Metafísica I (Soul, Funk, Afrobeat, etc.)
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Sonidos en diáspora. El cine del Black Audio Film Collective
2, 3, 9, 10 y 16 julio, 2014 - 19:00 h / Edificio Sabatini, Auditorio (Museo Reina Sofía Madrid)
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Buceando entre las novedades me he encontrado con este ¿grupo? que no conocía
http://www.herecomethemummies.com/No son la reostia pero a mí me han alegrado la mañana con su funk contagioso
Rollo cómico además, todos vestidos de momias, preservando su identidad, inventando historias sobre cada uno de ellos…Muestra: https://www.youtube.com/watch?v=Zrmx8plNCdE
Y en su página toda su discografía para descargar.
http://www.herecomethemummies.com/AlbumDownload
Simple, pero iluminan aún más este bonito día de julio (bonito porque en nada me voy de vacaciones )
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La última entrega del sello Analog Africa, que para variar esta vez se han ido a Brasil, es pura crema. El bueno de Samy rescata al creador de la Siriá, Mestre Cupijó. Música para el baile, la fiesta, para confraternizar, el verano y el amor.
Cametá, a historical little Amazonian town on the shores of the river Tocantins, is the birthplace of the scorching music known as 'Siriá'; a cross pollination between the music of the inhabitants of the quilombos, a Brazilian hinterland settlement founded by escaped slaves of African origins, and the indigenous people of the Amazon rainforest. It is a breathing, pulsing, emphatic beat, and the modernised version of this local music, created by Mestre Cupijó, has been igniting street parties and traditional festivals across the state of Pará in Northern Brazil for decades. And at last in 2014, the combustible sound of Siriá will be celebrated internationally as the feverish, tropical sound of the summer!
Foretelling his talent to flow between cultures, Cupijó was named after the local river where he was born into a family of musicians. His father, Mestre Vicente Castro, was also known as Mestre Sicudera, the musical director of one of Brazil´s oldest bands, Eutepe Cametaense. Eutepe Cametaense, formerly directed by Cupijo’s grandfather, was founded in 1874, arguably making them the oldest band in Pará, and possibly in Brazil. They had the heritage and recognition of being the only band that performed at the festivities that signaled the end of slavery in Pará in 1888. Cupijo would later adopt this band and it’s players after his father, as his birthright.
At 12, Cupijó started to play the clarinet. He also became proficient at the piano, mandolin and guitar, although the instrument that came to personify his sound was the alto saxophone.
Waltz, bolero, cha cha cha and an assortment of dance hall music became part of Cupijó's repertoire, but it was Carimbó and Siriá, the music played by the black communities of Pará, that had the strongest impact on the young musician.To grasp the soul of this music, Cupijó went to its source and lived with the quilombolas (maroon) community of the Amazon. Upon his return, enriched by this life-changing experience, he founded the band 'Jazz Orquestra os Azes do Ritmo' with the goal of reinventing Siriá and modernising Samba de Cacete, Banguê and other folkloric music of the state of Pará. Airwaves from the Caribbean and Latin America had also brought the cumbia sound of the mighty Colombian orchestras, Merengue from the Dominican republic and Cuban music to the Amazon, all of which had an impact on the music of Northern Brazil, Mambo especially! Mestre Cupijó took these influences and mixed them in with the ingredients he had studied in the Quilombos. That fusion - as we are witnessing on this record - had explosive effects.
His fresh new sound became the soundtrack to Cametá's legendary Carnival and soon his troupe were invited to other festivals along the river. Transportation to these concerts was via small boats, where three or four musicians would share a vessel with their instruments tucked between their legs. In those days there were no posters or radio adverts to promote the shows in any way, yet Cupijó's shows became notorious. In an interview one of his band members explains: 'Whenever there was a party - on a Saturday for example - and it was known that Mestre Cupijó would play, the news would spread incredibly fast, just by word of mouth. We didn't understand how that was possible, but it certainly was amazing.'
After the initial wave of enthusiasm, the first two LPs were recorded with rudimentary equipment in a dance club in Cametá. However, it was the third attempt, recorded in a studio in Belém, which would trigger a phenomenal success. 'Caboclinha Do Igapo' and 'Mambo do Martela', included on this record, became instant hits. A year later, 'Mingau de Açai', one of Cupijo´s most popular tunes, took the region by storm. In total six LPs were recorded by Mestre Cupijó.
He then created 'Concurso de Musicas Carnavalesco de Compositores Cametaenses', a contest for carnival music composers. The songs composed expressly for these contests in the 70s are still performed today during carnival season. In addition to evolving the Pará music culture in this way, he also owned a makeshift soundsystem, 'Musicolor', to spin the discs of local artists before his own shows to the frenzied crowds. Mestre Cupijó proved himself a philanthropist as well as a conductor for the people's music, and acted as a provisional lawyer for the city of Cametá, specialising in help for the poor. He also had a short spell in politics and was elected by a vast majority to the station of Municipal Councillor of Cametá.
Master Cupjó, the pillar of Pará's festive culture, and a humble pop icon who was ushered prominently into the country's history books, passed away on 25 September 2012, at the age of 76.
His compositions as true anthems of life and vitality, vibrantly encouraging all to drink and dance until sunrise! Let go of your inhibitions and immerse yourself in the wonderful world of Mestre Cupijó… Segura!!!
Aquí se puede escuchar y comprar:
http://analogafrica.bandcamp.com/album/siria
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Os dejo una mini sesión fresca de Frank Gossner, para amenizar las tardes de verano.
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Para el que quiera darse el festín definitivo de música etíope, aquí están TODOS los volúmenes editados hasta ahora de la sagrada serie "Ethiopiques". En zippy además:
http://periecosbrecho.blogspot.com.es/2 ... iques.html(1998) Ethiopiques Volumen 1: The Golden Years of Modern Ethiopian Music, varios artistas
(1998) Ethiopiques Volumen 2: Tètchawèt! Urban Azmaris Of The 90s, varios artistas
(1998) Ethiopiques Volumen 3: Golden Years Of Modern Ethiopian Music, varios artistas
(1998) Ethiopiques Volumen 4: Ethio Jazz & Musique Instrumentale, 1969-1974, Mulatu Astatke
(1999) Ethiopiques Volumen 5: Tigrigna Music, varios artistas
(1999) Ethiopiques Volumen 6: Almaz, Mahmoud Ahmed
(1999) Ethiopiques Volumen 7: Ere Mela Mela, Mahmoud Ahmed
(2000) Ethiopiques Volumen 8: Swinging Addis, varios artistas
(2001) Ethiopiques Volumen 9, Alemayehu Eshete
(2002) Ethiopiques Volumen 10: Tezeta - Ethiopian Blues & Ballads, varios artistas
(2002) Ethiopiques Volumen 11: The Harp of King David, Alemu Aga
(2003) Ethiopiques Volumen 12: Konso Music and Songs, varios artistas
(2003) Ethiopiques Volumen 13: Ethiopian Groove, varios artistas
(2003) Ethiopiques Volumen 14: Negus of Ethiopian Sax, Getachew Mekurya
(2003) Ethiopiques Volumen 15: Jump to Addis, varios artistas
(2004) Ethiopiques Volumen 16: The Lady With the Krar, Asnaketch Worku
(2004) Ethiopiques Volumen 17, Tilahun Gessesse
(2004) Ethiopiques Volumen 18: Asguèbba! varios artistas
(2005) Ethiopiques Volumen 19: Alemye, Mahmoud Ahmed
(2005) Ethiopiques Volumen 20: Live in Addis, Either/Orchestra con Mulatu Astatke, Getachew Mekurya, Tsedenia G. Markos, Bahta Hewet, Michael Belayneh
(2006) Ethiopiques Volumen 21: Ethiopia Song, Emahoy Tsegue-Mariam Gebrou
(2007) Ethiogroove (DVD): Mahmoud Ahmed & Either/Orchestra, con Tsedenia G. Markos
(2007) Ethiopiques Volumen 22: Alèmayèhu Eshèté
(2007) Ethiopiques Volumen 23: Orchestra Ethiopia
(2009) Ethiopiques Volumen 24: Golden Years of Modern Ethiopian Music 1969–1975
(2009) Ethiopiques Volumen 25: Modern Roots 1971–1975
(2010) Ethiopiques Volumen 26: Mahmoud Ahmed & His Imperial Bodyguard Band 1972-74
(2010) Ethiopiques Volumen 27: Centennial of the First Ethiopian Recordings, Tèssèma Eshèté 1910
(2013) Ethiopiques Volumen 28: Ali Mohhamed Birra. Great Oromo Music
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Muchas gracias T. Muy apropiado, teniendo en cuenta que ayer se celebraba el nuevo año etíope. Aprovecho para recomendar el restaurante etíope Hasan que está en la calle Ventura Rodriguez 3 (Madrid).
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@T.Bourbon:3onatlkq:
Para el que quiera darse el festín definitivo de música etíope, aquí están TODOS los volúmenes editados hasta ahora de la sagrada serie "Ethiopiques". En zippy además:
http://periecosbrecho.blogspot.com.es/2 ... iques.html¡Muy bueno! Muchas gracias.
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El domingo descubrí a unos tales Fire Horns, en el programa Sonideros (parte de dj Flo)
Unos japos que hacen funk bailable, tremendos en los instrumentales aunque me chirrían algo las cantadas.
No he podido encontrar demasiada información, más que su propia página web, en perfectamente entendible japonés.
Aquí un tiento de la canción que precisamente sonó en el programa
http://www.youtube.com/watch?v=7uSfkbEP7O4
y aquí su disco de este año, Primal Ignitionhttp://www64.zippyshare.com/v/99119183/file.htmlTrabajo realmente divertido y que desde ayer no ha salido de mi lista de reproducción.
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Para celebrar el 25 aniversario de Mr. Bongo han publicado un recopilatorio con canciones de los diferentes artistas que han publicado.
Aqui se puede escuchar y comprar.
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Una entrada sobre Duke Reid (Treasure Isle)
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Radio online jamaicana
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@untitled:1zhzlv75:
Para celebrar el 25 aniversario de Mr. Bongo han publicado un recopilatorio con canciones de los diferentes artistas que han publicado.
Aqui se puede escuchar y comprar.Me pillé esto y es cojonudo
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La peculiar artista brasileña Ava Rocha acaba de publicar un nuevo disco que se puede escuchar aquí:
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Os dejo por aquí una interesante análisis de las letras de las canciones del rey del Ska, Desmond Dekker.
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Por fin. Eska edita su debut tras años haciendo mejor la música de Zero7, New Sector Movements, Matthew Herbert o Uschi Classen.
https://eskaonline.bandcamp.com/
Se nota que es, de lejos lejísimos, la mejor vocalista que pasó por el mundillo del broken beat. La producción viene de Herbert mayormente.
EDIT: el disco entero, en spoti/deezer
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Toots Hibert Historical Photo Gallery
