Montréal

Baroque / East African traditional music

Concert at the 9th Floor : the African essence of the chaconne

by Frédéric Cardin

Yesterday was the first concert in the VoixMonde series, led by percussionist Ziya Tabassian. A series that will take us later this season to China, Latin America and the Jewish world of klezmer (with the Montrealer Socalled). Yesterday at 5 PM in the Art Deco panorama on the 9th floor of the Eaton Centre in Montreal, it was the African essence of Rwanda taking the stage, with singer and musician Deo Munyakazi, performer of the inanga, a traditional instrument at the heart of the traditions of this small country in the Great Lakes region of Africa.

The uniqueness of the VoixMonde series, and also its mission, is to enable a dialogue between non-European scholarly traditions and Western classical music. Thus, for the needs of this dialogue, violinist Karin Cuellar and baroque cellist Kyran Assing joined Munyakazi, as well as Ziya Tabassian himself on percussion.

In a one-hour program, we heard beautifully unfolded melodies by Munyakazi’s assured voice, which is elegantly accompanied by his plucked-string instrument, whose body somewhat resembles a concave surfboard. The sound that rises from this instrument is very soft, very velvety, but sometimes has to fight a losing battle against the greater power of his Western companions, despite the amplification. In the last piece, Ngwino urare, Munyakazi came out of his general reserve, standing up and urging the audience to sing along with him. This reserve was perhaps imposed by the venue itself, as I have seen and heard this musician elsewhere, and he knows how to get the audience up with considerable energy.

The intersection between Rwandan tradition and classical music was made through two chaconnes by relatively obscure composers of the European Baroque: Antonio Bertali (1605-1669) and Nicola Matteis (1650-1713). The reason for this historically plausible dialogue lies in the origins of this form, initially danced in the Spanish colonies. These were already a space of syncretism between Spanish, indigenous, and especially African cultures, stemming from the slave trade. Obviously, all of this was largely distilled into the final European result, but the nod served as sufficient justification to allow Deo Munyakazi (and Ziya Tabassian on percussion) to integrate into the musical play of the two baroque specialists (Cuellar and Assing). I would have liked Munyakazi’s inanga to play a bigger role, though. He was very discreet (and only present in Matteis’ chaconne). A polite crossover, then, but nevertheless some beautiful musical moments, especially with regard to the violinist Karin Cuellar, a very good interpreter of early music. In the continuo, Assing, who is equally good, did not have much space to shine. But that is the nature of much of the music from that era for the cello.

Finally, we were treated to a pleasant and respectful meeting, a chic interculturalism that was sometimes touching, and high-quality melodies (like the one in the video above). A program perfectly calibrated for the imposing aura of the 9th floor. 

Free Jazz / Modern Jazz

Festival Flux : Bill Cole + Ras Burnett + Althea SullyCole + Taylor Ho Bynum + Bob Stewart à la Chapelle Saint-Louis

by Rédaction PAN M 360

Bill Cole

Bill Cole est un musicien de jazz, compositeur, pédagogue et auteur américain. Innovateur reconnu, il marie avec brio les sonorités d’instruments non tempérés à une forme d’art américaine : le jazz. Cole se spécialise dans les instruments à vent non occidentaux, particulièrement ceux à anche double, notamment les sonas chinoises; les hojok et piri coréens; les nagaswaram et shehnai indiens; et la trompette tibétaine. Il joue également du didgeridoo australien et de la flûte ghanéenne. Pendant 31 ans, il a dirigé l’Untempered Ensemble, groupe qu’il a fondé en 1992. Il s’est produit avec Sam Rivers, Billy Bang, Jayne Cortez, Julius Hemphill, Ornette Coleman, James Blood Ulmer, William Parker, Fred Ho, Gerald Veasley et plusieurs autres, notamment au Carnegie Hall, au Lincoln Center, au Town Hall et à Symphony Space, ainsi que dans de nombreuses salles aux États-Unis et en Europe. Ses enregistrements ont paru sur l’étiquette Boxholder Records.

Bill Cole is an American jazz musician, composer, educator and author. An admired innovator, Cole successfully combines the sounds of untempered instruments with an American art form – jazz. Cole specializes in non-Western wind instruments, especially double reed horns: including Chinese sonas, Korean hojok and piri; Indian nagaswarm and shenai and Tibetan trumpet; as well as the Australian didgeridoo and Ghanaian flute. For 31 years Cole led the Untempered Ensemble, a group he founded in 1992. He has performed with Sam Rivers, Billy Bang, Jayne Cortez, Julius Hemphill, Ornette Coleman, James Blood Ulmer, William Parker, Fred Ho, Gerald Veasley and others; at Carnegie Hall, Lincoln Center, Town Hall, Symphony Space and venues around the U.S. and in Europe; and has recorded for Boxholder Records.

Ras Burnett

Ras Burnett est un saxophoniste, flûtiste, compositeur, auteur et pédagogue né à Brooklyn. Issu d’une famille de musiciens, il a été initié à la musique par son grand-père et son père, tous deux saxophonistes et compositeurs. Il a étudié auprès d’eux tout en jouant au sein d’ensembles scolaires, de la cinquième année jusqu’à la fin de ses études secondaires. Dès 1987, il se produit avec des groupes de reggae locaux et des ensembles de percussions africaines,à parallèlement à un engagement de longue date envers le free jazz. Il obtient en 2018 un baccalauréat en études musicales de SUNY Empire State College, puis, en août 2023, une maîtrise en composition musicale du Vermont College of Fine Arts. Il a reçu des bourses de la Jerome Foundation, de New Music USA et de Media Alliance Inc. Ras croit profondément au pouvoir de la musique créative et à sa capacité de susciter des transformations sociales et personnelles.

Ras Burnett is a Brooklyn born saxophonist, flautist, composer, writer and educator. He hails from a musical family via his grandfather and father, both saxophonist/composers. He studied music with both as well as public school bands from 5th grade through high school. In 1987 he began performing in local reggae bands and African drum ensembles concurrent with his lifelong free jazz engagement. In 2018 he received a BA in Music Studies from SUNY/Empire State College and in August 2023, his MFA in Music Composition from Vermont College of Fine Arts. He is a recipient of grants from The Jerome Foundation, New Music USA and Media Alliance Inc. Ras believes in the power of creative music and its effect on social and personal change.

Althea SullyCole

Althea Sully Cole est une multi-instrumentiste, compositrice et ethnomusicologue originaire de New York. Elle vit actuellement à Montréal, où elle est professeure adjointe d’ethnomusicologie à l’École de musique Schulich de l’Université McGill. Althea a étudié son instrument principal, la kora — une harpe à 21 cordes originaire de la région mandingue d’Afrique de l’Ouest — auprès des koristes Yacouba Sissoko et Edou Manga. Elle a également consacré trois années à l’étude de l’instrument à Dakar, au Sénégal. Outre son travail en solo, elle a collaboré avec Billy Harper, Billy Bang, Fred Ho, Daara J Family, Sahad Sarr, Royal Messenger, LaFrae Sci, Lisette Santiago, Joseph Daley, Craig Harris et son père, Bill Cole, parmi de nombreux autres artistes.

Althea SullyCole is a multi-instrumentalist, composer, and ethnomusicologist from New York City. She is currently based in Montréal, QC, where she is Assistant Professor of Ethnomusicology at the Schulich School of Music at McGill University. Althea studied her primary instrument, the kora, a 21-stringed harp from the Mandé region of West Africa, under korists Yacouba Sissoko and Edou Manga. She spent 3 years studying the instrument in Dakar, Senegal. In addition to her solo work, she has worked with Billy Harper, Billy Bang, Fred Ho, Daara J Family, Sahad Sarr, Royal Messenger, LaFrae Sci, Lisette Santiago, Joseph Daley, Craig Harris and father Bill Cole, among many others.

Taylor Ho Bynum

Taylor Ho Bynum est un interprète, compositeur et chef d’ensemble accompli. Il dirige l’ensemble de jazz et de musique créative du Dartmouth College, où il enseigne également la composition et l’improvisation. Ses activités éclectiques comprennent la direction de ses propres formations — dont son Sextet, actif depuis de nombreuses années, et The PlusTet, son orchestre créatif de 15 musiciens —, ses Acoustic Bicycle Tours, dans le cadre desquels il parcourt des milliers de kilomètres à vélo pour se rendre à ses concerts, ainsi que son engagement auprès de la Tri-Centric Foundation d’Anthony Braxton. Il en a été le directeur général de 2010 à 2018, produisant de nombreux projets majeurs de Braxton et y participant comme interprète, notamment deux opéras et plusieurs festivals. Bynum a travaillé avec des figures légendaires telles que Bill Dixon et Cecil Taylor. Il poursuit aujourd’hui différents projets avec des artistes novateurs de sa génération, dont Tomas Fujiwara, Mary Halvorson et Tomeka Reid.

Taylor Ho Bynum is an accomplished performer, composer, and bandleader. He is the director of the jazz and creative music ensemble at Dartmouth College, where he also teaches composition and improvisation. His varied endeavors include leading his own bands (such as his long-running Sextet and his 15-piece creative orchestra The PlusTet), his Acoustic Bicycle Tours (where he travels to concerts solely by bike across thousands of miles) and his stewardship of Anthony Braxton’s Tri-Centric Foundation (which he served as executive director from 2010-2018, producing and performing on many major Braxton projects, including two operas and multiple festivals). Bynum has worked with legendary figures such as Bill Dixon and Cecil Taylor and maintains current collaborative projects with forward thinking peers like Tomas Fujiwara, Mary Halvorson, and Tomeka Reid, among others.

Bob Stewart

Bob Stewart est un tubiste pionnier et un pédagogue de jazz réputé. Il s’est produit et a enregistré aux États-Unis comme à l’international avec le First Line Band, son quintette actuel, ainsi qu’avec Carla Bley, Charlie Mingus, Arthur Blythe, Gil Evans, Bill Frisell, Taj Mahal, Henry Threadgill, McCoy Tyner et d’innombrables autres artistes.

Bob Stewart is a pioneering tubist and renowned jazz educator who has toured and recorded nationally and internationally with the First Line Band (his current quintet), as well as with Carla Bley, Charlie Mingus, Arthur Blythe, Gil Evans, Bill Frisell, Taj Mahal, Henry Threadgill, McCoy Tyner, and countless others.

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DJ set / Electronic

Pré-Piknic : Minzi Roberta et flleur au Casino de Montréal

by Rédaction PAN M 360

CET ÉVÉNEMENT EST GRATUIT!

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Arabic / DJ set / Electronic

Festival Flux : 3Phaz + Liliane Chlela à la SAT

by Rédaction PAN M 360

3Phaz

3Phaz est un producteur de musique électronique établi au Caire, principalement reconnu pour son premier album, Three Phase. Paru en 2020 sur l’étiquette égyptienne 100Copies, l’album propose une relecture puissante et novatrice des sonorités égyptiennes du mahraganat et du shaabi. Grâce à plusieurs simples et remix publiés notamment par Rinse, Boomkat, Polaar, Nashazphone et Irsh, 3Phaz s’est rapidement taillé une place sur la scène internationale des musiques de club, se produisant un peu partout en Europe. Son deuxième album, Ends Meet, est paru en février 2023 chez Souk, sous-étiquette de Discrepant. Il a été suivi en mai 2023 par le minialbum DramTraTrax, publié par Tratratrax. Ces deux parutions ont figuré dans plusieurs palmarès de fin d’année, notamment ceux de= Pitchfork, The Quietus et Bandcamp.

3Phaz is a Cairo based electronic producer mostly known for his debut album ‘Three Phase’, an album that presented a powerful and fresh new take on Egyptian mahraganat/shaabi sound; the record was released on Egyptian label 100Copies in 2020. With further singles and remixes released on the likes of Rinse, Boomkat, Polaar, Nashazphone, and Irsh, 3Phaz quickly carved his way into the international club music scene allowing him to perform all around Europe. 3Phaz’s sophomore album ‘Ends Meet’ was released in Feb 2023 on Discrepant sub-label Souk followed by his EP ‘DramTraTrax’ released on Tratratrax in May 2023, both of which were featured in multiple end of year lists including Pitchfork, The Quietus, and Bandcamp to name a few.

Liliane Chlela

Productrice de musique électronique, DJ et interprète, Liliane Chlela est reconnue pour sa manière de faire éclater les frontières des paysages sonores. Née et élevée à Beyrouth, aujourd’hui établie à Montréal, elle s’est d’abord imposée comme une figure incontournable des foisonnantes scènes expérimentale et électronique libanaises, avant d’acquérir une renommée internationale grâce à ses explorations sonores singulières. Son travail solo conjugue avec maîtrise enregistrements de terrain, rythmes électroniques déconstruits et dialogue intérieur sans fard, dans un langage sonore audacieux, novateur et affranchi des genres. Sa musique naît d’un processus spontané et improvisé : guidée par un instinct aiguisé et une profonde conscience de soi, elle pousse ses expérimentations toujours plus loin avant de donner aux enregistrements leur forme définitive. Farouchement indépendante, Chlela façonne une identité sonore qui n’appartient qu’à elle, tant dans son travail de compositaire et de productrice que dans l’énergie saisissante de ses prestations comme DJ.

As an electronic producer, DJ, and performer, Liliane Chlela is revered for the way she shatters the boundaries of auditory landscapes. Born and raised in Beirut and currently based in Montréal, she came up as a key member of Lebanon’s thriving experimental and electronic scenes and has since gained international acclaim for her distinctive sonic explorations. Her solo work masterfully combines field recordings, deconstructed electronic beats, and a transparent inner dialogue with bold, cutting-edge sounds and a genre-defying approach. Her music is born out of a spontaneous, improvisational process, and she relies on sharp instincts and a deep sense of self-awareness to push her experiments to the next level and shape recordings into their final form. Fiercely independent, she aims to forge an unparalleled sonic persona, whether through her role as a composer and producer or in her dynamic prowess as a DJ.

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classique / Electronic / pop symphonique

Apashe x OSM

by Rédaction PAN M 360

Artiste et producteur à la signature sonore unique, Apashe s’est imposé comme une figure majeure mêlant électronique, hip-hop et influences orchestrales. Son univers puissant et cinématographique lui a valu une place singulière sur la scène internationale. Montréalais d’adoption, ce Belge au parcours fulgurant s’est produit sur de nombreuses scènes prestigieuses. Il franchit aujourd’hui une étape importante en présentant pour la première fois une version symphonique de son répertoire avec l’Orchestre symphonique de Montréal, offrant une expérience immersive d’une rare intensité.

Apashe, an artist and producer with a truly distinctive sound, has carved out a unique place in the music world by blending electronic beats, hip-hop rhythms, and orchestral grandeur. His bold, cinematic style has earned him international acclaim. Originally from Belgium and now proudly calling Montreal home, Apashe has lit up some of the world’s most prestigious stages. Today, he reaches a new milestone: unveiling, for the very first time, a symphonic interpretation of his repertoire with the Orchestre symphonique de Montréal—an immersive experience of extraordinary intensity.

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expérimental / contemporain / saxophone

Festival Flux : Liberté Anne & FROTAE ft. Stella Adjokê + Mubone Collective à la Chapelle des Hospitalières

by Rédaction PAN M 360

FROTAE

FROTAE est un ensemble composé de cinq saxophonistes-improvisateurs dont le travail allie composition microtonale, pratiques d’écoute collective, son spatialisé et improvisation. Fondé et dirigé par la compositrice montréalaise Liberté Anne, les membres de FROTAE forment un noyau dur depuis 2023, année où ils ont commencé à développer un langage musical profondément collaboratif, ancré dans une expérimentation à long terme et l’écoute collective. L’ensemble crée des environnements d’écoute immersifs dans lesquels les propriétés tactiles et psychoacoustiques du saxophone deviennent physiquement perceptibles pour le public, tandis que les performances oscillent entre l’ambiance d’un terrain de jeu et celle d’une cérémonie sacrée.

FROTAE is an ensemble of five saxophonist-improvisers whose work combines microtonal composition, collective listening practices, spatialized sound, and improvisation. Founded and led by Montreal-based composer Liberté Anne, the members of FROTAE have been working as a core unit since 2023, when they began to develop a deeply collaborative musical language rooted in long-term experimentation and collective listening. The ensemble creates immersive listening environments in which the tactile and psychoacoustic properties of the saxophone become physically perceptible to audiences as performances move between the feeling of playground and sacred ceremony.

Mubone Collective

Le Mubone Collective est un groupe de performance transdisciplinaire actif entre Montréal et Copenhague, dont la pratique se situe au croisement du son, du mouvement, de la technologie et de l’architecture. Le collectif réunit le tromboniste-compositeur Kalun Leung, le luthier numérique Travis West, la chorégraphe-interprète Bettina Szabó, la chanteuse et productrice artistique Kirsten Voss et la percussionniste-compositrice Sara Nigard Rosendal. Au cœur de leur pratique se trouve le mubone, un système de capteurs portables développé par Leung et West qui transforme le geste physique en son spatialisé. À travers des performances adaptées aux lieux, combinant composition, improvisation, chorégraphie et électronique performative, le collectif envisage les corps et les espaces architecturaux comme des participants actifs à la création musicale. Leur travail explore la migration, l’appartenance et l’identité culturelle, ainsi que les langages par lesquels s’expriment le soin et la connexion.

The Mubone Collective is a transdisciplinary performance group working between Montreal and Copenhagen at the intersections of sound, movement, technology and architecture. The collective brings together trombonist-composer Kalun Leung, digital luthier Travis West, choreographer-performer Bettina Szabó, vocalist and creative producer Kirsten Voss, and percussionist-composer Sara Nigard Rosendal. At the centre of their practice is the mubone, a wearable sensor system developed by Leung and West that transforms physical gesture into spatialized sound. Through site-responsive performances combining composition, improvisation, choreography and performative electronics, the collective treats bodies and architectural spaces as active participants in the creation of music. Their work explores migration, belonging and cultural identity, as well as the languages through which care and connection are expressed.

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Contemporary

QMP 2026 | Épatants quatuors de George Lewis par Bozzini

by Frédéric Cardin

There was quite a crowd in the small hall of La Chapelle Scène contemporaine last night to hear two string quartets by George Lewis, performed by the Bozzini Quartet. Moreover, the 74-year-old composer was present to show his appreciation for the lively performance of the Montreal musicians.

INTERVIEW WITH ALISSA CHEUNG OF THE BOZZINI QUARTET

It was the Quartet 4.5 “Partial Truth” that was the first to be played (to understand the unusual numbering offered by Lewis, see the interview). We are quickly captivated: Lewis’s music is hyperactive, constantly teeming with striking textures (squeaks, glissandos, sustained notes, the bowing of bouncing strings, etc.). In this quartet, no moment remains uninhabited, even though the fabric of the score never gives the impression of being too dense. The energetic activity, a delicate and nervous pointillism, is incessant. But the most remarkable thing is the feeling of pulsation that emerges from it, a pulsation that is never really suggested in an obvious way. This one ends up inhabiting us, despite its ostentatious… absence. Lewis is a fan of philosophy, he says. I would therefore say that the beat, the groove, so invisible in the essence of his music, fully exists as an intersubjective being, in each of us, listeners, a sort of musical dasein.

The next quartet was no. 2.5 “Playing with Seeds,” more disparate in its construction, deploying a less sustained, more fractured energy, but also filled with exciting textures (including that rubber ball rubbed on the body of the cello and viola, creating a frankly amusing organic purring sound, which I would have liked even more!).

Rarely, it seems to me, has rigorously abstract and atonal music been so exciting to listen to. A well-deserved ovation concluded the exceptional performance of precision and technical mastery by the four members of the Bozzini Quartet (let’s name them: Isabelle and Stéphanie Bozzini, Alissa Cheung, and Clemens Merkel).

In the first part of the concert, and in total contrast to Lewis’s music (that’s a bit of the recipe for Quebec Musiques Parallèles concerts, and we like it), there was a long composition by Patrick Giguère, Ce qui frémit (that which shivers), for viola da gamba and synthesiser. The composition works with the just intonation system, a kind of well-tempered microtonality with 22 notes per scale.

We heard music unfolding like the movements of tides, with ascending episodes, very slowly on long sustained notes, towards more active and powerful moments (but very reasonably. Nothing thunderous here), then descending. A mix of drone and ambient. It was in the first third of the piece that I had the most pleasure, particularly at the first “tidal” peak, where Daniel Áñez’s synthesiser seems to emerge from the aquatic depths to gently ripple while accompanying the gamba, which also becomes more effervescent. The last third of the piece, on the other hand, seemed too long to me, despite a final crescendo that had a beautiful effect.

Marie-Loup Cottinet on the viola da gamba particularly stood out in a piece with precise intonation, which must be very difficult to execute well, and especially to tune!

Avant-Rock / Contemporary / Free Jazz / free-rock / Noise

QMP 2026 | Ackermann and D’Orion : the Complementarity of Extremes

by Frédéric Cardin

It would have been difficult to make a more contrasting concert program than last night at La Chapelle Scènes contemporaines. Québec Musiques Parallèles presented a double program dedicated, in the first part, to Rimes défaites par le Sphinx (Rimes Defeated by the Sphinx) by Geneviève Ackermann, for two voices and two guitars in just intonation, and then, in the second part, to the project Mes fantômes (My Ghosts) by Érick D’Orion, which I have mentioned in its recently released discographic version.

READ MY REVIEW OF THE ALBUM MES FANTÔMES BY ÉRICK D’ORION

As much as Ackermann’s work is refined, poetic, and meticulous in its details, D’Orion’s is maximalist, fragmented, noise-driven, and profoundly enjoyable. Rimes défaites par le Sphinx is a cycle of songs, performed by Geneviève Ackermann herself and Florence Tremblay on vocals, accompanied by the classical guitars of Francis Brunet-Turcotte and Alexandre Éthier. The songs, as I mentioned, are constructed according to the principle of just intonation, a scale of 22 notes (the normal scale contains 12) which therefore includes intermediate tones between the usual flats/sharps. It is therefore a form of microtonality, but due to its structural rigour, I fancy calling it “tempered microtonality.” The result is both disconcerting (at first) and strangely pleasant. Sometimes it feels like hearing a marriage between mediaeval Ars nova and the creations of Meredith Monk. It’s beautiful and subtle, it’s very delicate, and the performers are excellent. Ackermann and Tremblay managed to adjust their sometimes (apparently) fragile harmonies with aplomb. Next to them, Éthier and Brunet-Turcotte made their scores appear easy, which are, in truth, dreadfully complex to interpret, and this on guitars specially designed for the cause of perfect intonation. Yes, like for Angine de Poitrine, but with more advanced results and, curiously, not always as “weird.” The fact is that the microtonality used here is not as much cosmetic, like with the duo from Saguenay. So, there’s no need to “show” it in the same way. It is there, like an echo, or like ghosts distilled in a general factory that ultimately appears to us, strangely “normal.”

Speaking of ghosts, those of Érick D’Orion in the second part had enough to haunt us long after being summoned on stage. The principle of the Montrealer’s music, accompanied by musicians from Saguenay (and Bernard Falaise replacing Michel Potiron on guitar), is to let the artists interpret his ideas without ignoring their personal “ghosts,” or their stylistic influences, if you prefer. The aesthetic of D’Orion is firmly rooted in extreme rock and noise music. But what we heard (and which is not just a repeat of the album) was full of multiple references, both instilled by the composer (and conductor for the occasion) and expressed with individuality by the artists, all very good (hats off to them: Stéphane Beaulieu on bass, Marie-Pierre Brasset on Moog Grandmother synthesisers, Émile Boucher Cloutier on percussion, Réal Gagnon on drums, and Nicolas Gobeil on trumpet). What a pleasure to nod along to well-structured, heavy, and expressive rhythms, to be overwhelmed by the cacophonic delirium of a completely free tutti, and to hear references to Pendulum, Philippe Brach, and even Bach (a rare moment of calm here, magnificent in its contemplative dreaminess, inspired by a Passacaglia from the baroque genius). Of the three long pieces on the program, only the second seemed less structurally convincing, even if it was fun. Like a patchwork where each musician presented his/her ‘’influence’’ (in the form of a personal defining musical piece), like a suite of disconnected movements. Not much integration of the different materials together. But, like I said, many fun moments nevertheless (that is where we heard the transcendent Bach episode).

For purists, this iconoclastic juxtaposition is heresy. For authentic open-minded music lovers, it was a realistic delight, because when you truly love creative music, you are not stuck to structural principles to appreciate a concert. One can go from one extreme to another without batting an eye, because that’s pretty much how it happens in our heads (as one audience member said during the post-concert discussion).

A formula to be repeated without hesitation.

Africa / Musiques du Monde / Saharan Blues

MUZ : Djely Tapa au Studio TD

by Rédaction PAN M 360

Avec Dankoroba, Djely Tapa poursuit sa vision artistique à la croisée des cultures malienne et occidentale, passées, présentes et futures. Originaire de la région de Kayes, dans l’Ouest du Mali, Djely Tapa partage le verbe empreint de sagesse et l’art vocal des griots, figures emblématiques de la société malienne ancienne et contemporaine, dont les origines remontent à l’Empire Mandingue du 13e siècle. Son répertoire mêle traditions mandingues, blues du désert et sonorités électroniques. Elle a fait ses débuts en solo en 2019 avec son album Barokan (prix JUNO 2020 – Album musiques du monde de l’année), et son album Dankoroba a reçu le prix JUNO Album musique globale en 2025.

With Dankoroba, Djely Tapa continues to pursue his artistic vision at the crossroads of Malian and Western cultures—past, present, and future. A native of the Kayes region in western Mali, Djely Tapa embodies the wisdom-filled words and vocal artistry of the griots—iconic figures of both ancient and contemporary Malian society, whose origins date back to the 13th-century Mandinka Empire. Her repertoire blends Mandinka traditions, desert blues, and electronic sounds. She made her solo debut in 2019 with her album Barokan (2020 JUNO Award for World Music Album of the Year), and her album Dankoroba received the 2025 JUNO Award for Global Music Album.

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Ce contenu provient de MUZ – Le Rendez-vous des musiques métissées et est adapté par PAN M 360

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