Barí

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Barnes & Noble - Mark Schwartz
Barcelona's hip-hop flamenco collective has been making waves in the world music community on the strength of their dynamic live shows, which combine a battery of percussionists, a pair of flamenco guitarists, a DJ, dancer, and the dervish-like vocalist Marina Abad, "La Canillas." From the intensely rhythmic traditions of Catalan Gypsies, Ojos the name translates as the Wizard's Eyes takes fiery, improvisational music making and a radical devotion to art, passion, and social justice. Hip-Hop, meanwhile, provides their lyrical grist, with odes to graffiti and break-dancing, as well as the scratches and samples that contemporize their sound. Those who have seen Ojos ...
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Editorial Reviews

Barnes & Noble - Mark Schwartz
Barcelona's hip-hop flamenco collective has been making waves in the world music community on the strength of their dynamic live shows, which combine a battery of percussionists, a pair of flamenco guitarists, a DJ, dancer, and the dervish-like vocalist Marina Abad, "La Canillas." From the intensely rhythmic traditions of Catalan Gypsies, Ojos the name translates as the Wizard's Eyes takes fiery, improvisational music making and a radical devotion to art, passion, and social justice. Hip-Hop, meanwhile, provides their lyrical grist, with odes to graffiti and break-dancing, as well as the scratches and samples that contemporize their sound. Those who have seen Ojos live, an energetic, multimedia spectacle, may be surprised by the subtlety of Barí, which makes voice and guitar a more prominent part of the mix. Some tracks would fit quite comfortably in a flamenco mix alongside the Gipsy Kings or Paco de Lucía, in fact. But on numbers such as "Quien Engaña no Gana," which features tablas and whispered rap, and the frenetic "Zambra," whose electro samples invoke a trance club, it's clear that Ojos are blazing new trails. The band's bracing lyrical agenda, demanding social justice and championing immigrants' rights, be they Gypsy or North African, puts them firmly in the camp of Latin rock rabble-rousers such as Mano Negra and Ozomatli. For a taste of Spain's most up-to-the-minute fusion, look through this wizard's eyes, or better, listen through his ears.
All Music Guide - Jenny Gage
Blame our postmodern fascination with sampling, or the hubris of generations who have grown up more familiar with copies than with the originals, but at this point we've pretty near wrung all meaning out of the word fusion. And when it comes to describing the kinds of exciting developments in world music exemplified by nuevo flamenco artists Ojos de Brujo, perhaps a new metaphor is necessary. Something more organic, even geological. Yes, that's it: When listening to Barí, the Barcelona-based group's second release, the image that fits is not that of hip-hop, funk, rap, or rumba newly melded with traditional flamenco music, but of rock layers that an ancient and moving river lays bare. The oldest strata date for the migration from India of the Roma people, called Gypsies in Spain, mixed with North African Moors. Layered upon their oral culture, their folk songs and sinuous dancing, a bluesy lament about the hard life of the fulag mengu -- the Arabic phrase for "fugitive peasant" and likely origin of the word "flamenco" -- after Ferdinand and Isabela made Christianity the law of the land. Next, the rural accents of those who hid in the southern hills of Andalusia, and the Afro-Caribbean rhythms learned by those who fled to the colonies. Some of these rhythms were carried back to Ojos de Brujo vocalist Marina Abad and drummer Xavi Turull by Cuban musicians they've played with along the way, while others already existed in the elemental flamenco grooves, the rumbas and tanguillos and bulerías, laid down by guitarist Ramon Giménez. On top is a contemporary urban landscape of stray bullets and bill collectors, precisely rendered by Abad's socially conscious staccato rapping. If all of this seems like a bit of a stretch, note the traditional handclapping that punctuates the opening guitar riff, and its relation to the percussively rapped syllables that chatter like water over rocks at the album's close. Listen to the eroded consonants of "Naita" "Nothing", to the fossil of a flamenco lyric with which it begins, and how seamlessly it progresses to an outcropping of hip-hop near its finale. Consider that the classic songs of Gypsy legend el Camarón set to rumba and offered as consolation to modern-day fulag mengu as "Ventilaor Rumba 80" invites them to dance to ancient rhythms. Or that today's dangerous streets can necessitate the ancient Moorish melodies and sorrowful mode of "Tiempo de Soleá," while an email from a fetchingly green-eyed boy inspires the invention of the funk-fueled "Bulería del Ay!" You just can't pull the elements or eras apart. All of this is music is firmly grounded in flamenco, with fusion occurring not just at a superficial level, but deep below its surface, as its oldest and most enduring process. Listeners who are as interested in where flamenco has been as they are in where it is going will love exploring the sonorous depths of Ojos de Brujo's Barí.
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Product Details

  • Release Date: 5/11/2004
  • Label: World Village Usa
  • UPC: 713746802424
  • Catalog Number: 468024

Tracks

Disc 1
  1. 1 Intro (0:41)
  2. 2 Tiempo de Soleá (3:06)
  3. 3 Ventilaor R-80 (3:20)
  4. 4 Naita (3:46)
  5. 5 Quien Engaña No Gana (3:20)
  6. 6 Zambra (6:46)
  7. 7 Ley de Gravidad (3:49)
  8. 8 Memorias Perdías (3:22)
  9. 9 Tanguillo de María (3:28)
  10. 10 Bulería del Ay! (3:28)
  11. 11 Calé Barí (5:17)
  12. 12 Acción Reacción Repercusión (3:26)
  13. 13 Rememorix (8:59)
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Album Credits

Performance Credits
Ojos de Brujo Primary Artist, Mezcla
Ramon Jimenez Guitar, Hand Clapping, Flamenco Guitar, Jaleos, Shouts, Palmas
Xavi Turull Percussion, Bongos, Conga, Tabla, Berimbau, Cajon, Hand Clapping, Ghatam, Shaker, cowbell, Campana, Palmas
Zoltán Lantos Violin
Cheikh Lô Vocals
Fernando Favier Timbales, Bata Drums, Tambores Bata
Carlos Jamarillo Electric Bass, Artisticas, Mezcla
Antonio Ramirez Flamenco Guitar
Antonio Restucci Acoustic Guitar, Guitar, Mandolin, Flamenco Guitar, Mandoline
Cheick Lo Vocals
Dennis Hernández Trumpet
Lucy "Nubla" Carlevaro Background Vocals, Coros
Juanlu Bass
Mina "The Little Witch" Brujilla Vocals
Tanguillo de María Mezcla
Isabel Fernández Voices
Marina laCanillas Vocals
Loli Jaleos
Loll Shouts
Paco Lomeña Flamenco Guitar, Soloist
Juan Lu Bajos
Fernando Mejías Flamenco Guitar
Macaco MonoLoco Vocals
Panko Bass, Guitar, scratching, Sampling
Technical Credits
Fernanda de Utrera Impersonations
Greg Calbi Mastering
Ramon Jimenez Remixing
Xavi Turull Composer
Carlos Jamarillo Producer, Audio Production, Rhythm Programming, Electronic Effects
Antonio Restucci Composer
Cameron Impersonations
Marina Abad Composer
Mina "The Little Witch" Brujilla Introduction
Jan Cadela Engineering
Isabel Fernández Introduction
Kiko Klaus Bass Programming, Rhythm Programming
Marina laCanillas Composer
Macaco MonoLoco Composer, Bass Programming, Rhythm Programming
Maxwell Wright Composer
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Customer Reviews

Average Rating 5
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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    look no more

    if you want the perfect mix of funky, middle eastern and spanish music, this is it... too bad there is only one cd from ojos de brujo on sale here... check the rythm foundation for more

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 1, 2010

    Excellent

    Perfect mix of Spanish and Eastern melodies and rhythms, electro sounds, funk tunes and DJ effects. It's fun, cool and still stays relatively true to the traditional styles. I like every song on the CD, but exceptional tracks include "Ventilaor R80", "Tiempo de Solea", "Quien Engana no Gana", "Memorias Perdias" "Cale Bari" and of course "Rememorix". Pretty much anyone who's into world music, or even those who are new to the genre, would enjoy this album.

    Was this review helpful? Yes  No   Report this review
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