(Kora Solo, West African, World) [WEB] John Hughes - Heartstring Theory - 2016, FLAC (tracks), lossless

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Path: ...\John Hughes - Heartstring Theory (2016) [FLAC]
01 -=- 1 - Jarabi.flac -=- CDDA (100%)
02 -=- 2 - Lilac Bridge.flac -=- MPEG (100%)
03 -=- 3 - Behind the Yellow Line.flac -=- MPEG (95%)
04 -=- 4 - Compassion for the Stone.flac -=- CDDA (99%)
05 -=- 5 - Leaning Turtles.flac -=- MPEG (85%)
06 -=- 6 - Tuareg Peace.flac -=- CDDA (99%)
07 -=- 7 - The Finch and the Python.flac -=- CDDA (100%)
08 -=- 8 - Hide and Peek.flac -=- MPEG (100%)
09 -=- 9 - Bamba L'a Ke.flac -=- MPEG (95%)
10 -=- 10 - Open Hand.flac -=- MPEG (100%)
Summary 42,30% CDDA
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“The shaman of serenity”
-Lindsay Cobb, The Folk & Acoustic Music ExchangeJohn Hughes (Born: 1965, New York City) is an innovative composer, kora player, percussionist and vocalist whose style ranges from elegant and stately West African classical harp music to jazzy, hypnotic grooves that cross cultural boundaries and fuse disparate influences. Playing ancient traditional instruments not often heard in the United States, many of which he builds himself, John takes his audience on an intimate tour of universally musical expressions of joy and hope, at once soothing and up-lifting.
John has studied the music, song and dance of West Africa for well over 25 years, training with numerous master drummers and dancers from Guinea and Mali, including Mamady Keita, Famoudou Konate and Sekou Sylla. Though, as a kora player, John is entirely self-taught, he has received glowing praise from many master kora players from West Africa. Critics have haled his playing as, “confident and original” marveling at how “he has absorbed so much of the stylistic language of Mande kora music and yet freed himself to compose within the idiom.” His signature pieces are both exquisitely intimate and bold, rhythmically nuanced and laced with syncopations that cascade off the strings into whirlpools of mesmerizing sound. John performs regularly as a solo musician and in various duo and trio configurations. He has released 6 CDs. All may be sampled and purchased here.
John has taught sculpture, drawing and design in numerous universities, colleges and high schools including The Rhode Island School of Design (RISD) and Skidmore College. He has been teaching drumming classes, private lessons, and workshops across the United States and Canada for the past 23 years, working at places like Omega Institute, Kripalu Yoga Center, Dance New England and a host of schools and universities. He maintains weekly classes at The Putney School, Landmark College, and in his studio in Brattleboro, Vermont, where he also builds sculpture and musical instruments.
http://www.johnhughesarts.com/About_Me.html

Heartstring Theory
When you imagine a musician capable of playing the 21-stringed West African kora well enough to record an entire album of solo pieces, you might have an idea of what to expect. Whether we’re talking the great Diabatés, Kouyatés and Sissokos of Mali, or a Gambian master like the late Alhadji Bai Konte, the repertoire is apt to be familiar. It will largely or entirely be derived from the venerable Mande canon of compositions, going back to “Sunjata” in 1235. What will differentiate the players’ recordings will be matters of tone, interpretation, articulation, improvisation and chops. Fair enough, but none of that will prepare you for John Hughes. Hughes is an American living in Brattleboro, Vermont. He taught himself to play the kora just by listening and watching. He has never traveled to Africa to study, or learned from a Mande master. Yet he has learned extremely well. More to the point, he has developed his own repertoire and style, wonderfully on display on this, his fourth solo album. What is so impressive about Hughes’ work is the way he has absorbed so much of the stylistic language of Mande kora music, and yet freed himself to compose within the idiom, with few direct references to the canon. But although he is creating anew, Hughes still reveals deep familiarity with the idiom. He doesn’t wander into overly experimental or New Age territory, as he easily might. He opens with a reimagined take on the classic “Jarabi,” recognizable only by the rhythm of the underlying ostinato. The moody modality and elegant melodies are his own. “Tuareg Peace” uses the rhythm of the Tuareg/Songhai takamba dance, though you might miss that were the title not to clue you in. “Behind the Yellow Line” superbly contrasts legato sustained melodies and sharp percussive dead notes in the accompaniment. And in a playful piece called “The Finch and the Python,” you can easily imagine these two creatures interacting within the bipolar rhythmic and melodic structure. Hughes’s tone is excellent, and he’s fully in command of his demanding instrument. This is not knock-your-socks-off, flashy kora playing, but it is confident, original, and above all, highly musical. Visit http://johnhughesarts.com/johnhughesmusic/Welcome.html for more.
http://afropop.org/articles/heartstring-theory

John Hughes - kora