3 MA r éunit : le Malien Ballak é Sissoko, le Marocain Driss El Maloumi et le Malgache Rajery 3 artistes ouverts sur le monde, 3 instruments à cordes pinc ées embl ématiques et enracin és dans la tradition de 3 pays o ù la musique se vit au quotidien et une envie partag ée de cr éer ensemble un langage o ù s’entrem êlent les notes et les harmonies venues de l’extr ême sud à l’extr ême nord de l’Afrique. Les 3 musiciens se sont rencontr és à Agadir, puis à Antanarivo lors de concerts avant d’enregistrer un premier album, sur le label Contrejour et de tourner dans de nombreux festivals en Europe. Apr ès une p ériode o ù chacun des musiciens a continu é à mener sa carri ère personnelle, ils se sont retrouv és à jouer ensemble, à nouveau, dans la Route de l’Esclavage, un des magnifiques projets de Jordi Saval. D ès lors les 3 complices ont d écid é de d évelopper et d’approfondir ce qui avait ét é laiss é en jach ère. 3 MA tel le Ph énix est reparti pour une nouvelle aventure. Ballak é Sissoko, descendant d’une grande lign ée de griots mandingues est un ma ître de la kora et un musicien d’exception. Ouvert à toutes les collaborations, il a enregistr é et tourn é, entre autres, avec Ludovico Einaudi, Ross Dali, Keyvan Chemirani, Boubacar Traor é et surtout Vincent Segal, avec lequel il a cr é é un duo splendide et enregistr é 2 albums pour le label No-Format. Driss El Maloumi est un des grands ma îtres de l’oud au Mahgreb et au Moyen-Orient. Il a lui aussi pratiqu é toutes les musiques, du jazz de Paolo Fresu aux musiques baroques de Jordi Saval. De m ême Rajery, musicien du monde, comme ses deux complices, dirige son propre groupe tout en participant à de nombreux échanges. Le trio s’est retrouv é autour d’un projet de nouvel album et d’une envie de jouer et de tourner ensemble. Pr éc éd é par plusieurs r ésidences en vue d’arriver au studio avec de nouveaux morceaux et des arrangements structur és, l’enregistrement s’est fait dans une ambiance sereine et amicale. Chacun a contribu é en apportant sa touche et ses couleurs personnelles dans un respect mutuel et un plaisir d’ être ensemble. Pas de virtuosit é gratuite, ni de solo narcissiques, mais un vrai travail collectif qui privil égie l’ émotion et le d ésir de cr éer une oeuvre originale et unique. Intense, lumineuse fluide et color ée cette musique s’adresse à tous. Entre transes malgaches et indiennes, m élodies mandingues et berb ères avec des notes de jazz et d’improvisations inspir ées, un m étissage r éussi. http://www.madminutemusic.com/artiste/3-ma/
Об альбоме (англ.) | About Album (en)
Given the choice of listening for the first time to new albums by two unknown artists, one instrumental, the other vocal, I instinctively opt for the one with words. Days or weeks later, finally succumbing to the silent reproach of the still unheard instrumental album, I give it a chance to make its case. Most often, prejudice is reinforced, as virtuosos prove their dexterity without breaking new ground. But every now and then there's a surprise, the discovery of a group of musicians whose aim is not to impress but to connect, both with each other and with the unseen listener. For reasons I can't quite get to the bottom of, the line-up that seems most likely to achieve this balance is a trio without a drummer. The first drummer-less trio to knock me sideways were the Jimmy Giuffre Trio with 'The Train and The River' back in 1957. Jimmy blew breathy clarinet into a seemingly endless loop of picked guitar and plucked bass notes. Rhythmic, melodic, full of air and space, it became an underground secret that hooked a few of us into believing we were jazz fans for a while, until we discovered that there was nothing else quite like it, in jazz or anywhere else. This album by three African string-pluckers follows in that tradition, satisfyingly unclassifiable. It has the same sense of musicians listening to each other with ears wide open, taking turns to play the leading melody before dropping back to provide the rhythmic pulse while the others trade phrases. There are a lot of strings attached, but they never compromise each other. Visually, the three instruments could hardly be more different. The valiha is a simple bamboo pole with 20 strings running its length, usually made from unwound bicycle brake cables. Although it requires great dexterity, the Malagasy musician Rajery set out to become its master despite having had his right hand amputated. He has already made outstanding albums under his own name, and here proves to be a match for Ballak é Sissoko, one of Mali's most respected players of the 21-stringed kora. More elaborate than the valiha, it is still a home-made instrument, with nylon fishing line for strings. By contrast, the 11-string oud is made by professional craftsmen from highly polished wood; the least well-known of the three musicians, the Moroccan Driss El Maloumi is clearly another master. Among the fascinations is playing the string detective, working out which musician is playing which sound. I've guessed who I think is doing what on each track, but am probably wrong half the time. The heart of the album runs from 'Kouroukanfouga' to 'Toufoula', offering majestic melodies that soon become familiar. 'Rania' sounds remarkably like that US children's song 'Short'nin' Bread', and 'Toufala' is so authoritative, it feels like it might become the album's equivalent of 'The Train and the River'. https://www.theguardian.com/music/2008/jul/13/worldmusic.reviews
Состав | Artists
Ballake Sissoko - kora Driss El Maloumi - oud Rajery - valiha special guest Khalid Khouhen - percussion (3,7)
Трио высшей пробы. Виртуозные исполнители Баллаке Сиссоко, Дрисс Эль Малуми и Раджери вновь, спустя 9 лет после выхода дебютного альбома, объединили свои усилия для выпуска нового детища Anarouz. Проект 3МА представляет слушателям африканскую музыку широкого диапазона, простирающуюся с крайнего юга до крайнего севера Африки. Эта широта подхода отражена и в названии проекта, составленного из первых слогов родных для исполнителей стран – Мали, Марокко и Мадагаскара. Каждый маэстро представляет уникальную технику игры и манеру исполнения на своём инструменте: Баллаке Сиссоко – на коре (кора, прародительница арфы, по праву считается «королевой африканских инструментов»), Дрисс Эль Малуми – на уде (уд является предшественником европейской лютни и гитары), а Раджери – на валихе (валиха – мадагаскарский народный струнный щипковый инструмент, представляющий собой полый ствол бамбука, к которому снаружи прикреплены более двух десятков струн). Все композиции данного альбома – это аудиальные перлы, которые щедро рассыпают перед нами африканские кудесники.
Источник
По материалам арт-дайджеста «Солонеба» [url=http:// СПАМ альбомы 2017 года»[/url]
Для тех, кто пропустил их первый альбом, тоже классный! Rajery, Ballake Sissoko, Driss El Maloumi - 3 MA - 2008, FLAC (tracks+.cue), lossless https://rutr.life/forum/viewtopic.php?t=1963467
