Program # 387 Radio X (91,8 FM, Greater Frankfurt Area) Livestream

Total Page：16

File Type：pdf, Size：1020Kb

Program # 387 Radio X (91,8 FM, Greater Frankfurt area) Livestream: http:// www.radiox.de/live Mixcloud: https://www.mixcloud.com/Greedio Selector & Presenter: Jean Trouillet 01. Keranka (feat. Yanka Rupkina) 02. Lisbon/Soldier Song fromÖrdöngöstüzes (feat. Jim Moray & Nori Kovacs) >>>Transglobal Underground and Our European friends: A Gathering of Strangers 2021 – Mule 20 / https://transglobalunderground.net/a-gathering-of-strangers-2021/ 03. Helicobtir >>>Efren Lopez/Stelios Petrakis/Bijan Chemirani: Taos – Buda Musique / www.budamusique.com 04. Lay Low to Lie 05. All Aboard (feat. Ben Harper & Abdelkebir Merchane) >>>Piers Faccini: Shapes of the Fall – Noformat / Indigo / www.noformat.net 06. Tyinbo 07. Anou >>>Christine Salem: Mersi – Blue Fanal / Broken Silence / www.christinesalem.com 08. Eretseretse (Monja Mahatay & Omar Sosa) >>>Omar Sosa: An Eastafrican Journey – Ota Records / SKIP / www.omarsosa.com 09. Camara >>>Joao Selva: Navegar – Underdog Records / Broken Silence / www.joaoselva.com 10. Ben Sharon: Cotton Pickin’ Chicken Pluckin’ Shame 11. Johnny Arcesi & Nelson Riddle Orchestra: Rockin' The Ark >>>The Prof. Bop Archives: Down at the Ugly Men'S Lounge Vol.5 – Roof Music / www.roofmusic.de/produktkatalog/produkt/1174-down-at-the-ugly-mens-lounge-vol-5 12. Akabaman: Popular Side 13. Osayomore Joseph: Africa Is My Root >>>V.A.: Edo Funk Explosion Vol. 1 – Analog Africa / www.analogafrica.bandcamp.com 14. Dondori >>>Mah Damba: Hakili Kélé - Buda Musique / www.budamusique.com 15. Mouhamadou Bamba >>>Orchestra Baobab: Bamba – Stern’s Music / www.sternsmusic.com 16. Bamba >>>V.A.: Dakar Sound Vol. 5 100% pure double concentre & Thione Seck et son ensemble: Chauffeur bi – Dakar Sounds 17. Mouhamadou Bamba 18. Woayatina >>>Thione Seck: Orientissime – Touba Madras Paris – Syllart / Sterns Music / www.sternsmusic.com 19. Thione Seck et le Raam Daan: Diongoma >>>V.A.: The Music in My Head vol. 2 - Stern’s Music / www.sternsmusic.com 20. Assane Ndiaye et le Raam Daan: Nguisstal >>>V.A.: Streets of Dakar – Generation Boule Falé - Stern’s Music / www.sternsmusic.com 21. Hainamady Town >>>Toumani Diabate & The London Symphony Orchestra: Korolen – World Circuit Records / BMG / www.worldcircuit.co.uk 22. Armagideon >>>Bunny Wailer: Blackheart Man – Island Music .

Copy Link

Recommended publications

AFRICANDO Martina
AFRICANDO Martina EXIL 2665-2 LC 08972 VÖ: 26.05.2003 DISTRIBUTION: INDIGO Trifft der Begriff Melting Pot auf irgendeine Combo zu – dann ist es diese. Afrikas schillerndste Salsa-Bigband hat sich in der Dekade ih- res Bestehens auf fünf Studio-Alben in den Olymp des Afro-Latino- Genres katapultiert. Mit gutem Gewissen können wir sagen, dass sich karibischer Hüftschwung und die smarten Stimmen Schwarzafrikas nirgendwo so packend und natürlich verschmelzend begegnen wie bei Africando, der Formation um das Mastermind Boncana Maiga. Nach ihrem Meisterstreich Betece (EXIL 9766-2), der das neue Salsa-Millenium mit Gastauftritten von Salif Keita oder Lokua Kanza an der Spitze der Weltmusikcharts glanzvoll einläutete, und dem nachfolgenden Doppel-Album Africando Live mit den Hits aus ih- rer ganzen Laufbahn, sind die interkontinentalen Herren zügig mit neuen Surprisen zurück: Das elegante neue Album Martina ist ihr mittlerweile siebtes Werk – und diesmal verzeichnet man auf der Li- ste der Eingeladenen sogar Ismael Lô. Musikalisch konzentrieren sich Africando diesmal vor allem auf die descarga, das explosive Im- provisieren mit dem Charakter einer Jam-Session. Noch haben wir die atemberaubenden Live-Versionen des CD-Mitschnitts aus dem Pariser “Zénith” im Ohr (Live - EXIL 0543-2), auf dem Africando mit dem zündenden Backing von multinationalen Instrumentalisten ihre Hits Revue pas- sieren ließen und Bilanz eines überragenden afro-karibischen Siegeszuges zogen. Der begann 1993, als Boncana Maiga, ein kuba-verrückter Musiker aus Mali, But- ter bei die Fische machte. In den Sechzigern hatte Maiga während seines Auf- enthaltes in Havanna die legendäre Formation Maravillas de Mali gegründet, spä- ter mit den Fania All Stars getourt und in Abidjan ein Studio hochgezogen, durch das Berühmtheiten wie Alpha Blondy oder Mory Kanté defilierten.
[Show full text]
“Indépendance Cha Cha”: African Pop Music Since the Independence Era, In: Africa Spectrum, 45, 3, 131-146
Africa Spectrum Dorsch, Hauke (2010), “Indépendance Cha Cha”: African Pop Music since the Independence Era, in: Africa Spectrum, 45, 3, 131-146. ISSN: 1868-6869 (online), ISSN: 0002-0397 (print) The online version of this and the other articles can be found at: <www.africa-spectrum.org> Published by GIGA German Institute of Global and Area Studies, Institute of African Affairs in co-operation with the Dag Hammarskjöld Foundation Uppsala and Hamburg University Press. Africa Spectrum is an Open Access publication. It may be read, copied and distributed free of charge according to the conditions of the Creative Commons Attribution-No Derivative Works 3.0 License. To subscribe to the print edition: <[email protected]> For an e-mail alert please register at: <www.africa-spectrum.org> Africa Spectrum is part of the GIGA Journal Family which includes: Africa Spectrum • Journal of Current Chinese Affairs • Journal of Current Southeast Asian Affairs • Journal of Politics in Latin America • <www.giga-journal-family.org> Africa Spectrum 3/2010: 131-146 “Indépendance Cha Cha”: African Pop Music since the Independence Era Hauke Dorsch Abstract: Investigating why Latin American music came to be the sound- track of the independence era, this contribution offers an overview of musi- cal developments and cultural politics in certain sub-Saharan African coun- tries since the 1960s. Focusing first on how the governments of newly inde- pendent African states used musical styles and musicians to support their nation-building projects, the article then looks at musicians’ more recent perspectives on the independence era. Manuscript received 17 November 2010; 21 February 2011 Keywords: Africa, music, socio-cultural change Hauke Dorsch teaches cultural anthropology at Johannes Gutenberg Uni- versity in Mainz, Germany, where he also serves as the director of the Afri- can Music Archive.
[Show full text]
Orchestra Baobab
ELPHI_Logo_Bild- marke_1C_W ELBPHILHARMONIE SOMMER ORCHESTRA BAOBAB 12. AUGUST 2017 ELBPHILHARMONIE GROSSER SAAL ISSA CISSOKHO TENOR SAXOPHONE YAHYA FALL GUITAR ASSANE MBOUP VOCALS RENE SOWATCHE GUITAR SEYDOU NOUROU KOITE ALTO SAXOPHONE CHARLES ANTOINE NDIAYE BASS ABDOULAYE SISSOKO KORA MAMADOU MOUNTAGA KOITE CONGAS, DRUMS MOUSSA SIDIBE VOCALS, DRUMS ORCHESTRA BAOBAB »Die Gralshüter des Afropop sind zurück«, freute sich die Zeitschrift Jazzthing zu Beginn des Jahres. Gemeint war das Orchestra Baobab aus Senegal, das ein Jahrzehnt nach seinem letzten Album und fast ein halbes Jahrhundert seit der Gründung erstmals wieder eine CD herausgebracht hat. Ganz im Stil des Orchesters fusioniert sie afro- kubanische Rhythmen und die afrikanische Tradition. Tribute to Ndiouga Dieng ist dem im November 2016 verstorbenen Sänger des Orchestra Baobab gewidmet. Seine Songs werden wei- terhin von der Band gespielt und gesungen. Sie repräsentieren das letzte Kapitel einer langjährigen Karriere, die 1970 begann, als das neu gegründete Orchestra Baobab dazu beitrug, Dakar zu einer der wichtigsten Musikstädte der Welt zu machen. Im Laufe des nächsten Jahrzehnts dominierte das Tanzorchester die lokale Szene und pro- duzierte in den frühen achtziger Jahren unzählige Hits. Das riesige internationale Interesse an ihren Originalaufnahmen – und vor allem der Erfolg, der die Neuauflage des 1982er AlbumPirate’s Choice hatte, führte zu der Reformation der Band im Jahr 2001 und ihrem preisgekrönten Comeback-Album Specialist in all Styles. Ihr drittes Album seit ihrem
[Show full text]
Thione Seck, Patrimoine Culturel Sénégalais : Education, Culture Et Musique
Argumentaire de l’appel à communications de la « Journée d’Étude » Thione Seck, Patrimoine culturel sénégalais : Education, culture et musique. Date : Samedi 26 juin 2021 Lieu : FASTEF, Amphi Kocc Barma FALL À l’occasion de la célébration de la « Journée mondiale du Patrimoine africain », le GRE2C (Groupe de Recherche sur les Expressions Culturelles Contemporaines organise une « Journée d’Étude » en hommage à Thione Ballago Seck. Né le 12 mars 1954 dans une famille de griots, l’artiste-compositeur a débuté la musique dans les années 70 (Star Band de Dakar, Orchestra Baobab). Avec son frère Mapenda Seck, il fonda sa propre formation, le groupe Raam Daan, en 1980. Marquée par des rythmes et des persécutions à la croisée des cultures sénégalaises, sa production musicale demeure un éventail de chansons en langues wolof, anglaise et française. Avec plus d’un quart de siècle de carrière sur scène, Thione a abordé beaucoup de thèmes tels que l’amour, la religion, la famille, l’éducation, la femme, la condition sociale, etc. Il est mort le 14 mars 2021 dans ville de naissance Dakar. D’ailleurs, Chérif Seck lui a consacré un livre intitulé Papa Thione : La Conscience Morale Et Religieuse Dans La Poésie Chantée de Thione Ballago Seck (2013). Fadel Lo lui a aussi consacré un ouvrage titré Paroles de Thione Seck, un poète inspiré et prolifique (2013). Ce qui démontre combien l’auteur intéresse les producteurs de sens et combien son œuvre a inspiré des chercheurs. La musique demeure une part importante du patrimoine culturel immatériel. Ce dernier regroupe, selon l’UNESCO (pp.134-135)1, « les pratiques, représentations, expressions, connaissances et savoir-faire – ainsi que les instruments, objets, artefacts et espaces culturels qui leur sont associés – que les communautés, groupes, et dans certains cas individus reconnaissent comme faisant partie de leur patrimoine culturel ».
[Show full text]
The Music of Senegal: a Way of Life in West Africa
1 The Music of Senegal: A Way of Life in West Africa Lucien DeLaBruere Independent Study Project School for International Training Dakar, Senegal; Spring 2007 Project Advisor: Keba Djibril Mane Academic Director: Souleye Diallo 2 Dedication… To all the people who helped with the making of this project: SIT: Senegal, Keba Mane, Jacques Diatta and all the musicians in Senegal that helped make it all come together. 3 TABLE OF CONTENTS ABSTRACT………………………………………………………………………………1 INTRODUCTION……………………………………………………………………….1 METHODOLOGIES…………………………………………………………………….3 FINDINGS………………………………………………………………………………..6 Music in Senegal………………………………………………………………….6 A Brief History of Senegalese Music……………………………………………7 African Drumming and the Djembe……………………………………………8 Looking at Rhythm……………………………………………………………..11 Notating Traditional Music…………………………………………………….15 ANALYSIS……………………………………………………………………………...17 CONCLUSION…………………………………………………………………………18 APPENDIX……………………………………………………………………………...19 GLOSSARY…………………………………………………………………………….25 WORKS CITED………………………………………………………………………..26 4 I. ABSTRACT “Music is in the veins and blood of the Senegalese people” (Bakayoko 2007). This paper aims to take a look into the reason for why this is. By examining the historical and present context of music in Senegal, one can better understand the social aspects of its music. In addition, analyses concerning the rhythmic and pedagogical importance will help provide a better picture for how we, as Westerners, can try to comprehend this rather undocumented subject. II. INTRODUCTION It is difficult for a Westerner to understand African music. Moreover, it is difficult to understand the importance and social significance that music plays in African life. When a Westerner listens to African music for the first time, he will typically elicit one of two responses. He will become confused due to the assumed rhythmic complexity and consequently become bored or he will become intrigued for the very same reason, but still not quite understand why.
[Show full text]
Playalong Recordings List May, 2017
World Music Drumming Transforming Lives . Building Community Playalong Recordings List May, 2017 The following PDF lists of recordings are recommended as playalong recordings to go with World Music Drumming ensembles. • Keep scrolling down to see all of the lists. • Artist and album information is given. • Most the songs can be purchased on iTunes or similar services. Putumayo recordings (Putumayo.com) are not part of iTunes. Guidelines for helping students play along with recordings • You must have a reasonably powerful sound system — playing drums with a small sound system won’t work. • Teach students to play softly; they must follow the recording, not the other way ‘round. • Begin by having students find the beat and meter of the recording: then start with air drumming their parts. • Stop drumming during breaks in the recording; then bring them back in. The Playalong Recordings Lists included in this PDF are: • World Music Drumming Ensemble 1 WMDr 20th Anniversary Teacher Edition • World Music Drumming Ensemble 2 WMDr 20th Anniversary Teacher Edition • World Music Drumming Ensemble 3 WMDr 20th Anniversary Teacher Edition • World Music Drumming Ensemble 4 WMDr 20th Anniversary Teacher Edition • World Music Drumming Ensemble 5 WMDr 20th Anniversary Teacher Edition • World Music Drumming Ensemble 6 WMDr 20th Anniversary Teacher Edition • World Music Drumming Ensemble 7 WMDr 20th Anniversary Teacher Edition • Desert Fire New Ensembles and Songs • Rock It! New Ensembles and Songs • Swing It! New Ensembles and Songs • On the Mountain New
[Show full text]
Chapter Trek Senegal Guide
Chapter Trek Senegal Guide 2 3 Chapter 1 – Welcome to Trek for Knowledge What is a Chapter Trek? p. 6 Trek Covenant p. 7 Trek Guidelines p. 8 + 9 Trek Itinerary p. 10 A Typical Day on Trek p. 11 One the Worksite p. 12 Living with a Host Family p. 13 Trek Packing List p. 14-15 Chapter 2 – Paperwork and Medical Concerns Passports p. 18 Vaccinations p. 19-20 Medical Concerns p. 21 Malaria & Mosquitoes p. 22-23 Traveler’s Diarrhea p. 24 Rabies p. 25 Food on Trek p. 26 Water on Trek p. 27 International Medical Insurance p. 28 Chapter 3 – Pre Trek Workshops Pre Trek Preparation p. 32 Circle of Trust p. 33 Personal Goals p. 34 Culture Shock p. 35-38 Senegalese Customs p. 39-42 Host Family Gifts p. 43 The Art of Giving p. 44 Chapter 4 – Senegal Profile & History Map p. 45 Senegal Profile p. 46 History, Land & People p. 47 Chapter 5 – Articles of Interest Islam in Senegal p. 56 The Songs of Senegal p. 59 Polygamy Throttles Women in Senegal p. 66 From Beggars to Students p. 69 Leopold Sedar Senglor p. 73 Further Resources p. 77 Chapter 6 – Reflection on Trek Reflection time and Journaling p. 80 Trek for Knowledge Senegal 2013 4 Chapter 7 – Host Family Activities No Regrets! p. 84 Community Mapping p. 85 Family Tree p. 86 Animal Sounds p. 87 Local Language and English p. 88 Tic Tac Toe p. 89 Dots and Boxes p. 90 Hopscotch p. 91 Chapter 8 – Journals Blank Journal Pages p.
[Show full text]
Download File
Mbalax: Cosmopolitanism in Senegalese Urban Popular Music Timothy Roark Mangin Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Timothy Roark Mangin All rights reserved ABSTRACT Mbalax: Cosmopolitanism in Senegalese Urban Popular Music Timothy Roark Mangin This dissertation is an ethnographic and historical examination of Senegalese modern identity and cosmopolitanism through urban dance music. My central argument is that local popular culture thrives not in spite of transnational influences and processes, but as a result of a Senegalese cosmopolitanism that has long valued the borrowing and integration of foreign ideas, cultural practices, and material culture into local lifeways. My research focuses on the articulation of cosmopolitanism through mbalax, an urban dance music distinct to Senegal and valued by musicians and fans for its ability to shape, produce, re-produce, and articulate overlapping ideas of their ethnic, racial, generational, gendered, religious, and national identities. Specifically, I concentrate on the practice of black, Muslim, and Wolof identities that Senegalese urban dance music articulates most consistently. The majority of my fieldwork was carried out in the nightclubs and neighborhoods in Dakar, the capital city. I performed with different mbalax groups and witnessed how the practices of Wolofness, blackness, and Sufism layered and intersected to articulate a modern Senegalese identity, or Senegaleseness. This ethnographic work was complimented by research in recording studios, television studios, radio stations, and research institutions throughout Senegal. The dissertation begins with an historical inquiry into the foundations of Senegalese cosmopolitanism from precolonial Senegambia and the spread of Wolof hegemony, to colonial Dakar and the rise of a distinctive urban Senegalese identity that set the proximate conditions for the postcolonial cultural policy of Négritude and mbalax.
[Show full text]
Baobab Brings Unique Afro-Cuban Music Blend to PAC April 29
News & Events University News & Information California Polytechnic State University, San Luis Obispo, California April 13, 2004 CONTACT: LISA WOSKE (805) 756-7110 FOR IMMEDIATE RELEASE Baobab Brings Unique Afro-Cuban Music Blend to PAC April 29 SAN LUIS OBISPO -- Orchestra Baobab, the groove-music 12-member Afro-Cuban ensemble who dominated the music of Senegal in the 1970s, will perform on Thursday, April 29, 2004, at 8 p.m. in the Christopher Cohan Center. Billboard Magazine called "one of the great bands in the history of West African music...The revitalized Orchestra Baobab sounds fabulous. Their Afro-Cuban sound is a thing of beauty... its return couldn’t be more timely." In an evening of Latin rhythms and African melodies, Cal Poly Arts presents the group as part of Cal Poly Arts' innovative Director's Choice series, which highlights emerging artists in featured performances. Senegal is a country with a rich musical heritage and one of the most vibrant pop music scenes on the African continent. In the 1970s, the style that filled Senegal's airwaves was a fusion of Afro-Cuban elements with various local sounds drawn from Senegal's diverse cultural traditions. The undisputed masters of this fusion were the legendary Orchestra Baobab. Baobab -- named for the baobab tree, one of the most emblematic and majestic trees of the African Savannah -- exploded onto the Dakar scene in 1970. They immediately became the top local band, famous for their sublime and sophisticated arrangements, lyrical vocals and dazzling guitar solos. For a decade, Baobab reigned supreme, recruiting some of the finest musicians from around the country, making them one of Senegal's most cosmopolitan and versatile bands.
[Show full text]
Nick Gold, the Musical Matchmaker Who Gave Mali the Blues •
Nick Gold, the Musical Matchmaker Who Gave Mali the Blues • Ali Farka Touré, left, with Nick Gold, who recorded him for World Circuit Records in sessions in Bamako, Mali, in 2004. Two of the resulting albums are due out this week. Mr. Touré died in March. Credit... By Ben Sisario • July 23, 2006 FOR the final recording sessions of Ali Farka Touré, the sage Malian guitarist who died in March, Nick Gold chose a particularly memorable location. Mr. Gold, the proprietor of World Circuit Records, Mr. Touré’s label, needed a very large space, and Mr. Touré, who was suffering from cancer, wanted to remain in Mali. So a temporary studio was set up on the top floor of the thatched-roof Hôtel Mandé in Bamako, the capital, where the wide windows offered panoramas of life along the Niger River. “All you can see is river and grasslands and villages and people in pirogues and canoes and boats,” Mr. Gold said in a recent interview. “It’s just beautiful.” Over a few fruitful weeks in June and July 2004 Mr. Gold produced three albums. The first, “In the Heart of the Moon,” by Mr. Touré and the kora (harp) player Toumani Diabaté, was released last year and won a Grammy Award for best traditional world-music album. The other two will be released on Tuesday: “Boulevard de l’Indépendance” by Mr. Diabaté’s 30-odd-piece Symmetric Orchestra — hence the need for the big room — and Mr. Touré’s “Savane,” a series of steady, pulsating meditations on the virtues of farming and hard work, in music that bridges modal West African traditions with the blues.
[Show full text]
“Cuban Music Is African Music”: Negotiating Africa and the African Diaspora on the World Music Stage1
“CUBAN MUSIC IS AFRICAN MUSIC”: NEGOTIATING AFRICA AND THE AFRICAN DIASPORA ON THE WORLD MUSIC STAGE1 by ALEYSIA K. WHITMORE Discussing the Senegalese band Orchestra Baobab’s incorporation of Cuban music, guitarist and band member Latfi Benjeloune told me, “Th e music didn’t come home and infl uence African music. Cuban music is already African. Th ese are African sensibilities that are being expressed…in some ways we felt like parents with this music…it came from us” (Interview, 25 October 2011). Here, Benjeloune justifi es his musical mixing by positioning himself in relation to the black Atlantic and African and Afro-diasporic peoples. Making musical and cultural connections across the black Atlantic is not a new phenomenon. African and Afro-diasporic musicians have long shared and taken up each other’s musics, be it funk, jazz or rumba. Th e dynamics of musical mixing, however, have varied widely and have been aff ected by power relations, histories, cultural understandings and misunderstandings, as well as by access to technology, the workings of the music industry, and distribution networks. In this article I look at the ways in which musicians approach and position themselves in relation to musical mixing and collaboration across the black Atlantic by examining the viewpoints of artists in two world music groups: Orchestra Baobab, a Senegalese band that blends Cuban and Senegalese musics, and AfroCubism, a collaboration between seven Cuban and six Malian musicians. As they creatively combine African and Cuban musics, Orchestra Baobab and AfroCubism artists negotiate and reimagine the connections between African and Afro-diasporic peoples, between Cuban, Senegalese and Malian cultures and histories, as well as between themselves and the global world music industry.
[Show full text]
África Cruza Fronteras Imaginarias
El músico francés Vincent Ségal y el tañedor malí de kora Ballaké Sissoko. África cruza fronteras imaginarias No es nueva la presencia de sonidos africanas en los mercados occidentales de música en Europa y América, tampoco su influencia creciente en estilos de otras latitudes. Pero sí conviene destacar el protagonismo creciente de artistas y canciones africanas en el repertorio popular contemporáneo. Desde aquellos experimentos con sabor afro-latino que exploramos en un capítulo anterior, las músicas de África han ido tejiendo un campo de influencia en músicas como el jazz, el rock, el pop o la música clásica. Cada vez más y mejor es apreciado el poder evocador de las músicas africanas, su riqueza rítmica y su capacidad de adaptación a cualquier campo sonoro. Desde una descarga con raíces cubanas al nuevo hip hop que contagia calles en los cinco continentes. Ahí late África. Con esta selección de SEMILLA NEGRA pretendemos repasar algunos de los episodios escritos por algunos músicos africanos en el terreno de los sonidos occidentales, ya sea a través de alianzas de intereses, versiones a lo africano o la presencia constante en los más importantes festivales de Europa y América. De ritmos foráneos adaptados a las cadencias musicales del centro de África a homenajes sentidos a importantes grupos o autores occidentales. Un recorrido por algunos de los proyectos con acento africano más interesantes que arranca precisamente con una curiosa adaptación de la canción “Wake up dead man”, de U2, en la voz de la cantante portuguesa de raíz mozambiqueña Maria João, interpretada a dúo con el pianista Mário Laginha para el álbum “Undercolors”.
[Show full text]