Category Archives: Artist Profiles

Artist Profiles: Mercan Dede

Mercan Dede

 

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.

 

Mercan Dede

 

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.

 

Mercan Dede

 

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.

 

 

Discography:

Sufi Dreams (Golden Horn, 1998)

Journeys of a Dervish (Golden Horn, 1999)

Nar (Doublemoon, 2002)

Seyahatname (Doublemoon, 2002)

Sufi Traveler (High Times Records, 2004)

Su (RH Pozitif Muzik 2004/Escondida Music, 2005)

Breath (White Swan, 2007)

800 (2007)

Dunya (2013)

Website: www.mercandede.com

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Artist Profiles: Eddie Palmieri

Eddie Palmieri

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).

He would win again the following year for Unfinished Masterpiece, Palo Pa Rumba, Bajo Con Tumbao in 1984, Solito in 1985 and La Verdad in 1987. He received a Latin Grammy and a traditional Grammy for his 2000 release with Tito Puente entitled Obra Maestra, Listen Here! in 2006 and Simpatico in 2007, a collaborative effort with trumpet master Brian Lynch, for Best Latin Jazz Album.

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.

Discography:

La Perfecta (Alegre, 1962)

El Molestoso (Alegre, 1963)

Lo Que Traigo Es Sabroso (Alegre, 1964)

Mambo Con Conga Is Mozambique (Tico, 1965)

Palmieri & Tjader: El Sonido Nuevo (Tico, 1966)

Palmieri & Tjader: Bamboleate (Tico, 1967)

Champagne (Tico, 1968)

Justicia (Tico, 1969)

Superimposition (Tico, 197)

Harlem River Drive (Roulette, 1971)

Live At Sing Sing – Vol 1 (Tico, 1972)

Live At Sing Sing – Vol 2 (Tico, 1972)

Sentido (Coco, 1973)

The Sun of Latin Music (Coco, 1974)

Unfinished Masterpiece (Coco, 1974)

Lucumi Macumba Voodoo (Epic, 1978)

Eddie Palmieri (Barbaro, 1982)

Bajo Con Tumbao (1984)

Solito (Musica Latina, 1985)

La Verdad (Sonido, 1987)

Sueño (Intuition, 1992)

Llegó La India Via Eddie Palmieri (Soho Sounds Palmas – Elektra/Nonesuch, 1992)

Arete (Tropijazz, 1995)

Vortex (Tropijazz, 1996)

El Rumbero Del Piano (Tropijazz, 1998)

Obra Maestra (2000)

La Perfecta II (Concord, 2002)

Ritmo Caliente (Concord Records CCD-218-2, 2003)

Listen Here! (Concord Records, 2005)

Simpático (The Brian Lynch/Eddie Palmieri Project) (2006)

Eddie Palmieri is Doin’ it in the Park (2013)

 

 

Sabiduría (Ropeadope, 2017)

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Artist Profiles: Mayte Martin

Mayte Martin

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

Discography:

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)

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Artist Profiles: Maxi Priest

Maxi Priest

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.

Discography:

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)

website: www.MaxiPriest.com

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Artist Profiles: Mawwal

Jim Matus

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.

Discography:

This Is All There Is There Is No Other Place (Ancient Records, 2008)

Sight Up (Ancient Records, 2011)

High Hills in the Creaving Road (Ancient Records, 2012)

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Artist Profiles: Matto Congrio

Matto Congrio

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.

Musicians:

Santiago Cribeiro – accordion, piano, keyboards

Anxo Lois Pinto – violin, bagpipe, soprano sax

Diego Bouzon – Spanish and electric guitars

Isaac Palacin – drums percussion

Carlos Núñez – flutes and bagpipes

Pancho Alvarez – bass mandolin guitar

Discography:

Matto Congrio (Lyricon, 1993)

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Artist Profiles: Matlubeh

Matlubeh

Matlubeh is known as the turquoise of Uzbekistan. Her voice has such a large range that she is able to move freely from classical music shahsmaqam to folk music.

Originally from a Tajik village near Samarkand she sings in her native tongue as well as in Uzbek (a language closer to Turkish as opposed to Tajik which is more related to Persian. From the age of four she accompanied her mother who was later to become her first singing coach. “In my family music is in the blood,” she says. “My mother would take her dayera and sing with the accompaniment of her children at all sorts of occasions like wedding ceremonies etc ..). There were ten of us children and my mother hoped with all her heart that one of us would grow up to be a musician. When I was little I listened to the radio and imitated great classical singers. I wrote songs and sang them while we picked cotton. I owe all of my success to my mother and her advice. I think of her words before each concert: “You must sing so that your voice can reach its highest point and give its fullest strength.”

Matlubeh is a good example of how musical transmission operates in the Uzbek tradition. While her mother was a folk music singer in a village Matlubeh went on to become one of the greatest singers of classical and folk music in Uzbekistan. When Uzbek television featured a documentary on her life it did not fail to pay homage to her mother who at that time had already passed away but is considered one of the greatest representatives of the folk tradition.

After five years of music study at the Music University and conservatory of Tashkent the young singer began to perform with The Shashmaqam Ensemble of Radio Uzbekistan. She is now the soloist of this ensemble. When she is complimented on her vocal technique she is quick to praise her professors: “I owe everything to my mentors Aref Khan Haternov and Turgun Alimatov.”

Currently as she continues her engagement with radio she performs and records with Turgun Alimatov one of the last masters of classical music. After a private concert in his garden in Tashkent Turgun Alimatov pointed to Matlubeh and said: “I have tried to give everything I know to this student. She is my hope for the future.”

As a singer originally from the Samarkand and region who lives in Tashkent, Matlubeh sings both the classical and folk music of the two regions.

Discography:

Turquoise of Samarkand (Long Distance, 1996)
Yar Kelour (Iris Musique, 2000)

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Artist Profiles: Mary Ann Kennedy

Mary Ann Kennedy

Mary Ann Kennedy, daughter of singer Kenna Campbell was born and brought up in Glasgow in a house where Gaelic was the language of the home and in a community where speaking two languages was the norm even if not everyone spoke the same second language.

Mary Ann trained as a classical musician alongside Radio Scotland ‘Grace Notes’ presenter Jamie MacDougall and remembers accompanying him on the clarsach on many occasions while he was still a sweet-voiced angelic boy soprano. Her first love though is the traditional music that has surrounded her all her life and after several years in the BBC newsrooms she has returned to freelance broadcasting and performing choosing to base herself in the Highland capital city of Inverness.

One of a select number of singers to have won both Gold Medals at the National Mod, she is also twice winner of the International Celtic Harp competition in Lorient Brittany. Mary Ann was given a Saltire Award for Lasair Dhe the finale of the 1999 Highland Festival involving Cliar and Gaelic choirs from all over the Highlands and Islands. She is a member of the band Cliar hailed as ‘one of the most beautiful sounds in 21st Century Scotland’ and is a partner in the Skye-based record label Macmeanmna (Gaelic for imagination).

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Artist Profiles: Dennis Cahill

Dennis Cahill

Dennis Cahill is a virtuoso guitarist versed as well in classical, blues and rock as he is in traditional Irish music. A native of Chicago, he studied at the city’s prestigious Music College before becoming an active member of the local music scene.

Cahill’s innovative accompaniment is acknowledged as being a major breakthrough for guitar in the Irish tradition. In addition to his recordings and live work with Martin Hayes Dennis has performed with such renowned fiddlers as Liz Carroll, Eileen Ivers and Kevin Burke.

Cahill and Hayes, along with singer Iarla Ó Lionáird, fiddler Caoimhín Ó Raghallaigh and pianist Doveman, are the members of The Gloaming, an Irish-American supergroup

Discography:

The Lonesome Touch, with Martin Hayes (Green Linnet 1997)
Live in Seattle, with Martin Hayes (Green Linnet 1999)
Welcome Here Again, with Martin Hayes (Green Linnet 2008)
The Gloaming (Brassland Records, 2014)
The Gloaming 2 (Brassland Records, 2016)

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Artist Profiles: María Salgado

María Salgado

María Salgado was born in Toro in the province of Zamora, Spain. From the beginning she assimilated and became familiar with the basis and sources of traditional folk music. In Segovia, the great master of Castilian music Agapito Marazuela revealed to her the essence of genuine traditional interpretation. In fact, on the basis of his teachings she made a great recording of songs taken from the “Cancionero de Castilla” which Marazuela painstakingly recovered at the beginning of the 20th century. In Canciones De Amor y Trabajo, María Salgado rearranged old melodies and included the most modern musical instruments. This she did in such a way that these vigorous songs lose none of their true spirit.

With her other tutor, Joaquín Díaz, she came to realize the importance of knowing and loving the recent past and she learned to re-discover it from a different angle from a more human and wiser view point. She took part in and collaborated in numerous recordings with Joaquín. Together they worked with other folk musicians such as Raíces, Candeal and Angel Carril on El Calendario Del Pueblo a project made up of several volumes.

These early beginnings give us a better understanding of María Salgado´s full and artistic development. Several solo recordings and many collaborations and joint recordings prove this her constant search for originality but always starting from the very depths of things from the essence of artistic being no matter what this may be or wherever it may be found.

There are few back-ups as essential as poetry and María has sung verses by Luis López Alvarez (her version of the Romance De La Reina Juana always seems different in each performance), works by Luís Díaz Viana of which she has made two mono recordings – Recuerdo and Profecía Por España ( a disc with Lorca echoes and one of Jesús Quintero’ s most frequently performed in “El Loco de la Colina”) and “La Ultima Dama”. She has also taken part in the recording made in honor of the Cuban composer María Teresa Vera together with Martirio, Omara Portuondo and Pablo Guerrero.

Poetry in the words, a fine sensibility in the interpretation variety in the themes –these are some of the ingredients used by María Salgado over the last years to create a widely recognized and tremendously coherent career. She can claim that thanks to her recording Mirándote it is clear that there are Habaneras from inland, away from the coast, which are just as beautiful and mysterious as those from the Mediterranean. In a recording made with Sudanese singer Rasha and Galician singer “La Sal de la Vida” she has clearly shown that the language of music as the language of art in general terms is the most powerful way to unite peoples and cultures.

In her recording “Siete Modos de Guisar las Berenjenas” (Seven Ways to Cook eggplant) she grouped together songs from a wide variety of origins and their only common factor is their beauty. Nostalgic Sephardic melodies taken from Greece live comfortably alongside new songs by Juan Pablo Silvestre and traditional Spanish songs from the plains and Andalusia.

Discography:

Recuerdo y profecia por España (1977)

El calendario del Pueblo (2 volumes 1977 and 1978)

Canciones de boda (1979)

Canciones de amor y de trabajo (1980)

La última dama (1981)

Siemprevivas (1992)

Mirandote (1993 and 1998)

A Maria Teresa Vera (1995)

La sal de la vida (Nubenegra, 1997)

Siete modos de guisar las berenjenas (Nubenegra, 1998)

Abrecaminos (2006)

Amor a Cuba (RTVE, 2008)

Abrazo-abraso (2011)

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