Apr 20, 2018

RhoDeo 1815 Grooves


Today a very well picked & stylish collection of acid jazz/ jazzdance/ hip hop at first, expanding into trip hop, latin grooves, trip hop & jungle on later releases. Most tracks compiled by dj Patrick Forge of Da Lata fame. The combination of funk and jazz with hip hop beats and Latin rhythms, originated in the late 1980s from the club revival of old jazz and funk records (weird grooves). The sampling of jazz and funk, with the aim of finding a hook or groove for a new song, is also called acid jazz. The genre was especially popular in England, where groups such as Incognito, Jamiroquai and Brand New Heavies made good decorations in the nineties with a smooth jazz funk sound. Jazzdance shares many style characteristics with fusion and jazz rock, although jazz dance (through the use of danceable drum loops) is more focused on the dance floor. ..... 'N Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

The Rebirth of Cool series was one of Patrick Forge's projects that would last through-out the 90's. He was involved in quite a bit at the time of this one and the time represented a pivotal juncture in musical paths and careers. Several genres were on the verge of taking off; from underground to electronic to nu-bossa and break-beats, Patrick was in the middle of it all - and then some. Also spinning with Gilles Peterson and the radio shows, to various other projects that existed and would soon exist like Batu and Da Lata, these were truly exciting times. And meshing with a general musical sentiment, you had this series in a time when acid-jazz and music from all over the world was kind of coming together.

xxxxx xxxxx xxxxx xxxxx xxxxx

The Rebirth Of Cool Vol. 5   (flac 478mb)

01 Jhelisa - Friendly Pressure 6:07
02 Coldcut - Eine Kleine Hed Musick 4:09
03 Massive Attack - Karmakoma (Portishead Experience) 3:58
04 Leena Conquest And Hip Hop Finger - Boundaries 4:45
05 Ben Harper - Whipping Boy (Remix) 5:15
06 Kruder & Dorfmeister - Deep Shit Parts 1 & 2 5:28
07 Tricky - Hell Is Round The Corner 3:47
08 Freakpower - Turn On, Tune In, Find Joy 5:04
09 Portishead - Revenge Of The Number 3:22
10 Bomb The Bass Feat. Justin Warfield - Bug Powder Dust (La Funk Mob Remix) 5:36
11 UFO - United Future Airlines (Astral Hi-Jack Mix) 5:30
12 D*Note - Iniquity Worker 5:40
13 Method Man - Release Yo'Delf (Prodigy Mix) 5:55
14 Paul Weller - Kosmos (Lynch Mob Bonus Beats) 4:35
15 MC Solaar - Nouveau Western 3:39
16 Beastie Boys - Get It Together 4:07

.The Rebirth Of Cool Vol. 5  (ogg  171mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

The Rebirth Of Cool Vol. 6    (flac 468mb)

01 Smoke City - Underwater Love 6:00
02 iO - Claire 5:53
03 Outside - To Forgive But Not To Forget 5:53
04 Nicolette - You Are Heaven Sent 4:09
05 Lamb - Cotton Wool (Fila Brazillia Mix) 5:59
06 L.T.J. Bukem - Horizons 6:01
07 Nitin Sawhney - Migration 5:45
08 Da Lata - Ponteio 5:15
09 Akasha - Jazz Garage 5:09
10 Alex Reece - Feel The Sunshine 3:51
11 Ernest Ranglin - Surfin' 4:08
12 Luciano Meets The Jungle Brothers - Who Could It Be (Jungle Brothers Mix - Radio Edit) 4:00
13 Lewis Taylor - Bittersweet 5:34
14 D.J. Pulse & Jazz Cartel - Street Player 4:25
15 Dave Angel - Rudiments 5:10

The Rebirth Of Cool Vol. 6  (ogg  173mb )

xxxxx xxxxx xxxxx xxxxx xxxxx

 The Rebirth Of Cool Vol. 7    (flac  424mb)

01 Abstract Truth - Get Another Plan (Extended Mix) 6:21
02 Ian O'Brien - Monkey Jazz 7:03
03 Blaze - My Beat 5:21
04 Universal Being - Size Of An Elephant 6:37
05 Spacer - Contrazoom 5:57
06 Underwolves - The Redeemer 6:47
07 DJ Skitz* Alongside Roots Manuva - Where My Mind Is At 4:42
08 New Sector Movements - My History/Feel The Spirit (Afro History Part 11) 8:55
09 Kerri* & Joe Escravos - De Jo 7:24
10 Dean Fraser - African Elation 8:51

The Rebirth Of Cool Vol. 7  (ogg  164mb)


The Rebirth Of Cool Vol. 7-2   (flac 430mb)

01 The Amalgamation Of Soundz - Tears For The Yazd 6:37
02 Karime Kendra - Chemical Imbalance (DJ Die Mix) 6:00
03 State Of Bengal - Elephant Ride 6:23
04 Luciano - Life (Da Lata Mix) 5:42
05 Faze Action - Plans & Designs 7:32
06 Tala Quintet Feat. The Vocals Of Manorama Prasad - Na-Da 6:28
07 Bill Riley - In At The Deep End 6:31
08 Roni Size - Ballet Dance 6:41
09 Fused Up - Impressions 8:39
10 The Mighty Strinth - What Is It? 10:11

. The Rebirth Of Cool Vol. 7-2  (ogg  154mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Apr 18, 2018

RhoDeo 1815 Aetix


Today's artists are a British rock and new wave band formed in London in 1979. The band's hits include "One Thing Leads to Another", "Saved by Zero", "Are We Ourselves?", and "Secret Separation", all of which made the U.S. Top 20, as well as early MTV Video hits "Red Skies" and "Stand or Fall" and Mainstream Rock chart hits "Driven Out" and "Deeper and Deeper", the latter of which was featured on the soundtrack of the 1984 film Streets of Fire.............N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

College friends Cy Curnin on vocals and Adam Woods on drums formed the group in London in 1979, initially calling themselves Portraits. The pair placed an ad for additional members, and recruited keyboardist Rupert Greenall, guitarist Tony McGrail and bassist Russell Mckenzie later to be replaced by Charlie Barrett. Portraits issued two singles for Ariola Records: "Little Women" (1979), and "Hazards In The Home" (1980).

Later in 1980, McGrail left. At this point, the band added guitarist Jamie West-Oram (formerly of Phillip Rambow's band) and changed their name to The Fix. This version of the band recorded for 101 Records, releasing their first single ("Lost Planes") in February 1981. This track, along with several live tracks issued by 101 on various compilations, received some radio exposure on the BBC. In these early days West-Oram was billed simply as "Jamie West".

The Fixx's raised profile eventually led to the group being offered a contract by MCA Records. Worried about the potential drug-user implication of the band's name, MCA insisted on a name change before signing them to the label. A compromise was reached as the band altered the spelling of their name to The Fixx, and a deal was duly inked.

Barrett left the Fixx just after the recording of their first album, Shuttered Room, in 1982. This album featured the band's initial hits, "Stand or Fall" and "Red Skies", both of which charted in the US and the UK. The band found particular success in Canada, where "Stand or Fall" reached No. 37. "Stand or Fall" entered the charts in the US on 30 October 1982.

Barrett was replaced on bass by Alfie Agius for the Shuttered Room tour. Agius' stay in the band was short-lived, though, as he left during the 1983 recording of their next album Reach the Beach, after having recorded four tracks. Agius is credited as co-writer on all the album's tracks, but the group for this album was officially credited as a quartet (Curnin, Greenall, West-Oram and Woods). Agius went on to briefly tour with the hard rock/heavy metal band, Fastway that same year.

Reach the Beach became the group's most commercially successful album and was certified Platinum by the RIAA on 5 January 1984. Agius' bass work is featured on the album's first two singles "Saved by Zero" and "One Thing Leads to Another."[2] Both these singles cracked the US top 40, and "One Thing Leads To Another" became the band's biggest-ever hit (No. 1 Canada, No. 4 US). It was during these sessions that bassist Dan K. Brown joined the band. Brown played bass on the third top 40 single from the album, "The Sign Of Fire" and continued with the band on its subsequent tour. Brown became a full member of the band thereafter.

Curnin and West-Oram played on "I Might Have Been Queen" and "Better Be Good To Me" by Tina Turner on her 1984 album Private Dancer. The 1984 album Phantoms contained the hits "Are We Ourselves?" (#29 Can.), the first video in which a mobile phone ever appeared (a modified Motorola KR999), and "Sunshine In The Shade." Another single, "Deeper And Deeper," was initially released as the B-side of "Are We Ourselves?" (and also appeared in an edited version on the soundtrack for the film Streets of Fire). This track received substantial airplay on U.S. and Canadian modern rock radio stations.

In 1985 the Fixx recorded the song "A Letter to Both Sides" for the soundtrack of the film Fletch. In 1986 they released their fourth album Walkabout, featuring "Secret Separation" (No. 1 on Billboard Magazine's "Album Rock" chart, No. 49 in Canada) and "Built for the Future." The 1987 album React, was a compilation of both live and new studio material, after which the band would depart MCA Records. 1988 marked their return with a new album Calm Animals and a new label RCA Records. This album contained another hit "Driven Out" (another No. 1 on Billboard's "Album Rock" chart).

The band returned to MCA for their next album, 1991's Ink. The album featured "How Much Is Enough?" (No. 27 Canada, No. 35 US). Dan K. Brown left the band in 1994. He was not officially replaced, and the band used session musicians on bass in his stead, with Chris Tait playing bass on most recordings and live shows from 1995 through the early 2000s. The four man line-up (with contributions from Tait and other sessioneers) recorded 1998's Elemental, as well as the 1999 album 1011 Woodland on which they re-recorded a selection of previous hits and album tracks.

In 2002 the Fixx performed Nancy Sinatra's 1960s classic "These Boots Are Made for Walkin'" for an album of cover versions of songs from the 1960s to 1990s called When Pigs Fly. In 2003, the band released their ninth studio album, Want That Life. Gary Tibbs (formerly a member of Roxy Music, The Vibrators and Adam and the Ants) played bass for this album. Long-time bassist Dan K. Brown re-joined the band in 2008, replacing Tibbs. They celebrated 25 years of making music together, with the release of the double-CD Twentyfifth Anniversary Anthology compilation. With the classic lineup back intact, the Fixx released their 10th studio album Beautiful Friction on 17 July 2012. The Fixx regularly tour the world.

xxxxx xxxxx xxxxx xxxxx xxxxx

The Fixx's debut album, Shuttered Room, suffers from inconsistent and unmelodic songwriting, but producer Rupert Hine helps turn the group's generic new wave into engaging synth pop. Even with Hine's support, only a couple of tracks ("Red Skies," "Stand or Fall," "Shuttered Room") stand out, yet the band's clean, mechanical attack makes the record enjoyable.

The Fixx - Shuttered Room (flac  340mb)
01 Sinking Island 4:33
02 I Found You 3:37
03 Some People 3:00
04 Stand Or Fall 3:59
05 Red Skies 4:19
06 Lost Planes 3:20
07 Cameras In Paris 3:57
08 I Live 4:52
09 Shuttered Room 2:45
10 The Fool 5:22
11 Time In A Glass 3:28
12 The Strain 3:33
13 Stand Or Fall (Extended Mix) 4:52

The Fixx - Shuttered Room   (ogg  123mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

The Fixx had a banner year in 1983, as their second album, Reach the Beach, broke down doors and gave the band a huge hit with "One Thing Leads to Another." Phantoms wasn't as good, not just because Reach the Beach had that hit but also because it was simply a really good mainstream new wave record. Phantoms was a little more serious, a little more lugubrious, a little directionless, but it still is a pretty good record, all the same. The reason why? The Fixx were a good band. They had an original sound, thanks to the echoing synths, clean-processed guitars, cavernous drums, and Cy Curnin's soaring voice, which soared over the precise arrangements to make it sound human. The wondrous thing about this combination is that it sounded appealing even when the material wasn't the equal of the sound, which is often the case on Phantoms. That's not to say it's a disaster, because it hardly is -- the band sounds good, and the record is a shining example of post-new wave production. But, it does play a bit as singles and filler, with the Top 20 hit "Are We Ourselves" shining brightly among the record's 12 songs, but "Lose Face," the reggae-tinged "Sunshine in the Shade," and "Woman on a Train" all were fine Fixx songs, standing proudly among the perfectly acceptable, but rather undistinguished, cuts that formed the rest of the album, including a preponderance of long, moody synth ballads. Even if it was an uneven record, its ratio of hits to filler was no greater than most pop albums. However, Phantoms had the misfortune of arriving in one of the greatest years for pop music, a year where every kind of style was in full bloom. So, Phantoms fell by the wayside, but, in retrospect, it was an admirable successor to an album that defined a band's career.

The Fixx - Phantoms (flac  413mb)
01 Lose Face 3:20
02 Less Cities, More Moving People 3:43
03 Sunshine In The Shade 2:26
04 Woman On A Train 3:53
05 Wish 4:03
06 Lost In Battle Overseas 4:10
07 Question 3:26
08 In Suspense 3:38
09 Facing The Wind 3:12
10 Are We Ourselves 2:27
11 I Will 3:46
12 Phantom Living 3:48
13 Less Cities, More Moving People (12”) 7:10
14 Sunshine In The Shade (Live) 3:46
15 I Will (Extended) 7:28

The Fixx - Phantoms   (ogg  145mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

With its layered, synthesized textures and ponderous songs, Walkabout displays a bit more ambition than the average Fixx album, yet its best moments arrive when the group concentrates on pop songs, such as the trancy "Secret Separation." Unfortunately, only a handful of songs on Walkabout come close to matching the hooks of "Secret Separation," suggesting that the Fixx have begun to run out of ideas.

The Fixx - Walkabout   (flac  313mb)

01 Secret Separation 3:51
02 Built For The Future 4:06
03 Treasure It 4:42
04 Chase The Fire 4:21
05 Can't Finish 4:13
06 Walkabout 4:38
07 One Look Up 4:15
08 Read Between The Lines 4:00
09 Sense The Adventure 3:41
10 Camphor/Peace On Earth (Hidden) 10:46

The Fixx - Walkabout     (ogg  113mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

The Fixx attempted to redefine themselves as a guitar-driven mainstream rock band for 1988's Calm Animals, their first album for RCA Records. Although their stylistic revamping isn't embarrassing, it isn't executed well, particularly because the group has failed to write any memorable songs. Consequently, Calm Animals produced no hits, and the group left RCA after releasing this lone album.

The Fixx - Calm Animals   (flac  242mb)

01 I'm Life 3:19
02 Driven Out 4:00
03 Subterranean 3:46
04 Precious Stone 3:10
05 Gypsy Feet 4:04
06 Calm Animals 4:14
07 Shred Of Evidence 3:42
08 The Flow 3:02
09 World Weary 4:39
10 Cause To Be Alarmed 3:47

The Fixx - Calm Animals     (ogg  89mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

previously elsewhere

The Fixx - Reach The Beach   (flac  439mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Apr 17, 2018

RhoDeo 1815 Roots


Today's artist is a prominent Peruvian singer-songwriter, school teacher, folklorist, ethnomusicologist and two-times Latin Grammy Award winner. She has been a key figure in the revival of Afro-Peruvian music.... ......N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Much of the original music has been lost, but in the 1950s a revival was staged by José Durand, a white Peruvian criollo who was a folklore professor, and Porfirio Vásquez. Durand founded the Pancho Fierro Dance Company. Drawing upon elderly members of the community for memories of musical traditions, Durand collaborated with Vásquez to revive various songs and dances to create the repertoire for the group. One of the best known is his revival of the carnival dance “El Son de los Diablos.” In colonial times, this dance was featured in parades with a fleet of austere, pure angels leading the way, followed by the mischievous devils. In the revival of the dance, the angels were eliminated, and the crowds were entertained by rambunctious devils and their leader “el diablo mayor.” The dance featured energetic zapateo tap-dancing. The group performed for about two years, including a concert for Peruvian composer Chabuca Granda and a tour through Chile.

Actually, poet Nicomendes Santa Cruz and Victoria Santa Cruz (siblings) both created Cumanana (1957) an Afroperuvian ensemble that highlighted the rich West and Central African call and response poetry, music / dance traditions that were a staple of Peruvian culture and are essentially valued to this day.

One long lasting Afro-Peruvian dance company was Perú Negro, which, incorporated more modern use of percussion combined with criollo music. Perú Negro is also known for their use of blackface, celebrating the mixture of African and Spanish heritage. Two of their best known pieces are “Dance of the Laundresses,” which depicts historical hard working yet beautiful black women in Peru, and the “Canto a Elegua,” which shows tribal religion before the Spanish influence.

Lima and Chincha are two areas where there are many performers of this music, which is played in night clubs, dinner dances and festivals. Notable artists and groups through the years have included Victoria and Nicomedes Santa Cruz, Lucila Campos, Pepe Vásquez, and Susana Baca. One of the best known songs in the genre is Peru's "Toro Mata".

Today, Afro-Peruvians (also known as Afrodescent Peruvians) reside mainly on the central and south coast, with the majority of the population in the provinces of Lima, Callao, Nazca, Chincha, Ica and Cañete. Many Afro-Peruvians live on the northern coast in Lambayeque and Piura. The greatest concentration of Afro-Peruvians and mestizos of Afrodescent is in the Callao, an area that has historically received many of the Afro-Peruvians from the north and southern coast.

On the southern coast of the Ica Region, there are many cotton fields and vineyards, and the area is commonly known for its black populations such as that in El Carmen of the populous Chincha Province. There are other such towns in the Nazca, Ica City and in the district of San Luis in the Cañete Province near Lima, and Nazca to the south of Lima. In Lima, the towns best known for having large concentrations of Afro-descended populations are Puente Piedra, Chorrillos, Rimac, and La Victoria. Afro-Peruvians also reside in the northern regions of Peru such as La Libertad and Ancash, but the larger populations are concentrated in the northern valley plantations of the regions of Piura and Lambayeque.

Most Afro-Peruvian communities live in rural farming areas where mango, rice, and sugarcane production is present. Contrary to the southern coast, these communities are mainly found away from the coastal shores and into the region of the yungas, where the plain meets the Andes. The greatest Afro-Peruvian populations of the north coast are found mainly in the outskirts of the Morropón Province and concentrate themselves in Piura and Tumbes. The central province of Morropón is well known for its black communities in cities such as Chulucanas, Yapatera, Chapica del Carmelo, La Matanza, Pabur (Hacienda Pabur), Morropón, Salitral, Buenos Aires, San Juan de Bigote and Canchaque, and to the north Tambogrande. All of these cities belong to the Piura Region, where there are large rice fields and mango plantations. South of the Lambayeque Region and north of La Libertad where sugarcane production was very productive in the past, there are several cities known for their black inhabitants. Examples are the colonial city of Saña in Lambayeque, famous for being the second most important Afro-Peruvian city of the Peruvian north. Tuman, Capote, Cayaltí, and Batán Grande within the region of Lambayeque also have large amounts of Afro-Peruvian populations in the sugarcane region.

In November 2009, the Peruvian government issued an official apology to Peru's Afro-Peruvian people for centuries of racial injustice; it was the first such apology ever made by the government.

xxxxx xxxxx xxxxx xxxxx xxxxx

With a splendid voice and equally impressive interpretive gifts, Susana Baca is a primary exponent of the Afro-Peruvian musical tradition. Baca came to world attention in 1995, when her rendition of "Maria Lando," a heartbreaking ballad of Third World worker oppression, was included on David Byrne's The Soul of Black Peru compilation. Since the Byrne compilation, she has toured the United States several times and released several albums, including an eponymously titled solo album on Byrne's Luaka Bop label; a disc, Del Fuego y del Agua, for Tonga Productions; 2002's Espíritu Vivo, and 2006's Travesías. Baca is particularly interested in reinterpreting old Afro-Peruvian melodies. At her best, Baca conveys an unforgettable, haunting melancholy, the lament of a people separated from their homeland by a continent and an ocean.

Baca was born in the black coastal barrio of Chorrillos, outside Lima, where descendants of slaves have lived since the days of the Spanish Empire. Her family was interested in music; her father played the guitar, while her mother was a dancer, and she grew up listening to Cuban musicians like Pérez Prado and Beny Moré. Baca's singing first came to public attention when she was a student. She formed an experimental group combining poetry and song, and started performing after receiving grants from Peru's Institute of Modern Art and the National Institute of Peruvian Culture. She attracted the attention of the composer and singer Chabuca Granda, who became her mentor. Granda encouraged Baca to record, but a 1983 record deal fell apart upon Granda's death. Baca then turned her attention to researching the Afro-Peruvian tradition. With her husband she founded the Instituto Negrocontinuo (Black Continuum) in Lima, which is dedicated to preserving Afro-Peruvian culture. She released a new EP, Seis Poemas, in 2009, following it with the full-length Afrodiaspora in 2011.

In July 2011 the newly elected President of Peru, Ollanta Humala, announced that Baca would become his Minister of Culture. On 28 July she was sworn in, becoming the second Afro-Peruvian cabinet minister in the history of independent Peru. She resigned due to a cabinet reshuffle on 11 December 2011. In November 2011 she was elected to the Organization of American States (OAS) as President of the Commission of Culture for the period 2011–13.

Baca founded the Instituto Negrocontinuo (Black Continuum Institute) in her seafront home in Chorrillos, to foster the collection, preservation and creation of Afro-Peruvian culture, music and dance.

Susana Baca in her own words
I was born in Lima and grew up in a small town in Peru called Chorrillos. My father was a chauffeur for a wealthy family and my mother worked as a cook and sometimes washed clothes. In Lima we lived in an alleyway, the kind where the servants lived, off the main streets past the fancy neighborhoods. My father played the guitar. He was the official musician of the alley. Whenever there was a party they called him. He played serranitas which are tales of the Golondrinos, people who came from Los Andes near the coast in the time of cotton-picking. My father learned the serranitas from them in his childhood. They are sung at Christmas: (singing) Ay, my dove is flying away, she’s gone. Let her go, she’ll soon return. “I have an older sister and brother, and the three of us would sing together. My mother taught us how to dance. She’d say, “How can my children not know how to dance?” And so we sang and danced every afternoon. Later, my mother bought a record player, which was a big event. I imitated everything. My sister enrolled in a singing contest on the radio, and we went to watch the broadcast. It left a very strong mark on me. I saw her there and felt as though that was where I wanted to be. My brother made me a stick with a can on the end, which was the microphone. People came and we put on a show. I would drop anything for music. “I tried not to become a professional singer, mainly for my mother’s sake. She thought I wouldn’t be able to earn a living. That’s my mother’s image of musicians. My mother told me many stories about musicians who were not famous like Felipe Pingo, a renowned musician and composer who died of tuberculosis. She said, “This is the destiny of my daughter,” and she pushed me to become a teacher. I liked studying to be a teacher; I dedicated myself to being a singer later. When I first met my husband, Ricardo, I was active as a musician, but everything moved so slowly. I dedicated myself to music, and couldn’t devote myself to looking for work or figuring out how to record an album. I thought that if I worked hard enough, I’d find someone who was interested in working with me. I realized, after many years, that no one was interested in what I was singing, which was poetry. I was black, singing black music. It was a big problem. In Peru the black population is very small—you find mixed people, like me, or even lighter. But as a culture it is present everywhere. And another thing: blacks also segregate themselves. By class or by skin tone. I’ve heard my aunts say, “Marry someone lighter, even an Indian, so that your children will have hair they can comb.” “I would like to be remembered for my voice, of course. But also for helping to spread the music of my ancestors—all those people who were never recognized for their work or for their beautiful culture.

xxxxx xxxxx xxxxx xxxxx xxxxx

This album was released by Empresa Editora El Comercio a powerful newspapergroup from Peru, i assume this came with a special newspaper. Anyway it comes with a 15 page booklet on Susana, obviously in Spanish (alas). It's a mix of older and later Luaka Bop times (96).

 Susana Baca - A Viva Voz Vol 2   (flac  333mb)

01 de Los Amores
02 Toro Mata
03 Negrito Bonoto
04 la Guillermina
05 Maria Lando
06 Horas de Amor
07 Les Feuilles Mortes
08 Heces
09 Tu Mirada y Mi Voz
10 Canto Elegglia
11 de España Nos Llego Cristo
12 Golpe E Tierra
13 Fuego y Agua

Susana Baca - A Viva Voz Vol 2 (ogg   136mb )

xxxxx xxxxx xxxxx xxxxx xxxxx

More than four years after her previous release, Espíritu Vivo, Afro-Peruvian singer Susana Baca picks up just where she left off with Travesías, as though no time had passed at all. Her singing is still as strong and emotional as ever, her interpretations of traditional and classic songs are just as interesting and fresh, and the affecting subtlety that her band brings to the pieces only heightens the haunting beauty of Baca's timeless voice. While most of the lyrics on Travesías are in her native Spanish, she also, in her constant pursuit to explore other music and apply her own style to it, sings in Portuguese (with Gilberto Gil on "Estrela"), in Neapolitan (on Vincenzo DeCrescenzo's love song, "Luna Rossa"), in Haitian Creole (for her plaintive cover of Frantz Casseus' "Merci Bon Dieu"), in English (in her interpretation of Damien Rice's "Volcano," to which she also adds her own Spanish vocals), and in French (for her Latin blues version of Maxime Le Forestier's "Né Quelque Part"). The precision of both Baca and her band allows for all of these explorations to occur without anything seeming out of place. In fact, the whole album is so consistent in its pretty, temperate sound that it has a very atmospheric quality to it. The songs are gentle and poignant without coming across as forced or corny, and each note, either played or sung, is so achingly gorgeous that it's almost impossible to not feel attached to each one. Because of this, Baca is able to sing love poems about women by Manuel Scorza and Pablo Neruda ("Guillermina" is also found on Lamento Negro) with complete sincerity, as if she had written them herself. She feels the music just as strongly as the writers felt the words, and this emotion is transferred into the listening experience. Her love of what she does is sensed by anyone who hears what she sings, which certainly makes Travesías a wonderful album.

Susana Baca - Travesias   (flac  296mb)

01 Viento Del Olvido 4:34
02 Estrela 5:41
03 Guillermina 5:14
04 Una Copla Me Ha Cantado 3:46
05 Né Quelque Part 5:54
06 Merci Bon Dieu 5:20
07 Luna Rossa 5:50
08 Siempre 3:00
09 Volcano 4:48
10 Palomita Ingrata 3:39
11 Pensamiento 3:12
12 Lundero 4:53

Susana Baca - Travesias (ogg 117mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

A Note from Susana Baca on Afrodiaspora

I am from Chorrillos, in the Southern part of Lima, which has changed a lot over the years, but when I grew up there where a lot of stables, farms and fisherman, fixing their nets, and a beach where rich people came to pass their vacations. I began to get interested there in Chorillos. On Sundays, Black families got together on their only day off and they would cook food and play music. People worked as laborers, doing wash, domestics, cooks etc and on Sundays they would come together as families to eat and to play the music they heard on the radio, Cuban music, Cumbias, Mexican songs, Tangos. I would be playing with the other kids but when they would start playing music I would leave the kids to join the adults.

There was Cuban music, boleros. Tangos, but there was little Peruvian music on the radio and people reached back to remember Danzas, Waltzes and other styles. This when I heard Celia Cruz play Palo Mayimbe, it felt like something very much ours, even though it was Cuban. This is how I feel about this record, it is our celebration of the African presence in the Americas and the way it has become a part of Latin America.

The culture, music, and our whole selves are all about the mixture of Spanish Indian and African cultures. The Spaniards that came to Peru encountered a very strong civilization even here in Lima that was the center of the Spanish influence. There was a strong Incan influence and the Africans that first came along with the conquistadors and then later as slaves brought to Cartagena, Columbia and then to the Peruvian Coast along with the other slaves on sugar and cotton plantations and they were property of the Spaniards and declared property of the church, Dominicans and Jesuits.

This record is a celebration of the African presence in the Americas, the experience of people that underwent this journey, where only the strong survived.

I feel the music of Cuba, Columbia, Ecuador, Argentina and Puerto Rico as if it were mine. It is my essence, like the drummers of Guatire from Venezuela. I feel like they are talking to my soul, even though I am not Venezuelan I feel a part of this.

I have traveled to many places where Afro Descendents live in Latin America, many of them poor and forgotten places, neglected and excluded by governments where there is a social exclusion but at the same time I feel that they have a spiritual strength to express the African presence. So I try to sing songs from these places, even though I left out a lot. I celebrate the shared blood and the way that the African presence has influenced Latin America.

Susana Baca's seventh album for David Byrne's Luaka Bop imprint is an ambitious affair with Baca bringing her instantly recognizable and elegant vocal style to the table in an attempt to show the pervasive influence of African rhythms and song forms on South American and Caribbean music. It’s not that she hasn’t been doing this all along on her releases, but the title of this one, Afrodiaspora, clearly states the case, and there is an astounding variety of styles blended together here, from tango, salsa, and flamenco to New Orleans-styled brass band blues and dance numbers, and everything comes out sounding distinctly Afro-Peruvian no matter how many regional variations are tossed into the mix. But Baca isn’t about fusion so much as she is about shining a light on how much folk traditions continually soak up new wrinkles and rhythms as part of the natural human approach to making and playing music, and if the Afro-Andean elements on display here are relatively new, they’re fully in line with what folk music always does: take what works and run with it. There are some gems here, including an Afro-Peruvian remake of the Meters' “Hey Pocky Way,” complete with a brass band, that suggests that the blues and salsa might just be cut from the same cloth. If there’s a misstep on this fine album, it’s the closing cut, which features Carlos Mosquera singing Victor Merino's song for and about Baca, “Canta Susana.” Yeah, it would have been odd to have Baca sing her own praises, but it’s only slightly less odd to have a guest singer do it. Not that it’s a bad song or a poor performance -- it isn’t -- but it just doesn’t somehow seem to fit with the rest of this impressive outing.

Susana Baca - Afrodiaspora   (flac  316mb)

01 Detrás de la Puerta 5:08
02 Bendíceme 4:40
03 Yana Runa 6:58
04 Plena y Bomba 6:05
05 Reina de África 4:19
06 Baho Kende + Palo Mayimbe 5:08
07 Coco y Forro 4:26
08 Taki Ti Taki 6:05
09 Que Bonito Tu Vestito 5:36
10 Hey Pocky Way 4:24
11 Canta Susana 3:29

Susana Baca - Afrodiaspora (ogg  136mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Perú Negro is an Afro-Peruvian musical ensemble founded in 1969 to celebrate and preserve Peru's black culture and música criolla. Ronaldo Campos de la Colina founded the Lima-based group with 12 family members. The group has been appointed by the government of Peru as the "Cultural Ambassadors of Black Peru." When Ronaldo Campos died in 2001, his son Rony Campos took over the direction of the troupe. Today, the group has over 30 members and a youth troupe, Peru Negrito. The group's album, Sangre de un Don led to the first ever U.S. tour in 2002. In 2005 the group was honored with two Grammy nominations for their second US album, Jolgorio. The first nomination came through the Latin Grammys’ traditional music category and the second for the Grammy’s World Music category and in 2008 the group received another Grammy nomination for their album Zamba Malato. In 2010, the group teamed up with famed Peruvian singer, Eva Ayllon to record the album 40 years of Afro Peruvian Classics. The collaboration led to a Latin Grammy Nomination for Best Folk Album.

The debut album from Peru Negro, a group of Afro-Peruvian performers who have been together since 1969. Previously the group had only been recorded for David Byrne's Soul of Black Peru compilation. This is Afro-Peruvian at its best in an ensemble format. The three most basic forms of music from the genre are presented on this CD: the festeja (nice, simple party music), the alcatraz (music accompanying a rather suggestive dance routine), and el toro mata, the most common type of song in the Afro-Peruvian traditions. Bandleader Ronny Campos serves as an excellent songwriter within the forms that are dealt. There is the obvious sound combination of Spanish and African flavors as one would expect, but there is an added tinge of something deeper. That something is rather difficult to put one's finger on, but it's an integral part of the music. For Afro-Peruvian music, there are certainly a number of worthwhile artists and albums to pick up (such as Susana Baca or Lucila Campos), but for the ensemble format, this is certainly worth placing at the top of the pile. The interplay of the female vocalists, the instrumentalists, and the male exclamations throughout the album makes it a stunning exercise in counterpoint and rhythm. Pick it up as a fan of the genre or as an intrepid newcomer.

 Peru Negro - Sangre De Un Don ( flac  295mb)

01 Ruperta (Traditional) 4:16
02 Negro Por Siempre 4:37
03 Jolgorio De Los Negritos 3:40
04 Ollita Noma 4:33
05 Toro Mata 5:17
06 Samba Malató (Traditional) 4:16
07 Trabaja Trabaja 4:49
08 Machete En Su Cuna (Traditional) 5:40
09 Mama Nangue 3:58
10 Negro Con Sabor 3:47
11 Cocofrito 2:55
12 Sangre De Un Don 3:40

 Peru Negro - Sangre De Un Don (ogg  119mb)

xxxxx xxxxx xxxxx xxxxx xxxxx