Feb 24, 2015

RhoDeo 1508 Roots

Hello,  so the Oscar's went to Birdman, not for the actors who were nominated as well, but very serious competition there. Eddie 'Hawking' Redmayne made for a convincing ALS professor, interestingly Julianne Moore won the Oscar for portraying a very convincing professor struck by Alzheimer, it looks like Hollywood has grown a heart (or is this part of the 2012 shift).The Budapest hotel picked up most remaining technical Oscars  As for the show after a tear-jerking performance, John Legend and Common predictably won the Oscar for “Glory” from the film, “Selma.”. Bizarrely Lady Gaga performed a medley of songs from The Sound Of Music at the Oscars last night, not sure if she's been struck by a Barbara Streisand complex-that other ugly duckling , well I wasn't impressed....

Here's the final Roots episode out of Africa, i'm not sure yet if i will cross over to Brazil next, musicaally this post kinda shows the way ...N'Joy.

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Cape Verdean guitarist, songwriter, and singer Teofilo Chantre was introduced to world music audiences via his compositions, many of which were popularized by the great Césaria Évora. Later in his career Chantre used that momentum and recognition to launch his career as a performer. Teofilo Chantre was born in 1964 on the island of Sao Nicolau, later moving to São Vicente. He was surrounded by music and arts early on, brought up by a father who was a renowned lyricist in Cape Verde's bustling arts hub of Mindelo. In his early teens Teofilo relocated to France, where he began to experiment with guitar and composition. Only a few short years later the budding artist took an interest in the music of his homeland. As Chantre grew as a writer he garnered the attention of professionals in the Portuguese music community, such as producer Jose DaSilva.

In 1991 DaSilva included a number of Chantre's compositions on Césaria Évora's record Miss Perfumado, which went on to be a smash success. A lasting relationship between Chantre and Évora developed, resulting in widespread popularity for the previously unknown songwriter. It was not long before Chantre had the clout necessary to release high-quality solo recordings, the first of which was Terra & Cretcheu (1993). On his debut record listeners were treated to not only standard Cape Verdean fare, but a rich mixture of elements, including Brazilian, Caribbean, Spanish, and jazz-influenced musics. Having spent a number of years living in Paris, Chantre had been exposed to a world of ideas that he now integrated with his native Afro-Portuguese musical heritage. His sophomore effort was entitled Di Alma (1997), followed three years later by Rodatempo (2000). Following a live record in 2002, Chantre's 2007 recording, Azulando, enjoyed a lasting presence on world music charts throughout Europe and the States.

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Teofilo Chantre is probably best known for the songs of his that the incomparable Césaria Evora has recorded. But he's also a very gifted performer, as Azulando (in actual fact his fourth -- or possibly fifth -- album) makes clear. While from Cape Verde, he's a longtime Parisian who's absorbed plenty of styles, and is equally adept at them all, whether extracting the morna from a ballad swinging on some rumba, or even venturing into chamber music. Evora and Angolan Bonga lend their talents to the disc, but in truth they're hardly needed. Chantre's wispy voice works perfectly on his material, bolstered by his astonishingly good guitar work that swings even in the gentlest mood, quite capable of offering a gentle lilt. He even essays a French lyric to good effect, but it's in Portuguese that he's completely at home, carrying a rare beauty and poignancy in his tone. He may not be in Evora's class as a singer, but on the evidence of this, he's not far behind, and when it comes to songwriting, there are few to even touch him.

Teofilo Chantre - Azulando  (flac  380mb)

01 Bola Azul (Blue Ball) 4:19
02 Nada Mas Nada Menos (Nothing More Nothing Less) 4:00
03 Des Bleuets Dans Les Blés (Cornflowers in the Wheat) 2:50
04 Mãe Pa Fidje (From Mother to Son) 4:02
05 Amor Dum Sô (Love Just for One) 4:34
06 Canta Cabo Verda (Sing Cape Verde) 4:58
07 Promessa (Promise) 3:55
08 Segredo Na Luar (Secret in the Moonlight) 5:38
09 Hoje (Today) 4:27
10 Vadiamundo (Vagabond) 4:39
11 Fonte Di Nha Sodade (The Source of My Nostalgia) 5:38
12 Encanto Di Cretcheu (Enchantment) 6:03
13 Um Novo Amor (A New Love) 3:28
Teofilo Chantre - Azulando  (ogg 149mb)

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Cape Verdean songstress and author Mayra Andrade made a name for herself as a songwriter and performer in her adolescence. By her early twenties she was an established talent, known throughout the Parisian world music scene for her keen writing and adept vocals. Mayra spent her earliest years globetrotting. Born in Cuba, she moved to Senegal, then Angola, followed by Germany, before settling on her parent's native island of Cape Verde. By her early teens Mayra displayed significant talent. Her victory in the songwriting competition at the Francophone Games in Canada at age 16 confirmed her position as a rising star. She performed throughout the Portuguese-speaking world, taking the stage in Praia, Mindelo, and Lisbon. Settling in Paris in 2002, Andrade worked her way up the ladder, performing at acoustic venues in various cities before eventually headlining major festivals. Her reputation earned opportunities to share both stage and studio with established veterans such as Charles Aznavour and Césaria Évora. Andrade released her debut solo record in 2005, entitled Navega. The album, distributed by media giant Sony BMG, enjoyed a lasting presence on World Music Charts Europe, among others.


Cape Verdean singer Mayra Andrade has enjoyed a very healthy climb to stardom with this impressive debut. Certainly the last thing anyone thinks of when listening to her is a comparison with her countrywoman Césaria Évora. But Andrade hasn't rushed into the studio to record -- this album has had a six-year gestation. This is revealed right from the start, as the subtle "Dimokransa" shows the influence of Brazil in a transparently obvious but beautifully fashioned manner -- there's definite sophistication at work here. But that's not to say she ignores her roots -- far from it, as she proves with "Dispidia," "Nha Nobréza," and the title cut, with all derived airily from her native land. Even when she moves into French, as she does on "Comme S'il en Pleuvait," the rootedness of the music is apparent, and the connection with Brazil is perfectly natural. Andrade herself exudes a lovely, passionate warmth in her singing, and a very easy command that sidles rather than leaps out of the speakers. She has quality, and even more important, that elusive star quality. The next release will be major, no doubt about it.

Mayra Andrade - Navega  (flac  304mb)

01 Dimokransa 4:26
02 Lapidu Na Bo 4:23
03 Mana 4:35
04 Tunuka 3:45
05 Comme S'Il En Pleuvait 3:43
06 Nha Sibitchi 3:44
07 Lua 3:07
08 Navega 6:12
09 Poc Li Dente É Tcheu 3:52
10 Dispidida 4:31
11 Nha Nobreza 3:50
12 Regasu 6:17

Mayra Andrade - Navega  (ogg 121mb )

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Seemingly coming out of nowhere in 2007, singer Mayra Andrade single handedly rebooted the prevailing stereotype of Cape Verdean music with her debut album, Navega (Sterns). Sunny and gorgeously melodic, the disc provided a counterweight to the anguished oeuvre of Cesaria Evora, the "Barefoot Diva" who had been the international voice of Cape Verdean popular music since the late 1980s. To date, Navega has sold 70,000 copies and rising, quite an achievement for an unknown artist on a roots-based specialist label who's still only 24 years old.

Andrade, of course, didn't really come out of nowhere. She and her music came out of Cuba, where she was born to Cape Verdean parents; Angola, Senegal and Germany, where she was brought up; and Paris, where she had been living since 2003. The mix of cultures was further enriched by a hefty dose of samba, reflecting the historic "trade winds" relationship between Brazil and Cape Verde, both once Portuguese colonies.

With her second album, Storia Storia, Andrade maintains the same eclectic groove that she introduced on Navega, with balmy strings and cool horn arrangements raising the Brazilian quotient. She's accompanied by the same core trio of musicians—Cape Verdean multi-instrumentalist Kim Alves, Cameroonian bassist Etienne M'Bappe, and Brazilian percussionist Ze Luis Nascimento—and another small host of guest musicians scattered around the 13 tracks (cellists, flautists, reed and brass players, drummers and percussionists, guitarists, pianists, accordionists and kora players).

Cape Verdean, Brazilian and African rhythmic retentions add a depth to Andrade's unapologetically pretty music, felt in cross-rhythms and beat-shifting meter changes. Sometimes, as in Alves' "Nha Domaxa," these are central to the arrangement; mostly they're more subtle. But they're always present. Another flavor is provided by modern French chanson, reflected in the melody and the use of accordion on "Mon Carrousel." Pianist Roberto Fonseca and tres master Pancho Amat bring Cuba to fore on "Lembransa." And cellist Jaques Morelenbaum's offers the occasional, soulful echo of Evora. elegant and vibrant in equal measure.

Mayra Andrade - Storia, Storia  (flac  275mb)

01 Storia, Storia 2:52
02 Tchapu Na Bandera 3:53
03 Seu 3:57
04 Juana 2:56
05 Konsiensia 4:08
06 Odjus Fitchadu 3:41
07 Nha Damaxa 2:47
08 Mon Carrousel 4:11
09 Badiu Si 3:37
10 Morena, Menine Linda 4:06
11 Palavra 3:14
12 Turbulensa 3:40
13 Lembransa 3:13

Mayra Andrade - Storia, Storia   (ogg  113mb)

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