Let the Chaos Calm You: ep. 18 – From Africa With Love

20/09/2022
Ali Eshqi

This episode explores the contemporary music influenced by modern African music. African folk and ritual music once travelled to the New Continent in form of rhythms and motifs by the slaves and eventually incarnated into new forms of music like blues, jazz, soul and funk. These new forms music travelled back to Africa during the second half of 20th century and gave birth to some modern genres of music like afrobeat, ethiojazz, Sahara blues, Cape jazz and etc. Modern African music in its turn has been influential around the world, particularly in 21st century.

traklista
  • The Budos Band - Renegade (Long in the Tooth, 2020 - Daptone Records)
  • - Yin Yin - The Rabbit that Hunts Tigers (The Rabbit that Hunts Tigers, 2019 - Bongo Joe)
  • - Thandi Ntuli - Dikeledi (Dikeledi, 2021 - Brownswood Recordings)
  • - Web Web - Kings of Forbidden Lands (Oracle, 2017 - Compost Records)
  • - Anthony Joseph - Calling England Home - (Calling England Home, 2021 - Heavenly Sweetness)
  • - Mulatu Astatke & Black Jesus Experience - Living on Stolen Land (To Know Without Knowing, 2020 - Agogo Records)
  • - Doug Carn, Ali Shaheed Muhammad, Adrian Younge - Freedom at Sunset (Doug Carn JID005, 2020 - Jazz Is Dead)
  • - Surprise Chef - All News Is Good News (All News Is Good News, 2019 - Mr. Bongo)
  • - PS5 - Makeda (Unconscious Collective, 2021 - Space Is the Place)
  • - Kutiman - Layla, Pt1 (Layla, 2020 - Siyal Music)
  • - Compro Oro - Greetings from the Colony (Bombarda, 2017 - W.E.R.F. Records)
podobne odcinki

18/10/2022

Let the Chaos Calm You: Ep.19 – A Tribute to Pharoah Sanders

03/06/2023

FROM WOKING TO WARSAW: #7: Sun Salutations

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W dzisiejszej Selekcie: Kontekst #13 / Henry Flynt w/ Janina Skrzypek Henry Flynt is a philosopher, musician, anti-art activist and exhibited artist, whom unsympathetic reviewers often link to Fluxus. his music didn’t see commercial release until the twenty-first century, because of his music purposes, which were hopelessly out of step with what the market was rewarding. He also rejected the claim of cultural superiority which musicology made for European classical music; defining his purpose: ‘I intensify and elevate the American ethnic musics to produce a sophisticated music whose nearest correlative would be Hindustani music. [..] From the start, I wanted to open up blues and country music for forward-sweeping melodic improvisation. I often eliminate chord progressions in my music, because I experience changes of root like stoplights on a highway. Instead, I employ tonic pedal-point harmony. Then, I treat the melodic modalities of blues and country music literally as ragas, with extensive use of glissando and melodic ornamentation.’
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