Name: Krar Collective - Guragigna by World Music Network in World Music
Duration: 6 min 7 s
Description: Krar Collective serve up mind-blowing Ethiopian grooves on this excellent debut. Armed with their krar, kebero drums and stunning vocals, they have created Ethiopia Super Krar – an album rooted in tradition, and soaked with attitude.

World Music

Long awaited debut release from Ethiocolor, a unique Ethiopian band that blends Azmari culture from northern Ethiopia (traditional songs and bards) with the rich and diverse regional musical traditions and cultures found throughout the country.
Ethiocolor is locally known to bridge the gaps between the past and the present, they use amplified versions of traditional instruments, and this recording is a meeting of three generations of musicians and singers playing together.
Ethiocolor is not about playing “traditional” music mixed with “modern” sounds. It is rather a new creation from merging old musical traditions with contemporary ones to come up with a new set of "modern traditions" within Ethiopian music.

Ante Gondarie

ETHIOPIAN ORTHODOX CHURCH SONG(MUZMURE)- EnbanAlsefrm  Zerfe Kebede

On his recently released, self titled album, Dereb and his band, along with producer Tony Buchen, set out to  faithfully record the music of 1960s-70s Ethiopian soul. The resulting set of 11 songs was recorded using only gear that pre dates 1970 in order to recreate the feel of the dusty Ethiopian soul records that have once again started becoming popular worldwide. 

Setaleygn (Tilahun Gesese)

This Rough Guide explores the heady influence of psychedelia on salsa, from the fuzzy tropical guitars of the sixties and seventies to today’s cutting edge bands experimenting with weird & wonderful psychedelic sounds.

For sound samples, videos and further information, visit: www.worldmusic.net/psychedelic-salsa

Psychedelic rock and salsa came of age together in the mid to late 1960s under parallel socio-cultural circumstances of upheaval, unrest and experimentation within the respective youth cultures of their core audiences. 
Historically there are direct connections between the world of the hippie counter-culture and Latin music (from Fania’s Jerry Masucci being friends with Woodstock’s Michael Lang to ‘mambonik’ Bill Graham urging Santana to cover Tito Puente. In places like Mexico, Colombia, Venezuela, and especially Peru, non-Latin global youth culture – or at least some of the music, dress, art, and social attitude – was quite influential as well, producing tropical music with fuzzed out guitars, echo effects, and electric keyboards
In the late 1970s through to the 1990s, discotheque remix dance culture spawned the psychedelic extended salsa mixes of studio wizards like Baron Lopez and the wild playing of Cuban violinist Alfredo de la Fé (featured here with Orchestra Rytmo Africa-Cubana), both of which factored in trippy dub effects borrowed from another Caribbean music with psychedelic leanings, namely reggae.
This collection explores not only those early connections and cross-pollinating influences but also the resurgence of interest in the subject of the psychedelic sound today, from a revival of the experimental vibe that made the early years of salsa so varied and interesting to the equally intriguing phenomenon of retro analogue aesthetics that seems to be on the rise. 
Current Latin artists like Bio Ritmo, La Mecánica Popular, Bacalao Men, Quantic, Fantasma and San Lázaro have found themselves looking back to the days of progressive, open attitudes when the emphasis was on message and music, not on singer as star or producing bland pop for mass consumption. This is, perhaps, a reaction to the fallout of the over-commercialisation and dilution of salsa in the 1980s and the concurrent ascendance of merengue, bachata and (later) reggaeton. The influence of rare groove collecting, DJ-driven investigations into the golden era, and a spill-over from the success of retro funk and soul acts like Sharon Jones have shaped current ‘indie’ salsa production as well.

Nelson Y Sus Estrellas: Londres (taken from The Rough Guide To Psychedelic Salsa)

Toumani Diabate, kora
Edgard Scandurra, guitar
Stockholm, April 2013

Visit malihokan.com for more Mali music and rare recordings.

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Toumani Diabate - Improvisation

Descendant d’une grande famille de griots maliens originaires du village de Kenenkoun, dans la région de Koulikoro (55 km de Bamako), Moriba Koïta pratique la musique depuis l’âge de quatre ans. Il délaisse très vite le tamani (petite percussion d'aisselle) pour se consacrer au n’goni, comme la tradition l'éxige chez les Koïta, passés maîtres dans l'art de jouer de cette petite guitare à quatre cordes.

Formé par son père, il est sélectionné par le Ministère des Arts et de la Culture pour intégrer l’Ensemble Instrumental du Mali pendant 12 ans. Sa maîtrise du n'goni Ba (n'goni basse) comme du n'goni Micin (n'goni aigu) lui vaudra, par la suite, d'être sollicité par toutes les grandes vedettes du Mali : Salif Keïta, les deux Fanta Damba, Kassy Mady Diabaté, Oumou Kouyaté, Amy Koïta, Tata Bambo Kouyaté, Awa Dramé, Kandia Kouyaté.

Moriba Koïta vit à Paris depuis 1993. Il a fondé le grand ensemble mandingue Mandé Foli, puis le groupe traditionnel Sorotoumou (groupe à géométrie variable autour du n'goni avec kora, balafon, djembé, doudoumba, chant). Il a aussi accompagné Manu Dibango, Mory Kante, Nayanka Bell, Sekouba Bambino Diabaté, Hank Jones et Cheick Tidiane Seck.

Il se produit également en solo, comme à l'occasion des cérémonies traditionnelles ou des veillées entre amis, lorsque l'instrumentiste laisse libre cours à sa virtuosité dans l'interprétation des thèmes musicaux évoquant tour à tour les joies et les peines de la vie quotidienne, les hauts faits de l'histoire Bambara, ou la toute-puissance de Dieu.

Le n'goni est une sorte de petite guitare à caisse naviforme, de trois cordes chez les Peulhs et les Maures. Au pays Bambara (l'actuel Mali) où il a pénétré, une quatrième corde lui a été rajoutée. Une peau de vache est tendue sur la caisse de résonnance en bois à l'aide de clous, en bois également. Les cordes de nylon (jadis de crin) sont tendues sur le manche de bois rond cranté, par des anneaux de cuir coulissants. Le n'goni est, par excellence, le véritable instrument des griots; c'est à travers sa musique que l'on découvre les grandes épopées mandingues. Il est utilisé pour illustrer les récits de bravoure, et il accompagne l'historien ou le chroniqueur. Il était le fidèle compagnon des hommes admis à chanter les louanges du roi.

Moiba Koita, Niani Makan, Album Sorotoumou

The psychedelic movement of the 1960s imprinted a kaleidoscopic stamp on musical cultures from across the globe – from the Tropicália artists in Brazil to the Afrobeat groups in West Africa and even the legendary Bollywood composers. Carefully selected from albums in the Rough Guide Psychedelic series, these mind-bending, rebellious and deeply cool grooves create a heady psychedelic brew which is guaranteed to open up new musical doors.

More information at www.worldmusic.net/psychedelic

Ros Seresyothea: Jam 10 Kai Theit (from The Rough Guide To A World Of Psychedelia)

This cutting edge Rough Guide digs deep into today's dynamic, shape-shifting Brazilian jazz scene – leaving 'The Girl From Ipanema' lounging in the shade.

For more information: http://www.worldmusic.net/store/item/RGNET1345

Fernando Moura & Ary Dias: Mexido (taken from The Rough Guide To Brazilian Jazz)

South African jazz is a pertinent reminder of the intrinsic link between music and the dismantling of oppression. This Rough Guide celebrates the legacy of many of the great players and showcases the wealth of burgeoning jazz talent emerging from the Rainbow Nation.

More information at http://www.worldmusic.net/store/item/RGNET1341

Abdullah Ibrahim: Soweto (taken from the Rough Guide To South African Jazz)

We're excited to premiere this beautiful 'electro maloya' track by Reunion based artist Labelle from his new album “Univers-île” . It features Malian Kora master Ballaké Sissoko. We hope you enjoy it as much as we do!

Read the full article here: http://bit.ly/2xi2j7X

Univers-île

Premiere: Labelle - Grand Maître (Feat. Ballake Sissoko)

Issa Sory Bamba - Boro

‘My Head’ is an Ethio-Latin jazz track, which pays homage to John Coltrane’s "Africa Brass" album (McCoy Tyner on piano), with a nod to Horace Silver and Dave Brubeck. The piano riff-led sonic journey leads you through the east African highlands via a Latin nightclub in Addis Ababa and on to Brazil.

The track, like a lot of Ethiopian music, is in 3/4 and 6/4 time signature. The Afro-Brazilian 2/4 pulse gives it danceability! 

Samuel Yirga - My Head

Krar Collective serve up mind-blowing Ethiopian grooves on this excellent debut. Armed with their krar, kebero drums and stunning vocals, they have created Ethiopia Super Krar – an album rooted in tradition, and soaked with attitude.

Krar Collective - Guragigna

Aster Aweke & Woubishet Fisiha

Yene web-Ayenama

This track is from the album Dangay (The North) and is available for purchase on CD Baby here: http://www.cdbaby.com/cd/babasalah2

Baba Salah | Chérie

Samba Touré - Takamba. Home rehearsal 2011

Samba Touré - Takamba

WMN is one of the leading forces on the world music scene & consists of 4 labels – Music Rough Guides, Think Global, Riverboat Records & Introducing.

Krar Collective - Guragigna

World Music Network

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