gleeful thread of afrika music!!!!!!!!!

shortyblack · Post by **shortyblack** » Tue Aug 18, 2009 1:57 pm

One of the first African musicians to gain widespread international recognition, Hamza El Din is a Nubian master of the oud, or the fretless lute. Western listeners are as likely as not to have been exposed to his work via the Grateful Dead, who played with him on-stage occasionally. (El Din also helped arrange the Dead's tour of Egypt.) He played an integral role in modernizing Nubian music, using his work to both evoke and tell stories of Nubian life.

El Din was originally trained to be an engineer, but changed direction and enrolled in the Middle Eastern School of Music, where he began to compose his own songs. On a fellowship to study Western classical music in Rome, he met American Gino Foreman, who exposed Hamza's work to Joan Baez and Bob Dylan. This resulted in a contract with Vanguard. His mid-'60s debut, Al Oud -- Instrumental and Vocal Music From Nubia, was one of the first "world music" recordings to achieve wide exposure in the West.

In the second half of the 1960s, El Din spent much of his time in America, living in guitarist Sandy Bull's apartment for a while. Taking a series of teaching positions in various American locations, he also found time to record a Nonesuch album in 1968, Escalay, that is considered one of the best documents of Nubian music. Eclipse is his most notable post-Escalay record, raising his profile in the U.S. when it was reissued on CD by Rykodisc.

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One of the many excellent albums he's recorded, Muwashshah offers abundant proof that when it comes to Middle Eastern and North African music, Hamza el Din is as impressive a musician as he is a singer. El Din's soulful vocals are something to treasure, but even if he did no singing whatsoever, his oud playing on hypnotic gems like "Assaramessuga," "Gala 2000," and "Bint Baladna" would make the CD worth the price of admission. The oud is a very recognizable lute that has been prominent in traditional Arabic music for centuries -- anyone who has spent time listening to traditional Middle Eastern music has more than likely been exposed to the oud at some point -- and el Din's mastery of it is undeniable. Thankfully, one doesn't have to choose between el Din's singing and his oud playing; both do their part to make Muwashshah the triumph that it is.

YouTube · Post by **Philaflava** » Tue Aug 18, 2009 1:59 pm

keep all your thoughts and posts in this thread in Rick Rubin. If you do, you can have this thread. If you wander elsewhere those posts and this thread will be deleted.

shortyblack · Post by **shortyblack** » Wed Aug 19, 2009 1:18 pm

kora jazz trio - __melodie__ _guinea - mali_.rar - 91.50MB

1 Tabou
2 N'Dyaba
3 Senef
4 Miriya
5 Now Is the Time
6 Goree
7 N'Dimi
8 Mimi
9 Matamani
10 Nina

amusing amazon user review: This is a pretty unusual jazz trio, formed by African musicians playing, apart from the piano, African instruments. The string sounds are from the kora, a traditional African harp that yields an almost Celtic harp sound. Without exception, all songs are excellent and the kora has an important part in the music. The songs are all joy and some have African lyrics. Some have a Caribbean beat or something like that. A must listen for those looking for different sounds, harp-related tunes and open to innovations without willing to being struck by experimentalist stuff as Zeena Parkins. By the way, the kora does not sound boring as we use to think of harp music, it actually reminds me of Jean Luc Ponty or even Pat Metheny.

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A kora is built from a large calabash cut in half and covered with cow skin to make a resonator, and has a notched bridge like a lute or guitar. The sound of a kora resembles that of a harp, though when played in the traditional style, it bears a closer resemblance to flamenco and delta blues guitar techniques. The player uses only the thumb and index finger of both hands to pluck the strings in polyrhythmic patterns (using the remaining fingers to secure the instrument by holding the hand posts on either side of the strings). Ostinato riffs ("Kumbengo") and improvised solo runs ("Birimintingo") are played at the same time by skilled players.

Kora players have traditionally come from griot families (also from the Mandinka tribes) who are traditional historians, genealogists and storytellers who pass their skills on to their descendants. The instrument is played in Guinea, Guinea Bissau, Mali, Senegal, Burkina Faso and The Gambia. A traditional kora player is called a Jali, similar to a 'bard' or oral historian. Most West African musicians prefer the term 'jali' to 'griot', which is the French word.

Traditional koras feature 21 strings, eleven played by the left hand and ten by the right. Modern koras made in the Casamance region of southern Senegal sometimes feature additional bass strings, adding up to four strings to the traditional 21. Strings were traditionally made from thin strips of hide, for example antelope skin - now most strings are made from harp strings or nylon fishing line, sometimes plaited together to create thicker strings.

By moving leather tuning rings up and down the neck, a kora player can retune the instrument into one of four seven-note scales. These scales are close in tuning to western Major, Minor and Lydian modes.[1] and .[2]

Increasingly koras are made with guitar machine heads instead of the traditional leather rings. The advantage is that they are much easier to tune. The disadvantage is that it limits the pitch of the instrument as the string lengths are more fixed and lighter strings are needed to lift it much more than a tone. Learning to tune a kora is arguably as difficult as learning to play it and many people entranced by the sound while in Africa, buy a kora and then find themselves unable to keep it in tune once they are home, relegating it to the status of ornament. Koras can be converted to replace the leather rings with machine heads. Wooden pegs and harp pegs are also used but both can still cause tuning problems in damper climates unless made with great skill.

Some kora players such as Seckou Keita have double necked koras, allowing them to switch from one tuning to another within seconds, and giving them increased flexibility.

The kora is mentioned in the Senegalese national anthem "Pincez Tous vos Koras, Frappez les Balafons."

[edit] History

Djeli Madi Wuleng is traditionally linked to the origins of the kora in the early 19th century. However, the earliest European reference to the kora in Western literature is in Travels in Interior Districts of Africa (1799) by the Scottish explorer Mungo Park. The most likely scenario, based on Mandinka oral tradition, suggests that the origins of the Kora may ultimately be linked with Jali Mady Fouling Cissoko, some time after the founding of Kaabu in the 16th century.[3]

In the late 20th century, a 25-string model of the kora was developed, though it has been adopted by only a few players, primarily in the region of Casamance, in southern Senegal. An electric instrument modeled on the kora (but made primarily of metal) called the gravikord was invented in the late 20th century by instrument builder Robert Grawi. The gravikord has been adopted by African kora players such as Foday Musa Suso, who featured it in recordings with jazz innovator Herbie Hancock and with his band Mandingo.

the critics spoke of a

shortyblack · Post by **shortyblack** » Wed Aug 19, 2009 1:19 pm

virginia rodrigues - 2000 - nos.zip - 67.16MB

from amazon:

Amazon.com's Best of 2000
Virginia Rodrigues's sophomore album, Nos, is the sort of session that sends chills up the spine--and a warm gust straight to the soul. Her version of Bahian music employs the Brazilian region's percussive traditions in almost subterranean ways so that her voice can soar across the top of the rhythms. There's a mysticism and spiritual core to Nos that's of course connected deeply to Bahian traditions but has global relevance. --Andrew Bartlett

Amazon.com
The Bahian region of Brazil has sent the world some invaluable music, much of it expressed to the widest audience through artists who aren't native to the region. So the drummers of Olodum propel Paul Simon's Rhythm of the Saints and deeply inspire Caetano Veloso and untold other Brazilian artists. Virginia Rodrigues, though, is the quintessence of the region's aesthetic pricelessness. Her Sol Negro won global accolades, and its follow-up, N

shortyblack · Post by **shortyblack** » Wed Aug 19, 2009 1:19 pm

This is jazz with folkloric and traditional fusion from Curacao

shes a very good versatile singer and all her albums are very beautiful and interesting. shes hot too

kanta helele.rar - 79.90MB

1. Mi So Den Boso (come lets eat and drink)
2. Kasa Ku Mi (marry mi)
3. Kanta H

shortyblack · Post by **shortyblack** » Thu Aug 20, 2009 1:49 pm

The Beat vol. 21, no. 6 2002 ג¢ Brian Dring

The Alphabetical Islands

For the longest time I've wanted to find more music from the Dutch Caribbean. The islands of Aruba, Bonaire and Curacao have long been a place of cultural and musical cross-fertilization, with elements of African, European and South American music present in various proportions. The ABC Island Primer (Network) offers a glimpse into the broad spectrum of styles that have evolved on these tiny islands.

A bunch of musical associations come to mind on first listen; for example, I hear shades of Afro-Venezuelan guitar style on the paranda style of גUn Siglo Voboג. (This Christmas musical tradition also exists in Trinidad as parang.) There are shades of South African vocal chorus on the Afro-Portuguese גGanganג by Serenada, and the cut גBendishon Disfrasaג sounds incredibly like the vintage Cuban son montuno made popular by the Buena Vista Social Club crew, although it's sung in the Papiamento language at times so close phonetically to Spanish. Other tunes like גMi Sa Ta Ken Mi Taג are based on varying Latin tempos, but the truly distinguishing characteristic of ABC music is the tumba, a kind of salsa played in a waltz-like 6/8 tempo which permeates the early cuts on the disc.

There are other creolized forms like the African-sounding muzik di zumbi of גBiba Felisג performed on balaphon and other percussion, the tambu, anotherAfrican-derived form with touches of accordion, and the slow tantan meri, a mournful slave narrative sung a cappella. Perhaps most impressive of this collection of songs is Izaline Calister's גFiesta di Piskadoג (Feast of the Fishermen), a joyous celebration that starts with the throbbing benta (an African mouth harp that sounds like a berimbau) and mixes Brazilian elements with some very sophisticated jazz keyboards played over a basic tumba rhythm. This mix of cosmopolitan and traditional sets this cut apart from the more acoustic mood of the rest of the compilation, and Izaline is pictured on the back cover of the disc perhaps as a symbol of a new direction in Dutch Caribbean music.

After hearing the cut I was intrigued to hear more, and was not disappointed when I got a copy of this singer's debut solo cd Sono di Un Muh

malpractice · Post by **malpractice** » Thu Aug 20, 2009 2:00 pm

shortyblack wrote:music upload thread

edited 8 times in total

shortyblack · Post by **shortyblack** » Fri Aug 21, 2009 10:25 pm

we got to talk about zouk next

zouk is some of the hardest african europ fusion pop music made up there with the new orleans funk styles, detroit soul, nuyorican salsa and jamaican traditions

zouk is an updated version of kadence or cadence music

I give you the martinican view of what we call Cadence.
Cadence was a music of the 70's in Martinique and Guadeloupe playend by famous bands like LA PERFECTA , LES AIGLONS, LES VIKINGS etc etc...

Dominican bands like EXILE ONE , GRAMMACKS, MIDNIGHT GROOVERS, BILL O MEN etc etc took Cadence, mixed it with KOnpa and especially calypso to create CADENCELYPSO !!!

We make a difference between CADENCE and CADENCELYPSO...
CADENCE sounds more like Konpa while Cadencelypso has a calypso base.

The appearance of Zouk in the 80's made Cadence disappear, but nowadays all those old Cadence and CADENCELYPSO tunes are still very popular !!

the DECIMUS BROTHERS played with different bands in Guadeloupe
jacob desvarieux was playing in a rock & funk band in Paris
Jocelyne B

shortyblack · Post by **shortyblack** » Fri Aug 21, 2009 10:28 pm

cadence lypso from dominican band grammacks:

http://www.imeem.com/people/6Q-t_5V/mus ... lo-africa/

cadence medley from simon jurad

http://www.imeem.com/people/6Q-t_5V/mus ... -pete-pak/

stuff is pretty hot

kinda like some island funk or island soul jazz

imagine that!

shortyblack · Post by **shortyblack** » Fri Aug 21, 2009 10:35 pm

shortyblack · Post by **shortyblack** » Sat Aug 29, 2009 9:00 am

these are really good albums

i think yall are seriously missing out

the brow · Post by **the brow** » Sat Aug 29, 2009 9:18 am

shortyblack · Post by **shortyblack** » Sun Aug 30, 2009 11:35 am

coming soon:

wicked lyrics and perfected riddims: dancehall from buju banton, hard, funky and scathing political afro beat from fela kuti, and finally some intense and influential latin soul jazz inspired by the african spiritual traditions of the americas by puerto rico's legendary piano powerhouse eddie palmierie!!

shortyblack · Post by **shortyblack** » Sun Aug 30, 2009 1:10 pm

buju banton - too bad _2006_.rar - 71.22MB

The artist himself hasn't said it happened this way, but one has to wonder if the strictly dancehall- and strictly Jamaican-Too Bad is a product of the outside world's recent shunning of Buju Banton thanks to the controversy around his old homophobic track "Boom Bye Bye" rearing its head again. It's a problem he's dealt with for years, but the 2005 cancellations of overseas shows seem to have been the final straw, perhaps influencing the multifaceted singer to drop the reggae for a while and return to straight-up dancehall as a "screw you world" move. Other factors could include having his own label, Gargamel, and in turn the freedom to do this, and since Gargamel has released plenty of great roots music, Banton could have decided to save dancehall music instead, since he had recently declared the scene a "common whorehouse." His assessment seems rather harsh, but if dancehall really does need saving, these tracks could do it, although they're thrown together in such a jumble here that the album as whole works better in small bites. What makes Banton's return to Jamaica's most aggressive music so great is that he's created tracks that are equal shares nostalgic -- quoting dancehall vet Yellowman on the title track for example -- and forward-looking, with the thirty-something singer proving he can ride the most up to the time riddims as well as any young upstart. He's one of the few singers who could turn the ridiculous "Wipeout" riddim -- which is based on the surf classic by the Surfaris -- into the vicious rallying cry "Me & Oonu," and while there are more slick party and "for the ladies" tracks than usual, substantial numbers like "Driver A" tip the scales the other way, saving the album as a whole from being too lightweight. So much dancehall will probably alienate the massive fanbase Banton earned with the versatile efforts 'Til Shiloh or Unchained Spirit, but longtime fans who miss the fire of his early work are going to go ape for this one.

shortyblack · Post by **shortyblack** » Sun Aug 30, 2009 1:11 pm

eddie palmieri - lucumi macumba voodoo.rar - 81.09MB

With the dog days of summer upon us, it seemed like a good idea to go just a bit left of center for this monthגs feature. Keeping the temperatures in the caliente zone (that means keeping things hot, if youגre a gringo), we visit an obscure gem from Latin music sensation Eddie Palmieri. On the scene now for some four decades, with seven Grammy awards to his name, and a slew of albums to his credit (including the recent Concord Picante release Ritmo Caliente ), the Harlem born pianist and composer personifies the electricity we associate with salsa music. He also tends to dip his feet into jazz waters, working at one time with Cal Tjader in the ג60s and for the past decade or so with current jazz masters Conrad Herwig and Brian Lynch.

Back in 1978 when Lucumi, Macumba, Voodoo was recorded, Latin music was probably the last thing on the minds of youngsters who found themselves full force into the disco craze. Those with a few more years under their belts had become disenchanted with jazz and its left turn towards more commercial pastures and so there wasnגt much of an audience for the record upon initial release. Which probably explains why itגs hard to track down today. The title refers to the various religious arms of several different Latin American countries that wed music with rites and ceremonies and there is an authentic flair that permeates much of the music.

Again, one must remember this was the disco era, so pieces like גSpirit of Loveג and גHighest Goodג contain more than a passing reference to that particular flavor, with dance floor rhythms and vocal choirs. But the meat of the album is what endears it to many Palmieri collectors, yours truly included. גColumbia Te Cantoג opens with a Danzon rhythm and the sweet sounds of the charanga. Before long weגre in for a simmering piano duo between Eddie and his late brother Charlie that builds to a fever pitch. The other lengthy piece is גMi Congo Te Llamaג and it too tells a story with shifting tempos and excellent solo work from Steve Khan, Francisco Aguabella, and trumpet king גChocolateג Armenteros.

Co-produced with Eddie by pop producer and drummer Bobby Colomby, Lucumi, Macumba, Voodoo is in some ways very much a record of its time and no doubt Colomby might have been looking for a few disco fans to buy into its more commercial numbers (remember that Saturday Night Fever had a scene or two with Latin music as the backdrop). Still, the meat of the album is brimming with Palmieri at his best and the coming together of musicians from several Latin American worlds is something that might never be duplicated again.

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One of Eddie Palmieri's greatest albums of the 70s -- even though it was recorded for a major label! Like a number of his old counterparts in the New York indie world at the time, Eddie made a move to Columbia Records in the late 70s -- a shift that should have dampened his soul, but which only served to set him free in a broad wash of new styles! The sound here is fuller than before, but in a really great way -- a style that takes the inventive rhythms and piano work of Eddie's earlier albums, and infuses it with that breakout groove of the late Nuyorican generation -- a style that was both keenly aware of tradition, yet also able to communicate the local flavor of the New York scene to an increasingly global audience! Most of the album's in a Latin jazz mode, but there's also some great soul touches on the set from time to time -- and tracks range from spare, raw percussive numbers to others that have a swirling set of arrangements that really take off. Soloists include Ronnie Cuber and Afredo "Chocolate" Armenteros, plus a great lineup that includes Franceso Aquabella, Dom Um Romao, and the other Palmieri, Charlie, on piano and organ -- and most of the vocals are in choro format. Titles include "Spirit Of Love", "Lucumi Macumba Voodoo", "Colombia Te Canto", "Mi Congo Te Llama", and "Highest Good"

shortyblack · Post by **shortyblack** » Sun Aug 30, 2009 1:11 pm

_1974a_ alagbon close.rar - 39.05MB

everyone should own about 95 percent of fela's recorded material.

this is classic

tony allen on drums

shortyblack · Post by **shortyblack** » Tue Sep 01, 2009 6:28 pm

well i assume u arent really interested in this type of thing

i can give yall some good mambo, cumbia, soca, calypso, haitian music, jazz, antilles stuff and african music from many time periods

if yall have any thing u are interested let me know

ill be upping that ABC island primer (aruba, bonaire, curacao) next

and then i think we will have an abdullah ibrahim flood!!!

i see a lot of samba and afro brazillian in the future

some ile aiye definitely!!! (candoble and macumba related music of the blacks in bahia, cantas negras etc)

shortyblack · Post by **shortyblack** » Tue Sep 01, 2009 10:49 pm

I have a few very beautiful albums from trinidad that are really nice but it would pain me if no one checked them out!

i mean really good quality musicianship and studio work from the 70s and 80s with bands that are hittin' hard and tight tight tight along with wonderful lyrical work!!!

the perfect musical fusion of calypso, steel pan, african and indian riddim sections, soul, jazz, funk, r and b, and disco.

really innovative and classic stuff that is hard to come by and highly, highly slept on

binary · Post by **binary** » Tue Sep 01, 2009 11:06 pm

I would suggest making a mix and seeing if people are feeling it. All those albums at once is a lot to digest.

shortyblack · Post by **shortyblack** » Wed Sep 02, 2009 7:36 am

thats a good idea

i think ill just chill now and upload a song or two from each album!!!

i promise this is tight stuff though

shortyblack · Post by **shortyblack** » Sun Sep 06, 2009 7:42 pm

coming soon: doble energia from puerto rico

a la lupe and tito puente collaboration album from 1965

tito puente sings and the exciting lupe sings.

and broolyn's ray barreto.. the 1979 salsa masterpiece - rican, struction

djjeffresh · Post by **djjeffresh** » Sun Sep 06, 2009 8:40 pm

i be interested in some more arabic stuff. ima d/l that first one, but i love natacha atlas type shizz.

shortyblack · Post by **shortyblack** » Mon Sep 07, 2009 1:11 am

djjeffresh wrote:i be interested in some more arabic stuff. ima d/l that first one, but i love natacha atlas type shizz.

cool i can up some more hamza el din later

btw the kora jazz trio has arabic music on it too, it is from guinea which is largely Muslim, but it is a fusion of west african islamic and traditional music with swing/jazz where as hamza al din is strictly arabic/nubian fusion

ric · Post by **ric** » Mon Sep 07, 2009 7:05 pm

tried to get the first one. file is like 120kb big and says its an incomplete archive or some shit like that

shortyblack · Post by **shortyblack** » Tue Sep 08, 2009 12:25 pm

File Size: 75.59MB

Jonny · Post by **Jonny** » Thu Sep 10, 2009 1:56 pm

dope thread i hope you keep it going.

thanks for the fela..

homies right..knock out a couple essential mixes. cumbia, soca, etc all..

i think everyone here wants a taste not a whole meal..for now.

shortyblack · Post by **shortyblack** » Thu Sep 17, 2009 7:51 pm

heres some really beautiful stuff from a haiotian band called ram

i love them alot

the music is beautiful and ancient and powerful but modern enough that it has wide and universal appeal.

this stuff is beautiful

i dont know what to say, this is very nice stuff. frees my imagination, takes it to a magical and beautiful place.

this stuff might be more pure and wonderful then the truth of reality itself, but if only.

please check out a few of these youtube vids, i wish i could get u better quality sound.

<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/Xojqd_gf4SE&hl ... ram><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Xojqd_gf4SE&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>

<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/LlCljLIjofs&hl ... ram><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/LlCljLIjofs&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>

shortyblack · Post by **shortyblack** » Thu Sep 17, 2009 7:57 pm

haiti is a very very unique country.

it is a supreme source for african knowledge and culture. u must remember that this country got independence from europe before any other black nation, even before all the countries in africa. it is also tragically shunned by its brother and sister countries from dominican republic to jamaica and of course america (we are a product of the holocausts of the americas too, as hip hoppers we need to be aware of this fact) and it is home to some of the best and worst examples of humanity. (of course many jamaicans or cubans love haitians and many dominicans have roots there)

so the stuff there is like a museum of sorts, at least that is what us western bleeding hearts would say. also we musty not forget that it is the site of the earliest recorded spanish settlements and sources of information for early spanish and indian interaction

ever since the mystical guitar licks and intelligent production of wyclef zoned me out back in the score days i have felt intrigued by this nation and i hope u enjoy the msuic that it has to offer.

shortyblack · Post by **shortyblack** » Thu Sep 17, 2009 7:58 pm

shortyblack · Post by **shortyblack** » Thu Sep 17, 2009 8:01 pm

gleeful thread of afrika music!!!!!!!!!

gleeful thread of afrika music!!!!!!!!!

Re: chuuuuune!!!