A World Music Magazine
                      

world music A bakhshi is a singer of epic ballads that can last, Homeric-like, for many hours or even days, self-accompanying usually on dutar, the thin-necked two-string lute. The Bashkirs have a true living song tradition; singing is a normal part of life, and some epics last several days. Termez is at the southern tip of the country, on the river Amu Darya that forms the border with Afghanistan, with the extremities of Turkmenistan and Tajikistan not far west and east respectively. In fact it’s pretty much at a confluence of Central Asia’s -stans. Founded over 2,500 years ago, in 1220 the original city was destroyed by Genghis Khan. Under Russian rule from the end of the 19th century, Termez became a military base until the end of the Soviet-Afghan war, and Uzbekistan’s independence in 1991, and today it’s a fast-modernizing, spread-out city. Andrew Cronshaw takes you to a festival and competition centered on these great singers, in photos, words and an interesting audio piece.

 

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Leveret started life a few short years ago carrying the reputation of an English folk supergroup. It’s easy to understand why they deserve the tag. No songs, all tunes played on melodeon/button accordion, English concertina, and fiddle. But Diversions towers over most everything being released. That’s all the more impressive for being recorded live over the course of just a few days with virtually no rehearsal. The empathy between the three musicians shows just how much they listen and desire to complement each other and the tune by never overplaying. There’s great delicacy in the arrangements – simply let the sorrowful beauty of “The Wounded Huzzar” (from poet John Clare) or the grandeur of “Unanimity/King George The Third’s March” flow over you for examples of the way the instruments weave in and out and around each other... Read Chris Nickson's review and listen.

 

world music For the first fleeting seconds, Ethiopiques—Revolt of the Soul entices us with a bar or two of intriguing piano tones that seem both western and eastern, familiar and new. Immediately and incongruously thereafter, we're on a train bulleting through what we're sure is a European town. Cut now to a marvelous painted image of a black-tied orchestra fronted by a vocalist and 2 back-up singers having a swell time of it. And, yes, we realize that the music is Ethiopian, sophisticated, mysterious, pentatonic, and penetrating.

The lush sound lingers in the background as we return to small-town Europe, Poitiers, France, invited by an intent and reflective silver-haired gentleman to his studio replete with books, a reel-to-reel recorder, 33 RPM records and much more. Journalist Francis Falceto begins, "All, every one, is to do with Ethiopia." Falceto is enamored of Ethiopian music. So there's the link and now our story can unfold. The film illustrates Falceto's mission to catalog, remix, and release on disc a trove of remarkable music played by remarkable musicians, the best of the golden age of Ethiopian jazz-funk-R and B, running generally from the late nineteen sixties until the mid-seventies when a newly installed military dictatorship, the Derg, wrecked havoc and terror upon the country and its cultural riches. Carolina Amoruso reviews a remarkable film.

 

world music Following his unmissable collaboration with Mahsa Vahdat, Endless Path, Turkish baglama virtuoso Coskun Karademir resurfaces as if from deep meditation with a newly fashioned quartet. Joined by Cem Ekmen (duduk), Ugurcan Sesler (cello), and Ömer Arslan (percussion), he journeys through a landscape of traditional music modernly reimagined, modern music anciently reimagined, and original pieces on Öz/Essence. Much of the program is by composer Levent Güne and Karademir himself. That both have written for films is immediately obvious, as one can visualize entire story lines, characters, and dramas within each tune. Tyran Grillo reviews.

 

world music Benedicte Maurseth is one of the Norway’s leading players of the Hardanger fiddle (she comes from the region where it originated; you might say it’s in her DNA). The instrument is similar to a violin, but with four or five tuned sympathetic strings that resonate and deliciously eerie depth to the music. For, this her seventh album, she’s completely solo (apart from some birdsong on one cut), taking traditional music, tunes associated with different fiddlers, and adding her own voice and ideas to them in variations and improvisations. It’s beautifully meditative and utterly immersive; you don’t listen to the disc; it draws you in until you’re subsumed in the music. Read Chris Nickson's full review and listen to some of the music.

 

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Balafon master Seydou "Kanazoé" Diabaté follows in the footsteps of his ancestors and takes his contemporary African music to audiences around the world. His rich compositions and arrangements are given life by his talented Kanazoé Orkestra . On Tolonso, he is reunited with Mamadou Dembélé (flute, ngoni, balafon, vocals), Martin Etienne (saxophone), Stéphane Perruchet (percussion), Elvin Bironien (bass), and Laurent Planells (drums). This time around, Losso Keïta joins the band and adds his powerful vocals to the mix... Tolonso means "where we celebrate" and it also is the name of Diabaté's birthplace in Burkina Faso. There is plenty to revere on this album. Sambla, Mandingo and Bambara traditions combine with jazz, Latin and even some electronic elements to create a lively set of African music Read Alex Brown's review and hear some of the music.

 

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Although the word elixir is often associated with medicinal quackery and alchemy, its etymology resides in the Greek xerion, meaning “powder for drying wounds.” That same combination of aridity and healing is felt in the restoratives mixed by Aurélie Dorzée, Tom Theuns, and special guest Michel Massot. In their admixture of instruments both commonly (guitar, trombone, banjo, sitar) and not so commonly (nail violin, mandolauoto, alto saxhorn, sousaphone) heard, Elixir brings truth of evocation to everything they touch. Compositional credit is shared by Dorzée and Theuns as catalysts of every chemical reaction herein, starting with the “Ouverture.” As its record warps into correct speed, it serves as portal both to and from some forgotten past, setting the stage for a fantastic journey. Much of what ensues is shaded by artfully chosen colors. Between the overlay of Dorzée’s fluid, folk-inspired violin and singing to the underlay of Theuns’s sitar and mandolin, there’s more than enough to elicit fresh experiences and discoveries with each listen. All of it is held together by Massot’s sousaphone, which draws a thick and surprisingly melodic thread through the center. And while it does resort to the occasional harrumph, it’s a deeply serious player of deeply serious music... Read Tyran Grillo's full review.

Elixir is our Music of the Month selection for September. You can subscribe for 20.00 a month (28.00 outside of North America) and get new music every month, while helping to support RootsWorld. Or you can receive the individual CD for a one time donation. These CDs are donated by the artists and Homerecords.be. We thank them for all of their support.

 

world music Cuar is a trio consisting of Matthew Berrill on clarinet, Aoife Ní Bhriain on fiddle, and Neil Ó Loclainn on double bass and flute. But the music they create is more than a triangulation; it's a pyramid whose structural integrity depends on the listener as its base. All the music on Roscanna, with the exception of the final track, is rooted in the mind of Ó Loclainn. The album's conclusion, the traditional Irish "Bádaí na Scadán," is an emerald clue into its origins, as well as proof of the trio's willingness to dig deep enough so that geography ceases to matter. Read Tyran Grillo's review and hear a few tracks from the album.

 

world music The South Africa-derived rhythms of Malawi's regional folk/pop hybrids, often produced on homemade instruments out of economic necessity, have garnered a bit of attention of late... The duo that comprises Madalitso Band spent years playing the streets of the nation's capital, Lilongwe, which, despite being the governmental hub, contains massive poverty and unemployment... Homemade instruments such as the ones played on this record, seem like orchestras. The guitar, played by Yosefe Kalekeni, holds tight to the rhythm while Yobu Maligwa's long-necked, banjo-like babatoni, the sliding bass sound prominent in many of the country's regional bands, serves as bottom end as well as lead. While key shifts are few, dynamics, subtleties, and variety seem endless. And their vocal harmonies are like choruses. Bruce Miller reviews.

 

world music It has been more than 20 years since Latvia freed itself from Russia and Communism; there's a generation that's grown up in the heady air, and the six women of Tautumeitas are among them. They're part of the second Latvian folk revival – the first was part of the 1970s cultural resistance against the Russians – and their debut is full of joy, eagerly grabbing the country's tradition and pulling it into the 21st century... They bring big arrangements and choruses to the tradition, but keep the multi-part polyphonic singing that's at the heart of Latvian music (historically performed by women). Instrumentally, on top of their own violins and accordion, there's jaw harp, bass, and some electronic programming that gives plenty of punch to the sound.   Here is Chris Nickson's review and some songs to listen to

 

world music Chances are good that there's nothing else even remotely like this record being released this year. Take your most slicked-up "world" muzak blandness- you know, the stuff with quasi-Cuban rhythms, lobotomized acoustic guitar strumming and production meant to render passion into processed bites of disposability- and then allow the musicians on the recording to fidget, squirm, and finally break from their constrictions, and you've got this record. Its sounds may seem disguised as Starbucks background, but there's something warped lurking just below the surface... Moken, who hails from Cameroun but spent time in Detroit before calling Atlanta home sings, steers the guitar licks, the trumpet, some of the percussion and the occasional ngoni, all to this record's benefit. Listening to him can often feel unsettling, perhaps even demanding sea legs. On the surface, it's all pretty normal until you pay him a little more attention... http://www.rootsworld.com/reviews/moken-19.shtml Read Bruce Miller's review of Missing Chapters and see a few videos by this most unusual artist.

 

world music In small, neglected Colombian villages not too far from the Caribbean coast, descendants of runaway slaves and freed people have managed to hang onto musical traditions connected not only to Afro-Cuba, but Africa itself. Theirs is the story of neglect, isolation, marginalization, and poverty that often accompanies preserved traditions in so much of the world. Access to education and health care are few; illiteracy looms large, and at least one the performers here has no birth information. However, what Voces Del Bullerengue do have is a rich tradition of bullerengue, a vocal-based music driven by cantadoras, elderly women who engage in call and response over complex hand drum patterns and clapping... And from what’s on offer on Anonimas & Resilientes, bullerengue feels vibrant and healthy despite singers who are no younger than 53, with one woman possibly as old as 105.   Bruce Miller looks into this fascinating music.

 

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Songs of Our Native Daughters is the result of four singular artists coming together to, in a sense, create music that re-creates musical history. Rhiannon Giddens, Amythyst Kiah, Leyla McCalla, and Allison Russell are all interested in black string music, which lost its identity as such after the music crossed over to white musicians playing what became commonly thought of as bluegrass or “country music.” The opera-trained Giddens has gotten critical acclaim for her own music and is the best known of the four singers, and certainly turns in some gorgeous and stirring vocal performances, but she also shares leads with her compatriots here. The resulting album is both a powerful examination of slavery and a celebration of the resiliency of those subjected to decades of oppression, particularly black women. Read Marty Lipp's review and listen to some songs from the album.

 

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The Danish string trio Vesselil (violin, viola, cello and voices) has been around since the end of 2015, but this self-titled work shows the wisdom of taking time over a first release. A mix of original compositions with traditional folk from Denmark, Sweden, and Belgium, the pieces show just how well the musicians understand and work with each other, and how they've allow things to simmer and develop. That's perfectly illustrated on the album's longest track, "Opdagede Omsider" written by violin/viola player Clara Tesch. While a piece of its soul might lie in folk music, it has more in common with a modern string quartet, and the instruments create a delicately beautiful, complex web of sound that draws in the listener... They approach the traditional pieces with respect for the past, but refuse to be slaves to it. Read Chris Nickson's full review and listen to some songs from the album.

 

world music In 2017, violinist Maureen Choi issued her first album. Theia, named for the Greek goddess of sight and all things shiny, reveals how much she’s matured as an instrumentalist, arranger and composer in such a short time. Theia is a fluid pairing of flamenco and straight-ahead jazz, with scattered references to her classical, especially baroque, beginnings. Flamenco, though, with its fire, immediacy, its ability to embrace myriad influences, pushes through as 'Theia’s' lifeblood.

Six of the album’s ten songs are Choi’s own; the others are personalized yet faithful reworkings of a disparate repertoire, including a traditional Venezuelan joropo, and bold interpretations of works by Paco de Lucia and Manuel de Falla.

Read Carolina Amoruso's review and listen to some tracks from the album.

 

 

world music Finland and accordions
Anyone who has been reading RootsWorld for a while knows that your editor is completely in thrall of both, so when they collide, as they often do, they grab my attention. Teija Niku plays a full chromatic accordion, which she told me is, “a Finnish chromatic standard bass accordion, made in Italy at the Pigini factory. In Finland the model is called Lasse Pihlajamaa Revontuli Casotto.” She has played in numerous ensemble settings, including with The Polka Chicks, Aallotar and Karuna, as well as performing as a soloist and with her own self-named quartet. Hetkessä is a solo affair, just the accordion and occasional vocals. The title – in the moment - is an excellent description of the work here, as the pieces seem carefully composed, and yet clearly spring from improvisational impulses during the writing process. Read the editor's review and listen to the music

 

world music Following on their Kind Of Folk Volume 1: Sweden, Groupa delivers their impressions of Norway. As before, the trio consists of Mats Eden (viola d'amore and hardingfele), Terje Isungset (drums, percussion, and whatever he can get his hands on), and Jonas Simonson (flutes)... Mats Eden hails from Värmland in Sweden, which borders on Norway, and he studied composition at the Norwegian Academy of Music in Oslo. Terje Isungset's percussion embraces both traditional and non-traditional instruments. Isungset is no stranger to molding unconventional natural materials into musical instruments, as evidenced by the series of music that he has produced using instruments fashioned from ice. Simonson's tone and appreciation for both rhythm and atmosphere are the marks of a master flautist... The Groupa trio manage the tightrope between folk melodies and improvisation so that they do not sound like any other musical ensemble, and this is in large part to the distinctive and recognizable playing of each musician exhibited on Kind Of Folk Volume 2: Norway. Read Lee Blackstone's full review and listen to some excerpts from the album

 

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The sound of a good string section can invoke everything from baroque grandeur to gripping suspense to signaling when to break out the hanky during sad scenes of a movie or TV show. There’s no doubt that the San Francisco-born Real Vocal String Quartet can do all that and more without breaking a sweat, but founding violinist Irene Sazer and her mates (fiddler Sumaia Jackson, cellist David Tangney and double bassist Sam Shuhan with cellist Helen Newby as an occasional fifth) have bigger things in mind. An Eastern European tour through the American Music Abroad Program inspired Sazer to collaborate with musicians from some of San Francisco’s sister cities - the Culture Kin of the title - and the results are a passionately rendered set of musical pieces that both stir and soothe. Read Tom Orr's review and listen to their music.

Culture Kin is July's Music of the Month selection. Start a monthly subscription or buy the CD and help support RootsWorld.

 

world music Kamancheh master Kayhan Kalhor has always been a migratory artist—one who treats boundaries as opportunities for expansion rather than trepidation. It’s Still Autumn stands as one of his most adventurous projects. In unusual yet intuitive combination with Rembrandt Frerichs (fortepiano, harmonium), Tony Overwater (bass viol, double bass), and Vinsent Planjer (whisper kit), he doesn’t so much chart new territory as create it from the Earth’s darkest caverns to its brightest skies. Appropriate, then, that It's Still Autumn should be diurnally sequenced into Dawn and Dusk. Read Tyran Grillo's review and hear a few tracks.

 

 

world music AKA Trio is the result of a strong friendship between three talented musicians from different parts of the world. Antonio Forcione (Italy), Seckou Keita (Senegal), and Adriano Adewale (Brazil) all met in the UK and formed a natural bond over hanging out, cooking, and playing soccer together. Each individual has worked extensively with a diverse array of artists, touring the globe and recording a number of cherished releases. Collectively they have created something that sounds natural right away, translating their fun and passion into JOY, an album that reflects their musical union. Forcione (guitar), Keita (kora), and Adewale (percussion) seem to work effortlessly with one another. They have played on and off together for the past eight years, but finally found the opportunity to meet in the studio last September. They read each other well and often sound like more than three musicians, supporting the compositions with tender harmonies. Each song is written independently, besides the title track, but they are all fostered by the group. Read Alex Brown's review, listen to some of the songs and see 2 videos.

 

world music Athens-based lyra virtuoso Sokratis Sinopoulos returns to the quartet that earned him deserved acclaim, on their latest work, Metamodal. With pianist Yann Keerim, bassist Dimitris Tsekouras, and drummer Dimitris Emmanouil. He once again brings the ancient and the unexpected into harmony. At the heart of Metamodal is its eponymous suite, divided into three parts: “Liquid,” “Illusions,” and “Dimensions.” From its quiet hole emerges a snake of melodic origin whose tongue flickers always in search of the next note. Behind the insistence of Sinopoulos’s playing, clay drums and bass erode a stony topography. As background and foreground intermingle, dances speak not of a celebratory present but of an unrecoverable past. Read Tyran Grillo's full review and listen to some music

 

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Glasgow, Scotland has long been a hotbed of popular music... Awash in this bounty of great rock and pop music, what can often be ignored is the city’s rich and varied history with traditional folk music. Some of Britain’s oldest folk clubs like the Star Folk Club, Partick Folk Club, and the Ben Nevis all call Glasgow their home, and have made significant contributions to the city’s musical reputation. Glasgow is also the hometown of traditional Gaelic singer and BBC Radio and Television Scotland host Mary Ann Kennedy.

Her new CD is Glaschu - Hometown Love Song. Much like “St Mungo, a Celtic Suite for Glasgow” composed by William Jackson, and “Glasgow” by Findlay Napier, it showcases a traditional musician paying tribute to a hometown which still holds a huge influence on their lives and their music. Glasgow has undergone many transformations in the 20th and 21st centuries, but has remained home to a great many young and experienced musicians comfortable in their surroundings, and a cheaper alternative to Edinburgh’s or London’s high rents. Glaschu is an album of many moods, from the bouncy opening track, “The Glasgow Shinty,” to the spoken word of “Orange Parade in Glasgow.” Read david Smith's review and hear some of the music.

 

world music When is a jazz band not a jazz band? When it is being a jazz band - stretching the boundaries of the music it is performing as the Town Hall Ensemble did in concert with Senegalese star Baaba Maal. The concept was to revisit songs from Maal's long career and rearrange them for the Town Hall Ensemble and three members of Maal's band. While Maal is firmly rooted in traditional African music, he has always played in contemporary contexts, both with his band Daande Lenol and various partnerships with pop musicians. Prior to the show, Maal said, "I love re-discovering my older songs and often change how I perform them…It's not going to be strictly jazz. It's my music, African music, performed with these jazz musicians." Read Marty Lipp's review of the concert

 

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Maletiempu is a tough album to wrap words around. It is a stripped-down and sometimes gentle affair that has what they refer to as a "Salentine melancholy." Led by voice, accordion, flute and percussion, with some contributing artists on guitars, percussion and additional voice, its unifying strength is in the traditional songs they choose, and how they inform the contemporary works these artists create in this collaboration.

Both artists will be familiar to fans of southern Italian music. Vocalist Rachele Andrioli started with the ensemble Officina Zoè, was part of Canzionere Grecanico Salentino, and has traveled the world singing with musicians from all manner of musical background... Rocco Nigro is an accordionist and composer of songs and film scores. RootsWorld readers know of his work with Vinicio Capossela, Opa Cupa, Cesare Dell'Anna, Antonio Castrignanò, Redi Hasa & Maria Mazzotta and many more.

The album's opening track immediately sets the tone for what is to come, with Andrioli's plaintive first notes in the title track shifting quickly to more mid-tempo percussion and accordion phrases. "Maletiempu" moves back and forth between a fervent paean and a plaintive cry, often with startling stops and changes in mood. She sings about the passage of time, how it comes and goes, waxes and wanes, kisses us and then leaves us in tears. The delivery is often heartbreaking, even as the song offers as much promise as melancholy... You can read the full review, hear some of the music and watch a video online

Maletiempu is our Music of the Month selection for June. Find out more, and subscribe or get the CD and support RootsWorld.

 

world music In the late 1960s, British architectural historian and blues aficionado Paul Oliver released a book as well as a 4 LP set titled The Story of the Blues. The record, as it turned out, opened with a field recording of Fra Fra tribes people from Ghana’s extreme northeast. And while Oliver’s claims that this music was the origin of the blues seems horribly reductive, it allowed westerners to have awareness of the culture’s existence, and gave many their first glimpse into American music’s sundry tributaries.

More recently, the music of Bongo, Ghana-area Fra Fra kologo player King Ayisoba has received global attention, due in part to the work a local producer Francis Ayagama, but also due to the interest of Arnold de Boer, a musician who is not only a recent addition to the long running Dutch avant-punk band The Ex, but is also the owner of Makkum records, a label that has released a number of records specifically from Ghana’s north. In fact, well before de Boer joined them, The Ex had been incorporating sounds from sub-Saharan Africa into their own music, introducing the west to the Congo’s DIY electro-traditional Konono No 1 and giving Ethiopian sax legend Mekuria Getatchew some late career global attention as well via a series of collaborations. So it makes sense that Ayagama’s production, along with de Boer’s visits and encouragement, would result in sounds that feel a long way from Oliver’s vision of Fra Fra traditions as blues-beginnings.

Yet, the music’s past always informs its present. Even though many of the beats on Frafra Power are created by Ayagama on a midi keyboard, and some of the featured singers grew up with rap, the rhythms are all traditionally based and are sometimes accompanied by the kologo, the Northern Ghanaian banjo-like lute, found in one form or another all over West Africa. Find out about some of the artists and listen to their music in Bruce Miller's review

 

 

world music Mandolin master Andy Statman tends to get tucked into the bluegrass category, just as clarinet master Andy Statman tends to get labeled as klezmer. It’s that first sort of mastery we’re dealing with at the moment, and I’m here to tell you that the strictly bluegrass bottom line simply ain’t so.

This is not to say he doesn’t have an abundance of bluegrass in his blood. His new CD Monroe Bus is a tribute to Bill Monroe (1911-1996), another mandolin magic-maker. Monroe is rightly hailed as The Father of Bluegrass, and although the original plan for Monroe Bus was to have Statman apply his brilliance to a set of Monroe-penned instrumentals, it instead turned out to be a baker’s dozen of Statman’s own that show him to be every bit the ground breaker and innovator that Monroe was. Tom Orr shares his review and some of the music.

 

world music Africa’s contribution to Brazilian culture is well documented. It gave the country samba, capoeira, the birimbao, as well as some of its cuisine. The state of Bahia in particular, owes much to its connection to Ghana and Togo specifically. What isn’t always as well known to people outside of Brazil are the lengths darker skinned people have had to go to for equality. While they have enriched the culture unfathomably, they themselves have been seen as an underclass, cut off economically and socially by racism. Sound familiar? And while the PT government closed this gap during the country’s most prosperous times, the corruption surrounding the party has led, sadly, to the far-right ugliness of current president Jair Bolsonaro.

So Ziminino can be seen as a statement of black global solidarity and Afro-Futurism as a reaction to creeping fascism. Rio-dwelling producers Rico Santana, Rafa Dias, and Boima Tucker, connected in one of the cities many hillside favelas over Atlanta Trap, Chicago footwork, and UK Grime, all sub-genres that rely on attention to radical edits, aggressive repetition, and a certain faithfulness to region. Hear their music and read Bruce Miller's review

 

world music Touching down from the French Caribbean by way of Montreal is Daniel Bellegarde's Anba Tonél (Under the Arbor), his first album, released in 2018. Anba Tonél offers a fetching mélange of genres, on the one hand a cherry-picked conglomeration from the musical strains and configurations he's been a part of for 30-plus years, and on the other, an undeniable offering of homage to the French Antilles, especially to Haiti, the benighted yet irrepressible island from where his bloodlines flow.

"I have always loved European traditional music," says Bellegarde in our email conversations; Anba Tonél presents a "musical meeting between Europe and Africa," and, inevitably, reprises the master-slave relationship played out on North American and Caribbean soil. Bellegarde's cherry picking yields a basket of hybrids, from sacred chants invoking French Caribbean spirits; to quadrilles transplanted from Old World ballrooms to the New; to original forms birthed on the French-colonized mainland of Acadian Quebec and the Louisiana Territory. online. Read more about the artist in Carolina Amoruso's interview and review.

 

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Rock, pop and trikitixa (Basque traditional accordion) blend in what is technically Xabi Solano’s first solo album, a 14-track tribute to the people, the lands and the music of the Urumea valley area above Donostia-San Sebastian. The trikitixa or diatonic accordion is really the “electric guitar of the Basques” and its practitioners are rock stars in their own country, along with the punk rock scene and so on. Solano, veteran of a number of musical incarnations including Esne Beltza, is a prolific recording artist and one of the Basque Country’s top accordion stars. Accordingly, Ereñotzu is a blend of pop oriented tunes with bass and drums. & nbsp; Read David Cox' full review and hear some of the music

 

world music The hypnotic, infectious pulse of Tuareg music is fully realized on Tartit’s long-awaited follow-up to their 2006 album. Tartit’s name translates to “union” and while the group members met in refugee camps between Mauritania and Burkina Faso, they all originate from the Timbuktu region of Mali. Led by the the incredible Fadimata 'Disco' Walet Oumar, Tartit is comprised of four women and five men. The group covers all aspects of Tuareg music to create a strong sound that seems simple and complex at the same time on their latest release Amankor / The Exile.    Read Alex Brown's review and hear their music

 

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Pauanne is a Finnish trio haunted by, as they put it, the “utterly outrageous” beliefs of the past. The delightful cover photograph of the group finds Kukka Lehto (violin), Tero Pennanen (keyboards, prepared piano, organs, and programming) and Janne Haavisto (drums and percussion) ankle-deep in snow, wearing garb that looks as it were out of some primitivistic future; modern Finnish musicians, turned by frozen water into something rich and strange. But, Pauanne are not drawing a line between what has gone before, and the lived-in present. The trio slyly point out that the “outrageous” beliefs of our forebears are still with us. Lee Blackstone reviews this remarkable new self-titled recording from Finland. Read it all, listen to some of the music and see a video performance.

Pauanne's new release is RootsWorld's Music of the Month recording for May, 2019. Subscribing to Music of the Month is a great way for you to support the ad-free, data-safe RootsWorld; the radio programs and the magazine. These CDs are donated by the artists and the record label, Nordic Notes (www. nordic-notes.de ), so all but the postage costs go directly to our work here. Sign up for a monthly subscription.

 

world music “It took me four years to paint like Raphael, but a lifetime to paint like a child.” This statement, attributed to Pablo Picasso, might just as well apply to Clang Sayne. Their music reveals a wealth of learning and collaboration, but also an excavation of something long-buried under layers of adult life. In this sense, guitarist and lead singer-songwriter Laura Hyland crafts enduring fairytales, while cellist Judith Ring, clarinetist Carolyn Goodwin, and drummer Matthew Jacobson capture quintessential moments in time as portraits of the wider world they inhabit. The Round Soul of the World is divided into two parts, exploring the lit and unlit faces of the same celestial body. As if in service of that metaphor, it opens with “Curse You, Mocking Moon,” which personifies its titular subject with that same childlike brilliance of which Picasso waxed so philosophically. Emblematic of the group’s ability to not simply capture, but more importantly release honest reflections, it passes through time toward the only true catharsis of stillness.    Tyran Grillo shares their music with you.

 

world music As sisters, Laura (cello) and Gianna (clarinet) Caronni share an indivisible connection. As musicians, affinity runs as deep, embedded in histories and personages beyond their blood relation. For this album, which comes three years after 2015’s Navega Mundos, Las Hermanas Caronni expand their musical reach in a program of immense scope and variation. Drawing on the music of Johann Sebastian Bach, Wolfgang Amadeus Mozart, Charles Ives, Claude Debussy, Maurice Ravel, Marin Marais, Béla Bartók, Astor Piazzolla, and Nino Rota, along with some vernacular influences for good measure, the whimsically titled Santa Plástica is a personal mosaic that expands the notion of family by welcoming the listener into its own. Las Hermanas Caronni harmonize through both instruments and voices Read Tyran Grillo's review and hear their music.

 

world music A hybrid of styles from France, Louisiana, Mongolia, and elsewhere, Bâton Bleu is Maria Laurent, who plays Mongolian lute, banjo, guitar, thumb piano, Glockenspiel, flute, and more, and Gautier Degandt, who also plays all the above, plus bass, harmonica and tovshuur. The French duo’s debut, Weird and Wonderful Tales, is just that, a collection of strange tales from all over that fit thematically, even if they are sometimes musically baffling. Laurent’s clear soprano vocal contrasts with Degandt’s often bullfrog like, expressive blues voice with the banjo lending an strong Appalachian feel to the music. Read David Cox' review and listen to some of the music

 

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Since its inception in 2009, Gergana Dimitrova's Belonoga project has built itself around one of the most heart-opening voices in all the world. It's a voice born from roots in Le Mystere des Voix Bulgares, grafted into global others through collaboration. On Through the Eyes of the Earth, the follow-up to 2013's Through the Eyes of the Sun, Dimitrova convenes kaval virtuoso and composer Kostadin Genchev, guitarist and bassist Aleks Nushev, gadulka player Violeta Petkova, and percussionist Peter Todorov. The result is her deepest record yet, at once evoking a mature tree and the autumn leaves clinging to its branches. Unbound by any single interpretation of history or time, she closes her eyes to open her heart, singing as if to bring dying cultures to fullness of life. Thus, her music reads like water, her singing like land: each shapes the other into a cartography of human pathways. Read Tyran Grillo's review and listen to some songs from the album.

 

world music

Freedom is a verb
Something never finished, never done
It's something you must make, it is something you must take
Something you must constantly become.

Daniel Kahn and the Painted Bird offer the pointed reminder that we are not what we think we are. On The Butcher's Share, it seems like Kahn and his band were transported back in time 100 years, to the Weimar era of germany, or perhaps sometime after the Second War. The music, as well as the cover art, evoke memories of an era when the world was waiting for the next cataclysm. Listen to the music and read David Cox' review.

 

world music Inner Rhyme is the debut album from celebrated Lebanese violinist-composer Layale Chaker who, joined by the ensemble Sarafand, plants Arabic poetry into borderless musical soil. Using the cadences of that poetry, in both classical and vernacular forms, as rhythmic infrastructure, she cultivates fresh ecosystems in which words and instruments nourish one another.

Read Tyran Grillo's full review and hear some pieces from the recording

 

world music

It’s said that in villages where Sufism is practiced, conflict is settled via poets, one for each person involved in the dispute. Arguments are heard and then sung as poetry while people from the villages dance until they drop. In this way, music, trance, ecstatic surrender, and ultimately, peace become intertwined. And it’s this notion of universal peace that Jedba attempts to conjure on an album several years in the making, a release that covers quite a bit of musical ground as it moves from Morocco’s Saharan south to its more fertile North... Musician-producers Abdesselam Damoussi and Nour Eddine assembled various groups of players who they then recorded in a variety of settings, including the streets of Marrakech and a Tangiers mosque. As a result, they captured the essence of Moroccan music, stripped of glossy production, but with just enough professional sheen to make this ancient music sound forever current... Listen to some of the music and read Bruce Miller's review.

Jedba: Spiritual Music from Morocco is our pick for Music of the Month for April.

 

world music I am not from the East, nor from the West.
Not from the land, nor from the sea.
I am not from the world, not from beyond.
My place is placelessness. My trace is tracelessness.

So sings Mahsa Vahdat in the title song of Placeless, the Iranian vocalist’s collaboration with sister Marjan Vahdat and the well-traveled Kronos Quartet. It’s one of those confluences of time, space, and creation that feels as inevitable as it does long overdue, and provides ample berth for these verses of Rumi to stretch their forlorn wings. Spanning 14 of Mahsa’s original melodies in arrangements by Sahba Aminikia, Jacob Garchik, and Atabak Elyasi, the strings court one adventurous spirit after another... Listen to some of the music and read Tyran Grillo's complete review.

 

Music of the Month

 

world music

world music

Two titans of Breton music, noted for their uncompromising experimentalism, have released their latest albums. For Yann-Fañch Kemener, Roudennoù/Traces is his last artistic statement, as Kemener passed away (aged 61) in March 2019 from cancer. Alan Stivell’s Human~Kelt is a celebratory album after more than fifty years in music. The new pieces from both men allow us to compare their two legacies, as both Roudennoù/Traces and Human~Kelt share a fierce pride in Brittany’s language and heritage, but they are markedly different, musically.

Brittany’s language – found in the northwest of France -- is a Celtic one. Language is fiercely important to a people’s identity. Conquerors will usually attempt to stifle the language of those whom they oppress. For Bretons, the integration of Brittany into France threatened their language. Breton had gone into decline as French became more widely utilized by the populace. Breton nationalism – especially since the 1960s/70s – has sought to keep traditional expression alive.

Lee Blackstone traces the history of these two ground breaking artists and shares music from each of the new albums.

 

world music Nostalgique Kongo: Rumbas Lingala, Swahili, Kikongo, & Douala 1950-1960 is the result of various aspects of the African diaspora finding their way home. In this case, Afro-Cuban rumba turning up on both sides of the Congo River thanks to commercial recordings flooding the West and Central African markets as Caribbean cargo ships brought shellac records. There has already been much written about this music, its connection not only to Cuba but Congolese independence. It dominated sub-Saharan Africa for decades, influenced sounds from Uganda to Burkina Faso, and gave the world stars such as Franco, Le Grande Kalle, Dr Nico and others. This collection showcases many of the style’s pioneers who recorded in Kinshasa and across the river in Brazzaville. Labels such as Opika, Olympia, and Ngoma captured the origins of the form, blending vocal harmonies, duos and trios of acoustic and electric guitars, and the insistent clave rhythm, borrowed from Cuba, but originally from West Africa. And while the Cuban Son is deeply influential, the emphasis on stringed instruments, and the lyrics, often sung in Bantu languages such as Lingala and Kikongo, distinguished it radically from its Caribbean counterpart. Read Bruce Miller's review and hear some of the music

 

world music Mon Laferte continues to blaze her own fiery arc across the alt-Latino firmament. With Norma, the Chilean-born belter takes a look back at classic Latin styles, polishing up a new facet to her musical personality with each song. Not quite as full-retro as Gloria Estefan's 1993 pre-Castro Mi Tierra album, Norma looks at different dance rhythms, from old-school mambo to psychedelic cumbia to a smoky bolero. But with each cut, she takes on a genre and adds her own personal twists, usually in the form of a bracing, rock 'n' roll roar. Marty Lipp reviews

 

Music of the Month

 

world music The world is full of musical mutts, folk/pop concoctions, strange hybrids, mutations influenced by the west and seismic technological shifts, and with this, endangered traditions brought on by any number of factors: young people seeing them as “old,” fundamentalists decreeing them forbidden, and more. And then there are those places where traditions, in some ways far away from home, have managed to find cover, flourish, maintain nurturing by guiding hands, community, and perhaps even isolation... In Guyana there are the ancestors of former Surinamese slaves who fled that country and who have been holding onto traditions for hundreds of years. Musically, one would be forgiven for assuming these recordings, all taped between 2009 and 2014, had to come from Ghana or Benin. But the Bushinenge, who scattered into the Amazon in the 18th and 19th centuries, creating their own cultural groups, languages, and hierarchies, are a product of South America as much as anything else. ..

The music on Les Bushinenge : Neg Mawon De Guyane, recorded often but not always in the country’s coastal capital, Cayenne, thrives on radically syncopated drum rhythms, at times conjuring hints of Ewe drumming found in southeastern Ghana. Read Bruce Miller's full review and hear the music.

 

world music

Hama Sankare is a renowned composer, arranger, vocalist, and calabash player from Mali whose reputation grew rapidly working with Ali Farka Touré, Mamadou Kelly and many others. Now he returns with his second release, Niafunke, where enlists the help of his longtime friends and collaborators Afel Bocoum, Yoro Cissé, and Kande Sissoko. They continue to explore the traditions of his region... He balances acoustic and electric compositions well, and the clear recording helps the listener hear the intricate details. Sankare is not just preserving this music, he is passionately bringing it to the next generation. Read the complete review by Alex Brown and hear some of the music.

Niafunke is our Music of the Month selection for March, 2019.
Not a subscriber? Now's a good time to start.

 

world music Jaune Toujours is well-seasoned band comprising some of Belgium’s brightest musical pub-crawlers: Piet Maris (lead vocal, accordion, and melodica), Théophane Raballand (drums and percussion), Mathieu Verkaeren (upright bass), Mattias Laga (soprano saxophone, clarinet, and bass clarinet), and Bart Maris and Dirk Timmermans (trumpets). Once these cats get their claws in your attention, it’s impossible to turn away. The music on Europeana is a seamless contradiction, at once living in its own bubble and siphoning a global sound. They take cues from many genres, even as they inhabit a culture all their own—one that mixes languages (English, French, and Dutch), voices, and styles. Read Tyran Grillo's review and listen

 

world music Back in 2015 Czech trio Ponk declared "Folklore is dead." Now the band from Brno returns with a new set of songs and tunes and the group has not lost its boundary-busting approach to attacking one's preconceptions about sound. On Diedina, Ponk have moved towards more self-penned material. Where death was exhaustively explored on their previous release Postfolklor, the latest tackles village life in Moravia. The result is songs that hearken to traditional themes and break with them in crazy-quilt fashion: this time out, Ponk remind me of a post-punk XTC let loose in the Czech countryside. There are nods to jazz, funk, blues, rap, the Beatles, doo-wop, punk, and minimalism, making this album another exercise in joyous iconoclasm...   Read Lee Blackstone's full review and listen to the music

 

world music Aktè is a self-titled project led by oud maestro Elias Nardi. Although taking its name from the Greek goddess of pleasure, eating, and rest, the music of heeds the call of such itinerant paths that the association feels more theoretical than practical. Despite the obvious pleasure with which this Italian quartet renders its moods, almost none of them conjures images of careless recumbence. Even the meditative “Armenian Song” of Gurdjieff that occupies the program’s center, chambers a restless heart, beginning on land but ending in water. Most of the album consists of in-house originals... This embrace of oud, accordion (Fausto Beccalossi), and baritone guitar (Claudio Farinone) journeys as much within borders as between them. Emerging from this delicate flower, the trailing insect of a soprano saxophone (Max Pizio) returns to the hum of its hive... Read Tyran Grillo's review and listen to some of the music

 

world music Although singer Mahsa Vahdat calls Iran home, her voice resides in the world at large. Thanks in large part to the Norwegian record label KKV, her music has welcomed wider audiences into a personal living space of inclusion, creative journeying, and unconditional love. Much of her repertoire consists of original settings of Persian poetry, and on Endless she continues in that vein with clarity of vision, exploring the lovelorn exhalations of Rumi, only now welcoming the pioneering Turkish poet Yunus Emre (a near-contemporary of Rumi) via the renderings of singer and kopuz virtuoso Coşkun Karademir. Vahdat’s voice feels divinely ordained for Rumi. In combination with the ney of Mahdi Teimori, it conveys a depth of yearning that defies translation. Karademir’s strings carve two forks of light for every slice of shadow... Read Tyran Grillo's full review and listen to the music

 

world music Violinist/singer Maarja Nuut and electronic artist Hendrik Kaljujärv (a.k.a. Ruum) liberate their first studio collaboration, muunduja in quiet ceremony. The title, meaning “shifter” or “transformer” in Estonian, is an apt description of a sound that’s constantly in motion, changing form more often than an identity thief. That said, there’s nothing deceptive about the music of this liquescent duo. If anything, theirs is a drift of invitation through which the open-eared listener can float at will. Hear their music and read Tyran Grillo's review.

 

world music Razia Said and her music are steeped in Madagascar’s culture, but were also shaped by her peripatetic life around the world. She was born and raised in Antalaha, a small town in a region known for growing vanilla beans. At 11, she made the first of several moves because of her family situation, living in Africa, Europe, Asia and eventually settling in New York City where she started her musical career before relocating again to St. Lucia. All the time, she stayed connected to Madagascar, raising worldwide attention to the environmental damage being done to the unique ecology there.

The Road is an intimate, acoustic set of songs, with her warm slightly raspy voice front and center. The main melodic accompaniment is a nylon-string guitar, which gives the album a breezy lilt not unlike some of the pop music of Brazil. Read Marty Lipp's review and listen to the music

 

world music Aguas is the latest of Omar Sosa’s many associations with gifted singers and instrumentalists from across the planet, testament to his versatility and border-crossing musical imagination. Drawing upon her Cuban, Venezuelan and Swiss conservatory training in violin and voice, and her extensive classical performance experience, Yilian Cañizares has ranged far afield, working in a variety of genres with artists from Cuba, Tunisia, Cameroon, Lebanon, France, South Korea and the United States. Dedicated to Oshun, the Lucumí goddess of love and the mistress of rivers, Aguas celebrates water as synonymous with life, a transformative source of energy, strength, destruction and creation.   Read Michael Stone's full review and listen

 

world music Assembled by Michael League, Bokanté explores roots music from around the world. League writes the music, sings, and plays oud, cümbüs, bass, guitar, Minimoog and percussion. He is joined by Bob Lanzetti and Chris McQueen on guitar and vocals, Roosevelt Collier on dobro and vocals, André Ferrari and Keita Ogawa on a wide variety of percussion, and Weedie Braimah on djembe and vocals. Malika Tirolien’s rich vocals and lyrics are the centerpiece of the ensemble.

What Heat, the band’s second release, raises the stakes by joining forces with Metropole Orkest, a dynamic, non-classical orchestra based in the Netherlands, for a fascinating collaboration.   Read Alex Brown's full review, see a video and listen to some of the songs.

 

world music Listening to the strains of the West African kora, one can’t help at times but feel called to the gods. Dawda Jobarteh is a virtuoso kora player with a touch that is at times heavenly; at the same time, life’s experiences and experiments have defined his playing in other rich and rewarding ways, taking him beyond the Gambia River of his birth to Europe, and Denmark in particular, where he has lived and worked for several years.

His fourth album - I Met Her By The River - traces his travels in sound. It’s a testament to his Gambian roots, an impactful life abroad, and his mastery of the instrument; it is also the personal statement of a man engaged in the world. in the world.   Read Carolina Amoruso's review and listen to some of the music.

 

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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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