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Bali Festival

is a global celebration of the New Year through the universal joy of music. It will combine the rhythms of the local and global musical performances .

Festival of World Sacred

The 2015 Fes Festival of World Sacred Music will take place between May 22nd and 30th, 2015.

Babel Med Music

World music showcase Babel Med Music in Marseilles (France) has announced the names of some of the artists that will perform during the 2015 edition.

World music Gibraltar

La cantante franco-marroquí Françoise Atlan será la directora artística de este año y creará especialmente para GWMF una producción única de una hora llamada “Convivencia”. Músicos de todas las religiones actuarán en St. Michael’s Cave el 18 de junio

Raices En Lata

Proyecto personal donde encontraras toda la música que no encuentras en los círculos comerciales normales.Una vuelta a nuestras raíces,nuestras músicas mas perdidas y olvidadas,también músicas nuevas de gran valor,una vuelta de tuerca por todo nuestro territorio

Memoirs of an Arabian Princess – Sounds of Zanzibar

Sadness overwhelms Emily Ruete, born as Sayyida Salme, Princess of Zanzibar and Oman, when going on board her ship to return to the German Empire. She knows that also her last attempt failed to be welcomed again in her home. Only her reminiscences of the joyful music of Zanzibar live on. For the last time she hears the sound of the Indian Ocean and the calls of the fishermen while watching the disappearing silhouette of Stone Town. All what remains for her is a bag of sea sand, which she will keep for the rest of her life.

Hundred years later – in 2014 – the rhythms and melodies ring out molded by tradewinds and contacts across the Indian Ocean. Until today the Zanzibari orient their lives more across the sea, to Arabia, India, the Islamic world rather than to the Africa and the West. Rajab Suleiman, known as a member and soloist of the Culture Music Club, and his group Kithara carry on the tradition of Taarab. One of the most notable Zanzibar musicians, Makame Faki, and the young singer Saada Nassor introduce love songs. According to local anecdote, Taarab was started by Sultan Sayyid Barghash bin Said, who despises his sister Salme for falling in love with a stranger from Hamburg and allows her palace to go to ruin in 1914 in order to eliminate her traces.

The group Tarbiyya Islamiyya reaches ecstatic dimensions through rhythmical rites, the Mtendeni Maulid Ensemble ignites not only a religious but also a cultural and musical celebration. In the early morning the fascinating canons of the Muezzins in the historical city call to prayer in the mosque, and just like hundred years ago the bells of St. Joseph's Cathedral ring to accompany the entry of the St. Cecilia Choir.

With a mixture of soundscapes, rhythm, chants, wedding and festival music a sound journey emerges to Salme's island Zanzibar, where people enjoy life and dance.

– Stefan Winter

Zanzibar — comprising the islands of Unguja and Pemba and a few smaller islets just off the East African coast — is one of the centers of what is generally called Swahili culture, an Islamic urban culture molded by trade winds and contacts across the Indian Ocean. {Seyyid Said, Sultan of Oman and Zanzibar transferred his court to Zanzibar in the early 19th century and Zanzibar became the most important commercial entrepot for the East African trade in the course of the century. Zanzibar became a British Protectorate in 1890. In January 1964, just after independence, a revolution toppled the Sultan. In April of the same year, Zanzibar joined Tanganyika to become part of the United Republic of Tanzania.}

This culture flowered in the towns along the East African Coast at least since the 10th Century AD, communication across the sea, to Arabia, India and beyond, being assured by the dhow, the characteristic sailing vessel of the Indian Ocean. Until today the Zanzibari orient their lives more across the ocean and to the Islamic world rather than to the African mainland or the West, an outlook that is also very much apparent in the Islands' music and song.

The characteristic sound, defining the islands' aural landscape, is taarab music: traditionally in Zanzibar a lush sound produced by a variety of Oriental, African and Western instruments. In Swahili taarab describes the style of music as well as the occasion of performance; etymologically it is linked to the Arabic tariba, to be moved or agitated by playing or listening to the sound of music. The traditional setting for the live performance of taarab is primarily at weddings, with special concert performances on the occasion of Islamic holidays like Idd-el-Fitr.

Initially the orchestral sound of Zanzibari taarab had come to prominence in the wake of the popularity of Egyptian films, starring famous singers or composers like Umm Kulthum or Mohamed Abdel-Wahhab. However the Zanzibari orchestras produce a much sweeter sound, due to the more melodious Swahili language vocals and also the input of locally based African tunes. The names that came to incarnate this sound of Zanzibar are Ikhwani Safaa {Zanzibar’s oldest music club} and Culture Musical Club, the most popular orchestra leading up to the early 2000s. Society as a whole and fashions changed at a rapid pace in the past twenty years: A wave of so-called modern taarab has swapped over from the mainland and acoustic taarab has lost in popularity. The two big name clubs are all but dying, yet their legacy is alive.

Kithara was formed in 2011 by Rajab Suleiman and some younger members of the Culture Musical Club. „New times demand new structures to advance artistic goals“, he says. Feeling that their creativity was held up by the traditional club structure they branched out on their own.

Rajab has advanced his qanun playing studying repertoire from the instruments classical Arabic and Ottoman roots, branching out to include jazz or classical music. In building up a repertoire for the group, they have turned to the inspiration of Zanzibar’s many traditional ngoma dances, trying to marry the infectious rhythms and melodies to the groups regular taarab instruments that besides qanun, include ‘ud, violin, accordion, double bass and small percussion. Just recently up-and-coming new star Saada Nassor joined the group and in a short while has become the Islands’ most talked about new singer.

Kithara’s cherished male guest singer is Makame Faki, one of the doyens of Zanzibari taarab, having been a featured singer with Culture Musical Club for almost forty years.

Makame Faki also leads the Islands’ most in-demand kidumbak group Sina Chuki. Kidumbak is one of Zanzibar’s major wedding entertainments in the lower class areas of Zanzibar town and the rural areas of Zanzibar and Pemba. As a style kidumbak is somehow linked to taarab and its songs, yet it is per-formed with a reduced line-up of just one violin, vidumbaki {two small clay drums that give the style its name}, sanduku {tea-chest bass} and cherewa {maracas}. In contrast to taarab where the audience is traditionally seated, kidumbak is basically a dance-centered music, which integrates the female wedding audience as singers and chorus as well.

Qasida is an Arabic form of poetry dating back to pre-Islamic days. On the predominantly Islamic East African coast qasida has become an independent, Swahili-language form, which from the African context also draws melodic and polyrhythmic elements. The vocals of a lead singer are first picked up by a chorus. The singers are then joined by a set of up to ten tuned frame drums. Initially the chorus just sits, yet as the rhythm develops, increasingly complex wave-like movements develop where the participants straighten up yet always remain on their knees.

Tarbiyya Islamiyya is a madrasa founded by teenagers from Mfereji Wawima, a suburb of Zanzibar City. Aman Ussi and friends founded the first Islamic school for the children of the neighborhood, but soon discovered their own talent as composers and lyricists — and that of their students

as a singer and choreographers. Meanwhile, the group has become one of the leading ensembles in Zanzibar, being invited to perform maulid during various social events such as weddings, birth celebrations and circumcision ceremonies. A maulidi is a performance celebrating the birth and life of the Prophet Muhammad.

The Mtendeni Maulid Ensemble performs a visually and acoustically striking style of Sufi religious devotion called Maulidi ya Homu. The form has roots in the ancient Arab world, but today survives only in Zanzibar. Maulidi ya Homu is associated with the tariqa, Sufi order or brotherhood, founded by Ahmad al-Rifa’i. The Rifa’iyya originating in Egypt has spread over the Near and Middle East, but also as far as Indonesia, the Comoros, and Zanzibar. The form of Maulidi ya Homu performed today is thought to have originated from Iraq and came to the island around 1800. Over time the performance has become distinctly Zanzibari, blending local ngoma traditions with Sufi elements. Maulidi ya Homu is at once a musical, a religious, and a literary performance that draws on a rich heritage: A Sufi mystical tradition that has become amalgamated with Swahili aesthetical and cultural values.

Qasida are sung in both Arabic and Swahili, they are usually in praise of the Prophet Mohamed or extol the virtue of his life. Tarbiyya’s qasida here are „Ya Tawwabu Subhanallah” {Oh Ever-Returning, Glorified be Allah} and „Habibi Nabii Muhammad” {The Beloved Prophet Muhammad}. Mtendeni’s performances are much more improvised and usually string together pieces from various compositions. The sections here are „Shufaini” (Fear not) and „Khamsa arikanu” (Five Pillars).

Taarab is a repository of the old Swahili traditions of poetry. This poetry follows strict rules of syllables, lines and rhymes, the true meaning of songs often hidden under layers of metaphor and other tropes. Saada Nassor’s „Ondoa Hofu” asks a beloved to not be afraid to pronounce the truth about his or her feelings. Makame Faki’s „Aheri Zamani” laments the passing of an age. Kithara’s other songs are adaptations of ngoma, traditional dance songs. Ngoma songs usually string together choruses from various songs, the same is true of kidumbak songs, which are usually medleys or quotes from taarab songs, with catch-phrases from various genres thrown in the faster dance sections. – Werner Graebner

1 Nipe Tena (Bashraf)
2 Kombo (Bomu Ngoma)
3 Ya Tawwabu Subhanallah & Habibi Nabii Muhammad
4 Ondoa Hofu
5 Kidumbaki (Medley)
6 Aheri Zamani
7 In the Morning / Mpigie Mungu Kelele Za Shangwe
8 Shufaini & Khamsa Arikanu
9 Kipenzi Changu (Kyaso Ngoma)

Paula Morelenbaum - Telecoteco

Paula Morelenbaum
TELECOTECO Um Sambinha Cheio de Bossa...
Como sugeriu o poeta Vinicius de Moraes, a Bossa Nova foi também um clima, uma atmosfera, um estado de espírito. Mas qual o caminho trilhado pela música brasileira até ganhar esta força?
Telecoteco é uma espécie de livre ensaio sobre a moderna música popular no Brasil. Digo isto porque o álbum parece mover-se pela força de uma visão histórica, de pontos de vista críticos, conceitos. Seu repertório surge, assim, como uma proposição acerca dos fundamentos da canção brasileira: diversidade de estilos e nacionalidades, abertura às influências e à modernização.
Ou ainda, Telecoteco traz à cena a abrangência, o cruzamento, a invenção, a simplicidade e a sofisticação, o popular e o erudito, apaixão e a ironia.

Desde o seu título – Telecoteco – que semelha o som de um batuque, o disco aponta para o samba como matéria lúdica, inventada por um país moderno, urbano, que encontrou naquele ritmo uma linguagem capaz
de traduzir sua complexidade cultural. Mas tal visão resulta menos da abrangência do painel que da precisão do recorte: o repertório – que vai do final da década de 30 ao início de 60 –  elege as
canções em que se destaca o despojamento, poético e musical.

O projeto ainda conta com as participações especiais de:
Ryuichi Sakamoto,
João Donato,
Marcos Valle,
Jaques Morelenbaum,
Leo Gandelman e Chico Pinheiro.

01 Manha De Carnaval - & Ryuichi Sakamoto
02 Nao Me Diga Adeus - & Jaques Morelenbaum
03 O Samba E O Tango - & Bajofondo
04 Love Is Here To Stay - & João Donato
05 Um Cantinho E Voce - & Leo Gandelman
06 Ilusao A Toa - & Marcos Valle
07 Telecoteco
08 Sei Lá Se Tá - & Chico Pinheiro
09 O Que Vier Eu Traço
10 Voce Nao Sabe Amar - & João Donato
11 Ternura Antiga - & Leo Gandelman
12 Luar E Batucada

Fabrizio Cassol, Serge Kakudji, Rodriguez Vangama -Coup Fatal

Coup Fatal (Fatal Blow) es un encuentro original entre barroco y la música congoleña. Este extraordinario proyecto lo organizan Fabrizio Cassol (director musical), Serge Kakudji (contratenor) y Rodríguez Vangama (conductor y guitarrista)  desde hace varios años, se han elaborando un "recital barroco 'del tipo que usted nunca ha oído hablar. Live, el espectáculo es efectuado y coreografiado por Alain Platel, que lidera la compañía de 13 músicos muy lejos en un universo donde las canciones, instrumentos y bailes tradicionales africanos son uno. 'Hits' barrocas se mezclan con la música folk en una nueva exploración del repertorio que pone una dimensión común increíble entre los dos universos como epígrafe.

El espectáculo fue dado por primera vez en el legendario Burgtheater de Viena en junio de 2014 y fue cabeza de cartel en el Festival de Aviñón el verano pasado. Un recorrido, que abarca varios años con visitas a numerosos países, está previsto e incluirá el Teatro Chaillot (París) en 2015.

1. Toccata (After Monteverdi) 07:05 
2. Presti Omai (After Handel) 05:50 
3. Vedro (After Vivaldi) 06:28 
4. Prelude (After Bach) 05:08 
5. Domerò (After Handel) 05:17 
6. Stille Amare (After Handel) 08:05 
7. Ekunda 06:08 
8. Barbaro (After Vivaldi) 03:19 
9. Che Faro (After Gluck) 04:36 
10. Système de jeu 08:32 
11. Lascia (After Handel) 10:50

Gilberto Gil - O Sol De Oslo

In his extensive discography, Gilberto Gil has explored almost every possible shade of pop music. In this album, produced by the independent label Pau Brasil (Gil is a WEA artist), he felt safe to shamelessly go back to earlier days, where his wonderful melodies were free of the artist's anxiety for fame and success. This album is a delicate collection of acoustic grooves (with a couple of electric renditions), with several different world references, ranging from folkloric chants (the researcher/singer Marlui Miranda is instrumental here), northeastern coco (the folkloric "Tata Engenho Novo" is hot, swinging, and thrilling), cantigas ("Mana," folklore), xote-ska ("Xote"), new age ("Kao"), modern ciranda ("Ciranda," beautiful, dissonant melody by Moacir Santos), rap ("Rep," excellent deconstruction of that style by the smart percussion of Trilok Gurtu), xaxado ("Onde O Xaxado Ta," faithful acoustic rendition), and the hot Olodum rhythm ("Oslodum"). There is even a traditional coco, "17 Na Corrente," which may be a hit in the dance clubs in its funk rendition with drum machines and brass attacks. Pay attention to the beautiful jazz-baiao solo in "Eu Te Dei Meu Ane." Joined by excellent musicians Marlui Miranda, Bugge Wesseltoft, Trilok Gurtu, and Toninho Ferragutti, Gilberto Gil makes justice to his name with Sol de Oslo, which stands several notches above the average pop record. ~ Alvaro Neder, All Music Guide

1. Tata Engenho Novo
2. Mana
3. 17 Na Corrente
4. Xote
5. Eu Te Dei Meu Ane
6. Kao
7. Ciranda
8. Rep
9. Onde O Xaxado Ta
10. Lingua Do Pe
11. Santinha la da Serra, A
12. Ai Baiano
13. Bastiana
14. Oslodum

Javier Bergia - De aquellos años verdes

Javier Bergia nace en Madrid en junio de 1958.Su abuelo fue el tenor José García Romero; su madre, la actriz y soprano Amelia Garlez; su tio, el violonchelista Carlos Baena, alumno de Pablo Casals. Se forma como guitarrista, cantante y percusionista, siguiendo con atención a artistas como los Beatles, James Taylor, Joni Mitchell, Stephen Stills, Leonard Cohen, Bob Dylan, Simon and Garfunkel, etc. A finales de los 70 recibe clases de Gregorio Paniagua, que le inicia en la música clásica y antigua y en los grandes compositores impresionistas, como Ravel, Debussy, Satie, etc. Entra a formar parte como multinstrumentista del grupo de música antigua de su maestro, Atrium Musicae de Madrid. Desde 1984 colabora también con el grupo experimental Finis Africae.1 En los últimos años ha participado, como colaborador habitual, en los programas de Radio Nacional de España "De la noche al día" y "La noche menos pensada", ambos dirigidos por el locutor Manolo HH y emitidos simultáneamente por Radio 1 y Radio 5.

Son múltiples las composiciones y colaboraciones que ha realizado para, documentales, cortometrajes, vídeos, y discos de otros artistas. A destacar, las composiciones y arreglos realizados para María del Mar Bonet (en Bon viatge faci la Cadernera, 1990), Joaquin Diaz, Vainica Doble (en Taquicardia, 1984), Marina Heredia, Pasión Vega, Ismael Serrano, Antonio Vega, Ella Baila Sola, Café del Mar, etc. Ha compuesto música, sintonías y canciones para largometrajes, series de televisión y teatro tales como, Invierno en Bagdag, Sos Primeros Auxilios, Sueños de Futbol, Media Naranja, Carmen y familia, Pareja Abierta (de Dario Fo), La ley y la vida, etc


María de los Desamparados
Si es por ti yo daría mi vida,
perdería la razón,
no esperaba tan pronto que dijeras adiós,
de los Desamparados como tú y como yo,
una flor tan hermosa, una bella canción.
Hace mas de un año que no sé nada de tu vida,
sé que tarde o temprano volverás.
caminar por las olas de la mano del sol,
te compré sólo flores, sólo ha sido un error.
con tu falda de estrellas me dijiste adiós una tarde de mayo entre la una y las dos. Malos días se llevaron mi muñeca en un capazo. alguien me robó lo que yo más quería.

1 De Aquellos años verdes
2 La Gran Vía
3 María de los desamparados
4 Del buen humor
5 Gorilaz de Maíz
6 Nunca te dije
7 La Oración y el Té
8 Recoletos
9 Donde una amapola blanca
10 Estaba listo
11 La Lluvia
12 Sólo una canción
13 Eucaliptus blues
14 Un trocito de Junio

Sarakina Inspired By Chopin -Fryderykata

Team Sarakina is a Bulgarian-Polish-Czech band combines Balkan folk music, jazz and world music. Compositions and arrangements influenced Bulgarian folk music, classical jazz improvisation with elements of ethnic flavors to stream music art. The team consists of professional musicians, graduates of schools of music, play instruments like the accordion, clarinet, bass, Kaval, bagpipes, Tupana, tabmura. Group of concerts since 1999.

Jacek Grekow - accordion, kaval, bagpipes
Jan Mlejnek - clarinet, tambura
Mateusz Bielski - double-bass
Wojciech Bronakowski - percussion
Maciej Nerkowski - vocal
Robert Siwak - daf

1 Nocturne in G minor Op.15 no.3 3:29
2 Waltz in D Flat major Op.64 No.1 6:12
3 Hulanka op.74 No.4 4:33
4 Prelude in C minor Op.28 No.20 9:00
5 Mazurka in G minor Op.24 No.1 3:52
6 Ballade in 7 4:54
7 Mazurka in A minor op.17 No.4 4:31
8 Prelude in E minor Op.28 No.4 3:49
9 Fryderykata 11:46
10 Se navali Shar planina 3:58

Ellika Solo Rafael - Now

Subido por Marhali.

La violinista sueca Ellika Frisell y el cantante e intérprete de kora Solo Cissokho, un griot de Senegal, llevan tocando juntos desde hace más de quince años en una búsqueda de terrenos comunes entre el violín escandinavo y el sonido de la kora de África Occidental. Los dos publicaron dos álbumes como dúo, Tretkat Takissaba y Abaraka Tack (Xource, 2002 y 2005) y recibieron el BBC World Music Award. A Now (2013) se suma el célebre baterista y percusionista Rafael Sida, originario de México, un cercano colaborador Ale Möler, uno de los precursores de la escena de la world music sueca.

El trío entreteje melodías tradicionales del rico folk sueco con legados griot del oeste africano, aderezado con ritmos latinos de una manera tan armónica que las distancias geográficas y las diferencias culturales se disipan, sin dejar de destacar la fuerte individualidad de cada artista. Ellika, Solo y Rafael son narradores magistrales que pueden crear tramas detalladas y coloridas dentro de una canción. Vagan tranquilamente entre las tradiciones, yendo y viniendo, adornando y enriqueciéndose en un juego sin esfuerzo, de empatía y de apoyo, profundizando e innovando, sin prisas, en una extensa y emocional conversación. Una experiencia preciosa.

01. Brudpolska efter Janissa Per Hansson
02. Sanka/Virrvals
03. Skänklåt från Bingsjö/Sahadougou/Kelefapolska/Kelefaba
04. Nanibaly
05. Dolo/Porque Se Fue
06. Brurleken Hennes Mor/Väder/Saragode/Sambembe
07. Casesolo
08. Djibril
09. Saya/Vägen
10. Wousse

2814 - 新しい日の誕生

The concepts of futurism, romance, surreality and nostalgia are all basic underlying themes than be found across this diverse and amazing genre of music and they are things I have generally been attracted to in all forms of art throughout my life. Beyond that, these themes can be and are often extrapolated upon to explore artistic areas which have never been touched upon before in music, both thematically or musically.

1 恢复 5:51
2 遠くの愛好家 6:18
3 新宿ールデン街 8:51
4 ふわっと 6:36
5 悲哀 9:23
6 真実の恋 7:12
7 テレパシー 10:08
8 新しい日の誕生 13:04