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CD

Global Sounds

Live Music from all Continents: Africa
House of the Cultures of the World
Product number: SM 15512
€5.50
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Product Details

Description

The six musicians of the group Ekomefeemo combine the styles of many different regions of Africa in an unorthodox style. The Griot Music Company offers a crossover of jazz elements with West African rhythms and griot songs. The group Lasmar demonstrates that the bagpipes are not unique to Scotland. Known as the mizwad, it is part of everyday musical life in the Tunisian section of the Sahara Desert. The sound of the group Mix Squard is based on reggae rhythms. Roots Amamomo have pursued the roots of Ghana’s traditional music since 1977, which they mix in virtuoso style with modern African rhythms. The twelve musicians of Viva La Firenza inspire their audiences with sounds from Zaire.

Content

Ekomefeemo: Gamashi Instrumental
Mix Squard: Too Late
Viva La Firenza: Amis De Tous Les Jours
Ekomefeemo: N' Kpluka
Lasmar: Bahnouga
Mix Squard: Hard Way
Roots Amamomo: Natala
Mix Squard: Hip Hop Reggae
Ekomefeemo: Tatale

Performers

Ekomefeemo / Griot-Music-Company / Lasmar / Mix Squard / Roots Amamomo / Viva La Firenza

More Information

Title:
Global Sounds
Live Music from all Continents: Africa
House of the Cultures of the World
Publisher/Label:
Wergo
Duration:
71 ′38 ′′
Series:

Technical Details

Product number:
SM 15512
MAN EAN:
4010228155129
Weight:
0,1 kg

More from this series

Music of World Cultures

World Music – What Is Distant? What Is Near?

World Music is a not uncontroversial term for the rich variety of musical culture of our planet, and it comprises not only the musical traditions of the rural parts of Africa, Asia, and Latin America but also those of the high cultures of the Indian subcontinent, Japan, and China as well as the popular music of urban metropolises throughout the world today.
This edition of CDs, most of which were produced in cooperation with Berlin’s House of the Cultures of the World and the Music Department of Berlin’s Ethnological Museum, mixes up the categories of “foreign” and “familiar” not only by bringing closer things that are unknown and unfamiliar but also by revealing the familiar in the foreign and the foreign in the familiar.
The encounter with the varied musical ideas that exist outside of our own culture has made us more aware of our own categories and shown us that we can no longer operate with a single compulsory aesthetic but that we must instead speak of innumerable distinctive aesthetics. This conclusion is supported both by the extraordinary recordings and the high quality of the booklet texts on the WELTMUSIK label.

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