New York, USA – Known around the world as “The Golden Voice of Africa,” Salif Keita is back with
Remixes from Moffou,
based on his 2002 recording
Moffou . On
Moffou , Keita blended the
traditional styles of his West African homeland with influences from Cuba,
Spain, Portugal and the Middle East. Using traditional African instruments
including the n’goni and the jembe along with guitar, calabass and flute, Keita
created some of his most exquisite works to date.
Remixes from Moffou expands on the original recording that took him on a tour around the world. He
collaborated with some of the world’s finest producers and DJ’s, each bringing a
unique contribution to the music, changing its tempo and atmosphere. A sound
with a whole new dimension, the disc has traces of funk, house and drum-n-bass.
The CD was released this week on Decca/Universal Music. Each song on
Remixes from Moffou> is transformed – the songs were given a new face
without distorting the delicate melodies that were originally written. The idea
to remix the entire album was spawned from the feedback that was given from
young music fans. They rushed out to buy “Yamore” (Keita’s duet with
Cesaria Evora ) and club kids went crazy for Marin Solveig’s remix of “Madan.”
European FM radio stations also took notice of the remix which prompted
Universal France to take a step further.
Patrick Votan, artistic director at
Universal Jazz France explains, “Following the success of “Madan” we decided
to ask electro artists who are close to the African scene such as Osunlade,
Doctor L and Frederic Galliano to work on remixes of other tracks from the
album. We also got major mainstream electro stars such as La Funk Mob (the
defunct duo of Cassius Philippe Zdar and Boombass who got back together for the
project), Charles Webster and Luciano on board the project in the hope that this
would take the work of Salif Keita, a unique and original artist, to the ears of
a new public.”
Highlights from the disc include three different versions of favorites “Madan”
and “Moussoulou.” Also featured is the slick mix of “Ana Na Ming” by La Funk
“Using high-speed photography, Dr. Emoto illustrates how crystals formed in frozen water reveal changes when specific, concentrated thoughts are directed towards it. He found that water that had been exposed to loving words showed brilliant, complex and colorful snowflake patterns, while water exposed to negative thoughts formed incomplete, asymmetrical patterns with dull colors. Natural and human forces, including pollution, prayer and music, appear to alter water’s crystalline structure.”Dr. Emoto’s findings could revolutionize how we view and perform music, especially if we choose to use music as a vehicle for healing the planet.
Dr Masaru Emoto USA Tour Events 2004
April 17th, Seattle, Washington
Saturday, April 17 from 1-3 p.m. Lecture
Shoreline Community College Theater Building 1600. $25.
Tickets are on sale now at East West Bookshop 206-523-3726 or
1-800-587-6002. Or view information on our website at http://www.eastwestbookshop.com.
April 19th, Portland Oregon
5-6:30pm Autograph reception event New Renaissance Bookshop
7:30pm Lecture Event at Multnomah Athletic Club
Tickets: $25.00*, available at New Renaissance or by calling 503-531-8700
* Advance ticket purchase required
April 21st: San Rafael, California
Wednesday, April 21st at 7pm Lecture
Open Secret Bookstore,
923 C Street San Rafael, CA tel (415) 457-4191
$18 advance $20 at door
For Tickets: Open Secret Bookstore tel (415) 457-4191
April 22nd: San Francisco, California
Thursday, April 22nd at 7pm Lecture
Sakura Room at Miyako Hotel (in Japan Town)
1625 Post Street, San Francisco, CA
Hotel TEL (415) 922-3200
$16 advance $20 at door
For Tickets: Kinokunia bookstores tell (415) 569-7625
April 24th: Littleton, CO
Saturday, April 24 at 10am Lecture
Denver Marriott South at Park Meadows
10345 Park Meadow drive Littleton Colorado
Hotel Tel (303) 925-0004
$20 advance $25 at door
For Tickets: Rocky Mountain Wellness Center Tel ( 303) 688-1402
April 25th : Los Angeles, CA
Sunday, April 25, 5:00PM – 7:30PM Lecture
Location: Holiday Inn, Torrance
19800 S. Vermont Ave. Torrance, CA 90502)
Ticket Info: $20/Advance $25/At the door
For advance tickets, send a check and self-addressed stamped envelope
(no later than April 18, 2004) payable to “Tim Dental Project”, Memo: Dr.
Emoto¹s Seminar”, 29325 Indian Valley Road #B, Rancho Palos Verdes, CA 90275
April 27th: Sedona, Arizona
Sedona Creative Life Center at 7:00 p.m. Lecture
Tickets are on sale there and at the local grocery store called Bashas and at
the local bookstore called The Worm Bookstore”. Tickets will be available as of
the afternoon of March 12th, and people can call for tickets or more information
at (928) 284-4736.
April 30: Dallas, Texas
Friday, April, 30th at 7:00pm Lecture (with a book signing at 6:00pm)
Unity Church of Dallas, 6525 Forest Lane.
$25 in advance $30 at the door
or tel 972-378-1211.
May 4th, Minnesota
Tuesday, May 4; 7pm Lecture at Wayzata Community Church in Wayzata, MN. Tickets
prior to the event are $25 through ticketweb.com or by calling
866-468-3401. Tickets will be $33 at the door.
May 6th-8th, New York New Jersey area
Albany May 6th 7:00 p.m. – 8:30 p.m. Lecture
New York Nurses Association (address to come)
Tickets (518) 239-8364 $25.00 advance, $35.00 at the door
Sponsor: Albany Holistic Nurses Society
Sparta NJ May 7th at 7:30 pm, Lecture at The Institute for Spiritual
Development, 15 Sparta Ave, Sparta, NJ (973) 729-8261 $15.00 member, $20.00
non-members. Reserved seats for pre-payment. For advance tickets, call Rev.
Myrtle Knight (973) 729-8261 (Holds 100 people)
“New York, NY Saturday, May 8th 6:00 p.m. 8:00 p.m. Lecture Place: Church of St. Paul & St. Andrew, United Methodist, 263 West 86th St., New York, NY 10024 (86th & West End Avenue)
Tickets: $35 advance $ 40 at the door, Info: 212-473-6388
Cosponsors: Concordia Foundation, Association for Research and Enlightenment, Academy for Future Sciences, Friends of the Institute of Noetic Sciences, The World Water Rescue Foundation, New Realities Television, The Spiritual Caucus at the United Nations* The Earth Values Caucus at the United Nations*, The National Service Conference of the American Ethical Union*, Inter-Spiritual Dialogue* Spirituality and Global Affairs Associates*
*NGO’s that helped implement the Decade of Water at the United Nations
Johannesburg, South Africa – Mozambican-born composer, bassist and singer, Gito
Baloi, was shot in the neck by two men who opened fire on him on Sunday,
April 3rd. The attackers took his wallet. The 39-year-old musician was returning
home after performing at the Lucit Candle Garden in Pretoria.
It is estimated that 20,000 people are murdered in South Africa each year. During 1988 Gito Baloi, Steve Newman and Ian Herman formed a collaboration which
they named Tananas.
This world music band made several live performances in Namibia, Swaziland,
Mozambique, France, Sweden and Japan. Out of Tananas’s brief four year history
came four highly acclaimed albums: Tananas, Spiral, Time
and Orchestra Mundo. In 1996, Gito as part of Tananas won the “Best Contemporary Jazz Band Award”
at the South African FNB Awards.
Baloi is survived by his wife, Erica Hibbert, and their two daughters, Lorha
(8) and Tivia (6).
Australia – Drum Drum is one of the leading Pacific Traditional/contemporary
performing groups. They have extensively toured the world with performances at
Chicago World Music festival, Womadelaide, Singapore Arts Festival and Sfinks.
They continue to tour internationally and nationally and their self titled
album, Drum Drum, is now available through their website: www.drumdrum.com.au. The name Drum Drum is an English translation of the name of a village found
on the Southeast coast of Papua New Guinea, called "Gaba Gaba". Most of the
members of Drum Drum come from Papua New Guinea or North Australia.
One of the most attractive sounds on the first Be Good Tanyas CD was Jolie
Holland’s voice, whether providing harmonies or featuring more prominently on
‘Lakes Of Pontchartrain’ and ‘The Littlest Birds’. The distinctive way she could
phrase a line coupled with her Houston, Texas accent added something special to
an album that already had plenty to offer.
Not surprisingly, her solo CD has been garnering a good deal of praise from
all sorts of people, like Tom Waits, as well as most of the music press. So I
tried to turn my ears away from the hyperbole when listening. Then, rightly or
not, I went straight to her solo rendition of ‘The Littlest Birds’, hoping it
might at least get close to the BGT version. I needn’t have worried. It is
obviously a more spare reading with just her voice and guitar but it is still
beguiling. What it misses in the swing of the original it makes up for in
casual, low-key charm. Throughout the CD what is particularly appealing is the fact that she
sounds as though she sings these songs because she enjoys them, whether they’re
her own or someone else’s. ‘All The Morning Birds’ for example, features the
refreshing purity and clarity of her singing – and whistling – as it follows a
wonderfully meandering melody. The whole thing just radiates her ease and
pleasure in performing and this is easily conveyed to the listener.
Her voice is more strident on ‘Black Hand Blues’ which isn’t one of her
own, but is eminently suited to her unforced and natural phrasing. I’m certain
that in another era she could have been one of those blues singers who were able
to send shivers down the most unmoving of spines with her chill delivery. At
some distance from that is her setting of Yeats’ poem ‘Wandering Angus’ which
also features the embellishing textures of Brian Miller’s electric guitar
bringing a clear and spacious dimension to the piece. Her ‘Demon Lover improv’
is really a snatch from ‘House Carpenter’ woven into an instrumental feature. A
tantalizing snippet of another chilling song from the tradition.
Apparently as part of her self taught approach she learned some of Syd
Barrett’s songs, which may seem a strange choice. Actually, aside from her
borrowing from his ‘Jugband Blues’ she does manage to re-create a hint of that
strangely intimate quality that especially haunts Barrett’s first solo album.
Play either of these CDs late at night and that intimacy does become truly
spooky but equally compelling.
There is something of the ingénue about this music too, as though she was
literally unaware of what effect the songs might have. She even alludes to this
in her notes, calling the album a ‘rough sketch’ which was never actually
intended for a wide audience. Whatever, I hope that she can retain some of this
feel on future work because this album is something quite rare and engaging and
doesn’t need too much polish. It seems the hype got it right this time.
With a great combination of European electronica and Argentinean Tango, Tanghetto, the electrotango band from Buenos Aires is making a great impact on the Argentinean music scene. Their debut album called Emigrante (electrotango) has made a crossover impact over some record stores in Buenos Aires, reaching number two on Tower Records Top 25 (Norah Jones held the top position).
People connected with their label, Constitution Music, reported that the record has top 5 impact on almost all the record stores that sell the CD and of course use in-store play as the major medium for airplay. Tanghetto’s success is partly helped by other artists in the neo tango scene like Ultratango and Bajo Fondo Tango Club, and that’s why electrotango music dominates the Argentinean tango charts (5 out of 10 albums from Argentina’s top internet tango shop tangostore.com are electrotango/neo
tango albums). They even get played at very conservative milongas. Ernestina Cavedo, a young tango dancer, says “it’s great that young Argentineans are playing
tango again, at least it’s quite refreshing “…”it’s a great option for
people that don’t get much out of traditional tango or don’t like the way it
sounds.” You can listen to some audio samples of their album at Tanghetto’s
San Sebastian, Spain – Imuntzo and Beloki, the renowned pair of Basque accordionists has compiled old themes composed by historic accordionists from the Urola region (Guipuzcoa), playing them with the same spontaneity and freshness of their predecessors. The title of the album is Ganbaran bai (Elkar, 2004).Along with the two essential instruments (the diatonic accordion and the tambourine), Imuntzo and Beloki have used a series of instruments currently not in use, such as bottles, the case of the accordion or the kettledrums…
The album contains 23 lively songs you can dance to, suitable for anybody who likes fun and fiestas.
“File under new age” states the fine print on the back of this double CD set, and since it would be a bit baffling to put something like “file under semi-improvised inventive acoustic fusion music that happens to have a meditative quality to it,” I guess we’ll have to go with easy categorization.
William Eaton has been a builder and player of stringed instruments for over 30 years. Several of his wonderful hybrid creations, including the predominant lyraharp guitar, are heard here. Ably assisted by violinist Allen Ames, percussionist Will Clipman, vocalist/bassist/flutist Mary Redhouse and flutist Claudia Tulip, the sound emerges as a kind of global chamber music.
There’s a recurring Native American feel (not surprising, since Canyon Records is primarily a Native American music label) brought about by the dreamlike flutes and Redhouse’s otherworldly tribal vocalizations, but this music goes wherever the talent and vision of the participants can take it.
Though jazz, folk, classical, African and other territories are passed through, the focus is never easily foreseeable and thus consistently interesting. Call it mellow, laid back, low key or anything of the sort. It’s got a beauty all its own, ranging in tone from warm and inviting to borderline eerie. At over two hours long it may be a bit much to listen to in one sitting, so dole it out however you see fit. But do put it on your list of gotta-gets if you like music that both relaxes and challenges.
The sonic sweep and swing of Eaton’s axes (including some electric guitar injections) are both foundation and guiding force, and the cleverly flowing embellishments of the ensemble keep time and space steady just as often as they mess with them.
Apart from previous William Eaton Ensemble albums on Canyon, Eaton has had a hand in several other noteworthy releases for the label. The trio discs on which he performs with Clipman and Native flute master R. Carlos Nakai are recommended along with one in which the three are joined by Tibetan flutist Nawang Khechog.
Sparks and Embers is an ample and enjoyable addition to the body of work of this uniquely fine musician.
The Elphinstone Institute and the Music Research Group at the University of
Aberdeen will host the 2004 Annual Conference of the British Forum for Ethnomusicology, taking place from Thursday 15 April (afternoon
start) to Sunday 18 April (finishing early afternoon). The themes will be
Ethnomusicology at Home and Transformed States. With its sparkling granite buildings, Aberdeen is Scotland’s third largest
city – a combination of historic charm, thriving economy, and cosmopolitan
community. A seaport and centre for Europe’s North Sea oil and gas
industries, it is home to 212,000 people. From the mile-long beach and the
historic 15th century university campus in Old Aberdeen, it is less than
half-an-hour to the tranquility of the nearby hills and countryside in one
of the most beautiful parts of Scotland. Aberdeen caters for all tastes in
arts, culture, leisure, and entertainment with His Majesty’s Theatre, Music
Hall, and Lemon Tree regularly attracting national and international
artists. The Aberdeen Art Gallery, Maritime Museum, and Marischal Museum are
all highly recommended. There are also many good restaurants and bars.
Accommodation in single or twin en-suite rooms is in King’s Hall less than 5
minutes walk from the Regent Lecture Theatre, New Kings, and the Linklater
Rooms, where the formal conference activities will take place. (Parking is
available at New Kings and on the campus.) We can also offer a list of
reasonably priced local accommodation.
Evening events will include a performance of traditional Scottish ballads
and music, a participatory workshop, and the traditional BFE party. There
will also be time to explore the local area with an excursion to nearby
castles and glens.
While I enjoy Sami joik singer Wimme Saari’s electronic recordings, I often found myself wondering when he would release a solo joik CD. Wimme’s fifth CD, appropriately titled, Instinct, answers my question and offers 34 solo joiks. In the past, Wimme commented about his “free joik” style and how he would joik in a way that accommodated other musicians. “My joiking has some elements of the old style of joiking, such as the voice technique and the throat technique. I can also do some traditional joiks, but accompaniment doesn’t quite suit them. When I joik and the boys (band) play I have to do something new.” Well, move over boys, it’s time for a few unaccompanied joiks.Instinct (gapmu) feels rather intimate since we (the listeners), are alone in the great outdoors with Wimme. The joiks resemble personal meditations as well as, a homage to daily life of a modern Sami man.
The image on the CD cover features Wimme at age one. And the joik singer does reflect on his childhood, at least on the track, To Have To, a short story about not wanting to attend boarding school. We get a glimpse of Wimme’s daily life with the joiks, The Meat Pot, Noon, Morning Coffee and The Berry Mound, giving a new meaning to the term personal joik. The traditional joiks, The Grouse and The Reindeer might sound familiar to Wimme fans since both joiks appear on Wimme’s second recording, Gierran.
Instinct provides Wimme with space to explore his vocal and throat techniques further than on previous recordings with his band. Occasionally subtle sound effects, such as water from an outdoor stream (The Dream Stream) or the whirring motor of a boat, (Father) accompany Wimme’s joiks, but for the most part what you hear is ambient air and Wimme’s lone vocals which I believe were recorded in an outdoor setting. (At least that is my impression). And Wimme stretches his voice from a baritone croak to soaring tenor, on I Know it Myself, he does this in a manner of seconds. The joiks he performs whether original or traditional highlight his brilliant vocal technique and show us why he is
considered a world class joiking talent. The throat singing that appears on Father alone has the power to cause a jaw dropping reaction from its listeners.
Personally, I enjoy solo joiks and all the better when performed in a natural environment. Wimme lives on the edge of a fading tradition that stretches back to ancient times. He honors that tradition to the best of his ability while also adding colors from his contemporary palette. He draws upon the Sami Luohti tradition which possesses two unique features. First it utilizes the five note scale with no half tones. And second, it always has a person, place, animal that it describes, sometimes honors in its music.
This is not an easy fete and it involves a bit of shapeshifting (taking on the energies of the subject of the joik), as well as, employing some difficult vocal maneuvering. Living in the Arctic region of the world, close to nature and coming from an indigenous lineage, Wimme Saari is more than a master joiker, he’s also a musical ambassador for the Sami people. For him joiking isn’t just a way of life, it is also a lifestyle and a fascinating one at best.