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Bibliothèques d’Amiens Métropole MUSIQUES ET METISSAGES Ethio-jazz et Afro-beat Sélection dans les collections des bibliothèques réalisée à l’occasion des conférences musicales organisées par les Bibliothèques et le Conservatoire à rayonnement régional d’Amiens Métropole dans le cadre du projet métropolitain Cultures du monde – Tous migrants (mars-mai 2014) ETHIO-JAZZ, UNE SELECTION http://www.mondomix.com/tag-term/ethiojazz Cette musique fut créée dans les années 1960 à Addis-Abeba (Ethiopie) par Mulatu Astatqé qui, étudiant, découvrit en Angleterre et aux Etats-Unis les rythmes latino-américains et le jazz. Rentré au pays, Il intègre le jazz à la musique traditionnelle. Plus tard d’autres musiciens, comme Mahmoud Ahmed y ajoutent de la musique Soul et du Funk. Initiée par Francis Falceto, la collection Ethiopiques du label français Buda Musique a permis la (re)découverte de cette musique. De nombreuses formations à travers le monde la jouent et l’enrichissent de nouvelles influences comme l’ Imperial Tiger Orchestra en Suisse, Arat Kilo et Le Tigre des Platanes en France. http://www.budamusique.com L' Age d'or de la musique éthiopienne moderne : 1969-1975 / Mahmoud Ahmed ; Alèmayèhu Eshèté ; Hirut Bèqèlè, ... - Paris : Buda. 1969 à 1975. - (Ethiopiques ; 3). - Compilation. (013.2 A) "Le label Amha Records publia en six ans (1969-1975) environ 250 titres. 8 morceaux de ces 'Ethiopiques 3' sont accompagnées par des formations issues de la police. En effet, jusqu'à la fin des années 60, il n'existait pas d'orchestre moderne indépendant. La vie musicale était dominée par les orchestres institutionnels de la Garde Impériale, de la Police, de l'Armée, de la ville d'Addis, de l'Agher Feqer Mahber ou du Théâtre Haylé Sellasie. Chacune de ces institutions développait plusieurs sections musicales fermement démilitarisées, voire résolument modernes. Toutes rivalisaient pour imposer les succès de l'année. Avec Mahmoud Ahmed, Alèmayèhu Eshète, Hirut Bèqèlè, Tlahoun Gèssèssè, Tadèlè Bèqèlè, Teéfèri Fèllèqè, Muluqèn Mèllèssè, le Polic Orchestra, l'Ibex Band, le Police String Orchestra." (Notes de l'éditeur). Noise & chill out : Ethiopian groove worldwide / Dub Colossus, Eténèsh Wassié, Alexo .- [Paris] : Buda Musique (Ethiosonic) (013.2 A) Le groove éthiopien d’aujourd’hui, sous toutes ses formes et d’où qu’il vienne – Ethiopie, diaspora ou ferenj (Royaume-Uni, France, Etats-Unis, Australie, Hollande, Suisse, Allemagne et Japon)…(Notes de l'éditeur). Avec : Dub Colossus - Wassié, Eténèsh - Sourisseau, Mathieu – Dereb - Mèkurya, Gétatchèw - Charles, Xavier - Gebremarkos, Tsedenia - Gèbrè-Heywèt, Bahta - Tèchanè, Daniel - Sutton, Charlie - Fuller, Jeff - Zèritu - Yirga, Samuel - Shimizu, Yasuaki - Abegaz & Jörg – Rattlemouth – uKanDanZ – Alexo – Tezeta - Man Bites Dog - Imperial Tiger Orchestra - Nubian Ark - Debo Band - Le Tigre Des Platanes – Jazzmasters – Jazzmaris - The Ex - The Kronos quartet – Either – Snowflake - Akalé Wubé - The Saxophonettes . Swinging Addis : 1969-1974 / Girma Bèyènè, Mahmoud Ahmed Ayalèw Mèsfin, Alèmayèhu Eshèté Bahta Gèbrè-Heywèt Lèmma Dèmissèw, Tèsfa-Maryam Kidané Samuel Bèlay. - Paris : Buda Musique. 1969-1974. - (Ethiopiques ; 8). (013.2 A) "Années 60 ou sixties. Il y eut un Swinging Addis comme il y eut un Swinging London : en Ethiopie, comme en Europe ou aux USA, irruption bruyante et colorée, inédite, des premières générations nées après-guerre. Véritable révolution culturelle plus que simple conflit de générations. Avec la musique comme dénominateur commun. Le parti pris de ces éthiopiques est de rassembler tout ce qu’il y a de plus soul, R‘n’B, voire twist dans la production discographique des sixties éthiopiennes. La quintessence des formes les plus outrancièrement cosmopolites - et pourtant tellement ancrées dans la soul locale"(Notes de l'éditeur). ARAT KILO. - A night in Abyssinia / Arat Kilo. Only Music, 2011. (013.2 ARA) La musique du groupe s'aventure sur le terrain de l'ethio-jazz et du groove. Un groove venu de nulle part qui a tôt fait de réunir ces cinq jeunes musiciens. Ils mettent en commun leurs compétences, recherches, compositions et sortent un premier disque, artisanal, en 2009 qui permet l'ébauche d'un territoire en friche doublé d'un acte de naissance avec des concerts qui resserrent la cohésion du quintet et qui ciblent cette éthio-jazz à la française, volontairement instrumental. (Notes de l’éditeur) BADUME’S BAND. - Ale Gena - Ethiopia / Badume's Band. Innacor Records, 2011. (013.2 BAD) A l'instar d'un Jim Jarmush qui avait remis au goût du jour la musique éthiopienne à travers la bande originale de Broken flowers, la formation bretonne est un véritable passeur de cette culture musicale en Occident. Pris d'amour pour ce genre musical original mais un peu oublié qu'est l'éthio-jazz, ce groupe atypique s'est mis en tête de recréer l'atmosphère d'Addis-Abeba des années 60 et 70, lorsque la capitale africaine tourbillonnait au son du twist, de la soul et du rythm'n'blues.(Notes de l’éditeur) IMPERIAL TIGER ORCHESTRA. - Mercato / Imperial Tiger Orchestra - : Mental Groove Records, 2011 (013.2 IMP) Après le succès de leur EP Addis-Abeba sorti en 2010, voici le premier album des suisses, les plus fins connaisseurs et performeurs groovy de la musique éthiopienne. Composé de membres d'horizons très divers (free jazz, noise expérimentale, musique contemporaine, pop bizarre.) le groupe tâte d'abord le terrain avec un EP et un 45 tours brisant les frontières des genres, suivis d'un voyage à Addis-Abeba où ils ont joué avec des stars locales et beaucoup appris au sujet de la grande diversité de la musique éthiopienne. Supervisé avec brio par l'expert de la musique éthiopienne Jeoren Visse , cet opus est une réinterprétation envoûtante de l'âge d'or de ce style musical, mélangé aux thèmes numérisés apparus dans les années 80 et filtré à travers les influences éclectiques d'ITO. (Notes de l’éditeur) ASTATKE, Mulatu. - New York, Addis, London : the story of ethio jazz, 1965-1975 / Mulatu Astatke, vibraphone. Strut, 2009 (P). (013.2 AST) MEKURIA, Getatchew and The EX. - Moa Anbessa / Getatchew Mekuria and The Ex and friends. : Ex Music, 2006 (P). (013.2 MEK) En 2004 The Ex, groupe post punk hollandais invite Getatchew Mekuria, compositeur et saxophoniste éthiopien pour un Festival au Paradiso d’Amsterdam. Leur collaboration continue avec l’enregistrement de disques et une tournée aux Pays-Bas, en Belgique et en France en 2006 et 2007. ETENESH & LE TIGRE DES PLATANES - Zèraf ! / Le Tigre des Platanes ; Eténèsh Wassié, chant. - Paris : Buda Musique, 2007. - (ethioSonic / Francis Falceto). (013.2 TIG) En 2001, Le Tigre découvre les éthiopiques et inclut dans son répertoire éclectique quelques morceaux choisis qu'il interprète à sa façon. Lors d'un voyage à Addis Abeba, leur envie de jouer et de se confronter à des musiciens éthiopiens les mène à rencontrer Eténèsh Wassié, chanteuse à la voix éraillée, petite soeur abyssine de Piaf et Billie Holiday. Ce défi va se jouer sur la base des magnifiques standards éthiopiens : explorer réellement en toute réciprocité, les territoires nouveaux qui s'offrent aux 5 musiciens, un monde fait de la vraie somme de leurs personnalités. Jump to Addis : Europe meets Ethiopia / Jump to Addis ; Laurent François, coprod., mix., ed. et photos. - Paris : Buda Musique, 2001. - (Ethiopiques ; 15). (013.2 JUM) Enregistré au nightclub Roxy à Addis Ababa en mai 2001. Collectif de quatre musiciens (allemands, hollandais, français), élèves du pianiste Misha Mengelberg au Conservatoire d'Amsterdam et d'une douzaine d'artistes éthiopiens . AFROBEAT, UNE SELECTION C’est Fela Anikulapo Kuti, nigérian d’origine yoruba qui créa ce style, un mélange de rythmes yoruba, de soul, de jazz et de highlife. De longs morceaux à la rythmique envoûtante (avec guitare, claviers, basse, batterie, percussions, chœurs féminins) portés par un grand orchestre de cuivres. Les paroles sont engagées et dénoncent les problèmes politiques et sociaux du pays. Tony Allen, batteur de Fela, ses fils Femi et Seun continuent à jouer et faire évoluer ce style qui compte aujourd’hui des représentants dans le monde entier : Fanga et Ruth Tafébé en France, Antibalas aux Etats-Unis, The Liberators en Australie, the Soul Jazz Orchestra au Canada… ALLEN Tony. – Lagos no shaking . – EMI, 2006. (015.2 ALL) ANTIBALAS. - Who is this America ?. – Ropeadope Music, 2004. (015.2 ANT) Créé à New York en 1997 par le saxophoniste Martin Perna, le collectif de 15 musiciens sort en 2004 leur troisième album afrobeat, revendicatif et anti-Bush « Who is this America ? » FANGA. – Natural juice. – Underdog Records, 2007 (015.2 FAN) Fanga a été fondé à Montpellier en 2003 par Yves « Korbo » Khoury, chanteur burkinabais d’origine et Serge Amiano, programmateur de hip hop. Leur musique afro- beat s’enrichit de samples et de sons électroniques. Ils invitent le batteur Tony Allen et le rappeur américain Mike Ladd. FELA. – Vol. 1 & 2 . – FAK, 1999 . (015.2) FELA RANSOME –KUTI and The AFRICA’70 with GINGER BAKER. – Live . – FAK, 2010 . (015.2 FEL) FEMI KUTI. – Fight to win. – Barclay, 2001. (015.2 KUT) The LIBERATORS. – The Liberators. – Record Kicks, 2011. (1.3 LIB 71) Les australiens mélangent afrobeat, latin soul et jazz avec une énergie, un groove dévastateurs. MAMUD BAND. – Opposite people : the music of Fela Kuti. – Felmay, 2011 . (015.2 MAM) Le MAMUD BAND fut fondé en Italie par le percussionniste LORENZO GASPERONI au début des années 90. Il explore différents styles de musique africaine. Bunna du groupe de reggae AFRICA UNITE chante sur deux morceaux. SEUN ANIKULAPO KUTI & EGYPT 80. – From Africa with fury : rise . – Knitting Factory Records, 2011. (015.2 KUT) The SOUL JAZZ ORCHESTRA. – Manifesto. – Do right music, 2008. (015.2 SOU) L’orchestre Canadien joue un afrobeat irrésistiblement funky et dansant. TAFEBE Ruth & THE AFROROCKERZ. – Holy warriors. – Comet/Planet Woo, 2007. (015.2 TAF) D’origine ivoirienne, Ruth Tafébé livre un afro-beat futuriste avec effets électroniques.
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  • Redefining Ghanaian Highlife Music in Modern Times

    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).
  • Received by NSD/FARA Registration Unit 07/29/2015 2:03:59 PM U.S. Department of Justice Supplemental Statement Washington, DC 20

    Received by NSD/FARA Registration Unit 07/29/2015 2:03:59 PM U.S. Department of Justice Supplemental Statement Washington, DC 20

    Received by NSD/FARA Registration Unit 07/29/2015 2:03:59 PM OMB No. 1124-0002; Expires April 30,2017 u.s. Department of justice Supplemental Statement Washington, DC 20530 Pursuant to the Foreign Agents Registration Act of 1938, as amended For Six Month Period Ending 06/30/2015 (Insert date) I-REGISTRANT 1. (a) Name of Registrant (b) Registration No. Ceisler Media & Issue Advocacy, LLC 6266 (c) Business Address(es) of Registrant 1525 Locust Street Sixth Floor Philadelphia, PA 19102 2. Has there been a change in the information previously furnished in connection with the following? (a) If an individual: (1) Residence address(es) Yes • No • (2) Citizenship Yes • No • (3) Occupation Yes • No • (b) If an organization: (1) Name Yes • No H • (2) Ownership or control Yes • No _ (3) Branch offices Yes • No 0 (c) Explain fully all changes, if any, indicated in Items (a) and (b) above. IF THE REGISTRANT IS AN INDIVIDUAL, OMIT RESPONSE TO ITEMS 3,4, AND 5(a). 3. If you have previously filed Exhibit C1, state whether any changes therein have occurred during this 6 month reporting period. Yes • No B If yes, have you filed an amendment to the Exhibit C? YesD Nod] If no, please attach the required amendment. 1 The Exhibit C, for which ho printed form is provided, consists of a true copy ofthe charter, articles of incorporation, association, and by laws of a registrant that is an : organization. (A waiver of the requirement to file an Exhibit C may be obtained for good cause upon written application to the Assistant Attorney General, National Security Division, U.S.