2009年10月26日
VISIONS OF DAWN / joyce with nana vasconcelos & mauricio maestro
The wonderfully lucid, airy delivery of veteran bossa-jazz diva Joyce is nothing like as celebrated as it should be, even in her native Brazil. But the period feel of this long-unheard 1976 album, with its touch of Californian-style folky psychedelia, could give her profile the lift it deserves. (Telegraph, April 11th, 2009)
The original ‘lost’ Brazilian acid-folk album recorded in Paris in 1976 and now rescued and set free after 33 years--Visions of Dawn is the stunning, previously unreleased project by three Brazilian music legends.
Led by the sharp lyrics and gorgeous, expressive voice and guitar of Joyce the trio is completed by the expert musicianship of her close friends Nana Vasconcelos (percussion) and Mauricio Maestro (electric bass, vocals, guitar and producer) who were both crucial in creating this masterpiece.
Mauricio, Joyce and Nana became close friends playing together as part of Milton Nascimento’s Clube De Esquina scene in Rio and his legendary Clube De Edquina series of albums. These beautiful, hazy and understated recordings, which took place in charming 1970s Paris, offer a unique chance to sit in on the original jamming sessions of tracks that later became Brazilian cult classics.
A founding member of Boca Livre Mauricio produced Visions of Dawn and his electric bass, vocals and floating acoustic guitar lines are crucial to the sessions. Nana Vasconcelos has released more than thirty albums over an incredible forty year career and here displays his unsurpassed Latin jazz percussion skills. Joyce’s tender psychedelic vocals result in a dreamy set that’s given a strong edge when scatting and letting her notes playfully jump. Stand outs "Banana" and "Clareana" later became big Brazilian hits for Joyce.
The Paris 1976 project is a legendary lost treasure encapsulating the special freedom and beauty of Joyce, Nana and Mauricio’s music.
2009年08月6日
南王姊妹花 / 南王姊妹花
2009年‧金曲獎20th 最佳演唱組合
2009年‧金曲獎20th 最佳原住民專輯
2009年‧最佳專輯製作人＼陳建年輯
http://blog.roodo.com/honeyvoices/
這是一張由陳建年繼「東清村3號」電影原聲專輯後，最新製作的有聲唱片作品。以兩年的時間， 奔波於蘭嶼島與南王部落，趁著繁忙的警務工作之餘，從採集、寫歌、編曲、配樂、錄音，獨自一個人在他台東的工作室，完成了這張來自南王部落最甘甜的美聲，也重新喚醒了那段似已飄逝的青春回憶。
南王姊妹花，來自台東卑南族南王部落，三個自稱「中古美少女」的阿姨們。從學生時代，便與陳建年在山青服務隊，從事歌舞表演，活躍於當年台東各高中職聯合活動及救國團營隊。離開了年少的青澀，山青的一夥人同樣面臨現實壓力，被迫丟棄生命的最愛--音樂！鏽了弦的吉他，被打入房間一角空吟。美麗的服飾，也只有在傳統祭儀時，才會從衣櫃底層拿出來。熟稔的舞蹈動作，隨著身材逐漸走樣而荒廢。僅存的絕美嗓音，只有在親友同聚或婚宴登台高歌時偶而流洩。
原本的俊男當兵的當兵、當警察的當警察，當年的美少女則大多嫁為人婦，少數則投入職場奮鬥，一切都如此自然地依循著最簡單的人生道路前進。直到當年的吉他手陳建年，出了一張又挑起大家共同回憶的專輯「海洋」；裏面收錄了太多山青時代所唱的創作歌曲，還打破眾人眼鏡榮獲金曲歌王後，突然間就這麼的起了微妙變化。
因為陳建年的關係，ＡＭ家族樂團成員的聲音逐漸為人所知，紀曉君的「野火」、昊恩家家「Blue in Love」及龍哥的「Long Live」接二連三勇奪金曲殊榮及國際傳媒好評。台灣地圖上看不見的南王部落，硬是在台灣音樂版圖中強佔一席之地！這群人的音樂創作背景、生活環境、乃至於部落傳統祭儀，開始吸引不少外界朋友的注意，也因為如此，南王姐妹花這股被稱之為「留在 部落裡的美聲」，也就這麼的再被挖掘出來。
東海岸最令人心動的地方，就是常常讓你在不自覺的當下，被自然環境所衍生的氛圍整個浸透，如同海浪般層層襲來、就在微風輕輕吹送、月光透過樹梢緩緩灑落間，就整個人這麼地融在其中。愛喝咖啡的人很清楚，一杯好咖啡，倒入杯中剎那的濃郁香氣、入口淺嘗時的回甘，以及加入奶油後呈現舌尖的溫潤感、喝完之後渾身上下的舒暢快意，足以令人回味再三。細聽三姐妹的歌聲，你的思緒會被細緻聲音所引發繞在心頭上，就好比東海岸給人的感動、如同好咖啡帶給雅客的喜悅，沒有刻意去挑起，人卻就這麼一層層的被卸下心防，浸淫在如同焦糖、花蜜與甘泉交織纏綿的合聲中。縱使三人都已成為「中古美少女」，音質不若多年前的清澈，惟在歲月的沈澱下，聲音蘊成潮水般穩實的氣韻，猶似醇酒的後勁，總令人在不知覺中醺醉。
2009年04月11日
TALA MATRIX / tabla beat science
向印度傳統樂器TABLA之父USTAD ALLA RAKHA 致敬的專輯作品，榮獲AMG四星高度評價﹗
由AXIOM的老闆BILL LASWELL親自擔任製作人，請來USTAD ALLA RAKHA之子ZAKIR HUSSAIN編曲，亞裔電子舞曲DRUM’N’BASS 的頭號人物TALVIN SINGH，將傳統TABLA的精髓融合在令人神迷的電子幻境中，為這張全新的音樂作品帶來無窮的冥想。
Call it an aggregation of some of the best contemporary percussionists: Trilok Gurtu, Zakir Hussain, and Asian Underground star Talvin Singh combine under the sonic washes of producer Bill Laswell to show the possibilities of Indian percussion. It's definitely a beatfest, but one of subtlety, where what is being said isn't as important as the way it's being stated, and the dialogue between hands includes a lot of silences. Gurtu comes from a more jazz tradition, Hussein a classical background, and Singh represents the brash young things of the dance floor. Mostly Laswell leaves it to them to provide the sonic entertainment, which is as it should be with delicate swathes of sound barely intruding, just coloring the proceedings. While it's not for everyone, those who love Indian percussion in all its forms will find this album a complete joy. (Chris Nickson / Amazon.com)
2009年03月12日
THE BLUE DEPTHS / odawwas
The Blue Depths is an album for warmer places, a balmy haze habitat for headphone meanderings. This is a dream world where Neil Young and Jimmy Webb float in the reverb-saturated summer breeze. The solemn harmonies of "Moonlight/Twilight" drift between sheets of stirring bowed bass murmur as shimmering guitar notes ebb and flow underneath. Bursts of yearning harmonica arc over ethereal soundscapes in "The Case Of The Great Irish Elk." The jubilant piano of "Harmless Lover's Discourse" gives way to the most startling pop moment of the album, a soaring bed of synth propelled by a driving bass line and vibrant rhythms.
http://www.myspace.com/odawastheband
2009年02月22日
THE MANDE VARIATIONS / toumani diabate
很多人對非洲音樂的印象常停留在熱鬧強勁的打擊音樂，這固然是非洲音樂的一大特色，但其實非洲音樂還存在許多不同的音樂表情，例如現在已廣為西方世界音樂圈熟悉的西非樂器kora琴（二十一弦豎琴），其剛柔並濟、清徹亮麗的音色令人驚豔，也是個人非常喜愛的非洲代表性樂器，而若論當今最具知名度的kora演奏家，來自馬里的Toumani Diabate肯定榜上有名！他一方面繼續探索傳統曲目，一方面嘗試與世界各地不同音樂風格進行對話，從法蘭明高、藍調到爵士等，他還參與冰島天后Björk的專輯《Volta》，也為他開拓更廣闊的受眾層面。
去年，歷經20年的音樂生涯粹鍊，繼88年的《Kaira》後他再度出版純個人獨奏專輯《The Mande Variations》，難怪引起樂迷的高度期待，如果說二十年前的他試圖以自身傳統音樂之美吸引世界樂迷，特別是歐美樂迷的注意，那麼二十年後今天的Diabate早已經成為世界公民的一分子，同樣以一把kora琴征服樂迷，但音樂背後的想法早已經產生巨大變化，也反映Diabate這些年來的多元文化衝擊，音樂透露出他受歐陸流行音樂、法蘭明高、dub、低限主義、南印度音樂等影響，樂曲靈感從日常生活、情歌、史官音樂到西部電影配樂等，卻一切完美融入他行雲流水的kora獨奏當中，提供樂迷洗滌人心的聽覺享受。
Toumani Diabate 'The Mande Variations'
2009年02月6日
La Musica Della Mafia / IL Canto di Malavita
A controversial album of Mafia songs banned in Italy, La Musica Della Mafia, on the German-based Piasa label, features 18 songs of 'blood, honor and discretion'. The record is not glorifying or romanticizing anything. The songs are part of history and the words are based on codes that are 100 years old. Several songs are laments based on words written by Mafia members in prison and the CD includes two recordings by Fred Scotti, the only Italian singer bold enough ever to perform Mafia songs in public. 2002.
The music of La Musica Della Mafia: Il Canto di Malavita captures a conflicting era, while also a time of romance. This 24-song collection reflects upon the life of the "'Ndrangheta," or Calabrian Mafia, and its history of violence and the consequences thereof in southern Italy. This particular mob group was not initially known for its brutal ways; the Calabrian Mafia were protectors of their country and vigorously fought against a corrupt government. Calabrian native and journalist Francesco Sbano and folk musician Mimmo Siclari composed a striking look at a highly criticized culture and put words to music for an emotional, beautiful retrospective. La Musica Della Mafia: Il Canto di Malavita, which was banned in Italy after its European release in spring 2000, highlights Mediterranean folk melodies lush with accordions, mandolins, and tambourines. Classic Neapolitan ballads are prominent, but tinges of Hispanic music make the album more familiar. What makes this an interesting album is the inclusion of the late singer Francesco "Ciccio" Scarpelli. Scarpelli, who recorded under the moniker Fred Scotti, was the only Mafia member to perform in public, and these songs are a haunting reminder of his talent. Tragically, Scarpelli was shot dead in 1971 after falling in love with a woman of another well-known mob. Scotti's own "Tarantella Guappa" bellows a playful roar while "Canto di Carcerato" showcases an undying cry in his voice. The pain is pure and obvious on La Musica Della Mafia: Il Canto di Malavita, suitable for those who'd like to forget and for others who'd like to discover the charm of a dark period of time. ~ MacKenzie Wilson, All Music Guide
2009年01月30日
TCHAMANTCHE / rokia traoré
Traoré來自西非馬里，因父親是外交官，讓她很年輕即有機會遊歷阿爾及利亞、沙烏地阿拉伯、法國與比利時，豐富的跨文化衝擊也為她日後的音樂視野打下良好基礎，後來她入讀馬里首都巴馬科大學時已開始拿著木吉他公開演唱，並在編曲上注入西方和聲概念，這在當地而言是十分罕見的，97年她與馬里經典音樂人Ali Farka Touré的合作更迅即讓她聲名大噪，也讓她的知名度開始漫延到法國以及全世界，人們對她多才多藝的音樂才華深感好奇，Traoré除了擁有獨特的演唱方式，她能寫能編還能彈，除了吉他，西非魯特琴與木琴一樣難不到她！
自97年發行首張專輯《Mouneïssa》，之後的《Wanita》(2000)與《Bowmboï》(2003)皆獲得熱烈迴響，Traoré也憑《Bowmboï》獲英國BBC世界音樂大獎。在這張《Tchamantché》當中，她方棄採用木琴，以充滿藍調風味的電吉他為本，再融入各種樂器諸如豎琴與西非魯特琴等，塑造出深具當代音樂質感的新派西非流行樂，以酷的姿態保留著西非音樂的獨特節拍，Traoré自然流露的個人化吟唱技巧，竟讓我想起聆聽Norma Winstone、Sidsel Endresen或Meredith Monk時的一些美好經驗，整張專輯大部分曲子以母語演譯，另外還有兩首法文與一首英文歌，她把蓋希文名曲The Man I Love成功改編為純屬Traoré的私家版本，我想，稱Traoré為當前非洲最具實驗精神的女歌手實當之無愧。
2008年12月29日
WELCOME TO MALI / mariam doumbia & amadou bagayoko
Mariam Doumbia & Amadou Bagayoko這對來自非洲馬利(Mali)的音樂搭檔，近年來可謂贏盡歐美樂評的讚譽，兩人識於三十多年前位於馬利首都巴馬科(Bamako)的年輕失明人士中心，結婚後即展開兩人的走唱生涯，一把吉他加上兩人的演唱讓他們成為當地家喻戶曉的巨星，自90年代後期他們開始創作更大編制的音樂，將馬利之聲與搖滾電吉他、敘利亞小提琴、古巴小號、埃及氣嗚樂器奈伊（ney）、哥倫比亞伸縮號、印度塔布拉鼓和馬利多貢人的傳統打擊樂等結合，形成音樂色彩異常豐富的非洲藍調。99年一張《Sou Ni Tile》讓他們紅到法國去，也正式開啟了他們更寬廣的音樂事業。03年法國搖滾巨星Manu Chao拔刀相助為他們製作專輯《Dimanche a Bamako》，這張專輯讓他們首嘗爆紅的滋味。06年他們還受邀為世界盃主題曲“Celebrate The Day” 獻聲，令他們知名度再進一步提升，歷經三年，他們今年終於交出最新的成績單：《Welcome to Mali》
第一首主打歌 “Sabali” 即找來Damon Albarn擔任製作人，可見兩人求新求變的決心有多強烈，Damon Albarn招牌式的嘻哈節奏與電音無疑為他們新專輯增加不少話題性，也吸引更多年青人對他們的注意。專輯其他歌曲則交由他們的老搭檔 Marc-Antoine Moreau 與Lauren Jais製作，他們把專輯中許多不同的元素，包括嘻哈、kora琴演奏（Toumani Diabate）、放克、雷鬼與獨立搖滾加以整合，並融入Mariam & Amadou 的音樂肌理當中，一切來得如此自然、動人，我想對自幼失明的Mariam & Amadou 而言，他們跟本不會把音樂分類別、地區、古今，只要能激發他們內在熱情的聲音就是好音樂，就讓大家也暫且把眼睛閉上，放開心胸聆聽不同樂音，你將會感受不一樣的世界。
2008年12月18日
葡萄牙新法朵浪潮天后mariza最新專輯 -- TERRA
"Terra is one of the best albums of 2008 ,It’s hard to not make this a pick of the year.” Songlines
"Terra is one of the best albums of 2008, the fado queen stylishly incorporates a touch of jazz and Cape Verde’s version of Saudade.” Sunday Times – UK
已經三年沒有發行專輯，來自葡萄牙的新生代法朵(Fado)天后Mariza，今年終於出版最新專輯《Terra》，這位因電影<伊莎貝拉>而讓更多華人聽眾認識的女歌手，來自莫三比克，自幼在里斯本古老社區裡長大，Mariza的生活環境裡最不缺乏的就是Fado音樂的耳濡目染。那些來自鄰里長者間口耳相傳的淒美吟唱，縱使年代久遠得讓人記不住歌者的臉，歌聲的滲透力卻強得永遠在她心裡如漣漪般迴蕩。也因此Mariza義無反顧地投入Fado的演唱，成為這葡萄牙國寶的重要傳承者，便是她熱愛家鄉文化的最佳證明。
2001首張專輯《Fado em mim 》(Fado in Me)在葡萄牙獲得四白金的銷售佳績，熱力並瞬間延燒至歐陸各國，初試啼聲便成為國際新星的實力更反映了她深厚的演唱功力絕非一朝一夕所能成就。2002年她的歌聲征服了加拿大魁北克音樂結的現場聽眾，並且旋風似地來到北美重鎮紐約，讓美國樂迷們也同樣感受到Fado的美麗與震撼！緊接著她的足跡踏遍美國東西岸，更跨海迷倒了英國的挑剔樂迷們，同樣迷惑於她優雅身段與感情豐富的歌聲中。
Mariza到底有多紅？她是首位入圍拉丁葛萊美獎「最佳民謠專輯」(Best Folk Album)的葡萄牙籍音樂人。這6年間，她除了榮獲加拿大魁北克夏日音樂祭「最佳傑出表演獎」，英國BBC Radio 3也在世界音樂類別中給予她「最佳歐洲藝人」的頭銜肯定，來自丹麥、澳洲、加拿大、德國、英國、美國的獎項不斷，她的表演足跡更是遍及紐約中央公園、好萊塢露天劇場、倫敦皇家音樂劇場、莫斯科、雪梨、多倫多、法蘭克福、巴黎、馬德里、巴塞隆納等地，躋身為當今最重要的世界音樂女伶之一。
在這張最新作《Terra》當中，音樂節拍更為自由活潑，同時，Fado婉約優雅的氣質依然得到了很好的保留，彌漫在富有淡淡現代感的輕曼律動中。而與佛得角歌手Tito Paris、赤道幾內亞裔西班牙黑人歌手Concha Buika的合作，也為專輯融入了更多拉丁民謠的色彩。
Mariza - Rosa Branca
2008年04月25日
阿根廷探戈龐克詩人melingo 最新作品 MALDITO TANGO
Songlines magazine, April/May 2008 (issue #51)
Argentinian tango punk poet Daniel Melingo has long owed us a new album. This little beauty is the second to come out of the Mañana label but only the third full studio album by Melingo in almost ten years. It was worth the wait - and tango has always been about waiting, whether it's waiting under streetlamps, waiting for lovers to return, or waiting for release from prison. Packed with lyrics in gritty lunfardo (tango slang) and with great chamamé and klezmer rhythms, the album has beautiful moments of knowing melancholy, and tells tales from the lugubrious backstreets of modern tango. Through it all Melingo growls out his passions and slurs out his sorrow.
His debut, Tangos Bajos, was cool, clever and cheeky but very short and just a little too basic. The follow-up had some lovely tuneful moments, especially when Melingo did folksy songs, but was a bit all over the place. Maldito Tango has the best elements of both, but is richer - there are many layers to the production with changes of mood and message, and even the little exercises in electronica are stitched in well. Guests include Uruguayan Gardél sing-alike Cristóbal Repetto and Paris-based Afro-tango ambassadeur Juan Carlos Cáceres. But Melingo is always, in his own way, alone under a spotlight.
`Cha Digo!' has a wonderfully ghoulish chorus, `Montmartre de Hoy' features inspired solo whistling and the closing track `Eco il Mondo' is an epic of collapsing, jazz-tinted, folkloric shuffles. But there are no standout songs here; the whole gels together as a sly postmodern postcard from a deserted milonga in Buenos Aires. (Chris Moss)
Melingo : Santa Milonga
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