Jama Ko [Vinyl LP]
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After his celebrated debut album Segu Blue and the Grammy nominated follow up I Speak Fula, Mali's celebrated ngoni player Bassekou Kouyate is back with Jama Ko. Meaning 'a big gathering of people' the album is a call for unity, peace and tolerance in a time of crisis to celebrate the true spirit of Mali. The recording of Jama Ko took place in Mali's capital Bamako. It was recorded with an entirely new line-up including Bassekou's two sons Madou and Moustafa Kouyate and ngoni ace Abou Sissoko. It became political in the afternoon of the first day in the studio as the military overthrew the president Amadou Toumani Toure - a great supporter of his music. As the situation in Bamako and Northern Mali grew worse the recording went on as a musical call for peace in Mali in a time of crisis. Featuring Blues prodigy Taj Mahal and Malian legends Kasse Mady Diabate and Harouna Samake. Co-producer Howard Bilerman (Arcade Fire, Godspeed, Coeur de Pirate) recorded the album in Mali and mixed in Montreal. Andrew and Brad Barr (Barr Brothers) added drums and guitar while Mocky Salole (Feist, Jamie Lidell) wrote additional arrangements and played organ and drums. Also Available: Segu Blue (OH007) I Speak Fula (OH013CD)
"An album for anybody who likes rock music to sound angry about something." **** Mojo
"An urgent mix of African blues and funk, seething with anger and sadness, and with Kouyate's electrified ngoni cranked up to the max." 9/10 Uncut
"You can take this on whatever level you like, even just as one of the world's greatest live bands rocking out on virtuoso music that can hardly fail to burn your socks off, full of variety from the deep blues of Mali Kooro or the Taj-featured Poye 2 to the Latin hints on Sinaly and the pulsating Segu Jajiri which gives some of those golden age Guinéan or Congolese guitar bands a run for their money. It's Bassekou's best yet." fRoots
"A thrilling, urgent mix of African blues, rock and funk, with Bassekou's electrified banjo-like ngoni cranked to the max ... Mali's desperate plight has created Bassekou Kouyate's finest hour." ***** Songlines
"Ngoni virtuoso Bassekou Kouyate can make notes bend like light rays in the desert heat." Time Out
"A heady mix of stirring melodies and powerful harmonies ... Jama Ko is a triumphant union of the spiritual and the sensual." **** Metro
"Defiant, angry new music from Mali, by the world's greatest exponent of the ngoni, the ancient West African lute ... Magnificent. " **** The Guardian
"A tense, powerful and emotive piece of work." **** The Independent on Sunday
" ... Kouyate's electrification of his ngoni lute is just as effective a sign of resistance: fed through a wah-wah pedal, his serpentine, fleet-fingered lead lines gain a fresh, assertive power on songs like the title-track and Ne Me Fatigue Pas , where his band Ngoni Ba's muscular bassline and double-time percussion charges along like the most bullish of rock'n'roll grooves." ***** The Independent
"A brilliant and important album." ***** Evening Standard
"Jama Ko, recorded amid the continuing crisis in Mali, is electric and urgently contemporary." ***** Financial Times
"Kouyate has updated the dry-gut plucking of the traditional ngoni, adding electric pick-ups, distortion and effects pedals, creating an extraordinary array of sounds from a spindly metallic plinking to a grinding bluesy roar." The Daily Telegraph
"The ngoni may look quite unprepossessing like a flattened child s guitar. In Bassekou s hands, however, plugged-in and pedalled-up, it becomes a guitar-hero masterclass, notes twisting and bending thrillingly over fast chattering rhythms." Irish Times
"Jama Ko could be his most defiant work." **** Record Collector
"Beautifully produced, full of light and shade, Jama Ko references the past, and offers hope for the future." **** Jazzwise
"Deftly balanced against the beautiful acoustic tones of his band Ngoni Ba, Kouyate creates a striking future-ancient sound." The List
"Kouyate s solos are surrounded by a phased, burning aura, as his bent-note elaborations head further towards the desert rock of Tinariwen. He manages to explore this freshly electrified path without losing his acoustically sensitive properties, combining the crucial aspects of both loud and soft amplification levels. The small resonating box becomes a ringing chamber of contained power ... The n gonis are always upfront, but this is also an album of stunning vocals. Khaira Arby guests on Kel Magni, delivering her expectedly transcendent invocation for peace, the tune tripping towards a clapping, lurching escalation." BBC Music
"Exciting and brilliant music."--Bob Harris, BBC Radio 2
"The best thing he has done and in terms of a musical statement it has power and depth as well as beauty and a deep sense of anger." Music-News
"Bassekou s latest album is his most musically progressive." Musika
"Bassekou Kouyate reaffirms his status as a bona fide Malian music star ... Just a week into 2012, this could be one of the African music records of the." **** Culture Capital
"On his latest offering Kouyaté retains the warm, immediate sound of old, but this time round expands it with some other subtle stylistic innovations, best of which is the glorious 'Ne me fatigue pas (Don't tire me out)' that has an intoxicating Afro-beat rhythm, complete with talking drum and shuffling beat." UK Vibe
"On Jama Ko as with his performances as part of the travelling package show Africa Express Kouyate [is] ramping up the universality of his music. Winningly, he has done so without diminishing its singularity." All About Jazz
"The added production has given the Mali sound an extra oomph and charismatic, sonorous resonance, without stripping away the ethnicity or original sound palette." God is in the TV
"If you re becoming bored with your usual fix of music then I strongly recommend you listen to this. An early contender for inclusion in any Best of 2013 listings." Louder Than War
"On the roots-based but outward looking Jama Ko, Kouyate playing an electric ngoni with the amp frequently turned up to eleven sounds deliciously like guitarist Muddy Waters on his psychedelicised 1968 album, Electric Mud (Chess/Cadet)." All About Jazz (from the gig review)
"Jama Ko is an album that establishes the ngoni on the international stage and Kouyate as its master. The fact that his music should resonate so easily in Western ears is the icing on the cake." ***** emusic
"Wow, what an absolute sensation." Musicosis
"Jama Ko appears more urgent and impassioned [than the previous two albums]. Kouyate's ngoni is newly amplified, but it's the defiant quality of the songs that really shine though."--The National
About Bassekou live at Sahara Soul, Barbican:
"Kouyaté s ngoni playing, as ever, peeled away from the music into an ecstatic realm of its own." **** Financial Times
"Bassekou Kouyate detonated one electrifying showpiece after another." **** The Times
"The most angry and political Malian release in recent weeks has come from the ngoni virtuoso Bassekou Kouyaté, the headliner at this remarkable and inevitably political Malian triple bill ... It was Bassekou who dominated; playing the smallest ngoni, he used a wah-wah pedal for his exhilarating rapid-fire solos. He also made two angry speeches, first to denounce the rebel imposition of sharia law, and then to attack those responsible for last year's military coup." **** The Guardian
"Bassekou Kouyate s heavy mustard-yellow robes over a Shaft-style long leather jacket make his entrance regally impressive, even before he starts to pull improbably rich sounds from a cricket bat-resembling ngoni ... Kouyate s second-half performance sees him plant a foot on the monitors for a forceful but unaggressive solo, leading his band of egoless ngoni virtuosos. Sacko, her voice and movements a female rebuff to fundamentalism, tag-teams with her husband. His frustrated incomprehension at the affronts to his country crashes through language barriers." **** The Independent
"Kouyaté was defiant, inspired. Solos came with a wah-wah pedal. Sacko s voice soared and echo-ed. A talking drum hammered the point home." **** Evening Standard
"Bassekou Kouyaté s ngoni looks like a real bugger to play. Its hollow body is the size and shape of a child s cricket bat and its rounded fretless neck is thinner than that of a broomstick. It s a mystery how anyone gets a note out of this ancestor of the banjo's four strings, never mind play the kind of galloping, coruscating solos that this Malian virtuoso gets out of it. ... Jama Ko feels ablaze with the band s anger and outrage." ***** The Arts Desk
"The band s sound is bright and piercing, and Kouyaté s wah-wah enhanced Ngoni solos frequently take exhilarating flight." ***** musicOMH
"The final segment of the show, Bassekou Kouyate & Ngoni ba, was the pinnacle, the crowning moment on which to hang your hat, or shake your boubou so to speak ... Outstanding."--Musika
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Aber zumindest diese 5:
1: BASSEKOU KOUYATE als Bandleader. Er hat die Songs nach alten Vorlagen neu arrangiert und getextet. Es ist nicht so falsch wenn man Bassekou als den Ali Farka Touré unserer Tage bezeichnet; der eine mit der Ngoni, der andere mit der E-Gitarre, aber beide Universalisten auf dem Boden der authentischen westafrikanischen Musik.
2: Die AKTUALITÄT dieser Aufnahmen. Die Proben begannen an einem Tag Anfang 2012, als sich die Unruhen in Mali durch die ersten Schüsse auf den Straßen von Bamako ankündigten. Der Krieg und die Bedrohung sind durchgängige Motive dieser Aufnahmen, ebenso wie der Widerstand der Musiker gegen den Fundamentalismus.
3: Ausnahmekünstler wie KHAIRA ARBY und TAJ MAHAL, die als Gäste mit je einem Lied zum Erfolg beitragen.
Khaira Arby, die Diva aus Timbuktu, musste aus ihrer Heimatstadt vor den Islamisten der Ansar Dine fliehen und suchte in Bamako Schutz. Der Blues-Gitarrist Taj Mahal ist ein alter Freund der Familie Kouyate.
4: Der CD liegt ein BOOKLET bei mit Informationen über die beteiligten Künstler, über die Entstehungsgeschichte der Aufnahmen, und mit Inhaltsangaben zu den Liedern.
5: Das Ensemble: Bassekou steht hier nicht selbst im Vordergrund, sondern hat ein vielfältiges Ensemble zusammengetrommelt. Die Stimme von Zoumana Tereta, ideal für die balladenhaften Lieder der Vergangenheit, die verschiedenen Ngoni-Spieler, die in unterschiedlichen Tonlagen spielen, darunter auch Abou Sissoko, und die Kamale Ngoni von Harouna Samaké.Lesen Sie weiter... ›
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