#kakraba lobi

[radiophd]

kakraba lobi -- the world of kakraba lobi [album, 1986]

#1980s #folk #percussion #west africa #kakraba lobi

[omegaradiowusb]

AUGUST 30, 2021 (#282)

Ata Kak: “Obaa Sima” + “Daa Nyina” Penny Penny: “Shichangani” + ““Ingani” Professor Rhythm: “Bafana Bafana” Teno Afrika: “Smooth Criminal” + “Trip To Vlakas” DJ Black Low: “Javia Low” + “Alone In A Dark” DJ Katapila: “Cocoawra” + “Sakawa” (Om) Alec Khaoli: “Say You Love Me” + “Enjoy It” Antoinette Konan: “M’acko” + “Yale” Umoja: “707″ Asnakech Worku: “Mech Alkugn Lela Sew” Dur-Dur Band: “Dholey” + “Dooyo” Aby Ngana Diop: “Liital” + “Ndadje” Bola: “Yine Ntaripaga” Na Hawa Doumbia: “Abayetidu Ma” Sourakata Koite: “Moussa” + “Dioula” Awalom Gebremariam: “Desdes” Awa Paulo: “”Djara Wilam” + “Mido Yirima” Jess San Bi & Peter One: “Minmanle?” Ephat Mujuru & The Spirit Of The People: “Mudande” SK Kakraba (Lobi): “Darifu”

All interstitials: Hailu Mergia with The Dahlak and Walias Bands.

Sundown finally arrives for Omega Radio‘s as its most ambitious (summer) broadcasting season comes to a close. We fill-in for Purple Starlight and send ourselves off to Autumn for our second and final label tribute in New York City’s Awesome Tapes From Africa label. For ten years, label-head Brian Shimkovitz discovers once-extremely rare, obscure, and authentic finds from all parts of Africa and re-issues them for wider audiences and distribution. Tonight, Hailu Mergia, Ata Kak, Penny Penny, Aby Ngana Diop and many more showcase the label’s entire back-catalogue.

We hope everyone enjoyed what we offered here on our busiest 13 weeks ever on WUSB. For everyone who’s followed, visited, and listened to us, we can’t thank you enough.

September 8, 2021 (midnight New York City): bonus Omega

September 11, 2021 (10PM New York City): deluxe Omega

September 25, 2021 (10PM New York City): deluxe Omega

October 9, 2021 (10PM New York City): deluxe Omega

October 23, 2021 (10PM New York City): deluxe Omega

November 6, 2021 (10PM New York City): deluxe Omega

November 20, 2021 (10PM New York City): deluxe Omega

#omega #music #playlists #world #Africa #Awesome Tapes From Africa #Hailu Mergia #Ata Kak #Penny Penny #Aby Ngana Diop

[cluboftigerghost]

FROM THE ARCHIVES - 2018 Midori Takada is a composer and percussionist from Tokyo, whose prolific work is characterised by its minimalism, uniquely rich texture and elegance. Exposed to African drumming while living in Berlin in 1980s sparked a life-long relationship with the sound and past work includes Mkwaju Ensemble and collaboration with musicians from around Africa and Asia, including Kakraba Lobi from Ghana and Korean zither player Chi Seong-Ja. The overwhelming success of reissues on WRWTFWW in 2017 have just just how loved Midori's work is and has thankfully led to an influx of European live dates. Rarely know to give interviews in English, or curate mixes we're blessed to offer both here. Read her words, translated into Japanese, alongside Midori's selection consisting of music that she either produced solo and with others or albums she featured on. Interview: https://ift.tt/3ewTeQg

#Midori Takada #SoundCloud #Japan

[postpunkindustrial]

Midori Takada sounds like heaven. Over the past forty years, the masterful Japanese percussionist and composer musical output has ventured far and wide; deep diving through Asian and African percussive language, with a specialist subject of Japanese meditative and ceremonial sonic practices. Not dissimilar to (as just as important as) Brian Eno's Fourth World music, her textured soundscapes might be minimal but they are completely magical.

Thanks to a popular YouTube rip of her then criminally overlooked 1983 debut solo album Through The Looking Glass, Midori -- who previously composed with her percussion group, Mkwaju Ensemble -- is now known more than ever for those four chapters that one fan on YouTube described as making them feel like "a cloud hanging over cherry blossoms," while another, clearly just as taken with the record, remarked, "dude, this is straight up pimp juice."

Tonight, as part of the Barbican's Transcender 2017 series, Midori will perform her verging on ritualistic live show at Milton Court Concert Hall, with support from US band Visible Cloaks. We asked the mystical music wizard to guide us through a mix of her favourite transcendental tunes from around the world and boy did she deliver. Lose yourself as Midori talks you through her selections.

Midori Takada & Kakraba Lobi, Meeting - For Wooden Pieces (Japan and Ghana, 1990) "It is a live recording. I had the chance to perform on stage with Kakraba Lobi, a man who introduces the music of the Robi clan, not only in Japan but also in Ghana. He plays music that is performed with the minimum of material and with a body that embodies an abundant harvest."

Lamin Konte, Sidi Yela (Senegal, 1990) "Lamin Konte passes down and sings the songs that express the African soul during slave era. As a traditional griot, he keeps a strong posture. The album that I collaborated with him on is also something that I am very proud of."

Gyuto Monks Tantric Choir, Offering Of Tea (Japan, 1987) "A proclamation will awaken the insides of your body. It is the basis of the existence of the voice and body."

Kim Dae Hwan, Large Buk Harley Pipe (Korea) "Kim Dae Hwan is a pioneer of Korean Free Jazz and was also a seal carver as well. I have crossed swords as well as intellectualized about music with him. All through his life, he continued to be a man of freedom. Under military rule, he stuck with his principle of living a life of freedom that went hand in hand with music."

Toru Takemitsu, Rain Tree (Japan, 1982) "No comment."

Pablo Casals, El Cant Dels Ocells (Spain, 1961) "I still remember when Casals played El Cant dels Ocells at the U.N. 'Birds fly freely through the space. Peace, peace'."

Barbara, Goettingen (France, 1970) "With any one of her songs, I feel a sense of disconnectedness. By listening to her songs, you will not be spared of this psychological state but it will help deepen its understanding."

Through the Looking Glass was reissued this summer by Palto Flats and the well-named, We Release Whatever The Fuck We Want Record

[kjh-417]

パンジエア - 旅する鼓膜 - volume.1 アフリカ

今回お届けした楽曲です。 　 M1  Yala (Oumou Sangare)   M2  Kote don (Rokia Traore)   M3  Oualahila Ar Tesninam (Tinaliwen) 　 M4  Leydi Ma (Baaba Maal)   M5  Tabara (Jali Nyama Suso)   M6  Nyablelo (Kikoshi Cha Ngoma Za Taifa)   M7  Mwendeke (Hukuwe Zawose)   M8  Kumakudo (Simon Mashoko)   M9  Kekana (Wes Madiko)   M10  Unite Africa (Kakraba Lobi)   M11  Loloye (Angelique Kidjo)   　  

#ラジオ #radio #富山シティエフエム

[butchyfuego-works]

Seeing Trails is proud to present the first ever live concert at The Lodge. 2 very special performers from opposite sides of the globe and from entirely different disciplines will play solo and then together for a musical performance unlike any that's ever taken place on this planet. One is a master of a traditional African folk instrument. The other is a hyper-modern Japanese voice artist who shapes his own genre and sound to adapt to the crowd he is playing to.

S.K. Kakraba: S.K. Kakraba Lobi is a Master Xylophonist from Ghana, the son of Master Xlophonist Kakraba Lobi. S.K. is a Master of the Gyil, which means that he is both an instrument maker and a virtuoso performer. The Gyil is the Ghanaian Xylophone, and the primary instrument of the Lobi, Sisala, and Dagara people of Northern Ghana. It is constructed of 14 wooden slats suspended over calabash gourds that have been fitted with resonators. S.K. was an instructor of the gyil at the International Centre for African Music and Dance at the University of Ghana, but has recently moved to Los Angeles, CA.

Kyo Sakurai: Kyo Sakurai is a beatboxer from Tokyo Japan that mimics ethnic instuments, electronic sounds, and sounds of nature with his mouth, looping and mixing them like a DJ. To understand what he does, it is best to watch one of his captivating and singular performances, as there is really nothing like it. He is visiting LA right now recording an album.

#seeingtrails music losangeles skkakraba kypsakurai secretshow

[stormyrecords-blog]

new arrivals 3-17-17

hello friends of stormy!!we will be closing up shop EARLY on saturday march 18th to attend a family function. please make a note of it in case you are planning on stopping by!! thank you for understanding that every now and then we have to leave early to do other things!! we will be back open regular hours as of march 20th, 2017, at 11am. in FRIDAY TAKADA, MIDORIThrough The Looking Glass  cd $17.99Palto Flats and We Release Whatever The Fuck We Want Records present the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi-percussionist, and theater artist renowned in Japanese vanguard circles. Midori has released two solo albums: Through The Looking Glass and Tree Of Life (1999) and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments. She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad. In the 1980s, Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh. Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality. This fully licensed reissue comes with extensive liner notes. CD version is the first ever available CD version; Comes with an eight-page booklet and fold-out poster. TAKADA, MIDORIThrough The Looking Glass lp $28.99LP version. Comes in a Stoughton "Tip-On" jacket; Includes printed inner sleeves. Palto Flats and We Release Whatever The Fuck We Want Records present the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi-percussionist, and theater artist renowned in Japanese vanguard circles. Midori has released two solo albums: Through The Looking Glass and Tree Of Life (1999) and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments. She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad. In the 1980s, Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana,  Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh. Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality. This fully licensed reissue comes with extensive liner notes. ASTATKE & HIS ETHIOPIAN QUINTET, MULATUAfro-Latin Soul Vol. 2  lp $18.99Exact repro; originally released in 1966. Tracks: "The Panther (Boogaloo)," "Konjit (Pretty)," "Soul Power," "Lover's Mambo," "Love Mood For Two," "Jijiger," "Girl From Addis Ababa," "Karayu," "Raina." "For those who might not be familiar, Mulatu Astatke is as important to the history of Ethio-jazz as Fela Kuti is to Afrobeat, defining the genre from it's inception. . . . On 'Soul Power', we find another great example of Astatke's signature sound, blending together traditional Ethiopian music with Latin-jazz. Simply put, just another classic composition from one of the genre's most influential and legendary musicians." --Pat Les Stache, American Athlete CONSTANTINEHades  LP  $25.99"The expression of two years' field recording on the Greek islands of Kalymnos and Lesbos -- deep inside a network of caves, and in the teeth of torrential winter storms -- with added strings, grand piano, live drumming and orchestral percussion, in its confluence of 'modern classical, metallic drone, dark ambient, and fuzz'. Guided by Steve Reich, Mika Vainio and Henri Bergson; haunted and spurred by the refugee crisis." SCORPION VIOLENTEThe Stalker  12"  $21.99A tribute to the peaks of low-budget Italian crime novels and to lubed-up synth-wave, Scorpion Violente feel up their synths with all the vigor of a manic depressive on a downward slope. Scorpion Violente emit their dirty feedback-washed discharge, adding Ich Bin and Le Syndicat Electronique to their holiday activity books. The tempo is even slower than before, with echoes more distant than In Aeternum Vale and Ike Yard dripping from their stabbing loops. Cold cyclo-rhythmic blues, sure to make Alan Vega turn in his grave. MERZBOW & OREN AMBARCHICat's SquirrelLP  $26.992017 repress. "Cat's Squirrel is a live recording of Masami Akita and Oren Ambarchi's performance in Campbelltown, Australia in May 2012. Although Akita and Ambarchi have known one another since 1993 and performed together as part of larger ensembles, this was their first performance as a duo. Together they create a massive wall of sound that moves from the cavernous to the blisteringly psychedelic, laying down shifting low-end structures over which pointillist details ricochet across the stereo field. Akita and Ambarchi's voices blend together into a sonic morass, Ambarchi's set-up expanded to include extra electronics and a spring reverb unit in addition to his signature guitar textures, and Akita utilizing both analog and digital sound sources. Moving through a number of episodes, from deluges of reverberated metal screeches to rapid-fire iterations of visceral electronic tones, the record reaches a high point midway through the second side, where Akita's electronics gradually thin out into a stream of skipping chirps and screeches while around him Ambarchi builds up a dense mass of phasing low-end guitar tones, the duo patiently developing an impenetrable wall of ecstatic, psychedelic noise." --Francis Plagne, Jan. 2013; Deluxe, limited edition vinyl with artwork by Shunichiro Okada and design by Stephen O'Malley. AMBARCHI, ORENSleepwalker's ConvictionLP $26.992017 repress. "Sleepwalker's Conviction documents a 2014 performance by Oren Ambarchi in collaboration with a 20-piece ensemble conducted by Ilan Volkov and featuring members of the Adelaide Symphony Orchestra and Speak Percussion. Foregoing the rhythmic propulsion and distortion-saturated harmonics that have featured in much of Ambarchi's recent work, the LP's single 40-minute piece inhabits a hushed, almost static space of extended tones, percussive shimmer, and creaking strings. Rather than adopting the position of a soloist, Ambarchi allows his sub-bass guitar tones and swirling Leslie textures to blend seamlessly with the ensemble, made up of double basses, horns, and percussion. The group sound has a near-cavernous depth, as waves of low beating tones and distant percussive textures gently wash over one another, coalescing into an undulating mass. Steering clear of bombast and new music clichés, the result is a work of meditative beauty that touches on the haunted ambience of late Luigi Nono, the submerged sonics of Bryars's The Sinking of the Titanic, and the melancholy rituals of Christoph Heemann and Andrew Chalk's Mirror, while remaining unmistakably marked by the singular sensibility Ambarchi has developed over countless performances and recordings" --Francis Plagne. Design by Stephen O'Malley with cover artwork by crys cole. Vinyl cut made by Rashad Becker at Dubplates & Mastering, Berlin. VAGhost Woman BluesLP $16.992017 repress. "Compilation of absolutely must have country blues. A mix of well-known artists playing their signature songs and more obscure musicians. Highlights include Bukka White's elemental 'Fixin' to die', Lottie Kimbroughs' seldom heard 'Don't Speak To Me', George Carters' haunting 'Ghost Woman Blues', Willie Browns' existential 'Future Blues', Monroe Moe Jackson's wild 'Go Away From My Door' and many more hits. The real stuff and some of Mississippi Records all time favorite tunes." WIRE, THE#398 April 2017MAG/CD  $10.50"Stuck to the cover of this month's issue: The Wire Tapper 43 CD, featuring 21 tracks by Electric Sewer Age, Cozmic Corridors, Ulan Bator, Heinali, Ghikas & Walshe, Grails, and more. Meanwhile, inside the issue: veteran San Francisco underground pranksters The Residents; world jazz traveller Brother Ah; UK improvisor Seymour Wright; grime guru and Rinse FM founder Slimzee; and more!" LAVEY, ANTON SZANDORThe Devil Speaks (& Plays)LP $24.99Known to the world as the founder of the Church of Satan and author, among other cult esoteric texts, of the Satanic Bible (1969), Anton Szandor LaVey was also a skilled musician with a taste for weird, creepy and old-timey sounding tunes. Presented in this compilation are six of his best recordings and the first ever recording of a satanic mass conducted by the very high priest himself in 1968. A compendium of the words and music of one of the most singular and demonized (and rightfully so) characters pop-culture has ever seen. Let yourself go with the suave and eerie sounds of the satanic empire and hail the dark lord! Edition of 300. Abdul Mogard and Mauricio Bianchi: Nervous LP $22.99Ecstatic's stunning split release between Maurizio Bianchi, godfather of the Italian industrial noise scene, and Abul Mogard, the much loved and hyperstitious synthesist, conjures a spellbinding testament to the transcendent and transportive energies of electronic music. Although appearing to starkly contrast on the surface, both artists' work patently shares a lust for the suggestive abstraction of raw current and its pareidolia-like capacity to generate rich and uncanny emotional responses from the end user. On the A-side, Maurizio Bianchi serves the obfuscated, coruscating atmosphere of "Nervous Hydra"; a 17-minute piece of sunken, desiccated harmonic structures and warped greyscale tones rinsed with ET radio signals and distant percussion that recall the sound of embers landing on tinfoil or snow. It evokes the experience of being caught in a quietly raging whiteout with only a dying fire for company, or equally a sense of subaquatic, amniotic serenity prior to being evacuated into a much colder world. Listeners can trust that the Italian artist's first new work in several years is faithful to his ever-uncompromising oeuvre, but there's also a tantalizingly elusive sense of redemption buried deep in there which marks it out from the rest of his canon and close to the work of his antecedents such as Kevin Drumm and Jim Haynes. In that piece's tempestuous wake, Abul Mogard brings a sense of soothing, glacial calm with "All This Has Passed Forever" on the B-side. For 16 blissed minutes, Mogard spells out a nostalgic fantasy in creamy strokes of Farfisa organ and Serge modular synthesizer recorded at EMS studios, Stockholm, and later combined with field recordings to elicit a wistfully widescreen paean to his days on the workshop floor accompanied by the harmonious drones and cacophony of heavy machinery. No matter the piece's provenance, though; it's simply a sublime example of Abul Mogard's gift for illusive, suspenseful ambient music which has seen his previous releases sky-rocket in second hand value since their earliest, sold-out editions. Over 30 minutes of ostensibly contrasting yet subtly, similarly spirited pieces that speak to the mystery and enigma of electronic music's tortured, searching and romantic soul in equal measure. Cut at Dubplates & Mastering; Edition of 500. GROWINGDisorder LP  $32.99Disorder marks a few milestones for the band Growing; it is their ninth full-length release, in the fifteenth year of their band, as well as their first record in almost six years. Though this is their first record in quite some time, this by no means a reunion record. When asked, Joe DeNardo stated "We never 'stopped' doing Growing, it's just that it was tough living on two different coasts. We work kinda slow so I think it just took us a while to adjust to how to make it work with the distances. As Kevin kind of built up his home studio in Olympia over the years, it got to a place where we couldn't not use it for Growing - it's such a great isolated spot to hunker down and chisel out some tunes." With an entire country between the them, Kevin Doria has been focusing his energy on his Total Life project, releasing a handful of releases and touring with Fuck Buttons, GodSpeed You Black Emperor and a host of others. DeNardo has spent the last few years making various music-themed films and performing under the Ornament moniker. At first listen, one may be tempted to refer to this as "return to form" for the band: sonically heavy side-long pastoral excursions being a hallmark of their earlier recordings. But Disorder stands more as a refinement of Growing's evolving sonic palette, employing dissonance as liberally as harmony, delivering the listener's ear to a rather unsettling "comfort zone". The effect could be stated as one of submersion. "Kevin's Total Life records and live set really inspired me to take a look at a much simpler setup." DeNardo went on to suggest, "I don't think I succeeded necessarily, but the way he maximizes his sound sources really blew me away. And I think it affected what I was recording for Ornament, and so when we got to jamming for the record, it sort of evolved from that. We recorded to four-track reel-to-reel, it was a pretty minimal setup. It seems like a heavy record to me, these slow, subtle shifts that feel like a bad trip sometimes." Disorder is neither revival nor bookend for Growing. Disorder is another mile marker on the long open road, both figuratively and literally. Double-sided, screen printed jacket by Neil Burke @ Monoroid; Heavy duty virgin vinyl; Edition of 250 copies. FERRARI, LUCHeterozygote/Petite Symphonie... LP  $25.99In the field of biology Heterozygous (Hétérozygote) means: a plant whose heredity is mixed. It implies that Hétérozygote, composed between December 1963 and March 1964, is an attempt to engineer a language located both on the musical and on the dramatic plane. You could call this music "Anecdotal Music" for if the organization of events is purely musical, their choice suggests situations justified at two levels: the music and the anecdote. Luc Ferrari explains the piece Petite Symphonie Intuitive Pour Un Paysage De Printemps (1973-1974) in 2002: "This electroacoustic music is part of a series that could be called 'imaginary soundscape'. Unlike 'Presque Rien Ou Le Lever Du Jour Au Bord De La Mer (Almost Nothing Or Daybreak By The Seaside)', where the landscape narrates itself, here a traveller discovers a landscape which he tries to convey as a musical landscape. Brunhild and I were in the Gorges du Tarn area. We chose to take a small path that was going up a rocky mountain for about ten kilometres. After a last turn, a totally unexpected landscape opened before my eyes. It was sunset. Before us, a vast plateau spread open with soft curves up to the horizon, up to the sun. The colours ranged from dry grass yellow to purple, in the distance, with the darkness of a few small groves punctuating the space. The almost bare nature was presenting itself to the eye, free from any obstacle. We could see everything. Later, when I recollected this place and the sensations I had experienced there, I tried to compose a music that could revive this memory. The 'Causse Méjean' is a high plateau, about 1000 m high, in the Massif Central mountain range. It is dotted by scattered farms. A few people bring their flocks of sheep home. I thought about evoking this solitary and hazy human presence by including snippets of conversations I had had with some of the shepherds. Human language is woven into the musical texture; the sound of the voice says more than its actually meaning. Once, a shepherd told me '... I am never bored. I listen to the landscape. Sometimes I play my flute and then I listen to the echo responding...' Thinking of him, I used the flute and its echo in my music." Suzanne Ciani cd Lixiviation $16.992017 repress. The American Delia Derbyshire of the Atari generation. With a sonic portfolio that boasts commissions for the Xenon classic pinball machine, the sounds for the Meco Star Wars theme, the Atari TV commercials, and the electronic sound effects in the original Stepford Wives film (1975), amongst many others, the mutant electronic music CV of Suzanne Ciani is proof that in a 1970s commercial world of boys toys, monopolized by a male dominated media industry, a woman's touch was the essential secret ingredient to successful sonic seduction. A classically trained musician, with an MA in music composition, this American-Italian pianist was first introduced to the synthesizer via her connections in the art world when abstract sculptor and collaborator Harold Paris introduced Suzanne to synthesizer designer Don Buchla who created the Buchla Synthesizer, the instrument that would come to define Ciani's synthetic sound. Cutting her teeth providing self-initiated electronic music projects for art galleries, experimental film directors, pop record producers, and proto-video nasties, Suzanne soon located to New York where she quickly became the first point of call for electronic music services in both the underground experimental fields and the commercial advertising worlds alike. Counting names like Vangelis and Harald Bode amongst her close friends, Suzanne and her Ciani Musica company became the testing ground for virtually any type of new developments in electronic and computerized music amassing an expansive vault of commercially unexposed electronic experiments which have remained untouched for over 30 years... until now. Finders Keepers Records present a new creative archive based relationship with Suzanne Ciani, who, as one of the very few female composers in the field (save Chicago's Laurie Spiegel, Italy's Doris Norton, and a post-op Walter Wendy Carlos) turned a hugely significant wheel behind-the-screens of many early computerized music modules throughout the 1980s, dating back to her formative years studying at Stanford's Artificial Intelligence Labs in the early '70s. Suzanne Ciani's detailed and academic approach to music and electronics coupled with an impeccable sense of timing and melody (and a good sense of humor) shines throughout this new collection of previously unreleased recordings. Lixiviation complies and re-contextualizes both secret music and commercial experiments of Suzanne Ciani made for microcosmic time slots and never previously documented on vinyl or CD VA - Spiritual Jazz 7: Islam CD on Jazzman $16.99lp also available $29.99Esoteric, modal, and progressive jazz, inspired by Islam and recorded between 1957-1988. Songs ancient and divine - the seventh volume of Jazzman Records' acclaimed Spiritual Jazz series examines the influence and impact of Islam on four decades of jazz innovation. Through Malcolm X and Muhammad Ali, the civil rights era in America saw African American liberation politics famously associated with Islamic belief. This was not the first time that radical developments in African American cultural life had been widely and famously associated with Islam - that distinction belongs not to political or sporting giants, but to the progressive jazz musicians of the bebop generation. Kenny Clarke, Art Blakey, Sahib Shihab, Gigi Gryce, Idrees Sulieman, Ahmad Jamal, Yusef Lateef; all these legendary jazz pioneers - and countless more - were early converts to the spiritually charged Ahmadiyya school of Islam. Their faith profoundly influenced the music that they made, and the presence of prominent and innovative Muslim musicians at the heart of jazz culture in America has been recognized ever since. The tracks on this collection follow the story of Islam and jazz from the 1950s to the 1980s. Recorded by Muslim jazz musicians, they often draw specifically on Middle Eastern or Islamic music, dream of an esoteric or spiritual Afro-East, or invoke the landscape and sound worlds of Islamic Africa. Spiritual Jazz 7 presents a selection of visionary music - inspired by faith, powered by jazz. Many tracks never before reissued. Features: Maurice McIntyre, Kahil El'Zabar's Ritual Trio with Malachi Favors & Ari Brown, Pharoah Sanders, Emmanuel Abdul-Rahim, Creative Arts Ensemble, East New York Ensemble De Music, Idrees Sulieman, Jamila Sulieman, Yusef Lateef, Sabu Martinez & Sahib Shihab, Abdelrahman 'Abdo' Elkhatib, Solar Plexus, The Lightmen Plus One, Ahmed Abdul-Malik, and Dawan Muhammad. CD version comes with a 24-page color booklet.

[radiophd]

kakraba lobi -- xylophone player from ghana [album, 1978]

#1970s #folk #drums #percussion #west africa #kakraba lobi

[omegaplus]

# 3,809

Omega Radio for August 30, 2021; #282.

Ata Kak: “Obaa Sima” + “Daa Nyina”

Penny Penny: “Shichangani” + ““Ingani”

Professor Rhythm: “Bafana Bafana”

Teno Afrika: “Smooth Criminal” + “Trip To Vlakas”

DJ Black Low: “Javia Low” + “Alone In A Dark”

DJ Katapila: “Cocoawra” + “Sakawa”

(Om) Alec Khaoli: “Say You Love Me” + “Enjoy It”

Antoinette Konan: “M’acko” + “Yale”

Umoja: “707″

Asnakech Worku: “Mech Alkugn Lela Sew”

Dur-Dur Band: “Dholey” + “Dooyo”

Aby Ngana Diop: “Liital” + “Ndadje”

Bola: “Yine Ntaripaga”

Na Hawa Doumbia: “Abayetidu Ma”

Sourakata Koite: “Moussa” + “Dioula”

Awalom Gebremariam: “Desdes”

Awa Paulo: “”Djara Wilam” + “Mido Yirima”

Jess San Bi & Peter One: “Minmanle?”

Ephat Mujuru & The Spirit Of The People: “Mudande”

SK Kakraba (Lobi): “Darifu”

Final Summer 2021 broadcast; label tribute.

#omega #music #playlists #review #mixtapes #Awesome Tapes From Africa #world #Ata Kak #Hailu Mergia #Aby Ngana Diop #Professor Rhythm #Penny Penny