YY

Collection Contents

#		Title	Length
1		Feeling Good	4:24	Play
2		Yy (dans Ma Vie)	4:32	Play
3		Filosofia Pura (a o)	3:38	Play
4		Enfant D'afrique	3:44	Play
5		L'enfant Est Le Pre De L'homme	4:51	Play
6		Mina	3:57	Play
7		Anahua	3:47	Play
8		Talat	5:45	Play
9		Iko Iko	3:30	Play
10		Ser Criana (tre Un Enfant)	2:24	Play
11		Right to Happiness	1:54	Play
12		Brown Girl in the Ring	1:59	Play

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Bitmunk Marketplace Service	USD $0.98
CD Baby Artist Royalty	USD $5.97
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Total	USD $8.06

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Description

Joanne Griffith
presents her 1st album: YÔYÊ

Velvet voice singer Joanne Griffith probes essential themes of love, childhood, and the art of living together in her début album, YôYê. Over Afro-Latin rhythms cross-pollinated with a Montreal blend of métissages, the songs explore various facets of the human family, here and there in the world. A generous offering in French with a rich mix of English and Portuguese, the songs were written for Joanne Griffith by Québec-based songwriters Paulo Ramos, Philippe Laloux, Vovo, Jean-François Garneau, and author Delphine Bailly. The album also unveils one of Joanne's own compositions.

Born in Montreal to West Indian parents, Joanne Griffith grew up in a vibrant multicultural environment, speaking English at home and French at school. She discovered a passion for the stage, whether expressed in dance, theatre or singing. As a member of the Montreal Jubilation Gospel Choir for more than 10 years, Joanne performed in more than 100 shows, including one for Nelson Mandela when he visited Montreal in 1989, and in 5 recordings, in North America and Europe.

In 1999, Joanne Griffith launched her career as a soloist with a concert entitled Prima at Club Soda, in Montreal. The following year, Brazilian singer-songwriter Bïa invited Joanne to open at the Lion d'Or in Montreal, where she performed the first half of an uplifting evening. Since then, Joanne has been singing regularly, developing and expanding her repertory with the help of her musical director, Jean-François Garneau, and her musicians, Fabrice Laurent, Christophe Papadimitriou and Richard Lalonde. Joining them on this début album are Paulo Ramos, Vovo, Karl Surprenant, Nathalie Cora, Jean-Pierre Zanella, Vincent Beaulne, Lilison Cordeiro M. and Kristin Molnar, offering listeners a cd that is highly touching and original.

The cd opens with a classic, Feeling Good, first warmly sung a cappella, then backed by a delicate jazzy conversation between cora, guitar and soprano saxophone. The title song follows, accompanied by the fluid guitar of its composer, Paulo Ramos. YôYê is a tribute to loving families everywhere. The third song, Filosofia pura, sends out a wonderful message of happiness, thanks to sunny percussion from Brazil and West-African cora. Enfant d'Afrique begins with a lonely kalimba soon replaced by a military drum, a thought for the children forced to become soldiers. Another riveting look at childhood is offered in L'enfant est le père de l'homme and in Mina. One takes us on a train ride along the highlands of India, the other moves our feet to an ironic beguine. Anahua, meaning she-who-sees-far in Igbo, shares the longing of an exiled woman for her African grandmother. In Talaté, a bass clarinet follows the footsteps of Peul shepherds on the savannah. Iko Iko is a New Orleans carnival anthem with added Brazilian spice. In Ser criança, Vovo joins Joanne in a smile dedicated to children. Joanne's own Right To Happiness defends a child's need for love and respect, which is simply expressed in the final song, Brown Girl in the Ring.

French description:
Le disque YôYê s'ouvre avec un classique, Feeling Good, d'abord énoncé en un suave a cappella, puis soutenu par les traits jazzés des cora, harpe d'Afrique de l'ouest, guitare et saxophone soprano. La chanson-titre suit, agrémentée par la guitare agile deson compositeur, Paulo Ramos. C'est une sorte de berceuse, dédiée aux parents et aux grands-parents, dont la sonorité exprime les rêves de l'enfance. Filosofia pura, la troisième pièce, répand un idéal de bonheur en alliant au soleil des percussions brésiliennes celui de la cora. Enfant d'Afrique enchaîne avec un petit kalimba, vite entraîné par un tambour militaire, évoquant le sort des enfants-soldats. Ce regard sur l'enfance d'ailleurs continue dans L'enfant est le père de l'homme et dans Mina. Dans l'un, berimbau, violon et udu tissent la trame d'un voyage en train lumineux sur les hauts-plateaux de l'Inde. Dans l'autre, le cuatro et la clarinette font tanguer sur une béguine un récit triste et familier. Anahua, qui signifie « celle-qui-voit-loin » en igbo, raconte le souhait d'une femme en exil de retrouver sa grand-mère africaine. Dans Talaté, une clarinette basse souffle sur les traces d'un groupe de bergers, des Peuls, dans la chaleur d'une savane. Avec Iko Iko, la chaleur est celle d'un carnaval louisanna is fantasque, où le gamok indien rejoint les tambours du Brésil. Dans Ser criança, Vovo appuie Joanne et offre à l'enfance un autre sourire brésilien. Joanne défend ensuite dans Right To Happiness le respect des enfants et de leur droit au bonheur, lequel est illustré simplement avec la ronde des Caraïbes finale, Brown Girl in the Ring.