● Feel The Touch Of The Orient with Cafe De Anatolia ●

☛ Plunging into the deepest waters of folktronica, downtempo and electronica, ethnic deep house, organic house, afro-house, tribal.

☛ Enjoy our Oriental Journey also on:
Cafe De Anatolia: bit.ly/3aO8uDC
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Cafe De Anatolia LOUNGE: bit.ly/2HauDwD
Cafe De Anatolia MEDITATION & ASMR: bit.ly/372r6Pk
Camel: bit.ly/3ek4M60
AODION: bit.ly/2JEW0ST
ChillYourself: bit.ly/3mxzUCF
Rialians On Earth: bit.ly/37z9212

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☛ Follow our Spotify Playlists:
Best Of Cafe De Anatolia: spoti.fi/2y9D4sV
Most Beautiful Songs: spoti.fi/2V8Crc1
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Camel: spoti.fi/3cKSyCm

● Photo ©

The Copyrights for the Cover Photo, Video & the Music belong to the Artists involved in this Project.

World

Ethno World, Arabic DJ - Izmir (Cafe De Anatolia)

Produziert von Nun Flog Dr. Bert Rabe und Rafael Strzodka
Mix/Master von Rafael Strzodka https://www.red-audio.de
Gastmusik von:
Vinzent Kusche
Julian Menz
Bernd Fischer
Rolf Scharrer
Felix Vestner

Auf www.nunflogdrbertrabe.com/shop gibt es das Album auf CD und das Buch mit der zugehörigen Rahmengeschichte zu kaufen LG xoxo.




Dieses Vorhaben wurde im Rahmen des Stipendienprogramms des Freistaats Bayern Junge Kunst und neue Wege unterstützt.

Klebeband

Exklusiver Gratisdownload aus der neuen CD "Zurück zur Natur". Offizielle Veröffentlichung am 02. September 2011. Exklusiver Vorverkauf beim Waldbühnenkonzert am 18. Juni.


Rainald Grebe & Die Kapelle der Versöhnung "Burnout"

雄略；学問のすゝめ

AgeLiang polyrhythm

草の緑を翻し、風になる頃

"Boots" is a Poem by Rudyard Kipling published in 1903
Its performed by Taylor Holmes 1915

Ich habe eine Strophe vertont. Sie läuft gut als Loop.

"Don't—don't—don't—don't—look at what's in front of you. 
(Boots—boots—boots—boots—movin' up an' down again);  
Men—men—men—men—men go mad with watchin' em,  
An' there's no discharge in the war!"

Boots - Loop

Taken from the album "¡Vamos A Guarachar!"
Release date: October 7th, 2016
www.glitterbeat.com

Something is stirring in downtown Tucson. That’s no great surprise perhaps: Calexico have been sending out missives from the desert for 20 years now, Giant Sand for even longer than that, and the Green on Red revival is surely overdue. These three giants of American popular music ask questions of the form, chiefly because of where they are situated. Let us remind ourselves that this isn’t a big city in the American sense (it’s the country’s 33rd largest), but that its hinterland is indeed as big as it gets. For an hour south, Mexico starts. And this is where things get interesting.

Born in Nogales, Arizona, raised in Nogales, Sonora, multi-instrumentalist and band-leader Sergio Mendoza grew up listening to the Mexican regional styles jostling for headspace in a young, music-mad mind – cumbia mainly, but mambo, rancheras and mariachi too. The border is always a fierce arena of exchange, both commercial and cultural, and so there was American music too. At one point ‘rock and roll, the classics’, as Mendoza himself deadpans, seemed to win out and he stopped playing those ‘Latin styles’ for a good decade and a half.

The return to those sounds was a strong one in 2012’s Mambo Mexicano, co-produced by Mendoza and Joey Burns of Calexico – a band for which Mendoza has become an increasingly integral touring and recording member. While that record had a studied air, tentative in parts (as befits the renewal of an old love affair), ¡Vamos A Guarachar! is another beast entirely: by turns raucous (‘Cumbia Volcadora’, featuring Mexican electronic pioneer Camilo Lara), tender (‘Misterio’, surely Salvador Duran’s finest moment with the band so far) and plain serious fun, as in ‘Contra La Marea’ and ‘Mapache’, it also bears a robust electronic edge, a keen pop sensibility and all the hallmarks of Mendoza’s love of 60s rock, with the closing track, ‘Shadows of the Mind’, sure to be included if anyone decides to update the Nuggets collection for the 21st century. This is roundabout way of saying that it appears to have everything, but never too much of anything. Focused, fierce and beautifully executed by a superbly drilled set of musicians, it is a record that fully matches the band’s explosive live performances.

Nogales, Sonora, Nogales, Arizona: this is what the border looks like here – for now. To talk about borders and the diasporas they create, is to be pitched headlong into our era’s most urgent debate, marked by Trump’s lurid obscenities and the lines being hastily reinstated across Europe. Orkesta Mendoza’s contribution to that debate is to show us what the border sounds like and what masterpieces can be achieved by honest cultural exchange. What we decide to do with that information is up to us. With this record, however, we’ll have an awful lot of fun deciding.

You could, of course, take the trip to Tucson yourself, to the home of this essential set of field recordings. The scene hangs out together, so … if the stars align and their frantic tour schedules permit, you might see any number of folks from Calexico, Giant Sand or up-and-coming cumbia rockers Xixa deep in conversation somewhere in town with a quiet young man in black. That’s Sergio. Right now, in this endless game of Tucson tag, Orkesta Mendoza are IT.


Vamos A Guarachar

¡Vamos A Guarachar!

Orkesta Mendoza - Cumbia Volcadora (feat. Camilo Lara)

taken from: King Ayisoba - 1000 Can Die
Order direct:
https://goo.gl/PztasF
Streaming, iTunes & Amazon:
https://idol.lnk.to/KingAyisoba

Release date: March 31th, 2017
www.glitterbeat.com

Born in Bolgatanga in rural Ghana, King Ayisoba was a prodigy on the kologo, playing locally until he’d outgrown the possibilities of the area. Moving to Accra, the country’s biggest city, he eventually released the song “I Want To See You, My Father.” There was nothing modern about it. No hiplife rap, no electronic beats. But somehow it conquered the country and brought the tradition firmly into the mainstream.

“It was Song of the Year and Traditional Song of the Year,” says album producer Zea. “He also had a song called “Modern Ghanaians” that said we shouldn’t forget the tradition. Instead we should use it to fight modern problems.”

With that mantra, King Ayisoba became the unlikeliest star. His music was a strong weapon for Ghana’s traditions. What he wanted, though, was to play with a band, to bring what he called the “man-power” to give the full drive to his sound. On the album Wicked Leaders, with Zea producing, that’s exactly what he did.
After that Ayisoba toured Europe together with Zea, opening up solo, providing guitar, vocals and live electronics on stage, and Francis Ayagama joined King Ayisoba's band on djembe and bemne drums

Alone or with beats, ultimately the power that propels 1000 Can Die comes from the band itself, from the sense of history that forms every piece of music. It’s there in every musician. They all go home and farm. They’re connected to the land, and the songs are part of the harvest they bring from the fields and from their own families.
“Ayisoba’s grandfather played the kologo,” Zea says. “But only in the house. He was a healer, a shaman. People would come and tell him their problems. He’d make a connection with the spirits, then play and start singing, and his stories would include solutions.”

On 1000 Can Die, King Ayisoba is digging a new future from Ghana’s soil.

1000 Can Die

Africa Needs Africa

King Ayisoba - Africa Needs Africa

TheAwakeningWimHof

Saz'iso - At Least Wave Your Handkerchief At Me
The Joys and Sorrows of Southern Albanian Song
Order: https://goo.gl/xU1M4z
Download / stream: https://glitterbeat.lnk.to/AtLeastWaveYourHandkerchiefAtMe
Artist page: http://glitterbeat.com/artists/saziso/
Release date: October 13th, 2017

Brazilian Samba, Bosnian Sevdah, New Orleans Jazz, Cuban son – and Albanian Saze! The turn of the last century saw mass migrations to the world’s cities with rural people bringing their music with them, adapting their traditions to new circumstances and modern instruments. Of all these great musical forms, the mesmerizing arabesques, joyful dances and heart-breaking laments of Saze are among the least recorded, and they remain largely unknown outside Albania.

Glitterbeat is proud to announce the release of “At Least Wave Your Handkerchief At Me: The Joys and Sorrows of Southern Albanian Song” by Saz’iso, a group of virtuoso musicians and legendary singers assembled by veteran producer Joe Boyd (Pink Floyd, Nick Drake, Cubanismo, Songhai) and his co-producers, Edit Pula and Andrea Goertler, and recorded by Grammy-winning engineer Jerry Boys (Buena Vista Social Club, Ali Farka Touré, Orchestra Baobab).

The songs on this album tell of joy and sorrow, love and loss, heroism and tragedy. “Tana” is an ancient song about a shepherd whose flock is stolen by bandits that grant his wish to play his flute for the last time before they kill him. The plaintive melody conveys his terrible fate to his beloved in the valley below. A line from the beautiful “Penxherenë e zotrisë sate” gives the album its title; a boy yearns for the girl next door, pleading, “You keep going in and out of your gate. O poor me outside! At least wave your handkerchief at me.” Other songs are about partisans struggling against foreign invaders and men forced to depart in search of work, leaving behind grieving wives and families, a recurring theme in Albanian music to the present day.

The instrumental dances have deep roots in the region’s history. “Valle e Osman Takës” originated with a captured rebel leader dancing his way to freedom and is now a spectacular male dance that constitutes a test that only the most skilled attempt. Of all the region’s instrumental forms none has the resonance and emotive power of ‘kaba’. According to legend, the form originated when a dying wife told her husband not to cry, but to let his clarinet weep over her coffin instead. The album includes both, a clarinet and a violin kaba as well as a rare, freely improvised ‘avaz’. The melancholic improvisational lines of the clarinet or violin give it a mood often referred to as the ‘Albanian blues’. Kaba’s “melodies, ornamented with swoops, glides and growls of an almost vocal quality, sound both fresh and ancient at the same time”, observes author and musician Kim Burton, “and exemplify the combination of passion with restraint that is the hallmark of Albanian culture.” 

“This recording is a landmark in the history of Saze music. These performers are following in the footsteps of the great masters that have preceded them, while the careful and thorough production and wonderful sound quality allow us to experience recorded Saze as never before.”	
- Vasil S. Tole

“We set out to record these virtuoso singers and musicians like a Blue Note jazz session or a Deutsche Grammophon string quartet. Saze is, after all, a classical form, its essential elements unaltered over the decades. With its ancient roots, the intensity of this world-class music has the power to entrance any listener.”	
- Joe Boyd

Saz’iso are
Donika Pecallari, vocal
Adrianna Thanou, vocal
Robert Tralo, vocal
Aurel Qirjo, violin & vocal
Telando Feto, clarinet
Agron Murat, llautë/lute
Agron Nasi, dajre/frame drum
Pëllumb Meta, fyell/flute & vocal

At Least Wave Your Handkerchief At Me

Saz'iso - Tana

www.facebook.com/janinarockt Zu diesem Lied gibt es einen grandiosen Remix, in die Preview kann man hier reinhören: http://soundcloud.com/carbon/janina-nein-sagen-carbon-remix

NEIN SAGEN

Nouvelle Vague  - I'm Just A Simple Russian Girl

Boots - Loop

waveman45