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- Beethoven - IX "The 9 Symphonies"
Beethoven - IX "The 9 Symphonies"
Staatskapelle Dresden
Sir Colin Davis
There has not been a Beethoven cycle like this since Klemperer's heyday, or Bruno Walter's, a sequence of performances that is echt-Beethovenian as successive generations of Austrian and German musicians would have understood the term and yet which is informed at the same time by an imaginative vision that derives not from some arcane activity – reading Goethe or taking solitary walks by night in the Herz mountains – but from a certain sense of fundamental wholeness, the conductor and his fellow musicians sufficiently at ease with themselves and the music they are playing to render the task of performing it nothing less than a physical pleasure and a private joy.
It is easy to forget nowadays how physically gratifying Beethoven's music can and should be. (Can you imagine Beethoven quarrelling with Robert Frost's lines, ''Earth's the right place for love:/I don't know where it's likely to go better''?) We have a tendency in this country to find sensual gratification, the sound source itself, suspect; which perhaps explains why we have of late become more addicted than most to the slimline, high speed, prosily talkative Beethoven of the so-called authenticists. (What is called in Robert Tear's new book – Singer Beware; Hodder & Stoughton – ''technical brilliance, muscular vapidity, and spiritual ignorance''.)
The trick, of course, is to marry sound with substance which is where this new Dresden cycle of the nine symphonies is a locus classicus of good practice. I can think of no orchestra – not even the Berliners, the Vienna Philharmonic or Masur's Leipzig Gewandhaus Orchestra – who play Beethoven with a richer, fuller, darker, warmer sound than the Staatskapelle Dresden. The Berliners playing for Karajan in his 1976 set (listed above) produced a rich, visceral sound, but one that related to a rather different performing tradition, the Toscanini influence still glistening through. Davis is clearly more a Klemperer man. (Klemperer in his prime, that is; not the Klemperer who, as Robert Tear – a great fan – cheekily reveals, was actually asleep during the recording of one of the choruses for his EMI set of the B minor Mass.) Like Klemperer, Davis has mastered the difficult trick of sustaining broad tempos and infusing them with a rhythmic impetus – now dancing, now marching, now simply bowling along – which is unforced, unflagging and utterly at ease with itself. One of the great joys of the new set – perhaps the great joy and one that will commend it to a wide constituency of more mature collectors – is the feeling of inevitability about so much of the music-making. Not once did I find myself bothering to consult metronomes or tempo markings. Not once did I get even remotely hot under the collar about a choice of tempo that in another context might have led to the immediate need for a change of shirt.
By giving himself and the players, and the music, time to sound and to breathe, Davis is also able to reproduce as beautifully as I have ever heard it reproduced, the written phrasing of the music. How mannerly this all is, like a great actor bothering to ensure that we hear every word as the verse rhythms rise and fall. And what a rich cargo of melodic beauty it brings with it, too. It is here that the analogy with Bruno Walter comes in, for he was one of the last conductors who really made the Beethoven symphonies sing in a way that befits this great master of articulate song. Walter was also a man of temperament, not afraid to shape a paragraph rhetorically to his own ends. Davis does this too at times. And again it usually seems 'right'. Not right for all time, but right in its own way now, true to itself. Gunter Wand in his fine RCA set rarely takes this kind of risk. Harnoncourt does so rather more frequently but in a way that often sounds arbitrary and which becomes irksome on repeated hearings.
Go back to Davis's earlier – nay, his earliest – recordings of the Beethoven symphonies and you will realize what a long and steady process of maturation has taken place. It is years since I played his famous old RPO recording of the Seventh Symphony (HMV, 6/62 – nla). Indeed, I had invented in my mind's ear an elegant gazelle of a performance, deftly despatched by Beecham's old orchestra. In fact, repeats apart, it is very similar to the newer performance, a steady, broad-based reading, albeit a vital one. What the Dresden performance has is a far greater power and concentration of tone achieved without detriment to the music's overall impetus. It takes a lifetime to learn how to marry these two elements, though, as I say, it is an aspect of the conductor's craft that in this country we rarely consider, and all too rarely admire. Some of Davis's earlier BBC SO Beethoven recordings for Philips had this quality – there was a fine Eroica (9/71 – nla) and a superb Fourth Symphony (4/76 – nla) offsetting a badly under-nourished Fifth (11/74 – nla) – but neither the BBC SO's playing nor the early 1970s LP recordings were remotely comparable to the splendours we have here on the new Dresden set.
The sound is glorious, full and forward and beautifully clear, with just enough reverberation to allow the music its necessary aura. Davis's old knack of allowing winds and strings to speak on equal terms is very much in evidence throughout. That in itself is a prerequisite of a good Beethoven sound. But I have also never heard a better focused bass-line than we have here. This is partly a matter of positive microphone placings but it is also something to do with the supremely accomplished playing of the Dresden cellos andbasses: full-bodied yet wonderfully maneuvrable too. There are times when their playing alone gives sufficient pleasure. I don't much care for the sound of the Dresden clarinets (the Brymers and Bernard Waltons of this world have taught us to listen for something altogether smoother and less reedy) but oboe, flute and bassoon all ravish sense. Karajan always used to say that the entire wind section of the Vienna Philharmonic played better when the flautist Wolfgang Schulz was on duty and I suspect that the Dresden orchestra take inspiration – certainly takes something of the lovely ochre colour of their wind choir – from the principal bassoon. At the first intimations of the 'joy' theme in the finale of the Ninth, it is the bassoon's gurgling descants that gives real pleasure. The rustic musician who drowsed his way through the peasants' merrymaking is here newly roused to the pleasures of a contented life.
The Pastoral Symphony is a joy from first to last, a performance to set beside those of Klemperer (EMI, 8/90), Boult (EMI, 4/78 – nla), Bohm (DG, 4/95), and more recently Giulini (Sony Classical, 5/94). All it lacks is the proper old-fashioned division of the violins left and right. (The Seventh lacks this, too, but the recording is so good, it is at least possible to hear the two groups as separate entities.) I like the way Davis's storm moves slowly across the landscape, as storms tend to do. There are other places where a potentially controversial steadiness brings fresh insights: the oboe-led Poco andante towards the end of the finale of the Eroica ushering in what is almost a Mahlerian backward glance to the great Funeral March, or the second movement of the Eighth Symphony not so much replicating the new-fangled metronome as anticipating Mahler's jangling rustic excursion at the start of his Fourth Symphony. As for the Fifth Symphony, Davis circumvents its aggressively heroic elements by playing the first movement, with its germinal four-note idea, as though it were the work of Haydn in seven-league boots. The scherzo is played with a Furtwangler-like slowness (is our leading Berliozian thinking here of Berlioz's phrase about the scherzo having the ''gaze of a mesmeriser''?) but the finale, denying all kinship with what has gone before, has plenty of its own life-enhancing Schwung.
Is anything, then, amiss in the cycle? Well, Davis does not do a great deal with the First Symphony, that cussed little curtain-raiser whose first movement seems to grumble and grouse, whatever the tempo. The Second Symphony, by contrast, is gloriously done. As the cycle progresses, there are a few lapses, the odd orchestral raspberry, that may or may not be there as an earnest of the musicians' humanity, their essential fallibility. There is an overlit piccolo in the finale of the Fifth, and I am still a little baffled as to why the recording of the Fourth Symphony is for no very good reason marginally more reverberant than the others. In the finale of the Ninth, the choir and to some extent the soprano and alto solos are too backwardly placed. Davis allows time for the words to be articulated, yet we have to strain to hear them. The tenor is excellent, but one has heard the baritone solos better sung (to put it mildly). At a first hearing, I thought the orchestra was doing all the work in the Ninth's first movement. I later revised my opinion, though this is not quite the apotheosis of Davis's intense, steady, visionary, singing way with Beethoven I had hoped for.
The performances of the overtures Egmont and Leonore No. 3 reveal in microcosm the set's qualities. Both are miniature music-dramas charged with extra-musical meaning, but they are often carelessly played by conductors and orchestras. Too few conductors get the balance right between the dramatic and the symphonic elements in the music. Davis is able to adjudicate between the two elements in masterly fashion, not least – one comes back finally to this – because of the strength and purity of the orchestral response: a steady pulse buoyantly articulated; fabulous, soft pianissimos; sforzandos that are properly stressed and sounded; fortissimos that are burnished and fullbodied. Here, as in Klemperer's performances or Walter's, codas and victory symphonies are triumphant homecomings rather than sudden acts of military conquest.'
CD 1
1. Symphony No. 1 in C, Op. 21 - I. Adagio molto - Allegro con brio (9:37)
2. Symphony No. 1 in C, Op. 21 - II. Andante cantabile con moto (8:37)
3. Symphony No. 1 in C, Op. 21 - III. Menuetto. Allegro molto e vivace (3:32)
4. Symphony No. 1 in C, Op. 21 - IV. Finale. Adagio - Allegro molto e vivace (6:14)
5. Symphony No. 7 in A, Op. 92 - I. Poco sostenuto - Vivace (15:06)
6. Symphony No. 7 in A, Op. 92 - II. Allegretto (9:44)
7. Symphony No. 7 in A, Op. 92 - III. Presto - Assai meno presto (10:30)
8. Symphony No. 7 in A, Op. 92 - IV. Allegro con brio (9:13)
CD 2
1. Symphony No. 2 in D, Op. 36 - I. Adagio molto - Allegro con brio (13:16)
2. Symphony No. 2 in D, Op. 36 - II. Larghetto (11:25)
3. Symphony No. 2 in D, Op. 36 - III. Scherzo. Allegro (3:53)
4. Symphony No. 2 in D, Op. 36 - IV. Allegro molto (7:00)
5. Symphony No. 8 in F, Op. 93 - I. Allegro vivace e con brio (10:08)
6. Symphony No. 8 in F, Op. 93 - II. Allegretto Scherzando (4:10)
7. Symphony No. 8 in F, Op. 93 - III. Tempo di menuetto (5:13)
8. Symphony No. 8 in F, Op. 93 - IV. Allegro vivace (8:12)
CD 3
1. Symphony No. 3 in E flat, Op. 55 - Eroica - I. Allegro con brio (18:59)
2. Symphony No. 3 in E flat, Op. 55 - II. Marcia funebre (Adagio assai) (17:33)
3. Symphony No. 3 in E flat, Op. 55 - III. Scherzo (Allegro vivace) (6:01)
4. Symphony No. 3 in E flat, Op. 55 - IV. - Finale (Allegro molto) (13:06)
5. Egmont Overture in F minor, Op. 84 - Sostenuto, ma non troppo - Allegro (9:06)
CD 4
1. Symphony No. 4 in B flat, Op. 60 - I. Adagio - Allegro vivace (11:57)
2. Symphony No. 4 in B flat, Op. 60 - II. Adagio (10:02)
3. Symphony No. 4 in B flat, Op. 60 - III. Allegro vivace (6:02)
4. Symphony No. 4 in B flat, Op. 60 - IV. Allegro ma non tropo (7:09)
5. Symphony No. 5 in C minor, Op. 67 - I. Allegro con brio (7:58)
6. Symphony No. 5 in C minor, Op. 67 - II. Andante con moto (10:40)
7. Symphony No. 5 in C minor, Op. 67 - III. Allegro (6:03)
8. Symphony No. 5 in C minor, Op. 67 - IV. Allegro (11:19)
CD 5
1. Symphony No. 6 in F, Op. 68 - I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande: Allegro ma non troppo (12:31)
2. Symphony No. 6 in F, Op. 68 - II. Szene am Bach: Andante molto mosso (13:53)
3. Symphony No. 6 in F, Op. 68 - III. Lustiges Zusammensein der landleute: Allegro (5:49)
4. Symphony No. 6 in F, Op. 68 - IV. Gewitter - Sturm: Allegro (4:18)
5. Symphony No. 6 in F, Op. 68 - V. Hirtengesang. Frohe und dankbare Gefuhle nach dem Sturm: Allegro (9:42)
6. Overture - Adagio - Allegro (14:40)
CD 6
1. Symphony No.9 Choral - I. Allegro ma non troppo, un poco maestoso (17:26)
2. Symphony No.9 Choral - II. Molto vivace (13:44)
3. Symphony No.9 Choral - III. Adagio molto e cantabile (15:34)
4. Symphony No.9 Choral - IV. Presto (6:36)
5. Symphony No.9 Choral - V. O Freunde, nicht diese Tone (0:55)
6. Symphony No.9 Choral - VI. Allegro assai (2:46)
7. Symphony No.9 Choral - VII. Alla marcia. Allegro vivace assai - (4:39)
8. Symphony No.9 Choral - VIII. Andante maestoso - Adagio non troppo, ma divoto (3:38)
9. Symphony No.9 Choral - IX. Allegro energico, sempre ben marcato (2:17)
10. Symphony No.9 Choral - X. Allegro ma non tanto (4:12)
Symphony No 1, Op. 21. Symphony No 2, Op. 36. Symphony No 3, 'Eroica', Op. 55. Symphony No 4, Op. 60. Symphony No 5, Op. 67. Symphony No 6, 'Pastoral', Op. 68. Symphony No 7, Op. 92. Symphony No 8, Op. 93. Symphony No 9, 'Choral', Op. 125. Egmont, Op. 84 - Overture Leonore, Op. 72.
Sharon Sweet sop · Jadwiga Rappé cont · Paul Frey ten · Franz Grundheber bar
Dresden State Opera Chorus · Staatskapelle Dresden · Colin Davis
MP3 HQ · LAME 3.98 VBR -V0 Stereo including Booklet Scans [700 MB]
Part 1 | Part 2 | Part 3 | Part 4
Переслать - NEYiSTANBULThe ney is an end-blown flute that figures prominently in Persian, Turkish, and Arabic music. In some of these musical traditions, it is the only wind instrument used. It is a very ancient instrument, with depictions of ney players appearing in wall paintings in the Egyptian pyramids and actual neys being found in the excavations at Ur. This indicates that the ney has been played continuously for 4,500–5,000 years, making it one of the oldest musical instruments still in use. It is a forerunner of the modern flute.
The ney consists of a piece of hollow cane or reed with five or six finger holes and one thumb hole. Ney is an old Persian word for reed from the Arundo donax plant. However, modern neys may be made of metal or plastic tubing instead. The pitch of the ney varies depending on the region and the finger arrangement. A highly skilled ney player can reach more than three octaves, though it is more common to have several "helper" neys to cover different pitch ranges or to facilitate playing technical passages in other maqamat.
CD1:
01. Uyan Ey Gözlerim
02. Hüda Rabbim
03. Leyli Yar
04. Sevdim Seni Mabuduma
05. Leyli Can
06. Ben Yürürüm Yane Yane
07. Bir Damla Olsam
08. Göçmen Kızı
09. O Gece
10. Ahuzar
11. Yunus Gibi
12. Ben Hep Seni Düşünürüm
CD2:
01. Hüzzam Taksim
02. Segah Taksim
03. Acemaşıran Taksim
04. Şevkefsa Taksim
05. Saba Taksim
06. Uşşak Taksim
07. Hüseyni Taksim
08. Beyatı Taksim
09. Rast Taksim
10. Mahur Taksim
11. Ferah Feza Taksim
12. Evcara Taksim
13. Hicaz Taksim
14. Bestenigar Taksim
15. Şehnaz Taksim
16. Buselik Taksim
17. Muhayyer Taksim
CD3:
01. Sarı Çiçek
02. Güzel Aşık
03. Leyli Sevda
04. Sultanım
05. Dream In İstanbul
06. Çemberimde Gül Oya
07. İsmailce
08. Unutmadım
09. Lalezar
10. Ay
11. Gülizar
12. Aşık Oldum Muhammed'e
MP3 320 kbps including Covers
Part One
Part Two
Переслать - Sir Roberto - Acquele - Hi-Life. The Original Style from Ghana
Sir Roberto
Acquele - Hi-Life. The Original Style from Ghana (Africa, Vol. 10)
All songs written, arranged, produced and performed by Sir Roberto.
Tracks 1, 2, 3, 7, and 10 recorded and mixed at Soundcheck Studio, Bülach, Switzerland. Engineered by Roger Kevins.
Tracks 4, 5, 6, 8 and 9 recorded and mixed at Cage Studio, Zürich, Switzerland.
01. Yaa
02. Kaya Kaya
03. Adofo Ndwom
04. Waves
05. Save the World
06. A True African
07. Begye W'ani
08. Acquele
09. Do It Without Drugs
10. Efri Woara
320 kbps mp3
Part One
Part Two
Переслать - Netai Bose - Raga Malkauns
Netai Bose
Raga Malkauns, 2001
Netai Bose is the foremost exponent of the Seniya tradition sitar style as played by his Guru Ustad Mushtaq Ali Khan, with a sitar tone reminiscent of the rudra bin and a dhrupad-based playing style emphasizing raga architecture played with a spare elegance. Netai Bose plays the late-night raga Malkauns and the early-morning raga Bhairavi, with the conceptual clarity, disciplined progression, and meticulous execution that are hallmarks of the Seniya style.
Sitarist Netai is a disciple of Mushtaq Ali Khan, one of the foremost exponents of the Seniya sitar tradition, with a sitar tone reminiscent of the rudra bin & dhrupad-based playing style emphasizing raga architecture played with a spare elegance.
On Sitar, Netai Bose offers up two ragas, the "Raga Malkauns" followed by the somewhat shorter "Raga Bhairavi." The jhala (or fast part of the initial slow movement) of the "Malkauns" is very rhythmic and pleasant to listen to. Both it and the two fast movements have a rhythm and melodic flourishes similar to the song "Beh Haadh Ramza Dhasdha" by qawwali giant Nusrat Fateh Ali Khanon the album Shahbaaz. The second fast movement is even faster and more intense. The whole raga is very approachable. The second raga, "Raga Bhairavi" is also quite accessible and contains many of the "anthemic" melodic phrases that appeal to some Western listeners of Indian classical music. The climax of the fast movement is especially zippy. The liner notes are copious and informative, if dense. Warmly recommended for all, including newcomers. Fans of Khan will get a special kick out of the disc. ~ Kurt Keefner
1. Raga Malkauns: Alap, Jor & Jhala (30:07)
2. Raga Malkauns: Drut Gat in Tintal (8:04)
3. Raga Malkauns: Drut Gat in Tintal (5:22)
4. Raga Bhairavi: Alap, Jor & Jhala (9:54)
5. Raga Bhairavi: Drut Gat in Tintal (15:26)
Netai Bose - sitar
Samir Chatterjee - tabla
Recorded in Calcutta, December 9, 1989
320 kbps including full scans
Part One
Part Two
Переслать - Manilal Nag - Raga Nat Bhairav
Manilal Nag
Raga Nat Bhairav, 2002
Manilal Nag belongs to the Vishnupur Gharana, which spearheaded the flowering of classical music in Bengal in the 19th - early 20th centuries, forging a continuity between the dhrupad music of the rudra veena and post-dhrupad sitar music. Manilal presents raga Nat Bhairav, a morning melody blending the mildly playful element of raga Nat with the profundity of raga Bhairav.
This sitar master is perhaps the major living exponent of the Vishnupur gharana, a school of classical Indian music coming from the ancient dhrupad style of the aalap, the base of the North Indian raga. Among many other things, this is the concept that many listeners would recognize as the raga, with its slow tempo that gradually builds up to a sometimes hysterical speed. Manilal Nag was the son of sitar master Sangeetacharya Gokul Nag and like many other classical Indian musicians was a descendent from a long line of other distinguished instrumentalists, many of them sitarists. He studied vocal and instrumental music with his father beginning at the age of six, working an average of six to eight hours a day, definitely pushing the rules for practice established by one Pinky Das Gupta: "Never practice in one day more hours than the number of years in your age."
A major focal point of his study was that the instrumentalists in classical Indian music should concentrate on learning vocal music and following what the voice is doing, before anything else. This concept of the relation between instruments and the voice in music has been similarly expressed in other genres of music, such as jazz, where tenor saxophonist Lester Young often expressed the exact same philosophy as put forth by Nag: "I have to follow the vocal music on sitar. The vocal is the vital point of any instrumental music in India." By 1953, Nag had been selected to stage his debut concert at the All-lndia Music Conference, accompanied by master tabla player Pandit Santa Prasad. The following year, the young Nag (no insult intended, this is the rare example of it being good to be a Nag) performed as a hand-picked artist of the All lndia Radio. Nag won much acclaim performing at music festivals throughout India and abroad under the auspices of that radio's international touring department. In 1973, Nag came to the U.S. for the first time to perform, as well as in England and several other European countries. He also performed in Bangladesh and Nepal. In 1985, Nag was invited to perform throughout Japan and in 1994 he made his New York debut as part of a program at the New School with Samir Chatterjee on tabla. Music seeped down into the bones of his own children, as he has both a 16-year-old son, Subhasis Nag, and a 23-year-old daughter, Mita Nag, who perform, the latter selected as sitarist for the All-India Music Conference. The elder Nag, however, seems to be discouraging them from becoming professional musicians, nagging them about the economic and social conditions in India. He also likes to nag in interviews about the lack of discipline among the young musicians in India, who he says now study only six years before beginning public performances. He holds a seat on the Indian government's University Grand Commission, and in this capacity, as well as in his role as a board member for All lndia Radio and television networks, he helps select artists for its programs, so these young upstarts better start practicing up to the limit previously set by Das Gupta, if not up to Nag's standards. ~ Eugene Chadbourne
Manilal Nag's Raga Nat Bhairav is an interesting CD because the same raga is played on both the surbahar and the sitar. The surbahar is a large bass sitar (or Indian lute) which was created around 1825 to play the alap, or slow movement, in Indian classical music. Since then the sitar has evolved so as to be able to play the alap itself, and so the surbahar is rarely played.
The surbahar still has a large following, and the reason is obvious when you listen to it. It has a four-octave range, and bent notes are much more obvious on it than on the sitar. The music is not boring despite the same raga being played twice: first, the tonality of the instruments is very different; second, the sitar version features Samir Chatterjee on tabla, which the surburhar version does not; and third, the improvisations are quite different. This is pleasant music; the concluding "Drut Gat in Tintal" ("tintal" referring to fast movement) of the sitar version is especially vigorous. Warmly recommended for fans of Indian classical music. ~ Kurt Keefner
1. Raga Nat Bhairav (Surbahar) - Alap, Jor & Jhala (37:16)
2. Raga Nat Bhairav (Sitar) - Alap (8:32)
3. Raga Nat Bhairav (Sitar) - Madhya Gat in Tintal (24:30)
4. Raga Nat Bhairav (Sitar) - Drut Gat in Tintal (6:41)
Manilal Nag - surbahar, sitar
Samir Chatterjee - tabla
320 kbps including full scans
Part One
Part Two
Переслать - Kishori Amonkar - Hindustani Vocal
Kishori Amonkar
Hindustani Vocal, 2003
1. Rageshri - Vilambit Tintal
2. Rageshri - Vilambit Tintal & Drut Ektal
Kishori Amonkar - vocals
Purushottam Walawalkar - harmonium
Balakrishna Iyer - tabla
320 kbps including full scans
Part One
Part Two
Unfortunately there's a bad glitch towards the end of track 2, so here's track 2
again in a clean rip:
HERE
Переслать - Unforgettable Hits (10) (Saxophones 2)TRACK LISTINGS
[01]. Sacrifice
[02]. How Am I Supposed To Live Without You
[03]. Dying Young Theme
[04]. Right Here Waiting
[05]. Hero
[06]. The Sign
[07]. Close To Heaven
[08]. Please Forgive Me
[09]. Honestly
[10]. Now And Forever
[11]. Can You Feel The Love Tonight
[12]. I Swear
[13]. Always
[14]. Circle Of Life
[15]. Have I Told You Lately
MP3 VBR kbps including Covers
HERE
Переслать - Afro-Latin PartyThere's plenty of food for thought in Putumayo's delicious new Afro-Latin Party. Like the previous Putumayo compilations Afro-Latino and From Congo to Cuba, the 10 tracks here document the fascinating musical marriage between Africa and Cuba that has seen the original African rhythms brought to Cuba by slaves evolve and migrate back east across the ocean to influence a new generation of African music (and in the process produce offspring everywhere from Croatia to Portland, Oregon). But that almost implies that the disc is of interest to musicologists only, when quite the opposite is true. Afro-Latin Party is anchored by three tracks from Africando, the Cuban supergroup that records with different African lead singers, and their seamless blend of African and Carribbean spices nicely sets the tone for the disc. With Pepe and the Bottle Blondes' wry take on classic cha-cha, "Cuentame Que Te Paso" (featuring a former lead singer for Pink Martini) rubbing shoulders with classic-style salsa from Croatia's Cubismo ("Morenita") and Puerto Rico's Jose Mangual Jr. (the white-hot "Ritmo Con Ache"), the disc is an excellent primer on the global reach of salsa music, but more importantly one that sounds best blasting out of speakers that aren't too far from the dance floor. --Ezra Gale
Croatian salsa, Cuban ska, and Oregonian mambo!?!? These are three of the unlikely gems listeners will find on Afro-Latin Party. What started out as an effort to provide the perfect soundtrack to a Latin dance party became a tribute to the global appreciation and realization of the musical ricochet between Cuba and Africa.
Central to the Afro-Latin phenomenon is Africando, who provide three songs on Afro-Latin Party, each with a different African lead singer. In the 1960s and 1970s, the biggest names in African music—including such heavyweights as Youssou N'Dour and Salif Keita—were performing Latin music, thanks to recordings that came over from abroad. Cultural exchange between Cuba and the socialist governments in Mali and other parts of West Africa was a regular phenomenon. Performers like the Fania All Stars and Celia Cruz toured Africa and became musical icons.
In 1992, legendary Africando founders Ibrahim Sylla and Boncana Maïga traveled to New York to record with top local salsa musicians, many who were taken by surprise by these Africans performing and their phonetically learned Spanish lyrics. Interestingly, many of the band members on the three Africando tracks here, also play on other tracks on Afro-Latin Party.
[01]. Betece - Africando
[02]. Ritmo Con Ache - Jose Mangual Jr.
[03]. Cuentame Que Te Paso - Pepe & The Bottle Blondes
[04]. Babalu - Ska Cubano
[05]. Mandali - Africando
[06]. Morenita - Cubismo
[07]. Demal - Africando
[08]. Cogele El Gusto - Chico Alvarez
[09]. La Grev' Bare Mwen - Ronald Rubinel's Salsa Kolor
[10]. Samba Luku Samba - Ricardo Lemvo
FLAC tracks (EAC Rip): 330 MB | MP3 - 320 kbs: 120 MB | Covers
Archives have 5% of the information for restoration
FLAC
Part 1 | Part 2 | Covers
OR MP3 320 kbps
HERE
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