Art by Guaraci 

<3 Love, art and peace <3

Tem coisas que a gente nunca esquece

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Erik Sumo - The Real Moustache (Fine Cut Bodies remix)

@kundan 's second album is a captivating blend of dubby beats, collages, and exotic instrumentation

YNFND 026 - KUNDAN LAL "Power of Ra"

field recordings made by Kunsaf Halil in: Tafraoute, Morocco

Tafra Tighre

⬇ Vinyl - DL - Stream

Kundan Lal - TAFRA TiGHRE

Earthtones - Deià Dream II

Dandelions & Daffodils /Taro Morita Guitar

01. Alex Konadu – W’awu Da Ho No 
02. De Frank Professionals - Afe Ato Yen Bio
03. Black Masters Band - Wonnim A Bisa
04. Cutlass Dance Band - Them Go Talk Of You
05. Sweet Talks - Eyi Su Ngaangaa.

1970s Ghana Mix - Afro-Funk & Funky Highlife

Transparent Water is the new studio collaboration between 7-time GRAMMY-nominated pianist-composer-bandleader Omar Sosa and Nottingham-based Senegalese singer and kora master Seckou Keita.  It’s slated for release in February 2017.

The project idea grew out of Sosa’s impromptu addition to a mid–2012 date with drummer Marque Gilmore at the CLF Art Café in London, in what was Sosa and Keita’s first musical encounter.  Profoundly moved by the experience, Omar told Seckou he wanted to invite him to work together on a future recording project.
Given their respective touring and recording schedules, it took a year, but in July 2013 Omar and Seckou went into the Fattoria Musica recording studio in Osnabrück, Germany and laid down the core tracks for Transparent Water.

Another chance meeting informs Transparent Water:  in April 2013, Galician bagpiper-pianist-composer Cristina Pato invited Omar to Santiago de Compostela, where Pato hosts an annual residency frequented by associates of Yo-Yo Ma’s Silk Road Ensemble.  There Omar met Silk Road charter member and sheng master Wu Tong, whom Omar was moved to bring into the project.  In connection with a concert date in Shanghai in July 2014, Omar arranged a side trip to Beijing to record Wu Tong’s traditional flute overdubs.

Tokyo-born, Paris-based koto player Mieko Miyazaki came to Omar’s attention via her recorded work with French jazz guitarist Nguyên Lê.  When Omar finally had the chance to meet her, Mieko’s creative spirit utterly impressed him, and he enlisted her distinctive voice for Transparent Water.

For percussion, Omar turned to longtime collaborator Gustavo Ovalles, who divides his time between France and his native Venezuela.  Ovalles (who can be heard on three prior Sosa projects—Sentir, Ayaguna, and Eggūn) brings the polyrhythmic soul of the African Diaspora to Transparent Water.

Paris-based drummer-producer Steve Argüelles crafted the mix with Omar, having previously worked on Sosa’s award-winning Mulatos and Afreecanos CDs.

Transparent Water is the latest example of Omar Sosa’s transcendent determination to seek new combinations, a manifestation of improvisatory freedom wherein the musical destination is subordinate to the extemporaneous joy of shared artistic expression.  Omar observes that, as he did with Sentir, “What I wanted to do was create something totally improvised.”

Transparent Water—suggestive of translucence and flowing light—is a deeply spiritual recording that reveals its inspiration in the close and compassionate listening of artists engaged in a genial and captivating musical conversation, liberated from time itself, reaching across five continents to probe the collective spirit of the human condition.

In The Forest (5.14)

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baile perfumado

Africa is a vast continent but it has one universal rhythm pattern. The African exodus is said to have started with a family of 30, they are our universal ancestors. In a sense, we are all "African". The family of about 30 shared one language, one music. They had one mythology. This is where we all began. What was this language? 

A big chunk of the music I play is derived from and inspired by this idea, along with the musical testimony of the African region. Drums, xylophones and off-beat percussions are the backbone of the plethora of sounds that make me, as an artist. 

Having shared the table, the dance floor, and the drums with local Nigerians was beyond everything I could have expected and dreamed of. I was called African, I was one of them.  My hips, my swing, my rhythm, my mosaic of sounds were there to speak on my behalf. 

Playing in Lagos was one of the toughest sets I've played. I learned how to use a computer in a week, plus I was the first woman to perform throughout the tour. Also, the speed of the sounds being played locally, didn't align with my speed, this led me to use tracks of 160bpm at 100, mixed with Colombian reggae of 80bpm and gospel at 108. It's a true mashup of eclectic sounds, a set to dance to, for sure. Here's half of the 3,4hour set played in Lagos, Nigeria. <3 Bless y'all.

Lola Villa in Nigeria, Mama Africa, Aug 2018

E Ye Ye

Amor en Francia (Nicola Cruz Remix)

Sost

Fikratchen

In their 6 years of existence, Akalé Wubé have never stopped widening the canvas onto which they lay their music, which keeps becoming richer and deeper just like the their primary source of inspiration: the popular Ethiopian repertoire of the 60s and 70s. The band started off covering music from the “Ethiopiques” series, after which they immersed themselves deeper into Ethiopian music, all the while multiplying their collaborations with musicians and dancers from Ethiopia, Africa and Europe. Slowly but surely, clocking in at around 200 concerts in Europe, Asia and Africa, the band has become one of the world’s leading ambassadors of Ethiopian groove.

Band members are :

Etienne de la Sayette: tenor & baritone saxophone, bansuri flute, washint
Paul Bouclier: trumpet, percussions, krar
Loïc Réchard: guitar
Oliver Degabriele: electric bass
David Georgelet: drums
Pierre Dachery: sound

Fikratchen

Akalé Wubé

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