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Mamoutou Bembele - Djeliya (feat. Amkoullel)

Sabou

FR-9W1-12-16707

Aboubono

3-track edit taster: Balaké / Kambelé Ba / Fanta

Artist:Amadou Balaké
Title: In Conclusion
Label: Sterns Africa 
Album release: July 20th, 2015

After a career that spanned a half-century in which he became the most famous musician from Burkina Faso and a legend of African popular music, Amadou Balaké died last year at the age of 70. This album contains his final recordings.

Born Amadou Traoré in Burkina Faso when it was still the French West African colony of Upper Volta, he was given the name Balaké by Guinean fans who especially liked the way he sang the Mande classic of that title. By that time (the late 1960s) he had been performing as an itinerant singer, guitarist and percussionist all around West Africa. On returning to his homeland in 1970, Amadou Balaké sang with a succession of groups in the capital, Ouagadougou. Building on widely popular Afro-Cuban and funk styles as well as the Mande repertoire modernized by such bands as Guinea’s Bembeya Jazz and Mali’s Rail Band, he incorporated local warba dance rhythms into his music and sang primarily in the Mossi language of Burkina Faso, establishing a distinct Burkinabé sound.

It was a sound that traveled well as Balaké resumed his roving. He recorded his first album in Accra, Ghana, in 1976; his second in Lagos, Nigeria; the next two in Abidjan, Ivory Coast, and then his classic salsa album, Amadou Balaké à New York, in that city with some of its top Latin sidemen in 1979. He was based in Paris for most of the ‘80s but eventually settled in Ouagadougou. In 2000 Ibrahima Sylla, the pre-eminent African record producer, invited Balaké to join the international salsa supergroup Africando — a match made in Spanish Harlem, one might say, considering that Balaké preceded Africando in working with Latin musicians in New York. With Africando Balaké recorded four albums and toured far and wide.

He was still giving weekly shows in Ouagadougou when the French music journalist Florent Mazzoleni met him there in 2013 and produced the recordings that would prove to be the old master’s last testament. Accompanied by young local musicians, he revisited some of his favorite songs, including his namesake, “Balaké”, which he had never previously recorded. Captured mostly in one take with few overdubs, these tracks present a performer seasoned by decades of experience and in full command of his art.

Tracklist: 
1. Kambélé Ba 
2. Bar Konon Mousso (Musicien c'est pas quelqu'un) 
3. Lamizana
4. Naaba 
5. Massa Kamba 
6. Kèlè Bila 
7. Fanta 
8. Wayi Queligi Yéllé 
9. Balaké 
10. Oyé Ka Bara Kignan
11. Yélle

Personnel:
Vocal: Amadou Balaké Guitar: Michel Diansoro 'Haute Tension' Ngoni, percussion: Boubacar Djiga 'Papa' Balafon, percussion: Sanou Dara Bass, bass ngoni: Luc Kyendrebeogo Drums: Jean Sorogo 'Bosco' Trumpet: Georges Théodore Vindou 'Alpha' Saxophone: Yizih Organ: Father Ben Backing vocals: Sanou Dara, Moustapha Maïga, Aïda
Produced by: Florent Mazzoleni

Buy iTunes

Amadou Balaké: In Conclusion (album release July 20th 2015): free download 3-track taster

Born out of an impromptu studio session in New York, Touristes brings together Malian singer and guitarist Vieux Farka Touré with American vocalist Julia Easterlin. 'A B'ashiye' is one of the album's most powerful illustrations of Touré's reputation as the 'Hendrix of the Sahara' and Easterlin makes no qualms in letting it take centre stage. 

Read more: http://www.stampthewax.com/2015/10/29/premiere-vieux-farka-toure-julia-easterlin-a-bashiye-its-alright/
Listen on Youtube: http://bit.ly/a-bashiye
Buy: http://www.touristesmusic.com/sounds/

Follow:
@sixdegreesrecords

Vieux Farka Touré & Julia Easterlin - A'Bashiye (It's Alright) (STW Premiere)

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

Toumani Diabate at Mt. Carmel College

projet acoustique "Roots" de Rokia Traoré

ROKIA TRAORE - Guéndé Africa Unite (ROOTS)

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

Total respect to the singer who died unexpectedly in June 2010.

http://thequietus.com/articles/05041-lobi-traor-rainy-season-blues-review :

When Malian guitarist Lobi Traoré stepped into a Bamako studio last August to record the tracks on this album he did not know it was to be his final recording session. After four hours work, he took a break for lunch and then left to attend a friend's wedding, where he played a further five hours. Later still, he was at a regular club haunt in town where he played long into the night.

There was no fuss. As a jobbing musician he simply fulfilled his engagements for survival as much as anything else. As he said: "This is the only thing that I do." But on June 1st this year, Traoré's life ended at the age of 49, and a certain poignancy inevitably imbues what became his final statement. Themes of redemption, mortality and peace among men run deep throughout Traoré's lyrics. Lines such as "To every single thing his time," on 'Hiné (The Pity)' or "The life of a man is a brief stay... All which stands up will lie down one of these days," from 'Alah ka bo (God is Great)' are especially moving given his untimely demise.

The sparse recordings were captured entirely in one take, with vocals sung live alongside the lone guitar. No overdubs were necessary, and it makes for a haunting listen as every breath, every loose string pick and every stamped foot rings out as the intricacies of Traoré's accomplished playing come to the fore. 

Although the songs on the album average around three and a half minutes they give a glimpse into the extended trance-like explorations Traoré was known for playing live. Repetitive corkscrew patterns weave in and out, the insistent, yet loose, tempos reinforced by fills of improvised phrasing. The voice is always deeply soulful, whether singing, or in spoken passages. The music gradually builds from a distinctly African take on the blues to the final couple of tracks which have a drive reminiscent of Canned Heat, particularly the romp through instrumental track 'A Lamén'.

A snapshot of a morning's work the album may be, but on Rainy Season Blues the soul of a man is captured for posterity with devastating effect. It was by chance that the session even took place at all. American producer Chris Eckman (of the Walkabouts) had been in town to record Tuareg desert rock band Tamikrest. As he hoped to record an album, Traoré had been in email contact with Eckman before his visit, and had supplied him with some recent home demos. Eckman, a fan of Traoré's previous electric output, was taken aback by these acoustic solo pieces, and they set aside a day to record. There had been no prior discussion as to what material, or how much Traoré would aim to record, and he breezed through the 10 numbers here before he had to leave.

But was Traoré a bluesman? The rolling chords may resemble something recognisable as bluesy. John Lee Hooker rock musicians from Cream and Jimi Hendrix to AC/DC were acknowledged influences, so it is interesting to read Traoré's own definition of the music: "I listened to a lot of blues," he said. "Maybe I was inspired by that. Maybe the blues was inspired by Africa. Maybe the resemblance is just a coincidence. But listen, for me the music I play comes from me, from my place. Someone who hears my music and says it's the blues, well, to me blues is American music. We don't even have that word. Each place has its arts. It wasn't me who came up with the idea of Bambara blues. People kept saying, 'Bambara blues, Bambara blues'. In the end I accepted it. But I don't think the blues is our music."

Whatever it is, Traoré was certainly feeling it that drizzly morning within the shelter of the studio. Through this wonderful music, Lobi Traoré lives on and, to paraphrase his lyrics on 'Melodie de Bambara Blues': "Take and taste!"

Lobi Traore - Djougouya Magni

Il s’agit d’une captation de répétition.

Zimbabwe - Rokia Traoré et le choeur Passerelle

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.

Mamoutou Bembele - Djeliya (feat. Amkoullel)

Mamoutou Dembele

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