jueves, 8 de junio de 2017

Ethiopie - Polyphonies Et Techniques Vocales, 1968

Ethiopie: Polyphonies et Techniques Vocales
Label: Ocora
Catalog#: OCR 44
Editeur: Harmonia Mundi
Format: Vinyl, LP
 Country: France
Released: 1968
Genre: Folk, World, & Country
Field recordings & photographs by Jean Jenkins.
Produced by Charles Duvelle.
Notes: Recorded with the support of Office de coopération radiophonique.
Songs performed by members of the Dorze, Rashaida, Ghimira, Gidole, Maji, Aderi, Sidamo, Guji,
Tigre and Galla Ethiopian ethnic groups.
Comes with an 8-page insert.
A1   Canon (3:30)
A2   Diphone (3:32)
A3   Duo (1:50)
A4   Duo (0:58)
A5   Polyphonie (3:28)
A6   Polyphonie (3:02)
A7   Duo (1:58)
B1   Choeur D'hommes (1:40)
B2   Ensemble (1:25)
B3   Choeur D'hommes (3:30)
B4   Récitatif (2:00)
B5   Choeur Des Jeunes Filles (3:00)
B6   Choeur D'hommes
B7   Ensemble (3:40)

Review by Eugene Chadbourne, All Music Guide "The black album" is often how world music fanatics refer to this recording, most often to identify it from among many other collections of Ethiopian vocal music. There is a rumor that the usually reliable photographers used for these projects of the Horniman Museum came up blank, since lavish color and black-and-white photography is a trademark of the Ocora series. A few black-and-white shots are provided in the
inner booklet to a cover that is pitch black except for title lettering, but the creator of the entire project, Jean Jenkins, seems to have been more concerned with collecting a concise yet thorough set of examples of the different types of innovative and remarkable vocal music from this country. Many of the musical techniques found in the music of Ethiopia differ from most other types of African music, including aspects of vocal music arrangement that are more likely to be found in a classical music piece. Some of the different tribes represented here have been subjects of entire album anthologies on their own, such as the Dorze, whose polyphonic canons are strictly organized and repeated exactly to form. The music of the Rashaida, on the other hand, has both a catchy melody and an interval of a fifth that gives it a bit of the feel of an American folk song. The repetitive, cyclical, and subtly shifting music of the Ghimira brings to mind avant garde composers such as Steve Reich, while the amorous howling of the Gidole sounds a bit like a pack of drunks on the approach until one's ear sorts out the unison parts. The Ghimira come back with an even stronger, more soulful number, this time beating out a rhythm on their shields with sticks. Maji music is pure magi(c): Like the pygmies, they create a music of patterns combining with yodeling and the sound of bamboo flutes.
The Guji are perhaps more representative of typical examples of Ethiopian music presented in classroom overviews. Looking for ways to keep students awake, professors will happily subject them to the strange buzzing, whistling, and panting techniques that are part of this people's singing style. Yet the real way to get these students to tune in would be to play the music of the Tigre people, chosen to conclude the album since it would be pretty difficult to follow up. These folks like to make a sound effect by cupping a hand under an armpit and pumping air through. Whoever is able to create the best sound grabs the solo spot, jumping to the center of the circle. The liner notes
kindly inform listeners, "It is difficult to continue for more than a few seconds,
and the soloists change very frequently."
~ Eugene Chadbourne, All Music Guide

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