Galaxias

Produzido por Raphael Bertazi.
Samples: "This Charming Man" (The Smiths, 1983); "Tic, Tic, Tac" (Banda Eva, 1997); "Toing" (É O Tchan, 2000). 

Inscreva-se no meu canal no YouTube: https://www.youtube.com/c/raphaelbertaziDJ/?sub_confirmation=1

Me siga: 
https://soundcloud.com/bertazi
https://www.tiktok.com/@raphaelbertazi
https://www.instagram.com/raphaelbertazi
https://twitter.com/raphaelbertazi

The Smiths & É o Tchan - Esse Nêgo Charmoso (Bertazi 'Axé Bahindie' Remix)

A selection of rare and obscure tropical gems from both sides of the Black Atlantic. Cuban Son, Cape Verdean Coladiera, Senegalese Mbalax, Jamaican Dub, Dominican Merengue, Haitian Kompa, Antillean Biguine, Guinea-Bissau Gumbe, and Afro-Latin fare. Happy travels! 

Some of these tracks will be released exclusively on Ostinato Records in the near future. Stay tuned!

Catch Ostinato Records spinning the finest in vintage Black Atlantic rhythms at Canicule Tropicale in Montreal, Canada on November 22, 2014! https://www.facebook.com/events/356496084524439/

Afrophonia Vol. 2 1968 - 1982: Black Atlantic Rhythms from Cuba to Angola

Produzido por Bruno Ramos, na Maria Fumaça Sounds Studios
Sandro Lima: Guitarra
Will Cavagnolli: Baixo 
Rafael Franja: Bateria e percussão

Paratudo

Buy Now - https://pinkflag.greedbag.com/buy/nocturnal-koreans-0/

Wire’s new mini-album, Nocturnal Koreans, is striking in its diversity, the band fluently negotiating an expansive stylistic range, from immensely catchy pop to ambient introspection and beyond. Chronicling a sleepless night that Wire spent in a seedy Boston-area hotel on their 2013 US tour, the title track is the kind of charging, urgent tune that’s always been vocalist-songwriter Colin Newman’s forte. The lyrics, by bassist Graham Lewis, make this one of guitarist Matthew Simms’s favourites on the record, largely because of the associated memories: “It’s a great snapshot of touring America and when I hear or play that song, it reminds me of the many weird and wonderful times, places and people that cross your path.”

Nocturnal Koreans

1998, estávamos eu e Paulo Rogério Lugatto, meu colega de locução da Rádio Brasil 2000 Fm (São Paulo), bem desocupados numa tarde de sábado, quando isso aconteceu. 

Fake Plastic Trees (Versão Zezé)

Interceptação telefônica de conversa do ex-presidente Lula com o cientista político Alberto Carlos: http://folha.com/no1750785

audio_lula_111_15

AVE PALAVRA

OSTINATO RECORDS PROUDLY PRESENTS

OSTLP/CD001

TANBOU TOUJOU LOU: MERINGUE, KOMPA KREYOL, VODOU JAZZ, & ELECTRIC FOLKLORE FROM HAITI 1960 - 1981

COMPILED & CURATED by VIK SOHONIE

"What a superb compilation this is. This might be the most surprising compilation of 2016 yet." - Songlines Magazine

ORDER NOW: 

Bandcamp: http://bit.ly/1Oh3k6s

Amazon: http://amzn.to/2aEWE49

iTunes: http://apple.co/2apEMFT

Available on 2xLP Gatefold, CD, and Digital.

Selected from an array of private collections and radio archives in Brooklyn, New York, and multiple digging trips in Port-au-Prince, Jacmel, Gonaives, and St. Marc, Haiti, are twenty tracks that encompass the vast diversity of styles during the seminal years of musical innovation and percussive potency in Haiti. From the legendary, elegant big band dance parties in iconic nightclubs of Port-au-Prince to the rhythms of the countryside; from accordion-driven meringue and Vodou-derived drum patterns, to hypnotic tenor sax arrangements and psychedelic interpretations of folklore, the music of 1960's, '70's, & '80's Haiti enjoys a royal repute across the Caribbean, West Africa, and the Colombian coast. 

In the golden era of Haitian music, between the 1960s and 1980s, experimentation and electric reinterpretation of traditional rhythms was rife, along with the sophisticated balancing of a host of influences. There’s the jazz-era instrumentation, brought during the early 20th century American occupation, which introduced horn sections to Haitian ensembles. Cuba, cultural imperator of the Afro-Atlantic and perennial ally of Haiti, imbued Meringue, Mambo, Son, Guajira, Charanga, and a slew of Afro-Cuban styles into the Haitian repertoire. Accordion-driven Colombian Cumbia and Dominican Merengue left their mark. A melting pot of sound was all held together by the countless rhythms, drum patterns, and percussion brought across the Atlantic from Africa, surviving slavery’s violent cultural repression. 

Nago rhythms from what is today Nigeria and Benin, Kongo rhythms from Central Africa, and Petwo rhythms from the Vodou traditions of Guinea, among many others, were revived and given special importance in an age of black consciousness, driven by the Negritude and Noiriste philosophies of Afro-Caribbean intellectuals like Jamaica’s Marcus Garvey and Martinique’s Frantz Fanon and Aimé Césaire. 

The lasting result is a rich, layered terrine that spawned Haiti’s Cuban-inspired Meringue, the dominant Kompa Direct of Nemours Jean Baptiste, the silky tenor sax-led Cadence Rampa pioneered by Webert Sicot, psychedelic Mini Jazz, and the dancefloor-filling Vodou Jazz compositions of de-facto national orchestra, Super Jazz de Jeunes. At its peak, Haitian music was widely distributed, proliferating its unique blend of sound across the Francophone Caribbean and West Africa. 

Recordings capturing this vibrant laboratory of colliding influences were produced and pressed in Haiti, the United States, France, and elsewhere in the Caribbean. Huge catalogs from the heavyweight record labels of the time—IBO Records, Marc Records, and Mini Records—and the smaller, private presses have largely been gathering dust and bugs, left to warp in the damp humidity... until now.

"Aprè dans, tanbou toujou lou (After the dance, the drum is always heavy.)"

CREDITS: 
PRODUCTION, CURATION, RESEARCH, & LINER NOTES: Vik Sohonie / New York, NY
MASTERING ENGINEER: Michael Graves / Atlanta, GA 
GRAPHIC DESIGN: Pete White / London, EN
PHOTO RESTORATION: Artisan Photo Restoration/ New York, NY
CD COVER DESIGN: Kathi Remest / Berlin, GE
MANUFACTURING: AtoZ Media / New York, NY 
LEGAL: Savur Threadgold LLP Law / New York, NY 

SPECIAL THANKS to Samuel Merizema, my friend and guide in Haiti, whose resourcefulness and hard work made this compilation possible. 

 © & ℗ Ostinato Records 2016. All Rights Reserved. Unauthorized duplication or distribution of this sampler is prohibited.

Buy Now

HAITI CUMBIA - NEMOURS JEAN BAPTISTE (1969)

Soneto Bélico canção blues faixa que encerra o álbum Amor de Periferia, poema de Glauco Mattoso musicado e gravado por Edvaldo Santana, com Luiz Waack na guitarra, Paulo Lepetit no baixo, Daniel Szafran no piano, Giba Favery na bateria. A foto é de Milton Michida.

Soneto Belico

RICCA GUIMARÃES - voz - gtr - bateria
DIOGO SILVA - baixo - bateria - teclados - backing 
WILL CAVAGNOLLI - gtr - baixo - backing

Bio
LOVNI - 2006
CINEMA AMERICANO - 2009


contato p shows 
11 23891216
11 85746282
riccaguimaraes@gmail.com


LOVNI - Leonel (demo mix)

William Cavagnolli

Related tracks