63:. He met the French born Segal by chance, and the two began jamming together, uncertain of what kind of music might result. As a former member of the French National Orchestra, Segal's Western classical training does not prevent him from exploring a wide variety of extended techniques, rendering his cello a flexible partner to Sissoko's kora. A childhood spent in the Pigalle district of Paris surrounded by immigrant communities exposed Segal to African music from an early age. As such, he possesses a natural sensitivity to Sissoko's West-African style.
70:, with each musicians contributing individual compositions as well participating in a joint endeavor of sonic exploration. In previous collaborations as in this one, both Sissoko and Ségal emphasize the modern adaptability of their respective instruments, Sissoko through his preference for eclectic collaborations over solo endeavors and Segal through his work with the dub/trip hop
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holds up on the strength of its creators' ability to understand each other's musical languages without resorting to overwrought instrumental embellishments or electronic manipulation. The minimalism of the arrangements serves to showcase each musician's sensitivity to the points of convergence
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between their respective instruments. Although such a collaboration is neither unusual nor groundbreaking at this point in the history of musical hybrids, a pairing that may have seemed awkward at first manages to produce spellbinding results. Altogether,
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Studio
Mouffou in Bamako. No overdubs were used, and while most of the tracks feature only Sissoko and Segal, musical contributions were made by Awa Sangho on vocals, Mahamadou Kamissoko on
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There is a general consensus among critics that the collaboration between
Sissoko and Segal has successfully merged their culturally distinct musical visions into a rousing hybrid.
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on "Oscarine," "Halinkata Djoubé," and "Mako Mady"; karignan on "'Ma-Ma' FC," "Regret-À Kader Barry" – Demba Camara
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strikes a fine balance in which the musical cultures of West Africa and
Western Europe meet on equal terms.
37:. The result of a close collaboration between the two friends and musicians, it melds Sissoko's traditional
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Hailing from a long tradition of Malian kora players, Sissoko has worked with renowned musicians such as
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All songs composed by Ballaké Sissoko except 2, 5 and 6 composed by
Vincent Segal
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playing with Segal's trip hop infused approach to the classical cello.
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An open improvisational spirit marks the otherwise composed works of
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has been described as a work of quiet beauty and soulful simplicity.
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The album was recorded over the course of three sessions at
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359:. The Whole Music Experience: Global Music Consciousness
251:"Un duo violoncelle-kora revisite la musique de chambre"
334:"Chamber Music by Ballake Sissoko and Vincent Segal"
305:"Ballake Sissoko and Vincent Segal: Chamber Music"
29:. It was released in 2009 by the French label
357:"In review--Soaring Heights, Plumbing Depths"
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278:"This Week's Best Albums: January 11, 2011"
249:Harlez, Anne-Laure de (7 December 2010).
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228:"When a Cello and Kora Come Together"
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226:Huizenga, Thomas (11 January 2011).
187:Lead vocal on "Regret" – Awa Sanagho
426:World Circuit (record label) albums
193:on "Houdesti" – Mahamadou Kamissoko
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332:Heselgrave, Doug (January 2011).
276:Morrow, Scott (11 January 2011).
253:. France-Amerique. Archived from
303:Denselow, Robin (22 July 2010).
280:. ALARM Magazine. Archived from
199:on "Houdesti" – Fassery Diabate
336:. Restless and Real (blogspot)
33:and in 2011 by the U.S. label
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355:Moon Child (4 January 2011).
145:"Regret-À Kader Barry" - 3:45
406:Six Degrees Records homepage
382:Ballaké Sissoko artist page
136:"Wo Yé N'Gnougobine" - 5:51
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387:Vincent Ségal last.fm page
139:"Histoire de Molly" - 5:31
148:"Halinkata Djoubé" - 5:08
421:Albums by Malian artists
127:"Chamber Music" - 5:31
94:, and Demba Camara on
90:, Fassery Diabaté on
257:on 20 September 2011
142:"'Ma-Ma' FC" - 5:12
35:Six Degrees Records
401:No Format homepage
154:"Mako Mady" - 6:06
102:Critical reception
133:"Houdesti" - 8:52
130:"Oscarine" - 5:41
78:Recording Details
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361:. Retrieved
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312:. Retrieved
309:The Guardian
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282:the original
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431:2011 albums
314:28 February
288:28 February
234:28 February
230:. NPR Music
415:Categories
396:album page
392:No Format
210:References
51:Background
31:No Format!
159:Personnel
61:Taj Mahal
183:Guests:
72:Bumcello
363:7 March
340:1 March
261:1 March
197:Balafon
92:balafon
203:Bolon
191:Ngoni
178:cello
96:bolon
88:ngoni
365:2011
342:2011
316:2011
290:2011
263:2011
236:2011
169:kora
59:and
39:kora
25:and
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324:^
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176:–
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