Bareto, one of Peru’s leading cross-genre bands has released its latest album Impredecible in the USA. The new recording features a mix of psychedelic Peruvian cumbia, Andean melodies, reggae, dub, merengue and Afro-Peruvian beats.
The band’s sound is characterized by the sound of psychedelic and retro-60s electric guitars and organ along with acoustic percussion and dub effects. Celebrated Afro-Peruvian singer Susana Baca appears on one song, “El Loco”, which is one of the best on the album.
Although most of the album has a fun feel and encourages the listener to dance, the band also has a mordant attitude, mocking the cheesy Latin American variety shows on the song “La Pantalla.”
Bareto includes Rolo Gallardo on guitar, keyboards, ukulele, backing vocals; Jorge Giraldo on bass and backing vocals; Joaquin Mariátegui on guitar, keyboards, ukulele, and lead vocals; Mauricio Mesones on lead vocals; Jorge Olazo on drums and percussion; Sergio Sarria on drums and percussion; Miguel Ginocchio on keyboards.
Special guests: Susana Baca. Additional musicians: Eka Muñoz on backing vocals; Henry Ortiz on accordion; Juan Medrano “Cotito” (Novalima) on cajón; Esteban Copete on marimba; Rawa Muñoz on backing vocals; Carlos Espinoza on saxophone; David Haddad on percussions; and Chongo on percussion.
July 24: Festival Peruano de San Francisco, Newark, CA
July 27: Club Michella Room, Chicago, IL
July 28: The Palace Night Club, Woodbridge, VA
July 30: Coliseum Night Club, Sarasota, FL
July 31: Festival Peruano de Miami, Miami, FL
Angélique Kidjo is one of the African singers with more attraction and performance power. The direct rhythms, strong, energetic, taken from the traditions of her homeland, Benin (Western Africa), are combined with the sounds of reggae, samba, funk, soul, gospel, zouk and many more.
On stage is where Kidjo shows her charisma. She is a great dancer. With her very short hair style, she is a real version of the “postmodern” African woman. In addition, she has the ability of communicating with her audience, a gift that is transmitted just as well live as on her CDs. “Even when I am singing alone in my own studio, I imagine that I am with my audience.”
Kidjo was born in Cotonou and was raised in Quidah, a small coastal city of Benin, a country that harbors numerous cultures. The main language of Benin is Fon, the language that Angélique uses more often when she sings, although she also sings in English, a language that she speaks with fluency, as well as French.
Kidjo comes from a family with nine siblings, who have an open mind about international music. Her mother, a choreographer and theatrical director, has had a profound influence in the life of Angélique, who used to act in her mother’s plays when she was a little girl.
Traditional music was not the only kind of music that the young Angelique used to listen to. Benin, in the 1970s was open to numerous styles: salsa, Zairean rumba, makossa from Cameroon, soul, funk, Gospel… even Arabic and Indian music was available. Her brother, a guitarist, introduced her to the sounds of Santana and they memorized his songs.
When she was still an adolescent, Kidjo began to tour Benin performing at local festivals and on the radio. She was one of the few female artists doing this. People in Benin didn’t look kindly to women who tried to make a professional living from singing. “It was so hard. I really had to fight.”
Miriam Makeba, the South African singer, was one of her main idols and Kidjo performed some of her songs, like the Swahili ballad Malaika.
She moved to Paris in 1983, where she found a melting pot of music. Some of the most famous West African musicians, such as Salif Keita and Manu Dibango, were also in Paris, either recording albums or living there. African musicians mixed with Caribbean, French and American musicians. The result was an explosion of hot rhythms and a crossed fertilization of world-beat styles that found an echo in the in the musical experience of Kidjo and created the most appropriate environment so that she could develop her own style.
“Some call it afro-funk, they can call it whatever they want, but it is really difficult to classify my music within only one style. Even when I use my own traditional music I don’t try to recreate just only style but rather I mix it all.”
Kidjo took advantage of her stay in Paris to enroll in a jazz school. “There, I was taught many things, I improved my tone and I learned flexibility for my voice.” It was an important element for someone whose native language is Fon, which is tonic, with a soft oscillating musical profile.
Angélique joined a Dutch Afro-jazz group, Pili Pili, with which she recorded two albums. Together they participated at the Montreux Jazz Festival in 1987. That same year she met Jean Hebrail, a French bassist and composer, whom she married sometime later.
Parakou, her first internationally distributed album, featured Jasper van’t Hof, the leader of Pili Pili.
Logozo, recorded in Miami in 1991 and produced by Joe Galdo of Miami Sound Machine, featured Branford Marsalis on saxophone. Marsalis later performed on Kidjo’s album Oremi. The album features Kidjo singing duets with Cassandra Wilson (“Never Know”) and Kelly Price (“Open Your Eyes”).
Kidjo’s most ambitious album, Fifa (1996), featured more than 100 percussionists, flutists, cowbell and berimbau players, singers, and dancers from Benin and one track featuring Carlos Santana.
In 1998, she started a trilogy of albums, Oremi, Black Ivory Soul and Oyaya that explored the African roots of the music of the Americas. Oremi featured Cassandra Wilson, Branford Marsalis, Kelly Price and Kenny Kirkland.
During 2001, Kidjo started to work on the Black Ivory Soul album, drawing connections between Benin and music of Bahía, Brazil. “For the new album, I went to Brazil and wrote songs with Carlinhos Brown, and Vinicius Cantuaria, and I am covering a song by Gilberto Gil, which he wrote after traveling to Benin.” The album also features drummer Ahmir Thompson, from the Roots, and Romero Lumbambo, the Brazilian guitar master, along with African and Bahianese players. “The concept of the album is based on my research into truth and the idea of bringing people together through music.”
Kidjo won the 2008 Grammy Award for Best Contemporary World Music for her album Djin Djin, and in the same year received Benin’s Commander of National Order of Merit for loyal services to the nation. Kidjo dedicated her Grammy award to the “women of Darfur, the women who are fighting every day to give their kids an education.” On Djin Djin, Kidjo collabnotrated with guest stars including Alicia Keys, Peter Gabriel, Carlos Santana, Joss Stone, Ziggy Marley, Branford Marsalis and Josh Groban. The record was a return to Kidjo’s Beninese roots, capturing the most traditional rhythms from her country. It comprised material sung in her native languages as well as in English and French.
Since March 2009, Kidjo has been campaigning for “Africa for women’s rights”–a movement launched by The International Federation of Human Rights (FIDH). In September of 2009, UNICEF and Pampers launched the ‘Give the Gift of Life’ campaign to eradicate Tetanus and asked Kidjo to produce a song, “You Can Count On Me,” where each download of the song donated a vaccine to a mother or mother-to-be. She also campaigned for Oxfam at the Hong Kong WTO meeting for their Fair Trade Campaign, participated in the video for the ‘In My Name Campaign’ with Will I Am from The Black Eyed Peas, and was one of the LiveEarth Ambassadors for the 2010 ‘Run For Water’ events along with Jessica Biel and Pete Wentz.
Also in 2010, musician and philanthropist Peter Buffett and Kidjo teamed up to release “A Song For Everyone.” 100% of proceeds from the sale of the song benefited the Batonga Foundation, an organization founded by Angelique to advance education for girls in Africa.
Oyo, released in 2010, celebrates the music that shaped Kidjo’s artistic formation, including “Lakutshona Llanga,” a lullaby made famous by Kidjo’s hero, Miriam Makeba; Yoruban interpretations of Otis Redding’s “I’ve Got Dreams to Remember” and Santana’s “Samba Pa Ti;” a collaboration with Diane Reeves on “Monfe Ran E,” a tribute to the Aretha Franklin hit, “Baby I Love You;” and a take on James Brown’s “Cold Sweat.”
Oyo features a band of acclaimed musicians, including guitarist Lionel Loueke, Christian McBride on upright bass, Kendrick Scott on drums and Thiokho Diagne on percussion. Trumpeter Roy Hargove makes a memorable appearance on “Samba Pa Ti.”
Kidjo’s 2014 album Eve (429 Records) is named after Kidjo’s mother. Eve is a collection of songs dedicated to the power of African womanhood, mostly those women Angelique grew up with in her native Benin. The guests on the album include Dr. John, Rostamm Btmanglij (Vampire Weekend), the Kronos Quartet and the Orchestra Philharmonique du Luxumbourg, as well as guitarist Lionel Loueke, drummer Steve Jordan, bassist Christian McBride and Senegalese percussionist Magatte Sow.
In 2015 Angelique Kidjo won her second “Best World Music Album” Grammy Award for her Eve album. That same year Kidjo released Sings, recorded with the Orchestre Philharmonique Du Luxembourg, conducted by Gast Waltzing. This project fused the classical music traditions of Europe and the rhythms of her native land. Kidjo recreated nine classic pieces from her 24 year discography and two new songs (“Otishe,” “Mamae”) from the sessions of her Eve album.
The guest artists on Sings include upright bassists Christian McBride and Massimo Biolcati; guitarists Lionel Loueke, Dominic James and David Laborier; Gast Waltzing on flugelhorn; several native Beninese singers, and Brazilian classical guitarist Romero Lubambo.
“The orchestra brings different textures to my life and music,” said Kidjo about her symphonic collaboration. “Unlike in pop music, the orchestra doesn’t follow you, it leads and dares you to follow it. If you don’t do this successfully, the songs suffer and the communication is lost. But I love the challenge of doing new things. I never want to get too comfortable with what I’m doing, and I love my work too much to repeat myself.”
In addition to her music career, Kidjo has devoted much of her adult life to global charity work. She is a spokesperson for UNICEF and Oxfam, and created her own charity, Batonga, which aims to create a culture that values and supports the secondary education of girls in Africa.
The Nest Collective and Southbank Centre will present an acoustic concert as Folk with Altitude returns to the Queen Elizabeth Hall Roof Garden for a third year. The concert series will run Wednesday, 20 July 2016 – Sunday, 31 July 2016. Artists featured include Maarja Nuut, Chouk Bwa Libète, Hanoi Masters, Dom La Nena & Moira Smiley.
20th July – Maarja Nuut & Special Guest
28th July – Chouk Bwa Libète & Hanoi Masters
31st July – Dom la Nena & Moira Smiley
Venue: Queen Elizabeth Hall Roof Garden
Price: £14 in advance / £16 OTD
The piano. It is unique: the piano is melodic like no other instrument is and plays us heavy loud and even sometimes fast, producing sounds that momentarily darken one’s soul. Piano history is as fascinating as the sound the instrument makes.
The instrument’s best players have been those who have dared. Mozart, Monk, Jelly Roll Morton: the list goes on of musicians who have mastered the mass of matter that is the piano, all the while moving others with their style, opinions, and all around spirit. Three jazz musicians, Jason Moran, Sullivan Fortner, Aaron Diehl, are amongst today’s great, daring, pianists, but first a short introduction to the instrument.
The piano was invented during Europe’s Middle Ages: a time of adherence (to the Church) for many musicians but also a time of quiet dissent, as all times are in the end. Given that its coming-together was financed by the Medici who were well known Renaissance patrons, the piano was probably born to some sort of moneyed dissent.
The Padua (now in Italy) that served as a host to the invention more than likely had the lutes, the hammered dulcimer, the clavichord, and the flutes that the Middle Ages were known for, instruments that excel at expressing lightness, and also the Harpsichord whose strings are plucked instead or struck despite its resemblance to the piano. With the piano came new direction; loudness and heaviness to add to instrumental largeness. The instrument that, to me, dethroned the plucking of strings, was first named the Fortepiano, a name that includes the word forte or loud, though it was also meant to play soft music.
The instrument made its way through Europe and especially to Vienna and to the genial playing of Mozart. It eventually made its way to other societies, and communities that’ve included the Storyville living in New Orleans that bred Jazz. It continues to matter.
Jason Moran, Sullivan Fortner, and Aaron Diehl, three Jazz pianists, all belong to the new lineup of formidable, daring, piano players. All three play us very well formulated modernist or postmodernist opinions and wow us with the subjective. They often play us notes that are not accompanied with words that mirage the piano playing and because of this require us to feel instrumentation as we listen to make sense of their language. If one does listen in, formidable experience ensues.
ason Moran’s album Modernistic is a personal favorite but his piano playing is always sits a listener, whether it be long and lyrical or stride-ish.
The album of his that is the easiest listen is the soulful, melodic, and comicAll Rise: A Joyful Elegy for Fats Waller; the rule is that Moran’s songs require serious contemplating. His playing is sharp and does not intend to either please or be celestial.
Moran seems to be always be playing an opinionated deconstruction of the times that we live – his playing is very complex and yet resonates with much odd familiarity. His song “The Field” on the album Same Mother is one of his best.
Sullivan Fortner is a very young musician. He has released a single solo album so far, Aria. He is a stride pianist who plays us the soft and smooth with incredible elegance. His song “You Know I Care” feels like an epic of well theorized beauty in movements. He plays us quiet very well with “For All We Know.”
Aaron Diehl seems to want to plays neo-traditional Jazz. The songs on his album Space, Time, Continuum, despite its having a title that we would associate with Free Jazz, tell us this. Sometimes he is an experimental piano player, the song “Le Tombeau De Couperin,” as many traditional Jazz musicians such as Duke Ellington were in their day, but he is never philosophically avant garde.
His piano playing is very controlled and allows to plunge into the sounds of individual notes all the while feeling along to the mood and other instrumentation in the song. His song “Single Petal of Rose” is a piano tragedy that will leave any listener asking about his or her own life.
Shanti Samsara, the magnificent album by composer, producer and keyboardist Ricky Kej brings environmental awareness to the world. Ricky Kej brought together renowned international musicians from various genres to create an epic album.
The result is Shanti Samsara, an exquisitely-crafted album that combines cinematic Indian and western classical music traditions, world music from various continents, new age, Buddhist monks, a gospel choir and the voice of the Prime Minister of Japan, Shinzo Abe. There is also spoken word featuring Sanskrit verses by Bollywood superstar Amitabh Bachchan as well as narrations by Hollywood actresses Frances Fisher and Rosanna Arquette.
In this recording honoring nature, Kej includes the orchestral sounds of the outdoors: a tabla rhythm of rain drops; drums of thunder; sitar undulations of running water; and choirs of blooming flowers.
Shanti Samsara was created for presentation at the United Nations Conference on Climate Change 2015. What’s fabulous about this album is that it’s bringing awareness about the deterioration of our planet to audiences across the globe.
The lineup on the album includes dozens of musicians and singers from across the global. Guests include country music artist Gary Nicholson, Canadian singer Jennifer Gasoi, flute player Wouter Kellerman, the Soweto Gospel Choir, vocalist Ani Choying Drolma, veena virtuoso Pandit Vishwa Mohan Bhatt, zheng master Mei Han and lots more.
This production included stunning musical videos that we are sharing here:
The CD booklet contains several pages of credits with beautiful, colorful artwork.
Shanti Samsara is a spectacular production that shows through music and spoken word the best humanity can offer.
Finnish band Captain Cougar, from Jyväskylä, uses contemporary folk music in the nicely-crafted album Åkerblomrörelsen to recount the story of the 20th century evangelical movement that became a sect in the Swedish speaking area of Ostrobothnia, in Finland. The group was led by the prophecies of Maria Åkerblom, who affirmed she received them directly from God. Maria delivered her sermons in trances and travelled throughout Finland spreading the word.
Even though Captain Cougar is a Finnish band, their style and arrangements are much closer to Americana, especially with the English-language vocals and the way the band uses the piano and electric guitar.
The lineup includes Captain Cougar is a folk rock band, Finland, made up of Laura Lehtola, on vocals; Juha Kujanpää, on piano, synthesizers and reed organ; Jussi Petäjä, on guitars and vocals; Juha-Matti Rautiainen on bass and vocals; and Janne Torvikoski, on drums and percussion.
The CD booklet reveals much more about the controversial life of Maria Åkerblom.
The Vancouver Folk Music Festival is taking place this weekend, July 15-17, 2016 at Jericho Beach Park in Vancouver, British Columbia.
The festival schedule reflects a diverse and talented line up of 60 folk and world music artists and groups from 18 countries performing on 7 summer beachfront stages. The festival includes artists such as Bruce Cockburn; The Wainwright Sisters; Los Angeles’ Lord Huron; the world tribal sounds of Nahko and Medicine for the People; Estonia’s Trad.Attack!; The New Pornographers, Martin and Eliza Carthy from the UK; Jojo Abot from Ghana; Haiti’s music collective Lakou Mizik; Betsayda Machado y La Parrando El Clavo from Venezuela; Cape Verde’s Elida Almeida; Oysterband; Shane Koyczan and many more.
Included in the schedule are the popular day stage workshops. These “workshops” are essentially programmed gatherings of varied festival artists coming together around a particular theme, shared styles or content, or for a range of other interesting reasons. At these workshops, old musical friends connect again and fall into a familiar rhythm; other artists meet for the first time on stage to learn about each other and seek common ground.
Listening to Spotify shuffle Cassandra Wilson songs, I stumbled upon a song that I believe spoke to me in a political way: “I’ve Grown Accustomed To His Face.” The version that plunged me into dream was the one on her album Blue Skies. It had me think of it as a metaphor for political sentiment.
The song itself is a Broadway tune “I’ve Grown Accustomed To Her Face,” though made grave this time my Wilson’s voice. This one in particular is from the musical My Fair Lady, a tale of becoming. It can be sung as either his, her, or your face. She takes her time at feeling her sentiments and at the sound of a magnificent voice until our walk through the song we are left amazed at a fantastic expressionist performance.
A Broadway tune that can be felt as a political metaphor? Who would have guessed. The song’s lyrics can be interpreted in two ways. On the one had, I’ve grown accustomed to a face, sung to slow Jazz can only mean that I do not want this to end. On the other hand, the song can only be a rallying cry for change. We live in a world that most of us would like to change whether on the right or on the left. What is the root of much current political sentiment is inequality and cultural morbidity felt in a society that turns a bit too much to the dollar.
The lyrics added political layer to an already sentimental and poignant musical composition and much can be said about the fact that the instrumentation itself can be felt politically. I’ve grown accustomed to his face sung over and over again can signify that things much change or that things should remain the same with phenomenal elegance only if the instruments are well played.
The Montreal International Jazz Festival, now in its 37th edition, is regarded as the world’s largest jazz festival. The music lineup includes ambassadors of jazz and blues – as well as a generous dose of artistes in world music and fusion. See my write-up from last year’s edition here; fans of jazz and world music can check out my app ‘Oktav’ as well, a collection of witty quotes about music (available on Apple iTunes and Android).
The 2016 edition of MIJF featured artistes from Canada, USA, Japan, Norway, Turkey, Mexico, Senegal, Mauritania, Brazil, Cuba, Haiti and Guadeloupe. The festival organizers estimate that the acts drew two million attendees, spread over 10 days and two dozen venues. The long summer days of late June and early July made for perfect outdoor performances, along with ticketed indoor events as well.
Check out some of the highlights in this photo tour of MIJF 2016, and make sure you attend the 2017 edition!
Paris-based Mauritanian singer-songwriter Daby Toure kicked off Day One of MIJF 2016. He delivered a pleasing set of ‘Afropean’ music, featuring tracks from five of his albums, and occasionally drummed on his guitar as well. He has earlier founded the group Touré Touré, and sings in Fulani, Soninke and Wolof.
Formed in Beirut, Arabic alt-rock group Mashrou’ Leila played to a packed concert hall with their blend of indie rock, ballads and electronica. Their music has addressed topics such as politics, social taboos and religion in the Middle East.
Ceu – Maria do Céu Whitaker Poças – was born into a distinguished Brazilian musical family, and began her career at the age of 15. Her indoor set at MIJF drew fans from across North America, and she performed a mix of Brazilian popular music, samba, reggae and electronica. Her albums include Vagarosa and Ao Vivo.
Guitarist Denis Chang draws on gypsy jazz influences such as Django Reinhardt, and has studied with Fapy Lafertin, Ritary Gaguenetti and Emmanuel Kassimo. He performs across Europe and the US, and has released a series of educational DVDs. He performed two sets at MIJF 2016 in an intimate indoor café.
The Cuban Martinez Band had the crowd on their feet with an infectious set of salsa, merengue, bachata and more. Anchored by Yordan Martinez, the band performed in an astonishing venue at the back of a church near the jazz district!
A Haitian institution since 1963, the Orchestre Tropicana d’Haïti is a legendary big band on a 50-year mission to showcase and enhance Haitian culture. Their recent release is Bravo Tropic, and the band had the audience on their feet for a set of sensuous hip-swaying dance.
Samito is a singer-songwriter from Montreal, whose music blends acoustica and electronica. The lyrics and style are reflective of his upbringing in Maputo. Samito sang in Portuguese, French, English and Xitswa, offering a textured set of commentary on the changing times.
Born in Mexico and raised in California, award-winning singer-songwriter Lila Downs performed a sold-out standing-room only set reflecting her deep studies of musicology as well as stage charisma. Cumbia, jazz, ballads and stunning visual animation set the tone for commentary on women’s rights, immigration and poverty in Mexico. Her albums include Pecados y Milagros and Balas y Chocolate.
One of the extraordinary bands at MIJF 2016 was Baba Zula, with a mix of Turkish dub and psychedelia. Traditional Turkish instruments, wild costumes and theatrical delivery regaled the audience and provided them with a sense of Istanbul’s underground cult movement.
Mariachi Flor de Toloache, named for the legendary Toloache flower of Mexico, is an all-female mariachi band. They were nominated for the Latin Grammy in 2015. Their original costumes and ambience blended with modern takes on classic and contemporary tunes, and had the audience clapping and chanting along loudly during their two outdoor sets.
Singer-songwriter Malika Tirolien from Guadeloupe performed a superb outdoor set. She had the audience on their feet for a smooth mix of Afro-Caribbean jazz and urban beat.
Young Senegalese singer-composer Ilam has already won a range of awards in Canada, and receives wide radio airplay. His spicy outdoor set of reggae, blues, Afro-folk, pop and rock kept the audience dancing even during a slight shower; concert-goers were rewarded with a beautiful rainbow afterwards.
Pianist David Bontemps heads Montreal-based Afro-Caribbean jazz band Makaya. Formed in 2006, the quintet includes percussionist Cydric Féréol, guitarist and singer Jude Deslouches, bassist Nicolas Bédard and congas player Emmanuel Delly. Caribbean rhythms blended with jazz and Creole during their MIJF set; the band has also performed at Montréal’s Creole Festival and released their first album in 2009.
AfroDizz was one of the most sensational bands at MIJF 2016. This Montreal group is anchored by jazz guitarist Gabriel Aldama, who is deeply influenced by Nigerian Afrobeat maestro Fela Kuti. The eight musicians delivered a superb set of Afrobeat, jazz and funk. Their albums include Kif Kif, Froots (2006) and Sounds from Outer Space.