Timbila is a xylophone-like instrument and the name of the rhythmic music that comes from the Chopi people of rural Mozambique. One of the last living masters of the timbila drum orchestra is Venancio Mbande. He is 70 years old, lives in a small village without electricity or modern amenities, but his skills as an ensemble leader, musician and master of the timbila tradition are undeniable. Timbila is a music that dates back hundreds of years (first documented by a Portuguese missionary in 1560). The foremost characteristic of timbila is the instrument. The Chopi people's mbila, singular for timbila, is a unique instrument in the music of the Bantus of the Southern Africa continent. The xylophone and marimba are the Western variants of this remarkable instrument, born much later than it's timbila ancestor. Made from the wood of the Mwenje tree, the timbila comes in different types depending on their tone. It uses heptatonian tuning which means that an octave is divided into seven roughly equal intervals. The music itself is a vibrant mesh of rhythms and whistles, dancing and drumming. A group orchestral suite, Ngodo, is usually renewed about every two years. In general, the topics of the lyrics deal with current issues. But it always starts with an introduction by a solo timbila. For this live field recording session, Mbande's orchestra took it's customary places in the shade of two big trees. In front of them was an open square for the dancers. Like the visual splendor of South Africa's Zulu dances, it is a remarkable feat to witness and hear. On the whole, Ngodo resembles music theatre and ballet. However, the leading role in this colourful form of art is the music.
Folk Music Of China, Vol. 9 - Folk Songs Of The Uzbeks & Tatars Of China
Naxos World Music
CD
$10.49$20.99Save 50%Jan 15, 2021
China’s rich and diverse musical heritage has been recorded and documented in a stunning, original collection. With fifteen albums in the pipeline, this is a highly specialized series with the appeal of perhaps being the closest thing to the ‘complete works’ of traditional Chinese music. Each album features a different region of the vast territory; an historical snapshot of China’s heritage. Due to the cultural privacy China mandates, these are in fact rare, musical gems. The Uzbek and Tatar peoples both live in Xinjiang province and speak Turkic languages. The population of Chinese Uzbeks is around ten thousand, which is approximately three times that of the Tatars. The majority of these two peoples live in the northern and western regions of Xinjiang province. The Uzbek music displays its artistic charm with complex melodic variations and gorgeous ornaments. Their instrumental music mainly includes interludes of Shashmaqam and dutars accompany all the Uzbek musical pieces. The music of the Tatars is the gemstone in Xinjiang’s musical crown, with many of their songs being popular among different ethnic groups. In this album, the accordion accompanies all the Tatar songs. The kubyz, the brass jew’s harp, is another popular instrument among them and they also perform on an instrument similar to a long end-blown flute, the qurai.
New York, 1978, kindred composers Philip Corner and Carles Santos meet at the Bosendorfer piano of Charlemagne Palestine to record four-hand piano versions of Corner's pieces "Chord" and "Gong!". The result is a long-flowing distillation of the source of the two composers' affinity: avant-garde practice of austere artistic devotion at play with perfect imperfections of the uncontainable human spirit.
Fadhilee Itulya is from Kenya. He began his professional music career in 2008 when he was featured on the Nairobi Alliance Française compilation album “Spotlight on Kenyan Music”. He draws inspiration from a style of Kenyan guitar music called omutibo from the Luhya people of Western Kenya that is driving, syncopated, and gets people to dance like nothing else. His music has elements of acoustic folk, pop / dance and World music – making for a melange of good time music that is grounded in culture, community and care for the environment. Fadhilee counts Habib Koite (Mali), Ayub Ogada (Kenya) and Richard Bona (Cameroon) among his musical influences. His debut album Kwetu (meaning home in Swahili) features 14 vibrant tracks and includes Isukuti percussion and chants, showcasing the roots percussion style of Western Kenya. Besides his performing career, Fadhilee hosts a monthly concert series called 'Fadhilee's garage,’ and is the founder of Utam Festival (Kenya).
Shye Ben Tzur/Jonny Greenwood/The Rajasthan Express -"Ranjha" / Ranjha is the collaboration between award-winning composer and Radiohead guitarist Jonny Greenwood, celebrated composer/musician Shye Ben-Tzur, and the Indian ensemble, the Rajasthan Express. The album is a follow-up to their acclaimed 2015 debut, Junun. While Junun was recorded in a makeshift studio within the 15th-century Mehrangarh Fort in Rajasthan, India, Ranjha was created in a more intimate setting - Jonny Greenwood's studio in Oxford, England. The album features 11 new tracks, blending the group's signature cross-cultural sound with a contemporary edge. CD in 4-panel Digisleeve with photo/lyric booklet included.
