Inspired by Irish parents and encouraged by the thriving traditional music scene in his home town of Manchester, England, multi-instrumentalist Michael McGoldrick began playing Irish music at the age of 8. By the age of 15 he already had already won numerous All-Ireland Championship and became well-known as a member of influential Manchester-based Celtic rock band Toss the Feathers. He later performed with leading Celtic and folk music acts Capercaillie, Flook, Lunasa and Kate Rusby.
On Fused, McGoldrick teamed up with members of Capercaillie and Flook to create a sound that borrows as much from ambient trance as it does from traditional Irish music. Guests on the record include Karan Casey formerly of Solas and Karen Matheson and Manus Lunny of Capercaillie.
In 2010 he performed at Celtic Connections with the Future Trad Collective along with Ian Fletcher and Andy Dinan. The band released a self-titled album in 2011.
Live at the 32 Club with Toss the Feathers (1988)
Rude Awakening with Toss the Feathers (Magnetic Music, 1993)
Columbus Eclipse with Toss the Feathers (Magnetic Music, 1989)
Awakening with Toss the Feathers (1991)
TTF’94 Live with Toss the Feathers (1994)
The Next Round with Toss the Feathers (Magnetic Music, 1995)
Flook! Live! with Flook (Small, 1996)
Morning Rory (Aughgrim Records, 1996)
Lunasa, with Lunasa (1997)
Otherworld with Lunasa (Green Linnet GLCD12 (1999) Fused (Vertical Records, 2000) At First Light, with John McSherry (Vertical Records, 2001) Wired (Vertical Records, 2005) Aurora (Vertical Records, 2010) Future Trad Collective (Vertical Records, 2011)
Live, with John McCusker & John Doyle (Vertical Records 2012)
Michael Bazibu is a Ugandan multi-instrumentalist and virtuoso adungu performer based in Kampala. He’s one of the lead musicians of the Ndere Troupe a cultural development organization that performs a repertoire of authentic Ugandan dances and songs accompanied by various indigenous percussive stringed and wind instruments.
Mestisay is a popular group in Spain’s Canary Islands. They were innovative experimental and eclectic while maintaining a strong connection to their folk traditions. Their lyrics were evocative of life’s special quality on these islands steeped in a unique mix of Spanish and transatlantic with a flavor of Africa borne on the dry wind that comes in from the East.
The album La Rosa de los Vientos (the rose of the winds) is like a kaleidoscope of all those traditions that have influenced the culture of the Canary Islands: among others Portuguese fado African percussion and Cuban bolero. Through their songs Mestisay gives homage to such artists as Ellis Regina Astor Piazzolla and Mercedes Sosa.
La Rosa de los Vientos features the track Sangueo an original from Equatorial Guinea which was translated with the help of â€œHijas Del Sol” (The Daughters of the Sun) Piruchi and Paloma.
In some of their albums the group explores the strong ties of the Canary Islands with countries in the Americas with a large number of immigrants from tghe Carty Island such as Venezuela and Cuba.
Mercedes Peón who was born in La Coruña (Galicia, Spain) in 1967 has dedicated many years to recovering traditional music in her native Galicia and to teaching it in town schools and cultural associations. She has pioneered the formation of various female groups of singers and tambourine players.
Peón has also fronted several prestigious musical bands in Galicia and hosted a section about early Galician music on the local TV show Luar (Homeland).
As a music researcher, she published a book by installments titled Raiceiras (Roots women) that contains part of her field work in collecting songs. Peón has lectured on Galician folk music throughout the world and has received numerous awards for her teaching and her dedication to preserving the Galician tradition. “Ever since I was fortunate enough to fall In love with the songs of the people of Imense (a small town on the Galician “Death Coast”) I have spent years searching for those tunes that only the eldest among us can still remember because much as we may regret it over these last generations the oral transmission chain has been broken both here and In most of the world.”
The multitalented artist runs a record label called Discotrompo that promotes Galician traditional and folk music. Peón has also organized several festivals among them the traditional music festival for the Federation of European Cultural Associations and another called “Galicia Terra Unica”.
As a performer, as well as an accomplished singer, she is also a master of Galician bagpipes and of several traditional percussion instruments. Peón was awarded the special jury award in the Cídade Vella festival in Santiago de Compostela, the prize tobest singer and bagpipe performer at the Santiago de Compostela Folk Days and the Macallan award for Galician pipers at Lorient’s Festival Interceltique.
Peón has performed at many festivals throughout the world and she appeared as a guest on recordings and in live performances by artists such as Xosé Manuel Budiño, Manu Chao and Carlos Núñez.
Isué was her first solo album split between arrangements of traditional pieces and her own multicultural original compositions featuring a wide array of traditional Galician and international musical instruments combined with modern instruments. “… these years have witnessed the birth of a new phenomenon more commercial than cultural called “Celtism” which has assimilated apart from tunes from the Northern territories the pieces that were being composed by new Galician artists who took our traditional music as a springboard.
“The fact is that by chance or design during this time I have had the pleasure to discover music from other ethnic groups especially from North Africa and find in them so many affinities both in rhythm and expression with our melodies that I have good reason hr wanting to look further south (or North if we refer to Africa) for musical connection and communion. Nevertheless I plead “not guilty” if this new album is wrongly categorized (though everybody is free to pigeonhole it as they wish).
That said I myself must face the ever-complicated task of defining what this new venture into the realms of music means for me. I humbly consider that this record made with all my loving care expresses many of the things I have learned and my knowledge of the Galician oral tradition (no doubt my understanding of it and my means of expression are the channel for these feelings I let fly from deep within me to whoever wishes to share them).
I should also stress that in order to place it stylistically it could be defined as fusion music for as I said before current trends move in that direction mixing modernity with the oldest sounds and creating somewhat paradoxically totally innovative sounds with intimate harmonies that do not leave aside the frenzied rhythm of Galician traditional patterns such as “ribeiranas” and “empunadas”.
To cut it short these are sincere and complicated melodies matching oldness with modernity and so on. But above all the work is infused with passion and love. My advice therefore is that you listen to ‘it and then say what you will.”
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.
Eddie Palmieri’s musical career spans several decades as a bandleader of salsa and Latin jazz orchestras. His discography includes over 30 albums and various Grammy Awards.
Born in Spanish Harlem (New York city) in 1936, Palmieri began piano studies at an early age, as did his celebrated older brother, the late salsa legend and pianist Charlie Palmieri. For Hispanic New Yorkers of Eddie’s generation, music was a vehicle out of the barrio. At age 11, he made his classical debut at Carnegie Hall, a venue as far from the Bronx as he could imagine. Possessed by a desire to play the drums, Palmieri joined his uncle’s orchestra at age 13, where he played the timbales. Says Palmieri, “By 15, it was good-bye timbales’ and back to the piano until this day. I’m a frustrated percussionist, so I take it out on the piano.”
He began his professional career as a pianist in the early 1950s with Eddie Forrester’s Orchestra. In 1955 he joined Johnny Segui’s band. He spent a year with the Tito Rodriguez Orchestra before forming his own band, the legendary Conjunto La Perfecta in 1961. La Perfecta featured a trombone section (led by the late Barry Rogers) in place of trumpets, something that had been rarely done in Latin music, and which demonstrated the early stages of Palmieri’s unconventional means of orchestration. They were known as “the band with the crazy roaring elephants” for the configuration of two trombones, flute, percussion, bass and vocalist. With an infectious and soaring sound, Palmieri’s band soon joined the ranks of Machito, Tito Rodriguez, and the other major Latin orchestras of the day.
Palmieri’s influences include not only his older brother Charlie but Jesus Lopez, Chapotin, Lili Martinez and other Cuban players of the 1940s and jazz legends Art Tatum, Bobby Timmons, Bill Evans, Horace Silver, Bud Powell, McCoy Tyner, Herbie Hancock and Miles Davis. Equally important were influences derived from Palmieri’s curiosity and incessant search to unearth his family’s roots and seek out the origins of the music that profoundly inspired him.
“In Cuba, there was a development and crystallization of rhythmical patterns that have excited people for years,” said Palmieri. “Cuban music provides the fundamental from which I never move. Whatever has to be built must be built from there. It’s that cross-cultural effect that makes magnificent music.” His solid interpretation of Afro-Caribbean music and its confluence with jazz is evident in Eddie Palmieri’s astute arranging skills, which assemble those components in dramatic and compelling compositions.
His accomplishments have taken him through Europe, Japan and Latin America, showcasing his assemblage of seasoned musicians and kaleidoscope of musical styles. He served as a consultant to Paul Simon on his 1990 release Rhythm of the Saints and in 1993 was appointed to the board of governors of the New York chapter of the National Academy of Recording Arts and Science. As a member of the New York chapter, Palmieri was instrumental in creating a new category for Latin Jazz in 1995.
On his first salsa album in eleven years, El Rumbero del Piano, Palmieri returned to his roots as leader of one of Latin music’s most phenomenal dance bands. Accompanied by the finest musicians of New York and Puerto Rico, Palmieri presented a sensational combination of salsa, bomba, plena, son montuno and jazz. El Rumbero del Piano is a spectrum of memorable and danceable music in nine outstanding tracks, featuring vocals by Wichy Camacho and Herman Olivera, two of Latin music’s most inspiring singers.
In his modern version of Arsenio Rodriguez’s classic “Oigan mi Guaguanco ” Palmieri pays tribute to Rodriguez, the great Cuban tres player, one of the founding fathers of today’s tropical music. Puerto Rican customs and culture are the centerpiece of the bomba tune “El Dueño Monte” in which the vocalists pay tribute to other legendary figures of Puerto Rico’s folk music, including singer Ismael Rivera and the musicians of the Cepeda family.
In “Donde Esta mi Negra” Palmieri gives new life to a genre known as “the people’s newspaper”—the plena. This is the first plena Palmieri has composed and arranged. Another treat is a salsa version of “La Malagueña Salerosa” composed by Pedro Galindo and Elpidio Ramírez. The final track, “Para que Escuchen” is pure Palmieri, urging listeners to hear the talking drum.
On his exuberant Concord Picante debut, La Perfecta II, Eddie Palmieri took a salsified, mambo-rific trip down memory lane and bought an updated twist of his famed 1960s ensemble to a whole new generation of Latin music lovers.
Now that Tito Puente is gone, Palmieri accepts the passing of the Latin music leader baton and is happy to consider himself a Latin jazz ambassador to the world.
“Tito helped extend this music to all parts of the world, and as long as I am still healthy and energetic, I will continue to record and tour to keep this wonderful legacy alive,” says Palmieri. “The rhythms continue to excite because they keep evolving, just as they did when the African captives who started them were taken to the Caribbean. It’s a matter of finding new ways to utilize these complicated patterns and then create exciting new arrangements for my ensemble.”
“We’ve been together for many years and work like a good baseball team,” adds Palmieri of his band. “What matters is how we take care of specific synchronizations, and a lot of that takes place first in my head. The structure is there, and I look at it sometimes as a mathematical equation. But then, it must translate to emotion, and that’s where the reaction of the audience comes in.” He jokes about choosing the title of his 2003 album, “I like the sound of Ritmo Caliente on Concord Picante. It is hot and spicy, like the music.” On the CD, Palmieri combines hard core salsa and hard Latin jazz with his classical and chamber string influences. “Concord has been wonderful in offering me this ability to keep taking musical risks,” he said.
In 2005, Palmieri received a series of prestigious awards: he received the Alice Tully African Heritage Award from City College, received the Harlem Renaissance Award and was inducted into both the Bronx Walk of Fame and the Chicago Walk of Fame. He also received the Lifetime Achievement Award from Urban Latino Magazine. He acted as Godfather of the Puerto Rican Day Parade in New York City and received the EL Award from El Diario Newspaper. Yet another outstanding achievement that year was the debut of “Caliente ” a radio show hosted by Mr. Palmieri on National Public Radio, making him the first Latino ever to do so. The show has been a tremendous success, being picked up by more than 16 radio stations nationwide.
In 2006, Palmieri’s Listen Here! won the Grammy Award for Best Latin Jazz Album. Simpático, released in 2007, a collaborative effort with trumpet master Brian Lynch, won the 2007 Grammy for Best Latin Jazz Album. Simpático was also recognized by the Jazz Journalist Association as Best Latin Jazz Album that same year.
Awards and accolades
Eddie Palmieri received his first Grammy Award in 1975 for his release The Sun of Latin Music, which is often considered the most historic, as it was the first time Latin Music was recognized by the National Academy of Recording Arts & Sciences (NARAS).
Palmieri was awarded the Eubie Blake Award by Dr. Billy Taylor in 1991 and is among the few Hispanic musicians recognized by the Legislative Assembly of Puerto Rico and the New York State Assembly. In 1988, the Smithsonian Institution recorded two of Palmieri’s performances for their catalog of the National Museum of American History in Washington, D.C., a rare public honor.
The 1998 Heineken Jazz Festival in San Juan, Puerto Rico, paid tribute to his contributions as a bandleader, bestowing him an honorary doctorate degree from the Berklee College of Music.
Palmieri remains a powerhouse of brilliance and sound that has stirred audiences for more than 3 decades years, continually and successfully seeking to captivate and elevate the senses, and taking them down paths of intensity to a place where there are no musical boundaries.
Mayte Martin is one of the most versatile cantaoras (flamenco singers) of her generation. She is capable of performing the most difficult styles of her repertoire with equal talent and without falling for the clichés linked to flamenco cante. She takes time to explore all of the possibilities for beauty and expression in each cante.
For her interpretive work is above all an exercise in ̶interior listening” a kind of mental composition that must later be re-created with the voice. Mayte controls the ̶micro-intervals”, the melismas that are interspersed between prolonged notes and that give her cante a fluidity and an unusual melodic elegance.
Mayte exudes an expressive and personal style founded on a classic base. Mayte recorded a boleros album with Tete Montoliú and wrote a handful of songs for string quintets before meeting the dancer Belén Maya. Their meeting resulted in the forging of one of the most important and unusual artistic unions in today’s flamenco.
Mayte’s recording, Querencia, with Drac-Virgin Records, provides an in-depth look at the essence of cante and Mayte’s own restlessness as an artist.
Querencia adds rhythmic emphasis without falling into festive clichés. It gives melodiousness to the most solemn of flamenco styles without loosing a speck of depth.
Translated by Rita Granda
Muy Fragil (K Industria Cultural, 1994) Free Boleros (K Industria Cultural, 1996)
Querencia (Virgin Records, 2000) Tiempo de Amar (Virgin Records, 2002)
De fuego y de agua (KLM, 2008)
Al cantar a Manuel (Nuevos Medios, 2009)
Cosas de dos (2012)
Maxi Priest (born Max Alfred Elliott on June 1, 196) is a favorite among reggae lovers. Of West Indian descent and the second youngest of nine children he was born in Lewisham, London. His musical journey began as a young child who listened to a variety of musical genres ranging from gospel to reggae and pop.
Priest gained entry into the music world in the mid-1980s when he was given the opportunity to sing over live dancehall sessions with artists like Smiley Culture. In 1984 he became well-known after co-producing Philip Levi’s ‘Mi God Mi King ‘ with Paul ‘Barry Boom’ Robinson which was the first UK reggae song to hit number one in Jamaica.
His 1988 album Maxi gained him worldwide recognition. Priest recorded the album in Jamaica and worked with legendary artists Sly Dunbar, Robbie Shakespeare and Willie London and was released in the United States by Virgin Records. Maxi gained his first U.S. smash hit with ‘Some Guys Have All the Luck,’ a cover of Cat Steven’s classic ‘Wild World.’
In 1990 Priest released Bonafide. It went gold and contained the single ‘Close To You’ that was number one on the Billboard Hot 100 singles and number two on the Hot R&B Singles chart.
1991 was a great year for Maxi Priest. He did collaborations with Roberta Flack, ‘Set The Night To Music’ and with Shabba Ranks. He ended the year with the release of a compilation CD titled Best of Me combining songs from his four previous albums.
In 1996 Maxi released Man with the Fun which contained ‘That Girl’ a duet with Shaggy that went on to become a Grammy Nominated track and the accompanying video, directed by Hype Williams became an MTV favorite.
CombiNation released in 1999 crossed multiple genres and had numerous artists and producers such as Sly & Robbie, Robert Livingston Simon Law, and Joe. The album even featured Red Rat and Degree in ‘She Wants to Dance ‘ which added a mix of dancehall flavor to the CD.
His album 2 the Max (2005) includes dancehall hits like ‘Full Hundred’ and ‘Sweat A Go Buss.’
Maxi Priest is one the most successful solo reggae artists in the world.
You’re Safe (Charisma, 1985)
Intentions (EMI, 1986)
Maxi (Virgin, 1988) Bonafide (Charisma, 1990)
Fe Real (Charisma, 1992)
Man with the Fun (Virgin, 1996)
CombiNation (Virgin, 1999)
2 the Max (Relentless, 2005)
Refused (Peppermint Jam, 2007) Easy to Love (VP Record, 2014)
Mawwal is a collective based in the northeastern United States. The musician behind the project is composer and instrumentalist Jim Matus who plays various types of lutes.
Mawwal performs mostly original material by Matus inspired by various global traditions such as the music of India, North America and Eastern Europe and the rhythms of the Middle East and Africa. Matus is involved in numerous other projects.
Matto Congrio was one of the most important modern Celtic bands in Galicia (Spain) in the early 1990s. Its only album Matto Congrio released in 1993 was an exciting combination of Galician Celtic music with Irish music, rock, salsa, samba and reggae. The album was recorded in Dublin and featured top Irish musicians as guests, including Paddy Moloney on the uilleann pipes.
The group’s founders Carlos Núñez, Santiago Cribeiro and Anxo Lois Pinto were all graduates of the Obradoiro Escola de Gaitas e Zanfonas de Vigo (Vigo School of Bagpipes and Hurdy Gurdies) the most important school in the development of new Galician musicians. After Matto Congrio disbanded Carlos Núñez went on to become one of the most sought after pipers and flautists in international Celtic music. In addition to touring worldwide with The Chieftains he has recorded solo albums for major labels and is a frequent guest in many recordings.
Former Matto Congrio members Santiago Cribeiro, Anxo Lois Pinto and Isaac Palacin formed a new group called Berrogüetto which became one of the top contemporary Galician folk music bands.