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SILVA,MARIO RUI / STORIES FROM
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- The roots of Angolan popular music explored in the meticulous guitar studies of Mrio Rui Silva 1980s albums. For fans of Nan Vasconcelos, John Hassells Fourth World ambient, Eduardo Mateos psychedelic folk and Cameroonian electronic music visionary Francis Bebey. Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mrio Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing. Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mrio released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation. It is united by a sense of low-key beauty, whether on the chugging opener Kazum-zum-zum, the jazz-funk keys of Lembrana Dum Velho, or the twinkling, late-night poly-rhythms of Kizomba Kya Kisanji. Born in Luanda, Angola in 1953, Mrio dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanj, record the seminal album Angola 72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell. It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mrio gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and 50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the countrys push for independence in the process
- The roots of Angolan popular music explored in the meticulous guitar studies of Mrio Rui Silva 1980s albums. For fans of Nan Vasconcelos, John Hassells Fourth World ambient, Eduardo Mateos psychedelic folk and Cameroonian electronic music visionary Francis Bebey. Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mrio Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing. Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mrio released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation. It is united by a sense of low-key beauty, whether on the chugging opener Kazum-zum-zum, the jazz-funk keys of Lembrana Dum Velho, or the twinkling, late-night poly-rhythms of Kizomba Kya Kisanji. Born in Luanda, Angola in 1953, Mrio dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanj, record the seminal album Angola 72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell. It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mrio gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and 50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the countrys push for independence in the process
Specs
- PerformerMrio Rui Silva
- Music genreJazz
- Track listingKazum-zum-zum, Lembrana Dum Velho, Kizomba Kya Kisanji
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- The roots of Angolan popular music explored in the meticulous guitar studies of Mrio Rui Silva 1980s albums. For fans of Nan Vasconcelos, John Hassells Fourth World ambient, Eduardo Mateos psychedelic folk and Cameroonian electronic music visionary Francis Bebey. Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mrio Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing. Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mrio released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation. It is united by a sense of low-key beauty, whether on the chugging opener Kazum-zum-zum, the jazz-funk keys of Lembrana Dum Velho, or the twinkling, late-night poly-rhythms of Kizomba Kya Kisanji. Born in Luanda, Angola in 1953, Mrio dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanj, record the seminal album Angola 72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell. It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mrio gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and 50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the countrys push for independence in the process
- The roots of Angolan popular music explored in the meticulous guitar studies of Mrio Rui Silva 1980s albums. For fans of Nan Vasconcelos, John Hassells Fourth World ambient, Eduardo Mateos psychedelic folk and Cameroonian electronic music visionary Francis Bebey. Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mrio Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing. Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mrio released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation. It is united by a sense of low-key beauty, whether on the chugging opener Kazum-zum-zum, the jazz-funk keys of Lembrana Dum Velho, or the twinkling, late-night poly-rhythms of Kizomba Kya Kisanji. Born in Luanda, Angola in 1953, Mrio dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanj, record the seminal album Angola 72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell. It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mrio gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and 50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the countrys push for independence in the process
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Specifications
Performer
Mrio Rui Silva
Music genre
Jazz
Track listing
Kazum-zum-zum, Lembrana Dum Velho, Kizomba Kya Kisanji
Track name
Kazum-zum-zum
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Warnings
WARNING: WARNING: This product can expose you to chemicals including arsenic, which is known to the State of California to cause cancer. For more information, go to www.P65Warnings.ca.gov.Customer ratings & reviews
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