A fusion of ancestral tribal music and Saharan Blues, Daraa Tribes comes from the oasis town of Tagounite in the Daraa River Valley of Morocco, with each member originating from a different tribe, bringing with them diverse music traditions to create an eclectic style only to be found in the oases of the North African Sahara. Releasing the album Igharman in 2018, and EPs Alwan (2017) and Zamane (2019), they has toured internationally across Europe, Africa, Russia, and Canada. The band is a Visa For Music laureate (2017), and has been featured on Radio France International and major Moroccan news outlets. Daraa Tribes’ second studio album is expected to come out in the fall of 2021.
Franck Biyong is available with two different amazing projects:
Franck Biyong & Lipombe Jazz (Afrobeat-AfroJazz) and Afrobrainz (Electronic-Funk-Rock)
BIO
FRANCK BIYONG
AFRICA’S 21ST CENTURY ROCK GUITAR HERO
Growing up in Gabon, Nigeria and Ivory Coast before settling in the UK at age 14, Franck Biyong lived in households filled with good music. Little wonder why the towering Cameroonian artist is a composer, guitar player, singer, band leader and producer. This master of musical interpretation recalls American Jazz guitarist, Wes Montgomery’s “Canadian Sunset” as the song that set him down his musical path as a pre-teen.
Fanck Biyong went on to cultivate a personal and passionate relationship with music, recognizing it as “spiritual food for the soul”. Receiving musical instruction and training at the National Institute of Arts in Abidjan (Ivory Coast), he scorched a brilliant path with his electric guitar and became a reporter of human emotions and feelings. Franck translated these experiences into several Afro Beat and Afro Jazz albums that made people move, laugh, dance, cry and meditate.
Fanck Biyong has played at countless spots around the globe including SOB’s in New York and the Montreal Jazz Festival. Franck has also enjoyed European tours with music legends such as Nigerian Afrobeat drummer Tony Allen and Ghanaian Highlife guitarist Ebo Taylor. Franck has also worked with Wyclef Jean as well as Salif Keita, King Sunny Ade, Culture Musical Club, Burna Boy, Yemi Alade, Olamide, Waje, Phyno, Efya, Diamond Platnumz and Vanessa Mdee during his time as Music Director on Coke Studio Africa Season 1 & 2.
But Franck Biyong, a consummate performer and creator, has reinvented himself.
In 2016, he shared his vision for Alternative Afro-Electro-Rock and Crossover Music with the recording of the LIYOMBA CHURCH single. This exciting single mined the link between rock and electro with dazzlingly good results. Clever use of Swahili lyrics made it immediately familiar with fans in East Africa and the rest of the continent for whom this Bantu language resonates with many of their own.
This is in line with the Pan-African ideals underpinning Franck’s new sound. And, one of two logical evolutions of African Music; the other being creating musical forms that would appeal to diverse audiences regardless of their age and knowledge about new types of African music: “We have to adapt to change, not to dissolve totally our identity and unique approach to music, but to bridge the gap between where we were and where we should go”.
And, Franck is leading the pack…
Having been a musician for decades and with diverse influences and references (from Francis Bebey to Frank Zappa), Fanck Biyong serves as a
“filter” through which two different streams are passing. The first stream is represented by music of the past generation that he hopes to pass on to the next; stretched out, revamped and modernized. While the second is the modern urban sounds that he plans to incorporate, develop and confront working with musical forms that do not belong together in the first place.
Another aspect of Franck’s futuristic idea of African Music is defined by artistic independence and total freedom of expression. This is a marked departure from the current strong push towards commercialization of image in place of music.
Perhaps his new rock oriented project will herald crossover exposure and breakthrough on the international scene…and it may also finally alter the perception of African Music and its musicians at large.
Pedro Makay was born in Bilbao. In childhood he received his first musical experience in piano lessons and at 13 he started playing Spanish guitar. In a trip to Jamaica with his family, while visiting a friend in Negril he’s introduced to Caribbean rhythms, reggae and calypso which would become inspirational to his music.
In Bilbao a reputed gypsy guitarist, Jose Cortes, introduces him to flamenco and teaches him the repetition and discipline necessary to improve and perfect his technique on flamenco guitar. Then he started composing.
In 2007 he recorded his first album by the name of Pedro Makay with Carlos Velasco, Teddy Baxter and Daniel Amat. That same year he traveled to Buenos Aires where he lived the following 4 years. He studies harmony/composition with Rino Rafanelli, singing with Silvia Gaddi and acting with Lito Cruz. In BA he presents his album playing gigs in night clubs, cabarets, theaters and cultural centers in the Buenos Aires scene, promoting his music in radio stations and television.
In 2010 he records in Argentina his second album, Ojos Negros, with the producer Andres Mayo and musicians Gustavo “El Polaco” Goyeneche, Gabriel Costa, Daniel Leis, Ervin Stutz, Alejo Von der Pahlen and Juanjo “El Chaqueño” Martinez. The record was listed in the Latin Grammy Awards, under the categories of “Album of the year” and “Best New Artist”.
In 2012 he returns to Spain, where he continued his musical career in Madrid, offering concerts in mythical halls such as Sala Barco, El Juglar, Café la Palma, the Berlin Café and Sala Clamores with the participation of Mali, griot Fousseni Fakoly, Abba Suso, griot from Gambia and Cuban singer Lazaro Armenteros, grandson of Benny Moré, as well as appearing in European venues, Beograde, Seville, Bologna, Milan, Venice, Rome and many more.
In Lavapies, an intensely active cultural and multi ethnical neighbourhood of Madrid, where he lives (a European Greenwich Village where all cultures of the world converge) is an important source of inspirational influence in his music.
Since 2016 he has participated in prestigious Italian Music Festivals: The Riccia Folk Festival, The Fiesta Global of Montefabbri Festival and the Bertinoro Festival, amongst others. In 2020 he played at Alkantara Fest – international Folk & World Music Festival, in Sicily, and in 2021 he signed with the Italian label Caligola Records and releases his new album “Colores”, presenting it in various events and Festivals such as the Ravenna Festival of Cultures and the Songwriting Festival in Venice.
“Colores” is an eight song album of own compositions inspired by popular roots and born through musical encounters, experiences and intense collaborations with musicians of diverse cultures. Recorded live in collaboration with, amongst others, Norman Hogue, Miron Rafajlovic, Abba Suso, Roberto Lorenzo, Aboubakar Syla, Pancho Brañas, “Colores” could best be described as offering a “World Music”style.
REVIEWS
“Colores, an accomplished album full of vibrant rhythms, great for dancing, which we could include in the WORLD MUSIC genre and is crossing beyond our frontiers with Pedro and his band participating in different Music Festivals and International Events”.
Tato Puerto, En Un Mundo Feliz.
“A cheerful and fresh job; different from most of the records in circulation today … Spain, Africa, Caribbean, North America, all the “Colores” of world music in a work that to ascribe to the “world music” genre would perhaps be an understatement: listen to it, there are eight hypnotic songs and engaging, which will not leave you indifferent!“.
Jazz It.
“Original and brilliant mix of: afro-cuban, jazz, funk, blues and rock…with taste and talent, injection of sunny joy“.
Eugenio Mirti, Jazzespresso.
“Colourful album, vital, fresh and greatly optimistic”.
Sonia Frias, Entrelares. Círculo de Bellas Artes
“Bright and fresh music is greatly danceable and in favor of the public”.
GIPSY KINGS by ANDRE REYES Flamenco, Salsa, Pop (FR)
GIPSY KINGS by ANDRE REYES Flamenco, Salsa, Pop (FR)
GIPSY KINGS by ANDRE REYES Flamenco, Salsa, Pop (FR)
GIPSY KINGS by ANDRE REYES Flamenco, Salsa, Pop (FR)
GIPSY KINGS by ANDRE REYES Flamenco, Salsa, Pop (FR)
GIPSY KINGS by ANDRE REYES Flamenco, Salsa, Pop (FR)
GIPSY KINGS by ANDRE REYES Flamenco, Salsa, Pop (FR)
It has been twenty-five years since the Gipsy Kings captured the world’s imagination with their self-titled debut album, a record that became a genuine phenomenon, certified gold and platinum around the globe, introducing millions of listeners to a unique, irresistible blend of traditional flamenco styles with Western pop and Latin rhythms. Since then, the band has toured virtually non-stop, to the farthest-flung corners of the planet, and sold almost twenty million albums, all the while retaining the same line-up of virtuoso musicians.
Now the Gipsy Kings return with SAVOR FLAMENCO, their ninth studio album and first new release in six years. The project marks the first time in their storied career that the Kings have produced themselves and written all of the material. It also starts a relationship between France’s most successful musical group of all time and a new label, Knitting Factory Records.
“Music has always been a passion,” says lead guitarist Tonino Baliardo. “Even after all this time, after all these years of touring and working. It has given us so much. We have matured, we have developed in music, and it has been so good for us.”
Twenty-five years is an eternity in pop music, but the story of the Gipsy Kings reaches back much farther. Theirs is a music that extends through generations, to the sounds of their ancestors, and reflects the eclectic and peripatetic history of the gitanos, Spanish Romani people who fled the Catalonia region during the Spanish Civil War.
The group has been fronted for 25 years by the two songwriters and producers Nicolas Reyes and Tonino Baliardo. The father of Nicolas, Jose Reyes, formed a celebrated flamenco duo with Manitas de Plata which counted the likes of Miles Davis and Pablo Picasso among its fans. When the pair parted ways, Reyes became even more popular after starting his own band, backed up by his sons and called Los Reyes.
When the senior Reyes passed away in 1979, Nicolas and Tonino began playing together in the Southern French town of Arles. They traveled throughout the country, busking on the streets of Cannes, playing wherever they could—weddings, parties, festivals. Having adopted the perpetual motion of the gypsy lifestyle, they eventually translated “Los Reyes” and changed their name to the Gipsy Kings.
“World Music” is often a meaningless catch-all phrase, a marketing shortcut, but as one of the acts that first helped define the phrase, the Gipsy Kings create music that really does cross all borders. From the beginning all the way through SAVOR FLAMENCO, their sound has reflected the constant travel and diverse influences of the gypsy heritage. Their 1987 debut album, which spent forty weeks on the US album charts, introduced the world to “Rumba Gitano”—South America’s rumba rhythm married to the fleet attack of flamenco guitars. That record’s “Bamboleo” became a huge, break-out worldwide hit (more than twenty years later, it even turned up on an episode of the TV series Glee).
Over the years, the music of the Kings incorporated elements of Latin and Cuban styles, Arabic music, reggae, and jazz guitar reminiscent of the French Gypsy master Django Reinhardt. Yet, as heard on the new album, they have never lost their intense connection to the traditional flamenco of their heritage, keeping a spotlight on Tonino Baliardo’s fluid guitar work and Nicolas Reyes’s powerful vocals. This broad cultural mix has enabled the Gipsy Kings to be embraced wherever they play—from China to Brazil, New Orleans to Russia, Australia to Africa.
The band’s music has also remained visible over the years throughout popular culture. They recently performed their version of “Volare,” which was an international hit in 1989, on an episode of Dancing with the Stars. Their rendition of “Hotel California” was included in the film The Big Lebowski and on the HBO series Entourage. The 2010 film Toy Story 3 featured a Gipsy Kings version of the movie’s popular, Randy Newman-penned theme, “You’ve Got a Friend in Me.”
Following the release of their last album, 2006’s Pasajero, the Kings looked at the chaos that was dominating the 21st Century music industry and opted to take a break from recording. They never stopped writing new material and developing songs on the road, though; they began recording SAVOR FLAMENCO two years ago, feeling free to write their own arrangements, select the additional musicians they wanted, and produce their own tracks for the first time ever. When it was time to re-enter the marketplace, they also found an innovative new partner in Knitting Factory Records, an independent label which recently oversaw an ambitious campaign to reinvigorate the catalogue of Nigerian musical/political icon Fela.
For the band, the new album represents both a look forward and a look back. Nicolas Reyes says of “Samba Samba,” the lead single of SAVOR FLAMENCO, that “it’s a song very much from our early years—it was written for parties, sun, joy, and beaches.”
The Gipsy Kings have spent a remarkable two-and-a-half decades at the top, in a category that’s all their own. Yet in those occasional periods when they aren’t touring, the band members still live with their families in the south of France, the area that defined their identities and their sound. Each time, they return to their isolated enclave, and then recreate the experience of immigrants coming to a new land. Certainly, their lives are different from those of their ancestors, but something fundamental still remains; as they continue to travel the world, absorbing new cultures and styles, this mobility, curiosity, and adaptation drives their music ever forward.
And as active as this remarkable collective remains, they are also looking to what the longer-term future will hold for the Gipsy Kings—and for the family bonds that define the group. “Even though it’s been 25 years, we want to keep on making new music because it’s our life, it’s who we are,” says Nicolas Reyes. “But I think there will be a time when we pass down the Gipsy Kings to our sons.”
21 October 2019ArtistsVideos / GipsyKings / Media / VideoGIPSY KINGS FT ANDRE REYES – DJOBI, DJOBA | FESTIVAL DEL HUASO OLMUE 2018 Gipsy Kings, junto a André Reyes, hicieron bailar a todos los presentes con éxitos como “Djobi Djoba”, “Volare”, “Bamboleo”, “El Toro y La Luna”, “Amor, amor, amor”. https://youtu.be/cdz4-FioJ7o TAKE A LOOK TO OUR ARTISTS! WATCH MORE VIDEOS: https://www.coralriff.eu/category/media/video/ KEEP IN TOUCH […] [...]
11 February 2019ArtistsVideos / GipsyKings / Media / VideoLa rumba de Gipsy Kings fa ballar els seus fans als Jardins de Pedralbes Gipsy Kings (André Reyes) 30 June 2017. Barcelona. V Festival Jardins Pedralbes The Gipsy Kings are a French band specializing in rumba Catalan, with a mix between flamenco and traditional pop music.The two families of the original members, The Reyes, fled […] [...]
2 February 2019ArtistsVideos / GipsyKings / Media / VideoVolare (Nel Blu di Pinto di Blu) Provided to YouTube by Sony Music Entertainment Volare (Nel Blu di Pinto di Blu) · Gipsy Kings Après Ski Top 100 ℗ 1989 P.E.M. under exclusive license to Sony Music Entertainment UK Limited Released on: 2019-01-18 Lyricist: Francesco Migliacci Composer, Lyricist: Domenico Modugno Associated Performer, Guitar: Nicolás Reyes […] [...]
31 October 2018ArtistsVideos / GipsyKings / Media / VideoGipsy Kings – Un Amor Gipsy Kings – Un Amor El Amor Brujo, scene: The Gipsy Caves of Granada – Ballet de Martinez Sierra: Candelas a gipsy (Rosita Segovia), Carmelo who loves her (Antonio), Lucia her friend (Carmen Rojas), a sorceress (Pastora Ruiz) and the spectre of her former lover who haunts her (Leonide Massine) […] [...]
31 October 2018ArtistsVideos / GipsyKings / Media / VideoPuerto Sherry Spot Gipsy Kings ft Andre Reyes Gipsy Unidos Tour Gipsy Kings (André Reyes) & A Dos Velas LIVE IN CONCERT 14 de Agosto 2017 Puerto Sherry El Puerto de SANTA MARIA Cadiz. André Reyes (guitarra y voz) de GISPY KINGS: Canta en diferentes estilos que incluyen principalmente elementos tradicionales y populares de flamenco […] [...]
13 October 2018ArtistsVideos / GipsyKings / Media / VideoGipsy Kings (André Reyes) & A Dos Velas LIVE IN CONCERT 3 de Agosto 2017 Starlite Festival Marbella Spain. The Gipsy Kings are a French band specializing in rumba Catalan, with a mix between flamenco and traditional pop music.The two families of the original members, The Reyes, fled to Cataluña during the Spanish Civil War […] [...]
13 October 2018ArtistsVideos / GipsyKings / Media / VideoSuivre nous sur la page officiele du groupe de André Reyes: https://www.facebook.com/andrereyesdesgipsykings TAKE A LOOK TO OUR ARTISTS! WATCH MORE VIDEOS: https://www.coralriff.eu/category/media/video/ KEEP IN TOUCH Landline: +39 090 2149333 Mobiles: Italy +393406953499 Abroad +4915753335416 (also Whatsapp) SOCIALS Skype: Coral Office Facebook: Profile, Page LinkedIn: https://de.linkedin.com/in/fabrizio-borgosano-33b90030 YouTube: https://www.youtube.com/channel/UCPOpu-zLvRM5TIKYk7SDQkA Twitter @CoralRiffMB Tweets by CoralRiffMB [...]
8 October 2018ArtistsVideos / GipsyKings / Media / VideoThe Gipsy Kings are a French band specializing in rumba Catalan, with a mix between flamenco and traditional pop music.The two families of the original members, The Reyes, fled to Cataluña during the Spanish Civil War like many others before, finally living in France. GISPY KINGS: André Reyes (Guitar and Voice) Sings in different styles […] [...]
28 September 2018ArtistsVideos / GipsyKings / Media / VideoGipsy Kings (André Reyes) The Gipsy Kings are a French band specializing in rumba Catalan, with a mix between flamenco and traditional pop music.The two families of the original members, The Reyes, fled to Cataluña during the Spanish Civil War like many others before, finally living in France. GISPY KINGS: André Reyes (Guitar and Voice) […] [...]
Akinola Sennon started attending the Joseph School of the Arts in 1991, from age seven, learning to play the cuatro and studying the theory of music. He then moved on to playing two other instruments, the guitar and the piano at the said music school in Siparia, under the tutelage of Mr. Ashford Joseph. By age ten, Akinola was arranging musical compositions for his sibling to perform at his school concerts and recitals, since they all attended the same school.
Akinola Sennon started playing the steelpan in Standard Three with Mr Roland ‘Moose’ Joseph and at that point, he fell deeply in love with the instrument. During this time, he also played the guitar with the school and church choir. Miss Valdez, the school choir Mistress, was quite a huge influence in developing his musical ability. Mr Joseph nurtured his talent during that early period by taking him to many competitions and exposing us to the steelpan fraternity. Akinola Sennon remembers Mr Roland ‘Moose’ Joseph taking him to Pantrinbago’s Annual General Meetings and introducing him to various persons.
Akinola Sennon joined Siparia Deltones in 1996 for the Panorama season and also the Stage Side. It was there that he met Mr Carlton ‘Zanda’ Alexander. Akinola vividly remembers him asking him one day, “Young man, do you know your scales?” to which Akinola Sennon said “Yes.” He then instructed him, “Play me this scale,” which Akinola did. He then replied, “Ok, well do you know your chord scales?” Akinola again answered, “Yes.”He instructed, “Well play me this chord scale.” Akinola played the scale and he then requested him to play him the same chord scale from the 2nd inversion and that was where the trouble started. That was the beginning of a 17 year old relationship. Akinola has been his understudy since then.
Akinola Sennon was inducted as a member of the Coal Pot band which was led by Mr. Zanda. This band was basically a Kaiso/Jazz fusion ensemble with horns, vocals, piano, bass guitar and steelpan. He performed extensively at all the leading jazz and fusion shows throughout the nation, including Tobago Jazz Festival, San Fernando Jazz Festival, Sanch Apri Carnival, Siparia Jazz Festival, Point Jazz Festivaland many more. At age 18, he also began playing with Clive Alexander, Carlton’s older brother. This was also quite an experience and has significantly contributed to his overall development, especially his weekly performances at the Satchmo’s Jazz club on Ariapita Avenue for a number of months.
In 2003, Akinola Sennon became the captain of Siparia Deltones’ junior band and later went on to become the captain of the senior band. He has worked with the National Steel Symphony Orchestra for one year and the Pan in the Classroom Unit. Akinola Sennon has taught at Forest Reserve Anglican School, Fyzabad Presbyterian School, Iere High school, Palo Seco Government School and Trinidad Renaissance Preparatory School.
In 2009, Akinola played the role of the musical director for steel pan promotion in Canada, where, Siparia Deltones and I, did workshops throughout the country.
As an Arranger, he has composed for the Southern Marines Steel band Foundation placing 3rdin the Small Band Category of the Panorama competition of 2010. He won the Primary School category of the Sanfest Competition for four years in a row from 2010; three times with Forest Reserve Anglican School and one year with Trinidad Renaissance Preparatory School of which he is their musical director. Akinola Sennon also won the Pan for Blue Competition with Forest Reserve Anglican School in 2013.
He is presently the executive director and musical director of Siparia Deltones, where his intention is to have this instrument evolved globally. The designer of the band’s syllabus and course structure is what he is. Together with his band, Siparia Deltones, in 2013, they recorded an album with Hugh Masekela for which Akinola Sennon played the role of Project Coordinator and steelpan soloist.
Earlier this year, he travelled to the Netherlands to participate in the Amsterdams Conservatorium Van Summer Jazz Workshop where he is the first pan player to be accepted to be part of the prestige workshop. After that experience in the Netherlands, Akinola Sennon made a decision that the world should hear his voice more loudly via his pan. For whilst there he usually was approached and asked about his upcoming tours and albums due to students being overwhelmed by his playing ability. Akinola made the decision to do his first album, a project of the Deltones Institute of Steel Drums and music in collaboration with Berklee College, New England conservatory and Manhattan School of music students. Then he journeyed to the States where he auditioned students for the project.
This project was called Cousoumeh which received a record label contract from leading label Ropeadope Records. He also developed the concept of the album into a festival called the Cousoumeh festival. Both the album and the festival have been very successful thus far.
Akinola Sennon continues to work in the area of steelpan development, arranging and music education.
Gaia Mobilij’s Istanbul Project began in Istanbul, Turkey in 2018 with the addition of the musical talents of Aaron Goldsmith and Peter Salvucci. Forming a unique blend of Balkan, Turkish, Latin, and the original compositions of Gaia, the Istanbul Project features a cosmopolitan arrangement of sounds that combines Funk, Psychedelic, and Pop along with traditional Middle-Eastern and Balkan styles in a complete, transcendent musical experience. This extension of Gaia Mobilij’s creative mind and musical artistry provides an original and danceable sonic environment satisfying a variety of tastes for both the familiar and the new.
The Istanbul Project | VIDEOS
Gaia Mobilij | MUSIC
The Istanbul Project | PROMO AND TECHNICAL MATERIAL
A story of migration from the West to the South – resonates in his music, which creates a conscious dialogue between West African and South African sounds. This musical fusion demonstrates the path to a new and culturally integrated Africa in which a common heritage is reinforced to meet the needs of today’s world. His quest is for African unity at a time when he believes Africa should claim its rightful and proud place in the world.
Femi Koya’s debut album “Just in Newtown” is evidence of the rich melodies that result from this fusion. Through his versatility on the saxophone, he breathes new life into African world music. “Iba” meaning “Homage” is the title of Femi Koya’s album which was launched in August 2015. The Iba album also calls for African unity and makes a plea for human rights to be respected. But the album also celebrates Africa’s love of life with infectious dance numbers that bring fans to their feet. His Iba album also features the Soweto Gospel Choir, Pops Mohamed, Stompie Manana, Prince Lengoase and Kenny Mataba and poetry by Pitika Ntuli and Lisa Combrinck.
His 2018 album “Village Afrobeat” is an African party, jazzed up with Afrobeats horn arrangements, with talking drum and percussions driving the African heartbeat. Songs such as Babalawo, Lerato, Alo and Kongo enable new generations to understand the significance of African unity as well as providing a nostalgic look at village culture and its life lessons.
The songs tell stories of what happens in villages and especially in fables, with animals like the tortoise, the role of the town criers, village men and women as part of the whole village lifestyle. The songs also depict nature, fertility, rituals, change of seasons and traditions essential to village life. 2019, he is re – releasing a remix EP “Ori Mi” and Single “Iba” in June 2019 following with a world tour.
His musical influences include Fela Kuti, Bob Marley, Manu di Bango, Hugh Masekela,Baaba Maal and Sonny Rollins. He has shared the stage with Youssou N’dour and Yvonne Chaka Chaka at the CAF (Confederation of African Football Awards) in Lagos and with John Legend in his first South African tour in Cape Town. He performed alongside the king of Juju music, Sunny Ade, at the Glo launch in the Republic of Benin. Other colourful festivals featured Femi Koya’s acrobatic music, where he performed alongside the Wynton Marsalis, Oliver Mtukudzi, Habib Koite, Salif Keita, Baaba Maal. He has recorded with Simphiwe Dana, Pops Mohamed ,Yvonne Chaka Chaka, and performed with Baaba Maal, Angelique Kidjo, Wizkid just to mention a few.
Other events where Femi Koya has laid his marks include, RSA Department of Arts and Culture and dedicated a song to the Haitian people. Femi Koya was part of the Radio 2000 song for Madiba. Starred the Joburg Theatre Africa day celebrations 2015, paid tribute to Fela Kuti with Lura of Cape Verde, Abena Koomson NY/Ghana, Lira and Ringo Madlingozi of South Africa.
Davide Borra – Accordeon and keyboards
Denny Bertone – Electric and lap steel guitar
Mattia Floris – Voice and guitar
Alberto Santoru – Electric double bass and percussions
Magasin du Café special project: “CONCERTO A PEDALI” (IT)
Hypnotics is the definition that best suits them… This is the Magasin du Café!
Something explosive that wasn’t there yet and finally arrived. A mixture of elegance and energy, grace and effrontery, style and vehemence enclosed in a spiritual vortex. Their choice to do acoustic live performances in uncontaminated places, in the high mountains or in the most remote forests on the border between Italy and France is because of this desire to merge as much as possible with the mother of all mothers: NATURE.
Music that speaks to us of ancient traditions, in which the great North mixes with the East, the shamanic songs of America and Africa become modern. The sound is universal, the influences are exotic but without geographical connotation, they mix rock, jazz, and fusion, in a dialogue between four unprecedented musicians!
BIO
Magasin du Café was born in 2012 as a side project of the components, with a strong vocation for street art.
At first it becomes a way to explore intimate and ironic bistro music, ancient music to be recovered. The transition to world music was natural, looking more and more for the common roots of music and drawing from the common cultural baggage that ranges from classical to fusion, from folk to rock. Magasin du Café is striking for its ability to interpret very different genres, thanks to a highly respectable technical background.
Over the years their language has become unique and unitary, as has their sound. With the release of Samsara, their first completely unreleased record, the themes have become more mature, the result of the mix of styles that the musicians bring to the stage.
Magasin du Café project now has a more intimate and conceptual soul, but very enjoyable and exciting. In different situations they play acoustic live in uncontaminated places, in the high mountains or in the most remote woods on the border between Italy and France, for the desire
to blend as much as possible with the mother of all mothers, the Nature.
Their concerts are meditative and often manage to bring the audience into an almost hypnotic state. Music that speaks to us of distant traditions, in which the great North mixes with the East, the shamanic songs of America and Africa become modern. The sound is universal, the sounds are exotic but without geographical connotation, they mix with rock, jazz, fusion, in an unprecedented dialogue between the four musicians.
