CD Review: Antonio Adolfo's 'Rio, Choro, Jazz...'

Antonio Adolfo
Rio, Choro, Jazz...
AAM Music

The instrumental works of Brazilian pianist and composer, Ernesto Nazareth, are brilliantly showcased on nine of the ten tracks. One track is an original piece named after the album title and cleverly produced and arranged by Brazil's Antonio Adolfo. Antonio is a talented pianist, composer, arranger, and educator regarding everything related to Brazilian jazz and bossa nova. Antonio plays piano on this recording, but he is joined by Claudio Spiewak on guitars, Jorge Helder on double bass, Marcelo Martins on flute and soprano sax, and Rafael Barata/Marcos Suzano on drums/percussion. The compositions attributed to Ernesto were originally conceived in the late 1800's and early 1900's. The four to seven-minute tracks are full of Brazilian glory and exuberance with sweeping piano melodies, jingly percussion, and bossa nova/lounge jazz. The music is breezy and airy--much like a lazy afternoon on the beaches of Rio. At any rate, Antonio knows how to capture the essence of classic music in a contemporary setting. ~ Matthew Forss

CD Review: Solvguttene and Kudsi Erguner's 'Pervane'

Solvguttene with Kudsi Erguner
Pervane: Floyet fra Guds Hand
KKV

The music of Solvguttene is steeped in the rich, classic melodies and instrumentation of Turkey with some lyrics by Norway's Henrik Wergeland and Hans Nielsen Hauge. The symphonic choral pieces represent a seemingly unlikely connection between Norway's religious choral constructions and Turkey's Sufi poetry. However, the result works with flying colors and effervescent flutes. Flute legend, Kudsi Erguner, vocalist Bora Uymaz, qanun player Serkan Halili, percussionist Hamdi Akatay, pianist Andreas Utnem, and double bass player, Jo Fougner Skaansar, round out the musical repertoire. The music is dreamy, Middle Eastern, angelic, and new age all wrapped into one indelible package. The swirling, dervish rhythms and instrumentation is somewhat Renaissance-themed, but that is just the old nature of the instruments and cross-cultural influences throughout Central Asia and Europe. At any rate, Solvguttene and Kudsi Erguner bring us a lively instrumental and vocal medley of world music with sauntering melodies that are mature and unforgettable. ~ Matthew Forss

CD Review: Seckou Keita's 'Miro'

Seckou Keita
Miro
Astar Artes

Senegalese vocalist, kora player, and drummer, Seckou Keita, produces yet another fine album of soothing, West African music steeped in scintillating rhythms, crystal clear sounds, earthy percussion, and glorious vocals. Miro is a ten-track release with songs featuring various languages, including Mandinka, Wolof, Djoola, Malinke, Spanish, and Bambara. "Distance" is a completely instrumental tune with kora melodies at the forefront. Some of the tunes incorporate the calabash, bass, bougarabou, shakers, cajon, balafon, maracas, flute, and violin. The music is instrumentally-rich, but not overbearing by any means. Instead, Seckou knows how to evoke emotive reactions with serene music and styles mainly rooted in West African textures. While the songs are not particularly catchy, they do possess an inherent, addictive quality that is very welcoming and worthy of repeated listens. ~ Matthew Forss

CD Review: EarthRise SoundSystem's 'Rock Beats Paper'

EarthRise SoundSystem
Rock Beats Paper
Yoga Organix

EarthRise SoundSystem is David Schommer and Derek Beres' brainchild that includes a slew of talented guest artists that know how to create percussive, urban, and dance grooves incorporating world melodies and sounds. You will hear the music of Srikala, Davi Vieira, Lucy Woodward, Camille Armstrong, Ramin Sakurai, Shahar Mintz, Marti Nikko, Dave Eggar, Go-Ray, Renata Youngblood, and many others. The upbeat tracks include Rhodes, tabla, horns, cello, violins, sitar, guitars, mandolin, kora, timbau, dulcimer, drums, electronic arrangements, and others. This is not a one-sided album with only one kind of musical beat. Moreover, there are South American, Caribbean, South Asian, and American influences throughout. This is a percussive dreamscape with engaging vocals and instrumentation. Anyone seeking a truly global musical concoction will find it here on Rock Beats Paper. ~ Matthew Forss

CD Review: DJ Drez' 'Jahta Beat: Chanting With Tigers'

DJ Drez
Jahta Beat: Chanting With Tigers
Black Swan Sounds

DJ Drez creates a swirling mix of Indian rhythms, urban grooves, and down-tempo beats that are mystical, magical, and deeply-rooted in South Asian instrumentation. The contemporary approach is both instrumental and vocal with electronic embellishments that are unforgettable. DJ Drez employs the help of various artists, including Kirtaniyas, Domonic Dean Breaux, Marti Nikko, Arjun Baba, Kirti Srinvastava, Sheela Bringi, Trae Sevin, and Masood Ali Khan. There are filmic undertones, dance tracks, hip-hop instrumentals, kirtan tracks, and world fusion works that combine South Asian instrumentation with urban grooves and beats that cannot be ignored. Fans of contemporary kirtan, dance, yoga, Sanskrit tunes, and similar music will find DJ Drez soulfully-appealing. ~ Matthew Forss

2-CD Review: Shujaat Khan/Abhiman Kaushal/Katayou Goudarzi/Ajay Prasanna's 'Spring'

Khan/Goudarzi/Kaushal/Prasanna
Spring [2-CD]
Self-Release

The two-disc set, Spring, is a combination of Persian vocals and Indian instrumentation that promises to be an adventurous and mesmerizing ride. Both discs contain the same musicians with their respective instruments and vocals. Shujaat Husain Khan plays sitar and provides vocals, Ajay Prasanna plays flute, Katayoun Goudarzi provides vocals, and Abhiman Kaushal plays tabla. The music combines Persian vocals, Indian melodies, and South Asian rhythms that are fresh and classical. Each disc contains five different songs that follow the same musical influences. The instrumental portions are very dreamy, engaging, and vibrant. You can almost smell the incense in the air when the tracks resound with blissful notes of heaven. ~ Matthew Forss

CD Review: 1987 Talking Drums' Reissue For 'Some Day Catch Some Day Down'

Talking Drums
Some Day Catch Some Day Down
Innova

Originally released in 1987, Talking Drums' Some Day Catch Some Day Down is a rhythmic romp into Ghana's Afro-beat legacy with lively horns, immense percussion, rippling guitars, and great vocal harmonies. About a dozen musicians comprised the 1987 group, which provided various instrumental accompaniment, including the more popularly-known congas, sax, flute, bass, keyboards, guitar, timbales, bells, flugelhorn, and trumpet. However, there are numerous Ghanaian and West African percussion instruments used throughout the recording that are too numerous to mention. At any rate, the result is Afro-beat heaven with lively vocals. There are liner notes for each song, too. In addition, this is an enhanced CD, which provides nine MP3 bonus tracks after placement in a computer. These are groovy grooves with upbeat percussion and happy vocals. ~ Matthew Forss

CD Review: Wouter Kellerman's 'Mzansi'

Wouter Kellerman
Mzansi
Kellerman Music

Hailing from South Africa, Wouter Kellerman is a flautist with an ear for European and African melodies and rhythms. There are a variety of languages and vocal arrangements. For instance, there are reggae-fused vocals, backup vocals, scat singing, and others. The popular African song, "Malaika," is covered here in Swahili. Basic Afro-pop instrumentation is all here, but the songs possess a multicultural vein truly is "African and otherwise...," according to Wouter Kellerman. There are lush melodies, airy flutes, pensive piano, heady percussion, and world fusion sounds that awaken the spirit and lift the feet. With a diverse musical background, guest musicians from different countries, and a wide variety of instruments, Mzansi is a world fusion feast for the ears. Anyone with an interest in world jazz, African music, world fusion, instrumental, and rhythmic, musical wanderings will love Mzansi. ~ Matthew Forss

CD Review: Marya Stark's 'The Garden'

Marya Stark
The Garden
Self-Release

The sweet and melodic songs of Marya Stark are steeped in classicism, theatre, avant-garde, alternative pop, and new age concoctions. Marya's vocals are rather soothing with some influence from Sheila Chandra, Squonk Opera, and Katie Melua. There are symphonic arrangements that incorporate cello, bass, viola, tabla, bansuri, sax, violin, accordion, clarinet, and keyboards. The music is not in one specific genre, but it seems to ebb-and-flow through a variety of genres, which arrive in a cohesive, swirling, and addictive form of musical expression. Thirteen songs represent the breadth of The Garden. Borrowing some down-tempo arrangements and vocals indicative of Alpha, Marya still retains a sense of personality that is quite unique and refreshing. In essence, Marya knows how to create evocative tunes and compelling melodies that are unforgettable. Anyone into world fusion, new age, neo-classical, and theatrical music will adore Marya Stark's new release, The Garden. Great music begins in The Garden. ~ Matthew Forss

CD Review: Calaita's 'Flamenco Son'

Calaita
Flamenco Son
Self-Release

The UK's Calaita is a flamenco group comprised of Chico Pere, Glenn Sharp, Diana Castro, Leo Paredes, and Matt Nickson. The group combines various flamenco-tinged guitars, vocals, percussion, flute and sax to create magical, whirling, and danceable melodies and rhythms that inspire and astound all who listen to it. There are various flamenco styles showcased, including alegria, tangos, seguiriya, solea, guajira, buleria, and colombiana. The music is Spanish, South American, and breezy like the Cape Verdes. There are ten compositions that are fairly vibrant, punchy, and classical. The vocals are heartfelt throughout. Anyone familiar with world fusion and flamenco will find enjoyment in the tracks of Flamenco Son. Overall, Calaita succeeds with a vibrant, high-quality release of musical ingeniousness. ~ Matthew Forss

CD Review: Tchiya Amet's 'Celestial Folk Music'

Tchiya Amet
Celestial Folk Music
Milky Way Records

The soothing, world beat music of America's Tchiya Amet combines soulful reggae rhythms, jazzy melodies, and various instrumental medleys that encapsulate innovative and engaging musical creations. Tchiya's voice is whispy and airy--similar in tone to Sade's voice. The new release of sixteen songs contains a bit of afro-funk and afro-latin rhythms and melodies. The laid-back vocal delivery and ear-friendly percussion, guitars, bass, keyboards, and other instruments make the entire album stand out. The reggae and funk-tinged, "Po Tolo" is a good example of reverberating beats and a sultry vocal line. The reggae-influenced "Great Purification," provides a throbbing organ sound and languid percussion beats with sultry flute. "Ast Maat: R U Sirius Enuff" is a more upbeat, hip-hop-focused tune with jazzy vocals, fluid melodies, and a reggae pulse. "Equinox" opens with a funky sax and languid bass line. Tchiya's breezy vocals represent a bit of Brazilian pop with similar instrumentation from the same region. However, Tchiya knows how to make the music shine in multiple genres. As a whole, Celestial Folk Music contains blissful folk music with strong reggae, funk, jazz, new age, and world beat ties. The fluid vocals are classy and Sade-esque. The melodies, rhythms, and instrumental solos are outstanding. This is a perfect companion for world beat, world jazz, world reggae, and folk music with an ethnic twist and cosmic origin. ~ Matthew Forss

CD Review: Samite's 'Trust'

Samite
Trust
Musicians For World Harmony

Ugandan-born and US-based, Samite brings an acoustic style to East African music that is instrumental, upbeat, and brimming with sparkling notes of contemporary beauty. On Trust, which is the soundtrack for a documentary film--Addiction Incorporated--Samite paints images of acoustic beauty with twinkling kalimba, airy flute, folksy accordion, jazzy trumpet, and other assorted winds, strings, and percussion. The mostly instrumental work contains not only acoustic guitar and some electric guitar, but penny whitles, piccolo, cello, and trombone. The upbeat, rumba and highlife style of the instrumental music is very enjoyable overall. Fans of African jazz, mbira, folk, highlife, contemporary African music, and instrumental fusion will love Samite's latest release. ~ Matthew Forss

CD Review: Ivan Mazuze's 'Ndzuti'

Ivan Mazuze
Ndzuti
Etnisk Musikklubb

Mozambique's Ivan Mazuze is a saxophonist and composer with an academic expertise in ethnomusicology and jazzy performance side that shines throughout his latest release, Ndzuti, which means "shadow" in the ancient language of Xichangana in southern Mozambique. Ivan's jazzy repertoire contains a little Congolese and Cape Verde guitar work, Afro-Jazz leanings, and Norwegian heritage on the piano. Manou Gallo, from Ivory Coast, offers her singing talents, alongside Mali's Sidiki Camara on percussion and Cuba's Omar Sosa on piano. The light melodies, jazzy grooves, and African ambiance is plentiful and spirited. Fans of world jazz, Mozambique music, Afro-Jazz, Afro-Cuban music, and instrumental delights will find happiness in the sounds and vibes of Ivan Mazuze and his group ~ Matthew Forss

CD Review: Michala Petri's 'Chinese Recorder Concertos: East Meets West'

Michala Petri
Chinese Recorder Concertos: East Meets West
OUR Recordings

Recorder virtuoso, Michala Petri is joined by the Copenhagen Philharmonic Orchestra and Tang Jianping, Bright Sheng, Ma Shui-long, and Chen Yi on this incredible recording of classical concert compositions. The frenzied, dramatic, and contemplative elements of classical music is brought to the forefront without any vocals. The recorder tones accentuate the melodies with a filmic, almost musical overtone. The brooding strings, airy woodwinds, and bellowing percussion only add to the incredible masterpieces. Tang Jianping composes three parts of Fei Ge (Flying Song); Bright Sheng brings us "Chi Lin's Dance" and "Flute Moon;" while Ma Shui-long contributes on "Andante Grandioso," Adagio Cantabile," and "Finale, Allegretto con Gioco." Chen Yi presents three songs celebrating ancient Chinese beauty. All songs are condutced by Lan Shui. At any rate, the classical instruments, stirring melodies, and instrumental eloquence is top-notch. Fans of Chinese classical music will especially love this one. Detailed liner notes are included in English and Chinese. ~ Matthew Forss

CD Review: Shantalla's 'Turas'

Shantalla
Turas
Appel Records

Belgium is a land of Irish and Scottish music, right? Well, Shantalla is a Belgium-based band composed of mostly Irish band members, and some Scottish representation by vocalist, bodhran, and shakers player, Helen Flaherty. Helen is accompanied by Joe Hennon on guitars; Michael Horgan on uilleann pipes, flute, low and high whistles; Gerry Murray on accordion and low and high whistles; Kieran Fahy on fiddle and viola; and Simon Donnelly on guitars and bouzouki. All tunes are arranged by Shantalla and feature traditional melodies and rhythms. However, most of the songs are instrumental and possess a characteristic Celtic and Scottish tone throughout. The mandolin brightens things up on "The Boy and the Princess." In fact, even Mongolian throat-singing appears on "Johnny Doherty's." Overall, Shantalla amazes the listener with jingly, folk tunes and classic vocals. Perfect for fans of Celtic, Scottish, and folk music. Also, Belgian fans will love it. ~ Matthew Forss

CD Review: Jai Uttal's 'Queen of Hearts'

Jai Uttal

Queen of Hearts
NutoneMusic
 
World music and kirtan pioneer, Jai Uttal, produces yet another highly-rated album in a long line of albums over the years. Though, this release, number eleven, brings reggae, ska, and Latin rhythms to the mix—all rarely heard in the world of kirtan. As an innovator, Jai brings together an amazing selection of melodies, rhythms, and tones that do not fail. The Sanskrit lyrics, back-up vocals, and guitar solos are very interesting. All eight tracks were written and produced by Jai and his long-time collaborator, Ben Leinbach. The characteristic call-and-responses are still here, which are a major focus of many recordings in the kirtan genre. The somewhat jazzy or funk overtones are also evident on “He Natha Narayana.” Anyone with an interest in kirtan, yoga music, new age music, and Jai Uttal should find Queen of Hearts endearing, timeless, and a mainstay on any kirtan music charts. ~ Matthew Forss

CD Review: Gary Stroutsos' 'Oasis'

Gary Stroutsos
Oasis
White Swan Records

The third recording, Oasis, showcases the meditative and New Age qualities of the bass flute and desert rim flutes. Nine tracks spanning nearly an hour in length display the musical journey through ocean water and the American Desert Southwest. The solo recording features the eerie drone of a sitar-like instrument with ocean waves on "Forgotten Seas," to the contemplative stylings of "Empty Sky." The Oasis title is a good indication for the purpose of the music--as it reflects the meditative and serene melodies of a heavenly existence free from distraction and noise. The quietly-fluid sounds are not particularly ear-catching or pop-laden, but rather, portray a blissful beauty of sweet, instrumental sounds. Fans of flute music, Native American, and New Age music should pick up a copy of Gary's latest work. ~ Matthew Forss

CD Review: Hadar Noiberg's 'Journey Back Home'

Hadar Noiberg

Journey Back Home

Self-Release

Hadar Noiberg performs on two flutes with two other musicians, Omer Avital on double bass and oud, and Ziv Ravitz on drums and assorted percussion. The trio, formed by Hadar, who is also a composer and musical arranger from New York City, performs instrumental compositions inspired by the Middle East. In particular, an Israeli cultural element dictates most of the musical directions. As a performer in other NY-area groups, Hadar's academic studies of the flute provide the listener with an educated sound of fluidity and a dose of subliminal austerity. Throughout the album, Hadar weaves in and out of world music, jazz, avant-garde, and classical idoms. Never straying too far from her Israeli roots, Hadar knows how to evoke moods and emotions through music. For instance, the flute flutterings on "Residue of a Broken Heart" eschew a sense of yearning backed by other instruments played with more of a Chinese sensibility. Nine total tracks are available to enlighten, inspire, and enthrall any listener without a doubt. Fans of instrumental, Middle Eastern, or Jewish folk music will admire the soothing sounds of Hadar Noiberg. ~ Matthew Forss

CD Review: The Gyuto Monks of Tibet and Deva Premal

Deva Premal & The Gyuto Monks of Tibet

Tibetan Mantras for Turbulent Times

Prabhu Music

Born in Germany, Deva Premal has become a preeminent vocalist of relaxation and meditative music. The addition of The Gyuto Monks of Tibet add beautiful chants of spiritual richness and vivid colours seemingly from beyond this Earth. The opening invocation by The Gyuto Monks of Tibet leads into "Compassion", which includes Deva's repeated recitation of the mantra 'Om Mani Padme Hum'. "Purification" opens with chanting in tune with throat-singing. However, the chanting fades as Deva repeats 'Om Bena Satto Hung' throughout. "Buddha" is another fine song that incoporates a flute. The absence of drums and guitars provides a stripped-down album of earthy chants with simplistic instrumentation that does not detract from the spiritual significance of each track. In order to keep things lively, the addition of keyboards, cello, Bansuri and Native American flutes accompany the compositions. The rather New Age connotations and world chanting allow for a very mesmerizing production that is sure to fill the soul with solitude and gratitude. 10 tracks in all. Praise Deva and The Gyuto Monks of Tibet for their work. All sales benefit the Gyuto Monastery, Phowa Project, and Veggiyana. ~ Matthew Forss

CD Review: A Palestinian Voice For Everyone

Rim Banna
April Blossoms
Kirkelig Kulturverksted

Rim Banna, a Palestinian singer from Nazareth, presents poignant and humorous children's songs on April Blossoms. Rim's voice is aided with bass guitar, acoustic guitar, drums, keyboards, bansuri flute, duduk, and oud. All the songs are sung in Arabic. However, song translations are provided from Arabic to English in the liner notes. The songs are so enjoyable that you need not be a child to appreciate it's musical intricacies. Overall, the melodies and vocalizations are reminiscent of North African singers, in particular, Mauritania's Malouma. A children's choir accents some of the songs. Perhaps, the Arabic songs take on a life of their own and instill in the listener a deep level of appreciation. Also, Russian and Turkic elements appear from time to time throughout the album. This is an ideal collection of songs to listen to while relaxing, or spending time with family. April Blossoms is as sweet as it sounds, and it gets sweeter with every listen. ~ Matthew Forss