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2011-2001
Femina
Deshice De Mi 4:18
Mi Eje 6:06
Los Senos 5:06
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.
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...
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...
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...
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| Madredeus |
Elsa Valle
Bemba (Elsa Valle) 4:02
Rumba Caliente (Elsa Valle) 3:11
Penita de Amor (Elsa Valle) 6:51
from Salsa Y Picante 2007
... Her style can be defined as an interesting and fantastic blend of traditional and contemporary Cuban singing. Her voice and singing is melancholic, luscious and explosively improvisational at the same time. She brought her music and wonderful voice to a worldwide public by appearing at jazz, Latin and pop festivals as San Remo Festival or La Bienal Flamenco Festival. She performed on stages captivated by Estremeno, Santana, Al di Meola or the legendary Cuban musicians from Buena Vista Social Club...
Songwriter, Lyrics By, Lead Vocals – Elsa Valle
Bass – Omar Rodriguez Calvo
Electric Guitar, Acoustic Guitar – Bálint "Pan Con Solo" Petz
Flute, Tenor Saxophone, Soprano Saxophone, Clarinet, Vocals – Gábor Winand
Percussion – Nils Fischer
Piano – Ramon Valle
Directed By [Managing Director] – Peter Dorozsmai
Richard Bona
Tiki feat: Susheela Raman (Richard Bona) 4:40
O Beta O Siba (Richard Bona) 4:47
Three Women (Jaco Pastorius) 3:15
from Tiki 2006
... Richard Bona's fourth solo album continues the artist's exploration of the possible linkages of global fusion, jazz, R&B, and pop. Bona has already proven his value to others by lending his bassmanship to an array of artists ranging from Bobby McFerrin (whose scat-informed vocal style is not unlike Bona's) to Paul Simon, Chick Corea, and Queen Latifah. But Tiki is about the expansion of his own brand name, with Bona providing much of the keyboards, guitar, and percussion in addition to the fluid bass pulses and the smooth, unhurried vocals that permeate the set. Shuffling between African, Latin, Brazilian, and Western pop and funk rhythms and a grab-bag of harmonic colors and mesmerizing melodies, Bona's talents as a multi-tasker finally converge here into an unmistakable identity...
Caetano Veloso and José Miguel Wisnik
Madre Deus 3:37
A cobra do caos 5:27
Onqotô 5:26
from Onqotô 2005
Onqotô is a rhythmic score for "Grupo Corpo", a Brazilian modern dance company, by Caetano Veloso and José Miguel Wisnik. This may be a reason why Onqotô has been overlooked. A pity, for the music here is among the best Caetano has released in recent years. It reveals yet another musical facet of Caetano Veloso.
Onqotô reminds me of Caetano's experimental music of the early seventies. There are long percussive grooves. Madre Deus and especially Pesar do mundo are beautiful lyrical islands.
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| Caetano Veloso |
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.
Aven, Aven (Gipsy Kings) 4:37
Legende (Gipsy Kings) 4:12
Hermanos (Gipsy Kings) 3:05
from Roots 2004
Fans of flamenco icons the Gipsy Kings have been waiting a long time for a record like Roots. The group spent much of the last ten years churning out a sleek and heady mix of often disposable worldbeat that, while perfectly executed, never lived up to the promise of their hugely successful 1988 American/English debut. The aptly named Roots finds the brothers Andre and Nicolás Reyes leading the veteran octet through 16 blistering tracks, bereft of the percussion and electronic trickery that has plagued so many of their previous outings. The family collective rented a farmhouse in the south of France for the recording, and the results are nothing short of a revelation...
A compelling Kaarelian roots-inspired Finish folk group that has featured as many as 21 members. One of the most internationally successful acts to emerge from the contemporary Finland music scene, Värttinä revitalized the nation's folk traditions with an aggressive and ultra-modern style that eschewed not only the costumes of their ancestors but also the long-accepted cultural notion that women should sing unaccompanied.
Sepän Poika/The Blacksmith's Son (Antto Varilo) 3:20
Maahinen Neito (Earth-Maiden) 4:23
Vihi (Wind) (Antto Varilo) 3:33
from iki 2003
Twenty years after Värttinä began, there's still plenty of energy in the band, although they've come a long, long way. More mature, they've learned to use finesse over speed, and the themes they tackle here are certainly more adult... The keening voices, once a band trademark, have all but vanished, replaced by more delicate harmonies that suit the material, and the six instrumentalists give them plenty of room -- although they're quite capable of making a storm of noise, too... After their live disc, they seem to be embarking on a new musical chapter, in search of new pastures, and the journey here proves very satisfying indeed. The frantic edge that characterized them for so long has vanished, although their joy in music-making very obviously remains.
A fantastic Irish fiddler from Chicago, Liz Carroll has been a member of Cherish the Ladies and the Green Fields of America. She's also part of one of the greatest Irish trios performing today, along with Billy McComiskey and Daithi Sproule. Her solo work also deserves attention.
The Rock Reel/The Morning Dew/Reeling on the Box Reels (Liz Carroll / Traditional) 3:21
Catherine Kelly's/Lake Effect (Liz Carroll / Traditional) 3:52
The Tractor Driver/A Tune for the Girls Reels (Liz Carroll) 3:56
from Lake Effect 2002
Chicagoans know the lake effect all too well. But the main effect it seems to have on Irish-American fiddler Liz Carroll is to get her to make some glorious music. These are all her compositions, and they showcase her exceptional talents as a player -- although she's a good bandleader, too, judging from the way the small ensembles on the disc work together. While she can fiddle up a storm, she doesn't mind handing over the spotlight to John Doyle, whose work, guitar, and especially bouzouki are outstanding throughout... And when Carroll reaches back for old tunes, which occur here and there, it's not with reverence, but smiling glee. A superior, delightful record.
Radio Tarifa is one the outstanding world music groups of the turn of their time. Their name derives from the town of Tarifa, which is the part of Spain nearest to Morocco. The group's mixture of Spanish and Arabic music is not itself new (see Juan Peña Lebrijano. for example). What is new is that instead of simply fusing musical styles as they currently exist, Radio Tarifa goes back in time to the common past of those styles, back to before 1492 when the Moors and Jews were exiled from Spain, and imagines a shared style that might have evolved had history been different, including not just elements of Spanish and Arabic music but also other musics of the Mediterranean, of the Middle Ages, of the Caribbean
El Viaje de Lea (Benjamin Escoriza) 4:03
Ramo Verde (Benjamin Escoriza / Traditional) 2:48
La Molinera (Benjamin Escoriza / Traditional) 3:58
from Cruzando el Rio 2001
This, the third disc from Spain's leading roots ensemble, features a mixture of old and new. It continues to offer up the group's time-machine stew of delectable bits and pieces of Spanish musical history. It still uses an extraordinary collection of instruments, modern and medieval, Spanish and Moslem... Still, this group never fails to be interesting.
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