Podcasts about ostinato records

It's 1988, and Somalis are fleeing the city of Hargeisa. People are trying to get out, trying to save their families. But in the city's radio station, staff are packing cassettes and reel to reel recordings into a secret underground bunker. On them: A slice of their country's musical heritage, to remain for years in an underground room—until now. This episode was produced in collaboration with Far Flung with Saleem Reshamwala, from the TED Audio Collective. To listen to other episodes that travel all over the world to explore ideas, follow Far Flung with Saleem Reshamwala wherever you're listening to this. This episode was produced by Sawsan Abdillahi, Hiwote Getaneh, Alex Atack and Saleem Reshamwala. Production support in Hargeisa by Ismaaciil C. Ubax. Fact checking by Nicole Bode and Paul Durban, and sound design by Kristin Mueller. The executive producer was Eric Nuzum. Special thanks to Vik Sahonie at Ostinato Records for letting us use the music from the Sweet As Broken Dates album. You can hear songs from the buried tapes on this Spotify playlist. Find a transcript for this episode on our website: kerningcultures.com/kerningcultures.  Support this podcast on patreon.com/kerningcultures for as little as $2 a month.

Vik Sohonie is the founder of Ostinato Records. Based in New York City and founded in 2016, Ostinato's mission is to celebrate the music of countries and societies underrepresented in the music industry in an authentic way. During its lifespan, the label has released albums celebrating the cultural legacies of such countries as Haiti, Senegal, Somalia and more. Their upcoming new release, Beja Power!, captures the music of Noori & His Dorpa Band from Sudan's Red Sea Coast and will be released on June 24. This is the first-ever international release of the Beja sound, a six-track portal to another time and place, of melodies long forgotten and never before interpreted by an electric and brass-driven ensemble. --- Support this podcast: https://anchor.fm/jazziz/support

Die Resterampe und die Beschaffungskriminalität. Unsere Sendung auf Radio Corax (Halle) im Nachtprogramm der Freien Radios und als Ersatzsendung auf Pi Radio (Berlin Ost). Verschiedene Herangehensweisen um die Zeit sinnvoll zu verplempern, Trinken, Essen, Fernsehen und Musik: Intellektuelles Vorgehen. ## März 2021 1. David Reichelt — Mahmud Service/Desperate/The Audience/Confession: SubtracksEdit (Hindafing: Original Motion Picture Soundtrack — 29. November 2019 — Südpolrecords) 2. XIXA — May They Call Us Home (Genesis — 9. Februar 2021 — Jullian Records) 3. 4 Mars — Natesha: Compassion (Djibouti Archives Volume 1: Super Somali Sounds from the Gulf of Tadjoura — 19. Februar 2021 — Ostinato Records) 4. Chee — Turn Up (Paralysis Analysis — 26. February 2021 — Deadbeats) 5. Osees — Crushed Grass: Live (Live at Big Sur — 9. Januar 2021 — Castle Face) 6. Jimmy Edgar — Get Up feat. Danny Brown (Cheetah Bend — 26. Februar 2021 — Innovative Leisure) 7. Undehfined — Bombs (Bipolar Sounds 2020: A Manic Depression Records Collection — 5. Januar 2021 — Left Coast Xtracts) 8. Russian Girls — Drepa mann (Drepa mann/Halda áfram — 21. Februar 2021 — bbbbbb recors) 9. Disko Zombies — Drums Over London (South London Stinkso — 29. Januar 2021 — Optik Nerve) 10. Prurient — Tokyo Exorcist (Chain Reaction At Dusk — 4. Dezember 2020 — Hospital Productions) 11. The Future Sound Of London — Disseminate (Music For 3 Books — 5. Februar 2021 — Not On Label) 12. Katie Dey — Dancing: Ada Rook faulty choreography mix (urdata — 29. Januar 2021 — Run for Cover Records) 13. Indigo Sparke — Dog Bark Echo (Echo — 19. Februar 2021 – Not On Label) 14. Andreas Dorau & Gereon Klug — So ist hier der 1. Mai (Koenig der Moewen — 3. August 2018 — Tapete Records) 15. Andreas Dorau & Gereon Klug — Das Möwenthema (Koenig der Moewen — 3. August 2018 — Tapete Records) 16. Atom™ — Computermusik (This is Computermusik — 19. Februar 2021 — Not On Label) 17. Jack Ellitt — Journey #1 (Artefacts Of Australian Experimental Music I [1930-1973] — 15. Januar 2019 — Shame File Music) 18. Prefuse 73 — The Man & Who He Really Is Pt.3 (The Failing Institute of Drums & Other Percussion — 5. Februar 2021 – Not On Label) 19. Yellow Ostrich — Hate Me Soon (The Mistress — 13. Oktober 2010 — Barsuk Records) 20. Nik Turner/The Space Falcons/Youth — Girl (Interstellar Energy — 15. September 2020 — Cadiz Music) 21. Appalooza — Distress (The Holy Of Holies — 5. Februar 2021 — Ripple Music) 22. Peel Dream Magazine — It's My Body (Agitprop Alterna: Deluxe — 15. Januar 2021 — Tough Love) 23. Songhoy Blues — badala (optimisme — 23. Oktober 2020 — at Possum Records) 24. Mogwai — Fuck Off Money (As The Love Continues — 19. Februar 2021 — Rock Action Records) 25. Mono No Aware — End Of An Unknown Artist (Shinshoo — 4. Dezember 2020 — Hands Productions) 26. Soup with John Zorn — Soup with John Zorn Part 2 (Shinjuku Pit Inn — 5. Januar 2021 — Not On Label) 27. Browning Mummery — Do The Eyes Of The Dead Retain Pictures (Artefacts Of Australian Experimental Music II [1974-1983] — 15. Januar 2019 — Shame File Music) 28. Fabien Leclercq, Sachli Gholamalizad, Sara De Roo — Claude M. (Lockdown: The Soundtrack — 18. Januar 2021 — VRT MZK) 29. Cabaret Voltaire — Billion Dollar (Shadow of Funk — 26. Februar 2021 — Mute Corporation) ### Informationen * Aprilsendung auf Pi Radio: 1. April 2021 um 1:00 Uhr * Aprilsendung auf dem Nachtprogramm der Freien Radios (z.Z. Radio Corax u.a.): 9. und 17. April 2021 um 0:00 Uhr (Wenn alles gut geht) ## Subtracks Neuste Errungenschafften und ungespielte Neuveröffentlichungen. Das was von einer Hitparade übrigbleibt, trocken wiederverwendet, um die Datenhalden abzubauen. * https://subtracks.funkwelle.org

Die Resterampe und die Beschaffungskriminalität. Unsere Sendung auf Radio Corax (Halle) im Nachtprogramm der Freien Radios und als Ersatzsendung auf Pi Radio (Berlin Ost). Verschiedene Herangehensweisen um die Zeit sinnvoll zu verplempern, Trinken, Essen, Fernsehen und Musik: Intellektuelles Vorgehen. ## März 2021 1. David Reichelt — Mahmud Service/Desperate/The Audience/Confession: SubtracksEdit (Hindafing: Original Motion Picture Soundtrack — 29. November 2019 — Südpolrecords) 2. XIXA — May They Call Us Home (Genesis — 9. Februar 2021 — Jullian Records) 3. 4 Mars — Natesha: Compassion (Djibouti Archives Volume 1: Super Somali Sounds from the Gulf of Tadjoura — 19. Februar 2021 — Ostinato Records) 4. Chee — Turn Up (Paralysis Analysis — 26. February 2021 — Deadbeats) 5. Osees — Crushed Grass: Live (Live at Big Sur — 9. Januar 2021 — Castle Face) 6. Jimmy Edgar — Get Up feat. Danny Brown (Cheetah Bend — 26. Februar 2021 — Innovative Leisure) 7. Undehfined — Bombs (Bipolar Sounds 2020: A Manic Depression Records Collection — 5. Januar 2021 — Left Coast Xtracts) 8. Russian Girls — Drepa mann (Drepa mann/Halda áfram — 21. Februar 2021 — bbbbbb recors) 9. Disko Zombies — Drums Over London (South London Stinkso — 29. Januar 2021 — Optik Nerve) 10. Prurient — Tokyo Exorcist (Chain Reaction At Dusk — 4. Dezember 2020 — Hospital Productions) 11. The Future Sound Of London — Disseminate (Music For 3 Books — 5. Februar 2021 — Not On Label) 12. Katie Dey — Dancing: Ada Rook faulty choreography mix (urdata — 29. Januar 2021 — Run for Cover Records) 13. Indigo Sparke — Dog Bark Echo (Echo — 19. Februar 2021 – Not On Label) 14. Andreas Dorau & Gereon Klug — So ist hier der 1. Mai (Koenig der Moewen — 3. August 2018 — Tapete Records) 15. Andreas Dorau & Gereon Klug — Das Möwenthema (Koenig der Moewen — 3. August 2018 — Tapete Records) 16. Atom™ — Computermusik (This is Computermusik — 19. Februar 2021 — Not On Label) 17. Jack Ellitt — Journey #1 (Artefacts Of Australian Experimental Music I [1930-1973] — 15. Januar 2019 — Shame File Music) 18. Prefuse 73 — The Man & Who He Really Is Pt.3 (The Failing Institute of Drums & Other Percussion — 5. Februar 2021 – Not On Label) 19. Yellow Ostrich — Hate Me Soon (The Mistress — 13. Oktober 2010 — Barsuk Records) 20. Nik Turner/The Space Falcons/Youth — Girl (Interstellar Energy — 15. September 2020 — Cadiz Music) 21. Appalooza — Distress (The Holy Of Holies — 5. Februar 2021 — Ripple Music) 22. Peel Dream Magazine — It's My Body (Agitprop Alterna: Deluxe — 15. Januar 2021 — Tough Love) 23. Songhoy Blues — badala (optimisme — 23. Oktober 2020 — at Possum Records) 24. Mogwai — Fuck Off Money (As The Love Continues — 19. Februar 2021 — Rock Action Records) 25. Mono No Aware — End Of An Unknown Artist (Shinshoo — 4. Dezember 2020 — Hands Productions) 26. Soup with John Zorn — Soup with John Zorn Part 2 (Shinjuku Pit Inn — 5. Januar 2021 — Not On Label) 27. Browning Mummery — Do The Eyes Of The Dead Retain Pictures (Artefacts Of Australian Experimental Music II [1974-1983] — 15. Januar 2019 — Shame File Music) 28. Fabien Leclercq, Sachli Gholamalizad, Sara De Roo — Claude M. (Lockdown: The Soundtrack — 18. Januar 2021 — VRT MZK) 29. Cabaret Voltaire — Billion Dollar (Shadow of Funk — 26. Februar 2021 — Mute Corporation) ### Informationen * Aprilsendung auf Pi Radio: 1. April 2021 um 1:00 Uhr * Aprilsendung auf dem Nachtprogramm der Freien Radios (z.Z. Radio Corax u.a.): 9. und 17. April 2021 um 0:00 Uhr (Wenn alles gut geht) ## Subtracks Neuste Errungenschafften und ungespielte Neuveröffentlichungen. Das was von einer Hitparade übrigbleibt, trocken wiederverwendet, um die Datenhalden abzubauen. * https://subtracks.funkwelle.org

Global Zomia for EE

itzcarraldo 6, #FITZ6 .remontando el río hacía ese oxímoron llamando nueva normalidad. Encuentros en la 3ª Fase. Arrancamos la selección musical con “At The Bottom Of Everything" de Bright Eyes ejemplo de canción con un gran párrafo introductorio, algunas anécdotas de aviones. Seguimos con un poco de música mainstream, la nueva sensación, la chica que está en todas partes, la enésima vez que oímos lo del nuevo Dylan, Phoebe Bridgers, su canción Kyoto adelanto de su nuevo disco “Punisher” en Dead Oceans tema que habla del síndrome del impostor, y sobre estar en Japón por primera vez. En esta casa se siente veneración por el gran Jarvis Coker, hablamos de su nueva canción, de su desaparecido programa en la BBC “Sunday Service”, y de sus míticas sesiones de DJ caseras durante la cuarentena en su cuenta de Instagram. Gracias a una de esas sesiones conocimos el siguiente tema en sonar, “Topaze” de Emmanuelle Parrenin, una canción instrumental que nos lleva a lugares dónde nos gusta estar. Un paseo por paisajes misteriosos. Es el momento de novedades Eloína; suena “Raga Kaan Ka'Eegtow (You Are The One I Love)” un tema perteneciente al disco “The Dancing Devils of Djibouti” de la radio nacional de Djibouti ,uno de los secretos mejor guardados de África Oriental. Primer álbum grabado para Ostinato Records. Una impactante colisión entre Bollywood, el dub jamaicano y reggae, y las elegantes trompetas inspiradas en la era del jazz de Harlem, todo sazonado con alegres melodías de sintetizadores del Mar Rojo… Cada vez somos más africanos. Somos libres y maduros para escuchar de todo, la mejor manera de no perderse nada. Khruangbin, un nombre tailandés para una banda de Houston, Khruangbin que significa ingenio volador que es como se dice avión , funky psicodélico, suena su nuevo single “So We Won´t Forget”, música luminosa y lánguida. Definitivamente nos gusta la languidez. Llega el momento del Muerto de Tijuana El Muertho TJ - Oficial todo un personaje inclasificable, rareza del underground Mexicano, comenzó en los mercadillos de Tijuana, siempre disfrazado como una especie de Gene Simmons de The KISS, futbolista, tragafuegos… un hombre del Renacimiento.. suena su tema “Malandro”. La película de hoy es “Nuestro tiempo” de Carlos Reygadas, un chico de Festival de Cannes . La segunda ola del cine de mexicano. Un director que puede asustar. El enfant terrible del cine mexicano. Creador de imágenes que impactan. Los cielos de México. Una película de contrastes, La historia de un matrimonio con una relación abierta. El matrimonio una carga tan pesada que hacen falta más de dos personas para aguantarla. Como si fuera un western de Éric Rohmer. El contraste entre lo cosmopolita y lo rural, lo intelectual y lo pasional, el campo y la ciudad. La influencia de Malick. Un cine de la presencia. Interpretarse a sí mismo. Un juego de espejos. Cuando la fuerza del amor está pujante construyes cosas para cuando el amor decline para que esas cosas que has construido te mantengan. El amor como una enfermedad. Los intentos de racionalizar los sentimientos siempre están condenados al fracaso. Al final se impone la pasión sobre la razón. Un cineasta de la carne. La parte animal del ser humano. Exhibicionismo emocional. El precio de exponerse. Recuperar el amor perdido a través de la mirada de otro. La hora del lobo, la hora de la verdad, cuando todavía no es de día y la noche se resiste a desaparecer. Carlos Reygadas ante todo un cineasta libre y valiente.

Djibouti is better known as a strategic outpost than a hotbed of music but Groupe RTD, the country's national radio band, are one of its best kept secrets. By day they play at official ceremonies, off duty they let rip their love of American jazz, Indian Bollywood, Jamaican reggae and Somali funk. For the first time ever an independent label, Ostinato Records, was allowed to capture that sound and release it to the outside world on the upcoming Dancing Devils of Djibouti album.  Since Djibouti gained independence from France in 1977, its music industry has been controlled by the state, its bands run like national enterprises. And none more so than Groupe RTD, the official band of national radio Radiodiffusion-Télévision Djibouti (RTD), whose job it is to perform at official ceremonies. Its music has always been recorded in RTD’s studios, conserved in its extensive archives, but has never had international release. Vik Sohoni, producer and curator with Ostinato Records, met the band by chance in 2016 when tracing author’s rights for its compilation album of Somali music, Sweet as Broken Dates. He found Groupe RTD at the radio’s recording studio jamming “off duty”. “We quickly realised this was not just some national, ceremonial band, this was a very raw, gritty, tough, funky band,” he says. “A lot of these guys were old legends and there was some young talent too. Everything that was happening in that studio was world class musicianship and we were really blown away.” Among the older talent is saxophonist Mohamed Abdi Alto, a self-taught musician who Sohonie says deserves to be “right up there” with the world's greatest jazz instrumentalists. “He’s a national treasure, the best saxophonist in the country and possibly the most unheralded saxophone virtuoso in all of Africa.”  Alto emerged as part of the east African scene in the 1970s as did the band’s guitarist Abdirazak Hagi Sufi “Kaajaa” and bass player Abdo Houssein Handeh. New talent includes vocalist Asma Omar, who joined Groupe RTD after winning a youth talent competition, and Hassan Omar Houssein, also a singer. The band performs Somali music, in Somali. But there’s a “distinct Djiboutian twist,” which comes partly from the country’s geography and history as an important trading post at the mouth of the Red Sea and Gulf of Aden. Many cultures - but above all the Middle East and India - have left their mark on the country and its music. “What’s incredible about Djiboutian music is not only its ability to take in all the different cultures, but what the musicians really grew up with,” Sohonie says.  “Three styles of music that they constantly refer to, which is really the icing on top of the cake for Djiboutian music, is Jamaican music which guitarist Abdirazak listened to extensively, Indian Bollywood music and classic Indian songs which the singers said that they would watch to learn how to sing and to adapt their vocal styles and American jazz which Mohamed Abi Alto constantly referred to as his greatest influence. “You take those three styles of music and you combine it with all the different cultures that have passed through Djibouti because of where it is and you have a really diverse cosmopolitan sound.” Sohonie was determined to record the band, but it proved a huge challenge. The label had to wade through a web of bureaucracy and it wasn’t until 2019 that the authorities gave the green light. RTD’s technical equipment was past it best and they flew in their own state-of-the-art mobile studio and set about recording 10 love songs, the majority written by Mohamed Abi Alto. But further red tape meant they were left with just three days to record. “The musicians said they knew how it goes at the top and were just very enthusiastic about having the chance to become the first band to have a commercially released album,” says Sohonie. The intense recording sessions were fuelled by chewing copious amounts of the leaf known as khat, a stimulant popular in Horn of Africa region. “There was a sign specifically in the radio which said ‘no khat chewing and no smoking’. The band basically said ‘if we’ve only got three days, that’s a rule we’re not gonna follow’ so they tore down the sign.” Despite not having fewer microphones as you’d use in a European recording studio Sohonie is pleased with the result. “In the end we were able to capture everything in a really beautiful way because that studio is where every single song that’s ever been recorded in Djiboutian history was recorded, so it has a lot of history, and therefore energy. Even if the acoustics are a bit wore down, that is really powerful.” Ostinato Records plans to get Groupe RTD touring internationally. Until now the only cultural entity to travel abroad was the national dance troupe sponsored by Libya’s late Mouammar Kadhafi. The coronavirus epidemic, which has affected Djibouti badly, has put tour plans on standby for the moment. But Sohonie hopes the album will “inspire the government to give the green light to be able to have the band tour all over the world, which they should". He also has high hopes that lifting the shroud on Djiboutian music will broaden the country's image. “There’s so much global interest in the country, but I think coverage of the country and perception of the country tend to be through the lens of geopolitics or global trade. Or perhaps there isn't any registering of any kind of image of beauty at all. So we hope this album is able to put the small but very culturally powerful country on the musical map." He senses the country is opening up and they were able to ride that wave. “We were able to gain access to a lot of things and I think the opening of the country and all the global interest has softened attitudes at the very senior leadership to be able to allow entities like myself and record labels to finally work with their music."  The Dancing Devils of Djibouti is out on 5 June on Ostinato Records. A portion of the album sales will go to Djibouti's Ambassador to Germany, who helped make the recording possible, to help the country cope with the Covid-19 pandemic.  

Djibouti is better known as a strategic outpost than a hotbed of music but Groupe RTD, the country's national radio band, are one of its best kept secrets. By day they play at official ceremonies, off duty they let rip their love of American jazz, Indian Bollywood, Jamaican reggae and Somali funk. For the first time ever an independent label, Ostinato Records, was allowed to capture that sound and release it to the outside world on the upcoming Dancing Devils of Djibouti album.  Since Djibouti gained independence from France in 1977, its music industry has been controlled by the state, its bands run like national enterprises. And none more so than Groupe RTD, the official band of national radio Radiodiffusion-Télévision Djibouti (RTD), whose job it is to perform at official ceremonies. Its music has always been recorded in RTD's studios, conserved in its extensive archives, but has never had international release. Vik Sohoni, producer and curator with Ostinato Records, met the band by chance in 2016 when tracing author's rights for its compilation album of Somali music, Sweet as Broken Dates. He found Groupe RTD at the radio's recording studio jamming “off duty”. “We quickly realised this was not just some national, ceremonial band, this was a very raw, gritty, tough, funky band,” he says. “A lot of these guys were old legends and there was some young talent too. Everything that was happening in that studio was world class musicianship and we were really blown away.” Among the older talent is saxophonist Mohamed Abdi Alto, a self-taught musician who Sohonie says deserves to be “right up there” with the world's greatest jazz instrumentalists. “He's a national treasure, the best saxophonist in the country and possibly the most unheralded saxophone virtuoso in all of Africa.”  Alto emerged as part of the east African scene in the 1970s as did the band's guitarist Abdirazak Hagi Sufi “Kaajaa” and bass player Abdo Houssein Handeh. New talent includes vocalist Asma Omar, who joined Groupe RTD after winning a youth talent competition, and Hassan Omar Houssein, also a singer. The band performs Somali music, in Somali. But there's a “distinct Djiboutian twist,” which comes partly from the country's geography and history as an important trading post at the mouth of the Red Sea and Gulf of Aden. Many cultures - but above all the Middle East and India - have left their mark on the country and its music. “What's incredible about Djiboutian music is not only its ability to take in all the different cultures, but what the musicians really grew up with,” Sohonie says.  “Three styles of music that they constantly refer to, which is really the icing on top of the cake for Djiboutian music, is Jamaican music which guitarist Abdirazak listened to extensively, Indian Bollywood music and classic Indian songs which the singers said that they would watch to learn how to sing and to adapt their vocal styles and American jazz which Mohamed Abi Alto constantly referred to as his greatest influence. “You take those three styles of music and you combine it with all the different cultures that have passed through Djibouti because of where it is and you have a really diverse cosmopolitan sound.” Sohonie was determined to record the band, but it proved a huge challenge. The label had to wade through a web of bureaucracy and it wasn't until 2019 that the authorities gave the green light. RTD's technical equipment was past it best and they flew in their own state-of-the-art mobile studio and set about recording 10 love songs, the majority written by Mohamed Abi Alto. But further red tape meant they were left with just three days to record. “The musicians said they knew how it goes at the top and were just very enthusiastic about having the chance to become the first band to have a commercially released album,” says Sohonie. The intense recording sessions were fuelled by chewing copious amounts of the leaf known as khat, a stimulant popular in Horn of Africa region. “There was a sign specifically in the radio which said ‘no khat chewing and no smoking'. The band basically said ‘if we've only got three days, that's a rule we're not gonna follow' so they tore down the sign.” Despite not having fewer microphones as you'd use in a European recording studio Sohonie is pleased with the result. “In the end we were able to capture everything in a really beautiful way because that studio is where every single song that's ever been recorded in Djiboutian history was recorded, so it has a lot of history, and therefore energy. Even if the acoustics are a bit wore down, that is really powerful.” Ostinato Records plans to get Groupe RTD touring internationally. Until now the only cultural entity to travel abroad was the national dance troupe sponsored by Libya's late Mouammar Kadhafi. The coronavirus epidemic, which has affected Djibouti badly, has put tour plans on standby for the moment. But Sohonie hopes the album will “inspire the government to give the green light to be able to have the band tour all over the world, which they should". He also has high hopes that lifting the shroud on Djiboutian music will broaden the country's image. “There's so much global interest in the country, but I think coverage of the country and perception of the country tend to be through the lens of geopolitics or global trade. Or perhaps there isn't any registering of any kind of image of beauty at all. So we hope this album is able to put the small but very culturally powerful country on the musical map." He senses the country is opening up and they were able to ride that wave. “We were able to gain access to a lot of things and I think the opening of the country and all the global interest has softened attitudes at the very senior leadership to be able to allow entities like myself and record labels to finally work with their music."  The Dancing Devils of Djibouti is out on 5 June on Ostinato Records. A portion of the album sales will go to Djibouti's Ambassador to Germany, who helped make the recording possible, to help the country cope with the Covid-19 pandemic.  

Primer Mala Hierba de 2020 centrado en el sello africano Ostinato Records. Un sello que se dedica a recuperar la historia musical de países como Senegal, Haití, Cabo Verde o Somalia. Música y memoria como un acto revolucionario.

A causa delle vicende del travagliato paese del Corno d'Africa, la musica moderna della Somalia è rimasta a livello internazionale uno degli angoli in ombra della musica africana. Ma adesso le etichette di world music sembrano ben decise a cominciare ad illuminarlo. Lo scorso anno l'etichetta newyorkese Ostinato Records ha pubblicato Sweet As Broken Dates - vedi qui il podcast del 25 settembre 2017 - una compilation di brani degli anni settanta e ottanta che provenivano dagli archivi della radio di Hargheisa, oggi capitale dell'autoproclamata Repubblica del Somaliland. Oltre a farci ascoltare della musica di grande fascino, la raccolta ci trasportava in una Somalia quasi irreale se guardata dalla prospettiva della tormentata Somalia degli ultimi decenni. Lo stesso fa adesso l'etichetta tedesca Analog Africa, riportandoci alla modernità che prima della guerra poteva vantare Mogadiscio, capitale della Somalia: attraverso le incisioni di una band, Dur Dur, che mescolando funk, reggae, soul, disco, e ritmi e melodie tradizionali fece furore negli anni fra la nascita del gruppo, il 1986, e l'inizio del conflitto negli anni novanta.

A causa delle vicende del travagliato paese del Corno d'Africa, la musica moderna della Somalia è rimasta a livello internazionale uno degli angoli in ombra della musica africana. Ma adesso le etichette di world music sembrano ben decise a cominciare ad illuminarlo. Lo scorso anno l'etichetta newyorkese Ostinato Records ha pubblicato Sweet As Broken Dates - vedi qui il podcast del 25 settembre 2017 - una compilation di brani degli anni settanta e ottanta che provenivano dagli archivi della radio di Hargheisa, oggi capitale dell'autoproclamata Repubblica del Somaliland. Oltre a farci ascoltare della musica di grande fascino, la raccolta ci trasportava in una Somalia quasi irreale se guardata dalla prospettiva della tormentata Somalia degli ultimi decenni. Lo stesso fa adesso l'etichetta tedesca Analog Africa, riportandoci alla modernità che prima della guerra poteva vantare Mogadiscio, capitale della Somalia: attraverso le incisioni di una band, Dur Dur, che mescolando funk, reggae, soul, disco, e ritmi e melodie tradizionali fece furore negli anni fra la nascita del gruppo, il 1986, e l'inizio del conflitto negli anni novanta.

A causa delle vicende del travagliato paese del Corno d'Africa, la musica moderna della Somalia è rimasta a livello internazionale uno degli angoli in ombra della musica africana. Ma adesso le etichette di world music sembrano ben decise a cominciare ad illuminarlo. Lo scorso anno l'etichetta newyorkese Ostinato Records ha pubblicato Sweet As Broken Dates - vedi qui il podcast del 25 settembre 2017 - una compilation di brani degli anni settanta e ottanta che provenivano dagli archivi della radio di Hargheisa, oggi capitale dell'autoproclamata Repubblica del Somaliland. Oltre a farci ascoltare della musica di grande fascino, la raccolta ci trasportava in una Somalia quasi irreale se guardata dalla prospettiva della tormentata Somalia degli ultimi decenni. Lo stesso fa adesso l'etichetta tedesca Analog Africa, riportandoci alla modernità che prima della guerra poteva vantare Mogadiscio, capitale della Somalia: attraverso le incisioni di una band, Dur Dur, che mescolando funk, reggae, soul, disco, e ritmi e melodie tradizionali fece furore negli anni fra la nascita del gruppo, il 1986, e l'inizio del conflitto negli anni novanta.

Join the the Generasian Crew as we chat with Vik Sohonie from Ostinato Records and talks about his journey making the album Two Niles to Sing a Melody and the process in collecting the sounds. We also welcome back South Asian comedian Paul Varghese to the studio and talk about his future plans. Only on 90.1 KPFT Houston! ASIKO ROCK GROUP-LEGOS CITY BENIS CLETIN-GET UP AND DANCE KOUROUSH YAGMAIE-GOL-E YAKH VARIOUS ARTISTS (INDIA)-HUM KISISE THEME VARIOUS ARTISTS-DUM MARO DUM BIDDU ORCHESTRA-JUMP FOR JOY DISCO EAST-BASHANA THE ABDUL HASSAN ORCHESTRA-ARABIAN AFFAIR 4 THE HELEOCENTRICS-ESKETA DANCE MALO LAW SAFEETNA INTA (WHAT IF YOU RESOLVE WHAT'S BETWEEN US) ZAMAN ZAMANAK (IT'S YOUR TIME) THE NUBATONES-SOULEKKA THE SPY FROM CAIRO-DON'T PANIC I'M ISLAMIC THOMAS BLONDET-GENERASIAN DUB FEAT. CAROL C & ZEB BANDISH PROJECT-DUTY DEEDS FEAT. MC TODFOD DAVID STARFIRE-PRIMAL (FT. SOOHAN) DJ SNAKE-MAGENTA RIDDIM (SPYDAT.E.K & ESKELI REMIX) VIKAS J-CHOLI KE PICHE DJ RAVISH, DJ CHICO & DJ BAPU-SIP SIP (DJ RAVISH) SUNANDA SHARMA-MORNI GURU RANDHAWA, DHVANI BHANUSHALI-ISHARE TERE ZACK KNIGHT-THUMKA SAMA BLAKE-PENG RAXSTAR & AMAR SANDHU-REWIND DJ PRASHANT-DILBAR VS. TARKAN GURBAX-AATANK KUHST & MUNO-JAIPUR

Una compilation della newyorkese Ostinato Records riporta alla luce gemme della musica somala degli anni settanta e ottanta: è un tassello che finora mancava al mosaico della modernizzazione della musica africana, che le etichette di world music stanno rendendo via via più completo e preciso, ma anche una struggente testimonianza di un paese ben diverso dalla tormentata Somalia degli ultimi decenni.

Una compilation della newyorkese Ostinato Records riporta alla luce gemme della musica somala degli anni settanta e ottanta: è un tassello che finora mancava al mosaico della modernizzazione della musica africana, che le etichette di world music stanno rendendo via via più completo e preciso, ma anche una struggente testimonianza di un paese ben diverso dalla tormentata Somalia degli ultimi decenni.

Una compilation della newyorkese Ostinato Records riporta alla luce gemme della musica somala degli anni settanta e ottanta: è un tassello che finora mancava al mosaico della modernizzazione della musica africana, che le etichette di world music stanno rendendo via via più completo e preciso, ma anche una struggente testimonianza di un paese ben diverso dalla tormentata Somalia degli ultimi decenni.

Recorded LIVE April 4th, 2015 on WNYU 89.1fm New York Part 1 with Vik from Ostinato Records Calypso Kings and Pink Gin- Naughty Boy Super Jazz des Jeunes- Congo l'Asile Oh ? Amare Toure- Fatou Charlie Rouse- Meci Bon Dieu ? Orchestra de Bawobab- El Carretero ? Super Mama Djombo- Ramedi Cu Kata Cura Ifan Bondi and The Afro Mandingue Sounds- Atis-A-Atis T. P. Poly Rythmu- Ne te Faches Pas A Norberto- Mocas Novas ? ? Cyril Diaz & His Orchestra- Taboo Musique Sana Parole- Massana Cisse Orchestre Baobab Gouygui de Dakar- Sibam ? Os Tubaroes- Pepe Lopi Roda de Samba- Cantos Afros ? Cartola- Preciso Me Encontrar ----------- Part 2 with Sercan Bembeya Jazz National- Regard Sur Le Passe (A1) ? ? Sonny Okosuns & Paperback Unlimited- Ohomi The Thermometers- Babalawo Brigth Engelberts- Civilization In The World Nkengas- Jungle Funk George Danquah- Hot And Jumpy Gyedu Blay-Ambolley- Akoko Ba Bembeye Jazz National- Alalake Mammane Sani et son Orgue- Bodo