foobar2000 1.1.15 / Dynamic Range Meter 1.1.1
log date: 2020-04-03 14:54:17
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Analyzed: Alune Wade & Harold Lopez-Nussa / Havana Paris Dakar
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DR Peak RMS Duration Track
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DR6 0.00 dB -8.33 dB 4:57 01-Aminata
DR9 0.00 dB -11.58 dB 3:58 02-Petit Pays
DR8 0.00 dB -10.40 dB 3:33 03-Sag ô
DR7 0.00 dB -9.27 dB 3:13 04-Guajira
DR7 0.00 dB -9.59 dB 4:47 05-Yarahya
DR6 0.00 dB -8.97 dB 3:17 06-Aye Africa
DR8 0.00 dB -10.06 dB 2:59 07-Salimata
DR7 0.00 dB -8.69 dB 2:38 08-Independance Cha Cha
DR9 0.00 dB -12.99 dB 2:06 09-Nussa Solo
DR8 0.00 dB -9.44 dB 2:39 10-Dom
DR7 0.00 dB -8.01 dB 4:46 11-Seydou
DR7 0.00 dB -8.54 dB 4:00 12-Senegal
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Number of tracks: 12
Official DR value: DR8
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 24
Bitrate: 1587 kbps
Codec: FLAC
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Об исполнителях (рус.) | About Artists (ru)
Алуне Уэйд и Гарольд Лопез-Нусса
Источник: [url=http:// СПАМ «Солонеба»[/url]Солнечный вокал сенегальского певца и контрабасиста Алуне Уэйда как нельзя лучше вписывается в заводные ритмы кубинского пианиста Гарольда Лопез-Нусса, создавая атмосферу циклической радости и беспринципного счастья.
Сенегальский музыкант Алуне Уэйд, родившийся в Дакаре, начал петь и играть на различных инструментах очень рано, лет с шести. Отчасти это произошло потому, что его отец был руководителем симфонического оркестра. В 13 лет Алуне остановил свой выбор на бас-гитаре, сделав её своим основным инструментом. А с 18 лет началась его профессиональная деятельность в составе группы Исмаэля Ло. Позже Алуне сотрудничал с такими звездами, как Юссу Н’Дур, Уму Сангаре, Шейк Тидиан Сек, Бобби МакФеррин, Мамани Кейта, Джо Завинул. Его дебютная работа Mbolo (2006) определила последующее направление, которого Уэйд придерживается и сегодня – эклектичная смесь из джаза и коренной музыки народов Африки.
В свою очередь, Гарольд Лопез-Нусса относится к целой плеяде выдающихся пианистов, которых Куба подарила миру: начиная от его дяди Эрнана Лопеза-Нуссы или Гонсало Рубалькаба и кончая Роберто Фонсекой. Настоящий мастер современного джаза и кубинской румбы (а также и всего остального между ними), Гарольд завоевал первое место среди сольных пианистов на Джазовом фестивале в Монтрё в 2005 году. Его мама – учительница музыки по классу пианино, отец и брат – известные ударники. Все они помогли Гарольду в его становлении, как музыканта.
http:// СПАМ
Об исполнителях (англ.) | About Artists (en)
Alune Wade & Harold Lopez-NussaSolar and swinguant hyphen between Africa and Cuba, their album will delight both fused jazz piano as the enchanted Africa.
Alune Wade is senegalese but his star is everywhere. He knows what it owes to the land of his own, but he has basically the nomadic spirit. If he has a day cast its anchor in Paris, it was to cross all the worlds with his bass. His music sparkles with its desires opening, it carries in it the echo of his beautiful encounters, Dakar, Paris or elsewhere. Warm and inviting, smooth and radiant, she says its difference. After "Mbolo" (published in 2006 on Tinkiso – Rue Stendhal), his first solo album, and then "Ayo Nene", his second proposal, finalized in 2011, he had another idea in mind.
It was formed at the favour of his meeting with the cuban pianist Harold Lopez Nussa, Germany, where he was asked to replace his bass player in a jazz club, in April 2012. "I remember that, in this concert, without having to bother repeated, everything was fluid, as if we had already played together several times," confided Harold. The feeling, human and music is so well spent that 8 months later Alune takes the path of Cuba with the idea to offer him fun to recreate some of the standards of the soundtrack of Africa. To resume and to arrange some of the titles sounding Latin or to put a strand of cubanit é, with, red wire to the rhythm of the rumba, in compositions that spoke to him and had accompanied him to a moment of his life, in Senegal or in Paris.
"Independence Cha Cha", the "tube" of the years of Independence, composed by Joseph Kabasele "Small Country", one of the success of Cesaria Evora, for which he is going to propose to Sara Tavares sing a duet with him, by way of "Ya rayah", the standard of the chaabi or "Aminata", one of the highlights of his compatriot Labah Sosseh, who was one of the great vocalists of the salsa "made in Dakar". Surrounded by musicians or singers, cuban top flight (Orquesta Aragon, to the background vocals!), Alune and Harold record these beads unforgettable studio Abdala, Havana, cuba, adding a few new. The guitars (including Herv é Samb, the travelling companion of Alune, within the University of Gnawa, the small band of Aziz Sahmaoui), will be added later in Paris.
Light-footed pianist and latin jazz, revealed in 2005 in Montreux, including Chucho Valdes said that he "is at the forefront of a new generation of musicians", "has a subtle, brilliant ideas and a unique musical style", Harold Lopez Nussa is said that Alune, in making his proposal, "offered him the opportunity to open their eyes and discover a panorama of african music, unfortunately, few listened to Cuba." Despite that Cuba must to Africa in his music. Delicate weaving of colors, Havana Paris Dakar recalls with magnificence the link of evidence linking these two lands very musical. http://www.worldvillagemusic.com/
Об альбоме (англ.) | About Album (en)
Info for 'Havana-Paris-Dakar'There really is no telling what the truly magnificent pianist Harold L ópez-Nussa will come up. He has participated in some of the most remarkable projects – Ninety Miles – is just one of them. But Havana-Paris-Dakar is a recording co-led with Alune Wade, a performer who is almost as enigmatic as Youssou N’Dour, but who also plays the bass with melodic beauty. The idea is to unite the music of Cuba with its African roots. There is one difference though: Afro-Cuban music derived largely from the traditional music of Nigeria, melded together with that of Europe – Spain, to be precise. That does not stop L ópez-Nussa, who makes a fine repast of the memorable union, just as he did in the case of Ninety Miles. This one is a little bit trickier that the former because the music of Senegal is given a risky twist: The sabra drummers are nowhere in sight.
The non-existent Senegalese drumming does not prevent this disc from being impossible to identify with Senegal in particular, Africa in general and Cuba as well. Alune Wade picks apart his native music on his bass and he sings with an ethereal falsetto, calling to mind his more celebrated counterpart, Youssou N’Dour. More remarkably (but not surprisingly at all) the pianist’s brother Ruy Adrian L ópez-Nussa more than makes up for the missing Senegalese drums with Afro-Cuban polyrhythms of his own. The younger L ópez-Nussa is a truly gifted drummer and percussionist as well and is one of several members of the fabled L ópez-Nussa dynasty from Havana. The brothers have a long history together, respond telepathically to each other and make the most exciting music together. The beauty of the Afro-Cuban music on the disc is made more complete by the haunting trumpet of Reinaldo Meli án, whose auspicious introduction to the music of the world came from no less a luminary as Gonzalo Rubalcaba.
The track that launches the music of this recording – Animata – is somewhat misleading in that it can give the impression that this is pop music from Senegal. But that impression soon changes as Petit Pays comes on. Harold L ópez-Nussa is able to make sense of all of these cultural collusion and collisions with a great deal of flair. His worldly-wise musical awareness comes not only from his father and his record collection from the years that pianist spent imbibing it all from an ancient capital of music – from classical to jazz and from African to Indian strains – and that is Paris, France. L ópez-Nussa speaks often of the sharp arc of his learning curve because of his days in France. Of course, he does himself some injustice because his genius is inborn, which is why is one of Cuba’s premier pianists and musicians. But there is his precocious ability to absorb cultural and musical influences like a proverbial sponge.
Harold L ópez-Nussa’s solo piece is a model of gracefulness and soaring beauty. But he is also a stellar contributor to the African compositions and is particularly brilliant on Salif Keita’s Seydou. There is also a surprising turn from the celebrated guitarist Wolfgang Muthspiel on Petit Pays. The svelte lines from the guitarist seem made for the piece, made all the more remarkable by Sara Tavares’ vocals – sadly her only appearance on the album. Then of course, there are the unforgettable solos from Reinaldo Meli án. Add to all of this the excellent engineering and you have a recording captured with precision and great warmth. Another compelling reason to own this disc. https://worldmusicreport.com/reviews/cds/alune-wade-harold-lopez-nussa-havana-paris-dakar/
Состав | Artists
Alune Wade: lead vocals, bass guitar
Harold L ópez-Nussa: piano
with
Adel Gonzalez: percussion
Ruy Adrian L ópez-Nussa: drums, bongos
Reinaldo Melian: trumpet
Adhil Mirghani: caj ón (5)
Wolfgang Muthspiel: guitar (2)
Orchestra Aragon: backing vocals (1, 8, 12)
Aziz Sahmaoui: additional percussion (4)
Herv é Samb: guitar (7, 11, 12)
Sara Tavares: vocals (2)
Amen Viena: guitar (1, 8)
Released on the World Village label on 18 May
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发表于 2022-3-13 14:44:32
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