Music: Toumani Diabate - 2 videos - Kassé Mady Dibaté (Mali, Niger river) 1 Video, Musical Instruments: Kora - Wiki data in English y Español
Posted by Ricardo Marcenaro | Posted in Music: Toumani Diabate - 2 videos - Kassé Mady Dibaté (Mali. Niger river) 1 Video. Musical Instruments: Kora - Wiki data in English y Español | Posted on 7:47
Toumani Diabatecronicasdaterra.com
Toumani Diabaté (10 de agosto de 1965) es un músico maliense, intérprete de kora, cuya música ha logrado reconocimiento internacional.
Como instrumentista es muy versátil, y no sólo ejecuta piezas de música tradicional maliense, sino que ha participado en proyectos interculturales con músicos de flamenco, blues, jazz y otros estilos internacionales.
Procede de una antigua familia de instrumentistas de kora.
Su padre, Sidiki Diabaté, grabó el primer disco de kora de la historia en 1970.
Ha colaborado en proyectos con el grupo español de nuevo flamenco Ketama (Songhai I y Songhai II), con el bluesman Taj Mahal, la artista islandesa Björk, con el trombonista de jazz Roswell Rudd y con el guitarrista maliense Ali Farka Touré.
Como instrumentista es muy versátil, y no sólo ejecuta piezas de música tradicional maliense, sino que ha participado en proyectos interculturales con músicos de flamenco, blues, jazz y otros estilos internacionales.
Procede de una antigua familia de instrumentistas de kora.
Su padre, Sidiki Diabaté, grabó el primer disco de kora de la historia en 1970.
Ha colaborado en proyectos con el grupo español de nuevo flamenco Ketama (Songhai I y Songhai II), con el bluesman Taj Mahal, la artista islandesa Björk, con el trombonista de jazz Roswell Rudd y con el guitarrista maliense Ali Farka Touré.
Toumani Diabate - Cantelowes
Toumani Diabatewww2 noticiasdegipuzkoa.com
Toumani Diabaté (born August 10, 1965) is a Malian kora player who has gained international acclaim for his music.
He is a versatile performer, being equally at home with the traditional music of Mali as well as with cross-cultural collaborations with flamenco, blues, jazz, and other international styles.
Biography
Diabaté comes from a long family tradition of kora players including his father Sidiki Diabaté, who recorded the first ever kora album in 1970.
His family's oral tradition tells of 71 generations of musicians preceding him in a patrilineal line.
His cousin Sona Maya Jobarteh is a premiere female diaspora kora player.
In 1988 Diabaté released his first album in the West, a solo album entitled Kaira, recorded in one afternoon in London and produced by Lucy Duran.
The album, featuring just Diabaté and his kora, is still considered one of the finest examples of solo kora.
In addition to performing Malian traditional music, Diabaté has also performed and recorded in cross-cultural settings.
He has collaborated with flamenco group Ketama, forming a combined group known as Songhai and releasing two recordings: Songhai I and Songhai II.
He also released a memorable album with Kulanjan, bridging the gap between African and African-American music in collaboration with the American blues musician Taj Mahal.
His MALIcool is another, more unusual but nevertheless successful, collaboration with the American jazz trombonist Roswell Rudd.
He also collaborated with the Icelandic popular musician Björk on her 2007 album Volta.
In 1999 Diabaté released the album New Ancient Strings, a collaboration with Ballake Sissoko and in September 2005, he released In the Heart of the Moon, for which he collaborated with the late Ali Farka Touré.
The album went on to win the 2006 Grammy Award for Best Traditional World Music Album.
On July 25, 2006 he released his latest album Boulevard de l'Independence, recorded with his Symmetric Orchestra.
In the Heart of the Moon and Boulevard de l'Independence, are both part of the Hotel Mandé Sessions, recorded by Nick Gold and released on World Circuit Records.
Both Boulevard and Hotel Mandé are references to landmarks in Mali's capital city, Bamako.
The Symmetric Orchestra led by Toumani Diabaté is composed of musicians (mostly griots) from the across the old Mande Empire of west Africa, who play a mix of traditional instruments including the kora, djembe, balafon and bolombatto, as well as modern ones like the guitar and electronic keyboard.
Diabaté appeared in 2006 at the WOMAD Festival UK, Roskilde Festival in Denmark, and at the Sziget Festival in Budapest, Hungary.
In 2007 he performed at the Glastonbury Festival and toured the U.S.A..
In 2008, he was at WOMADelaide (in Adelaide, South Australia).
In early 2008, Diabaté released his new album of solo Kora music, The Mande Variations, to widespread critical acclaim.
Many reviewers praised the album for its detailed recording of the Kora and careful mastering, in addition to the improvisational skills and wide range of apparent influences displayed on the album.
In October 2008 the Arabic language lyrics in Diabaté's song Tapha Niang (from Boulevard de l'Independance) were removed from the PlayStation 3 video game LittleBigPlanet, after it elicited objections from a Muslim individual due to their inclusion of verses from the Koran.
The publisher Sony Computer Entertainment Europe decided to delay the launch of the game by a week and recall most discs in order to replace the song with a lyric-free instrumental version.
However, some copies of the original game had already been sold in the Middle East and United States.
It was recently announced that Diabaté has been chosen by Matt Groening to perform at the edition of the All Tomorrow's Parties festival he is curating in May 2010 in Minehead, England.
Diabaté will also be performing at Hay Festival on Friday 4th June 2010.
He is a versatile performer, being equally at home with the traditional music of Mali as well as with cross-cultural collaborations with flamenco, blues, jazz, and other international styles.
Biography
Diabaté comes from a long family tradition of kora players including his father Sidiki Diabaté, who recorded the first ever kora album in 1970.
His family's oral tradition tells of 71 generations of musicians preceding him in a patrilineal line.
His cousin Sona Maya Jobarteh is a premiere female diaspora kora player.
In 1988 Diabaté released his first album in the West, a solo album entitled Kaira, recorded in one afternoon in London and produced by Lucy Duran.
The album, featuring just Diabaté and his kora, is still considered one of the finest examples of solo kora.
In addition to performing Malian traditional music, Diabaté has also performed and recorded in cross-cultural settings.
He has collaborated with flamenco group Ketama, forming a combined group known as Songhai and releasing two recordings: Songhai I and Songhai II.
He also released a memorable album with Kulanjan, bridging the gap between African and African-American music in collaboration with the American blues musician Taj Mahal.
His MALIcool is another, more unusual but nevertheless successful, collaboration with the American jazz trombonist Roswell Rudd.
He also collaborated with the Icelandic popular musician Björk on her 2007 album Volta.
In 1999 Diabaté released the album New Ancient Strings, a collaboration with Ballake Sissoko and in September 2005, he released In the Heart of the Moon, for which he collaborated with the late Ali Farka Touré.
The album went on to win the 2006 Grammy Award for Best Traditional World Music Album.
On July 25, 2006 he released his latest album Boulevard de l'Independence, recorded with his Symmetric Orchestra.
In the Heart of the Moon and Boulevard de l'Independence, are both part of the Hotel Mandé Sessions, recorded by Nick Gold and released on World Circuit Records.
Both Boulevard and Hotel Mandé are references to landmarks in Mali's capital city, Bamako.
The Symmetric Orchestra led by Toumani Diabaté is composed of musicians (mostly griots) from the across the old Mande Empire of west Africa, who play a mix of traditional instruments including the kora, djembe, balafon and bolombatto, as well as modern ones like the guitar and electronic keyboard.
Diabaté appeared in 2006 at the WOMAD Festival UK, Roskilde Festival in Denmark, and at the Sziget Festival in Budapest, Hungary.
In 2007 he performed at the Glastonbury Festival and toured the U.S.A..
In 2008, he was at WOMADelaide (in Adelaide, South Australia).
In early 2008, Diabaté released his new album of solo Kora music, The Mande Variations, to widespread critical acclaim.
Many reviewers praised the album for its detailed recording of the Kora and careful mastering, in addition to the improvisational skills and wide range of apparent influences displayed on the album.
In October 2008 the Arabic language lyrics in Diabaté's song Tapha Niang (from Boulevard de l'Independance) were removed from the PlayStation 3 video game LittleBigPlanet, after it elicited objections from a Muslim individual due to their inclusion of verses from the Koran.
The publisher Sony Computer Entertainment Europe decided to delay the launch of the game by a week and recall most discs in order to replace the song with a lyric-free instrumental version.
However, some copies of the original game had already been sold in the Middle East and United States.
It was recently announced that Diabaté has been chosen by Matt Groening to perform at the edition of the All Tomorrow's Parties festival he is curating in May 2010 in Minehead, England.
Diabaté will also be performing at Hay Festival on Friday 4th June 2010.
Toumani Diabate - The Mande Variations
Toumani DiabateThe New York Times
KORA
The kora is a 21-string harp-lute used extensively by peoples in West Africa.
Estas son cercanas a las escalas mayor, menor, y lydian.
Description
A kora is built from a large calabash cut in half and covered with cow skin to make a resonator, and has a notched bridge like a lute or guitar.
The sound of a kora resembles that of a harp, though when played in the traditional style, it bears a closer resemblance to flamenco and delta blues guitar techniques.
The player uses only the thumb and index finger of both hands to pluck the strings in polyrhythmic patterns (using the remaining fingers to secure the instrument by holding the hand posts on either side of the strings).
Ostinato riffs ("Kumbengo") and improvised solo runs ("Birimintingo") are played at the same time by skilled players.
Kora players have traditionally come from griot families (also from the Mandinka tribes) who are traditional historians, genealogists and storytellers who pass their skills on to their descendants.
The instrument is played in Guinea, Guinea Bissau, Mali, Senegal, Burkina Faso and The Gambia. A traditional kora player is called a Jali, similar to a 'bard' or oral historian.
Most West African musicians prefer the term 'jali' to 'griot', which is the French word.
Traditional koras feature 21 strings, eleven played by the left hand and ten by the right.
Modern koras made in the Casamance region of southern Senegal sometimes feature additional bass strings, adding up to four strings to the traditional 21.
Strings were traditionally made from thin strips of hide, for example antelope skin - now most strings are made from harp strings or nylon fishing line, sometimes plaited together to create thicker strings.
By moving leather tuning rings up and down the neck, a kora player can retune the instrument into one of four seven-note scales.
These scales are close in tuning to western Major, Minor and Lydian modes.
Increasingly koras are made with guitar machine heads instead of the traditional leather rings.
The advantage is that they are much easier to tune.
The disadvantage is that it limits the pitch of the instrument as the string lengths are more fixed and lighter strings are needed to lift it much more than a tone.
Learning to tune a kora is arguably as difficult as learning to play it and many people entranced by the sound while in Africa, buy a kora and then find themselves unable to keep it in tune once they are home, relegating it to the status of ornament.
Koras can be converted to replace the leather rings with machine heads.
Wooden pegs and harp pegs are also used but both can still cause tuning problems in damper climates unless made with great skill.
Some kora players such as Seckou Keita have double necked koras, allowing them to switch from one tuning to another within seconds, and giving them increased flexibility.
The kora is mentioned in the Senegalese national anthem "Pincez Tous vos Koras, Frappez les Balafons."
History
Djeli Madi Wuleng is traditionally linked to the origins of the kora in the early 19th century.
However, the earliest European reference to the kora in Western literature is in Travels in Interior Districts of Africa (1799) by the Scottish explorer Mungo Park.
The most likely scenario, based on Mandinka oral tradition, suggests that the origins of the Kora may ultimately be linked with Jali Mady Fouling Cissoko, some time after the founding of Kaabu in the 16th century.
In the late 20th century, a 25-string model of the kora was developed, though it has been adopted by only a few players, primarily in the region of Casamance, in southern Senegal.
An electric instrument modeled on the kora (but made primarily of metal) called the gravikord was invented in the late 20th century by instrument builder and musician Robert Grawi.
The gravikord has been adopted by African kora players such as Foday Musa Suso, who featured it in recordings with jazz innovator Herbie Hancock and with his band Mandingo.
Estas son cercanas a las escalas mayor, menor, y lydian.
Description
A kora is built from a large calabash cut in half and covered with cow skin to make a resonator, and has a notched bridge like a lute or guitar.
The sound of a kora resembles that of a harp, though when played in the traditional style, it bears a closer resemblance to flamenco and delta blues guitar techniques.
The player uses only the thumb and index finger of both hands to pluck the strings in polyrhythmic patterns (using the remaining fingers to secure the instrument by holding the hand posts on either side of the strings).
Ostinato riffs ("Kumbengo") and improvised solo runs ("Birimintingo") are played at the same time by skilled players.
Kora players have traditionally come from griot families (also from the Mandinka tribes) who are traditional historians, genealogists and storytellers who pass their skills on to their descendants.
The instrument is played in Guinea, Guinea Bissau, Mali, Senegal, Burkina Faso and The Gambia. A traditional kora player is called a Jali, similar to a 'bard' or oral historian.
Most West African musicians prefer the term 'jali' to 'griot', which is the French word.
Traditional koras feature 21 strings, eleven played by the left hand and ten by the right.
Modern koras made in the Casamance region of southern Senegal sometimes feature additional bass strings, adding up to four strings to the traditional 21.
Strings were traditionally made from thin strips of hide, for example antelope skin - now most strings are made from harp strings or nylon fishing line, sometimes plaited together to create thicker strings.
By moving leather tuning rings up and down the neck, a kora player can retune the instrument into one of four seven-note scales.
These scales are close in tuning to western Major, Minor and Lydian modes.
Increasingly koras are made with guitar machine heads instead of the traditional leather rings.
The advantage is that they are much easier to tune.
The disadvantage is that it limits the pitch of the instrument as the string lengths are more fixed and lighter strings are needed to lift it much more than a tone.
Learning to tune a kora is arguably as difficult as learning to play it and many people entranced by the sound while in Africa, buy a kora and then find themselves unable to keep it in tune once they are home, relegating it to the status of ornament.
Koras can be converted to replace the leather rings with machine heads.
Wooden pegs and harp pegs are also used but both can still cause tuning problems in damper climates unless made with great skill.
Some kora players such as Seckou Keita have double necked koras, allowing them to switch from one tuning to another within seconds, and giving them increased flexibility.
The kora is mentioned in the Senegalese national anthem "Pincez Tous vos Koras, Frappez les Balafons."
History
Djeli Madi Wuleng is traditionally linked to the origins of the kora in the early 19th century.
However, the earliest European reference to the kora in Western literature is in Travels in Interior Districts of Africa (1799) by the Scottish explorer Mungo Park.
The most likely scenario, based on Mandinka oral tradition, suggests that the origins of the Kora may ultimately be linked with Jali Mady Fouling Cissoko, some time after the founding of Kaabu in the 16th century.
In the late 20th century, a 25-string model of the kora was developed, though it has been adopted by only a few players, primarily in the region of Casamance, in southern Senegal.
An electric instrument modeled on the kora (but made primarily of metal) called the gravikord was invented in the late 20th century by instrument builder and musician Robert Grawi.
The gravikord has been adopted by African kora players such as Foday Musa Suso, who featured it in recordings with jazz innovator Herbie Hancock and with his band Mandingo.
Thanks to Wikipedia
Kora Kalipedia
Kassé Mady Dibaté Biography
Kassé Mady Diabaté is so prevalent in Mali that he might be certified part of the National Heritage...
Kassé Mady's family, the Diabates of Kela, were the traditional singers for the emperors and their descendants of the royal Keita lineages.
They can trace their role back 700 years and are still considered among the most important and authoritative jeli (praise-singer) families across the seven West African countries (where Mande culture predominates).
Kassé has been recognised as one of West Africa's greatest voices for over 35 years, and one of the most cherished singers in Mali.
With over 700 different languages in Africa the job of the griot is vital for the carrying of cultural knowledge , but they are also councilors, orators lyricists and musicians.
Kasse Mady’s lyrics rally people together, to persuade them to live harmoniously with each other.
So you now realise why Kassé has this position and stature in society and how he could well be certified as part of Malian National Heritage!
Kassé Mady's family, the Diabates of Kela, were the traditional singers for the emperors and their descendants of the royal Keita lineages.
They can trace their role back 700 years and are still considered among the most important and authoritative jeli (praise-singer) families across the seven West African countries (where Mande culture predominates).
Kassé has been recognised as one of West Africa's greatest voices for over 35 years, and one of the most cherished singers in Mali.
With over 700 different languages in Africa the job of the griot is vital for the carrying of cultural knowledge , but they are also councilors, orators lyricists and musicians.
Kasse Mady’s lyrics rally people together, to persuade them to live harmoniously with each other.
So you now realise why Kassé has this position and stature in society and how he could well be certified as part of Malian National Heritage!
Tanks for Diabate's biography to
WRASSE RECORDS
http://www.wrasserecords.com/Kass_Mady_Dibat_126/biography.html
Korajackbishop.com
KORA
La kora es un instrumento de 21 cuerdas, mezcla de arpa y de laúd, muy extendido entre los pobladores de África occidental.
Descripción
La kora se construye a partir de una calabaza grande cortada a la mitad, cubierta de cuero de vaca para lograr la caja de resonancia a lo que se le agrega un puente con muescas como un laúd o una guitarra.
El sonido de la kora recuerda el del arpa, aunque cuando se toca de forma tradicional, se asemeja más al estilo de las guitarras flamencas.
El músico utiliza solo el dedo pulgar y el índice de ambas manos para pulsar las cuerdas de forma rítmica, mientras que los restantes dedos aseguran el instrumento por ambos lados de las cuerdas para mantener fijo.
Ostinatos ("Kumbeng") y solos improvisados ("Biriminting") pueden ser tocados al mismo tiempo por un músico experimentado.
Los músicos de kora, han provenido históricamente de familias de griots que pasan su arte a sus desendientes y también de las tribus mandinka.
Este instrumento se toca en Malí, Guinea, Senegal y en Gambia.
Al interprete de kora tradicional se lo llama "Jali", lo que equivale a bardo o historiador oral.
Las koras tradicionales tienen 21 cuerdas, de las cuales 11 se tocan con la mano izquierda y 10 con la derecha.
Por otra parte se pueden encontrar koras modernas, hechas en la region de Casamance al sur de Senegal, a las que se les agregaga hasta cuatro cuerdas de bajo.
Tradicionalmente, las cuerdas se hacían de finas tiras de cuero, por ejemplo de antilope.
En la actualidad la mayoría de las koras utilizan cuerdas de arpa o tanza de pescar de nylon, las cuales a veces se trenzan para crear cuerdas más gruesas.
Este instrumento se afina desplazando anillos de cuero a lo largo del puente.
A través de los mismo, un interprete de kora puede afinar el instrumento en una de las 4 escalas de siete notas.
Descripción
La kora se construye a partir de una calabaza grande cortada a la mitad, cubierta de cuero de vaca para lograr la caja de resonancia a lo que se le agrega un puente con muescas como un laúd o una guitarra.
El sonido de la kora recuerda el del arpa, aunque cuando se toca de forma tradicional, se asemeja más al estilo de las guitarras flamencas.
El músico utiliza solo el dedo pulgar y el índice de ambas manos para pulsar las cuerdas de forma rítmica, mientras que los restantes dedos aseguran el instrumento por ambos lados de las cuerdas para mantener fijo.
Ostinatos ("Kumbeng") y solos improvisados ("Biriminting") pueden ser tocados al mismo tiempo por un músico experimentado.
Los músicos de kora, han provenido históricamente de familias de griots que pasan su arte a sus desendientes y también de las tribus mandinka.
Este instrumento se toca en Malí, Guinea, Senegal y en Gambia.
Al interprete de kora tradicional se lo llama "Jali", lo que equivale a bardo o historiador oral.
Las koras tradicionales tienen 21 cuerdas, de las cuales 11 se tocan con la mano izquierda y 10 con la derecha.
Por otra parte se pueden encontrar koras modernas, hechas en la region de Casamance al sur de Senegal, a las que se les agregaga hasta cuatro cuerdas de bajo.
Tradicionalmente, las cuerdas se hacían de finas tiras de cuero, por ejemplo de antilope.
En la actualidad la mayoría de las koras utilizan cuerdas de arpa o tanza de pescar de nylon, las cuales a veces se trenzan para crear cuerdas más gruesas.
Este instrumento se afina desplazando anillos de cuero a lo largo del puente.
A través de los mismo, un interprete de kora puede afinar el instrumento en una de las 4 escalas de siete notas.
Thanks to Wikipedia
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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.
Thanks :)
Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.
Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.
Gracias:)
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