Primeiramente' é fruto do crescente sentimento de insatisfação com a atual situação política e social no Brasil e no mundo. Foi inspirada e é dedicada à luta histórica pela garantia de direitos - independente de classe, cor, gênero, religião, etnia ou partido. Essa é nossa pequena contribuição ao processo de reflexão sobre o momento que vivemos. "Primeiramente is the result of a growing sense of dissatisfaction with the current political and social situation in Brazil and all over the world. It was inspired and it's dedicated to the historical struggle to guarantee rights - regardless of class, color, gender, religion, ethnicity or party. This is our small contribution to the process of reflection on the moment in which we live. " São Paulo, 8 de junho de 2017. Bixiga 70

New album out : https://InnaDeYard.lnk.to/albumInna... Album "The Soul of Jamaica" : https://InnaDeYard.lnk.to/NESoulOfJ... Show at the Cabaret Sauvage Paris the 3rd April 2020 : https://innadeyard.lnk.to/CabaretSa... Follow us on social media : https://InnaDeYard.lnk.to/social Website : http://www.innadeyardmusic.com Label & contact : http://chaptertworecords.com/ Booking : http://wspectacle.com/ Film : Bernard Benant / Editing : Aurelie Cauchy (P) 2017 Chapter Two Records

Many of us at NPR Music fell hard for Arizona's Sergio Mendoza and his band La Orkesta this year. Together, they mix myriad Latin styles — what Mendoza calls "indie mambo," salted with generous handfuls of cumbia, merengue and ranchera — and then feed all that through a psychedelic prism. They perform their songs with charm and panache, set off by the fireworks of the group's resident showman, the multi-talented Salvador Duran. While NPR Music was in Austin for SXSW this year, we coaxed Mendoza and his crew into a three-song backyard party after a little local coffee. But they didn't really need the caffeine to get everyone's blood pumping.-- ANASTASIA TSIOULCAS Set List "Traicionera" (Treasons) "La Cucharita" (Little Spoon) "La Rienda" (The Reins) Credits Producers: Mito Habe-Evans, Saidah Blount, Anastasia Tsioulcas; Audio Engineer: Kevin Wait; Director: AJ Wilhelm; Videographers: Mito Habe-Evans, Becky Harlan, Olivia Merrion, AJ Wilhelm; Editor: Olivia Merrion; Production Coordinator: Kate Kittredge; Special Thanks: Friends & Neighbors; Executive Producer: Anya Grundmann

taken from Mawa EP (BBE 2014) iTunes: https://itunes.apple.com/us/album/m... Spotify: https://open.spotify.com/album/4WMq...

Discover "Fadjamou" by OUMOU SANGARE (Official Video) NEW ALBUM 'MOGOYA' OUT NOW http://smarturl.it/Mogoya-out-now LISTEN TO 'MOGOYA REMIXED' http://oumousangare.lnk.to/MogoyaRe... Discover Oumou Sangare's new album 'Mogoya' on Youtube https://www.youtube.com/playlist?li... Produced by Andreas Unge Additional production by A.L.B.E.R.T Directed by Fansé Sanogo (8.8 Pod) Instagram https://www.instagram.com/8.8.prod/ Facebook https://www.facebook.com/8.8Prod/ ______ Subscribe to Oumou Sangare official channel https://www.youtube.com/channel/UC4... Watch Oumou Sangare's official videos https://www.youtube.com/playlist?li... Watch Oumou Sangare's live performances https://www.youtube.com/playlist?li... ______ Song meaning : Fadjamou (nom de famille) Oumou chante ici le patronyme qui est un aspect très important de la culture malienne. Il prouve l'appartenance d'un individu à un groupe ethnique et détermine son rang dans la société traditionnelle. Le patronyme est également à la base du "Sanankounya" ou cousinage à plaisanterie, qui constitue un vrai facteur de cohésion sociale. C'est pourquoi un Peulh ne déshonorera pas le Forgeron et vice versa. Les gens de caste ne feront pas honte au noble; et le noble ne sera pas désobligeant envers les gens de caste. Le Bozo ne déshonorera pas le Dogon; et le Dogon ne fera pas honte au Bozo. Le Soninké ne sera pas désobligeant vis à vis du Malinké; et le Malinké ne déshonorera pas le Soninké. Oumou chante aussi sa joie d'avoir des amis dans toute l'Afrique et au-delà. Fadjamou (Family name) Oumou sings here about the family name, which is a very important aspect of Malian culture. It proves a person's bond with an ethnic group and determines their standing in the traditional society. The surname is also the basis of the "Sanankounya", a custom of insulting or teasing someone of another ethnic group (or someone within yours), which is a real factor of social cohesion in the Mande area. That is why, a Peulh will not dishonour a Blacksmith and vice versa. People of caste will not shame the noble; and the noble will not insult people of caste. The Bozo will not dishonour the Dogon; and the Dogon will not bring shame on a Bozo. The Soninké will not be disparaging to a Malinké; and the Malinké will not dishonour the Soninké. Oumou also sings about her joy of having friends all over Africa and beyond. ______ Follow Oumou Sangare on : Facebook https://www.facebook.com/Oumou-Sang... Deezer http://www.deezer.com/artist/15929 Spotify https://open.spotify.com/artist/65C... Instagram https://www.instagram.com/oumou.san...

Music by Kuenta i Tambu Director/Camera/Color: Selwyn de Wind Production: Selwyn de Wind & Angela Roe Camera assistent: Ryan Navarro Editor: Ryan Navarro More about Kuenta i Tambu: https://www.facebook.com/aboutkit https://twitter.com/Aboutkit https://soundcloud.com/aboutkit https://www.youtube.com/user/videos... http://instagram.com/kuentaitambu Buy the track on Beatport: http://www.beatport.com/track/santa... Subscribe to our YouTube channel: http://www.youtube.com/user/basserk... Follow Basserk on: Facebook: https://www.facebook.com/BasserkRec... Soundcloud: http://www.soundcloud.com/basserk Twitter: http://www.twitter.com/basserkrecor... Instagram: http://www.instagram.com/basserk Released by Basserk Records: http://www.basserk.com

Purchase Alsarah & The Nubatone's "Manara" album: https://wonderwheelrecordings.bandc... Directed, Edited, Designed, Shot and Produced by Maryam Parwana @ THE GLOW www.theglow.tv Stylist and Makeup: Alsarah Lighting and Studio: Kevin Blumenthal Based on the traditional Aghani-Albanat song. Reimagined by Alsarah & the Nubatones Alsarah & the Nubatones are: Alsarah – Vocals, Melodies, Lyrics Rami El Aasser – Percussion & Backing Vocals Mawuena Kodjovi – Bass Brandon Terzic – Oud Nahid – Backing Vocals .

Canalón de Timbiquí - Arrullando (Vídeo Oficial) Suscríbete a nuestro canal: http://bit.ly/2Dbmbh7 🎵 Stream/Download: Spotify: https://spoti.fi/2VA7mMd Apple Music: https://apple.co/2GeUVjy Deezer: http://bit.ly/2UNXJwi ➤Videos Lives: http://bit.ly/2v3akNv Redes Sociales: Facebook: https://www.facebook.com/canalondet... Instagram: https://www.instagram.com/canalon_d... © 2019 Llorona Records #CanalónDeTimbiquí #Arrullando Escucha toda nuestra música en tu plataforma favorita: https://ONErpm.lnk.to/CanalonDeTimb... ARRULLANDO Tercera producción discográfica del grupo Canalón de Timbiquí. Este disco contó con la colaboración de Hugo Candelario y estuvo como invitada Oliva Bonilla, madre de Nidia Góngora. Dedicado a Germán Patiño. Ganador a Mejor Disco Folclor, Premios SHOCK 2016 Autora: Nidia Góngora ***************************************************************** La grabación de este video se hizo en Audiobit Studios y las oficinas de OneRPM Enero de 2017 Bogotá, Colombia

Bokanté - Nou Tout Sé Yonn From the album "Strange Circles," out now on GroundUP Music. ***Please set to HD (or at least 480p). Digital: http://radi.al/BokanteApple Physical: https://store.groundupmusic.net/pro... Recorded and filmed at Dreamland Studios in West Hurley, New York, in April of 2016. Written by Michael League & Malika Tirolien. Music arranged by Michael League. Vocals arranged and lyrics written by Malika Tirolien. Produced by Michael League. Personnel: Malika Tirolien - vocals & vocal percussion Roosevelt Collier - lap steel guitar Michael League - baritone guitar, bass & vocal percussion Chris McQueen - baritone guitar Bob Lanzetti - electric guitar Jamey Haddad - percussion André Ferrari - percussion Keita Ogawa - percussion Engineered and mixed by Nic Hard. Assisted by Bella Blasko. Mastered by Scott Hull at Masterdisk NYC. Filmed by Andy LaViolette, Simon C.F. Yu, Yusuke Suzuki, and Michael League. Facebook - @Bokanté / BokanteMusic Instagram - @BokanteMusic Twitter - @BokanteMusic www.bokante.com ------------------- LYRICS: (Creole) Koutésa x 2 Kouté sa Siw koupé rasin a piébwa, pié bwa pé ké ripousé Koutésa Si ou woté dlo a lanmè la, dézèw ké vin touvéw Kouté sa Siw konstrui kaz aw san mason, kaz la pé ké pé diré Kouté sa Si ou pa jen planté grèn mango la, pié mango ké disparet Kouté sa Siw ka jijé moun ki douvanw, moun dèyèw ké jijéw Kouté sa Siw volé voisin aw, on jou on moun ké vin voléw Kouté sa Fo ou sonjé sa ou ka simé sé sa ou kay rékolté Kouté sa Fo ou sonjé si ou jiré karma, karma ké vin ritouvéw Sonjé nou tout sé yonn x2 A pa lè ou vwè la riviè kolè Ou ké vwè rèflè aw, lè ou gadé adan’y Si ou pa vlé avoué nou tout sé yonn Nou pé ké pé rivé viv ansanm (English) if you cut the roots of the tree it will never grow again if you strip the sea of its water the desert will find you if you build your house with no foundation it will not stand for long if you fail to plant the seed there will be no mango trees if you judge the one in front you will face judgement from the one behind if you steal from your neighbor one will steal from you remember that you get what you give and that when taunted karma will find you remember we are one a reflection is hard to see in troubled waters if you don’t accept that we are one we will never live in peace

La Rumba Me Llamo Yo - Daymé Arocena - Cubafonía (2017). Link to music: https://lnk.to/cubafoniaFV Created in collaboration with Havana Cultura, a platform for contemporary Cuban creativity driven by Havana Club rum. More info http://havana-cultura.com/ Built on a steady-moving rumba rhythm, ‘La Rumba me llamo yo’ is the latest track to be taken from Daymé Arocena’s second album Cubafonía. A bright, infectious composition in a guaganco-styled mode of rumba, the song revealed itself to Daymé in a dream. A reflection of her Santería religion, the song traces her Ita — the reading of your destiny that comes with initiation. With Cuba poised to become more connected to the rest of the world, the Cuban people’s pride in a unique musical heritage has never felt more vital. Arising from that lineage, Daymé Arocena has returned to deliver an ambitious second long player; rooting her compositions in Cuba’s classic rhythms, Daymé encompasses the rich, diverse musical make-up of her home whilst looking outward too – to the world she has spent the last two years traveling. It’s her most polished, fully realised project since meeting her mentor (and record label head), Gilles Peterson, in 2012. Benefiting from Gilles’ expansive vision as a DJ, broadcaster and promoter, Daymé has been nurtured to this point by the Havana Cultura project – a platform for contemporary Cuban creativity driven by Havana Club rum. Interviewing Daymé at the Sound of Cuba showcase at SXSW last year, NPR wrote, “It is hard to imagine a better voice to open her country’s gates” – and it feels like this statement holds true. Ambitious, hardworking, and hungry for cultural exchange that doesn’t compromise the unique flavour of her home country of which she is so proud, it feels like 2017 could be a monumental year for Daymé. She possesses a clear sense of her music’s intermingling influences: “We don't have this native culture,” she explains. “We don't have indigenous people, like Maya or Quechua. They made a country with people from everywhere – that’s what makes Cuban culture so different. Credits: Director: Savanah Leaf Producer: Stephanie Paeplow Production Company: Greatcoat Films Director’s Rep: DirtyWork Production Manager: Talía Bustamante Director of Photography: Hector David Rosales Focus Puller: Douglas Fernandez Wardrobe (Artist): Laura Diaz Ravelo Make Up Artist (Artist): Pavel Marrero Editors: Gaia Borretti, Charlie Rotberg @ Stitch Colourist: Tim Smith @ Electric Theatre Sound Designer: Ben Chick Label: Brownswood Recordings

Ifriqiyya Electrique: Rûwâhîne Release date: May 26th, 2017 Order: https://goo.gl/GcLkA6 Sufi trance musicians and rituals – from the depths of the Tunisian desert – in conversation with post-industrial sonics. ‘No theatre or stage or audience. The rûwâhîne have possessed and contorted the bodies of the Banga. Teenagers leap to the floor, their legs arched and tense, glaring transfixed [while] girls dance wildly, … accelerating the rhythm of the hand percussion’ The film opens on a cloud-pressed, bleached-out desert highway and an ominous electronic pulse, a devil of a wind, that you don’t want to shake off. Where are you? The truck in front carries human freight, half-glimpsed, anxious and thoughtful. You’re soon joined by the kind of dark lunar soundscapes familiar from Can, by polyrhythms at once deft and relentless, and then, as the truck reaches the outskirts of the town, by chants that seem to issue from the empty streets themselves. Ifriqiyah was the medieval entity that contained present-day Tunisia, as well as parts of Algeria and Libya: the boundaries, more or less, of the Roman province of Africa. Is this where you are? To get your bearings, you might first have to dive into a basement club somewhere in Southern Europe: Barcelona, perhaps, or Taranto or Palermo. For Ifriqiyya Electrique’s François Cambuzat - a guitarist and field recordist (Turkey, China, Central Asia) - is a veteran of the Mediterranean punk and avant-rock scene, which has always been more politically charged than its counterparts to the north and (far) west. With bassist Gianna Greco, he is one half of Putan Club – or one third when these two fierce and uncompromising players are joined by legend of the NY underground, Lydia Lunch. These are not spaces of comfort but of challenge and confrontation. But let us pull focus again – and this is crucial, bass and guitar and electronics notwithstanding. Ifriqiyya Electrique was formed in the Djerid Desert in southern Tunisia, home to the Banga ritual of Sidi Marzûq. The Banga is a key annual event in the lives of the black communities of the oasis towns of southern Tunisia, descendants of the Hausa slaves transported from sub-Saharan Africa. It is a ritual of adorcism not of exorcism: of accommodating the possessing spirit rather than expelling it. The invitation has been issued by the rûwâhîne themselves, the spirits from whom the record borrows its title, and is taken up primarily in the streets and in private houses. The Banga is a musical tradition for sure, with stark, metallic, cavernous percussion and voices of cool urgency, but should not be felt as such, for it is most defiantly a ritual and remains so on this record. Cambuzat and Greco are joined in live performance by the voices, krakebs and Tunisian tablas of three members of the Banga community, Tarek Sultan, Yahia Chouchen and Youssef Ghazala, with a fourth, Ali Chouchen, providing vocals and nagharat on the record itself. The voices and rhythms are unaltered, of course. What is new here is the conversation the group initiates between guitar, bass and electronics and the rhythms and chants of the Banga – what Cambuzat refers to a post-industrial ceremony. It won’t be an easy listen for purists and propagandists; but if post-industrial ceremony doesn’t describe a large portion of the most challenging music of the last 40 years, what does? In short, the music can only be fully understood in the context of the events that gave rise to it. Happily, Ifriqiyya Electrique is a film and documentary project as much as a band. The footage is astonishing: of wild, ecstatic gatherings that seem, to us, the un-initiates, by turns other-worldly and utterly familiar. It is familiar because we all recognise the need for “new ways of forgetting”, in Cambuzat’s words. But we surely need to remember too. For here is another deep tradition, another precarious music, on the brink: a vital part of a Sufi culture being pressed on all sides by the forces of reaction. Ifriqiyya Electrique will not be lamenting its passing – because they will refuse to let it pass. ‘This is, then, most certainly not a “world music” project (still less an ethnomusicological one), but a wild process of improvisation and re-composition that brings traditional instruments face to face with computers and electric guitars… [My work] is driven towards elevation, sweat, blood, poetry and tears – not to some pretty colour postcard’ -- François R. Cambuzat / Ifriqiyya Electrique

Nomade Orquestra performing at Sofar London on October 27th, 2016 during our first Euro tour. Follow Nomade Orquestra on socials: Facebook: https://www.facebook.com/NomadeOrqu... Instagram: https://www.instagram.com/nomadeorq... TikTok: https://www.tiktok.com/@nomadeorque... Twitter: https://twitter.com/norquestra Musicians: Guilherme Nakata • Bateria Ruy Rascassi • Contrabaixo Marcos Mauricio • Teclas Beto Malfatti • Sax Alto / Flauta / Pick-Ups Marco Stoppa • Trompete / Flauta Bio Bonato • Sax Baritono/ Flauta Luiz Galvão • Guitarrra Fabio Prior • Percussão Victor Fão • Trombone / Flauta André Calixto • Sax Tenor / Sax Soprano / Flautas Filmed by Pavel Radu and Daniel Babusca Edited by Daniel Babusca Recorded and mixed by Joe Wander