Lamomali il Neige à Bamako

Ima - A La Vida! (2009)
French Chanson/Latin/Pop | Label: Distribution Select | MP3 CBR 320kbps | 47:37 | 110 MB

Forte du succès de son album Smile, sorti il y a deux ans, Ima s’apprête à lancer son quatrième disque en carrière, A la vida!, un passeport pour les mers ensoleillées du Sud. «Smile faisait sourire, cet album-là fait voyager», compare la chanteuse d’entrée de jeu. De fait, les douze chansons de A la vida! sont teintées d’accents latins, de rythmes chauds, qui rappellent ceux qu’on peut entendre dans les rues de Cuba, au Mexique ou dans les pays d’Amérique latine. «C’est très “influence musique du monde”. C’est rafraîchissant de faire un nouvel album, de se réinventer.» A la vida! est composé de titres comme Valparaiso, Le Temps des fleurs, Cucurrucucu paloma, et Matin. Ima s’offre aussi une version de Me & Bobby Mcgee.

Entre le quintette et le quatuor de Saint-Saëns, il y a toute une vie de compositeur, des joies, des douleurs, des idées, des motifs, la construction d'une existence et d'une esthétique. C'est cette substance éminemment sensible que le Quatuor Girard, une des formations françaises les plus prometteuses du moment, accompagné du jeune pianiste Guillaume Bellom, a voulu saisir dans ce nouveau disque B Records, enregistré dans l'atmosphère douce et feutrée de la Fondation Singer-Polignac.

Marius Constant, who had an intimate knowledge of Debussy’s Pelléas et Mélisande, published Impressions de Pelléas, published in 1992 an abridged version (95 minutes instead of 150) for six singers and two pianists. In an intense flow of music, he telescopes the five acts with great finesse, removing a few scenes and making a fair number of cuts and a few minimal adjustments to the musical material. For the scenography, he suggested, ‘We are in an early twentieth-century salon’ This reflects the fact that during the genesis of Pelléas, Debussy regularly played fragments of it for his circle of friends. In this version, both listeners and performers are involuntarily swept towards the origin and essence of Debussy’s masterpiece: a ‘music of the soul’ in which we can all recognise our own Mélisande, Pelléas, Arkel, Geneviève, Yniold and Golaud. This chamber version of the opera is completed by the Prélude à l’après-midi d’un faune in Debussy’s own transcription for two pianos and the suite En blanc et noir. The two pianos used are the new straight-strung instruments built in Belgium by Chris Maene at the request of Daniel Barenboim.

Baba Sissoko and Jean Philippe Rykiel present a national preview of a new recording entitled "Paris-Bamako Jazz". Baba Sissoko, Ngoni master, is a Griot percussionist and singer originally from Bamako (Mali), one of the greatest exponents of ethnic music and jazz in the world. Together with him, Jean Philippe Rykiel, French pianist and composer, former collaborator of Jon Hassel and Leonard Cohen, very close to African musicians of the caliber of Salif Keita, Papa Wemba and Youssou N'Dour. A deep-rooted and deep artistic connection was established between the two artists on the occasion of a first collaboration in the recording studio, a natural empathy which was then translated into a second recording work. The music of "Paris-Bamako Jazz" represents a fusion of rhythmic and harmonic interweaving of great impact.

American singer/guitarist Eric Bibb and West African singer/guitarist Habib Koité have come together for Brothers in Bamako. It is an exciting gumbo of the two artists’ influences of blues, folk, gospel and world music.
The 13 tracks on Brothers in Bamako showcase songs penned by each artist, as well as several written together, plus a fascinating cover of Bob Dylan’s “Blowin’ in the Wind” and the traditional blues, “Goin’ Down the Road Feelin’ Bad.” The CD represents a musical crossroads of Bibb’s blues, folk and gospel influences, blended with Koité’s contemporary West African folk/world roots into a unique mixture of voices and guitars that is both passionate and ebullient.