Shams is a 2-CD set by Latvian band Baraka. They describe their music ethno jazz, a term used in Eastern Europe to describe fusions of jazz and world music. Baraka’s sound is rooted in Tajik traditions as well as jazz. Most of the material on Shams are smooth jazz songs featuring vocals by Devika Evsikova spiced up with acoustic musical instruments from Tajikistan, India and other parts of the world.
The highlights of the album are the Tajik funk sections along with the tasty electric piano, sitar and rubob solos.
The lineup includes Devika Evsikova on vocals, bass; Dmitry Evsikov on all percussion, arrangements; Artem Sarvi on piano, keyboards, arrangement; Deniss Pashkevich on flute, sax, bass clarinet, Egor Kovaikov on guitar, sitar, rubob, setor, dutor, vocal; Madars Kalninš on piano, keyboards; Viktor Ritov piano, keyboards; Raivo Stašans on saxophone; Valery Korotkov on piano, synths, arrangements; Omed Dost on vocals; Normund Piesis on flugelhorn, trumpet; Sergey Gasanov on saz, dilruba, duduk, vocals; Zigmund Žukovsky on bass; Alijon Boynazarov on rap; Govinda Tiwari on vocals; Alex Suris on accordion; Basel Wehbe on vocala; and Vilnis Kundrats on saxophone.
The set comes nicely packaged in a hard cover sleeve with a CD booklet that includes illustrations and credits.
Nasheet Waits, Vincent Ségal, and Yacine Boularès – Abu Sadiya (Accords Croisés, 2017)
Abu Sadiya is a jazz album inspired by Stambeli, a type of healing trance music from Tunisia that was developed by Sub-Saharan slaves. This international collaboration features musicians from Tunisia, France and the United States. Abu Sadiya recreates the traditional Tunisian sounds through an avant-garde jazz prism. You’ll find jazz improvisation along with rhythms similar to the gnawa.
The lineup includes Yacine Boularès on saxophones, clarinet; Vincent Segal on cello; and Nasheet Waits on drums.
The hard cover album includes a mini-book with photos, illustrations and liner notes in English and French.
American composer and multi-instrumentalist Kane Mathis has been a student and player of the West African kora for many years. On Counterpoints he delivers a set of 6 musical pieces played on a Mandinka Magic kora, crafted by luthier Jeffrey Bodony.
Counterpoints includes 4 traditional Mandinka melodies along with two original compositions, “Mamaandi” and “Sila Mesengo” by Mathis.
Counterpoints is a remarkable collection of solo pieces on the 21-string West African harp known as kora.
Acclaimed Irish musician Dónal Lunny will receive a Folk Alliance International Lifetime Achievement Award a during a special ceremony held during The ExChange, a Micro-Conference that is taking place this week, September 19-21, 2017 in Ireland.
A lifelong musician, Lunny has been at the vanguard of the Irish traditional music renaissance for over five decades. He was a founding member of various essential Irish bands such as Planxty, The Bothy Band, Moving Hearts, and Coolfin. He continues to maintain a busy international recording and performing career with Mozaik, Triad, ZoDoMo, Usher’s Island, and Atlantic Arc Orchestra.
Lunny holds the unique legacy of popularizing the bouzouki (a Greek instrument) in Irish music and has produced some of the most significant albums of the “Trad.” music revival since the 1970s.
Recording and production highlights include work with Kate Bush, Paul Brady, Elvis Costello, Indigo Girls, Sinéad O’Connor, and Clannad. In 2008 he was awarded an Honorary Doctorate in Music from Trinity College Dublin and was also made a member of the 250-member national Aosdána, honoring his outstanding contribution to the creative arts in Ireland.
Lunny has written music for many films and theater productions, and he continues to divide time between composing, performance, production, and teaching.
FAI commissioned a special edition, Lifetime Achievement Award documentary short-film, honoring Dónal Lunny. The film will be shown at the event Thursday and followed by a short performance with longtime collaborator Paddy Glackin.
World Beat musician and producer Arkin Ilicali, better known as Mercan Dede, cleverly fuses the Eastern spiritual traditions of Sufi music with the contemporary sounds of ambient and chill out music to create a mix of old and new, East and West. An adherent of mystical Sufi spirituality, Turkish-born and Montreal-based Mercan Dede brings his holistic understanding of sound and the rhythms of nature to his interpretations of traditional Sufi music as well as his original compositions.
Mercan Dede believes that when you put digital electronic sounds together with hand-made human ones, you can create universal language capable of uniting old and young, ancient and modern. ‘Those things are not really separate ‘ says Dede. ‘The essence of Sufism is counterpoint. Everything exists with its opposite. On one side I am doing electronic music. The other side of that is this really acoustic traditional music.’
Raised poor in a Turkish village in the 197s Dede recalls the moment when listening to the radio as a six-year-old he fell in love with the sound of the ney. But even when he moved to Istanbul to study journalism he could not afford an instrument so he made his first one from a length of plastic plumbing pipe. Although he eventually found a ney teacher Dede did not pursue music as a career. He was more deeply involved with photography and by chance an official at the Saskatoon Public Library in Canada saw some of his work and invited him to come and do an exhibition.
Dede wound up studying multimedia in Saskatoon and he worked in a bar to earn rent money. That was where he first encountered the art of deejaying. One day the bar’s deejay couldn’t make it and Dede stepped in. The techno revolution was just beginning and Dede was getting in on the ground floor.
By the mid-1980s he was traveling to do ‘technotribalhouse’ deejay gigs under the name Arkin Allen. He debuted as Mercan Dede in 1996 when he released his first album Sufi Dreams recorded for Golden Horn Records in San Francisco. The album was a minimalist techno project featuring the ney flute and it earned impressive reviews.
A few years later, Dede moved to Montreal where he first studied then taught at Concordia College moving ever more forcefully into the growing techno scene. Recordings he made under the name Mercan Dede got noticed in Istanbul and a festival invited him to perform expecting an older gentleman as Dede means ‘grandfather’ in Turkish. When people saw a young band mixing techno and tradition they were exhilarated and Dede has stuck with this adapted name ever since.
Dede formed his first group in 1997 and created more recordings, Journeys of a Dervish (Golden Horn 1999), Seyahatname (Doublemoon 2001) and Nar (Doublemoon 2002). From the start, the group was more an idea than a set lineup. ‘I always get different musicians ‘ says Dede ‘all the time. When I do a European tour each country I choose a guest musician from that country. This is the essence of the group.’ The Canadian TV station Bravo filmed and aired Dede’s concert with Turkish master kemence (Persian violin) player Ihsan Ozgen at the Canadian Museum of Civilization in the Fall of 1998. German television producers Saarlandischer Rundfunk were so attracted by Dede’s music that they traveled to Canada to feature him in their documentary about Sufi Music. While filming Dede at work in Montreal and Toronto in February of 1998 the producers requested that Dede create the soundtrack for this project. Mercan Dede’s album Seyahatname includes pieces composed for a dance theater project directed and choreographed by Beyhan Murphy for the Turkish State Modern Dance Troupe.
In July 2001 Mercan Dede performed at the highly acclaimed Montreal Jazz Festivals sharing the General Motors Big Event stage with Burhan Ocal and Jamaaladeen Tacuma in a concert called ‘East Meets the West’ before an audience of more than 15 people. On that same evening, right after his concert, he appeared at Spectrum this time performing with his project Montreal Tribal Trio again as part of the festival program. In 2002 the group electrified the World Music Expo (WOMEX) world music trade fair in Essen Germany and also the International Transmusicales Festival in Rennes.
The group’s 2004 U.S. debut took place at Joe’s Pub in New York in January 24 as part of the city’s groundbreaking world music marathon GlobalFest. Mercan Dede also provided music for Pina Bausch’s “Istanbul”’ performed in the city it was named for in the spring of 2003.
Mercan Dede was invited to play at GlobalFest (APAP Conference) in New York in January 2004 where 16 different bands from 5 continents play. He was commissioned by the Turkish Ministry of Culture as the music director of the Goldestan Project. The project is destined to represent Turkish Culture and Arts all around the Globe.
Combining the artist’s first two albums on Doublemoon (‘Seyahatname’ and ‘Nar’) ‘Sufi Traveler’ was the first Mercan Dede widely distributed release in USA. The double album followed a North American tour in the summer 2004 including the 27th annual Vancouver Folk Festival (Canada), Stern Grove Festival (San Francisco), Grand Performances (Los Angeles), Joe’s Pub at the Public Theatre Celebrate Brooklyn.
UNESCO announced 2007 as World Mevlana Year during which Mercan Dede released 800, an album in homage to Rumi’s 800th birthday. After a six year hiatus, his album Earth was released to critical acclaim featuring guest vocals by Azam, Ali Sabahat Akkiraz and a sample of Gandhi’s first and only speech recorded in 1923.
The Sachal Ensemble was formed by Izzat Majeed, a Pakistani investor and hedge fund manager who became a philanthropist and music producer. Born in Lahore in 1950, Majeed’s dream was to recreate the soundtrack of his childhood. His hometown, the second largest city in Pakistan, was once a cultural and artistic center in the region.
In the 1960s and 1970s, Lahore was at a peak as the home of “Lollywood,” the Pakistani equivalent of India’s Bollywood. Movies featured between 10 to 15 songs and the industry employed a considerable number of musicians, composers and arrangers. Music was fundamental to the life of the city.
Izzat’s father, Abdul Majeed, was the chairman of the film producers association of Pakistan and a music lover who would take his son to hear all the touring American jazz musicians passing through Lahore. That’s how an 8-year-old Majeed got to hear pianist Dave Brubeck at a venue near his family home. Brubeck was still a year away from recording “Take Five,” which would become the biggest selling jazz single ever. For the young Izzat, the concert had a profound effect. “That’s where I got hooked on jazz,” says Majeed.
But following a military coup in July 1977, General Muhammad Zia-ul-Haq became president and his dictatorship set out to “cleanse” Pakistan’s cultural landscape. Most non-religious music was declared sinful and the film industry, severely limited by religious bans, fell to pieces. In Lahore, even virtuoso musicians had to become taxi drivers or shopkeepers just to make a living.
Despite his success in finance, Majeed’s true passions “have always been and will always be about art and music,” he affirms. And so, he decided to do something about it.
“These great musicians – from both folk and classical schools – were left hungry and jobless,” said Majeed in a recent interview. “We were losing our instruments, losing our musicians, losing our culture; something had to be done about it.”
Long a patron of the arts and a lover of poetry (he is a published poet himself), Majeed founded Sachal Studios, named after the Sufi poet Saeein Sachal Sarmast, in 2003, on Waris Road, once the center of Lahore’s film studios. He then looked for the city’s great musicians, many of whom had put away their instruments. What’s more, Majeed had to buy instruments for several players.
Initially, Majeed and the Sachal Ensemble focused on the region’s classical and folk music. But then, he started to dream about the possibility of jazz being played on local instruments, and once he introduced the sounds and concepts of jazz, the musicians “took to it very naturally.” As they searched for a broader audience and looked outside Pakistan, they began to explore cross-cultural versions of Western jazz standards, pop and film classics.
Unexpectedly, Sachal Ensemble had a breakthrough when a video of their version of Brubeck’s Paul Desmond classic “Take Five” went viral. Brubeck, who died in December, 2012, in reality got a chance to listen to it, calling it “the most interesting recording of it I have ever heard.”
Ustad Nishat Khan, one of India’s finest sitar players, is set to perform on Sunday, October 8, 2017 at Merkin Concert Hall in New York City. He will be joined by Nitin Mitta on tabla.
Nishat is the son and disciple of Ustad Imrat Khan, and nephew of the late Ustad Vilayat Khan and a member of one of the oldest and most prestigious musical families and schools in India – the Imdadkani Ganara of Etawah.
Nitin Mitta is one of the most sought after tabla players in the music world and has quickly established a reputation as an artist with technical virtuosity. He is an acclaimed accompanist who has performed with some of India’s most celebrated musicians including Pandit Jasraj, Pandits Rajan and Sajan Mishra, Pandit Vishwa Mohan Bhatt, Ustad Nishat Khan, Ustad Shahid Parvez and Pandit Nayan Ghosh.
Merkin Concert Hall at Kaufman Music Center
129 West 67 Street, New York, New York 10023
Box office: (212) 501-3330
Tickets at www.worldmusicinstitute.org
Pakistani 10-piece Sachal Ensemble will be touring the United States for the first time during October and November 2017. The group, formed by philanthropist and music producer Izzat Majeed, mixes typical Western instruments like piano, bass and drums with traditional South Asian ones, such as tabla, dholak and sarangi.
The Sachal Ensemble’s repertoire on this 2017 tour will combine traditional Sufi music, ragas and treasured Pakistani cinema songs (like “Ranjha Ranjha,” from the movie Raavan) with distinctively South Asian versions of Western classics, including The Beatles’ “Eleanor Rigby,” R.E.M.’s “Everybody Hurts,” Michel Legrand’s “The Windmills of Your Mind,” and, their unique recreation of Dave Brubeck’s hit “Take Five” that became a YouTube sensation with over 1 million views.
The international phenomenon created by the “Take Five” video led to an invitation in 2013 for the Sachal Ensemble to collaborate with trumpeter and composer Wynton Marsalis and the Jazz at Lincoln Center Orchestra. The musicians’ remarkable journey from Lahore to Lincoln Center was captured in Song of Lahore, a documentary film by Award-winning director Sharmeen Obaid-Chinoy and Andy Schocken.
An album released in the United States soon followed, Song of Lahore (Universal Music Classics, 2016), featuring the Sachal Ensemble collaborating with Wynton Marsalis, Meryl Streep, Jim James of My Morning Jacket, Nels Cline of Wilco, Madeleine Peyroux and Sean Lennon.
A recent Pakistan-only release, titled Jazz and All That, includes Sachal Ensemble ‘s versions of Brubeck’s “Blue Rondo A La Turk,” and songs such as Stevie Wonder’s “You’ve Got It Bad Girl”, Antonio Carlos Jobim’s “Wave” and Henry Mancini’s “The Pink Panther.”
The current lineup includes:
Baqar Abbas – bansuri
Nadeem Abbas – bass
Rafiq Ahmad – daff
Asad Ali – guitar
Danish Ali – piano
Najaf Ali – dholak
Zohaib Hassan – sarangi
Ijaz Hussain – tabla
Ali Shaiba – drums
Nijat Ali – conductor
Sachal Ensemble 2017 North American Tour
Friday, Oct. 27 – Vienna, VA at The Barns at Wolf Trap
Sat, Oct. 28 – Schenectady, NY at PrOct.or’s Theatre
Sun, Oct. 29 – Cambridge, MA at Berklee Performance Center
Mon, Oct. 30 – Saratoga Springs, NY – Saratoga Performing Arts Center
Thu, Nov. 2 – Easton, PA at Lafayette College / Williams Center
Sat, Nov. 4 – Miami, FL at Miami Dade College / Olympia Theater
Sun, Nov. 5 – New York, NY at NYU Skirball Center
Tue, Nov. 7 – Calgary, AB, Canada, Arts Commons / Jack Singer Concert Hall
Thu, Nov. 9 – Markham (Toronto), ON, Canada at Flato Markham Theatre
Sun, Nov. 12, Phoenix, AZ at, Musical Instrument Museum
Tue, Nov. 14, Northridge, CA at CSU Northridge / VPAC
Wed, Nov. 15, Stanford, CA at Stanford University / Bing Concert Hall
Sat, Nov. 18, Folsom, CA at Harris Center / Stage 1
Viajando Com O Som, The Lost ’76 Vice-Versa Studio Session by groundbreaking Brazilian multi-instrumentalist and composer Hermeto Pascoal will be available later this year.
Viajando Com O was recorded in just two days at Vice Versa Studios in Sao Paulo in 1976. The band included Zé Eduardo Nazario, Zeca Assumpção, Lelo Nazario, Mauro Senise, Raul Mascarenhas, Nivaldo Ornelas, Toninho Horta and Aleuda Chaves.
Brazilian jazz-funk band Azymuth will be touring Europe in October. Ivan, Alex and Kiko will be presenting material from their latest album Fênix, along with many of their classics.
Oct 13 – Fasching (Stockholm Jazz Festival), Stockholm
Oct 14 – The Hideaway, London
Oct 15 – The Hideaway, London
Oct 17 – Gretchen, Berlin
Oct 18 – Bravo Caffè, Bologna
Oct 19 – Auditorium Fausto Melotti, Rovereto tbc
Oct 20 – Santeria Social Club, Milan
Oct 21 – La Bellevilloise, Paris tbc
Oct 23 – Band On The Wall, Manchester
Oct 24 – Hoochie Coochie, Newcastle tbc
Oct 25 – Neimënster, Luxembourg tbc
Oct 26 – Jazz & The City (Festival), Salzburg
Oct 27 – Jazz & The City (Festival), Salzburg
Oct 28 – Jazz & The City (Festival), Salzburg
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion