Katalog

Suchergebnisse

  • 01. Azaghar
    02. Tabadout
    03. Isignou
    04. Marhaba
    05. Awnza
    06. Toutlayt
    cover

    LAHCEN AKIL

    Tizi Inzit

    [engl] Lahcen Akil comes from the Moroccan Atlas Mountains and began writing songs at an early age. On a self-made lute he plays music that is very traditionally influenced, without any pronounced "Western" influences, here again with a smaller cast than on the predecessor 'Lahcen Akil And The Chaabi Brothers' a few years. He is accompanied primarily by percussion and occasionally vocals. Akil recorded this album in Tamlalte, Haut-Atlas marocain.
    Format
    LP
    Release-Datum
    28.08.2018
     
  • 01. Eghass Malan
    02. Inssegh Inssegh
    03. Imigradan
    04. Jori
    05. Tihilele
    06. Abadrarass
    07. Telillite
    cover

    LES FILLES DE ILLIGHADAD

    Eghass Malan

    Fatou Seidi Ghali ist die wahrscheinlich erste Gitarristin unter den nordwestafrikanischen Touareg und Bandleaderin der Formation Les Filles de Illighadad. Wie der Name durchblicken lässt, handelt es sich hier um eine Frauenband, deren Mitglieder aus Illighadad stammen. Die kleine, von der Welt abgeschiedene Gemeinde liegt am Rande der Sahara in Niger. Hier kommt eigentlich niemand mal so zufällig vorbei, und umgekehrt gibt es selten einen Anlass für die Bewohner Illighadads, das ländliche Heimatdorf zu verlassen. Umso erstaunlicher, wie modern "Eghass Malan" klingt. Nach dem gleichnamigen, 2016 live vor Ort von Sahel-Sounds-Chef Christopher Kirkley aufgenommenen Debüt ist "Eghass Malan" das erste Studioalbum. Es erscheint beim selben Label und wurde im Anschluss der ersten Europatournee der Frauen ganz direkt und ohne nennenswerte Verwendung von Effekten aufgenommen. So blieb der rohe, charmant-spontane und authentisch-originäre Gestus, der die Songs von Les Filles de Illighadad auszeichnet, erhalten. Hypnotische Gitarrenriffs, rasante, vorzugsweise auf der Zweihandtrommel Tende gespielte Rhythmen, Klatschen und polyphoner Gesang bilden dabei das Gerüst für sieben Stücke, die heimische Traditionen so organisch wie natürlich an die westliche Welt anschließen.
    Format
    LP
    Release-Datum
    09.02.2018
    EAN
    EAN 4030433690116
     
  • 01. Achabiba
    02. Erilegh Iflassakh
    03. Eliss Wan Anas
    04. Douban
    05. Telilit
    06. Tarha
    07. Tende
    cover

    LES FILLES DE ILLIGHADAD

    Fatou Seidi Ghali & Alamnou Akrouni

    [engl] Recorded in Illighadad, Niger, 2014. The vinyl release includes the track 'Tarha', which does not appear on the digital edition. Artists: Drum [Tendé] - Alamnou Akrouni // Guitar, Drum [Tendé] - Fatou Seidi Ghali
    Format
    LP
    Release-Datum
    22.02.2016
    EAN
    EAN 0602318136725
     
  • 01. Falaw
    02. Bbni
    03. Foret
    04. A Tara
    05. Tolobana
    06. Indienfoli
    07. Kodouma
    08. Badjan
    09. Djessou
    10. Sitanba
    11. Deli
    cover

    LUKA PRODUCTIONS

    Falaw

    [engl] Luka Productions presents Falaw, an innovative take on West African Hip Hop and sample-based folktronica. A follow up from the acclaimed Malian "new age" inspired Fasokan (2017), Luka Guindo turns his focus to the rich cultural heritage of Manding music. Eschewing wholly PC-based sequencing, Falaw invites a number of traditional performers to join him in the studio. Griots recount sage stories over Luka's sweeping synth pads while Ngonis shred pentatonic solos to the crash of sequenced drum samples. Paying homage to the storyteller, combined with regional styles of lyrical Hip Hop, Falaw offers advice on modern living, with heartfelt songs about loss, love, and life. The effect is both otherworldly while seemingly organic. In a genre where all too often the "modern" is synonymous with outsider collaborators, Falaw is a groundbreaking entry into homemade fourth world and a sign of future Malian music to come.
    Format
    LP
    Release-Datum
    24.05.2019
    EAN
    EAN 0602318136831
     
  • 01. Zerzura Reprise
    02. Akaline Akaline
    03. Issikita
    04. Imejar
    05. Igrawahi Assouf
    06. Targhat
    07. Y'a Elwan
    08. Zerzura Theme I
    09. Igrawahi Assouf Reprise
    10. Toumast
    11. Tchimitar
    12. Azal N'emgre
    13. Derhan
    14. Zerzura Theme II
    cover

    MADASSANE, AHMOUDOU

    Zerzura

    [engl] Soundtrack to the Saharan acid ethno-Western Zerzura. Instrumental soundscapes invoke a surreal fever dream of the desert. Reverbed electric guitar, subliminal drones, and ghostly percussion. Free form improvisations from Ahmoudou Madassane (Mdou Moctar, Les Filles de Illighadad) offer an entirely new vision of the familiar Tuareg guitar genre.
    Format
    LP
    Release-Datum
    23.11.2018
    EAN
    EAN 0843563107843
     
  • 01. Shemonmuanaye
    02. Sewnetuwa
    03. Laloye
    04. Wegene
    05. Hari Meru Meru
    06. Amrew Demkew
    07. Anchin Alay Alegn
    08. Ambasel
    09. Hebo Lale
    10. Belew Beduby
    11. Shilela
    cover

    MERGIA, HAILU

    Hailu Mergia & His Classical Instrument: Shemonmuanaye

    HALU MERGIA ist eine Einmannband. 1985 veröffentlichte der Meisterakkordeonspieler und altgediente Bandleader/Arrangeur/Keyboarder die Kassette ,Hailu Mergia & His Classical Instrument". Voller Nostalgie für den alten Akkordeonsound seiner Jugend verlieh MERGIA der äthiopischen Musik ein neues Gesicht. MERGIA wurde schon für den bahnbrechenden Ethio-Jazz der Funkband WALIAS BAND aus Addis Ababa gefeiert und perfektionierte zeitgenössische Techniken, um den Sound von damals aufzupolieren. Ein Moog-Synthesizer, eine Rhodes E-Orgel und ein Drumcomputer machten den harmonischen Sound seines Akkordion noch satter; MERGIA erschuf elegant arrangierte, geisterhaft psychedelische Instrumentalstücke. Die Songs gründeten sich auf traditionelle und moderne äthiopische Songs, in denen MERGIA auf fantastische Art und Weise Melodien von Amhara, Tigrinya und Oromo mit Geschmäckern aus der ganzen Welt, mit Jazz und Blues vermischte und damit eine üppige, futuristische Soundlandschaft errichtete. MERGIA balancierte die melodische Form äthiopischer Musik mit analogen Synthie-Elementen, die sich um minimale Rhythmustracks ranken.
    Format
    DoLP
    Release-Datum
    28.06.2013
    EAN
    EAN 0656605560410
     
  • 01. Kamane Tarhanin
    02. Asshet Akal
    03. Inizgam
    04. Anna
    05. Takamba
    06. Tarhatazed
    07. Wiwasharnine
    08. Ilana
    09. Tumastin
    cover

    MOCTAR, MDOU

    Ilana (The Creator)

    [engl] Born in a nomad camp in Niger and now a leading figure of desert rock, Mdou Moctar has enjoyed one of quickest rises to success. In contrast to the polished style of Imarhan or Bombino, Mdou Moctar trades in unrelenting gritty rock and has no qualms about going full shred. But Mdou's success is not confined to guitar theatrics alone. From his experiments in autotune, DIY field recordings, to a starring role in a Saharan remake of Purple Rain, Mdou stands out amongst his peers. Tuareg guitar has rock music in its genes, owing as much to traditional desert ballads as 70s classic rock. Mdou doubles down on these origins, pushing Tuareg guitar into an ever louder direction. If early innovators looked to Mark Knopfler, Mdou has an affinity with Eddie Van Halen. Recorded in Detroit at the tail end of a tour, the band jumped right into frenetic non-stop sessions. Accompanied by an all-star band with Ahmoudou Madassane's lighting fast rhythm guitar, Aboubacar Mazawa dje machine gun drums, and Micheal Coltun's supportive low-end bass, Ilana (English: The Creator) captures the spirit of an Agadez wedding, a studio recording with just the right amount of grit.
    Format
    LP
    Release-Datum
    29.03.2019
    EAN
    EAN 0602318136862
     
  • 01. Kansas City
    02. Shanana
    03. Beat
    04. Take It
    05. Funky Fly
    06. Work Is Done
    cover

    MOVERS, THE

    Kansas City

    Nachpressung von 1979 mit extrem rarer, südafrikanischer Disco-Funk-Fusion. Obwohl die Movers während der Siebziger in den Townships Südafrikas eine große Nummer im Disco-Sektor waren und am laufenden Band höchst erfolgreich zahlreiche Schallplatten veröffentlichten, ist die Formation heute nur noch Spezialisten wie den Experten bei Soundway ein Begriff. Den Londoner Archivgräbern um Labelchef Miles Cleret haben wir nun die Nachpressung der erstmals 1979 herausgebrachten LP "Kansas City" zu verdanken. Die bietet exakt den Sound, für den die Movers seinerzeit berühmt waren, nämlich eine zündende Fusion aus Funk, Disco, Jive und Marabi, einem etwa 1920 in Südafrika entwickelten Genre, das afrikanische Musikstile und afroamerikanisch geprägten Jazz verband. Das Line-up der Movers wechselte häufig. An den Aufnahmen der sechs Stücke auf "Kansas City" waren Jabu Sibumbe, L Rhiko, Lloyd Lelosa und Sankie Chounyane beteiligt. Die Produktion verantwortete David Thekwane.
    Format
    LP
    Release-Datum
    15.09.2017
    EAN
    EAN 5056032310407
     
  • cover

    MULATU ASTATKE

    Mulatu Of Ethiopia

    Mulatu Astatke ist der "Vater des Ethio Jazz" und damit einer der einflussreichsten Musiker Afrikas. Astatke wurde 1943 in ein wohlhabendes äthiopisches Elternhaus geboren. 1956 begann seine Schulausbildung in England. Auf dem Trinity College of Music in London spielte er Klarinette und Perkussionsinstrumente. Nachdem er in New York seine Neigung zum Jazz entdeckt hatte, ging er in den frühen Sechzigern als erster Afrikaner auf die prestigeträchtige Musikhochschule Berklee College in Boston und wechselte zum Vibraphon. "That's where I got my tools. Berklee really shook me up", wie er selbst bemerkte. Im Verlauf der Sechziger trat Astatke mit seinem Ethiopian Quintet regelmäßig in den Jazz-Clubs New Yorks auf und saugte dort den wilden Geist jener Zeit in sich auf. Dabei ging er dazu über, westlichen Jazz, Latin, Funk und traditionelle äthiopische Musik zu verbinden. Das heißt er erweiterte die in Afrika und Asien übliche pentatonische 5-Ton-Skala durch die chromatische 12-Ton-Skala der Nordhalbkugel und erfand so den Ethio Jazz. Seine erste offizielle Würdigung fand dieser neue Stil in dem 1972 veröffentlichten Album "Mulatu Of Ethiopia". Es wurde in New York aufgenommen und kommt jetzt via Strut remastered als CD, LP und limitierte Triple-LP im Klappcover wieder in die Läden. Alle Formate enthalten rare Fotos, ein aktuelles Interview mit Astatke und das Original-Artwork.
    Format
    3xLP
    Release-Datum
    19.05.2017
    EAN
    EAN 0730003312939
     
  • 01. The Panther(Boogaloo)
    02. Konjit(Pretty)
    03. Soul Power
    04. Lover's Mambo
    05. Love Mood For Two
    06. Jijiger
    07. Girls From Addis Ababa
    08. Karayu
    09. Raina
    cover

    MULATU ASTATKE AND HIS ETHIOPIAN QUINTET

    Afro-Latin Soul Vol. 2

    Die zwei "Afro-Latin Soul"-Alben von 1966 sind die Geburtsstunde des Ehiojazz. Hier präsentierte Mulatu Astatke erstmals seine experimentelle Vereinigung aus traditionellen äthiopischen Klängen, westlichem Jazz und lateinamerikanischer Musik. Dafür prägend waren neben seiner Herkunft einerseits die Jahre am Berklee College of Music, wo er der erste afrikanische Student war und das Vibraphon für sich entdeckte, andererseits eine Reise nach Kuba und Begegnungen mit einheimischen Musikern. Das Tempo, die Rhythmen und der Swing kubanischer Musik erinnerte ihn stark an afrikanisches Liedgut. Mitte der 60er gründete Astatke mit dem Ethiopian Quintet eine Band aus äthiopischen, latein- und afroamerikanischen Musikern, darunter Rudy Houston (Trompete, Piano). Gil Snapper von Worthy Records bot ihnen an, eine Platte aufzunehmen. Im Studio kam es zu zwei relativ unterschiedlichen Sessions. "We created a different feel and different arrangements", so Astatke. "On the first recording, I played an adaptation of an ancient Ethiopian warrior song 'I Faram Gami I Faram'. Some compositions were important steps for me: 'Mascaram Setaba', 'Shagu' and 'Almaz'. With the second album, a personal favourite is 'Girl From Addis Ababa' which worked very nicely as a fusion of Ethiopian modes and R&B rhythms."
    Format
    LP
    Release-Datum
    20.07.2018
    EAN
    EAN 0730003315718
     
  • 01. Blonda Yirini
    02. Didadi
    03. Ndiagneko
    04. Djougoh
    05. Hine
    06. Kanawa
    07. Adjorobena
    08. Foliwilen

    NAHAWA DOUMBIA

    Kanawa

    [engl] The meaning of “Kanawa” is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them while crossing the Sahara. Some climb over the wires across the borders and they have gotten shot. We have asked them not to leave and instead stay home. But I ask them why do they leave their country? Why do they decide to go? They said that they leave because of the family situation or problems, poverty, and unemployment. We told them if ever they are to leave, they should privilege legal ways. They should abide by laws vigorously when they are to emigrate. That’s better than hiding in boats or adopting other illegal means. I ask them to stay and work in their country. So that we can help each other find a solution to this problem. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. This song is about that message and I chose it as the title of my album because I like it. My choice is because it is very meaningful and it is something we see on a daily basis. I chose it in order to alert and sensitize everybody about this question of illegal immigration. To sensitize our brothers and sisters. It is a message. That’s why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. To sensitize them so that some can stay home and grow the land. Leaving is not the only solution. That’s my message.
    Format
    LP
    Release-Datum
    29.01.2021
    EAN
    EAN 0843563131954
     
  • 01. Kourouni
    02. Tou Dibile
    03. Tjefouroule
    04. Djankonia
    05. Nianimanjougou
    06. Sokono Woulouni

    NAHAWA DOUMBIA

    La Grande Cantatrice Malienne Vol 1

    [engl] Nahawa Doumbia is one of Mali's defining vocalists of the last four decades. Her work journeys through progressive stages of musical evolution and sonic vogues, making it hard to summarize or even comprehend. She's played a part in popular music since the late ‘70s, as her version of Wassoulou music developed from vocals-and-guitar duo into full-scale touring bands packing a bombastic, electrified punch. As Doumbia puts it, "My music has changed multiple times to this day…The more I progressed in my musical career, the more instruments I have had accompany my songs." ?La Grande Cantatrice Malienne Vol 1 looks back to the beginning of Doumbia’s long career, when her voice was remarkably strong yet still developing. This was before she added bass and percussion, and finally the electric guitar and synths for which she became known in recent years.? She'd been singing traditional music since her early teens in Bougouni. Doumbia performed with cultural troupes throughout her youth and gained the notice of Radio Mali officials who entered her in a Radio France International contest, Découverte 81 á Dakar, which she won. Whether she knew it or not, as a young lady from a town many hours from Mali’s capital Bamako, she was destined for a worldwide touring career at the vanguard of Malian popular music. ?Released in 1981 by the excellent Côte d’Ivoire-based AS Records, the singer was barely 20 years old when it was recorded. She was accompanied by her future husband N’Gou Bagayoko on acoustic guitar, whose style echoes the nimble runs of traditional kamele n’goni players. The stark simplicity of this highly intimate recording—the audible room acoustics, the occasionally in-the-red vocals—do not obscure the mature strength of her voice. On Vol 1 Doumbia performs her songs with the tenacity and hunger of a young artist on the cusp. "When I think about it, first, I am reminded of how long ago it was. It's one of the albums that I love most because it reminds me of my youth. I was so young and my voice was light and joyful. I still listen to some of those songs today. I am really proud of that first album because that’s where it all began. It shows me how far I’ve come in my personal and artistic life; it gives me the courage I need to keep going forward, and makes me appreciate all the years of dedication and hard work I put into my musical career. "?These early songs are rhythmically built around Bagayoko's sensitive guitar, as his fingers brush the fretboard and gently outline the melodies. Although this record predates the singer’s use of percussion, the driving skeletal didadi rhythm is apparent in the songs. Later albums like Vol 3 further prioritize her hometown didadi beat and the result made her famous.
    Format
    LP
    Release-Datum
    20.09.2019
    EAN
    EAN 0843563115534
     
  • NILOTIKA CULTURAL ENSEMBLE X ANCIENT ASTRONAUTS

    Collectors box

    Indigenious Hiphop Sound aus Uganda vom Nilotika Cultural Ensemble! Die Nilotika Collectors Box kombiniert feinsten Sound und handgefertigte Kunst zu Gunsten eines sozialen Projekts. Und zwar nicht irgendeinem: Wir supporten das Nilotika Cultural Ensemble aus Uganda! Die Crew um Jajja Kalanda organisiert Sozial- und Kulturarbeit in den benachteiligten Vierteln in Kampala. Sie geben Anleitung in Workshops; bringen den Jugendlichen Schneidern und die Technik des traditionellen Niyabingi-Drumming bei. Power! Das Kollektiv ist auch selber musikalisch aktiv und hat einen Song zum Release beigesteuert. Der Track verbindet traditionelle Niyabingi Percussion mit melodischen Rap-Vocals von Spyda MC. Gerappt wird sowohl auf Englisch als auch auf Luganda, der Landessprache. Die Kölner Produzenten Ancient Astronauts haben für die B-Seite einen Remix von diesem Track abgeliefert, der stark in die Hüfte geht. Die Ancient Astronauts sind seit mehr als 20 Jahren am Musik produzieren und haben schon mit den Jungle Brothers, The Pharcyde, Shawn Lee oder Azeem zusammen gearbeitet. Neben der 7“ Vinyl-Scheibe enthält die Sammlerbox einen exklusiven, signierten Druck der Münchener Graffiti Legende Loomit, der sich für die gute Sache eine Wand geschnappt hat. Und damit noch nicht genug! Wir haben einen Kunstdruck von Patrick Thomas – Professor an der ABK-Stuttgart, weltbekannt für seine Siebdruckposter und Workshops, mit reingepackt! Ein Sammlerstück mit Tiefgang, signiert und rar, wat willste mehr? Außerdem gibt es ein handgenähtes Afro Bag vom Nilotika Culture Ensemble selbst. Unsere nigelnagelneue Box ist wieder auf 100 Stück limitiert. Das aufwändig illustrierte Gatefold-Cover wurde von Julian Rentzsch gestaltet. Und das Beste an der ganzen Nummer: Die Erlöse aus dem Verkauf der Box fließen in den direkten Support des Nilotika Kollektivs.
    Format
    7" lim
    Release-Datum
    13.05.2021
     
  • 01. Arbina
    02. Mohammedoun
    03. Na Sane
    04. Suedi Koum
    05. Richa
    06. Ghlana
    07. Ghizlane
    08. Ya Demb
    09. Soub Hanak
    10. Tia
    cover

    NOURA MINT SEYMALI

    Arbina

    [engl] Noura Mint Seymali hails from a Moorish musical dynasty in Mauritania, born into a prominent family of griot and choosing from an early age to embrace the artform that is its lifeblood. Yet traditional pedigree has proven but a stepping-stone for the work Noura and her band have embarked upon in recent years, simultaneously popularizing and reimagining Moorish music on the global stage, taking her family’s legacy to new heights as arguably Mauritania’s most widely exported musical act of all time. Gamely wielding the griot’s idiom, a form itself distilled from centuries of trans-Saharan musical knowledge, Noura Mint Seymali’s sound as heard on this record carves out a unique position in the musical cartography of West Africa, at once her country’s leading proponent of the avant garde and yet a rigorously devoted tradition-bearer. Arbina is Noura Mint Seymali’s second international release. Delving deeper into the wellspring of Moorish roots, as is after all the tried and true way of the griot, the album strengthens her core sound, applying a cohesive aesthetic approach to the reinterpretation of Moorish tradition in contemporary context. The band is heard here in full relief; soaring vocals and guitar at the forefront, the mesmerizing sparkle of the ardine, elemental bass lines and propulsive rhythms swirling together to conjure a 360 degree vibe. Arbina refines a sound that the band has gradually intensified over years of touring, aiming to posit a new genre from Mauritania, distinct unto itself; music of the “Azawan.” Supported by guitarist, husband and fellow griot, Jeiche Ould Chighaly, Seymali’s tempestuous voice is answered with electrified counterpoint, his quarter-tone rich guitar phraseology flashing out lightning bolt ideas. Heir to the same music culture as Noura, Jeiche intimates the tidinit’s (Moorish lute) leading role under the wedding khaima with the gusto of a rock guitar hero. Bassist Ousmane Touré, who has innovated a singular style of Moorish low-end groove over the course of many years, can be heard on this album with greater force and vigor than ever before. Drummer/producer Matthew Tinari drives the ensemble forward with the agility and precision need to make the beats cut. Many of the songs on Arbina call out to the divine, asking for grace and protection. “Arbina” is a name for God. The album carries a message about reaching beyond oneself to an infinite spiritual source, while learning to take the finite human actions to necessary to affect reality on earth. The concept of sëbeu, or that which a human can do to take positive action on their destiny, is animated throughout. While final outcomes rest in the hands of the creator, the duty to use one’s capacities as a human to work towards our hopes and highest intentions roots us in life and relationship to God. The title track ‘Arbina’ applies this concept to specifically empower women in their decisions about preventative healthcare. It advocates for the concrete task of early screening to prevent breast and uterine cancer, sickness that claimed Noura’s own mother at a premature age, while offering an appeal to the ultimate benevolence of God. “Ghizlane” invokes the concept through metaphor, describing the elusive nature of our dreams and the innate obligation to follow. “Richa” reflects of the power of music as a vehicle. Lyrically, the Moorish griot tradition is complex and associative. Poetry is held in a continuum between author and audience in which a singer may draw on disparate sources, selecting individual lines here or there for musicality to form a lyrical patchwork expressing larger ideas via association. A griot may relate her own thoughts and poetry, sing poetry written for and about her by a third party, and transmit lines from one party addressing another in the course of a single song. With this ever-fluid narrative voice, stories are told. Arbina is a musical act of devotion, calling upon the creator to channel grace through us and uplift our actions.
    Format
    LP
    Release-Datum
    16.09.2016
    EAN
    EAN 4030433603819
     
  • 01. Eguetmar
    02. Tzenni
    03. El Barm
    04. El Madi
    05. El Mougelmen
    06. Hebebeb (Zrag)
    07. Soub Hanallah
    08. Tikifite
    09. Char'aa
    10. Emin Emineïna Chouweynë
    cover

    NOURA MINT SEYMALI

    Tzenni

    "Tzenni" heißt in Hassania, einem Dialekt der Westsahara, so viel wie zirkulieren, sich drehen, wechseln. Es ist der Name eines Tanzes maurischer Griots, aber auch Metapher für den Lebenszyklus, das ewige Kommen und Gehen der Sonne, des Lichts, des Wassers, der Winde. Mit dem Album "Tzenni" gelang Noura Mint Seymali eine zeitgemäße Umsetzung maurischer Griot-Tradition. Die Sängerin und Musikerin aus Mauretanien entstammt einer Musikerfamilie, ihr Vater, Seymali Ould Ahmed Vall, war einer der bedeutendsten Musiker des nordafrikanischen Landes, ihre Stiefmutter die große Sängerin Dimi Mint Abba. Das Album entstand zusammen mit Seymalis Ehemann, dem Gitarristen Jeiche Ould Chighaly, in New York, Dakar und Mauretaniens Hauptstadt Nouakchott und setzt die wohlklingende Familientradition fort. Seymali selbst spielt die koraähnliche Ardîne, eine Art Winkelharfe, die zusammen mit der Tidinit, der gezupften Langhalslaute, die Basis traditioneller maurischer Musik bildet. Das 180-Gramm-Vinyl enthält einen Downloadcode.
    Format
    LP
    Release-Datum
    27.06.2014
    EAN
    EAN 4030433601617
     
  • 01. Medin
    02. At Qui Tass
    03. Tanakra
    04. Kidal
    05. Alghafiat
    06. Mani Mani
    cover

    ONOM AGEMO AND THE DISCO JUMPERS

    Tartit

    [engl] This is the second collaboration between the Berlin based groove-outfit ONOM AGEMO and the Malian guitarist, singer and songwriter AHMED AG KAEDY. After the release of their first project, a 7" single titled “Onin Okalan” in 2017, they are now presenting a full album which they recorded in Berlin and Bamako between 2018 and 2020. the title “Tartit” roughly translate to “unity”, as it unifies not only Funk Psychedelica with Desert Blues, but also unites musicians whose backgrounds are as different as can be, but whose musical tastes are surprisingly in tune.
    Format
    LP
    Release-Datum
    01.07.2022
     
  • cover

    ORCHESTRE LES MANGELEPA

    Last Band Standing

    Das Orchestre Les Mangelepa ist eine der bekanntesten Originalbands der ostafrikanischen Rumba, auch Rumba Lingala genannt. Sie wurde vor rund vier Jahrzehnten von Exilkongolesen in Kenia gegründet. Damals, in den 70er- und 80er-Jahren, veröffentlichte die Formation Hit auf Hit und eroberte die Dancefloors von Uganda über Sambia bis Tansania und Kenia im Sturm. Es war die goldene Ära der Rumba. Bands wie Orchestre Les Mangelepa, Super Mazembe oder Viva Makale begeisterten die Menschen mit entspannten Rhythmen und dreistimmigen Gesangsharmonien. Jahrelang trat das stets elegant gekleidete Orchester als Hausband in den größten Hotels Nairobis auf. Dem großen Erfolg zum Trotz verdiente die Band um die drei Sänger Kabila Kabanze, Kalenga Nzaze Vivy und Luthuli Kaniki Maky mit ihrer Musik nie großes Geld. Der Grund: Musikpiraterie. Dadurch verschwand die Band zwar fast in der Versenkung. Aber eben nur fast, denn sie hörte nie ganz auf zu performen. Sie ist die "Last Band Standing" und spielt noch heute jenen klassischen Rumba-Sound, der jeden Tanzboden in Bewegung versetzt - selbst wenn dieser von einem deutlich jüngeren Publikum bevölkert wird.
    Format
    DoLP
    Release-Datum
    27.10.2017
    EAN
    EAN 0730003315916
     
  • 01. Ibola Aids
    02. Ingani
    03. Amarumasi
    04. Kulani Kulani
    05. Dodomedzi
    06. Hai Kamina
    07. Yogo Yogo
    08. Ti Samboko
    09. Ama Owners
    10. Kulani Kulani (Remix)

    PENNY PENNY

    Yogo Yogo

    [engl] The rags-to-riches chronicle of Penny Penny’s life would be remarkable if he had only released his smash debut Shaka Bundu and packed houses for a few years. But the inimitable South African singer and dancer known for his trademark top ponytail and emphatic anthems was no one-hit wonder. In the aftermath of Shaka Bundu’s nationwide explosion, far beyond his country the album resonated with ever bigger audiences. He performed up and down the continent, building fanbases in more than a dozen countries. So his sophomore album Yogo Yogo—released in 1996—solidified Penny Penny’s standing in pop music nationally and provided new energy to his pan-African stadium-filling adventures. “I was very busy between Shaka Bundu and Yogo Yogo. Shows every week, local and outside the country. There was no relaxing from 1995 until 1999.” The album also reflects the era in which it emerged. If Shaka Bundu arrived triumphantly amid newfound political freedom in South Africa with the end of Apartheid and Nelson Mandela’s election, Yogo Yogo was a next level expression for the maturing artist. He wanted to get a message out. Composed with Joe Shirimani, who also produced the album, the sound and compositional style echoes the earlier recording but the topical nature of the lyrics became more deliberate, more didactic. In the song “Ingani” Penny proclaims, we are all one people even though we may speak different languages, we are all Nguni—a larger historical grouping that includes many of the ethnic groups in modern South Africa. “Kulani Kulani,” which means grow up, urges young people to say no to drugs and yes to education. Ama Owners, referring to the public transport drivers involved in violent rumbles, asks the nation’s drivers to relax because we need them for our safe arrival. Penny’s success as a Xitsonga artist should not be under-estimated in the context of popular music at the time in South Africa. “When I started with my own style and image, first time in Shangaan we had artist like me,” Penny explains. “Our music was traditional before. But I brought a mix of rock and disco and it became the bomb. Every star won’t be popular without your own style.” It took them eight days to finish album, writing the songs in the studio. Penny says, “The songs just happened. Joe is very good at listening and producing, he has lots of patience. When he played the keyboard I would sing, standing behind him once he finished the rhythm, I would sing it all in one take, non-stop. We were not using computers to record, we were singing live. And we pressed the music on cassette and vinyl—not CD—back then." Fast-forward to 2020, Penny Penny is deep in the political game and appears on television 6 times a week as the star of his own reality TV show, “Papa Penny Ahee!”. He is setting up an avocado farm and provides fifty families in his region with food every month via his charitable foundation. Penny still plays huge shows around South Africa and will appear at some Europe’s biggest festivals in 2021.
    Format
    LP
    Release-Datum
    09.10.2020
    EAN
    EAN 0843563115534
     
  • 01. Dimo Yaou Tata
    02. Djulau
    03. Djara Wilam
    04. Mido Yirima
    05. Noumou Foli
    06. Poulo Hoto Ngari
    07. Poulo Warali
    08. Sidy Modibo
    cover

    POULO, AWA

    Poulo Warali

    AWA POULO ist eine Sängerin fulbischer Abstammung aus der Kommune Dilly in Mali, nahe der Grenze zu Mauretanien. Das oft nomadisch lebende Hirtenvolk der Fulbe lebt in einem Gebiet vom Senegal bis Äthiopien, aber vornehmlich in der Sahel-Region Westafrikas. Awesome Tapes From Africa ist stolz, POULOs neueste Aufnahmen hochvirtuosen Folk-Pops - direkt aus dem Studio - veröffentlichen zu dürfen, die ihre Vision fulbischer Musik über die Weiden und Märkte ihrer Heimat im Südwesten Malis hinaus katapultiert. Es kommt nicht oft vor, dass eine weibliche Fulbe-Sängerin öffentlich auftritt. Doch eine Nebenfrau von POULOs Mutter ist INNA BABA COULIBALY, eine gefeierte Sängerin, die den meisten Musikfans aus Mali ein Begriff ist. COULIBALY kam zur Musik, als ein regionaler Musikwettbewerb einen Teilnehmer aus ihrem Dorf erforderte und sie als Sängerin ausgewählt wurde. Befeuert von einer überraschenden Kette von Ereignissen, war auch der Einstieg der jungen POULO in die Welt der Musik vielversprechend und sie erreichte in der ganzen Region Bekanntheit. Nach mehreren lokal veröffentlichten Tapes und CDs ist ,Poulo Warali" das erste international vertriebene Album von AWA POULO.
    Format
    LP
    Release-Datum
    20.01.2017
    EAN
    EAN 0616892445340
     
  • 01. Afashee
    02. In The War
    03. Genego Abem
    04. I am Accused
    05. Lawona Foo
    06. Bongo Sa-Abodaana
    07. Poore Tolege
    08. Abiire Bongo Akambo-Se
    09. Assala Bo-Lom
    cover

    PRINCE BUJU

    We Are In The War

    [engl] Prince Buju has a rough and direct voice and is singing emotional songs about loss and disaster, about war and hate and he is telling the people that they should realise and change their ways. It’s 2015 and with only two strings and one grinding voice he cuts through borders and languages and reaches the rest of the world. “I began to play kologo when I was very young. My mum broke it into pieces and said that I should go to school and learn so that my interest will not be in the kologo alone. It was after she passed away, that was on the third of March 1994, that I again set to make my Kologo and started playing. I play and weep when I remember my parents. Most time this has become the main inspiration leading to my unstoppable performance on stage.”
    Format
    LP
    Release-Datum
    06.04.2015
     
  • 01. Uskamosothotsa
    02. Ubohisa Kanna
    03. Via Zimbabwe
    04. Raditaba (Nozindaba)
    05. Professor 3
    06. Zabalaza
    cover

    PROFESSOR RHYTHM

    Professor 3

    "Professor 3", das 1991er Album von PROFESSOR RHYTHM, ist ein lebendiges Abbild des städtischen Südafrika zur Zeit des Endes der Apartheid. Das Projekt von Thami Mdluli sorgte dafür, dass Jung und Alt zu einem Sound tanzten, dessen Ziel es war, die Schwarzen wieder mit Südafrika zu vereinen. ,Unsere Musik gab den Hoffnungslosen Hoffnung", erinnert er sich. Das dritte Instrumentalalbum (bis auf einige Background Vocals) hält den Moment fest, in dem der dominante Mbaqanga Sound und der amerkanische Bubblegum-R&B, die bis dato in Johannesburg und anderen urbanen Zentren produziert wurden Platz für einen von House und Hip Hop inspirierten Kwaito machten. Der Pop der achtziger Jahre und alles, was dazu gehörte - die Synthies und Drumcomputer und die Texte - traten zurück für eine neue melodische Betonung und langsamere Geschwindigkeiten, die sich auf einem komplett unterschiedlichen Rhythmus aufbauten. Der quietschbunte Bubblegum Sound mit seinen doppelten Breakdowns verschwand allmählich und die Sounds begannen denen des zeitgenössischen schwarzen Amerikas zu ähneln - der Hip Hop wurde langsamer, die Basslinien und Melodien wurden launischer und düsterer. Zur gleichen Zeit war House im amerikanischen Mainstream angekommen und von dieser Popularität wurde auch in Afrika Notiz genommen. Diese beiden Einflüsse schlugen sich in der wachsenden Houseszene in Johannesburg und Pretoria nieder.
    Format
    LP
    Release-Datum
    01.06.2018
    EAN
    EAN 0616892568742
     
  • 01. Ab Teqai Kerebi
    02. Enokis Entaido Belaki
    03. Kirar Mistequane
    04. Hidri
    05. Momona
    06. Milenu
    07. Kab Nab
    08. Wuba
    09. Telsemki
    10. Gamey
    cover

    REDDA, TEWOLDE

    Eritrea's Guitar Pioneer

    [engl] From Asmara, Eritrea (formerly Ethiopia) Tewolde Redda revolutionized the sounds of traditional Eritrean music by amplifying his kirar, playing his Eko electric guitar, and recording six singles in the first part of the 1970’s. Including the first Eritrean songs to use a horn section, traditional songs reworked into his new sound, and originals influenced by radio broadcasts from the United States military base in Asmara, Kagnew Station, these ten songs originally released on the Philips, Amha, and Yared labels as 45's show off his talents with stringed instruments, a talented back up band, and often the hand clapped beat shifting into double time near the song’s end. Tewolde’s thick, deep voice sings songs of love over somber and joyous tunes. Comes in a “tip-on” sleeve with extensive liner notes, lyrical translations, and unpublished photos. A co-release with Mitmitta Musika of Addis Abeba, Ethiopia.
    Format
    LP
    Release-Datum
    01.01.2017
     
  • 01. Gandadiko
    02. Wo Yende Alakar
    03. Male Bano
    04. Farikoyo
    05. Touri Idjé Bibi
    06. Chiri Hari
    07. Gafouré
    08. Su Wililé
    09. I Kana Korto
    10. Woyé Katé
    cover

    SAMBA TOURE

    Gandadiko

    [engl] Samba Toure’s previous album Albala was recorded during the fear-laden atmosphere of 2012, when northern Mali (including his ancestral village of Diré) had succumbed to sharia law and radical Islamist control and Bamako, his adopted home, still reeled in the chaos of the recent military coup. Albala received widespread acclaim and was rightfully recognized not only as the best album of Samba’s career but also as an undeniable musical statement about the human toll of war and political crisis. Samba had spent years honing his artistry (including stints playing with Malian blues master Ali Farka Touré and Kora genius Toumani Diabate) and Albala signposted a mature artist, full of sonic imagination and narrative fire. Gandadiko, the title of Samba’s potent, diverse and ambitious new album, translates from his native language Songhai as: “Land of Drought” or “Burning Land.” The title seems to indicate a return to the dark textures that marked Albala but in fact Gandadiko is a more complex story than that. Philippe Sanmiguel, a record producer living in Bamako (Anansy Cissé, Mariam Koné) and Samba’s producer for both albums, provides the details: “One thing I’m sure of is that we didn’t want to do a second ‘Albala’. For Samba that album was maybe a little too sad and he wanted something closer to who he really is: hopeful. So the challenge was to have something as strong as ‘Albala’, but with more variety in the rhythms and moods and colors. I think the album sounds musically less dark, it’s more danceable and up-tempo, but, sorry Samba, it’s not entirely a joyful album. Tension, troubles and danger are still there in many of the songs. The musical moods and textures found on Gandadiko often play against the moralistic, reflective and at times anguished tenor of the lyrics. For example, Touri Idjé Bibi (Black Fruits) breezes along with a straight-ahead, infectious dance groove, punctuated by soaring backing vocals. The hopeful sound that Samba had originally sought seems to have been found. But the final lines of the song are pointed and cautionary: Oh earth, forgiveness, oh river forgiveness, Everyday we offend you. The songs on Gandadiko are framed by a restless eclecticism. Samba’s guitar playing has never been so anxious, exploratory and rock and roll and his voice has never been as smooth and relaxed. Samba wants to be many places at once and the accomplishment of Gandadiko is that by successfully navigating these sorts of “contradictions,” Samba’s artistry has reached an even higher level.
    Format
    LP
    Release-Datum
    30.01.2015
    EAN
    EAN 4030433602010
     
  • 01. Yo Pouhala
    02. Hawah
    03. Yerfara
    04. Goy Boyro
    05. Wande
    06. Irganda
    07. Mana Yero Koy
    08. Hayame
    09. Tribute to Zoumana Tereta
    cover

    SAMBA TOURE

    Wande

    [engl] Serendipity, good fortune. Think of it as life handing you what you need, not what you thought you wanted. When Malian singer and guitarist Samba Touré was planning Wande (The Beloved), his third Glitterbeat release, he had strong ideas for the way it should sound. But once the sessions were over, he knew he had something entirely different, something even more satisfying: a collection of songs where warmth filled the grooves of every song. An album that seemed like home. “We had a totally different album in mind,” Touré admits, “a return to something more traditional, almost acoustic. I think this album is less dark than the previous ones. It has some sad and serious songs, but it sounds more peaceful. All the first takes have been kept, I didn’t re-record any guitar lines, the first takes are the one you can hear on the album. There are less overdubs than in previous albums, we didn’t try to polish or make anything perfect, it gives a more natural feeling.” That spark of spontaneity fires across the whole disc. It was recorded quickly, in “about 2 weeks, only in the afternoons and with breaks on week end to play in weddings, so it was very relaxed! One of the main difficulties we have in Mali is to reunite everyone at same moment. Every young musician plays in at least three bands or have a side job, only a few musicians in Mali can live from music, and have to work, so they are always busy. For the most part, I recorded the guitars first, then came percussion and bass. But on “Hawah,” a song I played before, I was totally unable to play the guitar without singing it so I just decided to record guitar and vocal together.” The sense of change, of something different and fresh pervades every note of music. Wande is just as direct and powerful as Touré’s previous work, but everything moves with a bright, danceable sensibility. Gone are the intense guitar and ngoni duels, replaced with with short, incisive guitar solos and a solid, laid-back groove. Only two songs had been written before going into the studio: the title cut, which is a love song to his wife, and “Tribute to Zoumana Tereta,” a memorial to the late sokou fiddle player who often collaborated with Touré, and who lives on in a sample that weaves throughout the track. Everything else came together almost on the spot, like the rhythmic “Yo Pouhala”, composed one afternoon and recorded the next, or “Yerfara”, with an impeccable, chunky rhythm guitar riff to make Keith Richards weep with envy. The emphasis throughout is on rhythm, and the tama talking drum that’s always been a feature of Touré’s music takes a place near the front of the band. “I’ve always loved tama, for its sounds, it’s the only drum that can play eight notes. It’s so energetic. And I love tama for its symbol, its tradition. Before cellphones, when something important happened in a village, people would reunite on a place by the call of tama player. It’s a symbol of call to reunion.” Wande is a record that reconciles continuity and change. But both have been the hallmarks of Touré’s career. Starting out as a guitarist in a soukous band, everything was altered when he became an accompanist to Mali’s greatest legend, the late Ali Farka Touré (with whom his mother had performed). Later, as a solo artist, he’s become renowned across the globe for his passionate guitar work and fiery singing, one of the masters of his art, a man who’s learned from the greatest and gone on to develop a sound that’s completely his own. But, Touré says, don’t call it desert blues. Don’t call it African Rock. That’s lazy. It doesn’t need labels like that. “It’s contemporary music from Mali,” he insists. “Maybe our traditional music has changed. We live all in the same world wherever we are on that planet, we all have the same music on radio or TV, we hear the same music in movies, so even if we don’t really know what’s rock music in Mali, we hear some everywhere every day, it has become part of our inspirations, easy inspirations because it’s sometimes so close to what we do traditionally. If you attend a traditional ceremonies in villages north of Mali, you’ll see that musician always use distortion at maximum level but they don’t know anything about rock or blues. But believe me they do some. And desert blues…to me it’s a way to name music from the region north Mali, Niger or Mauritania but it has no more sense.”
    Format
    LP
    Release-Datum
    25.05.2018
    EAN
    EAN 4030433605912