WOMAD UK

WOMAD

Guitar Connections

31st July on the

Photo Of Justin AdamsPhoto Of Juldeh Camara

Justin will be joined by Gambian griot, Juldeh Camara and will explore links between the Blues and West Africa, hearing how his one string fiddle can be accompanied on guitar in the same way that Muddy Waters' guitar provided the perfect foil for Little Walter's harp. All the time students will be expanding on Monday's rhythmic work and building on the learning from the two days with N'Faly.

Justin Adams Biography

“Justin Adams”
- My original love when I was young was The Clash and dub reggae. I like to keep things raw and swinging - so it never gets too pristine or too sweet. I love listening to cassettes of Moroccan music and Algerian music. I like trancey, circular rhythms and voices that are in between pleasure and pain, where it's bittersweet.

Justin Adams has been at the cutting edge of world music alchemy since the 1990's with Jah Wobble, Robert Plant (Adams co-wrote The Mighty Rearranger), Natacha Atlas, The Festival of the Desert, Tinariwen (producing their first and third albums), LO'JO. Taking influences from African, Arabic and Irish traditions as well as rock and roll and the Blues, his distinctive, driving guitar style is the missing link between Bo Diddley and Munir Bashir. With Tell No Lies, Adams delves deeper into the African origins of black American music, following the roots of New Orleans and Mississippi soul right back to the Songhai, Fulani and Toureg peoples of West Africa.

Juldeh Camara Biography

Juldeh Camara is an African Master Musician, taught to play by his blind father, who himself was taught directly by the djinn. Playing the ritti, a one-stringed fiddle and West African ancestor of the violin, he participated as a griot (a West African poet, praise singer and repository of oral tradition) in traditional Fula society. Juldeh has the drive and effortless flow of a great Bluesman. While his instrument brings to mind Delta players like Big Joe Williams, as well as Ali Farka Touré, there is a lilt in his playing that hints at the ancient links between North Africa and the Celtic World. He describes magical shapes on his ritti; one minute it's Blues harp, the next a Celtic fiddle, then a Saharan herdsman's flute. It is hard to believe all this emotion, range and flexibility comes from just one string.

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