1 	Las Marmotas 	
2 	La Campanera 	
3 	Cariñito 	
4 	Dear Someone    Featuring – Norah Jones
5 	Clandestino 	
6 	Dos Botellas de Mezcal 	
7 	La San Marqueña 	
8 	Sé Feliz    Featuring – Gepe
9 	Son Del Chile Frito 	
10 	Los Caminos de la Vida 	
11 	La Llorona 	
12 	Cariñito (Mexican Institute Of Sound Mix) Featuring – Panteón Rococó
13 	Tiembla 	
14 	La Cumbia Del Mole 	
15 	Querido Alguien (Dear Someone)    Featuring – Norah Jones
16 	Son de Ejutla

Accordion – Ángel Pedraza de Grupo Kual (tracks: 1)
Accordion, Vocals – Ángel Pedraza de Grupo Kual (tracks: 2, 5)
Band – Banda Misteriosa de Oaxaca (tracks: 1, 2, 3, 6, 10, 13, 16), Banda de Jóvenes de CEMXHA (tracks: 8),
 Costa Azul (tracks: 10, 13), La Misteriosa (tracks: 4, 5, 7, 8, 9, 15), La Sonora Tropicana (tracks: 1, 2, 3, 5)
Guitar – Sostenes Mancera Xolalpa (tracks: 14)
Guitar, Synth – Marco Carrión (tracks: 1)
Jarana – José Manuel Jiménez Reza (tracks: 5)
Keyboards – Camilo Lara (tracks: 13), Joaquín Rosendo Campero "Pelón" (tracks: 13), Lauro López Hernández (tracks: 14),
 Marco Carrión (tracks: 13)
Mellotron – Camilo Lara (tracks: 4, 15)
Percussion – Oscar "La Vaca" Rojas (tracks: 2, 10)
Piano – Norah Jones (tracks: 4, 15)
Saxophone – Missa* (tracks: 12), Yair Noé Cruz (tracks: 5, 7, 9)
Timbales – Ricardo López Ponce (tracks: 14)
Trombone – Hiram Arencibia Rodríguez (tracks: 3, 10), Paco (tracks: 12)
Trumpet – Ignacio Soriano Martínez (tracks: 7, 9), Juan Alejandro González Villaseñor (tracks: 4, 8, 15)
Vihuela – José Manuel Jiménez Reza (tracks: 4, 8, 15), Juan Alejandro González Villaseñor (tracks: 5)
Vocals – Shenka (tracks: 12) 

For two decades, Mexican-American singer/songwriter Lila Downs has showcased the various musical styles of her two nations, presenting a global approach to the music of the Americas. Born in Oaxaca and raised there and in Minnesota, Downs has spent her career underscoring the differences between Latino and Anglo cultures, and celebrating them holistically through musical styles ranging from cumbias, mariachis, and rancheras to jazz, folk, hip-hop, and blues in a variety of languages including Mixtec, English, Spanish, and Zapotec, among others. Al Chile was recorded over a year in Mexico City, Brooklyn, Oaxaca, and on a farm in Juchitán de Zaragoza. Musically, it is simultaneously a logical extension of her ambitious vision, and a striking new direction. Produced by Camilo Lara (Mexican Institute of Sound) and mixed by Mario Caldato, Jr. (Beastie Boys), the record's sounds reach deeper into urban Latin pop without forsaking their folk roots. More than 180 musicians participated in these sessions including several regional orchestra like the 176-piece Banda Misteriosa de Oaxaca, a band devoted to rhythmic and harmonic invention. Norah Jones and Chilean singer Gepe (Daniel Alejandro Riveros Sepúlveda) also guest.

Comprised of originals and covers, the album's second single, "Clandestino," was penned and recorded by Manu Chao during the '90s; it's a fine example of the musical flavors at work here. Downs' reading is a protest of current U.S. immigration policies, delivered from a feminine perspective -- a mother's. She keeps the original lyrics that depict people living like outlaws because they lack documentation, then ad-libs with real pain: "If we’re not going to take care of our children, who will?" Downs takes the reggae backdrop of Chao's original and transforms it into an electro cumbia as Lara adds dubwise elements to bridge the gap. Another single, a reading of the Peruvian classic "Carinito" by Ángel Aníbal Rosado was recorded with La Sonora Tropicana and La Banda Misteriosa de Oaxaca; it combines joyous cumbia with chichi and mariachi. There are two versions of "Dear Someone" by Gillian Welch and David Rawlings, with Jones duetting with Downs. Transformed into a mournful, passionate ranchera duet, it is presented in Spanish and English. Gepe duets with Downs on the immortal ballad "Se Feliz," adorned with subtle loops, ringing, phase-shifted guitars, and glorious mariachi horns. The traditional "La Llorna" is one of the most original takes ever recorded thanks to its martial snares, waltz tempo, and passionate vocal framed by the expansive harmonic reach of Banda de Jóvenes de CEMXHA. Of Downs' originals, "Son del Chile Frito" is a swirling cumbia criss-crossed with hip-hop, while "La Marmotas" is a funky, rhumba-tinged cumbia. The set-closer "Dos Botellas de Mezcal" is a polka played by a conjunto norteño augmented by fat, bright winds, reeds, and brass, sending the entire recording out on a celebratory note. Al Chile is one of Downs' most ambitious recordings; thanks to the selection of Lara as producer, it's also the among the most enjoyable. More than likely given its flavor, diversity, and reflection of the times we currently live in, it will resonate in rural pueblos and urban plazas simultaneously. ---Thom Jurek, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back

1 	Urge	
2 	Palabras de Mujer
3 	Peligrosa	
4 	Tus Pencas
5 	La Mentira
6 	El Querreque
7 	Inmortal
8 	Piensa En Mí
9 	Envidia	(Featuring – Andrés Calamaro)
10 	Seguiré Mi Viaje
11 	Ser Paloma
12 	Son de Juárez	(Featuring – Banda Tierra Mojada)
13 	Un Mundo Raro	(Featuring – Diego "El Cigala")
14 	Peligrosa	(Featuring – Mon Laferte)

Accordion, Jarana – Leo Soqui
Acoustic Bass, Guest – Arturo Báez (tracks: 1, 2, 5, 7, 8, 10, 13)
Acoustic Guitar – Ángel Chacón
Baritone Saxophone, Guest – Jorge Brauet (tracks: 12)
Clarinet, Guest – Virgilio Ruiz García (tracks: 12)
Drums, Cajón – Yayo Serka (tracks: 3, 5, 11, 12)
Electric Bass – Giovanni Buzzurro (tracks: 1, 4, 6, 9, 12), Luis Guzmán (6) (tracks: 1, 3, 11, 12)
Electric Guitar – Rafa Gómez (tracks: 1, 3, 10)
Percussion – Patricia Piñón (tracks: 1 to 3, 6 to 10, 12)
Percussion, Guest – Ángel Mario Ruíz García (tracks: 12)
Photography – Natalia Toledo
Tenor Saxophone, Piano – Paul Cohen (tracks: 1, 6, 8 to 12)
Timbales, Drums – Luis Huerta (tracks: 1, 4, 6 to 9, 12)
Trombone, Guest – Enrique Vázquez (tracks: 12), Javier Hernández Pacheco (tracks: 12)
Trombone, Tuba, Guest – Álex Díaz (tracks: 1, 4, 6, 8 to 12)
Trumpet, Trombone, Arranged By [Arreglo De Metales] – Jerzaín Vargas
Tuba, Guest – Pedro Ruíz García (tracks: 12)
Violin, Guest – Israel Torres (tracks: 3), Julián Martínez (tracks: 7, 11)
Violin, Vihuela, Guitar [Leona], Arranged By [Arreglo De Violines] – Ulises Martínez

On 2015's Latin Grammy-winning Balas y Chocolat, Lila Downs delivered an album of folk songs and originals that juxtaposed modern Mexico with its rich history. It songs highlighted the impact of the drug war, environmental devastation, and the widening rift between economic classes in Mexico. Downs believes an artist's role is not only to create but to be an activist. Salon, Lagrimas y Deseo is in many ways an extension of Balas y Chocolat, though its emphasis is different. Here Downs employs classic and original songs to deliver a feminist manifesto with forms ranging from cumbia to danzon, rancheras to blues, son to banda and conjunto. Set-opener "Urge," by Uriel Martin, is a passionate confession of loneliness and raw pain that only love and affection can assuage. But Downs' women refuse to be conquered by desolation. Her first single is the self-penned "Peligrosa" ("Dangerous") a paean to "Las Adelitas" -- female revolutionaries who dare to live as they wish, accepting the pain, tears, and consequences that are sometimes the cost of freedom. She is accompanied by a rock quartet and a full mariachi orchestra, and delivers the song as a ranchera blues. It's followed by "Tus Pencas," a riotous erotic banda. She covers two gorgeous love songs by Augustin Lara: "Palabras de Mujer" is a bittersweet ballad that reflects on attraction even when it's not what we want, and "Piensa en Mi" is a son that paints commitment as something only women can truly understand. Alvaro Carillo's "La Mentia" is delivered as a jazz ballad by a mariachi band. Downs' vocal combines the phrasing of Dinah Washington and Omara Portuando. Carla Morrison guests on "Ser Paloma," a hybrid of tender ranchera and bittersweet indie rock. Its first verse translates into English as "Not in my dreams, nor at dawn/You do not command, you do not command/Not in my house, not in my life...You do not command...." Downs and Morrison's entwined voices are devastating against the percussion, muted trumpets, and strings. "Son Juarez" is a burning modern son-cum-cumbia performed with Banda Tierra Mojada; it's a tribute to Benito Pablo Juárez García, a Mexican lawyer and politician of Zapotec origin from Oaxaca who served as Mexico's 26th president. He ushered in what is known as La Reforma del Norte. The great Spanish flamenco singer Diego el Cigala joins Downs for Jose Alfredo Jimenez's broken-hearted classic "Un Mundo Raro," made immortal by Chavela Vargas; it's made sadder by the singers resolving to protect their lost love by lying to the world as Downs enhances the song's meaning; in this duet both partners are left, both are bereft -- lost love is a shared tragedy. Downs closes the set with a more swinging reprise of "Peligroso" in duet with Chilean singer/songwriter Mon Laferte underscoring the album's true theme of women as dangerous when they take freedom as their mantle. With Salon, Lagrimas y Deseo, Downs honors traditions from Mexico and throughout Latin America without succumbing to their weight, and stands tall as she does so. ---Thom Jurek, AllMusic Review

Lila Downs creó una serie muy personal de canciones con raíces indígenas mexicanas y sonoridad norteamericana. Cuando su carrera estaba comenzando, entabló con el pianista de jazz Paul Cohen una relación personal y profesional cuyo primer fruto fue el cassette Ofrenda (1994) editado por ellos mismos. Dos años más tarde le siguió otro cassette, Azuláo: En Vivo con Lila Downs, con una de sus canciones ganadora del premio a la mejor composición original de Latin Jazz en un concurso de Filadelfia. Junto con el jazz fue desarrollando lentamente un estilo folklórico más intenso que comenzó a hacerse sentir en 1997 con La Sandunga. Tree of Life, Border (La Línea), Una Sangre (One Blood), y luego, La Cantina. ---Chris Nickson, itunes.apple.com

download (mp3 @320 kbs):

yandex mediafire uloz.to gett

back

1 	Viborita 	4:16
2 	Dignificada 	3:44
3 	Cielo Rojo 	3:55
4 	La Bamba 	4:13
5 	One Blood 	4:38
6 	Malinche 	4:00
7 	Tirineni Tsïtsïki 	3:20
8 	La Cucaracha 	4:38
9 	Mother Jones 	3:28
10 	Paloma Negra 	4:30
11 	Brown Paper People 	4:16
12 	Una Sangre 	3:24
13 	Yanahuari Nïn 	1:21

Lila Downs (vocals, acoustic guitar, guiro)
Ernesto "El Canella" Anaya (acoustic guitar, vihuela, violin)
Celso Duarte (charango, harp, jarana, vihuela, violin)
Yunior Terry Cabera (acoustic bass, electric bass)
Yo-Yo (drums, bombo, percussion)
Satoshi Takeishi (kanjira, udo drum, taiko)
Guilherme Monteiro (acoustic guitar, electric guitar)
Marvin Sewell (electric guitar, bouzouki)
Paul Cohen (clarinet, tenor saxophone, keyboard programming)

Una Sangre (One Blood), Lila Downs' fourth album for the Narada label, is her most restless. Downs is best known to American audiences for her appearance in the film Frida (about the legendary Mexican painter Frida Kahlo) and her major contribution to the film's soundtrack. She has long been in the trenches knitting the indigenous music of her native lands -- Mexico and the United States -- into a sonic fabric where traditional Mexican folk songs, richly textured pop, and American blues and jazz music mix with Spanish and English lyrics that also contain Mexico's Mayan, Zapotec, Nahuatl, and Mixtec Indian dialects. Downs' previous recordings have always been deeply satisfying; they combine a musicologist's world with the fiery heart of an activist poet. Una Sangre is the next step. Here, over the course of 13 songs, she takes a wondrously heady mix and deepens it with other musical elements that come from further afield, and she goes off the deep end into something new and wondrous. She uses Middle Eastern modalities and melodies, Afro-Cuban and Brazilian rhythms, hip-hop cadences, and reggae and even gospel influences, and extrapolates into this mix a dazzling lyrical array, adding Purepecha, an Indian dialect from the central Michoacan region, and Trique, an actual language from one of the 16 divergent ethnic groups who coexist in Oaxaca! Her husband, saxophonist and musical director Paul Cohen (from New Jersey) has woven a tight-knit group of multi-instrumentalists who come from the U.S., Paraguay/Mexico (Celso Duarte), Cuba (Junior Terry Cabrera), Chile (Yayo), and Brazil (Guilherme Monteiro), with guest appearances by Mexican and American guitarists Ernesto Anaya and Marvin Sewell, as well as the renowned Japanese percussionist Satoshi Takeishi. Downs' confidence is remarkable. Her readings of age-old folk songs like "La Bamba" and "La Cucaracha" remove the racist novelty and caricature character they have been saddled with outside Mexico, and restate them with their original ferocity and dignity as communal songs. On the title cut, her band employs dread reggae and she a dry, smoky jazz vocal that is nothing less than sultry and stretches the melody to the point of fissure. "Mother Jones" uses Delta-style blues gospel as a way of slipping into the murk of the Afro-Caribbean diaspora, while "Cielo Rojo" can only be called a Spanish desert blues, with three very different guitars carrying on above the subtle rhythms and Downs' mournful voice coming from the throaty dust and reaching a steamy falsetto that contains all the sorrow in the world. There are no respites from excellence and no false starts on Una Sangre; it is a most daring set performed with passion, focus, and vision. It offers the listener not only considerable pleasure, but the possibility for a new musical paradigm as well. --- Thom Jurek, Rovi

download (mp3 @320 kbs):

uploaded yandex 4shared mega mediafire zalivalka cloudmailru oboom uplea

back