Category Archives: Artist Profiles

Artist Profiles: Natalie MacMaster

Natalie MacMaster

Composer, virtuoso fiddler and skilled step dancer Natalie Ann MacMaster was born on June 13, 1972 in Troy, Nova Scotia, Canada. She was raised in a musical family steeped in Scottish heritage.

Natalie began playing at age 9 after having been given a small fiddle by her great uncle. From the early days, she was encouraged by her father and musically influenced by her uncle, Buddy MacMaster, an undisputed master of the Cape Breton fiddle.

Natalie’s career flourished rapidly. From a small beginning playing at dances and concerts in and around Cape Breton to representing Nova Scotia on the world’s stages. Natalie has become a musical ambassador for a new musical generation of Cape Breton musicians. Whether performing with a small format or with her full band, Natalie’s concerts are a dazzling blend of musical virtuosity and lively step dancing.

Natalie’s first three recordings gained major nominations and awards from the East Coast Music Association. In 1992, she won the Roots/Traditional Artist Award. In 1994, her third album, Fit as a Fiddle, earned Natalie the Instrumental Artist of the Year Award. In 1995, she was nominated as Entertainer of the Year.

Natalie’s phenomenal stage presence has led to considerable media attention. She was profiled by various TV shows. In June of 1995, Natalie won over a crowd of 80,000 in Chattanooga, Tennessee, as opening act for Carlos Santana. A broken fiddle string couldn’t keep her down as Natalie continued playing using only her bottom two strings.

Natalie has headlined in cities such as London, Glasgow, Edinburgh, Brussels, and Tokyo. And for several years, she has acted as guest instructor and performer at the world renowned Mark O’Connor Fiddle Camp in Nashville.

In March of 1996, Natalie received a phone call from Ireland’s The Chieftains requesting that she open for them on a four-week tour of the United States. The Chieftains obviously saw something in Natalie that their audiences would soon come to appreciate. MacMaster capably and expertly delivered the goods. The highlight of each performance had to be Natalie joining The Chieftains at show’s end to fiddle and dance.

Natalie’s first two independent recordings, Road to the Isle and Four on the Floor, have each sold in excess of 12,000 copies each … and that’s on cassette only. Her third Indie release, Fit as a Fiddle, racked up sales of more than 30,000 copies on CD and cassette.

In the spring of 1996, Warner Music Canada negotiated a major label deal with Natalie for the album No Boundaries. Produced by Chad Irschick (The Rankin Family, Loreena McKennitt, Susan Aglukark), No Boundaries is exactly that. Natalie’s diversity extends to places her fans could have never imagined. From beautiful classic pieces through ragtime and country music, Natalie continues to step across musical lines. Special note should be made of guest appearances by Cookie Rankin on “Drunken Piper,” Bruce Guthro on “Fiddle &Bow,” and a host of Canada’s best musicians.

In 1997, Rounder Records made No Boundaries available in the United States and also re-released Fit As A Fiddle. The success of these releases led to the re-release of A Compilation in 1998.

Natalie MacMaster

A good example of MacMaster’s energy during her live performances was documented in a double album recorded live, released in 2002. The sessions were made at the Living Arts Centre in Mississauga (Ontario) and at an old hall in the woods in rural Glencoe, Cape Breton Island.

Blueprint (2003) was Natalie MacMaster’s first studio recording since 1999’s In My Hands. On Blueprint, MacMaster mixes Celtic, Jazz, and Bluegrass. Special guests include Bela Fleck (banjo), Jerry Douglas (Dobro), Sam Bush (mandolin), and Edgar Meyer (bass).

Natalie MacMaster collaborated with cellist Yo-Yo Ma on the Grammy-winning album “Songs of Joy & Peace” (2008) and artists as diverse as Alison Krauss, Jesse Cook, and Béla Fleck.

Fiddle album One, released in 2015, features Natalie MacMaster and her husband Donnell Leahy. In addition to the familiar Celtic sounds, the album features distorted electric guitars, two players on one piano, and a drum kit made of paint cans and a cardboard box.

Natalie MacMaster and Donnell Leahy

In 2016, Natalie MacMaster and Donnell Leahy released A Celtic Family Christmas accompanied by an outstanding group of musicians and their children. The album features classic Christmas songs seasoned with the duo’s style of Celtic tradition. “We have celebrated Christmas in a big way our entire lives and finally have recorded the music,” said Natalie MacMaster.

Natalie MacMaster is a recipient of the Order of Canada. She has won two JUNO and 11 East Coast Music Awards.

Discography:

Four on the Floor (Astro Custom Records, 1989)

Road to the Isle (Astro Custom Records, 1991)

Fit as a Fiddle (1993)

A Compilation (Rounder Records, 1996)

No Boundaries (Rounder Records, 1997)

In My Hands (Rounder Records Select, 1999)

My Roots Are Showing (Rounder Records Select, 2000)

Live (Rounder Records Select, 2002)

Blueprint (Rounder Records, 2003)

Yours Truly (Rounder Records, 2006)

Cape Breton Girl (MacMaster Music, 2011)

One, with Donnell Leahy (MacMaster Music, 2015)

A Celtic Family Christmas, with Donnell Leahy (Linus Entertainment, 2016)

website: www.nataliemacmaster.com

Share

Artist Profiles: Daniel Binelli

Daniel Binelli

Argentina’s Daniel Binelli is an internationally renowned composer and master of the bandoneon, acclaimed as the foremost exponent and torchbearer of the music of Astor Piazzolla. In fact, in 1989, he joined Piazzolla´s New Tango Sextet and toured internationally.

Binelli continues to perform extensively in concert and recital around the world, with many great ensembles, including the Philadelphia Orchestra, Atlanta Symphony, Virginia Symphony, Sydney Symphony, Tonhalle Orchestra in Zurich, Montreal Symphony, Ottawa Symphony, Dayton Philharmonic (Ohio) and St. Petersburg Symphony (Russia).

However, not enough people know that Daniel Binelli is a superb composer in his own right, and has created and arranged music for solo instruments, quintet, chamber and symphony orchestras, dance and film music.

Symphony and large ensemble works include Homenaje Al Tango for piano, bandoneon &strings and also for symphony orchestra, Preludio Y Candombe for bandoneon & piano with orchestra, Tres Movimientos Concertantes for bandoneon with orchestra and Concierto No 1 for piano with orchestra.

Chamber works include

* ‘Un Bandoneon En Paris’ for bandoneon, piano & strings
* ‘Tango De Los Cuadros’ for piano, bandoneon, string quartet and also for bandoneon & piano
* ‘Fueyazo’ for bandoneon, string quartet, bass, also for bandoneon, piano, violin, electric guitar, bass
* ‘Metropolis’ for bandoneon & string quartet and also for bandoneon, cello, bass, piano, violin
* ‘Un Tango En La Noche’ for bandoneon & string quartet
* ‘Imagenes De Buenos Aires’ for bandoneon, piano, electric guitar, bass, violin
* ‘Al Pintor Aldo Severi’ bandoneon & piano, also for bandoneon, violin, bass, electric guitar, piano and also for bandoneon, piano, string quintet, to say nothing of the works for solo bandoneon.

He has also composed, among other works, ‘Romance Del Mandolin Y La Guitarra’ for mandolin & guitar and ‘Azul Profundo” for flute and guitar, as well as a fine catalog of works for solo piano.

Some of the many international orchestras, ensembles, Tango companies and soloists that have commissioned and/or performed works from Daniel Binelli include the Zurich Symphony (Switzerland), Edmonton Symphony (Canada), Buffalo Philharmonic (New York), Colorado Music Festival, Montevideo Philharmonic, Colombia Symphony, and Buglisi/Foreman Dance Company (New York) as well as Osvaldo Pugliese Orquesta Tipica (Argentina) and Tango 7 (Switzerland).

He was commissioned by Utah State University for a concerto for piano, bandoneon and orchestra and his Golden Gate Fantasy was funded by a grant from the American Music Center.

Additionally, Binelli has composed music for the Argentine films ‘India Pravile,’ ‘Funes un Gran Amor’ and ‘Tango Baile Nuestro.’

A very good place to hear his music, as well as to experience his superb bandoneon artistry, is to catch his Tango Metropolis ensemble on tour.

Discography

* Piazzolla Hoy, with Orquesta Estable del Teatro Colón, Conductor: José Carli (EMI, 1993)
* ¡ Tango !, with Daniel Binelli’s Septet (Dorian, 1994)
* Piazzolla Classics (Tango Sensations) (Milan, 1994)
* Atardecer Antiguo / Bandoneón, with Hugo Romero (Melopea, 1996)
* Piazzollando ao vivo (Kuarup, 1997)
* Borges & Piazzolla (Milan, 1997)
* Milva El tango de Astor Piazzolla, with Quinteto Argentino de Daniel Binelli (King Records, 1998) released in Japan
* Argentine Masters (Testigo, 1998)
* El Bandoneón (Random, 1999)
* El Tango, with Cecilia Rossetto (Black Sun, 1999)
* Encuentros…con el Tango, with Alicia Terzian & el Grupo Encuentros (Dom, 1999)
* La Música Argentina y el Tango, with Eduardo Issac (King Records, 2000) released in Japan
* Rojotango, with Cecilia Rossetto (La Casona)
* Tangazo, with Charles Dutoit y la Orquesta Sinfónica de Montreal (Decca, 2001)
* Imágenes, with Polly Ferman (Romeo Records, 2002)
* Tangos de Buenos Aires, with Linda Lee Thomas (CBC, 2002)
* Tango Metrópolis, with Daniel Binelli’s Quintet (2002)
* Imágenes, with Polly Ferman (EPSA Music, 2002)
* Orquestango, with Polly Ferman & Filarmónica de Montevideo (Sondor, 2003)
* Tango Natural, with César Angeleri (Random, 2003)

Web sites

* http://www.danielbinelli.com

Jeffrey James Arts Consulting

Share

Artist Profiles: Damien Stenson

Damien Stenson

Damien Stenson grew up in County Sligo (Ireland), an area with a rich folk music tradition. He is known for his extensive repertoire and flowing style of flute playing, developed by many years of constant musical activity.

He is featured on various albums including the compilation “Wooden Flute Obsession Vol. 2”, Oisín Mac Diarmada’s solo album “Ar an bhFidil”, together with a bodhrán album by Junior Davey. He is the flute player of renowned Irish traditional group Teada.

Discography

* Teada (Ceol Records CEOCD 002, 2003)
* Give us a penny and let us be gone (Green Linnet 1228, 2004)
* Inne Amarach (Yesterday Tomorrow) (Gael Linn/Compass Records, 2006)
* Ceol & Cuimhne (Music & Memory) (Compass Records, 2010)
* Ainneoin Na Stoirme (In Spite Of The Storm) (2013)

Share

Artist Profiles: Damian Marley

Damian Marley

Damian Marley is the son of reggae icon Bob Marley and Jamaica’s 1977 Miss World, Cindy Breakspeare. He is the offspring of a union between two distinctive and disparate worlds.

Born in Kingston, Jamaica on July 21, 1978, Damian Robert Nesta Marley (a.k.a. ‘Junior Gong’), Bob’s youngest son, began performing as a child as the vocalist for a group called The Shepherds. Comprised of other well-known reggae artists’ children, including Shiah Coore (son of Third World guitarist Cat Coore) and Yashema Beth McGregor, the daughter of Freddie McGregor and Judy Mowatt, The Shepherds performed at several shows in Jamaica including the Reggae Sunsplash music festival in 1992.

After The Shepherds’ demise, Damian turned his vocal talents to deejaying (the Jamaican equivalent of rapping). In 1993 Damian’s debut single Deejay Degree was released on Tuff Gong Records (the label founded by Bob Marley) and the following year he released Sexy Girls On My Mind for the Main Street label.

Damian’s next release, 1995’s School Controversy, was featured on the Epic/Sony Wonder compilation, Positively Reggae with all sales proceeds going to Jamaica’s Leaf of Life Foundation, an organization which assists children who are HIV positive.

Although he was still a teenager, Damian was selected as the Positively Reggae spokesperson, a role that introduced him to the international press and record buying public. That same yea, Damian performed at select dates on the Shabba Ranks World Unity tour and with his brother Julian performed at Jamaica’s Reggae Sunfest and Sunsplash festivals.

Damian was a high school student when he began recording Mr. Marley at the Marley Music 48 track-recording studio. Produced by Stephen Marley (head of the Marley Boyz production team), Mr. Marley delivered a fusion of contemporary reggae grooves and infectious dancehall rhythms alongside tough edged hip-hop beats, an ideal complement for Damian’s versatile deejay-rap style.

The album included several updates of Bob Marley classics as well as the single ‘Me Name Junior Gong’ which went to the number one in Hawaii and held that position for several weeks. ‘When we went to Hawaii in 1997,’ Damian recalls, ‘we had three songs on the charts there: ‘Me Name Junior Gong,’ ‘One Cup of Coffee’ and ‘Now You Know,’ a tune from Julian’s debut album.’

Damian and Julian’s burgeoning popularity earned them featured appearances on the 1997 traveling alternative rock festival Lollapalooza which provided invaluable exposure among a new sector of music fans.

Five years after the release of Mr. Marley, Damian had matured as a performer, songwriter, recording artist and Rastafarian, his unwavering convictions reflected throughout his new album, Halfway Tree.

Stephen Marley produced Halfway Tree for Marley Boyz productions. Stephen’s innovative approach to Halfway Tree incorporates spoken word introductions and dramatic vignettes as song interludes, creating a conceptual cohesiveness lacking from most Jamaican albums. Stephen also adapts traditional reggae elements (forceful drum and bass lines, committed social commentary) to 21st century hip hop’s synthesized beats and sometimes defiant stances while utilizing the talents of Jamaican singers, deejays and musicians alongside American rappers, each underscoring Damian’s impassioned delivery.

Damian called the album Halfway Tree because ‘my father is from the country and the ghetto and my mother is from uptown so I come like a half way tree, like a bridge because I can relate to both sides.’

Discography

* Mr. Marley (Universal Republic, 1996)
* Halfway Tree (Motown, 2001)
* Welcome to Jamrock (Universal, 2005)
* Stony Hill (Ghetto Youths International, 2017)

Web site

http://www.damianmarleymusic.com

Share

Artist Profiles: Cedric Watson

Cedric Watson

Born in San Felipe, Texas in 1983, singer, fiddler, accordionist and songwriter Cedric Watson developed an early love for Cajun music and moved to Lafayette, Louisiana, where he studied not only pure Cajun music but the Creole fiddling styles of Canray Fontenot and Bebe Carriere and was quickly acclaimed for his mastery.

A founding member of the Pine Leaf Boys, Cedric Watson formed a new band, Bijou Creole. In Bijou Creole, Watson explores the roots of Louisiana’s Creole music. Playing a variety of old-school zydeco styles, original material, and Creole traditional songs, the polyrhythmic and syncopated sounds of Africa and the Caribbean are unmistakable in this ensemble of talented musicians.

Michael Doucet (BeauSoleil, Savoy-Doucet Band) says, “To propel our Louisiana Creole culture into the future seems to be quite a task, but if one lives for the music as Cedric does, the path seems effortless.”

Along with Watson, Bijou Creole is rubboard (washboard) player-percussionist Mike Chaisson, bassist Blake Miller, guitarist Chris Stafford, and drummer Jermaine Prejean.

Discography

Goin’ Down to Louisiana (Valcour Records, 2006)
Cedric Watson (Valcour Records, 2008)
L’Esprit Creole (Valcour Records, 2009)
Homage Au Passe, with Pine Leaf Boys Lionsgate Records, 2009)
Creole Moon: Live From Blue Moon Saloon (Valcour Records, 2010)
Le Soliel Est Leve, with Bijou Creole (Lache Pas Records, 2011)
Le Troubadour Creole, with Bijou Creole (Lache Pas Records, 2013)

Web site: www.cedricwatson.com

Share

Artist Profiles: Capullo De Jerez

Capullo De Jerez

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.

Discography

* Miguel Flores. Capullo de Jerez
* Poderio (1989)
* En directo (live) Madrid-Córdoba-Barcelona
* Este soy yo (Flamenco en el Foro, 2000)
* Flor y Canela

Share

Artist profiles: Calypso Rose

Calypso Rose -Photo by Richard Holder

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.

Discography

* 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)

Web site: www.calypso-rose.com

Share

Artist Profiles: Buddy Guy

Buddy Guy

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.

Muddy Waters – Folk Singer

 

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.

 

Buddy Guy – A Man and the Blues

 

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.

 

Buddy Guy – Damn Right, I’ve Got the Blues

 

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.”

 

Buddy Guy

 

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.

Solo Discography:

I Left My Blues in San Francisco (Chess, 1967)
This Is Buddy Guy (Vanguard, 1968)
A Man and the Blues (Vanguard, 1968)
Hold That Plane! (Vanguard, 1972)
Stone Crazy! (Alligator, 1979)
Live at the Checkerboard Lounge (Rockbeat, 1979)
Breaking Out (JSP, 1980)
The Dollar Done Fell (JSP, 1980)
DJ Play My Blues (JSP, 1981)
Damn Right, I’ve Got the Blues (Silvertone/BMG, 1991)
Feels Like Rain (Silvertone, 1993)
Slippin’ In (Silvertone, 1994)
Heavy Love (Silvertone, 1998)
Sweet Tea (Jive, 2001)
Blues Singer (Silvertone, 2003)
Chicago Blues Festival, 1964 (Stardust, 2003)
Jammin’ Blues Electric & Acoustic (Sony, 2003)
Live at the Mystery Club (Quicksilver, 2003)
Bring ‘Em In (Jive, 2005)
Skin Deep (Jive, 2008)
Living Proof (Jive, 2010)
Live at Legends (RCA/Silvertone, 2012)
Rhythm & Blues (RCA Records, 2013)
Born to Play Guitar (RCA Records, 2015)
I’ll Play the Blues for You (Klondike, 2016)

Share

Artist Profiles: Chano Domínguez

Chano Domínguez

 

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).

 

Chano Domínguez with Cai

 

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.

 

Chano Domínguez

 

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.

Discography

* Más allá de nuestras mentes diminutas, with Cai (Trova Records, 1978)

* Noche abierta, with Cai (Epic, 1979)

* Canción de Primavera, with Cai (Epic, 1980)

* La Guinda, with La Guinda (1985)

* Hiscádix, with Hiscádix (1987)

* Memorias, with Tito Alcedo (1988)

* Daquí Pallá, with Decoy (1991)

* Chano, with Chano Domínguez Trio (1992)

* Diez de Paco, with Jorge Pardo (Nuevos medios, 1995)

* Hecho a mano (1996)

* Coplas de Madrugá, with Martirio (1997)

* En Directo (1998)

* Imán (Nuba 7767, 2000)

* Jazzpaña II (ACT 9284-2, 2000)

* Si

* Lorquiana

* Tú no sospechas, with Marta Valdés (Karonte-El Europeo)

* Oye como viene (2003)

* Mira como viene (2003)

* Acoplados, with Martirio (2004)

* Con alma (2005)

* Cuentos del mundo World Tales (2005), children’s album

* Flamenco Jazz (2005)

* New Flamenco Sound (2006)

* Acércate más (2006)

* Quartier Latin, with Paquito D’Rivera (2009)

* Piano Ibérico (Blue Note, 2010)

* Flamenco skectches (Blue Note, 2011)

* Chano & Josele (Calle54 Records, 2012)

* Over the Rainbow (Sunnyside Records, 2017)

Videos

Quartier Latin, with Paquito D’Rivera (2007)

Web Site: http://chanodominguez.info

Credits: Biography partially translated by Rita Granda

Share

Artist Profiles: Chango Spasiuk

Chango Spasiuk

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)

 

Chango Spasiuk Orquesta:

Chango Spasiuk – accordion, composer and director

Chacho Ruiz Guiñazu – percussion and drums

Sebastian Villalba – guitar and vocals

Pablo Lopez – Violin

Hernan Prado – electric bass and double bass.

Discography

* Chango Spasiuk (M&M, 1989)
* Contrastes (M&M, 1990)
* Bailemos y… (M&M, 1992)
* La ponzoña (BMG Argentina, 1996)
* Polcas de mi tierra (BMG Argentina, 1999)
* Chamamé crudo (BMG Argentina, 2001)
* The Charm of chamamé (Weltwunder, 2003)
* Tarefero de mis pagos (Sony BMG Argentina/Piranha, 2004)
* Pynandi – Los Descalzos (Sony BMG Argentina/World Village 2008)
* The Very Best of El Chango (Nascente, 2010)
* Tierra Colorada En El Teatro Colón (2014)

credits

Share