Metafísica I (Soul, Funk, Afrobeat, etc.)
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bufff, yo no debería. si no te he dejado un privado a medianoche tirad millas, pulp. sabía que mayfield le darías al asunto.
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Jajaja! A 3 dólares, nanu.
Mensaje enviado, pulpo, gracias.
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Buena mierda Etíope:
"Ethiopian Urban Modern Music Vol 3"
The amazing Ethiopoques series continues to amaze with another stunning album of classic "Golden Era" Ethiopian recordings from 60's & 70's Addis Ababa. The third in their 'Ethiopian Modern Music' volumes, this album collects a massively varied set of killer grooves; from the super tight soul funk of Girma Béyéné's 'Ené négn bay manésh' or his kinkier psyche funk winner 'Yebeeqagnal', to Seyoum Gébreyés and Wallias Band's rhodes driven 'Métch ené terf féléghu' or the extended slow jam 'Djémérégne' from Muluqén Mélléssé and the intoxicating female vocals of 'Métché néw' from Asséléfétch Ashiné and Géténésh Kebrét. The arrangements and bands are ably handled by Mulatu Astatqé, Gétatché Mékurya and a hosts of other legends who have previously contributed to this ear opening series. This series just blows our minds and any followers of Finders Keepers Turkish Psyche picks, the Sublime Frequencies series or indeed anything from Mulatu Astatke will want to invest without delay. Essential.
http://www.megaupload.com/?d=0VWA8QU6
password: iload.to
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Parece mentira que, con la cantidad de discos que se han puesto en este post, se haya pasado de mirar a uno de los pulmones musicales primordiales de este planeta: Brasil.
Hace unos años, la compañía barcelonesa Discmedi parece ser que se hizo con los derechos del sello RGE, histórico sello carioca que grabó lo más florido de la música brasileña de las décadas de los 50 y 60. No sé si Discmedi sacó a la calle ediciones de estos discos, pero lo que sí hizo fue editar una serie de compilatorios (con portadas horribles y nula información) con este material. En sus volúmenes se puede oír, bajo el denominador común de la samba y la bossa nova, a cantantes femeninas y másculinos, grupos tradicionales, canción, exaltaçao, enredo, pagodes, música hecha en Bahia, etc. Esto, para el que no es muy experto en la música brasileira, es un regalo, supongo que para el que los es (y los hay, ya lo creo) hasta puede encontrar cosas complicadas de hallar. Pero hay un volumen que, personalmente, es de lo mejor de esta colección, ya por si notable: el dedicado a las orquestas que el sello tenía en su nómina.
Y aquí están estos 25 temas interpretados por big bands que, cronológicamente, corresponden a esa época. Sonido apabullante, máquinas rítmicas imparables, metales que suenan a gloria bendita y una exquisitez de arreglos del copón.
Navegando entre el jazz, el easy listening, la bossa nova y la samba, con composiciones de gentes como Noel Rosa, Jobim, Moraes, Ary Barroso y otros, este artefacto es ideal para mover el pandero locamente ahora que los carnavales ya han llegado y, cómo no, para preparar una exquisita caipirinha de cachaça. Y, porque no decirlo, como arma total y definitiva contra este frio que invita más al oscurantismo que a la alegría. Y para esto está este disco: alegría y luz por un tubo.- Pocho E Sua Orquestra – Vem Chegando A Madrugada
- Simonetti E Sua Orquestra – Maderira Chorou
- Hector Costita – Nega Se Vingou
- Orchestra E Coro RGE – Os Quindins De Yayá
- Cid Gray E Orquestra - Sofro
- Erlon Chaves E Sua Orquestra – Balanço Zona Sul
- Lagna Fietta E Sua Orquestra - Lobo Bobo
- Sylvio Mazzuca E Sua Orquestra – Garota De Ipanema
- Pocho E Sua Orquestra – Eu Agora Seu Feliz
- Orchestra E Coro RGE – Falsa Baihana
- Simonetti E Sua Orquestra – Fita Amarela
- Pocho E Sua Orquestra – A Fonte Secou
- Simonetti E Sua Orquestra – Se Acaso Você Chegasse
- Pocho E Sua Orquestra – Fechei A Porta
- G. Gagliardi E Orquestra – Chora Menino
- Cid Gray E Orquestra - Esse Seu Olhar
- Pocho E Sua Orquestra – Levanta Mangueira
- Simonetti E Sua Orquestra – Morena Boca De Ouro
- Don Junior E Orquetra RGE – Volta Por Cima
- Simonetti E Sua Orquestra – Mulata Assanhada
- Cid Gray E Orquestra - Recado
- Sylvio Mazzuca E Sua Orquestra – Samba Do Orfeu / A Felicidade
- Carlos Pipper E Sua Orquestra - Louca De Saudade
- Erlon Chaves E Sua Orquestra – Acender As Velas
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Muchas gracias 30"
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Cuanta razón. Precisamente el otro día pensaba que este hilo necesitaba un poco de música brasileña y que tenía que colgar un disco que me tiene bastante pillado últimamente.
Se trata de Clube da esquina de Milton Nascimento y Lô Borges. Para mí es un disco de canciones pop con sonoridad brasileña. Lo que quiero decir es que me parece un disco con unas composiciones increíbles con toda la creatividad sonora que son capaces de aportar los brasileños, con algún toque de psicodelia y apuntes quizás más jazzy (orquestaciones de Eumir Deodato).
Un disco con canciones como 'O trem azul', 'Tudo o que voce podia' o 'Cravo e canela' debería ser un disco de diez, aunque tiene un pero. Es demasiado largo y en la parte central, para mi gusto, baja un poco de nivel. Pero vamos, que los momentos altos son muuuy altos.
Milton Nascimento e Lô Borges - Clube da esquina (1972)
http://www.badongo.com/file/20477971
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Bajándo y le daremos unas escuchas, a ver que. si sale el nombre de Deodato me interesa especialmente.
Gracias.
Por cierto, el domingo de la semana que viene en el Auditori hay un concierto dedicado al Tropicalismo. Es gratuito. Yo lo tenia en cartera, pero a surgido otra cosilla a la misma hora. Si quiren ir, corran porque las entradas, literalmente, vuelan.
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@30segundossobreTokyo:mu87esyc:
Bajándo y le daremos unas escuchas, a ver que. si sale el nombre de Deodato me interesa especialmente.
Gracias.
Por cierto, el domingo de la semana que viene en el Auditori hay un concierto dedicado al Tropicalismo. Es gratuito. Yo lo tenia en cartera, pero a surgido otra cosilla a la misma hora. Si quiren ir, corran porque las entradas, literalmente, vuelan.esto… clickando en el link aparece una página de un concierto en el Auditori el dia 21a las 20, Utròpic, pero cuesta 15€...
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pues si, es cierto, no se de donde he sacado que era gratis, sorry.
Seguramente me confundí con el del próximo miércoles y al que servidora de ustedes va a asistir como 2 + 2 hacen 4.
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@30segundossobreTokyo:23oapo3b:
Bajándo y le daremos unas escuchas, a ver que. si sale el nombre de Deodato me interesa especialmente.
Gracias.La verdad es que puse lo de Deodato porque me pareció destacable que participara, pero la verdad es que no creo que domine mucho su influencia en el disco, sino que simplemente se nota en algunos detalles. Quicir que suena más a un disco de Veloso (y no de los primeros) que a uno de Deodato.
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Tunde Williams - Mr. Big Mouth
@2h21rwoj:
Essential Afrika 70 recordings, produced by Fela Kuti.
Babatunde 'Tunde' Williams was born in Nigeria, in 1943. Like Fela, his family was from Abeokuta, but his father was employed by the United Africa Company in the middle belt city of Makurdi, where Tunde was born in 1943. He attended primary school at Gboko Elementary School in the nearby town of Gboko, and later attended Katsina-Ala Middle School in the northern town of Katsina. Unbeknownst to most people, Tunde’s first instrument was percussion, and his earliest professional experience was as a conga, bongo, and traps player for various highlife bands in the early 1960s. By 1965 he was playing with the highlife band of Olu McFoy, and he later joined Atomic Eight, a highlife and copyright band from Aba in eastern Nigeria. It was in Atomic Eight that he befriended the bandleader Raymond Baba, a multi-instrumentalist who was proficient on both brass and woodwinds. Inspired by Baba’s example, Tunde switched from percussion to trumpet shortly thereafter, with Baba as his first teacher. He also cites Louis Armstrong and Miles Davis as formative influences on the instrument.
Tunde joined Fela’s Koola Lobitos as a trumpeter in late 1967, and remained with Fela through 1978, when he and several other bandmembers left the group acrimoniously following the Berlin Jazz Festival in September of that year. In Afrika 70, he was the most consistent soloist, and his trumpet improvisations graced virtually of the band’s 1970s recordings. The tracks for Mr. Big Mouth had been recorded in 1975, but by the time they were released in 1977, Fela was engaged in a bitter battle with the original label, Decca Records. As a result, many of Afrika 70’s Decca releases from 1977-8 fell through the proverbial cracks, and Mr. Big Mouth was unfortunately one of them. Although it is a great album, it was given little promotion and as a result, is known only to the most committed Afrobeat aficionados, even in Nigeria.
The music on Mr. Big Mouth is similar in feel and mood to other Afrika 70 releases from this time on Decca’s Afrodisia imprint such as Fela’s No Agreement, Stalemate, and Fear Not for Man, and Tony Allen’s No Accomodation for Lagos. The title track is typical of Afrika 70’s uptempo grooves and like much of Fela’s music the lyrics are socially-critical in tone, although unlike Fela’s songs, Tunde’s lyrics are not directed at the government. Rather, he says the title track was a commentary on “…some of the indigenous contractors at that time. The government would give these contractors money to complete a job, and instead they would take the money and surround themselves with women, fancy clothes, and flashy cars, and go around the town bragging like big shots. The jobs never got done, and many of them ended up going to jail for defrauding the government. That’s what I was singing about.” Tunde’s mid-tempo instrumental “The Beginning” (so named because it was his first piece of music to be recorded) is certainly one of the most infectious tracks to come out of Fela’s organization. The laid-back Afrobeat groove is dark and suspenseful, and one can easily hear why the song was often played during Afrika 70’s warm-up sets, as it perfectly sets the tone for a late, smoky night at the Afrika Shrine.
http://rapidshare.com/files/177817412/Tunde_Williams-Mr_Big_Mouth.rar
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a mí las filtraciones que pone este hombre casi siempre me gustan
gracias kole!
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Atención a este combo instrumental: The Souljazz Orchestra.
http://www.bolachas.org/?p=688
Souljazzin, afrobeat, etc... desde Canadá.
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Comentaros que Upper Egypt Series se materializa en web. Tras ella está el Consorcio Upper Egypt, formado por Dj Uve, Charle Louis aka Asmatic, Dj Thabeat, Ismael Sustraivibez y Sr. Galleta (un servidor para servirles).
Mientras trabajamos en la página, hemos puesto una portada provisional desde donde bajar los mixes con invitados como Dj Tres, Miguel Angel Sutil (Enlace Funk), Marcos Juandó,…
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Mayer Hawthorne - Live at KCRW's Morning Becomes Eclectic (2009)
http://rapidshare.com/files/353270033/Eclectic-Hawthorne_K.rar
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Mebusas - Blood Brothers (1973/2009)
@ozacjfoa:
Best known for their cut Son of Mr Bulldog which was made available on the recent Afro Baby compilation on Soundway Records, The Mebusas lone LP Blood Brothers combines elements of American soul and funk, psychedelic rock, latin/carribean rhythms and traditional African music. Innovative arrangements, deep rhythms and top-notch playing make this 1973 album a true classic. This is the first ever reissue of this landmark album.
Beautiful grooves from the Nigerian scene of the 70s – a set of really unique grooves, and the only-ever album from the enigmatic Mebusas! There's kind of a tripped-out feel to some of these tracks -- Afro Funk, but taken left of center from the style of Fela -- thanks to some weird keyboard bits, odd production touches, and some occasional psychedelic guitar -- which really fuzzes things up, and almost creates a cross-cultural vibe that should have gotten this album play up in London, or over in New York! Lyrics are in English, and some of the tracks have a heavy dose of American funk, too -- yet others are pure 70s African funk all the way through -- a wonderful blend of modes that really keeps things interesting. Titles include "Son Of Mr Bull Dog", "Do You Know", "Grooving Out On Life", "Kwashioko", "Blood Brothers", "Return/Pada", and "I Wonna Do It"http://rapidshare.com/files/353270031/blood_K.rar
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Najite Olokun Prophecy-Africa Before Invasion(SoFa/Plug Research2003.)
@1q9bixt0:
As many western listeners have discovered through groups like the Antibalas Orchestra , Nigerian pop star Fela Kuti's 1970's invention called Afro-beat is anything but dead. Fela started out as a jazz player, branching out to highlife as a natural extension of this music—since it represented direct fusion between West African traditions and the rhythms, instruments, and styles of the New World (especially jazz). Highlife paid the bills, and when Fela Kuti brought funk into the mix, his music reached new heights. Suddenly he rocketed to stardom. Millions of listeners followed his every move.
Enter Najite. The drummer played congas with Fela, absorbing his musical approach and the specific ways in which it could be realized. On this disc, the latest of his recordings (which for the most part are unavailable in the U.S.), the Nigerian percussionist steps forward to lead his own ensemble. His music draws much more heavily from jazz than its predecessors, which renders it particularly accessible to listeners familiar with the New World improvisational tradition. Najite is quite direct about his heritage: "If you love Africa, raise up your hands!" (Hint: check out the record's title, which is quite ironic relative to the stew of styles here.)
His group comprises 17 musicians, including four drummers. It's tight, flexible, and downright funky. The second tune, "Lasisi," takes an undulating beat, stringing it between dramatic horn heads and around solos by various instrumentalists, including—most notably—pianist Nate Morgan. Morgan travels eagerly through constantly evolving chordal voicings around a flowing theme. Najite himself goes out to lead percussionists and vocalists on the talking drum, a relatively unusual event in the old- school style. Rather than evoking all the myriad "syllables" of the instrument's flexible language, he directs it toward pitches and sonorities that reinforce the piece's theme.
The leader is not at all afraid to pursue the blend of cross-cultural traditions that have defined West African popular music for decades. "Honesty" starts out with a minor theme reminiscent of East Asian music, heading into a festive Caribbean rhythm. Its extended lilt supports an unusually jazzy evocation of beach-side abandon, with the kind of interlaced West African drumming that practically begs the listener to get up and dance. Don't mind, your mother isn't watching.
Whatever the intricate details of this recording, it's all about dance in the end. The five extended pieces on Africa Before Invasion range from seven to eleven minutes, allowing musicians and listeners alike to stretch out. No need to dwell on the lyrics—just dig the jam.
http://rapidshare.com/files/353521951/najite_olokun-africa_before_invasion.rar
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Bill Cosby & Quincy Jones-The Original Jam Sessions 1969
http://rapidshare.com/files/353671206/Quincy_Jones___Bill_Cosby_-_Original_Jam_Sessions_1969_.zip
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Gracias por el de Mebusas! Llevaba un tiempo detrás de él. La verdad es que las cosillas afro que van editando los de Academy Records tienen mucho jugo.
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Mulatu Astatke- Mulatu Steps Ahead(Strut 2010.)
http://rapidshare.com/files/354282528/MuAs_K.rar