Par DJDemonAngel le 7 Janvier 2012 à 16:30
Genre : Documentaire
Durée : 101 min
Année : 2009
Réalisé par : Elena Mannes
Ecrit par : Elena Mannes
Produit par : Mannes Productions Inc., wnet.org
Quiconque a été bouleversé par une mélodie de Bach, ému par un choeur d'enfants ou électrisé par un rythme rock connaît ce pouvoir primaire de la musique, cette faculté qu'elle a de nous
"toucher". Comment cet assemblage de sons, cet océan de vibrations peut-il avoir autant d'effets sur l'organisme humain ? Prenant pour guides le musicien Bobby McFerrin et le neuroscientifique
Daniel Levitin, Elena Mannes part en quête de l'essence de la musique. Une extraordinaire aventure scientifique et musicale qui nous entraîne des laboratoires aux salles de concert, des unités de
soins utilisant la musique comme thérapie aux villages camerounais où se perpétuent des pratiques ancestrales.
(France, 2009, 101mn)
Production : 2008, Etats-Unis
Langue originale : Anglais
Par DJDemonAngel le 13 Avril 2011 à 12:47
Origine du Groupe : Egypt
Style : World Music , Arabic Music
Sortie : 1990
By James Rotondi from http://www.amazon.com
Unique among Middle Eastern artists, El Din is a Nubian oud player and singer from the Sudan who studied his craft in Cairo, and fashioned the oud--normally used for accompaniment or in
ensembles--into a solo instrument, combining Nubian and Arabic musical gestures. Eclipse--produced by Grateful Dead drummer and world-music champion Mickey Hart--exploits elastic rhythms and
repetitive motifs in moody, majestic pieces like "Helalisa," the lovelorn song of an Egyptian field hand, and "Your Love Is Ever Young," inspired by Egypt's late queen of song, Um Kalthoum. Fans
of Turkish oud masters (like the great Udi Hrant) will find El Din's penetrating tone and attack familiar, though his arrangements and vocal accompaniments are a different beast altogether,
producing an evocative, melancholy music that draws on several traditions simultaneously.
From the Label
Hamza El Din, pioneering oud master from Sudan, performs mesmerizing music based on traditional Arabic forms.
As the Moors swept across the northern stretches of the African continent, they left in their wake a rich legacy of music, myths, and legends. Performing brilliantly on the oud (the Arab
precursor of the lute) and on the tar (the ancient single-skinned frame drum of the upper Nile), interwoven with his hypnotic voice, he has singlehandedly created a new music, essentially a
Nubian/Arabic fusion in line with both traditions and informed by Western conservatory training. This album includes an original composition,"The Visitors," which he composed in Baghdad in 1965,
in Iraqi Arabic with Egyptian melody and Sudanese pentatonic.
Other tracks feature his arrangements of traditional songs celebrating a first wedding ("Ollin Arageed"); sending a river-pulley worker's greetings to his beloved via a pelican ("Helalisa"); and
paying tribute to the incomparable Egyptian songstress Um Kalthoum (1902-1975). "Mwashah" is a classical piece from the time of the Moors in Spain, traditionally used to train voices.
1.Helalisa (Nubian Sons)
4.Your Love Is Ever Young
Par DJDemonAngel le 16 Septembre 2010 à 13:38
Origine du Groupe : Turkey , Germany
Style : World Music Arabic
Sortie : 2006
The Mystery of Nevâ:
Sound, like a ship passing through the mysterious, is a bridge between the ocean unfathomable and the world in which we live. Since time immemorial, every lover of music who journeys on the musical sea has crossed this bridge. For us, Nevâ serves as our bridge to that mystical, veiled ocean. Nevâ has always been a keystone of our music – never failing to reveal new doors, horizons, and worlds to all who pass through. Nevâ offers a strong foundation, not just when presented as a sound or tone, but also as a mode, harmony and melody. To honor this, we open this recording with Nevâ Pesrevi by Tanburî Cemil Bey who has been a flame inspiring all tanbur players since his time. We also wished to name the final album Nevâ. In this recording, we tried to carry the torch of Nevâ, handed down through the ages from musician to musician, as far as our power, heart and love would allow us to, bowing only to musical concerns. We did our best not to compromise this pure style that has been flowing throughout history.
We present Nevâ to the listener, asking for forgiveness for our mistakes, if you should hear any. We'd like to express our gratitude: first of all to our teachers who made it possible for us to collaborate; to Cengiz Onural who opened the doors of not only his studio, but also his heart, and who catalyzed our creation of this work; to Hüseyin Tuncel who played the rhythm section during the recordings and was always by our side in spirit; and to Kaf Music Company. Every breath taken, every plectrum moved to bring about this humble creation is dedicated to its reason forbeing.
With thanks --
Murat Aydemir (tanbur) and Salih Bilgin (ney).
01. Nevâ Peşrevi / Tanbûrî Cemil Bey 3'50"
02. Müşterek Taksim 4'40"
03. Uşşak Sazsemâîsi / Neyzen Aziz Dede 3'25"
04. Fihrist Taksim (Rast Ailesi) 10'11"
05. Pençgâh Peşrevi / Kantemiroğlu 3'50"
06. Ferahfezâ Peşrevi / Tanbûrî Cemil Bey 3'18"
07. Müşterek Taksim ve Sultânîyegâh Sazsemâîsi / Nedim Ağa 8'45"
08. Şehnâz Peşrevi / Kemânî Ali Ağa -- 4'30"
09. Müşterek Taksim 5'00"
10. Hicaz Sazsemâîsi / Veli Dede 3'50"
Par DJDemonAngel le 8 Septembre 2010 à 13:32
Origine du Groupe : V.A Bahamas
Style : World Music
Sortie : 2003 (1965)
Most of the major Bahama Islands lie no further than 200 miles off the Florida coast. The United States has had generally a greater influence on the history and development of this British colony
than did the Spanish-speaking Caribbean islands to its south and east. This is also true for most of the music of the Bahamas; certainly it is true in the case of the music presented in this
album—the religious vocal music of “rhyming spirituals” and anthems.
The songs and the style heard here are the result of alternate periods of contact with and isolation from the United States mainland. The Bahama colony was established at about the same time as
the Carolina colony: around 1670. Africans from many tribes—Ibos, Ijos, Yorubas, Mandingoes, Ashantis—were imported as slaves to both places, as well as to other British settlements in the New
World. Whereas tribal identity quickly vanished in the mainland colonies, one’s awareness of a particular African heritage remained intact to a great extent in many of the European-colonized
islands. This was so in the Bahamas, where the surrounding waters provided temporary insulation against outside influences; there is still an awareness of tribal distinction in some parts of the
Bahamas. During the Revolution in the mainland colonies, a group of Loyalists left the Carolinas with their many slaves and settled on Abaco Cays in the Bahamas, where a number of freed slaves
also had come to live. A vital new music had been developing in the Carolinas, as well as throughout the whole of the Southern plantation area. This music was now brought to the Bahamas, where a
similar development may have been taking place. Here, the very old songs were preserved (and are in fact still sung), and a distinctly Bahamian style of singing developed simultaneously with the
further development of the American Negro spiritual.
Emancipation came to the Bahamas in 1838; escaped slaves from the southern American states sought refuge in the free islands, particularly Andros, largest of the Bahamas. Until the end of the
Civil War, there was a steady inflow of African-Americans to Andros and, with them, their songs. Isolation and poverty insured the preservation of these songs, so that Bahamian music today
reflects many of the developments in mainland music that occurred over a very long period. We can hear in the older music of the Bahamas something that may be close to the very early plantation
The “rhyming spiritual” is the distinctive Bahamian type of religious song. “Rhyming” simply means intoning couplets against a melodic background of voices. (“Rhyme” here means “verse”—not
necessarily coinciding final syllables.) The rhymer—the lead singer—sings a memorized or improvised rhythmic narrative part that continues to build in intensity while the other singers repeat a
chorus behind him—that is, they sing the song. The rhyming style reached its greatest heights during the sponge fishing in the 1930s.
A West African tradition of singing sermons has been carried on, and further developed, in the New World. We can hear it in church services conducted by preachers who bring their congregations to
heights of religious fervor by the gradual transition during the sermon from speech to song—song of tremendous intensity and power. Rhyming seems to be the combination of the traditions of
singing sermons and African drum and bell rhythms. The rhythmic patterns in rhyming are also found in West African music. While there is still some drumming in the Bahamas, it had been forbidden
in the mainland colonies and had to go underground. The intricate handclapping that developed in the Carolina and Georgia Sea Islands may be a compensation for lost bells and drums. In the
Bahamas, where there is little handclapping, the singing sermon became the means for utilizing this and other rhythms. Other features of African music, such as the call-and-response vocal
pattern, also found their way into Bahamian song.
JODY STECHER, 1966
01. We Will Understand It Better By and By 3:54
02. Sheep Know When Thy Shepherd Calling 2:08
03. I Told You People Judgment Coming 0:53
04. Don’t Take Everybody to Be Your Friend 2:18
05. Sailboat Malarkey 2:18
06. Up in the Heaven Shouting 1:33
07. Won’t That Be a Happy Time 2:24
08. Out on the Rolling Sea 3:12
09. I Am So Glad 1:40
10. Come for Your Dinner 1:28
11. God Locked the Lion’s Jaw 4:01
12. Great Dream from Heaven 2:39
13. My Lord Help Me to Pray 1:42
14. Numberless As the Sands on the Seashore 4:15
15. I Ain’t Got Long 1:21
16. I Bid You Goodnight 2:48
Par DJDemonAngel le 15 Décembre 2009 à 18:24Voili voilou les petits loups !
Les compils de fin d'année arrivent !
ENJOY NOW !
50 morceaux de Reggae music roots pour vous :
01 - Love Joys - Are you ready
02 - African Brothers - Youths of today
03 - Ken Boothe and Tu Shung Peng- Show me that love
04 - Calypso Rose - Calypso blues
05 - The Black Seeds - Take your changes
06 - Duke Morgan - Lick It Back
07 - Fouta - SOS
08 - Resistencia Suburbana + IVA - Represion brava
09 - Edi Fitzroy - Cry for my brothers
10 - Wayne Wade - Fire fire
11 - Yvette & Levi - Brother David
12 - Daweh Congo - Blue Moon
13 - The Heptones- 1e world
14 - Ponto De Equilibrio - Ponto de equilibrio
15 - Fil Rouge - Ils Sont Tous Fous
16 - Junior Dread - Sufferer's heights
17 - Groundation - Dragons War
18 - Bim Sherman - My Whole World
19 - Keith Hudson - Fight your revolution
20 - Mo'Kalamity - Reggae Vibration
21 - Bim Sherman - Fit to survive
22 - Carroll Thompson - Merry go round
23 - Freddie McKay Lonely Man
24 - Audley Rollens - Be wise
25 - Trinity - Three Piece Suit
26 - Stephen Chang - Always Together
27 - Horace Hinds - BlackMan Country
28 - Hemsley Morris - Little Things
29 - Jo Jo Bennet & Byron Lee - Rock Steady
30 - Noel Brown - Heartbreak Girl
31 - Junior Soul - Out Of My Mind
32 - Zoe - Liberia (Feat. Chuck Fender)
33 - The Black Seeds - The answer
34 - Tahuna Breaks - Empower Me
35 - Prince Lincoln & The Royal Rasses - Babylon is falling
36 - Lloyd Lovindeer - A tale of two couples
37 - Little Tempo - Our time is now (right now) (on the kete rock)
38 - God God Dammit Dammit - Entrè
39 - Tiken Jah Fakoly & Dub Incorporation - Diversité
40 - Aura Meets Lee Perry - Can't See You
41 - Miikey Ras Starr - Market place revolution
42 - Rebellion the Recaller - Like A Lion Feat. Chuck Fenda
43 - Natiruts - Iluminar
44 - Echo Ranks - Shinobi warrior
45 - Bawajafar'n'free - Arrétez De Croire Ci
46 - The Ethiopians - Free
47 - Pupajim - Television Addict
48 - Sizzla - Hard ground
49 - Michael Prophet - Conscious Man
50 - Winston McAnuff - Ras Child