Susheela Raman – Queen Between

Subido por Marhali.

Queen Between (2014) es el sexto álbum de Susheela Raman, su mejor disco hasta la fecha, el más ambicioso y emocionante para una artista acostumbrada a romper fronteras musicales, un trabajo que apunta a la música qawwali pero que, con la visión moderna que tiene la música de Susheela, escapa a los límites tradicionales.

En este disco, después del magnífico Vel (2011), donde se adentró por completo en la cultura familiar consiguiendo una auténtica reinterpretación contemporánea de las músicas tradicionales del sur de la India, acompañada de su inseparable compañero, guitarrista y productor Sam Mills, añaden a sus influencias tamiles las del trance qawwali. Queen Between es grande, también, por el elenco de artistas que interviene. Además de su cómplice Aref Durvesh, maestro de la tabla, hay que añadir a los músicos de Rajastán: Kutle Khan que le apoya vocalmente y también toca el arpa de boca y las percusiones, Nathoo Solanki con los tambores y Rana Ram Bhil con las flautas narth. También participan en tres de sus canciones un antiguo colaborador y amigo, Vincent Segal, con su brillante cello. Y, para destacar, Rizwan-Muazzan Qawwals, los dos sobrinos del legendario Nusrat Fateh Ali Khan (Muazzam y Rizwan) y su grupo, que tienen una capacidad asombrosa para crear unos sonidos vocales que favorecen que la voz de Susheela crezca de manera sublime.

En las ocho canciones editadas se aprecian los resultados del viaje que hicieron cantante y productor a la región del Rajastán para complementar su cultura y prendarse de sonoridades inspiradoras, cuyo resultado es una especie de misticismo musical que se adapta muy bien a los ámbitos urbanos, un armazón en el que lo ancestral se teje a la perfección con la actualidad más vibrante. Un disco aderezado principalmente de instrumentos acústicos y orgánicos, grabado casi todo como si fuera un concierto en vivo (con algunos retoques finales) y con cierto aire psicodélico, y con letras, casi todas en inglés, personales y profundas. Excepcional.

01. Sharabi
02. Corn Maiden
03. Riverside
04. Sajana
05. North Star
06. Queen Between
07. Karunei
08. Taboo

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Toto Bissainthe - Chante Haiti (1977)

Marie Clotilde "Toto" Bissainthe (1934 – June 4, 1994) was a Haitian actress and singer known for her innovative blend of traditional Vodou and rural themes and music with contemporary lyricism and arrangements. Born in Cap-Haïtien in 1934, she left Haïti at an early age to pursue her studies abroad. Her career started in theatre with the company Griots, of which she was a founding member in 1956. Griots was at the vanguard of négritude-inspired cultural institutions in France, and was the first African theatre company in Paris.

With a groundbreaking performance in 1973 at La vieille grille in Paris, Toto Bissainthe established herself as singer-songwriter-composer, stunning the audience with her soul-stirring renditions of original compositions that paid homage to the lives, struggles, miseries and spirituality of working class and rural Haïtians.

An artist in exile, Toto Bissainthe will be unable to return to the Haïti that so inspired her until the departure of Jean-Claude Duvalier in 1986. However, the multiple disappointments of the unending democratic transition and political infighting would forever embitter the outspoken artist, who had long dreamed of a return to help rebuild her motherland. Saddened by Haïti's social and political degradation, Toto Bissainthe's health would enter a downward spiral ending with her death from liver damage on June 4, 1994.https://en.wikipedia.org/wiki/Toto_Bissainthe

Bass – Beb Guérin
Guitar – Patrice Cinélu
Percussion – Akonio Dolo, Mino Cinélu
Vocals – Mariann Mathéus, Marie-Claude Benoit, Toto Bissainthe





1 Soley Danmbalab
2 Papaloko
3 Ibo Ogoun
4 Papa Danmbalah
5 Lamize Pa Dous
6 Dey
7 Rasanbleman

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The BossHoss - Rodeo Radio

The BossHoss es un grupo musical de cowpunk fundado en 2004 en Berlín (Alemania). El grupo fue formado por Alec Völkel (cantante) y Sascha Vollmer (voz y guitarra acústica), con los seudónimos de Boss Burns y Hoss Power, respectivamente. The BossHoss nacieron como un grupo de versiones de canciones de pop mainstream en clave country y cowpunk. Ellos autodenominan a su música «Country Trash Punk Rock».1 Son una banda country con corazón de rock'n'roll, amantes de Elvis, disparando versiones que no-creerás-hasta-que-las-oigas de canciones como Hot In Herre de Nelly, Sabotage de Beastie Boys o el ya clásico de Outkast Hey Ya! MAS INFO


1 Intro 1
2 Rodeo Radio (Album Version)
3 Ring Ring Ring (Album Version)
4 My Favourite Game (Album Version)
5 I Say A Little Prayer (Single Version)
6 I'm On A High (Album Version)
7 Hell Yeah (Single Version)
8 Hot Stuff (Album Version)
9 Rodeo Queen (Album Version)
10 It's Not Unusual (Album Version)
11 Shake A Leg (Album Version)
12 Mary Marry Me (Album Version)
13 Jesus' Built My Hotrod (Album Version)
14 Upside Down (Album Version)
15 Ça Plane Pour Moi
16 You'll Never Walk Alone / Yodle Blues

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Parchman Farm: Photographs and Field Recordings, 1947-1959

On November 11, 2014 the Dust-to-Digital label (what a great name for an archival label) will release an incredible collection titled Parchman Farm: Photographs and Field Recordings. Working in collaboration with the Association For Cultural Equity and the Alan Lomax Archives, DtD’s Parchman Farm set includes a 124-page 6.25” x 9.50” hardcover book with two CDs featuring 44 vintage blues performances (12 of which are previously-unreleased), packaged in a foil-stamped slipcase. The book offers essays by Alan Lomax, Anna Lomax Wood, and Bruce Jackson as well as 77 photos, many of which are being published for the first time. The set was produced by Steven Lance Ledbetter, founder of Dust-to-Digital, and Nathan Salsburg, curator of the Alan Lomax Archive.

So why is this set so damn cool? Musical historian Alan Lomax made three trips behind the wire at the Mississippi State Penitentiary in Parchman, Mississippi. Carrying his portable (but large) reel-to-reel tape deck during his 1947 and ’48 visits, and a camera for his 1959 visit to the institution, Lomax recorded hours of tape of prisoners singing for the Library of Congress. Lomax was the first to record Muddy Waters (known in Mississippi as McKinley Morganfield), and his enormous archive of field recordings from the Southern United States, the Caribbean islands, and the European continent is the largest collection of authentic, traditional folk music in the world.

The Parchman Farm set offers a wealth of antique recordings that are easily the equal of the Paramount Records collections released by Jack White’s Third Man Records. Although Paramount had the hits and marquee name performers, Parchman Farm provides a voice to the obscure and disenfranchised singers frequently locked up behind barb wire only for the crime of being African-America. Parchman Farm includes performances by little-known but not unimportant talents like Floyd Batts, Clarence Alexander, Grover Wells, and Willie Washington, among others.

In his essay for the Parchman Farm set, Bruce Jackson writes "Black prisoners in all the Southern agricultural prisons in the years of these recordings participated in two distinct musical traditions: free world (the blues, hollers, spirituals and other songs they sang outside and, when the situation permitted, sang inside as well) and the work-songs, which were specific to the prison situation, and the recordings in this album represent that complete range of material, which is one of the reasons this set is so important: it doesn't just show this or that tradition within Parchman, but the range of musical traditions performed by black prisoners. I know of no other album that does that."

An important, essential collection of first generation American music, the Parchman Farm set deserves space on the shelf of any blues fan. Check out the Dust-to-Digital website for more details on the set.







Disc 1: 

1947-’48 Work Songs and Hollers

1. Jimpson and Group – “Murderer’s Home”
2. 88 and Group – “Rosie” *
3. 22 and Group – “It Makes A Long Time Man Feel Bad”
4. 88 – “Whoa Buck”
5. Tangle Eye, Hard Hat, 22, and Little Red – “When I Went to Leland”
6. Buzzard and group – “I’m Going to Memphis”
7. 22 and Group – “The Prettiest Train I Ever Saw”
8. 22 and Group – “John Henry”
9. Dan Barnes and Group – “John Old Alabama”
10. Foots – “Hollers”
11. Dobie Red and Group – “Stewball”
12. Bama – “Levee Camp Hollers”
13. Tangle Eye, Hard Hat, 22 and Little Red – “Early In the Morning”
14. Dobie Red and Group — “I Got A Bulldog (Well I Wonder)”
15. 22 and Group – “Dollar Mamie”
16. Bama – “Stackalee”
17. Dan Barnes and group – “I Don’t Want No Jet Black Woman” *
18. Bull, Foots and Dobie Red – “Did You Hear About Louella Wallace”
19. Tangle Eye – “Tangle Eye’s Blues”
20. 22 and Group – “Rosie”
21. Bama – “I’m Going Home”
22. Jimpson and Group – “No More My Lord”
23. Unidentified Group – “The Weather Get Warm” *

Disc 2: 

1947-’48 Blues / 1959 Work Songs and Hollers
 
1. Floyd Batts – “Lucky Song”
2. Clarence Alexander – “Disability Boogie Woogie”
3. John Edwards and Group – “Berta” *
4. Clyde Jones and Group – “Poor Lazarus” *
5. John Dudley – “Cool Drink of Water Blues”
6. Ed Lewis – “Levee Camp Holler / Interview”
7. Ed Lewis and Group – “Black Gal”
8. Bama – “I Don’t Want You Baby” *
9. Grover Wells and Group – “Rosie” *
10. Bridges Lee Cole – “Hollers”
11. John Dudley – “You Got a Mean Disposition”
12. John Dudley – “Big Road Blues”
13. Ervin Webb and Group – “I’m Going Home”
14. George Golden and Group – “Berta” *
15. Grover Wells – “Up the River” *
16. Clarence Alexander – “Prison Blues”
17. Johnny Lee Moore, Ed Lewis, James Carter, and Henry Mason – “Tom Devil”
18. Willie Washington – “My Jack Don’t Drink No Water” *
19. Leroy Campbell and Yancey – “Sometimes I Wonder”
20. Henry Ratcliff – “Look for Me In Louisiana”
21. Heuston Earms – “Ain’t Been Able to Get Home No More” *

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Finvarra - Finvarra

Enter the world of Finvarra - a dark, dreamy field of sound that at times feels like it has no beginning or end. A sound in search of a description - Oriental Celtic best fits the bill. In this first self-titled album, Finvarra demonstrate that they bring a special element and approach to their love of Celtic music. They transform familiar tunes into new and exotic experiences. They interweave traditional music with ’progressive rock’ songs from the 1970s including the Battle of Evermore (Led Zeppelin) and Kelpie (Jethro Tull). Their music is a journey and the listener gets carried along with them on its wave.

’We are a small band of travelling musicians trying to fit into the modern world who keep on travelling and making music whenever and wherever they can.’ Finvarra first began to play together in Leiden, The Netherlands, two years ago and have been playing together ever since.

Dieke was ’a sultry jazz singer in smoky opium dens but now she adds her honey-like voice and tribal percussion beats to the Finvarra sound’. Gwendolen’s voice provides a harmonious counterpoint to Dieke’s, perhaps best captured on the mesmerising Battle of Evermore. She also plays Indian harmonium and Irish bouzouki. Patrick plays guitar with vigour and passion, as well as bouzouki and mandolin. Corne brings impressive driving fiddle to the band and also plays percussion. The result is a distinctive sound that commands attention.http://brightyoungfolk.com/records/finvarra-finvarra




1. Kelpie/Cliffs of Moher
2. The Wind that Shakes the Barley
3. Ciueleandra/Jovano Jovanke
4. Dimna Juda
5. The Well Below the Valley
6. Only Our Rivers Run Free
7. Drink Down the Moon/Bonaparte Crossing the Rhine
8. Flatworld
9. A Poison Tree
10. The Battle of Evermore
11. The Blacksmith

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Faris - Mississippi to Sahara

Desert Blues’ was a term created by music journalists back in the 90s to describe the music of Ali Farka Toure, Tinariwen, and others. But American blues really does have it roots in West Africa, particularly the Sahel and Sahara regions. Amongst the originators of the blues are the Kel Tamasheq or Tuareg people. On this album, Faris brings 12 rural Delta blues songs back home to Africa, revisiting them in the guitar style known as assouf and showing how close the souls of these two worlds are to each other.

‘Mississippi to Sahara’ was born as the intitiative of Sedryk, founder of the French label Reaktion, which had already collaborated with some of the most prominent Saharan artists (Tinariwen, Terakaft), and often contributed in making them known to a western audience (Bombino, Tamikrest, Aziza Brahim). His idea: to interpret the term “Desert Blues“ literally by asking a Tamasheq musician to replay and adapt the old rural blues of the Mississippi in a Tuareg style. Faris was the natural choice of artist for such a project. In fact, his mixed race status (Italian via his father, Algerian Tuareg via his mother) and his dual culture, Western and Saharan, makes him unique on the Tuareg scene. It was the discovery of Jimi Hendrix in his adolescence that brought him to the guitar, before he rediscovered his maternal culture via the world success of Tinariwen. A moment in his life that he describes as a 'revelation': “When I played Jimi Hendrix, or the blues, it always seemed like I was imitating something. But when I began to play this music, asssouf music, it was something that came very easy.“

The Reaktion label had already released the Faris’ first EP in 2011, 'Imeslan N Essouf' on which he was accompanied by his malian big brothers from Terakaft. In the process, he took his first steps on stage in front of his family, first in Tamanrasset (Algeria), then at the mythical Festival in the Desert in Timbuktu (Mali), with a backing band composed of members of Tinariwen. Despite his people’s recognition, he only revealed his tamasheq side, leaving his western culture in the shade. ‘Mississippi to Sahara’ allowed him to finally reconcile his Saharan roots with his love of American blues. While paying tribute to some of his heros (Blind Willie Johnson, Robert Johnson, Son House, Mississippi John Hurt… ), he also shows how one of the sources of the blues is situated in the Sahara, in the home of the Tuaregs.

Faris wrote new Tamasheq lyrics, keeping some of the original English verses. He arranged the songs in a very personal style, allowing the sensitivity of the guitarist and singer to emerge. Whether acoustic, electric or sometimes with a Weissenborn guitar (a first in Tuareg music), Faris reveals a way of playing with finesse and full of emotion. He plays all of the instruments with one notable exception: the presence on two titles of the octagenarian bluesman Leo Bud Welch, who’s role here is the link between the Mississippi and the Sahara.

The album was recorded in only three days, without any superfluous production effects, leaving it in the true spirit of the Delta blues: one voice, one or two guitars, sometimes with discreet percussion… An authentically stripped music, in the image of the desert, keeping only what’s essential: the nostalgia of exile, the pain of being far from your family and your land… The feeling experienced by Afro- American slaves under the name of the blues, and which the Tuaregs call assouf.
https://reaktionrecords.bandcamp.com/album/mississippi-to-sahara



01 Oulhawen Win Tidit
02 Alwaq Semman
03 Assouf Id Nekmam
04 Imiskay Idjoleman
05 Aghregh Yallah
06 Inezdjam
07 Oulh Essayaq
08 Alkhoriya
09 War Toyed (feat. Leo Welch)
10 Ma Ihan Iman Nagadem (feat. Leo Welch)

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Cardo-Roxo - Alvorada

Cardo-Roxo es un dúo formado por Antonio Fernandes y Carmina Repas Gonçalves, un par de músicos residentes en Porto. Este proyecto nació en 2012 el deseo de jugar y de transmitir al público la música tradicional portuguesa con una nueva perspectiva.

Cardo-Roxopropone un enfoque basado en la escucha, como el silencio y el volumen natural de los instrumentos sin amplificación u otros efectos artificiales. El objetivo es invitar al público a disfrutar de un concierto íntimo y agradable, explotando al máximo los recursos de los instrumentos y el espacio que se encuentran.

Junto con la dimensión contemplativa y siempre con el objetivo de restablecer el vínculo entre el público y sus propias raíces, hacer una muy cuidadosa selección de melodías que les llegan a través de colecciones de audio, video y escrito sobre la que construir los acuerdos que respeten el sonido y características emocionales de los mismos. Sus canciones son, pues, al mismo tiempo originales / moderno y familiar / hombre en el sentido de que, por un lado se esfuerzan por cambiar lo menos posible la fuente de la música y, en segundo lugar, para renovar su imagen. http://cardoroxo.wix.com/site#!portugues/c1ww





01. Acorda To
02. Fado Azarado
03. Chula de Gouve
04. Beijai o Menino
05. Canto ao Menino
06. Fandango Saloio
07. Cantiga da Ceifa
08. Entrai Pastores
09. Bailarico Algarvio
10. Eito Fora
11. Meu Bem
12. Senhora da Povoa
13. Chora Aurora

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Rupa & the April Fishes - este mundo

Rupa and the April Fishes es una agrupación musical surgida en San Francisco, California y liderada por Rupa Marya. Sus canciones son una mezcla de diversos estilos de música internacional y las letras son interpretadas en varios idiomas, principalmente en francés, español e inglés.

El Grupo fue dado a conocer en los Servicios Internacionales de la BBC y en la Radio internacional pública The World.

El grupo ha realizado conciertos en Norte América y en Europa, incluyendo apariciones durante el verano en el Central Park en la ciudad de Nueva York y en el South by Southwest Festival realizado en Austin, Texas.http://es.wikipedia.org/wiki/Rupa_%26_The_April_Fishes






01.(la frontera)
02. c'est moi
03. por la frontera
04. la linea
05. la rose
06. culpa de la luna
07. L'elephant
08. soledad
09. (el camino del diablo)
10. este mundo
11. soy payaso
12. neruda
13. trouble
14. la estrella cafda
15. espero la luna

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Miriam Makeba - The Voice of Africa (1964/2015)

Aunque pasó su infancia en Pretoria (Transvaal), Makeba comenzó a cantar en los años cincuenta con el grupo Manhattan Brothers, tras lo que fundó su propia banda, The Skylarks, que mezclaba jazz con música tradicional sudafricana.

Después de ver que no podía llevar a cabo en su país la carrera musical que ella quería por su activismo comprometido, la cantante viajó a Venecia (Italia) para después conseguir llegar a Londres (Reino Unido), donde conoció a Harry Belafonte, quien le ayudó a entrar en Estados Unidos. Luego de su casamiento con el activista negro trinitense Stokely Carmichael, la persecución estatal los obligó a abandonar el país, trasladando su residencia a Guinea.

Icono de la lucha contra el apartheid en su país, Makeba, marginada durante más de tres décadas por el régimen racista sudafricano, siempre estuvo comprometida con la lucha por los derechos civiles y contra el racismo, una entrega que llevó a cabo hasta el último momento de su vida. La cantante, conocida también como «Mamá África», supo llevar como nadie al escenario las tradiciones y los trajes típicos de su tierra, en espectáculos donde su voz cálida y su gran presencia eclipsaban a los instrumentos étnicos que la acompañaban.

En 1972, Makeba actuó en el Festival de la Canción de Viña del Mar (en Chile). Es conocida en ese país por lo que fue su cercanía con la Unidad Popular y la figura de Salvador Allende. En dicha actuación fue abucheada por un público claramente opositor al gobierno socialista. En 1973 se separó de Carmichael
.http://es.wikipedia.org/wiki/Miriam_Makeba




01. Nomthini
02. Willow Song (From ''Othello'')
03. Langa More
04. Shihibolet
05. Tuson
06. Qhude
07. Mayibuye
08. Lovely Lies
09. Uyadela
10. Mamoriri
11. Le Fleuve
12. Come to Glory

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Monoswezi - Monoswezi Yanga

The second release from Monoswezi builds on their impressive debut. With a sound built on the unlikely twin foundations of Zimbabwean mbira (thumb piano) and Scandinavian jazz. Fronted by vocalist and mbira player Hope Masike, the material is a mix of traditional and original, with one common thread – the kind of delicious languor that made bossa nova such a delight. This is every bit as easy on the ear; even at their most impassioned, the pace is never more than a fast trot, and Masike’s voice has a similar seductive allure to Astrud Gilberto. The music, of course, is very different. It’s a hybrid, its feet in Africa, its head in Northern Europe, but it works, lulling, offering a hand to draw in the listener.

The five-piece works well together, even if much of the recording was done while the players were at a distance. Hallvard Godal’s sax is a good foil for the voice, while some inventive percussion gives a soft bed for the sound. As multicultural fusions go, this is very powerful, each element complementing the other to create something new and very enjoyable.


01. Intro (2:34)
02. Povo M'povo (5:57)
03. Mbira Yanga (2:39)
04. Matatya (6:15)
05. Wadadisa (3:37)
06. Naku Xuva (6:07)
07. Lobola (5:43)
08. Dande (4:19)
09. Mhondoro (6:13)
10. Nhetembo (3:15)

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El Naán- Código de Barros

Desde el Cerrato palentino, El Naán pone el folk castellano en pleno siglo XXI, utilizando códigos artísticos que conectan tanto con la gente mayor, depositaria del legado de la música tradicional, como con los jóvenes, por sus letras, poéticas y evocadoras, su espectáculo, muy visual y dinámico y la interpretación apasionada por parte del grupo de un repertorio de extrema belleza y calidad estética.
https://www.facebook.com/laisladelnaan




01. Los Hijos del Invierno 
02. La Atalaya 
03. Corazon de Barro 
04. Charro del Marinero y la Estrella 
05. Los Negros de Castilla 
06. Los Tejedores 
07. Panaderas de Pan Duro 
08. Milonguita del Pantano 
09. Arqueologia Celeste 2.0 
10. La Yedra 11. Rubaiyat

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Samba Diabaté, Vincent Zanetti - Kala Jula "SANGOYI"

Samba Diabaté (guitare, n'goni) – Vincent Zanetti (djembé, guitare, harpe-luth zena) – Laurent Perrier (sonorisation)

Samba Diabaté is a Malian griot, one of the most acclaimed multi-instrumentalists from Bamako. Armed with an electric guitar, he keeps mandingo music alive, full of black African tradition and beautifully tinted with blues improvisations. Vincent Zanetti, from Switzerland, is fascinated by West African music and has become so familiar with the region that it has become his country of adoption. He is known to be one of the best djembé players in Europe. However, for this dialogue with his Malian alter ego, he has chosen various African instruments and particularly the amazing zena, a harp related to the famous Malian kora. Together, they create music that stretches across the Malian borders, magnificently free, creative and filled with sensitive reinterpretation.



1. Dady
2. Bamanaya
3. Le lion de Segou
4. Manden Sigila
5. Djessou Denw
6. Les deux sœurs au bois sacré
7. Yiri So. Finiye So
8. Blues for mithiou
9. Jawura Kura
10. Palabre Blues
11. Diaye Bana
12. Jatigi Moussa

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Blick Bassy - Akö(RESUBIDO)

Blick Bassy se nutrió desde la infancia de la cultura tradicional de su país, transmitida sobre todo por sus abuelos, al tiempo que sus padres lo conectaron con la música de Brasil y Estados Unidos, a través de la obra de Gilberto Gil o Nat "King" Cole, entre otros. Este es el punto de partida del mestizaje de su obra.

Bassy empezó su carrera en Africa, inspirándose paralelamente en la tradición musical de Camerún, el jazz y la bossa nova. Tras ganar varios premios internacionales, se residenció en París, donde lanzó su primer disco individual, "Leman". Más tarde publicó "Hongo Calling", una historia del ritmo tradicional hongo y de su viaje a países como Senegal, Cabo Verde o Brasil. "Ako" completa la discografía de Bassy e indica nuevos rumbos.

Hay en este último disco una estética personal, presente ya en los trabajos previos de Bassy, pero llevada aquí a bellos gestos mínimos. En sus canciones encontramos ecos de su herencia cultural y de las músicas que ha ido absorbiendo a lo largo de su vida. Son fragmentos inclasificables, que desafían cualquier intento de reduccionismo.

El canto de Bassy va desarrollándose con las evocaciones del blues de James y de cierto sonido de Nueva Orleans, con un trasfondo de africano. A ese paisaje van añadiéndose formas como la armónica de Olivier Ker Ourio, o los samples de Nicolas Repac en algunas canciones, texturas que se suman a las entonaciones de Bassy en bassa, una de las 60 lenguas de Camerún, hoy en peligro de extinción. Bassy no solo utiliza el idioma bassa como elemento diferenciador, de conexión con sus raíces, sino también como modo de asumir el canto.

Blick Bassy ha ido consolidando una propuesta musical muy personal, que adquiere fuerza y sentido a partir de su experiencia en dos continentes, y que sigue expandiéndose, acogiendo nuevas estéticas, nuevas combinaciones sonoras. Razón de más para seguir con mucha atención la trayectoria de este cantante camerunés.
http://www.blickbassy.com/
 


01. Aké
02. Kiki
03. Wap Do Wap
04. Lon
05. Tell Me
06. One Love
07. SJ
08. Mama
09. Ndjé Yèm
10. Moût
11. Ndjèl

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