OLLA VOGALA: Ecolier assasin
Olla Vogala
Live in 'de Handelsbeurs' Ghent.
May 2016.
Info: Cluster: http://www.clustermusic.be
Merci à Gabriel Yacoub pour cette chanson
Voice: Ludo Van Deau
Wouter Vandenabeele: viool & arrangement / Martin Balogh (Slowakije): piano & accordeon / Emre Gultekin (België/Turkije): saz / Osama Abdulrasol (Irak): qanun / Bao Sissoko (Senegal): kora / Elias Bachoura (Syrië): oud / Shalan Alhamwy (Syrië): viool / Liesbeth Lambrecht: viool / Ananta Roosens: viool / Jasmijn Lootens: cello / Joris Vanvinckenroye: contrabas / Luc Vanden Bosch: drums / Frederik Heirman: trombone / Marc De Maeseneer: saxen / Jean-Philippe Poncin: tenora, (bas)klarinet & chalumeau / Elly Aerden: zang / Sara Salvérius: accordeon / Florejan Verschueren: piano / Gijs Hollebosch: dobro & mandoline.
Olla Vogala mengt zuiderse melancholie, oosterse mystiek en Afrikaanse ritmes met de Europese muzikale tradities. Bezieler en violist Wouter Vandenabeele speelt het steeds weer klaar en gaat verfrissend met muzikale conventies aan de slag.
Daarna komen naast een aantal Sefardische klassiekers ook composities van Elias Bachoura, Emre Gultekin, Bao Sissoko en Elly Aerden aan bod. Onder de deelnemende muzikanten bevinden zich onder meer solisten van Sieste du Dromadaire, Aranis, Brussels Jazz Orchestra, Lady Lynn, Toots Thielemans, Gipsy Wolves, Opera, Eleonor,…
Olla Vogala aims to realize a fascinating and original imagining of music, word and sound. It is almost self-evident that such concepts as interculturality and multi-enticity get to have a serious meaning. Old and new music co-exist brotherly, intriguingly. This is due to the inspired and adventurous arranging of existing and improvised music. Olla Vogala breathes many different styles, doesn't care to be bothered by a breach of styles and looks for a new meaning in the rich tradition. The repertoire has basically grown out of bizar combinations - at least on paper - and cross-fertilization : medieval music, Auvergne bourrées, Monteverdi, Original Flemish folk melodies, Arabian songs, ancient French ballads, a-capella, performance, recipes in Middle-Dutch, original material, and improvizations on new and existing themes. There's also the input of the jazz section you shouldn't overlook, and a healthy dose of experiment. Because of the differentiated background of the players you can discern an influence from all these different styles in the music. There's your classical section, the jazz players, the folk section, ethnic instruments. Let loose, what you get is an incredible soundfest.
In this way Olla Vogala is very much worth your while.