Love this. Just saw her and I highly recommend. Woman has a beautiful soul❤️

In every beginning there is a magic

Sabou

FR-9W1-12-16707

Aboubono

Wula

Bassekou Kouyate & Ngoni Ba - Désert Nianafing feat. Amy Sacko, Afel Bocoum & Ahmed ag Kaedi

[Madagascar] [Mali] [Marruecos] Rajery, Ballaké Sissoko & Driss El Maloumi - 3 MA (2008)

Rajery, Ballaké Sissoko & Driss El Maloumi - Anfass

Gayatri By Tina Malia And Shimshai

Soul on Fire Single of Red Fulka, released 21 February 2015 with Shining Music (004)

Listen with your Body, listen with your Heart
Dance, your Soul is on Fire!

All tracks composed by Praful & Kareem Raïhani 

Soul On Fire & Orchestre d’Amour 
Created, produced, arranged and mixed by Red Fulka (Praful & Kareem Raïhani) at Skywalker Studio 

Orchestre d'Amour (Kareem Raïhani Remix) 
Produced, arranged and mixed by Kareem Raïhani 

Mastered by Darius van Helfteren @Amsterdam Mastering (NL) 
Cover design by Jeroen van Kemenade 
Cover images by Alextanya (background pattern) & Dziewul (orignal agave tree picture) 

Soul On Fire

Guru Ganesha Singh, Guru Singh, Thomas Barquee &amp; Snatam-Mul Mantra www.myfreemp3.biz

Аади Шакти, Намо , Намо
Сэраби Шакти, Намо, Намо
Притам Бхагавати, Намо, Намо
Кундалини, Мата Шакти, Намо, Намо

Я кланяюсь Изначальной Силе.
Я кланяюсь Всеохватывающей Силе и Энергии.
Я кланяюсь тому, через что творит Господь.
Я кланяюсь созидательной силе Кундалини, Божественной Материнской Силе.

Snatam Kaur - Adi Shakti

Official bio :

Mamadou Diabate was born in 1975 in Kita, a Malian city long known as a center for the arts and culture of the Manding people of West Africa. As the name Diabate indicates, Mamadou comes from a family of griots, or jelis as they are known among the Manding. Jelis are more than just traditional musicians. They use music and sometimes oratory to preserve and sustain people's consciousness of the past, a past that stretches back to the 13th century when the Manding king Sunjata Keita consolidated the vast Empire of Mali, covering much of West Africa. The stories of these glory days and the times since remain important touchstones for people today, not only for the Manding, but for many citizens of Mali, Guinea, Gambia, and Senegal. So to be born to a distinguished jeli family in Kita is already an auspicious beginning.

Mamadou's father Djelimory played the kora, the jeli's venerable 21-string harp. He was widely known as N'fa Diabate, performing in the Instrumental Ensemble of Mali and recording on the National Radio of Mali. At the age of four, Mamadou went to live with his father in Bamako, where the Ensemble was based. When it came time for him to return to Kita and go to school, Mamadou knew that the kora was his destiny. His father had taught him how to play the instrument, and from there he listened and watched and devoted himself to practicing the kora, to the point that his mother worried that he was not concentrating enough on school. When she took it away, it only reduced his interest in studying, and he quickly resorted to making his own kora so he could continue.

Before long, Mamadou left school and began playing kora for local jeli singers, and traveling throughout the region to play at the ceremonies where modern jelis ply their trade, mostly weddings and baptisms. When he was fifteen, Mamadou won first prize for his kora playing in a regional competition and instantly became something of a local celebrity. The next year, he went to Bamako, and under the tutelage of his famous kora playing cousin, Toumani Diabate, he worked the jeli circuit, backing singers at neighborhood weddings and baptisms and entertaining the powerful at the city's posh Amitié Hotel. Toumani gave his cousin the nickname "Djelika Djan" meaning "Tall Griot," a reference to Mamadou's impressive physical stature. The name has stuck.

In 1996, a touring group from the Instrumental Ensemble of Mali offered Mamadou the chance to travel to the United States with a group of Manding musicians and cultural authorities. Following a successful tour, Mamadou decided to continue his work in the United States and, since then, he's made his home in and around New York. Mamadou gets frequent invitations to perform with visiting Malian stars including Ami Koita, Tata Bambo Kouyate, Kandia Kouyate, and Babani Koné. He has performed at the United Nations, Lincoln Center, the Metropolitan Museum, and at the Smithsonian Institute in Washington. In addition, he's delved into uncharted waters, jamming with all manner of expert musicians, including jazz luminaries Donald Byrd and Randy Weston, Zimbabwean legend Thomas Mapfumo, and blues masters Eric Bibb and Guy Davis. Mamadou's recording credits have expanded as he has laid tracks with artists ranging from Irish soloist Susan McKeown, jazz bassist Ben Allison, and Benin's celebrated Angélique Kidjo.

Mamadou says that his father advised him to listen to all the best kora players and to learn from each one. The kora itself came to Mali from Gabu, the region centered between Gambia, Senegal, and Guinea Bissau, and the Malian kora tradition has always put a premium on holding onto the old ways while constantly innovating and developing the art.



Mamadou Diabate - Yaka Yaka

Five Great Guitars - African Blues Tour
Live recording 2011

Special guest: Habib Koité
Zoumana Diarra: guitar, kora, balafon, n'goni
Mousse Pathe M'Baye: percussion
Dramane Diarra: percussion

Sound: Neil Denholm

Five Great Guitars - Wassiye

Victor Démé - Teban Siyala

Habib Koite & Bamada - Kanawa

Get the album here: http://glitterbeat.com/glitterbeat_store/

When you meet Samba Touré in person, he comes off as a soft-spoken man, a man who easily charms you with his abundant smile and optimistic gait. But on his third album, Albala, which in the Songhai language means “danger” or “risk”, a weighted and at times defiant side of his personality emerges. To call Albala his darkest album is an understatement, but it is not a self-absorbed darkness. The cause of Touré’s worry is the crashing world around him, and more specifically the troubles echoing out from his beloved northern Mali homeland.

The last year has brought cataclysmic change and upheaval to northern Mali. The tragic details of this have been globally reported, so there is little point in sensationalizing them here. But the cumulative effect of these events on Samba’s music seems palpable. There is an added gravity to his voice and his words, an additional sting to his electric guitar; there are sharper edges and more complex undertones in his musical arrangements. 

On “Fondora (Leave Our Road)” Samba sings with indignation:
I say, leave our road/ All killers leave our road/ Thieves leave our road
Looters, leave our road/ Rapists, leave our road/ Betrayers, leave our road

And on the haunting “Ago Djamba (Life Betrays Us)” Touré warns: We do not all have the same opportunities/ Here, nobody is born rich but we all have the same value/ Life betrays us.

As a band member, and valued collaborator of the late Malian legend Ali Farka Touré, Samba established a significant reputation, and through his first two solo albums Songhai Blues and Crocodile Blues (World Music Network) his confidence and musical prowess grew proportionately. 

But Albala is a new flash point. There is more power, there is more grit, the mood is deeper, and aptly, given the album’s title, Touré takes more musical risks.

Recorded at Studio Mali in Bamako, in the autumn of 2012, Samba is joined by his regular band members Djimé Sissoko (n’goni ) and Madou Sanogo (congas, djembe) and guests such as the legendary, master of the soku (a one-stringed violin) Zoumana Tereta and the fast-rising Malian neo-traditional singer Aminata Wassidje Traore. Additionally, Hugo Race (The Bad Seeds, Dirtmusic, Fatalists) contributes an array of subtle atmospherics on guitar and keyboards.

On the opening song, “Be Ki Don”,Samba sings: “Everybody welcomes Samba Touré.”
With an album as soulful and captivating as Albala, that might not be an over-statement.

Samba Touré - Bana

Baba Sissoko feat. Afel Bocoum & Alkibar - Baba fasa (Djekafo 2007)

Baba Sissoko feat. Afel Bocoum & Alkibar - Baba fasa

Sona Jobarteh - Bannaya

EN:

BRAVE FESTIVAL is an initiative of brave people, who decided to fight in order to save the cultures and traditions, of the most remote parts of the world, from being forgotten; and foremost, to return pride to those, for whom cultivating their own traditions in the XXI c. becomes more and more difficult. - It is not a festival about works of art, but about art, which helps in preserving and protecting thousands of forgotten, deserted, estranged cultures and people - says Grzegorz Bral, the initiator and creator of the event.

Brave Festival preserves the most important human trace in our consciousness: the unique identity of nations and tribes, as well as the unknown and fascinating rituals.

PL:

BRAVE FESTIVAL to inicjatywa ludzi odważnych, którzy postanowili walczyć o to, by ocalić od zapomnienia kultury i tradycje z najdalszych zakątków świata, a przede wszystkim by przywrócić dumę tym, dla których kultywowanie własnych tradycji w XXI w. staje się coraz trudniejsze. - To festiwal nie o dziełach sztuki, ale o sztuce, dzięki której można ocalić i ochronić tysiące zapomnianych, porzuconych, osamotnionych kultur i ludzi – mówi Grzegorz Bral, pomysłodawca i twórca wydarzenia.

Brave Festival zachowuje w naszej świadomości najbardziej wartościowy ludzki ślad: unikatową tożsamość narodów i plemion, ale też nieznane i fascynujące rytuały.


Sona Jobarteh - Bannaya

Brave Festival

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