Ankündigung
Zwei interessante Veröffentlichungen auf World Village im Oktober:
Mamadou Diabaté – Douga Mansa
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With the release of Douga Mansa (“The King’s Vulture”), his third album for World Village, Mamadou Diabate further consolidates his already awe-inspiring reputation as a kora virtuoso and tradition-based musical maverick. His instrument, a 21-stringed West African harp-lute equipped with a gourd resonator, calls for an almost unimaginable degree of physical and creative dexterity. But in Diabate’s hands, the kora proves capable of infinite variation, encompassing delicately articulated structures, swirling eddies of glissandi, pounding, vertical rhythms and roaring cataracts of arpeggio. On Toutou Diarra, the opening track, an astounding range of simultaneous yet syncopated melodies and rhythms join and separate. It seems impossible that such complex clarity could possibly be the work of a solo musician — with no overdubbing whatsoever — but so it is. The title tune, with its serene, wave-like themes, refers to patience and life and death recurring in cycles, each leading into and becoming the other. Segou Tara, a memorial to selfless heroes, especially those who do not return home, commences with an arcing, leaping prologue before shifting to a propulsive, loping gait. These and nine other glorious selections engage the imagination and ravish the senses; every note is informed by the sure touch and blazing invention of a world-class master.
Terakaft – Akh Issudar
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On October 14th, 2008, Malian group Terakaft’s second album, Akh Issudar (the title refers to an old Touareg proverb – “Aman iman, akh issudar” – “Water is life, milk is survival”), will sweep onto the US scene like a searing sirocco fresh off the Sahara. Their keening, scratchy singing veers off onto curvy, Islamic-flavored tangents and passages of “talking blues,” discursive chanting, and raucous call-and-response, punctuated by wailing, cries, ululations and even an underlying, buzzing drone. Note how the chorus matches the sinuous lead vocal note-for-note on „Islegh Teghram“. But the multi-layered guitars crown all, with their rich, round, sensually tinny chords and lead riffs, inexorable, multi-layered and impulsive. They evoke the Mississippi Delta at high noon, T Rex and the early Stones, garage bands without number, and even the late, great Ali Farka Touré, but with ornate, back-leaning rhythms that stride, limp, twirl and spring ahead at the speed of light. The closing instrumental interplay on Amdagh is mind-boggling but only one of many such highlights. Wielding their guitars like icy-hot torches of change and enlightenment, these indigo-swathed musicians, masked to their hawk-like eyes, have fashioned a potent, blues-like sound that makes the hips itchy – it’s impossible to stand still around this music!
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Wann kommt Horst Lichter mit dem Händlerkärtchen und knallt mich ab?