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Zap Mama - Supermoon

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Album: Supermoon

Artist: Zap Mama

Release Date: 2007

Bitrate: 192kbit, 44100Hz Joint Stereo

Total size: 69 MB

 

Individual track details :

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01. 1000 Ways

02. Hey Brotha

03. Supermoon

04. Go Boy

05. Affection

06. Toma Taboo

07. Kwenda

08. Gati

09. Where Are You?

10. Moonray

11. Princess Kesia

 

Comments:

A sprawling example of "world groove," Zap Mama's sixth album is further proof that in these interconnected times the musical world really is shrinking. Born in the Congo and raised in the French culture of Belgium, Zap Mama founder and driving force Marie Daulne has always ignored the barriers between musical genres like so many outdated speed limits on a dusty highway, but on Supermoon she dips into so many styles--Afropop, R&B, hip-hop, funk--as to reduce those barriers to a delightful irrelevancy. Helped by a smorgasbord of big-name collaborators--Me'shell N'degeocello, Tony Allen, and Spearhead's Michael Franti all guest for one track each--Daulne turns African pygmy music into a rollicking club anthem on "Gati," borrows James Brown's "Payback" guitar riff on "Toma Taboo," uses the intricate polyrhythmic arrangement of "Go Boy" for a touching tale of an African immigrant, and evokes modern soul singers like Macy Gray on the title track. Through it all, the intricate vocal arrangements and production that are Zap Mama's trademark--performed largely by Daulne herself--never fail to astonish.

 

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Ouganda (1997) Ensembles villageoises du Busoga

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Album: Ouganda - Ensembles villageoises du Busoga

Artist: VA

Genre: Ethnic

Type: MP3 format sound

Release Date: 1997

Bitrate: 320kbit, 44100Hz Joint Stereo

Total size: 160 MB

 

Individual track details :

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01. Otabona Bukaire Nanvu [00:07:17] 16,6 MB

02. Mboine Kirabu [00:03:55] 8,96 MB

03. Osete Tainyuma [00:03:32] 8,09 MB

04. Mperekera Omugeni Owomulembe [00:02:20] 5,34 MB

05. Waiswa Mpola, Mpola [00:07:07] 16,2 MB

06. Dinu/ Mwena Mwena Mudhuge Lero [00:02:49] 6,45 MB

07. Babalema [ 00:4:25] 10,1 MB

08. Agebaale [00:04:03] 9,27 MB

09. Piririya [00:04:39] 10,6 MB

10. Olumbe LW' Amaani [00:06:55] 15,8 MB

11. Okusamira [00:08:24] 19,2 MB

12. Mary Yange Guma Omwoyo [00:02:49] 6,45 MB

13. Baliranie I [00:05:16] 12 MB

14. Baliranie II [00:06:29] 14,8 MB

 

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Ladysmith Black Mambazo (1987) Shaka Zulu

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Album: Shaka Zulu

Artist: Ladysmith Black Mambazo

Genre: Ethnic

Type: MP3 format sound

Release Date: 1987

Bitrate: 256-320kbit, 44100Hz Joint Stereo

Total size: 48,5 MB

Duration: 00:36:47

 

Tracks:

 

01. Unomathemba [00:03:48] 4,72 MB

02. Hello My Baby [00:03:09] 4 MB

03. At Golgotha [00:03:56] 4,91 MB

04. King Of Kings [00:04:07] 5,02 MB

05. Lomhlaba Kawunoni (The Earth Never Gets Fat) [00:02:55] 3,62 MB

06. How Long? [00:03:05] 3,73 MB

07. Ikhaya Lamaqhawe (Home Of The Heroes) [00:03:13] 3,91 MB

08. Yibo Labo (These Are The Guys) [00:04:39] 5,75 MB

09. Rain, Rain, Beautiful Rain [00:02:18] 2,97 MB

10. Wawusho Kubani? (Who Were You Talking To?) [00:05:32] 7,19 MB

 

Ladysmith Black Mambazo

Background information

The traditional music sung by Ladysmith Black Mambazo is called

ISICATHAMIYA (Is-Cot-A-Me-Ya). It was born in the mines of South Africa.

Black workers were taken by rail to work far away from their homes and

their families. Poorly housed and paid worse, they would entertain

themselves, after a six-day week, by singing songs into the wee hours

every Sunday morning. Cothoza Mfana they called themselves, "tip toe guys",

referring to the dance steps choreographed so as to not disturb the camp

security guards. When miners returned to the homelands, the tradition

returned with them. There began a fierce, but social, competition held

regularly and a highlight of everyone's social calendar. The winners were

awarded a goat for their efforts and, of course, the adoration of their fans.

These competitions are held even today in YMCA assembly halls and church

basements throughout Zululand South Africa.

The name LADYSMITH BLACK MAMBAZO came about as a result of winning every

singing competition in which the group entered. "Ladysmith" is the hometown

of the Shabalala family; "Black" references the black oxen, considered to be

the strongest on the farm. The Zulu word "Mambazo" refers to an ax - symbolic

of the group's ability to "chop down" the competition. So good were they that

after a time they were forbidden to enter the competitions but welcomed, of

course, to entertain at them.

Their first album release for the United States, "Shaka Zulu", was produced

by Simon Garfunkel and won the Grammy Award in 1987 for Best Traditional Folk Recording.

 

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Ladysmith Black Mambazo (1990) Two Worlds, One Heart

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Album: Two Worlds, One Heart

Artist: Ladysmith Black Mambazo

Genre: Ethnic

Sub-genre: Isicathamiya

Type: MP3 format sound

Release Date: 1990

Bitrate: 192-320kbit, 44100Hz Joint Stereo

Total size: 60,2 MB

Duration: 00:48:31

 

Tracks:

 

01. Township Jive [00:04:40] 5,82 MB

02. Ofana Naye (Nobody Like Him) [00:04:51] 5,87 MB

03. Bala Ubhale (Count And Write) [00:04:14] 5,02 MB

04. Love Your Neighbour [00:04:02] 4,94 MB

05. Leaning On The Everlasting Arm [00:04:53] 5,95 MB

06. Rejoice [00:04:02] 4,92 MB

07. Hayi Ngalesiskhathi (Not Right Now) [00:04:10] 5,04 MB

08. Emhlabeni (In This World) [00:03:44] 4,67 MB

09. Isiklahthi Siyimali (Time Is Money) [00:03:35] 4,48 MB

10. Nami Ngaze Ngamthola (I Found Him) [00:03:43] 4,53 MB

11. Ngomnyanga (By The Door) [00:01:51] 2,43 MB

12. Scatter The Fire [00:03:23] 4,88 MB

13. Cothoza Mfana (Tip Toes Guy) [00:01:17] 1,6 MB

 

Ladysmith Black Mambazo

Background information

The traditional music sung by Ladysmith Black Mambazo is called ISICATHAMIYA (Is-Cot-A-Me-Ya).

It was born in the mines of South Africa. Black workers were taken by rail to work far away

from their homes and their families. Poorly housed and paid worse, they would entertain

themselves, after a six-day week, by singing songs into the wee hours every Sunday morning.

Cothoza Mfana they called themselves, "tip toe guys", referring to the dance steps choreographed

so as to not disturb the camp security guards. When miners returned to the homelands, the

tradition returned with them. There began a fierce, but social, competition held regularly

and a highlight of everyone's social calendar. The winners were awarded a goat for their efforts

and, of course, the adoration of their fans. These competitions are held even today in YMCA

assembly halls and church basements throughout Zululand South Africa.

The name LADYSMITH BLACK MAMBAZO came about as a result of winning every singing competition

in which the group entered. "Ladysmith" is the hometown of the Shabalala family; "Black"

references the black oxen, considered to be the strongest on the farm. The Zulu word "Mambazo"

refers to an ax - symbolic of the group's ability to "chop down" the competition. So good were

they that after a time they were forbidden to enter the competitions but welcomed, of course,

to entertain at them.

Their first album release for the United States, "Shaka Zulu", was produced by Simon Garfunkel

and won the Grammy Award in 1987 for Best Traditional Folk Recording.

 

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VA Midnight In Mali (2006)

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Tracks:: Midnight in Mali

1. Artistes

2. N'Garbamama

3. Maky

4. Farafina (Africa)

5. Forobana

6. Souaressi

7. Mon Amour

8. Soy Te Aw La

9. Signana

10. Mansani Cisse

 

Malian musicians are renowned for their spontaneity. Anyone who has explored Bamako’s intimate musical settings -

street weddings, courtyard jam sessions and evening concerts at open-air "cultural spaces" where anyone might

show up - knows this. And yet the jam session is a side of the music rarely heard in the polished studio recordings

that have put this West African musical colossus on the map in recent years.

This extraordinary concert, recorded at Bamako’s French Cultural Centre on 23rd December 2004, rights the balance,

revealing the personalities, humour and improvisational mastery of some of the country’s finest musicians interacting

in a once-in-a-lifetime formation.

The line-up is remarkable for the calibre of musician present, the range of styles represented and the ease with

which the artists traverse borders to make gorgeous, free-flowing music together.

Midnight in Mali is that rare occasion when musical giants dare to risk the new, rely on their wits, and freely

explore their shared heritage: the majestic, matchless variety of Malian music.

Banning Eyre

 

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Ladysmith Black Mambazo nandritra ny fampisehoana Graceland tany amin’ny kianja malalak’i Rufaro, Harare, Zimbaboe [tsy afaka notanterahina tany Afrika Atsimo noho ny lalаna mandrara ny mainty sy fotsy tsy hifangaro], miara-mihira ny Nkosi sikelel’ iAfrika amin’i Paul Simon sy Miriam Makeba [akanjo mainty] ary i Hugh Masakela [trompetra], taona 1987.

 

Nkosi Sikelel' iAfrika

Classic Xhosa Version

 

The first verse and chorus of this version are the original words composed by Sontonga in 1897. The remaining verses were added in 1927 by Samuel E Mqhayi.

 

Nkosi, sikelel' iAfrika;

Malupakam'upondo lwayo;

Yiva imitandazo yetu

Usisikelele.

Chorus

Yihla Moya, Yihla Moya,

Yihla Moya Oyingcwele

Sikelela iNkosi zetu;

Zimkumbule umDali wazo;

Zimoyike zezimhlonele,

Azisikelele.

Sikelel' amadod' esizwe,

Sikelela kwa nomlisela

Ulitwal'ilizwe ngomonde,

Uwusikelele.

Sikelel'amakosikazi;

Nawo onk'amanenekazi;

Pakamisa wonk'umtinjana

Uwusikelele.

Sikelela abafundisi

Bemvaba zonke zelilizwe;

Ubatwese ngoMoya Wako

Ubasikelele.

Sikelel'ulimo nemfuyo;

Gxota zonk'indlala nezifo;

Zalisa ilizwe ngempilo

Ulisikelele

Sikelel'amalinge etu

Awomanyano nokuzaka,

Awemfundo nemvisiswano

Uwasikelele.

Nkosi Sikelel' iAfrika;

Cima bonk' ubugwenxa bayo

Nezigqito, nezono zayo

Uyisikelele.

 

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Artist: Angelique Kidjo

CD title: Djin Djin

Release date: 2007

Label: Razor&Tie

Number of Discs: 1

Genre: World

Type: MP3 format sound

Quality: 320Kbit

Time: 00:51:53

Total size: 118 MB

 

Tracks:

1. Ae Ae

2. Djin Djin - (with Branford Marsalis/Alicia Keys)

3. Gimme Shelter - (with Joss Stone)

4. Salala - (with Peter Gabriel)

5. Senamou (C'est L'Amour) - (with Amadou & Mariam)

6. Pearls - (with Josh Groban/Carlos Santana)

7. Sedjedo - (with Ziggy Marley)

8. Papa

9. Arouna

10. Awan N'la

11. Emma

12. Mama Golo Papa

13. Lonlon (Ravel's Bolero)

 

More info:

Personnel include: Angelique Kidjo (vocals); Josh Groban, Joss Stone, Alicia Keys, Peter Gabriel, Ziggy Marley (vocals); Lionel Loueke, Carlos Santana (guitar); Romero Lubambo (acoustic guitar); Branford Marsalis (saxophone).

 

The Beninese singer Angelique Kidjo has been a fixture on the world music scene since the early 1990s, with the success of her first internationally released album, PARAKOU. Her inclusive style blends African, Caribbean, Brazilian, and Western rock musical influences in an irresistible potpourri, crowned with her powerful, distinctive voice, which can turn on a dime from sweet to savage.

 

Helmed by the veteran producer Tony Visconti, DJIN DJIN follows Kidjo's practice, established on previous albums, of featuring high-caliber guest vocalists, including in this case Peter Gabriel, Ziggy Marley, and Alicia Keys. The wide-ranging set encompasses the haunting, swaying "Salala," the delicate title track, and a typical Kidjo-style Africanized reworking of the Rolling Stones' "Gimme Shelter" (on past albums she has also reinterpreted classics such as Jimi Hendrix's "Voodoo Chile" and Serge Gainsbourg's "Ces Petits Riens"). It's a testament to her formidable musical personality and impeccable musical taste that, despite the presence of her high-powered guests, Kidjo puts her unique stamp on this impressive and eclectic collection.

 

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Artist: Zap Mama

CD title: Zap Mama

Release date: 1991

Genre: World

Type: MP3 format sound

Quality: 170-190Kbit (VBR)

Total size: 68,7 MB

 

Tracks:

01 - Zap Mama - Mupepe.mp3

02 - Zap Mama - NDJe Mukanie.mp3

03 - Zap Mama - Abadou.mp3

04 - Zap Mama - Marie Josee.mp3

05 - Zap Mama - Etupe.mp3

06 - Zap Mama - Nabombeli Yo.mp3

07 - Zap Mama - Take Me Coco.mp3

08 - Zap Mama - Son Cubano.mp3

09 - Zap Mama - Guzophela.mp3

10 - Zap Mama - Plekete.mp3

11 - Zap Mama - Bottom.mp3

12 - Zap Mama - I Ne Suhe.mp3

13 - Zap Mama - Mizike.mp3

14 - Zap Mama - Babanzele.mp3

15 - Zap Mama - Din Din.mp3

 

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Background:

The essence of Zap Mama goes back to Marie Daulne's birth. It was a very difficult time in Zaire, a time of revolution. The Simba rebels sought to kill interracial couples. Her mother was a Bantu. Her father was Belgian. Threatened, her mother took her into the jungle to stay with the Pygmies for eight months. They were safe because the rebels were scared of the strong magic of the forest peoples. Eventually they were taken to Belgium where Marie grew up. It is this dual cultural heritage which lies at the root of the music and mission of Zap Mama.

 

By l989 she had spent several years singing in jazz cafes and bars in Brussels when she decided to create a group to musically merge the cultures of her life, both which she cherishes. Marie remembered Sylvie Nawasando from singing on the train to school and later at the university. Their brothers had played music together. Sabine is a mixture of peoples like Marie, Zairean and Belgian. With three, Marie held an audition and discovered Marie Alfonso. Finally they found Sally Nyolo and performed their first concert in 1989.All the women contributed in different ways, spiritual, emotional, information, stories. Marie does most of the researching for the songs.

 

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Artist: Mamadou Diabate

CD title: Heritage

Released date: 2006

Number of Discs: 1

Genre: Ethnic

Type: MP3 format sound

Quality: 256-320 Kbit

Channels: 44Khz, stereo

Total size: 85,6 MB

Info: covers included

 

Tracks:

01. Sara [00:05:10] 7,88 MB

02. Joukouya [00:05:24] 8,15 MB

03. Foulaya [00:06:15] 9,55 MB

04. African Orphans [00:05:27 7,86 MB

05. Waiswa Salimou [00:04:56] 7,23 MB

06. Fali [00:03:55] 5,5 MB

07. Djiribah [00:05:26] 8,3 MB

08. Behni Diayemoko [00:04:25] 6,46 MB

09. Gansana [00:04:23] 6,45 MB

10. Sandra [00:04:22] 6,29 MB

11. Segou Blues [00:04:21] 6,33 MB

 

Info:

Diabate was born in 1975 in Kita, a Malian city long known as a center for the arts and culture of the Manding people of West Africa. As the name Diabate indicates, Mamadou comes from a family of griots, or jelis as they are known among the Manding. Jelis are more than just traditional musicians. They use music and sometimes oratory to preserve and sustain people's consciousness of the past, a past that stretches back to the 13th century when the Manding king Sunjata Keita consolidated the vast Empire of Mali, covering much of West Africa. The stories of these glory days and the times since remain important touchstones for people today, not only for the Manding, but for many citizens of Mali, Guinea, Gambia, and Senegal. So to be born to a distinguished jeli family in Kita is already an auspicious beginning.

 

Mamadou's father Djelimory played the kora, the jeli's venerable 21-string harp. He was widely known as N'fa Diabate, performing in the Instrumental Ensemble of Mali and recording on the National Radio of Mali. At the age of four, Mamadou went to live with his father in Bamako, where the Ensemble was based. When it came time for him to return to Kita and go to school, Mamadou knew that the kora was his destiny. His father had taught him how to play the instrument, and from there he listened and watched and devoted himself to practicing the kora, to the point that his mother worried that he was not concentrating enough on school. When she took it away, it only reduced his interest in studying, and he quickly resorted to making his own kora so he could continue.

 

Before long, Mamadou left school and began playing kora for local jeli singers, and traveling throughout the region to play at the ceremonies where modern jelis ply their trade, mostly weddings and baptisms. When he was fifteen, Mamadou won first prize for his kora playing in a regional competition and instantly became something of a local celebrity. The next year, he went to Bamako, and under the tutelage of his famous kora playing cousin, Toumani Diabate, he worked the jeli circuit, backing singers at neighborhood weddings and baptisms and entertaining the powerful at the city's posh Amitiй Hotel. Toumani gave his cousin the nickname "Djelika Djan" meaning "Tall Griot," a reference to Mamadou's impressive physical stature. The name has stuck.

 

In 1996, a touring group from the Instrumental Ensemble of Mali offered Mamadou the chance to travel to the United States with a group of Manding musicians and cultural authorities. Following a successful tour, Mamadou decided to continue his work in the United States and, since then, he's made his home in and around New York. Mamadou gets frequent invitations to perform with visiting Malian stars including Ami Koita, Tata Bambo Kouyate, Kandia Kouyate, and Babani Konй. He has performed at the United Nations, Lincoln Center, the Metropolitan Museum, and at the Smithsonian Institute in Washington. In addition, he's delved into uncharted waters, jamming with all manner of expert musicians, including jazz luminaries Donald Byrd and Randy Weston, Zimbabwean legend Thomas Mapfumo, and blues masters Eric Bibb and Guy Davis. Mamadou's recording credits have expanded as he has laid tracks with artists ranging from Irish soloist Susan McKeown, jazz bassist Ben Allison, and Benin's celebrated Angйlique Kidjo.

 

Mamadou teaching kora to his son, Djelimory Mamadou says that his father advised him to listen to all the best kora players and to learn from each one. The kora itself came to Mali from Gabu, the region centered between Gambia, Senegal, and Guinea Bissau, and the Malian kora tradition has always put a premium on holding onto the old ways while constantly innovating and developing the art.

 

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Artist: Ali Farka Tourй

CD title: Naifunkй

Release date: 1999

Label: Hannibal

Catalouge No.: HAN571443.2

Number of Discs: 1

Genre: World

Type: MP3 format sound

Quality: 192Kbit

Time: 00:52:31

Total size: 72,5 MB

 

Tracks:

1. Ali's Here

2. Allah Uya

3. Mali Dje

4. Saukare

5. Hilly Yoro

6. Tulumba

7. Instumental

8. ASCO

9. Jangali Famata

10. Howkouna

11. Cousins

12. Pieter Botha

 

More info:

Malian guitarist Ali Farka Toure's music has always managed global travel with ease and musical grace, shrinking the miles between Western Africa and the Mississippi Delta and seemingly visiting every city in between. Toure has received his share of accolades for blurring the lines between his contemporary/traditional finger*****ng style and "country blues." Toure has routinely collaborated with musicians from other cultures and musical genres, most notably the prolific and internationally influenced Ry Cooder on their widely acclaimed 1994 album Talking Timbuktu. He establishes a firm aesthetic residence on Niafunkй, his first and most welcome CD in five years. Niafunkй was recorded using a state-of-the-art portable studio in Toure's home village of Niafunke, which clearly lends a decisive authentic flavor and sense of musical place to the disc. Each tune is a lithe and resonant labyrinth of call-and-response patterns: a fingerpicked guitar speaks to a one-stringed njarka fiddle, calabash pummelings weave into those of the conga drums, and a lively small chorus answers Toure's authoritative lead vocals. A couple of the best cuts include "Ali's Here" and "Saukare." A beautifully rendered and intoxicating record.

~ Becky Byrkit, All Music Guide

 

Download:

 

vip-file.com:

http://vip-file.com/download/0d99a9794204/...e-1999.rar.html

 

http://ipicture.ru/uploads/080630/9521/Ic3NZfz2j7.gif

http://rapidshare.com/files/129670920/Ali_...afunke_1999.rar

 

http://ipicture.ru/uploads/080616/9521/3Qsp53YijO.jpg

Ali Farka Toure Niafunke 1999.rar - http://gigapeta.com/download/249dc16153

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