Chegou mais um Fim-de-semana . Será tempo para me deliciar com a " Musica di Nô Tchon ". Hoje andei a vasculhar na Net a música do meu amigo Manecas Costa .Parei na página da Editora do Manecas, a Sasa Music e aí encontrei notáveis referências á música deste nosso irmão na imprensa Inglesa .
A Editora Sasa Music é também a etiqueta de outros músicos Africanos consagrados , tais como Mory Kanté ,da República da Guiné , Tinariwen , do Mali , Cheikh Lo , do Senegal e os Monstros SAGRADOS e CONSAGRADOS, Bembeya Jazz National .
TRIBUTO A MANECAS COSTA
Manecas Costa is one of the finest new voices to emerge from Africa. A singer-songwriter and virtuoso guitarist from Guinea Bissau, his music is rooted in the rich traditions of 'gumbe' the music of his homeland. But it is also contemporary, equally at home with acoustic and electric styles, reflecting the soundscape of Portugal, where he now lives.
Biography:
Manecas Costa is one of the finest new voices to emerge from Africa. A singersongwriter and virtuoso guitarist from Guinea Bissau, his music is rooted in the rich traditions of his native homeland. But it is also absolutely contemporary, equally at home with acoustic and electric styles, reflecting the soundscape of Portugal, where he now lives, His music is intensely lyrical, with gorgeous melodies, as in his best-known song, "Fundo de matu", a current hit in Portugal. His virtuoso and melodic approach to the guitar makes him one of Africa's most distinctive musicians (many will have heard him as the solo guitarist for Angolan singer Waldemar Bastos). Writing all his own material, he weaves a powerful texture and rich musical tapestry inspired by the unique roots music of Guinea Bissau. Manecas has been signed by the BBC Late Junction label to be their first world music artist with an album released in May 2003. Produced by Lucy Duran (producer of the acclaimed Kulanjan, & New Ancient Strings; and presenter of BBC Radio 3's World Routes) and Jerry Boys (of Buena Vista Social Club fame), it has been recorded partly in Guinea Bissau, using a mobile studio installed in one of Bissau's nightclubs called Rio; and partly in London's Livingston Studios. Entitled "Paraiso di gumbe" (gumbe paradise), the album is both acoustic and electric, and explores the raw and vibrant sounds of Bissau's so-far untapped traditions coupled with Manecas' inimitable singing and guitar playing, as well as some of Manecas' most sublime and driving original compositions featuring his own Lisbon based band composed entirely of musicians from Guinea Bissau.
The music of Portugal's five former African colonies, of which Guinea Bissau is one, has recently been emerging as a powerful force on the world music scene, through artists such as Cesaria Evora from Cape Verde, and Waldemar Bastos from Angola. But so far, the diverse and powerful musical styles of Guinea Bissau have rarely been heard outside Africa with almost no recordings available.Guinea Bissau is a small country, sandwiched between Senegal and Guinea-Conakry. Yet it has an important history, with many different ethnicities and religions living in close proximity to each other, each with its own unique music, as well as a long-established Creole culture.
One of the main styles of Creole music in Bissau is called gumbe, a catchy rhythm played on a water drum, with a dance that rivals salsa for sensuality. The deep expressive tones of the water drum are the foundation of much of Manecas' music. Gumbe was actually first created in Jamaica among slave communities, but was reintroduced to Africa in 1800 when a group of slaves were "returned" to the west coast of Africa. Early reports in 19th century local newspapers advised people to "lock up their daughters" because gumbe was on its wayŠ once again, with the music of Manecas, these rhythms are set to stir the world.
Bissau was once the centre of the great Mandinka kingdom of Kaabu. It was here that the kora first developed, and still today, Bissau boasts many great kora players. There are also the beautiful choral traditions of the Manjak and Jola peoples, the dancing balafons of the Balanta, and the haunting water drums of the Creole. When Guinea Bissau finally achieved independence in 1974, after a long and bloody struggle, a new and vibrant music began to emerge. Some of its artists, like the dance band Mama Djombo and the guitarist Jose Carlos Schwarz, were well known throughout West Africa. It could have been as famous for its music as neighbouring Mali and Senegal. But intermittent fighting stifled the local music industry, forcing many of its most talented musicians to emigrate, including Manecas Costa.Manecas was born in 1967 in Cacheu, a colonial town in the north of the country, into a family of the Manjak ethnic group, but who had largely adopted the local Creole language and culture. His musical environment in his childhood consisted of local rhythms such as gumbe and kasunde, , as well as the dance music of Guinea Conakry, Congo, Senegal and Mali. As a small boy, he had the good fortune to meet the late Jose Carlos Schwarz, one of Bissau's most revered musicians, someone who was greatly admired by Miriam Makeba, among others; this encounter inspired Manecas to take up the guitar.
He began playing guitar at the age of nine and together with his older brother Nelson, created the group, "Africa-Livre". Overnight the group became well known. When Manecas was just ten years old, they were invited to perform in the capital as the support to Cuba's famous charanga band, Orquesta Aragon. The next year, Africa-Livre were chosen as the top band in the festival competition "Modern Music in Bissau".During his teens Manecas became a local star, known for his formidable technique on both acoustic guitar (entirely self-taught) as well as electric bass, and his charismatic and passionate voice, and his own compositions. His song lyrics addressed the issues and concerns of Guinea Bissau, many of them talking about the problems facing women and young children. He was widely recorded on national radio, and many of his songs were huge local hits.In 1987 he was invited to participate in the annual "Decouverte" festival organised by Radio France International, a major showcase for new talent from Africa, the Caribbean and the Pacific, marking his first international exposure. The same year, when he was still only 20 years old, UNICEF appointed him Goodwill Ambassador, in recognition of his beautiful melodies and social lyrics. A person with a strong social conscience, he was an official participant in Bissau's national vaccination programme, making appearances around the country in support of the campaign.
In the late Œ80s he travelled widely, performing at festivals in Cape Verde, Angola, Italy, Portugal, and North Korea. Then in 1990, with Bissau once again engaged in warfare, he moved to Lisbon. The first few months were difficult he did not even have a guitar but gradually he began to be known on the local scene, performing with such musicians as Paulinho Vieira, former pianist of Cesaria Evora. He also recorded his first solo album, "Mundo di femia", with the support of UNICEF. The success of this album launched him on a new career as producer and arranger as well as performer and composer, producing many albums by Lisbon-based African artists. From 95-98 he was guitarist for Waldemar Bastos (released on Luaka Bop Records) with whom he toured Europe and the USA to great critical acclaim. Also during this period he worked closely with Cape Verdean musician Bana. He has recorded with many international artists including the Spanish producer Jose Romero (of Mestisay) and French-Malian group Tama (Real World) together with UK artist Susheela Raman. The Spanish-based group Bidente (Nube Negra label) credit him as their main inspiration. Most recently (2002) he has toured in Spain with one of Portugal's most promising young singers Sara Tavares (of Cape Verdean descent). Portugal is a country that is notoriously isolated in terms of its music industry, making it a struggle for its musicians especially those from African communities - to reach wider audiences. Manecas' second solo album, "Fundo di matu", was entirely self-produced in Lisbon's EMI studios. Though it has not reached a wider market, two of its most outstanding tracks, "Ermons di terra" and "Fundo de matu" were selected for inclusion on Stern's compilation entitled Palop Africa (Stern's music, 2001). Since then he has toured Europe playing many major festivals including Spain's La Mar de Musicas in 2002 where he caused a sensation on stage and received unanimously excellent press.
"Paraiso di gumbe" shows that Manecas is the new voice in the great constellation of West African stars.
MANECAS COSTA
PRESS :
"Paraiso di Gumbé" released 12.5.03 in UK
"an exquisite debut album..surely one of the best African albums of the year" (THE GUARDIAN)
"confirms a major new talent ... a remarkably rounded effort" (Q)
"Paraiso de Gumbe is a delight." (THE OBSERVER)
"Paraiso de Gumbe is the equivalent of an afternoon on an equatorial beach." (THE TIMES)
"an album of great textural depth" (MUSIC WEEK)
"simply one of the great African singer-songwriters...uplifting, reassuring, hope-restoring" (STRAIGHT NO CHASER)
"thrilling" (FINANCIAL TIMES)
"traditional music for the 21st century" (WHATS ON)
"brilliant" (JAZZWISE)
"a disc that swings seductively to the rhythm of gumbe...'Paraiso de Gumbe' is a very special album indeed." (SONGLINES)
"a very special album indeed" (SONGLINES)
".there's a swaying sensuality to this music that goes straight to the marrow..an extremely good album" (DAILY TELEGRAPH)
"..bound to be one of the world music records of the year" (DAILY TELEGRAPH)
"a sparkling gem.....one of the brightest stars in the African firmament" (THE TIMES PLAY)
"a brilliant guitarist with a tenor voice that's smoother than palm wine" (TIME OUT)
"quite exceptional...Costa puts his country firmly on the musical map with a beautiful work of surprising maturity." (WANDERLUST)
"This is a sublime hothouse flower of West African music" (CITY LIFE, MANCHESTER)
"Paraiso di Gumbe is full-hearted, life-affirming, at once spiritual and sensual." (CITY LIFE, MANCHESTER)
"No album has ever portrayed the vast musical breadth of this tiny West African country so beautifully" (FROOTS)
"It's an album that's steeped in tradition, yet sounds refreshingly modern, that gently evokes the landscapes of Africa, while reminding of Latin America and Southern Europe at the same time." (FROOTS)
".this is a charmer, a relaxed acoustic stroll through West Africa's love affair with Latin music" (MOJO)
".Costa's acoustic guitar is gorgeously fluid throughout and his voice rich and warm..a star is born and the musical map redrawn" (HMV CHOICE)
"...In an area of music blessed with many excellent releases, this one still shines through" (BIRMINGHAM POST)
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