Ballake Sissoko - Berekoy

En solo, Ablaye Cissoko nous fait un cadeau : le morceau Sira, joué live dans L'Afrique Enchantée!

ABLAYE CISSOKO avec "SIRA", en live dans l'Afrique Enchantée

Wula

Samba Touré - Ago Djamba. 
From the album ALBALA. Glitterbeat Records 2013

Samba Touré - Ago Djamba

Ablaye Cissoko & Volker Goetze - Sira

Rokia Traore - Laidu

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

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

This mantra of the 20th Tara (known in Tibetan as Tara Ritrö Loma Gyönma and in Sankskrit as Tara Śabarī (sometimes spelled as Shabari or Shavari or Śavarī/) is a healing mantra that protects against disease and contagion.  This mantra has both wrathful and peaceful aspects: wrathfully subduing the invasive energies of contagion and deadly epidemics and pacifying sickness.  

OṂ TĀRE TUTTĀRE TURE NAMA TĀRE MANOHARA HŪṂ HARA SVĀHĀ

This is a powerful healing mantra and I am grateful to all of my teachers and fellow practitioners and musicians who helped make this recording possible. And to Lasha Mutual for her generosity in allowing me to include her painting of the 20th Tara in my cover art. This graphic t is meant to evoke those tiny bodhi-leaf thangkas from Tibet and India. 

CREDITS:
Lee Mirabai Harrington - vocals, arrangement, keyboard
Ben Leinbach - guitar, synth
Sasrika Randimal - Bansuri flutes

Nature Chorus: The birds, frogs and insects of the forests of Woodstock, NY (the original lands of the Munsee Lenape) and Kerela, India 

Graphics: Lee Harrington, using an illustration of Tara Ritrö Loma Gyönma by Lasha Mutual. https://lashamutual.com/


May all be free from disease and contagion.


MANTRA OF THE 20TH TARA (Tara Ritrö Loma Gyönma | Tara Śabarī)

I’ll Go That Way

Video (Greetings From): http://www.youtube.com/watch?v=bj8tGZKibqo

Lyrics: 

Touch
Of a naked honest dream

Feel 
The way in-between the extreme

Blessed with tools to slowly please 
the movement so true of breeze
Blessed with tools to slowly please 
the movement so true of breeze

Touch
Blinded of the thrust against

Feel
The place only you could have sensed

Follow me to the secret bliss stream
slowly rising towards the endless scream
Follow me to the secret bliss stream
slowly rising towards the endless scream

Feels of pale skin while your eyes linger

Pale Skin

Download I Wish I Could Tell You for free here: http://www.chloehowl.com/

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Free Download

I Wish I Could Tell You

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

Kanan Neni - Rokia Traore

Music video :  http://vimeo.com/68168951

Lyrics: 

We're all fake 
bother even though
its all too late
20 something fucking years ago
we all now that its all fo sho'
slow walk no talk
drag my feet to feel chalk rock
independent, non-intended
too creshended, never ended

Open ones eyes please don't
i never listen no i won't
Kokain and razorblades, it's all we need to kill our shades

We're all hurt
like few
No one could know if this was meant for two
Im wearing all my pride
Don't worry, they will leave you behind
If A single word could kill 
Then make me live and touch but still

This drug won't take us far, but girl it makes us who we are

Open ones eyes please don't
i never listen no i won't
Kokain and razorblades, it's all we need to kill our shades

This drug won't take us far ...

Can't relate to what you say
Cutting water with a razor blade 
Turning black with no attack
kills a pretty primrose fast
too matic tratict. super addict. 
very traumatatic
stick your tounge into my mouth
soft and sweet bite my lip

make it bleed and leave it drip
let it fill my clothes with red
red as life and red as dead
kill my soul with love and care
steal my heart and please do share
bit by bit give it out 
take you time i won't shout
it won't take you very far

Open Ones Eyes

Open Ones Eyes (Radio Edit)

Lyrics: 

She's got nowhere to go tonight
Fear of missing out
Fear of losing her light

I'm without one 
But not alone 
Don't fight me back
I won't attack

Please give me something to hold on to
Gonna dig inside to find a place for two

These hollow fake 
Together ones
Take 'em down like 
Fucking crap in tones

Please take my holy space from me
I don't need my room to feel free

She's got nowhere to go tonight
Fear of missing out
Fear of losing her light

He will never try be alright
All the mind killed with thought, all the life that is lost

You're all alone
In lonely zone
In a world of life
Only fear and fright

You need something to hold on to
Please show that there is hope for someone new

Let go of us
It went so fast
There is no more 
To find for two

Don't go pretending we could ever last
What we had is all buried in the past 

She's got nowhere to go tonight
Fear of missing out
Fear of losing her light

Fear Of Missing Out Feat Armand Mirpour

Expressive singing and rhythmically rocking music define this unique and charismatic duo. With their groovy band they bring beautiful West African music with influences from reggae, mbalax, pop, folk, soul and blues closer to you. Their original mix of music styles has made the couple Sousou and Maher Cissoko a well-known duo on a number of different stages in Scandinavia, at everything from world music festivals to large pop festivals. Together with their live band they line up well-known artist from Senegal and Sweden who are also playing with the greatest artists in Sweden. Andreas Unge on bass, Sal Dibba and Dawcoumba Diop on percussion.

Since the release of their debut album Adouna (2008) and the second album Stockholm-Dakar (2011) they have been touring in Scandinavia, South Korea, Senegal, Mali, Tanzania and South Africa, performing at festivals like Peace & Love Festival, Gwanju World Music Festival, Sauti Za Busara, Festival Sur Le Niger, and also supporting artists like Toumani Diabate and Amadou & Mariam. They have performed several times in Swedish and Senegalese National Television and Radio. Awarded Newcomer of the Year 2010, Band Of The Year Nominee 2011 and Album Of The Year Nominee 2012 in Sweden’s World Music Award. For their achievements they have also been awarded City of Stockholm’s Cultural Grants and been supported by the Swedish Arts Council and Swedish Arts Grants Committee.

Maher Cissoko was born to be a kora player in a great griot family in Casamance, Senegal, that has seen the art of kora playing being passed from generation to generation through more than 700 years. Maher has embellished the tradition and developed his own explosive and danceable style.

Sousou Cissoko, a singer from Sweden who is one of few female kora players in the world. She fell in love with the kora at an early age and travelled to Gambia by the age of 19 to study the West African medina traditions. Since then she has travelled many times to study kora, singing and guitar in West Africa.

The foundation in the tradition of the kora is to constantly renew and find your own way and that’s what Sousou & Maher are doing literally.Last winter they drove all the way from Stockholm to Dakar, a trip that has become the inspiration to new songs and the ability to see connections where others see boundaries. 

”Stockholm – Dakar, Sweden – Senegal, two different cities, countries, continents – and homes. In our constant travels we have come to the understanding that we do not move in between, but within. It is not a meeting or a union of two worlds or cultures but a musical voyage within the same sphere of people, rhythms and movements. And from there we find smiles and stories and compose songs and lyrics that we want to share.”

- Sousou & Maher Cissoko

Wula

Sousou & Maher Cissoko

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