Radmilla Cody – K’é Hasin (Canyon Records CR-6542, 2016)
Diné (Navajo) singer, songwriter and community activist Radmilla Cody presents a collection of mostly a cappella songs dedicated to an important Diné teaching known as K’é Hasin.
K’é means kinship and it is the basis for Navajo identity and existence as a people. K’é goes beyond immediate family and encompasses relationships stretching across Navajo society.
K’é Hasin translates as Enduring Kinship and Hope. It includes new songs by Herman Cody and Radmilla Cody. The songs allude to the Circle of Life; the new born; kinship honor; the four essential elements: fire, water, air and Holy Earth; mother’s love; leadership values; disposing of trash; happy morning songs; Diné Way of life teachings; clan songs; compassion and good thoughts; mother’s advice; and also a humorous song about a PT Cruiser (car).
The CD booklet contains Navajo and English-language lyrics.
Capullo De Jerez is Miguel Flores Quiros’ artistic name. He was born April 6, 1954 in Jerez de la Frontera, in the calle de Cantareria, in the middle of the Santiago barrio, which is well-known as a cradle of flamenco artists.
He is a great follower of Camaron de la Isla and made his first recording in 1989, titled Poderio. He later recorded Este soy yo, produced by Flamenco en el Foro in 2000, which is dedicated to Camaron de la Isla.
Capullo De Jerez stands out in Flamenco styles typical of his hometown. He is regarded as one of the top performer of festive styles such as bulerias and tangos.
It is said that Capullo De Jerez is one of the few non-Gypsy flamenco singers that excite Gypsy audiences.
* Miguel Flores. Capullo de Jerez
* Poderio (1989)
* En directo (live) Madrid-Córdoba-Barcelona
* Este soy yo (Flamenco en el Foro, 2000)
* Flor y Canela
Calypso Rose, a living legend in the calypso world, has brought her vibrant and irresistible music from her native Tobago to audiences on every continent, becoming one of the leading and most honored ambassadors of Caribbean music. In a genre traditionally dominated by males, she is the only woman to have captured the Calypso Monarch and Road March titles.
In addition to winning the Calypso Queen contest five years in a row, she has written numerous political and women’s rights songs and the calypso classic Fire In Me Wire. A documentary film, Rose, Calypso Diva, directed by Pascale Obolo was released in 2010.
Rose McCartha Linda Sandy Lewis was born in 1940 in the tiny island of Tobago in Trinidad and Tobago in the West Indies. She started singing at 15. In 1966 she wrote ‘Fire In Me Wire,’ which became an international calypso anthem.
In 1977 she became the first woman to win the crown of Calypso Monarch (a yearly competition that was originally called Calypso King but was renamed Calypso Monarch after her triumph) and the Road March title.
Calypso Rose has performed throughout the world and shared the stage with such popular stars as Miriam Makeba, Tito Puente, Mahalia Jackson, Michael Jackson, Roberta Flack, and Bob Marley.
She has written over 800 songs and recorded more than 20 albums, including the recent Rose, Calypso Diva that is available in the United States of America on the World Village label.
In addition to calypso, her extensive repertoire includes blues, gospel, reggae, ska and soul.
Calypso Rose has received more awards and medals than any other calypsonian from governments in Trinidad, New York, London, Washington, and Africa. She is featured in the films One Hand Don’t Clap and Calypso at Dirty Jim’s.
In 2016, Calypso Rose won the WOMEX (World Music Expo) 2016 Artist Award.
Today she lives in Queens (New York), but every year she returns to her island.
* Queen of the Calypso World (RA RA 1008, 1968)
* Calypso Queen of the World (Rose SLP 001, 1971)
* Sexy Hot Pants (Rose SLP-002, Strakers SR 7775, 1972)
* Splish Splash (Strakers SR-7776, 1973)
* Action is Tight (Charlies CR-1001, 1977)
* Her Majesty (Charlies CR 444, 1978)
* Mass Fever (CLO CR-666, 1979)
* We Rocking For Carnival (Charlies CR 251, 1980)
* Ah Cant Wait (2000 AD Records 2000 AD LP, 1981)
* Mass In California (Strakers GS 2234, 1982)
* Goes Soca Unlimited (Strakers GS 2242, 1983)
* Trouble (Strakers GS 2252, 1984)
* Calypso Train (Strakers SR 130, 1985)
* Pan In Town (Strakers GS 2261, 1985)
* Stepping Out (Strakers GS2265, 1986)
* The Golden Hits of Calypso Rose (Mahabir Records, 1986)
* Leh We Punta (Strakers GS2271, 1987)
* Soca Explosion (Strakers GS 2299, 1989)
* Soul on Fire (Strakers GS 2319, 1990)
* Jump with Power (Strakers GS 2332, 1991)
* Rosie Doh Hurt Them (Strakers GS2359, 1992)
* Breaking the Sound Barrier (Spice Island Records, 1993)
* Soca Diva (Ice 931202, 1994)
* Tobago (Blue Wave Records 960602, 1996)
* Ringbang Queen (Ice IR9902, 1999)
* Jesus is My Rock (Blue Wave, 2000)
* Calypso at Dirty Jim’s (Maturity Music MM 003, 2003)
* Just Call Jesus (2003)
* The Best of Calypso Rose (Rituals CMG1305, 2005)
* Calypso Hit Parade Vol.1 Spice Island
* Calypso Rose (Harmonia Mundi, 2008)
* Far From Home (2016)
Buddy Guy is an internationally acclaimed blues guitarist, singer and showman. He’s one of the finest examples of Chicago-style electric blues.
Throughout his extensive musical career Buddy Guy has received numerous Grammy Awards, Blues Foundation’s W.C. Handy Awards, a Billboard Century Award and in 2003, the United States President presented Buddy Guy with The Medal of Arts that was established by Congress in 1984.
Even though Buddy Guy is closely associated with Chicago, his story in reality started in Louisiana. Born in 1936 to a sharecropper’s family and raised on a plantation near the small town of Lettsworth, located some 140 miles northwest of New Orleans, George “Buddy” Guy was one of five children born to Sam and Isabel Guy.
His earliest years were affected by growing up in the American South: separate seating on public buses, whites-only drinking fountains, and restaurants where blacks (if served at all) were sent around back. But it was tolerance, not resentment, impressed upon in the young Buddy Guy.
Buddy was seven years old, he recalls, when he put together his first makeshift “guitar” a two-string device attached to a piece of wood and secured with his mother’s hairpins. There was usually no work to be done on the plantation on Saturday afternoons and Sundays, and the valuable free time helped Buddy to develop the very skills that would one day bring him fame. It would be nearly a decade, however, before Buddy would own an actual guitar, a Harmony acoustic that now sits on display at the Rock and Roll Hall of Fame in Cleveland.
By late 1955, following a job pumping gas, the 19-year-old Guy was working as a custodian at Louisiana State University in Baton Rouge, earning $28 per week. His passion was already firmly connected to the guitar and the blues sounds he heard coming from the radio, but at that point in his young life, Guy had never even been out of Louisiana.
It was September 25, 1957, a date Guy would cite countless times in interviews over the following decades, when he boarded the 8:14 a.m. train in Hammond, Louisiana, arriving in Chicago just before midnight. In an instant, his world had changed. Gone was the rural landscape of Louisiana; in its place was the thriving urban sprawl of a large city.
Within months, though, Guy had taken up residency in Chicago’s fabled 708 Club. His first appearance followed a set by Otis Rush and an often repeated story about a hungry Guy, penniless and on the verge of returning to Louisiana, getting salami sandwiches from none other than Muddy Waters himself, who had arrived at the club in a red Chevrolet. It was the first time Guy had ever seen the blues giant, who happened to live nearby.
“When I first came to Chicago,” says Guy, “most musicians were still sitting down in front of music stands even if they couldn’t read music, they did it just to look more serious. Then Guitar Slim got wild and kicked them all off stage, and I was wild like that, too.
“We used to have guitar battles every Sunday and Monday, with guys like Otis Rush and Magic Sam. It was like watching two tennis players or two boxers, they’d go at each other, but it was just making a living. One time, I came in with a 150 foot cord, walked in the door playing, and they just put their guitars down. And even now, if I don’t go off the stage, people ask if I’m feeling alright!”
By the early 1960s, Guy was a first-call session man at Chess Records. In that role, he backed artist like Muddy Waters, Howlin’ Wolf, Little Walter, and Sonny Boy Williamson. One milestone recording with Waters, Folk Singer, was made in September of 1963 and released in the spring of 1964.
Poducer Ralph Bass wrote in the album’s original liner notes about the “search” for a second guitarist to back Waters: “Buddy Guy, a young blues singer in his own right, was first choice and it is amazing for so young a musician as Buddy to be able to fit in with Muddy.”
In addition, Guy began to release a considerable amount of recordings under his own name. By the end of the 1960s, he released trailblazing albums like 1967’s I Left My Blues in San Francisco, his last recording for Chess, and 1968’s A Man and the Blues for Vanguard. In the process, Guy, the musician who developed a stinging, attacking electric guitar style and wild, impassioned vocals, was influencing a growing number of rock musicians.
“He was for me what Elvis was probably like for other people,” Eric Clapton remembered at Guy’s Rock and Roll Hall of Fame induction in 2005. “My course was set, and he was my pilot.”
Throughout the 1970s and 1980s, Guy released over 20 albums under his name. The best was a collaboration with the late harmonica master Junior Wells.
In the 1990s, Guy entered a new era of commercial success. His first three albums for Silvertone, the 1991 comeback hit Damn Right, I’ve Got the Blues (reissued in 2005), 1993’s Feels Like Rain, and 1994’s Slippin’ In, all earned Grammy Awards.
Succeeding releases like Live: The Real Deal (1996), Heavy Love (1998) and 2001’s Sweet Tea demonstrated that Guy, while firmly rooted in blues, has always tried to keep his music looking forward, even at the risk of alienating lovers of traditional blues sounds.
On his album Bring ‘Em In, Guy invited Carlos Santana and John Mayer on an album featuring covers of classic soul songs.
On Skin Deep, Buddy Guy showcases younger players such as pedal steel virtuoso Robert Randolph and husband-and-wife guitar guitarists Susan Tedeschi and Derek Trucks. These musicians serve as a living response to the question Guy raises on the song “Who’s Gonna Fill Those Shoes,” featuring pre-teen guitar whiz Quinn Sullivan, in which he reflects on the future of the blues beyond his revolutionary generation.
“I just try to get the best players, and hope I can pop the top off this can and show that the blues are back,” said Buddy Guy. “I learn from them, bring them in and see what they can do. And these guys got me feeling like when I was 22 years old and went into the studio with Muddy Waters.”
On March 14, 2005, Buddy was inducted into the Rock and Roll Hall Of Fame and on March 15 he re-released the Grammy Award winning Damn Right, I’ve Got The Blues.
In 2010, The Blues Foundation presented the Lifetime Achievement Award to Buddy Guy. The award is a one-of-a-kind creation of Patterson & Barnes, who also created the original artwork that served as the basis for the 2010 poster.
Sebastián Dominguez Lozano, better known as Chano Domínguez, was born in Cadiz on March 29, 1960. His father was a flamenco enthusiast and young Chano grew up listening to his father’s LPs.
When he was eight years old, Chano’s parents gave him his first instrument: a flamenco guitar. Chano was able to teach himself to play guitar and practiced everything that he had heard on his father’s flamenco records so that he could jam with his friends in the neighborhood.
Chano started playing keyboards with Cai, one of the best rock bands in Andalusia. This group from Cadiz fused traditional Andalusian roots music, including flamenco, with progressive rock. The young keyboardist’s impressive solos and improvisations foretold a promising future. Cai released three landmark albums: Más allá de nuestras mentes diminutas (1978), Noche abierta (1979) and Canción de Primavera (1980).
After Cai’s breakup early in the 1980s, Chano became part of a jazz group called Hixcadix that was also made up of musicians from Cadiz.
In 1992, he decided to form his own trio. Chano led the group with his personal style, fusing flamenco rhythms with the musical forms of jazz. That same year, he was awarded First Prize in the National Jazz Competition for Young Performers and he released his first two records: Chano and Diez de Paco (Paco’s Ten).
In 1995, he produced Coplas de Madrugá (Morning Songs) with acclaimed Spanish singer Martirio. This work covers some of the most important themes in traditional Spanish song and treats them with a genuine jazz aesthetic.
Once Chano established himself as one of the great names in Spanish jazz, his fame spread beyond Spain’s borders. His earthy jazz, Latin, and flamenco sounds were heard by an international audience, thanks to records such as Hecho a mano, Directo a piano solo and Imán, as well as his participation at MIDEM Latino and other famous festivals and conferences.
In 2000 Chano participated in Siegfried Loch’s Jazzpaña II. This project brought jazz and flamenco together. In the summer of 2000 Chano and other Flamenco and jazz luminaries came together at Madrid’s Sonoland Studio. The musicians included bassist Carles Benavent, saxophonist Jorge Pardo, flamenco guitarist Gerardo Nuñez, drummer and percussionist Tino Di Geraldo, celebrated Spanish bebop alto and soprano saxophonist Perico Sambeat, Franco-Spanish bassist Renaud Garcia-Fons, singer Esperanza Fernandez and Chano on piano.
After his successful appearance in the Plaza de La Habana Jazz Festival, and having rubbed shoulders with the best in Latin jazz for the movie and recording Calle 54, the pianist from Cadiz recorded a collection of unforgettable boleros with Marta Valdés for his disk, Tú no sospechas.
In 2005 Chano recorded his first children’s CD. Cuentos del mundo (World Tales) features 16 stories narrated by Constantino Romero and music by Chano.
Chano joined Cuban legend Paquito D’Rivera in 2006. Their performance at Madrid’s Teatro Real was released on DVD. The band included Chano on piano; Paquito D’Rivera on saxophones and clarinet; Angá Díaz on percussion; Marc Miralta on drums; Mario Rossy on double bass; and Israel Suárez “Piraña” on flamenco percussion.
In 2010 Chano collaborated with film director Carlos Saura’s Flamenco Hoy. The show featured musical direction by Chano, choreography by Rafael Estévez and Nani Paños and a cast of 20.
In 2016 he produced “Bendito” featuring Chano as composer and pianist with his favorite ‘cantaor‘ (flamenco singer) Blas Cordoba (a.k.a. “El Kejio”).
Chano is also an experienced educator, available for master classes, workshops and residencies. He has taught at Taller de Músics in Barcelona, The Music Conservatory of Bogotá, the Julliard School in New York and at the School of Music at the University of Washington.
In 2016, Chano moved to New York City.
* Más allá de nuestras mentes diminutas, with Cai (Trova Records, 1978)
Bluegrass masters The Infamous Stringdusters have released their new album Laws of Gravity (Compass Records) this week, featuring new original music.
The Infamous Stringdusters includes Andy Hall on dobro; Andy Falco on guitar; Chris Pandolfi on banjo; Jeremy Garrett on fiddle; and Travis Book on upright bass. The album was recorded in Nashville.
Hall says, “This is the record I’ve been looking forward to making since the band started. As pure of a Stringdusters sound as there is. All original, all us, recorded live for you. From bluegrass to jams, to songs relevant to the times, the music here is a true representation of what makes us tick.”
The Laws Of Gravity Tour Dates 2017:
1/13 Asheville, NC – The Orange Peel
1/14 Athens, GA – Georgia Theatre
1/15 Abingdon, VA – Historic Barter Theatre
1/18 Pawling, NY – Daryl’s House
1/19 Plymouth, NH – Flying Monkey
1/20 Portland, ME – Port City Music Hall
1/21 Boston, MA – Paradise Rock Club
1/22 Hartford, CT – Infinity Hall
1/24 Columbus, OH – Park Street Saloon
1/25 Rocky Mount, VA – Harvester Performance Center
1/26 Charlotte, NC – Visulite Theatre
1/27 Washington, DC – 9:30 Club
1/28 Philadelphia, PA – World Cafe Live
2/3-2/5 Tucson, AZ – Gem & Jam Festival
2/16 Sacramento, CA – Harlow’s
2/17 San Francisco, CA – The Fillmore
2/18 Los Angeles, CA – The Troubadour
2/19 Solana Beach, CA – Belly Up Tavern
2/20 Las Vegas, NV – Brooklyn Bowl
2/22-2/23 Telluride, CO – Sheridan Opera House
2/24 Aspen, CO Belly Up
2/25-2/26 Steamboat Springs, CO Winter WonderGrass
3/15 Cleveland, OH – Beachland Ballroom
3/16 Indianapolis, IN – The Vogue
3/17 Chicago, IL – Park West
3/18 St. Joseph, MN – College of St. Benedict
3/19 Omaha, NE – Waiting Room
3/21 Jackson Hole, WY – Pink Garter
3/22 Laramie, WY – University of Wyoming
3/23 Park City, UT – Park City Live
3/25 Missoula, MT – The Wilma
3/26 Whitefish, MT – The Great Northern
4/2 Arcata, CA – Humbrew’s
4/4 Bend, OR – Domino Room
4/5 Eugene, OR – HiFi Music Hall
4/6-4/7 Portland, OR – Wonder Ballroom
4/8 Seattle, WA – Neumos
Horacio “Chango” Spasiuk plays chamame, a music style born in an area composed by Northeast of Argentina and south of Brazil.
Chango Spasiuk was born on September 23, 1968 in Apóstoles, Misiones. His Ukrainian grandparents immigrated to the Misiones province of Northeast Argentina in the late 19th century, bringing with them the accordion music and dances of Eastern Europe, particularly the schottis, polka, and waltz.
Chango Spasiuk spent his childhood in a highly stimulating milieu. His childhood was centered around the carpenter’s shop managed by Lucas, his violinist father, and Marcos, an uncle who sang. The singing duos playing in red earth patios, the unrelenting subtropical climate, a terrain of jungle and wide rivers, of laborers working with hoes and machetes on the yerba mate plantations – this is the world that underlies the powerful texture and mysticism of his music.
He plays with a memory of the informal rural polkas, performed by the whole family, that were such a special feature of his home in Misiones. He produces a rich mix of contemporary sound and tradition, where one can also find Schotis, rural Polkas, Rancheras and Rasguidos Dobles.
Until this day Chango has composed music for films, played with rock, jazz, folk and classical musicians. His music has been arranged to play with one of the main Chamber Orchestras in Argentina. He performs with the most traditional musicians as well as with the most avant-garde.
Chango has had a career of more than twenty years, in spite of his relative youth today. He started playing in local dances; and after a presentation in the main folk festival of Argentina, he started to tour all over the country. His music went through changes throughout these years, but it has always kept the roots essence of where he came from: the red lands of the northeast of Argentina.
Although he had already played beyond Argentina, it was his participation in WOMEX 2003 and in Mercado de Bahia in 2001 that opened a new direction for his career. Since then, Chango has traveled to Germany, the Netherlands, France, Spain and to Great Britain.
His first international release, Tarefero de mis Pagos, won the BBC Award for World Music (Best Newcomer 2005)
John Cephas & Phil Wiggins played country blues, keeping the Piedmont tradition alive. The duo celebrated the gentle, melodic blues style of the Southeastern United States.
Because both Cephas and Wiggins were born in Washington, D.C., they brought an urban sophistication to the traditionally rural blues they performed. The duo quickly became popular with traditional blues fans in the United States and in Europe, where they recorded two albums, Living Country Blues and Sweet Bitter Blues, for the German L&R label.
Often under the auspices of the U.S. State Department, the two spent much of the 1980s abroad, playing Europe, Africa, Central and South America, China, Australia, and New Zealand. In 1988, they were among the first Americans to perform at the Russian Folk Festival in Moscow.
By the end of the 1980s, the international blues community began to recognize Cephas & Wiggins as the leading exponents of traditional Tidewater blues. The two recorded their first domestic album, Dog Days of August, in 1987 in John’s living room, and it quickly won a W.C. Handy Award for Best Traditional Blues Album of the Year. In 1989, John received a National Heritage Fellowship Award. Often called the Living Treasure Award, this is the highest honor the United States government offers a traditional artist.
Aside from their busy performance schedule, both Cephas and Wiggins also worked as actors. In 1991 John portrayed a blind bluesman in the Kennedy Center production of Blind Man Blues. Phil was in the cast of Matewon, a prize-winning Hollywood film. Together they appeared in the stage production of Chewing The Blues and in the documentary films Blues Country and Houseparty.
Cephas & Wiggins were also inckuded in four touring arts programs in the United States, sponsored by the National Council For The Traditional Arts: Masters of the Steel String Guitar, Juke Joints and Jubilee, Saturday Night and Sunday Morning and Echoes of Africa.
In 1996, after two successful albums for the Flying Fish label, Cephas & Wiggins made their Alligator debut with Cool Down. It was a collection of original and traditional country blues. The success of Cool Down helped establish Cephas & Wiggins as essential musicians in the resurgence of interest in country blues, as seen in the success of young acoustic artists like Corey Harris, Alvin Youngblood Hart, Guy Davis, Chris Thomas King and others.
John Cephas died March 4 of 2009 of natural causes. He was 78.
Madrid-based band Canteca de Macao was founded in 2003 and has caused a stir in international music circles in recent years with its wild blend of flamenco, Gypsy rumba, rock, reggae, ska, salsa and jazz. One of Spain’s most popular live acts, the group makes each performance into an exciting and joyful party. Canteca de Macao’s concerts include music, dance and sometimes jugglers.
Canteca de Macao was started around 2003 when several musicians from Spain, Venezuela and Chile got together to perform at Madrid’s popular flea market, El Rastro. The nine-piece band recorded a self-produced first album titled Cachai, which sold 4,000 exclusively at concerts. To promote the album, Canteca de Macao toured throughout Spain and the rest of Europe.
The band’s line-up in 2009 included Ana Saboya “Anita Kuruba”, Álvaro Melgar (‘Azelga’), Isidoro Lora-Tamayo (‘Chiki’), Danilo Montoya, Guillermo Martínez Yusta, Juan Tomás Martínez París (‘Juancho’), Pablo Carretero, Javier Rodríguez de Zuloaga (‘Zulo’) and Rodrigo ‘El Niño’ Díaz.
In 2013, to celebrate its 10th anniversary, Canteca de Macao released a music video each month featuring its greatest hit s and new songs. A tour followed.
The band released a CD + DVD titled Una Década that features its greatest hits accompanied by some of the leading mestizo and flamenco crossver acts in Spain: Chico Ocaña, Amparo Sánchez, El Canijo de Jerez, Alamedadosoulna, Juan Manuel Montilla (Langi), and Dremen.
In 2015, Canteca de Maca released “Lugares Comunes.” The band featured new songs composed by Chiki and Anita. The lineup in 2016 features Ana Saboya, “Anita”; Isidoro Lora-Tamayo, “Chiki“; Javier Rodríguez de Zuloaga “Zulo“; Rodrigo Ulises Díaz, “El Niño“; Carlos Leal Valladares; bassist Yago Salorio; and keyboardist Rubén García Motos.