I never had any problem with rock or pop(ular) music esp the kind of politically conscious one
and I still enjoy
this good time guerrilla
I guess many of you too
judging from the number of downloads
and they were not even properly posted!
one,two, many Zebdas to clean the murky pop waters,I miss their clever words ,the sentiments ,the energy..the anti-star attitude ...
"We who live by rock and rai and accordion/On the periphery of commercial hits" is a line from Zebda's hometown portrait Toulouse and that's a pretty accurate capsule description of where the French band fronted by three second-generation North African immigrants fits among the Euro-mix crew...... Zebda (زبدة, transliterated Zibdah), the Arabic word for butter (beurre in French), is a play on the word beur, a French slang word referring to French citizens of Arab origin,several of the group's members are of North African and other immigrant descent.
As Zebda was originally formed for a community organization and many of the members met through social initiatives and activism, the band remained highly political throughout its existence; Bruce Crumley of the Culture Kiosque has called the group "politically engaged and culturally committed" and "politically progressive.
"Much of the group's music and lyrics have centered around issues of political and social justice among the immigrant community and inhabitants of the banlieues.
Difference, discrimination, and exclusion are themes that feature heavily in J'y suis, j'y reste
The themes of Zebda's music were known for dealing in issues of racism and intolerance....
"The album can easily be found in Chinese underground record markets,
and it is apparently one of the best known French rap albums in mainland China."
Zebda/Audience in interaction !
the return -in 07-of the distinguished members of Zebda,,Tacticollectif and les Motivés
from Toulouse,brothers Anfas- Mouss and Hakim with a musical project under the name Origines Contrôlées,
of historic proportions as they exhumed songs from the last 40 years,
composed by Algerian artists exiled in France,to create
a tribute to the music of the immigrants from Algeria during the "thirty glorious years".
from the early 40s up to the late 80s,when a generation of artists with very different styles sang
the departure and the absence, the exile, but also the political struggle or the loneliness of the immigrants .
A variety of pure and hard edged poetry, dance rhythms or romantic melodies, from singers-songwriters like
Mohamed Slimane ,Nourredine Meziane,
Dahmane El Harrachi, Cheikh
Bouyazgaren, Cheikh El Hasnaoui Azem,Mazouni,el Sheikh Hasnain,or the late Lounes Matoub
where inspiration has taken many forms,
as all these songs have marked
the lives of the millions of Algerians who arrived on the soil of France shortly after the war.
Childhood memories,the almost forgotten 45's from the portable pick-ups or the juke boxes of the cafes ,
a tribute to a wonderful heritage and the transmission of the values
of universal citizenship,courage and freedom,
and to the generations beyond the sea, with all the talent and the generosity of Origines Contrôlées
1. Moroman Wouele Nobody has called me" Song about Man's destiny, reminding him that destiny is the path on which he is getting on. 2. Bolomakoté Mama The musicians thank their country, their town and its very special quarter which is the Bolomakote, as well as their leader Mahama Konate that all have contributed to their happiness and opened their eyes and heart to the world. The Bolomakote is the main-quarter of cultural and musical effervescence of Bobo-Dioulasso. 3. Mandela Song dedicated to Nelson Mandela, inviting every one, and all the people of Africa and of the world to spell out Mandela's name to remember and pursue his struggle. 4. Nianiae Lomina Once I saw his eyes..." _When I saw his eyes, one night in Paris. I realized: because he left his home too long ago he is now a stranger there, and he will always be one here. tie knew, he was old and he cried. _Never drop and leave your roots, return to them, keep them up..." 5. Kodine Song inviting everyone to live and to move, reminding to those who like to criticize that doing is more difficult but more important, that immobility and statism are the antechamber of death. 6. Samba Through the story of Samba the little burglar, this song tells about the difference of satisfaction that is provided when something is obtained thanks to good work versus to when nobody knows how and from where. 7. Patron Mousso [Instrumental] ,Don't touch the masters' wife..." Humoristic sentence that gives some relativity in the notion of fidelity between man and woman. It is an opening to the feast, to unselfconsciousness. It Is a feast to the Instruments, to the men, where they meet, present and confront themself to each other. 8. Goulikanairi Ye Song dedicated to the quarter of Bolomakote, which literaly means We have no fortune but we like to stay here". 9. Kabouroudibi ,The grave's darknesses" Song dedicated to the universal equality of Men when facing death, to the respect due to each, reminding that in regard of death, we are all equal, and that the darkness of the grave is the same for everybody. Song performed at funerals.
Lida Goulesco was born in Petrograd in 1917. At the time, her father, the famous tzigane violin player, John Goulesco, had been in the Tsar's service for fifteen years. At the outbreak of the revolution, the Goulesco family went into exile, staying briefly in Constantinople and finally settling in Paris as had a large number of immigrants before them. There, the father began to perform, as Jean Goulesco, in restaurants and cabarets that were proliferating at the time, and where the likes of Valia Dimitrievitch and Volodia Poliakoff could be heard. This was the setting in which Lida Goulesco grew up — an atmosphere which, together with the musical talent prevailing in her family, led her effort lessly into singing and dancing in early childhood. She was seventeen when the owner of one of the most elegant Parisian cabarets became subjugated by the expressive power of her voice. Her first public appearances were crowned with success and Lida Goulesco quickly became famous beyond the frontiers of France, winning enthusiastic acclaim in New York, London and Rome, among other musical centers. Today, while retaining Paris as her home base, Lida Goulesco travels throughout the world, popularizing her tzigane songs — songs which she sings with such passion and deep involvement that no one can listen and remain indifferent. from linear notes
1 Gari Gari (Brule, Brule d'Amour, Tzigane) 2 Droujba (L'Amitie) 3 Matouchka (Je M'Ennuie, Maman) 4 V'Osseniy Dienn (Un Jour D'Automne) 5 Tscto Za Khorr (Quel Coeur Chantait Chez "Yar") 6 Rasstavaiass (En Me Quittant, Elle Disait) 7 Makhorka (Tabac) 8 Khodou Parakhoudou 9 Svietit Miessiatz (Au Clair de Lune) 10 Moskovskija Okna (Les Fenetres de Moscou) + 2 bonus untitled bonus tracks
Tap your heels three times, thegoodone will pass you all the way to Russe Tzigane Cabaret
There are three or four competing theories about the origin of the word forró. The most convincing is that forró is a derivative of forrobodó, an Afro-Brazilian word meaning “great party” or “commotion.” Another theory holds that forró is a corruption of “for all” and dates from the early 1900s, when the railroad companies would throw big dances on the weekend and designate them as either “employees only” or open to the general populace, “for all.”
Forró emerged as a distinct style of dance music in the late 1800s, about the time Brazil was in the process of becoming a republic. Forró, a name which refers both to a dance and to the accompanying music, is an energetic blend of Afro-Brazilian percussion and European dance music of the late
1800s, specifically the polkas, waltzes and mazurkas that constituted the primary accordion repertoire at the time.
Forró developed in the northeastern part of Brazil, the most Africanized region of the country. Most of the African slaves the Portuguese brought into Brazil worked the huge plantations along the Atlantic coast, and many of the descendants of those slaves have remained in the general area. Relegated to less desirable land a few miles inland, large numbers of thenordestinos (northeasterners) live in an arid, rocky region known as the sertão.
Life there is hardscrabble and unforgiving. Forró began the evolution from regional style to national obsession as nordestinos gave up on farming and moved to an even more uncertain life in the coastal cities such as Recife and Salvador and, farther south, Rio de Janeiro and São Paulo. The harshness of life on the sertão is indicated by the name given to those who pack it in for the cities—flagelados, the scourged.
The nationalization of forró was completed by accordionist Luiz Gonzaga (1912-1989),
who reinvigorated the traditional folk style and turned forró into a national craze
that has influenced all subsequent Brazilian music.
Traditional forró, known as forró pé de serra, is played on just three instruments: the piano accordion, a metal triangle and a large bass drum called the zabumba, played with a mallet in one hand and a stick called a bacalhau in the other. The melody is played by the accordion, with the drum and triangle pounding out a surprisingly complex and funky polyrhythmic beat.
Forró includes both accordion-led instrumentals and songs. Like vernacular music the world over, the subject matter of many forró songs is love, in all of its many manifestations—lost, found, unrequited, unforgettable, passion, jealousy and so on. Songs that aren’t about love mainly address the more serious concerns of the nordestinos—alienation, cultural dislocation, racial prejudice and a longing sense of nostalgia.
This, the first album by the Mandingo Griot Society, is not simply a different form of fusion music. True, it does combine traditional African instruments with a contemporary American rhythm section: electric bass, drum set, and percussion. But it is, in fact, a reuniting, a coming to¬gether of two musical cultures with a common origin. For it should be understood that the African creative process, spiritual in its essence, has always been the root of American "fusion" musics, most significantly jazz, funk, and blues. Since the work of Alex Haley, author of Roots, has reached the American public there has been a heightened awareness of African culture in general and Mandingo traditions in particular. (The Mandingo people live in the West African countries of Senegal, Gambia,Guinea, and Mali. Among the Mandingos it is the Gnats, through their singing and recitation of history, who forge a link between those traditions and the present. Foday Musa Suso is a young Griot from The Gambia whose musical skills on the 21-string kora, and knowledge of Mandingo history, were taught to him from within his family, as is the traditional manner. Musa's ancestry can be traced back through generations of Gnats to Jalimadi Woleng Suso, the first kora player. Some of the songs on this album are in fact several hundred years old (Janjungo, Chedol; others are of more contemporary origin. Through working and performing together the Mandingo Griot Society seeks to present the historical and cultural sig¬nificance of these beautiful songs to a Western audience. However, the creativity of the band is not confined by its African foundation. The Mandingo Griot Society maintains a world perspective and seeks inspiration in the creative expression of all people. Linear notes
01 JIMBASEN How the fishermen used to paddle their canoes. 02 SOUNDS FROM THE BUSH Makan, great hunter, who never fails any time he sounds his gun. 03 APPOLLO—FASUBARA A woman who puts on the Appollo dress has beautiful eyes; she has a long beautiful neck. 04 CHEDO The war between the Fulanis and the Mandingos. 05 AFRICA Why don't you visit Africa, I know you'll like it. 06 JANJUNGO Remember Fakoli Kruma, the bravest, loyal friend of the great warrior and ruler Sundiata... 07 MAMAMANEH Let's visit Mamamaneh who wants me to play for her because she likes my kora. 08 GAMBIA VILLAGE SOUNDS The festival drumming of the Jola people. 09 MUSUBALANTO The women who want me to stay late to play for them.
JOSEPH THOMAS: Fender Tap bass, shakers, vocals. HANK DRAKE: trap drums, tabia, bells, shakers, vocals. JALI FODAY MUSA SUSO: kora, lead vocals, dusungorn, shakers. ADAM RUDOLPH: congas, bongos, timbales, djembe, tabl, achimevu, shekere, dundungo, bells, shakers, vocals. Special guest artist DON CHERRY on trumpet
Excuse me for for not being able to let a chance to say thegoodonepass by.
A musician sitting cross-legged on stage plays a fabulous melody with his Jew's-harp, accompanied by the rhythm of the dholak, welcoming the pilgrims, who are Musafir, travellers since centuries all over the Rajasthan. They are on pilgrimage to Baba Ramdev's temple, the great Saint of Gypsies. The Saints are worshipped by both Hindus and Muslims, yet their interpretations are very personal. The Sapera, known as the snake charmers, belong to the most ancient Gypsy tradition. Hameed Khan's father and forefathers were musicians, exponents of both folk and classical Indian music. In 1984, Hameed, a tabla player in the University of Rajasthan, decided to settle in France. He proved his versatility and played with Indian classical artists, folk dancers and European musicians including Lo'Jo, the Breton singer Erik Marchand, and the Gipsy Kings' Chico Bouchikhi. In 1995 he started Musafir with a goal to introduce the full spectrum of Rajasthani styles, including qawwali singing, Bollywood songs, Arabian influenced pop, and Hindustani classical music. His aim was to show music within its context, including the rich visuals. Indians don't have boundaries between art disciplines, the Hindu word sangeet means simultaneously music, dance and drama. Musafir is a colourful mix of performers coming from all corners of the Thar desert in the North West Rajasthan: the sedentary Langas and Manghanyar and nomadic Sapera. The Sapera (from the word Sap, snake) specialize in curing snake bites and in snake charming. source
Dhola Maru Don't let the explosion of sounds and colors just pass by breathe them in, thegoodone is all around.
A Whirlwind of Ecstatic Music from Rajasthan - In the windswept desert of northwestern India, at the edge of the Islamic Orient, the Gypsies, Muslims, and Hindus of Rajasthan have coexisted for over ten centuries, giving rise to a sacred music tradition at once sensual and holy. On Dhola Maru, Musafir unleashes a whirlwind of masterful rhythms and spiraling polyphonies transporting us into the ethereal landscape of Rajasthan’s gods and maharajas, saints and lovers. This world-class gathering of musicians brings alive three sacred music traditions at their highest level – electrifying Muslim qawwali chant, North Indian raga, and passionate songs from the dawn of Gypsy culture – drawing us "through the trance and irresistibly into the heart of divine ecstasy." source
Rajasthan, in northwestern India, has a unique mix of cultures that has continually enriched not only its own music, but that of much of Asia and Europe over the centuries. Gypsies, Muslims, and Hindus have all contributed to a potent blend of sounds and influences that have grown into a ceremonial music of rare sensuality. Musafir's members reflect this fusion of religions and cultures and by working together have generated a new energy that is all of the above and none. If you know the various sources, you can identify the complex ragas, the ecstatic qawalli voices, the incessant swirl of the Sufi, and the physicality of Gypsy songs, but they are merged into a new sound in the hands of these musicians, singers, and dancers. The nine tracks include mesmerizing love songs, frantic dance tunes, powerful ensemble and imploring solo vocals, accompanied by harmonium, dholak, sarangi, and a host of other instruments that represent the region's diversity. Musafir are uniquely equipped to translate these many cultures into an important cooperative of sound. --Louis Gibson source
The great mask, D'mba or Nimba of the Baga
represents the mother of fertility, protector of pregnant women, and presides over all
agricultural ceremonies. The dancer, wearing a full raffia costume, carries the mask on his
shoulders, looking out through holes between the breasts. In use, such masks rise more
than eight feet above the ground; they often weigh more than eighty pounds.
" Nimba is the joy of living; it is the promise of abundant harvest"
The Nimba represents the abstraction of an ideal of the female role in
society. The Nimba is essentailly viewed as the vision of woman at her zenith of power,
beauty, and affective presence; rather than a goddess or spirit.
Typically, the Baga Nimba's hair is braided into parallel rows (represented by the
scarification on the head) which are similar to the patterns of agriculture grown in West
African fields. The face, and breasts of the Baga Nimba are decorated with scarification,
which embody the ability of the Baga Nimba to alter its condition to the natural
environment. Nimba's presence is exemplified in all aspects if baga life for she is present
publicly at weddings to give direction to the new union; at funerals to initiate the dead;
harvest to celebrate productivity; and planting to inspire her people to continue to
complete difficult tasks. Ultimately, Nimba is a reminder of the reverred qualities which
make up the Baga social system.
An embodiment of the goddess and of "mother earth," the Nimba mask was associated both with human procreation and with the fertility of the fields. According to nineteenth-century accounts written by travelers in the region, it was carried about in the marshes and tall grasses of the Baga rice paddies. A potent fertility symbol, the goddess Nimba was also invoked by infertile women in the Simo society. The headdress, in fact, represents an idealized female figure; the long, flat, pendulous breasts identify her as a mature woman who has given birth to many children and has nurtured them to adulthood.
The most monumental of ritual African masks, the Nimba mask towered eight feet above the ground when worn over the shoulders by a Baga dancer.
Unlike masked representations from other African cultures, which may represent ethereal spirits or ancestors, Nimba is not a "spirit," but instead is loosely described by the Baga themselves as simply an "idea."
Nimba is an abstraction of the ideal of the female role in Baga society.
She is honored as the universal mother and is the vision of woman
at the zenith of her power, beauty, and affective presence.
Although Nimba is not a spiritual being in the Baga sense of the term,
nor a deity, she is a being of undeniable spiritual power.
listening , reevaluating and enjoying again Kaloum Star