Leap In The Dark

Here we are in the last week of the year which means it's time for all of us who have been reviewing stuff since last January to start publishing our lists. Completely subjective the only reason for publishing them is to take one last stab at convincing you to give the items listed a listen. So for what it's worth here are the discs released in 2011 that I like the most. This year there were more than ten, so in no particular order, here are my favourite eleven releases from the past twelve months.

Hank Williams III Ghost To A Ghost & Guttertown Greatness must skip a generation, because unlike his father Hank Williams III manages to genuinely capture the spirit of the original Hank's music. While they may have very little in common musically, both the grandfather and the grandson have that raw, rebellious nature to their music that makes it vital and alive. Hank Williams' music was the first steps towards rock and roll, who knows what Hank III's will lead to. Difficult to listen to at times, but never boring, Hank Williams III is a refreshing change of pace from the rhinestone shclock that passes itself off a country music these days.

Azim Ali From Darkness To The Edge Of Day This collection of Middle Eastern lullabies is a chance to hear one of popular music's truly beautiful voices. Unlike those who mistake a screechy falsetto for emotional intensity, Ali effortlessly soars from one end of her extensive vocal range to the other. Whether singing in her native Farsi, Turkish or Arabic she manages to convey the emotional depth of each song through intonation and tone. Not only is her performance wonderful, the collection is an opportunity to sample the diversity of music and poetry of the Middle East.

Bobban & Marko Markovic Orchestra & Fanfare Ciocarlia Balkan Brass Battle Every year the great German label Asphalt Tango, specializing in music from Eastern Europe and especially music of the Roma, puts out at least one recording that will knock your socks off. This year that involved putting the two forces of nature passing as brass bands, The Bobban & Marko Markovic Orchestra and Fanfare Ciocarlia, into a recording studio together and telling them to try and outperform each other. The result is beyond belief as they trade boasts, insults and music. This is brass band music for people who don't like brass bands, as it takes the instruments and the sounds they make to another dimension. The only thing better than this CD would be seeing the two bands live - so if you happen to be in Europe in the next little while and hear about a Balkan Brass Battle playing anywhere near you, check it out. You won't be disappointed.

Erdem Helvacioglu & Ros Bandt Black FalconThe words electronic music always make people thing of banks of computers and synthesizers. So this album will come as something of a surprise with Bandt's use of traditional plucked stringed instruments. However Helvacioglu has been making what he calls acoustic electronic music for a while now. The electronics are used to both digitally modify the sounds and to create base tracks which allow him and others to improvise with their own work. The results are always fascinating and in the case of Black Falcon, hauntingly beautiful. In Helvacioglu's hands electronics are another instrument to be incorporated into the final composition, not just toys to be played with and the results speak for themselves.

Flogging Molly Speed Of Darkness Once in a while a band comes along that reaches out and grabs you by the throat and doesn't let go until the disc is done. Flogging Molly's mix of traditional Celtic folk, punk rock sensibilities and social political awareness take you on a ride you won't soon forget. Intelligent lyrics which address our worries about the future, but that never give up hope for a better tomorrow, are accompanied by tight and energetic musicianship. These guys are great on disc, I can only imagine what it would be like to see them in concert.

Grayson Capps The Lost Cause Minstrels If you can imagine an old time southern revival meeting where instead of singing prayers the music is about honky tonks, hookers, drunks and bootleggers you'll be part way to picturing the music of Gryason Capps and The Lost Cause Minstrels. With music that's as rich and varied as the history and people he sings about. Capps has created an album as diverse as the South itself. Rock and roll, country and blues sound like they've been stewed over an open fire under a full moon with lyrics woven out of the fabric of real people's lives. Part story teller and part poet, Capps is one of the most spellbinding performers you'll hear in a long time, and this disc is another in a long line of great releases.

Jordi Savall & Various Artists Hisapania & Japan: Dialogues The idea of finding anything in common between Japanese and Spanish music is just a little hard to believe. However, cellist and composer Jordi Savall has made a career out of reaching back in time to bring unusual musical collaborations to life before, and this disc is no exception. Based on choral pieces and other religious music brought to Japan in the sixteenth century by Portuguese missionaries, this recording features traditional musicians from Japan and classical musicians from Spain collaborating to recreate and reinterpret this music. Taking scores that were first written down in the 1600s as their foundation, the results are both beautiful and revealing. It's amazing how common ground between two such apparently diverse cultures doesn't appear to have been very difficult to find. Something we could all learn a lesson from.

Mariachi El Brons Mariachi El Bronx II A punk band doing Mariachi music? The only thing stranger than that would be if they did it completely straight without any concessions to contemporary music. Guess what - that's exactly what the punk band Bronx has done. This is a great album of Mariachi music done with traditional instruments and with great verve and style. The only thing separating them from a Hispanic band is the lyrics are all in English, but aside from that you'd be hard pressed to find anything about this band and this recording that doesn't ring true. Not a novelty act, but pure and wonderful Mariachi music. Enjoy with your favourite tequila.

Marianne Faithfull Horses And High Heels If there's anyone deserving of the title "The Grand Old Dame Of Rock and Roll" it would me Marianne Faithful. With her distinctive growl still firmly in place, she can still sing circles around most of the so called "stars" out there. Sure her range is limited, but she does more with what she has than anyone else could even dream of doing. A great recording by a great artist.

Susan McKeown Singing In The Dark Mental illness is probably one of the few taboo subjects left in modern society. By delving into the history of music and poetry, McKeown not only shines a spotlight on the subject, she underlines its connection with the creative mind. How many artistic geniuses have been suppressed because they've been misunderstood and diagnosed as mentally ill. She doesn't shy away from the dark side of the subject either. The material she's chosen to interpret makes no bones about the fine line between the light of inspiration and the darkness of depression artists walk and she takes great pains not to romanticize the subject. Of course the music is also beautiful and her voice is amazing. As a result this collection will not only stir your soul, it will make you think.

Tinariwen Tassili From the first time I heard them, Tinariwen have been one of my favourite bands. The combination of electric blues guitar and traditional drums is mesmerizing. With this release though they've pushed both deeper back into their traditions and reached out further into modern pop. Recorded with entirely acoustic instruments from a base camp deep in their native Saharan desert, they've also expanded their sound with guest musicians from North America for the first time. The Dirty Dozen Brass Band from New Orleans and Tunde Adebimpe of TV On The Radio supply instrumental and vocal support respectively on a couple of songs without being jarring or incongruous. A perfect example of how a band can stay true to their traditions while preventing their music from stagnating.

Willie Nile The Innocent Ones Willie Nile has been kicking around the music industry so long now that he's taken everything they've had to throw at him and is still standing. As a result he does what he wants to do and doesn't worry about what anybody else has to say about it. It's too bad more people didn't have that confidence as this is as fine a collection of popular music as you'll have heard in a long time. He does everything equally well, with an exuberance that puts most acts to shame. Always a joy to listen to, Nile's latest is both topical and musically interesting. If you want to be reminded what rock and roll music is, check out this disc.

(Article first published as My Favourite Listens For 2011 on Blogcritics.)

Posted by Richard Marcus at 10:50 AM | Permalink

It could be very easy to hate someone likeYo -Yo Ma. Not only is he incredibly talented, there seems to be no end to his ability to astound as a musician. At just over fifty-five years of age he has probably performed and or recorded every major piece in the classical repertoire written for cello and in the process set the new standard for the instrument in our generation. Not since Pablo Casals has there been such a single dominant figure playing cello. While there have been other excellent cellists in the past forty years, Ma has managed to eclipse names like Harnoy, Previn and others in a relatively small number of years.

While that alone would make him remarkable, it's his seemingly insatiable interest in the world around him that makes him such a unique figure in the world of classical musicians. He made it obvious from early on that he was cut from a different mould. Like many other musicians he started playing when he was young, four years old, but unlike most he understood there was more to the world than Bach and Mozart. So after graduation from the Julliard School in New York, he completed a Liberal Arts Degree from Harvard University, all by his twenty-first birthday. It would be really easy to despise this guy. He's just too brilliant.

Unfortunately he's just too brilliant - I don't think I've ever seen a picture of him where he doesn't appear to be glowing. It's impossible not to like somebody who takes such obvious joy in not only doing what he does, but finding ways to spread the joy music brings to him to as many people as possible. Every time you turn around it seems like he's doing some new project that explores the different directions music can be taken and pushes his own instrument in directions most people wouldn't even have dreamt of let alone bring to fruition. His latest project on Sony Masterworks, The Goat Rodeo Sessions, is a perfect example. Not only does it show off his skills as a musician, it throws into relief the originality of his ideas.

For this recording he is joined by three other instrumentalists, Chris Thile on mandolin, Edgar Meyer on bass and Stuart Duncan on fiddle. Thile and singer Aoife O'Donovan accompany the quartet with vocals on two of the eleven compositions performed on the disc. Thile is also the odd man out in most people's idea of a string quartet. But that makes sense as the music the four, and occasionally five, of them make is nothing like what you'd hear from most string quartets. In fact I haven't heard anything quite as original from this type of configuration since I heard the Kronos Quartet performing Hendrix's "Purple Haze" on violins, viola and cello.

Each of the tracks on the recording are originals, with ten being composed by Thile, Meyer and Duncan. O'Donovan joins the other three in writing "Here And Heaven", the first of the two songs she contributes vocals to. Normally referring to a song as an original simply means the people performing wrote it themselves rather than playing somebody else's work. However, in this case the music on this disc is truly original. The five musicians involved in the project bring widely divergent backgrounds with them. From Ma, the classically trained cellist who doesn't improvise to Duncan, the Nashville fiddle player who doesn't read very much music, the challenges faced in creating and performing the music you hear on the disc would have been huge.

According to the liner notes the term "Goat Rodeo" is defined as a situation defying order. Yet, no matter how chaotic the creative process might have been, the final result is sublime. The opening track, "Attaboy", a stirring mix of the four instruments defining the new genre they've invented through their search for common ground, gives listener a foretaste of what's to come on the rest of the album. This is not merely four guys mixing bluegrass, country, Irish and classical music together. Instead it's finding the place where they all converge and then leaping off into the unknown from there. Forget any expectations you might have based on any knowledge of the individuals involved, as they won't prepare you for what you're going to hear.

Flashes of bluegrass, jigs, reels, madrigals, waltzes and almost everything else you can think of or recognize weave in and out of the material as the four men create tapestries of music you would not have thought possible. Of course it doesn't hurt that each of them are able to make their instruments sing in ways that most people only dream of being able to accomplish. Just to make things interesting, Thile picks up the banjo and gamba on one track, "Here In Heaven" (which he also contributes vocals to) Duncan grabs the banjo for "Less Is Moi" and Meyer hops over to the piano on "No One But You". However, no matter who is playing what, the end result is the same. Music that captures the imagination and stirs the soul in ways you might not believe possible until you hear it.

I know I'm avoiding specifics about individual tracks on this disc, but it's not like you can say, well the lyrics on this song are cool and you really have to check out the solo on this song. These pieces are each moments of musical magic that transcend the usual definitions we use for categorizing or compartmentalizing music. When something's boundaries have been redefined language is the last to catch up as we scramble to find words that will do justice to something we've never had to talk about before. If I tell you that one song sounds like a mix of bluegrass mandolin, Irish fiddle, jazz bass and a beautiful cello sonata, what kind of image would that invoke? That sounds like four instruments running off in four different directions all at once.

Yet there are songs in which that's exactly what it sounds like, except all four instruments are running in the same direction and are standing together on incredibly solid footing. What does happen is you hear these different styles and instruments in ways you've never heard before and it gives you an even deeper appreciation for them. Personally I've always loved the sound a cello makes. But were moments when hearing it on this disc, in the company of the other instruments, its sound effected me stronger then ever before. Maybe hearing it in unfamiliar territory made it stand out more, but it was the same for each instrument. You couldn't help but notice them and appreciate them far more then you would have normally.

Earlier I had briefly mentioned singer, Aoife O'Donovan, who along with Thile provides vocals on two tracks. Aside from the fact they sound like they've been singing together forever, what struck me is how they found the common ground between the folk music of the British Isles and the bluegrass and country music of North America. You'd be hard pressed to tell it today based on what passes itself off as country music, but it owes its existence to the traditional folk music of Scotland, Ireland and England. Hearing the voices of O'Donovan and Thile together, and the music created to accompany the lyrics they sing, is like listening to history come alive as you hear the two forms meeting and merging. It's one, among many, of transcendent moments you'll experience listening to this recording.

In mythology you often read that before there was life there was chaos. It's only through the imposition of some sort of order its maelstrom of divergent energies assumes a familiar form. The Goat Rodeo Sessions is an example of how chaos inspires the miracle of creation. The four musicians on this recording may not be gods, but they have certainly created something full of life, beauty and splendour. It might not be a new universe, but its definitely a new world of music.
(Article first published as Music Review: Yo-Yo Ma, Stuart Duncan, Edgar Meyer & Chris Thile - The Goat Rodeo Sessions on Blogcritics.)

Posted by Richard Marcus at 02:41 PM | Permalink

It's hard to imagine two countries as different as Spain and Japan having enough in common musically for someone to create pieces combining elements of both cultures. Yet that's exactly what Jordi Savall, cellist, composer and one of Spain's foremost performers of Western early music utilizing period instruments, has done. (Early music defined as being either from the Medieval, Renaissance or Baroque periods - roughly from 500 AD to 1760 AD) In 2006 he released The Route Of The Orient which set out to recreate in music the voyages of Spanish Jesuit missionary St. Francis Xavier (Francisco Javier). Not only did Xavier, who lived from 1506-1553 travel the East with stops in Mozambique, India, Malaysia, Indonesia and China, he was the first European to ever visit Japan.

In his attempt to win converts to Christianity Xavier relied heavily upon music, setting his religion's texts to a country's native melodies in order to make them more accessible. In the original recording Savall gathered together musicians from the various countries the missionary had visited in order to recreate what these pieces could have sounded like. It was during the research and performances surrounding this recording he also met various Japanese musicians with whom he became friends. It was following the catastrophes that struck Japan last year he, along with musicians from Japan and Spain created Hispania & Japan: Dialogues, being released through Harmonium Mundi on the Alia Vox label October 11 2011, focusing on the specific pieces Xavier used in Japan.

Upon his arrival in Japan Xavier, and the Portuguese missionaries accompanying him, walked through the country singing Psalms. The Japanese people who flocked to see these strangers in their midst, were fascinated by their singing. In 1605 a publisher in Nagasaki printed Mauale ad Sacramenta a volume containing nineteen of those pieces. This is significant for not only being the beginning of Western music in Japan, it also provided Savall and his musicians with a template from which they built their recordings. In fact, while they have made use of a couple of other European and Japanese songs, "O Gloriosa Domina" (O Glorious Mistress), a Gregorian chant from that volume, provides the inspiration for more than half the music.

Much as Xavier incorporated regional melodies, the Japanese musicians on this recording have improvised music for the song. However, instead of simply having them create new versions of it, Savall has given them far more room for interpretation. You won't hear somebody singing the psalm in different ways to various arrangements of Japanese instruments. Instead they have created pieces which attempt to capture the essence of the music. The opening piece is a beautiful example of this with Ichiro Seki, playing a type of Japanese bamboo flute known as a shakuhachi, creating a haunting piece of music which makes use of his instrument's ethereal qualities to establish the proper spiritual context for the music to come. Over the course of the first half of the recording Savall intersperses these improvisations with recordings of the song as it would have been performed in Europe during the sixteenth century. Ironically, at least to my ears, it's the Japanese interpretations which seem more capable of transcending the earthly realm and leading one's thoughts heavenwards.

This isn't a slight against the Spanish musicians or the music they play. I think it has more to do with the differences in the natural qualities of the instruments being played and the two cultures' approach to religion. Western religion, and by extension its music, has always felt more human centric than its Eastern counterparts. For while Christianity stresses personal salvation, many Eastern religions focus on spiritual enlightenment. By obeying a set of rules Christians hope to secure their place at God's side while Buddhists strive to become one with the universe. Listening to the Japanese musicians on this recording you can hear the difference between music praising individuals who control one's fate and that which celebrates the wonder of creation. Even here, where they are each working from the same material, the distinction is obvious. It doesn't mean one is better than the other, it's a matter of personal preference which of the two will stir your soul the most, yet there can be no denying there is something far more otherworldly about the Japanese music than the Christian hymns.

Yet, in spite of the differences between the two traditions, musically and religiously, neither the juxtaposition or combining of the two is ever jarring or discordant. Unlike some forced marriages of West and East which ring more false notes than true, this work recognizes and celebrates the distinctive elements of each style instead of trying to meld them together. It's like listening to the same story in two different languages with each telling taking on all the flavours and characteristics of the tongue recounting it while the core elements remain the same. What you gradually realize as you listen to the pieces on this recording is how not only do the two compliment each other, they also complete each other. In fact, listening to the two types of music being played separately and then coming together in pieces towards the end of the CD, you begin to realize how the two together make up a whole by filling in gaps in the other you didn't even know existed before.

Hispania & Japan: Dialogues comes packaged with a book which supplies the details behind how the project came into existence, a breakdown of the musicians involved and the instruments being used and pictures taken during performances of the piece. Enclosing it all is a separate cover which is a reproduction of a piece of Japanese art depicting the landing and travels of St. Xavier in Japan. While the packaging and the music are equally beautiful, the fact that the money raised through its sales will be donated to aiding the relief efforts in Japan makes it even more precious.

The old saying of "Oh East is East and West is West and never the twain shall meet" may have been written by Rudjard Kipling in reference to India and the West, but its often been quoted by those wishing to stress the impossibility of us ever finding common ground with anybody East of Europe. However, Jordi Savall and the collection of Japanese and Spanish musicians he's gathered around him prove the lie in that statement over and over again with Hispania & Japan: Dialogues. For instead of looking at cultural differences as some sort of impenetrable barrier they have seen how they actually compliment each other to help form a more complete picture of the world we live in. So not only have they created some beautiful music, they offer a timely reminder that differences aren't something to worry about, they are something to celebrate. Instead of worrying about how others can be more like us, or we like them, isn't it better to see how all of us fit together as pieces in the puzzle making up a portrait of our world?

(Article first published as Music Review: Jordi Savall & Various Artists - Hispania & Japan: Dialogues on Blogcritics)

Posted by Richard Marcus at 07:47 PM | Permalink

Do you remember back to the days of your high school English literature classes learning about literary devices like foreshadowing and pathetic fallacy? The latter, imbuing events in nature or inanimate objects with human emotions to help create atmosphere and to intensify mood, was the one teachers always trotted out during the study of any of Shakespeare's plays. Unlike most of the modern writers we would study in high school he understood the power of natural imagery and how it could evoke reactions at a visceral level. Perhaps that was because in the era when he was writing nature still had far more of an impact on the day to day lives of people. Today, unless its a storm of some magnitude, like a hurricane or tornado, we can pretty much carry on blithely ignoring the elements. Oh rain and snow might inconvenience us slightly on occasion, but for most of us they don't dictate our food supply or our overall chances of survival.

While you'll still see the occasional reference to "angry storm clouds" popping up in writing, the use of pathetic fallacy appears to have waned with our continued disassociation with nature. The further we move away from the natural world, the less she becomes part of our frame of reference. For instance, when we refer to a place as being our home land we are referring to the space defined by lines drawn on a map and a name representing a social/political entity not the land itself. Your far more likely to read an urban landscape described using natural terms, the canyons of Manhattan, or man made articles being imbued with human emotions, the angry tooting of a car's horn, than references to natural events in order to create mood. No longer able to identify with nature, we look to what we are familiar with and designate it as a replacement.

This was driven home to me recently while listening to, and reading the translations of their lyrics, the newest release from the Kel Tamashek (more commonly referred to by the name given them by conquering Arabs, Touareg, or rebel) band Tinariwen. Tassili, being released in North America on Anti Records Tuesday August 30 2011, wasn't recorded in a studio in the midst of some urban centre. Instead it was recorded in the Sahara dessert in southern Algeria. The band spent five weeks coming up with material and recording it inside a large tent offering only minimal protection from the elements. For while this is a band who experienced some international success after playing at music festivals all over the world, they have never lost sight of who they are and their reasons for making music.

While the romantic image of band members riding camels with an electric guitar slung over one shoulder and an automatic rifle is appealing, times have changed. True some of the founding band members participated in the uprisings in Niger and Mali while recording music on cassettes that broadcast the message of the rebellion; a rebellion and a message designed to promote and protect the rights of a nomadic people from the policies of repressive governments. With peace treaties now signed supposedly offering the Kel Tamashek guarantees, their situation remains fragile as years of drought and encroachment on traditional territories have wrecked havoc on their world. Perhaps it's because of this for this recording the band has relinquished their grips on electric guitars in favour of acoustic and utilized unamplified percussion in order to forge an even stronger connection to both their environment and their traditions. Now, just as much as during the rebellion if not more, their people need reminders of who they are and why the desert is an important part of their lives. They may no longer be carrying machine guns, but Tinariwen are still actively fighting to ensure the survival of their people. It's not just the subject matter of the songs communicating to the listeners now, it's the manner in which it is being presented. This is very much a case of the media being as much a part of the message as the message itself.

Those who have listened to Tinariwen will know of the almost trance like quality of their music. How it seduces and entices you to let your mind sink into an almost dream like state in an attempt to reproduce some of the sensations created by living in the dessert. One can almost imagine the vistas of sand spreading out in an endless tableau before you as you listen. The lyrics, in Tamashek, and sung/chanted primarily by front man Ibrahim Ag Alhabib, wash over the steady throb of the percussion and scratch of the electric guitars, occasionally interrupted by an outburst from one of the guitars. These burst of sound are like alarms reminding us to not to be hypnotized by the environment as while the sands may appear lifeless and barren they actually team with life and sudden changes.

On Tassili the band's new approach not only allows you to go deeper into the atmosphere they have always created, it conveys far more of the emotional and spiritual bond their people have with the desert. The intimacy of the acoustic instruments and the focus required to play and record on location has strengthened the ties their music has with the environment to the extent its influence is an almost palpable presence. You would think that this type of recording would be the least likely for the band to start introducing performers who come from other places into the mix. In fact one would almost expect the inclusion of North American guest on the album to be jarring interruptions that would take away from what they were seeking to create.

However, that's not the case. I don't tend to read liner notes prior to listening to a CD as I want to create my own impressions of the music without being influenced by what anyone else has to say about a recording. On my first listening, even though the contributions of outsiders included vocals sung in English on the third track, "Tenere Taqhim Tossam", by Tunde Adebimpe of the band TV On The Radio and horns by New Orlean's Dirty Dozen Brass Band on the fourth track, "Ya Messinagh", they barely registered. I was so caught up in what the band had created, and the additions were so carefully worked into the mix, the contributions of the other musicians were merely another part of the whole experience Tinwariwen were creating. Even on listening a second and third time, knowing there were additional musicians involved and listening for them, it didn't make any difference.

It would be easy for a band in Tinwariwen's position, gaining international acclaim and being lionized by pop stars like Robert Plant and Carlos Santana, to drift away from who they are and lose their focus. However, instead of succumbing to any potential temptations to make their music more accessible to wider audiences they have moved in the opposite direction to return even closer to their roots. It's as if they have decided that after introducing us to their world, they are now prepared to take us another step deeper into it. On the other hand one always has to remember the circumstances under which they began playing music in the first place. They may have put down the rifles and the fighting might be over, for now, but the war is far from done.

As the world encroaches further and further into their traditional territories and more and more of the Kel Tamashek are being forced to leave the desert to live in cities, they are being disconnected from the life and traditions which gave them direction as a people. Tinwariwen, and other Kel Tamashek bands and musicians are continuing to do their best to ensure the survival of their people and their culture through their music. They know they can't keep the rest of the world at bay, hence the inclusion of those sympathetic to their music and cause on the album, but with this disc they are telling their audience, both Kel Tamashek and the rest of the world, we can still be who we once were no matter what the rest of the world throws at us. This beautiful and haunting recording is not a plea for help, rather it is a statement from a proud and dignified people proclaiming their right to live as they want to and celebrating who they are and the land they love.

(Band photo by Marie Planeille)

Article first published as Music Review: Tinariwen - Tassili on Blogcritics)

Posted by Richard Marcus at 04:03 PM | Permalink

When you think about modern electronic compositions you normally expect the instruments employed by the performers to be something you'd plug in. Keyboards, guitars and anything else that's already electronically inclined. One of the last instruments you would probably associate with these types of works would be the harp. Whether one of the huge concert harps used with a symphony orchestra or one of the many different "folk" harps from cultures around the world, they seem to be the epitome of an acoustic instrument. Delicately plucked strings picking out a melody which makes one think of ancient folk songs, minstrels and bards would on the surface appear to have little in common with music generated by computer processors.

Yet its just such a juxtaposition of the old and the new that composer and performer Erdem Helvacioglu and harpist Sirin Pancaroglu have attempted on their CD Resonating Universes on the Sargasso label. A composition for concert harp, ceng (traditional Turkish harp), electric harp and electronics, Resonating Universes is not merely an attempt to redefine our expectations when it comes to the type of music a harp is capable of producing or to shock listeners. Rather its an exploration of sound and the process of composition itself.

In composing the eight parts of the nearly hour long piece, Helvacioglu first recorded Pancaroglu playing the concert harp and assembled samples of the huge variety of sounds and textures the instrument is capable of creating. The process was then repeated with each of the other two instruments in order to create a library of as many sounds as possible reflecting the sonic world of the harp. Pancaroglu's contribution was not limited to sitting in a studio plucking strings randomly in order to make sounds, She created and defined the boundaries of the universe through her abilities with the instruments in question. While the final result heard on the disc came from Helvacioglu's manipulation of the sounds, it was she who was responsible for the context within which he would work. She was the one who knew what her instruments could create and how to respond to what had been already been recorded with complimentary music and sounds.

For those not familiar with Helvacioglu's method of composition you need to know he specializes in improvisational work. After laying down a core of music he will then proceed to build layer upon layer of sound with each layer building upon the previous one until a piece reaches its conclusion. Like an abstract painter somebody working in this manner has to know when to remove their brush from the canvass in order not to ruin the painting. What they leave out of the final composition is just as important as what they have included. Just as if you keep mixing colours together you end up with something that looks like mud, adding too many sounds to the original base can quickly cause a composition to cross the border from music to cacophony.

Thankfully that's not the case here, for although Helvacioglu pushes the envelope as far as he can go, he never once steps over the edge into sludge. However, before sitting down to listen to this disc you are going to have to rid yourself of any expectations you have about harps and the music they create. This is not a collection of ethereal folk songs by any stretch of the imagination as Helvacioglu and Pancaroglu have taken the instrument to places it has never been before. I'm sure there are many out there who aren't going to be able to listen to this because of what they think a harp should sound like, but there were plenty of people who wouldn't look at a Jackson Pollack painting either because they didn't adhere to their definition of visual art. In fact, if you're not familiar with modern composition, prior to listening to this piece you're going to have to rid yourself of any preconceived notions concerning what makes something music.

As with any abstract form of expression each of us are going to react to these pieces in our own way. While we can admire the technical abilities that allow Helvacioglu and Pancaroglu to create the material objectively, the results are an entirely different matter. So, all I can give you is my impressions of what I listened to and hope they provide you with an idea of what the music is like and a guide to help you listen to it. However, I've no way of knowing if my interpretation has any bearing on what the two artists involved in its creation were intending. I looked to the composition's title, Resounding Universes as a guide and went from there.

Thinking of each phrase of harp music, even each note, as a possible universe based on their potential to inspire other sounds allows you to develop a kind of road map into each of the eight parts that make up the piece. Although we are presented with a finished product, the original harp buried beneath the layers upon layers of sounds and effects Helvacioglu has built up around it, keeping this in mind allows us to understand and appreciate the relationship that binds them together. It's like being able to experience all the possible ripples of dropping a pebble in water at once instead of watching it gradually develop. Instead of sitting and wondering what will happen when the butterfly flaps its wings in Japan, we hear cause and effect simultaneously.

That's not necessarily a pretty sound, but the creation of a new universe is a messy affair. Heck the ongoing evolution of a planet like earth isn't the neatest thing, what with volcanoes erupting, earthquakes moving continents around and oceans overflowing their boundaries periodically. Yet there's something about the raw power that is awe inspiring and beautiful. Looking past the surface discordance of the pieces on this recording offers one the opportunity to experience that totality of creation in all its raw power, disharmony and beauty. When even something as traditionally gentle and unassuming as the harp has the potential for this type of power, what does that say about the process of creation in the natural world?

Resonating Universes is not something you're going to put on the CD player for light listening or as some sort backdrop for meditation. It's far too grounded in the rough and tumble of reality for either purpose. This is music that reflects the clash of powers occurring during the process of creation and that's as far from a relaxing experience as you can get. So for those of you looking to listen to some nice gentle harp music that will keep your senses dulled and help keep you asleep to the world around you, look somewhere else. However if you want to experience in some small way how one spark, no matter what the spark is, can set off the amazing chaos of creation, then this disc is for you. It's an experience you'll not soon forget.

(Photo of Sirin Pancaroglu - Baris Dervent)
(Article first published as Music Review: Erdem Helvacioglu and Sirin Pancaroglu - Resonating Universes on Blogcritics)

Posted by Richard Marcus at 02:41 AM | Permalink

It's easy to see how at first glance it would be hard to find any connection between punk rock and Mariachi music. With the former being all black leather, short cropped hair and three chord angry music and the latter being flamboyant costumes, intricate musical arrangements and romantic themes they appear to be world's apart. In fact the gap appears so wide between the two the idea of bridging it seems almost ridiculous. However, it's not without precedent for American popular musicians to either be influenced by Mariachi or to play Mariachi tunes themselves.

First there were all the Latin tinged pop songs of the early 1960s (ever hear of a song called "La Bamba" or a guy named Richie Valens?) and the show bands from the same era with their Bosa Novas, Rumbas, and other assorted Hispanic influenced dance tunes. Listen carefully to the old Phil Spector wall of sound songs from the 1960s and you'll hear castanets, bongos and other Spanish influenced percussion holding the songs together. For those looking for that influence in bands with a harder edge I'd like to point you in the direction of a guy named Carlos Santana or how about a band called Los Lobos? Then there was the Mink DeVille Band of the 1970s who drew heavily upon the sound of the Lower East Side of New York City for songs like "Spanish Stroll". When he went solo, Willy DeVille, the band's lead singer, went so far as to release a Mariachi version of the old Texas blues number made famous by Jimi Hendrix "Hey Joe".

One shouldn't be so surprised at the widespread influence of Spanish music - they were the first European power to establish colonies in the Americas after all. Remember, the lands which people are now so concerned about keeping Mexicans out of were territories stolen from the Spanish through conquest. Texas, New Mexico, California and others were all Spanish until they were invaded and conquered by America. African American blues and gospel and British folk music get so much of the credit for developing rock and roll, we tend to forget the third major influence on popular music in North America. So if any group of American musicians, be they punks or rappers, decide they want to sing Mariachi music, it's really not that much of a stretch. All that matters is how well they do it, and their intentions in performing it.

All that being said, when I first heard about Mariachi El Bronx, punk band The Bronx's excursion into Latin music, I had my doubts about the whole idea. Mariachi music isn't the easiest music to play and requires band members to play instruments most musicians in Canada and the US aren't overly familiar with. While the basic six string guitar has proven a popular import from Spain (no, neither it or the banjo are American as the banjo came over with African slaves and the guitar with soldiers returning from the Spanish American wars at the end of the 19th century) others essential to the Mariachi sound aren't as well known. The huge oversized base guitar known as guitarron, the round backed vihuelas, five stringed guitars, and even folk harps with twenty-eight to forty strings.
However, after listening to their second recording in this incarnation, Mariachi El Bronx II, which will be released on the White Drugs label August 2 2011, I'm not only convinced of the sincerity of the band's effort, but was blown away by their ability to carry it off. Expanding their line up to include Vincent Hidalgo (son of Los Lobos' David Hidalgo) and the Beastie Boys' Alfredo Ortiz means they have sufficient musicians to meet the demands of the music's more complex arrangements and a Latino presence to ensure they keep faith with the music, and keep faith they do. What's so wonderful about this record becomes obvious right from the first song "48 Roses", their complete and utter sincerity when it comes to performing the music.This isn't some camp joke at the expense of the music, these guys are genuine in their attempts to not only play the music but to capture its heart and spirit as well.

Now I don't know enough about the technicalities of Mariachi music to critique the band on how well they are playing all the subtle nuances those more familiar with the genre would be aware of. However what I can tell you is they do a magnificent job of sounding like they know what they're doing musically. From the rhythms of the guitars and guitarron to the melodies played on trumpet and accordion, they have mastered the elements that make the music so instantly recognizable. The only thing the least bit disconcerting is how un-Hispanic the lead vocalist sounds in comparison to how Spanish the music sounds. Yet what's slightly jarring in the beginning ends up being reassuring. The fact that they are singing naturally, without affectation of any kind, is further proof of the band's sincerity.

Whether the song is about a guy who is in trouble because he has four girlfriends, the opening "48 Roses", about hope in the face of hardship, "The Great Provider" (which has the wonderful line "faith isn't magic it's just keeping my foot in the door") or the guy pleading with the girl to give him a chance even if her family don't think he's good enough for her, "Norteno Lights", the music and lyrics work together beautifully. The feel and tempo of the music not only create a thematically appropriate atmosphere for what each song is about, it works with the lyrics to help tell the song's story. Instead of the swelling strings we're used to hearing in order to clue us in that the singer is in the grips of some really strong emotion, here they do everything from providing joyful counterpoint to a moment of happiness or work together with other instruments to create any number of emotional settings.

Unlike most pop songs which will tack on strings almost as an afterthought, Mariachi music is very carefully orchestrated and arranged. It's a sign of just how good a job Mariachi El Bronx have done that each of the tracks on their latest release are beautiful examples of the above. The closest analogy I can come up with is that it's like listening to a chamber music ensemble where one of the instruments is also a vocalist. Perhaps because there's less emphasis on horns and brass instruments than there is in jazz or show bands it reminds me more of classical music than anything else. But I also think its the way everything works together to create a whole in a way that I've only heard in classical music before. All of which means these guys have done a remarkable job in making the jump from playing punk rock to playing Mariachi music.

Mariachi El Bronx II is not just an album that's remarkably good for a group of punks, its a remarkably good album period. The music ranges from being infectious enough to drag you to your feet to start dancing to introspective enough to have you listening to a song's lyrics and nodding in recognition. On the band's web site they talk about how living in California you hear Mariachi music being played all the time which is definitely not the case up here in Canada. Thankfully the boys in Mariachi El Bronx have taken their fascination with the music and let it inspire them to start performing it, giving those of us not lucky enough to live near where Mariachi music is played the opportunity to hear it anyway. This is a great album of great music by a great band - what more could you ask for?

(Article first published as Music Review: Mariachi El Bronx - Mariachi El Bronx II on Blogcritics)

Posted by Richard Marcus at 02:27 AM | Permalink

Well it hasn't taken Steven Harper's newly elected majority government in Canada very long to embarrass Canada internationally and send a chill through the Canadian artistic community at the same time. The Malian based, internationally renowned Kel Tamashek band Tinariwen has been denied visas to enter Canada in order to perform twice in the past couple of months. First they were turned down for a visa so they could perform as scheduled at the Winnipeg Folk Festival and then when they re-applied in Los Angeles in order to make it to the Vancouver Folk Festival they were turned down again. It's not as if this is the first time the band has travelled to Canada as they've been performing here on a regular basis since 2004.

So why have they all of a sudden been denied entry to Canada? It can't be because of security problems as they have had no problems with gaining admission to the United States for that part of their North American tour. In fact if you check out their touring schedule listed at their web site you'll see they're booked to play almost every major music festival in Europe and around the world this summer, except of course for Canada. When asked for comment as to why they denied the band their visa's this year, Citizenship and Immigration Canada refused to say anything except each application is assessed on its merits. According to the spokesperson quoted in the Globe and Mail on July 15/11, Johanne Nedeau, they consider the profile of the event, invitations from the Canadian hosts and whether letters of support were received.

Okay, so the first event they were turned down for was the Winnipeg Folk Festival which has been on going since 1974. According to figures released by Tourism Winnipeg in 2009 the folk festival creates 244 jobs, generates $25 million in economic activity and its impact on Manitoba's Gross Domestic Product is around $14 million. For those of you who don't know Canada that well, Manitoba, where Winnipeg is located, is not one of the richest provinces in Canada. It doesn't have the industry of Ontario, oil wells of Alberta or the wheat fields of Saskatchewan. It needs any little boost it can get and the Winnipeg Folk Festival with its annual attendance of over 70,000 per annum is not small potatoes.

Artistically the festival has been attracting performers from across North America and around the world since it began. This year's festival was promising to be more of the same with acts like k.d Lang, Blue Rodeo, Lucinda Williams, Blackie and The Rodeo Kings and Little Feat from North America mixing with international performers like Omar Souleyman from North Africa, actor Tim Robbins and his Rogues Gallery Band and Toots and the Maytals from Jamaica. Not only do they hold there annual weekend concert series, the festival also runs year round programming to encourage and develop local talent and introduce young people to international music. I would think that qualifies them as a pretty high profile event both artistically and economically.

The Vancouver festival didn't get started until 1977, but it has more than made up for its late start by now. Being in a larger metropolitan centre hasn't hurt, and being on the West Coast of Canada also allows them access to bands in Asia that other festivals don't have. This year's acts include mainstream artists like Roseanne Cash, Josh Ritter and Gillian Welsh as well as international artists like Cassius Khan, Emmanuel Jal and Tinariwen - oops, not them, they weren't allowed into Canada that's right. The Vancouver festival is one of the major international folk gatherings each year. Bands and performers from around the world make sure to include it as part of their touring schedule. You wouldn't believe how many times I've requested information from publicists about whether their band was going to be performing in Canada only to find out they would only be showing up in Vancouver for the folk festival and nowhere else.

So I think we've established that both the Vancouver and Winnipeg Folk Festivals are significant events in the year's calendar, and we know Tinariwen was invited by each of the festivals to perform. As for the letters of support, upon finding out about the band being denied a visa for Winnipeg, two Canadian Members of Parliament wrote letters supporting their application for entry to perform in Vancouver. Yet somehow or other despite all the requirements for granting of a visa being met, Tinariwen still weren't allowed into Canada. One really has to wonder what was motivating the decision to refuse them entry.

Tinariwen are fast becoming one of the biggest draws on the international music circuit. Support from main stream musicians like Robert Plant and others has given them a much higher profile than most international bands. Preventing the band from playing at these two folk festivals will definitely have an impact on their box offices as each event had scheduled them for a headlining concert - they were to have to been the opening night act in Vancouver. If one looks at the results from the last election, both British Columbia and Manitoba gave a healthy majority of their seats to the Conservative Party - so on the surface there doesn't appear to be any reason for political motivation. However, those most likely to attend and/or organize either one of these festivals are not the types who are liable to vote for the Conservative Party of Canada.

This is the same government who has already cancelled funding for a theatre festival because they did not agree with the content of a play performed in its previous season. Toronto's Summerworks Theatre Festival had its funding cancelled by the Department of Canadian Heritage because they staged a play the government didn't like. Only weeks before the festival is scheduled to begin they have been told its 2011 grant of around $48,000 was being pulled, an amount that represented 20% of the festivals budget. The message is clear, there's no such thing as arms length arts funding in Canada and if the government doesn't like you or your politics you can expect to be screwed over in one way or another.

Vancouver and Winnipeg's folk festival have paid the price for not representing Steven Harper's vision of Canada by having one of their biggest draws refused entry at the border. While cutting funding to artists is still the easiest way to silence them the government is also showing itself willing to find new and inventive ways of punishing those it can't touch through funding cuts. What kind of message is our government sending when it cuts funding to artists who express opinions different from their own and arbitrarily prevents others from crossing our borders? The one I'm hearing is if you don't agree with us we're going to make you suffer. In the long run it will be the people of Canada who suffer the most as we're gradually cut off from freedom of expression. Preventing Tinariwen from gaining admission to Canada is only the tip of the ice berg representing the beginning of what looks to be a big chill artistically in Canada. Harper and his Conservative Party of Canada have five years to do what they want, and it looks as if they're off to a flying start in reshaping the country in their image.

(Article first published as Tinariwen Denied Visas to Enter Canada on Blogcritics)

Posted by Richard Marcus at 12:18 PM | Permalink

I find it appalling that we in the West are willing to tar an entire culture with the brush of recent history and in the process cut ourselves off from hundreds, if not more, years of beauty and intelligence. This is especially appalling when even the most casual perusal of history would tell us the size of the gulf separating our misinformed view from reality. The religious fascism practised in Iran and preached by their right wing allies these days is not only repulsive for the hatred it engenders, but for the corrupt and narrow view of Islam they present to the world. It's bad enough they inflict this on those who come under their sway and force as many as they are able to abide by their perversions, but even worse is how they have succeeded in convincing so many that theirs is the true face of Islam.

The culture that brought us the sublime beauty of Sufi poet Rumi, the wonder of Shaherazade's Tales Of 1001 Nights and scientific minds subtle enough to introduce to the world the concept of zero bears only a passing resemblance to the mind numbing totalitarianism being passed off as a religion in certain parts of the world today. However, as images and reporting of the latter are what dominate our media other views have fallen by the wayside. While one can walk through reminders of the glories of the Ottoman Empire in Spain and Northern Africa and revel to the assembled musicians in the market places of Algeria and Morocco, in North America opportunities for the non-Muslim to appreciate this side of Islam are almost non-existent.

Thankfully that situation is starting to change. While we may not be seeing examples of all the arts, the past few years have seen an increase in the number of CDs being released by Islamic musicians living in North America. With the fundamentalist claiming music is forbidden by their religion recording and performing music still isn't something being widely done by Muslim musicians, which makes those discs available all the more valuable. Composer and multi-instrumentalist Loga Ramin Torkian is one of the most active members of a small but thriving group of ex-patriot Iranian musicians living in North America. As a member of the bands Niyaz and Axiom Of Choice and the work he has done on his wife's, Azim Ali, solo recordings, he has shown his virtuosity on a multitude of traditional and newly created stringed instruments. Plucked, strummed or bowed it doesn't seem to matter as each instrument comes alive in his hands to generate sounds and textures unlike any you've probably heard before.

While you've probably heard his music already without realizing it, he's composed music for movies such as Iron Man, Deception and Body Of Lies, he has only just now released his first solo recording, Mehraab, on the Electrofone Music label. Accompanied by classical Persian vocalist Kourosh Taghavi Torkian has created an album of music inspired by traditional Persian poetry and themes. The eight songs on the disc are not only an example of the nearly sublime beauty of this type of music, but a sampling of Torkian's amazing abilities as both a performer and a composer. For while he draws upon the history and cultural heritage of his native Iran for inspiration, they are the springboard he uses to launch forays into new areas of musical expression.

However, unlike those who seem to think that the simple application of electronics and utilizing dubbing techniques means they are being innovative, Torkian isn't interested in creating something for addled minded club attendees to trance out to at the end of a night of raving. He has created a series of eight complex and beautiful pieces of music in which the various instruments at his disposal, including Taghavi's spine tingling voice, interweave and overlap to form collages of sound that will take your breath away. Playing instruments specially built for him by luthier Jonathan Wilson including a bowed instrument called a Kamaan with six strings and movable frets and a guitar viol - basically a bowed electric guitar - which allow him to expand upon both the traditional tonal ranges of Western and Persian music, he pushes the music in directions most people wouldn't even think possible.

At first it's difficult to distinguish the various instruments being played because of each piece's density. However as your ears grow accustomed to the different qualities each of them are capable of producing you begin to be able to pick out each individual strain and become more aware of each composition's complexity. So while initially the music might appear to share some elements in common with what is known as "trance", the reality is Torkian's music is far more sophisticated, with subtle changes in tone, sound and rhythm creating accents and crescendos you'd not find in music designed to send you to sleep. Of course when the glorious voiced Taghavi enters the mix, the dynamic changes again as the music works to support him as he sings in celebration of life and faith.

At least that's what I assume he's singing about, not being able to understand the lyrics, as his voice weaves in, out and around its accompaniment. Without being able to comprehend what's being sung, the natural temptation is to slip into a quiet reverie while listening, but the combination of Torkian's compositions and Taghavi's voice are more than enough to keep anyone's attention focused on trying to glean as much meaning as possible from what you're listening to. I don't know whether this music was divinely inspired or not, but its inherent beauty was of a kind that I've long associated with the work of composers and other artists inspired by a power greater than themselves.

Music has long been one of the means at humanity's disposal for expressing our belief in something greater than ourselves. If certain elements seeking to control Islam had their way, they would deny both their people and the world the opportunity to hear any type of music, no matter if it were divinely inspired or not. The combination of the attitudes expressed by those who espouse those views and those in the West willing to paint all Muslims with that brush have left the rest of us with a false impressions of the true nature of Islam. Thankfully there are musicians like Loga Ramin Torkian in the world who are doing their best to remind us there is more to their culture than is commonly represented. Music speaks to all of us on some level or another, and Torkian's music has a beauty that transcends the boundaries of language and culture.

(Article first published as Music Review: Loga Ramin Torkian - Mehraab on Blogcritics.)

Posted by Richard Marcus at 09:54 PM | Permalink

If one were to belief the more sensationalistic movies and books you'd end up thinking the deserts of the world were endless wastelands where no life could possibly exist. However, while it's true life in the desert is hard, it does exist, and people native to the world's deserts have managed to find ways of carving out an existence for themselves. From the Hopi of the American South West who grow crops of corn in tiered gardens on the side of mesas, the bush men of the Kalahari in South Africa who live as hunter gathers, to the nomadic Kel Tamasheq of the North Sahara who shepherd their flocks of goats and camels across some of the harshest landscape in the world, they've all found a way to live in their chosen environment.

Unfortunately, the modern world doesn't seem to make allowances for people who elect to live a life outside of what is considered normal. Where once the caravans of the Kel Tamasheq could wander freely from what is now Algeria in the north to their major southern camp of Agadez in what is now Niger, there are now borders to be negotiated and lands both fenced off and depleted by the mining and industry. However, the Kel Tamasheq have a long history of resisting incursions upon their territory and attacks on their way of life. The Arab armies attempting to spread Islam in the 1400s named them Tuareg, rebels, as even when defeated they refused to surrender who they were entirely to their conquerors. Instead they adopted the camels of their invaders and expanded their caravans to include trade as well as herds and adapted elements of the new religion to suit their own beliefs.

Known to some as the Indigo people for the distinctive deep purple colour of their robes, the Kel Tamasheq travelled the caravan routes of the Sahara without any major interruptions until well into the twentieth century. Even colonial expansion and two world wars did little to interfere with their centuries old traditions. They lived in some of the least forgiving and harshest climates this side of the Arctic and Antarctic Circles after all, and while it might have made for a hard life, it pretty much guaranteed little or no outside interference. After all, there wasn't anything in that wasteland to make the effort involved in controlling it worth while. All that changed with the end of colonial rule as the once broad expanse of their traditional territory was arbitrarily segmented by the borders of emerging nations, some of whom didn't appreciate the Kel Tamasheq's independence. The early 1960s saw the beginning of what would turn into close to forty years of sporadic fighting between Kel Tamasheq warriors and government forces from predominately Niger and Mali.

Whole families were forced into exile from Niger in the early 1960s by government anti-Tuareg policies with the majority winding up in Libya. It was here, growing up removed from their traditional lifestyle, a dissatisfied generation of young Kel Tamasheq became the nucleus of those who picked up arms in the 1980s and 90s in an attempt to regain the territories and rights that had been taken away from them. It was also in Libya that some of these young men began to discover Western pop music and began blending it with their own traditions to create the distinctive sound which has become their hallmark. While the life of a musician has on occasion been no less risky than that of an armed rebel - the Niger government made possession of "Guitar Music" illegal and targeted its performers for assassination - it was seen as an ideal way of communicating with their people in order to keep their traditions alive and letting the world know about their struggle to survive.

Although only founded in 2001 the band Terakaft has roots that date back to the earliest days of the guitar revolution. Both current and former members of the band were involved with the founding, and retain close ties with, arguably the most famous Kel Tamasheq band, Tinariwen and its enigmatic leader Ibrahim Ag Alhabib. For its third release, Aratan N Azawad, on the World Village Music label June 14 2011, the band's line up includes Liya Ag Ablil (aka Diara), formally of Tinariwen, Abdallah Ag Ahmed and Sanou Ag Ahmed. The disc features a combination of material written by Diara and his late brother Inteyeden Ag Abil (another founder of Tinariwen) during the uprisings twenty years ago and those by the current line up, ensuring the recording retains the fire and spirit of rebellion that made the music so compelling in the first place while recognizing the need for moving into new territory.

Listening to Aratan N Azawad (Children Of The Azawad) without translation or liner notes due to a postal strike in Canada preventing me from obtaining a hard copy, I had anticipated having difficulties in finding the means of connecting with the music. While in most cases the lyrics are impressionistic and lose something in the translation (usually they are translated from the original Tamasheq into French and then into English) on previous discs by Terakaft and other Kel Tamasheq bands what's available has been enough to formulate an idea of what a song is about. However, the music on its own is so compelling it draws you into a world, like their desert homeland, which is both familiar and alien at the same time.

Online promotional material describes how the title track "Aratan N Azawad" insists Kel Tamasheq children study their language, history and culture, which is "written in the mountains", for there to be hope for the future. Even this snippet of information is revealing as it tells us how deeply they as a people are intertwined with their environment. Reading this you begin to understand a little of the passion which fuelled the rebellions of the past and continues to fuel today's music. The land they live on, the land they see being gradually taken away from them by encroaching cities, pollution and the exploitation of natural resources, is not just something to be used and exploited, but is part of the very fabric of their beings and culture. Separating them from their territory becomes the same as taking away their language and a sizeable chunk of their identity.

If that sounds like I'm reading a lot into a little, wait until you hear the music accompanying songs like this one and others which stress Terakaft's vision of national unity for their people that has nothing to do with today's borders. "Akoz Imgharen", Four Patriarchs, advocates a council of elders representing the four corners of the Kel Tamasheq territories and reminds listeners how they were part of life in the Sahara long before any of the countries trying to control them existed. It's not just the past or other serious issues the music celebrates either. Listen to "Idya Idohena" and "Hegh Tenere" and you hear a band who understands music can be fun as well. While the former is a tribute to the midnight dance parties young people enjoy under the desert skies, the latter shows the band pushing their music in new directions as they incorporate bass and drum grooves which give the song a funkier sound then anything we've heard from the desert before.

However, as is only fitting as it leant its name to both the genre and those who played it, the guitar still takes pride of place in all their material. Both in propelling the rhythm and defining the passion behind the stories through soaring leads, the duo guitar work of Diara and Sanou are in the forefront of each and every track. While the blues based rock of Hendrix and others still predominates, other styles have now begun to flesh out the guitar sound including neighbouring West African pop music. While this provides a lighter tone to some of the material, it doesn't diminish the intensity of its overall effect, nor the trance like elements of the sound which made it so compelling to listeners in the first place. In fact it's one of the finer examples of a band expanding its sound without surrendering anything of what made it appealing in the first place.

Aratan N Azawad, the new album by Terakaft is a wonderful example of both the music of the Kel Tamasheq people of the Sahara desert region of North Africa and how traditional and modern music can combine to make something spectacular. Even without being able to understand the lyrics one can't help but be impressed by the passion and the intensity of the feelings that have gone into the creation of this work. Even if you were unaware of the history behind the music it would be breathtaking. As it is, knowing what we do about the Kel Tamasheq's fight to preserve their way of life in the face of nearly overwhelming odds, it's impossible to listen to this disc without being moved. This is music generated by a soul's powerful belief in something greater than itself and it shows. There's no other popular music that can compare to it.

(Photo Credit - Nadia Nid El Mourid)

(Article first published as Music Review: Terakaft - Aratan N Azawad on Blogcritics.)

Posted by Richard Marcus at 05:12 PM | Permalink

Ah, gypsy music! The wild violins, the flamenco style guitar, the hammered strings of the cimbalom, the deep rumble of a double bass and the careening clarinet accompanying a tortured voice singing of love, religion, troubles and other aspects of their marginalized lives. In spite of the fact there are Romany people living across a span of territory stretching from India to Spain in Asia, the Middle East and Europe, most people tend to latch onto this one, very romantic, notion of what their music should sound like. While its true there are bands where the violin is important, the music can not only be radically different depending upon which country those who play it reside in, even within a single country it can change from province to province and town to town.

For not only were the Romany a nomadic people who absorbed the musical influences of those whose territories they passed through, they were also survivors who learned quickly how to adopt the music of the local dominant culture so they could earn their keep as entertainers. While in some cases it has become difficult to tell whether the Romany have adopted local folk traditions or vice versa, in others the non Romany influence is obvious. When the Ottoman Empire of Turkey swept up the Danube River through Eastern Europe, until they were halted at the gates of Vienna from entering the West, they brought with them a sound that was new to European ears. While marching bands, military bands especially, are now commonplace, they were first introduced to Europe by the conquering Turkish armies. Throughout the territories they occupied they brought with them their love of brass bands and those wishing to perform for the new rulers quickly learned to play what would sell.

Not only did the Romany people under the Ottoman Empire pick up brass music, they gradually developed their own distinct styles of performance which reflected both their own musical heritage and the regions of Europe they lived in. Although it's only been recently this style of music has made its way over to North America, it is easily as popular and well known as what we refer to as "traditional" Romany music elsewhere. The Guca Festival of brass bands in Serbia, featuring Romany bands from across Europe, is celebrating its fiftieth anniversary this year and routinely draws over two hundred bands who compete for the title of champion brass band of Europe. One of the most celebrated contestants was Serbian native son the Boban & Marko Markovic Orchestra, who, after receiving unprecedented high marks from all the judges in all the categories at the 2001 festival, no longer competes but performs as a special guest every year. Needless to say they were shocked when whispers began reaching their ears of a band of part time musicians from a small town in Romania who were gaining international recognition and acclaim and being talked about in the same reverential tones usually reserved for them.

Fanfare Ciocarlia from the tiny village of Zece Prajini, Moldavia in north eastern Romania were one of the last brass bands in the country. With no tradition to draw upon, and almost no contact with the outside world during the communist era, they developed their own unique approach to the music. Barnstorming through Western Europe and even North America, they have wowed audiences everywhere they've been. Somehow, the two bands never crossed paths until a few years ago, although each had been asked about the other by fans. Until now the two bands have never shared a stage, let alone been in the recording studio together, so there has been no way for aficionados of the music to compare the two and perhaps decide which is the better.

All that has changed with the release of Balkan Brass Battle on the German Asphalt Tango Records label and a whirlwind tour of European cities under the same name. The CD features both solo and combined performances from the bands, four tracks of each, as they stage a semi-mock competition for the title of King of the Romany Brass Bands. For those of you, like me, whose only previous experience with brass bands has been limited to marching and military bands or those euphemistically referred to as stage bands (massed brass instruments playing pop tunes a la the James Last Band) the music of these two groups will be nothing like you've heard before. Sure the instruments are the same as those used by the other types of bands, but the music produced is something else all together.

I'm not even going to attempt to pass judgement on which of these two bands deserve the title of King of Brass Bands, but I will say that after listening to both of them I'll never be able to sit through any other type of brass music recital. It's like the difference between listening to a Muzak rendition of Jimi Hendrix and listening to the real thing. Aside from the occasional solo performance from the best jazz players, I've never heard these instruments played with the energy, passion and soul as they are in the hands of both these bands. Of the two the Boban & Marko Markovic Orchestra are probably the one which sounds most like bands you might have heard before. However that's only because trumpets play a larger role in their sound than they do in Fanfare Ciocarlia. Occasionally you'll hear something in their trumpet playing that might strike you as familiar, the high silver sound we've come to identify with Mexican/Spanish trumpet playing for instance. But that's only one moment in one song and you quickly realize they have more ways of coaxing sound out of trumpets than you'd have thought possible.

Any of you who have seen the movie Borat will have already been exposed to Fanfare Ciocarlia as they were the band covering "Born To Be Wild". While the novelty of listening to that played on brass instruments made it fun to listen to, you'll soon realize how much more there is to this band than this tune. First of all, while it might have seemed like they were playing fast and furious on that rendition, judging by what you hear on this disc the reality is they were only playing at about half their potential speed. Unlike other bands who play flat out, the thing you quickly understand about Fanfare Ciocarlia is they aren't rushing. No matter what speed they play at each note is distinct and clearly defined so that we feel and hear even the smallest nuances. Unlike their Serbian counterparts whose main weapon is the trumpet, Fanfare are led into battle by their woodwinds, clarinet primarily, which gives them a much more distinctly Eastern European sound. You can easily believe how at one time Romany musicians joined forces with Jewish Klezmer bands when you hear the almost plaintive sound of the clarinet dart like a small bird through the thunder of the brass rhythm section.

While individually each band is a force to be reckoned with, on the four songs where they combine forces you have to wonder how the studio walls stayed standing under the onslaught. It's not just because of the volume of sound they produce, but because of the intensity of their music. In fact its hard to believe that the CD you're listening to has managed to capture all that was created during the recording sessions. Listen to the sound of the band member's voices in between and before the tracks and the joy and excitement they express just from being involved in the process. You'll quickly become aware of the limitations of even our most sophisticated technology. There's no way in hell it could have captured what all those voices represent during the recording of the music. We are able to hear the music and a good deal of the passion that has gone into its creation, but we can't see the smiles on the musicians faces, the laughter in their hearts or the pride in their souls.

If you are lucky enough to be in Europe at some point over the course of the summer of 2011 and you have the opportunity to witness one of the Balkan Brass Battles that will be occurring in cities throughout the continent, don't pass it up. Judging by what has been captured on this CD it will be a concert experience unlike any you have had before or are likely to have ever again. The rest of us will just have to make do with this recording, and be grateful that it at least exists. For those who have never experienced the uninhibited ferocity of either Fanfare Ciocarlia or the Boban and Marko Markovic Orchestra this disc will be a revelation as to what a brass band is capable of producing. Even those who might be familiar with one or other of the two bands will be amazed at how they each push the other to new heights. After listening to Balkan Brass Battle you'll feel like you've never heard brass band music before as everything else will pale in comparison.

(Article first published as Music Review: Boban and Marko Markovic Orchestra & Fanfare Ciocarlia - Balkan Brass Battle on Blogcritics.)

Posted by Richard Marcus at 08:41 PM | Permalink

As borders have opened and computer technology has improved communications, the exchange of information between countries on opposite sides of the world has become commonplace. Gone are the days where the only music you could listen was what was available on the local radio or what you were able to pick up via short wave on clear nights. Now you can simply turn on your computer and the whole world is at your fingertips. Music and video from every country in the world can be heard and seen with just a click of the mouse while more and more sites have been set up to encourage collaborations between musicians thousands of miles apart who might never meet except through their exchanges of music. A bass player in Belgrade can contribute a rhythm track for a guitar player in New York and a drummer and keyboardist in Tokyo.

With the amount and variety of music people are now exposed to it should come as no surprise to discover that musical styles are no longer confined or defined by a person's geographic location. Still that doesn't stop it being somewhat disconcerting to hear the familiar pulse of a reggae beat being played underneath the commanding tones of the clear voiced Bosnian native Adisa Zvekic on the new disc from La Cherga, Revolve, being released in North America on the Asphalt Tango label June 14 2011. A new addition to the band for this recording, Zvekic joins with the other members in continuing their forays into fusing Eastern European, (other band members are from Croatia, Macedonia and Jamaica) Balkan with British and Jamaican style dub music.

As odd sounding as that mix might first appear, after listening to the eleven tracks on this disc one is left thinking there is either less difference between musical styles than you might imagine, or La Cherga have found some secret formulae which allows them to mix seemingly disparate ingredients together harmoniously. It soon become obvious that the reality lies somewhere in the middle of those two thoughts. Right from the disc's opening track, "Melaha", we can't help but acknowledge how well the syncopated reggae beat works with the sounds of the Balkan style brass it accompanies on this tune. Bands like Britain UB40 had used a horn section to great affect in their pop/reggae tunes of the 1980s and there are echoes of that sound in this song. Yet the horns don't just accentuate the rhythm, they also provide a flavour to the song which separates it from being just another pop tune.

If you were at all taken aback by the opening tracks Balkan reggae, the second song, "Sufi Dub" will leave you reeling. One of the major flash points in the ethnic violence that cursed the countries of the former Yugoslavia, especially Zvekic's native Bosnia, were the attacks on the Muslim communities. "Sufi Dub" draws upon the mystic Islamic sect's philosophy of love for its lyrics, which are sung in both English and Bosnian, (Unfortunately neither the liner notes nor the press materials accompanying the disc detail which of the various Balkan languages the band used on individual songs) while musically it uses what sounds like traditional Eastern European and Middle Eastern instruments to lay down what is essentially a hip-hop beat. Then instead of electronically overdubbing the vocals and music and relying heavily on bass tracks to create the layers of sound we associate with "dub" music, both Zvekic and the musicians create the effect by echoing their own efforts manually.

The result, at least in this case, is a refreshing change from what often just sounds like somebody skipping a record on one note over and over again in time to the rhythm. Here it sounds like an organic extension of both vocal and instrumental lines, creating an emphasis that makes us pay more attention to what is being said. Far too few dub songs carry meaningful messages anymore, they've just become so much fodder for the dance floor, and most people are used to ignoring their lyrical content. By creating the dub style live in the studio, not only does La Cherga re-energize a format that has become overused and tired, they have shown that it can be used for any style of music.

As most of the band members came of age during the horror of the civil wars in the Balkans during the 1990s and the recriminations and war crimes trials that followed, they can't help but be aware of the impact a song named "Sufi Dub" would have in their various homelands. For while every nationality was on the receiving end of some sort of ethnic violence, the Muslim population were the only ones without a designated territory behind whose borders they could find a semblance of shelter. Serbians, Croatians, Macedonians and Bosnians all had their own countries they could flee to for shelter if necessary, but the Muslims were left with no choice but to face whatever might come. Thus the inclusion of this song, with its recognition of the peaceful aspect of Islam, is a slap in the face to those who preached hatred in the region.

While there are none of the overtly political songs that other bands might have produced coming from similar circumstances, Revolve is in some ways one of the most intensely political albums you'll ever hear. For while the former Yugoslavia has divided itself along ethnic and nationalistic lines, La Cherga have steadfastly gone in the other direction and blurred the distinctions between the various people through their music. Maybe to people outside the Balkans this might not be obvious; most of us couldn't tell the difference between a tune from Macedonia and Serbia if our lives depended on it. However, for those who can, this disc will sever as a reminder of what has been lost by the segregation of the various people.

Above and beyond all other considerations remains the fact La Cherga are an immensely talented group of musicians who create music that is both interesting to listen to and fun to move to as well. They have taken both the infectious Eastern European and Balkan sounds which have provided the basis for so much great music and successfully combined it with the rhythms of a music whose beat could make even the dead want to dance, reggae. Lead vocalist Zvekic has the type of voice that immediately commands your attention no matter what language she is singing in. She not only has a great range, she is able to communicate through sound and intonation as much as she does with actual words. As a result even on songs where we may not understand the lyrics we've a fairly good idea what's going on.

While the fall out from the wars that followed the dissolution of the former Yugoslavia are still going on today with people still being arrested to face charges of crimes against humanity, La Cherga offers a ray of hope for the people of the region. They are a reminder that there is an alternative to the ultra-nationalism and ethnic isolation that has marked the Balkans in its recent history. Even if they only succeed in getting people onto the dance floor and moving to the music of those a previous generation took up arms against they will have done more to heal the wounds scarring the region than any tribunal or committee of reconciliation could ever hope to accomplish. Music might not be able to save the world, but in this case it offers people the chance to take a couple of steps in the right direction. This is a great band playing smart and danceable music whose very existence is a message of hope - what more could you ask for?

(Article first published as Music Review: La Cherga - Revolve on Blogcritics.)

Posted by Richard Marcus at 03:38 AM | Permalink

After close to six years of reviewing music I don't whether it's less forgivable or more understandable that I would get trapped into assuming to know what to expect musically from a band based on the region of the world they come from. There's no use denying that after a while as a reviewer you come to expect to hear a particular sound from musicians based on where they live. However, it's also a disservice to any artist to automatically attempt to pigeon hole them for any reason. People changing, evolving, growing bored with an approach and looking for new ways in which to express themselves is the very nature of art. Therefore, just because a band is from an area of the world which has become known for a very distinct style of music is no reason to expect the same from them, no matter what they've recorded in the past.

Over the past decade or so the music of the Tuareg, or Kel Tamashek, people of the sub-Saharan desert region of North Africa has been heard more and more in Europe and North America. Its distinctive mixture of traditional rhythms and modern electric guitar has grabbed the attention of world music and popular music fans alike. Bands like Tinarwian and individuals like Bombino (Omara "Bombino" Moctar) have garnered international recognition with their performances and recordings and have done much to popularize the music. Born out of rebellion, most of the first generation of musicians had taken part in uprisings by the Kel Tamashek against the governments of Mali and Niger, as a means of inspiring their people to keep fighting for their rights and reminding them of their cultural traditions. the music has gone from being banned by regional governments to being in demand at international music festivals.

While not as well known internationally, Group Doueh, a family band headed by father Salmou Bamaar on guitar, has been around since the early days of both the Kel Tamashek rebellions and the guitar driven music it spawned. Like others Bamaar lived with the knowledge that just be playing his music he was risking his life. Members of Bombino's original band were assassinated by the Niger government and at one time possession of any "guitar player" music was against the law. Its only been since the peace treaties of late 2009 that it has been safe for musicians from Niger to return from exile. Still, cassettes of their music was made and passed from hand to hand, listened to by the people, and made their way into the hands of interested outsiders.

Hisham Mayet from the Seattle based label Sublime Frequencies has been in and out of the sub-Saharan region filming and recording the music of various groups for years now. Primarily field recordings made on portable equipment the results are sometimes spotty, but their immediacy and ability to capture a moment are usually sufficient compensation for any deficiencies in quality. His latest recording of Group Doueh, Zayna Jumma, made on location in the group's home in Dakhla, West Sahara, and scheduled for a May 24 2011 release, is probably the best yet. Not only is it technically superior to any of the previous releases, it also captures the band as they are in the midst of making a musical transition. Bamaar has expanded his band to include his next two eldest sons and three additional vocalists. In the process he has also incorporated more pop influences as his one son, Hamdan plays a full drum kit and the other, El Waar, organ and keyboards.

However, while this album is definitely more rock and roll oriented than any of either their previous work or any recordings I've heard from bands from this region, it's still not, thank goodness, what you'd call a standard pop offering. First of all, how many bands can you name where one of the vocalist also is credited with playing Kass - tea glasses? Secondly, the female voices, lead vocals provided by Halima Jakani, Bamaar's wife, and background/harmonies by Tricha, Lamnaya and one uncredited vocalist are nothing like anything you've heard on the radio. Pitched to a point sometimes just slightly shy of shrill, they cut through the sound of the accompanying instruments like a knife blade. They are both the emphatic statement punctuating the background music and an extension of the rhythms driving the music forward. Part chant and part lyrics they rise and fall throughout the songs giving them shape much as the desert wind folds sand into dunes and troughs.

The eight songs on the disc (originally released as an LP so the song list is actually divided up into sides A and B) move back and forth between what we've come to expect from music from the region and the group's new forays into a more popular sound. "Zayna Jumma", the title and opening track, is along more traditional lines, with the lead instrument being the traditional four stringed tinidit. All of which makes the second and third songs on the disc, "Ishadlak Ya Khey" and "Zaya Koum", more surprising with their almost straight ahead rock and roll drums and guitar. Just when you think you've found your bearings, they bring you right back to their roots again with "Met Ha", featuring guest vocalist Bel Kheir, singing what sounds like a traditional styled song of the region.

While it's a little jarring to go back and forth between the modern and the traditional like this, these first four tracks prepare you for the fifth where the band starts to combine the elements of both into one song. "Jagwar Doueh" is a stirring song featuring driving keyboards and drums supporting the vocals of Halima. While the sound is modern and electronic, the feel is still something wild that would never be recorded in our studios in North America or Europe. Over the last three tracks on the disc the band never quite goes as far into popular music again, but they also never completely go back to their traditional base either. In some ways "Aziza", "Ana lakweri" and "Wazan Doueh" are, for lack of a better word, the most typical of what we have come to assume music from sub-Saharan region will sound like, with the only differences being the inclusion of instruments, drum kit and keyboards, not normally associated with it.

The latest offering by Group Doueh, Zayna Jumma, is probably not the type of music most people familiar with other groups from the sub-Saharan region of Africa would expect to hear. It might not be to everyone's taste, and it might even disappoint some, however it is an exciting and challenging collection of music by a group of musicians not afraid to experiment and push themselves and their work in new directions. As far as I'm concerned that's something which should be encouraged at all times as it's the only way for music to continue to grow. Unfortunately, while the quality of this recording is still a big improvement over earlier field recordings done by Mayet, there is still lots of room for making it better. While Sublime Frequencies and Mayet have to be given credit for bringing bands like Group Doueh to the world's attention, we will only discover their real quality with proper recordings. I hope somebody is encouraged after hearing this disc to offer them that opportunity. Their music deserves it.

(Photo Credits: Hisham Mayet)
(Article first published as Music Review: Group Doueh - Zayna Jumma on Blogcritics.)

Posted by Richard Marcus at 03:37 AM | Permalink

Is there anything more romantic than the image of a mother holding her babe in her arms and crooning a lullaby? I'm sure to most of us the idea conjures up images of times long since gone by. Lovely scenes of women sitting by a flickering fire with her baby at her feet in its cradle as she gently sings it off to sleep. The idea that a woman nowadays would have the time to sing, or even know, cradle songs is seems impossible. In our highly sophisticated and fast speeding world it's more likely mothers would have a recorder programmed to play soothing music to help baby nod off then have time in her day to sit with the child and sing.

This isn't a criticism of anything, it's just a fact of life. Anyway, lullabies weren't necessarily the sentimental thing we think they were. The image projected above is a highly romanticized version of reality probably. Sure mothers in the past have sung their babies to sleep, but the songs haven't all been about passing maternal love through music or attempts to soothe children to sleep. In some traditions cradle songs were the beginnings of a child's education. It was with them they would begin the process of learning communication as these were the first words they would hear. The songs would also mark the start of their initiation into the culture of their people and their subject matter would cover everything from simple morality to basic awareness.

In our selfish world we see lullabies as a means for a woman to build a one on one connection to her child. While that is all very well and good, it also means the child's first impressions of life are that it is the centre of the universe, and that universe revolves around one figure only. It may seem inconsequential to some of you how or what is sung to a child in a cradle, but if their earliest impressions are the world exists to gratify them and say nothing about what their responsibilities to the world will be, what kind of person do you imagine them growing up to be?

On her newest release, From Night To The Edge Of Day on Six Degrees Records, Azim Ali has set down versions of the cradle songs she sang for her son. In exile from her Iranian homeland she wanted to ensure he was steeped in the culture of her people and their religion. So she sang him a mixture of traditional lullabies and adapted songs that would not only teach him about who he was, but his place in their world. Not being blind to the schisms that have set Muslim against Muslim over the years she chose to sing more than just songs from her Persian heritage, and the songs collected on the disc have been deliberately chosen to reflect the ethnic diversity within Islam.

Unlike in the world at large this means that Kurdish songs rest peacefully next to those from Turkey and Iraq, Sunni and Shiite stand together and the lesser known people of Azerbaijan are just as important as everyone else. While the songs are sung in the languages appropriate to their country or culture of origin, Ali has provided translations of each song in the CD's accompanying booklet. While a quick glance might make it appear that the songs are fairly typical protestations of a mother's lover for a child - the usual make the child the centre of the universe thing - closer attention will see there are phrases scattered throughout them to begin to open a child's eyes to the world around it. "You will not be mine for long" sings the mother in the traditional Iranian song "Mehman" (The Guest), recognizing that a child is only temporarily a parent's possession and he or she should use this time wisely to sleep while they are still sheltered.

Probably the most poignant lyrics of any of the songs on the disc are to be found in the one written especially for Ali's child by Palestinian oud player and singer Naser Musa. "Faith", is a beautiful song of hope for a better world for the child to grow up in. This from the pen of a man who has lived as a refugee for the majority of his life is a small miracle in itself, that it comes from a region where hate is far more common than hope is almost beyond belief. What would the world be like if people everywhere could rise above themselves and their situations to wish for a world where "childhood will be restored to the smiles of youth which were deprived of compassion" for those who are inheriting the earth from us? If parents around the world could find it inside themselves to whisper words of this sort into their child's ears instead of passing along our own prejudices as is our habit wouldn't the chances of peace be greatly improved?

Musically Ali and those accompanying her on this disc have created a lush combination of traditional Arabic music and modern technology. While the club scene has what it calls its trance music, after hearing the arrangements and playing on this disc, you realize it is a pale facsimile of what can be expressed with the genre. While any of the former I've heard seems designed to reduce people to a drone like status, unthinking and unemotional automatons blissed out on their electronic drug noise, this music enlivens the senses instead of numbing them. Like the Dervishes of old who would use dance and music to obtain a higher state of being that would allow them to open themselves up to the glories of the universe, the music created by Ali and co-producer (and husband) Loga Ramin Torkjan is designed to open the listener up not close them down.

Of course Ali's rich and expressive voice is the focal point, but all the instruments are distinguishable within the mix of sounds each song is composed of. Here trance music does not mean simply a drone of sound lulling you into submission, it is instruments working together to form a texture or atmosphere that opens your mind to the emotions and mood of each song. True the intent of a lullaby is to send an infant safely off into sleep, but while some would employ them simply to put a child to sleep, these songs are also shaping the nature of a child's dreams allowing him or her to have their first experience, in one way or another, of the world beyond themselves.

Azam Ali's collection of lullabies gathered from throughout the Islamic world is a reminder that parents the world over dream of a better world for their children. While the songs point out the differences between our cultures in some ways, the love a parent feels for a child isn't unique to any one people. What we do with that love and how we express it dictates how our children see the world and what they bring to it. If more parents were willing to offer the kind of messages found on this CD to their children, messages of love, hope and faith, don't you think they'd have a chance at a better life? Isn't that worth at least making the effort to ensure the messages we pass on to our children aren't the same ones we were given?

(Article first published as Music Review: Azam Ali - From Night to The Edge of Day on Blogcritics)

Posted by Richard Marcus at 06:44 PM | Permalink

A couple of my pet peeves are things I call cultural colonialism and cultural appropriation. In some ways they're close to being the same thing, in that it usually involves a person of one culture stealing from another for a variety of reasons. Quite a number of times it means a member of the dominant Western culture looking upon something from across the world, seeing it as exotic and then picking out the bits and pieces of it that amuse them without ever bothering to learn about the context they came from.

In some ways it's a lot like putting on a police officer's uniform because you like the way it looks and then walking the streets. You may look like a cop on the surface, but the reality is you nothing of what doing the job involves. Most of those who are cultural appropriators are guilty of something similar. They dress themselves up in the trappings of a culture without knowing what it really means. Whether it is the pop star who picks up the sitar because it sounds cool or the new age musician who tries to make themselves sound more "spiritual" by using Native American flutes in their compositions, it amounts to little more than thievery.

However, music is supposed to be a universal language is it not? We're always hearing stories of musicians from different backgrounds getting together and being able to find common ground through the instruments they play even if they can't speak each others language. There are also classical musicians who spend years studying and training in order to be able to play whatever music they chose, including pieces written by composers from other cultures and times. Their study have not only given them the technical ability to play a multitude of music and styles, but the means to understand the context they were written in. If a musician is willing to immerse themselves in a culture, or the music, then he or she will be able to play it, no matter what their own background.

Which goes a long way in explaining how a band from New Mexico in the United States can play the music of the Balkans and Eastern Europe and sound like they were born to it. On their most recent release, Cervantine, on their own L&M Duplication label and distributed by Midheaven, A Hawk And A Hacksaw perform eight glorious songs which not only sound like they're being played by people from their originating regions, but people steeped in its musical traditions.

Starting in 2004 core members and founders, Jeremy Barnes (accordion and percussion) and Heather Trost (violin/viola) made a pilgrimage through Eastern Europe learning and experiencing the music of the Roma, Hungary and the Eastern European and Asian influences that have permeated both. For two years they were based out of Budapest, Hungary and toured Europe with some of that country's finest musicians. They have played on the streets of Amsterdam with Roma, a road outside of Jaffa, in Israel, for Palestinians and Hassidic Jews and in a small village in Romania, in a house with no running water, recorded with the famed Fanfare Ciocarlia (The band who play "Born To Be Wild" in Borat) However, in spite of the obvious influences these adventures have had on the band, they say they have no interest in simply recreating the music they've heard or in being some kind of ethnographic sampler.

All it takes is just listening to the opening track on the CD to hear they how well they live up their word. Sure "No Rest For The Wicked", a knock down, drag out, wicked, almost eight minute long instrumental piece, starts off sounding like your fairly typical Roma/Eastern European/Klezmar mix - which when you think about it isn't so typical to begin with - but they throw in this sudden break where the music slows to almost a stop, and when it picks up again the song has morphed into something different. In some ways it's almost as if they've taken the title of the song and translated it into musical action; the music might slow down, the beat might change, hell even the tune might not always sound the same, but there can be no rest for the wicked.

They've got a crazy sense of humour these folk who call themselves Hawk and a Hacksaw. But they also play music that shakes the earth. It's got a pull you can't help but respond to; something that reaches right inside and appeals to some part you might not even know exists and sets your blood to stirring. They've tapped into something that would be downright scary if it weren't so exhilarating, and then translated it into music. Perhaps it's because they are able to draw upon musical traditions from cultures normally in opposition to each other, like Turkey and Greece in "Mana Thelo Enan Andra", and create something beautiful out of a centuries long hatred, that we respond so readily to what they have to offer. On the other hand it could be just because they are such bloody wonderful musicians and they could play anything and make it a miracle of sound.

While the majority of the emphasis is placed on the instruments, when their is need for a vocalist Stephanie Hladowski steps centre stage and is a match for anything her band mates throw at her. Her voice is filled with the raw passion of a violin scrapped raw by its bow but her control is such that she can turn it from a caress into a challenge in the blink of an eye. There is none of the awful refinement to her that you'll find in pop singers and their meaningless songs of adolescent romance, instead you'll hear the grief and joy of lives lived to their fullest echoing through her singing.

The instruments you'll hear played on this disc are as diverse as the countries represented by the music. Chris Hladowki's Greek bouzouki, Issa Mallug's Turkish dumbek and riq, Samuel Johnson's trumpet and flugelhorn, Mark Weaver's tuba and euphonium and Charles Papaya's bass drum and cymbal swirl, keen, pound, stomp, and soar in a kind of frenzy that occasionally borders on the chaotic, but which never actually loses control. Listening to them play is like watching the funnel cloud of a tornado and being amazed a thing of such uncontrolled power can hold its shape.

Listening to Cervantine you'll hear the sound of the Balkans, mixed with Klezmer, rhythms from Turkey and tinges of the Latino sound of the band's native New Mexico. While on the surface that sounds like it has the potential to be a discordant mess, Hawk and a Hacksaw somehow weave it all together to make incredible music. Anyone who ever doubted that the music of such diverse cultures could be brought together in harmony only needs listen to this band at work to become a believer. This is truly world music.

(Article first published as Music Review: A Hawk And A Hacksaw - Cervantine on Blogcritics)

Posted by Richard Marcus at 07:30 AM | Permalink

I've been sitting with a CD for a couple of weeks now, listening to it, thinking about it and sort of letting it percolate inside of me. It's not often I have the luxury of doing this with a recording that I've been asked to review, but the company sent this one out to me well in advance of its release date hoping I could give them some quotes to help promote the performer. All of which is very cool, but the problem is that I'm sitting here and I don't really know what to tell anybody who reads this about the music. It's not that I don't like it, because I do, I think the music and the performer are bloody amazing, and what he's doing with his music is important.

You see there's the rub, there's a lot of history that comes with this recording, not just of the person whose made the recording, but something like 1400 years of a people's, and a place's, history. Writing about the music on this CD without touching upon any of that would be ignoring at least half of what has gone into the music's creation. So, while people don't read a critique of a CD for a social/political history lesson, the specifics of this man, this music, these people and this land are as important to talk about as the music. As you'll see, in some ways, that's the point of the music in the first place.

The land is some of the harshest in the world, the Sahara desert, specifically the parts of it which fall within the boundaries of Algeria, Mali, Burkina Faso and Niger. The people are the Kel Tamasheq, more commonly referred to by the name given them by the Arabs who invaded these lands, Tuareg, or rebels, for their refusal to accept Islam without a fight. Nomads and herdsmen, they have guided caravans from Algeria to Niger and raised their flocks throughout the Sahara for centuries. Steadfastly refusing any outside influence they have fought to remain independent against any and all who have tried to control them. The music has roots that can be traced back through the history of the people, to the electric guitars of modern rock icons Jimi Hendrix and Jimmy Page, and the armed rebellions against the Niger and Malian governments during the 1980s by the Kel Tamasheq. For it was veterans of those uprisings who put down their machine guns, picked up guitars and changed the nature of their rebellion.

Omara "Bombino" Moctar, whose given name is Goumar Almoctar, was born in 1980 in a desert encampment adjacent to Agadez in western Niger. When the Niger government lashed out against Kel Tamasheq people living in their territory in retaliation for the rebellion in the 1980s, Bombino's family fled to stay with family in Algeria. In the early part of the 1990s his family returned to Agadez when it appeared there was a chance for a settlement of the conflict with the Niger government. While he had started learning guitar while in exile, upon his return to Agadez Bombino was taken under the wing of a more experienced musician. He was the youngest and smallest member of the band and they gave him his nickname, "Bombino", as a play on the Italian word, bambino, baby.

For as long as the peace lasted in the 1990s and into the new century Bombino's musical career grew steadily. However in 2007 the uprising began again and the Niger government began targeting "guitar players", naming them enemies of the state. When two of the musicians he played with were killed by the army, Bombino went back into exile again, this time to the west and Burkina Faso.

It was here, after a year of searching, he was tracked down by a documentary film maker named Ron Wyman who had heard a cassette of his music while making a movie about the Kel Tamasheq (Agadez - The Music And The Rebellion) Wyman was so impressed with Bombino's music that he took him back to America where they began to record Agadez, which will be released on April 19 2011 on the Cumbancha label. Then in 2010 the army in Niger overthrew the government and signed a peace treaty with the Kel Tamasheq rebels and exiles were able to return home. So Wyman and Bombino returned to Agadez where they completed recording the CD and finished the movie at the same time.

Like the first generation of musicians who play what they call "Ishoumar", a derivative of the French word for unemployed, chomeurs, and which is now synonymous with rebel music, Bombino's sound is a mixture of the modern and the traditional. Electric guitars overlay the steady beat of the drum to create an almost hypnotic effect which wraps the listener in a cocoon of sound. Periodically Bombino's guitar will take flight into a solo, weaving in and around the rhythm like an expression of his people's desire for freedom. Unlike far too many rock and roll guitar solos which always seem to interrupt a song, Bombino's feel like emotional extensions of the material. At times they capture his excitement and enthusiasm for the promise of the better future he obviously hopes lies in store for his people, and at others they express a yearning that can make the heart ache.

In interviews quoted in the press materials accompanying the CD he talks about his relationship with the desert and how it serves as his inspiration and how, like for the rest of his people, its his home. While I can't understand the lyrics he sings, nor are translations included with the CD, reading the English translations of individual song titles, and listening to his guitar and his voice when he performs them, you begin to understand just how deeply these people and where they live are interconnected. Of the three traditional songs on the disc he has adapted, two, "Ahoulaguine Akaline" (I Greet My Country) and "Tenere" (The Desert My Home), by their titles alone, tell you all you need to know about the depth of that bond. Listening to them, and maybe this is because I've seen footage of the Sahara, I couldn't help but visualize the stark beauty of the land and experience the same feelings that pictures of it evoke.

During the uprisings the Niger government first banned the music of, then targeted the "guitar players" because their songs spread the message of the rebellion. They weren't calls to arms, rather they were reminders to the people to take pride in who they were and to hold onto their traditions. With so many of the Kel Tamsheq displaced into the cities because of drought and loss of their territories to uranium mining, those messages have become even more important as a means of helping them retain their identity and instil within them a sense of pride in who they are. Of his original material, two of Bombino's songs, "Tigrawahi Tikma" (Bring Us Together) and "Azamane" (Mr Brothers United), on this disc are obviously meant to encourage his people to stand firm against anything that would take away their freedom or force them to change how they live their lives.

The Kel Tamsheq have survived this long by being able to live in one of the harshest environments on the planet and by learning how to adapt to the changing realities of the world around them. While they have fought fiercely over the centuries to preserve their independence, they also know there are many different ways to fight and win a war. The music of Omara "Bombino" Moctar and the message his songs have for his people, are one of the strongest weapons they have in their arsenal right now. A passionate voice, a guitar that sings and the ability to communicate through sound alone will bring tears to your eye and a send a shiver running up and down your spine. Agadez is being released on April 19 2011, and it will take your breath away.

Photo of Bombino and band members Ibrahim and Kawissan by Ron Wyman.
(Article first published as Music Review: Bombino - Agadez on Blogcritics)

Posted by Richard Marcus at 08:04 AM | Permalink

Open up Google Maps and check out Agadez in the Western part of Niger and the Sahara desert. If you switch over to the satellite view of the city and pull back far enough it disappears into the surrounding desert. It becomes just another shade of brown in what appears to be a never ending vista of tan. How did this city come to appear here in what is apparently the middle of nowhere? Is it just some recent thing that sprang up in response to human greed for something buried beneath the shifting sands? In actual fact the city was founded sometime before the 14th century and was officially designated a Sultanate in 1449. More importantly it is the capital of Air, one of the traditional Tuareg federations, and was one of key way stations along the caravan routes they followed carrying trade from Algerian ports on the Mediterranean Sea into the interior of Africa and back.

Descendants of the Berber tribes of North Africa they were named Tuareg, Arabic for rebels, for their initial resistance to adopting the Muslim faith, but refer to themselves as the Kel Tamsheq after their language. Even though they eventually adopted the religion and the camel herding nomadic lifestyle they now live of the colonizing Arabs, they have continued to resist any kind of external control over their lives to this day. From French colonial rule to having the way they practice their religion dictated to them by outsiders they have have struggled preserve their way of life and traditional territories. Since the withdrawal of French rule from the Sahara in the early 1960s the lands they used to move through freely have been divided up amongst Niger, Burkina Faso, Mali and Algeria. Since 1963, and the first uprising of the modern era, they have taken up arms to protect their rights in the 1980s, the 1990s and most recently in 2007.

Much like elsewhere in the world the Kel Tamsheq discovered treaties have a way of being forgotten when governments change or when it is discovered the useless land they were given is rich in natural resources. It would come as no surprise to Native Americans to hear that when uranium was discovered in Niger all the treaties were thrown out the window. While the 1980s had seen the Kel Tamsheq fighting for their lands, the 1990s saw them fighting for survival as the Niger government began to target them for persecution. Libya and Algeria have both served as homes in exile for them in the past, and did again in the 90s. Among those whose families fled to Algeria at the time was Omara "Bombino" Moctar from Agadez. Twenty some years later, both Moctar and Agadez are the subject of a new documentary film, Agadez, The Music and the Rebellion, directed and produced by Ron Wyman and his Zero Gravity Films production company.

Since the 1980 uprisings more and more among the Kel Tamsheq have turned to music in order to both further their cause around the world and as a means of keeping their own culture alive for new generations who have been cut off from the traditional lifestyle of their parents. With the loss of their habitat to expanding populations and resource exploitation a generation faces the risk of being cut adrift from what it means to be a Kel Tamsheq as they come of age in the cities instead of the desert. According to Wyman's notes he had initially set out to make a film about the people and the city of Agadez. However the movie evolved into including the young musician, Omara "Bombino" Moctar (He was given the nickname Bombino by the older musicians who he first played with as a play on the Italian word for baby bambino) whose music they were introduced too via a cassette tape their guide played endlessly while driving them, and the role music was playing in furthering their cause.

Sometimes changing horses in mid stream like this can result in either never making it across the river or at least getting soaking wet. However, in this case Wyman has done a magnificent job of integrating the two seemingly divergent directions his film could have taken. Primarily this is because he has the courage the recognize the strength of the bond between the music, the environment and the people to let them speak for themselves through the visuals supplied by his camera instead of relying only on talking heads to make the point. The movie's opening frames not only establish his intent to adhere to the credo of a "picture being worth a thousand words", they also prove out the adage by taking our breath away and letting us know we're entering into an environment far removed from anything most of us have ever experienced.

However, since images can be misunderstood by a viewer's preconceived notions of what is important in life based on their own circumstances, Wyman wisely ensures we are given the proper context to place them in. To us what looks like abject poverty and primitive living conditions - hauling water from wells, cooking over open fires and a noticeable lack of any of the amenities we consider bare essentials, are simply the realities of living in that environment. Through interviews with members of the Kel Tamsheq community of Agadez, well educated people who have experienced life outside of the desert and chosen to return home, we learn enough of the people's history and their philosophy of life to begin to understand what they consider important and why these "hardships" are a small price to pay for being able to live as they choose.

At one point one of those interviews tells the story of how at first the people cursed their parents for bringing them to such a harsh land where survival was so difficult. However they soon came to bless them, for nobody else wanted it and they could live as they wished. As with any other culture whose people are as in tune with their environment as the Kel Tamsheq, it's when they are removed from it problems arise. This is why they have fought so hard, and against increasingly impossible odds, for the right to live as they have always lived. However they are also realists and have come to understand they will never win through force of arms and the times require a different approach.

The need to integrate their approach to life with living in the modern world is what has made the role of musicians like Bombino so important to the Kel Tamsheq. For not only are they able to carry their case to the world, they are also the means of communicating to the new generation what it means to be one of the Kel Tamsheq and why they should take pride in who they are. In telling the story of Bombino, Wyman shows us how music is the chain connecting the generations both through the way he learned to play and how he is continuing the work begun by his teachers. The music he plays combines the modern and traditional worlds his people move through both in the content of his lyrics and in the music itself.

The life of the Kel Tamsheq is not easy, but it is the life they have chosen to live and desire to keep on living in as much as the modern world will allow them to do so. In Agadez, The Music And The Rebellion Ron Wyman has done an excellent job of not only depicting their life without romanticizing or sentimentalizing it, but showing what they are doing to preserve it in the face of increasingly difficult odds. Follow his camera into one of the harshest environments on earth and meet the people who not only live there, but cherish the freedom it brings them. You will also meet the remarkable young musician, Omara "Bombino" Moctar, whose story of exile and return is typical for his generation, but whose talent is unique. Like his people he has persevered in the face of persecution (two of the musicians he used to play with were killed by the Niger army when they targeted the musicians among the Kel Tamsheq in the 2007 uprising and he was in exile in Burkina Faso until 2010) and now uses what he does best to fight for them.

Named Tuareg, rebels, by the first wave of invaders who tried to dictate to them how to live, the Kel Tamsheq may have laid down their weapons but that doesn't mean they have given up their battle for independence. Ron Wyman's film is currently making the rounds of film festivals in North America and around the world telling their story. Hopefully it will find its way onto DVD soon. There are many people in the world who claim to speak for freedom and liberty, but few whose way of life epitomizes those ideals as much as the Kel Tamsheq. If for no other reason it will be a shame if this movie is not seen by as a wide an audience as possible. The good news is those wishing to hear the music of Bombino won't have to wait long as his CD, Agadez, is being released by the Cumbancha label on April 14h 2011.

Photo credits: Agadez Mosque By Moonlight Swiatoslaw Wojtkowiak, Photo of Omara "Bombino" Moctar by Ron Wyman
(Article first published as Movie Review: Agadez - The Music And The Rebellion on Blogcritics.)

Posted by Richard Marcus at 02:51 AM | Permalink

I can still remember the first time I heard a recording of Lotte Lenya singing. It was the original cast recording of the first English production of the Kurt Weill, Bertol Brecht play The Threepenny Opera. While the rest of the cast sang their material with the glossy voices you expect in American musical theatre, Lenya's voice was as coarse as rough sand paper and a wonderful relief from the parade of characterless voices which had proceeded it. Brecht and Weill's biting piece of social commentary had been turned into a pretty piece of musical theatre with Lenya's performance being the only tie to its roots in the political theatre of Germany in the 1920s and 30s.

Brecht hadn't been interested in creating pieces of escapist entertainment, and strove to rid performances of the sentimental attachment the audiences made to the characters in a play. His theory of "alienation" was to constantly remind the audience they were watching actors on stage performing in a play so their intellect wouldn't be clouded by forming any sort of emotional attachment to the characters. He wanted performers with real and gritty singing voices; people who weren't your typical matinee idols playing the romantic hero to the young ingenue. While there was far more to his alienation technique than his preference in actors, its something to keep in mind when listening to Gypsy In A Tree, the new CD from Sanda Weigl (she is referred to by her first name only) on the Brooklyn NY Barbes Records label.

For while Sanda was born in Romania her family moved to East Berlin in the early 1960s. As a child she had loved to watch the gypsy street musicians in her home of Bucharest, and quickly learned to sing the songs she heard them performing and had even been a child star on Romanian State television. In Berlin, her aunt, Helene Weigel, who was not only Brecht's widow but had taken over the running of his company The Berliner Ensemble, Sanda under her wing and introduced her to Brecht and Weill's style of musical theatre. From there she graduated to being the member of a rock band and also winning the Dresden International Song Festival when she was 17 with her rendition of a traditional Roma (Gypsy) tune "Recruit". In 1968, when the Russian tanks rolled into Czechoslovakia to put down the reform movement, she joined an underground student group to protest the invasion and East Germany's oppressive rule and was subsequently arrested, sentenced to three years of hard labour and then exiled as an enemy of the state to West Berlin.

In West Berlin Sanda returned to the theatre and her first love, the music of the Roma she had heard as a child. She began performing again with a band made up of musicians from the Tom Waits (music and lyrics) and William S Burroughs (book) musical The Black Rider which was originally staged in Germany. Encouraged by Black Rider's director, Robert Wilson, she and her husband emigrated to New York City to allow her to further her singing career. Since her arrival in New York City she has continued to perform and released her first disc in 2002, Gypsy Killer, and now, nine years latter, she has finally released her follow up. Ten of the eleven tracks on Gypsy In A Tree are traditional Roma songs which Sanda has adapted and arranged with the help of pianist Anthony Coleman and her current band, avant-garde jazz musicians Shoko Nagai (accordion, piano and Farfisa organ) Stomu Takeishi (bass) and Satoshi Takeishi (percussion).

While Sanda sings in Romanian (the booklet accompanying the CD provides copies of each song's lyrics in Romanian, English and German) the music builds off the traditional melodies to reflect the many cultures and countries both Sanda and the Roma have been influenced by and travelled through. So while the opening song on the disc, "Intr-o Ai La Poarta Mea" (One Day In Front Of My Fence) sounds like it could have been lifted directly from the stages of Brecht and Weill's 1920s Germany, the very next song, "Un Tigan Avea O Casa" (A Gypsy Had A House) shows definite signs of modern jazz influences.

However, no matter what musical style has been incorporated, Sanda's vocals are so mesmerizing they are the listeners primary focus. She has a range that would be the envy of any musical theatre performer and an expressiveness that conveys meaning even though we might not understand the words she's singing. Reading the English translations of the songs alone doesn't convey the depth of feeling behind the lyrics, and Sanda is able to imbue each of the songs with what is necessary to convey the layers beneath the surface.

Take the song "Jandarmul" (Gendarme - Romanian Gypsy word for a member of the cavalry) where a horseman refuses to give a young Roma girl a lift as she trudges along barefoot in a muddy road. On the page it sounds like she merely wishes him misfortune when she asks, "Oh Lord, dear Lord, make the rains so heavy/ That all the land is flooded/The horse stumbles in the mud/And the roads are no more". Somehow, Sanda is able to express through the soldier's attitude towards the young girl the disdain the majority of Romanian society has for the Roma, and the fatalism this has bred in response. It's as if the young girl is saying, fine if the world is going to make it so hard to walk and not offer any assistance, it might as well do away with roads altogether. Yet there's also an air of defiance, as she also seems to be saying, no matter what the world does to us we will continue on our journeys.

In some ways the songs on this disc are the blues songs of the Roma. For a great many of them reflect the pain of the Roma along the lines of "Adu Calu' Sa Ma Duc" (Bring My Horse It's Time To Go) which features an exchange of farewells between lovers who are being forced to part because of circumstances. "Bring my horse it's time to go/ I must leave this place/Where luck wants no part of me/If luck were with me/I wouldn't be punished thus/Torn away from you/My heart is always weeping". Much like blues musicians sing about misfortunes and bad times in an attempt to take some of the sting out of a people's bad experiences, Sanda does the same with her material. While those lyrics are potentially maudlin, listening to the sound of her voice as she sings them, you experience something similar to what you feel when listening to a great blues singer sing about her man doing her wrong. It's not just about this one incident, nor is it about feeling sorry for yourself, these songs are a way of making sure you don't brood about the bad things in life by proclaiming them to the sky and not letting them rule you.

In the early part of the 20th century when Romanians would hire Roma musicians to play for family events like weddings and other celebrations, they were forced to keep out of sight of the guests to the extreme of having to sit in trees if they were performing outside. Gypsy In A Tree takes its title from that reprehensible practice, but while the songs on the disc might have lyrics which talk about the hardships the Roma have faced, and continue to face this day, Sanda's performance make them more than just laments. With an obvious empathy for the material and the people who created it, Sanda is able to convey the strength of spirit of a people who have not only survived this treatment for centuries, but have managed to create a strong and vibrant culture along the way.

While it may seem like an odd combination, a Romanian vocalist accompanied by three Japanese musicians, performing traditional Roma material, their approach has been the perfect combination of respect and experimentation to bring the songs to life. Of course the combination of great songs, great musicians and a spectacular vocalist is usually a winner, and that's the case here.

(Article first published as Music Review: Sanda - Gypsy In A Tree on Blogcritics.)

Posted by Richard Marcus at 10:57 AM | Permalink

If you look at old maps you'll notice Europe dominating the rest of the world. Not only is it in the centre of the map, it is also represented as being much larger than any of the surrounding continents. While the excuse could be made the maps were composed out of ignorance as they didn't know the locations or sizes of the other land masses at the time, there can be denying they also thought the world revolved around them, if not the whole universe. Remember it wasn't until after they burned Copernicus at the stake for espousing the view the world revolved around the sun, did that belief begin to take hold. So it's pretty easy to see how they could believe themselves to be the centre of the world.

Over the years, as more and more of the world was revealed through exploration, maps gradually became more accurate in their depiction of the world and countries' and continent's sizes in relation to each other, but our Euro-centric view of the world hasn't changed at the same speed. While we might recognize certain geo-political realities, when it comes to culture, we tend to diminish the creations of certain countries of the world as if they couldn't possibly have the traditions or history required to produce art of real quality. Aside from ignoring the fact these civilization existed long before Europe, it has resulted in the art produced in those regions being dismissed as "folk" art and not being appreciated appropriately.

One of the most glaring examples of this is the way the music of the various African nations has been relegated to either the world music or folk categories down through the years without regard to what is being played. If the instruments aren't immediately recognizable as ones that look like they belong in a symphony, or the music being played doesn't fit into any of our preconceived notions of "what" it should sound like, the idea of it bearing any resemblance to what we call classical music is considered laughable by most people. The thing is, there are musicians and composers of all types scattered through out the length and breadth of Africa who, like their European counterparts, are playing music of incredible complexity and emotional depth passed down from generation to generation and which inspires the work of contemporary composers. All of which sounds remarkably similar to our definition of classical music.

It was while listening to the newest release, Courage on the World Village Music label, from Malian kora player and composer Mamadou Diabate these thoughts really took shape, I've been trying to put my finger on what bothers me so much about the practice of lumping all music from outside English speaking North America and Europe into one grouping, world music, no matter what type of music is produced. How can you put this man and what he creates into the same genre as, for example, the Tuareg musicians of the Northern Sahara and their electric tribal blues, let alone the same genre as the musicians of Southern India or Flamenco players from Andalusia in Spain? It makes as much sense as putting Jimi Hendrix and Mozart into the same musical category.

This cultural snobbery has its roots in colonialism and European refusal to believe any "native" could be as sophisticated as them. While it is nowhere near as blatant as it once was the attitudes really haven't changed that much as I doubt very few people would believe the music Diabate composes on his twenty-one string Kora is every bit as intricate and sublime as the work of J.S Bach or other European classical composers. How could a man who plays an instrument which has its resonator made out of a calabash covered with cow skin, and whose only accompaniment is somebody playing a wooden xylophone (Lansan Fode Diabate - balafon), a small stringed instrument which looks like a stick stuck into a tube shaped drum with four strings (Abous Sissoko - ngoni), a percussion instrument made from a gourd (Adama Diarra - calabash) and a guy on acoustic bass (Noah Jarrett), be compared to one of the most revered European composers who lived?

Actually it was very easy. I was listening to the third of the eleven tracks on the CD, "Dafina", when it popped into my head how much this disc reminded me of a recording I had heard of Glen Gould playing Bach's Goldberg Variations. It was about the third or fourth time listening to the disc when I was struck by the similarity. It wasn't that track in particular which triggered the thought, it was more a cumulative effect of having listened to the music a few times and it no longer mattering what instruments were being used. Obviously Diabate's music doesn't sound much like a solo piano performance, (and he doesn't hum tunelessly along to his performance like Gould used to) rather it was the intricacy and arrangement of the notes - the patterns they formed - that put me in mind of the Bach.

I realize this is all very vague, but the best I can do is tell you is Diabate's music generated the same feelings the Bach did the first time I fully appreciated it and allowed it to carry me away. Each of the eleven tracks on the disc are a piece onto themselves and express individual themes or ideas. "Yaka Yaka", the opening track, is dedicated to the love he feels for his mother, while others are less personal and reflect the concerns he has with the state of the world. Track four, "Humanity" and the disc's closing track, "Bogna" (respect), were inspired by his understanding any hope we have of solving today's problems rests in us learning to treat each other with a heck of lot more respect and humanity than we do now. While we might not be able to "hear" the message in each track, their combined effect is to create a disc of amazing emotional power imbued with overwhelming sense of hope.

Yet the title of the disc, Courage indicates Diabate does not cling to false hopes or suffers from any illusions about what is needed to overcome so many of our problems. Listening to his music you have the sense the courage he is referring to is the kind which allows you to stand up and admit you were wrong, the kind that allows you to forgive your enemy and look for the common ground you'll need to forge peace between you or the kind allowing you to respect other people's beliefs and not be scared of something because you don't understand it. Like Bach, Diabate's work has been inspired by something greater than his own personal feelings and objectives and he has responded by creating music every bit as technically sophisticated and emotionally uplifting as any composer you care to name. The Grammy he received in 2009 was for best Traditional World Album. I don't know if they have a Grammy for best Contemporary Composition, but if they do that's the category this disc should be considered under. This is a truly remarkable disc of music and deserves to be considered equal to anything written or recorded by any composer or symphony orchestra in the rest of the world.

(Article first published as Music Review: Mamadou Diabate - Courage on Blogcritics)

Posted by Richard Marcus at 11:51 AM | Permalink

Perhaps it's because we envy them their ability to soar effortlessly on air currents invisible to our eyes that humans have long equated the flying birds are capable of with freedom. With gravity's grip relentlessly keeping us rooted to the earth we can only watch in helpless awe as even the humblest pigeon easily passes over walls that confine even the mightiest of men. Poetry and songs from all over the world confirm our fascination with birds in the way they are constantly used to evoke thoughts of freedom and escape from peril. Even now when we have developed our own clumsy means of taking to the air, who hasn't stopped to watch a bird's passage and marvel at its effortless crossing of the sky.

Of course nothing we have accomplished to date can match the natural aerodynamics and control exercised by the hunting and diving birds who stalk their prey from thousands of feet above until suddenly plummeting from the sky like a bolt of lighting to swoop away with a fish from beneath the waters or break the spine of a rabbit. Raptors of all kinds can instil fear in the best of us, which could be why the eagle has been a symbol of power and intimidation for empires and royalty since the time of the Romans. Others, with more respect for the natural world, have interpreted their power as a sign of being touched by the divine, and eagles are considered the messengers of the Creator, with the smaller raptors taking secondary roles.

While the eagles, condors and hawks of the world are recognized for their power, when it comes to speed falcons are known to outstrip their larger relatives by a good margin. Unfortunately these small birds also seem to have come into conflict the most with humans in competition for habitat. While some falcons have been able to make homes for themselves among the skyscrapers of major cities - some cities have encouraged this nesting in the hopes the falcons will help with pest control by feasting on rat and other vermin - the populations in the wild have dwindled. The peregrine falcon of Northern Canada flirted with extinction until it was declared a protected species. The black falcons of Europe and Australia are not quite as fortunate, and both are considered endangered. Nomadic animals, the very freedom we envy is what's being denied them by the continual erosion of habitat as we devour more and more of the wild.

It's both the steady decline in the falcon's numbers and the conflict between man and the wild which provided the impetus for the collaboration between Turkey's Erdem Hevacioglu and Australia's Ros Bandt and their new release on Double Moon Records, Black Falcon. The seven compositions on the CD combines modern and traditional musical technology as both a lament for the falcon and an expression of the conflict between the wild and humanity's insatiable desire to subdue the untamed. With the disc being recorded in only one day, and five of the seven pieces improvised, the project in of itself isn't what you'd call tame, as the two artists are having to rely on their artistic instincts in order to pull it off.

Even the instruments used in the creation of the pieces reflects something of the tension between the natural world and the technology we use to shape and control what's around us. While Helvacioglu creates layers of textured sound utilizing electric guitar and electronics, Bandt is playing a simple four stringed instrument modelled on an ancient design called a long necked Tarhu. Inspired by instruments as diverse as the double bass, traditional Eastern and middle Eastern spike fiddles and the Indian Vina, Australian luthier Peter Biffin created an acoustic system for the tarhu which transfers its strings vibrations to a featherweight wooden cone suspended from its body. Whether bowed or plucked the design means the instrument is exceptionally sensitive and offers a musician a huge range of tones to work with.

I suppose we could continue to carry the analogy further by stressing how much the tarhu is like nature in when you pluck one string the whole resounds in ways you can't predict. However it would create the misleading impression of the two musical styles being in conflict, which is the furthest thing from the truth. Technology in of itself is not evil, nor are all modern advances. What is dangerous is how we have let them both deaden our senses to the world around us. In the hands of as gifted a musician as Helvacioglu a piece of electronics can create music as sensitive as any acoustic instrument no matter what its pedigree. Needless to say, Bandt proves herself just as capable of producing sounds and tones that are as unsettling as anything you'll hear created on any electric instrument. Maybe the irony here is that both the modern and the traditional employ freedom and wildness to deny our expectations of what they should do.

The music itself is a series of abstract creations built around various themes. The opening track, "Black Falcon", does more than just try and define the bird, but also brings us into its world. By that I don't mean the two have gone the obvious route and tried to recreate the sounds of flight. What they have done is created something that might give us the idea of what it could feel like to be as unfettered and free as a falcon. While there is beauty, there is also sadness as the bird and the freedom it represents are slowly vanishing, so in the midst of this celebration of its prowess we are made aware of the awful hole that would be left if it were to vanish forever.

While the various pieces on the disc celebrate the wildness of the natural world, never once do you have the impression they are guilty of sentimentalizing it either. There's nothing idyllic or pastoral about this animal's life, it is a predator after all and relies on killing other creatures to survive. As the music progresses over the course of the disc the two delve deeper into the meanings of untamed and why it strikes such fear into the hearts of humans. Wild just isn't being born free, its the unchecked rage of a hurricane, the explosive power of a volcano and the uncaring nature of the towering mountain. The falcon goes about its life and business in much the same way as it would if we weren't around to intrude upon its existence the same as any other elemental force.

It's fascinating to hear how this image is created over the course of the recording. At times I was hard pressed to remember there were seven individual pieces on the disc and found that I was listening to it as a single entity. Perhaps your experience with it will be different. For like any abstract work, perceptions on what is being presented will change from individual to individual. However, no matter what you "get" from the music, you can't fail to be impressed by the talents of the two musicians and the scope of their achievement. At times I was unable to distinguish who was creating which sounds so adept were each with their instruments. Bandt's control of tone and texture is so good at times it was hard to believe she was creating her sounds acoustically, while Helvacioglu electronic washes of sound were so delicate they could be mistaken for something occurring naturally.

Humans are split between our envy of the freedom represented by a bird in flight and our desire to control the wild nature behind the ability. Unfortunately the one can't exist without the other and if we continue on the way we are going we will destroy that which we desire so much. Perhaps that's why we are so bent on the destruction of nature - our selfishness won't let us simply enjoy something that splendid. If we're not to be allowed those gifts we aren't willing to let anyone else have them either. The music of Erdem Helvacioglu & Ros Bandt on Black Falcon might not say such things explicitly, and it may suggest some other idea altogether to you, but you won't be able to listen to it without being affected in some way.

This is a wonderful piece of work created and performed by two very unique talents. With this creation they have given us a perfect example of how acoustic and electronic instruments can work together to create something that combines the best elements of each without either overpowering the other. I wonder if there's a lesson in there somewhere; what do you think?

(Article first published as Music Review: Erdem Helvacioglu & Ros Bandt - Black Falcon on Blogcritics.)

Posted by Richard Marcus at 08:31 PM | Permalink

The cello is not most peoples idea of a glamourous musical instrument. Even in the world of classical music, where there have at least been pieces of music written specifically for it, it plays second fiddle (couldn't help it) to its sexier kin in the string section, the violin. Outside of the concert hall it receives even less recognition, for while instruments like the trumpet, saxophone, clarinet, violin, and even its larger cousin the double bass have become staples in the world of jazz, you don't often hear a cello leading a jazz combo or showing up in your average rock band.

What most people don't realize, save those who have taken the time to sit and listen, is the astounding variety of sound and the wondrous richness of tone a cello can produce. As a child my parents decided, in spite of an almost complete lack of aptitude, I should play an instrument as part of my education, and I somehow ended up paired with a cello. For three years I learned proper bowing and fingering techniques, but it was soon obvious I was no match for the demands of the instrument, surrendered to the inevitable and stopped inflicting myself upon the poor long suffering music teachers in my school system. However, even my pitiful scraping of the strings were enough to convince me that in the hands of someone who knew what they were doing the cello would sound wonderful.

All of which brings me to the intriguing new project released earlier this month by Six Degrees Records entitled Chamber Music. Normally the term chamber music refers to pieces performed by a condensed version of a symphony orchestra with the number of musicians reduced from its usual over a hundred to around thirty or forty. In this case though, we're dealing with something even less traditional as cellist Vincent Segal of France is joined by the kora playing Malian Ballake Sissoko. While this may seem like a strange combination at first glance, a twenty-six string traditional harp like African instrument being paired with an instrument from the European classical repertoire, the gap between the two men and their instruments isn't actually that large.

Both Segal and Sissoko, while trained in the classical traditions of their instruments, have worked in what most would considered non-standard genres musically before. For Segal this has meant working with everything from jazz combos to hip-hop groups while Sissoko has collaborated with people like Taj Mahal and contemporary composers. At the same time the music both men were initially trained in has far more in common than you'd think. In spite of increased exposure due to the proliferation of world music labels there is still the widespread misconception that music from African countries is either high energy pop music or tribal based drumming. Sissoko's training was in a much different type of music as like his father and grandfather before him he had been prepared for the role of historian, praise singer and bard for his people. The music he played was designed to help tell stories and create an atmosphere that was conducive to people listening to him, not to pulling them on their feet.

Even if you don't know anything about the two men or their backgrounds, as soon as you listen to them playing together the connection between them and their music is obvious. From the opening, title track "Chamber Music", to the closing song on the disc, it sounds as if they have been playing together for decades. First of all the two instruments compliment each other perfectly as the kora, much like a European harp, has a light almost ethereal sound that blends beautifully with the cello's rich, earthy tones. However, instead of the cello being relegated to being a support instrument, as is the case most often in European classical music, playing the bass line to the higher pitched instrument's melody, the two men have created pieces in which neither is confined to any set role.

Some of the pieces are based on traditional African melodies Sissoko suggested and in those Segal has improvised an accompaniment. It's fascinating to hear the sounds of the two instruments interweaving as Segal mixes bowing, plucking and slapping his strings to create a solid foundation for the complex tunes Sissoko picks out on his kora. Then there are tunes like the more jazz sounding "Oscarine" where the leads they pass back and forth build off each other in much the same manner as you'd hear in any jazz combo. On this occasion the contrast between the sounds of the two instruments is at it's most striking and potent, pulling the listener into the music through our anticipation for the next interesting combination of tones.

While the disc is primarily a collection of instrumental tunes, the two men are joined by Malian Awa Sangho on the track "Regret". The song is a tribute to Sissoko's late friend, singer Kader Berry, and is a stirring and emotional piece in which you can hear the feelings of the title expressed in almost every note. Sangho's vocals are a third instrument and serve as a focal point for both the listeners and the two other instruments. While the cello delves into the depths of regret one can hear in the singer's voice, the kora echoes the sharpness of the pain felt from the loss of a dear friend.

Musical collaborations between cultures used to be few and far between. Times have changed however, and we are starting to see more and more musicians searching for the common ground which will allow them to work with others from different traditions. While it might seem a cellist trained in European classical music would have little in common with a traditional Malian kora player, Chamber Music proves otherwise. This is a wonderful combination of sound and style that will both surprise and delight listeners from all backgrounds

(Article first published as Music Review: Ballake Sissko & Vincent Segal - Chamber Music )

Posted by Richard Marcus at 09:42 AM | Permalink

While everybody assumes the people most refer to as Gypsies, who prefer the name Roma, are travellers. In fact the common stereotype we have of the Roma is they travel around in caravans stealing from regular hard working folk like ourselves. Since most decent hard working folk tend to spit on the Roma as soon as look at them, their opinions and views, on the whole, can probably be safely disregarded. Even the one part of the picture they manage to get partially right doesn't even begin to tell the story of these people. For, if they are such wanderers by choice, why are there permanent Roma settlements throughout Eastern Europe?

The people we call the Roma are descendant of folk who left the Rajasthan province of Northern India some time during the early part of the first millennium. The best guess is their migrations began around the same time the Mogul Empire began its expansion into Northern India from Persia. Maybe they were simply fleeing the fighting, or maybe they had no wish to live under the rule of this new Empire, we'll never know for sure. What we do know is they began to make the long trek West following the Silk Road through the Middle East and eventually made their way into Europe following the Danube River. A wonderful documentary movie, Latcho Drom, retraces the route they took through visits with musicians in each of the countries the Roma have settled in.

As with any diaspora of people, not everybody left, and there are still many in Rajasthan who are the descendants of those who didn't make the migration. However, as their role in the history of the Roma has been a relatively recent discovery for the world at large, we still know only a very little about the people and their culture. Aside from the movie mentioned above, their music was also featured in the film When The Road Bends: Tales Of A Gypsy Caravan, a documentary which followed the North American tour of Roma musicians from all over the world. Unfortunately both movies only offered samples of the type of music on offer from the people of Rajasthan and releases by individual bands from the region were scarce and hard to come by.

Thankfully that situation looks like it's beginning to improve. While there might be something slightly cynical about a few thousand year old culture being "discovered", a benefit is the increased availability of music from the region. One such example is new disc out on the very good international music label, World Village Music, from the French based Rajasthan band, Dhoad: Gypsies Of Rajasthan, called Roots Travellers. Unfortunately, as sometimes happens, the review copy I received didn't contain the DVD included with the CD as a bonus feature. However judging by some of the stills you can see of them performing at their web site, both dancing and fire breathing appears to play a role, it has the potential for being quite the spectacular.

Dhoad are now the third or fourth group of musicians I've heard from this region of India and my experience this time was no different from the previous occasions. The difficulty faced by Western audiences listening to music from India is we are so unfamiliar with the both the scale in use and the sound of the instruments, no matter what region its from, initially, it all sounds the same. So don't be surprised if Dhoad, in spite of the word Gypsy included in their name, at first listen sound little or nothing like Roma music from the West and a whole lot like most everything else from South East Asia.

However as you start to pick out individual instruments within the mix you'll begin to hear patterns in both the instrumental work and vocal stylings that have things in common with bands in Romania and other European communities. The first of the disc's ten tracks, "Banno", is a good example of this as what catches your attention are the vocals and the multilayered rhythm of the tabla. The vocals have the high pitched, almost falsetto, nasal quality I've come to associate with male singers of a certain style from India and the tabla being played in a time signature my body raised on the basic syncopation of the West - everything a multiple of two or three - just can't recognize. Yet, when a break occurs and the vocals and tabla fall away leaving only the sound of their harmonium type instrument playing, all of a sudden there's a note of familiarity. In it I can hear the accordions of the bands from Eastern and Western Europe. It's not just the way the instrument sounds that is familiar, but the way it is being used. Both the tempo it is being played at and the quality it is adding to the music are identical to the contribution made by its Western counterpart.

When the second set of vocals kicks in on the same track anybody familiar with other Roma bands will hear startling similarities between this singer's voice and vocalists in other bands. It might have been just my imagination, but there was even something about the way the language sounded that was somewhat the same as what I've heard sung by some Romanian Roma. Of course there are other songs on the disc where Dhoad are deliberately sounding like other musicians. "Rajasthani Reggae" starts off with an obvious nod in the direction of Jamaica - which doesn't really have much to do with Roma music no matter how you look at it, but is in keeping with the disc's title of Roots Travellers. They might not be the first band from outside the Caribbean to take a stab at a reggae tune, but theirs is one of the most original ventures into that genre you'll ever hear.

One of the most difficult things about listening to the music of another culture is avoiding the trap of interpreting what you hear based on the criteria you would use when judging music you're more familiar with. We tend to make decisions about someone's emotional state based on the sound of their voice. In most cases, even in the instance of listening to a song in another language like French or Spanish, we would be completely justified in our efforts as we share many vocal indicators in common with most Western languages. In the case of this recording though, all of those preconceived notions have to be discarded as the vocal clues given off by the singers aren't ones we're going to be familiar with. In fact if we judged them by our standards it would sound like all of the songs were plaintive appeals dealing with grief of one kind or another.

Listening to this disc is an adventure, a real journey into unknown territory. If you approach it with an open mind you will find ways to appreciate the music you hear for what it is, not what you anticipate music should be. Listen for the interplay of melody and rhythm, the intricate patterns made by the weaving together of the vocalists' harmonies, the tabla and other instruments to create a tapestry of sound both rich and colourful. While those who have an understanding of the music of South East Asia will obviously get more out of this disc than others, there's still plenty for the rest of us to enjoy. Don't think of this disc as a door that's closed to you, rather think of it as an opportunity to begin opening a door to a new world. You might feel a little lost at times, but you'll soon develop your own map for finding your way around.

(Article first published as Music Review: Dhoad Gypsies of Rajasthan - Roots Travellers on Blogcritics)

Posted by Richard Marcus at 05:02 AM | Permalink

Another year is drawing to a close and now is the time for all those with pretences of critical prowess to pontificate on what they thought of as the best music of the past twelve months. We all take pride in our taste and discernment; we all wish to show how unique we are in our judgements and impress you, our readers, with our worldliness through the obscurity of our choices. To be honest, after five plus years of receiving at least a CD a day in the mail I've been finding it harder and harder to find anything original to say about what I hear. While this has probably more to do with my inability as a writer rather than any lack of talent in the musical world, it doesn't change the fact its taking more to excite me enough to sit down and review a piece of music.

Whatever the reason, I've reviewed far fewer CDs this year then in the past, and its from that much reduced pool that I've selected the following ten discs (plus two honourable mentions) as the ones that impressed me most. There's no real rhyme or reason to my choices, they just all happen to be ones which distinguished themselves sufficiently they stuck out when I surveyed my past year's worth of reviews.. If you wish to read the full review for any of the following their titles serve as a link to its location. So without further ado, and in no particular order, here then are the ten music CDs which stood out the most for me in 2010.

Sin Rumba no hay Son Septato Nacional. Formed in Havana Cuba in the 1920s this is the fourth generation of musicians to perform under the banner of Septato Nacional. While true to their roots as one of the originators of the Afro/Cuban sound, their ebullience and skill keep the music as fresh as if it were only just being discovered today instead of eighty years ago. You'll have difficulty believing there are only seven people performing so full is their sound. So infectious is their enthusiasm, not only will you find yourself swaying to the beat of their music, don't be surprised if you find yourself on your feet dancing. Truly a Cuban national treasure for all to enjoy.

Koonyum Sun Xavier Rudd & Izintaba. Hailing from Australia Rudd has long been associated with surfers, a laid back reggae influenced sound and the Aboriginal influences in his music. Originally a one man band, playing guitar, kick drums and yirdaki (commonly known as digeridoo) his sound has evolved over the course of his career to the point where he now is accompanied on this album by the South African drummer and bassist duo known as Izintaba. Even more impressive is the growth he has undergone as a lyricist and the emotional commitment to his music he now displays. While he has previously penned songs about conditions among Australia's Aboriginal population, the environment and his personal connection to both subjects, on Koonyum Sun he has taken the next step in his development. He has taken his personal feelings on the dissolution of his marriage and translated them into universal expressions on the nature of love, freedom and individuality. This is the work of a mature artist who can write about personal experiences in such a way that all can identify with them.

Homeland Laurie Anderson. Not many people have hit records by accident, but one has the feeling that's what happened to Anderson back in the late 1970s when her song "O Superman" brought her to popular attention. Even referring to her simply as a musician fails to do justice to the complexities of her creations as they have far more in common with stories than they do with songs. Homeland has her focusing her unique talents on the state of the world, specifically the United States, today. While she is well known for her use of technology in her work, vocoders to alter her voice and effects for her violin, there is something infinitely human and intimate about it. While definitely intelligent, Anderson also possesses a wonderful sense of the absurd which when combined with her apparently innate appreciation for the beauty in the world makes her material as close to sublime as possible for a secular artist.

Elephant: An African Tale Francis Jocky. Hailing from the Cameroon Francis Jocky has had to deal with other's expectations that he play "African" music when his interests have stretched far beyond his home continent's borders. So there is almost something tongue in cheek about his sub-title "An African Tale" in this instance. For while the story he recounts over the course of this song cycle is firmly rooted in his birth nation, it is not blinkered to the fact there is a huge world out there waiting for all of us. His recounting of one family's struggles expresses the hopes and fears of people all over the world. It may be based in Africa, but this is a truly international recording.

Woman In Sin Fishtank Ensemble. Every once in a while a band comes along who manage to convey a wildness of spirit with their music that no matter what they play your can't help envisioning people dancing with reckless abandon around a bon fire in a forest glade. There's something about Fishtank Ensemble, no matter if they are covering a torch song or playing a crazy reel, which makes you remember what it is about music that can upset the status quo. It frees the spirit and releases you from your inhibitions just as easily as booze and drugs, but without the nasty side effects. This group of extremely talented musicians are the perfect antidote to the deadening effects of the mundane. If you ever feel the need to remember what it means to be alive in body, mind and spirit again - this is the band for you.

Oooh La La Crash Test Dummies. Brad Roberts' voice, intelligent lyrics filled with wry humour and emotional insights combined with weird and obscure musical toys from the 1970s; what more could one ask for? Heck I could sit and listen to Brad Roberts sing pretty much anything and be content, but thankfully the main creative engine behind Crash Test Dummies has never given into the temptation to just get by on his voice. Oooh La La is no exception as he and co-producer Stewart Lerman used a stock of musical toys as inspiration for the musical accompaniment to Roberts' lyrics and created something truly distinct. The result was a delightful mishmash of styles tinged with that slightly mechanical feel one identifies with the sound of electronically produced music from before the age of digital recordings. The contrast between his rich baritone and the undertone of cheap circus music the old toys give the music might disconcert initially, but, in the end, made this one of the more original and invigorating releases of the year.

Sub City 2064 Erdem Helvacioglu & Per Boysen. Erdem Helvacioglu changed my perspective on electronically enhanced music forever the first time I heard one of his recordings. Unlike others who rely on machines to create their music, for him they are another instrument to be used in the creative process. On Sub City 2064 he and collaborator Per Boysen have created a series of atmospheric creations that bring to life an imagined future where we live beneath the waves. In turn beautiful and frightening the two men have created a recording which should serve as the benchmark for composers of electro-acoustic music in terms of emotional honesty. A work of intense beauty, it will remind you its the artist behind the instrument who matters, and artistry and creativity will shine through no matter what the circumstances.

Leva-me Aos Fado (Take Me To The Fado House) Ana Moura. Fado music is said to have been borne out of the songs Portuguese sailors sung when missing their loved ones while sailing the oceans. That will give you some idea as to the nature of the music and how, in the wrong hands, there is the potential for it to be tiresome. However, in the hands of Ana Moura, Fado becomes more than the sum of its parts. These aren't merely love songs bemoaning missing sweethearts or broken hearts as the ache expressed by their yearning could be caused by the loss of freedom to tyranny, worry for one's loved ones in a time of war or any of the numerous ways in which the world can break one's heart and spirit. It's no wonder the former military dictatorship of Portugal closed the Fado Houses upon taking power; the last thing they would have wanted were such vivid reminders of the emotional costs of their reign. Don't listen for overtly political lyrics in Moura's words, but if you can't hear the crying of a mother who has lost her child to an act of violence in her voice, you need a hearing test.

Metal Machine MusicLou Reed. In 1975 Lou Reed set records for the number of returns generated by a newly released popular musical album when he first released Metal Machine Music. Ironically if it had been released as a work of contemporary composition it probably wouldn't have raised any complaints. Reed's experimentation with sound, electronics and electricity was very much in keeping with work being done by composers John Cage and others in the avant-garde. His mistake was in hoping people would be able to forget that he was a pop musician and listen to his music in its proper context. Now, finally, Metal Machine Music has been released as it should have been it done thirty-five years ago. Taking advantage of digital technology he has re-mastered the original quadraphonic sound to accommodate modern audio equipment and offered both CD and DVD versions of the recording in one package. Hopefully the world will be ready to listen to this other side of Lou Reed a little more readily today then it did years ago.

I Can See The Gates Of Heaven Marta Sebestyen. Probably the best thing about the fall of Iron Curtain that separated Eastern Europe from the West has been the new accessibility we've gained to musicians previously denied us. Marta Sebestyen is from Hungry and sings a mixture of traditional sacred music and folk songs from her homeland. A beautiful singer, she has an expressiveness to her voice that makes an understanding of Hungarian moot as she is able to convey emotions and feelings through her tone alone. One of the real treasures of Eastern Europe, Sebestyen's music will lift your spirits no matter which God you believe in and what part of the world you come from.

Last, but not least, are two albums released in 2010 that couldn't be ignored. Compilation and greatest hit type releases aren't normally titles I would consider for this type of list, but these two merit special consideration. Baby How Can It Be? Songs Of Love, Lust & Contempt From The 1920s & 1930s is just what its title claims, and is one the best collections of material from that time period that you'll ever hear. While you might still have trouble getting half of it played on the radio today, the majority of the songs on this collection are far superior to what passes for the equivalent you'll hear on today's airwaves. The second release probably wouldn't present any problems with obtaining air time as Hank Williams: The Complete Mother's Best Recordings gathers together all of Hank's old radio broadcasts sponsored by the Mother's Best Flour company originally recorded in 1951. While some of the material is hokey and sentimental, having the chance to hear Hank play live with his band and offering up trial version of new material, is something not to be missed. The collection comes with a book detailing the history of the recordings and providing full notes for each song on the fifteen CDS. There's also a DVD included featuring Hank's daughter Jett interviewing two members of Hank's band and one of the engineers from those broadcasts. Either one of these compilations would make a great addition to anyone's collection and are great fun to listen to.

So there you go, that was the music that stood out the most for me in 2010. A completely subjective and personal list of preferences, but than again, what did you expect, objectivity?

(Article first published as My Favourite Listens Of 2010 on Blogcritics.)

Posted by Richard Marcus at 10:54 AM | Permalink

In the first week of November the temperature starts dipping below freezing in Kingston Ontario, so it was some relief to have a warm Caribbean breeze blow in from Cuba November 3/10 and plunk itself down on stage at the city's Grand Theatre. Septeto Nacional has been bringing son habanero (the sound of Havana) to the rest of the world in various incarnations since 1927 and it was the fourth generation of players who blew into town and succeeded in helping to stave off winter a little longer. Infectious, enthusiastic and skilled the seven piece band (and two friends) seduced the evening's crowd with the sultry rhythms of their Afro/Cuban music.

On tour in support of its newly released CD, Sin Rumba no hay Son!, the band is criss-crossing North America. While the CD is a joy to listen to, it's only be seeing and hearing Septeto in performance that you can truly experience their finer qualities. Under the leadership of vocalist Euenio Rodriguez Rodriguez, "Raspa", the seven piece band weaves a musical spell that works its way under an audience's skin without them noticing. Just before intermission they showed how successful they had been by pulling the entire audience out of their seats to have them swaying to their music and dancing in the aisles.

The backbone of the band is their rhythm section consisting of Francisco David Oropesa Fernandes "El Matador" on bongos, Dagoberto Sacerio Oliva on guitar and Raul Acea Rivera on Bass. For those of us used to a band requiring at least a drummer playing a full kit and maybe an additional percussionist in order to lay down a steady beat, it might seem that one man playing bongos would be insufficient to create anything solid enough to carry a song let alone a band. However, "El Matador" not only was strong enough to get toes tapping, he worked in fills and frills that would make many a jazz drummer green with envy with only his two hands and one set of bongos. With Rivera and Oliva laying down the current feeding the tempo, Fernandes skipped and hopped like a water bug over top giving the music that extra edge which allows it to mysteriously find its way into an audience's feet.

Enrique Collazo Collazo on tres (a Cuban guitar) and Agustin Someillan Garcia on trumpet rode the stream laid down by their rhythm section like experienced sailors running before a steady wind. Collazo's subtle yet intricate fingering was a constant presence as he picked out melodies on his instrument. However, unlike rock and roll lead guitar players who seem to be always demanding that we pay attention to them with their flamboyant moves and attitude, Collazo played in service to the song at hand and nothing else. While he was always felt, the only time you were really aware of him was during his specific solos.

A trumpet stands out at the best of times, so you'd think as the sole brass instrument amongst Septepto's players it would stick out like a soar thumb. However, in the case of Garcia, unless you specifically listened for him, he integrated himself so well into the band's sound, you would be forgiven for forgetting there was even a trumpet playing. That's not to say he was buried in the mix, or anything like that. Rather his playing was so perfectly pitched to the rest of the band's sound it was like he was singing another harmony to the two lead's vocals.

While Crispin Diaz Hernandez left the bulk of the lead vocals to his senior, "Raspa", when his turn came he showed a skill set that equalled the maestro's. It was he who was responsible for pulling the audience to their feet at the end of the first intermission through the simple expedient of a big smile and gesturing with his hand that everybody should rise. (As none of the band spoke much English, most of the on stage patter was lost on the mainly Anglo audience although judging by the laughter rising from the pockets of Latinos present it must have been funny). However, he wasn't just good at communicating with the audience, he had a wonderfully expressive and evocative voice, and you couldn't help but be swept up by the enthusiasm generated by his performance.

Yet, in spite of the skill shown by the rest of the band, whenever the dapper figure of Eugenio Rodriguez Rodriguez "Raspa" stepped up to take the spotlight, we were all instantly in the palm of his hand. Playing a bit of a fool with his between the song patter, slipping in and out of rapid fire gibberish and Spanish and pulling faces as if he just stepped off some vaudeville stage of the twenties, the moment he opened his mouth to sing you were transported. You wouldn't think such a small body could contain such a large voice. Soaring over the rest of the band he effortlessly carried the audience with him on every one of his flights of fancy. Not understanding his lyrics didn't seem as important as being carried away by the delight of listening to him sing.

Septeto Nacional are coming to the end of their fall North American tour, but will be back again in the spring. (You can find details of their tour on their page at the World Village Music web site) to hit any of the places they might have missed this time round. Judging by their performance in Kingston Ontario last night (Wednesday November 3rd/10) this isn't a band you want to miss hearing and seeing perform if the opportunity presents itself. My only complaint was there wasn't a program telling us who the guests were joining them on stage, which prevents me from giving credit to the guest vocalist and the Em C who are travelling with them.

There aren't too many bands who can get an audience ranging in age from tots to seniors up and dancing en masse, but these guys can and will. So bring along a pair of dancing shoes and practice smiling because you're going to be doing plenty of both.

(Article first published as Concert Review: Septeto Nacional, Kingston, Ontario - November 3, 2010 on Blogcritics.)

Posted by Richard Marcus at 02:56 AM | Permalink

It's not often that items are released within a couple of weeks of each other about the same artist where one was originally recorded some forty years before the other. It's especially rare to have two DVDs about the same person with that time difference surfacing one right after the other. The number of performers who have endured from the 1970s to now are few enough as it is, but for there to be anything new under the sun from the past not yet released that is actually worth viewing is as remarkable as the longevity required for them still to be performing today.

Leonard Cohen has actually been around a lot longer then since the early 1970s, but the DVD scheduled for release on August 31/10, Bird On A Wire, was of the never before seen film made of his 1972 European tour. (As of now the DVD has still not been released due to "concerns" on the part of Cohen's current label - you won't even find it listed yet at either the distributor's web site or at Amazon.com) Now two weeks later, September 14/10, Columbia Record's Legacy Recordings has released Songs From The Road a collection of twelve songs taken from Cohen's 2008/2009 world tour. Available as a CD/DVD package and Blu-ray, the songs are taken from eleven of the many venues Cohen performed at during his two years on the road, with two from his November 2008 concert at London's O2 Arena.

While twelve songs might not seem like much of a representation of a career that has spanned nearly five decades, that's not the point of this release. Instead it was an attempt to capture some of what the recording's producer, Ed Sanders, calls the tour's special moments. As we see in the special feature documentary included on the DVD, "Backstage Sketch", it was Cohen's habit at the end of each show to go directly from the stage to a waiting vehicle which would whisk him back to his hotel. Accompanied by only his tour manager and Sanders he would usually not even mention the show just performed. However, over the course of the tour there were nights when something special would have happened on stage which would compel Cohen to talk about the show. Each of these songs represent, either in Cohen's or Sander's estimation, one of those moments on the tour.

Ironically, just like its predecessor from 1972, Songs From The Road opens with Cohen's Tel Aviv concert. In September of 2009 Cohen played to some 50,000 people at the Ramat Gan Stadium. While that might seem like a strange environment for a performer whose material is as intimate as Cohen's, you can't help but be amazed at his ability to connect to an audience no matter what its size. As he and the band work their way through a beautiful rendition of "Lover, Lover, Lover", the camera pans out over the stadium where the entire audience appear to be holding green light sticks which are swaying in time to the music like some eerily glowing field of grass. Even more than actually seeing the audience react to the song, one can't help but be impressed by the connection it demonstrates exists between Cohen and his audience or the implied power it represents. Yet, the appreciation he shows for their applause when the song ends is so genuine, it's his humility that leaves the strongest impression.

It doesn't seem to matter where he's performing, or the size of the crowd, each of the songs on this DVD manage to capture the sense of communion existing between Cohen and his audience. This is not your typical rock and roll tour with its crowd of worshippers, instead there appears to be a genuine feeling of reciprocity between the performer and his audience. After each song the applause is deafening and Cohen responds by standing before them humbly, either doffing his hat in recognition of their response or saying a genuine "Thank you friends", constantly surprised at the strength of their reaction.

No collection as small as this one will satisfy every fan of Cohen's, but what I liked about it is the mix of classics and lessor known pieces. "Bird On The Wire" and "Chelsea Hotel" are followed on the disc by "Heart With No Companion", "That Don't Make It Junk" and "Waiting For The Miracle", three songs that you won't often find on any greatest hits collection. "Heart", with its decidedly country feel and slightly tongue in cheek presentation, watch for the three back up vocalists doing some line dancing in the instrumental break, was an example of the rather surprising lightness of spirit that pervaded Cohen's performances. This was, after all, the guy who became famous for cutting a rather brooding and romantic figure. However, even though his material has lost none of its emotional intensity, there was prevailing sense of optimism to the proceedings.

Perhaps the explanation lies not in what was being performed, but in the fact that both audience and performers were taking such joy in being present. This was something that went beyond the audience merely appreciating Cohen and the band's renditions of the songs, and is hard to define. Unlike other concerts where there is a clear demarcation of roles for both performer and audience, the line at these concerts seemed to blur somewhat. It was like the connection between the two was so strong each song became an experience to share, not something one sat back and passively observed.

One of the best examples of this is the recording of Cohen's performance of "Hallelujah" recorded at the Coachella Music Festival in California. Normally multiple stages are in operation at once, but festival organizers arranged it so Cohen's performance was the only one scheduled and he performed for the entire festival crowd. With a crowd that size standing in front of a stage you'd expect to notice people being distracted or looking around. Not on this night at this moment. Every face seemed riveted on the slightly stooped grey suited figure holding the microphone; hanging on his every word and awaiting their cue to start singing along with the chorus. As producer Sanders says in his notes, if he had to pick a moment as a highlight from the tour it would be hearing the tens of thousands of voices raised in a chorus of one word at the end of the song - Hallelujah.

Naturally the sound and visual quality of this CD/DVD package are excellent with the on stage visuals being exceptionally well done providing both wonderful close ups during solos and excellent full band coverage when required as well. However don't look to the special features for any startling revelations or insights into the artistry of Leonard Cohen. While the short documentary, "Backstage Sketch", introduces us to all the other people on the tour; band members, roadies, tour manager and even the tour accountant, Cohen himself only appears incidentally.

While Tony Palmer's film, Bird On A Wire from 1972 provided viewers with extensive back and off stage footage of Cohen and his band, the tour itself was plagued by horrible sound problems. As a result the footage from on stage was limited and not of the quality we're now used to. It was more than adequate considering the conditions and the time, but compared to what you can see and hear on Songs From The Road you truly comprehend the advantages our new technology has given us over films made in the past. While Bird On A Wire might have given us a better understanding of Cohen the man, Songs From The Road allows you a deeper appreciation of Cohen the performer and the amazing bond he has with his audiences.

(Article first published as Music CD/DVD Review: Leonard Cohen - Songs From the Road on Blogcritics.)

Posted by Richard Marcus at 03:15 AM | Permalink

While there's nothing wrong with looking forward and looking for the means to improve things, doing so without paying attention to one's history can result in the creation of a cultural vacuum. Far too often in North America we're far more concerned with celebrating the next "Big Thing" and then discarding it once something else catches our eye to replace it in our affections. Instead of using what came before as a foundation for building something solid, far too often we end up with confections, that while looking good, are the artistic equivalent of candy floss. Lacking any real substance they usually blow away the first moment our attention is distracted by the next shiny pretty thing to come along.

Initially popular music in North America was close to its roots, building on the solid foundation of both its African American and European roots. Even before rock and roll and the successful marriage of country and blues, composers like Ira and George Gershwin drew upon jazz and blues influences when composing some of their most famous pieces. Porgy And Bess should have been a defining moment in the development of a uniquely American culture in the way it combined the classical form of opera with the music of the new world. Unfortunately, commercial necessity forced the brothers to divert their creative energies into musical theatre and eventually film. While songs like "Summertime" might live on through their occasional revival, Porgy and Bess isn't usually seen performed outside of opera houses, and the Gershwins are remembered more instead for the insipid music they wrote for Hollywood musicals.

Popular music in North America has been like a series of coups and counter coups as in almost every new generation a type of rebellion occurs against what came before; rock and roll in the 1950s, psychedelic/acid rock of the 1960s, punk in the 1970s, rap in the 1980s and grunge in the 1990s, only to see each one co-opted and watered down by an industry geared towards treating development as a trend to be milked for every dollar possible. Having lived with this reality most of my adult life it always comes as a nice surprise to discover parts of the world where things are different. Not only do musicians and audiences recognize the importance of their cultural history, they see nothing wrong in playing and listening to the music their father's and their father's before them played. One doesn't even need to look too far from our own shores for an example either, for Cuba's Septeto Nacional has existed since 1927 and are onto its fourth generation of players. One of the original son bands who first combined the African and Latino sounds of Cuba, the latest incarnation's new recording, Sin Rumba no hay Son! (Without Rumba there is no Son), is being released September 14/10 on the World Village Music label.

Son music has its roots in the rural communities of Cuba, primarily former black slaves, and was brought to urban centres like Havana by migrants seeking work. It was in Havana that Ignacio Pineiro founded Septeto Nacional (the band takes its name from its seven piece line up; Eugenio Rodriguez Rodriguez "Raspa" vocals, Francisco David Oropesa Fernades "El Matador" bongos, Enrique Collazo Collazo tres, Dagoberto Sacerio Oliva guitar/vocals, Agustin Someillian Garcia trumpet/vocals, Raul Acea Rivera bass and Crispin Diaz Hernandez maracas/vocals) and proceeded to augment son with the rumba and other Havanan musical influences. In order to increase the music's appeal to urban inhabitants he also took the step of adding trumpet to the ensemble as the lead instrument. The resulting hybrid, son habanero (which translates as son of the people of Havana or Havanan son) was the forerunner of basically every popular Latin sound that has made the rounds of North America from mambo to rumba. (Hence this new disc's title)

After each of the fourteen track's titles on this disc the style of the song is listed in brackets showing that while this generation hasn't lost touch with its roots in son, its also not letting itself be stuck in the past. Rumbas, boleros, congas and guarachas are built on top of the son base resulting in a compelling mix of melody and rhythm. Each component, from vocals to percussion, while having a distinctive voice of their own, play an integral part in the creation of the overall sound. For, while the trumpet might be the lead instrument, it also accents the rhythm being created by the guitar and percussion to help give the music an extra edge.

Unfortunately the intricacies of Latin music are lost on me, I couldn't tell a samba from a rumba if my life depended on it, so I'm not in a position to critique Septeto Nacional at that level. However, even someone as ignorant as me can't help but recognize the individual talents at work in this band, and the incredible job they do of combining them to make each of their songs absolute gems. Rodriguez has one of those voices that coaxes and caresses every last nuance out of each syllable he sings to the point where it becomes irrelevant whether you speak Spanish or not. Yet, if the rest of the band weren't so carefully attuned to what he was doing, pitching their contributions to compliment and augment his performances, he would be lost in the shuffle.

One of the first lessons in music appreciation I ever received was that the sign of a good string section was not being able to tell if it was one instrument playing or a dozen. In the case of Septeto Nacional you can obviously tell there are seven different instruments, but they play with such harmony the result is as if they were speaking with one voice. This maybe a band that's nearly a hundred years old, playing music that's been passed down from generation to generation, but it sounds fresher and more alive than most music you'll hear today.

Last year this incarnation of Septeto toured North America for the first time since 1933, and they are returning again this fall and again in spring 2011 for a second go round. As well as engagements in major centres like Miami (September 02/10), Los Angeles (September 07 - 09/10) and New York City (April 16th 2011), remarkably they are ever going to be making an appearance in my little backwater, Kingston Ontario, on November 03/10 (Check the World Village Music web site for the complete schedule). All I can say is I hope they leave room for people to dance at each of the venues. Listening to them on disc it's almost impossible to sit still - in person I don't see how anybody will be able to stay in their seats. If the opportunity presents itself for you to see Septeto Nacional during their tour this time - take it. Anybody who ever doubted there wasn't anything we could learn from history or who thought the past belonged in the past will quickly learn otherwise listening to these men play. Listen, learn, but most of all, enjoy yourself, because that's what this music is all about.

(Article first published as Music Review: Septeto Nacional - Sin Rumba no hay Son on Blogcritics.)

Posted by Richard Marcus at 02:56 AM | Permalink

The first time I heard Bob Brozman was a few years back and at the time I was amazed at his abilities as a blues guitarist and vocalist. Aside from John Hammond Jr. I'd not heard another contemporary musician performing solo acoustic blues and be able to hold my attention for not only the length of a CD, but a ninety minute concert on DVD as well. So I was really surprised when talking to the publicist who had supplied me with those discs that he wasn't considered to be primarily a blues performer. Here was a guy who sounded like he was burning a hole in the neck of his resonator guitar his slide was moving so slickly, and yet blues was only considered something he did on the side. How could that be possible?

Well it turns out that Brozman is one of the few people around who justly deserves to be described as a world music performer. Unlike the majority of people who happen to be given that label only because they were born in a non English speaking country, Brozman actually plays music from all over the world. If it can be played on a stringed instrument, seemingly any kind of stringed instrument, there's a damn good chance he's played it at some point in his career. From the islands of Hawaii, Reunion Island off the coast of Madagascar, the Okinawa Islands, Papua New Guinea, India, France, to the blues of his native America Brozman has travelled the world for thirty years seeking out new music and new musicians to play with.

While there have been individual recordings made of most of these musical collaborations, for the first time music lovers have an opportunity to view clips of Brozman and those he's worked with in action. A new DVD, Par Avion, for sale only through his web site, is a montage of video clips, still photos and of course music, dating back to his early days as a street musician in the early 1970's. While age and dubious equipment means the quality of some of the clips aren't the highest, it doesn't prevent the DVD from being a incredibly fascinating document.

The movie opens with a couple of stills showing Brozman from his street musician days when he was making his living by travelling around America busking for a living. From there we move to 1978 for some faded black and white footage from Boulder Creek California for two tunes, "Ukulele Spaghetti" and "Shake It And Break It". Even at this age we see Brozman is already a virtuoso on his beloved resonators as he rocks the house on both a ukulele and guitar version of the old metal instruments. Combined with a clip from a local San Francisco news show in 1984, on which he's seen playing "River Blues", these pieces of video give viewers an indication of just how good a player Brozman is. With a voice like Leon Redbone and a dexterity on the fret-board like no one else, it's obvious he could have easily been a huge success playing only the blues.

However, this is the man who once said in an interview, "If you're bored it usually means your boring", and he sure wasn't about to let himself be either. The next few clips are from 1986 in Kailua Kona Hawaii and feature Brozman playing Hawaiian pedal steel. This is a style of music that even then had long since gone out of fashion, and in an interview done at the time he admitted that when he played those types of events he was usually the youngest person performing as nobody else his age or younger seemed interested in the genre anymore. It turns out he learned how to play it listening to old 78 rpm records of Tau and Rose Moe, Hawaiian musical stars of the 1920s. Somehow or other Tau heard of Brozman and in 1988 invited him to their home in Oahu. The result was a recording of Hawaiian pedal steel and lap blues unlike any that had been released in decades.

While the video clips from the recording session are faded black and white and over exposed in places, the sound quality is still crisp and clean. However the best moments are footage of Tau and Brozman sitting together jamming on their lap slide guitars against the backdrop of the Pacific ocean and lush green of the Moe house grounds. This section of the film ends with a beautiful shot of the two men walking along the beach together with Tau telling Brozman how much they appreciate a young guy like him from the mainland helping keep their music alive.

We then continue to hop skip and jump around the world and through the years with Brozman to watch him play swing music for ballroom dancers in Vancouver British Columbia in 1992, give a brief introduction to resonator guitars for a Japanese Television documentary in '94, and then down to Santa Cruz California to play some intricate jazz/blues with Martin Simpson of England. The hectic pace continues onto Okinawa, Reuion Island, Papua New Guinea, peppered with occasional stops at music festivals in Quebec City in Canada where he's seen performing with his friends from around the world including Takashi Hirayasu from Okinawa, Rene Lacaille and Granmoun Lene from Reunion, and Debashish and Subhashis Bhattacharya from India.

From what I've described I'm sure Par Avion sounds a rather disjointed affair, jumping all over the place as it does. However, when putting the clips together editor Daniel Shane Thomas has taken the time to build in transitions which provide some on screen text background as to where we are going and who we are about to see perform. Of course the other connective devise is the movie's subject matter, Bob Brozman. You can't help but be caught up in his enthusiasm, and obvious love, for the music he's playing and this, more than anything else, that serves as the through line for the movie. Brozman is not your typical musical tourist, taking what he likes best of other people's music and incorporating into his own. Rather he's there to learn how to play the music of whatever region he's visiting, and then record it with the local musicians. Therefore, with each new place visited we learn a little more about the fascinating common language human beings from every part of the world share - music.

Bob Brozman lives for and loves music and he's chosen to share some of what he has loved most over the last thirty years with us through the DVD Par Avion. If you've never heard or seen him play before, you've missed out on a truly extraordinary individual and musician and should take this chance to get to know him. The disc is only available through his web site, but it's well worth your while to make that little extra effort to pick up a copy. You'll be introduced to a whole new world of music.

(Article first published as DVD Review: Par Avion on Blogcritics.)

Posted by Richard Marcus at 01:30 AM | Permalink

You can tell a lot about a person's artistic quality by the way in which they respond to a personal crises, or any period of radical change with their chosen media. Do they descend into self indulgence and wallow in their own misery by creating stuff that excludes their audience through focusing on their own problems? Or are they able to find the language that allows them to use their own experiences as the basis for creating material which speaks to more than just themselves? The break-up album, the album a pop singer writes when his or her relationship goes south, has become almost a cliche by now as everybody from heavy metal to country singers have written "She/He done me wrong" songs.

Thankfully there are performers who are able to transcend the cliche and write songs expressing more than the typical sentimental garbage about crying in the dark while drinking their way through acres of beer. Change of any sort is difficult to deal with, and when it involves the sudden dissolution of a long term relationship the impact is even more profound. Yet change is the key to artistic growth, and it's only through embracing it is an artist is able to prevent their work from stagnating. It doesn't matter what the change is, its what the artist does with it. So when you listen to Xavier Rudd's most recent release, Koonyum Sun, you can't help but be impressed by his success in creating material which not only reflects changes in his personal life, but which is significantly different from anything he has released previously.

During an interview I conducted with him in July of 2009 he was already talking with excitement about heading into the studio the following fall with his new bandmates, Izintaba; bass player Uncle Tio Moloantoa and drummer/percussionist Andile Nqubezelo. For the guy who started out as basically a one man band playing behind a bank of three Yirdaki, (didgeridoos) a slide guitar cradled on his lap, keeping beat with drums controlled by his feet and hiring musicians as needed for studio work and touring, working with even this modest sized band represented a significant change in how he'd have to approach his music. So while I anticipated Koonyum Sun would have sizeable musical differences from his earlier recordings, having no idea that his decade long marriage had ended as well, I wasn't prepared for the sudden maturity in his song writing.

While Rudd has always had the ability to communicate with his audience on a level that few of his contemporaries can match, there's an immediacy and intimacy to the material on this disc that makes it the most compelling work he's ever done. While there are songs that obviously refer to his marriage breaking up, "Love Comes & Goes" and "Set Me Free", they don't diminish the overall sensation of hope generated by the material on the disc. For while they don't deny the pain that he felt over what happened, they do so in a manner that recognizes while one part of his life has come to an end there is still plenty to look forward to. Even better, instead of wallowing in self-pity and inflicting the listener with his tales of woe, he has created lyrics which capture the experience so we can all understand it, even if we've never personally lived through something similar.

"The roads we take in life often seem to be very strong/We walk them carefully like we're walking on bricks and stone/Only when we look behind you will see the road is cracked/From there we must move forward/Gently as we tread... There's no other pain like losing a soul mate". Xavier Rudd "Love Comes & Goes" Koonyum Sun 2009

As Rudd has proved in the past he cares deeply about the world around him and has no hesitation in singing about those things. However instead of preaching about what he thinks is wrong with the world or what we should be doing to make things better, he gives us the opportunity to experience the world as he does through his lyrics. So we share his wonder and joy at the grandeur of nature or his sadness at how we are in the process of letting it all slip away through carelessness and neglect. "Shy To Ground", the disc's opening song is a great example of this as he offers a series of contrasting glimpses of the world around us. "I've seen all of the fear and all the murder on TV and I've been free on solid waves, Mother Earth's greatest treat".

Musically, even in the days when he was a solo act, Rudd has always drawn upon a variety of styles and traditions including reggae, afro-pop, Native American and the aboriginal music of his native Australia. In his earlier material the reggae influence gave his songs a somewhat light hearted feel, as if in spite of any problems there might be in the world, we'd always be able to kick back and enjoy ourselves. While over the years he may have broadened his perspective so that his music has gained in intensity, he's still held onto the same joie de vivre that made him so appealing in the first place. On Koonyum Sun the music reaches new levels of intensity and complexity.

In part that's thanks to his new partnership with Itzentaba whose contributions on bass, percussion and vocal harmonies have added new layers of texture to his sound. There's a depth and intensity which didn't exist on previous albums, giving the music on this disc an urgency making the material even more compelling then previous works. Working with Moloantoa and Nqubezelo has also encouraged Rudd to experiment more with rhythm and tone. Building from their common background in reggae the three men have created new ways of using a familiar style so it sounds fresh again.

It's not often that you find an pop musician as willing to embrace change, no matter what shape it comes in and the difficulties entailed, as Xavier Rudd. At the same time, he has managed to hold onto the elements of his style which made him such an appealing performer in the first place. Koonyum Sun is perhaps his most musically and lyrically mature release to date and is easily one of the best new releases this year. If you've liked Xavier Rudd in the past, you'll not be disappointed, and if you've never heard him before, well, there's no time like the present for starting to listen to one of this generation's most articulate and passionate voices.

(Article first published as Music Review: Xavier Rudd & Izintaba - Koonyum Sun on Blogcritics.)

Posted by Richard Marcus at 09:46 PM | Permalink

There's reggae music and than there's reggae music. You see there's the safe reggae music that's produced for mass consumption you hear on the radio and than there's the other ninety percent of the music which most of us don't hear in North America. If you live in London England, or another community with a large Jamaican immigrant population, you stand a chance of hearing more than most. However, by and large, what most of us hear is a watered down version of something a lot more intense than what is normally allowed to be played on mainstream radio.

While Bob Marley, Jimmy Cliff, Dennis Brown and to a lessor extent Peter Tosh, gained a certain amount of name recognition in North America, they only represented the tip of the iceberg as far as the amount and variety of music being made. Even those named above had difficulties receiving air time on mainstream stations, mainly because of lyrics advocating marijuana use, but also because of the strong social/political and religious messages contained in their songs. It's no coincidence that reggae's upsurge in popularity coincided with punk in both North America and England as both contained strong anti-establishment messages advocating change and questioning authority. So if reggae bands weren't running afoul of America's "Just Say No" to drugs campaign, the black nationalist content or Rastafarian messages in their songs prevented them from being palatable to mainstream radio.

Now if it was difficult to hear regular reggae music on the radio, the chances of hearing any of its offshoots was next to impossible. While in North America the idea of somebody travelling around with turn tables and a sound system and performing is a relatively new idea, the practice dates back to at least the early 1960s in Jamaica. In fact many of the studios which produced the first local Jamaican bands had their roots in these sound systems. While live bands began to supplant recorded music and the sound systems, there were also those who started to incorporate both elements and they were the genesis for what would become known as "dub" reggae. Dubbing is short form for a recording technique known as overdubbing which simply means taking a pre-existing piece of recorded music and either recording or performing new elements over top of it or creating new mixes utilizing the existing tracks and effects to create different versions of an existing song.

If a performer were to create a dub reggae version of a song it would usually mean, in very simplistic terms, exaggerating the already heavy rhythm and bringing the bass up in the mix while capturing key phrases of the lyrics and stressing them with various effects and repeating them against the new heavier beat. However, some producers/performers took this a step further and began creating original works by laying down tracks, overdubbing them countless times and then writing lyrics that could be sung/chanted/recited over top of the music they had created. One of the style's originators, Lee "Scratch" Perry, has been around reggae since its earliest beginnings working as a producer and musician. Don't worry if you've not heard of him, or if his name is a vague rumour at best, because once you listen to his newest creation, Revelation, a State Of Emergency production on the Mega Wave Music label, distributed by MVD Entertainment, you'll understand why. This isn't the reggae that's safe for radio play by any stretch of the imagination. A good deal of its content would not only rock a few boats it would also rattle more than a few cages.

First of all Perry's Rastafarianism isn't just for show or something he takes on and off when it's convenient for others and his songs reflect that belief. The song from which the disc takes its title, "Revelation Revolution And Evolution", for example stresses the Rastafarian belief in the Book of Revelations. They offer it as proof of the late Emperor of Ethiopia's, Halile Selassie, status as the reincarnation of Jesus Christ, whose teachings they believe have been corrupted by Christianity and the West. The cover art and the art work on the booklet included with the CD are a strange mix of Christian art depicting scenes from Revelations and the crucifixion, pictures of Perry and his wife, and a flow chart depicting the various aspects of the truths revealed in Revelations. So it shouldn't be too much of a surprise that songs like "Books Of Moses", "Holy Angels", "Let There Be Light", and "An Eye For An Eye" put a Rastafarian spin on Judea/Christian beliefs. However it also pretty much guarantees you won't be hearing them on a radio near you anytime soon.

Of course if the religious content didn't cause a few twinges among radio programmers the lyrics to the song "Freaky Michael" would ensure Perry's relegation to the non-play zone. For in the song he questions why a certain person named Michael felt like he had to remake his physical image so extremely. At one point Perry exclaims - "I like my big nose" - leaving you to come to your own conclusions about his opinion of the radical plastic surgeries Michael put himself through.

Unfortunately Perry's vocal skills haven't withstood the test of time as well as his song writing ability. For while there's no denying he still possesses great production chops, as he has created great mixes against which to recite his lyrics, including seamlessly weaving in a searing Keith Richards' guitar solo and other guest contributions, the voice is now rather weak and scratchy resulting in the power of his words being somewhat diminished. Even though he's riding high enough in the mix so there's never any trouble discerning his voice, it still feels like you're close to having to strain to listen to him. However, no matter how rough or thin his voice is, what Lee "Scratch" Perry has to say is still far more interesting and provocative than just about anything you'll ever hear anywhere else. Whether you agree with him or not you'll have to admit it makes for a lot more entertaining and challenging listening than ninety percent of what normally comes across the airwaves.

Like everything else, once reggae makes it to the mainstream radio its content and quality have been reduced to the lowest common denominator so that it's guaranteed to be as innocuous as possible. Its a far cry from the music born on the streets of Kingston Jamaica that exhorted its listeners to celebrate Jah by smoking marijuana and called for the liberation of Black people throughout Babylon (White, Christian society). With both Peter Tosh and Bob Marley long gone there are very few of the voices from the original generation of reggae pioneers still out there spreading the word, but one of them is Lee "Scratch" Perry. As Revelation, being released August 10th/10 proves, his flesh might be a little weaker, but his spirit is still strong. This is definitely reggae you'll not hear on your radios anytime in the near future, but its reggae that's definitely worth listening to.

(Article first published as Music Review: Lee "Scratch" Perry - Revelation on Blogcritics.)

Posted by Richard Marcus at 02:40 PM | Permalink

The music industry in North America likes things to fit into neat little compartments, so if you're from Africa they want you to play what they would consider "African music". It seems to have escaped the notice of most people that Africa is a rather large continent made up of a huge number of diverse cultures. It's not like North America, where, no matter what Canadians might claim, two out of three countries share one culture, and the third (Mexico for those who don't remember) is only able to maintain its identity due to the fact they have their own language. So while you might be able to say something is American, when referring to North America, you really can't say something is African. I'm not sure how much somebody in Egypt even has in common with somebody from the Cameroon or South Africa.

It was in late 2008 when I interviewed Frances Jocky who was originally from the Cameroon and was now living in New York City. Growing up he had been exposed to music from all over the world and saw nothing odd in the fact that he really liked Dolly Parton and Jackson Brown. It was only when his family moved to Paris (France not Texas) that he discovered he was supposed to be listening to "Black" music, and was shocked to realize that people weren't comfortable with him asking where he could find the latest Dolly Parton disc. For those who've not heard his music, it reflects his interests, and is a great mixture of pop, soul, and R&B; hardly what most would consider "African".

This turned out to be a serious problem for him when he came to North America as one label interested in him wanted him to be more "African". I've often wondered what they meant by wanting him to sound, or be more, African. Did they want him to sing in one of the many dialects that are spoken in the country of his birth? Did they want him to sound like bands from South Africa? (Which may be the case because they said they saw him as the next Hugh Masekela, the famous South African jazz trumpeter) The trouble is, that's not what he was interested in doing at the time, so he never signed and continued to do his own thing.

Times change and so do people's musical interests and Jocky is no exception, and his latest release finds him turning to the land of his birth for inspiration.Elephant: An African Tale, isn't available through a label as of yet and can only be purchased through the disc's web site. However, that isn't a reflection on its quality or Jocky's talent, as this disc not only shows off his talents as a musician and a songwriter, but his production skills as well.

Elephant: An African Tale is an autobiographical song cycle in which Jocky recounts his own journey from the Cameroon to New York City. The elephant of the title is the symbol of the indomitable courage required of the tale's character to achieve his goals and overcome the obstacles that life and circumstances put in his way as he struggles to come to adulthood and realize his dreams. Sung in a mixture of English and what I believe to be the language of the Duala people of the Cameroon (the credits aren't clear about this, but on the web site there is reference made to an annual celebration of the Duala people, "The N'gondo" and one song is called "Kaba N'gondo"), the songs take the listener on one person's odyssey, while conveying universal truths about the hardships faced by immigrants around the world.

The story begins on the Cameroon savannah, where young Sombol makes his daily way to school. One day he is diverted from his path by the sound of an elephant breathing and when he comes face to face with it, the elephant's spirit enters his body and Sombol falls into a deep trance. Although Sombol is recovered by people from his village, the ordeal of losing and then finding his son again was too much for his father and he dies. While they were once a well regarded family in their community, with the death of her husband, Sombol's mother finds her former friends and neighbours fall away, leaving her alone to deal with her grief and raising her four children. Putting aside her own sorrow she makes the decision to take her family away to start a new life. You can put an obstacle in an elephant's path, but his spirit will always triumph - he will always move forward.

The symbolism of the elephant's strength and endurance is a common thread throughout the entire song cycle as we follow young Sombol as he comes of age in France. He find solace from the hardships of life by hanging out in the local jazz clubs and throwing himself into his music. Deep within himself the spirit and breath of the elephant continue to supply him with the resolve to overcome obstacles and push forward in life. Eventually the story comes full circle as his son has his own encounter with an elephant in a zoo in New York City and eventually returns to his father's homeland where he heads up a study of the wildlife of the savannah.

With the exception of "One World", which pays tribute to Bob Marley's "One Love", all the songs on Elephant: An African Tale are either written or co-written by Jocky, and he plays the majority of the instruments on the recording. However, he also has the sense to draw upon outside help when needed, as is shown by having his mother write the lyrics for "Wase", the song describing what the mother in the story experiences upon her husband's death. Not being able to understand the lyrics we have to rely upon the synopsis of the songs provided on the project page of the disc's web site to follow the story line. However, that doesn't prevent their emotional content from being conveyed through the music and Jocky's ability to communicate meaning through his song and music. There's an emotional power and depth to these songs that has to be heard to be believed.

What's most impressive about the music is how it continually conveys the message of the elephant. We can feel the strength of resolve that must be required by any person trying to make a new life for themselves. Whether the difficulties they face are those of the immigrant dealing with prejudice and poverty, or emotional barriers from their past, starting anew is a daunting task, and Jocky has managed to bring the experience to life with his music. He has called upon his own experiences to create something universal that no matter where you come from or who you are, you'll be able to relate to on one level or another. There is a power in his music that enable it to overcome language and speak directly to the listeners heart. While that may sound like a cliche - music knows no language - in this case it happens to be the truth, as you can't help but be moved by what you hear on this disc.

I don't know if Elephant: An African Tale would qualify as African music according to the folk at that record label years ago who wanted Francis Jocky to sound more "African". What I do know is that you'll not be able to listen to it just once. There's something wonderfully compelling about the recording that will have you playing it over and over again. Which, no matter where it comes from, is a sign this is something really special.

(Article first published as Music Review: Francis Jocky - Elephant: An African Tale on Blogcritics.)

Posted by Richard Marcus at 09:47 PM | Permalink

After reviewing or critiquing god knows how much music over the last five years I've discovered a pattern I tend to fall into. Although there are a few performers who I've followed for years and will continue to do so because of their ability to keep their work fresh by continually discovering new ways of presenting their ideas, too often a person or group will be initially exciting only to end up being disappointing by sticking to the same formulae repeatedly. While I can understand the if ain't broke don't fix it mentality to a certain extent, in my opinion when it comes to the creative process that only leads to stagnation and boredom. There are more times than I'd like to count over that I've been really excited by the first couple of discs a performer or group have put out to only become frustrated and bored with them by the third disc when they continue to do the same thing over and over again.

As a result I've been reviewing a lot less music of late. It just seems harder and harder to find somebody or some band interesting enough to even give a listen to let alone review. Maybe part of the problem is the number of press releases finding their way into my inbox on a daily basis using the same group of adjectives to describe whatever genre of music they happen to be promoting. Everybody, from blues to death metal, seem to be fresh and exciting, or at the very least invigoratings. So many bands are being described as alternative these days I'm falling back on Ellen Page's line in her roller derby movie Whip It and asking "Alternative to what?" How can you be alternative when you sound like a thousand other bands out there?

Thankfully I tend to exaggeration, if the scene were as bad as I describe it sometimes I think I'd blow my brains out. There are still bands and musicians out there who provide genuine alternatives to the mind sapping pabulum that passes for popular music on the radio these days. One who I've just been fortunate enough to stumble across are a four piece outfit who go by the really odd name of The Fishtank Ensemble. They've just put out their third release - on their own label - called Woman In Sin, and I can guarantee you'll be hard pressed to find a more eclectic collection of songs gathered onto one CD anywhere. The lead singer, Ursula Knudson, used to sing opera; violinist, Fabrice Martinez is from Paris and studied with Gypsy violinists across Europe; guitarist Doug Smolens used to hang out with Billy Idol and Slash before becoming hooked on flamenco and running off to Spain to learn from masters in the caves around Granada; while Djordje Stijepovic started playing bass with local Romany bands in Serbia when he was thirteen until moving to the US where he joined a band with Lemmy from Motorhead and Slim Jim Phantom from the Stray Cats.

Okay, so these folk have been around a bit and bring some pretty strange influences to the table with them, but how does it all blend together and are they any good? Where to start? I've listened to the disc three times now and each time I've come away even more amazed then I was the previous time. I could tell you about Knudson's incredible range as a vocalist - how she can soar right up the scale and sing scat up there that will put your heart in your throat and then turn around and growl her way through a rendition of "Fever" that will leave you so hot and bothered a cold shower won't help. I could also tell you how Stijepovic's bass accompaniment on that song will make you think he's channelling Charlie Mingus and how he can also play slap bass in a way that you've never heard before, and might not ever again, when he leads the group through a Balkan dance number called "Djordje's Rachenitza".

Than there are the two lead instruments, well at least in most bands you would consider the guitar and violin the leads, but here they are content to be equal members of the band. Either Smolens or Martinez could easily dominate any ensemble they played with they are such virtuosos, and on the pieces where they step forward you can't help but let your jaw drop at their playing. However what impressed me the most about the two of them was their versatility. There are many violinists and guitarists who can play one, maybe two, and even sometimes three different styles of music well, but these two seem able to handle anything you can think of. Torch songs, flamenco, gypsy tear the floor up dance music, jazz standards, and the rest of their repertoire are all played with an ease that's not only deceptive but mind boggling when you realize their complexity. In fact they're both almost too good for their own good. They are so effortless in their playing you can almost miss noticing their excellence.

Most of the time when you hear a band being described as world music it usually means they play something that's not recognized as being pop music within our limited definition of that term. The Fishtank Ensemble actually do play world music as they are inspired by not only their different nationalities but an international variety of musical interests. While one song might sound like it comes from a demented cabaret populated by characters from a Kurt Weil opera another is redolent with the raw, naked passion of loss you'll only hear in the truest and scariest flamenco, and a third has echoes of a rain swept street in late night Paris. From small mountain villages in the Balkans to the urban sharpness of a hot jazz spot, The Fishtank Ensemble will take you on a musical odyssey that will leave your head spinning and hour heart soaring.

I listened to my first pop record back in 1965 when a baby sitter played me her daughter's 45 of the Beatles' "I Wanna Hold Your Hand". In the interim forty-five years I've heard more music than I can possibly remember because the majority of it has been forgettable. Every so often though a musician or band has come along that won't let me forget them because of what they do and how they do it. For me its always been those bands who don't adhere to any set pattern and are always pushing themselves off into new directions who leave the greatest impression. With their third release The Fishtank Ensemble have shown that they are not only gifted musicians but also unafraid to take risks. That has the potential to be a memorable combination - we can only hope they're able to maintain what they've started.

(Article first published as Music Review: The Fishtank Ensemble - Woman In Sin on Blogcritics.)

Posted by Richard Marcus at 09:25 AM | Permalink

The lack of tolerance for other people's belief's has been the bane of mankind's existence for who knows how long. Theoretically we're a rational species and after the millions of years we've been hanging around on the planet you'd think we'd have matured sufficiently to accept not everybody looks at the world the same way. Unfortunately the reverse seems to the be the case as the longer we hang out the more intolerant we seem to become. From east to west you'll find the world has become more and more divided into "us" and "them", with them being responsible for all of "our" problems, no matter who they are.

Yet wouldn't the world be a lot easier to live in if we weren't afraid of the person beside us on the plane because they're a different colour or call their god by a different name they we do? What makes it so hard for people to be tolerant of somebody else's beliefs or even worse, makes it so easy to hate and fear them for it? Are we all so desperate to find somebody we can blame for what's wrong in the world that we have to find a scapegoat? Why is it so easy for our leaders to convince us that those others over there are evil and we are good? Have you ever stopped to think what would happen if there were a place where people of all faiths could come together and appreciate what they have in common instead of fearing their differences? Where we could all celebrate the fact that we all believe in something and see that for the miracle it is?

You might think that's an impossibility in this day and age, but every year since the first Gulf War people of all faiths from all of over the world have been coming together to do just that for a week in June at the Fez Festival Of World Sacred Music in Morocco. Of course Morocco is a bit of an oddity in itself, for as hard as this may be for many to believe, its an Islamic country where Christians, Jews and Muslims have lived together in peace for centuries. The festival brings together faith based musical groups of all beliefs from countries all over the world to perform for international interfaith audiences.

A few years ago director Stephen Olsson travelled to Fez to record the event and find out more about the remarkable circumstances that have allowed it to happen. The resulting movie, Sound Of The Soul is now not only available on DVD through Alive Mind Media, its also being broadcast on the Internet by Global Spirit, one of the many programs available through Link TV. (The initial broadcast is on Sunday May 16th/10 at 6:00 pm EST but check the schedule as it will be re-broadcast throughout the month) The Global Spirit broadcast will include a question and answer session with the director and a panel discussion about the film with Marla Kolman Antebi, Sarah Talcott and Kabir Helminski, a Jewish scholar, an organizer of Inter-faith youth camps, and a Muslim/Sufi scholar and musician respectively.

The movie not only takes viewers to the Fez Festival to enjoy the variety of music on display; vocal groups from Ireland, England, and Russia, a French Jewish vocalist singing with a Moroccan Muslim orchestra, a gospel band from New York City, a fado singer from Portugal, and performances by groups from Afghanistan, Morocco, various African countries, and South America; but provides a look into the remarkable history of its host country. Founded by a Sufi saint Morocco has a history of tolerance that should make it the envy of the world. When the Ottoman Empire was overthrown in Spain, Jews, Muslims, and those Christians not comfortable living under the Inquisition, fled across the Mediterranean to North Africa and settled in Algeria and Morocco. It was the latter that has proven to be the haven for all, as even through the turmoil of the last century she has not been swayed from her founding creed of respect for all.

The film maker interviewed leaders of all three faiths who talked about the history of their people in the country and their current situation. While the founding of Israel saw the Jewish community's numbers drastically reduced as people immigrated, it didn't create the huge divisions that occurred in other countries where there had formally been tolerance between Muslims and Jews. Not once in any of the interviews did you have the feeling that any of those being interviewed were dissembling in any way. It never felt like they were glossing over any uncomfortable truths or making the situation sound any better than it is.

As we followed the cameras through the streets of Fez what strikes one is the way the modern world and the past have come together so comfortably. Narrow streets filled with people of all ages and sexes dressed in everything from t-shirts and shorts to headscarfs and robes rub shoulders naturally and seemingly without discomfort. We visit courtyards that are hundreds of years old and stare in awe at what first appears to be decorative patterns carved into the walls, only to discover it is scripture spelling out the tenets of Sufism etched by hand hundreds of years ago.

Of course its the music that brings people to Fez each year, and the music is incredible. If you buy the DVD you'll not only find bonus features of complete concerts, there's also a CD featuring some of the performers from the film. While there is plenty of commentary provided by members of each faith on the importance of music for building bridges between peoples, watching people's reactions to the different performers tells the story of music's power far more than talking head can hope. One only has to watch the young Moroccans dancing up a storm to the New York City based gospel group,The McCullough Sons of Thunder, to make that connection.

The camera also go behind the scenes at the Festival to cover a symposium being held at the same time featuring spiritual and business people from around the world, including members of the World Bank and the head of the World Trade Organization Michael Moore. This was the one part of the film where you could feel the tensions of the world intruding on what had been an oasis of peace until that point. It was hard to watch somebody like Moore, whose organization is one of the root causes of suffering in the developing world through policies that continue to siphon the wealth of many into the hands of few, spout words about tolerance and understanding without feeling a wee bit cynical. When the camera drew back to show his audience you could see the scepticism on the faces of many of those listening - especially those spiritual leaders from the developing countries. While the point of the symposium was the need for balance between the spiritual and the secular needs of the world, it was obvious the spiritual leaders present weren't convinced of Moore's sincerity.

Sound Of The Soul is a wonderful movie in that it gives us an example of what the world could be; of how it is possible for men and women of all faiths to appreciate and respect each other and their beliefs. However at the same time it makes perfectly clear just how unique The Fez Festival Of World Sacred Music is, and how far the world has to travel before we can live up to the example of Morocco and its remarkable people. In a world where hope for peaceful coexistence is in increasingly short supply, this movie is a godsend - no matter what your god looks like.

(Article first published as DVD Review: Sound of the Soul on Blogcritics.)

Posted by Richard Marcus at 02:25 PM | Permalink

Searching the Internet for information about the Portuguese folk music known as Fado realizes few conclusive answers as to its origins. Although most sources seem to agree that it first gained widespread popularity in the 1800's, they are universally vague as to where, how and when it first developed. Like North American blues music originally offered African Americans the means to help relieve the pain of their day to day existence, fado, played on the street corners and in the brothels of working class districts in Lisbon and other metropolitan centres, provided the poor and working class of Portugal with similar relief.

Whether or not, as some claim, it came as a dance from Africa that the poor adapted or from homesick sailors at sea as others insist, by the twentieth century it was the most popular form of music in Portugal. One need look no further than the three days of official mourning declared by the country's Prime Minister in 1999 upon the death of Amalia Rodrigues, who had been the genre's biggest star since the 1940's, to understand the depth of its popularity.

Traditionally fado is performed by a trio comprised of a singer and two instrumentalists playing Portuguese Guitar, a type of twelve string, and a classical guitar. There are two distinct types of fado; that of the poor in Lisbon and that which had its beginnings in the university town of Coimbra among the students and professors. The latter is less concerned with the pain of everyday life and more poetical in nature as its themes focus on love and friendship. However no matter where it, or what type, is being played the essential element of saudade is shared. Roughly translated in to English as a longing, or nostalgia, for unrealized dreams, it is expressed by lyrics that speak of a yearning that can't be satisfied or fulfilled. It's this highly fatalistic world view that gives the music its shape and the sense of longing audiences look to hear and see in performers.

At one time the performances by women were highly stylized affairs.They would stand slightly in front of the two guitar players with their head covered by a shawl and barely move for the length of their show. It was only through facial expressions and hand gestures that they were able to communicate any additional information their vocals and the song's lyrics were unable to express. While times have changed and there has been some slackening of expectations among audiences with regards to how fado is presented, the demand that the performer still be able deliver on the promise of saudade hasn't relaxed in the least. Just as we still expect a blues performer to "feel" what he or she are singing, a knowledgeable fado audience won't accept anything less than the genuine article.

Now in spite of my one quarter Portuguese heritage I can't make any claims to being a fado aficionado. However, I am quite capable of listening to a voice and recognizing genuine passion when I hear it, no matter what language it is singing in. From the opening bars of Ana Moura's Leva-Me Aos Fados (Take Me To A Fado House), released in April on the World Village Music label, I knew at once she was the genuine article. Maybe hers isn't the type of voice to sing blues as we know it, but there can be no mistaking feeling and passion when they are so obviously present. The seventeen songs on the disc are in a variety of musical styles and show quite a number of different influences that she brings to the music, but no matter the tempo or the style her voice is without fail believable at all times.

Moura exhibits not only wonderful range as a singer, but control as well. There is no strain to be heard when she holds a note or as she goes up and down the scale. Unlike so many popular singers who attempt to make what they are doing sound difficult in order to impress us, there is a glorious ease in the way she moves through a song. Even better, as far a I'm concerned, she's not one of the school who think the louder and more piercingly I sing the more emotional I'm being. While it may result in you receiving a million dollars a gig in Las Vegas, try it in a Fado House and you'd be booed off stage. (During the reign of the dictator Salazar in Portugal Fado performers were forced off the streets and brothels and confined to "Fado Houses" and in these "Houses" tradition still holds sway)

Aside from the variety of musical styles on the disc distinguishing her from more traditional fado performers, Moura also changes things up somewhat by increasing the number of her accompanying musicians and utilizing a wider assortment of instruments than is usual. While the sound is still guitar dominated the inclusion of bass and acoustic bass on some of the tracks not only gives the music added texture, but gives some of them a jazz feel. While there's an obvious appeal to the starkness of the original sound as she performs it, by adding the bass to the mix Moura, and her arranger/producer/composer Jorge Fernando, have found a way to compliment it without changing the overall intent of the music.

In fact, everything Moura and Fernando have done on the disc that might be considered a modernization, or change from tradition, has been implemented in such a way that when compared to the more traditional songs they sound like natural progressions. Instead of forcing a sound in order to make it more appealing to a new generation, they have been very careful to build on the existing base so it's still respectful of the original.

Of course that task is made easier by Moura herself. Listening to her you never doubt her sincerity, even if you've no idea what she's singing about, and you can't help but feel the passion she is expressing. You don't have to speak or understand Portuguese to feel the longing that underlies each song or appreciate the haunting beauty of the material. No matter what or how she is singing it sounds like she is keeping the spirit of fado alive in the song. What's most impressive as far as I'm concerned is how closely the feelings she generates while singing match up to the meanings of the translated lyrics for each song. I can't count how many times I've listened to a song in a language I don't understand and completely misconstrued its meaning based on the singer's presentation. With Moura you can count on the fact that what you're feeling when she sings is exactly the feelings generated reading the lyrics.

You may not speak any Portuguese or know the first thing about fado music, but that shouldn't stop you from appreciating Ana Moura's recording Leva-Me Aos Fados.This is a wonderful recording of beautiful and haunting music that won't fail to touch your heart. If you've forgotten what true passion feels like, this will serve as a timely reminder.

(Article first published as "Music Review: Ana Moura Leva-Me Aos Fados (Take Me To The Fado House) at Blogcritics.org)

Posted by Richard Marcus at 01:35 AM | Permalink

When I first heard "Oh Superman" back in the 1970's I thought it was somebody's idea of a joke. In some ways it sounded like, at least to me, a take off of the European electro-pop that you could occasionally hear on the radio from groups like Kraftwerk. But, than again, I had no idea who Laurie Anderson was or what she was all about either. It wasn't until late 1979 or early 1980 that I started to hear excerpts from what was her major opus at the time, United States, a collection of tales, songs, and performances, that I realized she was far more than what could be contained within the confines of a five minute pop song.

Those were the days when the Canadian Broadcasting Corporation (CBC) was still broadcasting interesting and diverse programming, and one of the best of those shows was called "Brave New Waves". You could hear everything from punk to avant-garde during the show, and it was here I first heard United States. One night the announcer came on the air and said, "Laurie Anderson was in town tonight" (Montreal), and she then proceeded to play it in its entirety. I had never heard anything like it before. It opened my mind to possibilities that I had never even considered when it came to the idea of performance. Unfortunately what I didn't understand at the time was that it required quite a singular talent to be able to realize those potentials, and since then have failed to find few, if any moments, to equal the excitement generated by that initial hearing.

The past thirty years have seen quite a few changes in my life but I've yet to lose the motivation to create inspired by that night and I still experience a thrill when a new Laurie Anderson release is announced. Although I long ago realized there is no hope of re-creating my experience of all those years ago - it was a singular conjunction of events and circumstances that were as much to do with my age and where I was in life as what it was I heard that night - her work is still something special for its intelligence and ingenuity. You can honestly say there's really nothing else quite like what she does being performed by anyone else.

Although she has produced albums like other recording artists, a number of her recordings are actually records of performances she has been touring for some time. So instead of merely being a collection of songs that may or may not be interconnected, they are more like listening to a unified work along the lines of a orchestral piece or even a play. Unlike those structured pieces though her work in the past has been less formal in its presentation, and is more a collection of music and spoken word works designed to communicate with her audience her thoughts and feelings about the state of the world.

Such is apparently the case with her forthcoming disc on Nonesuch Records, Homeland, which is being released on June 15th/10. While its technically her first studio album since 2001, she has spent the last two years developing the music that will appear on it through touring a performance of the same name. According to the press materials from her label while it will feature Anderson's distinctive violin playing and vocals - including the assuming of different persona as she has in the past - she will also be drawing upon a range of musical styles and working with musicians from as diverse backgrounds as Tuvan throat signers to experimental jazz players from New York City. However, the most unusual collaboration will be what's planned for the song "Only An Expert".

Taking advantage of the increasing sophistication of Internet technology, Anderson has made the source tracks from the song available to musicians all over the world to see who can come up with the best re-mix of the track. Using the services of Indaba Music, a site where musicians find collaborators for projects by uploading and sharing their music, she has opened the competition to anybody who wishes to make a stab at either re-mixing, or even covering, the song. From now until May 13th/10 at 5:00 p.m. EST those wishing to participate can register at Indaba Music and then either download the tracks from the "Only An Expert" remix program page for use on their own equipment, or they can make use of Indaba's on line studio instead.

While the winner won't have their track included on the hard copy of the CD, they will win $1000.00, be featured as an exclusive track on the ITunes release, have their track streamed on Nonesuch's and Anderson's web site and receive a year long Platinum membership to Indaba Music (A value of $250.00 - see their membership page for details). In addition to the grand prize winner there will be two second place winners who will have their track streamed on the Nonesuch web site and receive a year long Platinum membership and ten honourable mentions who will have their track streamed on Anderson's web site, receive a signed deluxe package of Homeland and a Pro membership to Indaba Music. Both the grand prize and runner ups will be selected from all the submissions by the judges; Laurie Anderson, Lou Reed and Mantis Evar from Indaba, while the ten honourable mentions will be selected from the twenty-five re-mixes who are able to garner the most support through voting conducted at the web site. Once an entry is uploaded and entered it can start receiving votes, and entrants are being given the opportunity to promote their contributions with widgets they can post at personal web sites and social networking pages.

Judging from the tracks I've downloaded (my wife is a singer/poet/songwriter and percussionist so I'm encouraging her to enter) the song is a biting piece of political and social satire dealing with our love of problems and the experts needed to solve them. If its any indication as to the rest of the release, Homeland promises to be as evocative and challenging as anything Anderson has put out in her career until now. While some might see this contest as merely a means of marketing the release, I'm of the mind that its a genuine way on her part of encouraging people to express themselves and make their voices heard about issues important to them. A contest like this is bound to generate as much resentment as good will - people complaining about not winning etc - and actually represents something of a risk in these mass communication, viral video messages gone wild days. All it would take would be one disgruntled competitor with a grudge and access to a server to generate enough bad publicity to hurt sales significantly.

Laurie Anderson is a unique talent who in roughly thirty years of producing music has only ever come to popular attention by accident. For the most part she has quietly gone about creating and performing her music, painting, and writing with little or no popular recognition. While it would be nice to think that this competition will draw more people to her work, the reality is that the majority aren't ready to deal with the issues she raises or the style in which she presents them. Intelligent, insightful and awe-inspiring she has the ability to take a listener places they might not have gone on their own, unfortunately too many people aren't prepared to make that type of trip. For those who are, you have Homeland to look forward to and in the meantime check out what other people have been making of her music over at Indaba Music, or even enter yourself - you might just end up being surprised by what you can accomplish when inspired.

Posted by Richard Marcus at 01:49 AM | Permalink

One of the things I resent most about recent trends in popular music, and the technology that drives it, has been the use of bass as a weapon instead of an instrument. Every time one of those cars drives by with the bass cranked so high that you can hear its doors rattling in the frame (a friend who worked in an auto body shop told me they would get three cars a week on average needing doors re hung or with frames out of alignment due to the damage caused by their sound systems) I can't help think what a horrible legacy for the instrument of Charles Mingus. Subtlety and delicate phrasing have been replaced with ear shattering assaults that passes for keeping time. How is that music?

Thankfully there are still those out there who serve as reminders that the bass is an instrument to be reckoned with and are able to create music that won't leave you bleeding from the ears. All one needs do is listen to the new disc released by bassist Jim Guttmann, Bessarabian Breakdown to be reminded of what the instrument is capable of. Using the klezmer music of Eastern European Jews as his basis, (Besserabia, now part of Moldova, lies between Russia, Romania, the Ukraine and the Black Sea and before WWll had a Jewish population of over 200, 000) Guttmann and those accompanying him on the disc, have come up with some rather surprising results.

Certainly one will hear the clarinet and violin so often associated with klezmer music, but not only have they added some new twists and flavours to those arrangements, they have created some successful mixed marriages with Latin and contemporary jazz. I have to admit when I read about klezmar/Cuban, or Latin, in the press material accompanying this disc, I thought it was a typo or somebody had dropped a couple sentences from another press release into the one for this album. Even after assuring myself that it was indeed referring to the disc I had in front of me, I couldn't wrap my head around the idea of Latin klexmer music. However, listening is believing, and once you've heard "Descarga Gitano" and "Cuando El Rey Nimrod", like me you'll no longer have any doubts as to what's possible.

While the first is a wonderfully orchestrated piece complete with horn section, saxophone, guitars, Latin percussion, and Coro ensuring it has that full sound we've come to expect from the style of music, somehow it also retains something of the plaintive air characteristic of Klezmer music. "Cuando" on the other hand is a simple trio featuring Guttmann's bass accompanied by drums and guitar alone. For those who have forgotten what a bass sounds like, how a stand up bass, or acoustic bass, can be the lead instrument in an ensemble simply because of the player's ability and not because of the amount of noise the instrument is making, this song will be a treat.

While Guttmann had stepped forward earlier on the disc in their rendition of Johnny Mercer's "And The Angels Sing", sort of a delicate popular number along the lines of some by Cole Porter or Nat King Cole, I think that "Cuando" allows him to show off his versatility as a player and musician to greater advantage. Here the phrasing is far less sentimental, with more depth of feeling contained in the notes than in the earlier piece, and Guttmann's playing is able to capture all the nuances needed for us to appreciate its complexity. If you thought somehow that this was a fluke, wait for his solo turn, the final cut of the disc, "Firn Di Mekhutonim Aheym"

Aside from the Mercer tune the other ten tracks on the disc are arrangements of traditional songs. While its interesting to hear old tunes being given new arrangements in order to see what if anything more can be expressed with them, I still found some of the older, more traditional versions of the songs touched me the deepest. "Sadegurer Chusidl" (Take Off That Shmatte) with its mixture of violin and accordion, supported by guitar, bass, and percussion, captures the simplicity of the original music, while also bringing to life the layers and textures that existed in the music to begin with. There is grief buried in this music best revealed by the intimate setting created by the smaller ensemble. While it's easy to sentimentalize the fiddle with thoughts of Hollywood movies, listening to Mimi Robson play on this tune and others, one can not fail to appreciate how she captures both the joy and sadness of Jewish life in Eastern Europe.

That's not to say pieces like the disc's opening "Philadelphia Sher" or the title track "Bessarabian Breakdown" aren't wonderfully exuberant pieces that are a joy to listen to or are lacking in emotional depth. It's just when there are more instruments playing and the sound whirls around you like dancers, the excitement generated by the performance outshines any one emotion that might be generated by the music. In that case it's easy to become caught up in the "fun" of the music and perhaps miss out on any of the deeper or subtle meanings being conveyed.

The musicians assembled for this disc reads like a who's who of the world of klezmer, and it shows through in every piece as they take the music in directions you wouldn't have thought possible from hearing more conventional bands. However, no matter what shape a song takes, it manages to capture something of the spirit of the music, even the Mercer tune is given an Eastern European feel that belies its origins, and transports the listener across time and space to another era. The world that gave rise to klezmer music might no longer exist, but discs like this one not only preserves the memory of the music, it keeps it alive by injecting new life into it.

Posted by Richard Marcus at 08:07 PM | Permalink

I've never been one for sustained doses of light, ethereal music that floats around sounding pretty, but in the end has little or no substance. You know what I mean, its the kind of stuff you'll hear wafting out of stores that seem to sell primarily candles or offer some sort of spiritual renewal in exchange for a large investment of capital. Like the ideas being sold in those stores, the music is usually a co-opted, watered down version of some other culture's ideas being passed off as something original. Aside from the way it mal-treats music, the other major crime it perpetrates is the manner in which it abuses perfectly good instruments creating the impression they are somehow only good for creating this schlock.

Two of the instruments that have suffered the most at the hands of this industry have been the harp and the flute. Whether the concert variety of either instrument, or one of the many traditional types unique to various cultures around the world, they have been reduced to only pale imitations of their true capabilities. With their long association with angelic hosts harps probably have it worse than flutes, but with the "discovery" of the Native American cedar flute in recent years, both have become the instruments of choice for the vacuous and vacant.

Needless to say I was less then thrilled when I received a CD of harp and flute music in the mail, and under most circumstances I would have simply ignored the disc and gone about my business. However, a quick scan of both the press release accompanying the disc, and the disc itself, made it clear harpist Tomoko Sugawara was cut from an entirely different bolt of cloth than the perpetrators of the crimes described above, and her forthcoming disc, Along The Silk Road, being released on March 11/10 on the Motema label, offered the promise of something different and exciting.

First of all there was the instrument she was playing on the disc, a type of harp which was first known to be played in 1900BC in Mesopotamia. The kugo, or angular harp, is not only one of the earliest examples of a plucked string instrument, it was also one of the more enduring ones as it was in use up until 1700AD in some Islamic countries. Even more fascinating is the fact it was in common usage along the length of the Silk Road - the historic trading route that connected the Far East with the Near East and could be found in China, Korea, and Japan as well as Egypt and Muslim occupied Spain. However the advent of the frame harp, the instrument most of us visualize when we think of a harp, in Europe around 800AD marked the beginning of the end for the kugo, and it had passed out of use in the Far East by 1100AD and gradually vanished entirely.

The kugo Sugawara plays was created from plans she and music archaeologist Bo Lawrengren developed based on a harp of its type pictured on a reliquary box painted in the 6th or 7th century BC. The thirteen pieces on her CD are a cross section of the various cultures where the angular harp was used, thus offering listeners a musical tour of the ancient world stretching from Spain to China. However, instead of merely trying to recreate the music of those times, many of the pieces are by contemporary composers from the countries where the instrument once held sway. These are balanced by pieces from its original heyday, dating back as far as the Tang Dynasty in China and 13th century Spain and Iran. While "The Waves Of Kokonor" and "Wang Zhaojun" have been transcribed and adapted from their original to better suit the range of Sugawara's harp, "Qawl" by Quth al-Dinal-Shirazi (1236-1311) of Iran is taken from the original's vocal part, which, along with the title's percussion line, is all of the song that has survived. Sugawara is accompanied by percussionist Ozan Aksoy on this track playing the bendir, with each of them adding improvised elements to flesh out piece.

The booklet that accompanies the CD offers detailed notes on each piece of music, including the modern composers explanation of how they tried to accommodate an instrument none of them had ever heard or seen played. While their talk of scales and tunings will be lost on any but those who are musicians, what is clear is that this is brand new territory for all of them. However, listening to the pieces one can't help thinking they've done an amazing job as the first thing you notice are the amazing variety of sounds and textures the instrument is capable of producing. Sugawara creates music with her kugo I would have never associated with a harp in the past. Her duets with alto flutist Robert Dick, "Shakugo I, II, and II" by Robert Lombardo, avoided all the usual cliches one has come to expect from this type of pairing, with the composer taking full advantage of both instrument's capabilities. While there are moments which can be described as ethereal within them, they are anchored by earthier elements that utilize the lower range of both their scales.

While a flute and harp duet is pretty much what one would expect from this type of disc, harp and percussion are not what most would call a likely pairing. However, three of the selections on this disc, the previously mentioned "Qawl" from Persia (Iran) and "Cantiga de Santa Maria, No. 249 and No. 213 composed by King Alfonso X of Spain (12221- 84), show the kugo's versatility with Sugawara pairing with Aksoy on bendir and darabukka to great effect. There's nothing soft or fragile about this harp's playing, especially on the very robust Spanish tunes. In spite of their sacred sounding names they contain elements remarkably similar to those found in more contemporary secular dance music like tangos and flamenco. (It came as no surprise to learn that Alfonso's court was heavily influenced by his Moorish neighbours who ruled the South of Spain and he had both Islamic and Jewish courtiers at his court) Sugawara's phrasing in these tunes in particular sound far more like a lute, or even a guitar, than what one would normally expect from a harp, and offer a perfect counterpoint to the lively rhythms being played by Aksoy.

Along The Silk Road might feature a type of harp as its solo instrument, but this is not harp as we've come to expect it to be played based on recent examples. Everybody involved with this project, from the composers to the performers, have gone out of their way to allow Sugawara's instrument's capabilities to be explored to its fullest, thus creating a disc of music both diverse and exciting. This might be an ancient instrument that has not been heard or seen in performance for hundreds of years, but it sounds far more vital and alive than any harp recording I've heard in years.

Posted by Richard Marcus at 05:24 AM | Permalink

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 a