Oud Funk

video here :https://www.youtube.com/watch?v=itHWoneN9Vc&list=PLMyB0zUdcYxB7i0bGf6NulWYtYfMjq7fS

Un petit aperçu des premiers titres produits au Maroc. 
Red Room Records Rabat Productions 2014
 Errance dans le port de Tanger
Guitares : Alexandre Bellando
Enregistrement Mixage Arrangement : Antoine Villette

Tanger Custom

Salience

Break out from the Matrix

From Album Makenba
Majid Bekkas : Chant, Gembri, Oud / Louis Sclavis : Clarinette, Saxophone / Minino Garay : Percussion / Abdelfettah Houssaini : Percussion / Joseph Bessam Kouassi : Talking Drum / Serge Marne : Percussion / Aly Keïta : Balafon


Majid Bekkas - Sahara Blues

Free Download

Tartit - Ansari - Lokal Affair Léger arrangement

gOtam Sen , "A little bird told me" first album , 2009

support me and buy

Come on girl

Mobility

Ibrahim maalouf •  soon will be a woman (acoustique)

TARAB

Get the album here: http://glitterbeat.com/glitterbeat_store/

Tamikrest means “crossing” in the language of the Kel Tamashek, a traditionally nomadic Saharan people that are commonly referred to as the Tuaregs. It is an apt name for a band that so successfully merges the values of their timeless culture with the sounds and visions they have encountered on a headlong journey to the concert stages and ipods of the world. 

Since the band emerged onto the international scene four years ago with their debut album “Adagh”, they have been in constant motion, moving between the Sahara and Europe as though these places were next-door neighbors. All the while, during this same time period, their homeland has suffered increasingly profound and catastrophic events. Originally hailing from Kidal, in the northeast of Mali, as the result of ongoing war, persecution and political collapse most of the band now lives in exile in Algeria. 

These last years have been intensely vivid for Tamikrest, defined as they have been by both tragic sadness (families and friends turned refugees, the brutal imposition of Sharia law in their hometown) and collective growth (their musical dreams building one upon another). 

Their new album “Chatma”, their third, deftly navigates these experiences and fashions them into a fully persuasive and poetic musical document. The album is filled with sober reflection, moral indignation, musical experimentation, cultural celebration and the kick of rock and roll.

“Chatma” is also Tamikrest’s first album to be wholly written around a defined theme. In Tamashek “Chatma” means “Sisters” and the band has dedicated the album in their own words to: “the courage of the Tuareg women, who have ensured both their children's survival and the morals of their fathers and brothers.” 

The opening track “Tisnant an Chatma (The suffering of my sisters)” is a heartbreaking homage: « Who can estimate the suffering felt by the soul / of one who sees her sisters exhausted from waiting/ of one who sees her sisters exhausted from waiting between countries, in deep distress /and daily oppression? « 

Fittingly for an album so lyrically evocative, “Chatma “ also delivers Tamikrest's most wide-screen and wide-ranging sonic statement to date. The infectious, sing-along rock stylings of "Imanin bas zihoun", the acoustic seduction of “Adounia tabarat”, the Pink Floyd influenced montage "Assikal" and the lush, melancholy ambiance of the albums finale, “Timtar”, all add up to a sustained audio adventure. Echoes of dub, blues, psychedelia, funk and even art-rock are seamlessly weaved by Tamikrest into their increasingly individual take on the Tuareg musical tradition. 

And on an album where the title translates as "Sisters", it makes perfect sense that this time around we hear the full emergence of the haunting voice of female vocalist Wonou Walet Sidati in tandem with lead vocalist Ousmane Ag Mossa. A new guitarist, Paul Salvagnac has also joined the band, bringing with him fresh textures and possibilities.

Contemporary Tuareg music has produced several unforgettable albums in recent years and "Chatma" certainly deserves to be ranked with these. But one also gets the sense, when listening to “Chatma” that there is something uniquely innovative and exploratory about Tamikrest's musical quest and that at last they have stepped into a wide-open space of their own.
 
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www.tamikrest.net
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Tamikrest - Imanin bas zihoun

One of the amazing things about the deeply Jamaican music called Dub is its ability to act as a conduit. From its early days as stripped down versioning of popular Reggae tunes to its indoctrination into late 80 / early 90s UK Soundsystem & Dance Music culture, to its current massive mutation (with the “Step” planted firmly in its behind); Dub has shown itself to be not only a musical art form that stands strongly on its own, but also a vehicle of sorts that can transport and connect disparate musical universes. And it’s at the unique nexus of Dub and Arabic music that the Spy From Cairo sits the most comfortably. 

The Spy From Cairo aka Zeb is the kind of musician that fits perfectly in with the downtown NYC music scene – Italian by birth, Gypsy by heritage, and Brooklynite by residence, he has been closely associated with the Turntables on the Hudson scene for close to 12 years – producing dozens of albums as Zeb, the Spy From Cairo and the Organic Grooves project, as well as remixing for everyone from Baba Maal to Tosca to Billie Holliday to Novalima, steadily garnering a worldwide collective of fans and followers 

The Spy’s new album, “Arabadub” is perhaps his most realized vision of deep Middle Eastern and Jamaican sounds coalescing into something that sounds right and natural – because it was conceived and produced in just that natural way. There are no samples used on the album, and Zeb has programmed everything, as well as playing traditional Middle Eastern stringed instruments called the Oud, Chifteli and the Saz himself. Check the opener “Alladin Dub”, with its echoed out skanks, pulsing bassline, and majestic strings – and the deepness that is “Taksim Square”, complete with swirling, psychedelic accordion. Other highlights include the tense four-to-the-floor stomper “Desert Tears”, the rolling dub of “Sons of Hannibal” with it’s beautiful Middle Eastern vocal chants, the nostalgic “Egyptian Pulse” with its Steppers sound and melancholy vibes, and the dancehall vibes of “Prince Ahmed” – sounding like 3AM Kingston wrapped in a Bedouin Tent!
credits


Oud Funk

Zebda-The spy from Cairo