Nilo Espinosa - Shaken, Not Stirred (2007)

«Nilo Espinosa may not be the best-known player in jazz circles – or bossa nova, disco, funk, Latin soul, boogaloo, and rhumba – though he is one of the best at playing all of them (often in the same ensemble). Espinosa is a Peruvian sax and flute-playing legend who has been hard at it since 1959, when he was getting a conservatory education. In 1962 he made his debut with the Neptuno Orquesta, who played in a club underneath a movie theater in Lima. Not exactly an auspicious beginning, perhaps, but it was enough and he was able to do correspondence studies at the Berklee School of Music in Boston. From 1963 to 1965 he played in an established jazz group at the Astoria in Lima and began to formulate his own ideas for creating jazz ensembles to fit his mood and method. This 18-cut disc issued on the Vampisoul imprint (a label well-known for brilliant reissues and compilations of Latin jazz, Pachuco soul, bossa, funk, and lots of other stuff, including rock & roll, on vinyl and CD) is a fantastic overview of Espinosa's work with five of his own ensembles – Nil's Jazz Ensemble, Bossa 70, Los Hilton's, Los 007, Nilo Espinosa y Orquesta – and some guest spots. Most of the tunes here are from the 1970s, though there are a few from the late '60s, and given the technology of the time, the sound is not exactly modern digital. (But it will more than do.) The jazz-funk in the opener, "Reflexiones," is just killer with breakbeats, electric keyboards, and taut popping (fretted) electric basslines, all backing Espinosa's wide-open soprano saxophone work. The groove is deep, laid-back, funky, and in the pocket – 18 tracks of this stuff would have been just fine, but man, there is so much more.» (AMG – read more)

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Trilok Gurtu - Broken Rhythms (2004)

«A world class, virtuoso percussionist, now in his mid fifties, Trilok has attracted a world class set of collaborators over a long career; these started with John McLaughlin in whose trio, Trilok flourished as the featured soloist for 4 years, other jazz greats continued this path – Joe Zawinul, Jan Garbarek, Don Cherry, Bill Evans, Pharoah Sanders, Dave Holland were all attracted to Trilok’s burning sense of rhythm. Of course he is deeply rooted in the Indian tradition, so it is no surprise to see that collaborations also took place with the glitterati of Indian musical society – his mother, Shobha Gurtu, Zakir Hussain, L. Shankar, Shankar Mahadevan, Hariprasad Chaurasia, The Misra Brothers and Sultan Khan. World music has become an established genre in which Trilok has further “ploughed his own furrow” with his own group, to great effect, performing and recording with Salif Keita, Oumou Sangare, Angelique Kidjo, Neneh Cherry, Omara Portuondo, Tuvan throat singers, Huun Huur Tu, to such effect that . Rita Ray of BBC Radio described him as “a serial collaborator”. […]

Trilok started 2004 with a 10-date tour of Norway in February followed by an extensive tour of 25 concerts in France to announce the release of his eleventh cd “Broken Rhythms”. As with all Trilok records, the accent was on rhythm and drumming – but this one more so. Featured collaborations with the Tuvan Throat Singers Huun Huur Tu, the Arké String Quartet and an outstanding screaming guitar part from Gary Moore bring a heady mix of bright and fast with gentle and peaceful. The album was released in France in March 2004 and received all 4**** reviews.» (trilokgurtu.net)

«This recording completes a four album musical journey which began with Africn Fantasy, prceeded through Beat of Love and Remembrance and comes to a beautifully composed conclusion on Broken Rhythms. Every element in Trilok's musical palate is used, from percussive experiments to rockier pieces to orchestrated arrangements that would satisfy many an old Mahavishnu fan. And the ensemble of musicians which he has chosent o accompany him and perform these songs are some of the finest in the world of Indian music and World music today. I am at a loss to imagine what he will do to "top" this release. If you have ANY of his earlier recordings, this one will have a certain logical sense and feel to it that you will really enjoy. This is the artist at his most mature to date.» (Amazon)

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Antonio Carlos Jobim's Finest Hour (2000)

«While Antonio Carlos Jobim is an essential figure in the music of Brazil, he also created a significant place for himself in American music as a great songwriter and a key figure in the tremendous popularity of bossa nova. Apart from his unique melodic gift, what makes Jobim’s work memorable is the complexity of mood he could evoke - the touch of sadness that colors the brightest bossa nova, the irony in the midst of joy, and the mixture of delicacy and resilience in his voice and piano. He was an artist who worked primarily in pastels, but it was his sense of shadows that gave his work its most enduring qualities. Including his most famous tunes and collaborators – like “The Girl from Ipanema” with Stan Getz and Astrud Gilberto – Jobim’s Finest Hour catches it all, from the standard-bearers to such gems as the playful “Aguas de Março”.» (Stuart Broomer, Amazon)

«Verve continues their Finest Hour series with Antonio Carlos Jobim’s Finest Hour, a 17-song collection highlighting the bossa nova pioneer’s singing and songwriting. “Insensatez”, “Corcovado”, “The Girl From Ipanema”, “Desafinado”, and other definitive tracks make this set entertaining, if not comprehensive.» (AMG)

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Ancient Heart: Mandinka and Fulani Music of the Gambia (1990)

«Co-produced by bassist Bill Laswell and Gambian griot Foday Musa Suso, this album delves into the West African roots that inspired their fusionary Mandingo project. Ancient Heart features recordings of both of Gambia's two major ethnic groups, the Mandinka and Fulani. But while the 11 songs are fairly true to tradition, the approach is updated by recording the musicians in ensembles rather than the usual solo setting. All in all, this is an extremely uplifting album that features some truly amazing performances.» (AMG)

«Gambia is the home of numerous ethnic groups, among them the Mandinka and the Fulani. the Mandinka are the westermost branch of the Manding people, descendants of the great Mali empire founded by Sunjata Keita in the 13^th century that include the Bambara, Malinke, Dyula and Soninke among others. The Mandinka are famed for their virtuosity on the kora, a 21-string harp-lute with a large gourd resonator that is featured on this recording. […] For the Mandinka jali (griot) it is the instrument of choice. […] The Fulani are a semi-nomadic people who may be found in most of the countries of west Africa and the Sahel. renowned as fierce warriors and able horsemen, they were early traders with the Arabs. […] By tradition, the Fulani were cattle herders and, perhaps because of their wandering nature, their musical instruments tend to be small and transportable. […]

This recording presents a rich tapestry of Mandinka and fulani music. While the songs are all in the tradition mold […] the assembly of such large ensembles is a fairly recent phenomenon. […] Since the recording was done on location in Mr. Suso’s compound in Birkama, Gambia, there were all manner of extraneous noises to deal with! The resultant sound is truly a triumph of teamwork between musicians and engineers and should appeal to listeners on both sides of the Atlantic for it is both stepped in tradition and thoroughly modern.» (From the Liner Notes, included in the zip).

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Ismaël Lo - Jammu Africa (2003)

«Ismael Lo, born in 1960, is the son of a Senegalese civil servant who loved American soul music. Lo grew up listening to stars like James Brown, Wicked Wilson Pickett, and Otis Redding. Lo built his first guitar from a cooking oil can, and learned to play harmonica and guitar together by nailing his harmonica to the wall. Lo was a guitarist for Super Diamano, a mbalax blues band, for five years before leaving to start his own solo career. Lo is often called the “Bob Dylan of Senegal” because of his guitar and harmonica combination coupled with his deeply satisfying lyrics. As Lo himself says: “I speak of racism, poverty, famine, and the relationships among people”» (The African Music Encyclopedia)

«This album grows on you. It’s not immediate, so at first listen not all the beauty and appeal are evident. But with every subsequent spin you’ll discover more of its rich variety which includes 3 distinct styles. The first is the catchy uptempo pop songs showing a resemblance to the soukous style of artists like Tabu Ley Rochereau and Ray Lema. The hit Dibi Dibi Rek is a tad slower but has highly addictive hooks whilst the rhythmic texture of Raciste is exceptional. Percussive tracks like Samba et Leuk and Takou Deneu represent a subgroup of the pop style possibly influenced by Nigerian music like that of King Sunny Ade.

The slow, often mournful, melodious ballad is the second type. All of these have beautiful tunes and moving vocals. They include the undulating Tajabone with its distinct country tones, the atmospheric Nabou spiced with synth and soulful female backing vocals, the melancholy Lotto Lo which has an introspective singer/songwriter air about it and Souleymane, the one with a pop-rock arrangement that starts slowly & gently before the tempo increases & the vocals intensify to transform it into a soaring power ballad. This “southern soul” is a staple of West African artists like Baaba Maal and Youssou N'Dour.

Thirdly, there is the torch song with aching vocals over a meandering rhythm, represented by the title track, Khar and Without Blame, the devastating duet with Marianne Faithfull which is in a class of its own. Sometimes the voices are in harmony, then they diverge in a call & response style. […] This tour de force […] is the highlight on an album of soulful songs and beautiful melodies that offers impressive stylistic variety.» (Amazon)

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Marie-Line Dahomay & Kalindi-Ka - Yo (1999)

«The islands of Guadeloupe were colonized by the French in 1635. Under their watch the indigenous Carib Indians were routed and African slaves were brought onto the islands and forced to work in the burgeoning sugar industry. Several hundred years later, soon after the French abolished slavery on Guadeloupe in 1848, the island’s plantation owners had workers from one of France’s East Indian colonies, Pondicherry, brought over to labor in the cane fields. As a result of these multifarious influences, Guadeloupe’s cultural practices – including its music – are hybrids of various traditions. For example, gwo ka music, which is traditionally performed during nocturnal gatherings called léwòz, incorporates the French-influenced Creole vocals of a lead singer and accompanying chorus with drummers playing on African-modeled gwo ka drums, the low-pitched boula and the higher-pitched makyè. Among the more popular practitioners of gwo ka music is the vocalist Marie-Line Dahomay. On Yo, Dahomay is joined by an all-female choir, Kalindi-Ka, and a battery of percussionists. Dahomay delves into such issues as femininity, religiosity, unrequited love, reclaimed ancestry, and Guadeloupe’s complex cultural identity. Dahomay’s powerful and soulful voice allows her to deliver these and other messages with conviction. As stated in her liner notes, the songs on this particular CD are not meant to reflect traditional gwo ka music. Rather, they “were inspired by traditional songs, enriched by Cuban rhythms.” Indeed, Afro-Cuban rumba rhythms and timbres from such drums as the bata and conga at times overpower the gwo ka drums, thus giving the music a predominately Afro-Cuban sound. Whatever its relation to traditional gwo ka, Marie-Line Dahomay & Kalindi-Ka’s Yo is full of beautiful vocal harmonies, vibrant polyrhythms, and thoughtful lyrics. All in all, it’s a must-have for those interested in contemporary interpretations of traditional Caribbean music.» (AMG)

«La musique Gwo Ka est un héritage de l’esclavage aux Antilles et en Guadeloupe en particulier. Autour du Gwo Ka gravitent la danse, le jeu, l’humour... une certaine façon d’être. Aujourd’hui, le groupe Kalindi-ka s’inscrit dans cette mouvance identitaire. Ce choeur féminin polyphonique et polyrythmique porte une note originale dans l’interprétation des morceaux anciens. Les compositions les plus récentes s’inspirent de chants traditionnels et sont enrichies de rythmes cubains. Les percussions ka se marient au djembé, au conga et au bata ce qui donne une plus large place à l’improvisation. La chanteuse principale, Marie-Line Dahomay, s’accompagne parfois d’un instrument indien: l’Ektara. Yo sorti en 2000, sur Playa Sound.» (Mondomix)

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The Rough Guide to Bellydance (2002)

«The Western image of bellydancing is associated with Greek or Middle Eastern restaurants, or some form of low-cost home seduction. The truth, of course, is something different. It's an ancient form of dance, requiring extremely complex body control to execute properly — and it's original name, baladi, has nothing to do with the belly, translating instead as "country dance." But whichever way you look at it, the music on this compilation is made for the dance, whether it's the satisfying full Egyptian strings of Jalilah and Mokhtar Al Said's "Enta Omri," a piece originally written for the great Oum Kolthoum, or the stunning buzuq work of the late Mohamed Matar, whose nimble, inventive playing deserves greater exposure. The centerpiece, however, belongs to Nubian percussionist Mahmoud Fadl, with "Aament Bellah," a piece written to illustrate the power of the dance to lighten spirits and the oppressive weight over everyday life. At 12 minutes, it demands a lot from the listener, but amply repays it with shards of musical genius from the ensemble, and a rhythm that can't be denied. The music ranges from the classical compositions of Mohammed Abdel Wahab to folk pieces, presented in a manner that largely runs the gamut of Middle Eastern music. And if you get tired of using it for dancing, it makes excellent listening too.» (AMG)

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Corsica: Ostriconi Plage

Various Artists: Corse (2003)

Here is a nice selection of Corsican recorded music. Most of these artists are not strictly polyphonic groups, at least not any more, since they don’t sing a capella traditional Corsican polyphony. Some of them, by the way, like Petru Guelfucci, still have their roots in Corsican polyphony, notwithstanding their musical evolvement. Those who do not innovate and develop their singing are likely to leave Corsican polyphony as a museum piece. But here you’ll find also valses bastiaises and monodic secular songs, instrumental tracks, modern songwriting etc. from l’ile de beauté (To learn more about traditional Corsican music click here).

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Vavangue - Musiques Folk de l'Ocean Indien / Folk Music of the Indian Ocean (1989)

«Fondé en 1988 par Jean Pierre La Selve, (ex « Compères Grat’Fils ») Vavangue est une association « loi 1901 » qui a pour but l’étude, la pratique et la diffusion des musiques traditionnelles de La Réunion.

Pour cela nous voulons continuer à faire entendre les instruments comme le bob le violon, le ralé-poussé ou le banjo, laissés de côté par la course à la modernité et à l’alignement sur les musiques dehors , et à faire danser sur les polkas, quadrilles, ségas , valses, mazurkas et scottischs que nous recueillons sans discontinuer auprès des derniers vieux jouars.

La musique que nous aimons n’est pas seulement destinée aux amateurs de folklore ou aux conservateurs de musées, elle est avant tout source de plaisir pour ceux qui la jouent, l’écoutent ou la dansent. Cet héritage peut aussi servir de base à une création actuelle. C’est pourquoi nous proposons nos propres compositions pour les mêmes instruments.

Notre activité principale nous conduit surtout sur des podiums de fêtes de quartier, pour des concerts ou des bals traditionnels, mais nous nous produisons aussi dans des lieux de culture : Muséum De la Canne et du sucre, Musée de Villèle, Médiathèques. A l’extérieur ; Festival créole des Seychelles, Métropole, Maurice, Louisiane, Martinique, Rodrigues.

Nous proposons également des actions de formation en musique et danses traditionnelles réunionnaises ainsi qu’une exposition d’instruments traditionnels.» (Akout)

Booklet in French and English

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Earth-Wheel-Sky-Band - Waltz Rromano (2003)

«There's definitely a concept of a journey about this album, but it's the kind of trip you'll be happy to make. Yes, it's gypsy music, coming from a Serbian home, but traveling everywhere — note the Indian inflection on "India Rroma," where guitar sounds like sitar, balancing a delicate violin line over chord changes that could almost have been lifted from "Get Back," filtered through, well, China. Odd, but enticing, which is also true of the rest of the disc, like the breakdown that comes at the end of "Me Sem Rrom," where cimbalom and violin take off like Serbian bluegrass, after a track that gives a nod to the U.S. with its bluesy inflections. Considering that Olah Vince has been playing professionally for 40 years, this is a major step forward not just for himself, but for gypsy music in general, an adventurous, daring disc. On "Vranje-Rromans," with guest trumpeter Boban Markovic heavily overdubbed in a fanfare, Vince's guitar work connects the dots between flamenco, the Balkans, and the Middle East in a magnificent way. And he's not afraid of being quieter, either, as on "A#-Rromans," a lyrical piece with echoes of a fading past. A magnificent record.» (AMG)

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Beyond the River: Seasonal Songs of Latvia (1998)

«This fascinating album is part of the excellent Hemisphere series of world music. Latvia – together with Estonia and Lithuania – is one of the Baltic states that regained independence from the Soviet Union in 1991 following an earlier period of independence between the first and second World Wars. The album speaks of the new confidence of a re-emergent country rediscovering the richness and diversity of the folk roots at the heart of its culture. Indeed a collection of over 200,000 dainas (folk songs), gathered by Krisjanis Barons (1835-1923), is one of the largest of its kind in the world.

Latvian folk song centres on the rituals of everyday farming life and the changing seasons but always lurking in the background is the sense of spiritual life, particularly from the pre-Christian pagan era. The music tends to be tinged with mysticism and a sense of melancholy, yet at other times there is a startlingly holistic connection with the natural world.

Four contemporary groups are represented on the album: Auri, Ilgi, Grodi and Rasa. An impressive range of instruments include trough fiddle, bagpipes, wooden trumpet, flute, whistle, drum, violin, hurdy gurdy and accordion. However, the jewel of Latvian music is the kokles, a type of board zither with between 5 and 12 strings. This instrument gives the music a haunting, ethereal quality and a moving delicacy. Evidently the history of the instrument can be traced back 3,000 years so listening to it today gives an incredible musical connection to past millenia.

There are many references in Latvian folk songs to the midsummer and midwinter solstice festivals and a range of stories, beliefs and superstitions surrounding them. One of the most exceptional songs on the album is "Es Jums Ludzu, Salmenieki/Friends, I Beg of You" by Grodi. Throughout the song the use of a gouri-type percussion instrument evokes, for me at least, the rasping call of the corncrake that is still widespread in Latvia. (In Britain, the remaining stronghold of this wonderful bird is the Outer Hebrides.) The call of the bird captures the spirit of midsummer.

Another song, "Mildas Dziesma/Milda's Song" by Ilgi, seems to come from deep in a pagan past. It is a dark song with a sinister drumbeat and includes the line "Let this evil day flow past me." Other songs on the album express a simpler celebration of farming life and a strong affection for animals. […] I recognise some of the tunes on this album but have been more used to hearing them sung on recordings in a rather sanitised, classical style by the typically huge massed choirs of Latvian song festivals. It is a revelation to hear them returned to their simpler roots but with a contemporary touch that combines the vocal and instrumental (often kept apart traditionally) in new ways. The music has a passion and rawness that, at times, can be uncomfortable. It is not music that will necessarily appeal to everyone but will interest many interested in the authentic folk traditions of Europe. The songs here have the power to transpose you to another world.» (Andy Jurgis, Rambles)

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Maghreb Sound System (2003)

«Les enfants de l’immigration maghrébine, reprenant les traditions musicales de leurs parents, se nourrissent de l’électronique et s’appuient sur des tendances musicales urbaines et occidentales pour préparer un tajine sonore des plus surprenants. Les chansons présentées sur cet album balaient un large spectre des tendances actuelles : hip-hop, dub, jungle, ragga, house, techno… mixées avec du châabi, raï, nuba, kabile, arabo-andalou. Un cross-over réussi où domine les mélodies et les rythmes du Maghreb.» (Indiz.fr)

«La mezcla y fusión entre culturas y músicas pueden deberse a diversos motivos, pero desde luego, los movimientos migratorios son los que generan las fusiones más reales y naturales, pues no surgen de análisis sesudos o de personas con espíritu experimentador… simplemente suceden.

Así, este disco, que ha sido recopilado por Alex Van Loy, aparece como un testigo de las fusiones entre música, nacidas de los movimientos migratorios de personas del norte de África que se han asentado en Europa.

En los 17 cortes que incluye el álbum se puede escuchar música vitalista, fresca, llena de energía y que gracias a la incorporación de elementos propios de la cultura árabe suena a nuestros oídos tremendamente original. Estilos como châabi, raï, nuba, kabil o milhum, por la parte árabe, se encuentran con house, techno, reggae, jazz, Hip Hop… o incluso rock, por la parte occidental.

Dentro de éste planteamiento el contenido resulta realmente diverso […] Maghreb Sound System es un disco interesante, diverso y muy entretenido. Útil para descubrir nuevas músicas, para los DJs que quieran dar un toque exótico a sus sesiones o simplemente para servir de banda sonora a un día optimista.» (F-MHop, La factoria del ritmo. Comentario completo)

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Mahlathini & Mahotella Queens - Isomiso (1983)

«Simon Nkabinde Mahlathini (nicknamed “the Lion of Soweto”) came to international attention via the 1985 sampler The Indestructible Beat of Soweto. He began to tour internationally with female singers the Mahotella Queens, although he has been playing and singing his brand of mbaqanga (Zulu pop music, heavily influenced by traditional singing styles) since the early ‘60s. Mahlathini started singing on street corners, graduated to men's choral music, and went on to form his own smaller group in the mid-‘60s. When he “went electric” in the mid-‘70s, his new sound caused a sensation, and much controversy. With the Mahotella Queens supplying their dynamic backing vocals and fancy dance routines (think of a South African version of the Supremes) and Mahlathini’s primal groaning filling the air, you don’t have to understand the language to get the message, although the group has occasionally recorded in English. Another part of Mahlathini’s success is the backing supplied by West Nkosi and the Makgona Tsohle Band. Makgona Tsohle means “Jack-of-all-trades”, Nkosi once said. Our mbaqanga is a blend of traditional styles with modern instruments, a music anyone can relate to. The group delivered its last live performance in 1997; the following year Nkosi was killed in an auto accident, and on June 29, 1999, Mahlathini passed on following a long illness.» (AMG)

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Ray Lema - "Ali Farka Touré" Video

Ray Lema - Paradox (2007)

«Recorded in a trio with bass-guitarist Etienne Mbappe and drummer Francis Lassus, Ray Lema’s new album, Paradox, is an eclectic mix of language and genre. It is hardly surprising to find such diversity from a musician who has always been frustrated by pigeonholes.

RFI Musique: Let’s talk about a word that you seem fond of, “paradox”, since it is the title you gave your album.
Ray Lema: We live in a society full of paradoxes right now, in the sense that the all right analyses have been made, but we act in complete contradiction with what these analyses are teaching and showing us. Take cigarettes, for example. […] This type of paradox weighs me down. I say to myself, how can society be so advanced and so childish at the same time?

Is there also a paradox in being a musician today?
It is important to separate the stardom from the musicians. As a musician, you want to make music that produces a little, indescribable joy, but to be a star, you have to get yourself dressed up to be a consumer product and join a process that us musicians cannot always control. So yes, there is some kind of paradox there.

For a musician like you, who sees the sense in maintaining French-speaking communities, isn’t it a paradox to sing in English as you do on some of the tracks on your album?
No, because I am married to an American and we speak English at home. So, although I am a Francophone, I can be an Anglophone too. It isn’t a paradox; it’s a reality for quite a few world citizens today.

This album includes a track you wrote in homage to Ali Farka Touré and a cover version of "C’est une Garonne", which you wrote for Claude Nougaro. Are these acts of friendship or remembrance?
Both. Each was a personal friend of mine and had something to teach me. With Claude, I learned my command of the French language. […] As for Ali, we saw each other at festivals, but we had never really hit it off, until one day, we found ourselves at the same show in Brazil. Jorge Ben Jor had invited us both to his concert (Angélique Kidjo was there too). Ali said to me, “When I look at you, sometimes you are really white and sometimes you are really African.” This was news! “We’ll talk about it,” he said. And so he invited me to his house, in Niafunké in Mali. He talked to me a lot about African culture there, and taught me a lot. These two guys were friends of mine, but at the same time, I owe them a gesture of remembrance because they brought some fantastic things to me.» (RFI Musique)

A full English bio here

Biografia in italiano qui

Official Website here

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Guinée Compil (1999)

«A rare compilation of Guinea’s modern musicians which confirms the country’s major musical status. Stars like Mory Kanté and Kanté Manfila rub shoulders with the excellent and little known Dourah Barry and others. Foudé Kouyaté’s contribution, “Sokho”, is a particular muscular dance track, synths and drum machines to the fore, but not omitting that quintessential Mande chorus.» (From S. Broughton, M. Ellingham, R. Trillo, World Music: Africa, Europe and the Middle East – Click here for an overview of the book.)

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See you in September... Ciao!

Paris Combo - Attraction (2001)

«There's a lot to like on Paris Combo's Attraction, the postmodern Parisian cabaret quintet's third album. As with previous efforts, the band updates the French chanson and gypsy swing tradition by adding a stylish hipster element that could be construed as French lounge music, but most of the arrangements for the album's 13 original tunes display a developing maturity that avoids gimmickry in favor of solid musicianship. Guitarist Potzi and trumpeter-pianist David Lewis in particular shine as tasteful soloists. Chanteuse Belle du Berry is convincing as well, sensually wrapping her voice around the French lyrics to project meaning even if you don't speak a lick of the language. Attraction also benefits from modern production touches and guest musicians, both of which add a lush new layer to the music that only enhances the band's depth and class. Leaving the winking self-awareness behind, Paris Combo has grown into a topnotch but still fun cabaret act.» (Tad Hendrickson, Amazon)

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Quarteto Novo - Quarteto Novo (1967)

«The Quarteto Novo was a seminal group with a strong Northeastern accent. They brought the tradition of that region of Brazil and mixed it with the bebop jazz language, the result so influential that it broke cultural and physical barriers throughout the planet. […] Certainly modern, distinguished proponents of that genre, like Egberto Gismonti, have the Quarteto Novo to thank for that.

In 1966, the Rhodia company wanted live music for a fashion event, hiring the violonista/guitarist/banjo player/viola player Heraldo do Monte, drummer/percussionist Airto Moreira, and bassist/violonista Théo de Barros and forming the Trio Novo. […] After pianist/brass/flute player Hermeto Pascoal joined the trio, it became the Quarteto Novo, which recorded its only LP with songs by Vandré and the group's participants, for Odeon in 1967. The album Quarteto Novo won the Troféu Roquette Pinto and the Troféu Imprensa. The Quarteto Novo […] toured Brazil as Vandré's exclusive group, being the backing group for Vandré on his 1968 album Canto Geral. […] The group disbanded in 1969 and the LP was reissued by EMI/Odeon as a CD in 1993.» (AMG)

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Holiday Time!

See you in August! Ciao!

Omara Portuondo - Le World... Cuba (2002)

«Omara Portuondo is the grand old lady of Cuban music. While her early recordings made her a star in Cuba, her participation in the 1996 album and video documentary, The Buena Vista Social Club, brought her to international attention. Her solo album, The Buena Vista Social Club Presents Omara Portuondo, released in 2000, reinforced her status as one of Cuba's greatest musical ambassadors.
A native of Havana, Portuondo was one of three daughters born to a baseball player on the Cuban national team and a woman of Spanish heritage who left the comfort and support of her wealthy family home to marry the man she loved. Her parents' singing provided the soundtrack for her early life. As a youngster, she sang in school choirs and music classes. Heavily influenced by an older sister, Haydee, a dancer at the Tropicana cabaret, Portuondo attended many of the troupe's rehearsals. When the ensemble found itself short one dancer, in 1945, she was recruited to fill the vacancy. The experience launched her on a career as a dancer and she formed a successful partnership with Rolando Espinosa. Portuondo balanced her dancing with singing engagements with friends, including Cesar Portillo De La Luz, Jose Antonio Mendez, and pianist Frank Emilio Flynn, calling themselves Loquimbambla Swing. The group helped to pioneer the filin style of music that blended bossa nova and American jazz. For a while, she also performed with Orquestra Anaconda.
In 1952, Portuondo joined with her sister and Elena Burke to form a vocal group, Cuarteto d'Aida. The group's sound was established with the addition of pianist and director Aida Diestro and female vocalist Moraima Secada. Although she released her debut solo album, Magia Negra, in 1959, Portuondo continued to work with the group.
Cuarteto d'Aida's fortunes were drastically effected by the Bay of Pigs crisis in 1961. Although they had become frequent performers in Miami, FL, they were prevented from returning as the relationship between Cuba and the United States collapsed. While Portuondo returned to her homeland, continuing to perform with Cuarteto d'Aida until 1967, her sister elected to remain in the United States.
Although she performed with Orquestra Aragon in the 1970s, Portuondo had settled into semi-retirement by the mid-'90s. Her plans to slow down her career were altered after Ry Cooder, who was in Cuba recording with the Chieftains, heard her sing in 1995. When he returned, the following year, to produce The Buena Vista Social Club, Portuondo was invited to become a featured vocalist with the all-star group. In 1998, Portuondo recorded a duo album, Desafios, with Cucho Valdes.» (AMG)

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Malkit Singh - King of Bhangra (2004)

«Malkit Singh was born in the village Husainpur near Jalandhar. He is the oldest child of five. He started singing at the age of four and attended a local school in his village where is talent was recognised. He then carried his talent through to college where he participated in competitions and won many awards. And now has taken his music from the Punjabi vernacular to cross-cultural experiments with various types of music such as rap, house, dance, Bollywood film screens and so fourth. As a result, traditional Punjabi folk music has gone from the relative obscurity of a Punjabi village to the heady heights of a world stage. As the music spreads its wings across the globe, Malkit Singh encompasses audience of all ages and backgrounds. With this, Malkit Singh has received numerous awards and accolades for his musical talents in that his contributions to Bhangra music and the Indian community have been greatly noted. […]

Malkit Singh has been hailed the ‘King of Bhangra,’ and is one of the few Punjabi icons around in today’s Bhangra industry. Punjabi’s all around the world look up to Malkit’s original style, melodious voice and unique music as he represents the true traditional Punjabi culture to worldwide audiences. His fan base keeps on growing from strength to strength. He encompasses an audience of all ages, from old to young. He has maintained his true Punjabi image throughout his career, which people have respected and feel they can look up to him as a role model. His popular music and videos have won over today’s generation of youngsters as well as keeping his die-hard fans happy, and will continue to do so in years to come.» (Hollywood Bowl)

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