Post by zoki on Jan 17, 2006 14:21:06 GMT
Ali Farka Toure
Alladin Theater
Portland, OR
05/11/94
SBD
01 Soukora
02 Gomni
03 Keito
04 Bonde
05 Goye Kur
06 Diaraby
07 Amandrai
08 ??
09 Hawa Dolo
10 Lasidan
11 Sega
12 Bauga
AMADOU & MARIAM
Festival Les Vieilles Charrues
scène Glenmore
07-23-2005
FM broadcast (France Inter)
Setlist :
1 - La Réalité
2 - Koulou Mali
3 - L'Oiseau Solitaire
4 - Intro band
5 - La Paix
6 - Nangaraba ?
7 - Toubala Kono ?
ENCORE :
8 - Mon Amour, Ma Chérie
About 40 minutes. Complete show.
Konono No. 1 November 4, 2005
Consolidated Works
Seattle, WA
Audience recording
=========
Direct from the Congo, in their US premiere, something to behold: a 12-piece combo playing driving township music with thumb pianos amped by car-batteries and salvaged parts, all embellished by busted hub-cap cymbals and found instruments.
The band — "otherworldly," said the New York Times — is "an intense, compelling, and downright bizarre outfit [that] includes echoes of anything from blues, dub, and rap through to…free-form jazz," said The Guardian.
Konono #1's distinctive, inimitable style, Congotronics, is jerryrigged from electrified likembés (thumb pianos) with megaphone-amplified vocals and percussion instruments made from car parts and cookware. Their instruments in many cases look older than the band's impressive longevity — 25 years, and going strong. They have ventured out from their hometown of Kinshasa, but never as far as this year, when their acclaimed album, Congotronics, is introducing to the world their gallimaufry of traditional Bazombo trance music, lo-fi electronica, and the kitchen sink.
"Every so often," wrote Britain's Telegraph, "there comes a record of such unlikeliness, of such overpowering rhythmic intensity…that you're knocked sideways. This is one of them." The BBC agreed: "The tale of how a collection of Congolese thumb pianos provided the missing link between punk, techno, and all points in between has taken 25 years to tell… It could really be from anywhere, at any time… This music comes from somewhere unknown and offers hope that there are worlds of music out there, unexplored and waiting to be discovered."
The band was founded over 25 years ago by Mawangu Mingiedi, a virtuoso of the thumb piano (metal rods attached to a simple resonator), who pulled together an ensemble of three electric likembés (bass, medium and treble), equipped with hand-made microphones built from magnets salvaged from old car parts, and plugged into amplifiers. For a rhythm section, he called on players of traditional percussion instruments who weren't too proud also to wail away on pans, pots, and car parts). Throw in three singers, three dancers, and a sound system featuring megaphones that look like something off a Doctor Who hullabaloo, not so much lo-fi and almost-no-fi-at-all, and you have Congotronics.
Konono's musicians the border of Congo and Angola, and draw their music from Bazombo trance music. Their style, however, is something altogether unexpected, blending a village-square percussive groove with an electronic warp effect that calls to mind Edgard Varèse crossed with half-recollected precepts of Phillip Glass's minimalism.
Alladin Theater
Portland, OR
05/11/94
SBD
01 Soukora
02 Gomni
03 Keito
04 Bonde
05 Goye Kur
06 Diaraby
07 Amandrai
08 ??
09 Hawa Dolo
10 Lasidan
11 Sega
12 Bauga
AMADOU & MARIAM
Festival Les Vieilles Charrues
scène Glenmore
07-23-2005
FM broadcast (France Inter)
Setlist :
1 - La Réalité
2 - Koulou Mali
3 - L'Oiseau Solitaire
4 - Intro band
5 - La Paix
6 - Nangaraba ?
7 - Toubala Kono ?
ENCORE :
8 - Mon Amour, Ma Chérie
About 40 minutes. Complete show.
Konono No. 1 November 4, 2005
Consolidated Works
Seattle, WA
Audience recording
=========
Direct from the Congo, in their US premiere, something to behold: a 12-piece combo playing driving township music with thumb pianos amped by car-batteries and salvaged parts, all embellished by busted hub-cap cymbals and found instruments.
The band — "otherworldly," said the New York Times — is "an intense, compelling, and downright bizarre outfit [that] includes echoes of anything from blues, dub, and rap through to…free-form jazz," said The Guardian.
Konono #1's distinctive, inimitable style, Congotronics, is jerryrigged from electrified likembés (thumb pianos) with megaphone-amplified vocals and percussion instruments made from car parts and cookware. Their instruments in many cases look older than the band's impressive longevity — 25 years, and going strong. They have ventured out from their hometown of Kinshasa, but never as far as this year, when their acclaimed album, Congotronics, is introducing to the world their gallimaufry of traditional Bazombo trance music, lo-fi electronica, and the kitchen sink.
"Every so often," wrote Britain's Telegraph, "there comes a record of such unlikeliness, of such overpowering rhythmic intensity…that you're knocked sideways. This is one of them." The BBC agreed: "The tale of how a collection of Congolese thumb pianos provided the missing link between punk, techno, and all points in between has taken 25 years to tell… It could really be from anywhere, at any time… This music comes from somewhere unknown and offers hope that there are worlds of music out there, unexplored and waiting to be discovered."
The band was founded over 25 years ago by Mawangu Mingiedi, a virtuoso of the thumb piano (metal rods attached to a simple resonator), who pulled together an ensemble of three electric likembés (bass, medium and treble), equipped with hand-made microphones built from magnets salvaged from old car parts, and plugged into amplifiers. For a rhythm section, he called on players of traditional percussion instruments who weren't too proud also to wail away on pans, pots, and car parts). Throw in three singers, three dancers, and a sound system featuring megaphones that look like something off a Doctor Who hullabaloo, not so much lo-fi and almost-no-fi-at-all, and you have Congotronics.
Konono's musicians the border of Congo and Angola, and draw their music from Bazombo trance music. Their style, however, is something altogether unexpected, blending a village-square percussive groove with an electronic warp effect that calls to mind Edgard Varèse crossed with half-recollected precepts of Phillip Glass's minimalism.
