CD Review: Bixiga 70's 'III'

Bixiga 70
III
Glitterbeat

III is the third album in Bixiga 70's repertoire and it serves as a perfect reference point for exploring cumbia, ethno-jazz, electronica, funk, carimbo, samba, and psychedelic creations. The instrumental effort from the Brazilian-based group, incorporates lively and punchy sax, trumpet, flute, trombone, as well as drums, keyboards, guitars, and percussion. The heady beats and swirling rhythms are trance-inducing, but always rewarding. The punchy beat culminates in a very catchy tune with an unusual title: "100% 13." At any rate, it is one of the stand-out tracks on this release. Yet, all of the tracks are noteworthy. Buy it today! ~ Matthew Forss

CD Review: Jeff Oster's 'next'

Jeff Oster
next
Retso Records

Jeff' Oster is a very accomplished and revered trumpet and flugelhorn player. On next, which is purposefully-lower-cased, Jeff presents us with twelve unique gifts--gifts of music where each track is new and delightfully-inviting. The instrumental album contains a few spoken word lines, but that is it. The music is very relaxing, jazz-centered, and new age brilliant. In some cases, the percussive beat incorporates horns, guitars, piano, and other instruments. The title track, "Next," is a great introduction to the album with a rousing beat, swishy percussion, a jazzy vein, and sultry horn punctuated with crystal, clear keyboard tones. "Night Train To Sofia" begins with a sultry beat, atmospheric washes, horn accompaniment, and background voices that fill the instrumental track with Bulgarian-inspired choral vocals. "Half A Cookie" opens with atmospheric sounds, jazzy horns, light percussion, and a steady, new age beat with bright piano infusions and spacious soundscapes. "Heroes" is a triumphant horn tune with upbeat percussion in true Oster-fashion. All in all, Jeff brings in a talented group of musicians, producers, and talents, including Nile Rodgers, Bernard Purdie, Chuck Rainey, Tony Levin, Michael Manring, Will Ackerman, Todd Boston, Shambhu, Carl Weingarten, Philip Aaberg, Catherine Marie Charlton, Ricky Kej, Bob Ludwig, Tom Eaton, and everyone at the great Imaginary Road Studios in Vermont, USA. Fans of new age, jazz, instrumental, lounge, and atmospheric music will love it. 5 Stars (out of 5). ~ Matthew Forss

CD Review: Radius' 'Seven Tales'

Radius
Seven Tales
Self-Release

Justine and Harris are the duo, Radius, hailing from New Zealand. Their music of choice revolves around roots, jazz, folk, old-time, experimental, and instrumental with a dash of world fusion. The seven-track release, aptly-titled, Seven Tales, is a relaxing, instrumental effort with rustic dobro, sweeping sax melodies, plucked guitars, and the occasional banjo and ukulele. The soft sax creates a moving and meditative spirit to the music without sounding too jazz-centered or cheesy. The spacious dobro hints at Western connotations that matches the creative ingenuity of the late-Bob Brozman. At any rate, Radius is a small part in the circle of life, but it brings with it great music and memorable melodies. Perfect for contemplation and meditation, but energetic enough to keep one awake. ~ Matthew Forss

CD Review: The Nile Project's 'Aswan'

The Nile Project
Aswan
Self-Release

The Nile Project brings together eighteen musicians from several countries, including Egypt, Eritrea, Sudan, Ethiopia, Uganda, and South Sudan, that present traditional music with contemporary rhythms. The North African instrumentation is rather indigenous and vibrant, which stems from the rustic masinko, traditional drums, some strings, a sax, and numerous voices. This recording is a live album recorded at the Lincoln Center for the Performing Arts that captures the energy and life-force of the music in all its splendor. Heady rhythms, wild vocals, and swirling melodies entrance listeners from around the world throughout the fifteen tracks. Fans of North African, Ethiopian, Egyptian, and Middle Eastern music will love Aswan. It's accessible for young and old listeners alike. Head over to Africa with The Nile Project as your guide. You will definitely not be disappointed. ~ Matthew Forss

CD Review: Zongo Junction's 'No Discount'

Zongo Junction
No Discount
Electric Cowbell Records

The Brooklyn-based, Afro-beat maestros, Zongo Junction, brings us a moving piece of history with Ghanaian-infused, instrumental tunes in the shadows of Fela Kuti and others. The funky, psychedelic tracks are danceable and emotive with bubbling keys, punchy sax, and diverse instrumentation in a jazzy setting. The writhing sounds are Afro-beat grooves at their finest. The sax frenzy on “A Van That Got Away,” proves why Zongo Junction makes the best Afro-beat music in America. The down-tempo electronica of “Longtooth,” showcases their diverse talent of Afro-beat, jazz, experimental, funk, and pop. The entire album is an instrumental journey, which is very likable throughout. There are even some Balkan jazz or Klezmer moments on "Invented History." At any rate, No Discount is an engaging, Afro-beat pleasure that will be enjoyed by everyone that fancies music of the African kind. ~ Matthew Forss 

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: Calaita's 'Flamenco Son'

Calaita
Flamenco Son
Riverboat Records/World Music Network

Formed by Chico Pere, Glenn Sharp, and Leo Paredes in Spain, Calaita performs contemporary flamenco music, which draws upon years of traditional flamenco infusions laid-down by previous performers. The original music contains plenty of Latin jazz, rumba, world fusion, and easy-listening folk music elements. Chico Pere and Diana Castro are vocalists, while Chico plays the guitar, as well. Glenn is a guitarist, Leo Paredes is a cajon player, and Matt Nickson is a flutist and sax player. The gentle, sweeping guitar melodies are best when combined with vocals, but the instruments stand strong on their own. There are ten great tracks sung in Spanish. Fans of Latin, Spanish, Caribbean, Cuban, Mexican, and South American folk music traditions will love Flamenco Son. ~ Matthew Forss

CD Review: Ego Vs. Emo's Self-Titled Release

Ego Vs. Emo
Ego Vs. Emo
Egotop Rec

German electro-klezmer music? Yes, indeed. That is the only way to describe Ego Vs. Emo's latest musical offering. The album contains seven long tracks of instrumental glory littered with danceable elements, brassy and bossy klezmer sounds, and swirling melodies and rhythms that are punchy and original. The songs are full of vibrant sax, violin, drums, accordion, guitar, and electronic programming. The songs are titled in German, but consist of various numbers. There are a couple spoken, German vocals on "Hundertdrei," but the majority of music is instrumental. Balkan jazz, klezmer, big band, and psychedelic constructions define the primary theme of Ego Vs. Emo's self-titled album. If the band's name won't draw you in, then the music will. ~ Matthew Forss

CD Review: Kheswa & Her Martians' 'Meadowlands, Stolen Jazz'

Kheswa & Her Martians
Meadowlands, Stolen Jazz
Xippi

Kheswa & Her Martians bring us a writhing mix of South African jazz grooves abundant with piano, guitar, trumpet, sax, bass, drums, and some vocals. The opener, "Tshona," is an instrumental delight with giddy grooves, punchy sax, and classic piano chords matched with swishy percussion and South African charm. "Ntyilo Ntyilo" is a classic jazz song with great vocals and a bouncing piano melody that sparkles with post-Apartheid soul. "Malaika" is a popular song throughout Africa with many covers done over the years by many different artists. This tune is slow, classic, and jazzy with little instrumentation. "Simon" is a richly-textured with up-beat, jazzy rhythms. Vocally, Kheswa is akin to Benin's Angelique Kidjo. The entire album was recorded live at Joe's Pub in New York City on July 14, 2013. Fans of South African jazz, world jazz, and African music in general will love Kheswa & Her Martians. ~ Matthew Forss 

CD Review: Bill O'Connell & The Latin Jazz All-Stars' 'Zocalo'

Bill O'Connell & The Latin Jazz All-Stars
Zocalo
Savant

Anyone with a knack for Latin jazz and instrumental magnificence will appreciate the jazzy and Latin leanings of Bill O'Connell and his Latin Jazz All-Stars. Zocalo contains nine long tracks rich with energetic percussion and jazzy pizzazz. Bill is a pianist that enlists the aid of Steve Slagle on alto/soprano sax, Conrad Herwig on trombone, Richie Flores on congas, Luques Curtis on bass, and Adam Cruz on drums. The heady opener, "Big Sur," is a great mix of instrumentation with lively percussion and entrancing horns. "Nothing But The Truth" is a very up-tempo number on piano, percussion, and horns. The rapid musical textures are jazzy and Latin-esque. This is definitely not a lazy tune. "Eric's Song" is a stark contrast from "Nothing But The Truth," because the music is slower, softer, and more spacious. The twinkling piano keys, brushy percussion, and sauntering horns provide a relaxed sound. There is something for everyone on Zocalo. ~ Matthew Forss

CD Review: MWE's 'Second Wind'

MWE
Second Wind
Self-Release

Hailing from San Francisco, MWE brings together Balkan brass and Turkish rhythms with heady, instrumental arrangements for a lively good time. Paul Bertin on alto sax, Gregory Jenkins on clarinet, Calvin Lai on zurna, Morgan Nilsen on clarinet, Sean Tergis on davul, darbuka, daf and riqq, Marco Peris on tupan, and special vocal guest, Eva Salina Primack, round out the ensemble. The rhythmic and punchy opener, "Ashkhabad," is pure Balkan brass with a side of Turkish folk and Middle Eastern deliciousness. Eva provides vocals on one tune, "Kara Gozlu Cingenem," which sounds like a traditional Turkish tune. "Tea High" resounds with the loud, clear tones of the zurna, which is quickly accompanied by rhythmic percussion. The buzzing and swishy tones are very punctual and slightly classical. "Agresia" incorporates a variety of skittish tunes, Balkan brass, and Turkish percussion that cannot be ignored. Fans of Balkan brass, Turkish music, world fusion, and instrumental music will love its beautiful charm. ~ Matthew Forss

CD Review: Ali Bello's Venezuela Tunings On 'Connection Caracas-New York'

Ali Bello
Connection Caracas-New York
Zoho

Venezuelan-born and New York-based, Ali Bello is a talented violinist with youthful vigor and jazzy undertones. The Latin-themed recording is rich with jazz elements and Latin American percussion. The violin displays are on par with Ruben Blades' Panamanian ensembles. The mix of classical, folk, jazz, roots, and Latin genres are very compelling and enthralling. However, vocals are not present on this album. The nine tracks contain piano, guitars, violins, sax, bass, drums, maracas, percussion, and other instruments, which make the album shine with Latin delight. One need not venture too far from Afro-Caribbean and Afro-Venezuelan roots here. Anyone with an interest in violin music with added percussion and world fusion elements will find a connection with Ali Bello's latest release from Zoho Music. ~ 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: Cape Verde's Neuza Releases 'Flor Di Bila'

Neuza
Flor Di Bila
Lusafrica

The music of Cape Verde is best-known with the late-Cesaria Evora, but young up-and-comers have graced stages worldwide, including Tete Alhinho, Fantcha, Lura, Mariana Ramos, and Carmen Souza. One need not ignore the sweet and beautiful voice of Neuza. The thirteen-track release represents an introspective examination of the island's rhythms and melodies, such as talaia baxo, samba, and rabolo. The breezy songs are filled with emotive sensibilities that come across quite well. The instrumental arrangements are provided by guitars, cavaquinhos, baixo, piano, gaita, orgao, sax, afuche, coros, and assorted percussion. Anyone seeking upbeat island songs in a contemporary format will love Neuza's new release. ~ Matthew Forss   

CD Review: Argentina's Tremor Releases 'Proa'

Tremor
Proa
Wonderwheel Recordings

Contemporary folklore musicians, Tremor, shake it up with Proa, which is a heady mix of digital noises and sounds with groovy beats, South American percussion, and exotic embellishments that are never dull or boring. The trio features Camilo Carabajal on bombo leguero, snare drum and caja; Gerardo Farez on keyboard and analog synthesizers, bombo leguero, snare drum, drums, melodica and kazoo; and Leonardo Martinelli on guitars, charanga, ronrocco, walaycho, sachaguitarra, kazoo, trutruca, bombo leguero, synths, samples, and programming. Keep in mind there are some vocals throughout, but the majority of music is instrumental. There are a few guest musicians on tarkas, quenas, sicus, clarinet, bass clarinet, and soprano sax. The title Proa symbolizes "the place where the bow of the boat cuts through the water." In this case, Proa cuts right to the top of the surface with quasi-modern beats, swishy percussion, and a South American spread of luscious sounds and melodies. Think of Nuklearte mixed with psychedelic cumbia masters, Bondi Blaster and Chico Trujillo. ~ Matthew Forss

CD Review: Nikhil Karula's 'Solo Sessions'

Nikhil Karula
Solo Sessions
Groove Infinity Records

The California-based pop/rock jam band, Nikhil Karula, brings us Dave Matthews Band-esque melodies and some vocals. Nikhil is the lead vocalist, acoustic guitarist, and electric guitarist. He is joined by Ray Bergstrom on lead electric guitar, Matt Spencer on bass, Adam Gust on drums, Zane Musa on sax, and Chris Lovejoy on percussion. The five-track release, opens with "Spark." The tune is rather mellow with fluid sounds and a jam band presence. "He Said, She Said" is a more laid-back tune with light guitar accompaniment and soft sax with equally soft vocals. "Broken Roads" begins with a B3-type sound and Southern-tinged guitar accompaniment. This is a Southern rock anthem that is unique and fresh. "Silent Tears" is a rather pensive pop song with a somber tone on violin and piano. "Fade Away" is an uppity jam tune with lively guitar, percussion, and vocals. The instrumentation overall is rather memorable and varied. Some of the vocals are a bit forced in some places, but it is nothing too difficult to swallow overall. ~ 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: CSC Funk Band's 'Funkincense'

CSC Funk Band
Funkincense
Electric Cowbell Records

Born out of Brooklyn, New York, CSC Funk Band continues to ignite the Afro-beat and funk music charts with scintillating beats, nostalgic horns, and rippling guitar grooves that are impossible to ignore. The sub-forty-minute romp through Afro-funk bliss contains eight tracks and some of them contain vocals. The heady mix of sax, trombone, guitar, percussion, bass, and keyboard provides a pulsating result that is catchy, psychedelic, infectious, and undeniably great. The grooves are layered with fine horns, fluid bass, and Afro-centric nostalgia that cannot be made any better by anyone else. These funkers are without a doubt the best in the biz right now. The whole album wreaks of funkincense from head to toe and track to track. ~ Matthew Forss

CD Review: Justin Ancheta's 'Plant'

Justin Ancheta
Plant
Self-Release

The reggae-funk and jazz concoctions of Justin Ancheta are pronounced on his latest release, Plant. There are some Klezmer, acoustic, and indie-rock-influenced tunes that showcase a good variety. Part of the diverse song styles stem from a diverse instrumental repertoire, which includes djembe, bass, clarinet, sax, trumpet, trombone, violin, clavinet, guitars, and various electronic accompaniment. With a background in Filipino/Spanish/English/Norwegian/American family roots, you know there has to be an ethnic bone in his body. Thankfully, all ethnicities are represented here, but jazz, folk, and funk seem to be at the top of the list. Justin Ancheta is a musician with a knack for creative songwriting that borders somewhere between Jason Mraz, Jack Johnson, and Xavier Rudd. Simply outstanding! ~ Matthew Forss