sabato 30 marzo 2013

Cheikha Rimitti شيخة ريميتي









Cheikha Rimitti born سعدية الغيزانية Saadia El Ghizania, (8 May 1923 – 15 May 2006)

Cheikha Rimitti was born in Tessala, a small village in western Algeria in 1923, and named Saadia, meaning joyful , her father was Rifian. This name did not match the reality of her early life, however, as she had been orphaned as a child and began to live rough, earning a few francs working in the fields and doing other menial jobs.

At 15 she joined a troupe of traditional Algerian musicians and learnt to sing and dance. In 1943 she moved to the rural town of Relizane and began writing her own songs. Her songs described the tough life endured by the Algerian poor, focusing on everyday struggle of living, pleasures of sex, love, alcohol and friendship and the realities of war.

Traditionally, songs of lust had been sung privately by Algerian women at rural wedding celebrations but were considered crude and unfit to be heard in polite society. Rimitti was one of the first to sing them in public and did so in the earthy language of the street, using a rich blend of slang and patois. She eventually composed more than 200 songs but remained illiterate all her life.

Her fame spread by word of mouth across Algeria during the Second World War until she was taken under the patronage of a well-known Algerian musician of the time, Cheikh Mohammed Ould Ennems, who took her to Algiers where she made her first radio broadcasts. Soon after, she adopted the name Cheikha Rimitti.

She made her first record in 1952, a three-track on Pathé Records under the name Cheikha Remettez Reliziana, which included the famous Er-Raï Er-Raï. This was not to be the record that launched her career, however. That came two years later when Rimitti caused a sensation with the release of Charrak Gattà a daring hit record, which encouraged young women to lose their virginity and which scandalised Muslim orthodoxy. Her outlook and songs did not endear her to the nationalist forces fighting for freedom from French rule during the Algerian War of Independence who denounced her for singing folklore perverted by colonialism.

When Algeria won its independence in 1962, the Government banned her from radio and television for playing on them under French control during the independence struggle. Her songs remained hugely popular with the working-class poor and she continued to sing privately at weddings and feasts.
By the 1970s she was performing mostly for the Algerian immigrant community in France. Briefly returning to Algeria in 1971, she was badly hurt in a car crash (being in a coma for three weeks) in which three of her musicians were killed.

Four years later she went on a hadj to Mecca, after which her lifestyle (though not her songs or subject matter) changed. She stopped smoking and drinking, but continued her singing and dancing, and by the mid-80s, when Rai was becoming established as the rousing dance music of angry young Algerians, Rimitti was being hailed as la mamie du Rai, the grandmother of the style.

In the 1980s, Cheikha Rimitti moved to Paris, loosening her ties with the Algerian authorities but never cutting herself off from the Algerian people, her first fans.
Her music crossed over to the West and she undertook prestigious concerts in big cities and worldwide capitals as well as collaborating with Robert Fripp and Flea from the Red Hot Chili Peppers on the "Sidi Mansour" LP in 1994, inaugurating a new electric form of raï.

Her back catalogue was rediscovered by a new generation raï successors including Khaled who has covered "The Camel". Many singers of the new generation venerated her as "The Mother Of The Genre" and Rachid Taha dedicated a song to her, "Rimitti".

Her most recent album N’ta Goudami, released in 2006, was a lustful combination of traditional Algerian and modern rock sounds sung in a deep voice of booming energy that belied her 83 years and garnered enthusiastic reviews . For someone who had been officially banned in Algeria, Rimitti marked rai history by taking the defiant step of recording her last album at the Boussif Studios in Oran.

She continued performing until the end – two days before she died she was rapturously received by an audience of 4,500 at the Zénith in Paris.

She died in Paris from a heart attack on 15 May 2006, aged 83.


(Source : wikipedia)






Cheikha Rimitti (nata Saadia El Ghizania, nel 1923) è stata una cantante algerina, esponente di spicco della musica Raï.

Originaria di Tessala, Saadia è rimasta presto orfana, e fu costretta sin da bambina al duro lavoro nei campi.

Formatasi come ballerina e cantante tradizionale, si trasferì a Relizane per dedicarsi alla scrittura di nuove canzoni, incentrate sulla povertà del popolo algerino, sull'amore, sui piaceri dell'alcol e del sesso, sull'amicizia e sulla crudeltà della guerra.

Nel 1962, quando l'Algeria raggiunse l'indipendenza, il governo bandì la musica di Cheikha nel paese per essersi esibita in radio e TV sotto il controllo francese durante la lotta per la liberazione.

La sua fama varcò comunque i confini algerini, diffondendosi in tutto il mondo.

A partire dagli anni 80, le nuove generazioni di musicisti rai attinsero a piene mani dall'eredità musicale di Cheikha Rimitti, spesso ingratamente.

Negli anni 90, l'algerina stupì per il rimodernamento della sua musica, affidandosi all'esperienza di sessionman d'eccezione come il re cremisi Robert Fripp e Flea, bassista dei Red Hot Chili Peppers (musicisti che non incontrò mai, avendo registrato il materiale a Parigi, per poi spedirlo a Los Angeles alle cure dei collaboratori).
Dopo una carriera durata cinquant'anni morì a Parigi nel 2006 in seguito ad un attacco di cuore all'età di 83 anni.







Cheikha Rimitti nació en Tessala (ciudad situada cerca de Sidi Bel-Abbès, en el oeste de Argelia) el 8 de mayo del 1923, la pequeña niña llamada Saïda se quedó huérfana.
A los 20 años, se instaló en Rélizane, un gran centro colonial donde la vida es ruda. La pobreza, las epidemias y el hambre estaban presentes. "Tostábamos el grano de trigo para reemplazar el café, que bebíamos con jarabe" La joven Sayda, que duerme en las calles, en el baño turco y come cuando puede, sigue a un grupo de músicos ambulantes. Por otro lado conoce al célebre músico Cheick Mohamed Ould Ennems con el que vive y que es padre de diez niños. Éste le enseña el mundo artístico argelino y la introduce en la Radio Argel.

Una mujer de corazón, siempre roída por la vergüenza y la timidez de aparecer en público o en ciertos lugares no convencionales. "No le gustaba cantar allí dónde la gente podía reconocerla - cuenta Mohamed Allalou, antiguo presentador de la Chaîne III y amigo de la difunta artista- Procuraba desembarazarse de esta mala reputación que le estaba pegada injustamente la piel. " Allalou se acuerda del día en que salió a devolverle una invitación para presentar un concierto en el Parlamento europeo de Estrasburgo. Era en 1995. Ella hasta ignoraba lo que " Parlamento europeo " quería decir. Vivía en un lastimoso hotel del distrito 10 de París. La habitación era minúscula, amueblada con una cama, un pequeño armario,una maleta y un despertador, el decorado daba la impresión de una mujersencilla, que no olvidaba sus orígenes. "Después de largos debates, Rimitti aceptó finalmente ir a cantar a Estrasburgo." Pero impone, a pesar de todo, dos condiciones. En la primera, pide al Parlamento Europeo pagarle arras en efectivo. Cosa, en principio, que no se hace nunca. En el segundo, hace saber que rechazaría, in situ, todo encuentro con la prensa. ¡"Atención!" Periodistas zigzag, wallou ", repetía a Allalou durante todo el trayecto." "Es decir, no haré ninguna entrevista."

En los años treinta, la ciudad de Orán, en Argelia, era un mosaico de razas y religiones a orillas del Mediterráneo. En aquella ciudad vivían franceses, judíos, árabes, turcos, beréberes y españoles. La música tradicional solo se oía entonces en bodas y otros banquetes pero también en cantinas o burdeles.

Frente a los cantos moralistas y llenos de metáforas sobre el amor existían otros cantos que hablaban de la emigración, de la violencia, de sexo, de los placeres de la vida y también de las desgracias. Rimitti cantaba de taberna en taberna para poder pagarse la comida y ya entonces criticaba en sus canciones los matrimonios "arreglados" por las familias.

Con la llegada de la revolución, los cantantes críticos como ella celebraron con el resto del pueblo argelino la independencia. Su situación mejoró considerablemente. Con el tiempo Rimitti fue haciéndose un nombre que le permitió vivir sin agobios y hacerse un hueco entre los cantantes mayoritariamente masculinos. Con la explosión del raï entre los jóvenes argelinos se convirtió en una figura emblemática y cuando este éxito llegó a occidente a principios de los ochenta emigró a París.

En 1993, cuando estaba pensando en retirarse, Rimitti grabó en Estados Unidos, en Los Ángeles, "Sidi Mansour" junto a músicos de rock tan reconocidos como Robert Fripp (King Drimson, David Bowie, Eno), Flea (Red Hot Chili Peppers), East Ray Bay (Dead Kennedys) o los metales de Frank Zappa. Todos participaron con mucha humildad y respeto hacia la gran artista y además de aportar su esfuerzo artístico quisieron manifestar su solidaridad y compromiso con los músicos y las mujeres de Argelia que en los años noventa pasaron por serias dificultades. El resultado fue un disco sorprendente y fresco, alegre y abierto, que colocó a Rimitti en las listas de éxitos de todo el mundo devolviéndola a la actualidad y a sus conciertos en directo.


La historia dice que un día de lluvia en que entraba en una cantina para beber un café, los clientes la reconocieron y aclamaron con entusiasmo. Para agradecerlos, les quiso ofrecer una ronda, pero sólo hablaba algunas palabras de francés, ella pidió a la camarera "Remettez, la Sra., remettez" (que volviera a llenar los vasos) fue así como el público la bautiza inmediatamente "la cantante Remitti".

Hay también otra anécdota donde Rimitti se había negado a cantar dos veces seguidas en una misma sala parisiense. Para hacerle cambiar de opinion, su jefe sólo tenía como solución decirle que el concierto iba a tener lugar en otra ciudad, situada en la provincia. Rimitti acepta pues la nueva propuesta,y su acompañante se obligó a dar cuatro veces la vuelta al periférico parisiense para hacerle creer que la ciudad estaba realmente lejos. Con todo, Rimitti se encontrará, sin darse cuenta, en la misma sala donde había cantado tiempo antes. No lejos de su domicilio. "No sabiendo ni leer ni escribir, había reconocido simplemente los lugares." "

La madre del raï, Cheikha Rimitti se murió un lunes, por una parada cardíaca en París. Tenía 83 años. Insumisa y libre.


(Source :  http://muzikalarabiya.blogspot.it)






Cheikha Rimitti شيخة ريميتي - Sidi Mansour  



01. Nghani Ki Ma Nabghi
02. Sidi Mansour
03. Ha Raï Ha Raï
04. Rah Jey
05. Rouked el Achra
06. Maheyni Maheyni
07. Rah Yabki
08. Serrer a Driote et Stationner






Cheikha Rimitti شيخة ريميتي - Ghir al baroud  




1. C'est Fini, J'En Ai Marre
2. Dzair
3. Ghir el Baroud
4. Hya B'ghate Sahra
5. Rani Alla M'Rida
6. Alia N'Batou Ahna


HERE



Cheikha Rimitti شيخة ريميتي - Cheikha



1. Mendirch el Haseb
2. Rah Yahki (via mix)
3. Rah Yahki (mix duna)
4. Lillette el Ouihda




Cheikha Rimitti شيخة ريميتي - Nouar





1. Nouar
2. Nakhla
3. Hak Hak
4. Saida
5. Mani Man
6. Koum Oula Talag
7. Ouah Ya Ould Bladi
8. Osman
9. Khalouhom
10. Rassoul Allah


Cheikha Rimitti شيخة ريميتي - L'etoile du rai





01 Yama ala zaouate 
02 Rouh ya berani 03 Fatma fatm 
04 Ma andiche ma 
05 Salouni salouni
06 Haija

07 Lila blila 
08 Mzinha lil ti elbareh




Cheikha Rimitti شيخة ريميتي -  Aux sources du rai 




01. Hiyya Bghat Es-Sahra - Elle Aime Le Sahara
02. Sidi Taleb
03. Dana Wa Dana
04. Sidi Abed
05. La Camel
06. Ya L'hmam, Ya L'imam - Pigeons Et Colombes
07. Debri, Debri - Debrouille-Toi
08. Djat Thawwes - La Touriste
09. Charrag Gattaa - Dechire, Lacere
10. Fatma, Fatma
11. Win Rak Tergoud - Ou Dors-Tu ?
12. Ya Lemmima - La Mere
13. Bakhta




HERE



Cheikha Rimitti شيخة ريميتي -  N'ta goudami




1. N'Ta Goudami
2. Dabri
3. Noulidi
4. Charragt/Gharabt
5. Daouni
6. Matahagrouhach
7. Kijani
8. M'Rahba (Iagnaoui)
9. Guedouzi Mama
10. Jani el Hob


HERE

martedì 26 marzo 2013

Lemonada - The Arabian Latin Chillout Experience




Lemonada is actually one Lebanese songwriter/guitarist and producer, Ahmed Ghannoum, working with a variety of musicians and using the soothing female vocals of Layal. Opening with the chilled out Abali, this song perfectly sets the chilled tone of the album with its fusion of Latin and Arabic beats bringing to mind the music of Bebel Gilberto.
Band :

Composer/Guitars: Ahmad Ghannoum

Vocals: Layal Watfeh
Bass: Andre Segone
Keys: Niduk Wijetelleke
Ethnic Percussions: Bunny Batliwala
Latin Percussions: Tello Morgado
Harp: Shelley Fros
Violin: Khaled Ghadry
Kanoon: Khalil Ghadry
Engineer: Andy Ward




Lemonada - The Arabian Latin Chillout (2004)




1. Abali
2. Waynak
3. Zwareeb
4. Jnoon
5. Zaman
6. Halaktani
7. Law
8. Nayma
9. Peut-Etre
10. Zwareeb (Remix)
11. Jnoon (Remix)
12. Ishtatilak (Tribute Mix)


HERE

Klaket Band كلاكيت باند





Klaket is a rock group that is impossible to pigeonhole into a genre, for they move easily from one sound to another. The group has drawn from whatever music it likes, creating a unique sound that might be considered jazz, progressive rock, or just plain weird reverb rock. The group covets insightful wackiness from anywhere, low-tech approaches whenever possible, telling humor, and vital social targets of any kind Without ideological preaching. Although the concept sounds a bit serious, Klaket are actually both humorous and thought-provoking.

The group began as Vibration in 2008. Guitarists Ahmed Adel and Islam Magdy, Violinist Marwan Anwer, keyboardist Omar Bassam , Vocalists Ameer Youssef and Rasha Elsharnouby, comprised the unchanging core of the group. Bassist George M.Fam and Drummer Michel Khater completed the band in 2010.

Klaket began playing at El Sawy Culture Wheel. Their first performance attracted only about 300 people, most of them friends, but the group was invited back to perform and before long they had their own following and a growing prestige both within and outside the Egyptian Rock Music community.

The group's emotional baggage made for a successful sophomore effort as the Energic songs and empowered arrangements clearly pointed to a recharged group ready to steer a new course.

Their mission is to provide the  audience with professional new kind of music describing the community problems and its solutions through their added value lyrics, to be the best original Egyptian band all over the MENA Region.








Klaket Band كلاكيت باند - Awel mara 2011 اول مرة





01.Intro
02.Wad Ghatet
03.Etnen Ayshen
04.Ben El Hayah Welmot
05.Nefsohom Mankonsh Wahed
06.Helmo El Akhdar
07.Aam Hussein
08.Kan Ya Makan


lunedì 25 marzo 2013

Arab tunes mixtape # 7 - You, the night & the arab tunes

Mixtape dedicated to a very sweet woman who blindly believes in me.





01 Al Guinena (asmahan) - Ghazi Abdel Baki
02 Ala muji  El Bahr - Lena Chamamyan  
03 Helwa Ya Baladi - Dalida 
04 Hisabak - Tania Saleh
05 Neddik - Oum
06 Illak Shi - Gaida
07 Min ghairak - Farah Siraj
08 Bhebak - Abir Nehme 
09 Mreyte Ya Mreyte - Rasha Rizk
10 The Next Stage - Kayaan
11 Ya habibi ta 'ala - Darine Hamze 
12 Mo7el nefham - Hela Belhaj
13 Issalam -  Marvem & Ernie Tollar
14 Ya racha fattan - Amina Alaoui
15 Al sayeda Fil Buldan - Terez Sliman
16 Muwashah Aatini bikr Eddinane  - Rima Khcheich
17 Kol She Helo - Reem Talhami







giovedì 21 marzo 2013

Jean-Marie Riachi جان ماري رياشي





Jean-Marie Riachi (born May 24, 1970 in Ras Baalbek, Bekaa) is a Lebanese arranger, composer and record producer.

Riachi grew up in a non-musical family, however his passion and talent in music was obvious when he started playing the keyboard at the age of eight. In 1988, at 18 years of age, he participated in Studio el Fan, a Lebanese talent show, where he performed as a keyboard player. He was attending USEK University faculty of fine art at the time.

He began his music career performing in local bars and clubs. He then achieved success in the nightlife and restaurant industries as  partnering manager of a number of establishments, including Mandaloun sur mer, a highly-prominent seafood restaurant in Beirut.

Riachi launched his musical production and composing career in 1999 when he produced his first "hit", Baddi Doub. It was performed by Elissa, a Lebanese singer.

In 2001 he established the Jean Marie Audio Productions studio in Rabieh. He then created his own label, OMP (Oriental Music Publishing), the following year. OMP is the first established publishing company in the Middle East and inside a year it had secured a prominent status in the publishing world, attracting many international music companies, including BMG Music.

Jean-Marie's music recordings continued when he began producing songs for the soundtrack of the documentary movie Les Cendres du Phoenix. He also produced the theme song "Nour El Shams" by Pascale Machaalani, for the Hollywood movie Spy Game. He has also produced tracks used in television advertisements for various companies, including Pepsi.

In 2006, he arranged and mixed "Light the Way", that José Carreras and Majida El Roumi performed at the 2006 Asian Games in Doha, Qatar.

In 2009, he teamed up with several singers such as Ramy Ayach, Abeer Nehme, Simon Obeid and Yara, for the album Belaaks (On the contrary). It includes arrangements of various international hits such as Quizás, quizás, quizás, Fly me to the moon, La Vie en Rose and Hymne à l'amour mixing oriental music and Jazz.









Jean-Marie Riachi جان ماري رياشي - Belaaks  بالعكس



01.Shefto Min Beid- Yara 
02.La Vie En Rose-Laura Liis
03.Lamma Bada-Instrumental
04.Haymne A Lamour
05.Petite Fleur
06.My Baby-Sevine
07.Bint El Shalabia-Instrumental
08.Fly Me To The Moon-Instrumental
09.Encontros e Despedidas-Catia Werneck
10.Ya Habibi-Instrumental
11.Bhebak- Abir Nehme
12.Enta Ana
13.Bellayl-Simon Obeid
14.Belaaks-Ramy Ayach,Abir Nehme


HERE

lunedì 18 marzo 2013

Alif Ensemble فرقة الألف




Formed by some of the brightest musical talent from across the Arab world, the Alif Ensemble brings together artists from Syria, Lebanon, Palestine, Egypt and Iraq. Conceived by multi- talented oud player and serial collaborator Khyam Allami in partnership with two of the most inventive and independent Arabic musicians of today – Palestinian composer and vocalist Tamer Abu Ghazaleh and Egyptian electronica musician Maurice Louca – the Alif Ensemble is a pan- Arabic collaboration. This core trio is joined by musicians from both traditional and contemporary Arabic music disciplines, including percussionist Khaled Yassine (Lebanon) and bassist Khaled Omran (Syria).

The ensemble debuted in summer 2012 at prestigious UK festivals: the Liverpool Arabic Arts Festival, Harrogate International Festival and the BT River of Music Festival (part of the Olympics-related London 2012 Festival) after a week-long residency hosted by the Liverpool Philharmonic. They also performed an intimate concert at the IKON Gallery in Birmingham. Public and critical reaction to these debut concerts made it clear that the project has an exciting future ahead, and the Alif Ensemble (named after the first letter in the Arabic alphabet) are currently working on recording and touring plans for 2013.

During time spent together – a month in Cairo – ahead of their first gigs, the ensemble developed a darkly compelling and energetic sound-world from a beguiling blend of acoustic and contemporary electronic sounds. In a review of one the band’s very first performances The Wire, the UK’s premiere experimental and avant garde music magazine, described the Alif Ensemble as:

“a vehicle for original composition, attuned to the traditions of Arabic music, but applying a rock dynamic to their delivery [...] The dominant Alif character is one of a collective sound, each member working at the service of the compositions, rarely stepping forward to solo, and usually sounding equally balanced.”
Band

Khyam Allami (Oud)

Tamer Abu Ghazaleh (Vocals, Buzuq)

Maurice Louca (Electronics)

Khaled Omran (Bass)

Yarub Smarait (Violin)

Ayman Mabrouk (Perc)

Khaled Yassine (Perc)


(Source : Facebook)







Alif Ensemble فرقة الألف - Three songs






01 Al-Juththa (The Corpse) Live
02 Hasat حصاة(Pebble) - Live in Beirut 29 Dec 2012
03 Intadhirha (Wait for Her) Live




domenica 17 marzo 2013

Khalas خلص



Khalas origniated from the new Arabic and Oriental scene that is currently emerging in the Middle East. The Palestinian band inoculates sensual Arabic beats and lyrics with aggressive metal riffs. Bread on various musical moods, such as AC/DC, System of a down, Black Sabbath, etc… and stars from the Arab world: Muhammad Abd el wahab, Om Kolthum and Asmahan. The band composes original sounds while getting strong insipration from the classical Arabic repertoire all of which ruthlessly embedded with Rock and Metal arrangements.
In 2004, Khalas released their first LP “Ma Adesh Feeha” (We’ve Had It). The album hit number one in several local radio stations and music magazines. Through the years, Khalas fan base worldwide grew and in 2005, they embarked on a tour in Spain, Italy and Sarajevo.

Today, in 2012, Khalas started to dig deeper into the Classical repertoire and decided to expand their musical performance to include 4 more traditional Arabic instruments, a new vocalist and a Sufi Dancer.









Khalas خلص - Ma Adesh Feeha





01 Inta Omri - إنت عمري

02 El Malek Aryan - الملك عريان
03 Nowsal La Janeh - نوصل لجنّة
04 Ablek - قبلِك
05 Heni Arfeen - هنّي عارفين
06 Ma Adesh Feha - ما قديش فيها
07 Biladi - بلادي
08 Shokran - شكرًا
09 Waraka Beda - ورقة بيضا




Khalas خلص - Arabic rock orchestra EP



01 Badek Zaafi
02 Haz El Adala
03 Inta Omri
04 Hebbina
05 Amona


Ribab Fusion





The group was created in 2008 in Agadir, the result of a dream that has reached maturity, the return of the instrument “Ribab” to its rightful place on the Moroccan music scene, through its unique musicality, to be carried beyond borders by a transcultural journey, in order to show the world the potential of Amazigh music, not by nostalgia, but with a new face and a modern musical, this is all the merit of the group Ribab fusion is to reconcile the richness of our roots and our affiliation with modern and modernist tonality .

( Source : http://soundcloud.com)




Le groupe crée à Agadir en 2008, fruit d’un rêve ayant atteint maturité, celui de remettre l’instrument du « Ribab » à sa place légitime sur la scène musicale marocaine, et par le biais de sa musicalité unique, le porter au-delà des frontières par un voyage transculturel, et faire découvrir au monde le potentiel de la musique Amazighe, non par de la nostalgie, mais par un nouveau visage et une musicalité moderne, et c’est là tout le mérite du groupe Ribab fusion, c’est de réconcilier la richesse de nos racines et de notre appartenance avec une tonalité moderne et moderniste .

Ribab fusion est un hommage à la tendresse, un voyage mythique aux racines intarissables de la culture amazighe, un hymne osé entre chant traditionnel du souss et ses musiques villageoises, notamment AHWACH IBARKAK, AHWACH N TAFRAWT, AHWACH N TANALT, AHWACH N SOUSS..., et musicalité moderne, le tout pour ajouter une pierre à l’édifice de la diversité, la proximité entre les gens et du respect des frontières personnelles de chacun d’entre nous à travers la poésie et le chant amazigh.

Le mariage mélodique que prône Ribab fusion s’étale jusqu’à l’étymologie même du nom du groupe qui allie dans son creux deux mots de deux horizons différents : « Ribab », cet instrument longtemps symbole de l’appartenance à la légendaire terre du souss, moelle épinière de tout chant Amazigh, et « fusion », avec toute la teneur du mot regroupant l’idée de rencontre, union, mélange, syncrétisme et du métissage culturel.

Dés ses débuts, ce groupe a su élaborer et imposer une identité musicale originale, souple et adaptée à sa raison d’être, qui loin d’être un nombre de plus sur la scène musicale, il se veut « créateur de musique », avec des compositions vivantes qui s’inscrivent à la croisée de différences culturelles et musicales. Tout en installant un état d’esprit et un style résolument moderne et ouvert sur les musiques du monde.

( Source: www.facebook.com)






Ribab Fusion - L'Fichta



01 tamont
02 Tissoura
03 Tagrawla
04 les foulani
05 azemz
06 inahana
07 marhaba
08 Afoulk
09 L'Fichta





sabato 16 marzo 2013

Kayaan كيان





KAYAAN means existence in Arabic. The band, founded and produced by pianist Christian Mueller, is an international music project that blends Arabic Hip Hop with Western Jazz. It’s a unique music project - the first of its kind that joins different cultures. It consists of three rappers from Palestine  (We7 band) as well as six jazz musicians and a female vocalist from Switzerland.

This exciting mixture emerges on the debut album “Wednesday”, which got its name from the weekday, since most of the important creative work happened on a Wednesday.

Besides, the album features special guests such as Rim Banna, Suhell Nasr and Ruba Shamshoum from Palestine and May Nasr from Lebanon.

Adi Krayem:: Vocals
Alaa Bishara:: Vocals
Anan Kussiem:: Vocals
Christian Mueller:: Keyboards and Producing
Steve Andrés:: Sax, Flute
Andi Schnoz:: Guitars
Nyna Cantieni:: Vocals
Dario Sisera:: Percussions
Marc Jenny:: Upright Bass
Adriu Maissen:: Drums


(Source : http://www.eka3.org)



فرقة كيان هي مشروع موسيقي عالمي يجمع بين موسيقى الهيب هوب العربية و الجاز الغربي. عازف البيانو كريستيان مولر أنشأ الفرقة و يتولى إنتاج أعمالها. الفرقة مشروع متميز و طموح يجمع لأول مرة ثقافتين مختلفتين تماماً. تتكون الفرقة من ثلاثة مغني راب من فلسطين و ستة عازفي جاز و مغنية من سويسرا. نتيجة هذه الوصفة هي مزيج فريد بين روعة الجاز و حيوية الهيب هوب خصوصاً بعد وضع تزاوج الثقافات في عين الإعتبار. مغنو الراب الفلسطينيون يضيفون بكلماتهم إنعكاساً للواقع السياسي و الاجتماعي للفلسطينين في إسرائيل بلغة مجازية و ساخرة مع إضافة حس المفارقة في الواقع. الألبوم يجمع أيضاً موسيقيين آخرين مثل بيم بنا، سهيل نصر، و ربى شمشوم من فلسطين، و مي نصر من لبنان. كل هذه العوامل تجعل من كيان مشروعاً عالمياً فريداً من نوعه و ذو كاريزا خاصة.






Kayaan كيان -  Wednesday  إنجاز





1 Next Stage
2 Unsolved Case with Rim Banna
3 You Barely Live Once
4 In Palestine Walaa Sbeit
5  #5 with Ruba Shamshoum
6 In Switzerland 

7 Sooner Or Later with May Nasr
8 Another Day
9 Pirates of the Mediterranean with Duraid Liddawi
10 We Still Don't Care  with Suhail Naffar
11 InJazz with Lou Geniuz
12 Taking A Bow

EGYPTIAN PROJECT



With all the news that's been coming out of Egypt over the last year, it's surprising that more music has not been circulating. Years before the terms 'Arab Spring' was coined, French producer Jérôme Ettinger devoted himself to exploring, preserving and spreading the sound of the North African country he fell in love with. Assembling world-class musicians and layering in tasteful electronic rhythms beneath virtuosic playing, his Egyptian Project debut, Ya Amar (Six Degrees Records), is the most potent album to arise from this country since the political upheaval began.

'My idea was to mix electronic, acoustic and Egyptian traditional music,' he says from his Nantes house. 'I chose one string instrument player, one singer, a percussionist and rababa player. They are all my family now—I manage and organize everything for all of them.'

The 34-year-old native of Nantes, France began traveling to Cairo to study the arghul, a clarinet-like, double-pipe, single-reed woodwind instrument, that has a long history in Arabic music. His teacher, Mostafa Abdel Aziz, performed on the famous Egyptian orchestral recording of Mozart's work, as well with Peter Gabriel. During this time Ettinger founded Zmiya, an electro-world band that sometimes explored Egyptian melodies, rhythms and lyrics.

As his passion for Egyptian culture and music grew, Ettinger assembled a team of renowned artists for a touring band: percussionist Ragab Sadek, rababa player/violinist Salama Metwally, (oud player Ihad Radwan and) singer Sayed Eman, whose epic vocals decorate many of this album's 10 songs. With all musicians between the ages of 50 and 60, Ettinger has played an important role in introducing these incredible artists to the world beyond the Nile.

Using Ableton Live during live shows—they've played many times in France and Egypt in the three years since the band's founding—Ettinger records and samples percussive and melodic parts, laying them into the beats he's creating on stage, which he admits was no small feat.

'In the beginning, it was not easy to mix electronic and Egyptian music,' he says. 'The rababa player had never played this way. I told him that he only had eight measures to play, but he wouldn't stop. It took a while to teach him to work in that construction.'

Patience is a virtue, however, and working with sound engineers Jean Paul Romann (Tinariwen, Lo'Jo) and Rodolphe Gervais (Desert Rebel, Ray Charles), Ettinger recorded and mixed the album at Studio du Faune in Montauban de bretagne, France. The merging worlds of digital music and classical performance immediately shine on 'Ya Amar,' a song discussing how the world's diverse cultures all see one moon at night—a beautiful tribute to a nation in transition.

Like much Arabic and especially Sufi poetry, couplets are repeated over and over, each time colored by Emam's grand voice. 'Ya Sahbi,' with its building electric guitar, violin and drum kit, discusses betrayal.

'The song is about a problem between friends, dealing with betrayal,' Ettinger says. 'All the lyrics speak about very simple things, like the hurt that happens between two people. The general idea is that if you betray somebody, you will be betrayed.'

Sayed Emam is not hard-set on repeating lyrics verbatim. He once called Ettinger and said that he could not sing the same lyrics that night, as he didn't feel those emotions that day. Ettinger told him that as long as he stayed within the beat structure, he is always free to improvise. He also knew that while Emam might occasionally change a lyric, the meaning on his poetry remains intact. Regardless, you never know what will happen at any Egyptian Project show.

Ettinger himself often sings melodies behind Emam. Originally trained by a blind guitarist Hervé Masson, he was taught to feel the music in a way someone with sight would have difficulty transmitting. While Massive Attack is one his favorite electronic music band, his real passions have been for the folk musics of the world: Malian kora, Australian digeridoo, Western European hurdy-gurdys, as well as various forms of French music. Mozart, Beethoven and Tchaikovsky round out his eclectic list.

Taking three years to recordYa Amar, Ettinger wanted to respect Egypt's traditional sound and not force it to fit into his electronic context—the fundamentals had to remain the same. By all accounts, he's succeeded splendidly. With plans of adding a Gypsy female vocalist from Cairo to round out the live band's presence, he is excited to open up touring possibilities to other countries.

Ettinger's other initiative is also helping in both outreach and economics. 'The arghul is a dying instrument. The instrument will soon be seen only in museums. That's why we've been organizing meetings with journalists and going into schools to hold workshops with children. We want to share the musical history of Egyptian music.'



Band :

Sayed Emam: vocal, percussions, kawala
Ragab Sadek: dof, sagates, rek, darbouka, dhola
Salama Metwally: violin, rababa
Jérôme Ettinger: arghul, computer, vocal, dof
Ihab Radwan: oud
Anthony Bondu: drums
Antoine Carrique: FOH engineer
Karl Archambaud: light designer
Vincent Louvet: monitor engineer
Estelle Gaucher: video engineer
Guillaume de Rémusat: manager


(Source: http://www.sixdegreesrecords.com)









EGYPTIAN PROJECT - Ya Amar



1 Takasim Salama
2 Ya Amar
3 Anta Ana
4 Besharis
5 Kawala Tempo
6 Ya Sahbi
7 Soufi
8 Nessma
9 Menen Aguibak
10 Rouhi

HERE



giovedì 14 marzo 2013

Souad Massi سعاد ماسي







Souad Massi, born August 23, 1972, is an Algerian singer, songwriter and guitarist. She began her career performing in the Kabyle political rock band Atakor, before leaving the country following a series of death threats. In 1999, Massi performed at the Femmes d'Algerie concert in Paris, which led to a recording contract with Island Records.

Massi's music, which prominently features the acoustic guitar, displays Western musical style influences such as rock, country or the Portuguese fado but sometimes incorporates oriental musical influences and oriental instruments like the oud as well as African musical stylings. Massi sings in Algerian Arabic, French, and occasionally English and Kabyle (Berber language), often employing multiple languages in the same song.


Massi was born in Algiers, Algeria to a poor family of seven children. Encouraged by her older brother, she began studying music at a young age, singing and playing guitar .Growing up, she immersed herself in American country and roots music – musical styles that would later strongly influence her songwriting. At the age of seventeen, she joined a flamenco band, but quickly grew bored with the group and left.



In the early 1990s, Massi joined the Algerian political rock band Atakor, who were influenced by Western rock bands such as Led Zeppelin and U2. She recorded and performed with the group for seven years, releasing a successful album and two popular music videos . The band, however, with its political lyrics and growing popularity became a target. Massi disguised herself by cutting her hair and dressing in male clothing, but she nevertheless became the target of a series of death threats. In 1999, she left the band and moved to Paris, France.

In 1999, Massi was invited to perform at the Femmes d'Algerie ("Women from Algeria") festival in Paris, which led to a recording contract with Island Records.In June 2001, she released her solo debut album, Raoui ("Storyteller"), which Allmusic compared to 1960s American folk music.Sung mostly in French and Arabic, the album became a critical and commercial success in France.The following year, she was nominated for "Best Newcomer" at the Radio 3 World Music Awards.




In 2003, she released her second album, Deb ("Heartbroken"). The album's lyrics were more personal, rather than political, and it became one of the most successful North African albums worldwide. Three years later, Massi released her third album, Mesk Elil("Honeysuckle"). The album expanded on the themes of love and loss that had been explored on Deb, and featured duets with Daby Toure and Rabah Khalfa.

In 2010, she released her fourth studio album Ô Houria. This album was produced by Francis Cabrel and Francoise Michel. It features Paul Weller on piano and vocals on its closing song.



(Source : http://en.wikipedia.org)








Née le 23 Août 1972 à Bal El-Oued, un quartier de Saint Eugène d'Anger, Souad Massi est issue d'une famille modeste de six enfants. Son père travaille à la compagnie des eaux, il est fan des musiques traditionnelles Algéroise, quant à sa mère elle préfère plutôt Brel et James Brown.
Petite fille se passionne pour la musique dès son plus jeune âge, ses oncles sont jazzmen, et ses frères musiciens. Elle découvre les chansons du maître du Chaâbi, El Hachemi Guerouabi, puis le rock et la musique américaine grâce à ses frères. Souad est une enfant rebelle et têtue, elle préfère jouer au football plutôt que d'effectuer les taches ménagères.
C'est son frère aîné, compositeur, qui prit l'initiative de l'inscrire à l'association de l'Ecole des Beaux-arts d'Algérie, pour qu'elle y apprenne pendant trois ans la guitare. Elle suit alors, des études de musique classique, de solfège, et de musique arabo-andalouse. Ces années sont synonymes de rigueur et d'apprentissage, Souad ne cesse d'évoluer. Elle avance, elle se construit musicalement, et prend du plaisir à cela. C'est un ami qui lui fit découvrir la musique country des années 40, dont Souad s'inspira pour trouver son style...

 
                                                          1989 
C'est l'année des débuts sur scène de Souad Massi. Sa guitare à l'épaule, elle donne vie à sa passion, et par ce biais se fait connaître. En même temps, elle accompagne un groupe de Flamenco Triana d'Alger avec lequel elle fera non seulement des scènes, mais aussi des passages télévisés sur les chaînes Algériennes.

Souad aime ce qu'elle fait, elle est passionnée, déterminée, mais cela ne suffit pas. Ce sont les années noires en Algérie, les artistes ne sont pas respectés, et il est difficile pour eux de mettre en place des projets concrets.

Elle est découragée, elle pense même à arrêter, malgré sa passion pour la musique, Souad ne sait plus que faire. Partagée entre le désir de poursuivre son rêve et celui de prendre une autre issue.

Sous la coupe de sa mère, Souad avait tout de même passé son bac, et obtenu un diplôme d'urbanisme. Elle commence alors à travailler dans un bureau d'études d'urbanisme, tout en continuant d'écrire et composer. La jeune fille ne désespère pas, elle y croit encore malgré les échecs. Elle pose souvent des mots tristes, sur des histoires amours, sur le monde qui l'entoure. Des sentiments que la jeune fille ressent et a besoin de traduire. Ses maux prennent forment à travers des mots, des mélodies... Elle dépose sur du papier, les ressentis qui l'habitent, ceux qu'elle découvre jour après jour.

La jeune artiste adore le folk, la country, Kenny Rogers et Stevie Wonder. Elle va être contactée par un groupe de rock Algérois... Pour Souad c'est l'adolescence, la rébellion, l'envie d'ailleurs... Elle devient l'égérie du groupe, et découvre AC/DC, Metallica. Elle apprend la pop, le rock, et se produit dans divers festivals. Le groupe sort une cassette en 1997 dont les ventes vont être étonnantes. C'est lors de son passage dans Atakor que Souad revient à ses premiers amours musicaux.

Souad ne parvient pas à concilier vie professionnelle et vie artistique. Elle décide de quitter sa carrière d'ingénieur pour poursuivre sa passion à plein temps.

1998

Une année dont Souad se souviendra. Première cassette sur le marché Algérien, après s'être égarée dans d'autres styles, elle revient à la country music. Une oeuvre intimiste, mélangeant anglais et français, c'est une vraie première en Algérie. Artiste originale, Souad a sa personnalité artistique, son talent et sa plume... Auteur et compositeur de ses chansons, elle ne cesse de toucher de nouveaux publics.


En janvier 1999, Souad est invitée à Paris pour participer au festival "Femmes d'Algérie". Elle fait le déplacement, sans savoir qu'il va changer sa vie et sa carrière. Première édition de ce festival, qui connaîtra un succès mérité. Des artistiques venues de plusieurs régions d'Algérie, se retrouvent à Paris pour défendre leurs droits, leurs valeurs, et militer contre les intégristes.

Souad ne passe pas inaperçue, son répertoire et son charisme sont estimés de tous, et ne tardent pas à faire parler d'eux dans les bureaux d'Universal Music. C'est un nouveau départ, Souad va alors pouvoir donner un nouvel élan à sa carrière.

2001

Pendant deux ans, Souad Massi prépare son album, ses musiques, ses textes... C'est en Mars 2001 que sort "Raoui" (le conteur), un mélange de douceur, de mélancolie et d'inquiétudes. Quinze jours suffisent pour enregistrer dans des conditions intimiste cet album, avec la complicité de Bob Coke. Elle allie rock et traditions, et ce petit bijoux révèle au grand public une artiste dont la voix bouleversante et le talent vont connaître un grand succès.

"Raoui" une chanson qui a marqué bon nombre de personnes... Un air, une mélodie, une voix... Souad Massi! Titre de l'album, mais aussi titre phare de sa carrière, le public la connaît, la chantonne aujourd'hui encore. Des épices diverses sont semées par les chansons de l'album. Un peu de reggae, de parfums des iles, de brin de français... Souad mélange, mais Souad garde son univers.

Avec "Raoui", Souad ira de scènes en scènes. Première partie d'Idir, de Saez et de bien d'autres encore, plus de 200 concerts sont donnés. A la Cigale de Paris la salle est pleine, quelques mois plus tard c'est à l'Olympia qu'elle se produira en vedette...

Plus de 80 000 exemplaires vendus, le rêve devient réalité! En Europe, Souad connaît une réussite totale, et en 2002, elle reçoit le prix de la chanson Etrangère décernée par l'Academie de Charles Cros, ainsi que le Prix du Haut Conseil de la Francophonie pour son album.

Incitée par sa maison de disque, Souad enregistre des duos avec des artistes d'Universal. En 2O01, c'est avec Marc Lavoine qu'elle chantera "Paris", puis il y aura aussi "Noir et Blanc" avec Ismael Lo, et enfin "savoir aimer" avec Florent Pagny. Souad élargit son public, Souad élargit son univers.

2003

Vient ensuite le deuxième album, "Deb", qui sortira en France en Mars 2003. Cet album sera le reflet de ses influences artistiques, celles qui la bercent depuis toujours. Musique arabo-andalouse, chaâbi, rock, folk... Tous ces styles restent présents, mais Souad joue aussi sur la modernité cette fois. Il lui vaudra une reconnaissance internationale, essentiellement dans les pays Anglo-saxons, puis elle se produira à plusieurs reprises.


Souad Massi entama une tournée Française pour défendre son album, elle passa par l'Olympia, avant de prendre la route pour des pays lointains comme le Soudan, la Pologne, l'Espagne, les Etats Unis.

En 2003, "Deb" sera même l'album de la world music le plus vendu en France, il est nominé aux Victoires de la Musique en 2004, comme meilleur espoir. La tournée reprend en 2004, les routes de France et du monde entier, ne sont plus inconnues pour Souad. Elle poursuit sur le chemin de ses rêves, avec la même sincérité et humilité qu'à ses débuts. Dans les pays Anglo-saxons, les critiques positives ne cessent de pleuvoir, et Souad connaît un succès étonnant.

2006

Souad fait escale en Tunisie. Elle y retrouve les sensations et les souvenirs de sa jeunesse Algérienne. De retour en France, elle est prise par un brin de nostalgie qui ne l'a jamais réellement quitté, mais qui cette fois ressort au grand jour. Souad décide alors de s'en servir pour son troisième album "Mesk Elil". Nostalgie, mélancolie, souvenirs... Souad se rappelle, Souad en parle, en chansons.

La maison de son grand père, son frère qui s'est toujours occupé de sa famille. Un album où l'on peut retrouver des morceaux du passé, de la douleur, mais aussi des jolis moments qui lui reviennent. On retrouve d'ailleurs sur cet album les voix de Daby Touré, Manu Katché, et Pascal Danae.

"Mesk Elil" marque une évolution dans la carrière de Souad, elle est parvenue à grandir artistiquement, tout en restant elle même. Elle se produisit ensuite au Casino de Paris, avant de débuter une nouvelle tournée qui la mènera ici et la, aux quatre coins de l'hexagone. Courant 2006, elle décrocha une Victoire de la Musique, reconnaissance de son talent grandissant.

Souad Massi fait aujourd'hui partie des grandes artistes de la World Music, trois albums à son actif. Rien ne l'arrête.

 2010

Souad Massi poursuit sa tournée sur les routes de France et d'ailleurs. Vous pouvez retrouver les dates de ses concerts sur Blueline, ainsi que sur son myspace/facebook.

Après des mois de travail, Souad & Eric Fernandez montent sur scène, accompagnés de musiciens et danseurs, pour présenter leur création Arabo-Andalouse.

Et depuis le 8 Novembre dernier, vous pouvez découvrir son denier album "Ô Houria" qui marque une évolution supplémentaire dans sa carrière et ses choix artistiques. Réalisé en collaboration avec Francis Cabrel, et Michel Françoise, ce nouvel album est vous réserve bien des surprises...


(Source : http://www.myspace.com)






Souad Massi سعاد ماسي - Raoui الراوي





01 Raoui (The storyteller)
02  Bladi (My contry)
03 Amessa (A day will come)
04 Tant pis pour moi(Too bad for me)
05 Hayati (My life)
06  Nekreh El keld (I hate this heart that loves you still)
07 Denya (The Eart)
08 Khsara Aalik (It's a Pity)
09  Rani rayha (I'm leaving)
10  J'ai pas de temps (I don't have the time)
11 Awham (Illusions)
12  Lamen (Trust)
13 Enta Dari (you Konw)
14 Matebkiche (Don't Cry)

HERE



Souad Massi سعاد ماسي - Deb (Heart Broken)





1. Ya Kelbi - Oh my heart
2. Ghir Enta - I only love you
3. Ech Edani - I shouldn’t have fallen in love with you
4. Yemma - Mummy I lie to you
5. Yawlidi - My little boy
6. Le Bien et Le Mal - Good and Evil
7. Houria - Freedom
8. Deb - Heart broken
9. Moudja - the wave
10. Passe Le Temps - As time goes on
11. Theghri - I send an s.o.s
12. Beb El Mahdi - The gate of the past




Souad Massi سعاد ماسي - Mesk Elil مسك الليل







01  Mesk Elil مسك الليل
02  Kilyoum كل يوم
03  Ilham الهـم
04 Manensa Asli ما ننسى اصلي
05  Dar Djedi دار جدي
06 Denya Wezmen الدنيا و الزمان
07 Tell Me Why قلي علاش
08  Hagda Wala Akter هكـّدا ولاّ أكثر
09  Khalouni خلوني
10 Malou مالو
11  Mahli Remix ماهلي - مزج


HERE




Souad Massi سعاد ماسي - Live Acoustique 2007


Live enregistré les 29 et 30 Janvier 2007 au Théâtre la couple





01 Denya Wezmen
02 Hayati
03 Yemma
04  Bladi
05 Matebkiche
06 Raoui
07 Dar Djedi
08 Hagda Wala Akter
09 Amessa
10 Ghir Enta
11 Ech Edani
12  Ya Kelbi

HERE



Souad Massi سعاد ماسي - Ô Houria يا حرية




1. Samira Meskina
2. All Remains To Be Done
3. Kin Koun Alik Ebaida
4. Ô Houria
5. Nacera
6. A Letter to … Si H’Med
7. Everything I Love
8. Khabar Kana
9. Enta Ouzahrek
10. Stop Pissing Me Off
11. A Smile
12. Let Me Be In Peace (Feat. Paul Weller)
HERE

martedì 12 marzo 2013

Gene Band فرقة جين



Members: Shadi Ali: Vocals, Hazem Al-Ani: Piano & Keyboards, Omar Harb: Bass guitar, Maen Rajab: Guitars, Anas Abdul Moumen: Guitars, Mazen Shouman: Drums

Gene is a band that aims to communicate the voices of young Syrians and Arabs, their frustrations, their angst, their diversity and their ambitions; in a modern, internationally understandable language and tone. Tackling such lofty and thorny issues, as ‘honor’ killings of women, pollution, and the individual and national struggle for independence, emancipation and freedom through its music. The talented ensemble of individuals that is Gene—some of whom have had the highest academic musical formation—took its decision to follow the rocky path of challenging norms and crossing boundaries, from the onset, and remaining faithful to this choice throughout.

Through challenging norms and traditions, Gene aims to become a factor of positive change—the “Gene” of change in the modern Arab societies that it speaks to. The band holds firm to the belief that music has a message, and it is this message that the band’s music delivers.

The band was officially founded in 2005, and first performed in 2006. Since then, the band has played many concerts inside and outside Syria. This included the Cornwall City festival (Britain, 2006), toured of four Syrian provinces with the Syrian Youth Festival (2007), a Concert in the city of Damascus (Teatro center, 2007). In 2008, came the launch of the band’s first eponymous album (Gene) in Damascus under the auspices of the General Secretariat of Damascus, the Arab Capital of Culture. In 2010, Gene performed at the Damascus Citadel (Syria), The Turkish Vision Festival (Turkey), and with the Arabic Voice Project in (Egypt).

At essence, rock band is a group of people who just love to rock, and who holds on to a simple belief that the world can change, one song at a time. Gene is no exception. That is what it all set out to be. This is what it still is. This is what it will always be.


(source : http://www.reverbnation.com)








Gene Band فرقة جين




1. Ya Waladi ياولدي
2. Hona l Sham هنا الشام
3. DNA
4. Iza Feek Tsoo’ اذا فيك تسوؤ
5. Time وقت
6. Ala’ssifa (Ya Mahla l Fos’ha) (العاصفة(يامحلا الفسحة
7. Twattor A’li توتر عالي
8. Kawni B’eed كوني بعيد
9. Sarab سراب


HERE
Related Posts Plugin for WordPress, Blogger...