Leap In The Dark

For most of us the countries of Eastern Europe, Hungary, Romania, and Bulgaria in particular, remain places of either mystery or romance. When we think of them we either visualize dark and mysterious forests and mountains populated by the likes of Dracula or werewolves, or dark and handsome men and women singing and dancing round campfires all night long. What we fail to realize is that for over a thousand years these countries have experienced every major cultural influence in Western history. The Danube River has long served as a migratory path for humans moving from the Near and Middle East into the West, which means that everybody from invading armies to refugees fleeing conquerors have passed through the countries surrounding it.

The early Celtic tribes, the ancestors of the people we know as the Romany (gypsies), the soldiers of the Ottoman Empire, and countless others have brought their beliefs, music, and stories to the region. While some of these travellers were only passing through, many of them stayed and settled in isolated pockets through-out the three countries. While the larger metropolitan centres may not differ too much from their Western counterparts throughout the world, in the smaller rural communities dialects that have died out elsewhere continue to be spoken and you can still hear the songs that were sung hundreds of year ago. Geographical isolation has played no small role in this, as cut off from outside influences old traditions haven't had to compete against the modern world until recently.

While there has been an upsurge of interest in some Eastern European music, it only becomes clear when you start listening to something like Hungarian singer Marta Sebestyen's, latest release, I Can See The Gates Of Heaven, on the World Village Music label, how little we've scratched the surface. Subtitled "Hungarian religious and secular songs", the disc provides the listener with an introduction to the amazing array of music that exists in Hungary today. For these aren't "museum" or "ethnic" recordings of songs only hauled out to be played as display pieces or as examples of cultural heritage, these are part of the living and breathing culture of Hungary today performers by Sebestyen in concerts all over the world.

On I Can See The Gates Of Heaven Sebestyen has put together a collection that represents a cross section of the different styles of music to be found in Hungary, or where Hungarian is spoken. (There are Hungarian speaking communities across the border in Romania's province of Transylvania) It was the Hungarian composer, Bela Bartok who first exposed the world to the joys of his county's folk music by incorporating it into his symphonic compositions. However Bartok's role in uncovering the hidden treasures that still existed through out the country is probably of equal, if not greater, importance as it was through his efforts that so much of what people like Sebestyen perform today has survived. So it's not surprising to find Bartok's name listed in the credits for the first song on the disc, "Vision" as collector of one of the tunes it incorporates.

What Sebestyen has done in putting this disc together has been to create a series of medleys representing the various regions and dialects of Hungary. Each of the eight tracks on the CD are made up of at least two, and in some cases as many as seven, different songs which when blended together give the listener a good idea of the nature of a particular region's music. So "Vision" is comprised of two pieces, both of Moldavian Csango origins, "I Have Walked On Mountains And Valleys" and "Mary's Lullaby". What's amazing is that throughout the disc, whether it's two combined as in the opening track or seven like in the sixth track, "Valiant Knight" (Rare Hungarian dance melody, "Farewell To The Reigning Prince", "Jumping Dance", "The Nationalist Soldier Is Pure", "Heyduck Dance", and "Jumping Dance") you can't tell its a medley. Each part has been so seamlessly integrated with the other, thematically and musically, if Sebestyen hadn't told us we would never know they weren't originally single pieces.

I imagine most of you, like me have some pretty set ideas on what you think you're going to hear listening to Eastern European music. Either something that sounds like gypsy music or a Cossack flavour, with violins and other stringed instruments playing a predominant role. What you're not going to be expecting to hear are bagpipes, tin whistles, and something that sounds suspiciously like pan pipes from South America (listed in the credits as a shepherd's flute). In fact the only stringed instruments you're going to hear on this disc is something listed as an oriental fretless lute and a zither. There's also two instruments listed in the credits that are unique to this part of the world. The tarogato is a clarinet like instrument and is actually quite modern having first been made in the late 19th century, while the fujara is a traditional bass flute played by shepherds in the region for centuries.

Sebestyen is an amazing singer, she also plays tin whistle and drum, who seems able to effortlessly find any note on the scale no matter how low or high it might be. While all the songs are of course in Hungarian, we're still able to have a good idea of what the song is about due to her ability to express character and emotion with her voice. Unlike some singers who are content with just sounding good, she takes the risk of taking her performance a step beyond that by imbuing it with an emotional honesty that crosses all linguistic barriers. Joining her on this disc are two splendid musicians, Balazs Szokolay Dongo who plays all the wind instruments and Matyas Bolya who handles all the plucked instruments. Both men display a virtuosity on their instruments that make them ideally suited to meet the demands of this disc as they appear to be comfortable playing any and all styles and techniques that come their way.

I Can See The Gates Of Heaven is not only a wonderful introduction to the world of Hungarian music, its a disc of great music. Vocalist Marta Sebestyen has a voice you can listen to for hours on end, and the material on the disc is equally captivating. Rid yourself of any preconceived ideas you may have had about Hungarian music because your in for a big surprise when you listen to this disc, but its one of the nicest surprises I've had in a while.

Posted by Richard Marcus at 02:40 PM | Permalink

The Cubist movement in painting, spearheaded primarily by Pablo Picasso in the early years of the twentieth century, attempted to represent all possible views of a person or object on a two dimensional surface. The resulting chaos of shapes and colour resulted in images that seemed to bear no resemblance to reality, yet have managed to strike a chord in viewers so that they have become some of the most famous works in modern art. Picasso's Guernico, his cubist representation of the German bombing of the Spanish city of Gurenico during that country's Civil War in the 1930's, is as now readily identifiable as many of the works of Leonardo De Vinci and other traditional painters from previous eras.

However, this does not prevent hearing the word cubist bringing images of disjointed faces, with noses in places you'd normally expect to find ears, to mind. So when I first read the title of percussionist Jerry Leake's new CD, Cubist, released through his own Rhombus Publishing imprint, I couldn't help thinking that listeners would be in for a bit of a dissonant ride. For if one were to try and literally express cubism with music, wouldn't you have to try and show all the sides of the music at once? What kind of noise would that result in? Would you have to play songs backwards and forwards at the same time in order to hear everything?

Thankfully Leake and those who have accompanied him on this new CD haven't taken it quite that literally. Instead what they have done is reached out to the world's various traditions of music to explore what each has to offer and combine them on one recording. The title of the disc refers not to the structure of each song as much as it does to its content as it presents the many faces and sides of music from around the world. Everything from classical Indian to hip hop are performed using traditional as well as modern instruments. Whether its Leake himself on tabla and balafon, or Mister Rourke spinning turntables, it seems like they've attempted to integrate as many conceivable instruments as possible into this project.

This still sounds like it could be a recipe for chaos, as the idea of following traditional music from Tibet up with a rap song doesn't really sound very appealing. However, the result, while a little frantic in places, ends up being far more coherent than you'd think. While the nearly eighty minutes of music on the disc are divided up into sixteen tracks, I seemed to always end up listening to the disc as if it were one long composition. That's not to say that the individual tracks are not distinct onto themselves, but they also have enough in common the flow from one to the next is so natural that you barely notice any transition.

Each of the songs has used one culture as its base, and then been built up around that. For instance the opening track of the CD, "Aldebaran", opens with a decidedly Far Eastern sound that continues through out the track. The gongs and bells which serve as its opening fade out to be replaced by violin playing the melody, but the theme they began is continued by the glockenspiel that punctuates the rhythm. Nearing the mid point, the gongs and bells return, and, much like the bridge in a pop song, acts as a break between the opening and concluding halves of the song.

Throughout the disc each track has one predominant theme, but underneath layers upon layers of percussion instruments from various places around the world are being played. Listen, for example to the thirteenth song on the disc, "Chrysalis", and underneath the lead percussion instrument, in this case tabla, and the guitars playing the melody, you can hear a variety of bells, shakers, bells, gongs, and other instruments punctuating the sound. While this could have become an unholy mess resulting in nothing more than noise, through careful engineering and skilful playing it ends up sounding as if the various percussion pieces are working like the voices in a barbershop quartet singing in perfect harmony.

By placing each instrument at a different point in the stereo spectrum during recording you hear each individual sound clearly. As a result you can almost visualize the instruments laid out in a line and "see" how they are working together in harmony. Even as one replaces the other, a shaker is removed and a gong is sounded, the tabla is a consistent sound in the centre of the line holding them all together. Much like a lead singer provides the melody for others to harmonize to, it provides the beat which every other instrument relates to.

Not every song is so complex, but each of them combine elements in a similar manner as the one described above with the same amount of success. In this way each of the disc's sixteen tracks not only allow the listener to experience the different ways in which rhythm and melody can be expressed, they also contribute to the overall "picture" the CD is creating of music. There's no way that one song could present all "sides" of music in the same way that a cubist painter is able to with his subject matter on canvass. The result would be a horrible cacophony. By creating a series of individual tracks that work together as a whole, Leake overcomes that obstacle and presents as true a vision of cubist music as I think possible.

Cubist is not only an interesting experiment, the music on the disc is well played and intelligent. Combining elements from various traditions and styles is not an easy task, but Leake and those he has chosen to work with on this disc have done an excellent job in finding interesting and exciting ways to do it. Not only have they found a way to ensure each style retains its own distinct qualities, but they have also found a way to ensure they work together in harmony.

Posted by Richard Marcus at 03:39 AM | Permalink

Well here we are again at the end of another year and its time again for everybody who critiques and reviews music to stick our necks out and name our favourite listens of the past year. Being as its the last year of a decade some are even being brave enough to try and come up with "of the last ten years" list. I've still not decided on whether or not I'll give one of those a stabs, it was difficult enough as it was choosing ten from this year's crop of releases that the prospect of sifting through ten years of music leaves me chilled.

This is by no means any sort of definitive list of the last year's best music, that would be impossible for any critic to come up with no matter what he or she might claim. First of all there's no way anybody could listen to all the music that's released over the course of a year - I alone must receive two or three press releases a day announcing some new CD, half of which are for bands and musicians I've never even heard of let alone planning on listening to. For all I know I could have missed out some brilliant piece of music without knowing it. Heck I probably don't eve listen to half the music that comes through my door, let alone the press releases that end up in my in box.

So for what it's worth, and in no particular order, here are the ten CDs of goodness knows how many I listened to over the past year, that stood out the most. It's a pretty diverse group of recordings which seemingly have very little in common. However, what they all share is an extra something that made them stand out from the pack in my mind. I've provided links back to their original reviews and what passes for the band's or individual's web site so if what you read is intriguing you can check them out in more detail. However, if you really want to understand why they meant more to me than anything else I listened to over the last three hundred odd days, I'd suggest giving them a listen and reaching your own decisions.

Songs Unrecantable by Ersatzmusika is as hard to describe in a few sentences as the disc's title is obscure. Sultry voiced lyrics roam over top of a mix of European sounding folk and the occasional jarring guitar capturing the mood of unease and uncertainty facing displaced persons everywhere. The majority of the band are Russian born and now make their home in Germany, and while they don't speak directly about that experience, the sense of loss and confusion that imbue so much of their work capture the state of mind of stateless people everywhere. This is folk music from the concrete blocks of apartments where we segregate our immigrants, of the people who have no home to go back to, but who aren't yet at home.

House Of A Thousand Guitars Willie Nile: As comfortable sitting down at the piano to play a ballad as he is searing the paint off the walls with burning guitars, Willie Nile's music marries the street smarts of New York city to a troubadour's sensibility to create intelligent, boisterous, and emotionally charged music. One of the great mysteries of pop music is why he's someone you think you might have heard of, while far lessor talents garner headlines. New York city's best kept secret for nearly thirty years - isn't it about time you heard of him?

Renegades Nicole Mitchell's Black Earth Strings. Jazz flautist Nicole Mitchell is one of the foremost musicians of her generation. Band leader, innovator, composer, and superlative performer she is constantly pushing her music to the boundaries of what's been done before and beyond. However her willingness to experiment never overreaches her musical abilities so the results are as lyrical as her instrument of choice. Here she is joined by her string ensemble and her flute soars over the textures they create. Any hesitations you may have had about listening to avant-garde jazz can be put aside as Mitchell makes it as approachable as possible without watering it down.

Siwan Jon Balke The music of the Andalusian region of Spain has its earliest roots in the Sufi poetry of the ninth century. For Siwan composer Jon Balke has gathered together some of today's most innovative musicians alongside those steeped in the history of music to create a series of modern interpretations of traditional songs. Using poems and song lyrics dating back to the tenth century representing the three major cultures that thrived in the region, Islam, Sephardic Jew, and Spanish, they bring the music to life using modern instruments while retaining its traditional essence. A timely reminder of just how much Western culture owes the Islamic world when it comes to music.

If I Had A Key To The Dawn Lily Storm Lily Storm has one of those voices which bring new definition to the word haunting. Which makes it perfect for this collection of Eastern European cradle songs that evoke all the mystery and wonder of dark forests and silent mountains. Unlike North American lullabies, with their sickly sweet sentimentality, these songs range from dirges for a dead child to earnest pleas for their survival. Even without understanding the lyrics, they will pierce your heart and remind you there was a time when the birth of a child was not something to be taken for granted.

Saints And Tzadiks Susan McKeown and Lorin Sklamberg. If anyone had told me that you could combine traditional Celtic songs with old Yiddish folk songs successfully before I listened to Saints And Tzadiks I would have thought they were nuts. Yet after hearing this collection of songs sung in English, Gaelic, and Yiddish its hard not to believe they weren't written to be sung together. The interplay between McKeown's alto and Sklamberg's tenor make for some of the most beautiful harmonies you'll ever hear, and their version of "Johnny I Hardly Knew You" will give even the most fanatical war monger pause for thought.

Let It Go State Radio Every once in a while it's good to be reminded that popular music can be a tool for social change without the music's power or artistry being compromised. To do this with sincerity, and yet still create music that's honest and fun is far more difficult to do that you'd think. Not since the heyday of the Clash has a group managed to mix politics and pop music in as seamless a manner as State Radio - Listen to one song and you feel empowered, listen to a whole album and you feel anything is possible. They definitely give you hope for the future.

Estes Mundo Rupa And The April Fishes. Singing in French, Spanish, and English Rupa and The April Fishes take you on a whirlwind tour of musical influences. One moment you're listening to the sounds of a Paris cafe, the next Mexico. Infectious and inspired they not only make it impossible to sit still while listening, but stop for a moment and read the translation of their lyrics and you'll hear stories that will open your eyes to the world in a way you've not heard before.

Steve Conte And The Crazy Truth Steve Conte And The Crazy Truth. New York city is a place of excitement, creativity and dark secrets. Steve Conte And The Crazy Truth have created an album that not only brings all those aspect of life in New York city alive, they do so in a manner that doesn't gloss over the good or the bad. Not only that, it's also some of the best rock and roll music you'll hear this year.

Imidiwan: Companions Tinariwen. From the Northern Sahara desert Tinariwen are the leaders of a rebellion being conducted by electric guitars and pulsing rhythms. The Tuareg nomads of the Sahara have gradually seen their traditional territories eaten away by uranium mining and the encroachment of urban sprawl. While armed rebellion has been somewhat successful, their music has opened the world's eyes to their plight in a way no gun ever could. Compelling and irresistible, their music carries you deep into the heart of the desert and reveals the stark beauty of their lifestyle. They're not asking you to live like them, only to let them live the life they want - and they do it with such passion and love it's hard to argue their right to do so.

Posted by Richard Marcus at 02:35 PM | Permalink

The usual course taken by immigrants and their families when coming to North America is for the older generation to hold on their former culture while picking up enough English to get by. Children, either born over here or those who are young enough when they arrive to not have had time to become set in their ways, are far more quick to assimilate as they are immersed in the new world's culture through their educational experiences. Five days a week for most of their waking hours they live in the new environment, speaking the language and adapting their behaviour so they can fit in.

Yet what happens if they end up in a multinational city like New York in the US or Toronto in Canada, where depending on the neighbourhood you might very rarely hear English spoken on the streets? Sure they may receive their education in that language, but the children they play with in their neighbourhood might speak anything from Spanish to Russian among themselves and with their parents. Growing up in that type of environment there is going to be less pressure on them to blend in with some homogenous image of America or Canada. So not only will they not be in a hurry to forget where they came from, they stand a good chance of being influenced by what they see and hear around them.

Such was the case with Marta Topferova who was eleven years old when she and her mother and sister arrived in America from what was then Czechoslovakia. Not only was she influenced by the new dominant American society around her, she fell under the sway of Latin American music, while still retaining a desire to be connected to the land of her birth. While her musical early education was in classical music, her professional career has followed a far less conventional path. There are plenty of examples of musicians who perform in more then one ensemble or group, it's not often that each of the groups not only plays a different type of music, but performs in a different language.

Topferova not only records in her native Czech, but the two major languages of her new homeland, English and Spanish. Not having heard any of her other recordings I can't speak to her success in either of the them, however, if her newest release Trova, being released on the World Village Music label December 8th/09, and her ability to perform in Spanish and play Latin music are indications of her overall quality, she is a rare talent indeed. In fact, even if she were to perform nothing but the Latin music you hear on Trova she would have to be considered a singer, songwriter, and musician of extraordinary capabilities.

Trova is not only the root of the Spanish word for troubadour, the wandering storytelling musicians of the middle ages, but is the name of a traditional Cuban music movement. Both meanings of the word are fitting to the nature of this album as not only did Topferova set out to create songs reflecting the Caribbean influences of Latin music, there is definitely something of the troubadour about her. The material she performs on this disc, both the eight she wrote and the three traditional tunes she's interpreted, are either stories about the world around her or expressions of emotions, a repertoire similar to those wandering minstrels of old. Of course she's also a bit of a wanderer, as this disc of Latin music, featuring Spanish musicians, was recorded in a studio outside Prauge in the Czech Republic.

As for the music and the songs themselves they are wonderful to listen to and feel as they work that magic on you that only well performed Latin music seems capable of doing. Now I'm not talking about the stuff you hear on radio that passes for Latin music these days that sounds like the performers are more concerned about the smiles plastered on their faces than the emotional content of their music. Although Topferova claims this disc is more upbeat then her previous release, you can still feel the heat of the Caribbean sun making sure nobody moves too quickly. Each phrase, whether sung or performed on an instrument, is savoured and expressed to its fullest without ever being taken over the top.

With all the material being sung in Spanish, without the liner notes to hold onto while listening to the disc, one has to rely on the feel the music generates, and the expression in Topferova's voice in order to guess at song's meanings. What was most impressive for me about Trova was even though I was unable to understand specifics of individual songs, the overall feelings that they generated in me meshed with what I read after the fact in their English translations. For while the music is inherently sensual, and there is a languidness about it at times that evokes a particular atmosphere, there are enough moments in each song expressing its individual characteristics we are able to discern something of each ones nature.

While a lot of credit has to go to the musicians accompanying Topferova; Aaron Halva (tres,accordion, & background vocals), Roland Satterwhite (violin & background vocals), Pedro Giraudo (acoustic bass & background vocals) and Neil Ochoa (congas, bombo,cajon,pandeiro, bell and cymbal), its her abilities as a vocalist that push this disc beyond merely being nice to listen to. When she sings she sounds like she is expressing the very soul of the music, giving voice to the story in the notes and echoing the heart beat of the rhythm. At times as smoky as a late night spent drinking rum, at other times echoing the sound of calm waters washing ashore at sunset in a secluded bay, she is able to communicate a wider range of emotion with just the sound of her voice than most singers are capable of no matter what lyrics they are given to sing.

I've heard any number of Spanish speaking vocalists over the past few years, and while I have to admit my ear isn't the greatest, Topferova sounds as at home in that language as anybody else. Maybe this is what is meant by somebody being a "World Music Musician", that they are able to play the music of their world, whatever that world might be. With Trova it's obvious that although she was born in Eastern Europe and raised in North America, a very big part of Marta Topferova's world is Latin America.

Posted by Richard Marcus at 12:19 PM | Permalink

The Silk Road criss-crossed through Asia and the East from Europe to China carrying merchandise, particularly silk, between the two continents. In the days before shipping was a reliable form of travel, without the Suez Canal the only way from Europe to Asia was via bottom most tip of Africa and there was as much chance of going down as making that passage successfully in the early days of sailing, the overland route was considered a lot safer. The Silk road wasn't of course an actual road, and the caravan routes that it was made up of traversed many countries and went in as many directions as there was trade to be conducted.

Aside from the obvious trade implications, the Silk Road also represented the first real communications between Europe, China, Japan, and the other countries of that region. As always, although believing itself superior, the West benefited most from the exchange bringing home pasta, silks, spices, and of course gunpowder. Although there wasn't necessarily reciprocity in the exchange between the two cultures, the idea of naming a musical ensemble interested in bringing together Eastern and Western music after the earliest known trade route between the two cultures makes a great deal of sense.

Which is exactly what world renowned cellist Yo Yo Ma did when he formed The Silk Road Ensemble a collective of around 60 musician, composers, arrangers, visual artists, and storytellers from twenty plus countries. Not only is the intent of the group to integrate the work of one culture with another, its to do so while maintaining the integrity of an art form's cultural traditions. Is it possible to take a piece of work composed by a Latin American composer and have it performed on traditional Chinese and Indian instruments while remaining true to both the composer's and performers' traditions? As the saying goes, the proof is in the pudding, and in this case that's the forthcoming release on the World Village Music of the ensemble's new release Off The Map on November 10th/09.

The disc contains four new works that reflect the cultural diversity of the ensemble not just because of the composers' nationalities, but also due to the nature of the work they ended up producing. "Ritmos Anchinos", by Gabriela Lena Frank, "Empty Mountain, Spirit Rain" by Angel Lam, "Sulvasutra" by Evan Ziporyn, and "Air To Air" by Osvaldo Golijov each represent the individual composer's attempt to implement the overall objectives of ensemble. Each of them not only developed their own approach to finding a way of doing just that, they've done so without sacrificing artistic or musical integrity.

The biggest worry I have about projects like this is that the politics will over ride the art; the composers will lose track of music in an attempt to fulfill the mission statement of the organization. I guess I should have known better, this is not a collection of new age "wanna-be's", but a group of serious and dedicated musicians and composers who not only obviously love music, but have a deep and abiding respect for other's cultures and traditions. So whether it's American born Spanish-American Frank writing with the Chinese guitar like instrument the pipa in mind, or Hong Kong born and Western trained Lam composing a piece centred on the Japanese flute, the shakuhachi in an attempt to articulate a young girl's confusion about death, you never once have the feeling that they have compromised anything in the process. If anything the challenge posed by incorporating the new elements has pushed them to create works that are stunning in both their beauty and intelligence.

As with the case in most contemporary compositions there are elements in each of these pieces that are going to be difficult for those used to more "traditional" European classical music to assimilate. In this case not only will the listener have to be prepared for the usual structural differences that are to be expected with new music, but will also need to adjust to hearing the sound of instruments we are unfamiliar with like the two mentioned above, or in Golijov's piece previously recorded music. However, if you're willing to let go of preconceived notions of what music is "supposed" to be and allow yourself to settle into the individual pieces, the rewards will be well worth the effort. Beauty is in such short supply these days closing our minds to any new potential for its experience is tantamount to criminal. Allow this music to work its magic on you and find whole new vistas of possibilities for its appreciation being opened for you.

In order to make it easier for you to appreciate the work, the booklet accompanying the CD contains notes in the form of conversations between the composers and one of the musicians who performed their piece talking about its composition. In each case they talk about what they are trying to accomplish and how they've set out to achieve that end. What this does is give you a framework, or a context, within which to place the music, and goes a long way to helping you understand what it is you are listening to.

In the end though its all music, and music does the same basic things the world over; expresses our inner thoughts and emotions. The sounds might be a little different than we're used to, but the language is still the same, and its still talking about all the same subjects music has ever talked about. The pity is that more of the world's communication isn't being done through music.

Posted by Richard Marcus at 09:21 AM | Permalink

If there is one genre of popular music that has managed to to both refrain from being co-opted by commercial and corporate interests yet still remain culturally significant, it would have to be jazz. Of course there have been moments when one performer or another has captured the public's imagination and the industry has tried to cash in by attempting to replicate that person's success with imitators, never meeting with anything but limited success.

One of the true glories of jazz is that it remains the purview of the individual, and you can no more recreate or imitate one person's music, to any degree of success, than could a dancer duplicate what another does exactly. Oh they might be able to follow the same steps, hold their arms in exactly the same manner, but they won't imbue it with the same spirit. The same spirit that made it so attractive to the audience in the first place. Like dance, the personality of the individual performing in jazz is what helps establish the connection between the performer and the audience. No matter how hard they try, record companies still haven't figured out how to mass produce individuals so they can cash in on his or her creativity.

Like so much of our popular music, jazz developed out of the music brought over to North America from Africa by those who were dragged into slavery. In the latter part of the 20th century, specifically the 1960's, jazz started to become an avenue through which many African American musicians began to explore their African heritage. Whether through improvisation around rhythms or collaborations with musicians with more direct ties to the continent, a real sense of who they are and where they came from has started to appear in the music of many of todays African American jazz players.

Such is the case with the latest collaboration between David Murray & The Gwo Ka Masters, The Devil Tried To Kill Me, on Justin Time Records. This is the third recording American Murray has made with this group of musicians from Guadeloupe. The tiny island nation is unique in that former slaves who inhabited the island rebelled and achieved independence 100 years before slavery was abolished in the United States. Although their state hood only lasted a decade, they were integrated into France after ten years, their history is unique among African Americans in the Western hemisphere. As Christian Laviso, guitar player on the disc puts it, "The Americans lost their drums...that is what they seek here, the rhythms and melodies of our ancestors"

Murray, (tenor saxophone and bass clarinet) and Laviso, are joined by; Jaribu Shahid (bass), Renzel Merrit (drums), Klod Kiavue (Ka Drums), Francois Landrezeau (Ka Drums), Rasul Siddik (Trumpet), Herve Samb (guitar), and special guest vocalists Taj Mahal and Sista Kee. While the music on the disc has elements that will be familiar to anyone with jazz, there's also the distinct flavour of the Caribbean to it that gives it a texture I've not heard before. It's hard to describe as it doesn't come across as any particular sound or rhythm, but more like a sense of overall movement that is different from almost anything else I've come across in either jazz or music from the islands either.

All the tracks on the disc are original tunes with music by Murray, and lyrics for "Africa", and "The Devil Tried To Kill Me" by poet Ishmael Reed and "Southern Skis" by Grace Rutledge and Kito Gamble. There are two versions of both "Africa" and "Southern Skies" included on the disc, with the second ones being shorter versions edited for radio play. "Southern Skies" and "Africa" stand out in particular on the disc for their provocative lyrics. "Africa", which features Taj Mahal's growl, looks at the continent from the point of view of a person describing how they would provide care for it if they were a hospice worker and Africa were a patient in an infirmary. Aside from ensuring she has enough food and proper medical care, the hospice worker would also ensure that Africa's bed pan was emptied, her sheets would be changed regularly and her body washed carefully to make sure there was no chance of bed sores.

It's hard to figure whether Reed who wrote "Africa" sees the continent as being that sick, is commenting on the neglect and lack of care shown her by the rest of the world, or is describing the depth of his love for her - or even a little bit of all the above. "Southern Skies" on the other hand is more direct in its statement as it is a lament for the ill treatment of African American women at the hands of men. Sista Kee and Taj Mahal share the vocals on this song, with both of them delivering the solid message that things have to change: "Southern sky is cryin cause she/Still payin dues".

As leader of the band you'd expect David Murray to be front and centre on most of the material, and while he delivers some great solos with his tenor saxophone, there's a wonderful point on the opening track "Kiama Fro Obama", where he takes flight, his priority is obviously the integration of the two different styles of music. Even the solo on track one is built up to gradually over the course of the tune until it finally rises up almost of its own volition - as if the saxophone was some mysterious tropical bird bursting out of its lush jungle background. The other occasion I noticed Murray's playing in particular was on track six ""Canto Oneguine", taken from an opera about the Russian author Pushkin - who was of Cameroonian descent - which Murray wrote the music for.

Bass clarinet is not the most common of instruments, so for a second I was slightly puzzled as to what could be making one of the most soulful sounds I've heard from a woodwind before. Like a rich baritone voice, its sound was like a balm to the ears as it literally caresses them with its playing. Even when Murray gradually climbed the scale there was an elegance to the sound I've never associated with a clarinet. Usually there is something very aggressive and strident about the instrument that pushes it into the forefront whether its meant to be there or not. In this case, however, it blended itself in with the other instruments as a compliment to the overall sound of the piece.

The Devil Tried To Kill Me is an example of how fiercely independent jazz is, and the benefits that we listeners derive from the fact that the music industry hasn't figured out how to control it yet. The combination of different styles of music contained within the eight tracks of the disc is not something you're liable to find on recordings of any type aside from jazz. The playing, and singing, from all involved is exemplary, with Murray's saxophone and bass clarinet leading from within instead of dragging everyone behind him. American and Caribbean music come together on this disc to create a sound as distinct as their individual parts, as unified as their common ancestry, and a genuine pleasure to listen to.

Posted by Richard Marcus at 12:52 AM | Permalink

When the Iron Curtain came down at the end of WWII effectively splitting Europe into East and West, in some ways it only emphasized a division that had existed long before the rise of Communism. Ever since the Roman Empire split in two with the East being ruled by an emperor in what was then Constantinople (Istanbul in present day Turkey) and the power in the West remained seated in Rome, the two halves of the same continent have moved in different directions. When the Empire in the West collapsed it descended into what we now refer to as the Dark Ages, while the Eastern Empire flourished becoming a centre of trade and culture.

To the rest of Europe there has always been something mysterious and slightly dark about the eastern countries. They have deep and dangerous forests where unknown creatures lurk and high mysterious mountains that could be home to any sort of nameless dread. It's no real coincidence that the story of Dracula was set in Romania. These were places where witches lurked in glades waiting to lure small plump children to their death and spells could cast enchanted sleeps that lasted hundreds of years. Now it may seem odd to mention all of this in connection to a recording made up of lullabies, but the CD being released by the San Francisco based women's vocal group Kitka, Cradle Songs on their own Diaphonica label, isn't what most of us would expect from songs nominly used for putting children to sleep. In fact some of them sound like they would give most children nightmares rather than sweet dreams.

Of the eighteen tracks on this CD thirteen have Eastern European roots, two are Jewish - which amounts to being about the same thing when it comes to music - one Russian/Ukrainian, one American, and one, "Nani, Nani, Kitka Mou", is made up of fragments of songs from around the world. However, and given their predominance it's not much of a surprise, it's the Eastern European songs that leave the strongest impression on the listener. While translations of the lyrics are supplied in the booklet that accompany the CD, we can't help be effected by the sound of the music and, in some cases, their almost dissonant harmonies, which give the tunes an eerie almost scary sound.

True, the lyrics to the songs when translated into English belay some of the strangeness of the music. However, the contrast between the gentle nature of the words and the offsetting sound of the music end up making the pieces sound even more alien in some ways. How can we reconcile the one with the other? Part of the problem is what we have been conditioned to expect a lullaby to sound like through our exposure to Hallmark card like expressions of sentiment that are meant to pass for emotions. In much the way the fairy tales of the Brothers Grimm have been turned into the saccharine tales we see presented by the good folk at Walt Disney - try comparing the cartoon version of Cinderella with the original Brothers Grimm tale some day if you want to see what I'm talking about - lullabies and cradle songs have been diluted into sweet and airy tunes.

Here they are replete with references to Goddesses of fertility like in "Megruli Nana", the second song on the disc, where not only is Nana a Georgian word for lullaby and mother, but is also traceable to an ancient oriental Goddess of fertility and light. "Nana (sleep), my darling. The child resembles the sun and the moon". Throughout the disc variations on the word nana (nani, and nanourisma - Romanian and Albanian respectively) show up, and in each case the same multiplicity of meanings is implied. "Kakhuri Nana", the ninth song on the disc, starts off with "I'll sing nana to you. Go to sleep, little rose", where nana could mean lullaby. However it finishes with "In mother's bosom you have found your sweet home." Which could either imply being rocked to sleep in your mother's arms, or being buried in the ground in the earth Goddesses arms.

Not the most cheerful or delightful of sentiments is it? However it represents the reality of a people who would have lived with a high infant mortality rate. Lullaby's that offer comfort to both the child and the parent would have been common if they had to wish a child safe journey very often. Even today we talk about somebody being in the cradle of their saviour's arms when they die, especially in gospel songs. Therefore its not much of a leap for lullabies and cradle songs to do double duty for mourning and easing a child into sleep for the night.

The eight women of Kitka take it in turns to sing leads on the various songs while the others supply harmonies and background vocals. While some of the songs are quite straightforward in their arrangements, it's the more complex ones where they really shine. Here the distinct personalities of each voice comes clear, and instead of merely sounding like another choir singing a sweet song, they take on character that increases our interest. In some instances it appears they are each singing a different harmony, and it's those songs in which we can really feel the power of the music they are singing. These are also the songs which allow us to hear just how different the songs of Eastern Europe are from what we are used to, and the skill required to bring them to life.

Cradle Songs not only offers the listener an opportunity to experience the power and mystery of Eastern European choral music, but is a fine example of what the human voice is capable of creating. Kitka are by far one of the most exciting and challenging vocal ensembles you're going to hear in North America, and their music is always an enchanting delight to listen too. This disc is a perfect example of why they have gained a reputation for performing difficult music with grace and style. When the Iron Curtain came down at the end of WWII effectively splitting Europe into East and West, in some ways it only emphasized a division that had existed long before the rise of Communism. Ever since the Roman Empire split in two with the East being ruled by an emperor in what was then Constantinople (Istanbul in present day Turkey) and the power in the West remained seated in Rome, the two halves of the same continent have moved in different directions. When the Empire in the West collapsed it descended into what we now refer to as the Dark Ages, while the Eastern Empire flourished becoming a centre of trade and culture.

To the rest of Europe there has always been something mysterious and slightly dark about the eastern countries. They have deep and dangerous forests where unknown creatures lurk and high mysterious mountains that could be home to any sort of nameless dread. It's no real coincidence that the story of Dracula was set in Romania. These were places where witches lurked in glades waiting to lure small plump children to their death and spells could cast enchanted sleeps that lasted hundreds of years. Now it may seem odd to mention all of this in connection to a recording made up of lullabies, but the CD being released by the San Francisco based women's vocal group Kitka, Cradle Songs on their own Diaphonica label, isn't what most of us would expect from songs nominly used for putting children to sleep. In fact some of them sound like they would give most children nightmares rather than sweet dreams.

Of the eighteen tracks on this CD thirteen have Eastern European roots, two are Jewish - which amounts to being about the same thing when it comes to music - one Russian/Ukrainian, one American, and one, "Nani, Nani, Kitka Mou", is made up of fragments of songs from around the world. However, and given their predominance it's not much of a surprise, it's the Eastern European songs that leave the strongest impression on the listener. While translations of the lyrics are supplied in the booklet that accompany the CD, we can't help be effected by the sound of the music and, in some cases, their almost dissonant harmonies, which give the tunes an eerie almost scary sound.

True, the lyrics to the songs when translated into English belay some of the strangeness of the music. However, the contrast between the gentle nature of the words and the offsetting sound of the music end up making the pieces sound even more alien in some ways. How can we reconcile the one with the other? Part of the problem is what we have been conditioned to expect a lullaby to sound like through our exposure to Hallmark card like expressions of sentiment that are meant to pass for emotions. In much the way the fairy tales of the Brothers Grimm have been turned into the saccharine tales we see presented by the good folk at Walt Disney - try comparing the cartoon version of Cinderella with the original Brothers Grimm tale some day if you want to see what I'm talking about - lullabies and cradle songs have been diluted into sweet and airy tunes.

Here they are replete with references to Goddesses of fertility like in "Megruli Nana", the second song on the disc, where not only is Nana a Georgian word for lullaby and mother, but is also traceable to an ancient oriental Goddess of fertility and light. "Nana (sleep), my darling. The child resembles the sun and the moon". Throughout the disc variations on the word nana (nani, and nanourisma - Romanian and Albanian respectively) show up, and in each case the same multiplicity of meanings is implied. "Kakhuri Nana", the ninth song on the disc, starts off with "I'll sing nana to you. Go to sleep, little rose", where nana could mean lullaby. However it finishes with "In mother's bosom you have found your sweet home." Which could either imply being rocked to sleep in your mother's arms, or being buried in the ground in the earth Goddesses arms.

Not the most cheerful or delightful of sentiments is it? However it represents the reality of a people who would have lived with a high infant mortality rate. Lullaby's that offer comfort to both the child and the parent would have been common if they had to wish a child safe journey very often. Even today we talk about somebody being in the cradle of their saviour's arms when they die, especially in gospel songs. Therefore its not much of a leap for lullabies and cradle songs to do double duty for mourning and easing a child into sleep for the night.

The eight women of Kitka take it in turns to sing leads on the various songs while the others supply harmonies and background vocals. While some of the songs are quite straightforward in their arrangements, it's the more complex ones where they really shine. Here the distinct personalities of each voice comes clear, and instead of merely sounding like another choir singing a sweet song, they take on character that increases our interest. In some instances it appears they are each singing a different harmony, and it's those songs in which we can really feel the power of the music they are singing. These are also the songs which allow us to hear just how different the songs of Eastern Europe are from what we are used to, and the skill required to bring them to life.

Cradle Songs not only offers the listener an opportunity to experience the power and mystery of Eastern European choral music, but is a fine example of what the human voice is capable of creating. Kitka are by far one of the most exciting and challenging vocal ensembles you're going to hear in North America, and their music is always an enchanting delight to listen too. This disc is a perfect example of why they have gained a reputation for performing difficult music with grace and style.

Posted by Richard Marcus at 07:47 PM | Permalink

It was while watching the DVD documentary Palace Of The Winds that I first really started to see the similarities between the situation facing the Tuareg of the Sahara, indigenous peoples in North and South America, and Australia. While all of them are dealing with poverty, institutionalized racism, and the gradual erosion of traditional territories in the face of encroaching civilization and the exploitation of natural resources, the biggest cause of friction between them and the rest of the world, is their desire to be left alone to live their lives as they have for longer then many of our so called societies have even existed.

Unfortunately there's always some reason why it's vitally important to interfere with a people's lives and the Tuareg of North Africa, especially in Niger, have been learning about that the hard way in recent years. When uranium was discovered in the Agadez region of the country the usual promises were made guaranteeing them economic benefits from the mining operations and the protection of their traditional way of life. As detailed in the film Ishumar, les Rockers Oublies du Desert (Ishumar, The Forgotten Rockers Of The Desert) by French director Francois Bergeron, all the people of the region have seen so far is an increase in cancer and birth defects among those living close to the mining operation. None of the economic benefits promised have been fulfilled, and even jobs in the mines are being filled by outsiders. In 2007 the situation came to a head again with uprisings in both Mali and Niger, with Agadez and uranium being the hot spot in Niger. Peace talks brokered by Libya in May of 2009 appear to have brought a level of calm to the area again, but the government is also going ahead with the construction of what is being billed as the largest uranium mine in the world and there is no word on whether or not the conditions that gave rise to the rebellion in the first place have been addressed.

What, you might be wondering does all of this have to do with a review of a CD? Well since the uprisings of the 1980's, music has played a major role in the Tuareg rebellions through the messages of hope and resistance it spread throughout the region. A sign of how effective they were is that the first cassettes issued by the now internationally renowned band Tinariwen were banned by the Niger and Malian governments and owning them was a criminal offence. In 2007 when the next wave of rebellion started up, new voices were singing out for justice for their people, and at the forefront were Group Bombino and their recording Guitars From Agadez Vol.2.

Originally released as an LP, its now been re-issued as a CD on the Sublime Frequencies label. The music on this release was recorded in 2007 just as the rebellion was taking hold. A year later the leader of the group Omara Mochtar (Bombino) was in exile in places unknown, Agadez was cut off from the rest of Niger by land mines and the only way in and out of the town was by military escort. Like many of Sublime Frequencies recordings, Guitars From Agadez Vol. 2 was not recorded in a studio, but on location with the performers in various locales. In this case the first four tracks of the CD are from the bands archives, while the last five were recorded live in the desert in 2007 by field recorder Hisham Mayet.

Mochtar, who was born in 1981, like other Tuareg musicians of his generation, makes no secret of the influence bands like Tinariwen and the others from the first musical uprising have had on him. Listening to the songs on this disc you'll hear the familiar hypnotic guitar work that has come to be emblematic of the Tuareg sound. However, it's how Mochtar and Group Bombino use that as a foundation for their own creations that makes them so riveting. The first four tracks are much what we've come to expect from the music of the desert, with the voices and the guitars creating an almost trance like state while the rhythm seductively sways like solitary trees caught in a desert wind.

It's when we hit the live recordings though that Mochtar starts to show his distinctive style as he seems to feed off the energy of the desert. His guitar seems to take on a life of its own, unloading bursts of energy that sear the night air and shoot up like sparks from an exploding log in a fire. While there aren't any accompanying lyric sheets for this disc, let alone translations into English, there's an unmistakable message being delivered by the music. There's a raw, almost primal energy being unleashed during these five tracks that speaks of freedom and independence in a way that doesn't need to be translated. This isn't music that's going to make you feel particularly safe, but than again there's nothing safe about true freedom. Never the less the chills this music sends up your spine aren't from fright, their caused by the excitement of knowing there are still those out there pushing to live on their own terms, not what's dictated to them by others.

If there's anything that scares oppressive regimes it's people who dare to defy them by advocating truth and freedom. In 2007 when the Tuareg were taking up arms against the Niger government newspapers reporting on the rebels were being shut down by the police and the military. While a peace accord signed in May of this year ended open hostilities and a journalist imprisoned for over a year on charges of sedition for reporting on the Tuareg rebellion has been released, the Niger government has been cracking down on civil protest against corruption through arrests and intimidation.

The environment in Niger doesn't look like it's going to be getting any healthier for the Tuareg anytime soon, and bands like Group Bombino face real danger as long they continue to speak out on behalf of their people. As the liner notes for the CD say - this is the music of the rebellion, and you can hear that in every note they play and every word they sing.

Posted by Richard Marcus at 07:54 PM | Permalink

In the 1930's Woody Guthrie wrote a song about the plight of the Mexican migrant workers who picked fruit and vegetables in California. "Deportees" detailed how these workers were treated little better than slaves and their status as illegal workers exploited by the folk who hired them. As long as there was fruit that needed picking they were allowed to stay, but the second there was no work - presto they became deportees - illegal immigrants - to be shipped back where they came from post haste.

Now a days things aren't really much different save for the work that's being performed by the so called "illegals". The wealthy hire them to clean their houses, they clean the dishes in our restaurants, and scrub the toilets in our office towers for less money then most people would accept for opening their eyes every morning. Cynical and unscrupulous employers hire them knowing they can do what they want with them and also secure in the knowledge that while their employees will be deported if caught, there will always be more to replace them. It's not only in North America where you'll find migrant workers; all over the world men and women leave their homes to find work in an effort to feed their families. Not everyone guards their borders and their shit jobs as jealously as we do in North America, but what kind of world is this that we make people leave their homes behind them in order to eat.

Este Mundo (this world), the new CD from Rupa & The April Fishes being released on the Cumbancha label October 27th/09 explores the kind of world this is through their songs. There are songs about love, about trying to find one's way in this world, about people who are lost, and the frontiers we all have to cross - whether they're the ones that separate countries or the ones we build up between ourselves and others. Full of unexpected joys and infectious rhythms, nonetheless there are as many songs tinged with the sorrow for the world as there are once that celebrate it. Maybe that's what Rupa and company want us to know though, that for every sorrow, there's a joy and if we keep travelling along we will find them in equal measure.

Based out of San Francisco California, Rupa & The Fishes are familiar with the problems of migrant workers and frontier. Lead signer Rupa Marya is no stranger to moving either having lived in India and the south of France with her parents before the finally settled in the Bay area. She's even experienced what economic hardship can do to a family, for as a child her parents were forced to send her off to live with family in India when they were unable to provide for her properly themselves. So when she sings about the difficulties faced by families and individuals in this world, she speaks with the voice of experience.

The songs on Este Mundo reflect Rupa's polyglot background as the lyrics are in French, Spanish, and even the occasional one in English. While that may make it a little more difficult for some of us to understand the lyrics, the languages work with their respective songs as they sound like they fit the music. For us uni-lingual types the CD comes with a booklet that provides the lyrics in their original language and a translation into English. Anyway, doesn't it seem appropriate to be singing a song like "Por La Frontera" (Along The Border) in Spanish when it talks about a line that's worth more then life, an obvious reference to the American Mexican border? How can a line be worth more then life? When people die crossing it on an almost daily basis is how.

Although some of the songs are definitely political in nature, that doesn't stop Rupa and The Fishes from including ones that are pure poetry as well. "Neruda", lists the poet Pablo Neruda as its author, with additional lyrics by Marya, and although I'm only slightly familiar with his work, it has the same feel to it as any of his poetry that I've read. To my mind its something he shares with the great American poet e.e. cummings; an ability to express gratitude for the various wonders that you can find in life. "thank you violins/for this day/of four chords/pure is the sound/of the sky/the blue voice/of the air". When I read that I can't help but think of the soft blue skies of spring, full of promise for new life.

Musically the disc is as diverse as the topics covered by the lyrics as one song will have a hint of reggae, another will see Marya delivering her lyrics in a rap, another will sound like its from the streets of Paris, and yet another could be from Seville, home of Flamenco. What's amazing about this, is that instead of sounding like some God-awful mess when you listen to it, it's more like somebody has figured out how to put together a jigsaw puzzle with pieces that you don't think should fit together, but the final picture makes perfect sense. It helps that "The Fishes"; Aaron Kierbel (drums, percussion) Isabel Douglass (accordion and bandoneon), Safa Shokrai (acoustic and electric bass), Ed Baskerville (cello), Marucs Cohen (trumpet), and Rupa (glockenspiel, guitar, vocals, and wineglass), play instruments that are suited for working with others to create an overall sound instead of the normal popular music instruments which are geared towards individual creation. Therefore, they are more adept at finding a way of pulling diverse elements together to make a whole.

There are two instrumental tracks on this disc, the first song "La Frontera", and the ninth song "El Camino Del Diablo (The Devil's Highway). The second title refers to a stretch of treacherous land in Arizona's Sonoran desert full of ancient trails that run through the badlands. Most of the 1,000 people who died between 1995 and 2000 trying to get into the US did so in this region, and most of them died of thirst and exposure. The song is a mournful trumpet being played over the sound a desolate wind blowing. "La Frontera" is equally sad, however the trumpet is replaced by cello and the mournful cry of someone calling out. As there are no lyrics, the band has included a dedication for the disc in their place. To the memory of those "migrantes" who have lost their lives making the perilous journeys around the world looking for work and a better life for their families. The band also offers their best wishes and respect to those making the journey and welcomes them.

Like Woody Guthrie seventy years ago, Rupa & The Fishes make it pretty clear which side they are on in the whole illegal immigrant argument. Unlike Woody though their music doesn't necessarily speak to the specific issue, but instead addresses the band's overall concern for the human condition, and through that they find their way to the Mexican American border. Although there's a spring in the step of this music, it's not the most cheerful. You can still dance to it like you could the Fishes' previous disc, but it will also make you think a lot more than you'd expect. Read the lyrics if you don't speak French and Spanish, listen to the music, and feel what it is they are talking about - it makes a lot more sense than anything any politician has to say on the subject of immigration.

Posted by Richard Marcus at 03:43 PM | Permalink

To most of us the desert looks to be an inhospitable land, devoid of life. You wouldn't think to look at it that anything could survive out there let alone humans and their herds of goats and camels. Yet for generations that's exactly what the Tuareg people have done in the Northern Sahara desert. In a territory that stretches from present day Algeria in the north to what is now Niger in the south they have moved with their flocks from watering hole to watering hole, and followed the changing of the seasons in search of grazing land for their herds.

It was the coming of the colonial masters that began the troubles for the Tuareg. They created the borders that divided the desert into artificial segments. However the end of colonial rule in the early 1960's didn't do anything to improve their lot and 1963 saw the first of the Tuareg uprisings. The government of Niger began a systematic campaign of terror and persecution against the Tuareg, and they responded by taking up arms against them. However they were ill equipped to combat a modern army, and many were forced to flee to the north. Among those refugees was a young Ibrahim Ag Ahabib, whose memories of the trek include his grandfather dying on the forced march.

Like many young Tuareg of that generation, Ahabib, were involved in the next Tuareg uprising in the 1980's. However it wasn't only a gun he learned how to use in the training camps of Libya where the Tuareg received their training. He, and others, began to play guitar, and give voice to the dreams and aspirations of the rebellion through songs. Mixing popular music from the west, specifically the guitar driven music of Jimi Hendrix and Carlos Santana, with their people's traditional sound, they recorded cassettes of music that were distributed throughout the Tuareg territories. While the governments of Niger and Mali quickly made their music illegal, it didn't stop the messages of hope and pride from being spread among the people. While he has long since put down his gun to focus on his music, Ahabib and the band he leads, Tinariwen, continue to sing about the life of the Tuareg, only now their audience has expanded to include the rest of the world.

On their latest release, Imidiwan: Companions on the World Village out October 13th/09, they have also included a DVD containing a documentary about the making of the recording directed by Jessy Nottola. Up until now Tinariwen have had to travel to Europe in order to make their CDs, but this time they were able to ensure that the recording studio came to them. As a result the film isn't just of musicians setting up in some arid studio to record tracks, it follows the band to some of their favourite places in the Malian part of the Sahara desert. These are places where they have sat, played and sung to the desert and the stars throughout the night in the past. The places where the heart and soul of not only the music, but also, the Tuareg, reside.

While six of the fourteen songs on the disc are composed by Ibrahim Ag Ahabib, song writing duties are now split up amongst more members of the band then they seem to have been in the past. Yet no matter who writes, or for that matter performs, a song, they are all equally powerful in the emotional pull they are able to exert upon us while we listen. The guitars are the focal point, whether acoustic or electric, as they provide the energy that fuels a song. They are an insistent thrum of sound which increases and decreases in volume through out the course of a song creating peaks and valleys much like the desert itself is crested with dunes and dotted with hidden bowls excavated by ages of wind eroding rock.

It's in one of these bowls, surrounded by walls of rock, that we watch the band set up to record on the DVD. A lone figure swathed in blue robes, head wrapped to protect the face and skull from the heat and sand, sets down a stone and carefully counts off paces in four directions placing another stone at the terminus of each count. He then gradually forms a large circle out of rocks in amongst the boulders strewn on the canyon floor. Gradually, on camel, and in four wheel drive vehicles, the rest of the band and the equipment arrive and are established within the circle. As the day loses its heat and light, the band begin to play, and the setting sun paints the rocks around them orange to match the fires they will soon light to keep off the cool of a desert night.

The lyrics they sing are in the language of their people, Tamashek, and although we can't understand what they are saying, their sound combined with the guitar and the steady beat of the drum and bass, are quickly mesmerizing. You can't help but be caught up in the wash of sound, but at the same time there's an urgency to the sound of their vocals that makes you strain to understand on any level what it is they're saying. Interspersed through the song is the occasional sound of the women background singers creating the undulating sound the women of the desert have used to denote moments of high emotion for centuries. I defy anyone not to feel a chill run up your spin upon hearing the trembling high pitched voices raised as a kind of exclamation point to the lyrics that proceeded them.

The booklet accompanying the disc has the lyrics for each song written out in both Tamashek, transcribed into our alphabet, and English. While we can hunt among the lyrics for some clues as to what the songs are about and for insights into the people who are singing them, even in English the meanings can be oblique. For the songs talk about matters that are specific to the people of the desert. However there are still nuggets of information the translations provide us with. For example Imazeghen (pronounced Im-Az-Arr-En) is the collective noun the Tuareg use to refer to themselves, as Tuareg is an Arabic word imposed on them by outsiders. So the song titled "Imazeghen N Adagh" (pronounced Ad-Arr) is about the people from the region in Mali, Adagh, where Tinariwen come from. It's a simple call to stand up and be recognized. To look around themselves and instead of being confused and overwhelmed, to remember who they are. "You don't understand the confidence you possess/Once you rode upon the camel's saddle".

There has been a disturbing tendency to romanticize the Imazeghen of the Sahara which does them a horrible disservice. As recently as a few months ago armed rebellion had broken out again in both Niger and Mali as they continue to fight to preserve their way of life and be given the freedom to chose how to live. Territory that was given them by treaty is being taken away as uranium deposits are discovered under the sands of the desert in Niger. Newspapers writing articles supportive of their plight are closed down by the government while activists and sympathizers are arrested on charges of sedition and terrorism. Tinariwen's songs aren't about something that happened to the people in the past, they are about a people's fight for survival in the face of a world that doesn't look like it has room for them anymore.

Listening to Imidiwan- Companions one can't help feel the world would be a lot emptier without people who feel as deeply about their way of life and their land as these people do. Is our need for uranium that great that we need to destroy a civilization that can produce music like this? It would be a great pity if we let the answer be yes.

Posted by Richard Marcus at 09:20 AM | Permalink

I don't know when my fascination with Moorish Spain began but it has been ongoing for a while now. At a time when the rest of Europe was clouded over by superstition and disease it was a bastion of civilization and relative tolerance. For although ruled by Muslims, Christians and Jews were both allowed relative freedom of religion. Both did have to pay an additional tax for the privilege of being allowed to practice their own religion and the more fanatical members of the Islamic community spoke out against them, however compared to the way Muslims and Jews were treated in Christian communities, it was a bastion of tolerance.

In our history books we talk of the period known as the renaissance as if it were a miracle that sprang up out of the earth. When in actual fact it was the influence of Moorish Spain that provided both the knowledge and the impetus for the great re-birth of art and learning. That influence continues through to this day primarily through the music of Andalusia. When the Christian armies marched on Spain, with the Inquisition in tail, Muslims, Jews, and Gypsies (Roma) were faced with the choice of fleeing, conversion, or burning at the stake. While the Jews and Gypsies seem to have mainly chosen more tolerant European destinations, the Muslim population took ship across the Mediterranean to Algeria in North Africa. Its there that they have kept alive the words and music of the songs that were created in Andalusia.

While there are some who continue to perform and create music much as it was made more then five hundred years ago, there are others who draw upon the traditional sounds and combine it with modern influences. Trio Ifriquiya, Didier Freboeuf (piano), Faycal El Mezouar (vocals, violin, ud (oud), and percussion), and Emile Biayenba (percussion) use the music of Andalusia as the core for the eleven pieces on their latest release, World Village Music label, and broaden its scope by incorporating traditional and contemporary jazz, and each performer's musical influences.

Of the eleven tracks on Petite Planete five are from the traditional Arab/Andalusian repertoire, according to the liner notes specifically from the Granada region of Spain, while the balance are one original composition by Mezouar and five by Biayenba. Mezouar is the impetus behind the trio, as he was deeply steeped in the traditions of Andalusia during his schooling where he not only learned the instruments he plays, but the Sufi poems that were the music's original inspiration. Freboeuf brings a modern jazz sensibility to the group with his piano, while Biayenba, founder of the drum group Les Tambours De Brazza from the Congo in central Africa, opens the door rhythmically to the rest of Africa and the world.

Yet no matter if they are playing one of Bizyenba's or Mezouar's originals, or if the jazz piano of Freboeuf is taking the lead, Andalusia is never far from the surface. Whether it's the interjection of the ud, the sound of Mezouar's vocals, a trill in the melody evoking the older music, or something about the quality of sound generated by a hand drum, there's always something that will pull us back to that centre again. What I found most intriguing about the more modern compositions was that instead the songs building upon a foundation of the Andalusian music, they start from the contemporary and build to old. It's almost as if they were showing us how, no matter where you start, or with what, you will always come back to this point of origin.

While both Frebouef and Bizyenba play key roles in the music, Mezouar is the heart around which this trio beats. As the one with the direct connection to the source of their inspiration if he falters, or strikes anything resembling a false note, the whole ensemble will fail. However one only has to listen to him sing a few notes to have any doubts about his sincerity or his skill dispelled. His voice brings to life songs whose lyrics could have been penned centuries ago and makes them sound as alive and inspiring as if he wrote them himself. Listening to him you can visualize in your mind's eye the open courtyards and minarets of Moorish Spain with their whitewashed walls and the elaborate mosaic pattern of their tiled floors.

Yet this is not just some journey into the past but rather an exploration of the past and the present meeting in harmony and the music of one culture working with others while maintaining its distinctive flavour. With each man bringing his own particular influences into the mix the music becomes a meeting place for styles and traditions. As a result, while we never lose track of the Andalusian core, we are almost always aware of a much wider world existing outside of that particular time and place. At times the sum of the three parts; jazz piano, the rhythms of central Africa, and centuries old Arabic music, becomes a whole that is unique to the moment it was recorded. Even more intriguing is the fact that although you can hear the distinct parts, simultaneously you hear them blending into one.

The music of Andalusia influenced the musicians of Medieval Europe both in style and content. Minstrels and troubadours alike, with their songs about love and devotion accompanied by a lute or harp, wouldn't have taken the form they did if it hadn't been for the music of the Ottoman Empire. Now, more then a thousand years later, that same music is still providing a blueprint for musicians. Trio Ifriqiya have drawn upon the same source material that so many others down through history have and not only brought new life to an ancient tradition but have created new sounds of their own. Petite Planete is a perfect example of how looking to the past is sometimes the best way to find something new.

Posted by Richard Marcus at 10:19 AM | Permalink

Somewhere near the Hungarian border in Romania lies a town so small that it doesn't even show up on the country's roadmaps. The trains don't stop at Zece Prajini, you have to tell the conductor which piece of farmland, indistinguishable from all the rest, is the one you want to be let off at, if you plan on travelling there. According to those who live there, a hundred years ago their families asked permission of the area's landowner if they could move their village from a desolate hilltop where they had been forced to travel miles each day for water and fire wood, to this valley where life would be somewhat easier. Easy is a relative term when you're Romany living in Eastern Europe, and they were grateful for any kindness.

The one way the inhabitants had of supplementing their incomes was the fact the village was famous for its brass band.They would be booked to play weddings and other events requiring music by neighbouring communities for miles around and over the years their reputation continued to spread and grow throughout the region. It was their reputation which drew a young German music enthusiast, Henry Ernst, to come and seek out this tiny village and its brass bands. He had been travelling through Eastern Europe searching out, and recording if possible, Romany musicians where ever he went, and he eventually heard of these amazing brass musicians who lived somewhere in Moldavia at the eastern edge of Romania.

The miracle is that he ever found the musicians the world has come to know as Fanfare Ciocarlia, let alone launched them on an international career. Yet now instead of playing weddings for Romanian farmers who were just as likely to stiff them as pay them because they were gypsies, and who was going to believe their complaints of being ripped off, they now play concerts on stages the world over and are fast becoming international stars. If you've seen the movie Borat than you know their music as they were the brass band who tore through "Born To Be Wild" for its soundtrack. Realizing that there are plenty out there who might not have had the opportunity of experiencing Fanfare Ciocarlia, their German record label, Asphalt-Tango, is releasing Fanfare Ciocarlia Live, a two disc CD/DVD package, and Best Of Gypsy Brass, a greatest hits package on a high quality 180 gram vinyl LP.

The title Fanfare Ciocarlia Live is slightly deceptive, because aside from containing a recording (the CD) and a film of a 2004 concert they gave in Berlin, the DVD includes; the hour long documentary on the band, Iag Bari (Brass On Fire), an interview with the late elder statesman of the band Ioan Ivancea relating a history of the village and the music that has grown to define it, super 8 film the band members shot of themselves, and a variety of video clips of the band. The concert, both the film and the CD, are wonderful as they give listeners a chance to hear and see what happens when the band's intoxicating music meets a live audience. It's a wonder the roof doesn't blow off the concert hall with the amount of energy being generated by the combination of the band performing and the fervour with which the audience throws themselves into dancing to the music.

Yet, what's equally amazing about Fanfare Ciocarlia are the nuances and subtleties that you hear in their music. I don't know about anybody else, but normally when I think of a twelve piece brass band made up of tubas, trumpets, saxophones, percussion, drum, and a clarinet, noise is the first thing that comes to mind and music second. However, these guys do things with brass instruments that I've never heard from anyone. Even when they're playing at breakneck speed, so the music is pouring out fast and furious, every note is distinct and the music speaks to something inside of you on an emotional level that conventional bands can't hope to match. It's hard to describe the experience, except to say the music manages to capture the full range of the human emotional experience while blowing the doors out.

In Iag Bari we travel back to the early days of the band when Henry Ernst was still skidding his car through unpaved roads, where the mud and icy slush came halfway up his hub caps, in order to rehearse the band for their third CD. We attend the wedding of a band member's daughter, meet the people in the village, and are taken inside their homes. Most are still heated by stoves, electricity is rudimentary at best, and pony carts are the predominant form of transportation. It's only when flash to shots of them on tour, with Henry steering their bus across Europe, that we remember it's 2004 when this movie was shot. This isn't the world of I-pods, cell phones, and personal computers that you and I take for granted.

One of the most telling scenes in the movie for me was the band members meeting with a Eastern Orthodox priest, and going over their plans for restoring the church in the village. They have pooled their earnings from touring and record sales so the village can have the first officially recognized "gypsy" church in Romania. The smiles that crease their faces when the priest tells them the project has been approved, and it will be consecrated are wonderful to behold. They may be on the verge of international success and becoming the darlings of the World Music scene, but that doesn't change who they are and what's important to them. Perhaps it's that sense of community that they carry with them onto stage when they perform that makes their music so special, They aren't just Fanfare Ciocarlia when they climb on stage, they carry with them the history of their village and the stories of all the people who live there.

While the CD/DVD package takes us only up to 2005 in telling the story of Fanfare Ciocarlia, the LP Best Of Gypsy Brass takes you right back to the earliest recordings the band made and then carries you to their most recent triumphs including their infamous recording of "Born To Be Wild". I'm not sure what motivated Asphalt Tango to release this on LP instead of CD, but the music is still the music no matter how you present it, and this greatest hit's package is a perfect introduction to their music for someone who hasn't heard them before. Not only do the songs cover the entirety of their career but they also give you a good idea of just how diverse their sound is.

In the interview with Ioan Ivancea on the DVD where he talks about the history of Zece Prajini and the music they play, he makes a very telling remark. The people of this village he says have always had to toil in the fields, do hard physical labour, and work with their hands. As a result they've developed great lung capacity and have calloused and misshapen fingers. You couldn't imagine any of them even trying to play a violin or other instrument which requires delicate fingering, so it was only natural they gravitated to brass instruments. He also recounts how in the days when the Ottoman Empire ruled over this part of the world, the Turkish armies were always accompanied by brass bands, which would either lead them into battle in an effort to frighten their enemies or blow the fanfares that marked the coming of dignitaries. So not only were they suited to the instruments because of the nature of their existence, these were also the instruments the people of the area were most familiar with.

Fanfare Ciocarlia have gained the reputation as one of the supergroups among Romany musicians and are justifiably respected and appreciated where ever they play. With roots that are not only planted firmly in the soil of their home village, but the history of Eastern Europe, their music resonates with the sound of the human experience in a way few other bands can ever hope to emulate.

Posted by Richard Marcus at 06:55 AM | Permalink

About a month ago I reviewed a DVD, Footsteps In Africa: A Nomadic Journey, which was purportedly a documentary about the Tuareg people of the Northern Sahara desert. However, Kiahkeya, the group responsible for producing the film, didn't just set up cameras and film their subjects like most documentarians as they had an agenda to promote. The group of "artists" who were responsible for shooting the movie weren't there to report on the living conditions of the Tuareg, or their struggles to hold on to their traditional way of life in the face of encroaching civilization. No they were there to try and capture the "experience" of being a nomad, and to show how the nomadic way of life has something to teach all of us.

The movie was as annoying as it sounds, in that you didn't learn anything about the Tuareg, except a couple of simplistic aphorisms spoken by a couple of members of the older generation about water being power in the desert and the necessity of sharing. Since those responsible for the movie also believed that part of the "secret" of being a nomad was passed down from generation to generation in the music they decided to experience that as well. However instead of merely listening and recording any performances given by the Tuareg and others, they had to participate and instigate what they called "jams". While there was some footage taken at The Festival In The Dessert of Tuareg musicians and dancers, it was hard to tell what was staged for the film and what wasn't.

Now, with the release of the movie's soundtrack, Footsteps In Africa, available as a download through I-Tunes, it's made clear how much of the music in the movie was actually created by Tuareg, and how much was instigated by the movie makers. Aside from two songs by the Tuareg band Tinariwen and a recording of Habib Koite, a Malian musician who is neither a Tuareg nor a nomad, performing at the Festival In The Desert, the rest of the music on the soundtrack disc was either made by a member of movie's crew, Jamshied Sharifi, a new age musician and film score composer or the result of "jams" between members of the production company and various groups of Tuareg.

While the two cuts by Tinariwen, "Assoul" and "Alkhar Dessouf" are as good as usual, and can be heard on the band's own recordings, Koite's recording doesn't do him justice as the sound quality is not very good and his vocals distort. Unfortunately those are the highlights of the disc as the rest of the music is really not that interesting. Sharifi's incidental music for the film was much what you'd expect as it was merely filler and not really that interesting. Even when listening to it on the soundtrack I couldn't remember hearing it in the film.

I suppose the film makers wanted to create the impression that they were gathering field recordings of the Tuareg when they recorded the music they refer to as "Jams". Field recordings are just what they imply, recordings of people playing their indigenous music made on location using portable recording equipment. Normally these are made by music historians or anthropologists in order to create an authentic as possible recording for posterity and study. Normally those recording the session do not participate or instigate the performances, but act as passive observers so they can be sure of creating the most accurate record possible.

However that's not the case here as in each of these "jams" musicians from the folk at Kiahkeya are involved as at least participants, if they didn't instigate them. While there is no doubt that some of what you hear is traditional Tuareg music, there's no proper context for it to tell us what significance the music could have for the people, nor is their any attempt made by those recording it to interpret what, if anything, is the meaning of what is being sung. For instance, what is the significance of the "Red Ladies Tent Jam", why is this music important to them. Is there any significance to the fact that the women are playing music together at this location, or is it just where everybody happened to be hanging out when the film makers instigated a performance?

One of the things the people behind the film claim is that within the music of the Tuareg there are messages about humanity's relationship with the earth. The film, and hence the soundtrack as well, are vehicles to allow the message of their music to be heard. Unfortunately neither the film nor the soundtrack give that argument any credence as they don't allow the music of the Tuareg to speak with an unadulterated voice. Aside from the two songs by Tinariwn, there isn't any music in either the movie or the soundtrack which speaks with the voice of the Tuareg alone. While it is true that most cultures create music which gives insight into their lives and their history, the soundtrack to the movie Footsteps In Africa, like the movie, speaks with the voice of the film makers, and what they have to say isn't really that interesting.

Posted by Richard Marcus at 07:57 PM | Permalink

I've never seen a desert, save for on film, let alone set foot in one, so have no understanding at all of what life in that environment would be like. Sure, I have a vivid imagination, and looking at the endless vistas of sand under an unremitting sun I get the general idea. However, I seriously doubt anybody who hasn't lived with those conditions for an extended period of time can ever fully appreciate or understand what it's really all about. Even if I were ever to spend any time in the desert it would only be as a tourist not someone who lives there without the escape clause of coming back to a life where sand isn't everywhere and water is usually no further away than the nearest faucet.

The Tuareg people of the Northern Sahara desert have been there for as long as anybody can remember - which means dating back to at least prior to Mohammed and the coming of Islam. Their traditional territory spanned the caravan routes from the Mediterranean Sea in the north which carried trade goods and produce from the port to countries in land.. Mainly herds people, they would move with their flocks of goats and camels from water source to water source in a perpetual cycle of the seasons. However with the discovery of Africa and the eventual break up of the land into countries - primarily Algeria, Mali, and Niger - their mobility and land have been restricted. Since the 1960's there have been three armed uprisings among the Tuareg because of persecution and loss of territory, with the most recent still simmering in Mali.

It was the second generation of rebels, those who fought in the uprisings in the middle of the 1980's, who began the musical rebellion which brought the Tuareg and their music into the public eye. The most famous of these groups is Tinariwen who were formed in 1982 but spent the first seventeen years of their existence underground as their music was banned by the Algerian and Malian authorities because of its political nature. Two of the original members of Tinariwen, Kedou ag Ossad (guitar and vocals) and Liya Ag Ablil (guitar, and vocals), have joined forces with Sanou Ag Ahmed (guitar and vocals) and Rhissa Ag Ogham (bass and vocals) to form Terakaft, which gave its first concert in 2007 at the now famous Festival Au Desert in Mali, and recorded their first album, Bismilla (The Bko Sessions) later that year.

Having been a fan of Tinariwen for a few years now, I was very excited to stumble upon Terakaft's second release, Akh Issudar, at their label's, World Village Music, web site while preparing another review. Released almost a year ago in October of 2008, this disc will come as something of a surprise to those expecting all Tuareg music to sound alike. While there are some similarities in sound between Tinariwen and Terakaft (Tinariwen's leader Ibrahim Ag Alhabib contributed a song - "Islegh Teghram" - to Akh Issudar), and their songs share the same concerns and address the same themes, you're not liable to mistake one for the other any time soon. The potency and the power are the same, as is the obvious urgency of their message, it's the manner of its delivery that's different.

If Tinariwen are the rallying cry that travels across the desert like a wind, than Terakaft are the whisper spoken around a campfire passed by word of mouth from encampment to encampment. For those of us who don't speak Tamashek, the language of the Tuareg, we might not understand the specifics of the messages being given in each song, but that doesn't prevent us from forming an overall impression. Listening to the songs you can't help but form images in your head of the desert they and their people have walked through for centuries. You may not be able to understand what they are singing about, but you can't help but feel how important it is to them.

Listening to Terakaft I hear a sound that echoes with the resonance of the wide open spaces around them and the high vault of the sky above them. It's not necessarily a pretty or pleasant sound either, for there's nothing particularly attractive about emptiness. Sure it implies freedom and quiet, but it also suggests a barren and stark environment where life is harsh and difficult. That they love their land and take pride in who they are is obvious through the sounds of their voice ringing in harmony, yet they don't project any illusions about their reality either.

While each of the fourteen songs comes with a brief description of its theme, the lyrics supplied in the booklet accompanying the CD are all in their original Tamashek. For example the title song of the disc, "Akh Issudar" has a brief statement telling us the Tuareg have a saying; "Aman iman, akh issudar": Water is life, milk is survival". Other songs are accompanied by what I can only assume are quotes from their lyrics like: "The desert is my country, I love it and I will never divide it" ("Tenere Wer Tat Zinchegh"), or, "The roads are cut off, and the borders closed. It's forbidden to travel" ("Haran Bardan"), and "My soul burns while my people are under the yoke." ("Arghane Manine"), which tell you all you need to know in order to understand what they are about.

Terakaft were supposed to be touring the Unites States in the next little while, but have unexpectedly cancelled. When I heard that piece of news I didn't think twice, stuff like that happens all the time in the music industry. However after listening to this disc, and knowing that the Tuareg rose up again this year in Mali and Niger and some fighting is still ongoing in Mali , I have to wonder what's become of the band members. Francois Bereron, the French director of the film Desert Rebels, a documentary about Tuareg and French musicians playing together, was arrested and jailed for six month when he went to Niger in 2007, as was one of the people interviewed in his movie on suspicion that they were sympathetic to the rebels. Terakaft are not only sympathetic with the rebels, but two of its members took part in the armed uprisings in the 1980's and their music is overtly political in a way that Tinariwen's isn't. There's also the fact that they aren't as well known on the world stage as their compatriots, so could possibly disappear without there being too much fuss made about it internationally.

I hope I'm wrong and nothing has happened to any of these men who make such glorious music. However, when you love something as much as they love their people and their land, and are as obvious about it as these men are, there are those who will see you as a threat and act accordingly. When you listen to the music of Terakaft on their CD Akh Issudar the depth of their passion for their subject is obvious. Unfortunately for them what they sing about is a land without borders and a people who aren't defined by a state, and that's not welcomed in the twenty-first century.

Posted by Richard Marcus at 10:41 AM | Permalink

One of the great pleasures of being a critic, and one of the things that keeps me from becoming jaded, is when you find a musician or a group you've never heard before who are performing music unlike anything you've ever experienced. While sometimes this means they are doing something that's truly original, other times it just means the approach they have taken to what others have done before is as fresh and invigorating as if it were brand new. However, no matter what the case is, hearing them is usually enough to remind me there are still musicians our there willing to experiment and, more importantly as far as I'm concerned, playing music for the sake of playing music, not to become rich and famous.

In recent years, as the music from various cultures from around the world becomes more available, there have been more attempts at fusing the music of North America with the other cultures' music. While it's obvious how many African musicians are able to find a common thread for their music with what's currently popular in North America, the same can not be said about those from India. Yet, while there is no denying there are differences between West and East when it comes to ideas about rhythm and the structure of a piece of music, much of the East is East and West is West and never the train shall meet idea that has been perpetuated about music arose out of the differences between Classical Indian and European music.

Once you break away from the rigid confines of 18th and 19th century Europe when it comes to music, you all of a sudden see that there's plenty of common ground to be found. Now I don't know as much about classical Indian music as I'd like, but I do know that much like jazz improvisation around a theme is a key element. So although I remember being surprised when I first found out about the popularity of jazz in India, the more I understood about classical music in that country, the more I saw the connection. Therefore, when I first heard the New Delhi based band Indian Ocean's DVD, Indian Ocean Live In Delhi, I was not overly surprised by their sound's marked jazz influence.

Indian Ocean has been together in its current line up since 1994, and have built up an enormous following in India. While they have played in North America before, the tour they are currently embarking on is their most ambitious to date as they are criss-crossing the United States over the next month giving people from Albuquerque to Ohio a chance to hear their unique fusion of jazz and Indian music. However, those of you planning on attending one of their concerts and anticipating seeing sitars and other instruments you associate with India, will be in for something of a disappointment.

For while percussionist Asheem Chakravarty plays tabla and drummer Amit Kilam plays the two stringed percussion instrument from West Bengal known as the gabgubi, whose sound can be modulated by pulling the stings with one hand while simultaneously tapping out the rhythm with the other, the remainder of the instruments employed will seem very familiar. Kilam sits behind a very conventional drum kit and the rhythm section is completed by Rahul Ram on Bass, and Susmit Sen on guitar rounds out the group.One way they do differ from a great many modern jazz bands is the role vocals play in their music. Now all four of them have been known to pitch in on the vocals, but the majority of the vocals are split between Chakravarty and Ram with Sen and Kilam providing mainly harmonies and background vocals as required. Chakravarty's voice in particular is extraordinarily captivating as he soars in and out among the other instruments in ether a free form flow similar to scat or singing lyrics

While the band does introduce the songs partially in English, the lyrics are most definitely not in English, and the DVD I have was produced for an Indian audience so there was no explanation about the songs provided, let alone any liner notes. (If you buy a DVD make sure that you specify the right format as the version I have was PAL and I could only play it on the DVD writer in my computer as even my DVD Rom wouldn't play it - you want NTSC in North America, Japan, and a few other countries in the world, while most of Asia will want SECAM, and Europe and the rest of the world will want PAL) However I didn't find my enjoyment of the music in any way diminished by not understanding the lyrics. Chakravarty's voice in particular is so expressive that it's almost an instrument in of itself.

I think the first thing you'll be aware of watching and listening to Indian Ocean is how full and rich their sound is. You might be wondering how a four piece band made up of two percussionists, a bass player and a guitarist could create music elaborate enough to be considered jazz, but that's only because you're used to how limited most pop musicians are when it comes to what they can do with their instruments. Each member of this band, it seems, is contributing to both the melody and the rhythm of each song. As a result a song builds and acquires a texture as it is played and another layer of either melody or rhythm are added. It's amazing how quickly you forget there are only four musicians playing.

Aside from stepping out from behind his drum kit to play the aforementioned gabgubi, Kilam also picks up a recorder at one point and produces a sound so hauntingly beautiful that you look at the instrument in astonishment. I had a hard time reconciling it with the cheap plastic things we used to play in grade school and try to play such complex songs like "Old Grey Mare" and fail miserably. Perhaps that's what so amazing about Indian Ocean overall, the way they take conventional instruments like guitar, drums, and bass and create such incredible music. Certainly the inclusion of tabla and Chakravarty's vocals adds an element that we're not used to, but that's not enough to explain how good they are or why their music is so entrancing.

Technically speaking the concert was filmed beautifully as the cameras didn't jump around all over the place from band member to band member or shot to shot, but lingered long enough at each point of focus for us to appreciate what was happening on the screen. The sound was crystal clear and perfectly balanced and the DVD offered you the choice of either Dolby Digital 5.1 surround sound or regular stereo, so no matter what your set-up you'll be able to enjoy the music.

Indian Ocean: Live In Delhi is a great introduction to an amazing band playing some of the best, and most heartfelt, contemporary jazz that I've heard in a long time. If you have the opportunity to catch them in concert during their current tour of North America do so. However if you're not able to attend, get a hold of this DVD and it will serve as some compensation. Indian Ocean are one of those bands that remind us why we loved music in the first place and listening to them will leave you feeling as refreshed and revived as you would after a summer storm.

Posted by Richard Marcus at 01:49 AM | Permalink

There's always been a fine line between what's interesting and what's tedious when it comes to acoustic music. For while some performers seem to have the knack for imbuing a song with the heart or soul necessary for bringing it to life, others can sing the exact same song and it will just lay there like a wet dish rag. It doesn't even seem to matter how skilled or unskilled the performer is either, for their fingers could skip and skim over the fret board of their chosen instrument and sing with the voice of the angels, and still bore you to tears. Yet the person whose voice sounds like gravel and who can only strum the few basic chords making up the bare bones of a tune, can break your heart or bring a smile to your face that will light up the darkest night.

People who have listened to folk music, acoustic blues. or country for any length of time will be familiar with this phenomenon as they have will undoubtedly heard plenty of examples of each over the years. While undoubtedly a listener's individual tastes and preferences in music have hand in deciding whether a song has emotional depth or not, the musicians can't escape being responsible for the quality of their music. Perhaps the most disappointing are those who you start off liking because what they do is interesting enough to hold your attention. However, over the course of a few CDs their music doesn't seem to change, or the novelty of their style begins to wear thin, and you begin to notice deficiencies in their sound.

About five years ago a friend of mine introduced me to the music of Harry Manx, who played an interesting mixture of Western and Indian music. He had studied for twelve years under an Indian master on an instrument known as the Mohan Veena. Shaped like an oversized guitar and equipped with an additional set of "sympathetic" strings that give its sound a quality similar to a sitar, its played in the same manner as a lap slide instrument. Taking advantage of these properties, Manx has married traditional Delta blues with the sound of India. While one can't help but admire the skill that's gone into playing and creating the music, and there is something undeniably captivating about the elegant, almost ethereal, sound he can produce at times, after listening to his forthcoming release, Bread And Buddha, coming out on September 15th on his Dog My Cat Records label, I can't help but feeling there's something missing in his music.

Don't get me wrong, the music is still expertly played as Manx is as skilled as ever and those who are accompanying him are equally adept. However, there's also been no change in what's being presented either, and after four CDs of hearing elegantly played blues and acoustic music, I find myself wishing for a little more rawness, or a hiccough of some sort or another to break the monotony. I like my blues music, and my country, to be a whole lot rawer and earthier than Manx seems willing to play. The lack of emotion and passion, that to me are the hallmark of those genres, can only be ignored for so long before the music starts to wear thin.

With its complicated, intricate, and intertwining rhythms, and the way it piles layer upon layer of themes on top of each other, Manx's style is ideally suited to classic Indian ragas. There the musician almost approaches his subject sideways, gradually building the picture he or she is trying to create until the audience can feel it on many levels. However the music he is playing on this disc, and his other releases, needs a more direct approach and requires a performer to commit him or herself to a song immediately. Whether it's the vocals or the instruments, the audience has to believe the performer right from the outset for the songs to have the emotional impact they require to be effective, and that's not happening on this disc.

It's especially obvious on his cover of the song "Long Black Veil". An old melodramatic, tear jerker of a country song, it tells the story of a guy who let's himself be hung instead of admitting he was in bed with his best friend's wife at the time the murder he's charged with was being committed. There's two ways you can ruin this song, one being by chewing the scenery and really overplaying it, but also by going to far in the opposite direction and not giving it enough. While there's no way Manx will ever be accused of being guilty of the former, although maybe that's what he needs to start shooting for, he definitely makes the song way too bloodless.

Ironically he has chosen to reduce the use of his trademark Mohan Veena on this disc, for instead of its absence giving his music more emotional oomph, those deficiencies have become even more obvious. On the two songs where it is employed we are given beautiful demonstrations of its haunting qualities and how adept he is with the style of music the instrument was initially created to play. So when he switches to playing more conventional Western instruments and genres, but retains many of Indian music's sensibilities, the problem stands out in very sharp relief. The mellowness and subtlety he employs on the former, don't have what's needed for the latter.

Harry Manx is a highly skilled musician who plays any instrument he get his hands on with elegance and style. Vocally he has a decent range and his delivery is as smooth and graceful as his playing. Unfortunately a great deal of the music he plays calls for rough edges that he doesn't seem to be able to deliver. When he picks up his Mohan Veena, and plays music that is Indian influenced the difference is immediately obvious, and those songs transport you in a way the other songs don't. While Manx is able to accomplish his version of fusing East and West technically, stylistically and thematically it doesn't quite work as there is an emotional void that leaves you feeling the songs are incomplete.

Posted by Richard Marcus at 10:01 AM | Permalink

It's only been in the last few years that North Americans have begun to learn about the mysterious world of Bollywood. Unlike Hollywood in the United States, which is an actual place and where more than one type of movie is made, the name Bollywood refers to a very specific type of movie made in India. Ornate, lush, opulent, and flamboyant, a Bollywood movie is first and foremost a musical. Filled with singing and dancing, they are popular all across South East Asia, one of the few things able to effortlessly bridge the divide between the multitude of languages, cultures and religions that are concentrated in this one region of the world.

While elements of Bollywood have been making their presence felt in some movies released in the West, Bend It Like Beckman, The Guru, and My Bollywood Bride (released in North America on DVD as My Faraway Bride), the majority of people in North America would probably still look at you funny if you said the word Bollywood to them. I have a feeling that those who do know about Bollywood, tend to think of it as quaint because the movies eschew sex and violence and aren't very realistic. However since the majority of what comes out of Hollywood has very little basis in reality and is less honest about sexuality than the average "Adult Film", the condescending attitude towards Boolywood would be laughable of it weren't so pathetic.

For while it's true that the story lines of the films themselves are rather simplistic and formulaic, most people watch them for the music and the dancing. Bollywood "phillum" music sells and sells, and the playback singers, those singing the songs, as very rarely does the actor on screen sing, are some of the most popular figures in India. While there have been some compilation of music by Bollywood singers released in North America, there has never been a CD released by a singer from India with an international audience in mind. Kailash Kher is probably one of the most popular singers in India right now, and aside from his film work, he and his band Kailasa, have become one of the most successful popular music groups as well. So it only makes sense that they are the ones to attempt to breakthrough over here, and their first international release, Yatra (Nomadic Souls) on the Cumbancha label, will be in stores as of September 15th/09.

While some of the songs have been freshly written for this CD, many of them are their biggest hits from India that they've reworked for an international audience. However, that doesn't mean they have done something ugly like merely paste on some effects or a few electronic drum tracks to songs to make them sound more American. In fact, unless you are familiar with the original versions of these songs, or well versed in Indian popular music, you wouldn't know they have had made any concessions to Western audiences.

Now I don't know about anybody else, but Bollywood music always puts a smile on my face. There's something about it that's so infectious and full of life that you can't helped but break out into a grin when you hear it. So when I heard the first song on Yatra, "Kaise Main Kahoon" that was my reaction, even though the song's meaning isn't exactly cheerful as it talks about the helplessness of falling in love. On the other hand the music is so effervescent that it's hard not to get carried away by it in spite of lyrics when translated into English that say things like "But I doubt that she even knows that I exist". Of course, this is one of the difficulties of listening to music from other cultures is that the clues we are used to hearing in a song that tell us the emotional feelings of the person its about are different from those we are accustomed to.

Yet when I listened to it a second time, even without having checked the lyrics, I began to notice inflections in Kher's voice that I had missed before, and wondered at the seemingly plaintive notes that were being expressed. It's important for us to realize when listening to this music that just because a tune is lively or up tempo it is not an indication of its emotional mood. We are used to songs where the music is as subtle as a brick wall when it comes to expressing a mood - slow ballad means love song and swelling strings means high emotions. With a song like this it's important to listen to the inflections in the singer's voice as there are more clues to be found there than in the music.

As the CD continued though I noticed a decided change in what they were doing musically as they began to sound less like the soundtrack to a Bollywood film and the songs became more intimate as the disc progressed. Even more interesting is how they have made subtle shifts in some of the songs to incorporate Western elements. On the second song of the disc, "Dilruba", for instance Kher describes in his notes how he and the band have adapted the rhythmic patterns of a 13th century style of music called qawwali by adding elements of funk and reggae to it. What's nice is they have actually managed to do this without it sounding jarring or intrusive. It doesn't sound like anything has been grafted on to the song unnaturally, but more like this is the way the song has always been played.

India is a multicultural nation and Kher and Kailasa do their best to reflect that in their music, drawing upon such diverse sources as the mystical poems of the Sufi where divine love is expressed in terms of human love, philosophies that form the basis for the Sikh faith of the Punjabi region, and the gods and goddesses of the Hindu pantheon. At the same time they utilize different musical styles from the various regions of India, the Middle East, whilr incorporating elements of Jazz and other Western influences. Like the song mentioned earlier with its funk and reggae tinged rhythms, the blending of musical styles is done seamlessly ensuring that each song retains its original cultural uniqueness while giving Western listeners something familiar to hold onto as the means to find their way into the song.

For those of you who have some knowledge of Indian music, whether it be the traditional classical music from the various regions of India or the phillum music of Bollywood, you'll hear some familiar sounds on this disc. However even if you've never listened to any music at all from the country, it represents a unique opportunity to experience it for the first time. Not only will you be amazed at Kher's abilities as a vocalist and the virtuosity of the musicians in Kailasa, but you can't helped being swept off your feet by the splendour of the music itself. It will be different from almost anything you've ever heard before, but you shouldn't let that stop you, as its an experience not to be missed.

Posted by Richard Marcus at 10:08 AM | Permalink

I'm not a musician, but I don't see how anybody can play the same type of music day in and day out for years on end without getting bored. Surely after a couple of decades of playing blues based rock and roll a guitar player would want to explore something else, if for no other reason than to open their minds to new ideas that could be incorporated into their genre of choice. However that doesn't seem to be the case with the majority of popular musicians out there, as they appear quite content to keep doing the same thing over and over again with only a few minor variations along the way.

All of which only serves to make the work of Les Triaboliques on their soon to be released, September 8th/09, disc rivermudtwilight, on the World Village label, all the more impressive. Les Triaboliques are Ben Mandelson, Lu Edmonds, and Justin Adams, guitar players who began their popular music careers during the British punk era playing with bands like Magazine and The Dammed, or in the case of Adams, as sideman for people like Sinead O'Conner. They are the first to admit that American music of the twentieth century was the first and major influence on their music, but unlike others their musical voyage didn't stop there.

Perhaps it's only fitting that Justin Adams has become well known for his work with the Tuareg nomad band Tinariwen, as he, Edmonds, and Mandelson, have been musical and literal nomads. Wandering the world, from Siberia to North Africa and stops in between, each of them has absorbed a variety of influences that has broadened their musical horizons far beyond what we normally find in popular music. It seems only natural these three wanderers would eventually end up together when the winds blew them back home to Great Britain, where they all originally hail from, pooling their talents and experiences to make this recording.

The eleven tracks on the disc not only represent their multiple influences but also the huge variety of instruments that each of them have taken up. Brilliantly, what they've decided to do is not wed an instrument to its country of origin - ie have an oud only play Turkish music - but have used them where they fit best and feel most appropriate no matter what an individual piece of music's background might be. Naturally some of the results might sound a little startling to your ears, especially until you get used to the sounds of the various instruments, but if you can put aside any preconceived notions on how a song is supposed to sound you're in for some delightful surprises.

For, while Adams sticks mainly with the instrument he's mot familiar with, guitar, Mandelson and Edmonds get to show off their versatility on instruments like things called a thee planktone, cumbus, bow bus, or khomuz. Now I doubt if I could have told you those names before listening to this disc, and even now I doubt I could recognize them by their sound (the only thing lacking in this disc is the fact that they don't break down which instruments are used with which song), I do know they are being played extraordinarily well. For it becomes abundantly clear that this is not just some affectation or dalliance on the part of these guys to pick up other instruments because they sound "cool". You can't do the things they've done on this disc without having spent a serious amount of time studying, practising, and playing. This isn't a group of guys simply hacking around for the fun of it or to make themselves look good. They are three musicians who are so passionate about what they do that they've exerted a lot of time and energy into how to make it h more interesting for themselves and of course those who listen to it.

One of the best examples of this is probably the medley of "Hora Anticuta Draga" and "Don't Let Me Be Misunderstood". You haven't lived until you've heard the latter played on what sounds like it must be the barizouki. Aside from the version sung by Michael Burdon and the Animals, I can't begin to count the number of times I've heard this song performed by an endless succession of bar bands, and yet hearing these guys play the song it's like I was hearing it again for the first time. Instead of it being almost the challenge that it usually sounds like, they've managed to capture its more plaintive nature and turn it into a genuine plea for understanding.

Each song on this disc has been given the same careful consideration that they've shown towards "Don't Let Me Be Misunderstood" when it comes to choosing the instruments to be played and its arrangement. As a result, even on songs that you're most familiar with you'll hear something new. Yet at the same time they haven't gone out of their way to change songs just for the sake of changing them. It's extremely difficult to play a song written by somebody else and retain its core while giving it your own interpretation, but that's exactly what Les Triaboliques have done.

What's even more impressive is the fact that they've taken on the extremely difficult task of performing songs from other cultures as well as their own and not sounding awkward. Too often you'll hear somebody playing a song from another country, or singing in a language other than their own, and it sounding affected or false. Yet listen to Edmonds singing "Gulaguajira" ("I The Dissolute Prisoner) in it's original Russian, you don't think about the fact that he's singing in another language - in fact I didn't even notice he was until the second time I listened to the song - because he is so completely involved in the story of the song that you can't help but believing in it.

When you're an established popular musician it's very easy, and acceptable, to keep doing much the same thing over and over again. However there are those who aren't satisfied with just playing variations on the same theme endlessly and so push themselves and their music in new directions. Justin Adams, Ben Mandelson, and Lu Edmonds have pushed further than most on their new album rivermudtwilight and the results are remarkable for not only their integrity, but for their quality as well. It's not often you get the chance to hear music as well played and lovingly presented as the material on this disc so don't miss out on it.

Posted by Richard Marcus at 08:18 AM | Permalink

After the attacks on the World Trade Centre in New York City in September of 2001 the unfortunate but unhappily expected backlash against Islamic people and all things Muslim took place. It didn't matter that those responsible for the act were no more representative of Muslims worldwide then right wing extremist Christians trying to bring about Armageddon represent the majority of their faith, if you looked Arabic you became the enemy. (Believe me I know - I'm dark skinned of Jewish descent and "look" Muslim enough for the red necks that I had my share of "towel heads" thrown my way, which would have been laughable if it wasn't so sad and scary).

Thankfully there are some saner heads in this world and though it took a while to get off the ground individuals and organizations around the Western world began work geared at countering the image of all Muslims as fanatical terrorists. MENA Music (ME - Middle Eastern and NA - North African) was set up in New York City in 2006 by Kazko Kawai a Japanese American who has lived in the US since 1985. Her thought was that through music she could enhance mutual understanding between the Arab world and her new country. MENA are committed to bringing the best musicians of the Middle East and North Africa to North America in order to develop audiences for the music from those regions. Ironically the orchestras which have been brought to North America to date have predominately been ones playing music that originated in the west. Andalusia was once one of the cultural capitals of the Ottoman Empire which stretched from Istanbul through the Middle East, North Africa, across the Mediterranean into Spain, parts of Austria, Bulgaria, to the former Yugoslavia and most of the Balkans.

While under the Ottoman rule Christians and Jews were allowed the freedom to practice their religions and in some cases hold positions of real authority. (In Cordoba the principal advisor to the Caliph was Jewish) After the Reconquista, when the Spanish retook their former territories, there was no reciprocation of tolerance. Under the Inquisition Muslims, Jews, and gypsies were forced to flee, convert or burn. It is the descendants of refugees in North Africa, primarily Jewish and Muslim, from this era who have preserved and developed the musical and poetic traditions from the Middle ages that from the basis for today's Andalusian Music.

The Orchestra Of Tetouan were formed in 1944 in Morocco and is now into its third generation of musicians playing the music of their ancestors and are about to embark on a tour of the American Mid-West sponsored by MENA. So far dates have been announced in Madison, Chicago, Boston, New York, and Bloomington with tickets for the Boston and New York concerts , September 23rd and 24th respectively, currently on sale and available for purchase by following the links at the MENA home page However those wishing a preview of what's in store can search out a recording the Orchestra made a few years back on the Pneuma label called Escuela de Tetuan Tanger - Musique Andalouse (The School of Tetuan Tangiers - Music of Andalusia)

While there have been recent recordings made that have featured music from that period re-interpreted for modern and Western instruments, they don't really prepare you for listening to the real thing. Although a recording like Siwan by contemporary musicians and singers is based on the same traditions, and is beautiful in its own right, in reality it has little in common with the original music. For while there might be some similarities in arrangements, there's not much else in the original for a Western listener to hold onto that's familiar.

Everything, from the strings to the vocals, are higher on the scale than what most of us are comfortable listening to. In fact, I have to admit that it initially set my teeth on edge. However I encourage you to persevere, for although it might be work to listen to for the first little while, once you become accustomed to the difference you begin to feel it's power. While the lyrics are of course incomprehensible if you don't speak Arabic the music is not without it's power. Gradually what was annoying becomes enthralling and you're swept up in the swirl of sounds and the hypnotic rhythm tapped out on the goblet drums and tambourine of the percussionists. Of course it's not too surprising that we find the music initially alien to out ears as the instruments used aren't ones we're liable to hear everyday, and the ones we are familiar with are tuned to different keys and played in ways we're not used to.

The lute, violin, and viola might all have been used at one time or another in Western music, and some of you might have heard a zither, but the rebab a one to three stringed bowed instrument, one of the central instruments in the traditional orchestra, will be unknown to most. The music relies heavily on periods of improvisation on the part of the players called taksim or taqsim which literally translates as division, interspersed with vocals. Each taqsim is based on a complex system of modes or melodies and rhythms, with each melody being a combination of twenty-four different quarter notes and each combination having its own mood associated with particular feelings. There are one hundred and eleven distinct rhythmic patterns that a musician can use, the simplest being the rajaz based on the rhythm a camel's hooves make on the sand. Obviously the taqsim chosen will reflect the mood of the vocals in order to provide the proper atmosphere for their theme.

The majority of the vocals seem to have been taken from Sufi poetry which used human love as a metaphor for divine love. As a result this music has the distinction of being secular and divine simultaneously. While a true appreciation of this music would only come with a better understanding of which combination of notes is associated with which feelings, it is still possible to listen to this music and appreciate it for the magnificence of the spectacle and the way it manages to hold your attention. There is something about the combination of the sound and the beat that is enticing, and gradually, almost without noticing, you'll find yourself held by the plaintive keening of the vocals, the shifting sands of the rhythms, and the mysteries of the melodies.

The music of Andalusia was known as the music of love, and while we may not completely understand the message being delivered by the Orchestra of Tetouan, we can't help but be fascinated by it. If you have the opportunity to catch one of their concerts when they are in the US this fall, check them out - it will be an experience unlike any you've had before.

Posted by Richard Marcus at 09:26 PM | Permalink

The first time you see a performer or a group in action goes a long way towards forming your opinion of them and their work no matter what you see and hear of them anytime after. Well that's the case with me anyway and, whether its fair or not, if they suck the first time I see them its going to take a whale of a performance in the future for me to change my opinion of their music. That first exposure will have made an indelible impression on my memory banks, and somewhere in the back of my mind I'll always carry the awareness of that lousy gig and be waiting for them to repeat it. Than again if they are magnificent the first time, and it will take a lot for me to give up on them.

The first time I saw Santana in action was also the first time I saw the movie Woodstock. It looked like Santana was the first group to go on after the infamous rain storm which had turned Yasgur's farm into a mud bath. In the movie the crowd had started to do their own percussion thing to entertain themselves with people playing on everything from fence posts to beer bottles in order to participate. After a couple minutes of that the movie segued into Carlos and the boys playing "Soul Sacrifice". While I had heard them play the same song on the soundtrack, actually seeing them perform it was completely different experience.

Although both the movie and its soundtrack only have Santana playing the one song, like everyone else who played "The Woodstock Music & Art Festival" they played between forty-five minutes and an hour. Now, for the first time, the whole set Santana played Saturday August 16th 1969 has been released on one recording as part of Legacy Recordings' Santana: The Woodstock Experience. The two CD package also contains a copy of the group's 1969 release, the self-titled Santana, their first recording, and a poster of the group performing at the Woodstock festival.

I have to assume the eight tracks on the Woodstock disc represent the entire set performed by Santana that afternoon after the rainstorm, and the order they appear in on the CD match the original performance order, as it doesn't say different anywhere on the packaging. There's two reasons that's important to me; one it means they basically performed, with the addition of "Fried Neck Bones And Some Home Fries" and the subtraction of "Shades Of Time" and "Treat", their album for the concert, and two, "Soul Sacrifice" hadn't followed directly after the audience's spontaneous percussion performance as the movie implies, as it was the second last song in their set. What happened on screen was the result of creative editing on the part of the film makers, not some shared experience between audience and performers.

While that was a little disappointing to discover it did nothing to diminish the electricity of the band's overall performance on the live recording. For not only was "Soul Sacrafice" as good and exciting as it was the first time I heard it in the movie theatre all those years ago, now that it was placed in its proper context as being part of the band's overall set, it somehow became even more exciting. Santana is one of those bands whose performances are a cumulative thing, with each song building on the momentum and energy created by the one preceding. Like a rising tide the music builds in its intensity until it finally reaches its high water mark leaving the audience feeling like they've experienced something equivalent to a force of nature.

It's not often you have the opportunity to listen to a band doing studio versions and then live version of pretty much the same songs on the same release. This is especially interesting when dealing with a band like Sanatan where everybody from Carlos Santana on lead guitar, the conga and percussion players Mike Carabello and Jose Chepito Areas, drummer Mike Shrieve, bass player Dave Brown, to Gregg Rolie on keyboards (which in those days meant piano and organ) are such gifted musicians they can play extended solos on their respective instruments that are miniature performances unto themselves. The embellishments they each add to a song during a live performance aren't just gilding, they almost take it to a new dimension as they push the material as far as it can go without becoming self indulgent.

Something you have to realize listening to these two discs, especially the live one, is that in 1969 the type of music Santana was playing was something most people hadn't heard before. While today bands like Los Lobos and others have made the mixture of Spanish music, blues, and rock and roll well known, it was Carlos Santana and his band who first popularized it, and it was this concert that started it all. Before they had played Woodstock Santana hadn't been known outside of the San Francisco Bay area and this concert brought their sound east for the first time.

Mike Shrieve's drum solo in "Soul Sacrifice" is now one of those seminal moments in rock and roll history for the impact it had on the audience that day. Michael Lang, co-producer of the Woodstock festival recalls, according to the liner notes, it was that solo that captivated the audience and completed the job of winning them over. While they may have missed some of the subtler nuances of the performance simply because of the size of the audience and the primitive sound system, Shrieve's drumming wasn't something that anybody could miss. While normally I find there's nothing more boring than a rock and roll drum solo, and am ever so grateful that they are now mostly gone the way of the dinasour, the solo he uncorked that concert was like the best of jazz drumming, but tinged with the wild abandon of rock and roll.

When Carlos Santana and the rest of his band strode onto stage on Saturday afternoon on the 16th of August 1969, nobody quite knew what they were going to hear. Unlike them we've had the privilege of being able to listen to Carlos Santana for forty some years now, but you've probably not heard him quite like you'll hear him on the live from Woodstock disc. Of course according to this article in Rolling Stone Magazine he was peaking on mescaline when they went on stage, which might have made some difference. However that, after all, was part of what the era was about too and you can just consider that part of the spice that makes the music so special. The sound quality might not be the best on these live recordings, but that doesn't really do anything to diminish their significance and how the music will make you feel and what you just might experience listening to it.

Posted by Richard Marcus at 04:57 PM | Permalink

Although the diaspora of Jews from Israel began as early as 8th century BCE, it was the destruction of the Second Temple and the razing of Jerusalem in CE 70 by the Roman Empire that finally succeeded in scattering their population throughout the known world. Over the next century or so communities of Jews were established from India to Great Britain, and a period of mourning was declared which included a Rabbinical edict banning secular music.

The ban lasted to the middle ages, and the music that developed after was much like the language, Yiddish, that was used in daily life, a hybrid of the various cultures and people they found themselves living among. So you can hear Slavic and German influences in both the music they played and the language the lyrics they sung. Therefore it's not difficult to see Jewish music easily adapting itself to work with most other cultures. However, the idea of mixing Irish and Jewish music together still seems at first blush as maybe pushing that envelope a little too far. Can Gaelic and Yiddish have enough in common for such an effort to be possible? Yet that's exactly what Susan McKown and Lorin Sklamberg have done on Saints & Tzadiks, a new release on the World Village Music label.

This is nothing new for this duo, they won a Grammy award three years ago for their first collaboration, Wonder Wheel, so there are plenty of expectations for them to live up to with this recording. Well I haven't heard the previous work, but all I can say is if anybody finds Saints & Tzadiks a disappointment they need to consider having their ears checked for hearing loss. Each of the twelve tracks on this disc are a wonder and a joy that tap into the wide range of emotions both traditions are famous for. What's really wonderful is that for two cultures with plenty of reasons for music to be replete with sadness, the collection on this disc does more than just break your heart as they have uncovered treasures to lift the heart and well as making it ache.

While the majority of the tracks are sang either in Yiddish, Old Irish, (Gaelic) or English, some are actually a mix of all three. "Prayer For The Dead" starts off by blending together the old anti-war song, "Johnny I Hardly Knew Ya", with the Yiddish song "kh'bin Osygeforn felder,velder, oy'vey!" (I've travelled across fields and forests, Oh woe), sung in alternating verses by McKown and Sklamberg respectively, and then concludes with the singing in Gaelic and Latin of "Deus Meus Adiuva Me" (My God come to my aid). While McKown sings the part of the young woman not recognizing her beloved come home from the war for all the body parts he's missing in "Johnny", Sklamberg sings of finding the corpse of a soldier in a field and wondering who will do the funeral rites for him. Finally they conclude with the haunting prayer, written in the 11th century, asking God to fill the soul with love and sunlight.

The effect of the three songs blended together in this manner changes what are nominally anti-war songs, and songs about misfortune, into a prayer for something better. For, after hearing the litany of sufferings brought about by war, the beseeching a God to be filled with light and love is made much more powerful and turns the song into something more than the sum of its parts. The two principle tunes blend sufficiently well together they don't sound out of place being alternating verses of the same song, while the contrast between the two, ensures they become more than just one culture's lament by emphasizing the universality of suffering.

Like I said earlier this is more than just a disc about how horrible it is to be either Irish or Jewish as the two also have some fun. " My Little Belly" is an old Yiddish children's rhyming song that lists off various ailments by running through the various body parts with the two vocalists alternating verses. Sklamberg in particular has fun with making himself sound as plaintive and suffering as possible. "The Hag With The Money" is another combination of three songs, this time three Irish tunes; "I'm In Arrears", "The Hag With The Money", and the instrumental "I Buried My Wife And Danced On Her Grave". This time the two alternate singing the Gaelic verses of the first song, and then McKeown sings her verses of "The Hag" in Gaelic and Sklamberg sings it in English and Gaelic. The story that's told by stringing the three together is a warning to all women of means - don't be marrying a guy in debt or you just might find him dancing a jig on your grave.

While the material is equally wonderful throughout the disc, listening to how McKeown's and Sklamberg's voice mix and contrast is the real marvel. Sklamberg has a beautiful tenor with which he communicates a wide range of emotions in all of his singing, while McKewon is a husky voiced alto with a rich sound. While it initially sounds like her voice will overpower his as they're not competing with each other that's not a problem, and the way in which their voices compliment each other is a marvel. If you can imagine two voices dancing and alternating who is leading as the music behind them shifts, you'll have a good idea of how well they work in tandem. Each of them serve as a perfect conduit for the meaning of their songs, so even though much of the material isn't sung in English listeners, should have no problem drawing a general idea of each song's emotional tenor.

Even if you need to acclimatize yourself to the idea of Yiddish and Gaelic material being sung together, you can't help but be moved and impressed - even awed - by what Susan McKeown and Lorin Sklamberg create on Saints & Tzadiks. The combination of their voices and the material being sung is as powerful as any music I've listened to in the past. It's not often that secular music is able to obtain the heights of beauty one would normally associate with religious music, but this recording iss as full of passion and wonder as any oratorio to a god.

Posted by Richard Marcus at 03:58 PM | Permalink

For all that I'm liable to complain about the system of labelling musical performers by genres I find that I end up doing the same thing in my own way. It's only natural I guess to categorize music in some fashion, how else are you going to differentiate one piece of music from another? However, that's still a personal choice based on my own likes and dislikes and an understanding of the type of music I like to listen to when I'm in a certain frame of mind, not something that I'm going to use in order to answer the question, what kind of music do they play?

While it's true there are some musicians you can say play blues or rock fairly easily, there are other bands who just aren't going to fit into anybody's neat little categories no matter what you do. In fact, I'm discovering the music I'm enjoying most these days is that by performers who can't be pinned down as belonging to any single category. In some cases the number of genres they fall into is so great that they'd have more back slashes in any attempt to label them than the average web-site has in its address: they play a punk/jazz/folk/acoustic/blues/country/gypsy/swing sort of thing with some classical influences. By the time you get finished reciting a list like that it becomes meaningless and you might just as well have said they play music.

One of the most recent examples of this I've come across are the band Caravan Of Thieves. After having listened to their latest release, Bouquet, I could no more give you a one word answer to "what kind of music do they play" than I could explain higher physics equations. Even telling you that the four core musicians play, guitar (Fuzz and Carrie Sangiovanni), violin (Ben Dean), double bass (Brian Anderson), and are occasionally joined by Bruce Martin on accordion, isn't going to help, as a line up like that could indicate anything from a country group to a folk ensemble from the streets of Paris.

So what can I tell you about their music if I can't tell you what it is? I can tell you that lyrically they are sly and witty and musically they are full of life and vigour. I can also tell you that the signing of the Sangiovannis is perfect for the music as they harmonize beautifully without trying anything overly fancy, and have voices equal to the task of expressing the ideas, emotions, and humour in their songs. They are sufficiently skilled at playing their instruments to play fast enough to make your head spin and be equally effective playing something more pensive. Their music hops, skips, jumps, and swings through the twelve songs on the disc without once missing a beat or striking a discordant moment.

One of the interesting things about Bouquet is how they've divided the disc up into three acts, and an intermission; an instrumental piece appearing to be called "Zu Zio Petals". (I say appears because the text is so stylized that I couldn't tell you whether the first letters of the first two words were a Z,Q,J, or even something else - I don't know why bands insist on using type that is almost indecipherable when reproduced at the size required for CD liner notes) The impression this creates, when coupled with some of the other song titles, especially considering the name of the band, is that they are a group of less than reputable carnival hustlers.

While the opening track's title "Ghostwriter" might not at first glance appear related, when you realize the lyrics are referring to someone who is dead, not just someone hired to write something for you, they complement the overall theme with its suggestion of mediums and communicating with "other side". However its songs like "Freaks" with its peon to the different in the world, and "Box Of Charms", which when opened has cures for everything and whatever ails you. Although not without risk of side effects - spontaneous combustion, decapitation, loss of limb, or turning you into a flesh eating zombie.

However, you do begin to wonder whether its not a medicine show or carney after all, after you listen to "Angels In Cages". The show that they describe in this song sounds suspiciously too much like the state of the world for it to be just some low rent carnival. "Its a lovely show with fire and explosions./We are sure you will all be charmed to death." Not what you'd call the most enticing of blandishments. I personally would think twice about stepping right up to see a show where the clowns are in charge of the heavy guns no matter how much I'm reassured that it's all in fun.

There's something about listening to Caravan Of Thieves' new CD Bouquet that put me in mind more of what I'd expect to hear from a European group than one from North America. While there are plenty of groups from this part of the world following the same configuration of instruments as Caravan, few of them ever play anything aside form zydeco or other music which has roots here. It was only because of the fact that they sounded like a musical tour of Europe, rather than being from one specific point on the continent that distinguished them from European groups or ensembles who tend to only play the music of their homes. For not only can you hear sounds from the streets of Paris, there's also music that could only have come from Eastern Europe and the Balkans, plus a liberal sprinkling of swing spicing up certain songs.

Bouquet could have been recorded in New York City or Bucharest, but what really matters is the fact that the music is a pleasure to listen to and the lyrics are witty and intelligent. While there aren't many people who can play more than one style of music, the number who bounce around between quite a few on the same disc and yet maintain a continuity of music is very rare indeed. When it comes to this Caravan Of Thieves the only thing you have to worry about them stealing is your heart, as their music sweeps you across the dance floor and then bounces you around quite a bit.

Posted by Richard Marcus at 11:54 AM | Permalink

Normally trips down memory lane are exercises in sentimentality that have little or no interest to anybody save for those directly involved in the events being rehashed. When such excursions are married to popular music the results are as varied as people's individual tastes and how they choose to remember their own past. It's difficult to generate enthusiasm for these exercises in nostalgia if you actually lived through the era in question, especially when the music designated as being representative of the times doesn't appeal to you now anymore then it did when it first polluted the air waves. Duran Duran don't appeal to me now anymore then they did back in the 1980's and I really can't see how anybody can look back on music like that with anything other than nausea. However, there's a difference between those sordid attempts at pretending there was anything worth remembering about bad pop music and embarrassing clothing trends and celebrating a specific genre of popular music.

In Rocksteady: The Roots Of Reggae the musicians who were at the forefront of performing this precursor of reggae reunited in Kingston Jamaica to record and perform some forty years after the genre's heyday. The documentary movie made of the reunion follows them around the city checking out their old haunts and into the studio as they re-record their rocksteady hits. While the movie has only received limited release, it opened on July 24th/09 in four cities in Canada, the soundtrack, Rocksteady: The Roots Of Reggae was being released on the Moll-Selekta label.

A joint Canadian and Swiss co-production the movie probably won't get much distribution action south of the border, so the CD might just be Americans only opportunity to check out the greats of the rocksteady era coming together to play their music one more time. Judy Mowatt, Leroy Sibbles, Rita Marley, Sly Dunbar, Marcia Griffiths, and Hopeton Lewis might not be familiar names to most of today's audiences. Reggae fans might recognize the names of the three women from their time as the "I-Threes" singing harmonies for Bob Marely (and in Rita's case, as Bob's wife); Sly Dunbar as the drumming half of the ubiquitous reggae rhythm section Taxi Squad; and Leroy Sibbles from his days as the lead singer of the Heptones and his subsequent successful solo career. However, most of the other people involved in this won't be known to many people outside of Jamaica, as rocksteady didn't seem to travel off the island.

Before any of them made names as reggae stars, they were playing and recording rocksteady. In a lot of ways it seems like the main difference between rocksteady and reggae was the amount of recognition and money the performers received as compensation for their efforts. The music, at least what's been recorded on this disc, doesn't sound much different from reggae, save perhaps that it's lighter on the bass and a bit more up tempo. What makes these songs so important is they represented the beginning of the move away from ska music, which had dominated the Kingston music scene until the mid 1960's, that would eventually lead to reggae.

It was rocksteady that slowed the music's tempo and added the heavy bass that has become such a distinctive part of the reggae sound. It was also these new performers who first started to write lyrics about love and conflict. Listen to a song like "Sounds & Pressure" by Hopeton Lewis and you hear elements of both ska and reggae. The peppy horns have always been a feature of ska, but here the music is at a slower tempo and is propelled with the slower, almost insistent beat, that distinguishes reggae. Unlike reggae though there is a definite lightness to the music. While they might be talking about subjects like needing to find work or your love leaving on the next train like in U-Roy's classic "Stop That Train", the music just doesn't seem anywhere near as dense as reggae.

Listen to Ken Boothe singing "Freedom Street", with it's exhortation to walk down freedom street in order to rid the world of war and injustice. The message might be heavy but the music is a lot brighter than what you'd hear if it was sung by someone like Marley or Tosh. There is a pop element to the songs that is lacking in reggae, and you get the feeling that it doesn't take itself anywhere near as seriously as reggae does. Of course there's another big difference, you're not going to hear anybody mention Jah, or any talk of Rastafarianism for that matter, in these songs.

Now listening to these songs there's something else you have to keep in mind, the average mean age of the people recording them has to be at least somewhere in the sixties. These songs were all recorded in 2008 at the old Tuff Gong Studios in Kingston where many of the songs were recorded the first time - forty years ago. I can remember when Leroy Sibbles came to live in Canada in the late 1970's to escape the political violence that was tearing the slums of Kingston apart, and he wasn't a young man then. Yet hearing him on disc now, he sounds no different then he did all those years ago.

The same goes for all of the performers on this disc. Judy Mowat's voice is as strong and powerful as it was when she first recorded "Silent River Runs Deep" or when she Rita, and Marcia were singing harmonies for Bob Marley. These folk are ageless wonders, and they are superbly backed by musicians just as capable as they are. The rhythm section, anchored by the incomparable Sly Dunbar on drums, is so tight that you can drop a penny on it and it will bounce in perfect time. Songs like "Shanty Town (007)" sound as good now, if not better, thanks to improved recording techniques and technology, then they did when I first heard them on the soundtrack for the movie The Harder They Come, The Harder They Fall from the early seventies.

Rocksteady: The Roots Of Reggae is a wonderful collection of music from an amazing group of musicians who made history forty years ago by paving the way for people who went on to become far more famous than most of them ever did. It amazes me that rocksteady never caught on in the wide world in the same way ska and reggae did outside of Jamaica. It's far more infectious than reggae and much more accessible than ska, meaning there's no reason why it shouldn't catch on with a wider audience even now. According to Sly Dunbar a lot of Jamaicans would say they prefer rocksteady to reggae because it had better sound, singing, playing, and better instrumentation. Well, while some might argue with some of those specifics, it's easy to see how somebody could prefer rocksteady over reggae. If you've never heard this music before this is the perfect opportunity as your not going to find anybody who can perform it better than the people on this disc. One warning - there's over sixty minutes of music on this disc so be prepared as once you put it on you're not going to be able to sit still until the last note fades away.

Posted by Richard Marcus at 04:44 AM | Permalink

It's not very often that my health problems interfere with my life, but this past week I had reason to rue them for the first time in a number of years. As a treat to celebrate our wedding anniversary I had purchased tickets for my wife and I to go and see one of our favourite performers when his tour stopped in Toronto Ontario for two nights. Unfortunately as the day drew nearer it became obvious there was no way my body was going to be able to stand up to two and half hour trip by train that it would take to get to Toronto. I put off the inevitable for as long as possible, but in the end I surrendered and we gave the tickets to a young couple we know who appreciated the music as much as we would have. I figured the only thing worse than not going, was not going and having the tickets laying around the house reminding me of the disappointment.

A part of me knew all along we wouldn't be making the trip, I've not been able to make a trip of that length since 2002, so how could I have thought now would be any different. I guess I had hopped that when the time came for us to make the trip somehow it could happen because it would have meant so much to us. You see, there's something about Xavier Rudd's music that I've connected to it on a personal level, in a way that I never have before to any musicians work. My wife summed it up best when she said, "he always seems to be able to articulate how I'm feeling about the state of the world with his music."

Rudd released his first CD, To Let, in 2002 and has since produced four more discs and toured the world extensively. The Australian born multi-instrumentalist's initial albums and tours saw him performing as a one man band. Sitting behind a stand holding his three Yidaki (an Australian Aboriginal instrument named for the hunter who not only discovered it but whose spirit now resides within them, its better know by the name Europeans have given it, didgeridoos) he would play either slide or regular guitar, keep the beat with a stomp box and small percussion instruments, play some harmonica, and of course sing. Over the course of the three discs that followed To Let; Solace, Food In The Belly, and White Moth; Rudd's music gradually became both more musically and thematically complex, a period of development that culminated in his most recent release, 2008's Dark Shades Of Blue.

When it had looked like I would be travelling down to Toronto to see Rudd in concert I contacted his Canadian publicist to see if I could set up an interview. Of course that fell by the wayside when the trip fell through, and I had to settle for fifteen minutes on the phone with him. It's a somewhat frustrating experience trying to engage a person in conversation when you know you're working against the clock as you have to keep curtailing topics in order to cover any ground at all. However fifteen minutes turned out to be plenty of time for us to talk about the current tour, Dark Shades Of Blue, his music in general, and even touch upon his wife's (Marci Lutken-Rudd) art that served as cover for Dark Shades Of Blue.

A conversation like this, if you're lucky, gives you a series of glimpses into a artist's soul and from that you try and piece together a picture of the person behind the music you've been listening to and appreciating. With Rudd, something you quickly realize is there is no separating the man from the music, for as one changes the other follows. I had started off by asking him whether the harder edge that can be heard on Dark Shades Of Blue was indicative of the direction his music was going in. I had noticed over the course of his two previous recordings that each had become progressively edgier and this one had gone even further down that road.

Xavier's answer took me by surprise, because it's not too often your going to find a musician who is willing to admit, "I don't think too much of where the music comes from it's just something that happens." Now lest anyone thing he's saying he doesn't think about his music, he's talking about inspiration here, not the music itself. You see the music he's working on now has moved in a completely different direction from what was on Dark Shades of Blue - in fact he described it as "Light and bubbly, and much brighter" Part of that he attributed to two South African percussionists he just started working with who have brought a different perspective into the mix. The other thing though is that he also sees Dark Shades of Blue as being the culmination of a journey that he had begun even before the release of his first disc.

"I was going through a really profound time and this (Dark Shades Of Blue) was a more personal album than any of the others." He continued by saying that after ten years of being in the music business he had felt like he needed to take time for self-reflection which made the disc much more introspective than anything previous. "I needed to go into the dark rooms inside myself and clean off some of the dusty shelves and this was the result."

Now, in case your worried that this sounds like a bunch of self indulgent twaddle, you only have to listen to the disc once to know that the last thing this guy is going to do is engage in a fit of public naval gazing. Sure he might have been re-evaluating where he was at the time, but the material has universal appeal. If you've ever spent anytime looking inward you're sure to be able to identify with a great deal of what's being expressed on the recording. Anyway, if you were at all worried about him getting overtly serious, don't be. Rudd has to have one of the most irrepressible spirits going - it may have feeling the weight of working nearly non-stop for ten years while working on Dark Shades Of Blue but now...

"I'm coming down the other side of the mountain on two wheels" is how he described it. "What I'm doing now is not only brighter and lighter, its also sweet and spicy, full of life. Having the two new percussionists cross my path right now has been great. Before setting out on this part of the tour I had taken six months off, and that was the longest break I had taken in ten years from either touring or recording and so it really feels like something fresh is happening."

That might have sounded silly or funny coming out of someone else's mouth, but there's something about his excitement and sincerity that evoked an image in in my mind's eye of him popping a wheelie at the top of a mountain and riding down on two wheels in the bright sunshine of a new morning.

If you look back to when I was talking about the instruments Rudd plays, I've mentioned an aboriginal one called the Yidaki. It was Rudd who told me the story of the instrument being named for the person who discovered it and also asked that I refer to it by it's proper name. Aside from the fact that he plays an Aboriginal instrument, he has featured both Native Canadian (Marci is a Canadian) and Australian singers and musicians on a couple of occasions on his discs, and some of his songs have been about their circumstances. So I was interested in finding out if his song writing had been influenced by either Native Canadians or Australians.

It turns out the influence is a lot more direct than I thought as he is of Aboriginal descent through his father's family. Now I've met more then my fair share of folk who are something like 1/32 native blood who try and make out that it gives them some sort of special connection to creation that makes them superior to the rest of us. What I heard in Xavier Rudd's voice, first when he talked about Yidakis - asking that I make sure to call them by their proper name in this article - and then again when he talked about the cultural inheritance passed down to him through his father - was respect. Respect for how they give voice to the spirit of their country and for part he plays in letting that voice be heard through his music.

One of the ways he lets that voice be heard is through touring and Rudd tours a lot. Part of that is of course because he's from Australia and if he wants people elsewhere to listen to his music he has to spend time in North America and Europe. With the music industry it's very much a case of if you're out of sight, you're out of mind. However, when I asked him about the difficulties involved with having to be out on the road so much he simply said: "I know a lot of people would give anything to be in the position I'm in. I feel blessed to be doing this and touring is a part of it all". Naturally that led me to asking him about touring and performing...

"A concert is like a ceremony", he said, "people come to the shows to celebrate the good stuff in their lives and use it as an opportunity to let go. All the energy they produce I channel and give it back to them so that it becomes a real exchange between us. It's a very powerful situation that shouldn't be taken for granted by looking on it as only an opportunity for making money, which given the nature of this industry is something that happens far too often." (The tickets I bought for the Toronto show were the most expensive at $32.00 each. Compare that to the close to the $100.00 your liable to pay for anyone else and you really begin to appreciate his commitment to keeping his music accessible to as many people as possible.)

My time was running out and I'd already dropped a couple of questions I had wanted to ask Xavier by the time we got to this point. I had been really intrigued by the artwork his wife Marci had contributed for the cover of Dark Shades Of Blue so I quickly raised the topic of her work and any interconnection there might be between their two fields. While they don't work at the same time there's still a connection between their work according to Xavier.

"Her artwork was important during this time because of what it meant in regards to our journey together and she selected the piece that was used for the cover." Unfortunately we didn't really have time to explore the question of Marci's art work much more than both Xavier and I to agreeing on how wonderful it is and for him to add, "While we don't directly inspire each other there is a connection between our work because of the energy we both bring to what we do and how its part of us."

So then there was only time to ask what was up and coming for Xavier Rudd and to learn that he was going into the studio in October with the two percussionists from South Africa, who are currently on tour with him, and he's feeling incredibly rejuvenated and "ready to be busy".

Fifteen minutes isn't very long to spend talking to anybody, and you sure won't get to know them intimately in that time. However after spending fifteen minutes on the phone with Xavier Rudd I feel like I have a clearer image of the man responsible for creating the music that has moved me more than anybody else's in the past five years. He's touring across Canada and the US for the rest of the summer - check his web site for the remaining dates - and if you get a chance to check him out do so. Only, do me a favour and don't tell me about it, because I really don't want to know what I missed out on.

Posted by Richard Marcus at 12:05 PM | Permalink

Anyone who has listened to any amount of music from Africa will quickly notice the different flavours it acquires dependant on the region it's from. Once you have become familiar with the characteristics of a region's music, it becomes easy to identify where a performer hails from simply by listening to them play. Although that has to be qualified with the proviso that the person plays music that has at least been influenced by the music from that region. If they've succumbed to becoming a part of the great melting pot that is popular culture that's a different story, but for the most part, no matter what genre they're ostensibly supposed to be playing, you can usually pick up some clues as to which part of the continent they come from.

While a great deal of the music we're hearing these days is coming from the North West of Africa and the Sub Saharan region, the region which has been most consistent over the years in producing music that has reached beyond its borders has been Southern Africa, and specifically South Africa. Even during the days when the country was an international pariah due to minority rule and apartheid, the music of South Africa was making itself heard. Either through the efforts of ex-patriots like Hugh Masekela or foreigners like Paul Simon recording with local performers, we became familiar with many of the different traditions that colour South African music.

Ironically it seems like since the end of minority rule the amount of new music coming out of South Africa has slowed to a trickle. In the past few years, judging by the items I've been offered for review by most of the "world music" labels, all anybody seems to be interested in is what's happening up north. However that doesn't mean there isn't anything happening musically in South Africa, or that there isn't musical territory in that country yet to be discovered. A fact that's brought home by Lapeng Laka, the latest release from jazz guitarist Selaelo Selota now available on the Sony label.

This isn't the first recording that Selota has made that bears the influences of his home province of Limpopo or to be sung in the language of the sePedi people who live there. However for nearly the past decade he has been dedicating himself to establishing his reputation as a jazz player through study and performance. That Lapeng Laka is a return to the roots of his music is made clear through its meaning in the sePedi language -"in my house". However, like many other musicians who have begun to explore other genres of music, he's not simply content to play old tribal melodies on traditional instruments. Instead he's reached back to incorporate the traditional folk-tales of the region and its music into what he's been doing for the last number of years.

While it's all very well and good to play traditional tribal music on traditional instruments, by not allowing a culture to grow and expand it becomes stagnant. However it takes a delicate touch to manage something like this without completely ruining the original music. There have been some horrible examples of people merely sampling traditional music and welding it onto electobeat technology and making a mockery of what was once beautiful and sacred. However with a musician of the calibre and creativity of Selota, it's clear from the moment you listen to the first song on the disc that's not something you have to worry about in this case.

It's only fitting that the disc opens with the title song, "Lapeng Laka", as it opens the door to the "house" of music that Selota has built for us to listen to. His guitar is the foundation for the rest of the house, and it has all the smoothness and elegance that one has come to expect from the great jazz players. At the same time he's incorporated what are obviously rhythmic elements of the traditional music into his playing as it traces patterns you don't normally hear from jazz players. As the focal point of the music the guitar could come to dominate what we're listening to, instead it serves as the core around which everything else coalesces to form each song.

Surprisingly Selota also supplies the vocals on this disc, it's not often a jazz guitarist can sing as well as play, and his voice is more than up to the task of blending the vocal lines in with the rest of the music. With the lyrics in sePedi we obviously can't hope to understand what he's singing about specifically, but the music and the tone of his voice do manage to convey a general sense of hopefulness to all the music. According to the notes at Selota's web site a great many of the songs are derived from the folk tales of his home province, but without being able to understand the lyrics the specifics of each of those will be lost on listeners.

However, that doesn't mean that you won't take away an appreciation for the music and the culture of the Limpopo province. For Selota has worked very hard to ensure that musically the disc is as strongly flavoured as possible by traditional sePedi music while at the same time making it accessible to those who won't be familiar with its sounds or the language the songs are being sung in. It's hard to describe what the music sounds like, but there's a gentle flow to it that evoked images of rolling grasslands and horizon lines that stretch off far into the distance. The little I do know about the geography of South Africa is that there are such vistas to be found in the country and its easy to picture Limpopo as one such area.

Selaelo Selota has done the remarkable job of finding just the right balance between the traditional and the new to bring the music of his native province in South Africa to life. What makes this recording special is that he has managed to do this without seeming to sacrifice any of the music's unique regional qualities while making it accessible to a wider audience. It's been a while since we've heard a new voice from South Africa, but as this recording tells us there's still plenty that's new left to be heard from that country. With people like Selota leading the way there's reason to hope that this is just first of many new recordings that we'll hear from South Africa in the near future.

Posted by Richard Marcus at 01:45 PM | Permalink

These days the borders between musical worlds and genres are blurring at an ever increasing rate. When a musician who was born a Jew in Israel and now lives in America who grew up playing the music of African Americans makes a recording with Malian musicians that combines his native and learned traditions with their music, well perhaps we are finally hearing world music. Up until now when we've called something world music we've really meant its from outside the boundaries defined by our language and cultural tradition.

It's become so ridiculous that a Native American recording in his own country, where his ancestors have lived for hundreds if not thousands of years, has his music classified as world. On the other hand a group who records material derived from traditional anglo/Irish folk tunes is called Americana. It's even funnier when you consider that the latter are using instruments that originated in Africa (the banjo) and Spain (guitar) while the former's instruments originated in North America. What kind of world are we talking about when we say world music? A world where we work together to create something of harmony and beauty? Or a world divided into those who are like us, and those who are different and not quite as important?

Oran Etkin was born in Israel and fell in love with the music of Louis Armstrong when he was nine years old and has been playing jazz ever since. However at the age of nineteen he also started playing with Joe Camara, a percussionist from Mali. While it was Camara who broadened Etkin's musical horizons by inviting him to Mali to live and play with him, it was Balla Koyate, a balafon (xylophone) player from Mali, and Makane Kouyate, percussion and vocals, he joined forces with in 2003 to begin the process that has resulted in the production of his new release, Kelenia on the Motema label.

The title of the disc, Kelenia, is a word in the Bambara language meaning the love felt by those who are different from each other. This is highly appropriate when you consider the backgrounds of the original trio, and those who have joined them on this recording. Of course the music is an expression of the sentiments expressed in the disc's title as well as the different backgrounds come through in the music. For not only do we hear the obvious African and American influences, but in Etkin's clarinet playing one can also hear the echo of Klezmer and faint traces of Eastern Europe wafting through as well.

What's most impressive about the music on the disc is how well the musicians have managed to blend their diverse talents to create music that not only reflects their individual musical backgrounds but something new as well that's a result of that intermingling. The music of Mali was not written with saxophone or clarinet in mind, but not once on any of the disc's eleven tracks do either of those instruments sound out of place when being accompanied by the balafon, or when they provide accompaniment to Makane Kouyate's vocals. The same applies when Balla Koyate joins Etkin for a rendition of Duke Ellignton's "It Doesn't Mean A Thing", as his balafon, although lending the song a more exotic flavour than we might be accustomed to, sounds right at home.

There have been recordings made of North America musicians playing with those from countries like Mali before. Yet they have not been like this, because most of those have attempted to graft the blues or jazz onto a tradition, that while sharing some similarities, still has its own distinct flavour. In the past that flavour has usually been close to washed away, resulting in people exclaiming about how much "they sound like us". Of course any similarities that exist do so because our music descends from theirs, or, in other words because we sound like them. However, the real problem is the fact that the styles never seem to meet on equal terms.

On Kelenia Oran Etkin and his band mate aren't trying to graft anything. Instead they have synthesized their individual musical and cultural identities to create something that not only allows them to express a unified sound, but also preserves their individuality. The last thing I would think anyone would want to hear would be a sound that eliminates our differences in order to create something homogenous and without character. Somehow these musicians manage to both celebrate their differences and ways for them to work in concert. As you listen you'll be able to pick out traits that sound familiar to your ear which serve as a bridge into this new musical landscape that has been created.

What is so amazing about this recording is that its a disc where nobody is trying to imitate somebody else's way of playing music but that all involved have figured out how their music can work as part of the other's style. The result is something extraordinary and wonderful to listen to. For not only is the sound harmonious, but so are the feelings generated by the intent behind the making of the disc. For as the title means the love of people who are different from each other, so the music celebrates how people can love each other because of their differences, not in spite of them.

When you listen to this disc you will have to rid yourself of any preconceived notions that you may have of how certain types of music should sound. However, you'll soon realize that if more people were willing to make the kind of effort these musicians have made, it would be more than a new world of sound you'd be experiencing, it would be a far more harmonious world.

Posted by Richard Marcus at 01:47 AM | Permalink

When you mention Jewish music to most people they will most likely either think of Fiddler On The Roof, groups of Kibbutzim dancing Israeli folk songs, or maybe even Klezmer. However most people don't associate Judaism with religious music, and for the longest time music was forbidden to Jews by Rabbinical edict as a symbol of their mourning the destruction of the second temple in Jerusalem by the Romans in 70 AD. Yet, by the middle ages those strictures were relaxed and instruments were once again to being used to help celebrate religious feasts and secular events.

Of course with such a huge break in their own musical tradition, and the fact that most Jews were now living in Eastern Europe instead of Jerusalem, their music was heavily influenced by the folk music of their gentile neighbours. Like Yiddish, the language spoken by the Jews of Eastern Europe for day to day usage, you can hear traces of everything from German, Polish, Czech, to the Romani (gypsies) in Klezmer and Jewish religious music. While Klezmer music has obtained a level of popularity recently and there are any number of recordings available, the same can't be said for the religious music. However two musicians who were instrumental in creating the interest in Klezmer music through helping found the band The Klezmatics have now begun making recordings of Jewish religious music as well.

Frank London and Lorin Sklamberg have just released Tsuker-zis on the Tzadik label, a collection of fourteen songs celebrating various holidays and aspects of Jewish religious life. The title is Yiddish for sugar sweet, and according to notes accompanying the release Jewish imagery often uses sugar metaphorically to describe the divine sweetness of our lives. That doesn't mean the songs on the album are sickeningly sweet, rather they are expressions of the joy the various holidays bring to people. For even a holiday as intimating sounding as Yom Kippur, Day of Atonement, can be considered joyous as its a part of the overall sweetness of the divine in a Jewish person's life

However, you'd be forgiven for wondering what kind of disc of Jewish religious music features an Armenian oud player, Ara Dinkjian, a tabla player from North India, Deep Singh, and an electric guitar player, Knox Chandler, whose credits include Cyndi Lauper, the Psychedelic Furs, and Siouxie & The Banshees. Well, when you consider that trumpeter and keyboard player London has worked with everyone from Itzhak Perlman to LL Cool J and vocalist and accordion player Sklamberg has taught Yiddish singing from Maui to Kiev, the fact that they have elected to work with three musicians from such diverse backgrounds makes a little more sense. Anyway, remember the Jewish musical tradition that has inspired this recording drew upon a wide variety of musical influences to begin with. It only follows that modern day adaptations of these songs should follow in their footsteps by drawing upon the world around them as well.

Right from the opening track, "A Sukkah Of Branches", you realize you're in for something completely different from what you're used to if you've heard any Jewish music before. While I have to admit that swirling, atmospheric keyboard music was the last thing I expected to hear when I hit the play button, it not only suited what they were doing with that song in particular, it served as an overture to the whole recording by giving you fair warning of what was to come. This isn't another "ethnic" recording that would look good on stage in "authentic" clothes accompanied by "traditional"cuisine for those looking to take a Disney world tour of cultures.

Instead of merely being content with recreating music as it would have been played five hundred to six hundred years ago, the musicians have found new ways to turn music into a celebration of the presence of the divine in people's lives. While four of the tracks either are composed by, or include text written by, others, the remaining songs are either originals or new arrangements of traditional songs. Not only does this make the music more relevant to a modern audience, it also has the added benefit of allowing them to make the music accessible by including instruments not normally associated with the Jewish tradition.

Now that doesn't mean they have done anything stupid like disguise what it is they are singing about by hiding the fact that the songs are about religious celebrations. With titles like "Our Parent, Our Sovereign", "The Lord Sent His Servant", and "Elijah The Prophet Bought A Red Cow" it's pretty hard to miss the fact that the songs aren't just pretty little tunes or interesting music to listen to. In fact even just listening to the music without knowing the titles, or understanding every word being sung should be enough to let you know what's going on.

For somehow these five musicians have created music that no matter what your belief system communicates the joy and sweetness that's to be found in the act of believing. However, even if you should somehow miss the point from the music, once you hear Lorin Sklamberg start to sing you can't help but understand what the music is about. I'm not one to use the term divine inspiration lightly, but when you listen to Sklamberg sing you can't help but feel like he's been inspired by something beyond the mundane. It's hard to describe, because he's not doing anything overt like engaging in histrionics or any of the other melodramatic things some singers do to indicate their "sincerity" and "passion". Yet, there can be no doubting the depth of his passion or the level of his sincerity. He has integrated himself into the ensemble as another instrument to the point where he sounds like he's giving voice to their feelings letting you know its the message that's important, not the messenger.

Taken as a whole Tsuker-zis celebrates the belief in the divine on a universal level even though its content is specific to one religion. For even if you're not Jewish, you can't help but be moved by the what the musicians involved have created in the name of that belief. If you're Jewish you will definitely be moved by this disc, but if you're willing to listen with your heart as well as your ears, you can't help but be moved no matter who or what you believe in.

Posted by Richard Marcus at 02:27 PM | Permalink

I always find it very funny when someone says to me they really like "African Music" and then become almost insulted when I ask them which country's music they're talking about. I like to give people the benefit of the doubt and hope they're only stupid and not being deliberately insulting by implying that a continent filled with more countries, cultures, and peoples than North and South America combined could possibly be represented by one style of music. Still it's hard not to laugh at them when they become indignant when asked for specifics.

Of course that's being a little unfair as most types of music played in Africa, with the exception of popular genres, aren't specific to one country but to a region of the continent. Of course that's only because the borders of so many countries bear no relation to traditional tribal boundaries. As a result some people have found that they now live across the border from other members of their own tribe. While others, like the nomadic Tuareg, have found that travelling across their territory now involves crossing four or even five borders. Looking at a map of Africa, it's easy to understand why you wouldn't know the location of Guinea-Bissau. The tiny former Portuguese colony is crammed between Senegal to the north, Guinea to the south, Mali to the east, and the Atlantic ocean on the west. It's one of the most impoverished countries in the world as the majority of its people survive through subsistence farming.

Still, like other West African nations, they have their own musical history, and Kimi Djabate, is one of the contemporary links in a chain that extends back in time hundreds of years. Centuries ago his ancestors had been travelling musicians from Mali. The king, of what was then Guinea, loved their songs so much that he invited them to stay and offered them the territory of Tabato, where Djabate was born. Born into a family of Griots - musicians who are keep track of their tribe's history and tell the stories of the people through song - Djabate started playing music when he was three years old. His first instrument, the balafon (a type of xylophone), remains his primary instrument to this day. However as his forthcoming release, Karam July 28th, on the Cumbancha label shows, he's expanded his repertoire of instruments to include guitar and various types of percussion.

At the age of nineteen, in 1994, while touring Europe as part of the national musical and dance ensemble of Guinea-Bissau, Djabate decided to settle in Europe and has based himself out of Lisbon in Portugal ever since. Listening to the fifteen tracks on Karam, all of which he wrote, one can hear that while he has stayed attached to his musical roots, he has also reached out to graft on some new branches to create his own sound. While still at home he had been sent off to neighbouring territories to learn some of the regional differences available close at hand, but he also took it upon himself to learn about music that was from even further afield. Since landing in Europe he's continued that musical education and now you can hear traces of everything from Nigerian Afrobeat, blues, jazz, to Cuban being used when appropriate to the material at hand.

Of course like all Griots, first and foremost Djabate is a vocalist. As it was their responsibility to be able to sing a family's or tribe's history, Griots by necessity have voices that make you want to listen to them. However this doesn't mean being loud or overpowering, it means having a voice that draws you into a song. Djabate isn't going to overpower anyone with voice, but there's something about his melodic tone that captivates the ear and holds your attention. What makes this even more impressive is the fact that the majority of the material on Karam isn't sung in English. Yet, in spite of that, you find yourself wanting to try and hang on to every word he sings.

Perhaps it's the subtle power of his music that ensnares the listener. With the balafon and acoustic guitar switching as lead instruments the overall sound of this record is far less rhythm heavy than one would probably expect. In fact, there are occasions that the music comes close to being too understated, but is saved from being trance or sleep inducing by Djabate's precise playing of the balafon. Unlike a drum the sound of this instrument is very mellow and instead of propelling a song, it moves with it, emphasizing and breaking up the flow like punctuation does a sentence. Grown accustomed to popular music that's pushed forward by a full drum kit supported by electric bass it takes a while for our ears to get used to the type of interplay of rhythm and melody employed by Djabte's, but once you do you'll find it just as effective as any other style.

Although living in Europe Djabate's focus remains firmly fixed on Africa. He sings about the social and political realities facing his people including the rights of women, the fight against poverty, and about freedom. The last is particularly important to his homeland as its history has been checkered with civil wars and military coups since their independence in 1963. With one of lowest per capita mean incomes, around seven hundred American dollars per year, and an average life expectancy of around forty-five, Guinea-Bissau is one of the poorest countries in the world. What little infrastructure it had was destroyed during a civil war in 1998-99, and a military coup in 2003 has only increase its instability. As a Griot Djabate tells the story of his people in his music, and right now its not a pretty picture.

This goes a long way towards explaining the subdued tone of this disc. It would be hard to be too exuberant when singing about those topics. Yet even so the music isn't depressing to listen too. While we may not be able to understand the exact words that he's singing, the tone of his voice communicates that he has hope that things can improve. In spite of what I referred to as the subdued tone, there is an infectious quality to the music that gradually encourages you to move to the music. Normally you're not going to want to dance to songs that only bemoan fate, as the music can't help but reflect the spirit of the lyrics, so the fact Djabte's can inspire you to move tells you while things might not be so good right now there's no reason to give up hope for the future.

Kimi Djabate, like so many other West African singers we're hearing today, comes from a long line of singer/storytellers, and he carries on that role with his own music. However, instead of merely speaking for one village, or even one family he speaks for his country and his continent. His use of music from traditions other than his own and his softly insistent voice combine to ensure that while we may not understand what he is saying, we are not only compelled to listen but take away a good sense of what he is talking about with each song. Don't worry if you've never heard of Guinea-Bissau, or know next to nothing about the north-west of Africa, with people like Kimi Djabate around as long as you're willing to listen you'll learn quickly enough.

Posted by Richard Marcus at 10:42 AM | Permalink

It's probably a hangover from watching too many Hollywood movies. but when I think of Eastern Europe I can't help seeing in my mind's eye a dark and mysterious landscape. Gloomy forests climbing the sides of sharp mountains suddenly give way to deep lakes under whose surface lie mysteries better left undisturbed. It's hard to imagine the sun ever shining in this environment, let alone it ever being daytime, as if it exists in a state of permanent twilight. It's in woods like these you'll find the gingerbread cottage of "Hansel and Gretel", or perhaps chance upon a girl in a red cloak making her way to her grandmother's house.

However, in spite of the darkness, there's also a haunting beauty which can take your breath away in the same way that plunging into an icy mountain stream will leave you gasping for air and in pleasure at the same time. Yet it's a beauty that seems tinged with sorrow, like a heartbreaking poem or song. Perhaps it's an overly romantic view of something I know very little about, but it's also based on knowing some of the history of the region and the hardships faced by a great many of those who have lived there. Subsistence farms carved out of available land, continual invasions by one army or another, and the twentieth century's contribution to horror - ethnic cleansing after the fall of Yugoslavia and the death camps of WWll.

A new release by vocalist Lily Storm, If I Had A Key To The Dawn on her own Songbat Records label, of primarily traditional songs from that region shows, no matter the country or language, the music does nothing to dispel those impressions. Whether Russian, Armenian, Albanian, Romanian, Bulgarian or Hungarian each of the songs she performs on this disc are beautiful but hint at sorrow in their music and lyrics. Yet for some reason there is nothing depressing about them either, as the honesty of emotion exhibited by each song is beautiful onto itself.

One of the hardest things about singing in a language, or as in this cases languages, that your audience is not going to understand is to communicate with them the nature of the song. Although Storm has included translations for all the lyrics they aren't really needed to make these songs work for us as she shows herself capable of expressing their overall feeling with her voice. What I really appreciated about her singing is this is the type of situation where a singer could very easily give in to the temptation to over emote in order to get their message across. Storm not only refrains from doing that, she is also able to imbue her voice with character that gives the listener an idea of the story behind the song as well as the emotional content.

As for the material itself they remind you that folk music can be in the right hands a genuine expression of a people's experience. Whether a lullaby or a love song these tracks are devoid of the sentimentality that are the hallmark of so many contemporary songs that deal with similar themes. First of all they employ poetic imagery to convey their ideas that you would never find in even the best folk songs in North America let along most popular music today. Not only does this give the material greater emotional depth, it also allows for an ambiguity of meaning that makes you have to think about the song's real meaning.

The opening song of the disc for instance, a traditional Ukrainian lullaby called simply "Sleep Child" is only two verses long, but contains a world of meaning. A mother tells her child to sleep and she will cover it with leafs and leave it by the water. From Moses on down there's a long history of hero legends where the baby is set adrift by its mother and goes on to become a great leader after being rescued. However, the same lyrics could also express a young mother's frustration and resentment at being tied down to a squalling baby and her desire to be free of the noisy and demanding thing. Listening to the way that Storm sings the song you notice a certain amount of ambiguity in her voice, and a definite lack of anything that can be construed as heroic. While you wouldn't be able to discern the alternative meaning from just hearing her performance, you can tell that this isn't your typical lullaby.

Of course having the translations also makes a world of difference when it comes to appreciating some of the nuances of material. The sixth song on the recording, a Hungarian piece whose title is translated as simply "Love, Love" is both an ode to the pain of love in general and a long ago love in particular. "And for my love of long ago/what I wouldn't do/the water of the sea/I'd scoop out with a spoon/and from the bottom of the sea/I'd gather small pearls/and for my love of long ago/I'd make a pearl wreath".

What starts out sounding like one of those poems that are describing the lengths somebody would go to in order to express their devotion for their lover, is quickly turned into something else by the last word in the song. The singer isn't going to drain the ocean one spoonful at a time to make a necklace celebrating love, no, it's to make a wreath to place on its grave. Of course that the music accompanying the lyrics sounds like a dirge, and Storm sounds like she's just lost her best friend, gives you a good idea of the singer's mood and their opinion of love even without understanding what she's saying.

Probably when most of us think of the music of Eastern Europe we either think of the colourful and exuberant folk dances of the Ukraine, the fiery music of the Romani, or perhaps even polkas. If I Had A Key To The Dawn, from the atmospheric photographs included in the accompanying booklet and on the cover, to Lily Storm's magnificent singing, brings a different side of that part of the world to life. Listening to the music on this disc reminds you that just as there is beauty to be found in the darkest part of a forest, it can also be found in the expression of some of our darkest feelings. A song from the heart is a beautiful thing no matter what language its in or what its about. You may not have thought that a broken heart could be as beautiful as a lover's kiss before, but after listening to this disc you'll see how it's possible, and you'll understand how tears are just as special as a smile.

Posted by Richard Marcus at 08:37 AM | Permalink

It was in the 1950's that the United States of America began to pay the price for the years of treating African Americans like second class citizens. Refusing to be segregated and denied a voice in the selection of their government any longer, African Americans began campaigns of protest and education in an attempt to be treated equally. It wasn't only the Southern States where segregation and other forms of discrimination were practised, but it was states like Alabama, Georgia, Tennessee, and Mississippi where they were most enshrined either by law or custom, or both.

Therefore it was these states that became literally the main battlegrounds of the Civil Rights movement of the late 1950's and early 1960's. People from all over North America congregated in the South to show their support for the movement by taking an active role in their protests. Sit in's were staged by black people in white only dining facilities, bus seats in the front, white only sections, of municipal vehicles were occupied, voter registration drives that ensured black people previously shut out from the polls were able to vote, and people marched in the thousands demanding equal rights. The battle they faced wasn't an easy one as they were routinely attacked and beaten by both the police and mobs, and there were deaths among both the white and black protesters.

Now as the churches were key in galvanizing the people in the South, it should come as no surprise that when the protesters turned to song in order to comfort themselves and keep up their spirits, their first thought was the spirituals that were sung in church. It was easy to identify with songs taken from the stories of Moses leading his people to freedom, and it was those songs that were first sung and even adapted to suit the needs of the movement. However, as the recently released DVD of the documentary Let Freedom Sing: How Music Inspired The Civil Rights Movement shows, spirituals weren't the first or only music that were part of the movement. It also shows how the music of the African American community grew to reflect the changing moods of the people as the needs have changed.

Narrated by Louis Gosset Jr. Let Freedom Sing traces the history of music protesting the situation of African Americans from Billie Holiday's performance of "Strange Fruit" with it's graphic descriptions of black people hanging from trees as the result of lynching, to Public Enemy's songs about life in today's urban core. However, as befits its title the majority of the movie's focus is on the relationship between the music and the quest for equality. Interviews with musicians and former freedom riders are interspersed with footage of protests of the era helping to both recreate the era for the viewer, and providing first hand accounts of what the music meant to those involved with the events depicted.

As was mentioned earlier, spirituals were the backbone of the movement to begin with, but gradually songs from both outside the church and the black community became just as important to the people on the ground and in getting the movement's message out to the world at large. Young white musicians like Phil Ochs, Bob Dylan, and Joan Baez were key in ensuring that young educated white audiences in the northern states at least were aware of the issues, if not inspiring them to take an active role in protesting. Perhaps the most famous song associated with the civil rights movement of the early 1960's was "We Shall Overcome" and there's a nice little bit with Pete Seeger, where he makes sure to stress that all he did was introduce the song to people, and they were responsible for its genesis into the powerful protest song it became.

While some of the conversations with the musicians were interesting enough, some of them have bore a striking familiarity to ones that I'd seen in other documentaries before. The interviews that were most fascinating were those with individuals who had been active in the movement. Not only were they each articulate about their experiences, they were also able to tell us just what music had meant to them and how it had helped them through difficult times while protesting. Music not only has the power to inspire crowds, as it did in one man's memories of spending the whole night in jail singing, it also could give individuals the strength to stand up to the abuse heaped upon them by the counter demonstrators.
Time Life

While there's no denying the veracity of the history that's being presented in Let Freedom Ring, and on the whole the music is a decent cross representation of the era as it related to the civil rights movement, there was a little too much emphasis on the music that had crossover appeal for white audiences in the 1970's. While there was acknowledgement of the rise of black power, that whole aspect of the history was skirted over aside from a brief speech given by Stokely Carmichael and some pictures of various Black Panther members like Angela Davies. Perhaps most annoying was there was almost no mention of Malcom X, any references to Huey Newton and his false arrest on manslaughter charges or any of the various efforts made by the FBI to discredit not only the Panthers but even mainstream leaders like Martin Luther King Jr.

The other problem I had with the movie is although it refers to itself as being about music and the civil rights movement, in actual fact it's about music and the history of African Americans struggle for equality. If you're going to use a title as inclusive as civil rights, you have to include all those groups who are striving for acceptance; Hispanics, Gays & Lesbians, Native Americans, women, illegal immigrants, and the disabled. While it's true that in the 1950's and 1960's the focus of civil rights activists was on the African American community, the latter part of the twentieth century saw other groups struggling for acceptance as well. While it was good that the movie included events that happened beyond the borders of North America by talking about South Africa and Nelson Mandela, if they're calling themselves a movie about the civil rights movement they need to be more inclusive.

While the movie Let Freedom Sing: How Music Inspired The Civil Rights Movement does a good job showing the connection between the fight for equal rights for African Americans and the popular music of the community, it's an incomplete and slightly misleading history as it leaves out references to key figures and events. Even if we accept it's title at face value, that the civil rights movement was only concerned with African Americans, it's still an inadequate job of telling that history.

Posted by Richard Marcus at 03:22 PM | Permalink

The common perception most of us have of European history from the fall of the Roman Empire until the fifteenth century is one personified by the title the period is designated as; The Dark Ages. Its depicted in our histories as being marked by the spread of the Black Plague, ignorance, and superstition. It wasn't until the miracle of the Renaissance, which literally means re-birth, that Europeans began to drag themselves out of the mud and filth and started to create beautiful art and rediscover the teachings of the ancients. Reading most standard histories of the time you could get the impression this awakening was somehow spontaneous; one morning people just woke up and looked at the world differently.

The reality is that the knowledge was never really lost and not all of Europe had descended to the same depths of ignorance, only Christian Europe. Al Andalus was the area of Spain ruled by Muslims until 1492, and during those dark ages all the so-called lost knowledge and arts were alive and kicking. Everything from the concept of zero in mathematics, philosophical concepts of the self which would have seen you burnt at the stake in Christian Europe, to the arts and music, thrived in the city states of Cordoba and others through out the region. Muslims, Christians, and Sephardic Jews lived in relative harmony and there was a free exchange of ideas and learning between scholars of all three faiths. It was from here that the knowledge which fuelled the so called Renaissance trickled into Italy, France, and other countries.

How much of this beauty and knowledge was lost when the Spanish Inquisition purged the region of heretics and non-believers by forcing Muslims and Jews to either convert, flee, or burn, will never be known. However much of the great poetry and ideas on music were preserved and passed on. The music was probably the easiest to spread as wandering minstrels and troubadours would have carried tunes and lyrics across borders and passed their ideas on. It's this music, and the poetry that sometimes supplied the lyrics for it, that forms the basis for a collection of music being released on ECM Records under the guidance of Norwegian pianist Jon Balke on June 30th in North America.

Siwan, the title of the disc, is the word for balance in Aljamiado, the Latin-Arabic hybrid language spoken in medieval Andalusia, is a collection of eleven tracks, nine of which feature the work of poets from that region married to music inspired by the era. The earliest song, "Thulathiyat" was written by the Suffi mystic Husayn Mansour Al Hallaj who lived between 857 -922 AD while Lope de Vega's "A la dina dana" demonstrates how the influences of the era lived on after the re-conquest as he lived from 1562 - 1635 and is considered one of the major voices of the golden age of Spanish literature for his plays and prose. The booklet accompanying the CD not only gives a history of each song and the poet who wrote it, but their lyrics in the language they are sung in, either Spanish or Arabic, and an English translation.

Jon Balke has an extensive background in both jazz and world music with credits including compositions for theatre, dance, and chamber orchestras. The three other main musicians, vocalist Amina Alaoui, trumpeter Jon Hassell, and violinist Kheir Eddine M'Kachiche each have experience and talent relevant to the work at hand. Alaoui and M'Kachiche are Moroccan and Algerian respectively and both have extensive backgrounds in the history and playing of the music of Al Andalus. Jon Hassell's musical experiences have seen him studying from Europe to India and he has created what he calls "fourth world" music - music without borders that combines classical,pop, secular, and sacred elements from all over the world. With these four serving as the nexus, and the rest of the musicians drawn from traditions and cultures ranging from traditional Persian to early European music like baroque and renaissance, everybody involved has had their musical experiences influenced by what was born on the Iberian peninsula.

As for the music itself, I'm struggling to find the words to describe it. If you're familiar with any of music from North Africa, Spain, Persia (modern Iran), or renaissance Europe, than you're bound to recognize elements in each song no matter what language they are sung in. In fact there are times while listening to various songs that you'll swear you've heard it before as patterns that you've heard in another context will tug at your memory. However, all of the compositions have been created for this recording. What Balke and his fellow musicians have done is compose music which reflects the depth and breadth of the influence Muslim Spain has on us to this day. It shows, no matter what anybody would have us believe, that Islam is one of the cornerstones of Western culture, as the philosophy and thought that went into the creation of the music from that region continues to strike chords of recognition with us today.

One of the great wonders of Siwan aside from the beauty of the music, is the singing of Amina Alaoui. While all the musicians are wonderful, it's around her voice that the nine tracks with lyrics live or die. The more I hear female vocalists from traditions other than North American pop or European opera, the more I realize why I've always felt there has been something lacking in our music. There's nothing forced or controlled about Alaoui's voice like what were used to. While I've always been able to admire the technical prowess of an opera voice, its lack of human warmth has always left me cold. Alaoui's voice is every bit as technically proficient as any I've heard sing opera, but she has the humanity they lack. Rich like velvet her voice also retains the rawness of human emotion that allows us to identify with her song even though we may not speak or understand the language she's singing in.

Carl Jung talked about the idea of race memory wherein we remember things that date back thousands of years through a type of collective unconscious. While some of that has been formed by specific associations like religion and language, some of it we share in common with all humans. In some ways the music on Siwan is like that as you recognize it without actually knowing any of the songs on the disc. However, what's important is the music on this disc is beautifully sung and wonderfully played. It doesn't matter what you know or don't know about history, or even if you give a damn about who influenced who. Listening to this disc is an experience that transcends any of those concerns, proving once again that regardless of what anyone thinks or does, great art exists in a world of its own.

Posted by Richard Marcus at 09:57 AM | Permalink

I was never much of a Grateful Dead fan and never really understood people's obsession with the band. Oh sure, I liked some of their songs and admired their skill as musicians but there are a lot of bands I can say the same thing about and there have been plenty of others who I've liked a whole lot more. In fact I knew so little about the band, that although I recognized the name I didn't even know what instruments Mickey Hart had played for them until I first heard the Global Drum Project, the all world percussion group he founded.

All of which meant that I knew nothing of the history of The Rhythm Devils and how they evolved as a separate entity within the Grateful Dead. Hart and Dead drummer Bill Kreutzmann earned the nickname The Rhythm Devils during their years with the band. During the band's live concerts, portions of the show would be given over to the duo, and any friends who were on hand to assist them, for a percussion set. Which is how they came to the attention of Francis Ford Coppola in the 1970's and were commissioned to compose music for his film Apocalypse Now. The Apocalypse Now Sessions was their first and only release as the Rhythm Devils while The Dead were still active.

In 2006 the Rhythm Devils got back together with some friends to do a series of concerts. Joining Hart and Kreutzmann were Mike Gordon on bass, Steve Kimock on guitars, Sikiru Adepoju on talking drum, and Jen Durkin handling the vocals. Former Dead lyricist Robert Hunter wrote them a handful of new songs, and the group set out on a short tour. Now, three years later, StarCity Recording Company has released a two DVD set, Rhythm Devils: Concert Experience, commemorating that tour. Packaged in a hard covered book featuring illustrations and the lyrics to the songs performed, one DVD is the concert while the second is a behind the scenes documentary with backstage and rehearsal footage.

As I said earlier I've become familiar with Mickey Hart's work with the Global Drum Project and was hoping to hear and see something of similar quality and style on this DVD. However, while there is no denying the overall skill and talent of the instrumentalists, the music was not of the quality that I have come to expect from Hart's other projects. While there were undeniably moments of musical magic during the concert, overall there wasn't much to get excited about. There was far too much of what sounded like directionless jamming where the same patterns are repeated over and over again during a song and nothing is ever developed to the extent it could be.

While they would always start out promisingly enough it often seemed like the band was content to find a groove, get comfortable, do their solos, and then repeat few times over again. Every so often the vocalist would sing a couple of verses of whatever song they were doing, and the pattern would then be repeated. Each time they went into a new instrumental break you'd hope for something new, but after a while even the solos began to sound the same and the music became even more pointless.

Perhaps it might have been better if the vocalist was able to provide some variety, but Durkin seems limited in what she is capable of doing. While she has the potential to have an interesting voice, for there a great husky quality to it, at the time of these recordings she was monotone and uninteresting. At times she wasn't even singing in the same key as the band and it just sounded unprofessional. Perhaps it's because she had to wait so long between verses during a song it made it hard for her to retain her focus. However if that's the case than perhaps she was the wrong choice for this band, but that's something you need to discover during rehearsals, not on stage.

One of the selling points of this DVD package was supposed to be the post production video added to the concert footage. This included using old cartoon footage, excerpts from what looked like early television commercials, a collection of shots of various nebulas, and other colourful pictures from space and earth. Unfortunately instead of augmenting the experience of listening to the music it was mainly a distraction. They were either used in such a cliched manner that they bordered on silly, or they would have so little to do with the song they accompanied that you wondered why they were even being shown.

Even the hardcover book that made up the package for the two discs in the set was slightly ill-conceived as it didn't contain proper sleeves for the DVDs and it would be very easy for them to fall out and be damaged. There was also very little practical information about the band or the people involved aside from telling you who was playing which instruments. It would have been nice if they could have supplied a little bit more than just the lyrics to the songs and the set list. Unless you're willing to go hunting around on the Internet, you're not going to learn anything about the band's history or about the individual band members themselves. It's almost like the producers of the package have assumed anyone buying it are going to know that information somehow.

The sound and video quality of the concert disc are good, but I was rather surprised that they only offered it in Dolby stereo and not surround sound. If it's possible to re-master CDs from the 1980's in surround sound, it should be for video recorded in 2006 as well. However, that was only a minor disappointment compared to the music itself. Maybe if you're a big fan of the old Grateful Dead you'll enjoy Rhythm Devils: Concert Experience but having seen what Mickey Hart is capable of doing these days, this was quite a let down.

Posted by Richard Marcus at 10:01 AM | Permalink

It's not often that we think of popular music and the Old Testament in the same breath. Heck even the majority of today's gospel music looks to the New Testament for its inspiration. However, when you consider the source of the new release Song Of Songs on the Electrofone Records label, the Old Testament connection makes a lot of sense. Inbar Bakal was born in Israel and is a descendant of Yemenite Jews whose traditions have long included putting their belief to music.

Like all young Israelites Bakal did her years of national service, as part of an anti-aircraft battalion, before embarking on the career of her choice. While that choice was always destined to be music, (her grandfather, a famous kabbalist thought by some to be able to predict the future, told her when she was sixteen that she had a big star in the sky that said she was going to be a singer) it was only after she gave up a career in the armed forces and moved to Los Angeles that it came to fruition. It was the same grandfather who inspired Bakal's version of the traditional psalm that is her release's title track, Song Of Songs. For while many consider the sensuality of that particular psalm to be an allegory for the love between man and God, her grandfather believed it was about love fro a woman, because it is truly divine.

That should give you a clue as to the fact that although this disc might look to the Old Testament and traditional Jewish music and culture for its inspiration, its not what you would call religious music. Bakal is very careful to enunciate that while she takes great pride in her Yemenite heritage and has a very traditional sense of her culture, she is not especially religious. Nor, at least judging by her approach to the music on Song Of Songs, is she so wedded to her traditions that she's unwilling to tamper and experiment with the music using the technology available to today's musical performers.

While listening to the disc you'll also notice she's done a little more than just add a few technical advances to the music. She's put together a band that's comfortable with the instruments and musical styles of a great many different cultures through-out the Middle East and the Mediterranean. This means that intermingled with the sound of instruments like the oud which is native to the region, you'll also hear the strains of a bouzouki and piano mixed in. Of course the most obvious additions are those that were added in the production room; electronic sounds and rhythms.

There has been a noticeable trend among younger international musicians towards modernizing the sound of their parent's and grandparent's music with decidedly mixed results. While some have been able to strike a delicate balance between the old and the new, others have shown themselves to be far to eager to discard what it was that made their music special in the first place. Thankfully that's not the case with Inbar Bakal as she and her producer Carmen Rizzo have demonstrated they share an awareness of just how far they can push a song in that direction before it loses the distinctiveness that gave it character in the first place.

While Bakal sings in a mixture of Hebrew and English, the lyrics of her songs are another way in which she brings the material into the modern world. The song "The Bride" is a great example of this as its actually two songs in one that deals with the difficult subject of an arranged marriage. In the first song we are given the bride's perspective. She begs her family not to marry her off to this man whom she abhors and their answer is a resounding no. The "second" part of the song deals with the wedding itself and serves as a contrast to the bride's misgivings and reluctance.

What I appreciated most about Song Of Songs was the ability that Bakal and her producer showed in finding the balance between the modern and the new and the traditional and the innovative. Neither the use of instruments from the other cultures nor the manner in which they used production values interfered with the inherent beauty of the original music. You can not only feel the power and the passion of music that's been handed down from generation to generation, but Bakal's love and respect for what she's doing as well.

Listen to the title track, "Song Of Songs", and you'll hear just how well she's able to blend the modern and the traditional. She has taken the words of the psalm and turned them into not only a wonderful love song, but a song that also celebrates the wonders of love. You can hear within the litany of praises for the lover's attributes her belief in what her grandfather called the divinity of love between people. Instead of the usual sentimental tripe normally heard in contemporary love songs, she has created a piece of music celebrating the awe and wonder that such feelings can exist between two people. After listening to "Song Of Songs", you can't help believing those emotions are so rarified they have to be a gift from some higher power or another.

Of course it doesn't really matter what the music is like if the person at the centre of the band can't deliver the goods. Thankfully Inbar Bakal delivers on the promise that her grandfather predicted for her when she was a teenager. Not only can she write wonderful songs, she has the vocal abilities to bring them to life. The two most obvious are her range and the amount of expression she's able to project no matter where on the scale she is singing. Some singers are able to climb and descend the scales at will, but lose their ability to project emotion at certain points. That's not the case with Bakal, as she is equally capable of letting you know what's being felt by the subject of her material whether she's singing in a low throaty growl or whispering at the upper end of the register.

The only complaint I have to make about Song Of Songs is that at six songs it ends far too quickly. In fact this disc is so short its really more an EP release than a full length disc. Than again, I suppose that's better than having to listen to a full length disc of really bad music, and never wanting to hear a performer again. For, there's one thing for certain, after listening to this disc you're definitely going to want to hear more. This is a collection of wonderfully crafted songs performed with passion and skill by a talented and expressive singer that successfully melds modern technology and ages old traditions.

Posted by Richard Marcus at 12:29 PM | Permalink

When you're told that someone plays the violin, or even the fiddle, you would be forgiven for thinking a recording of theirs would most likely either be of classical, country, or bluegrass music. Sure there're occasional recordings of jazz music done by violinists and you'll sometimes hear a violin as a featured instrument on a popular music CD, but those are exceptions to the rule. Therefore, when I was sent the newest Casey Driessen CD, Ogg I wasn't expecting anything much different from what I had heard from other musicians.

However, nothing you have heard before can quite prepare you for the experience of Casey Driessen. For although he's playing the same instrument, more or less, that other violinists have played in the past, what he does with it, and the music he records, is altogether unique to him. Listening to Oog the first time was like stepping into a maelstrom; at first the music pushes you one way, and the next moment it's pulling you another, so you don't ever quite get your bearings. He even denies you the comfort of anything like a discernible genre which would help you get your bearings.

However, a quick read of the extended liner notes provided at his web-site goes a long way towards helping you find your bearings. "I wander and wonder with open eyes and ears..." he writes, and then continues to explain how he finds his inspiration in the work of other artists, both visual and musical, the forces of nature, and "that difficult to pinpoint personal inner well where emotions and experience become one." Listening to Oog (the Dutch word for eye by the way) with this in mind at least gives us a context within which we can place the material, while the notes for each song give specifics as to what inspired him to create it.

"Hummingbirds Vs. Yellowjackets", the third track on the disc, would appear at first glance to be one of the more obvious examples of how Driessen has turned his observations into music. For in the note about the song he tells us how he spent time one afternoon observing a gang of yellowjackets and hummingbirds competing for the nectar contained in a hummingbird feeder. However he cautions us not to expect to hear something literally representing the two creatures, for the majority of the tune had been written prior to him having witnessed the conflict, he merely finished writing the tune while watching them.

Well so much for the liner notes being of any help in deciphering the music, I don't think he could have been any more obscure if he tried. What the heck is he doing calling a song "Hummingbirds Vs. Yellowjackets" if its not about the creatures in question? However, he does say is that it was written in harmony with them, which means the music should at least reflect something about the experience in general. The funny thing is, that when I listened to the track again keeping what he had written about it in mind, I immediately visualized myself sitting outside in a backyard on a brilliantly lit sunny day, the type of day where both hummingbirds and yellowjackets would be out and about.

While there's none of the angry buzzing that one might expect from a conflict between angry insects and other creatures, the atmosphere Driessen creates with the music brought to mind the environment where the situation could exist. If you've ever stretched out in a backyard on a lazy afternoon where trees cast pockets of shade that contrast with bright patches of sun, and bumblebees float from flower to flower getting drunk on pollen, you'll begin to understand what he's talking about when he says the music is in harmony with the activities of the title creatures.

Of course this is only one piece of fourteen on the disc, and only begins to tell the story of Casey Driessen and Oog. He's also an avid experimenter in both form and style as can be seen with what he does on track seven, his rendering of Bill Monroe's bluegrass tune "Ashland Breakdown", and the approach he took for recording the ninth track "Lunar Cages". Instead of being merely satisfied with covering another's tune, Driessen takes "Ashland Breakdown" apart and literally puts it back together backwards. He learned the melody of the tune backwards and after recording it flipped it around and played it back "forwards".

What he ended up doing was recording both backwards and forwards melodies and rhythms for the song and then playing them back together. It had to be one of the weirdest listening experiences I've ever had, hearing the same bit of music being played backwards and forwards at the same time. It felt like you were standing on a train track listening to the sound of two trains approaching, as you could actually hear the music moving in two directions at once. You can't help but be impressed by the mind that came up with that idea, and like he says, "everybody likes a backwards solo". Although you're not going to hear any hidden messages in this one.

"Lunar Cages" uses an old cajun fiddle technique known as "fiddlesticks" where the instrument is set to an open tuning and a rhythm is tapped out on the strings using small sticks. While his percussionist, Matt Chamberlain, established the initial beat on one fiddle Driessen wrote a melody that would float on top. The song itself was inspired by watching the lunar eclipse of February 2008, while the "Cages" of the title is a nod to John Cage and the pieces he created by rapping on the strings of pianos with a hammer. This time the piece is not only inventive in form, but the quality of the music is equally impressive. The thrum of the violin strings as they are being tapped by Chamberlain creates a beautiful harmonic sound that forms a backdrop for the other instruments to gradually build over while they simulate the slow eclipsing of the moon.

Casey Driessen is not what anyone would call your average fiddle player, and by no stretch of the imagination is Oog your average collection of fiddle tunes. On the other hand, if you come to the disc with an open mind and a willing imagination, I can guarantee you an experience unlike any you've ever had before listening to someone play the violin. While you may not like everything he does, you can't help but admire Driessen's intelligence and the spirit of creativity that drives him to explore his instrument's potential to its fullest. Music would certainly be a lot more interesting in general if there were more musicians as willing to take risks like Driessen.

Posted by Richard Marcus at 11:12 AM | Permalink

Living our lives of ease and luxury in the cities of the world it's easy to forget that there are places on the planet where life is hard and unforgiving. Where a simple error in judgement can easily lead to dangerous accidents or even loss of life. We see photographs of the high Arctic or the Sahara Desert and we wonder at their harsh beauty. Seemingly lifeless, they both offer vista's of what seems like unchanging landscape for miles in every direction. Yet appearances are deceptive as each of them are home to not only a variety of plants and animals, but people as well.

Traditionally the people of both lands were nomadic, but gradually the lands they once utilized to hunt or graze their flocks have been taken away from them. Whether it's permanent cities and their auras of waste that spread for miles in every direction, men trying to harvest the gifts that lay just below the earth's crust, or borders between countries, the wanderers of this world are no longer as free to travel as they once were. However while some have elected to settle among the cities of this new world, others have found ways to adapt to the changes and maintain the life of their ancestors.

Documentary film maker Hisham Mayet spent the better part of two years travelling through the Sahara desert filming and recording the people and the musicians he met there. One of the results of that trip is a new documentary DVD, Palace Of The Winds, being released on May 12th/09 by Sublime Frequencies. However, don't expect your normal documentary movie with voice overs and talking heads leading you by the hand to tell you a story because that's not Mayet's way. His camera and sound equipment give you eyes and ears to see and hear the world he is travelling through but he leaves you to form your own impressions based on the information you're able to absorb.

Throughout the length of the roughly fifty-five minute film Mayet cuts between footage he shot while travelling between Guelmim in Southern Morocco and Nouakchott in Mauritian and footage of five groups of musicians he met along the way. With the music playing in the background as we travel through cities, nomad camps, and desert landscapes, we gradually begin to understand the context within which it was created. From the Atlantic coast in Morocco where the tidal flats appear to butt up against the beginnings of the Sahara, the sands and hills shaped by the wind that are the desert, a collection of felt and hide tents seemingly in the middle of nowhere that makes up an encampment, the back streets of a city lined with sun-baked clay buildings crumbling onto the sidewalk, to wide avenues cutting through a modern city; all are part of the world these people move through. 

At times watching this movie you occasionally lose track of the fact that you're in the twenty-first century, while at other moments you are confronted with a visual that emphasises the dichotomy of the nomads' world and the world they are travelling through. One of the most powerful images in the film was the camera pulling back from a large felt and hide tent only to see that it has been set up in the middle of a town square and that is surrounded on all sides by buildings and shops. Inside the tent a group of women, swathed from head to toe in cloth, some with their faces partially shielded, are either conducting some sort of divination ritual using sticks, or playing some sort of elaborate game. We have no way of knowing which as neither their demeanour or behaviour give us any indication as to the nature of what they are doing.

On another occasion the camera brings us inside and we are surrounded by woman, who are again covered head to toe with cloth, but this is obviously some sort of celebration as they are decked in all the colours of the rainbow. Bright yellows, greens, oranges, reds, purples and blues flash and glitter until you begin to feel like you've wandered into the nesting grounds of exotic tropical birds who've decided to compete to see who can grow the flashiest feathers. Initially the camera stays tightly focused on small groups of women and you just assume the music playing is simply the soundtrack like on other occasions. However when the camera finally pulls back to reveal the scene we see the band is playing live and that the only men in the room are two of the musicians and the waiters serving the women. Some of the women get up to dance and they are completely covered, faces and all, in their bright colours so that it looks like a rainbow has been called into life by the pulsating rhythm of the music. 

While it might sound frustrating that Mayet never offers any clues as to what you're observing - what exactly were all those women doing together in their bright clothes being waited on by men? However, if you look at Palace Of The Wind in the same way you would a collage, a series of images placed together seemingly at random in order to create an overall impression, and don't worry about the meaning of each chapter in the movie, you will see that he has done an amazing job of depicting life among the nomads of this region. 

Of course, tying everything together is the music that plays continuously throughout the movie. Nearly half of the footage in the movie is of the musicians performing. Now we're not talking about them playing concerts, except for that one occasion described above, as for the most part they've been filmed in what looks to be rooms in their houses. Like other bands from the region the music is dominated by electric guitar and characterized by the hypnotic, trance like quality of its sound. Although, as we move from region to region a new band takes over, the music doesn't undergo any real noticeable changes. No matter if we are in a major metropolitan centre surrounded by cars and buildings or in the middle of the desert at a Nomad camp, the music is the thread that ties us to the people and that connects all the various scenes. They are the music and the music is them, and its what distinguishes them from the world around them.

Palace Of The Wind is not your usual type of documentary movie as it contains none of the narration or interviews that you're used to seeing. What it does do is give you an unprecedented look into the lives of the nomadic people of the Saharan desert, and the interrelationship between the people's lives and their music. Its an amazing voyage of discovery and exploration from which you're sure to retain vivid memories that will stick with you forever. You may never travel so far without leaving your house again.

Posted by Richard Marcus at 04:54 AM | Permalink

Descendants of nomadic people from the northern Indian province of Rajasthan, the Romani, commonly and erroneously referred to as Gypsies (the word gypsy comes from the Greek word Aigyptoi and comes from the story given out by the Romani that they were exiled from Egypt for sheltering the baby Jesus), began their western migration into Europe around 1100AD. In spite of being predominantly Christian, some are Islamic, they have been persecuted to an extent only equal to that suffered by Jews, since their arrival.

While a good deal of the prejudice against the Romani stems from their nomadic lifestyle marking them as notably different from the majority population, the darker complexion of their heritage is also a contributing factor. However, in spite of, and maybe because of, this persecution, a sentimental and romantic image of "The Gypsy" has developed in the West. Somehow Romani men are all passionate, and slightly dangerous, lovers, while the women are fiery and gorgeous seductresses. All of them, no matter what their gender, dance the Flamenco to the sounds of a wild violin around a roaring fire.

Now while it is true that the Romani from Spain, specifically Seville and the Catalonia region, were responsible for the development of flamenco music, that represents only one segment of their population. Music and culture changes from country to country, and even from region to region within a country, and as the Romani have travelled throughout Asia and Europe, their music has come to reflect the variety of cultural influences they have brushed against. Like everyone else they too have felt the impact of technology upon their lives, and new generations of Romani musicians, like their contemporaries the world over, are making use of it to help generate their music.

A new release from the World Music Network, The Rough Guide To Gypsy Music (Second Edition) , attempts to show the diversity of music played by the Romani people as the fourteen tracks range from the expected flamenco guitar, brass band ensembles, and the sounds of northern India. While a couple of the groups represented on this disc have managed to reach international audiences in the past, Fanfare Ciocarlia and Taraf de Haidouks are probably the best known, very few of the other names will be familiar to many people.

If there is one complaint to make about the disc, aside from the title - isn't it about time labels stopped using Gypsy and began using Romani - it's the fact that its focus is a little too narrow. Sure they have an adequate representation of the various styles of music, but there is a tendency to lean towards horn dominated groups with some of the other styles not as adequately represented. That's not to say to say you won't hear violins, guitars, and the other instruments that are traditionally associated with Romani music, but on a causal listen those tracks where there isn't a horn playing stand out in sharp relief. I can understand their desire to get away from the stereotypical "gypsy violin", but there's more to the music than horns as well.

Two of the groups that do stand out because of their noticeable differences from the rest represent on the one hand the easternmost area of the Romani's range and on the other nearly their westernmost point in Europe. Son De La Frontera are from the birthplace of Flamenco, Seville Spain, while Musafir are a group of musicians playing the music of Rajasthan, India. Both groups have built upon the traditional music of their predecessors to develop a sound that is both familiar and new at the same time.

Listening to Son De La Frontera play "Un Compromiso" one hears not only the expected sounds of vibrant flamenco, but the sounds of Cuba mixed in as well. All that is stirring and inspiring about flamenco is still there, but they've also added the element of the Cuban steel string tres that gives the sound a harder edge than you'd normally expect. While the additional guitar might give it some extra spice, it's still the power of flamenco that makes this track so moving. These five performers are as powerful as any I've heard before as their voices soar in stirring harmonies and the music stomps fire into your veins; you hear this one song and you're going to want to hear more.

While the performers in Musafir aren't actually members of the tribal group who are the ancestors of today's European Romani, and wouldn't probably play together if they lived in Rajasthan, they do play music that is representative of the region. While some of the influences on their music - Indian film music and Arabic pop music - wouldn't have been around to influence those who migrated into the west, they would have been hearing the classical music of Northern India and the Islamic devotional music that also makes up Musafir's sound. Listening to their song, "Barish" you hear elements of classical Indian music; the steady beat of the tabla, the buzzing sound of a string instruments sympathetic strings resonating as it's strummed, and the familiar vocalizations, blending seamlessly with the more modern influences. It's an ear catching sound that at first attracts your attention because of its novelty, and then successfully holds it because of its energy and beauty.

The Rough Guide To Gypsy Music Vol. 2 contains music by obviously skilled performers who share a passion and a love for the music they play. While it goes a long way to dispelling the myth that Romani music consists solely of wild violins, and includes music representing many of the geographical regions they inhabit, it still felt like they hadn't cast their net wide enough. There are just a few too many songs by bands that sound too much alike for it to be an excellent disc instead of merely a good one. As a bonus, World Music Net is throwing in a previously released disc Introducing Bela Lakatos & The Gypsy Youth Project, a dynamic collection of Hungarian Romani music originally released in 2006.

Posted by Richard Marcus at 04:56 PM | Permalink

In the late 1960's a new type of band appeared on the British pop music scene that combined elements of traditional British Isle folk music with modern instruments and psychedelic rock. Groups like Fairport Convention, Renaissance, and individuals like Bert Jansch, were famous for their wonderful instrumental work and breath taking vocal harmonies. While incarnations of each of the two bands are still active today and keeping that sound alive, the current crop of musicians interested in the same field are prone to tinkering with the old formula.

Judging by their debut album, Carbeth released on Honest Jon's Records, the four person band Trembling Bells have a similar affection for the music as their predecessors. Yet instead of being merely content to emulate them, they've also added some distinctly unique flavouring of their own into the mix. For while some elements of their sound; distinctive vocals, acoustic instruments, and a passion for early music stylings, are common to both generations of folk groups, Trembling Bells has spread their net somewhat further afield than Great Britain.

Your first indication that this isn't going to be quite like anything else you've heard comes right from the opening track on the disc, "I Listed All Of The Velvet Lessons". For although there's the expected soaring soprano female lead vocal singing what sounds like a tune written when central heating meant a fire pit in the middle of the room, the horn that sounds like it sprang from a parade through the streets of New Orleans is something new. On top of that, throughout the disc there are moments of discordance verging on cacophony which prevents the music from becoming overly precious and introduces an element of darkness absent from those earlier bands.

The core of Trembling Bells are percussionist/drummer Alex Neilson, the above mentioned female soprano, Lavinia Blackwall, also handles the keyboard chores, Ben Reynolds plays guitar, harmonica, and chips in on vocals, and Simon Shaw is on bass. The sound on Carbeth is rounded out with the inclusion of trombonist George Murray and viola player Aby Vuillamy. While the former helps push the band into uncharted territory for a traditional folk group, the latter keeps them firmly rooted in the early music sound expected of them. If you think of them as the two extremes of the band's sound, you begin to get an idea of just how different they're from what's come before.

For although the titles of their songs sound appropriately medieval; "I Took To You (Like Christ To Wood)", "Willows Of Carbeth", and "Garlands Of Stars", the majority of them aren't about to inspire anybody to start Morris dancing on the village green. In fact most of them have a definite split personality when it comes to the music. This is especially noticeable on those songs where Blackwall takes the lead vocals as her beautiful soprano is a sharp contrast to the music playing behind her. Whether it's the keyboards swirling dervish like or the trombone playing blues tinged jazz, her voice is made to stand out so much it's purity plays against itself to the point where it almost jars against the ear. Like a sharpened knife her voice cuts and wounds and is one of the clearest indications that Trembling Bells aren't sentimental in their approach to traditional music.

While some might find this approach disconcerting when they compare it to what they're used to, it seems to me a far more honest approach to the music than the overly romantic, and rather cloying sounds, of others. There was nothing easy about life during Medieval times when for the majority it was a struggle merely to survive. If you didn't die of disease or starvation, the back breaking work of merely staying alive would ensure you didn't live past forty. Trembling Bells may not sing songs about pestilence and famine, but the qualities they've imbued their music with dispels any notions of this era being some sort of rustic paradise.

Lest I've given you the impression that Trembling Bells are simply a discordant bunch of noisemakers, let me reassure you that nothing could be further from the truth. Their songs are all marvellously crafted and superbly played pieces of music performed by extremely talented individuals. It takes an incredible amount of talent and skill to push music to the very edge of dissonance without ever falling over into discordance and they show a fine ear and a deft touch by never allowing that to happen. Like the best avant-garde jazz they might give the impression of chaos, but the reality is they always know exactly what they're doing.

Trembling Bells may have deconstructed the traditional folk music genre, but that doesn't mean they are without affection for it. In fact, I think their efforts to breath new life into this style of music, their desire to give it a more authentic feel, shows the depth of their appreciation. Certainly the music on Carbeth is not easy to listen to, and requires a certain amount of effort on the part of the listener, but the result is something far more rewarding than anything previously attempted in this field. If you come to this album simply hoping to hear a rehashing of what's been done before you will be disappointed. However if you're willing to listen carefully and allow the music to work its magic on you - you'll be amazed by what they have to offer.

Posted by Richard Marcus at 11:38 AM | Permalink

It's been difficult for me to take the ukulele seriously as an instrument ever since I saw Tiny Tim squeak his way through "Tip Toe Through The Tulips" in his annoying falsetto. To be perfectly honest up until a few years ago I did my best to avoid anything remotely connected to the instrument because of the association. I first started to overcome my prejudice while listening to the multi-instrumentalist virtuoso Bob Brozman and learnt the instrument was capable of doing much more than I had originally thought.

However, it's only now that I've listened to Jake Shimabukuro's forth coming release, Jake Shimabukuro Live (April 14th/09 on Hitchhike Records), that I've truly come to appreciate the ukulele. After listening to Jake play you can't believe that he's playing something with only four strings. There's plenty of guitar players out there who would be hard pressed to do what's he's capable of doing with four strings with their six strings.

The nearly twenty tracks on Live range from Shimabukuro's interpretation of classical pieces, to his renditions of such pop classics like "Thriller" and George Harrison's "While My Guitar Gently Weeps. What's truly amazing about the show he puts on is he holds your attention as a completely solo act; there's no band, nor orchestra, and nothing on tape backing him up. It's just Jake and his ukulele.

The ukulele is a four string, two octave instrument, making you think that it must be extremely limited in the the sounds that produces. Not if you're a performer like Shimabukuro as he's able to squeeze sounds out of his instrument that will have you swearing he's playing a regular guitar. There's none of the "plink-plink" sound one would normally expect from a high pitched instrument like it, nor does he use it simply to keep rhythm by strumming a few chords. Instead he's turned it into a lead instrument that rivals the mandolin for its intricacy, and the guitar for its diversity of sound.

Although the first thing you're bound to notice when listening to Jake Shimabukuro is the speed at which he plays, what impressed me the most was that unlike other technically proficient players he also plays with a lot of emotion. Even though it seems like his fingers are flying almost all the time, either up and down the fret board or picking, he doesn't neglect the emotional content of his material either. Certainly his cover of something like "Thriller" is primarily an example of technical prowess. However his performance of "Bach Two Part Invention In D-Minor" makes you forget what instrument he is playing as the beauty of the music is the focus, not his talent or his technique.

Listen carefully to the song that made him famous, his cover of George Harrison's "While My Guitar Gently Weeps", and you'll soon find that you're again forgetting about the instrument he's playing and becoming wrapped up in the music instead. While it's a little strange at first to hear the song being played as an instrumental, eventually you begin to hear the lyrics being "sung" in his playing. As the notes are picked to form the tune that is so very familiar, the melody comes to life with such passion and love that you soon forget its not being sung. I've heard many attempts to play instrumental version of pop songs, especially ones by the Beatles, but this is the first time I've heard one that manages to capture the spirit of the original song.

It's not just classical music and pop songs that he brings his remarkable talents to bear on either, for one of the earlier tracks on the disc is a cover of the Chick Corea tune "Spain". Now I was never much of a fan of Chick Corea's music when played by him, as they ran far more in the direction of pop music than jazz for my taste. Hearing Shimabukuro playing the piece gave it a dimension that it lacked before and I found myself appreciating the song more than I ever did when it was performed by the composer.

Part of that might have been the novelty of hearing the song being played on ukulele, but if that were all there was to it, I would have lost interest after only a short while. While it might have been the instrument that captured my attention in the first place, it was Shimabukuro's ability to breath life into the music that held it for the entire length of the piece. There's something about how he plays, perhaps it has to do with a deftness of touch or the precision with which he plays each note, that allows you to hear and feel each note no matter how fast he's playing, which pulls you into the piece and holds you fast until its completed.

Listening to track fourteen, "Sakura Sakura", a traditional Japanese folk song that's normally played on the thirteen string Japanese instrument know as a Koto, you really appreciate that ability. This is one of the slower songs on the disc and somehow he makes each note ring as if far more strings were involved than just the four at his disposal. Each note is allowed to resonate to maximum effect before he strikes the next one, allowing the listener to feel it completely. There's an intensity to the performance that almost makes it unbearable, so in some ways you're relieved when the song ends because each note is so beautiful that you quickly become overwhelmed by them.

To many people the ukulele is a novelty instrument and not to be taken seriously. However, when you hear Jake Shimabukuro play you're quickly disabused of that notion. In his hands it's comparable to any stringed instrument, whether bowed or plucked, and capable of playing any genre of music. Jake Shimabukuro is an amazing musician who is not only technically skilled, but able to plumb the emotional depths of any piece of music he attempts. This is a magnificent recording by an amazing performer that shouldn't be missed by anybody who genuinely appreciates great music.

Posted by Richard Marcus at 08:03 PM | Permalink

I suppose that most people in North America if they think of Russian music at all will either think of the Red Army Chorus extolling the virtues of the "Workers Paradise" by singing "The International", or groups of Cossack dancers doing improbable steps to the sound of balalaikas. Well the "Worker's Paradise" hasn't existed, if it ever really did, since the late 1980's, and Cossacks haven't had much to dance about in years, so you need to throw all those old expectations away and be prepared for anything when you listen to what contemporary Russian musicians are creating.

Germany and Russia haven't what you call a history of amicable relationships down through the years, and the twentieth century was a particularly bad time as each took turns in occupying the other for extended periods. However, this hasn't stopped Russian musicians being welcomed when they've gone searching for greener pastures in the West as they look to make a living from their craft. Which explains how the Russian group Ersatzmusika comes to be based out of Berlin Germany and is about to release their second CD, Songs Unrecatable, on the German label Asphalt-Tango. (While April 10th/2009 is the release date for the physical disc, you can download, and preview, the CD at the Asphalt-Tango site above as well as a songbook illustrated by the band's lead singer, Irina Doubrovskaja.)

If you download the songbook one of the first things you'll notice is the lyrics are in English, and that's not because they've been translated, it's because almost all the songs on Songs Unrecantable are sung in that language. Although to be honest lead singer Doubrovskaja's accent is so thick that if you're only listening casually chances are you're probably going to assume she's singing in Russian. To be fair it's not just her accent, the music the band plays is so different from what most of us are used to hearing when it comes to Eastern European folk, that the combination of the two makes for a sound so alien to our ears you can be easily forgiven for not noticing she is singing in English. It's a little different when native English speaker Thomas Cooper (he also translated all the songs into English) sings on tracks eleven and thirteen, but by then the disc is almost over and the atmosphere been long set.

Before anyone starts jumping to any conclusions about brooding Russians or anything equally stupid, by mood I'm referring to the fact that Doubrovskaja sounds likes a Russian accented Marlene Dietrich. Yet while both she and Dietrich evoke smoke filled cabarets with dim lights, musically, lyrically the two women are miles apart. For while the former's stock in trade was sultry love songs, the latter's lyrics drip irony onto music that tastes of a little bit of everything from Balkan beat box to traditional folk sounds. There's actually something eerily familiar about Ersatzmusika's overall sound that escaped me for the longest time, until it struck me how much they reminded me of The Doors in their slower and more pensive moments.

While they might share certain characteristics with other performers and have drawn upon various styles, it's doubtful you've ever heard anything quite like Ersatzmuika before. While the instruments in play sound like the normal array for an Eastern European folk ensemble/pop group: guitar (Leonid Soybelman, Sergej Voronzov, Fuslan Kalugin, and Phil Freeborn); bass (Konstantin Orlov, and the late Igor Vdovchenko on two tracks); drums and percussion (Michail Zukov and Roman Buschuev); keyboard, piano, and accordian (Irina Doubrovskaja); cello (Sergej Chanukaev); synthesizer (Werner Zein); and harmonica (Roman Buschuev), the results are anything but standard.

Where one has come to expect a lively sound inspired by polka's, the heady influence of gypsy violins, or other rural traditions, you find moody, atmospheric sounds which are a far more accurate reflection of life today. The lyrics in turn are a match for this sound as they offer commentary on humanity's checkered history and uncertain future. The opening lines of "Gypsy Air", the first track on the CD, give you a good idea of the band's appraisal of our past: "Woe filled times we must abide/& woe betide him who knows not this...Let us compile a list/Of the wrongs that man commits/Never shying ignominy/Clipped the wings, ducked the tail/Little boy, Nagasaki."

However it's not only the past they are concerned with as they capture the true price of the greed and materialism that plagues today a little later in the same song with the following lines, "That tenderness' needs must contrast/With tender, its negation." I don't think I've heard a condemnation of a system that puts selling above caring phrased so succinctly and directly before. Now, lest you think they're only a one note band, they also show themselves capable of being darkly humorous. "Oh Pterodactyl", track seven, is a darkly delightful examination of our genealogy. "There has of late been much debate/Bout what is round and what is straight/And why no politician/Could have a forebear simian/But oh pterodactyl/To you we owe a/Oh pterodactyl/A debt of honour/Oh pterodactyl/Although that Noah/Oh pterodactyl/Wants to disown ya."

It's hard to describe the experience of listening to Songs Unrecantable by Ersatzmusika simply because there's not much else like them around to offer up as a comparison. Their accents mark them as Eastern European, and there are elements of their music that reflect that heritage, but not in the way we've grown accustomed to hearing them as presented by world music labels. This is an edgier, more contemporary, and urban sound which, while it doesn't discount its heritage, uses it as its springboard to something new instead of just recreating what's been done before. It's only fitting though considering their song's lyrics, which are not only predominately in English to allow for more universal comprehension, are also far more relevant to today's world than what we're used to.

Recently we've seen how young musicians from backgrounds as diverse as Balkan and Roma have begun to make their sound more contemporary while maintaining a connection to their traditional music. Ersatzmuzika is on the leading edge of the movement intent on proving anything old can be new again and in the process are creating some great music.

Posted by Richard Marcus at 02:47 PM | Permalink

Life has always been hard for the nomadic people who live in the deserts of the world. However the advance of civilization and all that accompanies it has seen what used to be a tough but possible existence become virtually impossible. This has been especially true for the Tuareg people of the Northern Sahara. What was once their territory has now been split up among five countries and severely curtailed by the encroachment of cities and mining facilities. From Algeria and Libya in the north, Mali, Niger, and Burkina Faso in the south, the Tuareg have gradually been forced to give up their traditional nomadic ways and try to adopt to a sedentary existence.

They have not surrendered without a fight though, and their history in post colonial Africa since 1963 has been marked by sporadic uprisings in an attempt to secure rights and maintain a hold on their territories. During the uprisings of the 1980's a group of young Tuareg receiving military training in Libya started performing music together first as a means of entertaining themselves and the other Tuareg in Libya, but then as a way of spreading the message of the rebellion among their scattered peoples. The songs spoke of what they had lost and what they hoped to regain, and were designed to inspire people to resist and fight for their rights.

This was the beginnings of Tinariwen, who have arguably become synonymous with the Tuareg in Europe and North America. Since then the band's founder, Ibrahim Ag Alhabib, and his first band mates have been joined by younger Tuareg musicians eager to learn the style of music he pioneered. Combining traditional tribal rhythms with the sound of the modern electric guitar might at first sound like an odd mix, but you only have to hear Tinariwen once to become a convert to their sound. Even better than listening is seeing, and the recently released Tinariwen: Live In London DVD produced by Independiente and World Village Music combines sixty-eight minutes of concert footage with interviews and documentaries to bring both the band and the people they represent to life.

The concert footage is from the group's performance at The Shepherds Bush Empire in London England in December of 2007. Watching them perform, even via a camera, one can't help but be drawn into the oasis of sound they created on the stage that night. To our eyes the composition of the group might seem odd; a djembe (hand drum), a bass player, up to three people on guitar, and two background vocalists isn't the line-up we've come to expect at a pop music concert. Than again you need to throw away any and all expectations you might have about music when watching and listening to Tinariwen, for they can't be defined by any of our genres.

As the lyrics of all the songs are sung in their native Tamasheq, it's the music the band makes that we focus on. As it turns out, the sound of their voices play a key role in the overall atmosphere of the music whether you can understand them or not. With each song following the pattern of the lone drum setting the pace and establishing each song's rhythm and the bass and rhythm guitars reinforcing what he's started and adding a melody for the vocalists to follow and the lead guitar to counter point, there is a certain amount of similarity to all the songs. However this does not mean they all sound the same, just that they share common elements, much like would happen in any style of music.

Tinariwne's music is deceptive, for initially it merely sounds like they are endlessly repeating the same musical refrain over and over again. Gradually, however, what might have become boring in the hands of others, becomes almost entrancing. For as the music works upon you it also takes hold of you, and becomes more compelling the more you listen to it. There's something about it that draws you deeper and deeper into the sound, until finally you are not only able to feel it affecting you physically, in that it makes you want to tap your feet and move to the rhythm, but emotionally as well.

If you're at all familiar with the Sufi Muslim tradition of the whirling dervishes where the dancers obtain a trance like state through music and movement, than the state that the music Tinariwen manages to induce in its listeners won't be unfamiliar to you as you undergo a similar transformation. Now obviously you won't be ascending to quite the level as dervishes, but the music will "carry" you in a way that pop music just isn't capable of doing. Of course watching them perform only contributes to this sensation, for during the songs individual members of the band allow themselves to be caught up in the music and through their dancing we are drawn even deeper into the music

Aside from the concert footage the DVD also contains an extensive interview with the band's leader and founder, Ibrahim, in which he discusses his life, the contemporary history of the Tuareg, the rebellion he took part in, and what he hopes to accomplish with the band now that armed uprisings are a thing of the past for him.(Although they're not a thing of the past for all Tuareg as oil exploration in Mali has provoked new uprisings because of how it threatens even further depletion of the Tuareg's traditional lands) Its a fascinating, and rather graphic, description of the poverty and hardship faced by his people, and his efforts to keep their culture alive through his music.

Tinariwen Live In London is a wonderful opportunity to see this incredible band in concert. Combining elements of traditional Tuareg music with modern electric guitar, Tinariwen are arguing the case for their people's survival by showing the world their culture is still vital and alive. Where once their lyrics might have inspired their fellows to take up arms, now they recount their history and remind Tuareg listeners of their cultural heritage. While we might not be able to understand the details of the message, the power of their performance is testimony to their strength of spirit and the importance of this band. They are currently touring the United States, check the World Village Music web site for dates and locations, and if this DVD is anything to go by, that's a concert you don't want to miss if at all possible.

Posted by Richard Marcus at 09:20 AM | Permalink

Have you ever noticed how there is always some great musician that almost no one's ever heard of who supposedly is better at what he or she does than all those who have become famous for playing the same style of music? It's amazing how ordinary so many of these supposed hidden great ones turn out to be, and the reason they never made it big becomes obvious as soon as you listen to them. However, once in a while one of these folk turn out to be the real deal, which is the case with a guy named Chris Darrow.

I don't know about anybody else but I'd never heard of him before I read the press release announcing the Everloving label was releasing the Under My Own Disguise Box Set consisting of Darrow's first two solo releases, Chris Darrow and Under My Own Disguise (from 1973 and 1974 respectively) on both LP and CD, plus a forty-eight page 12 X 12 inch photo book. The review copy I received was a single CD without any of the bells and whistles, but it did contain what really matters, the twenty-one tracks from the original releases. While it's true what I said about having never heard of Darrow before, reading through his biography made me realize how many times I had heard him without knowing it.

Even the briefest summary of his career sounds like a whose who of the country/rock genre and folk as Darrow was one of the founding members of The Nitty Gritty Dirt Band back in 1967, played with Linda Ronstadt and Hoyt Axton, was the basest on Leonard Cohen's first album, and played fiddle and violin on James Taylor's Sweet Baby James. When he wasn't doing country/rock he was experimenting with psychedelic rock by co-founding with David Lindley Kaleidoscope, playing bluegrass with The Dry City Scat Band (again with David Lindley), and even had a stint with The Flying Burritos. It appears that he hasn't met a stringed instrument he doesn't like for he plays guitar, fiddle, bass, violin (which is different from fiddle playing), banjo, Dobro, lap steel, and mandolin for a start.

However its his own work that we're mainly concerned about here, and while there are a lot of great session musicians who can pick up almost any instrument and play it, very few of them ever go on to recording their own music, or if they do it ends up not being that special. I wasn't sure what to expect from Chris Darrow; his press materials mentioned one of my personal favourites Graham Parsons, but also made reference to that mockery of country rock, The Eagles. Much to my relief Darrow's music from that period was far closer to Parsons then The Eagles, while at the same time being almost completely different from most anything else I'd heard before.

While some of the songs are pure country, like "Albuquerque Rainbow" or "We're Living On $15 A Week", there's others that veer over towards the psychedelic jug band sound of the Grateful Dead. "Take Good Care Of Yourself" seems to have four different melodic patterns going on, starting with the reggae derived beat that drives the song and finishing with Darrow's laconic, country tinged vocals on the off beat. Somehow, although it constantly feels like its on the verge of imploding, this strange mixture not only manages to find its way to the end of the song, but it sounds great.

The rest of the songs from those two early solo releases show off Darrow's virtuosity as he plays mandolin, banjo, dulcimer, bass, fiddle, slide-guitar, dobro, guitar, sings lead, and produced them as well. Probably the only stringed instrument he doesn't play is the Celtic Harp played by Alan Stivell. "Devil's Dream" is a beautiful instrumental with Darrow accompanying Stivell's harp with his mandolin. The harp shows up again on the next track "We Don't Talk Of Lovin' Anymore", which sounds like Darrow's reached back and grabbed the Celtic roots of country music and combined them with American folk to create this aching and haunting song.

Listening to Darrow's music one can't help feeling cheated, because you realize just how severely country music and so-called country rock have compromised themselves in their attempts to be commercially viable. The irony is once anybody listens to any of Darrow's music they're not going be satisfied with anything from either Nashville or the bland tedium of the Eagles. Darrow's music has the honesty and passion of Graham Parson at his best and the musical inventiveness of the Dead, while drawing upon traditional folk, blues, early rock and roll, and psychedelic pop for inspiration.

Today we'd probably try and fit him into the roots rock or Americana genres, but realistically you can't cram him into any of those neat little categories. I mean what are you going to do with a guy who covers Hoagy Carmichael's "Hong Kong Blues" and then latter on has a song like "That's What It's Like To Be Alone"; a plaintive lament whose lead instruments are cello, harp, what sounds like a kazoo, and harpsichord. The fact that medieval and renaissance instruments like the rebec (and early stringed and bowed instrument), sacbut (an early version of the saxophone) and others equally obscure show up to rub shoulders with mandolins and guitars only make him harder to pin down.

It's one thing to go back in time and re-discover music by someone who's no longer with us and mourn what's been lost and regret over what could have been. It's another thing altogether to look back on an artist's career to help put his current output into perspective. Chris Darrow is still alive and well and producing compositions quite unlike anything you'll see and hear anywhere else. The web site Chris Darrow's Art contains examples of both his photography and current music projects and shows that he's still drawing outside the lines and charting his own unique course.

While some have seen fit to lump Chirs Darrow's work from the 1970's into the same category as the Eagles and other California so called country/rockers, it doesn't take long to realize just how erroneous a judgement that is. Even one quick scan through either Chris Darrow or Under My Own Disguise will tell you how much more exciting and innovative he was than anything else from that era. The early 1970's might have been primarily a wasteland of commercial pabulum when it came to pop music, but there was at least one shining light being hid under a bushel, and his name is Chris Darrow.

Posted by Richard Marcus at 02:41 AM | Permalink

Anybody familiar with even the most basic history of jazz and blues knows how they both have their origins in African tribal music that came to North America with slaves. When the slaves were Christianized by their masters those sounds formed the basis for the music of their churches, which in turn provided the inspiration for its secular cousins jazz and blues. Of course African American traditional, or folk music, isn't the only one to have inspired other genres. In Louisiana's Cajun music one can hear the sounds of Normandy that were brought south by the deported former settlers of New France, the Acadians, while traditional Hungarian, Romanian, and Roma (gypsy) music inspired the orchestral compositions of Hungarian composer Bela Bartok.

So it's only natural for a jazz musician whose origins are in South East Asia to want and go back to the traditional music of where he was born and use it as inspiration for a new series of compositions. Which is exactly what Fareed Haque has done with his latest group, Fareed Haque & The Flat Earth Ensemble, on the soon to be released CD, Flat Planet, on the Owl Studios label. Drawing specifically upon the folk music of Pakistan and North Western India (which is also the basis for today's Bollywood music as well) Haque's intent was to emulate fellow jazz musicians of African American descent embracing of, what he calls, "the groove of gospel music", by doing the same with "the groove of my own heritage". Punjabi folk music, he claims, is to India what gospel is to America - funky, fun, danceable and spiritual.

In order to achieve his goal Haque has augmented Flat Earth Ensemble's regular line up with some special guests. The band is already a mix of traditions featuring as it does players on the instruments we normally associate with jazz; guitars, saxophone, drums, keyboards, and bass as well as those playing tabla, dhol, and other South East Asian percussion instruments. However the addition of sitar and Hindustani violin allows them to expand their sound even more and explore melody as well as rhythm.

Anyone familiar with Bollywood musicals, especially modern ones, and movies like Bend It Like Beckham that have brought Indian music to Western audiences, will know that Haque isn't exaggerating with his description of the music as funky and fun. However if you come to this disc expecting to hear something along the lines of what you'd hear in one of those movies you'll be disappointed. Remember he's not trying to recreate either Bollywood, traditional folk, or even the dance hall music that has sprung up out of the fusion of Bhangra (the name given a specific type of folk and dance music from the Punjabi region of India) with hip-hop, reggae, and house music. What he's doing is creating music that draws upon those influences like jazz draws upon gospel.

While some of the tracks have beats and sounds that make them immediately identifiable as South East Asian, much like you can hear identifiable elements of funk in some jazz fusion projects, there are quite a few more where he's taken a couple of quantum leaps away from his source material to create something new. However, in order to ensure that listeners are able to appreciate, as much as possible, what he has created, Haque builds up to those pieces by beginning the disc with songs containing elements of either rhythm or melody that we can identify with. It's like he's showing us the various stages he went through in working with the music in order to develop his final sound.

Whether it's the track that leads off the disc, "Big Bhangra", with its insistent, tabla and kanjira driven beat that evokes the pulsating rhythm that propels dancers across the screen of a Bollywood musical, or "The Chant", incorporating sitar and violin to flavour the melody, the tracks at the beginning of the disc introduce the listener to the various elements that are used in the traditional music. However, even with these tunes he and the band are starting to expand and develop those aspects and give you an indication of the direction he will taking the music in.

Somehow or other, even at this stage, the music doesn't seem like a fusion of sounds, where one has been welded onto the other. Instead it feels like Haque and his band are taking individual elements - as described above - and seeing how they interact with the band's regular sound in order to develop something new. It's like they are asking themselves what does a sitar do to the melody line of a song and how can we create that feel without actually using its sound? Of course, as these songs are in of themselves great pieces of music, the music is nowhere near as clinical as that sort of description makes it sound. However, as we progress further into the recording and the band is pared back to only its original membership, we begin to feel the Punjabi influence more than actually hear Punjabi sounds in the music.

So by the time we reach the conclusion of the disc, three movements from "The Four Corners Suite"; tracks nine ("North"), ten ("South"), and eleven ("West"), Haque and the rest of The Flat Earth Ensemble have created a sound in which you can hear the debt owed to the folk music without actually hearing any of its distinctive elements. It's like you would never think to hear it that John Coletrane's music is related to African American gospel, as it has evolved so far from that sound.

Flat Planet by Fareed Haque & The Flat Earth Ensemble is a great disc that's not only filled with interesting and fun music, but gives you an insight into how a musician will develop a new sound. Derived from the traditional music of the Punjabi region of India and the surrounding environs, the sound he ultimately creates is not only appreciative of Haque's cultural background, but beautiful in its own right.

Posted by Richard Marcus at 12:07 PM | Permalink

Almost every week without fail you can read somewhere about how the end of the CD is nigh. Digital downloads of Mp3s are no longer the way of the future, they are now. All those big cumbersome CD players are being replaced by teeny little I-pod clones that can hold hundreds if not thousands more songs than one 700mb CD ever could. At one time the downloading of music from the Internet was the province of hackers and considered an illegal activity. Now every major record company has got in on the act and new releases are routinely available to download from I-Tunes long before they come available in hard copy.

Of course this saves them tons of money, as there's no longer the need to create physical packaging. If an item is being downloaded what purpose is served by spending a small bundle on cover art or liner notes - simply post the stuff to a web page once and be done with it. Well maybe I'm old fashioned, but one of the things that I still miss most about LPs (Long Playing records for those folk under thirty who don't remember what came before CDs) is the great album art. CDs are such dinky little things that what you get is a postage stamp compared to the huge expanse of colour that covered LPs. Yet at least with the CDs you get something you can hold on to while listening to your music - some tangible proof that somebody, somewhere, went to some effort to produce something.

It turns out that I'm not as alone or weird as I thought I was in those thoughts as the independent Norwegian label Rune Grammofon is proving with the release of Money Will Ruin Everything: The Second Edition on February 3/09. Gathered together on two CDs, a poster, and an accompanying book, they are releasing their second package celebrating the various performers signed to their label. The two CDs contain samples from the various groups and individuals they've recorded and the book is chock full of interviews, articles, photos, album art, and other mementoes related to the past five years of their recording history.

To be honest I'd never heard of the label until I received the press release from their North American distributor, Forced Exposure, and had no idea what kind of music they produced. What attracted me was the fact that this little label had the balls to produce this type of package when nearly everyone else is going in the opposite direction as quickly as possible. I had to know more about this label produce that they would go to this much effort to celebrate their performers and who are the people responsible for making it happen.

According to an interview that's published in the book with label owner Rune Kristofferson it sounds like its pretty much a one man show with Rune doing all the work himself. Although it means he's unable to sign or record all the bands he wants to, it's a very deliberate effort on his part to keep the label small and not become another big corporation where money is the bottom line. I think that the sub-title of the collection, But The Music Goes On Forever tells you all you need to know about what motivates Rune and his efforts.

When I requested a copy of Money Will Ruin Everything I didn't know what to expect, but I thought it might be a collection of experimental and electronic music that verged on the edge of dissonance. I was pleasantly surprised to discover that although some of the music fell into that category, there was also a great deal of diversity to be found among the groups and individuals signed to the label. From the ethereal sounds of Susanna And The Magical Orchestra's version of Henry Purcell's "When I Am Laid" to Shining's cover of the old King Crimson cut "21st Century Schizoid Man" there's something here for every ear to listen to and be amazed by.

The overall impression you get from listening to the two disc set is that Rune Grammofon is a label where it's the quality of the music that matters, not the kind of music being played. Considering it's only one person making the decisions behind what gets recorded each year you'd expect some sort of pattern to develop that would give you an indication of his personal preferences when it comes to music. Instead what you get is a wider range of music than anything you'd find on any label with multiple producers and talent scouts.

As for what attracted me to request a copy of this collection in the first place, the packaging, that doesn't disappoint either. The book is an amazing collection of images from the last five years of Rune Grammofon's existence including everything from examples of some of the most interesting cover art you've seen together in one place, images of Oslo Norway where most of the recordings have happened, and photos of most of the folk who appear on the compilation. The articles that have been written for the package reflect how so many different people mourn the passing of cover art, and respect and admire the work that Rune Kristofferson is doing with his little label.

There's also a wonderfully chaotic atmosphere to the layout that captures the free spirit of the label. Absolutely nothing about anything you see, or hear, in Money Will Ruin Everything says "corporate", which to my mind is a good thing when it comes to music, especially popular music.

In this day and age when less is increasingly becoming the adage of all music production companies and album art is increasingly becoming a thing of the past, it's taken a small independent label from Norway, Rune Grammafon, to remind us what a joy it is to have something tangible to go with the music you love. Money Will Ruin Everything The Second Edition proves that not only does music not have to all sound the same, but you can still make the experience of purchasing it a pleasure for more than just one of your senses.

Posted by Richard Marcus at 08:25 AM | Permalink

Like most North Americans my first exposure to Ladysmith Black Mambazo came through Paul Simon's Graceland recording. While the album featured other guest performers from various backgrounds, this amazing sounding male vocal ensemble from South Africa stood out from the rest. In those days, the mid 1980's, the idea of world music was still a novelty to most people, and the sound of their voices was enough to make us notice them. During the North American tour that followed Graceland's release they appeared on Saturday Night Live (SNL) with Paul Simon, and I was given a far too brief glimpse of this amazing vocal group's power.

In the ensuing years I've had plenty of opportunities to listen to their music on CD and each time have been amazed anew at their ability to harmonize and the sounds and atmosphere they are able to create with their voices alone. One of my biggest regrets is that I've never had the opportunity to see them perform save for that brief appearance on SNL nearly twenty-five years ago. Thankfully the perfect remedy is now at hand as on January 27th/09, Heads Up International will be releasing the DVD Ladysmith Black Mambazo Live. Recorded live from EJ Thomas Hall at the University Of Akron in Ohio, the DVD captures not only the music that bewitched me from their recordings, but their awe inspiring ability as live performers.

Those of you who have seen them in performance, either live or through concert footage, know what I'm talking about and how simply listening to them perform fails to capture their complete essence. I'm not just talking about the dance steps or hand movements that are a choreographed part of all their shows, although that is a key component. No, what you fail to experience when listening to their CDs is the brilliance of the energy they exude while performing.

At the beginning of the concert the group's founder and leader, Joseph Shabalala, talks about the power and strength of tradition and how when its properly rooted, people, like the strongest of trees, are able to withstand any storms the world can throw at them. Watching Ladysmith Black Mambazo perform is to see that personified, for what else could explain the mesmerizing influence they have on an audience. Without instruments, without fancy light shows, or any of the other accoutrements that we associate with music concerts these days, they hold us spellbound. When they sing they seem to be drawing upon the history of their land and their people and are expressing the feelings of joy that they derive from being who they are.

Even a deceptively simple song like the fourth track "Hello My Baby", that appears to be nothing more than a typical love song, evolves into something far more compelling than the song's title seems to justify. The lyrics aren't overly complicated or even stimulating, nor does the way the group arranges itself on the stage, a row of nine with the tenth, leader Shahbalala, standing alone in front, lend itself to supposing anything dramatic is about to happen.

Then they start to sing. You may not notice anything besides their wonderful voices, the amazing harmonies, and the effortless grace with which they incorporate small and large movements into their singing to start with, but as the song continues you can't help but be aware that something is gradually building. I know it sounds sort of "New Age" and flakey, but it begins to feel like they are weaving some sort of ritual that takes you inside the music so that at some point what's being said ceases to matter and the music takes on a life of its own.

Although Ladysmith Black Mambazo are still up there singing and moving, they are now accompanied by another presence - the music. Okay, I know what that sounds like, and let me assure you my days of pharmaceutical experimentation are long in the past, but there is a quality to their performance that verges on the hypnotic, akin to the chanting that one would associate with rituals used to evoke trances. The more you allow yourself to be drawn into the music the stronger its pull on you becomes, until you can't help but feel it as a distinct, living, and breathing entity.

One of the reasons that you are able to experience this sensation while watching this video is the magnificent job that has been done in filming the concert. The cameras have been situated such that you are right on stage with the performers. Imagine having seats at a concert where you're on stage with the band and have the freedom to wander around so that one moment your standing nose to nose with an individual and the next you have stepped back and are able to take them in as a full ensemble, and you'll have a good idea as to what a good job they have done.

Even more remarkable though was the quality of the sound recording. Like everything else these days you have the option of 5.1 surround sound, but it's what the cameras pick up that make it special. Periodically the members of the group dance while singing, and there are moments when their movements take them out of range of their microphones yet you can still hear their voices singing faint but clear. It's touches like this that really bring the magic of this concert to life in a way that I've never seen done before on DVD.

Included on the DVD are interviews with Shabalala, and other members of the ensemble. Shabalala gives an account of how the group was originally formed and a little of his own personal history. While these are interesting enough, it's the music that makes this disc truly remarkable. Singing in a mix of Zulu and English, unaccompanied by any instrument, a Ladysmith Black Mambazo performance has to be one of the purest forms of musical expression you can hope to experience. Ladysmith Black Mambazo Live brings that vibrancy into your living room via your television and DVD player.

If you've never had the chance to see Ladysmith Black Mambazo in person, this is the next best thing. In fact it might even be better, as the cameras capture moments that you could easily miss while sitting in the audience of a concert hall. Note for note this is probably one of the best concert DVDs that I have ever seen.

Posted by Richard Marcus at 11:33 AM | Permalink

Prior to the coming of the Spanish in the 16th century Peru was home to the sophisticated civilization of the Inca empire. Although the Inca had managed to subjugate their various neighbours and raise exquisite cities, they quickly fell to the Spaniards due to gunpowder, disease, and deceit. Once the conquistadors had sated their lust for gold it was time to start settling the territory, and since they had pretty much exterminated the local crop of potential slaves they had to rely on importing Africans like everyone else.

As has been the case throughout the Western hemisphere where Africans were used as slaves, the African population in Peru brought with them their own traditions, including music. However, unlike North America where it became one of the key foundations for popular popular music, in Peru their music, like their population, has remained segregated from the mainstream. African Americans in South America are routinely second class citizens, and anything associated with them is considered inferior, including their music. So, aside from sporadic recognition from outside performers like David Byrne's The Soul Of Black Peru released in 1995, little Afro-Peruvian music has been heard outside of its own community.

In 2001 four young Peruvians, Ramon Perez-Prieto, Grimaldo Del Solar, Rafael Morales, and Carlos Li Carrillo, from outside the Afro-Peruvian community formed the group Novalima as a way to experiment with their appreciation for both Peruvian and modern music, and in 2002 released their first disc, Novalima. They had invited various musicians from the Afro Peruvian community to participate and created a disc that mixed both traditional rhythms and contemporary sounds. When the disc went platinum in Peru, they realized they were onto something and in 2006, they released Afro internationally, and firmly establishing Afro-Peruvian music on the world scene as it spent ten weeks at number one on the US Collage Music Journal's Latin Alternative and New World charts.

The band has now expanded to include permanent Afro-Peruvian musicians; Juan Medrano Cotito, Mangue Vasquez, Milagros Guerrero, and Marcos Mosquera, as well as renowned Peruvian drummer and percussionist Constantino Alvarez. It's this group, plus a variety of guest performers from the Afro-Peruvian music community, who can be heard on the band's forthcoming release (January 13th/09 US & Canada and the 16th for the rest of the world) Coba Coba on the Cumbancha label.

On first listen the disc was almost overwhelming with its seemingly inexhaustible supply of rhythmic variations. My first impression was of one continuos song whose sole purpose was to enable me to forget it was minus twenty out and I was trudging through ice and snow. It was only once I had recovered from the initial exhilaration that the music inspired, and was able to listen to the disc with something approaching a critical ear, that I began to discern the distinctive elements of each song. For although all the tracks share a common foundation, what's been built up around it gives them each unique characteristics.

The opening track on the disc, "Concheperla" (Mother of Pearl or Pearl Shell) is a traditional Peruvian dance called a marinera that dates back to the 1800's. These "mariner" dances were composed as patriotic tributes to Peru's navy and were originally performed by brass bands. Originally transcribed and arranged by the great grandmother of band member Rafael Morales, its a perfect example of how the band reaches back into their country's history for inspiration without getting stuck in the past. While the trumpet you hear is a nod to the military bands of yesterday, the rhythm and beats are the sound of today and a recognition of the band's African roots.

"Concheperla" is a fitting overture to the rest of the disc in the way it successfully combines traditional, or older, melodies with modern musical technology and a variety of musical influences. While in this instance the foundation is a song from the dominant culture's history, some draw upon Afro-Peruvian songs for their inspiration and others the folk music of various regions around the country. However, regardless of a song's provenance, they are all subject to a creative process that gives them added depth and dimension by adding new layers of rhythm and different musical textures.

"Ruperta/Puede Ser", the fourth track on the disc is a great example of this as it takes an older song, "Ruperta", combines it with "Puede Ser" by the Cuban hip-hop duo Obesion, and mixes it all together in Jamaican dub style inspired by the likes of Mikey Dread (known for his dub work with The Clash). The result is something really spectacular, as the dubbing techniques serve to tie the two songs together rhythmically, without being overbearing or dominating the melodies. I have to say that normally I find dub music tedious and and annoying, but that's not the case here. Instead of making the song sound like someone with speech a impediment who was forced fed Quaaludes like dub normally does, here the dubbing is used to accentuate the beat like an additional percussion instrument and gives the song an extra spark of life.

In fact one of the most impressive parts of the disc is the manner in which they have combined the old and the new. Far too often when you hear of these types of projects you end up with little idea of what the original music sounded like as it ends up buried under the bells and whistles of the modern technology. Novalima never lose site of the original music and keep it front and centre all the time. They understand that you can't replace, or simulate, the power and passion of these songs with studio tricks or programmed beats. What they have done is use the technology to give the original music a platform on which it can be shown off to its best advantage.

It's not often you get to hear a funky bass line accompanied by traditional percussion instruments like the jaw bone of an ass or cajon (a hollow box with a resonator hole like a guitar's) like you do on "Tumbala", or hear the words to a poem describing the history of Afro-Peruvian music turned into a song like you do in "Africa Lando", but Coba Coba is replete with moments like that. Not only does this disc shine a spotlight on music that has been neglected for far too long, but it does it in such a manner as to make it appealing to a wide variety of people without diluting any of its passion or diminishing its integrity.

Novalima sets the standard for all other bands wishing to bring modern technology into play when adapting traditional music. This is brilliant stuff that will not only keep you dancing, but will hopefully open some eyes to the ongoing discrepancies in Peruvian society.

Posted by Richard Marcus at 05:54 AM | Permalink

If music from countries outside North America and England is considered world music, and music by people from English speaking North America is considered popular music, what would you call music performed by a band whose lead singer was born in the States to parents originally from the Punjab region of North India, who moved to the South of France when she was ten, and now lives in San Francisco again? In an industry where an entire band can have been born and bred on the streets of Brooklyn, and still be referred to as world music I guess the answer is obvious, but it does beg the question - which "world" are they talking about?

The one Rupa, the lead singer of Rupa & The April Fishes, was born into in San Francisco, the world her parents left behind in the Punjab, or the new world they all discovered in Aix-En-Provence in southern France? With the majority of the songs on their first release, ExtraOrdinary Rendition on the Cumbancha, being sung in French, the answer seems obvious, yet there's a lot on more going on here then what first meets the ear.

While it's true that some of the songs contain elements that are associated with French music; the drawn out sound of the accordion, a slightly melancholy air, and a passionate vocalist. Since the days of Edith Piaff these have been hallmarks of French chancon style of performance, but that's only one of the elements that have gone into the music you hear on ExtraOrdinary Rendition. There's latin beats mixing with the swing of a gypsy violin while a guitar strums in a style reminiscent of American folk, and a cello dances in the background.

Now there are plenty of bands that have taken to combining elements from various styles of music lately that gives their music a transcontinental flavour, but there is something about what Rupa & The April Fishes do that distinguishes their music from others who attempt something similar. It's not obvious at first, but gradually you realize there is a sensibility at work in this music that's not prevalent in others. Others who I've heard combine musical styles seem compelled to attack with their music, as if the only way they can succeed is by breaking down any barriers an audience might have preventing them from accepting it.

Rupa & The Fishes have taken another approach. While some of their music is every bit as high tempo as other bands, there is also a subtlety about it that makes it feel less like a direct assault upon your senses and more like a gradual seduction. With the majority of the lyrics being sung in French those of us with limited language skills are forced to rely upon the music and the sound of Rupa's voice, the lead vocalist, for our clues as to the nature of each song. However listening to the songs, one gets the feeling that the band has taken that into account. The compositions are such that the sounds of the instruments and Rupa's voice work together to create an overall emotional landscape that tells us enough about each song's nature we can appreciate them without understanding the lyrics.

Of course it doesn't hurt that the band members seem to have a innate ability to express themselves with their instruments as if they were singing. In some ways this even gives them an advantage over groups that sing in a language listeners are familiar with, as they don't have to worry about a song's lyrics being taken literally. As an audience member I know that I will automatically let my feelings be dictated by the meanings I give to the words I hear a band sing no matter what subtext the music might be supplying. Here, where the vocals are merely another instrument generating sound, we are forced to listen to all the nuances that the music generates in order to try and understand what a song is about.

In fact when you read the translations of the lyrics that are provided with the disc, you realize it wouldn't matter too much even if you spoke French fluently, as they are more like abstract poetry than the song lyrics most of us are accustomed to. Like the music, they are a series of thoughts and images that work together to create an overall all impression that the listener will carry away with them. Take track three for example, "Poder", which translates as "Power", and the way the lyrics sound. "the fish can/the wind can/even money/but not me/the song can/love can/even a little kiss can/but not me."

The lyrics, which incidentally are sung in Spanish, are accompanied by an upbeat, latin influenced, rhythm that seems to be offering a challenge to whoever Rupa is addressing with the song. You thing you know what power is, but what can any of us know what power is? All of these things, the items she lists in the song's lyrics, they have power, but we don't. Without understanding the lyrics of the song it sounds like she is being defiant, either daring somebody to do something or dismissing their authority over her. The expression in her voice and the challenge offered by the music exemplify the scorn the song's lyrics express about people's ideas of power, and the desire to hold power over other people.

Rupa lives in San Francisco, sings in French, Spanish, and English, in a band whose musical influences are from nearly every part of the globe. For a change this is a band whose sound you can call world music without it being a misnomer as they represent the sounds of more than just one country. Yet what makes them truly world oriented is that it doesn't matter whether or not you understand the language they sing in, because you can still understand what their music is about. Like true citizens of the world their music speaks to all of us and is in a language that all can understand.

Posted by Richard Marcus at 11:55 AM | Permalink

It used to be you could safely walk into a record store and pick up a long playing record of Irish, zydeco, klezmar, or gypsy music and know what you'd be getting. You could tell just by looking at the covers that those were simpler times. Everybody was wearing their colourful ethnic clothing and had big happy smiles plastered across their faces. You knew who was who and what was what; gypsies were gypsies, Jews were Jews, and you would never confuse the music they played with anything somebody from New Orleans or County Warwick released. Now, not only do you have to buy your music on those CD things, where you can barely see what the people on the cover look like let alone what they're wearing, you can't even be sure if you pick up a recording of gypsy music it will sound like its supposed to sound, like the way you want it to sound.

Its all the fault of that damned, so-called Irish band, The Pogues. They were the ones who first started messing around and changing people's attitudes towards ethnic music. Making them believe that it didn't have to be played the same way over and over again. That it was all right to sing about contemporary issues instead of the great events from hundreds of years ago that were truly meaningful. Well it was bad enough when it was only Irish music, but now its spread everywhere. Punk zydeco bands who play klezmar music, klezmar bands that use hip hop techniques and gypsy violins, and now, worst of all, punk Gypsy music.

All you have to do is listen to the upcoming release from the Serbian gypsy band KAL, Radio Romanista, being released on Asphalt Tango Records January 2009, to hear an example of how deeply the influence of those miscreant Pogues has spread. First off, just look at the way the members of KAL dress. Instead of wearing the colourful costumes of their people, they dress in black. What kind of statement does that make? Haven't they ever seen pictures of how they're supposed to dress, don't they have any respect for what we expect gypsies to look like?

Then there's the music they play. While they might play all the right instruments; violin, accordion, guitar, percussion, and drums, it sure doesn't sound like what its supposed to sound like. I don't care what the lead singer says about "stereotypes" and "cliches". Where does he get off saying things like, "If you expect from me music because I am a Gypsy then I'll do it but don't think that I'll not use it to say very important things about my people - Don't just look at us as entertainers - we're no longer going to stay silent and entertain you." That's all very well and good, but what kind of gypsy music sounds like a run a way train, or is accompanied by that hip-hop, beat box, rhythm that you usually hear in dance halls. They have the gall to take so much pride in the fact that they've even given it a name: Rock n' Roma!

Even the name of the band, KAL, is depressing as it means black in the gypsy language, and than there's the songs themselves and what they talk about. It's a darn good thing they don't sing very many songs in English I tell you. Who wants to hear songs like "Radio Romanista" which imagines a gypsy country that has a national radio station. Gypsies don't have a country - they wander, how could they be gypsies if they had their own country - don't these guys know anything? Or what about "I'm A Gypsy", the title sounds promising enough, but then the lyrics: "I'm a gypsy, I'm looking for my place under the sun, I have no home, my country is the entire road" Well, duh? Everybody knows that - but he doesn't sound happy about it, it sounds like he wants a place to call home. What kind of real gypsy complains about not having a home or a grave?

They don't even call themselves gypsies these guys in KAL, they call themselves Roma, which is really confusing as it makes them sound like they either come from Italy or from Romania. Why can't they be happy being called gypsy like we've been calling them for years? Don't they understand anything about tradition? Have they no respect for what we expect from them? What ever gave them the idea that we wanted to know about their reality? That they fall in love, get their hearts broken, or that their lives are anything at all like ours? Why can't they be happy being what we want them to be?

No, they insist upon joining the twenty-first century and changing their music to suit their needs so it expresses how they're feeling. Who wants to know that they live in segregated neighbourhoods, that their houses get burnt out from under them, and that they are still harassed and tormented wherever they go? Why can't they sing songs about caravans, dancing round the fire, and other traditional stuff like they show in the movies? Haven't they ever seen King Of The Gypsies or listened to Cher? Aren't they modern enough for them?

It's a sad commentary on the state of the world when you can no longer count on ethnic groups to behave the way you want them to. Radio Romanista by KAL only confirms this disturbing trend of people taking charge of their own lives and justifying it with words like pride and self awareness. Not only do they expect us to call them by the name they use for themselves, Roma, they expect us to accept the fact that their music can change to reflect the world around them just like everybody else.

I don't know about anybody else but I blame it on the Pogues. Blame it on the Pogues, blame it on the Pogues, you'll feel so much better, just blame it on the Pogues. (With apologies to Kris Kristofferson)

Posted by Richard Marcus at 05:57 AM | Permalink

One tends to forgive a lot when a people's history has been as fraught with difficulty as has the Irish. Although Irish nationalist invective is aimed towards the English these days, they are merely the most recent of invading forces that swept across the Islands to the west of mainland England. According to legend even the Celts were invaders at one time, sweeping the original inhabitants away, only to be pursued themselves by the Romans, who in turn were raided by Saxons and Vikings alike before the English even got it together to invade. Even the supposed hero of Ireland, St. Patrick, was an invader, as he was second a generation Roman born in Britain who led an army into Ireland to purge the traditional religion and ensure the ascendancy of Christianity.

So it's easy to understand and forgive them if they tend to get maudlin and sing songs that celebrate their occasional victories over an enemy, or getsentimental over the sound of a clear tenor voice singing of the glories of a dark haired woman's sparkling eyes. Of course there's a world of difference between the Chieftans and The Clancy Brothers singing the old songs, and The Pogues tearing a hole through tradition and singing about Irish life in the twentieth century, but it's all from the same tradition, so to try and generalize about Irish music is as dangerous as it is to try and generalize about anyone's culture.

On the other hand it gets a little difficult not to when in recent years we've seen an upsurge in the marketing of big market Celtic extravagances like Riverdance and its offshoots. One of the more successful successors of the dance shows has been David Downes', the musical director of Riverdance, latest show Celtic Women. Currently featuring four vocalists (there have been as many as five) and a violinist backed by traditional Irish instruments, a choir, and a orchestra, the show is a mixture of Irish songs, show tunes, contemporary, and original material in one glitzy package.

Since its inception in 2005 the show has sold millions of CDs and DVDS, made television specials and appearances, performed countless live shows, and saw their first CD hit number one on the Billboard world music charts for sixty-eight weeks. This year Manhattan Records has released a compilation DVD, The Greatest Journey: Essential Collection, that brings together excerpts from the three television shows; Live From The Helix Dublin, A New Journey: Live From Slane Castle, and A Christmas Celebration which acts as a retrospective of their career to date.

Over the course of twenty-five tracks the DVD gives you a very good idea what it must be like to attend one of their shows, even though the Slane Castle show was staged and not shot live, as they capture the total experience with orchestration, lights, sets, and audience interaction. Of course the other thing it does is give you a very good idea of what they are like musically. While there is denying that all the women are gifted musically, the music carefully orchestrated and arranged, and the individual soloists within the accompanying band very talented, the show is designed to appeal to as broad an audience as possible. Therefore many of the rough edges that can make folk music in general, and Irish music in particular, exciting, have been smoothed away for easy digestion.

The choice of material is the first clue as to the direction the show will take as it includes such chestnuts like "Danny Boy", a composition by David Foster called "The Prayer", "Somewhere Over The Rainbow", and other songs taken from the safe and comfortable middle of the road catalogue that could fit into the play list from any adult easy listening station without making waves. The only occasions on the disc where the music even approaches obtaining some of the wildness and abandon that one associates with the best of Irish music are the violin solos by Mairead Nesbit as she careens around the stage wailing away on her fiddle. In fact her performances, especially on "Shenandoah - The Contradiction" where she's joined by both percussionists on bodhran, are probably the best things musically about the DVD.

Of course in some ways the choice of material isn't really the appeal to these concerts, it's the spectacle that captures the imagination and captivates the audience. When you have anywhere up to six very attractive woman dressed in gowns appearing on exotic sets with a castle as a backdrop, like at Slane Castle, illuminated by lights and blazing torches, and backed by not only an orchestra but gifted individual musicians, you can't help but get caught up in the moment at times no matter what the music is. The package is designed to elicit an emotional reaction from the listener, and the DVD does this with far more success than a CD ever could as you are exposed to the full weight of the show.

Technically the disc is superlative, with Dolby digital sound and wide screen picture. Although, since the original shows were shot in the days before high definition, and apparently shot directly to video, you still get the occasional colour distortion in the background from the glare of the lights. As far as special features aside from the main body of the disc, they've included a documentary that tells how the show Celtic Women came about, behind the scenes looks at the recording of the three television specials and the their second CD, and interviews with each of the regular cast members, David Downes, and various other members of the production company.

There can be no doubt that Celtic Women is a phenomenal success the world over, selling out shows in Europe, North America, and Japan and continuing to sell CDs and DVDs by the bushel load. However, the music you hear on this DVD, and I'd have to assume on their CDs, isn't what you'd hear scratched out on fiddle and guitar down at the pub on a Saturday evening, and you're not going to hear anything even mildly controversial, or even precious little Gaelic. Light and ethereal, the music is as fluffy as a cloud and generally as substantial as candy floss; neatly packaged in a show designed to maximize emotional reactions and minimize thought. As musical extravagances go Celtic Women The Greatest Journey: Essential Collection works remarkably well, as an example of Irish or Celtic music on the other hand, aside from occasional flashes of life, its a pale imitation at best.

Posted by Richard Marcus at 07:14 AM | Permalink

I'm sure we've all seen or heard various documentaries about the history of popular music in North America that have traced the roots of jazz and blues music back to the tribal sounds of Africa. Or how the blues developed out of the songs, "hollers", that the slaves used to sing while working in the fields that were a mixture of old tribal rhythms and the Christian hymns that the slave owners forced down their chattel's throats in an attempt to pacify them. However, most of us are probably unfamiliar with how the music that developed in both North and South America returned to Africa to influence the popular music scene in various West African nations.

In the 1980's, thanks to Peter Gabriel's World Of Music and Dance (WOMAD) festival, African popular music started to come the attention of European and North American audiences. Performers like King Sunny Ade from Nigeria exposed us to the previously unheard of genres high life and juju; guitar driven, high energy, and exuberant music that kept people on the dance floor for hours on end. However Nigeria was only the tip of a widespread pop music scene in Africa. Thinking that King Sunny Ade represented African pop music would have been as stupid as thinking a blues musician from Chicago represented all of North American pop music.

Benin lies on the West coast of Africa and butts up against Nigeria in the south, Niger in the east, and equally tiny Togo to the north. What distinguishes Benin from its neighbours is the fact that it happens to be home to Vodoun - or as we know it over here Voodoo. So it should be no surprise that the popular music of Benin draws heavily upon the rhythms of Vodoun rituals, but what is surprising is the other influences that have come into play. The Vodoun Effect: Funk & Sato From Benin's Obscure Labels 1972 -1975 a recent release on the Analog Africa from Germany, that has collected together fourteen tracks by one of Benin's most popular bands, Orchestre Poly-Rythmo de Cotonou. Recorded in the 1970's on a variety of small independent labels, they show not only the Vodoun influence but how music from both South and North America found its way back across the Atlantic Ocean.

According to the publicity material that came with the disc in the late 19th century a group of freed slaves from Brazil returned to Benin and over the years their dances and songs were incorporated into Beninese ritual, and from there worked their way into the popular culture. In the 1960's and 1970's American soul and funk music started making its presence felt in Africa, and along with the sounds of pop music from neighbouring Nigeria were assimilated into the popular music scene in Benin.

When you listen to Orchestre Poly Rythmo de Cotonou you have a choice, you can either try and analyse the individual songs in an attempt to discern the particular influences that are present in each song, or you can just sit back and enjoy the ride. Of course there are times when you just can't help noticing obvious influences, especially when the songs are as radically different from track to track as they are on this disc. One moment you'll be listening to a song that you swear if it continued a second longer would have sent you off into a trance the rhythm is so hypnotic, while the next, you can't help feel like you're listening to 1970's era Santana the Latin groove becomes so strong.

Now a lot of these songs were recorded early in the band's career and you get the feeling in some instances that they are trying out a new sound. However, on some of the tracks, and these are the ones that are my favourites, they have started to synthesize the various influences into their own sound. While you can still hear the occasional distinctive trait; the staccato horn sound of funk, an underlying rhythm that sends a peculiar shiver up your spine, or an electric organ riff that sounds like it might have strolled over from "Black Magic Women" to sit in for the take, the band shows they weren't going to be content just being imitators of other people's sounds.

It's interesting to hear the difference between various tracks on the CD as they show the band's sound developing and becoming more sophisticated. On the first track, "Mi Homlan Dadale" they sound like any number of African pop bands, not even incorporating any of their own traditional rhythms into the music. By the sixth track, "Se Tche We Djo Mon", and the seventh track, "Dis Moi La Verite", your hearing an amazing progression in their playing. The latter of the two is especially impressive for you can hear the beginnings of a successful marriage between the hypnotic rhythms of Vodoun, the distinctive sound of a latin melody, and the brassiness of American funk. It still sounds a little like three different styles of music are being played at once, but you can tell what the band is trying to accomplish, and it in no way diminishes the fact that the song is a hell of a lot of fun to listen too.

The only drawback to The Vodoun Effect is the sound quality on some of the tracks is not very good. This has nothing to do with the contemporary engineering, but with the fact that when the band originally recorded it was often with everybody piled into the studio gathered around two microphones. It's actually remarkable at how well balanced the sound is considering the size of the band and the number of instruments involved in making the recordings. The only real problem that crops up is distortion of the vocals and the horns, as they both occasionally sound like the levels were far too high when they were recorded.

This is a fascinating recording of some extraordinary music, by a group of highly skilled and dedicated musicians. We still know so little about African popular music over here in North America, that any recordings that shed light upon something that hasn't received wide spread exposure yet is interesting as well as important. It's also nice to know that Analog Germany is making plans to release more music by Orchestre Poly Rythmo de Cotonou from later in their career that should show the band's talent in a far better light. If they're this good raw, we're going to be in for a real treat when the next batch of recordings are released, the only pity is that it's taken so long for their music to find its way back over the ocean again.

Posted by Richard Marcus at 09:33 AM | Permalink

Music has always had the power to inflame people's passions. From ultra nationalist songs that whip up hatred against others to religious music that inspires devotions, music has the potential to have the strongest and most immediate emotional impact of all the arts. Therefore, it's little wonder that down through the years music and songs have been written to express both dissatisfaction and appreciation for the way the world is going.

While I'm sure you can find examples of protest songs from almost every era of civilization, just check out the Irish songs about the British occupation, it really wasn't until the twentieth century that English language protest songs began to take the shape that we are familiar with. Most of the early ones dealt with the plight of the working class in North America and called for the establishment of unions. As the twentieth century progressed, and fell into the depression of the 1930's, songs the plight of the poor farmers and the social/political system that could allow the crises to happen began to be heard.

However it wasn't until after WWll and the popularization of folk music that protest songs began to obtain widespread popularity in English speaking North America. With first the civil rights movement in the United States, and then the war in Vietnam, causing people to question the moral authority of government and society's inequities protest, songs and the people who sang them gained widespread popularity. Country Joe McDonald's "Feel Like I'm Fixing To Die Rag", and Bob Dylan's "The Times They Are A Changing" were along the lines of typical folk songs, while Jefferson Airplane's "Volunteers Of America" showed that the protest song didn't have to be limited to just folk singers.

Yet, after only a relatively short time the protest song's popularity died again. It seemed that when the impetus created by the unique combination of events and circumstances that had fostered the movement for social change died, so did interest in listening to songs about what was wrong with society or other people's troubles. While punk bands like the Clash, or musicians like Billy Bragg made no bones about their politics and did their best to motivate their listeners, the majority weren't interested. Like punk, rap and hip-hop had the potential to speak for the disenfranchised, but it was co-opted until now it glorifies the very things it originally protested against. (Check out the the lyrics of any Grandmaster Flash song from the early eighties and compare it to what's being sung as rap now and you'll see what I mean)

Now that doesn't mean that protest music is dead, it just means you have to look a little bit harder to find it. As a public service the good people at Ruf Records in Germany are releasing a new compilation CD of protest music recorded in the last few years. Rich Man's War: New Blues & Roots Songs Of Peace And Protest, to be released in the United States and Canada in the new year, is a collection of topical blues songs that were written in response to the first American presidency of the 21st century. While Ruf Records is distributing the disc, only two of the performers appearing on the disc are from their label, as producer Kenneth Bays has searched out recordings by as diverse a group of blues players as he could find. You'll notice that some of the songs seem to stretch the definition of blues somewhat, which explains the slightly unwieldy title, but does nothing to diminish the quality of the music.

I guess it only shows how unpopular protest songs have become when of the twelve songs on the disc not only have I only heard two of them before, "Follow The Money" by Bob Brozman and "Jesus And Mohammed" by Candye Kane, but I only recognized the names of two of the other musicians who had contributed to the recording; Guitar Shorty and Eddy "The Chief" Clearwater. Which is a great pity, because not only are the songs on this disc all intelligent, and sometimes quite funny, but even better, they are all good pieces of music. Protest music has received a bit of bad rap over the years for being painfully earnest and painful to listen to as its been wilfully misrepresented by those who'd rather we'd not be reminded that the world isn't quite the way the government depicts it.

Needless to say as the songs collected here are all in direct response to the Bush administration and its policies their primary focus is on topics that have dominated the newspapers since his election. What was nice to see was how each of the performers found a way to address the issue they chose to talk about without resorting to making villains out of people like the soldiers being sent overseas, but attacked the policies and motivations of those who made the decision to send them. Even better, there are a couple of songs that don't even resort to blaming anybody in particular, but instead seem to be shaking their heads with regret at the whole damn situation.

Two of the best songs on the disc are the previously mentioned "Jesus And Mohammed" by Candye Kane and "A Time For Peace" by Eddy "The Chief" Clearwater. In the former, Candye Kane imagines a conversation taking place between the two prophets and them shaking their heads in disbelief at how their followers could have screwed up their respective messages so badly. "This isn't what we wanted, both were heard to say, how could our words of love lead us to this day/ Oh my children don't you understand, misery and hatred won't get you to the promised land". Sung along the lines of a country/blues gospel number, and especially with Candye Kane's big and expressive voice, the song is a particularly effective condemnation of the hatred generated by all those who would have their followers on either side believe they are fighting a holly war.

Like Candye Kane, Eddy "The Chief" Clearwater has turned to the gospel roots of blues music for his song, complete with an echoing organ solo and church choir. "How many politicians have to lie? How many good soldiers have to die?". What makes this song so effective is the stark simplicity of its message, "It's time for love/It's time for peace/It's time for war...to cease", and the genuine passion that he and the choir are able to bring to what they are saying. "A Time For Peace" is a genuine prayer for peace that transcends individual religions or politics and reminds us if we don't keep love in our hearts we're no better than those we criticize for making war.

Rich Man's War is a collection of intelligent, musically interesting songs written in response to events of the last eight years. You probably won't have heard many of the songs on this disc performed before, and you may not have even heard of some of the performers themselves. However, after eight years of listening to one version of events and maybe starting to feel a little uncomfortable with what you've been told, don't you think it's about time to give some other opinions a chance? This CD represents that chance - maybe you should give it a listen.

Posted by Richard Marcus at 08:37 AM | Permalink

Even centuries after an empire's fall, traces of that civilization can be found throughout the geographical area that it once occupied. Roman ruins dot the landscape from Great Britain to the Middle East, the decorative arts of the Ottoman Empire can still be seen throughout Spain, and the Taj Mahal in India is a permanent reminder of the Mogul Empire. However, if you want to see examples of the influence that's still being exerted by some of these great powers look at the similarities in traditional music among the countries they once occupied or that came under their sphere of influence.

This is especially true of the various cultures that at one time or other were ruled by the Ottoman Empire of Turkey. Aside from any of their own musical traditions that they might have carried with them as they expanded across Europe and the Middle East, they also brought with them any of the influences they may have absorbed along the way. From Egypt to Spain and throughout the Balkans enough similarities in music can be found that it's possible for contemporary musicians with roots in any of the cultures touched by the Empire to feel comfortable playing and adapting the music of another region that had come under their influence.

This was really brought home to me when I listened to the self-titled CD by the duo who make up Teslim. While violinist Kaila Flexer draws upon a background in Jewish music, oud, and a multitude of other plucked string instruments, player Gari Hegedus combines his Eastern European heritage, Hungarian, with a love for the traditional instruments of the Middle East. As a result the music on their CD, Teslim, not only reflects their individual heritage and interests, but is an example of the common ground that exists between the music of different cultures.

Would you have considered it possible for a traditional Sephardic Jewish melody in praise of God, "El Meod Na'ala" ("God Is Very Divine") to be played in such a manner that it would be reminiscent of Turkish Sufi music? Maybe not, unless you happen to remember that the Sephardic Jews inhabited the Iberian peninsula, Portugal and Spain, in relative peace when it was part of the Ottoman Empire. While it's highly doubtful that they would have written music that was in that style, the music that they developed during that time would have reflected the culture around them.

Listening to "El Meod Na'ala" you'd never know that it hadn't been originally written the way its performed on Teslim as it sounds perfectly natural. There's none of the forced sound that you so often hear when people try and combine musical traditions that have no business being put together. In fact unless you knew that it was made up of a melody from one culture and the rhythmic pattern of another you couldn't tell as they fit together so seamlessly. While not all the of the songs on the CD draw upon multiple traditions, each of them could very well have its origins in one or other of the countries that at one time was under the sway of the Ottoman Empire.

While that may explain why the divergent styles being played on this disc work so well, it doesn't even come close to describing the experience of listening to the music these talented musicians and their occasional guests perform. I have listened to any number of CDs by extremely talented musicians playing all sorts of music on an incredible array of instruments, but very rarely have I heard music that has managed to affect me in the way this disc did. There is a haunting quality to everything they played that seemed to speak to me on an emotional level that nothing I've heard before has done in the same way.

Have you ever been somewhere, for me it's usually somewhere in nature - deep in a forest or by a large body of water early in the morning - where you are reminded of just how truly magical the world is? Where for a few precious moments you are able to forget everything about the mundane world we usually live in and are transported outside of yourself. Listening to this CD had a similar affect on me. There was something about the sounds of the instruments and the rhythm they followed that elicited the same sensation of being part of something far bigger than my own life and its trivial concerns like when I'm surrounded by the wonders of nature.

It's not like the songs are about great spiritual matters or anything like that, or there has been any attempt on the part of the musicians to create that type of atmosphere. I think the closest they come to writing about spiritual matters would be the song I mentioned earlier, "El Meod Na'ala" and another piece called "Knight Of Cups", inspired by the Tarot card of the same name. Most of the other songs are about more mundane matters, like Gari's granddaughter learning how to walk, "Kiana's Waltz", or inspired by the rhythmic patterns of other songs as was the medley of "Elk"/"High Tide"/"Yetierre", where the first two songs were inspired by the time signature of the last.

It's not even as if the music is able to overwhelm you with its power either, as there only at most four people playing at a time, and the majority of the time only two, Perhaps, though, that's part of the answer; the simplicity of the sound allows it to be a more direct and personal experience than we're used to having with music today. With the most elaborate arrangement on this disc involving three violins, a couple of different plucked instruments, and a frame drum, there is an immediacy to this music that you don't often experience anymore.

Normally we are listening to multiple sounds that we have to sort into a form inside our head that will allow us to comprehend them. Whether we want to or not that means we are bringing our intellect into play and erecting barriers between our emotions and the music. Here the music has the opportunity to "speak" directly to us on an emotional level as we are not having to "interpret" or rationalize it. Haven't you ever noticed how much more powerful a solo instrument is, even though its quieter than the entire band or orchestra? Well it's the same situation here, but for the entire length of each song instead of just for a moment or two during the piece.

Of course if the two musicians weren't as incredibly gifted as Kaila Flexer and Gari Hegedus are it might be a different story. For not only are they technically skilled at what they do, but they have an amazing ability to transmit emotion with their playing. At the same time they never exaggerate the significance of what you're hearing, but are able to communicate the feelings that are generated by the simple pleasures in life - like watching your grandchild take her first steps - in such a way that it captures the true sublime nature of the moment.

Teslim by Teslim is not only unique because it allows us to see the common musical heritage that so many different cultures draw upon, but because the music on the disc brings the magic of the world alive. This is a beautiful collection of music that will remind you of what it is that music can do in the hands of skilled people whose love for what they do comes through in every note they play.

Posted by Richard Marcus at 07:59 AM | Permalink

With contemporary composers utilizing such a wide range of instruments, and drawing upon so many different sources for inspiration, is it still reasonable to differentiate between them and the modern jazz musician? As both genres continue to explore forms of composition and musical styles that extend beyond the boundaries previously associated with them, the space dividing them has narrowed considerably. In fact, judging by some of the music I've heard recently, jazz musicians seem to be the ones doing the most to expand music's potential to express ideas and emotions.

This was brought home to me again listening to the latest release on Anzic Records by trumpeter Avishai Cohen called Flood. Flood is the second recording in what he's titled The Big Rain Trilogy, and while the CD is a description of a flood along the lines of the one experienced by Noah, Cohen describes it as an attempt to tell the story from the point of view of nature, where death is a part of the natural cycle and is actually crucial for nature's survival. As he says, "Nature does not lament the flood nor resist it, but rather accepts it as its own." With the trilogy he is attempting to build a picture of the life that exists before, during and after the flood; nature's strength and beauty, and humanity's search to improve itself in the hopes of preventing another flood.

Flood is divided up into seven sections with each one representing a different stage in the life of the flood from its very beginnings as rain ("First Drops"), to the earth's renewal after the waters have receded ("Cycles: The Sun, The Moon, And The Awakening Earth"). With Cohen's trumpet, only being accompanied by band-mates Yonatan Avishai's piano and Daniel Freedman's percussion it's difficult to see how they could create the range of sound one presumes would be needed to fulfill his objective with the music. However, after listening to the composition for the first time I realized that Cohen was utilizing more than just the sounds of the instruments to achieve his desired objective, there was also the manner in which the sounds were played to be considered, and of course the various rhythms utilized and their inter-relation.

It's the piano that opens the piece, and Yonatan Avishai's playing captures the sound and feel of rain drops falling to the ground. At first its very relaxing, almost trance inducing, like listening to the sound of a gentle rain on a peaceful summer afternoon, and even as the rain intensifies with the addition of percussion and trumpet, you never are given the impression of being at risk, as the sound continues to wash over you. Gradually though a certain level of discordance creeps into the music with both the piano and the percussion starting to increase in tempo. However, instead of the trumpet becoming more shrill or intensifying in some way to match them, Cohen continues to play with the same smoothness that marked his entrance into the piece.

Nature doesn't panic when it rains, that's a human thing. So, although I found myself initially wanting the trumpet to reflect the anxiety I would feel because of an increase in a rain storm's tempo, Cohen's trumpet reminded me that this wasn't about humans, but about nature. The smoothness of the trumpet, and its repeating the same patterns all the way through the opening piece, establishes that nature accepts the flood and all its consequences without reacting like we would.

Talk about making best use of minimal resources. With only three instruments not only does Cohen manage to create the atmosphere and sound of rain falling so that we know the flood is beginning, he establishes the point of view that we will be seeing everything from for the remainder of the piece. Finally, he also sets the precedent for what each instrument will represent throughout the course of the music; the piano will describe the events as they occur, percussion will accent and colour the events adding to their flavour and giving them depth, and the trumpet will give sound to the voice of the natural world.

As we progress through the various stages of the flood Cohen tries to capture the feel of the world being covered by an endless expanse of water with the two pieces "Heavy Water: Prologue" and "Heavy Water". The former is a short trumpet solo that sets the stage for the piece following it. Slow and extended notes, with just the tiniest amount of reverb added on, create an image of a vista of water stretching as far as the eye can see. We jump into the main body of "Heavy Water" without a break, but with the sudden addition of the piano and percussion increasing the tempo of the piece. It's as if he's reminding us that just because all we can see is water doesn't mean there's no life or that everything is as monochrome as one might believe from seeing a huge body of water.

Of course flood waters aren't just going to sit there idly doing nothing even if they cover the whole world. Sure there aren't as many beaches as there were before for the tide to come in and out on, but that doesn't mean that its not moving. Perhaps a mountain top or two break the horizon and the water ebbs and flows around their peaks? Or what is the weight of the water doing to whatever lies underneath it? How is the world being reshaped by the flood - what will be born out of this chance of rebirth?

To be honest I wasn't sure what to expect when I went to listen to this disc, and I was surprised by the depth of feeling and vision that Cohen and the other two musicians were able to generate with only the three instruments. Over the course of listening to Flood you gradually get a feel for what they are doing as Cohen does a good job of establishing how the music is presented and its major themes. Interestingly enough I don't normally find either trumpet of piano the easiest of instruments to listen to, but there was something about the way their sound was being used during these pieces, and knowing what it was that they were trying to communicate, that made me almost forget the instruments and focus only on the music.

I don't know if you would call Flood a jazz recording or not, I guess it depends on how liberal you are with your definition of jazz, however, no matter what you call it, there's no denying that it is a compelling and powerful piece of music. Close your eyes, lay back, and listen as the flood waters first cover the world and then gradually recede leaving behind a chance for a new beginning.

Posted by Richard Marcus at 06:13 AM | Permalink

Since throughout history the Roma (Gypsies) have had been vilified by people around the world, it seems only fair that they also start receiving some of the credit they're due for how much they've influenced the music of so many different cultures. As is detailed in Latcho Drom (Safe Travels), Tony Gatlif's amazing documentary that traces the Roma's travels from Northern India to France via the music of all the countries in between, their music has influenced the sound of every country they have lived in. Classical composers like Hungarian Bela Bartok incorporated Roma music into their compositions and folk music from Russia to Spain bears their stamp.

Who hasn't listened to klezmer music or flamenco and heard the guitar and the violin of the Roma playing alongside the other instruments? In France their sound merged with the Celtic music of Breton, and I've often wondered how the fiddle and the guitar ended up in Ireland, a country known for its pipes and drums traditionally. Every so often something really extraordinary happens and some of these Roma influenced traditions collide and create something new altogether. In New Orleans Spanish and French music hooked up with the sounds of Africa and zydeco was born.

Now, in something akin to nuclear fusion on the musical level, the New Orleans based band The Zydepunks, have taken zydeco a lot further. It's not just Spain and France they draw upon, they bring in the Eastern European sounds of klezmer and the folk sounds of the Balkans, and power the result with a punk sensibility similar to the Pogues. Listening to their latest release, Finisterre, on Nine Mile Records, it's impossible not to get carried away to the ends of the earth by the sounds they have created.

At first you don't really know what to expect because the disc starts off with a traditional sounding Klezmer song, "Papirossen in Gan Eden", that's beautifully performed and sung with heartfelt sincerity. However, you get the feeling the band is easing you into things gently, as there's also an underlying tension to the song that's hard to put your finger on. When the next number, "Angel Whisky" sounds like it owes a debt to Dublin as well as Poland, it's the first indication that you're about to embark on a musical journey unlike one you've experienced before.

The strains of an accordion that sound like they could have haunted the streets of Paris or played a sea shanty for the fishermen returning with their catches in Breton in one song will turn into the sound of an Irish reel in another. The violin whose bow dances across its strings in a merry fiddle tune on one occasion, will echo the muddy streets of Eastern European Jewish settlements in another. Yet instead of sounding like a collection of unrelated songs, The Zydepunks manage to find the thread that ties them all together.

Even if you can't hear, or make, the musical connection between songs it doesn't matter, because its more the how instead of the what they are doing that brings about the cohesion. Each song, no matter what the tempo, is performed as if it were the most important piece of music that the band ever played. You can't make a violin cry or dance like either Denise Bonis or Ti-Juan do, or an accordion dance like Eve does, or create the rhythm to contain all the music with the precision that drummer Joseph Lilly and base player Scott Potts do if you don't believe in what you're doing.

When playing so many different styles it would be easy to go through the motions, but not once did I get the impression that anybody, either the regular band members or any of the guests who they have sitting in on this recording, are doing anything but throwing themselves heart and soul into every song. It doesn't matter what language the song is in, English, French, Spanish or Yiddish, if they are singing a song in memory of a departed friend ("Song For Mike" and "Long Story Short" are for Michael Frey a friend of the band who was murdered in 2006), or a song about them being evacuated post Katrina ("Dear Molly"), you can hear in the sound of their voices and the intensity of their playing that there's nothing more important to them than playing that song at that moment.

Aside from the fact that they are playing such an exotic mixture of styles and beats, the other thing that makes The Zydepunks so exciting is the punk sensibility they bring to their music. That doesn't meant they play loud and fast all the time, or sound like any of the other cliches that you might want to associate with punk, it means they take each song to the edge. They play with a wild abandon that always seems to be on the verge of descending into chaotic ruin but somehow always manages to stay on course. They are like a ship running before the strongest of winds that keeps threatening to keel over, but because of the skill of the crew they not only stay afloat, but they skim the waves faster and cleaner than you would have thought possible.

The city of New Orleans has long been a place where musical styles have converged and created sounds that hadn't been heard before. Not only do the Zydepunks continue that tradition by drawing upon the music of the region, they have reached even further afield to draw upon other musical sources similar to the French and Spanish roots of Zydeco, but that also have unique flavours of their own. As the Roma travelled West across Europe they planted musical seeds in every country they settled in. It's from those seeds planted centuries ago that The Zyedpunks have cultivated their own unique sound.

Exciting, exhilarating, and just plain fun, the music on Finisterre is quite unlike anything you'll have heard before, while sounding remarkably familiar at the same time. Yet, no matter what the music sounds like, the one thing you can be sure of is that you're in for the ride of your life when you listen to this disc.

Posted by Richard Marcus at 06:37 AM | Permalink

Music ethnologists have travelled around the world since the days wax cylinders were the height of recording technology collecting examples of music from various cultures. In some instances these recordings have become not only research projects, but records of traditions that were in the process of heading for extinction. Buried in the archives of universities and museums are sound files of everything from Native American healing songs to chants and ritual music from Southern Africa. European encroachment into original people's lives and lands and colonial government policies of cultural genocide and enforced assimilation ensured that those ancient songs would not be passed along to a new generation so these recordings are all that remains of thousands of years of tradition.

Ironically as technology improved to allow better quality recordings, fewer and fewer original cultures existed to be recorded. However, since we have turned into such a disposable society the techniques used by original researchers to record indigenous music have been used in recent years to ensure music that grew out of early North American European and slave cultures are being preserved. While in the United States that's included songs that are as contemporary as the 1930's, in other parts of our hemisphere some of these newer traditions date back to the 17th century and represent a mingling of imported and native cultures.

Sometime in the 1600's two ships carrying African slaves from Nigeria were shipwrecked off the coast of St. Vincent Island in the Caribbean that were occupied by two tribe of indigenous peoples, the Arawars and the Kalipuna called the Caribs by Spanish explorers. Initially there was conflict between the escaped slaves and the natives but eventually they settled their differences, intermarried and created a third people who are now called Garifuna. As colonial masters changed The Garifuna were rounded up by the British to be moved to an island off the coast of Honduras, Roatan. When it in turn was taken from the British by the Spanish the people were moved again, this time to Trujillo to serve as labourers and farmers.

In 1802 the Spanish shipped some or the people living in Tujillo to Belize to work as woodcutters where they established communities and gradually more of their people joined them. When Central America achieved independence from Spain, the Garifuna remaining in Tujillo discovered they were now living in Honduras and loyalty to Spain wasn't something their countrymen approved of. This resulted in the mass migration of the people to the communities already established on the coast of Belize.

In spite of their rather harried early existence the Garifuna managed to develop a culture unique to them which emphasizes music, dance, and storytelling and a religion that combines Catholicism with African and native beliefs. While many cultures have evolved traditions of dance, music and storytelling, the Garifuna have combined the three elements and refined them significantly so that the music, song, and dance work together to tell various stories. In 1990 Alfonso Arrivillaga Cortes and Byron Sosa visited Garifuna living in Livingston Guatemala to make field recordings, and the results can be heard on a new release from the Sub Rosa label called Ibimeni. The music that you will hear on this CD was not performed in order to recreate something that has vanished into the mists of history and barely remembered by a few people, its the sound of a living culture that has somehow survived many hardships and been able to resist assimilation into "civilization".

The rather extensive liner notes that come with Ibimeni breaks down the different types of rhythms that are used in Garifuna music and what each one signifies and how the music is performed. A group of up to four drums, referred to as garaon, made up of primera, high pitched, and segunda, low pitched instruments, are accompanied by both a solo singer and a choir. While the solo singer "tells" the story in song, the choir provides emphasis by repeating verses. Meanwhile dancers are responding to the sounds created by the primera to enact the story. However unlike most dances where the dancer is an extension of the drums beat, here they are reacting to what the drum "says" as if they were having a conversation.

There are three types of rhythm basic to the music of the Garifuna people: Punta, the most common, is used for secular events and some festive occasions; Hunguhugu, is used specifically for rituals associated with the cult of the ancestors known as Chugu and is accompanied by chants known as Abeimahani; and finally Wanaragua is specifically for a dance that recreates the people's battles with the English and is only performed on holidays like Christmas, New Year's Eve and Day, and the Epiphany. Unlike the other dances this is the only one that has specific steps and costumes for the dancers including rattles made of shell hung from the dancer's knees.

Drums and percussion instruments predominate in the music, and one of the things that struck me most about what I was hearing was the similarities between it and the type of drumming I've come to associate with Native North Americans. In fact there was one religious song, track 12 "Wasanriaha" (union), where the combination of voices and drums was eerily reminiscent of the sound of a Pow-wow drum. A steady, heartbeat, rhythm accompanied by voices singing near falsetto chants. Although this is fairly common among the various nations of mid-western North America, and has now been adapted by most nations for their Pow-wow gatherings, this marked the first time I've heard that distinct combination used by people outside of North America.

Occasionally during a song you will hear the sound of what's called a marine small trumpet. There is something quite spine tingling and mournful sounding about it, reminding me of a mixture of a conch shell and the sound of a very distant fog horn in the earliest part of the morning. I did notice that its only used in certain Puntas, and it seemed to depend on their theme. Although the disc did open with a song that featured only that instrument called "Marine Small Trumpet". The liner notes say the song is known as a "call", and while I don't know what it was originally meant to call, it sounded to me like it was trying to call the day out of the ocean after a particularly foggy night. However, that's probably more my imagination than reality, because if you look at the majority of the song titles you realize that their music is primarily concerned with the day to day things of life; "The Water Has Boiled", "It's Getting Dark", and "Edna's Gold Tooth".

Like the rhythms, there are also names for the different types of songs and the different types of instrumental music that is performed. Los arruloos (lullabies) and Los alabados (Catholic liturgical) are the two major song types heard on the album, and the three different instrumentals are known as La Parranda, Las bandas, and El Pororo and refer to which instruments are being performed. The exception is El Pororo, as it also refers to a specific type of music played for festivals associated with The Virgin of Guadalupe. So "Edna's Gold Tooth", a Pororo, is played by a band with high and low drums, the marine small trumpet, turtle shells (percussion instrument), cymbals, and other drums and follows a beat that is similar to what you'd hear during Mardi Gras celebrations.

For all that describing the music makes it sound incredibly structured, listening to it you'd never know. While there are definite distinct patterns that the music follows, there is also a wonderful amount of energy and passion that flows through the song as expressed by the singers which gives them their individuality, so even songs from the same grouping don't necessarily sound alike. I only wish there was some way that the dancers could have been incorporated and the recording presented as a DVD so we could experience the material to its fullest.

Since these songs were recorded back in 1990, the music of the Garifuna people has undergone popularization and is now being performed in concert hall settings. Ibimeni returns the music to the villages and beaches of the Caribbean where it originated and gives you an opportunity to hear it the way it has been sung and played for the last two hundred years. Like all good field recordings this one has created a record of a sound and preserved it for future generations. Culture has to evolve in order to survive, but its origins should never be forgotten. Recordings like this one ensure that no matter what happens history won't be washed away by the tide of change.

Posted by Richard Marcus at 04:34 AM | Permalink

It's always with a certain amount of trepidation that I take on the task of reviewing anything from a culture other than my own. Much of what I take for granted when it comes to the creative process, are wedded to my cultural background, which means that I lack the knowledge to create a context to place something in if its been created under different circumstances. For all I know the indicators in a piece of music, for example, that I'm used to helping me recognize the emotions being expressed by a composer are different in another culture's music than what I've come to expect from my own.

In the past few years I've been fortunate enough to have some exposure to the culture and philosophy of the Indian sub continent. It has become increasingly obvious to me that just trying to understand some of the basic differences between the two cultures is a task sufficiently large to keep me occupied for the rest of this life, and maybe even the next one or two lifetimes as well. So when I do attempt to review something like Asad Qizilbash's new CD on the Sub Rosa label, Sarod Recital/Live In Peshawar, the first thing I try to do is find out as much as I can about the music and the instrument the performer is playing.

Thankfully Asad Qizilbash has made a career out of not only performing his music at home in Pakistan, but around the world in an attempt to establish bridges between musical traditions. His web site is a valuable resource for anybody wishing to learn about him and his music. One of the first things he makes clear in the page dedicated to talking about the music he plays, is the key role played by one of the differences between our society and his. Indian culture, he says doesn't divorce spirituality from everyday life, so there is a spiritual dimension in all artistic creation. As music, at least traditional classical music, is regarded as a reflection of the divine spirit, the musicians role is often spoken of in terms of a spiritual quest, or sadhana.

While a Raga (the name used to designate a piece of music much like our word opus or concerto) is a scale made up of a minimum of five notes played in both an ascending (Aroha) and descending (Avaroha) direction with two notes (Vadi and Samavadi) acting as the "destination" towards which the Raga flows. (I interpreted that to mean that no matter what you do in the Aroha or Avaroha you must always end with either the Vadi or Samavadi) Ultimately a Raga is created anew each time it is played, as the musician(s) role is to bring what is basically a simple scale to life by drawing upon the his or her own experiences to create an improvisation around the basic scale.

According to Asad the life one lives becomes the essence of the Ragas one sings or plays, which is why a musician must have an amazing sense of self in order to carry out their sadhana. Like any artist, the musician will draw upon personal resources for their inspiration, but unlike most art in the West one of those elements is the artist's awareness of his or her connection with the divine. While its true that a great deal of Western Classical music has been composed as an expression of an artist's adoration of God - think of Beethoven's "Ode To Joy" in his Ninth Symphony - they only emphasis how we compartmentalize spirituality and keep it separate from our day to day existence by not expressing anything else about the composer.

The instrument that Asad plays, a sarod is apparently Persian in origin as its name appears to be derived from the Ancient Persian word for music, saroodh. Unlike many of the stringed instruments associated with Indian classical music the sarod has a goatskin head, like a banjo's, over top of a deep wooden bowl which the fret board is attached to. Of its nineteen strings, four are designated for the melody, four to create the rhythm, and eleven are sympathetic strings which resonate during play. Unlike a guitar where the player depresses the strings with their fingertips, a sarod's strings are depressed with the fingernails. Considering a player is already having to worry about playing both the melody and the rhythm, it begins to sound like an insanely difficult instrument to play.

Listening to Asad Qizilbash performing on the disc Live In Peshawar you would never know that it requires any particular skill to play a sarod as it seems like his fingers skip and fly over the strings without any difficulty. Even more amazing is the fact that this is a live concert performed under less than ideal conditions. For those who haven't been paying much attention to the news in recent years, Peshawar is on the border between Pakistan and Afghanistan and has long been a destination for refugees fleeing the conflict in in Pakistan's northern neighbour, and a target for both the Taliban and the forces opposing them.

Accompanied by tabla player Mustafa Khan, Asad performed three separate ragas that night, "Darbari", "Bihag", and "Piloo", in the space of about an hour. As my frame of reference for this music is limited I concentrated on trying to listen to the way Asad extrapolated upon the base structure of a raga. It was like he played in ever expanding circles that spiralled outwards from a core made up of the ascending and descending notes. After establishing the initial pattern he began playing increasingly complicated improvisations that rolled out like concentric waves of sound from a core point that expanded on each pass.

At times it was difficult to believe that it was only one instrument being played, so distinct were the melodies and the rhythms he was playing. Listening to him you begin to gain some understanding of what is meant by filling the song with the stuff of one's own life, as he sounded like he was pouring ever increasingly amounts of his heart and soul into the music. Perhaps it was the environment that he was playing in colouring my perceptions, but there was a palpable sadness to the music. It was like he was tapping into the feelings of the audience and incorporating it as part of his experiences.

I think the key thing with this music is once you understand the intent behind it, not to let yourself get tied up into knots over trying to discern elements that are beyond your capacity to appreciate. Not being native to the Indian sub-continent, or part of that culture, there are obviously aspects of Asad's performance that will escape us. On the other hand we can still appreciate the emotional intensity and the passion of the music as much as we would in any other person's performance. For, in the end, music is still music, and no matter how alien the instrument being played or how foreign the ideals behind a song's conception might be, we are still able to appreciate it for those things that music stirs within all of us, no matter who we are or where we come from.

Posted by Richard Marcus at 07:01 AM | Permalink

Mention Peru and most people will think of either the Andes Mountains or the Amazon river, the two great natural attractions of that South American country. Both regions were once home to great civilizations that were decimated by the coming of the Spanish conquistadors. The quest for gold and the souls of heathens followed by civilization's encroachment on their homelands via the mining industry in the mountains and the destruction of the Amazon rain forest has reduced their numbers even further. Now, like other nations native to the Western hemisphere, the Shipibo and the Aztecs live in poverty.

However, in one of those strange quirks of fate that happens on occasion when a collision of cultures occur, the music and culture of the Shipibo was given a new lease on life and is now being brought to an international audience. The strange journey started in the 1970's and is tied up in the history of the musical hybrid of Brazilian carimbo, Columbian cumbia, American surf guitar, psychedelic organ, and native cultural influences known as chicha music.

Chicha's origins lie in the poor working class towns dotted throughout the interior of Peru whose population were a mix of Shipibo and workers brought in to labour in the mines and industries that were final death knell for the native way of life. Ironically instead of the natives being assimilated by the invading culture the reverse happened and a great many of the workers embraced aspects of the native culture as their own. In the small town of Pucallpa a group of those had formed into a band that did the occasional gig playing a mix of jazz and dance standards.

When the original leader, Juan Wong Paredes, of Juaneco Y Su Combo gave way to his son, Juan Wong Popolizio, the band's direction took a radical turn. Juan junior traded in his accordion for the electric organ and hired Noe Fachin, a guitar player with a penchant for native pharmaceuticals. It was Fachin's interest in indigenous folklore and his love for the wah-wah pedal that supplied the first stage in the development of the band's new sound. Thanks to short wave radio the band was introduced to the carimbo and cumbia rhythms that were to become the beat that carried them to popularity.

The story almost came to a tragic end when five of the band members, including Fachin the group's primary composer, died in a plane crash in 1977, but Juan Wong persevered and kept the band going. Now entering its third generation, Juan Wong has died and the group is now being led by his son Mao Wong Lopez, Juaneco Y Su Combo's music is now available to an international audience for the first time thanks to the Brooklyn based Barbes Records who have just released Masters Of Chicha 1 featuring sixteen of the band's tracks from their 1970's hey-day.

The first thing you notice in almost every song is one of the two anomalies that give chicha music its distinctive sound; the sustained warble of a wah-wah guitar or the slightly jarring and hypnotic notes produced by early electric organs. Propelling the music to almost frenetic heights are the staccato sounds of various percussion instruments rapping out the high speed Latin beats that defy you to not dance. Over top of this odd, but compelling melange of sounds, lyrics that draw upon the folklore and traditions of the Shipibo are sung, chanted, whooped, and exclaimed.

While the majority of the band weren't native, they normally performed dressed in Shipibo costume and embraced aspects of the culture with enthusiasm. Fachin's nickname of El Brujo, the witch doctor, wasn't just an idle joke as the chief songwriter made frequent use of ayahuasca, a hallucinogenic drug prepared as a tea used by Shipibo shaman, and claimed to have received his inspiration for a number of their songs while under its influence. You can hear the native influence in the lyrics of songs such "Me Robaron Mi Runamula" which tells the story of a half mule, half woman creature of Shipibo myth and "Vacilando Con Ayahuasca", where a woman's voice repeatedly asks for more "tea" as she ascends further and further into a state of ecstasy.

In some ways the music of Juaneco Y Su Combo is a predecessor to today's house music, specifically trance, with its tendency to repeat the same rhythmic pattern hypnotically. Yet unlike most of today's music, these songs have an emotional texture that brings them to life in ways that you don't often hear in modern electronic music. Of course there are also the tracks where the enthusiasm of the musicians is such, and the beat so strong, that no matter how repetitive it may sound, you'd never find yourself drifting away into another world.

Juaneco Y Su Combo aren't the only chicha band to have come out of the Peruvian countryside, but they are credited with being one of the originators of the sound, and the band who first really popularized it. So it's only fitting that they are also the first band to be given an international release. As odd as reading about it may sound, the music is infectious, fun, and never boring. If you're looking to hear something new, than this is the band for you. I can honestly say that I doubt you'll have come across anything quite like Juaneco Y Su Combo before.

Posted by Richard Marcus at 06:34 AM | Permalink

I attended my first reggae concert in 1980. Peter Tosh, one of the founders of the Wailers along with Bob Marley, was playing an outdoor concert at what was then The Ontario Place Forum in Toronto, Ontario. In those days it was simply a covered stage surrounded by maybe twenty - thirty rows of seats, and grassy hillside where you could park your butt on a blanket and sit under the stars on a summer's night listening to music. Of course if it rained and you were on the hillside you were soaked, but most people were willing to take that chance as the admission charge was only two bucks and you had the chance to see world class acts like Peter Tosh.

On this overcast and muggy night, where showers threatened but never fell, Peter performed his magic on stage wreathed in an ever increasing haze of smoke generated both by his habit of hitting the pipe and the audience's enthusiastic contributions. Tosh had a brief moment of popular recognition in the late seventies when Mick Jagger and Keith Richards hooked up with him to perform "Don't Look Back", but aside from that his material was much more controversial then his old band mate's and he never really achieved the same popular acclaim. However, while Marley's death was universally mourned, when Tosh was gunned down in his home in an apparent botched robbery in 1987, it seemed to me that a great deal of the political spirit went out of reggae.

That's probably a false impression I know, but with both Tosh's and Marley's death it seemed like some of the energy had been sucked out of the music and I began to lose interest in the genre. Too much of what I was hearing was starting to sound like mindless bass dubs good only for grinding your brain into submission, so it's only been recently that I've even started checking out reggae again. It was sometime earlier this year that I began to run across pictures of Michael Franti & Spearhead, and there was something about the attitude projected by them that made me pay attention. Like Tosh they had that hint of danger about them, a spark of something provocative, that made me want to listen to their music. So when the opportunity arose to review their most recent release, All Rebel Rockers on Anti Records, I took it.

You know what, sometimes appearances aren't deceiving - these guys not only delivered on the promise of their picture, they actually exceeded it in some ways. Musically they proved to be wonderfully divers as they are able to do everything from the heavy overdubs of dance hall to soulful acoustic numbers - their cover of John Hiatt's "Have A Little Faith" that closes All Rebel Rockers is every bit as good as the original, and even in some ways better. Of course it probably didn't hurt matters that they recorded disc in Kingston, Jamaica with Sly Dunbar and Robbie Shakespeare heading up the producing team. Sly & Robbie were the rhythm section of choice for many reggae bands including Peter Tosh and Black Uhuru, until they turned their hand to producing full time and their client list has expanded to include folk like Bob Dylan.

While the opening track, "Rude Boys Back In Town", is pretty much your standard dance hall song, it makes for a good intro to the disc as it establishes the groove. Instead of being reliant on base like so much of the stuff I remember hearing in the 1980's it has a cleaner sound that doesn't make you feel like you're being beaten into submission. Track two not only continues that trend but it broadens not only the musical spectrum of the recording but also its lyrical content. "A Little Bit Of Riddim" opens the door to the political nature of the band with lyrics like "when borders didn't have to mean concrete walls". Musically it opens things up more with some great horns and scratch guitar and a beat that will have you moving whether you want to or not.

"Life In The City" slows it down a bit with a more classic reggae beat, during which Michael gives a litany of reasons as to why you better live in the moment, "Cause you never know how long you live to you die". You never know when they're going to stop your car, search you, search your house, and sure one day there may not be secret prisons they can hide you away in - but that's not today. Franti continues on in the same vein with "Hey World (Remote Control Version)" where he exhorts all Rebel Rockers to put up a fight, cause remember, he says, the Patriot Act took away your rights.

While these opening tracks were pretty much what I had hoped for and expected from this disc, it was songs like the fifth track "All I Want Is You", which were the big surprise. The music is far more subdued than any of the previous tracks, and the lyrics are appropriately introspective. It's a highly intelligent and emotional love song delivered to the accompaniment of a gentle beat with some dubbing judiciously added to create an almost brooding atmosphere. However these guys aren't going to let you wallow around for long in contemplation as the next song "Say Hey (I Love You)" comes storming out with a calypso beat and jogs along making you realize how much joy there is to be had in love. This isn't one of those moaning, love has hurt me and left me bleeding on the sidewalk songs, this is a happy affirmation of the beauty of love.

The beauty of All Rebel Rockers is not only the musical diversity shown by the band, but the way they can switch pace without skipping a beat or sounding artificial. One minute you can be listening to a bottom heavy, skittish dance piece, then a gentle acoustic song, which in turn is followed by a guitar driven, rock/reggae song that shouts defiance against what Michael and the band see as the rot and corruption in society. ("So