chewbone on GigaDial Public: Recent Episodes
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Zeer aangenaam stukje twoubadou uit Haïti hebben we vandaag aan deze plaat van Les 7 Vedettes. Als er accordeons worden gebruikt heb je bij mij al snel een stapje voor en dit is er ook weer zo een. Heerlijk spul, zonnig en gezellig, goeie stemmen alles akoestisch, precies wat we op zo’n regenachtige dag zoeken. Another very pleasant piece of Haitian twoubadou is what we’ve got for you today. Les 7 Vedettes are here and if acordeons are being used, you have my undivided attention. The album we have here is a typical example of such. Lovely sunny feeling, nice voices and all acoustic, just what we need on a rainy day like today.. titels ; 01 – Deux chances 02 – Resquilleur 03 – Pa fem ca 04 – Ville de hinche 05 – Mamman rizez 06 – Confusion
[APWW #709] [Originally broadcast in 2015]
Sometimes it’s hard to sit still in the Afropop office. The funkiest, most leg-shakingly infectious music blasts from our speakers on a regular basis. Impromptu dance demonstrations have been known to take place. It’s our mission to share this wealth of musical excitement with our audience. Today, we bring you everything from the latest Chilean electro-pop, to the reggae revival that’s heating up Jamaica, to the psychedelic frontiers of South Africa. Get down with what the future’s dance floors sound like. You’re hearing it here first.
[APWW #707 - updated for 2016] News bulletins from Havana are appearing daily as Obama’s initiative to defang the U.S. embargo moves forward. Ned Sublette, who frequently travels to Cuba, talks with Sean Barlow about the present moment and recent developments. The program features timba from Havana d’Primera and Pupy y Los Que Son, Son; a master mix of reguetón by Chacal y Yakarta; El Micha, and the timeless music of the late Papo Angarica and Haydée Milanés.
Chief Commander Ebenezer Obey heeft een stapel platen gemaakt van ik weet niet hoeveel. Met de veertien stuks die hier tot nu toe geplaatst zijn maken we slechts een klein beginnetje. Deze vijftiende elpee op de GG komt uit 1972 en verkeert in perfecte staat vor de 44 jaar die hij heeft. Het begint met een hallelujah en ik had ‘m bijna terug in de kast gezet maar de muziek is zo goed dat ik hem niet kon laten staan. luister en huiver.. Chief Commander Ebenezer Obey made such a pile of albums, we’re only getting started with the fourteen we had so far. The one we have today is from 1972 and is in perfect condition for its 44 years of age. It begins with a hallelujah which almost made me decide not to post it but the music is too good to be neclected. Enjoy listening to Ebenezer Obey.. titels ; 01 – Edumare soro me dayo – Ajala-alhaja – Alhaji babs. – Animashaun – Laide oropo – Bode oshinusi 02 – Board members – Efori jiwa – Bisi cash – Madam – Chief funsho – Oyename ( remo carpet )
Vraag je mij wat het verschil is tussen Samba en Pagode dan kan ik je dat niet uitleggen. Zo rond 1980 begint de samba enigszins anders te klinken. De Braziliaan kan je precies vertellen hoe het zit, de samba was veel sneller. Persoonlijk dacht ik juist andersom. Als jij het weet mag je het ons uitleggen. De plaat van Criolo Doido zou ik meer als Pagode klassificeren hoewel die in het begin weer meer Samba is dan later. Pffff.. het duizelt me. Luister zelf en trek je conclusie.. If you ask me what’s the difference between Samba and Pagode, I really can’t explain. Around 1980 the samba starts to sound a little different then before. A Brazillian can explain you exactly, Samba was much faster. Personnaly I thought just the other way around. If you know it, please enlighten us. This album by Criolo Doido I would classify more as Pagode although the beginning is more Samba-like. Pfff.. it makes me dizzy, listen and make up your own mind.. titels 01 – Lar doce lar 02 – Quem é quem 03 – Santa mulher 04 – 171 05 – Sujou 06 – Nega brexó 07 – Gente fina 08 – Malandro distinto 09 – Quem vê cara não vê coração 10 – Mulher maravilha 11 – Retrato falado 12 – Festa do camarão
Het was weer eens tijd. Soms vergeten we het een poosje maar deze samplers zijn een essentieel onderdeel van de Global Groove. Ze helpen je de weg te vinden tussen de reeds 1766 posts alhier. Als bepaalde nummers je bevallen kun je met onze zoekbalk heel snel vinden waar ze vanaf komen. Veel luisterplezier.. It was about time again. Sometimes we forget them a while but these sampler are an essential part of the Global Groove. They help you find your way through the 1766 posts we already have here. If you like certain numbers you can use our search-bar to quickly find the album they’re from. Lots of listeningpleasure.. titels ; 01 – Marcelle Fylla – Pusana moke 02 – 4 Etoiles – Mayi 03 – Mose Se Sengo ‘Fan Fan’ – Pele Odidja 04 – TP OK Jazz – Hommage a luambo-makiadi 05 – Bezerra da Silva – A semente 06 – Clifton Chenier – Grand prix 07 – Bovea – La desobediente 08 – African Brothers International – Mekae me nyame 09 – Alex Konadu – Nsa nie 10 – Odoyewu Int. Band of Ghana – Monkey chopp 11 – Andres Landero – Tambo tambo 12 – Alfredo Gutierrez y su Conjunto – Callate corazoncito 13 – Michi Sarmiento – Hong Kong 14 – Pivi et les Balladins – Kogno koura 15 – Nicolas ‘Colacho’ Mendoza – Raso angelina 16 – Continental Brothers Band of Owerri – I don’t care 17 – City Boys Intenational Band – Medo wiase
Africa in Matanzas, Cuba: El Almacén is Walking
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Airdate: 3/24/2016 Producer: Harris Matanzas, Cuba has long been regarded as the source (la fuente) of many rich Afro-Cuban folkloric traditions. These ceremonial and secular Afro-Cuban musics are, for the most part, alive and well, and being documented for the first time by Matanceros themselves, rather than exclusively by Havana-based or non-Cuban imprints. The Matanzas record label and artist collective, Sendero Music/El Almacén, faces several challenges: oversight from the state, limited access to resources, curating which groups to record while paradoxically convincing the folkloric community of the value of their endeavors, and the conundrum of establishing meaningful connections outside of Cuba to disseminate the city’s music to the world.
Sandy Semeonoff produces and presents a programme of mainly acoustic music from around the world File download (0:00 mins | 0 MB)
LULLY: Suite instrumental (Alceste)
MEALLI: Sonata para violín Op. 4 nº 1: La Bernabea (vers. fl.)
GEMINIANI: Concerto grosso en Re menor
CABANILLES: Tiento nº 23
MUFFAT: Sonata para 2 violines, 2 violas da gamba y continuo
ROSSETTI: Sonata nº 2 en Mi bemol mayor (vers. arpa) Escuchar audio
Abdoul Kader (Tanoutetanoute) Abdoul Kader – Alhadi Autotune, the notorious pitch correcting vocal effect, has seemingly found its way into every perceivable genre and style of music in every corner of the world. In the genre of Tuareg guitar however, the wanton use is confined to Niger where modern Tuareg compositions have nudged up against the slickly produced autotuned Hausa pop music in a near seamless melding. This is as much geographic as it is cultural. Hausa culture lies on both sides of the Niger/Nigeria border and Agadez, Niger’s capital of Tuareg guitar is majority Hausa speaking. Northern Nigeria’s film industry Kannywood dominates the VCD market throughout Niger even among non-Native Hausa speakers. For many years, the influence of Hausa music in Tuareg guitar was a pragmatic concern. Nigeria has a plethora of studios with well trained engineers, and a destination for Tuareg guitarists looking to record an album. Such was the case with the two first instances of tuareg autotune – Mdou Moctar in Sokoto, and Abdoul Kader in Kano. Today Agadez hosts a number of studios. Modeled on the Nigeria, these new studios are largely electronic, relying on computer based composition and arrangement and leaning away from live instruments. Moussa Tchingou, Zone Tuareg Moussa Tchingou – Zone Tuareg While the first incidents of this Hausa pop/Tuareg guitar cultural exchange were largely accidental – Mdou’s autotuned Anar was recorded in 2008 – the resulting style of music is emerging as a definitive trend. I just received some of the new album of Agadez youth outfit Zone Tuareg, and they seem to be only continuing in this vein. It’s not yet a genre and there is no designation for these studio productions, but the number of music recorded with this particular melding of Tuareg and Hausa pop is expanding. As the genre of Tuareg folk guitar further twists in new directions, it’s a challenge to a hegemonic definition of the ishumar guitar sound, and a glimpse at a diversified future. The post tuareg autotune appeared first on sahelsounds.