03-10-2019 WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 2018-2008 # WmW

David McGuinness, Alasdair Roberts, Amble Skuse

03-10-2019 WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 2018-2008 # WmW:    Alasdair Roberts, Amble Skuse, ZitheRandom, The Klezmatics, Cheikh Lo, Amparo Sanchez, Mara Aranda with Solatge, Vetras Saites, Femina, Simphiwe Dana, Os Mutantes, Madredeus & Banda Cosmica

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2018-2008

Scottish keyboardist, composer, and producer David McGuinness has carved out a diverse career that spans from early music to modern soundtrack composition, including collaborations within the classical, folk, and indie rock worlds. 
Scottish songwriter Alasdair Roberts' career as a recording artist sprang into a critically lauded, cult-praised profession when a demo he made with his group Appendix Out found its way into the hands of intimate nouveau folkie Will Oldham. 
With a focus on merging live performance and interactive technologies, British composer Amble Skuse has created a unique body of work that unites elements of electro-acoustic improvisation, modern composition, field recording, and folk music traditions. 
David McGuinness, Alasdair Roberts, Amble Skuse
Babylon (David McGuinness / Alasdair Roberts / Amble Skuse / Traditional) 4:14
The Dun Broon Bride (David McGuinness / Alasdair Roberts / Amble Skuse / Traditional) 5:39
Young Johnstone (David McGuinness / Alasdair Roberts / Amble Skuse / Traditional) 6:21
from What News 2018
A gorgeous collaboration between Scottish folk singer Alasdair Roberts, electronic composer Amble Skuse, and early music pianist David McGuinness, What News frames a set of historical U.K. ballads within a minimalist context that is both powerful and immediate. Although the project originated from an idea of Roberts' and was released by his longtime label Drag City, this is undeniably the union of three peers combining distinctive but complementary disciplines. Rather than relying on his typical guitar arrangements, Roberts approached McGuinness, with whom he had previously worked in the former's eclectic Concerto Caledonia ensemble, and asked him to adapt the songs for fortepiano (a piano of late 18th and 19th century design often associated with composers like Haydn and Mozart). While Skuse may seem like the outlier here, she too has a great affection for traditional material of the British Isles and her contributions are a key element in how the songs on What News are presented. Even before the first piano note, it is her eerie tonal collage of electronic hum and clattering lens snaps that introduces "The Dun Broon Bride." Roberts, whose reedy brogue has never sounded so appropriately applied, makes a brief electric guitar appearance on this strident ballad, but otherwise acts solely as the trio's vocalist. For his part, McGuinness constructs the backbone of the album with rich and nuanced keyboard performances on a restored 1844 pianoforte and his own 1920s dulcitone, a melodious and quite beguiling tined keyboard endemic to Glasgow...

ZitheRandom
Elekimpro 5:12
Goa 3:56
Peacock Blues 4:28
from Stringswing 2017
The zither improvisation of Debreczeni-Kis Helga and Dömény Krisztián is the spontaneouos mixing of jazz, folk music, contemporary composing and pop music, in which the moment creates fusions, the meeting of inner worlds dialogues, playing and harmony. Melodies of folk music, ancient shamanistic rituals, and even blues circles, which seem to be far from the zither-style, can be heard in their concert.

Inimitable N.Y.C. band blends klezmer music and socially conscious lyrics with contemporary rock, funk, and avant-garde jazz. 
The Klezmatics
Der Geler Fink [The Yellow Finch] (Lisa Gutkin) 2:48
Der Yokh [L'Estaca] (Lluís Llach) 4:43
Apikorsim [Heretics] (Frank London / Traditional / Yuri Vedenyapin) 5:01
from Apikorsim 2016
Back in the mid-1980s, when they started out, the Klezmatics shook up the then emerging world music scene by showing that klezmer should be part of the equation. After all, here was a band from New York who showed that the Jewish music traditionally performed at weddings and ceremonies across eastern Europe could be complex, contemporary and rebellious. And they deservedly won a Grammy. Their 30th anniversary album doesn’t show their full range – they were reworking Woody Guthrie when I last saw them – but the variety is still impressive, with brassy, jazz-influenced instrumentals and dance songs mixed against a dash of rebellion (the title track announces “happy heretics have no rabbi”), and finely sung ballads...

Acclaimed artist from Burkina Faso who has incorporated a wide array of influences, including reggae, Latin, jazz, funk, and soul. 
Cheikh Lô ‎
Bamba 3:50
Doyal Naniou feat.: Oumou Sangaré 5:56
Leer Gui Fall 6:10
from Balbalou 2015
Cheikh Lô would be a major star if he were a little more prolific and consistent. This is his first album in five years, and there was an equally long wait for his previous set – which is unfortunate, because he has a distinctive, soulful and easy-going style, mixing Senegalese mbalax with influences from across Africa and as far afield as Brazil. Balbalou starts magnificently, with a trio of songs that include a cheerfully rousing collaboration with the Brazilian singer Flavia Coelho and the French accordionist Fixi on Degg Gui, and a powerful appearance from Mali’s Oumou Sangare on the driving Doyal Naniou, an attack on the African propensity for coup d’états...

No matter how new the name of the guitarist and singer Amparo Sanchez might seem at the music scene, it builds on vast music experience. Under her arts name of Amparanoia, which would eventually be the synonym of the entire band of which she was the leader, she played about a thousand concerts and released seven albums between 1996 and 2006. The sound Amparanoia played would mix – under the occasional assistance of Manu Chao – Amparo’s perhaps native Spanish mindset with dominant influence of Latin-American rhythms, Cuban music, and reggae.
Amparo Sanchez
Plegaria 4:22
Luces en el mar 3:37
Cuarteto en Paris 4:16
from Espiritu del sol 2014
Amparo Sánchez ranks as the queenpin of the internationalist Euro-mix force gathering steam behind Manu Chao, a close friend and sometime collaborator. But the individual, festive blend of elements Sánchez has put together combined with catchy songs and her powerful singing gives Amparanoia a distinct identity. The constantly changing sound works off a Latin, reggae, and rock foundation and lyrics offering social critiques drawn from daily life struggles more than political slogans.

Mara Aranda (born 6 December 1968) is a Spanish singer.
Mara Aranda with Solatge
Lo Testament 4:13
Mareta 4:34
La Papallona 4:43
from Lo Testament 2013
In 1998 she put together the group L’Ham de Foc along with Éfren López; a project with Greek, Turkish, Balkan, Arab, Iranian, and Afghan influence, but with a strong Valencian identity.[3] L’Ham de Foc went on to become one of the most internationally acclaimed Spanish groups at the time, bringing together a broad fan base from across the musical spectrum. They managed to reach a diverse audience; enthusiastic and loyal to a musical and artistic style that was different, authentic, adventurous, open and far removed from the conventions of folk, rock and pop. It developed into a unique timeless musical concept without trying to follow other trends. Their compositions grabbed the attention of art professionals and the public alike. Three albums were recorded between 1999 and 2006, all critically acclaimed: U, Cançó de dona i home and Cor de porc.[4]
Currently working with the group Solatge on a repertoire of traditional music from the historic territories of Aragon, the album Deria has won several awards: Best Folk Album 2009 COM "F";[7] Best Folk Album Catalunya Radio programme, Hydrogen; and several weeks in the WCME's prestigious ranking of Best Folk Music Groups in the World. Their second album Lo testament was released in October 2013 winning the award Best Folk Album 2013, again from COM.

In the music of “Vētras Saites”, there might be heard the elements of cinema soundtracks, Latvian and Finnish folk, jazz, and world music. The musicians themselves classify their music as the photoambient genre for they believe that their music goes together with such art genres as photography, cinema and dance.
Vetras Saites
Teātra Krustojums 2:47
Septembris 3:14
Japāņu Jūra 2:19
from Teatra Krustojums 2012
Ģirts Pavēnis - guitar,
Latvīte Cirse - kokle (Latvian folk string instrument),
Jānis Cīrulis - djembe/perkussion,
Ansis Klucis - double bass

Fémina is a fusion rap group led by three Patagonian women, characterized by the rhythm of their poetry, the combination of musical styles and the vigor of their live performances.
Femina
Mi Eje 6:06
Los Senos 5:06
Deshice De Mi 4:18
from Deshice De Mi 2011
In 2011 Femina edits their first album "Deshice de mi" independently and performs live in Buenos Aires and in different cities around the country. In 2014, they released their second album "Traspasa", which they continue spreading throughout the country and abroad, touring through different World Music festivals around the world. In 2017 they are preparing new songs that will be recorded on a third album.

Born and Raised in the Eastern Cape, her name means ‘gift’ and many of her fans would agree that she is just that, a gift to the SA music scene. In a short period of time this Soul Sistah has become one of South Africa’s favourite daughters. Her music has a fresh sound and her unique voice complements it perfectly.... Simphiwe Dana says that her music is mostly influenced by what is going on in people’s daily lives. She talks about the struggle that black people are going through, despite South Africa’s supposed freedom, and status as a democracy.
Simphiwe Dana
Ndim Nawe 5:16
Ilolo 6:12
Fela's Azania 5:44
from Kulture Noir 2010
Simphiwe Dana has complained in the past that the younger generation of South African musicians have not been successful in the west because "the world is satisfied with the old guys", the likes of Hugh Masekela and Ladysmith Black Mambazo. But her country needs new celebrities, and great new female singers to take over from the late Miriam Makeba, and Dana is a major contender...  shows even greater sophistication, both in the production work (five producers are credited, including Dana herself) and in her relaxed vocal style, which can switch from cool balladry to gospel and jazz. There's a late-night feel to her songs, and she's at her best on gently driving jazz ballads such as the harmonica-backed Ilolo, or Ndim iQhawe...

Brazilian rockers who blended pop packaging, avant-garde experimentation, and an irreverent attitude during the late-'60s tropicalia movement.
Os Mutantes
Querida Querida (Sergio Dias / Tom Zé) 4:13
Baghdad Blues (Sergio Dias / Tom Zé) 5:17
Samba do Fidel (Sergio Dias / Tom Zé) 5:30
from Haih or Amortecedor 2009
Reunited (partially) in 2006 by the acclaim of their fans, Os Mutantes sound just as vital as they did back in 1968 on Haih...Ou Amortecedor..., their first record together in 30 years. Unfortunately, the original trio is only one-third represented. Specifically, there's no Rita Lee (who was replaced in 2006) and no Arnaldo Baptista (who appeared in the 2006 reunion but decided to continue as a solo act). Still, the band -- now a seven-piece -- gets songs from Tom Zé and Jorge Ben, as well as the band's prime songwriting linchpin, Sérgio Dias. Tropicalia fans yearning for another "Panis et Circenses" won't find their hopes far off the mark; although there's a noticeable lack of production experimentation, the band's strengths are all here...

The Portuguese group Madredeus comprises vocalist Teresa Salgueiro, guitarists José Peixoto and Pedro Ayres Magalhães, violin player Francisco Ribeiro, harmonica player Gabriel Gomes, and keyboard player Rodrigo Leão.
Madredeus & Banda Cosmica
Vou (Larga O Navio) (Carlos Maria Trindade) 4:05
O Eclipse (Habitas No Meu Pensamento) 12:01
O Mar 18:02
from Metafonia 2008
... The list of new instruments alone, most notably electric guitar, bass, and drums, hints at a music deemed unthinkable for the original Madredeus, a band that chased the purity of the acoustic sound (often using period instruments) with almost religious zeal. All this make it quite hard to objectively judge Metafonia. Let something be made absolutely clear, however: this is by no means a bad album. In fact, it is often quite beautiful -- but it is not like previous Madredeus albums. If Madredeus was often criticized for making the same record over and over again, that certainly does not apply to Metafonia. This album is as tastefully crafted as ever, but the music this time is less original, or perhaps one should say, less Portuguese. On the other hand, the influences of Brazilian, Caribbean, and African music, or even good old-fashioned pop/rock music, come to the fore with unprecedented force. Instead of the hypnotic lullabies of the past, the new Madredeus makes songs, some of which would not be out of place in the records of say, Bebel Gilberto or Césaria Évora...

Madredeus