Portal de Cartagena
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What do together Eliades Ochoa, Toumani Diabate, Kasse Mady Kouyaté and Bassekou Diabaté?
Resume the original draft of Buena Vista Social Club.
Several million copies sold, and thirteen years later is still selling BVSC.
Ry Cooder recording with Cuban Ibrahim Ferrer, Ruben Gonzalez, Eliades Qchoa, Omara Portuondo and Compay Segundo, left an indelible mark.
With sones, boleros and danzones as Chan Chan, the fourth of Tula, pride or Dos gardenias.
Although Nick Goid, owner of World Circuit label, had another idea in mind when he landed in Havana, a meeting between musicians from Santiago de Cuba and Mali, visa issues, Africans never came to the island and is Goid forced to change the script.
This time, Santiago, Eliades Ochoa, and the Malian Toumani Diabate, Kasse Mady Kouyaté and Bassekou Diabaté, have come to the appointment.
And The Sea Music opens its sixteenth edició n with the world premiere of Afro-Cubism.
Tomorrow will be Friday, July 9 at 23:00 pm in the Auditorium Park Towers, a year that the festival is dedicated to the Colombian culture.
The night is filled with the figure of Muchachito Bombo Infierno, also in the Auditorium, and the Colombian Bomba Estereo, starting at 2:30 pm in the Castle Rabe.
At 64 years, the peasant Eliades Ochoa, which provided all the power of his voice and guitar at BVSC, is central to Afro-Cubism.
A peasant who has not forgotten his father when he walked after transplanting coffee.
In the early sixties, in Santiago, founded a group that played daily in a country music program: Trench land.
It was when the new regime made them state workers and gave them a card of musicians.
And Eliades was working as a guitarist and tres player in various groups.
In 1978 he handed the baton, as he says, of a quartet, the country, formed in 1939 and wanted to continue working even without their lead guitarist, Roberto Echevarria Mature.
A native of boleros and Patria, Ochoa was gradually adding sounds, guarachas uajiras, change is ... ¼
One that should have been in Egrem studios in Havana in March 1996, and the bureaucrats did not leave on time, is Bassekou Kouyaté, who plays for nine years the n'goni, the oldest stringed instrument in Mali, present at baptisms, circumcisions, weddings and funerals.
He jumped for joy when in early 2009 received at his home in Bamako Goid call Nick: Are you still interested in the disc with the Cubans?.
Kouyaté, who has played with giants like Ah Farka Toure and Taj Mahal, in 1994 contributed to the recordings of Songhai 2 with accompanying Ketama Toumani Diabate (see in Murcia Symphony Orchestra).
In July 2001, the seventh edition of La Mar de Músicas, dedicated to Mali, told journalists in Kasse Mady Diabaté poster.
The more attentive mahiense know that was also in the second volume of Songhai.
Kasse Mady has a history of Cuban-style singing and (a strange) Spanish:
Maimouna in 2002 for Hard Disk Corason.
They say that his grandfather called him Kassy (crying) with tears of happiness that have on those who heard him sing.
His beautiful tenor voice has been heard on albums like Kulanjan, who joined Taj Mahal with Toumani Diabate (tantq Bassekou as Kasse have collaborated many times with Toumani).
Kela is one of the cradles of the griots of West Africa.
He was born in 1949.
With twenty years was the lead voice of the Super Mande of Kang, orchestra renamed in 1976 ran an air of cultural authenticity from the newly independent state, with the name of National Packing gland of Mali.
In the words of the musicologist Lucy Duran: The voice of Kasse Mady Diabaté is an angel.
He is a man of few words but all that is transformed when she sings the song says it all.
As he wrote Diego A.
Manrique, that summer of 2001, Mady does not disappoint: it has a pure voice and a poignant way to wobble.
With the accompaniment of n `gorii more percussion and African xylophone called the balafon, deep peels traditional pieces and songs that have accompanied him on his travels.
That July night in one of those magical moments that unfortunately was not lavish, and at festivals, Taj Mahal plugged his guitar and improvised with the Malian blues structures carrying on the river Niger to the Mississippi lead.
Another unforgettable moment, one of those nights of festival filled to the brim, which starred three years ago Youssou N'Dour.
Before his performance, stormed by surprise Bassekou Kouyate concert to throw a song with him.
Outside the auditorium of the Park Towers more than two hundred Senegalese were looking desperately praying that their input or permission to enter.
Source: Ayuntamiento de Cartagena
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