18-07-2021 > WORLD:MUSiC:MiX # 33 selected GLOBAL MUSiC tracks 1991-2001 # WmW: Cesária Évora, Kiko Veneno, Kampec Dolores, Café Tacvba, Kálmán Balogh & The Gipsy Cimbalom Band, Kolinda,16 Horsepower, Jah Wobble,Ali Farka Touré,Lila Downs, Lúnasa
M U S I C / WmW 2h 21 m
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1991-2001
The Cape Verdean singer was the preeminent force of morna music, which combines fado, jazz, and Latin. A native of the island nation of Cape Verde, Cesária Évora was known as the country's foremost practitioner of the morna, which is strongly associated with the islands and combines West African percussion with Portuguese fados, Brazilian modhinas, and British sea shanties.
Mar Azul 3:38
Cabo Verde 3:14
from Mar Azul 1991
From Cesaria Evora's opening wail on Mar Azul's title track, one knows that this disc, a short set comprised of only eight songs, is going to be something special. This is the album that won Evora the praise of Paris, and was released prior to her international hit, Miss Perfumado. These are classic mornas at their most haunting -- all the songs are devastating, slow-burning, and stellar. The subject matter is about love, loss, and the heartbreak of life in Cape Verde. The music is acoustic, with guitars, sweeping pianos, and the occasional horn or violin to augment the effect. The liner notes set up the image of Evora ("Cize," as she is known to those close to her) as she prepares to sing in a smoky Cape Verdean nightclub. The overlying feel of this album is that of a dark and intimate seaside bar, under a starry sky, featuring a beloved singer who woos the audience with her dreamy, mesmerizing voice. Highlights include the haunting "Mar Azul," the elegantly moody "Cabo Verde,"... and its heartbreaking finale, "Separacao." This truly original and understated album burns with the underlying ferocity of an emotional roller coaster, and introduced to the world the mornas of Cape Verde and their most famous interpreter, Cesaria Evora.
Singer/songwriter Kiko Veneno was born in Figueres, Spain, and later settled in Sevilla making his live debut at a local university in 1971. After participating in a duet called Kiko y Germán, he joined brothers Rafael and Raimundo Amador to form Veneno, a flamenco/pop act that disbanded a year later. In 1981, Kiko Veneno made his first solo record, Seré Mecánico por Tí...
Lobo López 4:55
Echo de Menos 3:47
from Échate un cantecito 1992
...A seminal but erratic artist, Veneno benefited here from the key support of Radio Futura's Santiago Auserón and producer Joe Dworniak, and was thus able to focus his talents for a set that included classics such as "Lobo López," "En un Mercedes Blanco," "Echo de Menos," and "Joselito."...
Listeners who learn the name of this band will in the process learn an old Hungarian proverb, meaning "the end of pains," and normally used to describe the situation when someone dies. Neither of the words is actually Hungarian -- "kampec" is Yiddish, "dolores" is Latin -- but the band itself has been the most successful touring Hungarian rock band since the collapse of the Soviet Eastern bloc in the mid-'60s.
Tű fokán 4:41
Jeges hevület 4:04
Ödögök 3:38
from Tű fokán - Eye Of The Needle 1993
...For the following decade Kampec Dolores toured the entire European continent more than two dozen times. Musically the group started with the kind of new wave, post-punk styles that were prevalant in the '80s. The musicians worked with many different influences from ethnic music and avant-garde music including free improvisation. The vocalist Gabi Kenderesi developed her own style of scat singing, using made-up languages and extended vocal techniques. She is also a fine violinist...
At the forefront of the Rock en Español movement, the band mixes rock, punk, electronics, and the occasional traditional Mexican flavoring. The Mexican quartet has remained one of the biggest acts on the Latin music scene since, inspiring two generations of rockers in their wake...
El Aparato (Rubén Albarrán) 3:18
Esa Noche (Elorza Rangel) 3:28
El Fin de la Infancia (Joselo Rangel) 2:18
El Puñal y el Corazón (Rubén Albarrán) 4:21
from Re 1994
For Re, Café Tacuba experimented with different styles and sounds, resulting in one of the most wildly varied releases of the '90s... Re proves that Café Tacuba is lyrically and musically more adventurous than most of its '90s peers.
...The band employs a standard rock lineup of guitar/bass/drums with vocals, certainly, but the members also incorporate electronics as well as exotic instrumentation into their music, which encompasses styles as divergent as punk and ballads, as well as regional Mexican sounds like norteña, cumbia, ranchera, and even mariachi and electronica, indie pop, and garage rock. .. While critics look at these reasons to signify Café Tacuba's importance, legions of global music followers are enamored with them simply because of their music, which is broadly appealing not only because of its groundbreaking nature, but also because of it's fun, madcap, and ever-changing...
One of the foremost Hungarian cimbalom players, descending from a famous dynasty of Hungarian Gypsy musicians. His virtuosity is matched only by his understanding and respect of his heritage.
Kálmán Balogh & The Gipsy Cimbalom Band
Calusul 4:36
Balkáni Ízek 7:46
Pacsirta 5:45
from Roma Vándor 1995
The music of Gipsy Cimbalom Band is a ‘great meeting’ of different musical genres. The ensemble search for those association points, through which it is possible to interpret what might seem from many other points of view diverse music. Due to the high level of their technical ability with their instruments their imaginative ideas are effortlessly realised on these selections. The compositions are not mere reconstructions of pieces from each source area since the music, like Gypsies, crosses boundaries and the band manages to find unexpected combinations and juxtapositions. These traditional tunes merge seamlessly in the hands of the accomplished musicians as they swerve from style to style, constantly improvising around the main theme. This music is no longer ‘traditional’ but universal.
Hungarian folk band founded in 1974 by Péter Dabasi, Iván Lantos and Ágnes Zsigmondi. Between 1976 and 1978 they relocated in France and released 3 critically acclaimed albums there, before breaking up, the members of the group going their separate ways in different countries. Péter Dabasi returned to Hungary and formed a new Kolinda in 1980. They released albums together with the band Makám.
Ilju (Trad.) 3:52
Úgy elmennék (Trad.) 3:29
Baborossára 5:51
from Ősz 1996
...The restart took place in 1996, their old recordings were replayed. Then the three ancient members met again in Hungary: Ágnes Zsigmondi from America and Iván Lantos from France visited home. At the initiative of the French Celluloid, they marched into a studio: find out which one is where they are, what they can do with each other, what they can do with old songs - what kind of material is born from this encounter... (Zenekuckó)
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.
Brimstone Rock (David Eugene Edwards / 16 Horsepower / Pascal Humbert / Jeff Paul / Jean-Yves Tola) 4:28
Low Estate (David Eugene Edwards / 16 Horsepower / Pascal Humbert / Jeff Paul / Jean-Yves Tola) 4:10
Coal Black Horses (David Eugene Edwards / 16 Horsepower / Pascal Humbert / Jeff Paul / Jean-Yves Tola) 3:53
Pure Clob Road (David Eugene Edwards / 16 Horsepower / Pascal Humbert / Jeff Paul / Jean-Yves Tola) 3:43
from Low Estate 1997
Sixteen Horsepower's second full-length album, Low Estate, finds them at the peak of their powers, moving their hypnotic, rustic country-rock into neo-gothic territory. Producer John Parish helps the group reach its potential, accentuating the darkness and mystery inherent in its music. There are still a few weak moments on the record, but overall, Low Estate is an impressive leap forward for Sixteen Horsepower, an album that clearly separates the band from its alt-country contemporaries.
London bassist who brought the funk and dub to Public Image Ltd. before going on to a collaboration-heavy solo career within world music. Jah Wobble is one of the genuine polymaths to emerge from the British post-punk scene of the late 1970s. He is a virtuoso bassist, composer, producer, journalist, poet and author. As a musician, his dub-heavy style weds reggae, jazz, funk, punk, and numerous global folk traditions (from Celtic to Asian music and more)...
Mehmeda Majka Bubage 3:10
St. Mary-Le-Bow 4:04
Mount Zion 12:10
from Umbra Sumus 1998
The strange, spiritual album that is Umbra Sumus is one of the more interesting items released in 1998. Bassist and composer Jah Wobble creates strangely compelling soundscapes that draw textures from a variety of ethnic traditions without explicitly evoking any one of them. .. At times, Jah Wobble's music verges on art-jazz, at times electronica with melodic sound effects, and at times it is in territory that doesn't have a name because nobody else sounds quite like this. Whatever you call this music, it is interesting throughout. .. The name of this album translates as "We Are Shadows," but many listeners will find that this music sheds welcome light on the possibilities of musical fusion.
This talented African guitarist's technique has often been compared to Delta blues legend Robert Johnson. 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. There is a lot of truth to the comparison, however, and it isn't exactly an insult...
Ali's Here (Ali Farka Touré) 3:13
Saukare (Ali Farka Touré) 2:51
Instumental (Ali Farka Touré) 4:13
from Niafunké 1999
Malian guitarist Ali Farka Toure's music has always managed global travel with ease and musical grace, shrinking the miles between Western Africa and the Mississippi Delta and seemingly visiting every city in between. Toure has received his share of accolades for blurring the lines between his contemporary/traditional fingerpicking style and "country blues."... He establishes a firm aesthetic residence on Niafunké, his first and most welcome CD in five years. Niafunké was recorded using a state-of-the-art portable studio in Toure's home village of Niafunke, which clearly lends a decisive authentic flavor and sense of musical place to the disc. Each tune is a lithe and resonant labyrinth of call-and-response patterns: a fingerpicked guitar speaks to a one-stringed njarka fiddle, calabash pummelings weave into those of the conga drums, and a lively small chorus answers Toure's authoritative lead vocals. A couple of the best cuts include "Ali's Here" and "Saukare." A beautifully rendered and intoxicating record.
A Mexican-American Laurie Anderson or if Frida Kahlo were a musician instead of a visual artist. Grammy-winning singer and songwriter Lila Downs is among the most globally popular singers of Latin music. One reason is that despite long established roots in Mexico and the United States, her cultural vision is anthropological. Hers is informed by ancient and earthy cultures both from her native Oaxaca -- boleros, rancheras, and mariachis -- and U.S. with its jazz, blues, and soul standards. Her own songwriting topics reflect themes of political and social justice, immigration, transformation, and environmentalism, all rooted in the human condition.
Nueve Viento (Paul Cohen / Lila Downs) 4:46
Luna (Paul Cohen / Lila Downs) 3:38
La Iguana 3:05
from Tree Of Life 2000
Downs' remarkable voice has been compared to both Cesaria Evora and Susana Baca, combining operatic training and jazz chops, while maintaining her Mixtec Indian heritage and incorporating music from many different Latin cultures. Inquisitive fans of worldbeat music will want to investigate Tree of Life.
The seeds of one of the most highly rated contemporary Irish bands were sown in 1996, when former Waterboy and Sharon Shannon bassist Trevor Hutchinson teamed up with guitarist Donogh Hennessy for a Scandinavian tour. From such tiny acorn beginnings have grown mighty oaks. Back home in Dublin, they drafted uillean piper John McSherry and flutist/piper Michael McGoldrick to record some shows, then hit the jackpot when they landed Kevin Crawford, also a member of Moving Cloud, whose flute and whistle work took them to another level, alongside the whistles and fiddles of Sean Smyth (a qualified doctor who'd achieved musical prominence with his 1993 solo album Blue Fiddle). Their 1997 debut, Lúnasa, leapfrogged them ahead of the competition, and not only became a best-seller in Ireland, but was named one of the albums of the year by the prestigious Irish Echo - not a bad beginning. ..
Aoibhneas Eillis Ni Cheallaigh/Jimmy Ward's/Not Safe With a Razor (L.E. McCullough) 4:22
Killarney Boys of Pleasure (Traditional) 4:06
Return from Fingal (Traditional) 3:16
from The Merry Sisters of Fate 2001
Lúnasa has become one of the best and most exciting Celtic ensembles in the world by updating Irish tradition in a way more subtle than usual. Where other bands incorporate Asian or African percussion, synthesizers, and electric instruments, Lúnasa mostly relies on a different rhythmic approach while keeping the core instrumentation largely traditional (with the exception of string bassist Trevor Hutchinson). That said, there are a few electric guitars and other exotica (clarinet, lap steel, etc.) on The Merry Sisters of Fate -- but they mostly provide little more than subtle shadings of texture. As usual, the sonic focus is on the outstanding fiddler Sean Smyth, flutist Kevin Crawford, and piper Cillian Vallelly...
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