 5 CASE STUDY: FEMI KUTI - ABOUT THE AUTHOR 8 the banning of "Bang, Bang, Bang" MAP 9 5.1 Biography of Femi Kuti 56 INTRODUCTION 11 5.1.1 NBC vs. Femi Kuti 59 1 THE YEARS OF DEMOCRAZY: 6 GANGSTA RAP AND MAKOSSA 1999-2002 15 6.1 High moral grounds versus 65 the "Music of the Devil" 2 GENERAL BACKGROUND ON NIGERIA 2.1 Religion 17 7 SHARIAPHRENIA 2.2 -
Collecting Practices in Bandjoun, Cameroon Thinking About Collecting As a Research Paradigm
Collecting Practices in Bandjoun, Cameroon Thinking about Collecting as a Research Paradigm Ivan Bargna All photos by author, except where otherwise noted he purpose of my article is to inquire about the parison which is always oriented and located somewhere, in an way that different kinds of image and object individual and collective collection experience, and in a theo- collections can construct social memory and retical and methodological background and goal. Therefore, in articulate and express social and interpersonal spite of all, the museum largely remains our starting point for relationships, dissent, and conflict. I will exam- two main reasons: firstly, because the “museum” is also found ine this topic through research carried out in in Bandjoun; and secondly, because we can use the museum the Bamileke kingdom of Bandjoun, West Cameroon, since stereotype as a conventional prototype for identifying the simi- T2002 (Fig. 1). The issues involved are to some extent analogous larities and differences that compose the always open range of to those concerning the transmission of written texts: continuity possibilities that we call “collection.” To be clear, in considering and discontinuity; translations, rewritings, and transformations; the museum as a stereotypical prototype, I do not ignore the fact political selections and deliberate omissions (Forty and Kuchler that the concept of the museum and its definition change over 1999). Nevertheless, things are not texts, and we must remain time and that every history written in terms of -
Redefining Ghanaian Highlife Music in Modern Times
American Journal of Humanities and Social Sciences Research (AJHSSR) 2020 American Journal of Humanities and Social Sciences Research (AJHSSR) e-ISSN :2378-703X Volume-4, Issue-1, pp-18-29 www.ajhssr.com Research Paper Open Access Redefining Ghanaian Highlife Music in Modern Times Mark Millas Coffie (Department of Music Education/ University of Education, Winneba, Ghana) ABSTRACT: Highlife, Ghana's first and foremost acculturated popular dance music has been overstretched by practitioners and patrons to the extent that, presently, it is almost impossible to identify one distinctive trait in most of the modern-day recorded songs categorised as highlife. This paper examines the distinctive character traits of Ghana's highlife music, and also stimulates a discourse towards its redefinition for easy recognition and a better understanding in modern times. Employing document review, audio review, interviews, and descriptive analysis, the paper reveals that the instrumental structure, such as percussion, guitar, bass, and keyboard patterns, is key in categorising highlife songs. The paper, however, argues that categorising modern-day recorded highlife songs based on timeline rhythms and drum patterns alone can be confusing and deceptive. The paper, therefore, concludes that indigenous guitar styles such as the mainline, yaa amponsah, dagomba, sikyi, kwaw, ᴐdᴐnson among others should be the chief criterion in recognising and categorising modern-day recorded highlife songs. KEYWORDS: Category, Highlife, Modern-day, Recognition, Timeline rhythm, Indigenous guitar styles I. INTRODUCTION Highlife music, one of the oldest African popular music forms originated from the Anglophone West African countries such as Ghana, Nigeria, Sierra Leone, and Liberia. However, the term highlife was coined in Ghana around the 1920s (Collins, 1994). -
Progi 1AM GUIDE
1 7 PROGi 1AM GUIDE REQUEST LINE:696-631 2 OFFICE LINE: 696-6082 Monday Lots of cool new rock. Bring your own Iampshade ... somewhere 8-10 am- "Nie and Darren's Bad Ass Rock N' Roll Resurrection"· there's a party ... Nicolas Miller and Darren Belitsky It's the classic rock fix that yo momma used to trip to; IO-Midnight- "thugs -n- disharmony" - Marty Graham and TJ so break out the cardboard cause we've got a few surprises! Mahony 10-Noon- "This Year's Model"· Dan Gearino 2 midwest white guys try to play good music, leaving no room for Elvis Costello, Neil Young and many others who resist the bunk rap. constraint of genres. Requests welcome. Midnight-2 am- "Swingin' Party" - Michelle Hayes Noon-2 pm- "Hair 0' the Dog" · Sean Campanella From Iggy to Elvis (both of them), this music kicks everyone's No marijuana smok.in'. No LSD trip-takin'. No burnin' ass. You have nothing better to do anyway ... draft-cards down on Main Street. Just honest-to-God 2-4 am- "Nightclubbing" - Nils Lindahl and Pete Walters music. Bluegrass, country, and gospel...like red, white, and blue. Two DJ's doing ambient, gabber and everything in between. 2-4 pm- "Electronics for Beginners"· Bryan Kennedy Mmmm, tasty. A look at all the bands and artists that have built up the electronic revolution in music today, with a few oddities. Don't label me techno. Wednesday Theremins to moogs to digital synth pop. 8-10 am- "Dicarded, Recycled, and New" - Ben Theis 4-6 pm- "Come All You Rambling Boys of Pleasure"· Lindsey Brandt Insurgent country and folk with one guarantee: At least one song and Jenny Fleegn about Scottish Independence per show or your two hours back. -
Manu Dibango Feat Manou Gallo
OCTOBRE COLISÉE ROUBAIX CONCERT DIMANCHE 13 18 H 00 COPRODUCTION : TOURCOING JAZZ FESTIVAL / JAZZ EN NORD AFRICAN SOUL SAFARI – 60 ANS DE CARRIÈRE MANU DIBANGO FEAT MANOU GALLO Considéré comme l’icône de la musique africaine moderne, Manu Dibango célébrera, en 2019, 60 ans de musique, 60 ans de passion, 60 printemps d’une carrière musicale exceptionnelle. Il a collaboré avec Herbie Hancock et Serge Gainsbourg. Il a aussi joué de l’orgue pour Dick Rivers, du sax pour Nino Ferrer et papoté avec Bob Marley… En 1972, Manu Dibango a surtout offert à l’Afrique son premier tube international, Soul Makossa, ouvrant du même coup l’oreille du monde aux sons du continent noir. Depuis maintenant 60 ans, cet immense saxophoniste, personnalité connue et reconnue du paysage culturel, guidé par son éclectisme, son nomadisme musical et ses inspirations, a toujours proposé des spectacles aussi différents que novateurs. Avec l’African Soul Safari - nom de la formation qui l’accompagne sur la route – il nous offre un résumé des influences musicales qui ont nourri son œuvre. Comme toujours, cet « éléphant » du Jazz et de l’Afrobeat ajoute à la palette de la musique africaine des teintes de Groove et de Funk. L’ Afrique est bien sûr très présente par la prépondérance du chant et des rythmes endiablés appuyés par une invitée de marque, la bassiste prodige ivoirienne Manou Gallo ! Une sacrée dose de bonne humeur en somme ! Avec : Manu Dibango (saxophone), Manou Gallo (basse), Julien Agazar (claviers), Raymond Doumbe (basse), Guy Nwogang (batterie), Patrick Marie-Magdelaine (guitare), Valérie Belinga et Isabel Gonzalez (chant) | Photographie: Edmond Sadaka TARIFS PLEIN 32 RÉDUIT/CAT.