This is not a particularly commercial world music album, and it doesn't sound "produced". The sharp tones of the kora contrast nicely with the softer guitar timbres and the music ebbs and flows like the waters of a tidal river. Articles with short description Articles with hAudio microformats. Don't expect great musical revelations, or even "the most beautiful music in the world". There are a few other players who contribute percussion here and there, and Ry Cooder plays a Kawai piano on a couple of tracks and a Ripley guitar on one, but other than these cats, this is a live duo set without edits or enhancements of any kind. In the Heart of the Moon 
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Most of the music here dates back to the Jurana Kura translated as new era cultural movement, which was part of the independence struggle in the s and early '60s. Drinking Hanging Out In Love.
Mamadou Boutiquier is as slow and stately as an Elizabethan dance, as intricate as a classical guitar study. The players' focus and intensity are rhe, but they make it all come off so easily that the listener gets lost in the pleasure of these gorgeous melodies and the call-and-response style of interaction between the players. When you see him on video, you can't quite believe just how quickly his fingers dance around all those hte.
While he does solo many times here, he is also playing in balance with Diabatewhose kora has the larger lyric and harmonic palette, so he is in a supporting role.
:format(jpeg):mode_rgb():quality(90)/discogs-images/R-11024621-1508703321-6621.jpeg.jpg "ali farka toure in the heart of the moon")
Despite their mutual admiration the musicians had previously only performed a total of three hours together over fifteen years.
Listen carefully, however, and you'll hear that Boys and Gold have enhanced the album's mood with a few minimal, subtle extras: By using this site, you agree to the Terms of Use and Privacy Policy.
The music created by the Jurana Kura for the guitar created a mooh new style of rhythmic fingerpicking. In the Heart of the Moon The extra sound, like an aural heat haze, is Ry Cooder's ethereal Kawai piano - it's an inspired bit of entirely natural "sweetening". The purpose was to make people aware not only of its existence but to inspire and exhort. We're used to world music hybrids between east and west; between electric and acoustic; and between the head and the heart.
Ali Farka Touré & Toumani Diabaté, In the Heart of the Moon
Release Date Farkw 13, Retrieved from " https: Retrieved 14 January Farka was unable to personally accept the award as he died before the award could be brought to him by the album's producer, Nick Gold. The result is static, calming, even mesmerising in places, with some of the trance-inducing features of s "new age" or s chill-out music.
The music is insistent but not strident. Archived from the original on 20 February Introspection Late Night Partying.
CD: Ali Farka Touré & Toumani Diabaté, In the Heart of the Moon | Music | The Guardian
This is not a particularly commercial world music album, and it doesn't sound "produced". It does sound a bit like the blues, but without the tension and release of the familiar bar pattern. Yet this is not a practised act. Please enable JavaScript in your browser to use the site fully.
Streams Videos All Posts. Mali became an independent republic in There are a few other players who contribute percussion here and there, and Ry Cooder plays a Kawai piano on a couple of tracks and a Ripley guitar on one, but other than these cats, this is a live duo set without edits or enhancements of any kind.
In the Heart of the Moon - Wikipedia
The music they make together on In the Heart of the Moon is subtle but relaxing. The effect is of an easygoing jam session album. Ai Ga Bani has a delicate backbeat and a spooky piano overdub by Ry Cooder.
The guitarist is from the north tooure Mali, one of the breakthrough world music artists of the s and s, whose "African blues" alerted a generation of guitar-loving rock fans to the treasures that lay outside the Anglo-American faultlines of rock'n'roll.
The album includes twelve tracks, based mostly on Songhai ghe of the north of Mali and the Bambara traditions of southern Mali and neighboring Guineaharking back to the period immediately before independence.
The wide-open sonic architecture of the guitar accompaniment allows him to take flight with improvisations that are full of light and shade, drama and humour, each set of phrases bursting with melodic and rhythmic invention, or encrusted with ornamentation as elaborate as a baroque harpsichord showpiece.
