Various Artists - Gambia's Music 1 / Various - COMPACT DISCS [CD]

Not surprising, given the proximity of the Wolof homeland to Saharan caravan routes, Wolof music is an intermingling of native West African styles with those of Muslim North Africa. Percussion instruments are featured prominently in Wolof music, as is the halam, believed to be the grandfather of the American banjo. Tracks include songs of praise, wedding songs, and dance rhythms. Liner notes feature photographs of Wolof musicians as well as descriptions of instruments and songs.

Post-classical composer, sound artist, and curator Matthew Patton returns with his second album as Those Who Walk Away. Afterlife Requiem is an elegy to friend and collaborator Jóhann Jóhannsson. Drone, electroacoustics, and near-silences extracted from unfinished recordings on Jóhannsson hard drives, underpin two string quintets-Ghost Orchestra (Reykjavík) and Possible Orchestra (Winnipeg)-processed and erased in a doleful durational work. Patton also works again with Andy Rudolph (Guy Maddin) and Paul Corley (Sigur Rós, Ben Frost) on co-production and sound design, to forge a simmering physicality that juxtaposes roiling low-end with haunting movements of ghostly strings. Everything I have ever written is a Requiem. Everything an ending. Death is smeared all over this music. My work is about disappearance-of the present, the past, of everything. Afterlife Requiem gets slower and slower over it's duration, it is one huge ritardando, time is not just slowing down-it is disappearing. Without even thinking, two related tragedies occurred and came to the surface organically while I was writing, recording, and working the death of my mother and the death of composer and friend Jóhann Jóhannsson. When I start writing, I am not thinking of anything in particular, I am just writing, composing, recording, and listening... but something always makes itself apparent or pushes itself through in an unforeseen way. After my mother's medically-assisted death, in clearing out her apartment, I realized that I was also erasing the physical manifestation of her world-and that I was doing the exact same thing with the music I was writing and recording. During this time, Jóhann's death also kept making itself apparent. For Afterlife Requiem I have taken short abandoned fragments from Jóhann Jóhannsson's hard drives and placed these disembodied audio ghosts in alternating sections within

In the 19th century, Oman extended into parts of the East African coast, along the Arabian Gulf, and on the Makran coast of what is now Pakistan. Although the country's borders are smaller today, the culture retains many influences from it's former African, Asian, and Arabian territories and it's location on major trade routes. In addition, the Sultan's court and government entities, including national television, play important roles as patrons of the performing arts.The musicians on this album are professional or semi-professional, but historically, social music in Oman was performed by slaves or servants. Traditionally, there were many occasions for musical performance beyond life-cycle rituals and prayers, but some, such as communal manual labor, have lapsed into irrelevance with the modernization of Oman in the 1970s, according to the liner notes. The recordings on this album, made by Dieter Christensen in 1990 and 1991, range from chanting poetry and sword dances (razhah) to praise poetry and sailor songs, representing the country's rich heritage and regional variations.