"The third installment of Buda Musique's Ethiopiques series is undoubtedly one of the best, an unlikely occurrence as most of this material was released in 1975 -- a year after the fall of Emperor Haile Sallassie and after the rise of a repressive military regime that quickly brought to an end the "Golden Age" of "Swinging Addis." Mahmoud Ahmed, the best known Ethiopian pop singer in Europe, contributes the two powerful lead tracks and the finale: three trance-heavy tracks not found on other Ethiopiqes releases dedicated specifically to him. But the best material on this installment are Alemayehe Eshete's tracks, four in all, that sound like heavy, James Brown-style funk sung by an African with a Middle Eastern horn section. Elsewhere, Hirut Beqele's ska-like rhythms and wavering, melodica-sounding voice testify to the reciprocal influence of Jamaican music. Overall, Ethiopiques, Vol. 3 is the most varied release in the series, and not a bad place to start." (Allmusic.com)
" Compilatie-cd met gitaarmuziek uit Kenia uit de jaren '70 en '80" (liner Notes)
" Traditionele muziek van de "Banda" een ethnische groep van rond 400.000 mensen in de Centraal Afrikaanse republiek. Hier onderverdeld in de muziek van de "Lunda" en de "Dakpa" De begeleiding bestaat uit maar liefst 18 hoorns. Sommige gemaakt van boomstammen andere van antillopenhoorns." (Muziekbank)|
"This wonderful collection of Kenyan recordings from the early 1950s is worth it for the opening track alone, a folk chant about American country singer Jimmie Rodgers who is depicted as a sort of mythical half-man, half-antelope by the Kipsigi children in the village of Kapkatet. Apparently, at some point the villagers had been introduced to Rodgers' music and were so captivated by his vocal prowess that he became the subject of legends and was referred to as "Chemirocha." This is the truth according to esteemed British ethnomusicologist Hugh Tracey, from whose vast collection of African field recordings these songs are culled. The rest of the 26 pieces here are a mix of enchanting a cappella choirs and songs accompanied by strange buzzing lyres, guitars, ouds, and rustic percussion. The recordings Tracey made throughout the continent during the middle of the last century are a treasure trove of deep African culture, and this Kenyan-focused compilation is as good as anything in his vast library."(Allmusic).
The dunun is the generic name for a family of West African drums that have developed alongside the djembe in the Mande drum ensemble. It is a rope-tuned cylindrical drum with a rawhide skin at both ends, most commonly cow or goat. The drum is played with a stick. Depending on the region, a plain straight stick, curved stick with flat head (similar to the stick used for a tama), or a straight stick with a cylindrical head attached at right angles near one end may be used to strike the skin. Traditionally, the drum is played horizontally (placed on a stand or worn with a shoulder strap). For a right-handed player, the right hand plays the skin and the left hand optionally plays a bell that may be mounted on top of the drum or held in the left hand. The latter style is popular in Mali and originally from the Khassonké people. The Recordings were made one August evening in 1996 in the small village of Dyalla, a few kilometres from Kayes. (Wiki & Booklet)
Madagascar, een eiland dat zich heel erg lang geleden heeft losgescheurd van het Afrikaanse continent en zijn eigen weg heeft gebaand door de oceaan. Op dit geografisch en klimatologisch zeer divers werelddeel in het klein, heeft zich een unieke flora en fauna ontwikkeld. Werelderfgoed. En dat geldt ook voor haar menselijke bewoners, die aan zijn komen zeilen uit Indonesi?en later de Afrikaanse oostkusten. Nog later aangevuld met Arabische handelaars en tenslotte de Europese kolonisators. Dat heeft een zeer divers moza? van talen, tradities en muzikale stijlen opgeleverd. Op deze cd is de muziek van de Sakalava Menabe vastgelegd. Een volk dat sinds eeuwen in de droge westelijke streken zijn thuis heeft. De cd is ook een tribuut aan Mama Sana, die als een wonder op de Valiha werd gezien. De citer die op heel Madagascar wordt gebruikt maar zijn ontstaan toch vooral heeft te danken aan de Sakalava Menabe. (GR Muziekbank)
Het Christendom deed al in de 4e eeuw na Christus zijn intrede in Ethiopi? De Ethiopisch-Orthodoxe kerk is ?n van de ori?taalse-orthodoxe kerken, naast - bijvoorbeeld - de Koptisch-Orthodoxe en de Syrisch-Orthodoxe kerk. Met deze kerken deelt de Ethiopische kerk de oorsprong van de gezangen van de liturgie. Die in tegenstelling tot de ontwikkeling in Europese Gregoriaanse kerkgezangen, nooit polyfoon is geworden. De koorzang op dit album brengt de luisteraar dichtbij de liturgie zoals die in de eerste eeuwen van het Christendom overal heeft geklonken. (GR Muziekbank)|
""For the 18th volume in the Ethiopiques series, there's a return to the venues of volume two, the azmaris or tiny cabarets that came to life after the fall of the dictatorship in 1991. When they were first explored, they were new places, offering very raw, rootsy entertainment. Apparently not much has changed. The music is still very spare, with fiddle, accordion, and percussion forming the main sources behind the voice. But it's the voice that's all important here, especially the lyrics, which are sung in wild styles, with emotion that to Western ears often seems to go over the top. It's all very raw and real, all too often on the verge of falling apart, but never quite disintegrating. It adds to the recordings producer Francis Falceto did several years ago, showing yet another facet of the way Ethiopia continues to develop musically." (Allmusic).|"
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