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New sounds from Iberia

Valencian music has gained popularity in recent years and the Valencian folk band El Diluvi is making a name throughout the Catalan-speaking areas. El Diluvi fuses Mediterranean, Celtic, Balkan and Latin sounds on Ànima, the group's fourth release. Musically they cover the same territory made popular in the Basque Country by Gozategi, and sometimes reminiscent of Italy's La Lionetta. The seven-piece band featuring vocalist Flora Semprere, and vocalist/ violinist David Payà, began as a tribute to 80s singer Ovidi Montllor, also of Alcoi. On Motius, in 2014, the group began to develop its own signature style. And this advanced further in Alegria, with the social activism of songs such as the feminist anthem "I tu Sols tu." Here on Ànima we have eleven new tracks that explore the territory of love... Join David Cox in Valencia.

Europe has a whole host of bands oriented around pipe and wind instruments. A whole subset of this revivalist folk genre has morphed into the predictable mash-up of loud pipe mash-ups with heavy metal, as with Germany's In Extremo. Some pipe collectives play it more 'straight,' as with Germany's Corvus Corax, or Italy's Barbarian Pipe Band. Portugal has also seen modern band experimenting with pipes and ancient instruments the progressive folk bands Dazkarieh, and Mandrágora, come to mind. Albaluna are a rising band that one might be tempted to fit in with the neo-pagan ritualist music of Europe, but like the other Portuguese bands, more is going on in the band's music than one might expect. Nau Dos Corvos is full of head-on rollicking tunes with influences that range beyond the Celtic to Ottoman and Jewish music, as well. Read Lee Blackstone's review and listen to some of the music.

 

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A Trio of Nordic Trios

Lee Blackstone presents three different Nordic bands that practice different approaches to traditional and composed acoustic music. Väsen and Zephyr hail from Sweden and they are made up of veteran folk musicians, while Vrang is Norwegian and represents a younger generation. All are unique and wonderful artistic trios.

Väsen surely needs no introduction after twenty-eight years together; Brewed is the band's seventeenth album under the name. Olov Johansson is the virtuosic nyckelharpa player; Roger Tallroth anchors the group on guitar; and Mikael Marin sets dreams adrift on his viola. This time out, Väsen treat listeners to a collection of original tunes…

Zephyr is configured not of string instruments, but of flutes. Görån Mansson, Jonas Simonson (from Groupa), and Richard Ekre Suzzi utilize a variety of wind instruments from Sweden and afar, such as the bamboo Bansuri flute. An all-flute trio can certainly have an ethereal sound, as the band demonstrates, but Zephyr go well beyond such stereotyping and construct compositions that indulge in global influences in their October Ocean...

The Norwegian trio Vrang features Jon Hjellum Brodal, Tuva Faerden, and Maja Gravermoen Toresen on hardanger fiddles, fiddles, lyres, and the occasional mandolin. Their full-length debut, SæterSoul, is beautifully produced, with plenty of space and depth that let the low mellow tones of the hardanger fiddle grow and the sprightly lyres shine. Vrang are notable in that they combine a minimalist approach and a sly pop sensibility…

Read about these trios in Lee's reviews, and listen to a song from each.

Vrang's SæterSoul is RootsWorld's Music of the Month selection for May.

 

world music Well, I never thought I'd be writing a review that begins, "Kurt Cobain and his band, Nirvana," but there you go. These things happen. - CF

Kurt Cobain and his band, Nirvana were never known for complex songs or rich dynamics - their formula of quiet 4 and 5 note melodies rotating with loud passages of distortion and shouting created a comforting pattern that made them famous. Cobain once said that he really wanted to play in a Pixies cover band and Nirvana did pose as the crossover point for Seattle's grunge scene onto the Billboard charts of radio pop. So it will come as a bit of a surprise to hear that hidden beneath those simple, pop-rocks tunes lie some complicated musical relationships. It took artists completely removed from Seattle, completely devoid of guitars and totally devoted to dynamics to pick out the gem-like qualities of their songs.     Enter Aranis, a quintet from Belgium; players of strings, piano, accordion, flute and double bass. Smells Like Aranis tears those songs apart and reconstructs them as little works of art; sometimes pretty, sometimes weird, always intriguing… Listen to a few tracks from the album while you read the editor's review.

 

world music 27 years after her debut, Moussolou - an album straddling tradition and modernity that featured daring lyrics denouncing polygamy and instead calling for female empowerment, made her an instant star in Mali and elsewhere - Oumou Sangaré's sixth LP, Mogoya, continues that conversation. In some ways she hasn't changed at all. With grooves infectious enough to rattle a pop music skeptic, she sails over rhythms and melodies that, no matter how dressed up in European production sheen, never truly betray her Wassoulou-region roots. In the eight years since her last release, she's continued touring, running a hotel in Bamako, branding her name on rice as well as automobiles, and all the while demonstrating the power women have in place where female circumcision is still performed and education isn't necessarily a priority. She's working with a new label, and they produced her in way that certainly felt new to her. Sure, there are synths, distorted electric piano lines, and electric guitars that often snake in and out of the mix. There's also Tony Allen, whose unmistakable drums provide a foundation no sample could every equal. But she still hangs tightly to the kamele n'goni, the karignan, and the calabash, and it's these instruments that typically drive the tunes...     Bruce Miller delves into the complex crossing of boundaries in the music of Oumou Sangaré. Read and listen.

 

world music One of the most attractive elements of any recording is the expression of joy. Seydu's third disc, Sadaka (The Gift), has this quality in full measure. Seydu, born Anthony Zachariah Jalloh, emigrated 'illegally' from Sierra Leone to Spain, and records songs in Krio, English and Spanish. His world music rhythms have elements of maringa, but the sensibility is a general West African one rather than one limited to a particular country. The involvement of Joe Dworniak, an experienced bassist integrated into the Spanish/Latin music scene, and producer Hugo Westerdahl, who knows the music of the Saharan regions, means the music nicely blends a lot of these influences...    Read David Cox review and listen to some of the music.

 

world music As titled, Reflejos Migrantes (Migrant Reflections) can be read literally as referencing the tango quartet makeup led by Buenos Aires-born, Paris-based pianist-composer Gerardo Jerez Le Cam. But this is music infiltrated by a more profound figurative connotation, the transformation of Western European culture and demography following the Soviet Union's demise, and errant U.S. adventure in the Balkans, Middle East and North Africa since the 1990s. In any case, behold a thoroughly displaced tango 'orquesta típica,' pairing Jerez Le Cam's piano with Romanian violinist Iacob Maciuca and Belgian Manu Comté on bandoneon, and replacing the traditional double bass with the Moldavian cimbalom of Mihai Trestian. Tango's own stoic purview is drawn to social dislocation wherever it manifests. Here listeners find its existential misgivings freely associated with baroque, operatic, Eastern European gypsy and jazz inventions.     Read Michael Stone's full review, and see two videos the ensemble made to accompany the music.

 

world music While this disc is touted as the fourth by Ialma, the Galician pandeireta quartet of female voices and percussion, Camiño is a close collaboration between Ialma, the well-travelled and versatile diatonic accordionist Didier Laloy, and Quentin Dujardin, a sort of Belgian Pat Metheny. Both Dujardin and Laloy are prolific, and have performed in a number of formats and genres. This appears to be a new direction for both of these exceptionally seasoned, sensitive and gifted performers, and a nice addition to the sound Ialma has previously explored. On the thirteen tracks of Camiño, the two Belgians back the quartet, highlighting Galician vocal music with some beautiful four-part harmonies, in a joyful take on Galician tradition.     Listen to a full track and some excerpts from the album while you read David Cox' review.

 

world music The cool aesthetic of Bandakadabra is immediately evident by their matching black suits with white shirts and skinny black ties. Their music twists and turns from playful and suave to serious and methodical in an instant. Dubbed an “Urban Brass Band,” this ensemble from Torino, Italy sets their sights on all sorts of brass music, from ragtime and jazz to Balkan, rocksteady, and Latin on their rousing live recording, Entomology. A call to attention preludes “Skaravan,” which cranks ups the tempo with a delightful ska version of “Caravan” that jumps off the stage and gets the audience skanking. From there they head on to Goran Bregovic and more Duke Ellington, and dip into blues, jazz and classics from Brazil, Mexico and Cuba along the way.     Listen to a few tracks and read Alex Brown's review.

 

world music The Jerry Cans are a phenomenon in Iqaluit, capital of the Inuit territory of Nunavut, and across Inuit territory which stretches across the North of Canada, Alaska, Greenland, and Siberia… Musically the format of Inuusiq/Life is an upbeat Alt-Canuck blend of folk, pop and country, reminiscent of Willie P Bennett or Kashtin. The most interesting aspect of the five-piece group is their homage to Inuktitut, the traditional language of the Nunavut territory. Nine of 10 tracks are in Inuktitut, the last in English.     Read David Cox review and hear some of the music.

 

world music Finland is no stranger to cultural fusions. Russia, Sweden and Germany have all made their political incursions over the centuries, just about everyone has dropped by for a visit at one time or another. So it stands to reason that this linguistically isolated country would absorb a lot of music as it passes by… Band leader and vocalist Jaakko Laitinen, from the northern city of Rovaniemi in Lapland, and his band of horns, bouzouki, accordion, bass and percussion called Väärä Raha, let influences fly fast and loose on a series of original songs that bounce from wistful romance to dire insanity. You'll hear classic Balkan brass, the hyper-foxtrot of the Finnish huumpa, Russian balladry, and the rigid tango that has made summer nights in Finland famous.     Your editor chimes in on this one, and I've included a full track and some short excerpts.

 

world music "Danmarkar'n, The Man from Denmark, refers specifically to the village of Danmark in Uppland, Sweden. This waltz kicks off the debut record from Bragr, and trio of two Danes and a Swede. Many of the tunes on Danmarkar'n are traditional, but I'm enthralled by the non-traditional yet firmly rooted approach this trio takes," writes Greg Harness in his review of their new recording.

 

world music Les Amazones d'Afrique is an impressive collective of female musicians from West Africa who are working towards ending gender inequality. The group includes Angélique Kidjo, Kandia Kouyaté, Mamani Keita, Mariam Doumbia, Mariam Koné, Massan Coulibaly, Mouneissa Tandina, Nneka, Pamela Badjogo, and Rokia Koné…. République Amazone will split listeners. On one hand, the adventurous contemporary approach utilizing samples and effects in a psychedelic, funky dub that is heavily influenced by the producer will appeal to those who are looking for something different. On the other hand, the production takes over the mix, which in turn often marginalizes the vocalists who are the stars of the project…" Alex Brown looks into the pros and cons.

 

 

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New roots and welcome old routes

Seydou Diabaté, aka Kanazoé, unleashes his technique on the balafon with a talented ensemble on Kanazoé Orkestra's debut full-length release, Miriya. Born in Burkina Faso and now based in France, he and his band offer an impressive, mature record that maintains urgency throughout… Kanazoé provides some of the vocals and plays a variety of balafons. His group includes Zaky Diarra on lead vocals, Mamadou Dembélé on ngoni, flute, and vocals, Martin Etienne on saxophones, Stéphane Perruchet on percussion, Elvin Bironien on bass, and Laurent Planells on drums. Alex Brown's review finds a band that sets the bar high and delivers, with confidence and joy.

 

The late Tabu Ley Rochereau had a talent for picking great musicians. Just before Rochereau died in 2013, he asked his long-time sax player Modero Mekanisi to keep L'Orchestre Afrisa International going. The eventual result was Melanie, the band's first release in many years. While the unhurried but compelling grooves nostalgically echo west Africa's older, pre-soukous Congolese rumba dance styles, the uniformly meticulous playing is a treat for long-time fans. Marty Lipp shares the music of a band that carries on.

 

world music Charanga's Tributo'ó Ti Tobias is a peculiar kind of tribute album. Styled as a musical homage paid to an Uncle Tobias, a sort of older everyman, the album pays tribute to the long history of Portuguese folk music that has come before it. However, this isn't the pristine folk of ethnomusicologists or world music connoisseurs but the lively tradition of summer village parties with cheesy up-tempo beats and corny lyrics played by stocky mustachioed men and scantily-clad ladies. Charanga's use of such pimba music (essentially a Portuguese version of schlager) is as jarring as it is tender: their message is not political as such, but it does evoke a particularly inclusive concept of Portuguese folk music that encompasses a vast terrain of instruments and traditions, from bagpipes to synthesizers... Rosa Vieira de Almeida takes us into the strange world of Charanga.

 

world music Michael Stone had a chance to chat with Spanish pianist-composer-bandleader Chano Domínguez about his latest recording, Over the Rainbow. Domínguez's new solo recording, draws from a live performance in Barcelona, combining Latin American canciones with his original compositions and pieces by Thelonious Monk, Harold Arlen, and John Lewis. Domínguez observes, “Latin American popular music has been part of my life for a long time. These are profoundly expressive songs that I developed a deep feeling for from my youth.” Read their conversation, and Michael's review, while you listen to some of the music from the album.

 

world music The titles say it all: Bitori: Legend Of Funana: The Forbidden Music Of The Cape Verde Islands

Space Echo: The Mystery Behind The Cosmic Sound Of Cabo Verde Finally Revealed

Synthesize The Soul: Astro-Atlantic Hypnotica From The Cape Verde Islands 1973-1988

Bruce Miller investigates three recordings that explore the 20th Century sounds of the these Atlantic Ocean islands off the North African coast, from accordion driven dance music to synthesizer centered pop.

 

world music Aurelio Martínez is arguably Central America's most gifted and vibrant musical talents, a key tradition bearer of one the most threatened cultures of the isthmus, the African-Amerindian Garifuna people. Apprenticed from an early age to his cultural elders, later a collaborator of Garifuna masters Paul “Nabi” Nabor (19282014) and Andy Palacio (19602008), Aurelio is the foremost champion of the music, dance and language traditions… With its emphasis on vocal artistry, polyrhythmic complexity and dense percussive base, Garifuna music speaks across the African diaspora to its Central American, Caribbean and Latin America counterparts, rooted in the sacred ancestor spirit-possession drumming, song and dance genres of the ritual dügü, consonant with analogues in Cuba, Brazil, Haiti, Jamaica, Trinidad and elsewhere... A mature expression of Aurelio's decades-long sojourn, Darandi is a definitive rendering of some of his most compelling original and traditional Garifuna material, in a new recording made live at Real World Studios in England. Read Michael Stone's full review of Darandi, and listen to a full song from the album, a song made famous by his mentor Paul Nabor.

Darandi is RootsWorld's Music of the Month selection for March, 2017. Find out more.

 

 

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The treasure of language

Here are a few recordings that explore the power of language; in this case, some lesser know tongues of Europe and the Atlantic. Languages all have their own unique rhythms and meter that are reflected in both the poetry and in the music itself. These three artists offer us a glimpse into their very local worlds, singing (and, in effect, playing) in Karelian, Älvdalska and Faroese. - CF

First is a very special recording of music from Sweden, by one of its most interesting and important artists, Lena Willemark. As Lee Blackstone writes, "Blåferdį (Blue Journey) is a mesmerizing album from an always adventurous Swedish singer and violin player. To realize this work, Willemark wrote a series of poems, in Swedish and in Älvdalska (also called Elfdalian, an ancient Swedish language) which she set to the sounds of a quintet - Willemark on vocals and violin; Emma Reid on violin; Mia Marin on 5-string violin; Mikael Marin on 5-string viola; and Leo Sander on cello; plus percussionist Tina Quartey on numerous drums and bells… The music and singing is quite simply, astonishing. The strings act like roots, anchoring these songs, the cello another dark timbre. Quartey's percussion never overwhelms the delicacy and force with which the quintet maneuvers through Willemark's compositions."
In addition to Lee's full review, we have a full song and some excerpts from the album. Ms Willemark also contributed a few words explaining how she came to perform the entire work in Älvdalska (Elfdalian), an ancient dialect from her home region of Älvdalens, in Sweden. And we have a short video of her telling the nativity story in the language. Read the full article.

The next recording comes from a quintet of vocalists from the Faroe Islands. Kata is an all-female vocal quintet hailing from, and arranging folk tunes of their islands. Kata's precise, rooted singing will appeal to fans of Trio Mediaeval, but they are also influenced by Bulgarian choirs like Le Mystère des Voix Bulgares. The album's tone tends toward cautionary tales of injurious traditions and social mores, as codified in folk stories handed down for generations. Occasionally accompanied by electronics and percussion, the listener is offered a dip into forgotten waters, an experience of vivid melodic and lyrical shapes on Tívils Døtur. Listen to the music and read Tyran Grillo's full review.

Finally, we offer you an audio feature of the music and songs of Karelia, as reinterpreted by Lekkujad, a quartet of musicians based in Helsinki that are exploring new ways to hear music from Karelia, a region that spans the Finnish-Russian border. These four musicians have diverse backgrounds that come together to create something unusual for Karelian music. Listen to a few tracks from their new recording, Tulinbo Ruadieh.

 

world music Singer, guitarist and song writer Lula Pena is one of the most iconoclastic artists of Portugal. She is often referred to as a fado singer, but that's sheer laziness on the part of those looking for simple pigeonholes to place their expectations in. There is certainly the independent spirit of fado in her music; the old school variety punctuated by cigarettes and late nights; the cousin of the blues, the rembetiko, the morna, and the Appalachian ballad. But Pena stands apart, and shows how far on her latest recording, Archivo Pittoresco.    See a video of one song and a live performance, and read Cliff Furnald's review.

 

world music French trio Bey.Ler.Bey are mistranslaters of sorts. Composed of accordionist Florian Demonsant, percussionist Wassim Halal, and clarinetist Laurent Clouet, the group showcases a collective knowledge of what they call the “colors and codes of Balkan music” while embracing certain conventions of free jazz and minimalism. On Mauvaise langue, they conspicuously eschew traditional elements through a kind of upside-down and backwards jigsaw puzzle, fitting sounds together that seem like they've always coexisted. However, the mercurial qualities of each voice betray a newness of vision.    Listen to the songs and read Dylan McDonnell's review.

 

world music Like countless projects before it, Au bout du petit matin (“In the wee hours”) lines out the possibilities of joy and sorrow through a collage of instrumental and vocal means. However, Malgache artist Tao Ravao and French musician Thomas Laurent fulfill their vision by offering a window into primarily Francophone and Francophone-associated tunes… The choice of instrumentation for this project, as well as the song material, is highly associated with either French postcolonial or stereotypically “French” sounds: Ravao plays both guitar and kabosy, a box-shaped wooden guitar common in musics of Madagascar, while Laurent sports a twelve-hole chromatic harmonica not dissimilar to the voice-like emotionality popularized by musicians like Toots Thielemans and Gregoire Maret. The duo dissolves and rebuilds its sound piece by piece as it creates allusions to disparate musical contexts.   Read Dylan McDonnell 's review and listen to some songs from the album

 

world music On The Magical Forest, Norwegian kantele virtuoso Sinikka Langeland reconvenes her “Starflowers” quintet (with saxophonist Trygve Seim, trumpeter Arve Henriksen, bassist Anders Jormin, and drummer-percussionist Markku Ounaskari), adding to that quilt the patchwork of voices known as Trio Mediæval. Any of these names will be familiar across the spectrum of ECM followers, but their shared love for Scandinavian folk music has never been so clear as in this latest project. In contrast to previous albums, the kantele is a largely supportive presence, almost airy in its backgrounded-ness. This gives Langeland's unaffected singing - and, more importantly, the imagery laced into it - room to roam.   Read Tyran Grillo's review and listen.

 

world music Finnish folk music can sound other-worldly. The country's folk-epic, "The Kalevala," compiled by Elias Lönnrot in the early 1800s era of nationalism, features ancient and stunning poetry that sounds as if it were forged by mountains and rivers. "The Kalevala" is laced with charms and spells, and its impact on Finnish folk culture has been immense. One can hear its echoes in this new recording.

Okra Playground formed in Finland in 2010, and Turmio is the group's debut recording. Three female vocalists are up-front in Okra Playground's sound, which lends thrilling dynamics to their chosen material. Both play the kantele, strung over their shoulders for a twin-stringed attack that any heavy metal band would envy. The men in the band round out the contemporary sound with bass, synth, accordion and percussion. Comparisons to both Värttinä and Hedningarna are inevitable. Okra Playground has an organic, acoustic base, but they frequently add electronic enhancements so that their overall approach appeals to both traditionalists and experimentalists.    Read Lee Blackstone's full review and listen to the music.

 

world music Celebrating its 25th anniversary, Planet Drum has been remastered in a special edition with three previously unpublished tracks. In 1990, Mickey Hart assembled a cast of musicians from around the world to make a percussion album unlike anything ever produced. Hart was joined by Zakir Hussain and T.H. “Vikku” Vinayakram from India, Babatunde Olatunji and Sikiru Adepoju from Nigeria, Airto Moreira and Flora Purim from Brazil, and Giovanni Hidalgo from Puerto Rico. Planet Drum was released in 1991 and spent twenty-six weeks at the top of the Billboard charts, winning the first World Music Grammy. Instead of writing compositions in a particular style, Hart wanted the musicians to bring their traditions to the studio with the goal of creating new rhythms and ideas in an open-minded environment. The results speak for themselves…Join Alex Brown in revisiting a classic percussion album.

 

world music For a number of reasons, Niger strikes many as a difficult place to penetrate. It's brutally hot, largely desert, landlocked, and dauntingly vast. Over the last 13 or so years, it's also experienced it's share of coups, drought, and threats from within and without. This is the information that often gets expressed through various media outlets, and while these concerns are real, the country is also experiencing a musical flux. Alongside centuries old traditions are cell phones and the internet, which are forcing shifts. Niger has had some aural anomalies for quite some time, with releases of Mamman Sani Abdoulaye's late 1970's synthesizer experiments, as well as early 70's recordings by Azna de L'ader. Tuareg guitar rock, found in the Agadez region, and recorded over the last decade or so, has also seen plenty of attention…

Which all brings us to Studio Shap Shap. This six-piece ensemble, based in the nation's capital Niamey, does what so many young bands from more cosmopolitan areas of the world are doing; they're synthesizing tradition with a more experimental approach. On Chateau 1, the komsa lute, balafon, and the Hausa talking drum known as the Kalangou, blend with electric keyboards, electronics, snippets of field recordings and musical patterns not normally associated with the country's roots, for something that captures the country's musical flux perfectly… Listen to the music and read Bruce Miller's full review.

 

world music Transparent Water occupies space within several different spectra: between plucked and hammered strings, spontaneous and preconceived composition, wandering and purposeful trajectories. Its fluidity reflects a continuity of Cuban pianist Omar Sosa's vision of transcontinental blurring of styles and idioms in an ultimately Afro-diasporic framework. This time around Sosa has partnered with Senegalese kora player and singer Seckou Keita to engage a project of exploratory proportions: the album features elements of multiple African regional musics (Mandinka and Yoruba), Chinese reed timbres, Japanese koto playing, and the Afro-Latin piano and percussion canons. Read Dylan McDonnell's review, and listen to a full song and some excerpts from the album.

 

world music Describing themselves as "a sort of truncated nautical B-movie featuring a cast of characters raided from Hollywood's worst costume department," Seas of Mirth are a band of merry pranksters sailing the 'pirate folk' subgenre. Pirates are perhaps themselves the ultimate subgenre, and pirate-related themes crawl from the seaweed in many metal and folk-rock oriented bands. Seas of Mirth do the developing scene credit on their second full-length album Hark! The Headland ApproachethRead Lee Blackstone's review and sing along.

 

world music Based in Prague, Czech band ba.fnu meet with legendary Breton singer Yann-Fañch Kemener on a remarkable project called YFK 2016. ba.fnu are a young band playing cittern, hurdy-gurdy and other stringed instruments, percussion and some computer programming. They have an affinity for both Czech and other European styles, but especially Breton fest-noz tunes. Yann-Fañch Kemener is famous for helping to revive Kan ha diskan, the Breton vocal style that accompanies dancing. The Czechs bring a contemporary modern aesthetic to their arrangements, which can described as traditional music incorporating urban street sounds. Kemener's vocals circle through the mix and add a trance-like quality to the tracks.

What the musicians aim to achieve here are not merely danceable songs, but experimental sound-art. YFK 2016 is meant to be experienced as a sonic calendar, with a distinct political message. They combine this all with spoken word samples continually throughout the music and these provide a running commentary on international affairs… Read Lee Blackstone's review and listen to a few of the songs from this Czech/Breton 'calendar.'

 

world music "I'm going to tell you a long story about Shirley Collins and English folk music. To do so, follow me back to before Shirley Collins was born to around the turn of the twentieth century…" Shirley Collins' Lodestar, her first recording in 38 years, was published late last year, and both Lee Blackstone and your editor picked it as one of our favorite releases of 2016. Join Lee as he walks you through the story of this most interesting and enduring folk music legend, in his article about English folk music, Ms. Collins and her highly anticipated return to singing. There are also three beautiful video pieces to accompany his story.

 

world music As unlikely as they are talented, the members of Doolin' are French musicians playing Irish music, recording on a Nashville-based record label. Formed in 2005 in Toulouse by six musicians from widely different backgrounds but united in their love of Irish music, the group's newest album shows little trace of their native land, with lyrics principally in English. The group mostly plays instrumentals, propelled by bodhran playing and percussive guitar work. They also add heartfelt vocals in songs like Bob Dylan's "Ballad of Hollis Brown" and Steve Earle's "Galway Girl." The group has produced an album that should be welcome to fans of high-energy modern traditionalists such as Solas, Lunasa and Flook… Read Marty Lip's complete review and listen to some of the music.

 

world music "You can lose the battle, you can even lose the war; but what counts is having fought."

The Occitan speaking lands of Italy have brought forth their fair share of contemporary and folk musicians, and of these Lou Dalfin is probably the longest-lived and best-known band. On Musica Endemica, their thirteenth album in 35 years, Sergio Berardo's band continues on its folk-rock course - especially if you consider the hurdy-gurdy a rock instrument. It's been five years since their last effort, and it's certainly worth the wait… Hear some of the music and read David Cox' full review.

 

world music I thought my knowledge of global music instruments was fairly comprehensive. Then I took a look at the thing balanced on the shoulder of Malawi's Gasper Nali in the cover photo of his album Abale Ndikuwuzeni. I'm sure I'm not the only one who, at first glance, wondered why this fellow didn't take up the harmonica. But I'm open-minded and open-eared, so I had to find out what this bizarrely beautiful axe could sound like. Turns out it's called a babatoni and is Nali's own creation. With its cow skin drum resonator, single string and very, very long neck, it may look like a surrealistic representation of a giraffe but sonically comes across rather like a Brazilian berimbau. The babatoni's sole string is struck with a stick held in Nali's right hand while his left moves an empty glass bottle along the string in order to vary the tone. The effect is melodic in a rudimentary sort of way, producing a shimmering, rise-and-fall metallic buzz that you might assume to be electronically created if you hadn't already gotten the visual. Read Tom's full review and listen to a few songs from the album.

 

world music The folk world has its projects whereby musical connections are made which heighten awareness concerning the indebtedness different cultures have to one another: in that spirit, parallels and future avenues are explored… The trio Serendou, are in this excellent tradition of cultural exchange, when two musicians from Niger meet with a Breton flautist in Zinder. Serendou are comprised of Yacouba Moumouni (flute, vocals), Boubacar Souleymane (singer, percussionist, guitar and kountigui a one-stringed lute), and Jean-Luc Thomas (ebony flute, electronics, vocals)… Zinder's substance is thrilling on several counts. The musicians go deep into Nigerien music.. tunes shimmer, and the flute playing brings to mind the circularity that one hears in Breton music a round, call-and-response rhythmic sway that characterizes a lot of the album… Lee Blackstones explores the invisible borders.

 

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About RootsWorld: RootsWorld is a world music magazine started in 1993, pretty much at the dawn of the term "world music" as well as the pre-dawn of internet publishing (I suspect this was the first music magazine of any sort published on the www). Our focus is the music of the world: Africa, Asia, Europe, Pacifica and The Americas, the roots of the global musical milieu that has come to be known as world music, be it traditional folk music, jazz, rock or some hybrid. How is that defined? I don't know and don't particularly care at this point: it's music from someplace you aren't, music with roots, music of the world and for the world. OK?

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