domingo, 9 de septiembre de 2018

L.S Kancana Sari - Degung Klasik Vol. 1-5 (Indonesia)

Los Sundanese (Sundanese, Urang Sunda) son un grupo étnico nativo de la parte occidental de la isla indonesia de Java. Suman aproximadamente 40 millones, y forman el segundo grupo étnico más poblado de Indonesia, después del vecino javanés. Su idioma es el Sundanese, los Sundanese se refieren a sí mismos como Urang Sunda (Gente de Sunda), mientras que Orang Sunda o Suku Sunda es su equivalente indonesio .

Los Sundanese se han concentrado tradicionalmente en las provincias de Java Occidental, Banten, Yakarta y la parte occidental de Java Central. Los migrantes de Sundanese también se pueden encontrar en Lampung y Sumatra del sur, y en menor medida en Java central y Java del este.
Las artes tradicionales de los Sundanese incluyen diversas formas de música, danza y artes marciales. Los tipos más notables de la música de Sundanese son música de bambú angklung, música de kecapi suling, gamelan degung, reyog Sunda y gendang rampak. El instrumento musical de bambú Angklung es considerado uno de los patrimonios mundiales de la cultura intangible Sundanese.

El Gamelan degung es una orquesta de gamelan única para el pueblo de Sundanese del Oeste de Java. Se cree que se desarrolló durante el siglo pasado a partir de un gamelan ceremonial más antiguo llamado goong renteng. Originalmente, se realizó para el entretenimiento de la aristocracia local en las cortes de los regentes de Sundanese (bupati), los gobernantes locales de Indonesia bajo los holandeses. Desde la independencia de Indonesia, sin embargo, la música interpretada por degung se ha popularizado cada vez más.

Hoy en día, a menudo se toca en recepciones de bodas, y desde finales de la década de 1980 ha tenido éxito comercial con el apoyo de la industria del cassette de Sundanese. Esta coleccion incluye piezas antiguas de degung klasik, que solían tocar en los tribunales, y canciones populares más recientes.

L.S. Kancana Sari es un grupo musical Indonesio de Gamelan Liderado por Endang Sukandar.
Musicos: Anda Lugina, Endang Sukandar, Entis Sutisna, Achmad Suwandi

Bandadriatica - Babilonia (2015) [Italia]

El conjunto de Salento (Apulia / Sur de Italia) centra su atención en las fascinantes culturas musicales de las dos costas del mar Adriático. En este nuevo álbum, mezclando sorprendentemente varios sonidos en uno, el grupo empuja su vista hacia Turquía, Líbano, Armenia. Bandadriatica navega cada vez más hacia el este, en busca de los rasgos comunes entre las diversas tradiciones, para reescribir la música tradicional a través de canciones y canciones originales. El mar Adriático, el gran mar escondido, una Babilonia de idiomas y culturas, es develado por estos músicos que conocen muchas de sus rutas posibles. A partir de esta Babilonia de sonidos provenientes de las dos costas a través de fonemas ancestrales y nuevas sílabas musicales, Bandadriatica trata de crear un nuevo diálogo entre las tradiciones, manteniendo el ritmo. "Este es un proyecto interesante que integra maravillosamente la nueva composición con las raíces y demuestra cuán fácilmente la música puede cruzar las barreras nacionales y lingüísticas". - Michael Hingston (raíces populares)

01 - Me perdu 4:55
02 - Turkayak 4:40
03 - La capu 4:48
04 - Babilonia 4:38
05 - Bint el shalabiya 3:45
06 - Pizzica Balkan 4:33
07 - Il bivio 4:28
08 - Mania DGL 4:08
09 - Terra 3:40
10 - Giga 4:06
11 - Salignano 5:25
12 - Tre balli in maschera 4:50

The Last Poets - Understand What Black Is

This is The Last Poets' 50th anniversary year, and they've celebrated it with an album that matters - not just musically, but as a record of the times we're living in. The Last Poets are weathervanes, warning of the future and past sins in poems that are indivisible from the rhythms they're voiced on. Think warriors reporting from the battlefield; but their work is also a test of our own courage, because are you ready to receive what they're saying? And is your heart clean and strong enough to withstand the truth?

These ten tracks speak of their own journey, and that of a revolutionary struggle largely defined by race when The Last Poets first came together at an event commemorating Malcolm X in East Harlem's Marcus Garvey Park during the spring of 1968. That initial line-up, comprised of Dahveed Nelson, Gylan Kain and Felipe Luciano proved short-lived and it was a trio of different voices that would secure their legacy with a debut album, 1970's Last Poets, that sounds just as radical and challenging today as it did nearly fifty years ago. Two of their members from that time, Umar Bin Hassan and Adiodun Oyewole, still wear the mantle of Last Poets. "Back then, I wanted to see everything burned and people hanged. I wanted to see riots," says Abiodun, who's from Queens in New York, and took over from Nelson in 1969. He was missing from their follow-up album This Is Madness, after being jailed in North Carolina for armed robbery. "Each of The Last Poets has their own stories about problems with the law," he reflects. Umar, who wrote the title track of This Is Madness, was next to leave. He was living in Brooklyn by then, and struggling with substance abuse. Speaking on the phone from his home in Baltimore, he makes the point that their poetry wouldn't have the same impact had their resolve not been tested along the way, and there's an unassailable truth to this. 

He was replaced by Suliaman El-Hadi, who went on to record a series of albums with Jalal Mansur Nuriddin (aka Lightnin' Rod) as the The Last Poets. The last of them was Freedom Express in 1988. Two years later and Bill Laswell invited Umar to record a solo album called Bebop Or Be Dead, with backing from musicians like Bernie Worrell and Bootsy Collins. In Umar's own words, "there would be no second coming of The Last Poets" without this album, on which he'd revisited This Is Madness and Niggers Are Scared Of Revolution. He and Abiodun, soon to record his own solo album 25 Years, revived the name The Last Poets for the nineties' albums Holy Terror and Time Has Come, again produced by Laswell. Such releases were well received but then little was heard of The Last Poets for another twenty years aside from Claude Santiago's film Made In Amerikkka, which documented a one-off reunion concert in France, commemorating their fortieth anniversary. That's how it is with The Last Poets - unseen forces govern their actions, and it wasn't until Donald Trump was elected US President and a renewed struggle for America's soul began that they stirred once more.

After Abiodun and Umar had resurrected the group and they'd started doing shows together, UK producer Ben Lamdin contacted them about doing some recording and sent them a few rhythm tracks that he'd got from Prince Fatty, whom he knew from their time in Brighton. Fatty's speciality is old school reggae and dub, which he records using seasoned UK session players such as Horseman and Dub Judah, who play drums and bass respectively. That's how the foundations were laid, at Fatty's Brighton studio on Blackman Street. Ben then added horns arrangements with help from his band Nostalgia 77 and set off for New York where he, Umar and Abiodun met for the first of two recording sessions.

"When they listened to the tracks they were really blown away," says Ben. "I think they were surprised to hear themselves in that context basically, because everything they've done before is resolutely American in terms of the sound and what they've been talking about. What we ended up with was a mixture of American poetry and jazz, Jamaican rhythms and African drums. It was as if Mingus and Duke Ellington had got together and stopped over in Jamaica..." Umar confirms that it was the first time the Poets ever voiced on reggae rhythms. "It's amazing how the music has opened up new avenues and taken us somewhere else," he says. "Reggae is such a deep music because it envelops your words; it closes around them and gives them a whole new meaning."

The first track they worked on was a statement voiced with absolute certainty by Abiodun, who'd previewed the same lyrics at that fortieth anniversary show in Paris ten years earlier. "America's a terrorist, killing the natives of the land," he intones. "Killing and stealing has always been a part of America's master plan to control the earth and everything on it. To divide and conquer is all they wanted." It's a vivid expose of America's collective psyche and if his words cause hearts to flutter, it's in recognition of the truth although the real danger would be to disregard what he's saying, and not act whilst we can still make a difference. The other tracks voiced at that first session - held at the studio of a friend in lower Manhattan - include How Many Bullets which bridles with defiance as Abiodun works through a litany of injustices suffered by black people in the US. "You tried to blow my brains out with bigotry. Chopped off my wings so I couldn't fly free. Took my drum, broke my hands, yanked my boots right up out of the land and riddled my soul with Jesus." A repetitive chant of, "You can't kill me. Can't you see?" mocks his oppressor, but with no loss of dignity. Tracks like this go beyond social commentary, just as the opening Understand What Black Is transcends ethnicity. "Understand what black is," he urges. "It's the source from which all things come." He explains that it's not a colour, but the basis of all colour, and it's nothing to do with complexion either. "Black is a hero, not a villain. Black is the essence, sealed with a kiss."

Abiodun also wrote What I Want To See, which describes a utopia - a refuge from hurt and those who'd make "our vision blurred, and our faith obscure." As the music builds in intensity, horns and chanted harmonies arrive together, "No prisons, no locks, no keys..." "I know the music I want to hear," he continues. "I know the air I want to breathe. I know the love I want to feel." He uses imagery like that found in old time spirituals for The Bridge - a song of transition that he wrote for the Poets' second recording session with Ben. Label boss Tony Thorpe, who'd previously worked with KLF, joined them on that occasion. 

For the most part, the Poets voiced over readymade rhythm tracks although this wasn't always the case. Umar's North East West South happened the other way round because he voiced it first, and then the horns were painted in afterwards. A little-known album of Prince instrumentals called News inspired the words and prompted Umar to draw parallels between their respective childhood experiences.
"That poem took me about a year to write," he says. "I just kept writing and writing but not getting too far and then I heard that album and the musicianship was amazing. I was left wondering if it was jazz, classical, rock or maybe something new but all those images that I write about came to me from listening to that album. I loved Prince in that movie Purple Rain because my father was a talented musician but he was into brutalising Mama at times and in the movie there's a Jerome and my name is Jerome, so it was like he was telling my life story as well."
Umar was raised in North Akron, in the Elizabeth Park projects. His father spent time in jail, leaving him and his seven brothers & sisters in the care of their mother and grandparents. Umar dedicated Bebop Or Be Dead to his father, who he says was born in "the wrong family, in the wrong place and at the wrong time."

"My father and I were constantly arguing. As a matter of fact one time I nearly killed him when he was taking his anger out on my mother. I went and got this hatchet and I was going to take him down but I knew that if I did that, I'd surely kill him. My mother saw me and stopped me because she was scared that I'd do it for real, but Prince also had issues with his father because his mother was white and in the movie, his father was always blaming her for not believing in him. He'd beat her and one day Prince got in the middle of it, just like I did except I’ve come to realise that I am my father the musician, and I am those sounds that he never got to bring to the world.”

Umar's father played trumpet, and he'd often sit in with visiting musicians whenever they came to town. His quartet played local clubs such as Roxy's Cafe in North Howard Street, where his son also worked. Umar used to shine shoes there from the age of eight and he'd be out until midnight, hustling small change from the patrons at Roxy's, the Tropicana, the Hi-Hat and Joy's Lounge... It was after leaving the projects at fourteen that he became an avid reader, which then led to him meeting Fred Ahmed Evans and joining the Black United Front. He first met The Last Poets in 1968 at the Black Arts Festival in Yellow Springs, Ohio, whereupon he underwent an epiphany of sorts. Several months later and he arrived in New York "with just twenty-two cents, a book of poetry and a pair of jeans in a brown paper bag." The three original members had left by then. Abiodun found him a place to stay and invited him to become a Last Poet, along with Jalal. Their aim was to politicise the black community, and raise people's revolutionary consciousness. "Wake up niggers or you're all dead," they warned. Abiodun, speaking in Claude Santiago's film, says that the Poets set out to "de-nigger" black people, and free them of their slavish mentality. "We were raw. We didn't give a damn. We just came at you raw!"

When Umar joined them, they used to meet at a place in Harlem on the corner of 125th Street and Lenox Avenue called East Wind. A Black Arts movement had formed in New York made up of activists, musicians, artists, fashion designers and writers like Amiri Baraka, who Abiodun describes as "a major influence and a true mentor of The Last Poets." It was 1969 and jazz, like poetry, was an integral part of the struggle. The Last Poets hosted workshops and events at East Wind featuring jazz musicians such as Sun Ra, Pharaoh Sanders and Archie Shepp, who shared the same cultural and political aims. Umar and Abiodun have continued to celebrate music in their poems ever since. It's a love that's deepened with age and encompasses every stage of black music's development, from ragtime, jazz and blues to artists like Prince and Jimi Hendrix - music that "gives credit to who we are and where we come from." She Is traces the development of that music from its inception in New Orleans' Congo Square, which is renowned as the birthplace of jazz. "It's a place where the slaves could go and enjoy a free day," Umar explains. "They'd come together, play music and dance... The music then spread to places like Chicago and Detroit and took on different forms as people went from being slaves to sharecroppers and then factory workers. Music has been part of our lives as black people from the beginning and it's played a vital role in our survival as well." His story begins with "the rage of the overseer, ripping and shredding" before the music emerges as a healing force, and spawns "secret songs of the Mississippi delta." The rhythm's based on Don Redman's thirties' jazz tune, Chant Of The Weeds, complete with shifting textures and colourful harmonies. It's an unlikely candidate for a reggae treatment, but then few rules apply at a Last Poets' session.

Abiodun, who grew up listening to his parents' gospel and jazz collection and has a good singing voice, also writes powerfully about music. Take the lyrics of The Music for instance, in which he refers to the drum as his "heartbeat."
"I started out with the blues, because I had been abused so I created medicine to ease the pain, so I wouldn't go insane. I found a way to heal my soul, in spite of what I was being told. I created a new world of sound, to pick me up when I was down."
Abiodun, formerly known as Charles Davis, attended a Yoruba temple in Harlem from the age of fifteen, and forged a deep, spiritual connection to its teachings that have continued to serve him ever since. Umar has studied Islam and urges us to rediscover our capacity for love in Certain Images, despite warning how "the stink of conspiracy fills the air." He wants us to believe this simple act of faith can save humanity, and talks about a "resurrection of our minds" in We Must Be Sacred, promising that "the phoenix will come from the flames this time."

"We can't change without love," he insists. "Love is the most important thing in the world but first of all we must understand how to make love a fact, because it's not there to play with. Love is everlasting, and you have to hold it and protect it and keep it strong because you can't quit. You've got to believe in what you're doing and try and make the world a better place because when I was a little boy, I'd see the bar room brawlers, the pimps and the prostitutes... Basically, what I learned is that people just want to be appreciated and that's what I try and hit upon in my poetry. I try and see what they're searching for and then I have to hope that whatever comes out of my mouth helps them to feel good, and I'm giving them the respect they deserve."

John Masouri

1. Understand What Black Is 06:09 
2. North, East, West, South 07:14 
3. How Many Bullets 04:30 
4. She Is 05:03 
5. What I Want To See 05:15 
6. Certain Images 04:58 
7. The Bridge 03:31 
8. We Must Be Sacred 04:51 
9. Rain Of Terror 09:55 
10. The Music 05:09

miércoles, 29 de agosto de 2018

Ry Cooder - The Prodigal Son

Cooder also shared the details of The Prodigal Son Tour, his first full solo outing since 2009. The fabled musician will be joined by chief collaborator, drummer, percussionist, and keyboardist, Joachim Cooder; accomplished singer, songwriter and multi-instrumentalist, Robert Francis; a unique saxophonist who has recorded with some of the most recognizable names in jazz and popular music, Sam Gendel, and the Grammy-award winning vocal trio from North Carolina, The Hamiltones.  The tour will visit venues throughout North America this spring and summer (see dates below).  

The Prodigal Son, is essential Cooder. A masterwork of roots, blues and R&B, the album conjures our own history of the spirit, sounding completely fresh and contemporary, framed by Cooder’s expressive vocals and graceful, elegant guitar work. The album’s 11 tracks include three Cooder originals along with a carefully selected collection of vintage blues, gospel and bluegrass by the likes of The Pilgrim Travelers, The Stanley Brothers and Blind Willie Johnson. Taken together, it forms an unflinching look at the state of play in modern America.
The LA Times described “Shrinking Man,” (a Cooder original and first track released off the album) as “an up-tempo blues shuffle featuring scratchy bottleneck guitar work for a treatise on living more responsibly and respectfully.”

“I do connect the political/economic dimensions with the inner life of people, since people are at risk and oppressed on all sides in our world today,” Cooder states in the album’s liner notes. “There’s some kind of reverence mood that takes hold when you play and sing these songs. ‘Reverence’ is a word I heard my granddaughter’s nursery school teacher use, a Kashmiri woman. She said, ‘We don’t want to teach religion, but instill reverence.’ I thought that was a good word for the feeling of this music.”

For nearly 50 years, the immense scope and influence of Ry Cooder’s music has been felt as much, or more than heard.  As master musician, producer, songwriter and sage, the Santa Monica, California native has explored music and culture from across the city, the state, the country and around the world.  Sounding completely fresh and contemporary, The Prodigal Son is music for these times, a deft commentary on our ailing moral state and a fearless dive into the country’s soul and the man himself, Ry Cooder.

please visit:

  1. straight street (James W. Alexander / Jesse Whitaker)
  2. shrinking man (Ry Cooder)
  3. gentrification (Ry Cooder / Joachim Cooder)
  4. everybody ought to treat a stranger right (Traditional; Blind Willie Johnson, Arr. by Ry Cooder)
  5. the prodigal son (Traditional: Arranged by Ry Cooder /Joachim Cooder)
  6. nobody’s fault but mine (Blind Willie Johnson / Arranged Ry Cooder / Joachim Cooder)
  7. you must unload (Alfred Reed)
  8. i’ll be rested when the roll is called (Blind Roosevelt Graves)
  9. harbor of love (Carter Stanley)
  10. Jesus and woody (Ry Cooder)
  11. in his care (William L. Dawson)

domingo, 26 de agosto de 2018

Federico Garcia Lorca - De Granada A La Luna (1998) [España]

CD 1:
1. Tierra y luna (Federico García Lorca - Martirio / Raul A. Rodriguez) (Martirio).
2. La luna asoma (Federico García Lorca - Santiago Auserón) (Santiago Auserón).
3. Daybreak (Federico García Lorca - John Cale) (John Cale)
4. Balad, balad, balad caretas (Federico García Lorca - Los Enemigos) (Los Enemigos).
5. El regreso (Federico García Lorca - Enrique Morente) (Enrique Morente).
6. La Canción de la mariposa (Federico García Lorca - Amancio Prada) (Amancio Prada).
7. Casida del herido por el agua (Federico García Lorca - Arias/Pareja) (Lagartija Nick).
8. Cancioncilla del primer deseo (Federico García Lorca - Santiago Auserón) (Santiago Auserón).
9. La guitarra (Federico García Lorca - Enrique Morente) ( Enrique Morente).
10. Son de negros en Cuba (Federico García Lorca - Francisco Repilado) (Compay Segundo).
11. Cacnión de la muerte pequeña (Federico García Lorca - Merchán) ( Chucho Merchán).
CD 2:
1. Landscape of a pissing multitude (Federico García Lorca - Neneh Cherry / John Tonks) (Neneh Cherry)
2. Oda a Salvador Dalí (Federico García Lorca - Sabatés) (Maria del Mar Bonet y Jordi Sabatés).
3. De Granada a la luna (Michael Nyman) (Michael Nyman)
4. Nana de Sevilla (Federico García Lorca) (Imperio Argentina)
5. Preludio (Federico García Lorca - Enrique Morente) (Imperio Argentina).
6. Pequeño poema infinito (Federico García Lorca - Sabtés (Jordi Sabates y Josep Palau i Fabra)
7, Canción de Julieta (Federico García Lorca - Robert Wyatt) (Robert Wyatt)
8. Las gacelas (Federico García Lorca - Arias) (Lagartija Nick)
9. El diálogo del amargo (Federico García Lorca - Sotelo) (Mauricio Sotelo).

martes, 14 de agosto de 2018

Black Man's Pride 2 - Righteous Are The Sons and Daughters Of Jah

his is the second installment of deep roots Rastafarian reggae at Studio One and features classic music from some of the most important figures in reggae music – Alton Ellis, The Heptones, Jackie Mittoo, The Gladiators – alongside a host of rarities and little-known recordings, such as a truly rare Mystic Revelation of Rastafari seven-inch single, Willie William’s first ever recording ‘Calling’ and Horace Andy’s righteous (and equally rare) masterpiece ‘Illiteracy.’

Black Man’s Pride 2 extends the legacy of Studio One’s ground-breaking path in roots reggae which began at the end of the 1960s and continued throughout the 1970s. The album tells the story of how the rise of Studio One Records and the Rastafari movement were interconnected, through the adoption of the Rastafari faith by key reggae artists – everyone from the Skatalites and Wailers in the 1960s, major singers such as Alton Ellis and Horace Andy at the end of the decade, through to major roots artists such as The Gladiators in the 1970s – and how Clement Dodd consistently recorded this heavyweight roots music throughout Studio One’s history.

The extensive sleeve-notes to this album also discuss the links between Rastafari and Studio One in time and place, noting how both the religion and Clement Dodd’s musical empire had their roots in the intense period of pre-independence Jamaica in Kingston, expanded in the 1960s following the visit of Haile Selassie in 1966, and how roots music then came to dominate reggae music in the early 1970s. Also discussed is how the outsider stance of both reggae music and the Rastafari movement relate back many hundreds of years to the original rebel stance of the Maroons, escaped slaves who set up self-sufficient enclaves in the hills of the Jamaican countryside.

1. Horace Andy – Illiteracy
2. The Heptones – Be A Man
3. The Manchesters – Natty Gone
4. The Gladiators – Down Town Rebel
5. Willie Williams – Calling
6. Roland Alphonso & Brentford All Stars – Sir D Special
7. Keith Wilson – God I God I Say
8. Alton Ellis – Almost Anything
9. Bobby Kalphat & The New Establishment – Adis A Wa Wa
10. Peter Broggs – Sing A New Song
11. Mystic Revelations Of Rastafari – Let Freedom Reign
12. Larry & Alvin – Free I Lord
13. Ernest Wilson & The Sound Dimension – Freedom Fighter
14. Jackie Mittoo – Happy People
15. Prince Lincoln – Daughters Of Zion
16. High Charles – Zion
17. Winston Jarrett – Love Jah Jah

sábado, 21 de julio de 2018

Oswaldo Lares - Musica De Venezuela 1972​-​81

Oswaldo Lares Soto (1932, Maracaibo) es un arquitecto graduado de la Universidad de Cornell (EU) quien enfocó su carrera profesional en la arquitectura y la docencia; acompañándolas, en su tiempo libre, con una extensa document - ación de las diversas y ricas tradiciones musicales presentes a lo largo de Venezuela y el resto de América Latina.

Una vez hubo regresado a su tierra, Lares—emulando los pasos de su tío, el poeta venezolano Juan Liscano—, eligió combinar aquellas actividades profesionales que ya copaban su semana labo - ral con fines de semana dedicados a recorrer diferentes zonas de Venezuela. Entregando, de esta for - ma, décadas enteras a la profunda y cuidadosa documentación exhibida, en parte, en esta muestra.

Lares fue ideando distintos mecanismos que le permitieron difundir el material recolectado durante sus excursiones. Como parte de ello, produjo varios discos—algunos incluidos en esta exposici’on—; así como también grabó alrededor de 450 programas de radio (de treinta minutos cada uno) los cuales tituló “La Revuelta, Música de Venezuela y del Continente” y que salieron al aire en su momento a través de la Radio Nacional.

En 1975 fundó la agrupación Convenezuela: músicas y danzas tradicionales de Venezuela , con la que participó en calidad de músico y presentador en más de 400 conciertos—incluidas 14 giras internacionales. Actualmente Oswaldo sigue diri - giendo esta agrupación, por la cual han pasado un sin número de personas a lo largo de sus ya 40 años de existencia. Una de las donaciones más significativas que ha hecho fue el haber entregado a la Biblioteca Nacional la colección de los fonogra - mas recopilados entre 1969 y 1977, además de todos los programas de radio. Con una motivación similar, en 2002 inició Fundalares ; una fundación dedicada a la preservación y digitalización de los materiales creados y recogidos. Esta muestra se concentra, específicamente, en el trabajo realizado durante sus primeras dos décadas de exploración y documentación.

En la vida de su hijo Guillermo Lares—también arquitecto y artista sonoro—este trabajo ha resonado de varias man - eras; en particular, en una afinidad profunda por los múltiples relatos existentes en la obra de Oswaldo, sobre encuen - tros que tuvo a través del tiempo con personas maravillosas ubicadas a lo largo y ancho de toda la geografía venezolana. El deseo profundo que siente Guillermo por compartir todo este tesoro con un público más allá de sus allegados, acompañado por la necesidad que siente de dar continuidad al trabajo de su padre—con el fin de que este no caiga en el olvido en algún sótano o biblioteca—lo llevaron a crear en conjunto con la documentalista Laura Jordan (su esposa) este proyecto. En él, juntos, buscan darle al material la relevancia contemporánea que merece, creando de manera sen - sible e innovadora diferentes tipos de posibles acercamientos para que diversos tipos de público se relacione con él; y genere, a su vez, nuevos diálogos y contenidos tanto entre ellos como espectadores con la obra misma.

 Guillermo Lares y Laura Jordan quieren agradecer profundamente a Oswaldo Lares por su activa colaboración, desde la distancia, en el desarrollo de esta muestra. Adicionalmente, quieren agradecerles a Sol Calero y Christopher Kline por su compromiso a la hora de hacer de esta muestra una realidad. Por ultimo—y en las palabras del mismo Oswaldo Lares— “agradecer muy especialmente a los músicos, poetas y cre - adores (presentes y ausentes) dignos representantes de nuestra memoria colectiva, a quienes les debo eterna gratitud por haberme permitido ser el vehículo a través del cual han legado desinteresadamente para la posteridad sus voces, cantos e interpretaciones”.

Kreuzbergstraße 42e, 10965 Berlin

1. Canto De Amor Jayeechi 01:53
2. Quitiplás 04:07
3. Punto Oriental 02:47
4. Rumba Callejera 03:13
5. Percusión Con Platos 00:27
6. Tamboritas De Fulía 01:51
7. Jujuta 02:26
8. Tambor De Palma 01:13
9. Saludo A San Juan Bautista 04:14
10. Campana De Los Diablos De Chuao 01:23
11. Canto De Pilón 02:22
12. Joropo Estribillo 02:38
13. Marimba Indígena 02:44
14. Carrizos Con Baile 02:24
15. Tambor De Los Diablos De Yare 03:30
16. Canto Yekuana 01:24
17. Musica Indígena Contemporanea II Parte (digital Bonus) 30:46

sábado, 14 de julio de 2018

Elza Soares - Deus É Mulher

A sus ochenta años, la voz más brutal de Brasil edita un álbum que ataca de lleno a muchos sectores de la sociedad de su país con canciones unidas por un aura tan urgente como atemporal. De nuevo con nosotros, la gran Elza Soares.

El nuevo disco de Elza Soares se hace absolutamente indispensable para el momento actual que vive Brasil, que parece estar en una ruta que lleva directamente a la colisión consigo mismo. Así, ya desde el mismo comienzo de Deus é mulher, y bajo una explosión instrumental entre el afrobeat y el rock, la voz más brutal de la música brasileña actual derriba absolutamente todos los límites de raza, género o clase social, sean políticamente correctos –o no–, prejuiciosos o bien intencionados.

Inmediatamente después de la apertura, en Exú nas escolas, llega el vigor y el ruido para atacar al sistema educativo de Brasil y su falsa condición de Estado laico. En el tercer tema, Banho, Elza se posiciona profundamente como mujer, escapando de cualquier cliché de feminismo de redes sociales. Apenas ha pasado una cuarta parte del disco y ya se puede estar seguro de haber encontrado más riqueza musical y fuerza vital que en muchísimas de las producciones editadas recientemente en su país.


1 O Que Se Cala 3:51 
2 Exú Nas Escolas (feat. Edgar) 3:45 
3 Banho 3:28 
4 Eu Quero Comer Você 4:29 
5 Língua Solta 5:27 
6 Hienas na TV 3:52 
7 Clareza 4:07 
8 Um Olho Aberto 3:38 
9 Credo 3:08 
10 Dentro de Cada Um 3:59 
11 Deus Há de Ser 3:17

lunes, 9 de julio de 2018

Chancha Via Circuito - Bienaventuranza

For the last decade, Argentina has become the epicenter of a musical explosion that characteristically blends folk music from the surrounding Andes and electronic beats. The artist arguably responsible for its emergence on a global platform is one named Chancha Via Circuito- a Buenos Aires native named Pedro Canale whose first album Rodante (2008) opened the floodgates by pushing the borders of Cumbia listeners weren't even aware existed. He's gone on to release other highly acclaimed albums such as Rio Arriba (2010), which Resident Advisor described as 'aural magical realism', and Amansara (2014), which catapulted him onto acclaimed international stages and received praises from Pitchfork to the New York Times.

Four years later, in the midst of some very notable global turbulence, Chancha Via Circuito brings us his highly anticipated new album Bienaventuranza- a word that essentially means bliss. Replete with his signature touches of Andean instruments (think lots of flute and charango), the folkloric elements on this album blend fluidly with danceable and digestible electronic beats. He's been cooking this record slowly, with unprecedented amounts of care and in a much more collaborative manner than his past albums.

Appearing on the album are heavy hitters in the digital cumbia scene, including Mateo Kingman, Kaleema, and Lido Pimienta, all of whom contribute their highly distinguishable sounds to the natural flow of the album. Most of these collaborations came about almost effortlessly. La Victoria is a track that blends cumbia, dancehall, and a bit of mysticism- carried by Lido Pimienta's luminous voice, Colombian Dancehall wizard Manu Ranks happened to be in town and slipped into the song naturally. Kawa Kawa came from an improv jam during rehearsal one day with Kaleema (Heidi Lewandowski) and Federico Estevez (percussionist in Chancha Via Circuito). Niño Hermoso, which is lyrically a fable, sounds the way it does because Pedro saw a video of Gianluz (Gianluca Zonzini), who he knows from dance classes, singing a Pocahontas song on Youtube.

As dancefloor-friendly as it is mystical, Bienaventuranza is as Chancha as it gets- with elements from Cumbia to Dancehall to Andean Folk to Global house, crystal clear production, and collaborations that are evidently natural and genuine, the record holds true to the sound that Canale has played such a huge part in creating. Since the release of his last album, the digital folk scene has also grown exponentially. From a new generation of producers to more listeners in unassuming parts of the globe, Pedro has been humbled to see the sound develop- and proves with this album that he's grown swiftly alongside it.

1. Los Pastores 03:03
2. Ilaló ft. Mateo Kingman 05:00 
3. Barú 03:07 
4. Nadie lo Riega ft. Miriam Garcia 04:12 
5. Sierra Nevada 03:08 
6. Niño Hermoso ft. Gianluz 04:17 
7. El Señor del Flautín (Interludio) 00:50 
8. La Victoria ft. Lido Pimienta & Manu Ranks 03:57 
9. Kawa Kawa ft. Kaleema 04:13 
10. Alegria 05:00 
11. Indios Tilcara 03:45 
12. Gira Gira 02:10

domingo, 24 de junio de 2018

Old Crow Medicine Show-Volunteer (2018) [USA]

Old Crow Medicine Show publican nuevo disco “Volunteer” el próximo 20 de abril. Año éste en el que la banda conformada por Ketch Secor, Critter Fuqua, Cory Younts, Morgan Jahnig, Chance McCoy y Kevin Hayes, celebra 20 años como formación.
 A la producción del nuevo disco de Old Crow Medicine Show se encuentra Dave Cobb (Colter Wall, Sturgill Simpson, Jason Isbell), grabando sus once canciones el histórico estudio RCA A Studio en Nashville en el que colaborado Joe Jackson Andrews al pedal steel y en que vuelve a aparecer la guitarra eléctrica en sus canciones. La última vez que los OCMS incorporaron ese instrumento fue con la Telecaster de David Rawlings en “Wagon Wheel” en 2004, tercer trabajo de la banda.
 El último álbum de estudio con canciones inéditas de Old Crow Medicine data de 2014 con el espléndido “Remedy”, ganador del Grammy al mejor disco Folk de aquel año, entrando a formar parte del Grand Ole Opry un año antes de la publicación de aquel disco, tras nueve álbumes de estudio y un directo hasta la fecha.
 El año pasado rindieron tributo a Dylan en “50 Years of Blonde on Blonde”, álbum en directo grabado en el CMA Theater de Nashville en el que reinterpretaron al completo, Blonde on Blonde séptimo álbum de estudio de Bob Dylan, conmemorando el 50 aniversario de su publicación hace dos años.
 La relación entre Old Crow Medicine Show y Bob Dylan comienza en el tercer disco de la banda, que lo abre “Wagon Wheel”, una canción inacabada de Bob Dylan y reconstruida por Old Crow Medicine incluida en su álbum homónimo de 2004, tema versionado en 2013 por Darius Trucker en su disco “True Believers”. Los Old Crow Medicine Show volvieron a versionar a Dylan en su último trabajo de estudio “Remedy” con “Sweet Amarillo”, desechada durante las sesiones de la grabación de la banda sonora de Pat Garrett and Billy the Kid en 1973.

1. Flicker & Shine
2. A World Away
3. Child of the Mississippi 
4. Dixie Avenue 
5. Look Away 
6. Shout Mountain Music”
7. The Good Stuff 
8. Old Hickory
9. Homecoming Party 
10. Elzick’s Farewell 
11. Whirlwind

viernes, 22 de junio de 2018

Lhasa - Live in Reykjavik

Lhasa de Sela (Big Indian, Estado de Nueva York, Estados Unidos; 27 de septiembre de 1972 – Montreal, Canadá; 1 de enero de 20101​) fue una cantante mexicano-estadounidense que cantó en español, inglés y francés. Su estilo combina la música tradicional mexicana con el klezmer y el rock.

Su padre, Alex Sela, mexicano, es un escritor y profesor de español. Su madre, Alexandra Karames, una fotógrafa estadounidense.2​ Viajó de niña por distintos lugares de Norteamérica y a los 13 años ya cantaba en cafés de San Francisco. Teniendo 19 años se trasladó a Montreal y conoció a Yves Desrosiers, con quien publicó en 1997 su primer álbum «La Llorona», del que se vendieron más de 400 000 copias en Francia y Canadá. Más tarde, Lhasa integra en Europa en el circo contemporáneo «Pocheros», en el que trabajó con sus hermanas; y después se radica en Marsella, donde compuso gran parte de su segundo álbum. De vuelta en Montreal en 2002, Lhasa se asocia al percusionista François Lalonde y al pianista Jean Massicotte, que arreglaron y coprodujeron «The Living Road». En diciembre de 2007, Lhasa vuelve a los estudios para grabar su tercer álbum, «Lhasa», publicado en abril de 2009, esta vez grabado en inglés. La cantante fallece el 1 de enero de 2010, víctima de cáncer de mama a los 37 años

1 Is Anything Wrong (Live) 5:11 
2 Bells (Live) 6:06 
3 Rising (Live) 4:26 
4 Con Toda Palabra 5:17 
5 Love Came Here (Live) 3:48 
6 The Lonely Spider (Live) 3:49 
7 Fool's Gold (Live) 4:25 
8 Fish on Land (Live) 5:02 
9 La Confession (Live) 5:57 
10 De Cara a la Pared 6:12 
11 1001 Nights (Live) 4:15 
12 Para el Fin del Mundo 8:32 
13 A Change Is Gonna Come (Live) 5:45 
14 Anyone & Everyone (Live) 3:52

lunes, 18 de junio de 2018

Tigran Hamasyan-For Gyumri

Even on this shorter album, Armenian pianist and composer Tigran Hamasyan displays a tireless ambition with his compositions, performances and eclectic approach. Over the course of his career, this young artist has released a wildly diverse stylistic set of releases that portray his eclectic and sometimes contrasting music tastes. The muse knows no borders or limits for this gifted pianist. While his first releases—starting with World Passion (Nocturne Records, 2006), and New Era (Blu Jazz, 2007)—showcased his considerable talent in jazz, his third and breakthrough album Aratta Rebirth (Plus Loin, 2009) portrayed his taste for composing works of a true fusion nature. It's here that he began fusing his love for jazz with traditional melodies from his native Armenia. Since then his worldview expanded considerably and he has relentlessly followed his muse where the rich and timeless musical heritage of his homeland would serve as constant inspiration for his music, regardless how eclectic and diverse it has become.

1 Aragatz 4:22
2 Rays of Light 3:47
3 The American 6:34
4 Self - Portrait 2:48
5 Revolving - Prayer 12:03

sábado, 16 de junio de 2018

Alsarah & The Nubatones – Manara

Subido por Marhali.

El concepto y la cuestión de la identidad alimenta la música de la cantautora sudanesa Alsarah. De ascendencia nubia, y afincada en Nueva York, Alsarah es una ferviente etnomusicóloga: su mirada introspectiva, que comprende la compleja historia artística y política de la región africana a la que ella denomina hogar, define tanto a la artista como a su nuevo álbum Manara ("El Faro", 2016).

Alternativamente cantado en lenguas nubia y árabe, Manara habla enérgicamente del desplazamiento, de la desconexión diaspórica, del sentimiento sociopolítico y de las individualidades. A través de letras poéticamente abstractas, Alsarah y su banda, The Nubatones, logran transmitir multitud de emociones, folclore y pasiones autóctonas. Para ello se valen de instrumentos occidentales y africanos, incorporando discretos elementos electrónicos. "Retropop de África del Este" es como denominan su música, aunque Manara suena más contemporáneo y global.

En cualquier caso, en tiempos de crecientes restricciones migratorias, no está de más que la música nos recuerde uno de los muchos aspectos positivos de unir a gente de múltiple procedencia: el enriquecimiento que aporta la diversidad.

01. Salam Nubia
02. Asilah Interlude
03. Alforag
04. Albahr
05. Fulani Interlude 1
06. 3yan T3ban
07. Fulani Interlude 2
08. Ya Watan
09. Nar
10. Manara
11. 3roos Elneel
12. Asilah
13. Fulani
14. Safr Minni

domingo, 3 de junio de 2018

Mariza-Mariza (2018) [Portugal]

El nuevo álbum de la reina del fado

No requiere mucha presentación cuando se habla de Mariza. Como el embajador más importante de la música contemporánea portuguesa, su nombre es sinónimo de la voz que hizo del fado su tarjeta de presentación y la misión de la vida. Pero ella nunca miró hacia atrás cuando se trataba de encontrar nuevas formas de fado.

Mariza es simplemente Mariza: única, expresiva, original. En consecuencia, su nuevo y séptimo álbum de estudio lleva el título simple pero apto "MARIZA". Por un lado, porque su voz y su talento que abarca el género nunca se encerraron en los cajones comunes. Por otro lado, porque no puedes esperar menos de Mariza que Mariza.

En consecuencia, parece lógico que ella envíe su nuevo álbum no solo uno, sino dos singles por delante. En el clásico "Trigueirinha", Mariza es la cantante de Fado terrenal, que amplía el espectro de la melodía tradicional de Fado con una brisa tropical, incluyendo bajos sabrosos y percusión. En "Quem Me Dera", sin embargo, ella puede ser escuchada como una intérprete sutil de una conmovedora balada acústica.

El Fadista y el cantante de baladas sentimentales suman una y la misma Mariza. Reflejan las facetas de Mariza, que se convirtió en un fenómeno mundial con su álbum debut Fado em Mim 2001, en realidad hace 17 años. Pertenecen a la Mariza, que por primera vez ha cantado y grabado su propio texto en la obra "Oração" para "MARIZA". Son parte de Mariza, que ha mostrado un gran crecimiento en el transcurso de cinco álbumes de estudio, tres grabaciones en vivo y una compilación Greatest Hits. Todas y cada una de sus muchas giras de conciertos, cada actuación, cada nueva experiencia, cada premio y cada título que ha recibido, para Mariza, cada aspecto de su carrera ha sido una lección. Ella siempre ha permanecido fiel a sí misma. Cada frase, cada nota está llena de ella, porque Mariza canta porque tiene que cantar porque su voz y ella son una. Eso es Fado. Y es por eso que Mariza es Fado, sin importar lo que ella canta.

Lo que ella canta en "MARIZA" es una mezcla seductora de tradición y modernidad, pasado y futuro. Jorge Fernando, Mário Pacheco y Tiago Machado, que han trabajado con Mariza desde sus primeros días, contribuyeron con canciones para el álbum. Las estrellas de la música urbana y la música africana como Matias Damásio o Héber Marques hicieron lo mismo para los colaboradores de toda la vida, junto a la cantautora pop Carolina Deslandes. Está acompañado musicalmente por viejos amigos como José Manuel Nateo, el mago de la guitarra portuguesa, el guitarrista flamenco y de jazz Pedro Jóia, Jaques Morelenbaum, el virtuoso del cello de Brasil y el productor Javier Limón, quien está trabajando junto con Mariza por tercera vez .

La voz se destaca por encima de todo: más madura, más expresiva, atractiva, más informal en cualquier contexto. Ya puedes reconocer esta voz en la primera nota y en el primer estribillo sentirás su poder seductor, que se ha llevado como máximo al final de una canción. Solo da esta voz una vez. Es la voz de Mariza, llena, experimentada, única, "MARIZA".

2 Quem me dera
3 Amor perfeito
4 Oração
5 Sou
6 É mentira
7 Semente viva ft. Jaques Morelenbaum
8 Por tanto te amar
9 Nosso tempo
10 Verde limão
11 Quebranto
12 Oi nha mãe
13 Fado Errado ft. Maria da Fé
14 Fado Refúgio
15 Trigueirinha ft. Carolina Deslandes, Jorge Palma, Mafalda Veiga, Marisa Liz, Ricardo Ribeiro, Tim (Bonus Track)

viernes, 25 de mayo de 2018

Fatoumata Diawara - Fenfo

Fatoumata Diawara (Costa de Marfil, 1982) es una actriz y cantante maliense que fusiona el folk Wassoulou con jazz y soul, residente en Francia. Ha colaborado con cantantes maliense como Oumou Sangaré.

“Fenfo”, el segundo álbum de Fatoumata Diawara tras el debut “Fatou”, ha sido grabado en Mali, Burkina Faso, Barcelona y París, y en él confluyen una amplia gama de géneros africanos, antiguos y modernos. Ahora Diawara se encuentra de gira recorriendo Europa antes de viajar a Estados Unidos en abril, para luego volver de nuevo a Europa


1. Nan Bel
2. Bognan
3. Del Guel
4. Dibi Bo
5. Kanou Dan Ye
6. Koo Ko Ra
7. Mama
8. Nterini
9. Ou
10. Ya Na
11. Takamba
12. Don Do
13. Tan They

sábado, 19 de mayo de 2018

Bombino - Deran (2018) [Niger]

Cómo celebrar el desierto en el hogar, cómo protegerlo, desarrollarlo, unificarlo, respetarlo y, sobre todo, nunca olvidarlo, son los temas principales del nuevo álbum de Bombino 'Deran'. Están vestidos con diez canciones de rara madurez y poder que marcan un punto de inflexión en la carrera de un guitarrista y compositor que nació a la sombra de una acacia a unos ochenta kilómetros al noroeste de la antigua ciudad de Agadez, y que desde entonces ha ascendido a la nueva guitarra Tuareg Generacion. Es un retroceso en la fuente de todo lo que hace que Bombino sea quien es.

"Mi misión para este álbum siempre fue acercarme a África", dice. No sorprende entonces que se haya tomado la decisión de grabar 'Deran' lo más cerca posible de su Níger natal en el sur del Sahara. El lugar ideal surgió en la forma de Studio Hiba, una instalación de grabación de alto vuelo propiedad del Rey Mohammed VI ubicada en un suburbio industrial de Casablanca en Marruecos. Allí, Bombino y su estable banda a largo plazo -como Tuareg Illias Mohammed a la guitarra y voz, el estadounidense Corey Wilhelm a la batería y la percusión y el mauritano (que vive en Bélgica) Youba Dia al bajo- dormían, comían y hacían música en feliz aislamiento. Su círculo fue ensanchado por el percusionista marroquí Hassan Krifa, y por los primos de Bombino Anana ag Haroun (vocalista de la banda tuareg con sede en Bruselas Kel Assouf) y Toulou Kiki (cantante y estrella de la película Timbuktu), quienes acudieron para agregar algunos voces de 'pandillas'. Después de Casablanca, las cintas volaron a Boston para ser embellecidas por el amigo y tecladista sudanés Mohammed Araki.

Bombino y la tripulación evocaron un recorrido itinerante por el misterio de los sonidos saharauis contemporáneos, desde la roca diesel en crudo del abridor 'Imajghane' ('The Tuareg'), hasta el paso de camello de 'Tenesse' ('Idleness'), la tierna cadencia de Midiwan ('Mis Amigos') y el estilo 'Tuareggae' que es la única contribución de Bombino a la música del desierto en la canción 'Tehigren'. Todo el desierto está allí, duro y gentil, trágico y juguetón. Pero más que nada 'Deran' es honesto y verdadero. Deran, Deran, Alkheir. "Mis mejores deseos, mis mejores deseos, por la paz".

1. Imajghane
2. Deran Deran Alkheir
3. Tehigren
4. Mikiwan
5. Tenesse
6. Ouhlin
7. Adouni Dagh
8. Tamasheq
9. Takamba
10. Adouagh Chegren

Gurrumul - Djarimirri / Child of the Rainbow

Geoffrey Gurrumul Yunupingu (Galiwin'ku, Elcho Island, Australia, 22 de enero 1971-Tiwi, Darwin, Territorio del Norte; 25 de julio de 2017​) fue un músico aborigen australiano, que cantaba en el idioma yolngu.

Nació en Galiwin'ku (Elcho Island), en la costa de la Tierra de Arnhem, al norte de Australia, distante alrededor de 580 kilómetros de Darwin. Pertenecía al clan Gumatj del Yolngu y su madre era de la nación Galpu.2​ Nació ciego, nunca aprendió braille y no tenía un perro guía ni usaba un bastón blanco. Yunupingu hablaba unas pocas palabras en inglés, y se decía que era extremadamente tímido.3​

Tocaba la batería, teclados, la guitarra y el didgeridoo, pero era la claridad de su voz de canto la que había atraído críticas muy favorables. Cantaba historias de su tierra en los dos idiomas (Galpu, Gumatj o Djambarrpuynu, todo Yolŋu Matha) e inglés. Antes de Yothu Yindi, ahora está con Saltwater Band.

1 Waak (Crow) 5:08 
2 Galiku (Flag) 5:01 
3 Ngarrpiya (Octopus) 6:09 
4 Djarimirri (Child of the Rainbow) 5:08 
5 Djolin (Musical Instrument) 5:56 
6 Marrayarr (Flag) 7:42 
7 Gapu (Freshwater) 5:21 
8 Djilawurr (Scrubfowl) 5:04 
9 Baru (Saltwater Crocodile) 5:50 
10 Gopuru (Tuna Swimming) 6:34 
11 Djapana (Sunset) 5:08 
12 Wulminda (Dark Clouds) 7:56

martes, 15 de mayo de 2018

Idris Ackamoor and the Pyramids - An Angel Fell

Strut presents the brand new album from cosmic jazz travellers The
Pyramids, led by saxophonist Idris Ackamoor, ’An Angel Fell’. “I wanted to use folklore, fantasy and drama as a warning bell,” explains Ackamoor.

“The songs explore global themes that are important to me and to us all: the rise of catastrophic climate change and our lack of concern for our planet, loss of innocence and separation... but positive themes too, the healing power of music, collective action and the simple beauty of nature.”

Produced by Malcolm Catto of The Heliocentrics, the album was recorded during an intense week at Quatermass studios in London and is one of the deepest, richest works yet from a band reaching their highest creative peak since the early ’70s. Some of the many highlights include the poignant title track depicting a fallen angel in purgatory, outrage and grief on the powerful, hard hitting ‘Soliloquy For Michael Brown’ and the lilting, beautiful album closer, ‘Sunset’.

The Pyramids originally came together in 1972 at Antioch College, Yellow Springs, Ohio where teachers included renowned pianist, Cecil Taylor.

After forming in Paris and embarking on a “cultural odyssey” across Africa, the group recorded three independent albums, ‘Lalibela’ (1973), ‘King Of Kings’ (1974) and ‘Birth / Speed / Merging’ (1976) and became renowned for their striking live shows, mixing percussive, spiritual and space-age jazz with performance theatre and dance. After migrating to San Francisco, they disbanded in 1977. 35 years later, the band reunited in 2012 following growing demand for their music from vinyl collectors.

German label Disko B released the freeform album ‘Otherwordly’ and in 2016, they released their first album for Strut, the acclaimed ‘We Be All Africans’.

Idris Ackamoor: Tenor Saxophone, Keytar, Lead Vocals
Sandra Poindexter: Violins, Lead Vocals

David Molina: Guitar, Effect pedals, Vocals

Skyler Stover: Double Bass, Vocals

Bradie Speller: Congas, Handsonic, Vocals

Johann Polzer: Drums
Album cover - top right
Artwork by Lewis Heriz.

1. Tinoge 06:59
2. An Angel Fell 08:37
3. Land Of Ra 09:25
4. Papyrus 07:41
5. Soliloquy For Michael Brown 09:21
6. Message To My People 07:48
7. Warrior Dance 11:10
8. Sunset 06:32

sábado, 12 de mayo de 2018

Loreena McKennitt - Lost Souls (2018) [Canada]

Estamos encantados de anunciar que Loreena está a punto de lanzar su primera grabación de canciones originales desde su grabación de 2006 An Ancient Muse. Su nuevo álbum, Lost Souls, se lanzará a nivel internacional el 11 de mayo de 2018.
Los planes de giras internacionales para 2018/2019 también se anunciarán en los próximos meses. Como miembro de la comunidad LM, será el primero en estar informado de los tours y las oportunidades exclusivas de preventa.

Este tan esperado y esperado álbum es un tapiz rico y ecléctico de canciones tejidas con influencias de los celtas a los beduinos, cosidas con los sonidos de una colección diversa y exótica de voces musicales, incluyendo el nyckelharpa, oud, kanoun, guitarra flamenca y una banda militar canadiense.

"Aunque Lost Souls no sigue el siguiente capítulo en mi búsqueda de la historia de los celtas, ha sido gratificante completar una selección de canciones en las que he estado trabajando durante algún tiempo", dice Loreena. "La vida ha sido tan completa y exigente en los últimos diez años; tanto a nivel personal como profesional también fue gratificante volver a la parte creativa del proceso".

Hay nueve canciones en el nuevo álbum. Varias comenzaron hace algún tiempo por Loreena, mientras que otras se han ido formando progresivamente en medio de proyectos y viajes más recientes. Algunos se basan en la poesía de John Keats y W.B. Yeats, mientras que otro evoca un sabor distinto de Medio Oriente.

El álbum estará disponible en CD, disco de vinilo de 180 gramos y en todos los servicios de música, incluidos iTunes, Apple Music y Spotify. Los pedidos anticipados y el pre-guardado (para servicios de transmisión) comienzan el viernes 9 de marzo. El CD y el disco de vinilo están disponibles para su pedido por adelantado en una serie de tiendas preferidas.

El álbum fue grabado de mayo a octubre de 2017 en Hamilton, Canadá, en los estudios Catherine North y en los estudios Read World de Peter Gabriel, cerca de Bath, en el suroeste de Inglaterra.

Cuenta con Loreena en voz, piano, teclado, acordeón y arpa, acompañado por su núcleo de músicos, muchos de los cuales conoces: Brian Hughes en guitarras, bazouki y sintetizador, Caroline Lavelle en violonchelo y concertina, Hugh Marsh en violín, y Dudley Phillips en bajo acústico y eléctrico.

Diseñado por Yossi Shakked, Stuart Bruce y Jeff Wolpert, las almas perdidas fueron dominadas por Bob Ludwig en Gateway Mastering Studios. El paquete del álbum fue diseñado por Jeri Heiden, de Smog Design, Inc.

El álbum también presenta artistas especializados como Robert Brian y Tal Bergman (batería), Hossam Ramsey, Graham Hargrove y Rick Lazar (percusión), Nigel Eaton (Hurdy Gurdy), Panos Dimitrakopoulos (Kanoun), Sokratis Sinopoulos (Lyra), Haig Yazdjian (Oud), Ana Alcaide (Nyckelharpa), Daniel Casares (Guitarras Flamencas) y Miguel Ortiz Ruvira (Flamenco Percussion).

1. Spanish Guitars and Night Plazas
2. A Hundred Wishes
3. Ages Past, Ages Hence
4. The Ballad of the Fox Hunter
5. Manx Ayre
6. La Belle Dame Sans Merci
7. Sun, Moon and Stars
8. Breaking of the Sword
9. Lost Souls


martes, 1 de mayo de 2018

Monsieur Doumani - Angathin

El galardonado grupo Monsieur Doumani, se formó en 2011 en Nicosia, Chipre, por Antonis Antoniou (tzouras), Angelos Ionas (guitarra) y Demetris Yiasemides (trombón, flauta).

Viniendo de diferentes orígenes musicales, pero influenciado por la tradición chipriota en varios niveles, Monsieur Doumani compone canciones chipriotas que se inspiran en la sociedad chipriota contemporánea, así como en las condiciones inestables de nuestra era. La identidad original del proyecto estuvo determinada por la adaptación de piezas tradicionales chipriotas, con un color contemporáneo especial en sonido y estado de ánimo, formando un estilo distintivamente propio.


1 Kick 'n' Slap 3:18
2 Hey You 4:32
3 Thorn of the Cactus 4:20
4 Fallow Fields 4:06
5 Mishmash 3:00
6 Gel Burda 3:04
7 Where Shall I Bang It? 3:26
8 Drinking and Kissing 4:51
9 Mother and Mistress of Us All 2:39
10 Little Car 4:09
11 Akamas' Dragons 4:22
12 Antics 5:46
13 Little Star 6:59

Frode Haltli - Avant Folk

The opening track of ‘Avant Folk’ is like a dream of what contemporary experimental folk-meets-jazz-meets-chamber-music might be. Composed by Frode Haltli, ‘Hug’ begins with a galumphing off-centre rhythm that could be an accompaniment to elephants waltzing before the wheezing bellows-breath of Haltli’s accordion creates delightfully airy whispers of noise that drift across the other instruments like wisps of cloud across the sky.

Then we get the entry of the theme, a compulsive Nordic ear-worm folk melody led by Hardanger fiddle and violin that’s half woozy sea-shanty and half universal pan-African groove, backed up by shuffle-beat drumming like Ed Blackwell with Ornette Coleman. As if that wasn’t enough for one tune already, the music continues to evolve, with a beautifully poised improvised solo on trumpet by Hildegunn Øiseth that sounds so perfect it should really win some kind of award on its own. The groove slows down, the elephant waltz returns to form a satisfyingly symmetrical conclusion and the music gradually resolves into silence, bringing to an end what has been seven and a half minutes of continuous invention. It’s quite a performance, and quite a band, the dectet of expert players covering enough instruments between them to simulate the tonal breadth of a full orchestra while retaining the humble, home-made aesthetic of a traditional folk ensemble, matching compositional sophistication and individual virtuosity with collective empathy and hard-won grace.

Elsewhere, as the album develops, the folk references expand to include echoes of west African desert blues, east European gypsy swing, Armenian double-reed laments and lugubrious Nordic village knees-ups on a range of material partly adapted from traditional hymn-tunes and songs from Norway and the Faroe islands to form a kind of north Atlantic gumbo. But ‘Avant Folk’ never feels like a slapdash fusion of different elements mashed together without regard for the integrity of the whole. Importantly, the band always sounds like a proper band, as fleet-footed as any improvisational jazz ensemble, and able to hurdle with ease the normal generic divides separating one type of music from another. By the time the listener reaches the end of the album’s final track, ’Neid’ – another Frode Haltli composition, like the opening ‘Hug’ – ‘Avant Folk’ has effectively created its own genre, a pleasingly congruent collection of stylistic traits that sounds like nothing so much as itself. All the music, whether composed by Frode Haltli or adapted from antique sources, is arranged jointly by Haltli and the band members.

So where did ‘Avant Folk’ come from and why does it sound so good? For a start, Frode Haltli (born 1975, Norway) is, like many of the ensemble’s star players, a classically-trained virtuoso who from an early age (he began the accordion at seven) has been well used to working between different forms of music, from traditional folk to the avant-garde, and to collaborating with players from all sorts of backgrounds. Haltli also composes, both on his own and with Maja S.K.Ratkje (his co-producer on ‘Avant Folk’, who is responsible for the album’s editing and mixing), and has developed very strong links with fellow musicians and composers both within Norway and internationally, once again working across the normal boundaries demarcating one musical form from another, recording the complete accordion works of Arne Nordheim, for example, but also appearing with the various groups of jazz saxophonist Trygve Seim. His debut recording for ECM, ‘Looking On Darkness’ was released in 2002, followed by ‘Passing Images’ from 2007, (with trumpeter Arve Henriksen, violist Garth Knox and Maja S.K. Ratkje on vocals), and ‘Air’ (2016), a recording of music for accordion and strings by Hans Abrahamsen and Bent Sorensen with the Arditti Quartet and the Trondheim Soloists. His debut release for Hubro, ‘Vagabonde Blu’ (2014), is a live solo recording featuring works by Salvatore Sciarrino, Aldo Clementi and Arne Nordheim. As if any further exemplars of Frode Haltli’s customary melding of the classical repertoire with folk, jazz and beyond were needed, we can also note his current duo with the Norwegian violinist Gjermund Larsen; The Snowflake Trio (with Irish flautist Nulala Kennedy and Norwegian fiddler Vegar Vardal); and a trio with another fiddler, Ragnhild Furebotten, and the Swedish nyckelharpist Emilia Amper.

The breadth of Frode Haltli’s interests is not unusual in Norwegian music and this is paralleled by a number of his collaborators on ‘Avant Folk’, many of whom – like the inspirational fiddler Erlend Apneseth (a regular Hubro artist in a number of settings) or the keyboardist Stale Storlokken (of Supersilent and Motorpsycho, among others) enjoy similarly wide-ranging careers that weave in and out of numerous musical styles and settings. But the last word on ‘Avant Folk’ has to be the music. The album ends on the suitably epic note of Haltli’s ‘Neid

1 Hug 07:22
2 Trio 04:22
3 Kingo 10:44
4 Gråtar'n 05:30
5 Neid 13:29

lunes, 23 de abril de 2018

Altan -The Gap Of Dreams (2018) [Irlanda]

Después de treinta años de tocar en escenarios de todo el mundo, desde Dublín hasta Nueva York, de Tokio a Sydney, la principal banda irlandesa tradicional, Altan regresó a THE HILLS de Donegal para grabar su nuevo álbum, THE GAP OF DREAMS. Las 13 pistas transportan a The LISTENER al estilo de vida rural de Donegal, a un tiempo anterior a la electricidad cuando la gente se juntaba en las brumas del invierno para contar historias, cantar canciones y bailar hasta altas horas de la noche. La música elevó el espíritu de los locales y ayudó a elevarlos MÁS ALLÁ de las dificultades del día como el hambre, el conflicto y la emigración. Es este espíritu el que influyó en el desarrollo de la banda a través de sus múltiples fases de crecimiento, desde un dúo actuando en pubs hasta artistas de giras y grabaciones internacionales.

El título del álbum, THE GAP OF DREAMS, está tomado de un poema de Francis Carlin, The Ballad of Douglas Bridge, en el que escribe: "The Gap of Dreams never closed", en referencia a la brecha entre este mundo y el Otro Mundo. The Otherworld siempre ha ejercido una gran influencia en la tradición del condado de Donegal y ha servido de inspiración para la canción, la música y el folclore.

El álbum presenta muchos juegos de carretes tradicionales de Donegal, como la provocativa composición de Néilidh Boyle, "Seán saCheo" (John in the Mist), así como composiciones originales. Martin Tourish escribió dos animados carretes en el estilo de Donegal: "Tuar", que se traduce como "presagio o señal", y "Oíche Fheidhmuúil", que significa "una noche enérgica".

El cantante y miembro fundador Mairéad Ní Mhaonaigh se convirtió en el destinatario 2017 del TG4 Gradam Ceoil / músico tradicional del año, uno de los honores musicales más importantes de Irlanda, reconociendo su papel prominente en el apoyo, nutrimiento y fortalecimiento de la música tradicional irlandesa Una de las composiciones de Mairéad para este álbum es una plantilla deslizante, que presenta la canción principal, "The Gap of Dreams", y es seguida por dos más. La hija de Mairéad, Nia Byrne, escribió la primera, titulada "Nia's Jig", y toca el violín en la pista. El hijo de Mark Kelly, Sam, escribió el segundo, "El apicultor" (lógicamente llamado porque está en la tecla de B!), Y toca la concertina en la canción. Cuatro de las canciones están en irlandés (gaélico), que es el primer idioma de Mairéad, y el idioma del noroeste de Donegal. <

De vuelta en Donegal, en Attica Studios, en la ciudad de Termon, parecía como si la inspiración del amado paisaje se hubiera derramado en el estudio. Con los productores Michael Kenney y Tommy McLaughlin, el nuevo álbum captura la esencia que ha seguido representando el sello distintivo de la música de Altan.

THE GAP OF DREAMS se lanzará el 2 de marzo de 2018 en Compass Records y Altan iniciará su gira en Calgary, Alberta el 23 de febrero.

  1. The Gap of Dreams / Nia’s Jig / The Beekeeper
  2. The Month of January
  3. Seán sa Cheo / Tuar / Oíche Fheidhmiúil (A Spirited Night)
  4. Bacach Shíl Andaí
  5. The Piper in the Cave / An Ghaoth Aniar Aneas (The South-West Wind)
  6. Níon a’ Bhaoigheallaigh
  7. The Tullaghan Lasses / The Cameronian / The Pigeon on the Gate
  8. An Bealach Seo ‘Tá Romham (This Road Ahead of Me)
  9. Dark Inishowen
  10. The Templehouse Strathspey & Reel / John Mhosey McGinley’s / The Mermaid of Mullaghmore
  11. Cumha an Oileáin
  12. Port Alex
  13. Fare Thee Well, A Stór