Chris Hinze Combination – Virgin Sacrifice (1972)

FrontCover1Christiaan Herbert “Chris” Hinze (born June 30, 1938, Hilversum) is a Dutch jazz and New Age flautist.

Hinze initially performed publicly as a pianist until the mid-1960s, when he began studying flute at the Royal Conservatory of The Hague and then at Berklee College of Music. As a pianist, he played with Boy Edgar until 1966, but by 1967 was playing flute professionally with the bassist Dick van der Capellen. His first releases as a leader were issued in 1969, and in 1970, Hinze was awarded the Best Soloist prize at the Montreux Jazz Festival. In the 1970s, he formed his own ensemble, the Chris Hinze Combination, which included players such as Gerry Brown and John Lee, and which saw some success with arrangements of Baroque music in a jazz setting. He also founded the record label Keytone Records in the mid-1970s.

In the 1980s, Hinze played for several years in a duo with Sigi Schwab and continued touring with a new version of his Combination. He began studying the music of Tibet and South Asia in the middle of the decade, forming a world music ensemble which shifted toward more New Age and electronic music styles rather than jazz. (by wikipedia)

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This is music that was composed by Chris Hinze for a TV-series on the subject of archeology called Digging for the Past.

Because of the request of a lot of viewers, it was decided to compile this album. The sound is mostly directed in the new-age, soundtrack style with moments of jazz-rock/fusion such as The First Wheel and Bamboo Feelings among others.

And this is another hightlight in the career of the great Chris Hinze … listen and enjoy !

Chris Hinze 1972

Personnel:
Gerry Brown (drums, percussion)
Chris Hinze (flute, organ)
John Lee (bass)
Wim Stolwijk (piano, spinet)
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Louis van Dyke (piano)
Roger Cooke (bass)

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Tracklist:
01. Roman Frescoes 4.04
02. Virgin’s Sacrifice 3.33
03. A Collection Of Potsherd 3.27
04. The Viking Ships Of Roskilde 2.37
05. Oak-Leaf 4.30
06. Statuettes Of Children 2.16
07. The Rune-Stone Of Haitabu 2.59
08. The First Wheel 2.41
09. The Shifting Sands Of Mantinge 3.36
10. Eros & Psyche 3.05
11. Frisian Mounds 3.46
12. Cult-Bowl 3.01
13. Bamboo Feelings 1.45

Music composed by Chris Hinze

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Flora Purim – Every Day, Every Nidht (1978)

FrontCover1Influenced by both traditional Brazilian singers and the improvisations of American jazz divas like Ella Fitzgerald and Sarah Vaughan, Flora Purim was one of the most adventurous singers of the 1970s. After meeting and marrying her husband, percussionist Airto Moreira, in their native Brazil, Purim moved with him to the U.S. in the late ’60s. Though she worked with Stan Getz and pianist Duke Pearson before the decade ended, it wasn’t until joining Chick Corea, Joe Farrell, Stanley Clarke, and Moreira in the original Return to Forever in 1972 that she became well known in the States. Purim showed considerable promise on Forever classics like “500 Miles High” and “Light As a Feather” and lived up to it when she went solo with 1973’s Butterfly Dreams. Ranging from superb to passably decent, Purim’s Milestone dates of the mid- to late ’70s kept her quite visible in the jazz world. Purim’s work grew erratic and uneven in the 1980s, and she wasn’t recording as often (though she did provide one album for Virgin and three with Moreira for Concord’s Crossover label). Purim didn’t record very often in the early to mid-’90s either, but she continued to be highly regarded in Brazilian jazz circles. (by Alex Henderson)

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On this project, singer Flora Purim is backed by a large string orchestra and a countless number of top studio and jazz players, playing arrangements by Michel Colombier. Although some of the musicians are quite notable (including Michael Brecker, Randy Brecker, David Sanborn, Oscar Neves, Jaco Pastorius and even Herbie Hancock), the overall music is generally forgettable. Most of the playing sounds planned in advance, and not much spontaneity occurs, certainly not from the London Symphony Orchestra. Purim’s voice is fine, but none of the 11 songs (eight by Colombier) were destined to catch on. (by Scott Yanow)

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Personnel:
Michael Boddicker (Synthesizer, piano)
Michel Colombier (synthesizer)
Harvey Mason (drums)
Airto Moreira (drums, percussion)
Laudir de Oliveira (percussion)
Jaco Pastorius (bass)
Flora Purim (vocals)
Lee Ritenour (guitar)
David Sanborn (saxophone)
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Randy Brecker (trumpet on 01. + 05.)
Michael Brecker (saxophone on 01. + 05.)
Al Ciner (guitar on 07.)
George Duke (piano on 02. + 07., vocals on 07.)
David Foster (piano on 04.)
Jay Graydon (guitar on 02.)
Herbie Hancock (piano on 08., 09. + 11.)
Alphonso Johnson (bass on 01.)
Byron Miller (bass on 02. + 07.)
Oscar Neves (guitar on 02. + 07.)
George Sopuch (guitar on 07.)
Raul de Souza (trombone on 01. + 02.)
Chester Thompson (drums on 02. + 07.)

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Tracklist:
10 . Everyday, Everynight (Colombier/Moreira/Purim) 4.58
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2.  Samba Michel (Colombier/Moreira/Purim) 4.10
03. 
The Hope (Colombier/Moreira/Purim) 3.40
04.
Five-Four (Colombier) 3.34
05.
Walking Away (Colombier) 4.56
06. 
I Just Don’t Know (Colombier/Moreira/Purim)  3.59
07.
In Brasil (Sopuch) 3.52
08.
Las Olas (Pastorius) 4.22
09.
Blues Ballad (Colombier/Purim) 1.57
10.
Overture (Colombier/Neto) 2.58
11.
Why I’m Alone (Hancock) 4.39

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Various Artists – Playboy’s Latin Jazz Christmas – A Not So Silent Night (2001)

FrontCover1Playboy’s Christmas gift (from 2001) will do much more than simply look good sitting under the tree. Combining lively salsa, smooth jazz and dramatic Afro-Cuban measures into one attractive package makes sense. This should appeal to a broad audience. Arturo Sandoval and Ed Calle work side by side to create charged particles. The ebb and flow of their dance movements makes for a festive evening. Poncho Sanchez and his band provide dramatic interpretations of classic Christmas songs. Sheila E. sings “Santa Baby” the way it was meant to be. Caribbean Jazz Project supplies several smooth jazz arrangements, while Pete Escovedo provides a vocal offering of the classic “Feliz Navidad.”

Like most of us, Playboy magazine founder Hugh Hefner remembers the development of Latin jazz from Dizzy Gillespie and Chano Pozo to Stan Kenton and Machito, followed by several critical waves in the limelight. Of course, the roots go back much earlier. A century of Latin influence has strengthened jazz in general.

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Like the mixture of traditional Afro-Cuban music and lively salsa presented at this year’s Playboy Jazz Festival, the music tends to unify an audience. This Christmas gift serves to remind us of the traditional meaning of the holiday season, while adding lively rhythms that we can enjoy again and again. (by allaboutjazz.com)

A real great album … here you´ll hear very new versions of old christmas songs … and “What Child Is This” is of course another titel for “Greensleeves”

Enjoy this trip to Latin music ….

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Personnel:
Justo Almario-(saxophone)
Tony Banda (bass)
Ramon Banda (timbales)
Richard Bravo (percussion)
Ed Calle (saxophone, synthesizers, programming, flute, piano)
Sal Cracchiolo (trumpet)
Sheila E. (vocals, percussion)
Juan Escovedo (percussion)
Pete Escovedo (vocals, timbales)
Lewis Fasman (trumpet)
Jim Gasior (piano)
Jim Hacker (trumpet)
Steve Khan (guitar)
Jeff Kievit (trumpet)
Jeff Kressman (trombone)
John Kricker (trombone)
Lee Levin (drums)
Murray Low (keyboards)
Melecio Magdaluyo (saxophone)
Scott Martin (saxophone)
Lynn Maybry (vocals)
Ray Obiedo (guitar)
Nicky Orta (bass)
Dafnis Prieto (drums, timbales)
Roberto Quintero (percussion)
Jose “Papo” Rodriguez (percussion)
Ruben Rodriguez (bass)
Poncho Sanchez (percussion)
Dave Samuels (vibraphone)
Arturo Sandoval (trumpet)
Dana Teboe (trombone)
David Torres (piano)
Francisco Torres (trombone)
Dave Valentin (flute)
Mark Van Wageningen (bass)
Paul Van Wageningen (drums)
Wayne Wallace (trombone)
Dan Warner (guitar)

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Tracklist:
01. Ed Calle, Arturo Sandoval & Jim Gasior: Jingle Bells (Traditional) 6.57
02. Caribbean Jazz Project: Sleigh Ride (Anderson(Parrish) 4.53
03. Poncho Sanchez: What Child Is This (Traditional) 5.20
04. Ed Calle & Arturo Sandoval: Santa Claus Is Coming To Town (Gillespie/Coots) 5.49
05. Sheila E.: Santa Baby (Javits/P.Springer/F.Springer) 4.08
06. Caribbean Jazz Project: Angels We Have Heard On High (Traditional) 4.51
07. Ed Calle & Dan Warner: White Christmas (Berlin) 5.12
08. Caribbean Jazz Project: Silent Night (Gruber) 5.59
09. Poncho Sanchez: Have Yourself A Merry Little Christmas (Martin/Blane) 4.46
10. Ed Calle & Justo Almario: God Rest Ye Merry Gentlemen (Traditional) 5.16
11. Pete Escovedo & Ray Obiedo: Feliz Navidad (Feliciano) 3.43

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Amar Sundy – Live And Blues (2001)

FrontCover1The blues have been brought to France by singer/guitarist Amar Sundy. Affectionately known as “the bluesman of the desert,” Sundy masterfully combines American blues, traditional French music, and music from the Sahara to create what Blues Sur Seine called “one of the most beautiful successes of inbreeding and a new path for the blues.”

A native of Tuareg, Sundy honed his craft as a busker in the Parisian subways. Moving to the United States in the 1980s, he learned the blues from the masters, working with such influential bluesmen as Albert Collins, B.B. King, James Cotton, Jimmy Johnson, Screamin’ Jay Hawkins, and Albert King, with whom he toured the United States twice. Sundy began to develop his unique approach to the blues after returning to France at the beginning of the 1990s.

His recordings include 2000’s Homme Bleu; 2004’s Najma and 2009’s Sadaka, the latter issued on the French label Dixie Frog. (by Craig Harris)

Amar Sundy

Amar Sundy in his childhood moved from the desert of Algiers to Paris,
and was admitted among the Parisian street musicians. His special “Desert Blues”
blends music from Sahara with traditional French music and American blues.

For a number of years he played in the US with legends like Albert Collins, B.B.
and Albert King and Screaming Jay Hawkins.
The inspiration from these legends is obvious, but it is still the desert-blues and
his native African roots, that makes Amar Sundy a unique blow of fresh air at
the international blues scene. (by copenhagenbluesfestival.dk)

And here´s his rare “Live And Blues” lbum from 2001. What an exciting mix between these different music styley … from the Sahara to the Mississippi Delta (listen to “Najma”) … WOW ! And the blues was the bridge over all these continents.

Unbelieveable and exciting !

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Personnel:
Thierry Jasmin Banaré (bass)
Latabi Diouani (drums)
Amar Sundy (guitar, vocals)
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Cyril Barbessol (piano on 02. – 04. + 08.)
Mehdi Bennani (piano on 05., 06. + 10.)
Eli Chemali (piano on 01., 07. + 09.)
David Mirandon (percussion on 02. – 04. + 08.)
Olivier Monteils (drums on 05., 06. +10.)

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Tracklist:
01. Sky Is Crying (James) 8.09
02. As The Years Go Passing By (Malone) 8.37
03. Rahala (Sundy) 4.31
04. This Morning (Sundy) 6.35
05. Najma (Sundy) 5.56
06. Ouhalache (Sundy) 4.38
07. Rahala (instrumental version) 9.02
08. If My Baby (Sundy) 7.52
09 Quelqu’un A Aimer (Sundy) 6.00
10. If My Baby II (Sundy) 6.44
11. Now I Know (Sundy) 2.48

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Vaya Con Dios – Time Flies (1992)

FrontCover1Vaya Con Dios (Spanish for “Go with God!”) was a Belgian music act, that stood out for its mixing of styles, as well as the distinctive voice of its lead singer Dani Klein. It was one of the most successful Belgian music acts ever, having sold more than 7 million albums and more than 3 million singles.

It was founded in 1986, but after 1991 Vaya Con Dios was for the most part a one woman band, centered on singer, lyricist, band leader and (co-)producer Dani Klein, reinforced by an ever-changing selection of musicians. In 2014, Dani Klein performed her last international tour under the Vaya Con Dios formula.[2] Vaya Con Dios officially disbanded with their last concert on 25 October 2014, in Forest National.

 

Vaya Con Dios was founded in 1986 by Dirk Schoufs, Dani Klein (Danielle Schoovaerts) and Willy Lambregt (known as Willy Willy). Schoufs (1962; double bass) and Lambregt (1959; guitars) were close friends, who had frequently worked as an acoustic duo. Klein (1953; lead singer, lyricist) and Lambregt had previously worked in electronic band Arbeid Adelt !, which lost momentum when band leader Marcel Vanthilt left to become an MTV Europe VJ.

After enjoying a one off performance as a trio, they decided to form Vaya Con Dios, based on shared interests in gypsy music, jazz and opera – genres they felt were underappreciated in Brussels.

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The trio’s first single “Just a Friend of Mine” (1987) entered the top 20 in Belgium, and became a top 10 hit in France. This was a milestone especially for Klein, who was now 34, and who had been trying to make it as a singer since age 17. After this first hit, Lambregt left the band, well before the 1988 debut album Vaya Con Dios was completed, and was later replaced by Jean-Michel Gielen. This first album, self-produced by Schoufs and Klein, met with mixed critical acclaim, mostly because it was very eclectic, and difficult to categorize. Nevertheless, it was well received in several European countries, and held three more singles.

The 1990 follow-up album “Night Owls” was again produced by Klein and Schoufs, and produced another three singles. “Nah Neh Nah”, an up-tempo mix of Latin and jazz-rock, profited from heavy airplay on MTV Europe. “What’s a Woman?”, a soul ballad, did well across Europe, and became a number one hit in the Netherlands and Belgium.

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In 1991, Schoufs and Klein fell out badly, resulting in Schoufs’ departure from the band, only to die months later, on 24 May 1991, at the age of just 29, of a cocktail of medication, alcohol and drugs.

Klein, left playing with just Gielen and various musicians, nevertheless continued to record a new Vaya Con Dios album, while at the same time doing more and more international performances, due to ever increasing popularity. In 1992, Time Flies was released, produced mostly by Klein herself. Again three singles were released from the album, the dramatic “Heading For a Fall” doing well in several countries. The album did very well in Europe, reaching number one in Switzerland and getting platinum certification in four countries, eventually proving to be the most successful Vaya Con Dios album. In 1993 it was followed with the first Vaya Con Dios world tour.

In 1995 Klein, by then evidently suffering from high workload, still managed to record a fourth Vaya Con Dios album: Roots and Wings, from which yet another three singles were released. Recorded at Muscle Shoals studios, Alabama, the album is even more soul oriented, while at the same time integrating Arab and India music influences. Again there was album chart success in several European countries.

In 1996 Klein quit the music business because of complete fatigue, illustrated by spontaneous hair loss. She returned in 1999 as singer in the group Purple Prose, which released a debut album that year. Vaya Con Dios returned in 2004 with a new album titled The Promise.

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In 2006, The Ultimate Collection greatest hits album was released. It featured Aaron Neville on a new recording of the 1990 soul ballad “What’s a Woman?” In October 2009, the album Comme On Est Venu was released, for the first time with all songs in French (one of Kleins first languages). In December 2010, the German DJ Duo Milk & Sugar released a remix of the song “Nah Neh Nah” that reached the Top 10 in the German Media-Control Charts.

In 2013, Dani Klein started a farewell tour, the last Vaya Con Dios tour ever. The last concert was held 25 October 2014 at Forest National in Brussels

Time Flies is the third studio album by Vaya Con Dios, who were at this point mostly a one-woman band. Even more than the previous albums, this is a melancholic album and is more blues and soul oriented. The reason for the theme is because Vaya Con Dios was mainly the partnership of Dani Klein and Dirk Schoufs and in 1991 the pair fell out badly. On 24 May 1991 Schoufs, who was only 29, died of a cocktail of medication, drugs and alcohol.

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The album did very well in Europe, reaching number one in Switzerland and getting platinum certification in four countries, eventually proving to be the most successful Vaya Con Dios album.
Time Flies was the first album from Vaya Con Dios which did not end with a song in French.

In 1993 Vaya Con Dios embarked on its first world tour. (by wikipedia)

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Vaya Con Dios is the group name behind Belgian chanteuse/lyricist/ producer Dani Klein. Most successful are tracks like “Farewell Song” and “Brave Jane” that maintain a chic Euro-centricity with a splash of 60s Dusty Springfield soul. The ground gets shakier when Klein turns to other forms of American roots music for inspiration — the country influences on “Farewell Song” are handled in particularly hamfisted fashion, although the bluesy “Muddy Waters” fares much better. Time Flies, is an interesting juxtaposition of cultures. (by Roch Parisien)

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Personnel:
Philippe Allaert (drums, percussion)
Jean-Michel Gielen (guitar)
Dani Klein (vocals)
Jean Mutsari (bass)
Carmelo Prestigiacomo (guitar)
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Werner Braito (harmonica on 02.)
André Brasseur (organ on 01., 92., 06. + 08)

Renauld Louisson (timpani on 03. + 13.)
Arnould Massart (piano on 13.)
Eric Melaerts (guitar on 07. + 09.)
Gwenaël Micault (accordion on 08. + 13.)
Daniel Moffat (percussion on 08. 09. + 12.)
Simon Schoovaerts (on 02.)
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background vocals:
Béatriz Ramirez – Dani Klein – Freddy Starks – Jenifer Kaje – Maria Lekranty – Sonia Henderson – Verona Davis
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strings on 11:
Claudine Steenackers – Jeannot Gillis – Marianne Denoïa
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horns on 02., 06. + 09.:
Carlo Mertens  – Frank Deruiter – Patrick Mortier

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Tracklist:
01. Time Flies (Klein/Prestigiacomo) 3.39
02. Forever Blue (Klein/Schoovaerts) 3.58
03. Farewell Song (Klein/Gielen) 3.09
04. So Long Ago (Klein/Prestigiacomo) 2.55
05. Still A Man (Klein/Gielen) 3.36
06. Heading For A Fall (Klein(Collins) 3.42
07. Mothers And Daughters (Klein/Davis/Gielen) 2.31
08. Listen (Klein/Allaert) 3.19
09. Bold And Untrue (Klein/Davis/Gielen) 3.08
10. Muddy Waters (Klein/Gielen)  3.17
11. For You (Klein/Gielen)  3.10
12. Brave Jane (Klein/Davis/Prestigiacomo) 3.16
13. At The Parallel (Klein/Kliphuis/Kliphuis) 2.57

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Hassan Boussou – Maalem (80´s)

FrontCover1Hassan Hakmoun is one of the most notable figures in contemporary Moroccan music.

Though schooled in the deeply traditional sounds of the Gnawa people in his native Marrakesh, since moving to the U.S. in 1987, his music has absorbed elements from a variety of popular styles, from jazz and “world music” to neo-classical contemporary Western music and cerebral pop, resulting in a diverse, award-winning and critically acclaimed body of work. His participation in such internationally renowned arts festivals as WOMAD (World of Music, Arts and Dance) and collaborations with respected artists, including David Sanborn, Peter Gabriel, Don Cherry and The Kronos Quartet, among countless others, have brought him further into the spotlight and inspired many artists from North Africa and around the globe to follow in his footsteps.

As a master musician whose vision and contributions have enabled a unique fusion and blending of traditions, cultures and genres in a world of ever-expanding global communication and exchange, his work maintains its profound and enormous capacity to joyously inspire and heal the individuals and communities it reaches, as Hakmoun undoubtedly remains a commanding and intriguing artist in the world music scene.

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Hakmoun’’s musical origins are rooted in the African folk music of the Islamic Gnawa sect, descendants from West African slaves brought to North Africa several hundred years ago. Their music combines complicated West African syncopations with long, sinuous North African melodies. Tracing their roots back to the Bilal, a freed slave known for his beautiful voice and believed to have been chosen by the Islamic prophet Mohammed to serve as the first muezzin to call the people of the faith to their prayers, Gnawa musicians often express their religious devotion through their music, using it to enter into spiritual trance states.

These rich, ancient Gnawa traditions have powerfully and intimately influenced Hakmoun’s early life and calling as a musician as his mother is a mystic healer known throughout Marrakesh for her derdeba trance ceremonies, often all-night affairs involving hypnotic playing and chanting to exorcise spirits. Steeped in Islamic mysticism and West African rhythms, the Gnawa musical form and its rituals lift the spirit and heal the sick and wounded through its songs of praise.

Hakmoun began learning Gnawa music after witnessing his first trance ceremony at the young age of four. Through a miraculous incident involving his younger sister, whose body was mysteriously touched by the spirit, covered in cigarette burns and then healed as a result of a meeting of the local Gnawa masters who proceeded to gather and conduct a ceremony of singing, drumming and playing instruments such as the sintir while asking for forgiveness and inquiring as to the cause of her ailments, Hakmoun proceeded to study percussion, as well as traditional trance-inducing dances.

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He eventually chose the sintir as his main instrument, a three-stringed lute with a body made of camel skin stretched over nutwood. The strings of the sintir are pitched low, enabling the instrument to serve as the bass foundation much like the Western string bass, while its tone is sweet, making it well-suited to carry the melodic line of a composition. By drumming on the body of the instrument, Hakmoun added his own percussion while contributing vocals, thereby creating a unique foundation for his musical explorations and growth. By the age of fourteen, he was an established musician performing at Gnawa lila ceremonies with his own ensemble.

Hakmoun made his U.S. debut in 1987 at Lincoln Center in New York City with Etian and Blanca Lee’’s Trio Gna & Nomadas dance group … (taken from his website)

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I guess this is very rare record by Hassan Boussou … I found no further informations in the internet (this is maybe a bootleg, I don´t know) … I bought it last week in Marrakesh  at the Jamaa el Fna market:

Jamaa el Fna (also Jemaa el-Fnaa, Djema el-Fna or Djemaa el-Fnaa) is a square and market place in Marrakesh’s medina quarter (old city). It remains the main square of Marrakesh, used by locals and tourists.

And I guess, this were very erly recordings from the Eighties … unfortunatley the covers gives no more informations ..

So … listen to the magic of a real unique world of music …

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Personnel:
Hassan Boussou (lute, vocals)
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Marie le Baron et la troupe Boussou Ganga

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Tracklist:
01. Part 1 / 22.07
02. Part 2 / 36.51

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Various Artists – Gnawa Music Of Marrakesh – Night Spirit Masters (1990)

FronzCover1As Paul Bowles states in his liner notes, the music of the Gnawa (Malinese slaves brought to Morocco in the 16th century) is very different than most of what’s heard in Morocco. Indeed, there’s a healthy strain of the kind of vocal and percussion styles heard in the Gnawa’s West African homeland on this fine collection. And even though the Middle Eastern darbouka drum is occasionally used and the language sung in is Arabic, the predominant sound comes from large, deep-toned drums called the tbola (akin to the talking drum of Ghana) and from the chorus of singers heard on half the cuts (the harmonies produced being similar to those in both traditional and popular West African song).

Sounding like a cross between the oud (the Middle Eastern predecessor to the lute) and the West African kora, the upright string instrument the sentir musically fuses the two cultures. Musicology aside, this Bill Laswell-produced recording is a must for fans of both African and Middle Eastern music. Half the pieces feature lead and group singers in call and response mode buoyed by a full compliment of sentirs, drums, hand clapping, and qrakechs (finger cymbals made from sheet metal). The other portion includes both drum features and sentir and vocal pieces. A great collection. (by Stephen Cook)

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Tracklist + Personnel:

01. Baba L’Rouami1 Baba L’Rouami 3.05
Goblet Drum [Darbouka] – Abdelhak Bou NaamSintir, Vocals – Mustapha BaqbouVocals – Ahmed Hamzaoui, Mahjoub El Khalmouss, Said Oughassal
02. . Mimoun Mamrba 5-12
Castanets [Qrakech] – Abdel Kbir Msolom, Abdellatif OughassalDrums – Abderrahim Oughassal, Abelmar Bou NaamSintir, Vocals – Said OughassalVocals – Abdelqader Oughassal

03. Tramin 2.57
Drums – Abbes Larfaoui, Brahim El Belkani, Mahjoub Jaffer

04. Chabako 6.27
Castanets [Qrakech] – Abdellatif OughassalDrums – Abderrahim OughassalGoblet Drum [Darbouka] – Abdelhak Bou NaamHandclaps – Samir ZougariHandclaps, Vocals – Abdel Kbir Msolom, Abdenbi Binizi, Aziz Radi, Hassan Zougari, Mohammed MslomiOud, Vocals – Said OughassalSintir, Vocals – Abdelqader Oughassal

05. Moulay Abdellah Ben Hassaine / Moulay Brahim 4.12
Shaker – Ahmed MamzaoiSintir, Vocals – Mustapha Baqbou

06. Toura Toura Tour Kelilah 4.07
Sintir, Vocals – Mustapha BaqbouVocals – Abdel Kbir Mershan, Mahjoub El Khalmouss, Mbarrek Ben Othane

07. Baniya 5.59
Castanets [Qrakech] – Abdellatif OughassalDrums – Abderrahim OughassalGoblet Drum [Darbouka] – Abdelhak Bou NaamHandclaps – Samir ZougariHandclaps, Vocals – Abdel Kbir Msolom, Abdenbi Binizi, Aziz Radi, Hassan Zougari, Mohammed MslomiOud, Vocals – Said OughassalSintir, Vocals – Abdelqader Oughassal

08. Jillala 4.49
Sintir, Vocals – Abdel Kbir Mershan, Mustapha BaqbouVocals – Mahjoub El Khalmouss, Mohammed Qrifli

09. Said Fafy Drum Solo 2.15
Drums – Said Fafy, Said Oughassal

10. Toura Toura Tour Kelilah #2 3.12
Castanets [Qrakech], Vocals – Mahjoub MethoumHandclaps – Rachid El BelkaniSintir, Vocals – Brahim El Belkani

11. Hamouda 6.00
Castanets [Qrakech] – Abdellatif OughassalDrums – Abderrahim OughassalGoblet Drum [Darbouka] – Abdelhak Bou NaamHandclaps – Samir ZougariHandclaps, Vocals – Abdel Kbir Msolom, Abdenbi Binizi, Aziz Radi, Mohammed MslomiOud, Vocals – Said OughassalSintir, Vocals – Abdelqader Oughassal

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