CD Review: Galliano Sommavilla's 'Vol. 30 Ambient and Mellow'

Galliano Sommavilla
Vol. 30 Ambient and Mellow
Self-Release

Galliano Sommavilla, hailing from Australia, has released his latest compilation of songs borne out of a-song-a-day-project. Having released several albums of songs created each day over one year as part of his 365 project, Galliano continues to amaze listeners with his instrumental splendor on keyboards, guitars, percussion, and piano sounds. The latest album, Vol. 30..., contains fourteen tracks that are found in no particular order and titled "song/day". The whole feel of the album encompasses a more down-tempo theme that is serene and exploratory with a blissful side.

"Song/Day 110" begins with a sauntering piano-like melody with piercing atmospheric washes, and jazzy percussion that incorporates a sexy brass sound. The rolling bass and fluid, yet uppity tune, conjures up images of a smoky jazz lounge or a down-tempo gem that will not get out of one's head after listening to it the first time. Mesmerizing electric guitar sounds are rather solid near the end of the song. The twinkling piano keys and fluid bass-line with a sporadic blurts of trumpet make "110" a necessary listen.

"Song/Day 317" opens with a blurby, electronic-tinged intro with sweeping atmospheric sounds, punchy sounds, and horn-driven noises amidst a lush bass-line and percolating guitar strums. The song moves along with new age elements and a jazzy beat that is very calming, but equally enigmatic and engaging. The horn-like sounds and dizzying cascade of swishy whirs makes the song come alive.

"Song/Day 151" contains a breezy flute, light percussion, and jazzy atmospheric opener with a cheery foundation and soundtrack-esque qualities that seem to float effortlessly on sound waves. The song is more structured than other songs on the album, but it still retains a unique blend of improvisational quirks that make it one of the best songs on the album. Over two-minutes into the song, the jazzy chorus shines on in utter beauty without faltering.

"Song/Day 55" opens with a light, sauntering jazzy side with atmospheric washes and a glowing, smooth keyboard style. The smattering of percussion, driving beat, and atmospheric elements arouse an inventive element that is not to dissimilar than a good Zero 7 instrumental. A few trumpet sounds give the track a sultry side. The horn-driven, electric guitar sounds awaken the track with a little psychedelic panache. Overall, the song is another jazzy masterpiece in-line with Galliano's best works.

"Song/Day 40" begins with a soft, yet majestic arrangement of atmospheric washes, stark piano keys, and neo-classical elements that are thought-provoking and timeless. There is a percussive element about one-minute into the song. The poignant piano sounds and wash of cymbals melds nicely with the mellow foundation. The hand-percussion sounds give the song a more organic feel overall. The sweeping piano sounds and atmospheric washes cement the tune into another solid recording from Galliano.

All in all, Galliano Sommavilla satisfies new age tastes, down-tempo lovers, and instrumental connoisseurs with a knack for neo-classical, alternative jazz, and electronic music. Honestly, Galliano excels with another excellent compilation of songs to come out of the 2013 to 2014 project. Collect all the recordings by one of the most talented musicians in the down-tempo and electronic genres. Review by Matthew Forss

CD Review: Tom Teasley's 'Dreams Of India'

Tom Teasley
Dreams Of India
T & T Music

The DC-area percussion king, Tom Teasley, pounds out beat after beat of incredible instrumental mastery incorporating world percussion and some contemporary electronic embellishments on his latest release, Dreams Of India. The pulsating tracks showcase diverse percussive stylings produced by instruments such as doumbek, alto melodica, tabla, konnakol, bamboo flute, wavedrum, cajon, udu, hang, glockenspiel, cymbal, shakers, kalimba, riq, snare, kanjira, bodhran, and a few others. The mix of wind instruments and percussion instruments provides a great balance between light, dreamy sounds and heavier percussive beats. Still, the music is never over-produced and the sounds are a mix of fusion, new age, and jazz. Yes, there are South Asian influences, but there is also an experimental vein bringing in North American styles to a point. Tom's vocal scat is another percussive instrument that is utilized on a few tracks. Overall, there are cinematic moments, dreamy qualities, and entrancing tunes that are both nostalgic and contemporary. Dreams Of India is the best dream anyone can have! ~ Matthew Forss

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: The Afrorockerz's Self-Titled Release

The Afrorockerz
The Afrorockerz
Buda Musique

Paris-based and soon-to-be-world-known, The Afrorockerz, combine the elements of a West African night-club with the action-packed sound of Euro-jazz and American soul for a truly pleasant recording. The funky rhythms are spearheaded by vocalist, Allonymous and Emma Ladji, while Sylvain Daniel is in charge of bass, keyboards, and programming. Though, the brainchild of the album, Julien Jujju Raulet, is a master guitarist, percussionist, and drummer. The group includes the percussion talents of Frederic Jean, Maxime Zampiere, Eric Durand, and keyboard credits from Guillaume Poncelet. Some of the tunes are edgy and urban-esque, but not too dissimilar from typical West and Central African funk and jazz. The group's eerie keyboard sounds and pervasive beats that change direction without notice are all very attractive elements on the album. There are even a few rock guitar displays. Still, anyone into Afro-funk and jazz will love The Afrorockerz. ~ Matthew Forss

CD Review: Algambra's Self-Titled Release

Algambra
Algambra
Sketis Music

Algambra is a Russian music group with a knack for improvisational and instrumental styles that incorporate South Asian, Middle Eastern, Mediterranean, and contemporary forms of fusion in one exciting package. The primary instrument is the hang, which is a metallic idiophone in the shape of a UFO that is played with hands and it is an instrument that was invented only fifteen years ago in Switzerland. The hang sounds are multi-faceted and sound similar to the udu, ghatam, and steel pan instruments. The sounds are fluid and softer than a steel pan, but a great accompaniment for the other instruments on the album, including the harp, cello, caisa, guitar, and assorted percussion. The album is mostly instrumental; except for "Made In India." The music is sparkling, bubbling, and entrancing with new age, improvisational, and avant-garde arrangements that are very likable and a welcome addition to and world music percussion collection. If anything, buy it for the hang. ~ Matthew Forss

CD Review: Ali Khattab's 'Sin Pais'

Ali Khattab
Sin Pais
Nesma Music

Egyptian composer, vocalist and guitarist, Ali Khattab, brings us a rousing mix of world fusion imbibed with an African, Arabic, and Andalusian presence. The flamenco-type melodies and instrumentation are mostly instrumental throughout, but Ali adds some vocals. There are Arabic forms, tangos, rumba, Sufi trance, and other indistinct musical qualities that add a blend of intense rhythms and contemplative tones. The music is created with the oud, violin, flute, double bass, duff, darbuca, palmas, req, and cajon. The most important aspect of the album is the origins of the music are multi-factoral and heavily influenced by various world music traditions. However, the music tends to flow very well without sounding disorderly or out-of-place. Ali succeeds with Sin Pais without any complaints here. ~ Matthew Forss

CD Review: King Ayisoba's 'Wicked Leaders'

King Ayisoba
Wicked Leaders
Makkum Records

Born in Ghana, King Ayisoba is an accomplished kologo player and vocalist. The kologo is a two-stringed lute with a very organic sound somewhat aligned with a n'goni. The ten-track release features a few guest artists, including Ayuune Sulley, Solomon Abusoro, Zea, Mbo, Banasko, and Isaac. Besides the kologo, the music incorporates other indigenous instruments, including the sinyaka, gulugo drum, doo (horn), xylophone, dondo drum, and djembe drum. The rhythmic vocals and diverse instrumentation produces an entrancing result that is akin to gnawa music. The scintillating kologo is plaintive, energetic, and emotive--all on the same recording. Some of the vocals are similar to some of the Mongolian and Siberian utterances, but that is where the similarities end. This is a distinctly African release that is refreshing and contemporary. Fans of Ghanaian music, North African tunes, and percussion instruments will love Wicked Leaders. ~ Matthew Forss

CD Review: Dirtwire's 'The Carrier'

Dirtwire
The Carrier
Beats Antique Records

Spearheaded by California's Evan Fraser (of Hamsa Lila and Stellamara fame) and David Satori (of Beats Antique fame), Dirtwire is a seven-track album of distilled Americana tunes that showcase the bluesy and Appalachian side of the musical spectrum. However, the Americana sounds are not to be ignored, as the world fusion and slightly electronica qualities take center stage. There is a light, easy listening feel to the music with intonations of banjo, guitar, saz, melodica, percussion, megaphone, jaw harp, steel guitar, ngoni, calabash, and other instruments. The vocals are sparse, but lead by Evan Fraser, Leah Song, Chloe Smith, and TBird Luv. The entire album is only twenty-five minutes long, which categorizes it as an EP. Still, there is something intriguing and memorable with Dirtwire's latest release. This is one album that astounds -- from the liner art to the last track. ~ Matthew Forss

CD Review: Cascada de Flores' 'Radio Flor'

Cascada de Flores
Radio Flor
Ita Music

The California-based group, Cascada de Flores, takes listeners back to the era of the 1930's with more vocal-centered songs with folksy, Latin-esque percussion on Radio Flor. There are eighteen tracks that bring poetic boleros and romantic ballads with light instrumentation and percussion that produces a sense of nostalgia. It is easy to forget the songs are composed in modern times, but that is part of the mystique with classic, Latin tunes. The music incorporates Latin American, South American, Caribbean, and Afro-Latin leanings. The swaying rhythms of "La Gloria Eres Tu" combines a trumpet, light percussion, and heartfelt vocals amid a slow, jazzy beat. "Jardinero de Amor" picks up the pace with uptempo percussion and a leading female vocal line that is accompanied by a fiery guitar segment that enriches the song with elements of flamenco delight. "Maria Cristina" is a lush, percussion track with vibrant vocals and instrumentation that will blow away even the most discriminating of listeners. Overall, Radio Flor is an album that should graced the shelves of anyone interested in Latin music with a historical edge. ~ Matthew Forss

CD Review: Srikalogy's 'New Paradigm'

Srikalogy
New Paradigm
Black Swan Sounds

Srikalogy is a New York-based DJ, MC, producer, and percussionist with a connection to the West Indies, Caribbean, and a NYC Ashram. These life experiences were perfect for poetic storytelling through carefully-selected beats in the world music, electronica, and hip hop worlds. There is a South Asian vein that extends to kirtan or yoga-based stylings. The trumpet, mrdanga, keyboard, guitar, kalimba, and didgeridoo sets the tone for the urban and contemporary beats. Srikalogy's vocals are hip-hop based and a great delivery vehicle for his message. The electronic drones, punchy percussion, Enigma-like compositions are something worth listening to. Anyone with an interest in urban yoga music will love the compositions on New Paradigm. ~ Matthew Forss

CD Review: Painted Caves' Self-Titled Arab-American Release

Painted Caves
Painted Caves
Primitive Records

Milwaukee, Wisconsin-based, Painted Caves, presents us with an exciting Arab-American release of guitar fusion and world music on their self-titled release. The group is headed by Ali Lubbad on vocals, guitars, trap set, and Arabic percussion, while Mike Kashou plays the oud, bass, percussion, trumpet, piano, and adds background vocals. There are also other musicians on Native American flute, qanun, congas, didgeridoo, and conch shells. Anyone familiar with Wisconsin music will be familiar with the great Paul Cebar on backup vocals. There is an emotive fusion of instruments that come together to form interesting unions that seem to work just fine. The instrumental arrangements possess a little psych/experimental sound indicative of music from the 1970's in parts of the Middle East and South Asia. The tracks are named as cleverly as anything by Dengue Fever, which provides some influence here; especially on "The Behavior Of A Certain Snake," "Paper Tigers," "Man Is Coy Behind Animal Tears," and "Morse Code." Anyone interested in various traditional instruments played in a contemporary setting will love it. Painted Caves emerges as a great work of art! ~ Matthew Forss

CD Review: Pedro Luis Ferrer's 'Final'

Pedro Luis Ferrer
Final
Escondida Records

Cuban-born and based, Pedro Luis Ferrer, is a talented poet, singer, composer, guitarist, and tres player that brings his intimate vocals, swaying melodies, and jazzy effervescence to the forefront on Final. The twelve-track release is a little over half-an-hour in length, but the music lingers much longer. The mature vocals are purely Cuban in origin, but the performance is akin to some of the best Greek singers (i.e. Pashalis Terzis). The Cuban and Latin influences are similar to the Mediterranean elements, which are imbued throughout. The mix of contemporary Cuban music is joined by a guaracha and classical style, which highlights the varied influences throughout the album. The neo-classical elements are quite cinematic and the light percussion takes listeners on a seafaring voyage into the heart and soul of everything Cuban. The romantic melodies are timeless and memorable. Hopefully, Final is not the final release of Ferrer's career. ~ Matthew Forss

2-CD Review: Alejandro Almenares' 'Casa De Trova Cuba 50's'

Alejandro Almenares
Casa De Trova Cuba 50's [2-CD Set]
Tumi Music

Cuban composer and singer, Alejandro Almenares, presents us with an exciting two-CD set with one CD devoted exclusively to instrumental tunes and another with vocal tunes. The music is steeped in Cuban son and bolero in true troubadour fashion. The romantic melodies and intimate instrumentation are staples on both albums, but Alejandro's voice ties everything together. The album title is named after a house of troubadours in Cuba. There are thirteen tracks on the vocal album and fourteen on the instrumental. Each album contains almost the same tracks, but in a different order. At any rate, this is excellent Cuban music from a talented performer. Fans of Cuban music will be pleasantly-surprised. ~ Matthew Forss

CD Review: Naomi Wachira's Kenyan Roots On Her New Self-Titled Release

Naomi Wachira
Naomi Wachira
Hearth Music

Kenyan-raised and Seattle-based, Naomi Wachira brings us a soulful, bluesy, Afro-pop release with folksy guitar accompaniment and limited percussion. The release is a strong vocal production with gospel roots and vocal harmonies. The lilting guitars are great accompaniment with the vocals. The percussion is limited, which is not a big negative overall. The mature, soulful vocals awaken the spirit and entrance the listener with a talented sound emanating from all of the tracks. A few songs are mostly vocal without any additional accompaniment. There is a classy feel to some of the songs, which seem to evoke singer-standard compositions of the 1930's to the 1950's. At any rate, Naomi knows how to inspire listeners with her voice. Fans of female vocal music from Kenya, by way of the USA, will love it. All of the songs are in English. ~ Matthew Forss

CD Review: Bubamara Brass Band's 'Balkanteka'

Bubamara Brass Band
Balkanteka
Sketis Music

A Balkan music group from Russia? Absolutely. In fact, Bubamara Brass Band wastes no time throwing out the punchy brass melodies and rhythms with an earnest fervor. The upbeat, almost Middle Eastern-tinged percussion tracks combine a bit of gypsy music with bellydance. At any rate, the music will get your body moving. Bubamara even employs the musical talent of famed-Balkan maestro, Marko Markovic. The dozen tracks represent a structured, yet zany whirlwind of brassy tunes with a heady fever of a pace. Balkanteka is a moving album with danceable consequences that are anything but boring. The vocals are very good, too. Anyone with an interest in contemporary Balkan music--no matter where it's from--will love Bubamara Brass Band. ~ Matthew Forss

CD Review: Gina Chavez' 'up.rooted'

Gina Chavez
up.rooted
Self-Release

Texas-based, Gina Chavez, brings together a classy, folk-riddled, alt-pop concoction of Latin-esque jazz tones and playful cumbia, reggaeton, and jam band music on her latest release, up.rooted. The punchy guitar sounds, clear voice, and Latin-influences are something interesting, enchanting, and memorable. When the Spanish vocals take over, there is an element of a more refined Shakira that pops up. At other times, there is a vintage pop element that is catchy, sensual, and sweet in the vein of UK's Katie Melua. This is not your typical conga and bongo Latin music, since Gina knows innovation and follows her heart for musical direction. This is a great world music compilation with lively strings, percussion, horns, guitars, bass, B3, moogs, and more. This is new world music for a new world. Overall, the reverberations resound with a Latin fire that never ceases to amaze. ~ Matthew Forss

CD Review: Alma Afrobeat Ensemble's 'Life No Get Dublicate'

Alma Afrobeat Ensemble
Life No Get Dublicate
Slow Walk Music

Following the previous release, Toubab Soul (Amphora Records, 2010), Alma Afrobeat Ensemble continue in their multicultural and cross-genre creative work of music that combines heady rhythms with contemporary vocals and mixed percussion, urban, and guitar styles. Nothing is simplified here, as the music is complex and deeply-rooted in the musics of Africa, Europe, and Latin America. The six-track release contains pulsating sounds of jazz, funk, Latin, and world fusion. The rippling guitars and fuzzy percussion awaken the spirit amidst the smooth bass lines and punchy brass. Based in Barcelona, Spain, the group members hail from other parts of the world, including Norway, Senegal, USA, Uruguay, Argentina, and Ghana. For a true world music listening experience, put Life No Get Dublicate on and hit repeat over and over again. ~ Matthew Forss

CD Review: Kevin Seddiki and Bijan Chemirani's 'Imaginarium'

Kevin Seddiki and Bijan Chemirani
Imaginarium
World Village

With ties to France and Iran, Kevin Seddiki and Bijan Chemirani know how to bring us candid, pleasant, and globally-inspired, acoustic music. Kevin is a guitarist, percussionist, and zarb player. Bijan is also a percussionist with specialties in zarb, daf, udu, saz, and others. The thirteen tracks reflect an instrumental blend of Mediterranean, North African, and Central Asian melodies that are very ear-pleasing, while some are quite catchy. The casual music is imaginative, which probably stems from the aptly-titled album name. There are plenty of sonic embellishments that are experimental, creative, and visionary. There are some fast vocals on "On Saturn's Rings." Otherwise, the album is virtually void of vocals. The light music is perfect for relaxing, cafes, and lounging. Kevin and Bijan are truly inventors of a global sound that is anything but dull. ~ Matthew Forss

CD Review: Various Artists' 'Afrobeat Airways 2: Return Flight To Ghana 1974-1983'

Various Artists
Afrobeat Airways 2: Return Flight To Ghana 1974-1983
Analog Africa

Ghanaian funk and dance music is explored on Analog Africa's latest venture, Afrobeat Airways 2: Return Flight To Ghana 1974-1983. These are thirteen rare funk tracks that showcase the not-so-common musicians of the country. You will hear rare music from K. Frimpong, Nana Ampedu, Gyedu-Blay Ambolley, Ebo Taylor, Rob, Uppers International, Los Issufu And His Moslems, Waza Afrika 76, and others. The music is psychedelic, funky, dance-laden, and organically-rhythmic. The percussion is very enthralling throughout. The vocals are equally impressive with solo and group vocals used intermittently. The instrumental sections are especially intriguing and addictive. The rhythms and melodies are punchy and swirling with African elements and entrancing infusions of sound. Anyone with an interest in African funk and psych music should check out Afrobeat Airways 2..., as well as other recordings on the label. Your feet and ears will thank you. ~ Matthew Forss 

CD Review: Mr. Ho's Orchestrotica's 'Where Here Meets There'

Mr. Ho's Orchestrotica
Where Here Meets There
Self-Release

American-based and globally-derived, Mr. Ho's Orchestrotica brings us a chilling romp through world jazz, chamber music, Middle Eastern percussion, and classical music with an instrumental ability that almost rivals the works of Gershwin, Bach, Tjader, and Gillespie. Actually, those greats have music on here, but Mr. Ho's Orchestrotica reinvents various preludes, songs, and dances with a contemporary spin. Musicians Brian O'Neill, Geni Skendo, Shane Shanahan, Jason Davis, Tev Stevig, and Noriko Terada provide a wealth of instrumental accompaniment. The final result is intriguing, but not overdone in any way. The glistening vibraphone melodies, Arabic percussion, fluid flutes, and various overdubs make Where Here Meets There absolutely amazing no matter where you are. Fans of global jazz, instrumental music, classical, percussion, dance, and easy listening will find Mr. Ho's Orchestratotica very enthralling. ~ Matthew Forss