19-12-2018 # WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks # WmW 2007-1997

19-12-2018 # WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks # WmW 2007-1997   Imam Baildi, Edgardo Acuña, Ali Farka Touré & Toumani Diabaté, Ana Moura, Quartet B, Mihaly Borbely, Totó La Momposina, Ghalia Benali & Timnaa, 16 Horsepower, Natalie MacMaster, The Daktaris, Loreena McKennitt

2007-1997
M U S I C

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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
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...

„If Bartók played not-so-straight-ahead jazz, it might sound like the Borbély Quartet, combining Serbian, Slovak, Gypsy, Jewish and German folk influences with classical music, shot through with that thing that swings. Roland Kirk would understand.“  (RootsWorld)
Quartet B
Tánc (Dance) 3:53
Üveghegy (Crystal Mountain) 11:02
Erdély blues (Transylvania Blues) 6:19
from Üveghegy / Crystal Mountain 2003
Borbély Mihály / György Mihály / Horváth Balázs / Lukács Miklós / Sárvári Kovács Zsolt / Feat: Zoltán Farkas "Batyu" - gardon
Multireedist Mihály Borbély got his degrees in classical clarinet and jazz saxophone from the Béla Bartók Conservatory and Ferenc Liszt Academy of Music in Hungary and became a real versatile musician working in different musical styles from folk and world music to jazz and contemporary music. In addition to his original instruments he also plays folk instruments like the tárogató, folk flutes, kaval, dvojnice, fujara, ocarina, bombarde and zurna.

Mihaly Borbely

Totó La Momposina exemplifies the living tradition of Colombian folk music, having carefully studied and performed her native song and dance for several decades.
Totó La Momposina ‎
Totó Remix (Versión Radio) 4:53
Hacha, Machete Y Garabato - Las Tres Puntá 4:31
Tambolero 5:19
from Gaitas y Tambores 2002
Colombia's indigenous music is a heavily rhythmic hybrid of Spanish, native South American, and Afro-Cuban influences, and La Momposina mastered its different styles and rhythmic variations so well that she was invited to perform at the 1982 Nobel Prize ceremony for Colombian novelist Gabriel Garcia Marquez.

Ghalia Benali (born December 21, 1968) is a Tunisian singer, songwriter, writer and graphic designer. Her music has been noted for its attribution to multiple genres and defining contemporary Arabic music . Benali's southern Tunisian upbringing and fascination with Middle Eastern and Arab legendary artists is palpable in her music style. Her voice has been dubbed as multicultural and polymorphic. Born in Brussels, Belgium, and raised in Zarzis, Tunisia, Benali embarked on her music career in the early 90s, during the rise of world music phenomena that exposed her to different cultures and philosophies.
Ghalia Benali & Timnaa
Divas 4:04
Baidha (Ghalia Benali / Traditional / Reinhard Vanbergen) 3:44
Shaima (Reinhard Vanbergen) 3.52
from Wild Harissa 2001
Ghalia Benali's voice has been dubbed as multicultural and polymorphic. Spending the first four years of her life in Brussels, Benali's parents found comfort away from their homeland in music. Her mother highly appreciated French, Indian and Egyptian music while her father had an inclination towards Classical music such as Beethoven, in addition to Iraqi and Jordanian tunes.
Her music has been noted for its attribution to multiple genres. Benali's southern Tunisian upbringing and fascination with Middle Eastern and Arab legendary icons such as Oum Kalthoum, Abdel Basit Abdel Samad and Adib ElDayekh (AlMashayekh school) are palpable in her music style. Other influential sources on Benali's mystical and spiritual art are Hazrat Inayat Khan and Sri Aurobindo, one of the greatest thinkers in India, and the cultures of Flamenco and gypsies of Rajasthan.

Ghalia Benali & Timnaa

Denver alt-country band known for brooding songs reminiscent of Nick Cave and the Gun Club. 16 Horsepower were a Denver-based alternative country band that revolved around the unique songwriting and singing of David Eugene Edwards. The band made its name with music that combined rural backwoods kitsch with edgy, off-kilter country-rock.
16 Horsepower
Clogger (David Eugene Edwards / 16 Horsepower) 3:28
Cinder Alley (David Eugene Edwards / 16 Horsepower) 4:42
Poor Mouth (David Eugene Edwards / 16 Horsepower) 4:39
from Secret South 2000
Sin, salvation, deliverance, redemption, the Holy Spirit, divine intervention, and prayer; it's all in a day's work for 16 Horsepower singer/songwriter/multi-instrumentalist David Eugene Edwards. On their third album and first for indie Razor & Tie, the band works within the unique sound it has already defined. With a voice as windswept, barren, and generally spooky as the Bates Motel, Edwards unravels 11 mini-sermons with a frightening intensity and emotional edge. When he sings, the ghostly moan that emanates sounds like he's overcome by forces beyond his control. It's that creepy voice, similar to Michael Been of the Call, along with sparse but powerful instrumentation and a fire-and brimstone-lyrical slant, that separates 16 Horsepower from the rest of the alt-Americana pack. Seldom have banjos, violins, organ, and bandoneon (an old accordion that helps define the band's unique sound), let alone guitar, piano and, standup bass, seemed quite as intimidating and brooding as in the hands of this band...

The niece of influential Cape Breton fiddler Buddy MacMaster, Natalie MacMaster has turned the music of Cape Breton, an island off the east coast of Canada near Nova Scotia, into an international phenomenon. Whether performing with her band, featuring guitar, piano, bass, drums and percussion, or with a classical orchestra such as the Edinburgh Symphony, MacMaster has thrilled audiences with her exciting fiddling and dynamic stage persona.
Natalie MacMaster
In My Hands: The Drunken Lady feat: Gordie Sampson / Amy Sky (Stewart MacNeil / Traditional) 4:23
Gramma: Maudabawn Chapel/Frank's Reel (John McCusker / Ed Reavy) 2:34
Mom's Jig: The Northside Kitchen/Mom's Jig/A Deanadh Im (Jerry Holland / Paul McNeil / Traditional) 5:17
from In My Hands 1999
The basic approach taken by Celtic fiddler Natalie MacMaster and her producer, arranger, and guitarist Gordie Sampson is to take a group of traditional tunes,  and come up with a folk-rock arrangement that emphasizes MacMaster's lyrical playing as well as a sturdy backbeat... The result is a hybrid album intended to appeal to a broader audience than the purist Celtic crowd, or perhaps to introduce them to some new sounds without putting them off.

This influential New York ensemble painstakingly recreated the sounds of Nigerian Afro-beat on their landmark debut SOUL EXPLOSION. The Daktaris were an Afro-beat group on the New York-based funk revival label Desco, recording compact, Fela Kuti-style grooves that sounded as though they'd come straight out of 1970s Nigeria...
The Daktaris
Musicawi Silt (Wallias Band) 3:04
Super Afro-Beat 3:45
Voodoo Soul Stew (Olu Owudemi) 4:27
from Soul Explosion 1998
The Daktaris' 1998 debut, Soul Explosion, is dedicated to the memory of Fela Kuti, who pretty much single-handedly invented Afro-beat. The Daktaris are clearly influenced by Fela's signature style, mixing jazz and funk riffs with the hypnotic rhythms of his native Nigeria, but their groove-oriented music is much more accessible to the novice listener than Fela's occasionally fearsome soul stew. Where Fela was heavily influenced by both psychedelia and free jazz, the Daktaris are more like the Kool & the Gang (circa "Jungle Boogie") of Afro-beat: their music is deeply, undeniably funky, but the concise song lengths and well-structured solos keep the players in check...

Beloved Canadian singer/songwriter and multi-instrumentalist who performs Celtic-inspired folk. Singer/songwriter and multi-instrumentalist Loreena McKennitt is one of Canada's most beloved national artists, a folk chanteuse, and a new age troubadour who made her breakthrough in the mid-'80s with her literate and oft-experimental focus on Celtic-tinged traditional and original material, coupled with her haunting harp playing.
Loreena McKennitt
Prologue (Loreena McKennitt) 4:25
Skellig (Loreena McKennitt) 6:10
Night Ride Across the Caucasus (Loreena McKennitt) 8:32
from The Book Of Secrets  1997
The Book of Secrets, the follow-up to 1994's The Mask and Mirror -- there was a Christmas EP, A Winter Garden, released in 1995) -- finds Loreena McKennitt in the same musical vein, mixing Celtic, Spanish, Italian, and new age to create her own distinct sound... Expertly recorded at Peter Gabriel's Real World studios, this CD serves as a travelog of sorts for McKennitt, musically detailing her travels during 1995 and 1996. She provides the musical and lyrical inspirations from each location she visited, utilizing the instruments and sounds she encountered on her travels. Although she may be referred to as the Canadian Enya, McKennitt is definitely her own person, producing music of beauty and warmth.