saudações eu sou o dj/Adhérito Lara gostaria de fazer remix desta música. 

Time for song

Always be straightforward with people. If you are honest and upfront, you will have everything you need. Everything comes in it’s time, to people who are good and faithful.&#13;
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Album available From iTunes: https://itunes.apple.com/us/album/tamala/id722299420
Bandcamp: http://amiwassidje.bandcamp.com
Amazon: http://www.amazon.com/dp/B00FISF1T4
Deezer: http://www.deezer.com/en/album/6986109
eMusic: http://www.emusic.com/album/art-melody/wogdog-blues/13939852/



Aminata Wassidjé Traoré is a rising voice in Mali. Tamala is her debut album, recorded in Bamako between 2000 and 2008. Born in Diré, near the fabled city of Timbuktu, Ami was raised within northern Mali's rich cultural brew. From an Ethnic Songhai family, Ami started singing as a young child. Her music, like the environment that surrounded her growing up in Diré, near Timbuktu, incorporates various cultures and traditions. On Tamala, an album she self produced with the help of artist Mamadou Kelly (http://www.rockpaperscissors.biz/index.cfm/fuseaction/current.bio/project_id/721.cfm) and arranger Baba Simaga, she sings in Songhai and Tamasheq.

While northern Mali still suffers the repercussions of religious and ethnic warfare, Tamala sends a message of reconciliation and inclusion. Ami believes people can work together for a solution, she sees the vast potential of Mali's diverse north. Moving to the Southern capital of Bamako not only enabled her to develop as a musician, backing up well known artists like Baba Salah (http://www.npr.org/2013/03/21/174416220/baba-salah-a-malian-musician-speaks-to-his-nations-displaced), Khaira Arby (http://www.youtube.com/watch?v=1UDecjaj4ek) and Afel Bocoum (https://en.wikipedia.org/wiki/Afel_Bocoum), it also enhanced her vision of a diverse and connected Mali.

Tamala is considered a modern-traditional album in Mali: it is rooted in northern folk musical traditions, but arranged in a contemporary way. it was conceived locally, for a Malian audience, and shines in its subtle simplicity. This album is also the first collaboration between Paul Chandler's Studio Mali (http://www.studiomali.com) and Akwaaba Music.

Paul set up Studio Mali as a label and artist management company, and has worked with legendary musicians such as Afel Bocoum, Vieux Farka (https://en.wikipedia.org/wiki/Vieux_Farka_Tour%C3%A9), Baba Salah, Andra Kouyaté (http://www.afropop.org/wp/3319/3319/), Samba Touré (http://www.samba-toure.com/) and most recently on Mamadou Kelly's album Adibar. Paul also founded i4africa.org (http://i4africa.org/), an NGO whose goal is to preserve traditional music, and provide training in the arts to underprivileged and at-risk youth in Mali.

Aminata Wassidjé Traoré - "Alfouleila"

04-Rokia Traore   Sabali

BANDCAMP

Marcia Griffiths - Mark My Word (Larry SKG Edit)

Vieux farka touré-Fafa

3-track edit taster: Balaké / Kambelé Ba / Fanta

Artist:Amadou Balaké
Title: In Conclusion
Label: Sterns Africa 
Album release: July 20th, 2015

After a career that spanned a half-century in which he became the most famous musician from Burkina Faso and a legend of African popular music, Amadou Balaké died last year at the age of 70. This album contains his final recordings.

Born Amadou Traoré in Burkina Faso when it was still the French West African colony of Upper Volta, he was given the name Balaké by Guinean fans who especially liked the way he sang the Mande classic of that title. By that time (the late 1960s) he had been performing as an itinerant singer, guitarist and percussionist all around West Africa. On returning to his homeland in 1970, Amadou Balaké sang with a succession of groups in the capital, Ouagadougou. Building on widely popular Afro-Cuban and funk styles as well as the Mande repertoire modernized by such bands as Guinea’s Bembeya Jazz and Mali’s Rail Band, he incorporated local warba dance rhythms into his music and sang primarily in the Mossi language of Burkina Faso, establishing a distinct Burkinabé sound.

It was a sound that traveled well as Balaké resumed his roving. He recorded his first album in Accra, Ghana, in 1976; his second in Lagos, Nigeria; the next two in Abidjan, Ivory Coast, and then his classic salsa album, Amadou Balaké à New York, in that city with some of its top Latin sidemen in 1979. He was based in Paris for most of the ‘80s but eventually settled in Ouagadougou. In 2000 Ibrahima Sylla, the pre-eminent African record producer, invited Balaké to join the international salsa supergroup Africando — a match made in Spanish Harlem, one might say, considering that Balaké preceded Africando in working with Latin musicians in New York. With Africando Balaké recorded four albums and toured far and wide.

He was still giving weekly shows in Ouagadougou when the French music journalist Florent Mazzoleni met him there in 2013 and produced the recordings that would prove to be the old master’s last testament. Accompanied by young local musicians, he revisited some of his favorite songs, including his namesake, “Balaké”, which he had never previously recorded. Captured mostly in one take with few overdubs, these tracks present a performer seasoned by decades of experience and in full command of his art.

Tracklist: 
1. Kambélé Ba 
2. Bar Konon Mousso (Musicien c'est pas quelqu'un) 
3. Lamizana
4. Naaba 
5. Massa Kamba 
6. Kèlè Bila 
7. Fanta 
8. Wayi Queligi Yéllé 
9. Balaké 
10. Oyé Ka Bara Kignan
11. Yélle

Personnel:
Vocal: Amadou Balaké Guitar: Michel Diansoro 'Haute Tension' Ngoni, percussion: Boubacar Djiga 'Papa' Balafon, percussion: Sanou Dara Bass, bass ngoni: Luc Kyendrebeogo Drums: Jean Sorogo 'Bosco' Trumpet: Georges Théodore Vindou 'Alpha' Saxophone: Yizih Organ: Father Ben Backing vocals: Sanou Dara, Moustapha Maïga, Aïda
Produced by: Florent Mazzoleni

Buy iTunes

Amadou Balaké: In Conclusion (album release July 20th 2015): free download 3-track taster

Toumani Diabate - Musu Maramba

When it came out in 1984 the far-out album Sweet Sweet Dreams by Trinidad & Tobago’s Shadow (aka Winston Bailey) was described as “way ahead of its time”. Undeservedly it was panned by critics and, unable to reach markets, disappeared into the dusty record collections of a few music aficionados. Now, more than three decades later that cosmic dance-floor UFO is about to take off again, change all that and set the record straight. Remastered and cut by Frank Meritt at The Carvery the album is truly a masterpiece.

But who is this Shadow behind Sweet Sweet Dreams? Shadow is a man of understated magnitude. A truly enigmatic artist, he first emerged in Trinidad and Tobago during the 1970s, becoming a part of the tapestry of Caribbean music and reinvigorating calypso at the time. Calypso, the indigenous folk music of Trinidad and Tobago, has roots in West African kaiso rhythms, French Creole influences, and the hardships endured by the African slaves brought to Trinbago, whose descendants still use it as a tool for satire, self-expression,  and social commentary. Calypso has also given birth to several other music genres, including soca, with its uptempo beats and festival context. Shadow effortlessly moves between both.

Accoring to Carl "Beaver" Henderson, one of Trinidad's veteran producers; “Shadow broke all the traditional musical rules and made his own and that made him a musical giant. He changed the face of Calypso music in 1974 with the release of "Bassman" a tune in which Bass and magnificent horn line took central stage changing Soca music for ever. What Shadow did with his music was to put calypso on the International Dance circuit, giving it a totally different groove. You could take his music and swing it in any direction; Disco, Pop, Calypso, you name it. His music was different from anything that existed before”. 

This inert creativeness culminated in Sweet Sweet Dreams which was arranged by Shadow and deals with burning and ever-relevant themes like love and the ups and downs of relationships. a surprising fact for someone mainly known for his satirical and political lyrics. It prompted his manager to wonder if Shadow had written the lyrics while in a state of ‘tabanca’ (a word used in Trinidad and Tobago to describe lovesickness). 

Sweet Sweet Dreams was recorded at the legendary SHARC studios, located on a hill in Chaguaramas (near Port of Spain) and despite a fantastic sound and monster Soca-boogie tunes like “Lets get it together”, “Lets Make it Up” and “Way, Way Out” the album was a commercial flop, probably due to the fact that it didn’t sound like anything else coming out of Trinidad & Tobago at the time: It fused a range of different rhythms and new sounds, primarily heavy synth riffs.

Shadow took the album’s lack of success in his stride with usual aplomb:
“When I did Sweet Dreams I expect something could happen. But nothing big happen because I have no big market and no distribution and all this thing now. So I just cool myself and move on to another song. I wasn’t doing just one song. I used to always have plenty songs at the one time. And be writing music”.

What Shadow didn’t realise back then was that the proto-electronic cocktail he had mixed in 1984 would only find the recognition it deserved three decades later. Life has swung full circle: Sweet Sweet Dreams has come true and been elevated to holy grail status becoming one of the most sought-after Caribbean disco records in existence. Asked about this turn around Shadow mused  “I’m trying to understand that part. A lot of people ask me for it over a few years now. But I never give anybody it. That music wasn’t for then. It’s for now”.

Sweet Sweet Dreams

Get the Record

LETS GET IT TOGETHER - SHADOW

Warning - Highly addictive nature of this record may result in uncontrollable booty shaking 
Portugese Beatmaster & Surfer Dedy Dread joins forces with Brighton's Mr Bird and Jstar for international mashup collaboration. MIA's classic Paper Planes meets Mr Big Stuff on the A-side, while a Joe Tex loop drives a dancefloor filling funky soul stomper feat Pharrell, Gwen Stafani and Skeletor! 
Limited Editions come in vintage brown paper sleeves and full colour label

DEDY DREAD & MR.BIRD - Love On Fire (Jstar Arr.)

BR1204LD
A1 / Ras Amlak - Spread Jah Love
A2 / Calim Steppa - Spread Dub

B1 / Ras Amlak - Spread Love
B2 / Violinbwoy - Love Dub

BLACK REDEMPTION - music & mix by M. Le Gall aka Calim Steppa (A) - W. Przysiezny aka Violinbwoy (B) - lyrics & vox by Ras Amlak - executive producer Ras Kush - distributed by Lion’s Den - artwork by Martin Engelbogen - frequencies lifted by LXC @ Watta Sound - All rights reserved. © + ℗ 2018 Kush Art Pub

get vinyl

A1 - Calim Steppa ft. Ras Amlak - Spread Jah Love

Wassulu music. Mali. Coumba Sidibé - Album "MANSA" 2001
Word, music, vocals, n'dan Boukadary Coulibaly, 
background vocals Ramata Diakité, Adama Yalomba, Alou Coulibaly, Moussa Boiré, 
guitars Moussa Koné, 
bara doundoun Moussa Boiré, 
n'goni Mammah Diabaté, 
calabash Alou Coulibaly.
Realised by Yves Wernert, recorded and mixed at Bogolan Studio Bamako by Yves Wernert
Produced by Philippe Berthier

Coumba Sidibé - Telephone

Mamou Sidibe - Bakoye

Dub Mix of the song Pullo taken from the album "Crocodile Blues"

Samba Touré - Pullo Phil's dub mix

Habib Koite & Bamada - Kanawa

**2ND ON JUNO'S BEST OF 2014 REGGAE CHARTS!

*Originals tunes:
Barrington Levy - Hypocrites
Jurassic 5 - Whats Golden


Aminata Wassidjé Traoré - "Alfouleila"

Akwaaba Music

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