Pictures of Greece: Rethymnon, Crete

Photo: JTC

Psarantonis - I Reckon (1998)

I owe many thanx to Nmos of Meet the Music Traveller blog for this wonderful CD in which Cretan composer & multi-instrumentalist Psarantonis newly interprets some of his own compositions of the last several decades & a few traditional tunes. A truly eloquent player of the Cretan lyra (an upright fiddle which involves a whole different playing technique than does the typical Western violin), Psarantonis is a striking example of a highly individual, improvisatory artist whose music is deeply rooted in tradition, but singularly his own.

«Antonis Xylouris, known as Psarantonis, was born in Anoyia Crete in 1942. He first picked up the lyra at age 13, and within one month, played at his first wedding. "The job was funny", Psarantonis now reflects. Named after his grandfather who was also a lyra player, Psarantonis in three years became one of the most renown new talents in Crete. Psarantonis plays various sorts of lyres as well as laouto, 12 stringed laouto, mandolino, tzoura, and daouli.
Psarantonis is an acquired taste. He plays unlike any of his peers. His singing is like no one else's, ranging from mellow whispers, to low singing, from cacophonous bellowing to an incomprehensible moaning. His playing ranges from simple to beautiful from wild to painful. Handpicking the musicians that accompany him, he composes a sound rooted in tradition -only newly interpreted. Psarantonis’ old albums consisted of him playing lyra with two laouta (his son was usually one), but he always added another instrument if he could, such as the askomandoura (a cretan bagpipe). As time progressed Psarantonis added more instruments to his compositions such as outi, mandolino and bulgari. Today Psarantonis’ albums are not lyra- laouto compositions, like most cretan albums of today. The use of more instruments, such as a lyraki (a small lyra) accompanied by a vrodolyra (a large lyra that looks like a small cello), allow him to form compositions that are deeper in texture than anyone else's today.» (Creternity)

Dutch review here.

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Mervent - Mervent 2 (2003)

One of my favourite Celtic bands from Russia. Enjoy!

«Celtic music has risen swiftly in popularity in Russia since it first began to be heard in the mid-1990s. The first bands on the scene in the late 90s included Si Mhor, Slua Si, Puck and Piper. Feeling their way in a new idiom and meeting up with new musicians on the same course, frequently by chance, the bands found a focus in the First Celtic Music Festival in Russia, held in Moscow in 1998. Since then twice-yearly festivals of Celtic inspired music have centred on St Patrick's Day and Samhain (the Pagan New Year). The initial, perhaps experimental, phase in Celtic music in Russia has come to a close, and recently a number of the original bands split up and reformed in new groupings under the leadership of individuals who have developed a clear vision of how they wish to express themselves through the broad medium of Celtic folk music. One such new grouping is the Moscow group Mervent [in translation from the Breton, “Mervent” means a wind from the southwest, and is a punning expression of their influences on the music that they play], which was formed in August 2000, with a nucleus of two members of Si Mhor - Igor Burmistrov (fiddle, guitar, lead vocals) and Anastasia Papisova (harp, vocals, dance). […]

The musicians of Mervent try to exploit to the full their very varied musical experience, and this comes across clearly in their sets. The rich diversity of stringed, wind and percussion instruments gives their sets a shimmering range of instrumentation which is fully exploited in the arrangements of tunes in their sets, and the Irish dance numbers performed by Anastasia (rated as one of the best performers of Irish dance in Moscow by Irish nationals visiting Russia) are a natural visual enhancement to their concerts. Mervent's repertoire consists mainly of the music of European peoples, from Scandinavia and Ireland to the Balkans and Western Ukraine. There are also arrangements of Armenian melodies, and original compositions. […] Mervent does not perform reconstructions, but concentrates on playing contemporary folk music in a style strongly their own. You can simply listen to it, dance to it, or enjoy it as it unfolds - it contains both the human and the ethereal moments, which are the true marks of music played from the heart. (Mervent.ru; group bio also available in French and Russian)

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Postcards from Italy (41): Agliè, The Castle (Piedmont)

More Re-Posts

Manu Dibango - Countdown at Kusini OST (1975)

Putumayo Presents Colombia (2001)

Açoriana: Landscape (São Jorge)

Achien'g Abura - Spirit of a Warrior (2004)

«Kenya’s Afro-Jazz sensation Achieng Abura has every reason to smile after her latest achievement of scooping the top East African female artiste award jointly with Ethiopia’s Tsedenia Gebremarkos. Her song “Toto Wangu” from her latest album Spirit of A Warrior helped her sail through. […]
An ardent peace advocate, Abura says her priority is to use her music to assist in the process of developing a culture of peace in Africa. Inspired by Aretha Franklin, Patti Labelle, Miriam Makeba, Gladys Knight, Letta Mbulu and Randy Crawford, Abura has always been into music. At the age of 12, after excelling in her primary school education, her mother Isabella Abura rewarded her with a new Campbell piano.
She sang gospel music and joined Life Ministry while at Kenya High School and continued doing the same as a Bachelor of Science (Chemistry) student at the Virginia Commonwealth, University, USA, singing with the Monroe Sisters, in 1990.
Upon graduating she released her debut gospel album I believe. The album launched her into the limelight showcasing her powerful voice and strong writing skills. The title track became a household song and was even adopted as the signature tune for a gospel music programme on KBC TV. In 1992, Abura graduated with a Masters of Philosophy in Environmental Studies at Moi University, Eldoret. And in 1993, when her mother passed away she recorded a dedication album for her titled Way Over Yonder. She then recorded her third album Sulwe with Ted Josiah of Blu Zebra.
Abura then reinvented her style of music to a more secular Afro-Jazz style. “Gospel music is restricted to preaching”, she once said. “I believe that God wants me to express myself more; to expand and sing about peace, domestic violence and other aspects of life”.
In 2002, Abura released her fourth album, Maisha, and […] performed with Senegalese based Saintrick Et Les Tchielly of Congo Brazaville in a highly acclaimed show at the Carnivore, under the sponsorship of the East-West Cultural Exchange Cooperation Project of the French Cultural Center. Under the same initiative she was invited to perform at the Africa Fete Festival in Dakar, Senegal, […] becoming the first Kenyan artist to perform in culturally rich Senegal.
Her latest CD, Spirit Of A Warrior, was voted among the top Afro-Jazz releases in Francophone Africa in January and her music has been gaining popularity with audiences in Central and West Africa.
Abura has achieved startling artistic maturity, with a fifth album in a career spanning a decade. Her good reputation and experience have seen her perform in high-profiled concerts in the US, England, Spain, France, Germany, Senegal, Tanzania, South Africa and Zanzibar. […]» (True Blaq)

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Burhan Öçal & Istanbul Oriental Ensemble - Grand Bazaar (2006)

Another fine contribution from JTC.

«This 10-track CD is a kind of concept album based around Istanbul's celebrated Kapali Carsi – the grand bazaar of the title. Led by percussionist and composer Öçal, the six-piece Ensemble produce a full-bodied sequence of rhythmic instrumentals, led by Volkan Gumuslu's violin and Savas Zurnaci's clarinet. Propulsive, up-tempo numbers such as “Rakkase” [The Belly Dancer] and “Pasa Selim”, loosely based on a theme from Mozart's “Abduction From the Seraglio”, are treats.

Young kanun player Mehmed Celiksu makes a guest appearance – his recording debut – on “Kanun-Name”, but after 12 minutes of his solo improvisation, the band are ready to ease back in with the serpentine “Roxelanin Sesi” [Roxelana's Cry], a portrait of Sultan's Suleiman I's wife and former concubine, which features a much-augmented Ensemble. The suite ends in a more low-key manner, with a subtle but tense tone poem for kanun (Celiksu) and darbuka (Öçal).» (The Guardian)

«Au cœur d’Istanbul se situe Kapali Çarsi, autrement dit le Grand Bazar, l’un des marchés couverts les plus vastes qui soient dans le monde. Le percussionniste stanbouliote Burhan Öçal en trace le portrait à sa manière dans cet album aussi vivant et coloré que son modèle. Les compositions sont toutes inspirées par la tradition classique ottomane. Cela nous vaut sur la plupart des titres des cavalcades exaltantes. Cordes et percussions paraissent se poursuivre en bondissant, n’arrêtant leur course effrénée que pour laisser à quelques instruments le temps de prendre des solos bienvenus. Violon, clarinette, kanun, oud, guitare affinent alors le trait, figurant tel ou tel aspect de la vie observé dans le haut lieu du commerce d’Istanbul. Si, dans ses grandes lignes, la musique d’Öçal est proche de la tradition, elle contient de-ci de-là de discrets échos provenant d’autres genres. Le percussionniste est un artiste de son temps et, depuis ses débuts, il voyage beaucoup, notamment pour jouer avec des collègues de toutes sortes. Certains sont, comme lui, versés dans le jazz, le Brésilien Nana Vasconcelos, par exemple, ainsi que l’Indien Trilok Gurtu. On l’a entendu aussi au côté du claviériste autrichien Joe Zawinul et du bassiste états-unien Jamaaladeen Tacuma. Mais il a aussi croisé la route de la chanteuse électro orientale Natacha Atlas ou de la pianiste classique portugaise Maria Joao Pires. Et si, à l’écoute de ce disque, vous trouvez des traces de folklores tsiganes, vous ne vous tromperez pas. Burhan Öçal et son Istanbul Oriental Ensemble sont de ces artistes turcs qui se passionnent pour la culture des Roms de leur pays (ils ont d’ailleurs enregistré Gypsy rum, un disque au titre explicite). On trouve de tout dans le bazar d’Öçal!» (Routard)

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Açoriana: Landscape (Faial)

Eddy Louiss & Richard Galliano - Face to Face (2001)

«Mon premier a été baptisé meilleur organiste du monde, mon second a redonné ces lettres de noblesse à l’accordéon en inventant le new musette. Mon tout forme un nouveau duo, quoiqu’il paraissait logique que ces deux-là se rencontrent un jour. Nouveau duo et rapidement nouveau disque, sorti chez Dreyfus Jazz, chez qui on retrouvera de nombreux disques d’Eddy Louiss et de Richard Galliano.
Le répertoire est construit comme une invitation au voyage. Un voyage à travers le Brésil, l’Argentine, le bop (“I remember Clifford”) ou la chanson populaire (“Sous le Ciel de Paris”). La chanson est ici justement le phare central de l’enregistrement, ce n’est finalement pas étonnant quand on sait que Louiss et Galliano ont été d’émérites compagnons de route de Claude Nougaro (ils reprennent d’ailleurs “Berimbau”, soit Bidonville de Baden Powell).
S’ils sont reconnus comme de grands mélodistes, le fait de jouer ensemble a semble t’il annihilé une propension à un excès d’ornementation, ce que l’on peut parfois regretter (toute proportion gardée) chez l’un comme chez l’autre. Chacun s’est adapté à l’autre et cela vient sûrement aussi de leur grande pratique du duo. Epurer leur jeu - sans aucune austérité, loin de là ! - pour mieux converser en une même respiration. D’où une musique profonde, parfois triste ou émouvante faite de rythmes doucement chaloupés, jamais brusqués, ou de ballades.
Une musique nostalgique aussi. Conclure le disque par Léo Ferré est un signe: avec le temps, tout s’en va, ils auront justement réussi à ne pas (l’)oublier.» (Citizen Jazz)

«Duet albums featuring an accordion and an organ are rather rare, but this collaboration by Richard Galliano and Eddy Louiss is consistently delightful and charming. Their two instruments blend together quite well, the songs (which range from a couple jazz standards and straight-ahead tunes to tangos and French folk melodies) are catchy, and this duet set by two of the top French jazz musicians is a complete success. Listeners who think that the accordion does not belong in jazz are particularly recommended to check out this infectious CD.» (AMG)

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Waaberi - New Dawn (1997)

«Taking their name from the Somalian word for morning, Waaberi has helped usher in a new era of traditional Somalian music. Comprised of former members of Somalia's National Theater, which flourished before the civil war, the group has continued to explore the musical traditions of its homeland. While Billboard described Waaberi's music as “an intoxicating mix of African and Arabic influences”, Spirit called their repertoire “raw, hypnotic, and powerful tunes of traditional and modern Somalia – beautiful and cruel, African and Arabic... music that carries the ethereal quality of the oud and the wonderful earthiness of Afro-percussion”. […]

The music of Somalia is a mixture of African and Arabic influences, with instruments that range from household items like tea cups and water bottles to bongo drums and the oud, a lute traditionally associated with the Middle East. On the ten spirited tracks that make up New Dawn, the focus is primarily on singers Maryam Mursal, Abdi Nuur Alale, and Kadra Dahir, whose passionate vocals drive these songs to ecstatic heights. The stellar musicians urge the singers on, with intricately syncopated rhythms and Salah Qasim's rollicking oud melodies woven tightly together to create dazzling tracks like “Heei Yaa Alahobalin Hobalowa” and “Shubahada”, which seem to urge listeners to get up and dance. A wonderful introduction to the enchanting music of Somalia.» (AMG)

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Możdżer Danielsson Fresco - Between Us and the Light (2006)

Another sparkling gem in Leszek Możdżer’s rich catalogue, Between Us and the Light (which, as far as I know, despite its English title has been published only in Poland) sees the Polish piano genius in a jazz trio context, alongside Swedish bassist and cellist Lars Danielsson and Israeli percussionist Zohar Fresco. Like the previous album of this exciting trio (2005’s The Time), Between Us and the Light has garnered double platinum award in Poland. It’s not difficult to understand why. Highly recommended.

L-R: Lars Danielsson, Leszek Możdżer, Zohar Fresco

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Re-Post

Stormy Six - Un Biglietto del Tram (1975)

Pictures of Greece: The Cyclades Islands at Sundown

"Pictures of Greece" series courtesy of JTC

Konstantinos Vita - "2" (2006)

Here’s the first of a bunch of fine Greek & Turkish albums kindly offered by JTC from Turkey. Many thanx!

The Greek composer, painter and videoartist Konstantinos Vita (also known as Konstantinos Beta and K Bhta) was born in Melbourne, Australia, where he studied painting and history of art. Then he moved to Athens, where he studied graphic design and in 1992 was one of the founder members of Greece’s finest electronic group, Stereo Nova. In 1996, after five albums, he disbanded the group to follow a solo career. He has written music for film, theatre and dance productions, covered songs by Manos Hadzidakis (Transformations, 2003) and exhibited his paintings and videos (Soundscapes, 2005). Striking a near-perfect balance between hard-core electronica and emotive lyricism, between introspection and the pulse of city life he also composed the music for Dimitris Papaioannou’s (the acclaimed Olympic Ceremonies art director) enormously successful production “2”, winning over a broader public and earning himself his first gold record.

Konstantinos Vita creates sensitive, exhilarating soundscapes that can just as easily familiarize us poetically with the dizzying realities of contemporary life as usher us into the time and space of dreams. […] He has never stopped experimenting with the emotion of violence and the violence of emotion. (Partly based on this review)

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Açoriana: Azulejo (Faial)

T.P. Orchestre Poly-Rythmo - The Kings of Benin Urban Groove 1972-80 (2006)

«Il Benin è un piccolo paese francofono che si affaccia sul golfo di Guinea stretto tra il Togo e la Nigeria. In ambito musicale è conosciuto in tutto il mondo grazie ad una grande pop-star, la pantera del Benin Angelique Kidjo. Ma il disco di cui parliamo oggi è qualcosa di completamente differente: si tratta infatti di un’orchestra quasi sconosciuta fuori dall’Africa, ma che ha pubblicato in patria decine di album: è la “Tout Puissant” Orchestre Poly-Rythmo de Cotonou, nata nel 1966 e tuttora attiva.

Ma […] prima di tutto due parole sulla Soundway Records. È una label nata appena 2 anni fa a Londra […], ma che già ha ottenuto una ampia visibilità grazie alla qualità strepitosa dei suoi prodotti, in particolare delle due compilation “Ghana Soundz: Afrobeat, Funk and Fusion in the ‘70s” volumi 1 e 2. Unici nel loro genere, i due Ghana Soundz accendono le luci sul fiorire dell’Afrofunk ad Accra durante l’epoca d’oro dei seventies, evidenziando per la prima volta non la diaspora culturale che portò il sound dell’highlife dal Ghana in Nigeria, ma quella dell’Afrobeat che scorreva in direzione opposta. […]

Come dicevamo, della Poly-Rythmo sapevamo poco. Un’altra loro raccolta pubblicata nel 2003, intitolata Reminiscin’ in Tempo (Popular African Music, 2003), metteva in evidenza atmosfere a cavallo tra il latino-americano e il soukous congolese, assolutamente in linea con molte altre orchestre dell’Africa francofona di quegli anni. Avrei detto niente di nuovo, se non fosse che in Kings of Benin emerge un groove molto diverso, come un cocktail di vero Afrobeat e salsa cubana. Perché quei due dischi sono così diversi? La spiegazione più semplice è che tutto dipende dai gusti di chi ha selezionato i brani delle due raccolte tra gli oltre 50 LP e i 100 single prodotti dall’orchestra; ma lo stupore resta, e nasce dalla constatazione della grande versatilità della T.P Poly-Rythmo, capace di produrre magistralmente i differenti sound delle orchestre da ballo africane dell’epoca, dalla salsa al soukous, dall’highlife al funky.
Curiosando tra le note di copertina dei due CD, ecco disvelarsi le ragioni di tanta poliedricità. Prima di tutto l’orchestra di Cotonou ha accompagnato, nel corso della sua lunga vita, non solo tutti gli artisti più importanti del Benin, da Angelique Kidjo a Gnonnas Pedro, il cantante degli Africando deceduto purtroppo nell’estate del 2004, ma anche molte grandi star africane quando erano in tour nel loro paese: dal camerunense Manu Dibango ai congolesi Tshala Muana, M’Pongo Love e Nyanka Bel, fino all’ivoriana Aicha Konè, solo per fare qualche nome. Allo stesso tempo, la stessa Poly-Rythmo ha fatto tour un po’ in tutta l’Africa, e ha registrato i suoi album non solo a Cotonou, ma anche a Lagos e ad Abidjan, i due maggiori centri dell’industria discografica africana.

Veniamo alla musica. L’Orchestre Poly-Rythmo ha un organico classico: batteria, percussioni, basso, tastiere, chitarre elettriche, sezione di fiati e voci. La forte personalità del loro sound è dovuta soprattutto al talento, oltre che del primo cantante e bandleader Clement Mélome, che fu anche tra i fondatori dell’orchestra, del batterista Leopold Yahoussi e del grande chitarrista Bernard “Papillon” Zoundegnon, questi ultimi due purtroppo scomparsi entrambi nel 1982. Il lavoro di Yahoussi alla batteria è in grado di definire in modo preciso il groove, sia esso salsa o funky, e di arricchirlo al tempo stesso di continue variazioni, mentre i soli di chitarra di Papillon, dal forte sapore rock, rappresentano le cuspidi della creatività della band.
A differenza del sound nigeriano, l’Afrobeat di brani come “Aihe Ni Kpe We”, “Mi Si Ba To”, “Ne Te Faches Pa” e altri ancora è caratterizzato da un sound più rock che jazz, con lunghe improvvisazioni affidate, piuttosto che hai fiati, a chitarra e tastiere. Inoltre, come abbiamo già detto, in alcuni brani le influenze latino-americane sono evidentissime. “Gendamou” e “Agnon Djidjo” sono puri brani di salsa, così come lo è “Angelina”, che chiude il disco, il primo successo dell’orchestra negli anni 60, mentre “Kokoriko”, uno dei brani più spensieratamente godibili, è un highlife coinvolgente e solare, dal forte sapore caraibico.
L’afrobeat venato da sonorità rock e atmosfere latine dell’orchestra di Cotonou rappresenta il punto di contatto tra la musica di due differenti blocchi africani, in cui il funky e l’highlife provenienti dai paesi anglofoni vicini geograficamente ed etnicamente, come Togo, Nigeria e Ghana, si mischiano al groove rock-caraibico caratteristico dei paesi francofoni, come la Guinea e il Senegal. Le atmosfere che ne emergono forse non stupiscono per originalità, ma aggiungono una sfumatura nuova ad una musica che di per sé stessa è già altamente godibile.
Altre caratteristiche rendono questo disco così appetibile per gli amanti dell’afro-revival: il suono è curatissimo e il libretto è ricco di fotografie e di informazioni. Insomma, una produzione impeccabile, degna di un’etichetta che ha deciso di puntare tutto sulla qualità. Una scelta coraggiosa e meritoria, che mi sento il dovere in qualche modo di sostenere ed incoraggiare.» (MusicOnTnt)

Compiler’s Notes: ducktape

Label Site: http://www.soundwayrecords.com/

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Ali Akbar Moradi - Fire of Passion: Kurdish Tanbur Music of Iran (1999)

«Teheran based Ali-Akbar Moradi is considered a virtuoso on the tanbur, a plucked string instrument with a pear–shaped belly fashioned from a single piece of mulberry wood. The tanbur has always been considered a sacred instrument associated with the Kurdish Sufi music of Western Iran. Moradi is accompanied by Pejman Hadadi, the finest Irnanian percussionist living in America, who plays the daf, a large frame drum covered with goat skin with rows of metal rings jangling about on the inside. He also plays the tombak, which is similar to a dumbek but made also from solid mulberry wood. Its warm tone complements the rapid strumming and plucking on the banjo-like tanbur. This recording was made during a 1999 U.S. tour and, in a word, these duets are extraordinary. Having performed together only three times previously, Moradi and Hadadi play entirely improvisational Kurdish music on this date, presenting their amazing skills as one triumphant spirit. Together they soar into wild molten riffs, and then return to earth to deppict the sad reality of a people without an independent state of their own.» (William Bloomhuff, Rhythm, May 2001, quoted in SevenEights.com, where you can find also a brief biography of Ali Akbar Moradi)

Biographie en Français: http://musique.fluctuat.net/ali-akbar-moradi.html

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Açoriana: Porto Pim III (Faial)

Michel Camilo Y Tomatito - Spain (2000)

«A medio camino entre las orillas atlánticas, un cruce musical de ida y vuelta. Tomatito y Michel Camilo. Guitarra y piano. Flamenco y jazz. Ese punto de encuentro transoceánico, que desata apacibles maremotos es, según Michel Camilo, "el sentimiento musical". El pianista dominicano se abrillanta los ojos y ensancha aún más la inmutable sonrisa explicando que "lo me atrajo del flamenco, del jazz y de la música latina es la vibración espiritual común". Y cuenta que al oír flamenco se estremece por "la risa, el llanto, la angustia"... por la explosiva mezcla de sentimientos. Tomatito matiza que "el punto de encuentro no está en la música, sino en los músicos". Para el tocaor almeriense este "viaje", como lo llama Camilo, es un producto salido del "cariño, pues los dos nos sentimos fuertemente conectados". Tomatito, desde su mirada honda, dice que "cada uno hace lo que sabe, tal como lo sabe expresar... no hay más química". El hallazgo de ese lugar donde se encuentra el gen común al jazz y al flamenco no ha sido casual. Michel Camilo, personaje hablador e inquieto, comenta que Spain "es el resultado de más de cuarenta conciertos previos, que han supuesto un proceso de integración". Una integración entre músicos, músicas e instrumentos. Porque al oír Spain no se sabe dónde empieza la guitarra ni dónde el piano, dónde empieza el flamenco ni dónde termina el jazz. Un arranque por soleás se torna, de súbito, en una zambullida por los jugueteos armónicos de Nueva Orleans, en un sigiloso paseo por palos festeros, en un sueño, en un vuelo que acaba por no entender de lindes.

Y los instrumentos se derriten y modelan en uno solo. En Spain, el piano no asume el rol de cante y la guitarra de acompañamiento, sino que las cuerdas se funden y confunden. […] El hechizo brota de una marcada admiración mutua que, en los directos, se hace masticable. Durante los solos, el silencioso aguarda su turno embelesado de puro respeto, hasta que el momento del reencuentro regresa. Y, en cada reencuentro, rehacen la grabación con nuevos diálogos musicales. Michel Camilo anota que "siempre que tocamos, hay algo diferente que nos lanzamos el uno al otro".

Pero siempre se retorna al punto de referencia: Spain o España o su música o su cultura. Michel Camilo puntualiza que "el nombre del disco parte de Spain, la pieza de Chick Corea -versionada en el disco-, con la que hemos querido hacer referencia a experimentos previos en esta misma línea". El nombre lo dio Fernando Trueba, el cineasta enamorado del jazz y del flamenco que produjo el trabajo bajo el sello Lola Records. Camilo recuerda que Trueba lo eligió pensando en un "término conocido mundialmente, un título que conecte con todo el mundo, pero dejando claro que sale desde España hacia el mundo".

Pero de esa vuelta al mundo, pasando por Spain, Tomatito dice no esperar nada, "sólo pretendo obtener satisfacciones y aprender. En este mundo, en el que el tiempo te va envejeciendo, lo único que me mantiene joven es la música. Si me estanco, pierdo agilidad mental... necesito seguir aprendiendo para estar vivo".» (Candela Olivo, Flamenco-World)

«There's a simple, basic, and direct approach that pervades the duets from pianist Camilo and acoustic guitarist Tomatito. But that seemingly bottom-line approach is transcended by the brilliant musicianship of these two players, as they play ultra-melodic music to its ultimate zenith time and time again. The tone is set from the get go as they languish in the freedom of Rodrigo and Chick Corea's "Spain," played as perfectly and spirited as anyone could want. But "Besame Mucho" is changed up, interpreted in loose associations extrapolated out of strict time on this famous melody. Tomatito wrote two of the eight tracks as the pair use a combination of counterpoint and unison lines, approaching sheer telepathy on the brightly melodic "A Mi Nino Jose," while evoking more Chick Corea-isms with melodies passionately flying about on "La Vacilona." Two compositions by the underappreciated Luis Salinas are included as the urgent 4/4 of "Para Troilo Y Salgan" shows Camilo and Tomatito to be the virtuosic speed demons their preceding reputations evince, while "Aire De Tango" is like a samba version of "I Concentrate on You," nicely warmed with a calmed guitar solo. Camilo's lone writing on "Two Much/Love Theme" is also restrained and relaxed, atypical for the usually fiery pianist. This is a recording that bears ripe, luscious fruit, albeit only 45 minutes worth. Recommended.» (AMG)

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Açoriana: Porto Pim II (Faial)

Ghalia Benali & Timnaa - Wild Harissa (2001)

«Ghalia Benali from Tunisia is one of the musical surprises to emerge from the Arab world at the turn of the millennium. A successful actress, she played a leading role in the film "La saison des hommes". Her highly acclaimed concerts in Tunis, Paris and Brussels had the record companies queuing to sign her up, but she preferred to wait until she had found her dream line-up. And now she has - Timnaa is an international ensemble whose virtuoso fiddles, flamenco guitars and Arab percussion carry her expressively smoky and profoundly emotional voice from Tunisia to Andalusia and back again, via the Balkans and Brazil. Ghalia herself describes her new project as "Arab music in new forms, sometimes festive but never profane, occasionally romantic and elegiac, or even classical and medieval, and sometimes wild and over the top – a passport to many cultures, a microcosm that merges the centuries into some-thing new".» (Network)

«Ghalia Benali jest arabską śpiewaczką i tancerką, która rozwinęła skrzydła w Brukseli, gdzie przyjechała studiować sztuki plastyczne. Tam poznała muzyków z grupy Yoda, której koloryt tworzyły instrumenty z różnych stron świata: australijskie didgeridoo, orientalne perkusjonalia, andaluzyjska gitara, afrykańskie djembe. Ta różnorodność to także cecha albumu "Wild Harissa". Słychać tu m.in. echa gitarowego flamenco, łkające skrzypce, a przede wszystkim głos Ghalii Benali - dźwięczny, zalotny i zmysłowy, egzotyczny. Muzyka jest żywa, oparta głównie na arabskich skalach i rytmach, ale słychać też dziedzictwo Europy; są nawet nawiązania do muzyki dawnej. Koncertom towarzyszy taniec, nam musi wystarczyć muzyka. Zapewniam jednak - i tak gra jest warta świeczki.» (Gazeta Wyborcza)

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