Forum Klix.ba

backroom.voice wrote:black, molim te da nemas da postavis nesto od "festivalskog repertoara"? recimo, Dhafer Youssefa (sto sa zadnja dva albuma), Cristinu Branco, Nils Pettera ... ili sta god.

plizzzzzz

black wrote:

backroom.voice wrote:black, molim te da nemas da postavis nesto od "festivalskog repertoara"? recimo, Dhafer Youssefa (sto sa zadnja dva albuma), Cristinu Branco, Nils Pettera ... ili sta god.

plizzzzzz

evo ti sad Cristina Branco album O Descobridor

http://www.megaupload.com/?d=G34O3DUS

silence_is_sexy wrote:ima li ko namjeru posjetiti jazz fest? ne vidim da se ekipa sa foruma pretrgla sa komentarima na program...

zena wrote:ako Bog da

black wrote:

zena wrote:ako Bog da

posebno ..Dhafer Youssef Group

black wrote:

zena wrote:ako Bog da

posebno ..Dhafer Youssef Group

Digital Prophecy traces a journey from Tunisia's heat to Norway's cool. Across this distance an affinity is discernible in the shared outspokenness of expression of both musical cultures. This recording may also be viewed as the latest in an ongoing dialogue between Norway and the rest of the world; Nils Petter Molvaer's trumpet sound has long seemed like a soft muezzin call, Eivind Aarset's guitar like a keening djinn, Arve Henriksen's trumpet shakuhachi-like and so on. Another lineage may be traced from here back to Marilyn Mazur's groups and thence to Jan Garbarek's outernational explorations.

Digital Prophecy consists of a number of settings for Youssef's vocals and oud (direct ancestor of the European lute) which range between intimate duets and full-blown group grooves. The blend of contemporary beats with the ageless sound of the oud, vocals and bansuri flute is entirely convincing and unforced.

"Diaphanes" (from the Greek: showing through) allows Youssef's reverb-drenched oud to swim in the warm swells and eddies of Aarset's guitars and electronics. A whole book might be written about reverb; often an unwelcome treatment signifying the hushed reverence of the museum, the sound of imposed sanctity. Here the effect evokes the acoustics of Cordoba's Mezquita or the Alhambra at Granada and is applied only to the oud, while the other instruments occupy a different sonic space; the result being a useful delineation of the instrument.

On "Aya (1984)" Jan Bang's beat programming, Dieter Ilg's bass and Rune Arnesen's drums provide a busy, engaging rhythm bed above which Youssef's vocal rises, untranslated, to a spine-tingling yell to the heavens.

When Molvaer appears on the seventh track, "Seventh Heaven Suite", his arrival seems entirely natural, inevitable even. Bugge Wesseltoft's keyboard work is as sparing and elegant as ever.

Alongside fellow oud players Anouar Brahem (also Tunisia) and Rabih Abou-Khalil (Lebanon), Youssef is exploring the fertile ground between Western and Arabic improvisation. Digital Prophecy makes a potent political point about the openness of the middle-east to dialogue in contrast to the image portrayed by much of the media today. It is not an abrasive sound; the digital of the title is not that of Autechre or Farmers Manual - but its supple grooves and subtle soundscapes make a calm but impassioned plea for understanding and dialogue and invite you in like cool, tiled architecture on a sweltering day.

zena wrote:

black wrote:

zena wrote:ako Bog da

posebno ..Dhafer Youssef Group

ne znam kako si pogodio jel i ti budesh tam' 4.?

zena wrote:...jedna me zarazila njime...ima evo godina ako bude hajra, ako Bog da... voljela bih ga cuti uzhivo...

black wrote:

zena wrote:...jedna me zarazila njime...ima evo godina ako bude hajra, ako Bog da... voljela bih ga cuti uzhivo...

odlican je....ja sam vec kupio karte...

Born in Teboulba, Tunesia in 1967, composer, singer and oud player Dhafer Youssef has been living and working in Vienna, Austria since 1990. During this time he had the opportunity to perform his music on stages in Austria, France, Germany, Switzerland and other European countries as well as his native Tunesia (where he started singing in the Islamic tradition at age 5). Dhafer has been working with Sainkho Namchylak, Paolo Fresu, Arto Tuncboyacian, Linda Sharrock, Wolfgang Puschnig, Christian Muthspiel, Jamey Haddad, Iva Bittova, Tom Cora and other great improvisers influenced by world music concepts. He also formed his own ensembles with whom he recorded two previous CD's in 1993 and 1996.
Dhafer's music is rooted in the Sufi tradition and other mystical music but has always been wide open to ideas from any other musical culture as well as the jazz scene. With his poetic approach on the oud (the Arabic lute), his complex Arab-colored compositions and especially his deeply affecting singing, Dhafer Youssef is one of the most impressive voices to emerge in this musical field for several years. Testifying a wide range of sound colors, stylistic facets and musical ingredients, the list of musicians involved on "Malak" includes German lyrical trumpeter , Vietnamese guitar wizard Nguyên Lê, French bass virtuoso Renaud Garcia-Fons ("Oriental Bass"), Indian percussion master Jatinder Thakur, Indian bansuri player Deepak Ram, Italian tambourine professor Carlo Rizzo, Hungarian violinist Zoltan Lantos and other colorful players. A thrilling statement made of Arabic lyricism, rhythmic power, visionary strength, multi-cultural influences and jazz-oriented improvisation, "Malak" opens the way to a new definition of East-Western crossover.

RASHOMON wrote:Da se zahvalim gospon blacku...Red je!

backroom.voice wrote:hvala black jos jednom!

sad imam sve albume, osim posljednjeg!

i ja idem na koncert Dhafera

mango wrote:black, legendo ima li igdje 'electric sufi' od youssefa
pliiz

mango wrote:black, legendo ima li igdje 'electric sufi' od youssefa
pliiz

black wrote:

mango wrote:black, legendo ima li igdje 'electric sufi' od youssefa
pliiz

eh slusao sam ga ali i meni taj album fali...no potrazicu ga ako nista postavice @zena album je predobar recimo stvar "Yabay" ma dobar i et...i preporucio bih ti ako nadjes poslusaj erica truffaza album "mantis"...