26-01-2019 # WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks # WmW 2000-1990

26-01-2019 # WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks # WmW 2000-1990   16 Horsepower, Natalie MacMaster, The Daktaris, Cheikh Lo, Capercaillie, Makám, Geoffrey Oryema, Agustin Lara, Jean Freber, Manuel Alvarez y Sus Dangers, Abelardo Carbono y su Conjunto, Cumbia Sigo XX, Cumbia Moderna De Soledad, Sheila Chandra

2000-1990
M U S I C

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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
Poor Mouth (David Eugene Edwards / 16 Horsepower) 4:39
Clogger (David Eugene Edwards / 16 Horsepower) 3:28
Cinder Alley (David Eugene Edwards / 16 Horsepower) 4:42
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...

Acclaimed artist from Burkina Faso who has incorporated a wide array of influences, including reggae, Latin, jazz, funk, and soul. 
Cheikh Lo
Boul Di Tagale (Cheikh Lô) 6:09
Sant Maam (Cheikh Lô) 4:47
Guiss Guiss (Cheikh Lô) 4:37
from Né La Thiass 1996
This strong debut from Senegalese singer Cheikh Lô is a healthy hybrid of African and Cuban rhythms. Lô's high, reedy vocals are immediately evocative of countryman Youssou N'Dour -- no surprise since N'Dour helms as producer. But the acoustic aesthetic here is warmer than N'Dour's usual high-gloss pop. If you're looking for an album to turn winter to spring, darkness to light, this disc is a safe bet.

The musical traditions of Scotland are fused with the dynamic drive and electronic instrumentation of contemporary music by Capercaillie (pronounced: Kap-ir-kay-lee). While their initial repertoire focused on traditional tunes collected from Christine Primrose, Flora MacNeill, and Na h'Oganaich, the group has increasingly incorporated modern influences.
Capercaillie
Bonaparte (Traditional) 4:45
Tobar Mhoire (Tobermory) (Traditional) 3:49
Oran Aonghas MacNeacall / Donald Shaw / Donald Shwa) 2:24
from Secret People 1995
Capercaillie is a Scottish band steeped in the folk tradition but unafraid of synthesizers, drums and dance beats. Try to imagine the Afro-Scottish fusion of Mouth Music crossed with the new age leanings of Clannad, and you'll have a good idea of what to expect -- lush, pretty settings of stark Celtic melodies with English and Scots Gaelic lyrics delivered by an athletic but restrained female singer. It's a winning combination, and there's hardly a misstep on this fine album...

This internationally acknowledged Hungarian ambassador of world music started in 1984.
Makám
Singing Menhirs / Éneklő kövek  6:94
Timeless / Időtlen 10:48
Celtic Hunting / Kelta vadászat 9:08
from Divertimento (Divert Time Into) 1994
The two periods of the ensemble’s career can be described with traditional and modern, East and West, duality of collectivity and individuality, seeking for the ancient unity and harmony. At the beginning the band, founded by Zoltán Krulik, burst into the national music life as the ambassador of East-Central European ethno avant-garde. This period (1984 -1990) was finely shaded by Asian and Far East roots, Balkan and African impacts and repetitive elements of contemporary music. The above trend continued on the albums of the 90’s (1990-1999) where Afro-American and jazz elements joined Makám’s musical world.
Zoltán Krulik - 12-stringed guitar, Roland W 30, László Bencze - double-bass, marimba, Gergő Borlai - drums, percussions, Péter Czakó - bass, István Grencsó - soprano and alt ssaxophone, Endre Juhász - oboe , Szabolcs Szőke - gadulka, kalimba, Balázs Thurnay - kaval

Most artists have to pay their dues, but very few have to be smuggled out of their birth countries to avoid death on the way. But for Geoffrey Oryema, that was the only way to survive. Born in Uganda, he was the son of a civil servant who was a police chief and then a cabinet minister and from his father he learned the local folk music, as well as the nanga (the harp), in addition to studying Western music in school.
Geoffrey Oryema
The River (Jean-Pierre Alarcen / Bob Ezrin / Anthony Moore / Geoffrey Oryema) 6:30
Umoja (Jean-Pierre Alarcen / Geoffrey Oryema) 4:15
Lajok (Geoffrey Oryema) 2:48
from Beat the Border 1993
This highly creative mix of Ugandan songs and laid-back rock should have been a disaster, since the genres meet on the field of ambient dreams -- a woozy terrain amply littered with the rainsticks of fallen warriors. But expat Ugandan Geoffrey Oryema neither tries mainstreaming African sources to fit rock fissures nor piles extra beats and instruments on the heads of reluctant Western forms. Instead, like any good ambient technician, he subjugates every other element to the service of applying textures so palpably rich you wish you could drizzle them over sautéed vegetables. Just to prove it's not all dial twiddling, he kicks in with first-rate songwriting to boot.

Agustin Lara, Jean Freber ‎
Noche De Ronda (María Teresa Lara) 3:20
Granada (Agustín Lara) 2:47
Novillero (María Teresa Lara) 3:25
from Acordeon De Paris 1992
Unfortunately, the anonymous postcard packaging of Acordeon de Paris reveals nothing of the brilliance and pure joy to be found on this collection of accordion music by master Jean Freber. Recording in the '50s with a band of crack jazzmen, Freber runs through 12 songs by the Mexican bolero king, Agustin Lara, and liberally

Manuel Alvarez y Sus Dangers - Esclavo Moderno 2:54
Abelardo Carbono y su Conjunto - Palenque 3:55
Cumbia Sigo XX - Naga Pedale 3:26
Cumbia Moderna De Soledad - Tetero 3:09
from Palenque Palenque: Champeta Criolla & Afro Roots in Colombia 1975 - 91 (2009)
Boasting twenty one pulsating tracks drawn from the northern coasts of Colombia, ‘Palenque Palenque!’ reveals a unique and fascinating story of how Afro Colombian music developed from the 1970s onwards and how the local sound-systems in Cartagena and Barranquilla played such an important role in shaping the sound of the Colombian champeta...

Pioneer of world fusion weaves Indian, Celtic, middle eastern, and other cultural sounds into her hypnotic music. One of the most unusual and successful singers of the '80s and '90s that has attempted to fuse the music of non-Western cultures with Western pop, Sheila Chandra began recording as a teenager in Monsoon. 
Sheila Chandra
One (Sheila Chandra / Steve Coe) 4:40
Roots and Wings (Sheila Chandra) 4:33
Escher's Triangle (Sheila Chandra / Steve Coe) 2:55
from Roots and Wings 1990
Her newest album is the product of her five-year hiatus, during which time she continued to refine her vocal techniques. In many respects Roots and Wings represents the quintessence of Sheila Chandra's music, stripped down to its essential core. The instrumentation is greatly simplified. Gone are the piano, sitar, and the synthesizers, hitherto the main staples in most of the arrangements, and electronic drums only briefly appear on one older transplanted cut,..