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MARIO RUI SILVA Stories From Another Time 1982-1988

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素晴らしいリイシューをおくり届けてくれるTIME CAPSULEニューリリースは、あまり知られることのなかったアンゴラの素晴らしいミュージシャンマリオ・ルイ・シルヴァ。ブラジルやアルゼンチン音楽にもつうじる80sの素晴らしい音源。

「ナナ・ヴァスコンセロスにも通じるスピリチュアリティとジョン・ハッセルのエスノ・アンビエント、エドゥアルド・マテオ的曼荼羅フォークにフランシス・ベベイ的箱庭アフリカンが融合した奇跡の音楽! 知られざるアンゴラ鬼才<マリオ・ルイ・シルヴァ>によるフォークロアと実験精神が交差するあまりに美しすぎる音源をまとめた初のコンピレーション!」とレーベルからのコメント。リズム、複合グルーヴのマジックも素晴らしいです。 (サイトウ)

▼ Tracklisting

A1.Kazum-zum-zum (5:39)sample
A2.Kizomba Kya Kisanji (1:44)sample
A3.Dembita (5:42)sample
A4.Ngisumba (4:47)sample
B1.Sung'ali (5:16)sample
B2.Mgeni (6:57)sample
B3.Lonjura (3:23)sample
B4.Madimba M'ami (2:52)sample
C1.Kora Kya Ngola (3:07)sample
C2.Nu Tempu Du Antigamente (4:31)sample
C3.Maniku (5:26)sample
C4.Nahary (4:53)sample
D1.Lembrança De Um Velho (5:47)sample
D2.Dongada (2:41)sample
D3.Depois De Uma Conversa (2:06)sample
D4.Ngele-ngele-ngele (4:34)sample
D5.Kambanza K'etu (1:28)sample

The roots of Angolan popular music explored in the meticulous guitar studies of Mário Rui Silva. For fans of Naná Vasconcelos, John Hassell’s Fourth World ambient, Eduardo Mateo’s psychedelic folk and Cameroonian electronic music visionary Francis Bebey.

Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mário Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing.Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mário released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation. It is united by a sense of low-key beauty, whether on the chugging opener ‘Kazum-zum-zum’, the jazz-funk keys of ‘Lembrança Dum Velho’, or the twinkling, late-night poly-rhythms of ‘Kizomba Kya Kisanji’.

Born in Luanda, Angola in 1953, Mário dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanjé, record the seminal album Angola ’72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell.

It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mário gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and ‘50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the country’s push for independence in the process.

What might sound like the intonations of Brazilian influence are what Mário attributes to the “African rhythms taken by the slaves [which] gave rise to other musical cultures” around the globe. Instead, this music emerged from a collective instinct to assert a cosmopolitan Angolan identity free from the patronising falsehoods of Lusotropicalism.

“There was a need within me to contribute in doing new things,” Mário describes. “In the sense of solidifying the music of Angola that was the result of the meeting of two cultures, and wanting to value the Angolan part whenever possible.”A selection from Mário’s three 1980s albums, Sung’Ali (1982), Tunapenda Afrika (1985) and Koizas dum Outru Tempu (1988) have been compiled here as a 2xLP release by Time Capsule’s Sam Jacob and Kay Suzuki. Together, they provide a snapshot of one man’s journey to the core of his nation’s music, charged with the search for a culture uprooted by colonialism



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