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the rajhans orchestra
Description
The Rajhans Orchestra is a unique project because of the merging of two different cultural music systems and musicians within one orchestra. The concept of orchestra, as known in Europe, never grew roots on the Subcontinent (perhaps the closest was the Mughal Nahabet Khana). In Asia we observe mainly one soloist versus, and interacting with, one ore more percussion instruments, and supported by a drone-instrument. (tanbura) In the last decades a development to "jugalbandi", the joint-solo-venture, has emerged (more chamber-music like, 2 soloists plus percussion and drone) . Now with the creation of Rajhans orchestra music and performers are merged in a most splendid way, enabling each musician to operate and interact from within his own cultural background and tradition.
Since the later days of the renaissance we observe in Europe the rise of a organized group-performing" which ultimately resulted, through successive stages, in the massive orchestras of the late 19th century. The Rajhans orchestra however is more related to the smaller early 18th century orchestras who, traditionally at that time, were attached and maintained by Europe's noble and royal courts. In those days it used to be quite "exotic" to present let's say in Germany some French or Italian music styles. As the world is "getting smaller", we practise a similar technic in presenting Indian music within our European music, thus creating a new flavour.
A Belgian musical ensemble that plays a fusion of styles based on Indian and Flemish music. With artist information, sound clips and background.
Since the later days of the renaissance we observe in Europe the rise of a organized group-performing" which ultimately resulted, through successive stages, in the massive orchestras of the late 19th century. The Rajhans orchestra however is more related to the smaller early 18th century orchestras who, traditionally at that time, were attached and maintained by Europe's noble and royal courts. In those days it used to be quite "exotic" to present let's say in Germany some French or Italian music styles. As the world is "getting smaller", we practise a similar technic in presenting Indian music within our European music, thus creating a new flavour.
A Belgian musical ensemble that plays a fusion of styles based on Indian and Flemish music. With artist information, sound clips and background.
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Mar 18, 2006
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Other links at Music Styles > worldbeat > bands and artists
1. bonga kwenda
Bonga Kwenda is considered a superstar throughout Europa and Africa, though he is still somewhat unknown in the United States. He has recorded 17 albums in a 28-year career, and has been the subject of at least four compilations and countless re-issues. He is also the subject of a biography, "Dendém de Aucar", and several films and videos.
Bonga's life is inextricably linked to N'Gola's struggle for freedom from colonial domination and the continuing struggle for a stable, comfortable, post-colonial existance. In this regard, his career bears a striking parallel to that of Thomas Mapfumo from Zimbabwe.
Bonga Kwenda was born Barceló de Carvalho in Dandé, N'Gola, in 1942. He first came to prominence as an athlete initially as a world-class 400 meter champion who set a record he held for ten years, and later as a star on the great Benfica (Lisbőa) fűtbol team of the 1960s.
Portugal was then ruled by the repressive right-wing Salazar government. Like the regime of Generalissimo Francisco Franco in Espana, it was a Nazi-allied government which managed to remain in power in Western Europa well into the 1970s without much fanfare in the United States.
N'Golans were restricted in every manner possible, including travel. They were also generally denied Portuguese citizenship. Bonga's status as star athlete allowed him freedom of movement, which he used to carry messages between exiled freedom fighters and compatriots still in N'Gola. As the movement for independence heated up, Bonga was forced into exile himself, first in Rotterdam, then in Paris. It was in Rotterdam in 1972 that he recorded his first record, "Angola '72", and adapted the name Bonga Kwenda ...
The first release of new Bonga Kwenda material in the US since 1991.
A multi-leveled lyricist and social critic with a "scratchy, soulful voice." Music includes rhythms from the Congo, Kilapanga, Cabo Verde, Brasil and (the Portuguese) Sodade.
Bonga's life is inextricably linked to N'Gola's struggle for freedom from colonial domination and the continuing struggle for a stable, comfortable, post-colonial existance. In this regard, his career bears a striking parallel to that of Thomas Mapfumo from Zimbabwe.
Bonga Kwenda was born Barceló de Carvalho in Dandé, N'Gola, in 1942. He first came to prominence as an athlete initially as a world-class 400 meter champion who set a record he held for ten years, and later as a star on the great Benfica (Lisbőa) fűtbol team of the 1960s.
Portugal was then ruled by the repressive right-wing Salazar government. Like the regime of Generalissimo Francisco Franco in Espana, it was a Nazi-allied government which managed to remain in power in Western Europa well into the 1970s without much fanfare in the United States.
N'Golans were restricted in every manner possible, including travel. They were also generally denied Portuguese citizenship. Bonga's status as star athlete allowed him freedom of movement, which he used to carry messages between exiled freedom fighters and compatriots still in N'Gola. As the movement for independence heated up, Bonga was forced into exile himself, first in Rotterdam, then in Paris. It was in Rotterdam in 1972 that he recorded his first record, "Angola '72", and adapted the name Bonga Kwenda ...
The first release of new Bonga Kwenda material in the US since 1991.
A multi-leveled lyricist and social critic with a "scratchy, soulful voice." Music includes rhythms from the Congo, Kilapanga, Cabo Verde, Brasil and (the Portuguese) Sodade.
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2. juba
Since 1988, Edmonton's Juba has brought the magic of their African-inspired music to audiences from Yellowknife to Zimbabwe. Through song, rhythm and dance the group creates an environment in which people are free to release the music within them.
Juba has ignited audiences at virtually every major folk festival in Canada, and in 1991 realized a longtime dream by taking their music to Africa. They have also given numerous vocal workshops to Alberta choirs. The group has released four albums, including 1994's critically acclaimed cd Mafaro.
An African-influenced vocal group from Edmonton, Canada. Band information, sample MP3s and CD ordering.
Juba has ignited audiences at virtually every major folk festival in Canada, and in 1991 realized a longtime dream by taking their music to Africa. They have also given numerous vocal workshops to Alberta choirs. The group has released four albums, including 1994's critically acclaimed cd Mafaro.
An African-influenced vocal group from Edmonton, Canada. Band information, sample MP3s and CD ordering.
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Taneen Sufi Music Ensemble creates authentic, original world music that blends western and middle eastern instruments, arabic chants and lyrics from ancient and modern Sufi poets that have been translated into English.
Formed in 1996 under the guidance of Muslim Sufi Masters Shah Nazar Seyed Ali Kianfar and Seyeda Nahid Angha, founders of the International Association of Sufism, we reside in the San Francisco Bay Area of California, U.S.A.
Sufiism is the mystical heart of Islam. As seekers on the Sufi path, our music springs from the heart of prayer, inner practice, and spiritual discipline and is a celebration of heart's longing to feel connected to the source of mystery behind this reality and the source of peace within us all. We sing as an offering and a service intended to increase tranquility in the world.
With an authentic fusion of Middle Eastern and Western influences, we create new, original melodies; yet our music is deeply rooted in the Sufi tradition in its intention and inspiration. We primarily sing the love poetry of the great masters (such as Jalaleddin Rumi, Hafiz, Omar Khayam and Shah Maghsoud) in English translation, making the profound message of love which the Sufis profess very accessible to all audiences ...
Formed in 1996 under the guidance of Muslim Sufi Masters Shah Nazar Seyed Ali Kianfar and Seyeda Nahid Angha, founders of the International Association of Sufism, we reside in the San Francisco Bay Area of California, U.S.A.
Sufiism is the mystical heart of Islam. As seekers on the Sufi path, our music springs from the heart of prayer, inner practice, and spiritual discipline and is a celebration of heart's longing to feel connected to the source of mystery behind this reality and the source of peace within us all. We sing as an offering and a service intended to increase tranquility in the world.
With an authentic fusion of Middle Eastern and Western influences, we create new, original melodies; yet our music is deeply rooted in the Sufi tradition in its intention and inspiration. We primarily sing the love poetry of the great masters (such as Jalaleddin Rumi, Hafiz, Omar Khayam and Shah Maghsoud) in English translation, making the profound message of love which the Sufis profess very accessible to all audiences ...
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Hugo Torres-Cereceda: Worldbeat Latin American Singer Songwriter.
Hugo Torres-Cereceda, a self-taught musician, whet his appetite for music as a very small child, listening to family gatherings, participating in community events, etc. As a teenager growing up in his native Chile, Hugo was a member of a folk group Voces de America which appeared on Chilean national television in 1968. At that point, Hugo decided to concentrate on mastering the guitar.
In 1971, Hugo decided to learn more about the Andean Culture by spending two months, during his summer vacation, living among an Aymara community in the highlands of Northern Chile. That was the time when Hugo fell in love with the panflute.
Upon his arrival in Canada, Hugo immediately began to make his mark as a dedicated and versatile musician. Hugo was the founder and director of Retaguardia, one of the first Latin American folk groups in Canada. It played at cultural events and festival (Mainstage, Winnipeg Folk Festival, 1979) and enjoyed audiences in concert in most major cities in Canada and the United States.
From 1980 to 1993, Hugo produced a weekly coffeehouse AL CAFE which presented worldbeat music and community issues. Now, Hugo is in his third year of producing a monthly coffeehouse CAFE DE TODOS.
As a solo performer, Hugo has completed four concert tours of California, playing the Winnipeg Folk Festival many times; he played the Vancouver Folk Festival and the Festival on the Rocks (Yellowknife). He has played solo performances in Montreal, Ottawa, Toronto, Regina, Saskatoon, Edmonton, Calgary, Vancouver, Canmore, and other cities in Canada. In 1980, Hugo did a 13-day concert tour in Nicaragua (Central America).
Hugo has been heard twice on CBC's Identities program; he has performed twice on CBC's Simply Folk; he has been featured on CBC's Friday Nite The Entertainers ; on three different occasions he has played and been interviews on Swinging with the Stars (Murray McLaughlan); he has performed on three separate television networks; and he was recorded and appeared in a film produced about the 1988 Vancouver Folk Festival ...
Hugo Torres-Cereceda, a self-taught musician, whet his appetite for music as a very small child, listening to family gatherings, participating in community events, etc. As a teenager growing up in his native Chile, Hugo was a member of a folk group Voces de America which appeared on Chilean national television in 1968. At that point, Hugo decided to concentrate on mastering the guitar.
In 1971, Hugo decided to learn more about the Andean Culture by spending two months, during his summer vacation, living among an Aymara community in the highlands of Northern Chile. That was the time when Hugo fell in love with the panflute.
Upon his arrival in Canada, Hugo immediately began to make his mark as a dedicated and versatile musician. Hugo was the founder and director of Retaguardia, one of the first Latin American folk groups in Canada. It played at cultural events and festival (Mainstage, Winnipeg Folk Festival, 1979) and enjoyed audiences in concert in most major cities in Canada and the United States.
From 1980 to 1993, Hugo produced a weekly coffeehouse AL CAFE which presented worldbeat music and community issues. Now, Hugo is in his third year of producing a monthly coffeehouse CAFE DE TODOS.
As a solo performer, Hugo has completed four concert tours of California, playing the Winnipeg Folk Festival many times; he played the Vancouver Folk Festival and the Festival on the Rocks (Yellowknife). He has played solo performances in Montreal, Ottawa, Toronto, Regina, Saskatoon, Edmonton, Calgary, Vancouver, Canmore, and other cities in Canada. In 1980, Hugo did a 13-day concert tour in Nicaragua (Central America).
Hugo has been heard twice on CBC's Identities program; he has performed twice on CBC's Simply Folk; he has been featured on CBC's Friday Nite The Entertainers ; on three different occasions he has played and been interviews on Swinging with the Stars (Murray McLaughlan); he has performed on three separate television networks; and he was recorded and appeared in a film produced about the 1988 Vancouver Folk Festival ...
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5. jah wobble
Jah Wobble:
Hurled out of the desolate streets of Stepney at 18 and into the nascent Public Image Ltd. (PIL), Jah Wobble was fundamental in shaping the virulent nihilism of punk into sonic and melodic extremes that evoked everything from dub reggae to Stockhausen. In Lydon, who was always more of a theorist than he dared admit, Wobble found the perfect early foil. It was PIL's avant garde experiments on Metal Box that ushered in a credibility to punk's more frivolous tendencies. "Miles and miles ahead - follow with care" was how the NME described those new sounds.
Wobble was the first musician of that ear to be taken seriously by the older music press, rapidly earning the reputation of a wilful auteur. This was all the more stunning when it was revealed that he had only just picked up a bass, lent to him by Sid Vicious a few months before joining PIL. "Wobble's antics are notorious yet now he has found himself in a position to channel his manic energy into formulating some of the most awesome and original bass lines in modern music", wrote Vivien Goldman in the Melody Maker.
Slumped in anarmchair on the Old Grey Whistle Test, whilst propelling the band with rock steady rhythms and a highly unusual flair for melody, Wobble cut a surprising and enigmatic figure at a time when listeners were growing tired of punk's obsessions with confrontation.
In those days Wobble created around himself an aura of menace and unpredictability perfectly counterpointed by PIL's claustrophobic drones - Keith Levine's circling tortured guitar arpeggios and John Lydon's naked grope at a more direct and unhindered form of expression. Wobble's reputation as a Stepney tearaway always seemed to contrast dramatically with his rapid and breathtaking musical command. Yet even more surprisingly his slicked back, Italian film star, spoof image on the cover of the first PIL album transported him into the unlikely realm of conventional sex symbol ...
Record label and site for musician and onetime member of Public Image Limited. With biography, release information, reviews, interviews, and links.
Hurled out of the desolate streets of Stepney at 18 and into the nascent Public Image Ltd. (PIL), Jah Wobble was fundamental in shaping the virulent nihilism of punk into sonic and melodic extremes that evoked everything from dub reggae to Stockhausen. In Lydon, who was always more of a theorist than he dared admit, Wobble found the perfect early foil. It was PIL's avant garde experiments on Metal Box that ushered in a credibility to punk's more frivolous tendencies. "Miles and miles ahead - follow with care" was how the NME described those new sounds.
Wobble was the first musician of that ear to be taken seriously by the older music press, rapidly earning the reputation of a wilful auteur. This was all the more stunning when it was revealed that he had only just picked up a bass, lent to him by Sid Vicious a few months before joining PIL. "Wobble's antics are notorious yet now he has found himself in a position to channel his manic energy into formulating some of the most awesome and original bass lines in modern music", wrote Vivien Goldman in the Melody Maker.
Slumped in anarmchair on the Old Grey Whistle Test, whilst propelling the band with rock steady rhythms and a highly unusual flair for melody, Wobble cut a surprising and enigmatic figure at a time when listeners were growing tired of punk's obsessions with confrontation.
In those days Wobble created around himself an aura of menace and unpredictability perfectly counterpointed by PIL's claustrophobic drones - Keith Levine's circling tortured guitar arpeggios and John Lydon's naked grope at a more direct and unhindered form of expression. Wobble's reputation as a Stepney tearaway always seemed to contrast dramatically with his rapid and breathtaking musical command. Yet even more surprisingly his slicked back, Italian film star, spoof image on the cover of the first PIL album transported him into the unlikely realm of conventional sex symbol ...
Record label and site for musician and onetime member of Public Image Limited. With biography, release information, reviews, interviews, and links.
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