Rolling Outernational Non-West Non-English (Some Exceptions) 2014 Thread Formerly Known as World

now listening to

http://ecx.images-amazon.com/images/I/51sOK%2BpsIBL._SY300_.jpg

That looks interesting

Lotsa acts coming to the US-- most doing this showcase event in NYC

globalFEST 2014 Webster Hall Schedule Sunday January 12. A number of them are coming to DC--Noura Mint Seymali, a Mauritanian singer who's a fan of Arab Idol, and whose husband guitarist likes Jimi Hendrix, will be at the Kennedy Center in DC this Sunday the 5th for free (and video-streamed and archived on the K. Ctr website)

The Studio
Brushy One-String – 7:00 – 8:00pm
Hassan Hakmoun – 8:20 – 9:20pm
Kuenta i Tambu (K i T) – 9:40 – 10:40pm
Sergio Mendoza y la Orkesta – 11:00pm – 12:00am

The Marlin Room
Como Mamas – 7:00 – 7:50pm
The Wu Force – 8:10 – 9:00pm
Noura Mint Seymali – 9:20 – 10:10pm
Yasimine Hamdan – 10:30 – 11:20pm

The Ballroom
Bombay Royale – 7:30 – 8:15pm
DakhaBrakha – 8:35 – 9:20pm
Fanfare Ciocarlia – 9:40 – 10:25pm
Baloji – 10:45 – 11:30pm

Xchuckx likes Mississippi gospel act Como Mamas and I know folks who really dig Eastern European brass act Fanfare Ciocarlia.

http://www.washingtoncitypaper.com/blogs/artsdesk/music/2014/01/03/mauritanian-singer-noura-mint-seymali-on-her-band-playing-weddings-and-arab-idol/

Dimi Mint Aba, mentioned in that interview, is another one of those singers I saw way back when, when I was getting out more. Extremely powerful voice. The live experience was much more satisfying than the two recordings I bought later.

NOURA MINT SEYMALI - USA TOUR - JAN. 2014

5 Jan. 2014: The Kennedy Center, Millenium Stage - Washington, DC. 6pm -7pm. http://www.kennedy-center.org/

10 Jan. 2014: Barbes - Brooklyn, NY. 9:30pm. http://barbesbrooklyn.com/

11 Jan. 2014: The Painted Bride - Philadelphia, PA. 8pm. http://www.paintedbride.org/events/noura-mint-seymali/

12 Jan. 2014: Webster Hall / globalFEST - New York, NY. 9:20 - 10:10pm, the Marlin Room. http://www.globalfest-ny.com/

Fanfare Ciocarlia are predictably brilliant live.

Baloji is also excellent (particularly this: http://youtu.be/mRfUZuUW96Q)

That's a hell of a concert.

I read that The Bombay Royale are a Australia-based Bollywood funk group, but I haven't heard them yet myself.

Watched excerpts of videos by DakhaBrakha--they're a Ukrainian Portishead/new wavey outfit in the bits I saw though they bill themselves as "ethnic chaos"

I saw Aster Aweke in a late gig in DC last night/this morning. She was great--wide vocal range, charismatic, dancing around and backed by top DC Ethiopian old-school style outfit the Feedel Band. Other than a blonde woman I saw with an Ethiopian guy; and some Echostage club employees, I think my gf and I were the only non-Ethiopians there among the crowd of hundreds (400 maybe). Tickets were $40 in advance and $50 at the door. The last Ethiopian show I saw there (Mahmoud Ahmed with Teddy Afro) was even more crowded (with roughly the same ratio of Ethiopians & non-Ethiopians). The promoter of this one blamed the non-working heat in the cold cavernous building for discouraging walkups (texted by people already there not to come). Although this promoter also didn't seem to get postcards and flyers out to every Ethiopian restaurant in the DC/MD/VA region the way the prior gig's promoter did. It still surprises me that virtually no area non-Ethiopian resident attended. Despite the language barrier and the sometimes challenging to Westerners ululating Middle eastern like vocal techniques sometimes used, this was great music from arguably the most acclaimed vocalist from another country appearing in DC, home as well to former Peace Corps volunteers, State Department employees, and international non-profit & NGO types, World Bank staffers, whom one might think would be interested. But I guess the late start time, the price, the location (far from the subway in Northeast DC), the lack of crossover publicity (other than my Washington City Paper preview & my concert calendar email & blogpost) and the language & music barriers discouraged even those folks.

I blame the promoter. Have seen similar things with salsa events, where it looks like they weren't even trying to bring in a crossover, non-Latino audience. (Again, as I've suggested before, maybe the event would lose some of its community specific appeal if it is promoted to everybody? I don't know.)

Its complicated. I think the Ethiopian promoter might not think spending big bucks for Washington Post ads or selling tickets via ticketmaster would get him a crossover audience that he has never previously seen at Ethiopian gigs. DC has a huge Ethiopian community, and like with Latino audiences, they don't need a crossover crowd. Plus, Aster is a big star to those who know Ethiopian music, and is thus worth $35 to $50, but to those just into either old-school African music from elsewhere or Awesome tapes or whatever, spending that kind of money for a ticket is taking a big chance. Most folks won't do it (plus the language factor). Malians Amadou & Mariam can get that kind of covercharge money from crossover audiences because they also have indie folks guesting on their albums and Pitchfork, et. al. give them coverage; Aster like old salsa musicians doesn't get that crossover attention and doesn't put such guests on her music. But yes, if the Aster show and some salsa shows were priced reasonably at done an earlier time and at say Lincoln Center in NYC or Kennedy Center in DC, they might get a bigger crossover crowd (despite the lack of existing indie or mmainstream crossover attention).

Finished my weekend of African divas live by seeing Noura Mint Seymali and band tonight (an early free show at the Kennedy Center). Her Arabic sounding vocals are impressive, but I really really like her husband guitarist's sound--a pick attached to his thumb and his other fingers busily moving and strumming the strings as well in that West African Sahel desert manner w/ a touch of psychedelia and funk.

Those were 2 good shows to start the new year with. They both should have been asked to record NPR Tiny Desk Concerts here in DC, but I doubt that happened.

Sat. Jan. 11 NYC showcase show (the night before Globalfest)

Barbès & Electric Cowbell Takes Manhattan with Ethiopian keyboardist and band leader Hailu Mergia {of Awesome tapes reissue fame},
; D.C. based Malian Griot Check Hamala Diabate; DC based band with Ethiopiques member plus they backed Aster Aweke-- Feedel Band; PitchBlak Brass Band; DC-based band with Togo singer -Elikeh; Slavic Soul Party; Psychedelic Salsa outfit La Mecanica Popluar's; and Mexican cumbia band La Sabrosa Sabrosura. Also DJ sets all night from Sound Culture (Sound Culture Center For Global Arts)

Saturday December 11th
DROM
Doors open at 6:30pm
Admission $10
Free with APAP badges
Drom is located at 85 Ave. A in Manhattan

Rolling Chinese indie rock thread

APAP conference/GlobalFest weekend gigs in Brooklyn here at this cozy place I visited once

http://www.barbesbrooklyn.com/calendar.html

It's looking like (not surprisingly) that the new title of this thread is still not different enough to get ILX UK folks and others to post here. Whatever.

Is there an Afrobeatz 2014 thread yet?

xpost

Geez it's only January 7th. Most of the other rolling threads aren't rolling that hard yet. (I still am perplexed by your belief in the great importance of the thread title.)

Also, when you post a lot of event announcements, how are people supposed to really bounce off of that?

I don't know why I am wringing my hands over your hand wringing though.

I have come around to your way of thinking on the thread title. Regarding show announcements-- I just want to emphasize that some of this is great live music and these artists might be coming to your 'hood (ok maybe not yours); plus that these artists are worth listening to on their recordings as well. But yea, I probably need to stop hand wringing

I'm not saying show announcements are necessarily bad, just don't be surprised if they don't provoke discussion.

i hope npr streams globalfest again this year -- fatou at last years was def a high point

x-post

Anyway, things are just getting started. I don't think I've seen any kind of uk dance music thread or even a general house/techno thread for 2014.

for my part, with the ILM poll about to start, I almost don't want to hear anything new right now, so I'm kind of glad the rolling threads aren't really rolling (though I started the dancehall one already lol).

but yeah, I live in Oregon so I just ignore the East Coast tour stuff (it mostly makes me regret how many shows I missed when I lived in Chicago) apart from being generally pleased that those acts play the US. Does the visa situation seem at all improved these days? I remember during the Bush administration hearing constant stories about major intl acts being denied.

From what I have read the visa situation is better, but the artists and those who help them have to plan way in advance and still jump through countless hoops at both ends--the embassies in their home countries as well as with the official folks here.

http://www.afropop.org/wp/11332/john-collins-ghana-then-and-now-part-1/

he's the guy who released, among other things, this amazing palmwine collection: http://www.allmusic.com/album/vintage-palmwine-mw0000796847

Then I played with student bands (like the Deep Blues Feeling of Achimota School), more pop music. And I met and recorded with Koo Nimo [the great palm wine maestro of Kumasi]. And then I met E.T. Mensah, who was a dance-band musician, and I played with his second band, and he and I became very friendly and he took me around and introduced me to a lot of old-time musicians and I started interviewing people. This would be around about 1973. So around then, I began accumulating information about the background of highlife music. And I went to the university, and only one or two people at the university were interested in it. They were basically antagonistic to highlife. They said it was “a hybrid music,” and that the only genuine types of music were European classical music or African traditional music, and that nothing could exist in between. So I sort of fell out with these people for a while, although things are different now. The university actually teaches highlife. But that’s only since 5 or 6 years ago.

They had these groups in the ‘70s called cultural groups, which were basically highlife musicians going acoustic, going back to their roots. And a lot of Europeans actually, in recent years, when they see a cultural group, they think it is a forerunner to highlife, but it’s actually highlife gone back to its roots.For instance, there’s this borborbor music that we were recording today in the studio. If you see a borborbor group, like the one I was recording, it’s all drums, and all highlife rhythms. So you might think this is ancestral to highlife music, but it’s quite the reverse. It was a traditional Ewe music that was influenced by highlife, and incorporated highlife elements.

So these cultural groups were the Ga equivalent to borborbor groups, and they played music like kpanlogo, which, again, looks like traditional music, but it has been modernized with highlife elements, and even elements of rock and roll, there are elements of the twist in there that came in through Chubby Checker in the early ‘60s.

konkoma on soundway in 2012 had a "Kpanlgo" track + i was able to find a borborbor track on soundways too but there isn't a ton out there. i'm really excited to hear what he's recording now.

oh that bit was from the 93 interview now he's

[Fast forward twenty years. John’s Bokoor archive has withstood a devastating flood in 2012, caused in large part through bad land management by a neighboring saw mill. John is a senior professor at University of Ghana now, no longer involved in music production, he co-runs the Local Dimension highlife band (with Aaron Bebe Sukura) but is still a savvy observer of a scene that has completely transformed itself since our first meeting. Meanwhile, Ghana’s popular music has been reinvented in the era of “hiplife” (a blend of highlife and hip hop that has now diversified into several subgenres) and the Azonoto dance craze. We start by listening back to John’s 1993 comments about the voice “sinking into the mix.”

also i haven't watched this but i heard the radio segment on bbc today - it's about ebo taylor who we were just talking about on the highlife thread:
http://www.bbc.co.uk/news/world-africa-25657461

The northern Ghanaian Sahelean traditional culture is quite distinct from the southern forest culture in its singing, its instruments—everything. Even after independence, you don’t get any significant northern Ghanaian popular music until about 10 to, 15 years ago. There were just a few exceptions. But now, the big reconnect is happening. And it’s because Jerry Rawlings put electricity into the north 15 or 20 years ago, and you’ve now got the beginning of a northern Ghanaian popular music, industry, recording wise. You’re getting a massive flood of music from the north, artists like Atongo Zimba and King Ayisoba and, Sheriff Ghale. And this includes hip life, reggae, local music. Samini, the hiplife artist, for instance, is a northerner, as is the reggae star Rocky Dawuni.

didn't hear this until npr put it on their top 10 world album list but it's pretty great - at least atm:
http://bandamagda.bandcamp.com

I like the Ghanaian stuff more than Bandamagda, although some of it I recall liking. John Collins nicely explains the recent history of highlife and gospel highlife and more.

http://sahelsounds.com/2014/01/mariam_ahmed/

http://www.npr.org/event/music/260458710/kcrw-presents-rokia-traore?ft=1&f=10004

And it’s because Jerry Rawlings put electricity into the north 15 or 20 years ago

When I spoke with Jamie Carter, producer of Tal National from Niger, he was telling me how folks there still struggle with intermittent electricity and that bands have to deal with getting shocked on occasion onstage due to poor wiring & stuff, inadequate studios and unavailability of good portable recording equipment, and no Guitar Center stores that one can easily walk into and buy the latest gear

I wonder if Rudiph has heard the following singer. The press release email I got has me interested:

Called “Arabic music’s modern voice” by The New York Times, we are proud to announce Lebanese singer/songwriter Yasmine Hamdan’s debut album Ya Nass, which will be released in the US on March 25th via Crammed Discs

In addition to Ya Nass, Yasmine will be appearing as herself in the new Jim Jarmusch film Only Lovers Left Alive. She will be singing her song “Hal”, from Ya Nass, in the film featuring Tilda Swinton that will be released April 2014.

She's doing 3 gigs in NYC over the weekend, starting tonight.

http://www.slate.com/articles/news_and_politics/roads/2014/01/cambodia_punk_rockers_the_southeast_asian_country_is_home_to_a_new_hardcore.html

I don't know Yasmine Hamdan, curmudgeon. I have not checked in with Jim Jarmusch's films for a while, but that has my interest.

I watched some Youtube videos of her over the weekend. I liked the more trad-sounding ones better than the ones where she incorporated more Western pop, but I haven't seen and listened enough to make more informed comments.

Wish I could have made it to NYC for that APAC conference and associated events and seen her and many others

so did globalFest happen?

I assume so. I saw Facebook postings about events from the night before, and references to daytime panels.

Bombino · Nomad 10 19
Bassekou Kouyate and Ngoni Ba · Jama Ko 10 8
Matana Roberts · Coin Coin Chapter Two: Mississippi Moonchile 10 8
Rachid Taha · Zoom 10 7

Tal National · Kaani 10 5
Rokia Traoré · Beautiful Africa 10 4

These albums received some Village Voice Critics poll votes-- the number on the right is the number of people who voted for these albums

votes for these tracks:
Bunji Garlin (ft. Nigel Rojas) · "Differentology" 3

Mafikizola (ft. Uhuru) · "Khona" 0

listening to this minimal (+ folky + electronic) Ukrainian pop record on ilxor dan m's tip: http://dakhabrakha.bandcamp.com/album/light

They were just at the Kennedy Center in DC (video of the 1 hour show is streaming there). Upthread I said Portishead/new wavey outfit in the bits I saw though they bill themselves as "ethnic chaos" Sounds like more your type of thing than mine

That's not meant to be snarky, just a difference in taste

heh no offense taken

Thanks for the xpost bandcamp Psychedelic Rumba! I posted the earlier press release upthread, but hadn't seen the link. Also thanks for mentioning Peru Bravo; I listened on Spotify and tweeted this:
Peru Bravo: Funk, Soul & Psych: converging urges in thee garageverse, often spying & flying w options unforeseen by this jaded cratedigger
That's the fascination of these late-breaking comps: just when I think I've heard all the 60s-70s local legends I can stand...

Keep seeing that Toumani and Sidiki Diabate album popping up over on the critics poll thread. Maybe I should give it another listen. I dunno. It's nice I recall, but eh...Maybe its me (don't have to be crazy about everything)

So when I was in Paris I saw several big posters pasted up in the Barbes neighborhood for an appearance by a woman performer with the last name Keita. Alas, a technological glitch has lost the photo I had of the poster. Alas, I don't remember her first name. Anyone know who that is?

idk still subject to change in no particular order but i kept seeing year end world lists that i don't like so i figured i might as well post my own:

Best World (New)

Eyvind Kang - The Book of Angels, Vol. 21: Alastor (Tzadik)
VA - Beyond Addis (Trikont)
Dobet Gnahore - Na Dre (Contre-Jour)
Somi - The Lagos Music Salon (OKeh)
Khun Narin - Khun Narin’s Electric Phin Band (Innovative Leisure)
Zebrina - Hamidbar Medaber (Tzadik)
Orlando Julius and the Heliocentrics - Jaiyede Afro (Strut Records)
The Budos Band - Burnt Offering (Daptone)
Zion 80 - The Book of Angels, Vol. 22: Adramelech (Tzadik)
Noura Mint Seymali - Tzenni (Glitterbeat)
Karl Hector & The Malcouns - Unstraight Ahead (Now-Again)
EEK & Islam Chipsy - Live at the Cairo High Cinema Institute (Cargo)

Best World (Reissues)

VA - Balani Show Super Hits: Electronic Street Parties from Mali (Sahel Sounds)
Mamman Sani - Taaritt (Sahel Sounds)
VA - Calypso: Musical Poetry in the Caribbean 1955-69 (Soul Jazz)
VA - Haiti Direct: Big Band, Mini Jazz & Twoubadou Sounds, 1960-1978
VA - 1970’s Algerian Folk and Pop (Strut Records)
Nawa - Ancient Sufi Invocations & Forgotten Songs from Aleppo (Lost Origin Sound Series)
Les Ambassadeurs, Salif Keita - Les Ambassadeurs Du Motel De Bamako (Sterns Africa)
Mdou Moctar - Anar (Sahel Sounds)
Malombo Jazz Makers + Jabula - Next Stop Soweto presents Spirit of Malombo: Malombo, Jabula, Jazz Afrika 1966-1984 (Strut Records)
Verckys et l’Orchestre Vévé - Congolese Funk, Afrobeat & Psychedelic Rumba 1969-1978 (Analog Africa)

Nice. Was just sent the link for Dobet Gnahore the other day but haven't listened yet. Saw her live some years back and liked her (she is touring the US again in January). Will check this out.

So when I was in Paris I saw several big posters pasted up in the Barbes neighborhood for an appearance by a woman performer with the last name Keita. Alas, a technological glitch has lost the photo I had of the poster. Alas, I don't remember her first name. Anyone know who that is?

― curmudgeon, Friday, December 5, 2014 3:11 PM (8 hours ago) Bookmark Flag Post Permalink

Mamani Keita?

Sounds like that could be who it was. Thanks

Afropop Worldwide List http://www.afropop.org/wp/21641/stocking-stuffers-complete-list/

Need help tracking down the music heard on this week’s “Stocking Stuffers 2014!” program? Well, we got you. What follows is a complete list of the tracks, ordered by their appearance in the program.

Balani Show Super Hits: Electronic Street Parties from Mali : “Bala” DJ Balani – “Furu Djougou,” Kaba Blon – Sahel Sounds.

Kasai Allstars, Beware The Fetish: “The Chief’s Enthronement / Oyaye” – “He Who Makes Bush Fires For Others” - Crammed Disc

Ricardo Lemvo and Makina Loca, La Rumba SoYo : “Rumba SoYo” - Cumbancha

Aurelio Martinez, Lándini: “Nando” / “Milaguru” - Real World

Caetano Veloso, Abraçaço: “Um Abraçaço” - Nonesuch

Moreno Veloso, Coisa Boa: “Um Passo a Frente” - Luaka Bop

Brazil!: The Birth of Bossa Nova: “Outra vez,” Elizete Cardoso - Soul Jazz Records

Dona Onete, Feitiço Cabloco: “Moreno Morenado” - Mais Um Discos

Sierra Leone’s Refugee All-Stars, Libation: “Maria” / “Rich But Poor” - Cumbancha

Seun Kuti and Egypt 80, A Long Way to the Beginning: “African Airways” - Knitting Factory Records

The Fela! Band, Finding Fela : Orginal Motion Picture Soundtrack: “Zombie” - Knitting Factory Records

Fela Kuti, Music of Many Colours, Box Set #3–Curated by Brian Eno: “Upside Down,” - Knitting Factory Records

William Onyeabor, Anything You Sow: “This Kind of World” - Luaka Bop

Orchestre Poly-Rythmo de Cotonou, The Skeletal Essences of Afro-Funk 1969-1980: “Houzou Houzou Wa” - Analog Africa

Angélique Kidjo, Eve: “Orisha” - 429 Records

Noura Mint Seymali, Tzenni: “El Madi” - Glitterhouse Records

Busy Signal: “Well Prepared” - Web Only Release

Popcaan, Where We Come From: “Everything Nice ” - Mixpak Records

Chronixx, Dread and Terrible: “Here Comes Trouble” - Chronixx Records

Ibibio Sound Machine, Ibibio Sound Machine: “Let’s Dance” - Soundway

Hassan Hakmoun, Unity: “Zidokan (Just Go)” - Healing Records

Thomas Mapfumo and the Blacks Unlimited, Danger Zone: “Chikonzero”

Chigamba, Yangu Ndega: “Gandanga / Tinovatenda”- Available on CD Baby

Ladysmith Black Mambazo, Always With Us: “Mamizolo” - Ladysmith Black Mambazo Records

Mamani Keita, Kanou: “Djalal Kibali” - World Village

Tinariwen, Emmaar: “Chaghaybou,” - ANTI Records

Imarhan Timbuktu, Akal Warled: “Aïcha Talamomt/Aïcha/Aïcha” - Clermont Music

Anansy Cissé, Mali Overdrive: “Sekou Amadou” - Riverboat Records

Oumar Konate, Addoh: “Henibombey (A Swindle Is No Good)” - Clermont Records

The Touré-Raichel Collective, The Paris Session: “Dèni Dèni” - Cumbancha

Habib Koité and Bamada, Soô: “Bolo Mala” - Contre Jour

Toumani Diabaté and Sidiki Diabaté, Toumani & Sidiki: “Hamadoun Toure” - Nonesuch

Djessou Mory Kante, River Strings–Maninka Guitar: “Coucou” - Sterns Africa

Cumbia All Stars, Tigres En Fuga: “Lobos al Escape” - World Village

Zongo Junction, No Discount: “Tunnel Bar” - Electric Cowbell

Somi, The Lagos Music Salon: “Love Juju #1” - Okeh

has this been posted before?
http://www.disa.ukzn.ac.za/samap/

Don't think so. Did you make it to any of those special South African related shows that were in the Big Apple a little while back?

i've been sort of not going out much tbh

http://www.awesometapes.com/ata-kak-obaa-sima-march-3-2015/

Cool that he finally tracked the guy down after first releasing his tape online back in 2006

Ata Kak is very excited that everyone is into his music and he has given ATFA his blessing to push forth with this release packed with archival photos and exclusive biographical information

that's so good

The NY Times critics sometimes pay attention to African, Caribbean and Latin American sounds, but not too much this year in their year-end album lists. Pareles has Calle 13 but I am not seeing too much else.

In the New Yorker, Sasha Frere Jones has Tineriwen on his top 50 album list

Tineriwen on his top 50 album list

in his p4k review of the album earlier this year, joe tangari -- whose reviews i really like -- said no one else makes guitar music like tineriwen. there's some knockoffs around these days, but i think he's right. there's a swirling, hypnotic vibe that tineriwen has sort of perfected. appropos of nothing, but i wish nels cline had a bigger role, in terms of guitar playing, on their last album. that drone-y part he added to the first song was fantastic, but i wanted more.

I've broken down our reissues and comps chart for the purposes of this thread in case anyone's interested. (And I f'kin love the Toumani & Sidiki LP fwiw.)

SEVEN: Mdou Moctar - Anar (Sahel Sounds)
SEVENTEEN: Omar Khorshid - Live In Australia 1981 (Sublime Frequencies)
TWENTY: Nana Love - Disco Documentary: Full Of Funk (Nestor)
TWENTY FOUR: Nguzunguzu - Perfect Lullaby Vol. 2 DISmagazine Soundcloud)
THIRTY TWO: Francis Bebey - Psychedelic Sanza 1982 - 1984 (Born Bad)
THIRTY FOUR: Mumdance - Dummy Mix 205 Mahraganat Mixtape (Dummy)
THIRTY SEVEN: Various Artists - Haiti Direct: Big Band, Mini Jazz & Twoubadou Sounds 1960-1978 (Strut)
FIFTY TWO: William Onyeabor - Volume 1 & 2 box set (Luka Bop)
FIFTY SIX: Cairo Liberation Front - The Church Of The CLF (CLF Soundcloud)
SIXTY THREE: Koudede - Guitars From Agadez Vol. 7 (Sublime Frequencies)
SIXTY NINE: Hailu Mergia And The Walias - Tche Belew (Awesome Tapes From Africa)
SEVENTY SIX: Various Artists - Gipsy Rhumba (Soul Jazz)
EIGHTY THREE: Various Artists - The Sound Of Siam 2 (Sound Way)
NINETY: Chistie Azumah & The Uppers International - Din Ya Sugri (Voodoo Funk)
NINETY THREE: Ariel Kalma – An Evolutionary Music (Original Recordings 1972-1979) (RVNG INTL.)
NINETY SIX: Various Artists - Folk Music Of The Sahel: Niger (Sublime Frequencies)
ONE HUNDRED: Various Artists – Oriental-Trap Mix (Norient)

Good to see Omar Khorshid up there. still need to check several of the others.

from that xpost Afropop Worldwide playlist:
Orchestre Poly-Rythmo de Cotonou, The Skeletal Essences of Afro-Funk 1969-1980: “Houzou Houzou Wa” - Analog Africa
This is Volume Three from the Orchestre archives; I love it and Vol. Two, Echoes Hypnotique. (haven't found the first volume)They just took at as a given for professionals, that they could define their style, and then assimilate appropriate elements from international trends, incl. funk, psych, more back and forth with Latin America(s) than I can chart. Vol. 3 starts digging into the home recordings (some outdoors, but no prob). Sure hope there's more, from wherever.

I've liked all the Tinariwen albums I've heard, which is most of 'em, to various degrees (some of the later tracks can seem too introspective, introverted, even) But was really struck by first-time encounters with Amassakoul and Radio Tisdas, both reissued this year. The excitement really comes across, and there's a variety of engaging voices, incl. females. These seem like the ones to start with for sure.

"They just took *it* as a given," I meant

http://ww2.kqed.org/arts/2014/02/11/thomas-mapfumo-still-in-exile-from-africa-and-still-making-music-with-style-and-substance/

I gotta find time to hear the latest Mapfumo album. I enjoyed one of his recent ones. He's been living in exile in Eugene, Oregon, but still does gigs at age 66 everywhere including near Zimbabwe but not in that country.

Wow, I don't know why I never listened to Tinariwen before. Great stuff.

― EveningStar (Sund4r), Sunday, 14 December 2014 11:53 (2 minutes ago) Bookmark Flag Post Permalink

That was meant for the outernational thread tbh but it still applies here.

― EveningStar (Sund4r), Sunday, 14 December 2014 11:54 (2 minutes ago) Bookmark Flag Post Permalink

highly recommend everything they've released, at least since the water is life disc. same vibe, but subtle differences from album-to-album. all hypnotic guitar music.

Please, dear god, whatever you do, don't watch the Bono clip. It can't be unseen.

HAHAHA! OH MY GOD BONO NOOOO SOMEONE MAKE HIM STOP OH THE HUMANITY

from the Unheralded thread:

Juçara Marçal - Encarnado
http://dedicatedearsfreealbumlist.blogspot.com/2014/03/jucara-marcal-encarnado-free-dl.html
(Free DL)

― Fastnbulbous, Tuesday, December 9, 2014 12:42 PM (4 days ago) Bookmark Flag Post Permalink
Amazing! Female voice, I think (though the Google translation keeps saying "he": trans? Some themes of spiritual and physical death and resurrection as rendered in somewhat brain-twisting English) No hint of goth/anything portentous/pretentious in the sung melodies, which are countered and commented on by two guitarists, each with his own approach; sax and violin occasionally drop in, very deftly. Guess I'll mention "post-Tropicalia," which the press kit does too; it's also right about the bits of skronk, avant-garage etc in the guitar styles (yo Arto, Ribot). Ditto around the edges of the sax, I say.

Speaking of Arto, that double-disc studio/live anthology was out this year, wasn't it? Loved the live, but the studio set could've have been better chosen: most of the tracks they or he picked were way too overcooked or something.

― dow, Saturday, December 13, 2014 7:39 PM (2 days ago) Bookmark Flag Post Permalink

Yep, another busy year for Brazilian music-- Maria Rita, Caetano Veloso, First Nação Zumbi in seven years, Tom Zé, Moreno Veloso, etc.

Also (I think Mordy was the first to mention this album on here? Thanks)

Noura Mint Seymali's Tzenni is maybe even more amazing than xpost Jucara Marcal's Encarnado, because while the latter fits the highwire soul post-tradition of post-Tropicalia, almost post-avant (Arto/Ribot) melody x mutation---in other words, new configurations of known elements and urges---Seymali's sound expands my ears and vocabulary. Although, while reading the bio after listening, I did have a few associations reinforced by mention of colleagues Tinariwen and especially Bassakou Kouyate & Ngoni Ba, 'cause I sometimes had fleeting flashbacks to Jama Ko while spinning in Seymali's wake. Even tried to say it on Twitter:

Noura Mint Seymali, Tzenni: Her voice ripples soars dips pivots around sinewy subtle elec 4tet griot Arabclassical psychfunkoid Sahel system

― dow, Sunday, December 14, 2014 8:08 PM (Yesterday) Bookmark Flag Post Permalink

xpost oh yes curmudgeon, def Tom Ze---another Twitter attempt:
Tom Ze, Vira Lata na Via Lactea: Tropicalia sorcerer & friends in fine vox, tight & tuneful, unfazed by maze (gtrs snares etc customize it) Not one of his big avant etc projects, but contemplative and witty, in that seemingly casual, but always on point A to Ze way.

I've seem him called the Beefheart of Brazil(!), but in sets like these, if there must be a comparison, Cole Porter as socio-poitical (incl sexual politics) pop-rocker (of Brazil!) would be a relatively closer fit.

Some Tom Ze is too out there for me, but not all.

A number of us have been talking up Mauritanian Nora M. Seymali (i've seen her live 3 times), and I am convinced in the critics poll thread, that Burning Ambulances Ph*l has confused her with someone else.

Yes, she's gotten a good amount of discussion here, but Mordy's post with her album cover included was the first to catch my eye.

I admit it—I did have her confused with someone else. I was thinking of Aziza Brahim, who also put out an album this year. That's the one that I thought was a Putumayo version of Saharawi music.

Ha, ok. Thanks

I know there's a separate Afrobeats thread for African dance stuff, but since I like both old-school and new, here's something from ilxor Deej

http://pitchfork.com/thepitch/603-the-most-essential-nigerian-afropop-tracks-of-2014/

Joe Tangari used to review stuff like Tinariwen for Pitchfork but i don't see a ballot from him in the Pitchfork staff list of top 10s for the year. 2 Ilxors do vote for afrobeats/afropop including this: DJ Neptizzle: Ultimate Afrobeats 2014

Damn, the s/t Nacao Zumbi is really impressive. Only thing (currently) keeping it off my P&J Albums list: the male lead vocalist seems a little too reserved, though if I were Lusophone, might well not think so (my ignorance doesn't keep me as far from xpost Jucara or especially Noura, though). Guest Marisa Monte/s sole guest appearance draws him out, but mainly can't help wishing NZ would hitch themselves to another front person (not "another" Chico Science, can't ask that much). Gotta find room for one of these tracks among my P&J Singles...

The way they use assertive noise, nuanced melodies, tight,flexible mix of rhythms & beats---all seems like, "Of course we do this, now this is what we have to say," but I haven't quite caught enough of the last yet, given limited P&J openings---for my Outernational Top Ten, OHellYes.

I need to find time to listen to those Brazilian efforts. Oh, Jon Pareles from the NY Times did put this song in his top songs list for the NY Times:

Angélique Kidjo “M’Baamba (Kenyan Song)” (429)

Just posting stuff like that because I like to point out when artists from this thread get non-niche attention.

Speaking of, Ann Powers at NPR has the Noura Mint Seymali album in her top 15.

Haven't made my way through it yet (listening to the Criolo album now, it's good!) but Sounds and Colours' best South American albums of 2014 list looks pretty cool:
http://www.soundsandcolours.com/articles/brazil/best-albums-of-2014/

Need to go through more of that list plus these African efforts:

Hassan Hakmoun, Unity: “Zidokan (Just Go)” - Healing Records

Thomas Mapfumo and the Blacks Unlimited, Danger Zone: “Chikonzero”

Chigamba, Yangu Ndega: “Gandanga / Tinovatenda”- Available on CD Baby

Ladysmith Black Mambazo, Always With Us: “Mamizolo” - Ladysmith Black Mambazo Records

Mamani Keita, Kanou: “Djalal Kibali” - World Village

Not seeing the latest Mapfumo album on Spotify US right now, but found the Mamani Keita which I like alot. Her voice reminds me of someone...hmmm, Oumou Sangare maybe. A classic Malian afropop approach.

ROMPERAYO!!!!!!!

http://romperayo.bandcamp.com/

is there a name for this kind of music?

I guess it might just be run-of-the-mill cumbia

Rolling Outernational Non-West Non-English (Some Exceptions) 2015 Thread Once Known as World Music

New thread time

at the risk of spamming the board, here's the lineup of pertinent shows at NYC's SummerStage for the upcoming season:

FREE SHOWS featuring (in alphabetical order) ANGELIQUE KIDJO, BOMBINO, BUNJI GARLAN, CESÁRIA ÉVORA ORCHESTRA, DIEGO GARCIA, DJ GILLES PETERSON, EBONY HILLBILLIES, EMMANUEL JAL, FANTASTIC NEGRITO, GYPTIAN, HELADO NEGRO, IBEYI, LA IAIA, MAXI PRIEST, MAYRA ANDRADE, NAÇÃO ZUMBI, NATION BEAT, NOT TE VA GUSTAR, OQUES GRASSES, SYSTEMA SOLAR, VICENTICO, YIDDISH SOUL, and many more

• Sunday June 7 - Central Park - 3pm - Angelique Kidjo + Emmanuel Jal + Rich Medina
• Sunday June 14 - Betsy Head Park, BK - 4pm - Brooklyn Family Day with Martha Redbone + Ebony Hillbillies
• Tuesday June 16 - Central Park - 7pm - Yiddish Soul featuring Cantorial and Chassidic virtuosos
• Saturday June 20 - Central Park -7pm - Jungle + Ibeyi
• Saturday June 27 - Central Park - 3pm - VP Records 35th Anniversary with Maxi Priest + Gyptian + Bunji Garlin and Fay Ann Lyons + Massive B (Bobby Konders and Jabba)
• Sunday June 28 - Central Park - 3pm - Catalan Sounds On Tour with Oques Grasses + La Iaia + Silvia Perez Cruz + DJ Guillamino
• Sunday July 5 - Central Park - 3pm - Global Family Day with Shine and The Moonbeams + The Noel Pointer Youth Orchestra + The Red Trouser Show + Batoto Yetu + Ziporah Roney and Collaborative Artists
• Wednesday July 8 - Central Park - 6pm - LAMC presents Systema Solar + Compass + Helado Negro
• Thursday July 9 - St. Mary’s Park, BX - 7pm - Cano Estremera
• Saturday July 11 - Central Park - 3pm - LAMC presents Vicentico + Ximena Sariñana + No Te Va Gustar
• Sunday July 12 - Central Park - 3pm - Cesária Évora Orchestra + Mayra Andrade + Dino D'Santiago
• Sunday July 12 - St. Mary’s Park, BX - 7pm - Gerardo Contino y Los Habeneros + Film Screening: Celia - The Queen (2008)
• Sunday July 19 - Central Park - 7pm - Jorge Drexler + Diego Garcia + Danay Suarez
• Saturday July 25 - Highbridge Park, MN - 7pm - Jose Peña Suazo y La Banda Gorda
• Saturday July 25 - Central Park - 3pm - Bombino + Young Fathers + Fantastic Negrito
• Sunday August 2 - Central Park - 3pm - Brasil Summerfest with Nação Zumbi + Nation Beat’s Carnival Caravan with Cha Wa + DJ Vinil Pompéia
• Saturday August 8 - Central Park - 6pm - SummerStage 30th Anniversary DJ Celebration with Afrika Bambaataa + Gilles Peterson + Quantic

This is last year's thread, dude

lol, whoops.

Really liking this: African-Scandinavian folk-jazz, with mostly female solo vocals (and a few occasional guests), mbira and acoustic bass pretty much the constants, times effective varieties of reeds and percussion. More shading and intrigue in the second half, like she's leading us further in---To Be Continued.
Distributes by Worldisc/AKA worldmusic.net
Press sheet:

Monoswezi "Monoswezi Yanga"
Riverboat Records
May 26, 2015

Monoswezi weave traditional African songs and instruments with cool Scandinavian jazz. Zimbabwean mbira and vocals are enriched with Mozambican percussion and embellished with Nordic sax and sympathetic rhythm section.

Monoswezi bind themselves together on Monoswezi Yanga , gently singing reworked folk songs and whispering vivid tales. Hope Masike’s dulcet tones guide the album. She assumes the role of storyteller, underpinned by smooth unobtrusive accompaniment. As listeners we are invited to gather round, to sit at her feet soaking up the illuminated myths and legends of her childhood.

Monoswezi Yanga is the group’s second album on Riverboat Records, following the critically acclaimed 2013 release The Village . The recording took place at bass player Putte Johander’s home studio on the Koster Islands in Sweden. The islands are remote and free from cars; the native silence is punctuated by the sound of surrounding waters lapping against rocky coastlines. As the cosmopolitan band live across three countries (Norway, Sweden and Zimbabwe), meeting up in full is a treasured but rare occasion. Studio time is precious and experimentation the order of the day.

Often tracks are laid down in one take and then post-produced by the Scandinavian-living members Hallvard, Erik, Calu and Putte. Mixes are then bounced across the globe to Hope who contributes feedback from her home in Zimbabwe. Though unconventional, this working method imprints their music with a beautifully loose and open aesthetic. The music is not over-thought or preened to pretension. The music is fluid,
organic, and free.

The name Monoswezi is an amalgam of the four nationalities represented in their line-up – Mozambique (Mo), Norway (No), Sweden (Swe), Zimbabwe (Zi) – and the influence from each culture is audible. Hallvard’s Scandi-jazz saxophone approach is round of tone and melodically minimal. The role of the Zimbabwean mbira is paramount to Monoswezi’s style. Hope raises the flag for female mbira players everywhere, unlocking rhythmic routes through the sound on every track. Monoswezi Yanga also experiments with the use of a bass mbira as heard resounding low on last track ‘Nhetembo’. The result is entrancing: a slowly revolving, other-worldly fantasia for mbira .

A reading of the lyrics reveals a rich tapestry of traditional Zimbabwean folk songs and stories. ‘Matatya’ is a plea for a new lover from a young girl tired of ‘kissing frogs’. ‘Lobola’ and ‘Wadadisa’ are songs to celebrate marriage. ‘Dande’ is a prayer asking for protection over family and friends. ‘Mhondoro’ is a cautionary tale, imploring listeners to care for their environment. Each one is reshaped, performed anew and given a unique Monoswezi slant. Hallvard commented that often during the compositional process, he won’t be working with prior knowledge of the folk song in its original form, whereas Hope will have grown up with the tune and lyrics moulded into her musical consciousness. This difference in approach means the creative process can spin off in new uncharted directions uninhibited by a sense of what’s right or appropriate to the original.
The tracks ‘Povo m’povo’ and ‘Nhetembo’ are about fighting for what’s yours and an mbira is used to symbolically illustrate the tale: it is stolen in the first track and returned at the close of the album providing a satisfying symmetry to the work.
Haven't seen the booklet yet, so don't know if the lyrics are translated, but the vibe is vivid.