Tuesday, February 10, 2009
Bassist Cachaito Dies
Legendary Cuban bassist Cachaito has died at the age of 76. Here is the full story at World Music Central. - Paula E. Kirman
Monday, February 9, 2009
CD Review: The Sun of Eritrea [2 CD]
Tsehaytu Beraki
Selam [2 CD]
Terp Records
Born in Quatit, Eritrea in 1939, Tsehaytu Beraki has been playing the krar (a five/six-stringed lyre) and singing for several decades. After experiencing political and civil unrest for most of her life, she found peace in Holland. In fact, the double-album title 'Selam' means 'peace'. This is a massive collection of 17 songs running over two-and-a-half hours in length. She sings in Tigrinya and Tigre languages. All the songs possess vocals, but she is backed by back-up singers, drummers, hand-clapping, and double-bass on some of the tracks. This is not your typical electronic or pop dance release typical of modern Middle East of African music. This is traditional music with vitality -- a sound for every generation. The songs are political, but also deal with love and relationships. English lyrics are provided for each song. Additionally, a 36-page booklet details the origins of her music, along with an interview and history of Eritrea. Several black-and-white and colored photos are included of her early music performances, performers, maps, and cityscapes. There are also comments from other Eritrean musicians about her music. In the notes, Tsehaytu recalls a comment by fellow musician, Osman Abdulrahim, "Miss Tsehaytu is like a golden masinko...[one-string bowed lute] and shines all over Eritrea like a sun". In this regard, Tsehaytu's talent is evidenced by her extensive playing abilities and rigorous practice sessions. Let the sounds of Eritrea brighten your day...and for days to come! ~ Matthew Forss
Selam [2 CD]
Terp Records
Born in Quatit, Eritrea in 1939, Tsehaytu Beraki has been playing the krar (a five/six-stringed lyre) and singing for several decades. After experiencing political and civil unrest for most of her life, she found peace in Holland. In fact, the double-album title 'Selam' means 'peace'. This is a massive collection of 17 songs running over two-and-a-half hours in length. She sings in Tigrinya and Tigre languages. All the songs possess vocals, but she is backed by back-up singers, drummers, hand-clapping, and double-bass on some of the tracks. This is not your typical electronic or pop dance release typical of modern Middle East of African music. This is traditional music with vitality -- a sound for every generation. The songs are political, but also deal with love and relationships. English lyrics are provided for each song. Additionally, a 36-page booklet details the origins of her music, along with an interview and history of Eritrea. Several black-and-white and colored photos are included of her early music performances, performers, maps, and cityscapes. There are also comments from other Eritrean musicians about her music. In the notes, Tsehaytu recalls a comment by fellow musician, Osman Abdulrahim, "Miss Tsehaytu is like a golden masinko...[one-string bowed lute] and shines all over Eritrea like a sun". In this regard, Tsehaytu's talent is evidenced by her extensive playing abilities and rigorous practice sessions. Let the sounds of Eritrea brighten your day...and for days to come! ~ Matthew Forss
CD Review: 'Sangria' Bubbles with Rhythm
Mariah Parker
Sangria
Ancient-Future
The CD cover describes the musical content as, "An Indo Latin Jazz Musical Experience". That is probably a pretty good summation of Mariah Parker's debut release, Sangria, which is Spanish for 'bloody'. Notably, 'sangria' is usually referred to as a red wine. In that case, Mariah's piano and santur playing is definitely intoxicating. Mariah is joined by Matthew Montfort on scalloped fretless guitar/flamenco guitar, Kash Killion on bass/cello, Debopriyo Sarkar and Anuradha Pal on tabla, Duru Demetrius on percussion, Mindia Devi Klein on flute, Paul McCandless on sax/horn, and Brian Rice on timbales. The songs are warm, inviting, and indicative of a world jazz release. The tracks are completely void of vocalizations. Sangria includes musicians from bands such as Oregon, Sun Ra, and Herbie Hancock's Headhunters. Explore the world through the music of Mariah Parker. ~ Matthew Forss
Sangria
Ancient-Future
The CD cover describes the musical content as, "An Indo Latin Jazz Musical Experience". That is probably a pretty good summation of Mariah Parker's debut release, Sangria, which is Spanish for 'bloody'. Notably, 'sangria' is usually referred to as a red wine. In that case, Mariah's piano and santur playing is definitely intoxicating. Mariah is joined by Matthew Montfort on scalloped fretless guitar/flamenco guitar, Kash Killion on bass/cello, Debopriyo Sarkar and Anuradha Pal on tabla, Duru Demetrius on percussion, Mindia Devi Klein on flute, Paul McCandless on sax/horn, and Brian Rice on timbales. The songs are warm, inviting, and indicative of a world jazz release. The tracks are completely void of vocalizations. Sangria includes musicians from bands such as Oregon, Sun Ra, and Herbie Hancock's Headhunters. Explore the world through the music of Mariah Parker. ~ Matthew Forss
CD Review: Seven Serenades for Scalloped Guitar
Matthew Montfort
Seven Serenades for Scalloped Fretboard Guitar
Ancient-Future
The mind-bending playing abilities of guitar virtuoso, Matthew Montfort, stems from the note-bending capabilities of the scalloped fretboard guitar. This produces a different sound than the more familiar guitar, because the fretboard is carved out, so the fingers only touch the strings. Musically, the songs verge on a flamenco-Indian-jazz continuum. This is partly due to Matthew's playing technique and the sitar-like sounds of his guitar. The crystal-clear picking on guitar and accompaniment on didjeridoo (with Alan Tower), violin (with Patti Weiss) and santoor (with Mariah Parker) provides a rich musical texture. Vocals are absent on this recording. For everyone interested in the sounds of guitar, especially fans of Bob Brozman or Ben Bowen King, then this is definitely for you. ~ Matthew Forss
Seven Serenades for Scalloped Fretboard Guitar
Ancient-Future
The mind-bending playing abilities of guitar virtuoso, Matthew Montfort, stems from the note-bending capabilities of the scalloped fretboard guitar. This produces a different sound than the more familiar guitar, because the fretboard is carved out, so the fingers only touch the strings. Musically, the songs verge on a flamenco-Indian-jazz continuum. This is partly due to Matthew's playing technique and the sitar-like sounds of his guitar. The crystal-clear picking on guitar and accompaniment on didjeridoo (with Alan Tower), violin (with Patti Weiss) and santoor (with Mariah Parker) provides a rich musical texture. Vocals are absent on this recording. For everyone interested in the sounds of guitar, especially fans of Bob Brozman or Ben Bowen King, then this is definitely for you. ~ Matthew Forss
CD Review: 30 Years of Ancient-Future
Ancient Future
Planet Passion
Ancient-Future
Planet Passion is a celebration of music from around the world. The core of the album incorporates enchanting melodies and clairvoyant vocals. The music is meditative and sensuous. Over a dozen artists contribute on keyboards, bansuri flute, tabla, esraj, violin, cello, Chinese flute, Arabic violin, Nepalese flute, marimba, and world percussion. According to the liner notes, we soon learn of the foundational elements of the album, "This mythical story of love around the world begins with a couple's first flirtations meeting and follows them through the stages of their union...". As a result, the Ancient Future collective performs songs of love using traditional instrumentation -- hence the title, Planet Passion. Of course, it is difficult to categorize the music, but for the marketplace, it is essentially world fusion. About half of the tracks are instrumental. Ancient Future presents songs tinged with ethnic elements from Africa, Asia, India, Latin America, and the Middle East. Similar artists include: Tonana, Ronan Hardiman, Ofra Haza, Azam Ali, and other artists with ethnic elements in the New Age category. A world-class album by world-wide musicians. ~ Matthew Forss
Planet Passion
Ancient-Future
Planet Passion is a celebration of music from around the world. The core of the album incorporates enchanting melodies and clairvoyant vocals. The music is meditative and sensuous. Over a dozen artists contribute on keyboards, bansuri flute, tabla, esraj, violin, cello, Chinese flute, Arabic violin, Nepalese flute, marimba, and world percussion. According to the liner notes, we soon learn of the foundational elements of the album, "This mythical story of love around the world begins with a couple's first flirtations meeting and follows them through the stages of their union...". As a result, the Ancient Future collective performs songs of love using traditional instrumentation -- hence the title, Planet Passion. Of course, it is difficult to categorize the music, but for the marketplace, it is essentially world fusion. About half of the tracks are instrumental. Ancient Future presents songs tinged with ethnic elements from Africa, Asia, India, Latin America, and the Middle East. Similar artists include: Tonana, Ronan Hardiman, Ofra Haza, Azam Ali, and other artists with ethnic elements in the New Age category. A world-class album by world-wide musicians. ~ Matthew Forss
Sunday, February 8, 2009
CD Review: Kora, Kora, Kora....
Djibril Diabate
Hawa
Terp Records
Djibril Diabate, from Mali, plays the kora, a 21-stringed gourd harp. On Hawa, an ode to his second mother, Djibril bridges the past with today using nothing but his hands and kora. In fact, no vocals or additional accompaniment is provided. This does two things: It allows the listener to be entranced by the lilting sounds of the kora strings, and it showcases a rich, traditional heritage and cultural staple for West Africans. Of course, the kora is easily accessible to everyone. The kora strings are a peaceful companion to any form of relaxation. Anyone with an interest in very good instrumental string music should find Hawa extremely palatable. ~ Matthew Forss
Hawa
Terp Records
Djibril Diabate, from Mali, plays the kora, a 21-stringed gourd harp. On Hawa, an ode to his second mother, Djibril bridges the past with today using nothing but his hands and kora. In fact, no vocals or additional accompaniment is provided. This does two things: It allows the listener to be entranced by the lilting sounds of the kora strings, and it showcases a rich, traditional heritage and cultural staple for West Africans. Of course, the kora is easily accessible to everyone. The kora strings are a peaceful companion to any form of relaxation. Anyone with an interest in very good instrumental string music should find Hawa extremely palatable. ~ Matthew Forss
CD Review: Kora, Balafon, N'goni, and more....
Lanaya
Soun Soun: La Tradition Mandingue
Terp Records
Lanaya, a wholly instrumental trio hailing from Bamako, Mali, play centuries old music for today's generation. All in their 20's, Lanaya forms a talented group of musicians on kora, n'goni, and balafon. The group's familial history is as iconic as the music itself. Djibril Diabate on kora is the nephew of Toumani Diabate. Fassery Diabate on balaphone is the son of Malian musician Keletigui Diabate. Finally, Mohamadou Kamissoko comes from a family of n'goni players. Their musicianship is astounding and far-reaching. The songs do not include vocals, so the instruments carry the spirit of Mandingue culture to the forefront of this release. The instrumental performance is indicative of other ensembles from select regions of the world. Most notably, the music of China and Southeast Asia comes to mind. The energetic and scintillating melodies of the instruments creates a mesmerizing effect on the listener. Fans of instrumental music from around the world and West Africa in particular, will love Soun Soun. ~ Matthew Forss
Soun Soun: La Tradition Mandingue
Terp Records
Lanaya, a wholly instrumental trio hailing from Bamako, Mali, play centuries old music for today's generation. All in their 20's, Lanaya forms a talented group of musicians on kora, n'goni, and balafon. The group's familial history is as iconic as the music itself. Djibril Diabate on kora is the nephew of Toumani Diabate. Fassery Diabate on balaphone is the son of Malian musician Keletigui Diabate. Finally, Mohamadou Kamissoko comes from a family of n'goni players. Their musicianship is astounding and far-reaching. The songs do not include vocals, so the instruments carry the spirit of Mandingue culture to the forefront of this release. The instrumental performance is indicative of other ensembles from select regions of the world. Most notably, the music of China and Southeast Asia comes to mind. The energetic and scintillating melodies of the instruments creates a mesmerizing effect on the listener. Fans of instrumental music from around the world and West Africa in particular, will love Soun Soun. ~ Matthew Forss
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