Caracas is the result of a fruitful partnership between Valerio Corzani (Mau Mau, Mazapegul, Gli Ex, Interiors) and Stefano Saletti (Novalia, Piccola Banda Ikona, Café Loti, Sete Sois Sete Luas Orchestra). 
The two composed, arranged, played and produced the homonymous album (which will be released in May by Materiali Sonori). The musical red wire of the whole project is the underscoring – in arrangements and rhytmic joints – of “upbeat”.
A kind of beneficial resonant floater which permitted both the musicians to start an amazing instrumental trip (with even several “spoken word” inserts) in search of a new cosmopolitan way for instruments and musics. 
The starting stage is the Mediterranean sea (with any of the symbol-instruments of that fertile basin - oud, bouzouki, marranzano, derbouka, tamorra – which characterize many tracks), after that, the music circumnavigates the Earth, with the  prow on sound miscegenation and rhytmic alchemy.
Reggae music, therefore Jamaica, is another of Caracas’ destinations, they yet succeeded in the venture to avoid all “cliché” of the gendre born in the carribean island, using characters of that music for crossing new solutions, add the right amount of electronics, and trouble besides many others ethnic basins (from Tuareg desert to sufi’s Turkey, from Hawaii to South America, from some US soul-jazz to the dub hybrids of the british Onusound…).
A world-reggae project therefore, with very peculiar contours and prophile, which becomes live a very fascinating show. All original tracks, a group of four (or five) which enlarges even more the timbral range of the proposal, and a live attitude able to making dance whoever…


Caracas è il risultato di una fertile partnership tra Valerio Corzani (Mau Mau, Mazapegul, Gli Ex, Interiors) e Stefano Saletti (Novalia, Piccola Banda Ikona, Café Loti, Sete Sois Sete Luas Orchestra). 
I due hanno composto, arrangiato, suonato e prodotto l’album omonimo (in uscita a Maggio per Materiali Sonori). 
Il filo rosso musicale dell’intero progetto è la sottolineatura – negli arrangiamenti e negli incastri ritmici -  del “levare”. Una sorta di benefico galleggiante sonoro che ha permesso ai due di intraprendere un mirabolante viaggio strumentale (ma ci sono anche alcuni inserti “spoken word”) alla ricerca di una sorta di cosmopolitismo degli strumenti e delle musiche. Tappa di partenza il Mediterraneo (con alcuni strumenti simbolo di questo fertile bacino – oud, bouzouki, marranzano, derbouka, tamorra - che caratterizzano molti brani) e poi circumnavigazione del globo terracqueo con la prua puntata sul meticciato sonoro e sulle alchimie ritmiche. Il reggae, dunque la Giamaica, è un’altra delle mete dei Caracas che sono riusciti però nell’impresa di evitare tutti i clichè del genere forgiato nell’isola caraibica, utlizzando gli stilemi di quella musica per incrociare soluzioni nuove, aggiungere buone dosi di elettronica e scomodare anche molti altri bacini etnici (dal deserto Tuareg alla Turchia sufi, dalle Hawaii al Sudamerica, da certo soul-jazz statunitense agli ibridi dub della britannica Onusound…).  
Un progetto world-reggae dunque, dai contorni e dal profilo molto particolari che dal vivo si concretizza in uno spettacolo davvero ammaliante. Tutti brani originali, una formazione a quattro (o a cinque) che allarga ulteriormente il range timbrico della proposta e un’attitudine live votata a far ballonzolare chiunque….

CARACAS "Caracas" (Materiali Sonori 2015):

VALERIO CORZANI: semiacoustic bass, electric bass, spoken word voice, fringophone app, percussions, keyboard, electronics, looping and sampling

STEFANO SALETTI: electric, acoustic and classic guitar, oud, bouzouki, cavaquinho, choirs, melodica, keyboard, percussion, electronics, looping and sampling

Erica Scherl: violin on tracks 2, 3, 8
Nando Citarella: marranzano on track 7
Sergio Vitale: trumpet on track 5

All songs written by Valerio Corzani & Stefano Saletti








Burkina Electric's innovative, original fusion of traditions and rhythms from Burkina Faso (West Africa) and club/dance electronica represents a new direction in world music. A collaborative unit of 5 musicians and dancers, its members are based in Burkina Faso and the U.S.

BURKINA ELECTRIC is the first electronica band from Burkina Faso, in the deep interior of West Africa. Based in Ouagadougou, Burkina Faso's capital, it is, at the same time, an international band, with members living in New York, U.S.A. and hailing from Cte d'Ivoire and Austria in addition to Burkina Faso. Burkina Electric's music combines the traditions and rhythms of Burkina Faso with contemporary electronic dance culture, making it a trailblazer in world music. This diverse and talented group consists of four musicians and two dancers who collectively participate in the creative process and represent disparate musical genres and sounds from across the globe.

Rather than recycling well-known rock and funk rhythms, Burkina Electric seeks to enrich the fabric of electronic dance music by using unusual rhythms that are rarely heard and little-known even in much of Africa. This includes ancient rhythms of the Sahel, such as the Mossi peoples' Ouaraba and Ouenega, but also new rhythms of their own creation. The band invites you to discover that these exotic rhythms groove at least as powerfully as disco, house, or drum & bass! 

HiNiZi means “let us rise up to work” for a better future.HiNiZi is composed by six experienced musicians aged from 20 to 32 based in Segou  - Mali. Hinizi’s musicians come from a griot family rich of vibrant spirituality and of Bo ethnicity. The Bwa (plural for Bo)  come from the south-west of Mali and Burkina Faso, and are the founders of Djenne, the most ancient city of West Africa.  

Each one of HiNiZi musicians masters at least 8 traditional instruments, and their live show include 20 traditional instruments such as: 

	• Membranophones: The Doum Doum, Dumanu, Djembé-
	• Idiophones: The Balafons “Bo Bala, Bala Mande and Senufo Bala” Bara, 
	the Barani, Kankan, calabash
	• Chordophones: The N’Goni “Djeli N’Goni, Kamale N’Goni and Donzo 
	N’Goni” Kora, the Bolon

HiNiZi plays these local traditional instruments in a modern way, keeping the music connected to the tradition. The music is a fusion of Bo, Malinke, Bamara and Senufo. 

Their enthusiastic live performance will catch the public with a glance, HiNiZi will bring the listener through a cultural journey into the Bo music of their ancestors. 

The connection to the nature is essential, as is the relationship between nature and HiNiZi’s played instruments. All of their instruments are build in harmony with the nature and  its animals. When HiNiZi plays, nature is their partner. They build their instruments with the feeling of attachement to their traditional music, which gives them the joy of living, welfare and love.  While playing, they give back to the nature what the nature has given them. 

With their music, HiNiZi respect the traditional circle based on the Bwa’s ancestral sounds. The music is traditionally developed through 3 phases, an introducing call (Appel), a danse,  breaks that surprise the listener by loosing the tempo and finally a blocking, usually recalling the introducing call, that ends the song. 

HiniZi is following