Türk Halk Müziği

Baba Zula

World

BABA ZULA _____________ only ta BABAs !

ace ace baby

From the compilation:
Afrobeat Airways 2 - Return Flight to Ghana 1974-1983
Release Date: September 17th, 2013
(click below for promotional pictures and additonal information)

http://bit.ly/15AR6bg

From the coastal cities of Accra and Cape Coast, basked in a tropical sound heavily influenced by highlife, to the semi-Saharan cities of Tamalé and Bolgatanga (part of a self-proclaimed ‘Islamic Funk Belt’) via the central city of Kumasi, Analog Africa (http://analogafrica.blogspot.com/) has criss-crossed Ghana in search of rare tracks, part of its ongoing, hard-grooving mission to bring the soul, funk, and vintage local pop out of obscurity and into its deserved international place.

Building on the success of the first installment in 2009, Afrobeat Airways 2 (Analog Africa; release: September 17, 2013) is a selection of 13 ultra-rare tracks by some of the musical giants who had created a movement that rocked the West African nation throughout the ‘70s: legendary singer K. Frimpong; Nana Ampedu (leader of the mighty African Brothers Band); Gyedu-Blay Ambolley and his superb guest appearance with The Complex Sounds; afrobeat star Ebo Taylor, backing his son in an unreleased track called ‘Children Don’t Cry’; the enigmatic Rob and his unique blend of twisted afrofunk; innovative drummer De Frank; and Uppers International, with their raw Islamic funk style. More obscure artists such as Los Issufu and his Moslems, Waza Afrika 76 and Tony Sarfo and his Funky Afrosibi make northern hemisphere debuts, adding to a rich list of Ghanaian artists whose music could be transferred seamlessly to any dancefloor in the world.

As with all Analog Africa releases, this is about more than just the sounds. It’s about the place, time, and people who shaped the scene. To document this, the accompanying 44-page booklet of Afrobeat Airways 2 features an introductory essay written by Afropop Worldwide editor Banning Eyre, exploring the development of soul, funk and afrobeat during the ‘60s and ‘70s in Ghana. The remaining 30 pages are packed with interviews and biographies of the artists and producers involved in the creation of this wonderful music.

Additionally, the Analog Africa team have managed to track down the photographers of the famous Modern Photo studios, located at the front of Accra’s legendary TipToe, a venue notorious for organizing unforgettable dance competitions, ‘Miss Tip Toe’ contests and the most in-demand highlife and afrobeat gigs of the day. 400 negatives have been lent to the Analog Africa team. Samy Ben Redjeb selected 50 of the most expressive pictures to document this little-known but striking musical scene.

AJA WONDO - Uppers International

Baba Zula ft. Brenna McCrimmon -  Cecom

Udi Hrant Rast Ud Taksim

Baba Zula - Bir Sana Bir de Bana

Baba Zula - Bahar

Gülay-Şifa istemem

Farah Zeynep Abdullah, Seda Bakan, Ozan Güven ve Cem Yılmaz'ın özellikle Tarkan, Ajda Pekkan, Kenan Doğulu, Mustafa Sandal ve Yonca Evcimik'ten dinlemeye alışık olduğumuz şarkıları kendilerince yorumladıkları ve Arif V 216 filminde duyduğumuz İskender Paydaş imzalı tam on parça sizlerle.

Sen Bir Yana Dünya Bir Yana

Babazula

Turkish psychedelic music group Baba Zula performed the opening set for the legendary Selda Bağcan at Le Guess Who? 2014. 

About:
Baba Zula uses an outlandish mix of field recordings of natural sounds, traditional Turkish instrumentation and modern acoustic and electronic musical instruments and effects. While predominantly Turkish folk-inspired, they also blend in reggae and dub influences. The result is something surreal. Unheard of. Mesmerizing even. They have invented a method of ‘defined improvisation’ in their ritual-like live shows, which allows them to utilize the benefits of improvised jams as well as predefined song structures. 

Recordings made by Marc Broer, in cooperation with VPRO / Vrije Geluiden: www.vpro.nl/vrije-geluiden/

Also listen to Selda Bağcan’s captivating performance at the festival: https://soundcloud.com/leguesswho/sets/selda-bagcan-live-at-le-guess-who-2014

Photography by Erik Luyten
More info on Le Guess Who?: www.leguesswho.com

Baba Zula - Aşıkların Sözü Kalır

Baba zula - Özgür Ruh

MIDEASTERN HIPHOP MUSLIM-JEWISH RECONCILIATION ABRAHAMIC MUSIC

SHI360+SÇRAT  07 Rak Benadam (Only Human)

VINYL/DIGITAL/CD: http://shop.dunkelbunt.org
iTunes: http://hyperurl.co/dunkelbuntitunes

SPOTIFY: http://spoti.fi/20QlxJ1
HOMEPAGE: http://www.dunkelbunt.org/
FACEBOOK: http://on.fb.me/1zdcvtu
SOUNDCLOUD: https://soundcloud.com/dunkelbunt

CONTACT:
booking: booking(at)dunkelbunt(dot)org
contact: ulf(at)dunkelbunt(dot)org

BaBa Zula - Cecom

Ufuk Yıldırım - Yaradana Yalvartma

Zeni

Mezira (Gelin Çıkartma)

fikret kızılok, a legendery turkish song writer and singer (1947-2001) and one of his most popular songs ''yeter ki''... hope you like my ''rite edit'' version. rest in peace master...

Fikret Kızılok - Yeter ki (Fattish's Rite Edit)

Martin Buscaglia - Candombe de Marte.  
Se que voy a Marte, ya extraño los besos que vas a darme. Chau me voy a marte seguro que alla voy a encontrarte.

13 El Candombe De Marte

Tavus Havasi (Peacock Mood)

Jupiter & Okwess International's international debut album Hotel Universtakes you right into the heart and onto the streets of modern day Kinshasa, capital of the Democratic Republic of Congo, a politically and economically troubled country. Band leader Jupiter Bokondji is the charismatic and outstanding representative of the innovative scene of street musicians in Kinshasa, a scene which became internationally well-known through the success of Staff Benda Bilili, a band who they shareclose ties with. His idea is to reactivate the forgotten rhythms and melodies of Congo, by injecting the urban groove of the city. “At independence in 1960, the country was in good condition, utilities worked. But our parents were unable to pass the idependence "test", they blew it, they were given the chance but they messed upand they created a sacrified generation”,Jupiter says, “but I'm not interested in the past. What matters now is to lay the foundations for our children and grandchildren.”

When Jupiter wants time off from the daily hustle on the streets of Kinshasa, he rents a room at Hotel Univers. There he can hide from the noise of the streets and seek new inspiration. Many of the ideas of his songs were made up between his room and the bar where he drinks whisky and meets the characters that roam the streets of Kinshasa at night. The song “Magerita” is dedicated to the dangerously attractive women in Kinshasa's nightlife. It became an immediate hit in Lemba, the area on the outskirts of Kinshasa where Jupiter is from. He identifies with this place where many better educated people stay still struggling to find a job.

The middle class is small in Congo and many of the country's riches leave the country immediately or end up in the hands of a small elite. “Bapasi” has become a common expression for the daily life struggles of the community in Lemba. It is a catchphrase people use to search for new motivation in order to tackle their daily difficulties – for instance when the public cleaning service doesn't work, the people in Lemba decided to take care of cleaning up the streets themselves. 

Jupiter, who refers himself to be the 'rebel general' of Congolese music, doesn't see the richness of the country in its mineral resources of coltan and diamonds but in the undiscovered talents. “The material is but an elution,“ he sings in the song “Bakwapanu”, “but only the spiritual remains eternal”.Unlike many of the commercial successful Congolese pop-stars, he doesn't want to praise the ones in power, but relies on the musical richness of the county. To him big musical stars like Kofi Olomide or Werrason often wash down the musical heritage, when their connection to the ones in power as well as their fancy dresses becomes more important than the music itself. Jupiter knows that he won't be at the top of mainstream music in Congo, a place that is quite conservative when it comes to pop music. But he has a brighter vision.

Through his music Jupiter tries to encourage people to take the future into their own hands. Instead of seeking a better future and immediate wealth by emigrating to the west, common expections shown in many local pop music video clips, he wants people to draw from the talents they already have. “I saw how immigrants struggled in Europe and didn't want this for my life. I wanted to make something for my country. I realized that it is my mission to bring a new sound into the Congolese music."

Jupiter has indeed seen this himself. In 1974, as a young boy, he left the Congo to go to East Germany with his father who was appointed executive assistant for the Congo's embassy in Germany. There he spent his adolescence and discovered Europe and its vibrant music scene, and artists such as the Rolling Stones, Deep Purple and James Brown. He set up his own rock band called Der Neger (The Negro) with fellow young Berliners. Their sound was a strange cocktail of Mongo percussions and Zeppelin-esque guitar. The song “The world is my land (Deutschland)” he captures the experiences of this period of his life.

At the age of 20 his father’s mandate ended, and Jupiter went back to the bubbling 80s Kinshasa, his head full of dreams, glory and sounds unimaginable to most of his friends. He left the family home, earning a living singing at funerals and playing percussion in several local orchestras. "From 18 to 20 years, I have lived as a street child. To earn some money, I was doing music in traditional ceremonies. I worked with families from all ethnic groups in the country, this is how I was able to discover the richness of our heritage." He started developing his own unique style, surrounding himself with musicians from Europe. He named this explosive mix 'Bofenia Rock' and in 1983, succeeded in forming his first orchestra, Bongofolk. Then in 1990 he founded his own band: Okwess international. The band developed a vision of a new Congolese sound experimenting with the musical heritage of a nation with more than 450 different ethnicities.

In early 2004, Jupiter met two French travellers, Renaud Barret and Florent de la Tullaye. The connection was immediate, so much so that the Barret and de la Tullaye returned to record the songs of Okwess International and other groups surrounding Jupiter, such as Staff Benda Bilili. "I knew something like this would happen, I was convinced."Jupiter's Dance, a film documenting his musical exploration was released in 2007. On screen, we see his slender silhouette exploring the various districts of Kinshasa, discovering talent artists undiscovered and unknown by the rest of the world. Little Jupiters, he calls them. "Today, there are plenty of young bands who are like me to do music research, dipping into our historical resources. My mission is accomplished transmission. Even if I disappear today, I achieved my goal." The film became his international introduction and worldwide recognition. Damon Albarn ofBlur and Gorillaz fame worked with him on several projects including the electronic album DRC Music - Kinshasa One Two (Warp). Albarn also invited him to perform at the 2012 Africa Express tour in the UK. Jupiter and his band also toured the world with Amadou & Mariam.

After an extensive tour around Africa, Jupiter & Okwess International will be on tour in Europe from May 2013. His debut album will be released on 20 May. Later this year a collection of remixes will be released, including 3D (Massive Attack), Spoek Mathambo, Aero Manyelo and DJ Mo.

Further Links:
Website Artist:  http://www.jupiter-okwess-international.com/Website 
Release: www.outhere.de/homeroots/releases/jupiter-okwess-international/
Facebook: https://www.facebook.com/JupiterAndOkwessInternational
MySpace: http://www.myspace.com/okwessinternational
YouTube: http://youtu.be/fGyPKv-jfqI
Soundcloud: https://soundcloud.com/outhererecords/jupiter-okwess-international
Jupiter's Dance trailer: http://youtu.be/TxkaVmpgHcs


Tourdates: 

18/05/2013 Music Meeting - Nijmegen NL (The Netherlands) 
19/05/2013 Festival Musique Métisse - Angoulême (France) 
22/05/2013 Bee Flat - Bern (Switzerland) 
23/05/2013 La Rodia - Besançon (France) 
24/05/2013 La Bellevilloise - Paris (France) 
25/05/2013 Festival Mix' Terres - Blois ( France ) 
28/05/2013 Festival Mawazine - Rabat (Morocco) 
28/06/2013 Glastonbury Festival - Pilton (UK) 
19/07/2013 Festival Terre de Couleurs - St Croix Volvestre (France) 
20/07/2013 Festival Détours du Monde - Chanac (France) 
27/07/2013 Festival Fiesta Sete - Sete (France) 
28/07/2013 Olympic Park - London (Uk) 
07/08/2013 Oya Festival - Oslo (Norway) 
09/08/2013 Flow Festival - Helsinki (Finland) 

And more dates to be announced soon!

Jupiter & Okwess International - Margerita

Baba Zula - Le Furet Dans La Foret En Feu

Let loose the riotous trumpets, trombones, euphoniums, clarinet and loud, clattering drums of the Jaipur Kawa Brass Band as they romp their way through the joyous world of Indian brass from Rajasthani folk to Bollywood and beyond.

For more information, visit: http://www.worldmusic.net/danceofthecobra

Hear the sound of the Jaipur Kawa Brass Band as they march full steam ahead into your eardrums. Their riotous trumpets, trombones and euphoniums are peppered with a winding clarinet and loud, clattering drums. At home under the beat of the bright Rajasthan sun, the bells and valves of their instruments glisten brightly in the haze. Meanwhile their hot-headed music romps its way through an exploration of Indian brass band tradition, love songs played boisterously sparkle alongside joyously cacophonous orchestration.

Brass bands have been popular in India since the 1750s when the ensembles were introduced by the then ruling British colonialists. Today, brass bands are firmly a part of Indian tradition and are hugely popular at weddings, births, national events and religious ceremonies. Leader of the band, Hameed Khan ‘Kawa’ grew up in Jaipur listening to the sound of the local brass bands blasting out at numerous parades and festivals in the city. Hameed hailed from a musical lineage and was schooled in Hindustani classical and folk traditions from a young age. As a talented tabla player, in 1984 he was invited to perform in France to play in a fusion ensemble. Here, enmeshed in the creative Parisian milieu, Hameed developed the idea of blending his traditional grounding with his long-held interest in brass band music. Returning to his home continent, he swiftly set about forming Jaipur Kawa Brass Band, the vehicle for his spectacular artistic desires.

Gathering his ensemble, Hameed only made time for the finest gypsy musicians from Rajasthan. The line-up also includes a hypnotic Kalibelia dancer. The Kalibelia people are a nomadic Rajasthan tribe who traditionally live on the fringes of society. The Kalibelia dance, known as sapera, mirrors and mimics the movements of a writhing snake, an animal for which they are famed for charming. The band is also accompanied by a fakir, whose enthralling on stage antics include swallowing sabres, outrageous juggling and extreme gravity-defying balancing.

The show-stopping cavalcade makes for a striking spectacle and has earned the wayfaring band performances in Denmark, the Netherlands, Spain, Italy, Switzerland, Belgium and extensively across the UK – from the Isle of Sheppey to Penzance. Dance Of The Cobra encapsulates the dynamism of their live performances in stunning audio quality.

The repertoire of the Jaipur Kawa Brass Band captures Hameed’s vision of eclecticism – meshing together gypsy dances with popular songs, Bollywood blockbuster soundtracks, traditional folk, classical and all that is in between. The words are unfalteringly saccharine, ballads of longing soaked in icing-sugar sweetness. Memories of ‘happiness like a flower about to open’ nestle alongside calls for a darling beloved to come to ‘thirsty lips’, or for ‘the Maharaja who rules my dreams’ to return. As with everything ‘Kawa’ though, the melodious lyrics are performed with just the right balance of deep drama and high voltage joyousness. Cast aside your expectations and join the Jaipur Kawa Brass Band parade, as they stamp, stomp and sidestep their irresistible Dance Of The Cobra. 

Kawa Jaipur Brass Band: Piya Tu Ab To Aaja

10 - Baba zula - Komsu

Like the flora and fauna of her Madagascar homeland, Lala Njava’s music is distinctive and unique. Listen out for her silvery wandering voice, lush rolling guitars and rippling percussion on this, her striking debut album – her Malagasy Blues Song.

For more information, visit: www.worldmusic.net/lalanjava

MALAGASY BLUES SONG

If Lala Njava’s music was a colour, it would be indigo – a dark, pensive hue that rings with a deep, almost bluesy, edge. Listening to Malagasy Blues Song, we hear bending guitar lines, Lala’s silvery wandering voice and rippling percussion winding together in harmony.

Malagasy Blues Song is Lala’s debut solo release, but as a young musician she gained a wealth of experience from performing live with her family band, Njava. In conversation, Lala explains the organic and free-flowing way in which their familial music-making occurred. Upon moving to Europe during the 1990s, the band became professionally established and smoothly scaled the ladder of success, recording two albums for EMI, embarking on a world tour and laying down some vocals for renowned ‘ethnic-electronica’ group Deep Forest. ‘Sweet Lullaby’ heard on Malagasy Blues Song is a re-recording of a track that Lala performed live with Deep Forest many times during this era of her career. Lala’s version is very different from the 1990s recorded pop original, and is deliciously reworked with her languorous bluesy swing. Stripped back to an acoustic setting, the lilting melody sparkles in its simplicity.

The guitar that undulates underneath Lala’s striking vocal throughout the album is played in a style reminiscent of the various stringed percussion instruments that dominate traditional Malagasy music. The rippling guitar strings roll out like a lush valiha, a tube zither considered the national instrument of Madagascar. The melodious mix is then punctuated with thick bass hits and shape-shifting drums.

The opening track on the album, ‘Soa Gnanay’ is a rich nostalgic tune, recalling the beauty of Lala’s homeland and inviting people to visit it regardless of the bad portrayal it is sometimes given in the international media. The looping riff that opens the album sounds bare, almost desolate, but soon Lala’s warm, enveloping voice swoops in to add a bright positive edge.

Lala’s lyrics express the deep sense of responsibility she feels towards her Malagasy homeland. Many of the songs heard here declare her intent to, and experiences upon, returning to Madagascar in the hope of solving some of the social issues that pervade village life there. ‘Dinako’ means ‘promise’ in English and is a soulful track that explores Lala’s desire to give something back to the community from which she came.

Malagasy Blues Song is an album of deep and sonorous songs penned with purposeful lyrics. Melt into Lala’s expressive sound-world as she threads together the rich tapestry of the sounds, experiences and desires that have stitched her colourful life so far.

Baba Zula - Le Furet Dans La Foret En Feu

heyiclal