Revue de presse

ABOU DIARRA«Koya»

Productions : Mix et MétisseDistribution : L’autre DistributionEditions : RFI Talent / CSB ProductionsSortie le 10 novembre 2016

Auteur / compositeur : Abou DiarraRéalisation : Nicolas RepacSpecial guest (sur «Djarabi» et «Labanko») : Toumani Diabaté

«L’un des plus beaux albums de musique métisse de l’année» FIP

«Une virée majestueuse en terre de blues» Télérama

«Un opus d’une forte et apaisante densité» Amina

«Prêt à embarquer pour une croisière sonore sans frontières entre le Fouta-Djalon et la Lousiane» RFI Musique

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ABOU DIARRA + FERNANDO DEL PAPA14 DECEMBRE 2016

Abou Diarra Tunga After Marianne & Julien Doré Love Is Just A Game Amp Fiddler Superficial Bazbaz Roucoule Bertrand Betsch La beauté du monde Branko & Mayra Andrade Reserva Pra Dois Cali I Want You Cassius & Cat Power & Mike D Action David Walters Feat Abel Reuz Zulueta Salsa Chocolate DjeuhDjoah & Lieutenant Nicholson Banale histoire Fabio Brazza Hip Hopnotizado Fatima La Neta Fernando DelPapa O Mar Henri Dikongué Bekusedi Jamie Lidell Building A Beginning Julien Clerc Entre elle et moi Jupiter & Okwess International Nzele Momi Le Tout Puissant Orchestre Poly-Rythmo Madjafalao Lescop David Palmer M.I.A Bird Song (Diplo remix) Mathieu Boogaerts Pourquoi pas Maud Lübeck Je plus rire Mehdi Cayenne Quel jeu Monsieur Periné Nuestra Cancion Naham Trio Merci Nouvelle Vague & Elodie Frégé La pluie et le beau temps Olivia Ruiz Mon corps mon amour Pink Martini Joli garçon Prabhu Edouard & Runa Rizvi Rangoli Sage Comme Des Sauvages Mon commandant Saule Comme Siska Unconditional Rebel Superbus On the river Taggy Matcher & Kumbia Boruka Cumbia Locura Taiwan MC & Paloma Pradal Catalina Tambor y Canto Rumba para América The Excitements Four Loves The Frightnrs Nothing More To Say Tryo Chanter Véronique Sanson Et je l'appelle encore Vincent Delerm Je ne veux pas mourir ce soir Wallace Parle m'en

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U n e p l a n è t e , m i l l e m u s i q u e s

N°9 - SUPPLÉMENT GRATUIT DU MAGAZINE REGGAE VIBES - Décembre 2016 - Janvier 2017

09

Lee Fields • Yussef Kamaal • Buttering Trio • Bonga • Abou Diarra • PRINCE PAUL

LE TOUT-PUISSANT

ORCHESTRE POLY-RYTHMO

L’histoire sans fin

http://www.akhaba.com/actu/concert/17112016/1373-trouble-mandingue-ivry

concerttrouble mandingue à ivry

Abou Diarra © Francois Mallet

Le chanteur malien Abou Diarra est un n’goni hero. Il joue de la variante la plus prisée par les jeunes Africains de l’Ouest de ce luth traditionnel mandingue, le kamelé n’goni (ou ngoni) dont il a bricolé une première mouture vers ses 14 ans. Les doigts agiles, le toucher sensible, Abou a appris à maîtriser cet instrument grâce à ses pieds. Une longue marche, « quatre mois et 26 jours. C’est comme ça que je suis devenu joueur de n’goni, sur la route ».

C’est ainsi que le Jack Kerouac de la petite harpe dérivée de la kora explique ses débuts quand il devait revenir de la ville la plus riche d’Afrique de l’Ouest francophone, la métropole ivoirienne Abidjan où il était parti gagner quelques sous pour rallier Bamako, la capitale malienne. Des centaines de kilomètres parcourus à pinces où l’artiste perfectionne de ville en village son pincement de cordes, traditionnellement de 4 à 7, appris à Bamako auprès du maître aveugle Moussa Kanté dit Vieux Kanté. Pas si vieux que ça puisque disparu prématurément à 31 ans en 2005, mais qui a connu une ascension éblouissante pour son jeu fabuleux, un jazz rock mandingue futuriste et fou.

Il était originaire de Sikasso, tout comme Abou Diarra qui est né en 1975 dans cette région de la province de l’extrême Sud malien, le Wassoulou qui déborde sur la Côte d’Ivoire et la Guinée-Conakry. Une aire réputée pour la musique mystique de ses chasseurs dont le père d’Abou faisait partie comme fétichiste. Abou Diarra est aussi fils d’une chanteuse qui diffusait son savoir spirituel dans les cérémonies et fêtes traditionnelles où il l’accompagnait dès son plus jeune âge.

Abou Diarra a donné le nom de sa mère à son nouvel album, Koya (Mix et Métisse, RFI Talent/CSB Productions, L’Autre Distribution), qu’il vient tout juste de sortir et présente au Hangar 94 à Ivry-sur-Seine (Val-de-Marne) avant le festival Africolor le 24 décembre au Nouveau Théâtre de Montreuil (Seine-Saint-Denis). Une douzaine de chansons en bambara et compositions troublantes, produites subtilement par Nicolas Repac, compagnon de route d’Arthur H, passé de la guitare jazz à des samples fins, des touches électro sophistiquées. Des écrins précieux, souvent des blues ancestraux qui valorisent le chant et le jeu d’Abou Diarra. Dans un équilibre délicat entre la frénésie et la méditation, la voix est gracieusement servie par des chorus de flûte, harmonica, contrebasse, calebasse, kora, clavier, guitare, basse.

Par Bouziane Daoudi | akhaba.com

 

http://www.akhaba.com/actu/concert/17112016/1373-trouble-mandingue-ivry

concerttrouble mandingue à ivry

Abou Diarra © Francois Mallet

Le chanteur malien Abou Diarra est un n’goni hero. Il joue de la variante la plus prisée par les jeunes Africains de l’Ouest de ce luth traditionnel mandingue, le kamelé n’goni (ou ngoni) dont il a bricolé une première mouture vers ses 14 ans. Les doigts agiles, le toucher sensible, Abou a appris à maîtriser cet instrument grâce à ses pieds. Une longue marche, « quatre mois et 26 jours. C’est comme ça que je suis devenu joueur de n’goni, sur la route ».

C’est ainsi que le Jack Kerouac de la petite harpe dérivée de la kora explique ses débuts quand il devait revenir de la ville la plus riche d’Afrique de l’Ouest francophone, la métropole ivoirienne Abidjan où il était parti gagner quelques sous pour rallier Bamako, la capitale malienne. Des centaines de kilomètres parcourus à pinces où l’artiste perfectionne de ville en village son pincement de cordes, traditionnellement de 4 à 7, appris à Bamako auprès du maître aveugle Moussa Kanté dit Vieux Kanté. Pas si vieux que ça puisque disparu prématurément à 31 ans en 2005, mais qui a connu une ascension éblouissante pour son jeu fabuleux, un jazz rock mandingue futuriste et fou.

Il était originaire de Sikasso, tout comme Abou Diarra qui est né en 1975 dans cette région de la province de l’extrême Sud malien, le Wassoulou qui déborde sur la Côte d’Ivoire et la Guinée-Conakry. Une aire réputée pour la musique mystique de ses chasseurs dont le père d’Abou faisait partie comme fétichiste. Abou Diarra est aussi fils d’une chanteuse qui diffusait son savoir spirituel dans les cérémonies et fêtes traditionnelles où il l’accompagnait dès son plus jeune âge.

Abou Diarra a donné le nom de sa mère à son nouvel album, Koya (Mix et Métisse, RFI Talent/CSB Productions, L’Autre Distribution), qu’il vient tout juste de sortir et présente au Hangar 94 à Ivry-sur-Seine (Val-de-Marne) avant le festival Africolor le 24 décembre au Nouveau Théâtre de Montreuil (Seine-Saint-Denis). Une douzaine de chansons en bambara et compositions troublantes, produites subtilement par Nicolas Repac, compagnon de route d’Arthur H, passé de la guitare jazz à des samples fins, des touches électro sophistiquées. Des écrins précieux, souvent des blues ancestraux qui valorisent le chant et le jeu d’Abou Diarra. Dans un équilibre délicat entre la frénésie et la méditation, la voix est gracieusement servie par des chorus de flûte, harmonica, contrebasse, calebasse, kora, clavier, guitare, basse.

Par Bouziane Daoudi | akhaba.com

 

       http://elektrikbamboo.wordpress.com/ 

25 octobre 2016 

ABOU DIARRA « KOYA » (MIX ET METISSE)

Abou Diarra a réalisé son premier enregistrement en 2010. Depuis, il a sorti 2 autres albums, dont le dernier est un live au New Morning en 2015. Il a puisé dans la culture de son pays natal, le Mali, tous les ingrédients lui permettant de créer une musique à la fois riche et complexe.

Il a découvert un instrument qui l’a vite fasciné pour toutes les possibilités qu’il offrait : le kamele n’goni. A mi-chemin entre le luth et la harpe, il permet aussi de remplacer une guitare et une basse. Abou Diarra s’est longuement perfectionné auprès du musicien aveugle Vieux Kanté, devenu maître dans l’art de cet instrument. Fort de cette expérience, il a poussé encore plus loin les recherches et les a rapproché d’autres influences qui comptent beaucoup pour lui comme le blues ou le jazz.

La rencontre avec Nicolas Repac a été le déclencheur de ce quatrième album. Le guitariste et programmateur a un don certain pour trouver de subtiles arrangements aux artistes qu’il produit. On se souvient par exemple de l’étonnant travail fourni avec la chanteuse Mamani Keita sur « Gagner l’argent français », une petite merveille du genre… Ses petits ajouts électro sont à peine perceptibles mais font toute la différence.

Abou Diarra a composé l’intégralité de « Koya » et chante aussi tout au long de cet album. Une douzaine de musiciens ont participé à cette nouvelle aventure, dont l’harmoniciste Vincent Bucherqui apporte une touche bluesy à l’ensemble. On trouve également la présence flamboyante deToumani Diabaté et de sa kora magique sur les titres « Djarabi » et « Labanko ».

Sortie le 10 novembre 2016

En concert le 18 novembre à Ivry sur Seine (Hangar) et à Paris le 24 décembre (Festival Africolor).

http://www.aboungoni.com

       http://elektrikbamboo.wordpress.com/ 

25 octobre 2016 

ABOU DIARRA « KOYA » (MIX ET METISSE)

Abou Diarra a réalisé son premier enregistrement en 2010. Depuis, il a sorti 2 autres albums, dont le dernier est un live au New Morning en 2015. Il a puisé dans la culture de son pays natal, le Mali, tous les ingrédients lui permettant de créer une musique à la fois riche et complexe.

Il a découvert un instrument qui l’a vite fasciné pour toutes les possibilités qu’il offrait : le kamele n’goni. A mi-chemin entre le luth et la harpe, il permet aussi de remplacer une guitare et une basse. Abou Diarra s’est longuement perfectionné auprès du musicien aveugle Vieux Kanté, devenu maître dans l’art de cet instrument. Fort de cette expérience, il a poussé encore plus loin les recherches et les a rapproché d’autres influences qui comptent beaucoup pour lui comme le blues ou le jazz.

La rencontre avec Nicolas Repac a été le déclencheur de ce quatrième album. Le guitariste et programmateur a un don certain pour trouver de subtiles arrangements aux artistes qu’il produit. On se souvient par exemple de l’étonnant travail fourni avec la chanteuse Mamani Keita sur « Gagner l’argent français », une petite merveille du genre… Ses petits ajouts électro sont à peine perceptibles mais font toute la différence.

Abou Diarra a composé l’intégralité de « Koya » et chante aussi tout au long de cet album. Une douzaine de musiciens ont participé à cette nouvelle aventure, dont l’harmoniciste Vincent Bucherqui apporte une touche bluesy à l’ensemble. On trouve également la présence flamboyante deToumani Diabaté et de sa kora magique sur les titres « Djarabi » et « Labanko ».

Sortie le 10 novembre 2016

En concert le 18 novembre à Ivry sur Seine (Hangar) et à Paris le 24 décembre (Festival Africolor).

http://www.aboungoni.com

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Les chroniques de HiKo "MUSIC CREATES ORDER OUT OF CHAOS" (Yehudi Menuhin)

http://les‐chroniques‐de‐hiko.blogspot.fr/2016/09/abou‐diarra‐koya‐mix‐et‐metisselautre.html  

mardi20septembre2016 

Abou Diarra - Koya (Mix et Métisse/L'Autre Distribution)

Le bluesman malien Abou Diarra nous offre une de ces rares aventures musicales qui marquent les esprits, faisant frissonner les corps et battre les cœurs. Disciple du musicien Vieux Kanté, maître incontesté de la culture ancestrale mandingue, l'artiste publie son 4° album intitulé Koya. Habité de 11 compositions vibrantes, il est arrangé par le guitariste français Nicolas Repac, alter ego d'Arthur H et pilier de la scène electro jazz hexagonale. Ayant parcouru des mois durant l'Afrique de l'Ouest avec pour seul compagnon son instrument de prédilection le kamele n'goni (luth/harpe), Abou rapproche avec finesse les sonorités traditionnelles du Mali des musiques urbaines contemporaines; folklore wassoulou, jazz, blues et afro funk vibrent alors à l'unisson dans un groove enivrant et délicat parcouru de mélodies radieuses et intemporelles. A noter la présence au casting de ce petit bijou de l'immense Toumani Diabaté, figure emblématique de la kora et de l'harmoniciste Vincent Bucher !

 

MusicultureLe Site Des Musiques Métissées et Urbaines

http://www.musiculture.fr/abou-diarra/ 

Abou DIARRA Posté le 15 octobre 2016 by christophe

Un peu comme si Wasis Diop et Ismael Lo s’étaient donné rendez-vous chez Abou Diarra…Sortie : 10 novembre 2016

Car ici, Abou Diarra met à profit les forces de ces deux musiciens : L’utilisation des claviers pour renforcer des mélodies puissantes (“Djarabi”), des boites à rythmes pour la modernité (“Djalaba”) et le côté blues traditionnel, nostalgique, majestueux (“Mogo Djigui”). Nous sommes parfois très proches de “TadieuBone” ou de “Ramata“.

Mais la musique malienne traditionnelle festive, joyeuse n’est pas en reste. Ecoutez “Sougou Mandi” et “Kamelen Kolon” et vous comprendrez…

Evidemment les cordes sont à l’honneur. Diarra est un spécialiste du n’goni (harpe malienne) et l’illustre invité Toumani Diabate pose sa kora sur deux titres.

Et tout cela sous la direction de Nicolas Repac, pilier du label “No Format”, musicien introspectif et homme de l’ombre, spécialiste du jazz et de la “world music” depuis longtemps déjà. Il assure ici guitare et samples.

Une plongée dans la “world music”, parfaite, quand tradition cotoie modernité pour un résultat sublime et intemporelle. Le tout emballé dans un contenant aussi soigné que le contenu : Un beau digipack avec photos et textes.

Abou Diarra Koya (2016, Autre Distribution)*** FNAC , Itunes

WORLD

The WORLD MUSIC CHARTS EUROPE Panel: Austria: Albert Hosp (ORF), Johann Kneihs (ORF); Belgium: Didier Melon (RTBF), Zjakki Willems (vrt); Czech Republic: Petr Doruzka (VLTAVA); Croatia: Emir Fulurija (Radio Student); Estonia: Tonu Timm (Vikkerraadio); Finland:, Hendrik Svahn (YLE Radio Vega), Marten Holm (YLE,Radio Vega), Harri Tuominen (YLE); France: Bintou Simpore (Radio Nova),Herve Riesen (Radio France), Laurence Aloir (RFI); Germany: Klaus Frederking (NDR), Francis Gay (WDR-Funkhaus Europa), Jay Rutledge (Bayerischer Rundfunk), Johannes Theurer (Rundfunk Berlin-Brandenburg); Greece: Giorgos Markakis (FM 100), Manos Tzanakakis (Globalistas); Hungary: Balázs Weyer (MR3-Bartok), László Marton (Radio Q 99.5); Italy: Marcello Lorrai (Popolare Milano), Paolo Ferrari (Popolare Firenze); Latvia: Gita Lancere (Radio Latvia); Ilmars Slapins (Radio NABA, Rigas Slaiks); Netherlands: Bas Springer (NTR); Norway: Arne Berg (nrk), Sigbjörn Nedland (nrk); Poland: Wojciech Ossowski (Polski Radio 3), Maciej Szajkowski (Polskie Radio 4), Kleszcz Wlodzimierz (Polski Radio RCKL); Portugal: Nuno Sardina (RDP Africa); Romania: Cristi Marica (RBA); Russia: Artemy Troitsky (FM Dostoyewsky); Serbia: Bojan Djordjevic (Radio B92), Ivana Komadina (Radio Belgrade 2); Slovakia: Vladimìr Potancok(Radio_FM); Slovenia: Drago Vovk (SRAKA); Spain: Albert Reguant (Ona de Sants Montjuic 94,6), Jose-Miguel Lopez (RNE 3), Lara Lopez (RNE), Oscar Losado Castro (RADIOFUSION); Switzerland: Jean Marc Baehler (RSR Couleur 3); United Kingdom: Lopa Kothari (BBC 3), Max Reinhardt (BBC 3), DJ Ritu (BBC).

DECEMBER 2016

REVUELTA DANZA PARTY � GYPSY KUMBIA ORCHESTRA CANADA/COLUMBIA (GIROVAGO)

BACK TO FOLK � KEREKES BAND HUNGARY (KEREKES BAND)

APOLLO YOU SIXTEEN � KARIM BAGGILI BELGIUM (TAKE THE BUS)

©giftm

usic

2016

THE WOMAN AT THE END OF THE WORLD � ELZA SOARES BRAZIL (MAIS UM DISCOS)

KOYA � KABOU DIARRA MAlI (MIX ET METISSE)

TURIMO � OKRA PLAYGROUND FINLAND (NORDIC NOTES)

¡VAMOS A GUARACHAR! � ORKESTA MENDOZA & SALVADOR DURAN USA/MEXICO (GLITTERBEAT)

RECADOS DE FORA � BONGA ANGOLA (LUSAFRICA)

IWA � BEAUTIFUL NUBIA & THE ROOTS RENAISSANCE BAND ENIOBANKE (NIGERIA)

ARBINA � NOURA MINT SEYMALI MAURITANIA (GLITTERBEAT)

NOVEMBER 2016

1. NOURA MINT SEYMALI - ARBINA - GLITTERBEAT RECORDS

2. CONSTANTINOPLE & ABLAYE CISSOKO - JARDINS MIGRATEURS - MA CASE

3. KAYHAN KALHOR, AYNUR, CEMÎL QOÇGIRÎ & SALMAN GAMBAROV - HAWNIYAZ - HARMONIA MUNDI

4. KRISTI STASSINOPOULOU & STATHIS KALYVIOTIS - NYN - RIVERBOAT RECORDS

5. KHMER ROUGE SURVIVORS - THEY WILL KILL YOU, IF YOU CRY - GLITTERBEAT RECORDS

6. RICHARD BONA & MANDEKAN CUBANO - HERITAGE - QWEST RECORDS

7. TANGA - MADAGASCAR: LE TRÉSOR DES ANCÊTRES - BUDA MUSIQUE

8. REFUGEES FOR REFUGEES - AMERLI - MUZIEKPUBLIQUE

9. V.A. - URGENT JUMPING!: EAST AFRICAN MUSIKI WA DANSI CLASSICS - STERNS AFRICA

10. TUULETAR - TULES MAAS VEDES TAIVAAL - BAFE’S FACTORY

11. JEAN-GUIHEN QUEYRAS, BIJAN CHEMIRANI, KEYVAN CHEMIRANI & SOKRATIS SINOPOULOS - THRACE: SUNDAY MORNING SESSIONS - HARMONIA MUNDI

12. ABOU DIARRA - KOYA - MIX ET MÉTISSE

13. BARCELONA GIPSY BALKAN ORCHESTRA - DEL EBRO AL DANUBIO - SATÉLITE K

14. VIEUX KANTÉ - THE YOUNG MAN’S HARP - STERNS AFRICA

15. ORKESTA MENDOZA - ¡VAMOS A GUARACHAR! - GLITTERBEAT RECORDS

16. BITORI - LEGEND OF FUNANÁ: THE FORBIDDEN MUSIC OF THE CAPE VERDE ISLANDS - ANALOG AFRICA

17. BONGA - RECADOS DE FORA - LUSAFRICA

18. HAROLD LÓPEZ-NUSSA - EL VIAJE - MACK AVENUE RECORDS

19. ÇIĞDEM ASLAN - A THOUSAND CRANES - ASPHALT TANGO RECORDS

20. KEPA JUNKERA & SORGINAK - MALETAK - FOL MÚSICA

Members of the TWMC panel (November 2016 vote): Juan Antonio Vázquez (ES), Ángel Romero (US), Araceli Tzigane (ES), Seth Jordan (AU), Tony Hillier (AU), Charlie Crooijmans (NL), Nigel Wood (IE), Dore Stein (US), Roger Holdsworth (AU), Madan Rao (IN), Gil Medovoy (US), Chris Heim (US), Ciro De Rosa (IT), Scott Stevens (US), Hendrick T S Foh (MY), Cliff Furnald (US), Rob Weisberg (US), Toni Polo (FR/ES), Nicolás Falcoff (AR), Masakazu Kitanaka (JP), Jordi Demésenllà (ES), Rafael Mieses (DO/US), Luís Rei (PT), Jean Trouillet (DE), Evangeline Kim (US), Willi Klopottek (LU/DE), Betto Arcos (MX/US), Thorsten Bednarz (DE), Alejandro López (ES), Jon Kertzer (US), Ken Stowar (CA), Jiří Moravčík (CZ), Mu Qian (CN), Carlos Ferreira (PT), Anna Rzhevina (RU), Gil Rouvio (IL), Bouna Ndiaye (SN), Kutay Derin Kugay (TR), Robert Gregor (SK), Ponxo Taifa Ángeles (MX), Yatrika Shah-Rais (IR/US), Armen Manukyan (AM), Rolf Beydemüller (DE), François Bensignor (FR), Sergey Maiboroda (KZ), Cecilia Aguirre (AR/DE), Husniddin Ato (UZ), Eleni Ziliaskopoulou (GR), Marija Vitas (RS), Jaïr Tchong (NL), Enrique Blanc (MX), Tiago Lucas Garcia (BR), Zekeriya S. Şen (TR).

www.transglobalwmc.com November 2016 Top 40: http://www.transglobalwmc.com/charts/november-2016-chart/

Album submission procedures: www.transglobalwmc.com/album-submissions/ Contact: info@transglobalwmc.com

DECEMBER 2016

1. Bonga - Recados de Fora - Lusafrica 2. Noura Mint Seymali – Arbina – Glitterbeat Records 3. Constantinople & Ablaye Cissoko – Jardins Migrateurs – Ma Case 4. Çigdem Aslan - A Thounsand Cranes - Asphalt Tango 5. Alsarah & The Nubatones – Manara – Wonderwheel Recordings 6. Abou Diarra – Koya – Mix et Métisse 7. Kayhan Kalhor, Aynur, Cemîl Qoçgirî & Salman Gambarov – Hawniyaz – Harmonia Mundi 8. V.A. – Urgent Jumping!: East African Musiki wa Dansi Classics – Sterns Africa 9. Roberto Fonseca - ABUC - Impulse! 10. Harold López-Nussa – El Viaje – Mack Avenue Records 11. Richard Bona & Mandekan Cubano – Heritage – Qwest Records 12. Barcelona Gipsy balKan Orchestra – Del Ebro al Danubio – Satélite K 13. Dawda Jobarteh – Transitional Times – Sterns Africa 14. Voxtra - The Encounter of Vocal Heritage - Muziekpublique 15. Jean-Guihen Queyras, Bijan Chemirani, Keyvan Chemirani & Sokratis Sinopoulos – Thrace: Sunday Morning Sessions – Harmonia Mundi 16. Trebunie Tutki & Quintet Urmuli - Duch Gór: The Spirit of the Mountains – Unzipped Fly Records 17. Kristi Stassinopoulou & Stathis Kalyviotis – Nyn – Riverboat Records 18. Mariem Hassan - La Voz Indómita (del Sáhara Occidental) - Nubenegra 19. Gaye Su Akyol - Hologram İmparatorluğu - Glitterbeat Records 20. Orkesta Mendoza - ¡Vamos a Guarachar! – Glitterbeat Records

Current members of the TWMC panel: Ángel Romero (US), Araceli Tzigane (ES), Juan Antonio Vázquez (ES), Seth Jordan (AU), Tony Hillier (AU), Charlie Crooijmans (NL), Nigel Wood (IE), Dore Stein (US), Roger Holdsworth (AU), Madan Rao (IN), Gil Medovoy (US), Chris Heim (US), Ciro De Rosa (IT), Scott Stevens (US), Hendrick T S Foh (MY), Cliff Furnald (US), Rob Weisberg (US), Toni Polo (FR/ES), Nicolás Falcoff (AR), Masakazu Kitanaka (JP), Jordi Demésenllà (ES), Rafael Mieses (DO/US), Luís Rei (PT), Jean Trouillet (DE), Evangeline Kim (US), Willi Klopottek (LU/DE), Betto Arcos (MX/US), Thorsten Bednarz (DE), Alejandro López (ES), Jon Kertzer (US), Ken Stowar (CA), Jiří Moravčík (CZ), Mu Qian (CN), Carlos Ferreira (PT), Anna Rzhevina (RU), Gil Rouvio (IL), Bouna Ndiaye (SN), Kutay Derin Kugay (TR), Robert Gregor (SK), Ponxo Taifa Ángeles (MX), Yatrika Shah-Rais (IR/US), Armen Manukyan (AM), Rolf Beydemüller (DE), François Bensignor (FR), Sergey Maiboroda (KZ), Cecilia Aguirre (AR/DE), Husniddin Ato (UZ), Eleni Ziliaskopoulou (GR), Marija Vitas (RS), Jaïr Tchong (NL), Enrique Blanc (MX), Tiago Lucas Garcia (BR), Zekeriya S. Şen (TR), Benjamín Muñiz (PR)

www.transglobalwmc.com

Top 40: http://www.transglobalwmc.com/charts/december-2016-chart/ Album submission procedures: www.transglobalwmc.com/album-submissions/

Contact: info@transglobalwmc.com

USA

CANADA

UNITED KINGDOM

5 f

ALDEN, PATTERSON &DASHWOODCall Me Home (AD&P) www.aldenpattersonanddashwood.comMight be the best debut CD of the year!

MEKONSExistentialism(SIN)www.bloodshotrecords.com/artist/mekonsMake a great album in an evening – easy!

VARIOUS ARTISTSSoul Sega Sa!(Bongo Joe/FolkWelt) www.bongojoe.chIndian Ocean segas from the groovy 1970s.

ÇIGDEM ASLANA Thousand Cranes(Asphalt Tango)www.asphalt-tango.deMesmerising sequel to her fabulous debut.

METHERAVortex(Methera)www.methera.co.ukAnother gem of new English instrumentals.

THE FURROW COLLECTIVEWild Hog(Hudson)www.thefurrowcollective.co.ukThe fab folk four go onwards and upwards.

SHIRLEY COLLINSLodestar(Domino)www.shirleycollins.co.ukExtraordinary comeback after so long!

ABOU DIARRAKoya(Mix Et Métisse)www.aboungoni.comBluesy and sophisticated kamel n‘goni

ROSS DALY & EVGENIADAMAVOLITI-TOLIOsi Hara ’Houn Ta Poilia(Ross Daly) www.rossdaly.grClassic Cretan voice with top player.

LONDON FOLK & ROOTSFESTIVAL Various VenuesThroughout November

www.londonfolkandroots.com

AFRO CELT SOUND SYSTEMOn Tour26th October – 13th November

www.afroceltsoundsystem.org.uk

SARAH-JANE SUMMERS &JUHANI SILVOLAWiddershins (Dell Daisy)www.sarahjanejuhani.comTop Scottish/Finnish fiddle/guitar combo.

fR401 PAGE 5_Layout 1 24/09/2016 18:00 Page 1

AMIRA MEDUNJANINDamar World Village WVUK032

Damar is the follow-up toAmira’s 2014 release, Silk &Stone, her second on WorldVillage but the first to bebilled as ‘Amira Medunjanin’rather than simply ‘Amira’.Medunjanin has shown her-self to be not only a brilliantambassador for Bosnian cul-

ture and Bosnia’s folkways but also a vocalistand song interpreter on a steadily upwardtrajectory since she entered a wider listener-ship’s consciousness with Rosa back then in2004. With her World Village début Amulettein 2011, she began hitting the paydirt of aricher cultural mother-lode. Damar is a pro-gression, a development of that. Its appear-ance is the musical equivalent of the culinaryarts’ slow food – and all the better for that.

Once again, the pianist Bojan Z with hisjazz chordings raises their game. Togetherthey’ve created a capricious and contempo-rary take on traditional Bosnian song forms.This release continues that approach. Theirapproach remains reverential to, but notobsequious about sevdah, once a dying artform in Tito’s Yugoslavia, but one they havere-energised and re-animated.

A fine example is the opening trackwhose title they translate as ‘Sing, whateversong is in your heart.’ It opens with heart-beats… apparently the damar of the albumtitle is translated as ‘pulse’, ‘life force’ or

‘beating heart’, but you get the gist. It comeswith a flowing guitar that compares beauti-fully well with the tastefulness of Portugal’scomposer and Portuguese guitar virtuosoCarlos Paredes’ guitarra portuguesa. In a nicetouch, heartbeats time it out. And that is onlythe first track.

Damar is a truly great, indelible work.Like the finest of musics, its revelations areslow-drip, conceivably until the listener can-not believe that this music wasn’t always intheir life. It is that inspirational – big word –and impressive.

www.worldvillagemusic.com

Ken Hunt

ABOU DIARRAKoya Mix & Métisse 69342MAD

Were this CD a man, hewould be an elegant damask-robed gent. The type of manwho moves with unhurriedgrace, long-necked andlimbed, nonchalantly hoikingthe heavy folds of his sleevesup onto his shoulders. Andhe smells really good.

Malian singer, composer and kamalengoni player Abou Diarra’s Koya has been along time coming, and yet it has walked intothe room as if owns the place. Not with anarrogant swagger, mind; more with a quietsense of self-confidence. It is comfortable inits skin. It doesn’t need to make a big fuss.

Oh, and is that Toumani Diabaté dropping into add his trademark tumbling cascades ofkora gorgeousness on Djarabi and thepoignant Labanko? Of course it is.

The collaboration with artistic directorNicolas Repac infuses Diarra’s classical Maliancool, with its reserve and gently melancholy,with more urban electro grooves and bluessensibilities – from Vincent Bucher’s sultryharmonica parts to more explicitly full-onguitar solos from Repac. Koya Blues is a fineexample of its success with evocative,breathy Fula flute parts, smoking harp andkamale ngoni riffs, trip-hop loops and theunderstated gritty vocal of Diarra’s mother,after whom the album is named. Impressivelyand spaciously produced throughout, there’splenty to unveil and surprise on repeat lis-tening: an array of curious plinky, guitartrickery (maybe over-heavy on the animaleffects!) and the ‘tight as’ backing vocals andgroove of Donko Band.

But at its heart is Diarra. Not the finestsinger you’ve ever heard from this tradition –though by god, he’s a demon of a Mandingaxe-wielder – but radiating musicality andsincerity. The only intrusions to Koya’s medi-tative spell are the smurf-effect BVs at theend of dancefloor-filling Ma Chérie and theintermittent beefburger guitar solos whichseem indulgent in the context of the whole.

By turn, Koya swings, it rolls and itgrooves without ever breaking a sweat. Werethis CD a man, he’d be well out of my league.

aboungoni.com

Sarah Coxson

f 52

Amira Medunjanin Abou Diarra

Pho

to: V

ictor D

elfim

fR402 PAGES 52-67 (12 Pgs)_Layout 1 26/10/2016 13:39 Page 1

AMIRA MEDUNJANINDamar World Village WVUK032

Damar is the follow-up toAmira’s 2014 release, Silk &Stone, her second on WorldVillage but the first to bebilled as ‘Amira Medunjanin’rather than simply ‘Amira’.Medunjanin has shown her-self to be not only a brilliantambassador for Bosnian cul-

ture and Bosnia’s folkways but also a vocalistand song interpreter on a steadily upwardtrajectory since she entered a wider listener-ship’s consciousness with Rosa back then in2004. With her World Village début Amulettein 2011, she began hitting the paydirt of aricher cultural mother-lode. Damar is a pro-gression, a development of that. Its appear-ance is the musical equivalent of the culinaryarts’ slow food – and all the better for that.

Once again, the pianist Bojan Z with hisjazz chordings raises their game. Togetherthey’ve created a capricious and contempo-rary take on traditional Bosnian song forms.This release continues that approach. Theirapproach remains reverential to, but notobsequious about sevdah, once a dying artform in Tito’s Yugoslavia, but one they havere-energised and re-animated.

A fine example is the opening trackwhose title they translate as ‘Sing, whateversong is in your heart.’ It opens with heart-beats… apparently the damar of the albumtitle is translated as ‘pulse’, ‘life force’ or

‘beating heart’, but you get the gist. It comeswith a flowing guitar that compares beauti-fully well with the tastefulness of Portugal’scomposer and Portuguese guitar virtuosoCarlos Paredes’ guitarra portuguesa. In a nicetouch, heartbeats time it out. And that is onlythe first track.

Damar is a truly great, indelible work.Like the finest of musics, its revelations areslow-drip, conceivably until the listener can-not believe that this music wasn’t always intheir life. It is that inspirational – big word –and impressive.

www.worldvillagemusic.com

Ken Hunt

ABOU DIARRAKoya Mix & Métisse 69342MAD

Were this CD a man, hewould be an elegant damask-robed gent. The type of manwho moves with unhurriedgrace, long-necked andlimbed, nonchalantly hoikingthe heavy folds of his sleevesup onto his shoulders. Andhe smells really good.

Malian singer, composer and kamalengoni player Abou Diarra’s Koya has been along time coming, and yet it has walked intothe room as if owns the place. Not with anarrogant swagger, mind; more with a quietsense of self-confidence. It is comfortable inits skin. It doesn’t need to make a big fuss.

Oh, and is that Toumani Diabaté dropping into add his trademark tumbling cascades ofkora gorgeousness on Djarabi and thepoignant Labanko? Of course it is.

The collaboration with artistic directorNicolas Repac infuses Diarra’s classical Maliancool, with its reserve and gently melancholy,with more urban electro grooves and bluessensibilities – from Vincent Bucher’s sultryharmonica parts to more explicitly full-onguitar solos from Repac. Koya Blues is a fineexample of its success with evocative,breathy Fula flute parts, smoking harp andkamale ngoni riffs, trip-hop loops and theunderstated gritty vocal of Diarra’s mother,after whom the album is named. Impressivelyand spaciously produced throughout, there’splenty to unveil and surprise on repeat lis-tening: an array of curious plinky, guitartrickery (maybe over-heavy on the animaleffects!) and the ‘tight as’ backing vocals andgroove of Donko Band.

But at its heart is Diarra. Not the finestsinger you’ve ever heard from this tradition –though by god, he’s a demon of a Mandingaxe-wielder – but radiating musicality andsincerity. The only intrusions to Koya’s medi-tative spell are the smurf-effect BVs at theend of dancefloor-filling Ma Chérie and theintermittent beefburger guitar solos whichseem indulgent in the context of the whole.

By turn, Koya swings, it rolls and itgrooves without ever breaking a sweat. Werethis CD a man, he’d be well out of my league.

aboungoni.com

Sarah Coxson

f 52

Amira Medunjanin Abou Diarra

Pho

to: V

ictor D

elfim

fR402 PAGES 52-67 (12 Pgs)_Layout 1 26/10/2016 13:39 Page 1

AMIRA MEDUNJANINDamar World Village WVUK032

Damar is the follow-up toAmira’s 2014 release, Silk &Stone, her second on WorldVillage but the first to bebilled as ‘Amira Medunjanin’rather than simply ‘Amira’.Medunjanin has shown her-self to be not only a brilliantambassador for Bosnian cul-

ture and Bosnia’s folkways but also a vocalistand song interpreter on a steadily upwardtrajectory since she entered a wider listener-ship’s consciousness with Rosa back then in2004. With her World Village début Amulettein 2011, she began hitting the paydirt of aricher cultural mother-lode. Damar is a pro-gression, a development of that. Its appear-ance is the musical equivalent of the culinaryarts’ slow food – and all the better for that.

Once again, the pianist Bojan Z with hisjazz chordings raises their game. Togetherthey’ve created a capricious and contempo-rary take on traditional Bosnian song forms.This release continues that approach. Theirapproach remains reverential to, but notobsequious about sevdah, once a dying artform in Tito’s Yugoslavia, but one they havere-energised and re-animated.

A fine example is the opening trackwhose title they translate as ‘Sing, whateversong is in your heart.’ It opens with heart-beats… apparently the damar of the albumtitle is translated as ‘pulse’, ‘life force’ or

‘beating heart’, but you get the gist. It comeswith a flowing guitar that compares beauti-fully well with the tastefulness of Portugal’scomposer and Portuguese guitar virtuosoCarlos Paredes’ guitarra portuguesa. In a nicetouch, heartbeats time it out. And that is onlythe first track.

Damar is a truly great, indelible work.Like the finest of musics, its revelations areslow-drip, conceivably until the listener can-not believe that this music wasn’t always intheir life. It is that inspirational – big word –and impressive.

www.worldvillagemusic.com

Ken Hunt

ABOU DIARRAKoya Mix & Métisse 69342MAD

Were this CD a man, hewould be an elegant damask-robed gent. The type of manwho moves with unhurriedgrace, long-necked andlimbed, nonchalantly hoikingthe heavy folds of his sleevesup onto his shoulders. Andhe smells really good.

Malian singer, composer and kamalengoni player Abou Diarra’s Koya has been along time coming, and yet it has walked intothe room as if owns the place. Not with anarrogant swagger, mind; more with a quietsense of self-confidence. It is comfortable inits skin. It doesn’t need to make a big fuss.

Oh, and is that Toumani Diabaté dropping into add his trademark tumbling cascades ofkora gorgeousness on Djarabi and thepoignant Labanko? Of course it is.

The collaboration with artistic directorNicolas Repac infuses Diarra’s classical Maliancool, with its reserve and gently melancholy,with more urban electro grooves and bluessensibilities – from Vincent Bucher’s sultryharmonica parts to more explicitly full-onguitar solos from Repac. Koya Blues is a fineexample of its success with evocative,breathy Fula flute parts, smoking harp andkamale ngoni riffs, trip-hop loops and theunderstated gritty vocal of Diarra’s mother,after whom the album is named. Impressivelyand spaciously produced throughout, there’splenty to unveil and surprise on repeat lis-tening: an array of curious plinky, guitartrickery (maybe over-heavy on the animaleffects!) and the ‘tight as’ backing vocals andgroove of Donko Band.

But at its heart is Diarra. Not the finestsinger you’ve ever heard from this tradition –though by god, he’s a demon of a Mandingaxe-wielder – but radiating musicality andsincerity. The only intrusions to Koya’s medi-tative spell are the smurf-effect BVs at theend of dancefloor-filling Ma Chérie and theintermittent beefburger guitar solos whichseem indulgent in the context of the whole.

By turn, Koya swings, it rolls and itgrooves without ever breaking a sweat. Werethis CD a man, he’d be well out of my league.

aboungoni.com

Sarah Coxson

f 52

Amira Medunjanin Abou Diarra

Pho

to: V

ictor D

elfim

fR402 PAGES 52-67 (12 Pgs)_Layout 1 26/10/2016 13:39 Page 1

AMIRA MEDUNJANINDamar World Village WVUK032

Damar is the follow-up toAmira’s 2014 release, Silk &Stone, her second on WorldVillage but the first to bebilled as ‘Amira Medunjanin’rather than simply ‘Amira’.Medunjanin has shown her-self to be not only a brilliantambassador for Bosnian cul-

ture and Bosnia’s folkways but also a vocalistand song interpreter on a steadily upwardtrajectory since she entered a wider listener-ship’s consciousness with Rosa back then in2004. With her World Village début Amulettein 2011, she began hitting the paydirt of aricher cultural mother-lode. Damar is a pro-gression, a development of that. Its appear-ance is the musical equivalent of the culinaryarts’ slow food – and all the better for that.

Once again, the pianist Bojan Z with hisjazz chordings raises their game. Togetherthey’ve created a capricious and contempo-rary take on traditional Bosnian song forms.This release continues that approach. Theirapproach remains reverential to, but notobsequious about sevdah, once a dying artform in Tito’s Yugoslavia, but one they havere-energised and re-animated.

A fine example is the opening trackwhose title they translate as ‘Sing, whateversong is in your heart.’ It opens with heart-beats… apparently the damar of the albumtitle is translated as ‘pulse’, ‘life force’ or

‘beating heart’, but you get the gist. It comeswith a flowing guitar that compares beauti-fully well with the tastefulness of Portugal’scomposer and Portuguese guitar virtuosoCarlos Paredes’ guitarra portuguesa. In a nicetouch, heartbeats time it out. And that is onlythe first track.

Damar is a truly great, indelible work.Like the finest of musics, its revelations areslow-drip, conceivably until the listener can-not believe that this music wasn’t always intheir life. It is that inspirational – big word –and impressive.

www.worldvillagemusic.com

Ken Hunt

ABOU DIARRAKoya Mix & Métisse 69342MAD

Were this CD a man, hewould be an elegant damask-robed gent. The type of manwho moves with unhurriedgrace, long-necked andlimbed, nonchalantly hoikingthe heavy folds of his sleevesup onto his shoulders. Andhe smells really good.

Malian singer, composer and kamalengoni player Abou Diarra’s Koya has been along time coming, and yet it has walked intothe room as if owns the place. Not with anarrogant swagger, mind; more with a quietsense of self-confidence. It is comfortable inits skin. It doesn’t need to make a big fuss.

Oh, and is that Toumani Diabaté dropping into add his trademark tumbling cascades ofkora gorgeousness on Djarabi and thepoignant Labanko? Of course it is.

The collaboration with artistic directorNicolas Repac infuses Diarra’s classical Maliancool, with its reserve and gently melancholy,with more urban electro grooves and bluessensibilities – from Vincent Bucher’s sultryharmonica parts to more explicitly full-onguitar solos from Repac. Koya Blues is a fineexample of its success with evocative,breathy Fula flute parts, smoking harp andkamale ngoni riffs, trip-hop loops and theunderstated gritty vocal of Diarra’s mother,after whom the album is named. Impressivelyand spaciously produced throughout, there’splenty to unveil and surprise on repeat lis-tening: an array of curious plinky, guitartrickery (maybe over-heavy on the animaleffects!) and the ‘tight as’ backing vocals andgroove of Donko Band.

But at its heart is Diarra. Not the finestsinger you’ve ever heard from this tradition –though by god, he’s a demon of a Mandingaxe-wielder – but radiating musicality andsincerity. The only intrusions to Koya’s medi-tative spell are the smurf-effect BVs at theend of dancefloor-filling Ma Chérie and theintermittent beefburger guitar solos whichseem indulgent in the context of the whole.

By turn, Koya swings, it rolls and itgrooves without ever breaking a sweat. Werethis CD a man, he’d be well out of my league.

aboungoni.com

Sarah Coxson

f 52

Amira Medunjanin Abou Diarra

Pho

to: V

ictor D

elfim

fR402 PAGES 52-67 (12 Pgs)_Layout 1 26/10/2016 13:39 Page 1

AMIRA MEDUNJANINDamar World Village WVUK032

Damar is the follow-up toAmira’s 2014 release, Silk &Stone, her second on WorldVillage but the first to bebilled as ‘Amira Medunjanin’rather than simply ‘Amira’.Medunjanin has shown her-self to be not only a brilliantambassador for Bosnian cul-

ture and Bosnia’s folkways but also a vocalistand song interpreter on a steadily upwardtrajectory since she entered a wider listener-ship’s consciousness with Rosa back then in2004. With her World Village début Amulettein 2011, she began hitting the paydirt of aricher cultural mother-lode. Damar is a pro-gression, a development of that. Its appear-ance is the musical equivalent of the culinaryarts’ slow food – and all the better for that.

Once again, the pianist Bojan Z with hisjazz chordings raises their game. Togetherthey’ve created a capricious and contempo-rary take on traditional Bosnian song forms.This release continues that approach. Theirapproach remains reverential to, but notobsequious about sevdah, once a dying artform in Tito’s Yugoslavia, but one they havere-energised and re-animated.

A fine example is the opening trackwhose title they translate as ‘Sing, whateversong is in your heart.’ It opens with heart-beats… apparently the damar of the albumtitle is translated as ‘pulse’, ‘life force’ or

‘beating heart’, but you get the gist. It comeswith a flowing guitar that compares beauti-fully well with the tastefulness of Portugal’scomposer and Portuguese guitar virtuosoCarlos Paredes’ guitarra portuguesa. In a nicetouch, heartbeats time it out. And that is onlythe first track.

Damar is a truly great, indelible work.Like the finest of musics, its revelations areslow-drip, conceivably until the listener can-not believe that this music wasn’t always intheir life. It is that inspirational – big word –and impressive.

www.worldvillagemusic.com

Ken Hunt

ABOU DIARRAKoya Mix & Métisse 69342MAD

Were this CD a man, hewould be an elegant damask-robed gent. The type of manwho moves with unhurriedgrace, long-necked andlimbed, nonchalantly hoikingthe heavy folds of his sleevesup onto his shoulders. Andhe smells really good.

Malian singer, composer and kamalengoni player Abou Diarra’s Koya has been along time coming, and yet it has walked intothe room as if owns the place. Not with anarrogant swagger, mind; more with a quietsense of self-confidence. It is comfortable inits skin. It doesn’t need to make a big fuss.

Oh, and is that Toumani Diabaté dropping into add his trademark tumbling cascades ofkora gorgeousness on Djarabi and thepoignant Labanko? Of course it is.

The collaboration with artistic directorNicolas Repac infuses Diarra’s classical Maliancool, with its reserve and gently melancholy,with more urban electro grooves and bluessensibilities – from Vincent Bucher’s sultryharmonica parts to more explicitly full-onguitar solos from Repac. Koya Blues is a fineexample of its success with evocative,breathy Fula flute parts, smoking harp andkamale ngoni riffs, trip-hop loops and theunderstated gritty vocal of Diarra’s mother,after whom the album is named. Impressivelyand spaciously produced throughout, there’splenty to unveil and surprise on repeat lis-tening: an array of curious plinky, guitartrickery (maybe over-heavy on the animaleffects!) and the ‘tight as’ backing vocals andgroove of Donko Band.

But at its heart is Diarra. Not the finestsinger you’ve ever heard from this tradition –though by god, he’s a demon of a Mandingaxe-wielder – but radiating musicality andsincerity. The only intrusions to Koya’s medi-tative spell are the smurf-effect BVs at theend of dancefloor-filling Ma Chérie and theintermittent beefburger guitar solos whichseem indulgent in the context of the whole.

By turn, Koya swings, it rolls and itgrooves without ever breaking a sweat. Werethis CD a man, he’d be well out of my league.

aboungoni.com

Sarah Coxson

f 52

Amira Medunjanin Abou Diarra

Pho

to: V

ictor D

elfim

fR402 PAGES 52-67 (12 Pgs)_Layout 1 26/10/2016 13:39 Page 1

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