songs

04-Rokia Traore   Sabali

Balada-Indexi

Ima neka tajna veza-Jadranka Stojakovic

Sto te nema-Jadranka Stojakovic

Ablaye Cissoko & Volker Goetze - Sira

Taken from album "Jardins Migrateurs" (by Constantinople & Ablaye Cissoko - to be released 13rd of nov 2015)

SOUTOURO (Le secret du singe / The Secret of the Monkey)

Tu penses que tu es le plus grand, Oh non tout ce qui est debout tombera un jour !. Soutouro décrit l'action d'aider une personne dans le besoin, mais en restant discret et humble. C'est le secret du singe

You think you're the greatest, oh no everything that is standing will fall one day. Soutouro describes the action to help a person in need, but remaining discreet and humble. This is the secret of monkey




Soutouro - Ablaye Cissoko & Constantinople - Jardins Migrateurs - 2015

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

As part of the Pan African Space Station program in 2009, Toumani Diabate appears live in concert for his first run of South African performances in Cape Town. The king of the kora offers an incredible solo set in the equally beautiful setting of St. Georges Catherdral. 

Recorded live at St. Georges Cathedral, Cape Town, RSA on the 2nd October 2009. 

Toumani Diabate - kora

www.toumani-diabate.com

Toumani Diabate - St. Georges Cathedral, Cape Town, 2nd October 2009

Majid Bekkas , Joachim Kuhn et Ramon Lopez

Congo Mboka Kitoko

Voix Juslin Likaka et Patricia Mvumbi Bakezy
Guitares: Alexandre Bellando
Percu: Thibaud Rancoeur / Antoine Villette

Enregistrement/Arrangement Antoine Villette 

Red Room Records / Baklawa music 2016

Congo Mboka Kitoko

Yemen Blues

Trape La Verite

Get the album here: http://glitterbeat.com/glitterbeat_store/

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.

Samba Toure - Be Ki Don

Vieux Farka Touré's beautiful latest album was recorded as an homage to his homeland.  Being that his native Mali has been splintered by territorial fighting between Tuareg and Islamic rebels since January 2012, his new album, Mon Pays, is devoted to reminding the world about the beauty and culture of his homeland.
 
‘For me it is a statement for the world that this land is for the sons and daughters of Mali, not for Al Qaeda or any militants. This land is for peace and beauty, rich culture and tolerance.This is our heritage, what we must always fight to protect in any way that we can. For me, that means making music that reminds the world of who we are.’
 
Translating as ‘My Nation,’ this predominantly acoustic undertaking had been planned before the invasions began. Inspired by his work with Israeli pianist and vocalist Idan Raichel, Touré initially went into a Bamako studio to honor the acoustic blues tradition of Northern and Southern Mali. Since that time, Mon Pays transformed into an artifact of cultural preservation.

Two songs on the project -Future’ and ‘Peace’ feature Sidiki Diabate’s kora leading an emotional charge complemented by Touré’s spectacular guitar work. Both tracks represent an important generational "passing of the torch" as Sidiki’s father, Toumani is considered one of the greatest living kora masters and was a close friend of Vieux’s father Ali. Their two records together, In the Heart of the Moon and Ali and Toumani, were awarded Grammies. At the 2011 ceremonies, Vieux accepted the prestigious award for his father, who had recently passed from bone cancer.

Mon Pays is the most mature and lovely record yet from one of this generation's most exciting artists to come out of Mali and one of world music's true rising stars.


Sto te nema-Jadranka Stojakovic

coberr

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