It would seem that a Senegalese griot singer who plays the traditional West… Read Full Bio ↴It would seem that a Senegalese griot singer who plays the traditional West African 21-stringed kora would have little to discuss musically with a German-born, New York-based jazz trumpeter. But today’s cross-cultural fusions often transcend both geography and genre, and whether it was fate or design that brought together Ablaye Cissoko and Volker Goetze, it is we who are the beneficiaries. On the recent album "Sira," on ObliqSound, a stunning collection of 10 utterly matchless and profoundly inspirational tracks paint a direct line between two disparate worlds and reaffirm the maxim that music is the universal language.
Cissoko himself calls his collaboration with Goetze “vibrant and mysterious music”, while Goetze says, “I believe we are breaking new ground here.” To that we can add any number of adjectives and superlatives but in the end the music speaks best for itself: The duo’s collective music-making rings with a pristine clarity and their performances are straightforward and uncluttered; nothing is extraneous on Sira. The album, recorded in Senegal without assistance from any other musicians, marks one of those rare instances when creative sparks collide and combust in truly unexpected and delightful ways.
Sira—which translates to mermaid and is the name of Cissoko’s youngest daughter—is a demonstration of single-mindedness among two artists and a statement of respect between worldclass musicians. Ablaye Cissoko, who comes from a centuries-long line of griots, or storytellers, is a master of intricate, lyrical string work and a vocalist whose deep emotionalism is conveyed in each line he sings. Volker Goetze is an accomplished trumpeter who has collaborated with some of the most important figures of the contemporary scene. Both are composers with an ear toward the future as well as the past.
Their alliance proved a natural fit. Of his musical partner on Sira, Ablaye says, “He’s passionate, with all the strictness and professionalism that characterize great men. His playing is an alert—with the sound of the trumpet, you have to respond.”
Volker returns the kudos: “It is striking to play with Ablaye, a musician who plays from his heart, never letting academia get between him and his music. Every phrase he shapes on the kora or sings is perfect, and for a moment it is like God touches the earth. One week after we met we rehearsed one of his songs. It was unbelievably beautiful and since that first meeting I have always wanted to make a duo record with him. To combine the western technical training with the oral tradition of Africa is thrilling.”
Once they agreed to work together, Cissoko and Goetze realized that their partnership would have even greater cultural significance if their creative alliance could benefit the children of Africa. Thus, the artists are donating 10 percent of their profits from Sira to Tostan, an organization whose mission, says its Web site, “is to empower African communities to bring about sustainable development and positive social transformation based on respect for human rights.” Tostan, which means “breakthrough” in the West African Wolof language, has been recognized by the international community for its groundbreaking work with villagers living in extreme poverty in remote areas. (Visit www.tostan.org for more information.)
That spirit of generosity and giving is prevalent throughout the music of Sira. Goetze and Cissoko give each other a wide berth to state their individuality while seamlessly blurring the lines between East and West in their composition and execution. On the lonesome, bluesy “Faro,” written by both musicians, Cissoko delivers a majestic vocal performance that accentuates the seriousness of the song’s message. Performed in 6/8 time, over a bass figure derived from an African rhythm, “Faro” speaks to hot-button environmental issues and mankind’s responsibilities. “When we arrive on Earth without anything, we can’t survive,” says Ablaye. “There are more and more calamities, the planet is warming. We cut trees without planting replacements, there are fewer animals, and not enough water to cultivate the ground. We must take care of nature.”
On Goetze’s “Bamaya,” based on a Ghanaian dance, Cissoko engages in an ostinato pattern on his kora while Goetze initially blows a serene melody. Even when he picks up the pace, he keeps his lines delicate and unforced. “It’s a folk style in West Africa,” says Volker about the song. “The rhythmic progression is taken from that tradition, but I superimposed a bi-tonal melody on top. The ornaments came subconsciously, as it reminded me of the African flute tradition, where the flute is often in a different key.”
Of the three traditional numbers on the record, the instrumental “Gorgorlou,” arranged by Cissoko, is particularly rich. A meditative piece built around hints of Asian tonal qualities, it spotlights Ablaye’s mandolin-like counter-melody weaving tightly with Goetze’s trumpet sturdy lines. It’s a sunny tune that perfectly exemplifies the pair’s shared vision.
For Cissoko, the opportunity to co-create with Goetze opened up new vistas. “It’s important to open one’s mind to discovering new vibrancies,” he says. “My encounter with Volker is exactly like that. These instances were magic for me.” Adds Goetze, “I hope our music serves society and speaks to people.”
ObliqSound co-founder and the album’s executive producer Michele Locatelli agrees. “The vocabulary and the intensity of the performance take the music beyond any genre definition or categorization,” he says. “Its spiritual content turns it into a universal language that can touch any listener, regardless of taste or inclination. It’s a perfect fit for ObliqSound.”
Cissoko himself calls his collaboration with Goetze “vibrant and mysterious music”, while Goetze says, “I believe we are breaking new ground here.” To that we can add any number of adjectives and superlatives but in the end the music speaks best for itself: The duo’s collective music-making rings with a pristine clarity and their performances are straightforward and uncluttered; nothing is extraneous on Sira. The album, recorded in Senegal without assistance from any other musicians, marks one of those rare instances when creative sparks collide and combust in truly unexpected and delightful ways.
Sira—which translates to mermaid and is the name of Cissoko’s youngest daughter—is a demonstration of single-mindedness among two artists and a statement of respect between worldclass musicians. Ablaye Cissoko, who comes from a centuries-long line of griots, or storytellers, is a master of intricate, lyrical string work and a vocalist whose deep emotionalism is conveyed in each line he sings. Volker Goetze is an accomplished trumpeter who has collaborated with some of the most important figures of the contemporary scene. Both are composers with an ear toward the future as well as the past.
Their alliance proved a natural fit. Of his musical partner on Sira, Ablaye says, “He’s passionate, with all the strictness and professionalism that characterize great men. His playing is an alert—with the sound of the trumpet, you have to respond.”
Volker returns the kudos: “It is striking to play with Ablaye, a musician who plays from his heart, never letting academia get between him and his music. Every phrase he shapes on the kora or sings is perfect, and for a moment it is like God touches the earth. One week after we met we rehearsed one of his songs. It was unbelievably beautiful and since that first meeting I have always wanted to make a duo record with him. To combine the western technical training with the oral tradition of Africa is thrilling.”
Once they agreed to work together, Cissoko and Goetze realized that their partnership would have even greater cultural significance if their creative alliance could benefit the children of Africa. Thus, the artists are donating 10 percent of their profits from Sira to Tostan, an organization whose mission, says its Web site, “is to empower African communities to bring about sustainable development and positive social transformation based on respect for human rights.” Tostan, which means “breakthrough” in the West African Wolof language, has been recognized by the international community for its groundbreaking work with villagers living in extreme poverty in remote areas. (Visit www.tostan.org for more information.)
That spirit of generosity and giving is prevalent throughout the music of Sira. Goetze and Cissoko give each other a wide berth to state their individuality while seamlessly blurring the lines between East and West in their composition and execution. On the lonesome, bluesy “Faro,” written by both musicians, Cissoko delivers a majestic vocal performance that accentuates the seriousness of the song’s message. Performed in 6/8 time, over a bass figure derived from an African rhythm, “Faro” speaks to hot-button environmental issues and mankind’s responsibilities. “When we arrive on Earth without anything, we can’t survive,” says Ablaye. “There are more and more calamities, the planet is warming. We cut trees without planting replacements, there are fewer animals, and not enough water to cultivate the ground. We must take care of nature.”
On Goetze’s “Bamaya,” based on a Ghanaian dance, Cissoko engages in an ostinato pattern on his kora while Goetze initially blows a serene melody. Even when he picks up the pace, he keeps his lines delicate and unforced. “It’s a folk style in West Africa,” says Volker about the song. “The rhythmic progression is taken from that tradition, but I superimposed a bi-tonal melody on top. The ornaments came subconsciously, as it reminded me of the African flute tradition, where the flute is often in a different key.”
Of the three traditional numbers on the record, the instrumental “Gorgorlou,” arranged by Cissoko, is particularly rich. A meditative piece built around hints of Asian tonal qualities, it spotlights Ablaye’s mandolin-like counter-melody weaving tightly with Goetze’s trumpet sturdy lines. It’s a sunny tune that perfectly exemplifies the pair’s shared vision.
For Cissoko, the opportunity to co-create with Goetze opened up new vistas. “It’s important to open one’s mind to discovering new vibrancies,” he says. “My encounter with Volker is exactly like that. These instances were magic for me.” Adds Goetze, “I hope our music serves society and speaks to people.”
ObliqSound co-founder and the album’s executive producer Michele Locatelli agrees. “The vocabulary and the intensity of the performance take the music beyond any genre definition or categorization,” he says. “Its spiritual content turns it into a universal language that can touch any listener, regardless of taste or inclination. It’s a perfect fit for ObliqSound.”
Haïti
Ablaye Cissoko Volker Goetze Lyrics
We have lyrics for 'Haïti' by these artists:
Adrianigual Aquí no hay futuro Y sigo igual. No veo un futuro Pero aquí…
Afroreggae Quando você for convidado pra subir no adro Da fundação cas…
Arcade Fire Haïti, mon pays Wounded mother I'll never see Ma famille set…
Arcade Fire䠀 Haiti, mon pays, Wounded mother I'll never see. Ma famille s…
Arcade Fire琀 Haiti, mon pays Wounded mother I'll never see Ma famille s…
Baker Josephine Ah ! Qui me rendra mon pays Haïti C'est toi mon seul…
Brodka For the pleasure of his flesh She would go over the…
Caetano Veloso (F#m7 Bm7 G7) Quando você for convidado pra subir no adro Da…
Caetano Veloso & Gilberto Gil Quando você for convidado pra subir no adro da Fundação Casa…
Caetano Veloso e Gilberto Gil Quando você for convidado pra subir no adro Da fundação casa…
Caetano Veloso; Gilberto Gil Quando você for convidado pra subir ao adro Da fundação…
Christy Moore Haiti was born, The Calabash was broken The waters of the…
D-Zine Troubadour D'Haiti - Tounen en Haiti Konjigezon tout moun …
Daddy-O El día llegó No hay momento que perder Hay que buscar…
Delportau Whatchumeanbro I need a bag on the daily That’s why i be…
Elza Soares Ouça o que eu vou dizer Axé, axé pros meus irmãos E…
Emicida Caetano Veloso Quando você for convidado pra subir no adro Da fundação casa…
Gilberto Gil Quando você for convidado pra subir no adro da Fundaç�£o…
Gilberto Gil & Caetano Veloso Quando você for convidado pra subir no adro Da fundação casa…
Haiti You know how we do Yeah I'm talking to all my fan's…
John Wicks We're born to be, bitch! I'mma take a nigga to Haiti I'mma…
Josephine Baker Ah ! Qui me rendra mon pays Haiti C'est toi mon seul parad…
Joséphine Baker Ah! Qui me rendra mon pays Haiti C′est toi mon seul paradis …
K-dans El día llegó No hay momento que perder Hay que buscar…
La Reforma Tierras que no tienen dueño Tierras que no son de ellos Tier…
Luta Armada Haiti At that left world in a sunny day, children breaking…
Peter Barrington Yeah, I been thinking 'bout you lately Wondering if you wann…
Radon Yes, I'm glad you made it, 'Cause I got a lot…
Richard Hayman and His Orchestra I left my hat in Haiti In some forgotten flat in…
Soares Elza Ouça o que eu vou dizer Axé, axé pros meus irmãos E…
Takeifa Yeewoul waay Ne law bay yandoor. Dieekh neuf waay Te gueum n…
The Arcade Fire Haïti, mon pays Wounded mother I'll never see Ma famille set…
The_Arcade_Fire_ Haïti, mon pays wounded mother I'll never see Ma famille se…
Travesía EL AZUL SE MIRA MÁS EL ROJO TAMBIÉN CABE ES COMO…
welshy Woy Sa map di lakay Lé ma rive Mezamni, mezamni Sa map di la…
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@alainlopez3258
Merci ... J'ai découvert Ablaye à St Louis ... depuis, j'écoute tous les jours ... Merci de penser au peuple haïtien ... Soyez béni
@vgoetze
Merci a vous! l'histoire d'Haïti est révélatrice. L'une des premières colonies libérées, elle a subi la répression post-coloniale, les catastrophes naturelles et la corruption.
@mariejosee3536
Délicatesse, tendresse, soul...Bravo et merci...
@vgoetze
Merci pour vous écoute
@mathor
thank you for this music, it's so beautiful. the blend of the different styles is fantastic. are you gonna play in sweden anytime soon?
@akasyaproductions
Je vous remercie d'avoir pensé à nous, Haitiens. Merci pour cette belle inspiration. Paix!
@boulakia
Merci infiniment pour cette somptueuse musique qui vous transporte et vous rassérène, vous met du baume au coeur, face à tout ce qui nous est proposé dans les media. Encore et toujours, la musique et celle-ci en particulier, rappelle que ce n'est pas juste un passe-temps, mais des moments de bonheur intense et de sérénité. Soyez bénis!
@miriambenghanem6815
Beautiful, thank you, thank you 🙏❤
@vgoetze
Thank you for listening! The pleasure is ours too! Merci! :-)
@vgoetze
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