İsrail’in Filistin’i işgali üzerine yazılmış ve Emel Mathlouthi’nin sesiyle daha da içlenmiş muhteşem eser.
Gözlerimi kapayacak bir yer bulamadım Bana cevap verecek bir dost bulamadım Beni alıp götürecek bir dalga bulamadım Endişemi dile dökecek bir tek söz bulamadım İnsandaki nefreti söküp atacak tek bir ezgi bulamadım Halkımı bulamadım, ailemi, mutluluğumu, yolumu bulamadım Hislerimi tutuşturacak bir köz bulamadım.
One of my favorite bands, Tinariwen is doing a crowd-funded project to help bring their newest album to life, not to mention a world tour.
Tinariwen are a group of Tamashek desert nomads from the Sahara (we call them the Tuareg people here in the west), and they are a fantastic group of musicians. Take some time to listen to their music on Spotify. Their album ‘Tassili’ is awesome.
If you like what you hear, consider putting some money down on their project! I imagine they could use all the help we can offer, and I’m sure it will go a long way to continuing the existence and legacy of this great band.
His new band ranges thru a wide variety of music – not at all what you might expect from a Cuban jazz pianist. Music of the native Americans as well as Arabic-Andalusian culture is heavily featured, and Valdés even appears on the cover in an Indian headdress. The session also includes the influence of Cuban big bands, some hard bop, classical, African drums, and some of the type of works Valdés’ previous Cuban jazz ensemble Irakere played.
Cuban composer Leo Brouwer, who wrote some of the booklet notes, says that every Valdés album “is a collection of ‘Cubanisms,’ of clashes of inspiration and of opposite ideas united.” The classical bits come in on the tunes “Pilar,” which includes some Bach since Valdés’ mother used to like Bach, and “Caridad Amaro,” which has some of Rachmaninov’s Piano Concerto No. 2 because his grandmother liked that. There’s also a flamenco melody and on the penultimate track, “Conga-Danza,” a tribute to the sister of Ernesto Lecuona. The session showcases some great percussionists and Branford Marsalis’ tenor and soprano saxes add much to the three tunes on which he collaborates.
It is not often that 1 1/2 hours of continuous music pass in an instant, but it seemed that way at Hannaford Hall Saturday night, when Kayhan Kalhor on shah kaman and Ali Bahrami Fard on bass santour collaborated in a live performance of “I Will Not Stand Alone,” presented by Portland Ovations.
At the end, the large audience, some in traditional Iranian garb, awakened as if from a trance to give the musicians a thunderous standing ovation…
Particularly impressive was Kalhor’s rapid pizzicato, which emulates guitar or banjo plucking, but with a wider and more expressive range. A close second was his spectacular use of repeated notes, echoed by those of the santour, which can play trills faster than a piano by bouncing the hammers off the strings like drumsticks.