#Wagram Music

[sinceileftyoublog]

Fatoumata Diawara Live Preview: 10/6, City Winery, Chicago

BY JORDAN MAINZER

You'd think that an album cheekily titled London Ko (a play on the Malian capital of Bamako) might evenly place Fatoumata Diawara's singing and electric guitar playing alongside her notable cast of collaborators. Yet, the singer-songwriter's fifth album (3ème Bureau/Wagram Music), her finest yet, is as personal as it is a showcase for her band and featured contemporaries. Yes, six of the album's fourteen tracks were co-produced with Damon Albarn, and Diawara's mix of falsetto vibrato and smoky baritone nestles comfortably within the confines of everyone from the Brooklyn Youth Chorus to the soulful breaths of Angie Stone. But it's Diawara's poignant diatribes and life-affirming tributes that make the album stand out.

London Ko is primarily an album of uplift. "Somaw" and "Mogokan" are sweet tributes to family and brotherhood. The former looks back at Diawara's move from Bamako to France, featuring finger-snapped percussion built around acoustic guitar arpeggios and staccato piano. The latter, which features Ghanaian rapper M. Anifest, sports hip hop rhythms and drum fills and gospel-inflected keyboards. In fact, Diawara bolsters her influences throughout the record, emphatically journeying through Black music all over the world. From the house piano of "Massa Den" and dub of "Dambe" to the West African blues of "Dakan" and the funk of "Tolon", Diawara centers the declaration to "Let us unite and be one." Perhaps most thrilling is "Blues", featuring Cuban pianist Roberto Fonseca, his trills dancing atop forward-charging drums.

But as celebratory as London Ko often sounds and is, it does its fair share of mourning, too. On "Sete", like on Fatou's "Boloko", Diawara decries the practice of FGM, this time atop mournful keys and bluesy guitars. The forceful "Yada" sees her proclaim her worth, perhaps in contrast to a rich man, blistering guitar solos and fried keyboards carrying her singing. These songs are reminders that, to Diawara, making music--especially as a Malian woman playing guitar--is as much a political act as an artistically fulfilling one, never taking for granted the power of her own voice.

Diawara plays tonight at City Winery. Tickets are still available at time of publication. Doors at 6:00 P.M., show at 8:00 P.M.

[kaysha2201]

Winter Club Hits 2016

Winter Club Hits 2016

[ozkar-krapo]

V/A

"Girls Rock"

(LP. Wagram Music. 2019 / rec. 1955-68)

[thisisrealy2kok]

10 Years Of Techno (1998) - Wagram Music Label

[whileiamdying]

SETE is a call to the world, I want to bring awareness about the barbaric practice of female genital mutilation that still prevalent in many parts of Africa and at the same time, give the children the space they deserve as they represent our hope for a better future. Peace and love.

"Sete" with the participation of the Brooklyn Youth Choir Video directed by Mattia Amadori Production : OLO creative farm DOP and colorist : Ugo Perazzini Gimbal and drone : Max de Ponti Stylist : Naomi Brunschwig Producer : Matteo Montini VFX : Simone Vullo Editing assistant : Anya Trabuio Production : Andrea Corti, Ester Molteni Family 1 : Gisèle Bakoro Dembélé, Awa Tangara, Abdoulaye Karim Sanogo Family 2 : Sinka Naada Yum Ines, OUedraogo Doreza Mariam, Abdoulaye, Mangane Surgeons : Korotoumou Tangara, Sitan Keita, Aichata Kane Dancer : Adiara Traoré Costume : JK Dressing Images : Soungalo Traoré Art director : Jean Kassim Dembélé Camera assistant : Souleymane Coulibaly, Kakou Djiré Children : Cecilia, Fiamma, Noemi, Angelica, Camilla, Alice, Viola, Camilla, Adam, Lucio Featuring performance by rooklyn Youth Chorus Conductor & artistic director : Dianne Berkun Menaker Special thanks to MANTERO Sera and Moritz Mantero for the fabrics, Teatro Sociale di Como and Barbara Minghetti for the theatre, Baita Boletto-Fabrizio and Baita Bondella for hosting us (P) & (C) Montuno Producciones y Eventos, SL Under exclusive license to 3ème Bureau/Wagram Music

[diceriadelluntore]

Storia Di Musica #255 - AA.VV., Dylan In Jazz. A Jazz Tribute To Bob Dylan, 2018

Wagram è un sobborgo austriaco, appena fuori Vienna, e fu teatro di una delle più grandiose battaglie napoleoniche: il Generale Bonaparte conseguì una delle sue più grandiose vittorie, in una sanguinosa battaglia contro l’esercito degli austriaci comandati dall'Arciduca Carlo. È anche il nome di una stazione della metropolitana parigina, ed è lì che nacque ai suoi fondatori l’idea di fare una etichetta discografica indipendente, nel 1999. Fautrice di numerosi progetti interessanti, nel 2018 quelli della Wagram hanno pescato nel mare magnum delle cover di canzoni di Bob Dylan (sebbene il calcolo è per forza di cosa approssimativo, si contano accreditate cover su 300 canzoni con autore o co-autore Dylan da parte di oltre 1500 artisti) delle riedizioni particolari dei classici del menestrello di Duluth. Ne è uscita fuori una compilation dal grande gusto e dalle scelte niente affatto scontate, che è il piccolo regalo di Natale di questa rubrica. Il titolo, Dylan In Jazz, spiega solo in parte le scelte e gli artisti, in una selezione che nasconde delle storie niente affatto male. Tutte le registrazioni erano presenti in dischi precedenti, ma insieme mostrano una amalgama sfiziosa e logica. Si parte con la riedizioni blues di Master Of Wars di Eric Bibb, grandissimo nome della chitarra acustica blues, che con la sua voce cavernosa e i tocchi “tristi” alla sei corde racconta dei signori della guerra, classico di Dylan sfortunatamente sempre di attualità. Il secondo brano è la prima perla: Jack DeJohnette, formidabile batterista jazz, con il bassista Larry Grenadier, John Medeski alle tastiere (il quale collaborerà spesso con lo stesso Dylan nella sua carriera) e la chitarra di John Scofield, pioniere del jazz rock con Miles Davis, nel 2017 scrivono un disco a nome Hudson, in omaggio al fiume che attraversa New York, bellissimo e in cui fanno una cover strumentale, e riuscitissima, di Lay Lady Lay, classico da Nashville Skyline (1969). Ben Sidran, tastierista, produttore, ingegnere del suono, dedicò un intero disco a cover di Dylan, Dylan Different del 2009, da cui sono tratte le sue interpretazioni smooth jazz di Knockin’ On Heaven’s Door e Gotta Serve Somebody, una delle gemme meno conosciute di Bob Dylan, dal suo album “gospel” Slow Train Coming del 1979, canzone tra l’altro che vinse il Grammy come migliore canzone rock maschile nel 1980. Abbey Lincoln, cantante e compositrice jazz, attivista dei diritti civili e femminili, moglie di Max Roach, rilegge con passione Mr. Tambourine Man, dall’ arrangiamento con spiccato groove della batteria. Joshua Redman, sensazionale sassofonista della ultima generazione, insieme all’altrettanto grandioso piano di Brad Meldhau, suona una deliziosa The Times They Are A-Changin’, uno dei pezzi più belli della carrellata. C’è una bella parentesi di black music: la versione R&B/soul/funk dei Neville Brothers di The Ballad Of Hollis Brown, due artisti dimenticati come Stanley Turrentine con una versione, piuttosto modificata, di Blowin’ In the Wind, Girl From The North Country del compianto Howard Tate, fenomenale cantante soul la cui carriere non decollò mai del tutto per i suoi problemi di alcool e eroina. Il jazz ritorna nella scelta della storica cover che Keith Jarrett fece di My Back Pages, dal suo album Somewhere Before del1968, il mandolino elettrico di Bill Frisell in una versione strumentale struggente di Just Like A Woman, la ripresa di Ballad Of Thin Man di Jef Lee Johnson con Charlie Patierno e Yohannes Tona. Molto belle le cover cantate di Like A Rolling Stone, dalla cantante jazz danese Cæcilie Norby con un arrangiamento dolcemente caraibico, e una cover sentita di Everything Is Broken, singolo di Oh Mercy! del 1989, un disco che rilanciò nel mondo musicale Dylan, della cantante francese Louisa Bey. Personalmente è bellissima la cover di Don’t Think Twice, It’s Alright (che è una delle canzoni con più cover in assoluto) del duo franco-italiano composto dalla band el pianista Olivier Hutman e dalla voce, meravigliosa, di Alice Ricciardi. L’ultimo verso di uno dei testi più belli e dolorosi del Dylan giovanile (il brano è da The Freewheelin’ Bob Dylan del 1963) dice:

Arrivederci, dolcezza Dove sono diretto non posso dirlo Ma ciao è una parola troppo bella, babe Così dirò solamente addio Non sto dicendo che mi hai trattato male Avresti potuto fare di meglio ma non mi interessa Hai solamente sprecato il mio tempo prezioso Ma non pensarci, va tutto bene.

[abelkia]

La playlist de l'émission de ce jeudi matin sur Radio Campus Bruxelles entre 6h30 et 9h : Harry Partch "U.S. Highball - A Musical Account of a Transcontinental Hobo Trip" (A Portrait/New World Records/1955-2015) Buddy Collette Septet & Robert Sorrels "Polynesian Suite" (Polynesia/Trunk Records/1962-2019) Peter Ivers' Band (with Yolande Bavan) "Gentle Jesus" (Knight of the Blue Communion/Epic Records/1969) Dominik Steiger "Gold Vom Süden" (Ad Hoc Musi 1980-84/Tochnit Aleph/2013) Reverend Gary Davis "I Am the Light of This World" (When I Die I'll Live Again/Fantasy/1972) Ivor Cutler "One at A Time" (A Flat Man/Hoorgi House Records/1998-2008) Le Diable Dégoûtant "Complainte de la Bête" (Fleur de Chagrin/Aguirre Records/2023) Persona "Água" (Som/Black Sweat Records/1975-2021) Jacques Charlier "L’Amour dans les chansons" (Art in Another Way/Musique Plastique/198?-2022) David Chesworth "Once Upon A Time" (Industry & Leisure/B.E.F.S Records/1983) Vincent & Moi "Lonely Hearts" (1998-2002/Auto production/2002) Colin Newman "Can I Explain the Delay" (Commercial Suicide/Crammed Discs/1986) Dominique Walter "Les petits boudins" (7"/Disc'Az/1967) Gillian Hills "Tu peux" (Rock Français/Wagram Music/1961-2021) Herman's Rocket "Space Woman" (7"/Vogue/1977) Sandra Plays Electronics "Her Needs" (7"/Minimal Wave/1988-2013) Aroma di Amore "Het Gesticht" (Koude Oorlog/Onderstroom Records/1984-2022) Savages "I Am Here" (Silence Yourself/Matador Records/2013) R.E.M. "These Days" (Lifes Rich Pageant/I.R.S. Records/1986) Panda Bear & Sonic Boom "Edge of the Edge" (Reset/Domino Recording Company/2022) Ming "Chanson de la plus haute tour" (Intérieur / Extérieur/Doxa Records/2001) François de Roubaix "Dernier domicile connu" (10 ans de musique de film/Odeon Soundtracks/1970-1998) Jean Luc le Ténia "Tu es un amour" (Le meilleur chanteur français du monde/Ignatub/2002) Fela Ransome-Kuti and The Africa '70 "Fogo Fogo" (Afro Baby - The Evolution Of The Afro-Sound In Nigeria 1970-79/Soundway Records/1973-2004) https://www.instagram.com/p/Cp2P6BuN004/?igshid=NGJjMDIxMWI=

[passportapproved]

8.4.24

LISTEN TO THIS WEEK'S SHOW! DELIGHTS  – “Two Times Over” (Modern Sky, U.K.) LIME CORDIALE  – “Cold Treatment” (Chugg Music, Australia)  LEONIDEN – “Never, Never” (Universal Music, Germany) HINDS – “Boom Boom Back” Featuring Beck (Lucky Number, Spain) THE VICES – “Strange Again” (Mattan Records, Holland) GOOD NEIGHBOURS – “Keep It Up” (Some Action/Virgin, U.K.) STONE  – “My Thoughts Go” (Polydor, U.K.) SMITH & THELL  – “UFO” (Playground Music, Sweden)  PAPA JUPE’S T.C.  – “Milgi” (419 Records, U.K.)   MIDDLE KIDS  – “Your Side, Forever” (EMI, Australia) MONOTRONIC – “Sun Song” (Unsigned, N. America) RADIO FREE ALICE – “2010” (Double Drummer, Australia) DOTAN – “Louder” (7 Layers Music, Holland)  BECCA SWAN  – “No Regrets” (Unsigned, N. America) GLASS CITIES – “Kennedy” (Unsigned, N. America) RHETT REPKO – “Born For Love” (Unsigned, N. America) CARISSA SUMMER ROSE – “Living In The Moment” (Unsigned, N. America) CORELLA – “I Didn’t Know Your Name” (Corella Music, U.K.)  CHAPEL OF ROSES  – “It’s Not Nothing” (Unsigned, N. America) PICTURE THIS – “On Your Side” (RCA, Ireland) ROYAL REPUBLIC – “Ain’t Got Time” (Universal Music, Sweden) WEDA MAUVE  – “(Still On) Repeat” (Unsigned, Indonesia) NEON DREAMS & MATTHEW MOLE – “The Art of Letting Go” (UMG, S. Africa) FEVER  – “Why Can’t You Hear Me?” (Unsigned, U.K.) DOLORES FOREVER  – “Go Fast Go Slow” (Sweat Entertainment, U.K.) BRIMHEIM  – “Dancing in the Rubble” (TAMBOURHINOCEROS, Denmark) THE SHERLOCKS  – “Death of Me” (Unsigned, U.K.) ACROBVT  – “Can’t Put You Down” (Unsigned, U.K.) CARAVAN PALACE – “Raccoons” (Wagram, France)  THE DREAM MACHINE  – “Cindy’s Eyes” (Unsigned, U.K.) GRIPPA – “Hell” (Unsigned, N. Amercia) MASI MASI – “She’s Coming Through My Window” (P.I.M.P/Sony Music Publishing, U.K.) ELECTRIC ENEMY  – “The Dark” (Red Sun Records, U.K.) BRICE KENDALL – “Birdhouse” (Unsigned, N. America)

[musikblog]

https://www.musikblog.de/2024/06/jupiter-flynn-villain-to-my-story-neues-video/ jupiter flynn aus Berlin hat vor Kurzem ihre neue Single “villain to my story” via Polanoa Music/Wagram Stories Berlin veröffentlicht. Sie stammt – wie ihre vorherigen Singles “monsters and men“ und “another sad song“ – von ihrer neuen EP, die am Am 21. Juni erscheint. View this post on Instagram A post shared by jupiter […]

[classicalcd]

With its well-earned jubilant organ-enriched finale, I don’t need to explain why Saint-Saëns 3rd belongs on a #holidayplaylist. But the history of this particular recording is fascinating and potentially disturbing.

Let’s start with the dates and places: The orchestra was recorded in June and November of 1985 at Salle Wagram. The organ was recorded almost exactly a year after the first orchestra sessions at the Chartres Cathedral. This isn’t the first recording of the symphony to record the organ and orchestra at separate venues, but a year apart? There must have been some logistical nightmare here. And this is where it gets interesting.

By 1985, Ozawa was 12 years into his tenure as the music director of the Boston Symphony Orchestra. Unlike Salle Wagram, Boston Symphony Hall has a magnificent organ. That organ had already been used in a successful recording of Saint-Saënt’s 3rd led by Charles Munch. The orchestra was deeply steeped in French tradition. A year earlier, EMI, the same label that produced this recording, released another recording with Ozawa and the BSO. So the inescapable question is: why did EMI record Saint-Saëns’s organ symphony with Orchestre National de France, which does not have an organ, instead of with Boston Symphony Orchestra which does?

Alas, the most obvious answer I can come up with is that without a French orchestra, some feared a recording lead by Ozawa wouldn’t be “authentic” enough or “French” enough, raising troubling racial implications. Ozawa’s photo is nowhere to be found on the front or back cover of the original record. I wonder why.

I hope my conjecture is wrong, but I don’t have a better explanation. The organ is mixed in pretty surgically - it’s only heard when it needs to be and only as softly as the music allows. The muddiness of the reverberant cathedral acoustics is thus avoided. And the orchestra gives Ozawa a heartfelt performance… but it’s still not the same as having the orchestra and the organ really play together.

[sarahgaugermediabiz]

Deezer’s Partnerships and Q3 Growth 

Despite price increases in key markets, Deezer added 500,000 subscribers in Q3, reporting a 4.8% increase in revenues to $131.4 million. MBW reports even higher numbers, with 600,000 new subscribers in Q3 and a revenue increase of 5.5% YOY. Q3 subscriber growth follows aggressive price hikes, but sources warn this is more of a coincidence than an indicator that fans will be ready to absorb higher subscription prices. 

The France-based music streaming service may pale in comparison to companies like Spotify, but Deezer has been a name in the news as of late. Deezer joined an Artist-Centric Model Partnership with UMG back in September. This model sets out to share available royalties more fairly between the artists a user is listening to each month, to discourage fraudulent behavior, and to demonetize “noise content.” Already, half of Deezer’s streams are running using this model. Other companies that recently jumped on board the new model include France-headquartered indie music company Wagram Music and French collecting agency SACEM.

In Q3, Deezer’s direct subscriptions maintained at 5.6 million, but subscribers from partnerships increased from 3.8 million to 4.3 million. A partnership with Uruguay-based MercadoLibre is linked to strong initial subscriber growth in Brazil and Mexico. Despite growth in partnerships, the ARPU remains higher for direct subscribers, at $5.33 for direct subscribers and $3.16 for partnerships. The company attributed direct subscriber growth to the French market and included RTL+, Sonos and Mercado Libre as key partnerships. 

Deezer’s Q3 growth can be attributed in part to new partnerships, as evidenced by subscriber partnership growth. However, it is too soon to tell how the UMG Deezer Artist-Centric Model will contribute to Deezer’s future growth. 

Word Count: 287

[societeaffaires]

COLUMBUS CAFÉ & CO. ANNONCE SON EXPANSION CANADIENNE EN PARTENARIAT AVEC INDIGO

La chaîne multinationale française de cafés, Columbus Café & Co, s’apprête à étendre sa présence au Canada avec l’ouverture d’un magasin phare à Toronto le 17 octobre 2023, au 283 Adelaide West. Cette ouverture s’accompagne de l’annonce d’un partenariat avec Indigo Books & Music Inc. En plus de six nouveaux cafés qui ouvriront leurs portes en 2023, Columbus Café & Co offrira l’expérience authentique d’un café parisien dans 11 librairies Indigo et Chapters du Québec et de l’Ontario.

Avec déjà onze établissements au Québec, l’ouverture de la succursale de Toronto marquera le premier café de la franchise française en Ontario. Dans la perspective d’une nouvelle expansion à l’échelle du Canada, Nicolas Riché, PDG de Wagram Finances, partage que « Le Canada est un marché important pour nous, il offre de fortes opportunités de croissance. Nous avons ouvert notre première succursale à Montréal en 2020, avec l’objectif de nous établir d’abord au Québec, et de poursuivre le mouvement à l’échelle nationale ».

De son côté, Indigo vise à donner une nouvelle vie à ses cafés existants grâce à ce partenariat. « Nous sommes heureux de nous associer à Wagram Finances/Columbus Café & Co Canada pour faire vivre à la communauté Indigo l’expérience d’un café parisien », a déclaré Jim McLellan, vice-président de l’immobilier chez Indigo. « Je suis convaincu que la nourriture et les breuvages raffinés de Columbus Café & Co rehausseront encore davantage l’expérience de nos clients lorsqu’ils magasinent pour leur prochaine bonne lecture ou pour offrir un cadeau à un être cher. »

Le partenariat avec Indigo contribuera à faire connaître Columbus Café & Co à de nouveaux marchés à l’échelle nationale. « Nous sommes ravis de nous associer à Indigo, une entreprise purement canadienne bien-aimée qui partage les mêmes valeurs que nous », a déclaré Maxine Mayant, présidente de Columbus Café & Co. « Nous sommes enthousiastes à l’idée de créer en plus de rehausser l’expérience déjà existante de magasinage à Indigo. »

Columbus Café & Co ouvrira ses portes dans les établissements Indigo et Chapters suivants :

●     962 Indigo Cambridge (Ontario)

●     959 Indigo Barrie (Ontario)

●     287 Indigo Toronto Eaton Centre (Ontario)

●     737 Indigo Brossard (Québec)

●     782 Chapters Vega (Ontario)

●     411 Indigo Erin Mills (Ontario)

●     757 Indigo Thunder Bay (Ontario, 2024)

●     922 Indigo Kanata (Ontario, 2024)

●     408 Indigo Heritage Greene (Ontario, 2024)

●     784 Chapters Newmarket (Ontario, 2024)

●     931 Chapters Belleville (Ontario, 2024)

[cavenewstimes]

Indie Label Wagram Music 'Signs Up' for Deezer's 'Artist-Centric' Model-

A live efficiency from Ayo, who launched her newest studio album by means of Wagram’s 3ème Bureau. Image Credit: Aurélien Le Roch Indie label Wagram Music has actually formally tattooed an offer to use the much-debated artist-centric design that Deezer established with Universal Music Group (UMG), according to initial information verified to Digital Music News. Seems like an advance, though the…

[profactoria]

FATOUMATA DIAWARA, la voz de la música africana, nominada a dos premios Grammy