Love this!!!! great vocals, such great dissonant guitar playing!

Sirata by Habib Koite - Maria Kong & Ravid Kahalani

Boubacar Traore - Rural RMX (Bebe Bo Nadero)

IMUHAR

(Omar Moctar)
Matinfa tenassé in mouhague tigrawe tickma
Matinfa tinassé in mouhague tigrawe tickma
Ayitma yofa nikare nigrassidane yalla yicknane
Matinfa tenéssé n’mouhar tigrawe tickma
Imuhar tigrawe tickma n’taguilwene ahische rawane
Matinfa ténéssé n’mouhar tigrawe tickma
What good is calm to the Imuhar(1)
who are living in misery? 
In misfortune? 
My brothers, we must awake and understand that we have
gained nothing
What good is calm to the Imuhar living in misery?
In misfortune? 
The lives of the Imuhar are complicated, it is the way these
times are
What use is calm to the Imuhar living in misery? 
In misfortune?

Imuhar - Bambino

"Les Enfantes de Pierette" by Boubacar Traoré (KarKar)

Dubbed from a 1995 tape, hence the poor quality. Also on the Revue Noire No.17 CD ex 1995. Track No. 3 fom https://www.discogs.com/de/Boubacar-Traor%C3%A9-Les-Enfants-De-Pierrette/release/14606368 but the tape version.

Les Enfantes de Pierette by Boubacar Traoré (Kar Kar), 1995 version

Rokia Traore - Laidu

Piers Faccini & Vincent Segal - Santa Mariya (Boubacar Traoré cover / live)

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

Majid Bekkas , Joachim Kuhn et Ramon Lopez

This Rough Guide takes the listener on a criss-crossing journey across the African continent, sponging up the most evocative unplugged music emanating from the great continent along the way. Enjoy the rich desert blues of Etran Finatawa, the Baye Fall Gnawa of Nuru Kane, the masakanda magic of Shiyani Ncgobo, and the Mozambican melodies of Mabulu.

http://www.worldmusic.net/store/item/RGNET1297

The Rough Guide To Acoustic Africa

So ubiquitous is the sound of slapping strings and strumming chords across the vast African continent that acoustic music curls into practically every corner of life and culture there. Charting the different acoustic styles included here takes the listener on a criss-crossing journey across Africa: we begin in Niger, before visiting Madagascar, Democratic Republic of Congo, South Africa, Lesotho, Mozambique, Zimbabwe, Ghana, Cameroon, Mali, Sudan, Senegal and the Republic of Guinea. Not a bad round trip for just over seventy minutes’ worth of time, and without the cost of the air fare! 

Heading up a healthy West African contingent, we have Baye Fall Gnawa musician Nuru Kane and singer-songwriter Amadou Diagne both from Senegal. Also hailing from this region is the Guinean kora maestro Mory Kanté, Malian guitarist Samba Touré, Ghanaian palm-wine veteran Koo Nimo and Touareg troubadours Etran Finatawa. Swooping down to west Central Africa, Sally Nyolo fom Cameroon provides the upbeat and carefree track ‘Obili Éba’. Congolese guitarist Syran Mbenza celebrates the legacy of the great Congolese musician Franco with a new approach. Abdel Gadir Salim from Northern Sudan provides a sensitive oud-based composition on ‘Lemon Bara’. The unbelievable sounds of Zulu maskanda guitarist Shiyani Ngcobo are heard on this collection too. As are Sotho Sounds who hail from Lesotho and bring their brand of junk funk to the party.

The bonus album is an exclusive debut release by kora player Noumoucounda Cissoko. He weaves together his griot heritage with mbalax, blues, jazz, hip-hop and rock-inspired inspirations. Faling is his debut solo album and features Cissoko accompanied by Swiss musicians, Phat 4.

Samba Toure: White Crocodile Blues (taken from The Rough Guide To Acoustic Africa)

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.


10 Vieux Farka Toure-Ay Bakoy

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

Glitterbeat is committed to global sounds and artists that don’t necessarily rubber-stamp our pre-conceptions of what regional music sounds like.  We live in a world of ever increasing intersections and the global musical conversation does not operate according to straight, predictable, and easily delineated rules. It is a conversation that is being reinvented and revolutionized each day.

Samba Touré - Bana

Glitterbeat Records

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