Hailu Mergia and the Walias´ “Tche Belew”

Awesome tapes from Africa just released after the amazing LP Hailu Mergia & His Classical Instrument (1985) now the Holy Grail reissue of Hailu Mergia´s legendary Walias Band of ethiopian instrumentals and ethio jazz standards called “Tsche Belew”. The Walias band was a kind of ethiopian all star Band in the 70ies with Hailu Mergia on Organ, Mulatu Astatke on Vibraphon, Girma Beyene on Piano among others. Original cover & liner notes written by Mulatu Astatke. Hypnotic and Essential.

Hailu Mergia is touring Germany again this winter, still kind of feel the sweat at his concert in packed tiny monarch last year.

More infos: http://www.awesometapes.com/2014/09/hailu-mergia-walias-tche-belew-141014/

“So excited for the long-anticipated re-release of “Tche Belew,” Hailu Mergia and the Walias’ 1977 instrumental jazz and groove recording set against the backdrop of post-revolution Ethiopia. Following Mergia’s Shemonmuanaye/Classical Instrument reissue last year, the keyboardist and accordion player has been visiting stages across Europe and North America to much critical acclaim. “Tche Belew” was a groundbreaking recording and the LP became collectible for so many reasons but overall it is just an astounding merger of Ethiopian songs, elegant contemporary arrangements and “western” instrumentation. Completely sublime music from one of the seminal bands of a funk-laced era of Ethiojazz and soul.”

 

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“Il faut être absolument moderne” – New retrofuturistic releases by Born Bad Records: Francis Bebey & Mobilisation General: French Protest and Spirit Jazz 1970-76 Sampler

Tiny little french label Born Bad Records released two years ago Francis Bebey´s epic “African Electronic Music 1975 – 1982″ compilation that featured lots of cameroon´s best known hits like “Agatha” or dancefloor tracks like “new track”.

Now the story continues with “Psychedelic Sanza 1982​-​1984″. It´s way more experimental and psychodelic, but nevertheless magic, mysterious and groovy, although listening to all tracks in a row of the “Sansa” tracks is maybe not the best idea. Listen and read – there is nothing more to add.

Born Bad Records

The first time I saw a sansa (a type of African “thumb piano”), it was just sitting there on a piece of furniture in my family’s living room/dining room – a space that our father also transformed into a recording studio every day.  It seemed more like a box than a musical instrument: a mysterious instrument, which arrived at our house, like many things, in a somewhat miraculous way. We knew our father loved to collect anything that could produce a sound. I don’t know where he got this sansa. It was rather crude, clearly handmade, with only a few “keys” or “tines”. I don’t think he really played this one. The sounds it produced seemed particularly bizarre; to my young musician’s ears, trained in Western classical music, it sounded out of tune. That’s because, like my brothers and sisters, I had been trained on the piano. I had trouble understanding how anyone could endure these tones and, honestly, our father’s passion for “unusual sounds” did not interest me.

(…)

One day he put a sansa in my hands, without saying a word. He was sending me a message: “Let’s see what you can do with it!” That’s when I really discovered something. Exploring the instrument and playing, I transcended the “imperfect” aspect of its sound and began to discover its fascinating potential. Playing the sansa, you enter a world that enraptures you in a very serene and mesmerizing way. I think its sounds evoke a rainbow, with rain falling while the sun shines. A very peaceful feeling. It allows you to make music that truly sounds like life. The sansa is also the instrument that my father and I shared the most because I am a pianist and he was a guitarist. I also share this eminently African instrument with my musician brother, Toups. Our father loved to tell us one of the legends of the sansa: how it even managed to dispel the boredom felt by… the Creator himself! This instrument gives life to the world, to beings and things.

I did not participate in the production of the various records that my father devoted to the sansa. He did it himself, you might say, in his “laboratory.” Yet today, I cannot imagine playing a concert without using a sansa. The piano remains present so that listeners don’t become disoriented and wonder about the weird sounds invading their ears! However, I find the eccentric and disturbing side of sansa interesting. And the sansa always affects the audience: in reality, it excites them. The secrets of this instrument are surely its beneficial powers and… its magic!

Patrick Bebey

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Second compilation ” Mobilisation General -Protest and Spirit Jazz from France 1970-1976″ was already released a few month ago but I came across this record when I was preparing the radio emission for the french exotica and psychedelia issue lately but got hold of the record just a few days ago so I couldn´t use it for the show,  alors this is a kind of annex: An amazing collection of spiritual jazz & protest songs in the post 68 era with tracks by Brigitte Fontaine, the Art Ensemble of Chicago, the Full Moon Orchestre and incredible funky unknown tracks like this one by François Tusques & Le Collectif du Temps des Cerises:

Or a really hard to find 45″ of the Baroque Jazz Trio (this seems to be the long version called “Zoma” of the 45 “Orientasie” featured on the compilation.

Or one of my favourite is as well: Chêne Noir – Hey…!

Born Bad Records says about this release:

http://www.bornbadrecords.net/releases/bb057-va-mobilisation-generale-protest-and-spirit-jazz-from-france-1970-1976/

 

“1968. France, Incorporated. The entire building was being consumed by flames and was slowly collapsing. Nothing would survive. Out of the rubble of the old world jumped the children of Marx and Coca-Cola, ripping the white and blue stripes off the French flag. Yet, the socialist revolution was more mythic than real and music did nothing to mitigate people’s behavior. It was time for innovation.

While singles from the Stones, Who, Kinks and MC5 provided an incendiary soundtrack for the revolution, it was Black Americans who truly blew the world from its foundations in the 60s. Ornette Coleman, Cecil Taylor, Eric Dolphy, Albert Ayler and Archie Shepp left behind the jazz of their fathers’ generation, liberating the notes, trashing the structures, diving headfirst into furious improvisations, inventing a new land without boundaries – neither spiritual nor political. Free jazz endowed the saxophone with the power to destroy the established order.

In 1969, the Art Ensemble of Chicago arrived at the Théâtre du Vieux Colombier in Paris and a new fuse was lit. Their multi-instrumentalism made use of a varied multiplicity of “little instruments” (including bicycle bells, wind chimes, steel drums, vibraphone and djembe: they left no stone unturned), which they employed according to their inspirations. The group’s stage appearance shocked as well. They wore boubous (traditional African robes) and war paint to venerate the power of their free, hypnotic music, directly linked to their African roots. They were predestined to meet up with the Saravah record label (founded in 1965 by Pierre Barouh), already at the vanguard of as-yet unnamed world music. Brigitte Fontaine’s album Comme à la radio, recorded in 1970 after a series of concerts at the Théâtre du Vieux Colombier, substantiated the union of this heiress to the poetic and politically committed chanson française (Magny, Ferré, Barbara) with the Art Ensemble of Chicago’s voodoo jazz and the Arab tradition perpetuated by her companion Areski Belkacem.

A UFO had landed on the turntables of French teens, who were discovering underground culture via publications like Actuel, Libération, Charlie Hebdo, Rock & Folk and a vigorous free press. It was a generation ready for any and all combats: alongside farmers on the Larzac plateau and the Lip factory workers; fighting the Creys-Malville nuclear plant, the Vietnam War, the death penalty, discrimination against women, gays and immigrants. For 20 year olds in the early 1970s, making music was a political act; they grabbed a microphone to advance a cause, not to become rock stars. While the price of oil skyrocketed and Pompidou went overboard building horrible concrete apartment buildings for public housing and “adapting the city for the automobile,” some took refuge in the countryside. Alternative communities formed all across France, giving rise to groups (or rather, collectives) with open-minded structures, cheerfully mixing music, theatrical happenings and agitprop, along with a good dose of acid. Projects bordering on the ridiculous were often tolerated (progressive rock was one of the primary banalities the era produced), while those who followed the route paved by spiritual jazz often ended up elsewhere. The vehemence (if not grandiloquence) of their declarations was carried and transcended by the finesse and brilliance of their musicianship. For the “straight” France of Claude François, it was something from another world. Simultaneously spatial, pastoral and tribal, the tracks in this collection represent an ideal intersection between a sort of psychedelic legacy, the space jazz of Sun Ra and Afro Beat (then being created by Fela in Lagos): they are as much incantations (often driven by the spoken word), war cries or poems as they are polemics.

1978. Giscard was at the helm. Punk and disco were busily decapitating the last remaining hippies. Peoples’ blood was still boiling, but it was already too late. The war was over, lost without anyone noticing. Nevertheless, people still tilted at windmills or talked tough in dead-end struggles; a dream is not so far from a nightmare. We knew that an enchanted era had ended, the hope for a brighter future was now behind us and that we would leave behind nothing for our children but a few records. Indeed, ghosts may still crackle from our speakers, as the 45 spins and Brigitte Fontaine asks Areski: “Hé mais je pense à un truc, on ne va pas mourir dans une minute ?” (Hey, I was just thinking, aren’t we going to die in a minute?)”

Clovis GOUX

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Cheval Fou: French Exotica Spezial #8 – Relisten

Relisten to the radio emission the 25.9 here: http://cba.fro.at/270808 or here:

"cheval fou" - the little dog laughed radio #8 - french exotica and psychedelia special by Schwarz Jochen on Mixcloud

Intro: Leo Ferré – Et basta (excerpt)

=== 60er french beat to 70er psychodelia

# L´ingourdi – Brigitte Fontaine & Areski (l´Incendie)
# Looking for you – Nino Ferrer (Nino And Radiah)
# Raconte – toi – Yves Simon (Magic Sunrise Sampler)
# Sunny Road to Salina – Christophe (Dirty French psychodelia Sampler)

=== Psychedelic french filmmusic

# Oh willow wally – George Auric (the Innocents)
# Profundeurs – Roger Roger ‎(Le Viol Du Vampire)
# La Première Reine – Pierre Henry – (La reine verte)

Jean – Luc Godard Scores : 

# New York Herald Tribune – Martial Solal (A bout du souffle)
# Theme – Michel Legrand (Vivre Sa Vie)

# Theme Du Commissaire Bourrel – Marc Lanjean & Son Orchestre (Les Cinq Dernières Minutes)

=== French spiritual Jazz & exotica

# Unknown – Jef Gilson (Spiritual Jazz II)
# Dans la neige et le Vent – Graziella / Jef Gilson (Chansons de Jazz)
# Homage a Kabylie – Raphael (Stop, Look, Listen!)
# Tribute to Bob Kaufmann (excerpt) – Full Moon Ensemble (Crowded by Lonlyness)
# Naima (Coltrane) – les Double Six (s/t)

=== French pop & kitch influenced by Exotica

# L´Homme a tete de chou – Serge Gainsbourg (L´homme a tete de chou)
# Rose Rouge Sang – Jean Claude Vannier (Rose rouge sang)
# Royan – Francois & the atlas mountains (Her River Raves Recollections 10“)
# La Fille des ease – Françoiz Breut (Split Francois Single)

Outro: La fin de la Vie – la debut de survinance – Cheval Fou (dirty french psychedelia)

 

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* twenty one little tape deck ghosts *

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Here is a mix of some of my favourite tracks over the last years released only on tape on labels like night city, the tapeworm, autotune the world, curly cassettes, sun ark, carpi or the curatorial club. Some of the artists like dirty beaches or the microphones released their first album via tape before they got more known but still there are treasures to be found on these early releases.

The first half are mostly quiet, ambient tunes, the second part is more psychedlic and song-orientated. The title is taken from the first microphones tape called “tests” with a song called “tape deck ghosts” featured here as well.

* twenty one little tape deck ghosts * by Schwarz Jochen on Mixcloud

Tracklist:

Simple Matters – Cody Yantis (Resonant Memory)
Daniel Emmanuel – Earth Dance (Echoes from ancient Graves)
Aine O´Dyver – An Unkindness Of Ravens, The Chapel On The Hill (Music For Church Cleaners)
Bitchin Bajas – Tape 1 side A excerpt (Hideout Residency)
Niedowizanie – La Riviere (Cosa Fare?)
Reedbeds - a excerpt (reedbeds)
The Microphones - tape deck ghosts (tests)
Thoughts on Air – Hue and you (black eagle child split cassette)
Ducktails – White House With Green Shutters (Acres of Shade)
Casino Hearts - Romantic Revival (Lonesome Island)
Dirty Beaches - Black Kawasaki (Dirty Beaches, Night People Tape)
Pigeons – En reve (Pigeons, The Curatorial Club Tape)
Sun Araw – luther excerpt (In orbit)
Family Portrait – George (Family Portrait, The Curatorial Club, C17)
MV & EE, – Mesos Pot Amia excerpt (Godchaux Free Brattleboro)
Osman Arabi – unknown (Destroying Symmetry)
track 5 – Mystic revelation of Rastafari
unknown – Cheb Ziram (Libyan Reggae)
Graves - Morning Bird
Solid Home Life - let´s go to bed (S/t curly cassettes)
Scott Tuma -Soul Side (Cracker where am I)

C90
10/2014
by joe le taxi

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* Foggy October Music for Church Cleaners, Electric Phin Bands & Other Little Lords of Misrules *

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Here´s a little autumn selection of beloved new releases and reissues lately of obscure little oddities.In the End there are some links for the whole releases.

The title is taken from the amazing “music for church cleaners” release by Áine O’Dwyer, Two songs are on these mix as an intro and outro. See it as a real mixtape: The first half (side a ) is more quiet, the second half (side b) is more danceable.

* Foggy October Music for Church Cleaners, Electric Phin Bands & Other Little Lords of Misrules * by Schwarz Jochen on Mixcloud

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Áine O’Dwyer – in a fugue state of mind (music for church cleaners)
Niedowierzanie – Lait fraise (Attendre)
Lilacs & Champagne – Shower Scene (midnight features Vol. I)
Kevin Morby – We Did It All Wrong (My Name 7″)
Big Blood – A Watery Down II (unlikely mother)
Sun Ra – Prophetika Part 1 (7″)
M.Rux – crazy junker (Yoga 7″)
George Moxey- Medley (I Love You Truly/Drink To Me Only With Thine Eyes)
Su Wai – Sann Nwe Oo (The Beauty Of Early Summer)”
Khun Narin – Sut Sanaen #2 (Khun Narin´s electric phin band)
Áine O’Dwyer – The Little Lord of Misrule (music for church cleaners)

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(60 min
by joe le taxi,
10/14)

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music for church cleaners :

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khun narin´s electric phin band

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Su Wai

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M. Rux edits:

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Big Blood:

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Pasolini Roma

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Just came back from a fascinating exhibition in Martin Gropius Bau Pasolini Roma about Pier Paolo Pasolini, starting with his arrival in the train station in Rome, the publishing of his first novel “Ragazzi di Vita” and the trials against him, continuing with his life as film- and theatre director and ending with a room about the fragmentaric novel “Petrolio”, a last interview and images of his still unresolved death in Ostia 1975.

The interviews, footage and filmexcerpts are well selected and cut, so there is time to really see all the selected parts of the exhibiton, but you´ll see Pasolini as well as a painter of drawings and paintings, important poems and political statements by Pasolini are screened to the walls.

One very early interview was very remarkable to me: “Pasolini enraged” (Pasolini l’enragé (1966, Jean-André Fieschi) where he talks about the suburbs of Rome, he lived in and his relation to the lower class:

The rooms are structured in time periods, summarized like chapters of a movie and the projections of some films are screened on artefacts of Pasolini movies like e.g. a car in Accatone, simply stunning!

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The exhibition does not have the approach to be exhaustive – nor does it go into the details of the myths and political theories about the death of Pasolini but tries to well inform the known facts about his rich and incredible creative vita, about the person, the poet and one of the most innovative and couragious directors of the last century, whose crediblity in these neo-liberal shattered times seems to be missed like almost never before: Pier Paolo Pasolini.(until january 2015, 7-10 €)

There is a Pasolini special film programme in Kino Arsenal this autumn and they will show in Gropius Bau in the cinema with free entry the 9/10 Attacone & Mama Roma 30/10 and the 5/11 is a discussion with Volker Schlöndorf about the director Pasolini, always 7 pm, free entry.

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Interview: (Ital./German)

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His first movie Acattone (italian/engl.subs)

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Under the Skin

A big  thank you to to tiny Kreuzberg FSK – Cinema, who made it possible to see this movie  in the cinema in the original version last week, although not having an official distributor: Strange, poetic, wild, disturbing, unfinished, illogical somehow, trash on the same side artificial, anti-dramatic with thousands of film quotes to e.g. elephant man, 2001, alien. Take the change, if a small cinema dares to show this movie in your city.

The director Jonathan Glazer:

Here´s the amazing film music by Mica Levi:

 

 

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