Blogtrotters

Thursday, August 8, 2013

Mohammed Wardi - Greatest Hits [sudan]



                          P  O  O  R     R  I  P   




          Mohammed Wardi received several nicknames throughout his career. “Africa’s Pharaoh” was at the same time the “Leftist Artist.” The man who throughout his entire life regarded himself as a crowned king of Sudanese song often focused on those less fortunate than himself in his work. 

               “The Voice of Joy” passed away Saturday in Khartoum at the age of 79.

            The exceptionally talented Wardi turned singing into a medium for seeking justice and beauty. He did not view the “leftist artist” nickname as a demagogic slogan but thought of it as a responsibility. The choices he made in his life and career seemed to revolve around living up to that title. One of these choices was his decision to become a Communist Party member alongside Sudanese Communist heavyweight Muhammad Ibrahim Naqd.

          Wardi began his life as a music teacher at Sudanese schools in the 50s. He was then involved in a union struggle to defend teachers’ rights before joining the radio as a first class singer and composer.





       Wardi began his life as a music teacher at Sudanese schools in the 50s. He was then involved in a union struggle to defend teachers’ rights before joining the radio as a first class singer and composer.

       It is hard to separate between his political beliefs and artistic choices. He built the latter on fine lyrics that succeeded in offering an “alternative song” to counter Sudanese pop songs of the era.

       Wardi’s rise to success was in a big part owed to the work he did with two distinguished poets and songwriters, Ismail Hassan and Mahjoub Sharif. It was then that he went beyond the pentatonic musical scale that was prevalent in Sudan’s music to open up new horizons for Sudanese music.

      There was also Wardi’s love for Egyptian music, which he used to add an oriental flavor to his works. Soon thereafter, he introduced Nubian tunes and instruments, such as mandolins, into Sudanese music.

      Wardi’s political and artistic commitment was tested in a country that suffered several political coups. He supported General Ibrahim Abboud’s coup in 1958. However, he then celebrated its downfall in the 1964 “October revolution.”

      Following Jaafar al-Numairi’s coup in 1969, Wardi sang odes in support of the new regime, when it still had socialist orientations, only to perform other songs calling for the fall of al-Numairi’s regime in April 1985 revolution.

      Wardi left Sudan in 1989 following the rise of Sudanese President Omar Bashir to power. He spent 13 years in voluntary exile mostly in Cairo, where he was famous before his arrival.


     Wardi left behind a reservoir of songs that have become part of the Sudanese daily life. Wardi died, but his fans all along the Nile will continue to sing his songs for years to come.


1. Mohammed Wardi - Armusal (11:33)
2. Mohammed Wardi - Alnas Algyafa (8:54)
3. Mohammed Wardi - Amir Alhusen (6:14)
4. Mohammed Wardi - Ana Arfek Ya Fouady (3:15)
5. Mohammed Wardi - Ashof Fi Shakhsak Ahlami (10:10)
6. Mohammed Wardi - Been Wa Bainak Wa Alayam (6:47)
7. Mohammed Wardi - Ghalta (6:09)
8. Mohammed Wardi - Ma Takhgali (9:14)
9. Mohammed Wardi - Sodfa (8:51)


Friday, August 2, 2013

Ukandanz - Yetchalal [2013] [france + ethiopia]





 NEW ALBUM  
               uKanDanZ - Yetchalal


         The French quintet  uKanDanZ , a self-described "Ethiopian Crunch Music" ensemble, is a multi-national group playing high-energy ethnic jazz/noise rock with melodies inspired by Ethiopian folk and pop music. They are fronted by the considerable vocal prowess of Asnake GUEBREYES, and sport a very lively ensemble sound, often danceable, sometimes dissonant, always rhythmic. 





        uKanDanZ... a unique style, an unusual meeting between an electric quartet and Asnake Guebreyes, charismatic leadsinger originates from the vibrant music scene in Addis Abeba.
     Their music is inspired by traditional and popular Ethiopian songs. uKanDanZ has a real crunch energy. 
      Between rock, jazz, noise... With impertinence, they rock it wildly. Without compromise. Guitar, saxophone, keyboards, drums and vocals shuffle our bearings. What a pleasure! The stage presence of uKanDanZ swings alternatelybetween energy and emotion... then the public, transcended, dances and shivers.




        Lionel MARTIN provides a very visible tenor sax presence, tying in a jazz element, and Damien CLUZEL contributes guitar (as baritone guitar) with strong evidence of Rock-In-Opposition-like stylings. Fred ESCOUFFIER handles keyboard duties, and Guilhem MEIER keeps the drums busy yet funky.

Their first album, "Yetchalal", was released in early 2013, produced by the band.




UKANDANZ are : 

Asnaké Gèbrèyès (vocals) 
Damien Cluzel (guitar and baritone guitar) 
Lionel Martin (tenor saxophone) 
Fred Escoffier (keyboards) 
Guilhem Meier (drums) 

Mulatu Astatke - Mulatu in London [1986 ?]


                           R   E   U   P   L   O   A   D   

      Got this rare bootleg for a while ... 
       If anybody know something more about this recordings, post a comment, please !

       Enjoy rare Mulatu Astatke !!!



1. Mulatu Astatke - Yegelle Tezeta (7:11)
2. Mulatu Astatke - Netsanet (6:34)
3. Mulatu Astatke - Yekermo Sew + Munaye (14:15)

Arat Kilo - A Night In Abyssinia [2011]


   R E U P L O A D   




Ever since the Ethiopiques CD releases reminded the west about the extraordinary music that could be heard in Addis Ababa in the golden era of the 1960s and early 70s, there has been a flurry of very different fusion bands making use of Ethiopian influences, including this young French five-piece who take their name from an Addis monument. 



They are good players who mix funky guitar with bass, drums and horns – brass was often a crucial ingredient in the Addis sound – and they have mastered the distinctive, at times Arabic-sounding Ethiopian style. All that's lacking is a sense of energy and fun, especially in their instrumental treatment of a piece by the country's best-loved singer, the late Tlahoun Gèssèssè. 

Their own Ethiopian-influenced tracks include a jazzy collaboration with the rapper Socalled, but they are at their best when joined by African celebrities. Mulatu Astatke, the veteran "father of Ethio jazz" plays vibes on his own Dewel, while the best track, Get a Chew, is transformed by the exquisite, drifting, Ethiopian-edged vocals from Mali's Rokia Traore. With more help like this, they would sound very good indeed.


01. Aykedashem Lebe 3:57
02. Babur Part. 1 (Feat. Socalled) 5:04
03. Babur Part. 2 4:13
04. Lelit 3:41
05. Get A Chew (Feat. Rokia Traore) 6:39
06. Fit Le Fit 5:59
07. Dewel (Feat. Mulatu Astatke) 5:55
08. Addis Polis 4:12
09. Enie Konjo (Intro) 1:42
10. Enie Konjo 5:26
11. Ewnetegna Feqer 4:37
12. Wanz 7:25
13. Minew Jal (Intro) 2:07
14. Minew Jal 7:06

Thursday, August 1, 2013

Le Tigre [des Platanes] - Avec les dentes [france+ethiopia] [2007]


                                           R    E    U    P    L    O    A    D   



     Tiny pathetic insect accidentally imported from North America in the early 70's, the tiger of the plane-trees (in French: Le Tigre des Platanes) reveals itself to be a fearsome parasite that undermines by the bark the majestic alignment of plane-trees edging the French boulevards and national roads. How clever! Le Tigre (…des Platanes) is also an acoustic and poisonous quartet that undermines and recycles in its own insolent way various everlasting kinds of music. Good for them. Trumpet, bugle, tuba, sousaphone, saxophones, voices, melodica and Drums, I know it makes more than 4 but some of them are polyglots.

The story

   In 2001, Le Tigre des Platanes discovers the Ethiopique Collection and includes in its eclectic song book some chosen pieces by Mulatu Astatqé, Théshomé Metéku, amongst other, that it interprets in its own somewhat insolent way. In 2005, Francis Falceto, brilliant designer of the Ethiopic series, received a pirate recording of the Tigre des Platanes and got in touch with the quartet. In January 2006 Francis Falceto invited the Tigre des Platanes to participate to the Festival International of Ethiopian music. That's when the story begins…

    

2007 creation
Etenèsh Wassié / Le Tigre des Platanes ethio-jazz-experience

      The challenge of this creation is - on the groundwork of the magnificent Ethiopian "standards", the Ambassel, the Tezeta… - to explore completely, in total integrity, the new and unknown territory laid ahead of the 5 musicians. A world made of the real grand total of their strong personalities.
Beside the tribute and the accompaniment of a great Azmari singer by four European musicians, it is an authentic Journey, with all the questioning implied, we're taken along at each gig. So let's go!

         Since its very beginning, the Tigre des Platanes has been concerned with Journey. Such as the pathetic insect from which it gets its name, imported by accident for North America in the early 70's, the music of the quartet from Toulouse stigmatizes the intermarrying, the importation, the impurity of cultural intermingling, the invasion, the embezzlement. All this in a muddle highly claimed!


    Le Tigre des Platanes retied with one of his multiple sources of inspiration and flew off to Addis Ababa in January 2006 to participate to the International Festival of Ethiopian music. He came back refilled with a brand new energy, enriched by the journey and the encounters. The songbook of Ethiopian origin's pieces reinterpreted by the Tigre (…des platanes) made a leap and generated a new artistic drive, infusing some Ethiopian musicians with the desire of a deep-rooted collaboration, ready to play the game of real confrontation. In 2007, Etenèsh Wassié took up the challenge. 

       "Eyes half shut, Eténèsh lets her voice guide her where it takes her (takes us), thrilling, digging, colossal little sister of such a Piaf and a Billie Holiday. But the register of tears wouldn't be enough for her, and she might as well, without warning, hasten the tempo after a ballade we would have wished endless."
                                                                                     Francis Falceto


01 - Yékatit (Mulatu Astaqté)  10:42
02 - Keep Your Laws / Off My Body (Dog Faced Hermans)  6:02
03 - Yézémèd Yébaèd (Téshomé Météku) 7:50
04 - Roland Alfonso (Roland Alfonso) 7:56
05 - You Wastin' My Time (Roscoe Mitchell) 5:26
06 - Zombie (Fela Anikulapo Kuti) 9:04
07 - BubbleHouse (Medesky, Martin, Wood) 7:14
08 - Clever White Youth (Marc Ribot) 6:17
09 - Walk On The Wild Side (Lou Reed) 7:13
10 - Untitled 3:05



Marc Démereau : saxophones, melodica and screamophone
Fabien Duscombs : Drums
Piero Pépin : trumpet, bugle, melodica
Mathieu Sourisseau : acoustic bass and sousaphone


1 to 6 : Live in "La Mounède" (Toulouse) 27/11/2006. 
7 to 9 : Live in Calvi (Corse) 11/2007


Mixed By – Piero Pepin (tracks: 7 to 9)
Recorded By – Hugues Marmet (tracks: 1 to 6), 
                          Jeff Manuel (tracks: 7 to 9)