CD Review: Tamy's 'Caieira'

Tamy
Caieira
Zip Records

Bossa nova styles have graced the airwaves and stages around the world for decades, yet it continues to be a source of inspiration and creativity for artists of today. Tamy lives and breathes bossa nova and mixes it with subtle jazz, neo-classical, pop, and folk styles on her debut release. Fourteen tracks showcase Tamy's beautiful voice and instrumental arrangements. There are laid-back creations full of bossa nova flavor, such as "Serena," "Eu To Com Voce," "Te Esperei," "Caieira," "Me Diz," and a few others. The Portuguese-laced song lyrics are steeped in Brazilian traditions. The assorted percussion, light guitar work, delicate vocals, and breezy melodies take on a rather light-hearted release. However, there are some nods to African musical styles on "Mae Africa," as well as more upbeat pop and rock sounds on "Dava Pra Ver." Overall, there is something for everyone here. Fans of Brazilian music with a contemporary edge will find Tamy in their playlist quite often. ~ Matthew Forss

CD Review: Kimie Miner's New Self-Titled Release

Kimie Miner
Kimie Miner
Self-Release

Hawaii's Kimie Miner is a singer-songwriter of Hawaiian and Portuguese descent. The rousing tunes on her self-titled release are in English; except for "Kumulau." The melodies retain a slight R&B presence and lounge jazz sensibility that is refreshing, urban, and pop-focused. There are some danceable tunes with vocals not too unlike Nelly Furtado. A bouncy piano rhythm makes an appearance (along with Caleb Keolanui) on "Love's In The Melody." "Trouble" is a nod to South American alternative pop and electronica with a sassy reggae edge. While, "Make It To Morning," "Fallin' Again," "Lullabies," and "Shine" resemble the harmonic structures of The Beu Sisters' early work. Kimie's album contains equal parts of dance, electronica, guitar pop, reggae, and alternative genres for a great musical journey. ~ Matthew Forss

CD Review: Elida Almeida's 'Ora Doci Ora Marcos'

Elida Almeida
Ora Doci Ora Marcos
Lusafrica

Elida Almeida's beautiful vocals electrify the music on Ora Doci Ora Marcos. The Cape Verde-native brings us thirteen songs of inner joy for a truly enjoyable journey into the traditional, yet contemporary, music from the islands. There are plenty of acoustic guitars, piano, percussion, bass, and ethnic grooves  that combine Portuguese folk with Afro-Latin rhythms and melodies. The soulful songs are very entertaining and diverse, but always memorable--in a good way. Elida's vocals are timeless and very moving. The vocals are especially outstanding on "Nhu Santiago," "Di Mi Ku Bo," "Mar Sagrado," "Djam Nkrel Pa Mi," and others. The upbeat music of "Txiku Branku" showcases Elida's creative vocals and dance-worthy, Cape Verde-beat elements. Fans of neo-classical, folk, Latin, Portuguese, Cape Verde, Afro-Latin, and island music will love Elida's latest effort. ~ Matthew Forss

CD Review: Complicated Animals' 'In This Game'

Complicated Animals
In This Game
Socialite Fiasco Music

Monica da Silva and Chad Alger are the duo, Complicated Animals, with a unique musical genre that is aptly-titled, Indie Nova. It is taken from classic, Brazilian pop and bossa nova sounds with a blend of folk full of poignant and celebratory tunings perfect for a relaxing evening on a beach of your choice. There are even French folk leanings without the French vocals or lyrics. Though, running around seventeen-minutes in length, the album is not going to last very long. Luckily, each song is unique and catchy in their own ways, which make listening very enjoyable. "O Que Passou" and "Sempre Aqui" are the only songs in Portuguese, while the other four tracks are in English. The music foundation includes bass, guitar, drums, keyboards, and other instruments that form a folksy sound that is more folk than Brazilian. "Roadmap" and "O Que Passou" are two very catchy tunes that will be stuck in your head for the better part of a day, or even longer if you put it on repeat (which you will). A great little album. ~ Matthew Forss

CD Review: Paulo Padilha's 'Na Lojinha De Eu Me Sinto Milionario'

Paulo Padilha
Na Lojinha De Eu Me Sinto Milionario
Boranda

Brazil's Paulo Padilha is a talented musician with a knack for crafting delicate songs with a message in a fanciful format with traditional instruments. The thirteen songs feature giddy tunes with an effervescent guitar, swishy percussion, and breezy arrangements that are perfectly-suited for the oceanside shanties and bungalows or high-rise offices. Paulo permeates every facet of life with his evocative little songs. The instrumental nuances are full of life with scintillating guitar work that possesses a Portuguese influence and South American essence. The music mixes a little jazz and neo-classical influences with folk and pop to create a very intriguing and lasting recording. The vocals are rich and varied with a moderate dose of maturity. Anyone looking for easy-going, Brazilian music with roots in Portuguese and folk styles will love Paulo's new release. ~ Matthew Forss

CD Review: Various Artists' 'Ola Cabo Verde'

Various Artists
Ola Cabo Verde
Lusafrica

Lusafrica does it again with another stellar release. This one covers eighteen different artists from Cape Verde. There are nearly seventy-eight minutes of great, danceable music from some of the top artists in the country, including Neuza, Lura, Ze Luis, Tcheka, Boy Ge Mendes, Teofilo Chantre, among others. There is even a composition featuring the late-Cesaria Evora, alongside Lura on "Moda Bo." The music is highly-energetic and free-spirited. The combination of vocals, strings, guitars, percussion, and other instruments makes the album shimmer with musical satisfaction. The Afro-Caribbean sounds are somewhat Portuguese-inspired, along with other influences that are regional. The island country is known for morna music and other types. This album covers some of these styles and contemporary elements that are easy to assimilate and enjoy. Anyone with a passion for Cape Verde music will find Lusafrica's latest offering a 'must-have' without any reservations. ~ Matthew Forss

CD Review: Sierra Leone's Refugee All Stars' 'Libation'

Sierra Leone's Refugee All Stars
Libation
Cumbancha

Sierra Leone's ambassadors for everything good and happy bring us another exciting and catchy Afro-pop release. Libation is a celebration of life with twelve tracks of deliciousness. The reggae-tinged, "Can't Make Me Lonely," "It's So Sorry," and the incredibly catchy "Treat You Right." Other tracks take on a more Congolese rhythm pattern, such as "Gbaenyama," "Ghana Baby," "Maria," "Money No Do," and "Min Do Sin Tay." "Manjalagi" possesses a cumbia-type beat with African lyrics and a steady, danceable rhythm that is unforgettable. The upbeat, contemporary, and Afro-beat melodies are outstanding without any deficiencies. The sweet riffs and glorious, rippling guitar chords signify a pan-African presence that draws upon Spanish, Portuguese, and Caribbean influences. Overall, Sierra Leone's Refugee All Stars mark a new year with their best album to date. This music is best served with some chilled palm wine! ~ Matthew Forss

CD Review: Carmen Souza's 'Kachupada'

Carmen Souza
Kachupada
Galileo

Cape Verde's Carmen Souza brings us an energetic mix of island rhythms and jazz melodies on Kachupada. There are thirteen songs in all, but 'My Favourite Thing' is one of those iconic odes that seems to transcend time and cultures. The fast rhythms and quick vocal tempo changes speed occasionally. However, the jazzy interludes shed some of the indigenous influences at times. Nevertheless, Carmen's voice is still young and fresh with bright elements and embellishments that keep one coming back for more. There are various vocal acrobatics that mimic some of the instrumentation. There are more indigenous elements that are not to be missed. Jazzy outros, folkish displays of fun, and complex textures make it all worth while. Fans of Cape Verde music, Portuguese music, and island rhythms will be especially enlightened by the music of Carmen Souza. ~ Matthew Forss 

CD Review: Norman's 'Eygi Sani'

Norman
Eygi Sani (My Own Thing)
Self-Release



Norman van Geerke, aptly-known as Norman, is from the northern coast of South America in a small country called the Republic of Suriname.  Suriname’s Dutch ancestry is evidenced in Norman’s music with all eleven tracks in Sranan, which is a Creole language created from English, Dutch, Portuguese, and West African sources.  The new album, Eygi Sani (My Own Thing), attempts to mark a solo journey into the heart of Suriname’s contemporary music, which is surprisingly up-tempo, jazz-driven, and soulful.  Norman’s time in The Netherlands and current residence in Ireland further solidifies the multi-dimensional and cross-cultural musical attributes of the music. "Na Wi Dey” opens with a party-like atmosphere, punchy percussion, urban brass, and a rumba-like rhythm with Norman’s commanding vocals leading the band.  This is one of the most energetic tunes on the album with lively South American jazz instrumentation leading the party. The piano, drums, bass, guitar, sax, and trumpet lead the instrumental arrangements with a solid performance of Surinamese jazz. “San Mi Kan Du” opens with a few pensive piano notes and Norman’s ballad-esque intro with some light guitar accompaniment.  The bass and symphonic background noise suggests an almost classical rendition.  The classical background is punctuated by Norman’s heartfelt vocals and up-beat percussion and background vocals.  The catchy chorus and symphonic musical arrangements are somewhat representative of European ballads, but in a purely South American style.  The acoustic guitar is a bit jazzy in parts, but the vocals reflect a slight pop presence. “Opo Yu Ay” begins with light percussion and synth sounds with a rollicking melody and fanciful guitar accompaniment.  Norman’s vocals and some of the music are similar to William Dunker with some comparisons to Wallonian music from France or Belgium.  The up-beat drums, guitars, and pop arrangements contain a bit of edgy rock rhythms without venturing too far into the rock world. “No Las Ten” opens with chimes and an urbanized, electronic vocal set with some swishy percussion and a contemporary pattering of percussive sounds that are interspersed between piano notes and sultry sputtering of trumpet.  The seemingly danceable tune contains an inherent ballad edge with a side of savory night-club lounge ambiance.  The modern tune is sultry, jazzy, edgy, and South American. “Masra” starts with flowing ocean waves, symphonic synth washes, pensive piano notes, and a free-flowing sax.  The opening vocals are spoken in a very poetic manner.  The percussion begins after the spoken introduction, but it is relatively rudimentary and almost avant-garde in its approach.  Norman is joined by back-up singers throughout and the entire song features a joyful jazz vein that is extremely pleasant, but not as fluid as many of the other songs on the album. The angelic background vocal from the opening is also present at the end of the song, as the majestic spoken word by Eddy Bruma finishes the song in style. Norman van Geerke’s new album, Eygi Sani, is a mix of contemporary Surinamese music with European and North American jazz, soul, and lounge leanings.  The eleven tracks are long and varied, but always enthralling.  The upbeat music is very emotive and catchy.  There are no shortfalls or pitfalls on this one.  It seems every track evokes imaginative melodies that yearn to be repeated with each listen.  At its heart, Eygi Sani is the center of contemporary Surinamese music via The Netherlands, Ireland, and everywhere in-between.  Fans of Suriname jazz, Dutch music, Wallonian music, world jazz, and world fusion will love Eygi Sani’s multi-faceted musical layers of ear candy goodness. 

 

Review by Matthew Forss

Rating: 5 Stars (out of 5)

CD Review: Mokoomba's 'Rising Tide'

Mokoomba
Rising Tide
Zig Zag World

Born in Zimbabwe and based in Belgium, Mokoomba mix Afro-fusion sounds of jazz, pop, and folk with drums, beatbox, percussion, keyboards, strings, wind instruments, and kora for a scintillating musical journey. The upbeat music is littered with rousing percussion and Latin-esque tunings reflecting a little Portuguese presence. Afro-Caribbean and Afro-Latin influences are present, but Afro-pop is probably the most fitting description. "Masangango" reflects a Malian or Senegalese composition with ambulating percussion, backup vocals, and shimmering kora sounds. The funky "Mangongo" is a dance-friendly tune that is very refreshing. There are twelve tracks in all and none of them are the same. Fans of Afro-fusion, Afro-pop, and African music in general will love Rising Tide. ~ Matthew Forss

CD Review: Ana Gazzola's 'Musicas E Palavras Dos Bee Gees'

Ana Gazzola
Musicas E Palavras Dos Bee Gees
Fuel

Brazilian-born and LA-based, Ana Gazzola, brings us reinterpreted songs of the famous group, Bee Gees. However, the songs are not disco here. Instead, there is a strong Brazilian pop prevalence that is smooth, jazzy, and groovy. The smooth tracks are also sung in Portuguese. These are some of the hits of the Bee Gees. Some of the tracks include, "Charade," "Emotion," "How Deep Is Your Love," "Words," and seven other songs. The original melodies are still here, but the Brazilian bossa-nova tones are overpowering, but not in a negative manner. Ana is the vocalist, but also the percussionist and sax player. Mike Clinco joins her on electric/acoustic/rhythm guitars, Antonio Sant'Anna joins in on bass guitar, Pablo Medina is on keyboards, and Ze Bruno Eisenberg is on drums. The vocals are more mature than Ceu, but equally-endearing. Anyone with an interest in Brazilian or Portuguese music will love this one. Plus, Bee Gee fans will like it, too. ~ Matthew Forss

CD Review: Bonga's 'Hora Kota'

Bonga
Hora Kota
Lusafrica

Angolan-born and raised, Bonga combines the sultry sounds of kizomba, semba, Portuguese folk, and contemporary pop with a gruff voice that is synonymous with Angolan society. Hora Kota, his latest release, continues the Portuguese-tinged compositions with a good dose of Latin jazz, island rhythms, and folk melodies that unite all Portuguese-speaking regions. The thirteen tracks contain the romantic accordion, guitars, percussion, dikanza, congas, bass, harmonica, shekere, double bass, ukulele, flute, bandoneon, and others. If you are a long-time fan or newbie to Angolan music, Bonga should be right at the top of any world music chart. Sample the hot rhythms and melodies shaking up Luanda and beyond. ~ Matthew Forss

CD Review: Dotschy Reinhardt's 'Pani Sindhu'

Dotschy Reinhardt
Pani Sindhu
Galileo Records

The music of the Roma and Sinti peoples bridge the social and cultural link between German and Indian/Pakistan music. Thankfully, Dotschy Reinhardt's enthusiastic release, Pani Sindhu, traverses the spectrum of musical genres, from classic Brazilian, flamenco, Portuguese, Spanish, jazz, improvisational, and traditional Indian music. The tabla and sitar make an appearance on several tracks. However, the music is mixed with equal doses of Dotschy's jazz standard vocals, piano, and lounge club percussion. Dostchy's sweet and tender vocals are in the Romanes language. The throwback to the 1960s or 70s South American jazz tunes are not particularly far-fetched on Pani Sindhu. The addition of Indian/Pakistani musical and instrumental elements makes Pani Sindhu exciting for fans of South American jazz, improvisational music, Indian music, and European notions. The result is a new form of music cleverly-defined as Rom-Indo music. ~ Matthew Forss 

CD Review: Ana Moura's 'Coliseu'

Ana Moura

Coliseu

World Village

The popularization of the fado musical genre from Portugal has been fostered by an intense desire to reacquaint oneself with Portuguese music from around the world and the global prevalence of past and present fadistas, including Amalia Rodrigues, Mariza, Katia Guerreiro, Ramana Vieira, and Ana Moura. A native of Portugal, Ana performs a live set of songs recorded in two of Portugal's famed venues: Coliseu dos Recreios and Coliseu do Porto. The fifteen songs were composed by Jorge Fernando, Custodio Castelo, Antonio Laranjeira, Toze Brito, and others. The mournful and serene songs are nicely accompanied by Portuguese guitar, acoustic guitar, and acoustic bass guitar and interspersed with applause. The Portuguese vocals float effortlessy through the air and dance around with class, sass, but in no way crass. The young singer's mature voice is well-trained and award-winning. A 22-page liner booklet includes Portuguese and English translations. ~ Matthew Forss

CD Review: Dancas Ocultas

Dancas Ocultas

Tarab

Numerica

A performer at this year's WOMEX festival of all things world music, Dancas Ocultas brings to life a 'hidden' talent on Tarab. The Portuguese band, which name means "Hidden Dance", is nothing that should be hidden. The music is entirely instrumental and only includes four accordions without additional musical instruments. The sounds glow with vibrant waves of energy bursting out of the bellows of the accordion beast. Sometimes eery, meditative, and adventurous, Tarab delights in the unmistakable sounds on the accordion. Fans of accordion greats Maria Kalaniemi, the late-Boris Karlov, and Daniel Thonon will love the delicately produced sounds of Tarab. The solemnitude of accordion music is as reflective as it is brooding. Tarab wins big-time! ~ Matthew Forss

CD Review: Rondi Charleston's Jazz Is Timely

Rondi Charleston

Who Knows Where The Time Goes

Motema

Rondi Charleston's latest release of jazz music is one for the ages. Centered mainly on time-related matters, Who Knows Where The Time Goes includes a few songs written by Rondi. Notably, "Your Spirit Lingers", "Dance of Time", "Land of Galilee", and "Song For The Ages" were written and sung by Rondi. The slower percussion and languid vocals make some of the songs last forever, but don't worry, that is a good thing. Two Brazilian tunes pop up, including Antonio Jobim's "Wave" and Milton Nascimento's "Everything That You Were Meant To Be". The Brazilian elements of bossa-nova and jazzy percussion lighten the album's slower moments. The last track, "Freedom Is A Voice", was attributed to Bobby McFerrin, but this version includes a chorus of girls singing in the Zulu language. The majority of the album is sung in English with some Portuguese and Zulu. Find the time to enjoy Rondi's timeless music. ~ Matthew Forss

CD Review: Anne Simoni's 'Minas Terra'

Anne Simoni

Minas Terra

Cambuka Music

Growing up in Brazil, Pennsylvania-based singer/guitarist Anne Simoni, brings us a soothing mix of acoustic guitar, light percussion, piano, and sweet songs in Portuguese and English. Anne's vocals and guitar are accompanied by drums, tamborine, cavaquinho, pandeiro, bass, caixa, shakers, keyboards, synth, claves, accordion, zabumba, and udu. Minas Terra means 'Earth Minas', which is a song about leaving her home state of Minas Gerais, Brazil. The popularity of Brazilian music in almost every facet of American society can become diluted and remixed into oblivion without any sense of culture. However, Anne's acoustico masterpiece is pure, Brazilian music without modernized dance beats or electronic remixing. It is an earthy, organic, and invigorating mix of tunes ideal for a romantic dinner, long drive, or a world music party. ~ Matthew Forss

CD Review: 'Longing' for Elisete

Elisete
Gaagua (Longing)
IMP Records

If anyone could pull off a trans-cultural release of music melding the sounds of Brazil with Hebrew linguistics, then Elisete is sure to pave an inspirational path to greatness. Born in Brazil and now living in Israel, Elisete certainly eschews the rhythms of Brazil and Portugal. The opening track sounds like a fuzzy radio introduction that quickly tosses us into Elisete's musical world. In order to describe the music, one need not be an expert on Brazilian or Israel music. In fact, Elisete's breezy rhythms and fun vocals should put everyone in a very happy mood. The music reminds me of contemporary pop music from West Africa, France, South America, and the Cape Verde islands. Consequently, Elisete's global appeal brings together music across oceans and continents. This is what makes Gaagua so enthralling. Some of the musical elements resemble funky-rumba and even downbeat with a hint of reggae. Though -- one thing is for sure -- Elisete's music is uniquely her own. Similar artists include Natalia Clavier (Argentina), Daby Toure (Mauritania), and Nuklearte (Italy). Also available by Elisete: Remixes (2007) and Luar e Cafe (2004).