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| Gipsy Kings |
12-11-2018 # WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks # WmW 2014-2004 Gipsy Kings, Simo Lagnawi, Rodrigo Y Gabriela and C.U.B.A., Jozef Van Wissem, Luísa Maita, Lila Downs, Rajery, Ballaké Sissoko, Driss El Maloumi, Imam Baildi, Edgardo Acuña, Ali Farka Touré & Toumani Diabaté, Ana Moura
2014-2004
M U S I C
M U S I C
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Family act from southern France whose Afro-Spanish take on flamenco launched them to worldwide fame in the 1980s. The Gipsy Kings are largely responsible for bringing the joyful sounds of progressive pop-oriented flamenco to the world. The band started out in Arles, a village in southern France, during the '70s when brothers Nicolas and Andre Reyes, the sons of renowned flamenco artist Jose Reyes, teamed up with their cousins Jacques, Maurice, and Tonino Baliardo, whose father is Manitas de Plata. They originally called themselves Los Reyes...
Caramelo (Tonino Baliardo / Nicolás Reyes) 3:32
Samba Samba (Tonino Baliardo / Nicolás Reyes) 3:11
from Savor Flamenco 2013
It has been seven long years since France's groundbreaking Gipsy Kings have issued a recording of new material. Savor Flamenco, the group's debut for Knitting Factory, still features the band's original lineup of two groups of brothers -- the Reyes (Nicolas, Canut, Paul, Patchai, and Andre) and the Baliardos (Tonino, Paco, and Diego) -- with guest players filling out the cast. The set was produced by Tonino Baliardo and Nicolas Reyes. Musically, Savor Flamenco looks simultaneously backward and forward. The single "Samba Samba" commences with a breezy bossa nova before spiraling out, wedding both fiery flamenco and driving Brazilian samba...
Simo Lagnawi
Bolami (Traditional) 4:43
Tagna (Traditional) 6:30
from The Gnawa Berber 2014
Based in the U.K., but inspired his Moroccan-Berber origins, Simo Lagnawi presents us with an exciting and entrancing album of a dozen songs that successfully and faithfully adheres to North African gnawa traditions. There is some improvisation of sorts, which cover Saharan folk songs and ceremonial compositions. All of the songs are diverse and feature the guimbri -- a plucked lute that is native to North Africa. The authentic and tribal sound of the guimbri is haunting and natural with vocals, flute, fiddle, and banjo accompaniment in spots. Hassan Hakmoun fans will find some similarities, but the music is not electronic or rock-oriented. This is for fans seeking unadulterated gnawan trance music. Find your inner gnawa today! ~ Matthew Forss
Rodrigo Y Gabriela and C.U.B.A.
Santo Domingo 6:31
Ixtapa 8:11
Diablo Rojo 5:09
from Area 52 2012
From Re-Foc, their very first release in 2002, post-nuevo flamenco guitar duo Rodrigo Sanchez and Gabriela Quintero thumbed their noses at purist notions of flamenco. Having initially come from heavy metal, they wedded their new music to metal's pyrotechnics and the various folk styles of their native Mexico, creating a new genre in acoustic music. That said, Area 52 is unlike anything they have recorded before. The album began as simply an orchestral overview of tunes from their catalog to issue while they wrote new material, but it became something wholly other. Along with producer Peter Asher and arranger Alex Wilson (whose charts here are almost too fantastic to believe), they employed C.U.B.A., a 13-piece Cuban orchestra, and the diverse talents of several guests. Recording mainly in Havana, the duo, with C.U.B.A., set about completely reinventing RyG's songs...
Lutenist and post-minimalist composer who has brought his instrument's sound into the 21st century and collaborated with many artists. Jozef Van Wissem is a Dutch lutenist and post-minimalist composer who has been adapting via tablature and improvising on music written for his instrument circa 1600 A.D.
Jozef Van Wissem
The Joy That Never Ends (Jozef Van Wissem) 3:19
Concerning the Precise Nature of Truth (Jozef Van Wissem) 3.51
The Great Joy (Jozef Van Wissem) 5:24
from The Joy That Never Ends 2011
There are lots of composers out there, and more than a few lutenists, but very few people still alive today who are both, and even fewer who write contemporary music for that ancient instrument. Jozef Van Wissem is one of those very few, and on this album, he plays six original compositions on a 13-course Baroque lute. In the past he has written and performed music for lute and electronics, but here he is accompanied only by the occasional electric guitar of filmmaker Jim Jarmusch and the mumbled vocals of Jeanne Madic. The titles of the pieces and the lyrics sung by Madic are taken or adapted from the Revelations of Divine Love of 14th century mystic Julian of Norwich, and the music itself tends to be rather minimalist, with lots of repetitive arpeggiated figures, sometimes consisting of overdubbed parts...
Since the moment she was born on April 27, 1982 in the Bela Vista neighborhood of São Paulo, Luísa Taubkin Maita has been surrounded by music. In fact, it was a love of music that brought her parents together, helping them cross the divide of their different family backgrounds. Luísa's father, Amado Maita, was a working class musician of Syrian Muslim roots and her mother, Myriam Taubkin, came from a wealthy family of European Jewish heritage, and has been an important concert producer and cultural advocate for over thirty years.
Luísa Maita
Lero-Lero [DJ Tudo Remix] (Luisa Maita) 4:18
Alento [Tejo Remix] (Luisa Maita) 4:18
Fulaninha [Da Lata Remix] (Luisa Maita) 6:07
from Maita Remixed 2010
A good remix can be a work of art, and there are seven of them on Luísa Maita Remixed. The original versions had a brash joy, but these versions take Maita's music in different directions, while still respecting the roots... Perhaps the best part of all is that the remixers never forget that this is a singer's album. She might be chopped about a bit, but Luísa Maita Remixed remains about her, rather than the egos of those behind the boards. A stunning success of imagination meeting content.
A Mexican-American Laurie Anderson or if Frida Kahlo were a musician instead of a visual artist. Singer Lila Downs grew up with the culture of her father, a professor from the United States, but eventually turned her back on it to explore the tradition of her mother, a Mixteca Indian from Mexico. In doing so, she has created a very individual strain of song that has indigenous Mexican roots and North American sonorities.
Lila Downs
La Cama de Piedra Feat. Flaco Jiménez, Max Baca (Traditional) 3:59
El Venadito 2:26
La Llorona (Lila Downs) 5:23
from The Very Best Of Lila Downs 2009
Having spent her younger years bouncing around between Mexico and Minnesota -- her mother was a Mixtec Indian who sang cabaret and her father an American professor -- Lila Downs naturally developed a performing style that drew from both cultures, and then took it further. Not easily pinned down, she studied and absorbed Mexico's indigenous folk music but also spent time as an itinerant Deadhead in the States. She also studied opera and married a jazz pianist, all of which allowed her to expand her sound -- a Lila Downs album might incorporate reggae, soul, rock, and jazz as well as acoustic Mexican folk, all of it seamlessly fused into something completely her own...
Madagascar's Rajery (pronounced Rajer, his full name is Germain Randrianrisoa) is a Renaissance man. Not only is he a master of the valiha, the island's tubular harp, and leading his own band, he's also a founder of modern valiha orchestra and the author of a book, The Secret of the Valiha.
One of the modern-day masters of his instrument, Ballaké Sissoko is a Malian kora player who found success as a recording artist, generally in collaboration with others, most notably fellow Malian kora player Toumani Diabaté.
Rajery, Ballaké Sissoko, Driss El Maloumi
Having travelled the world with Jordi Savall, 3MA (Ballaké Sissoko and Rajery), Paolo Fresu, Debashish Bhattacharya and Montserrat Figueras and having lent his oud playing to Armand Amar and Laurent Voulzy, Driss El Maloumi has returned home. In Agadir, at the crossroads of Arab, Amazigh, western and sub-Saharan cultures, he invites his oud to distil the spices gleaned from a thousand travelled paths.
Anfass 6:11
3MA 5:01
Rania 4:22
from 3MA 2008
(Madagascar, Mali, Maroc)
3MA is the meeting of three string-instrument virtuosi, emblematic of their countries in Africa, but also of generous artists who share a musical passion, a reciprocal dialogue and a beautiful friendship.
In 2006 when the Malian kora magician Ballaké Sissoko, the Moroccan maestro of the oud Driss El Maloumi and the Malagasy prince of valiha Rajery met, they could have stopped like so many others after a bunch of concerts and one final recording. But the miraculous tremor that rose from their instruments when they began playing together still resonates today. Driven by the pleasure of an exceptional musical relationship but also a human one, they have met regularly since, and always joyfully, their reunions always enriching their solo careers...
Imam Baildi is a very popular Southeast Mediterranean dish consisting of aubergine stuffed with onion, garlic, and tomatoes simmered in olive oil. It is a similar fine blend that brothers Lysandros and Orestis Falireas and their band do – only in music! Their sound is a unique urban blend of old Greek Music with new orchestration, production and remixing techniques.
Imam Baildi
I Zoi Mas Ine Ligi [Remix] feat. Sofia Vembo (Giorgos Giannakopoulos / Menelaos Theofanidis / Mimis Traiforos) 5:47
Samba Clarina (Imam Baildi) 4:11
Comely (Imam Baildi) 5:47
Ta Xena Heria (Imam Baildi) 4:47
from Imam Baildi 2007
Imam Baildi (IB) were formed in 2005 by brothers Orestis and Lysandros Falireas. The project’s concept was based on sampling and remixing Greek music of the 1940’s, 50’s and 60’s.
The first 3 tracks the brothers produced were the remixes of Dymeni San Arhodissa, (‘Dressed Like a Lady’ 1936 rembetiko track by Stelios Keromytis), I Zoi Mas Einai Ligi (Our Life is Short – a 1930’s tango with the voice of Sofia Vembo) and, their first hit, De Thelo Pia Na Xanarthis a 1960’s track by Manolis Chiotis.
These three were compiled into a demo that reached Minos EMI (the Greek branch of EMI, now part of Universal Music Group). In 2005, the label proposed that they release a full album based on that concept.
The homonymous first album was produced by IB in their own label (Kukin Music) and licensed to EMI Greece in October 2007. It featured 10 tracks and was a breakthrough for the music market in Greece. It also attracted attention by international media, including a review by the late Charlie Gillet. In 2009, the album made it to top positions in the European World Music Charts...
Edgardo Acuña
Urbano 3:44
Tango Atroz 2:02
Larks Tongues in Aspic (King Crimson cover) 2:43
El Color de Buenos Aires 4:01
from Tango Marginal 2006
One of the most internationally successful West African musicians of the '90s, Ali Farka Touré was described as "the African John Lee Hooker" so many times that it probably began to grate on both Touré's and Hooker's nerves.
Ali Farka Touré & Toumani Diabaté
A master of the kora (21-string West African harp), Toumani Diabaté has brought the traditional music of his native Mali to the attention of an international audience with a series of well-received solo albums and some unlikely, but acclaimed, collaborations.
Debe (Traditional) 4:55
Monsieur le Maire de Niafunké (Toumani Diabaté) 3:58
Ai Ga Bani (Ali Farka Touré) 4:34
from In the Heart of the Moon 2005
In the Heart of the Moon is a duet recording by Malian guitar slinger Ali Farka Toure and Mandé lineage griot Toumani Diabate on kora. There are a few other players who contribute percussion here and there, and Ry Cooder plays a Kawai piano on a couple of tracks and a Ripley guitar on one, but other than these cats, this is a live duo set without edits or enhancements of any kind. There were three sessions in the conference room of the Mande Hotel in Mali, the first of which was on the eve of Farka Toure being elected mayor of his town, Niafunké. Most of the music here dates back to the Jurana Kura (translated as new era) cultural movement, which was part of the independence struggle in the 1950s and early '60s...
Award-winning, chart-topping vocalist Ana Moura is the most successful and beloved fadista to appear in the 21st century. Her recordings have consistently sold well and her global concert tours are consistent sellouts.
Ana Moura
Por Um Dia (Jorge Fernando) 3:35
O Que Foi Que Aconteceu 3:39
Fado de Pessoa 3:42
from Aconteceu 2004
Nearly two centuries old, Portuguese fado comes as close as any to being a national folk music. But it wasn't always that way. Fado -- literally, fate -- flourished during the first half of the 20th century, particularly in the hands of Amalia Rodrigues, who died a national heroine in 1999. In the post-WWII era, fado's dominance began to wane, though, and it became increasingly frowned upon, considered a music of the lower classes, unfitting of a nation pushing its way into modernity. That's all changed in recent years, though, as a few young fadistas have revived the soulful style. Singers -- mostly women, such as Mariza, Misia and Cristina Branco -- have held onto fado's aching, keening melodies and sorrowful lyrics of loves lost and forgotten. Indeed, nearly every song on Ana Moura's divine, alluring second album finds the singer heartbreaking...
Santo Domingo 6:31
Ixtapa 8:11
Diablo Rojo 5:09
from Area 52 2012
From Re-Foc, their very first release in 2002, post-nuevo flamenco guitar duo Rodrigo Sanchez and Gabriela Quintero thumbed their noses at purist notions of flamenco. Having initially come from heavy metal, they wedded their new music to metal's pyrotechnics and the various folk styles of their native Mexico, creating a new genre in acoustic music. That said, Area 52 is unlike anything they have recorded before. The album began as simply an orchestral overview of tunes from their catalog to issue while they wrote new material, but it became something wholly other. Along with producer Peter Asher and arranger Alex Wilson (whose charts here are almost too fantastic to believe), they employed C.U.B.A., a 13-piece Cuban orchestra, and the diverse talents of several guests. Recording mainly in Havana, the duo, with C.U.B.A., set about completely reinventing RyG's songs...
Jozef Van Wissem
The Joy That Never Ends (Jozef Van Wissem) 3:19
Concerning the Precise Nature of Truth (Jozef Van Wissem) 3.51
The Great Joy (Jozef Van Wissem) 5:24
from The Joy That Never Ends 2011
There are lots of composers out there, and more than a few lutenists, but very few people still alive today who are both, and even fewer who write contemporary music for that ancient instrument. Jozef Van Wissem is one of those very few, and on this album, he plays six original compositions on a 13-course Baroque lute. In the past he has written and performed music for lute and electronics, but here he is accompanied only by the occasional electric guitar of filmmaker Jim Jarmusch and the mumbled vocals of Jeanne Madic. The titles of the pieces and the lyrics sung by Madic are taken or adapted from the Revelations of Divine Love of 14th century mystic Julian of Norwich, and the music itself tends to be rather minimalist, with lots of repetitive arpeggiated figures, sometimes consisting of overdubbed parts...
Luísa Maita
Lero-Lero [DJ Tudo Remix] (Luisa Maita) 4:18
Alento [Tejo Remix] (Luisa Maita) 4:18
Fulaninha [Da Lata Remix] (Luisa Maita) 6:07
from Maita Remixed 2010
A good remix can be a work of art, and there are seven of them on Luísa Maita Remixed. The original versions had a brash joy, but these versions take Maita's music in different directions, while still respecting the roots... Perhaps the best part of all is that the remixers never forget that this is a singer's album. She might be chopped about a bit, but Luísa Maita Remixed remains about her, rather than the egos of those behind the boards. A stunning success of imagination meeting content.
Lila Downs
La Cama de Piedra Feat. Flaco Jiménez, Max Baca (Traditional) 3:59
El Venadito 2:26
La Llorona (Lila Downs) 5:23
from The Very Best Of Lila Downs 2009
Having spent her younger years bouncing around between Mexico and Minnesota -- her mother was a Mixtec Indian who sang cabaret and her father an American professor -- Lila Downs naturally developed a performing style that drew from both cultures, and then took it further. Not easily pinned down, she studied and absorbed Mexico's indigenous folk music but also spent time as an itinerant Deadhead in the States. She also studied opera and married a jazz pianist, all of which allowed her to expand her sound -- a Lila Downs album might incorporate reggae, soul, rock, and jazz as well as acoustic Mexican folk, all of it seamlessly fused into something completely her own...
One of the modern-day masters of his instrument, Ballaké Sissoko is a Malian kora player who found success as a recording artist, generally in collaboration with others, most notably fellow Malian kora player Toumani Diabaté.
Rajery, Ballaké Sissoko, Driss El Maloumi
Having travelled the world with Jordi Savall, 3MA (Ballaké Sissoko and Rajery), Paolo Fresu, Debashish Bhattacharya and Montserrat Figueras and having lent his oud playing to Armand Amar and Laurent Voulzy, Driss El Maloumi has returned home. In Agadir, at the crossroads of Arab, Amazigh, western and sub-Saharan cultures, he invites his oud to distil the spices gleaned from a thousand travelled paths.
Anfass 6:11
3MA 5:01
Rania 4:22
from 3MA 2008
(Madagascar, Mali, Maroc)
3MA is the meeting of three string-instrument virtuosi, emblematic of their countries in Africa, but also of generous artists who share a musical passion, a reciprocal dialogue and a beautiful friendship.
In 2006 when the Malian kora magician Ballaké Sissoko, the Moroccan maestro of the oud Driss El Maloumi and the Malagasy prince of valiha Rajery met, they could have stopped like so many others after a bunch of concerts and one final recording. But the miraculous tremor that rose from their instruments when they began playing together still resonates today. Driven by the pleasure of an exceptional musical relationship but also a human one, they have met regularly since, and always joyfully, their reunions always enriching their solo careers...
Imam Baildi
I Zoi Mas Ine Ligi [Remix] feat. Sofia Vembo (Giorgos Giannakopoulos / Menelaos Theofanidis / Mimis Traiforos) 5:47
Samba Clarina (Imam Baildi) 4:11
Comely (Imam Baildi) 5:47
Ta Xena Heria (Imam Baildi) 4:47
from Imam Baildi 2007
Imam Baildi (IB) were formed in 2005 by brothers Orestis and Lysandros Falireas. The project’s concept was based on sampling and remixing Greek music of the 1940’s, 50’s and 60’s.
The first 3 tracks the brothers produced were the remixes of Dymeni San Arhodissa, (‘Dressed Like a Lady’ 1936 rembetiko track by Stelios Keromytis), I Zoi Mas Einai Ligi (Our Life is Short – a 1930’s tango with the voice of Sofia Vembo) and, their first hit, De Thelo Pia Na Xanarthis a 1960’s track by Manolis Chiotis.
These three were compiled into a demo that reached Minos EMI (the Greek branch of EMI, now part of Universal Music Group). In 2005, the label proposed that they release a full album based on that concept.
The homonymous first album was produced by IB in their own label (Kukin Music) and licensed to EMI Greece in October 2007. It featured 10 tracks and was a breakthrough for the music market in Greece. It also attracted attention by international media, including a review by the late Charlie Gillet. In 2009, the album made it to top positions in the European World Music Charts...
Urbano 3:44
Tango Atroz 2:02
Larks Tongues in Aspic (King Crimson cover) 2:43
El Color de Buenos Aires 4:01
from Tango Marginal 2006
Ali Farka Touré & Toumani Diabaté
A master of the kora (21-string West African harp), Toumani Diabaté has brought the traditional music of his native Mali to the attention of an international audience with a series of well-received solo albums and some unlikely, but acclaimed, collaborations.
Debe (Traditional) 4:55
Monsieur le Maire de Niafunké (Toumani Diabaté) 3:58
Ai Ga Bani (Ali Farka Touré) 4:34
from In the Heart of the Moon 2005
In the Heart of the Moon is a duet recording by Malian guitar slinger Ali Farka Toure and Mandé lineage griot Toumani Diabate on kora. There are a few other players who contribute percussion here and there, and Ry Cooder plays a Kawai piano on a couple of tracks and a Ripley guitar on one, but other than these cats, this is a live duo set without edits or enhancements of any kind. There were three sessions in the conference room of the Mande Hotel in Mali, the first of which was on the eve of Farka Toure being elected mayor of his town, Niafunké. Most of the music here dates back to the Jurana Kura (translated as new era) cultural movement, which was part of the independence struggle in the 1950s and early '60s...
Ana Moura
Por Um Dia (Jorge Fernando) 3:35
O Que Foi Que Aconteceu 3:39
Fado de Pessoa 3:42
from Aconteceu 2004
Nearly two centuries old, Portuguese fado comes as close as any to being a national folk music. But it wasn't always that way. Fado -- literally, fate -- flourished during the first half of the 20th century, particularly in the hands of Amalia Rodrigues, who died a national heroine in 1999. In the post-WWII era, fado's dominance began to wane, though, and it became increasingly frowned upon, considered a music of the lower classes, unfitting of a nation pushing its way into modernity. That's all changed in recent years, though, as a few young fadistas have revived the soulful style. Singers -- mostly women, such as Mariza, Misia and Cristina Branco -- have held onto fado's aching, keening melodies and sorrowful lyrics of loves lost and forgotten. Indeed, nearly every song on Ana Moura's divine, alluring second album finds the singer heartbreaking...
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