Last Call For Artists & Bands To Submit Demos For In The City Unsigned 2003

Manchester,
England –  the
closing date for In The
City ( ITC) Unsigned
2003 is at 5pm Friday 1st August 2003..
In The City Unsigned is
considered to be the most important new music showcase event in the UK each year.
A significant stepping-stone in the careers of Coldplay, TheDarkness, jj72, Muse,
Idlewild, Catatonia, Oasis, Terris, Haven, Placebo, Stereophonics, Alfie,
Elastica.

With specialized sections for Hip Hop, Urban, R&B, Pop,Metal, Acoustic,
Alternative & Electronica, click on the link for the official application form
and more info, http://www.inthecity.co.uk.

Please note that while the ITC Unsigned event tends to favor Guitar rock bands
and singer songwriters, all genres are welcomed. Click through to the ITC
History to see what bands have showcased at the event since it’s inception in
1992.In The City is an exciting international music convention, whose concept was
conceived by the forward thinking Yvette Livesey and the Factory maverick
Anthony Wilson. It combines the hottest live acts unsigned and signed, with the
most innovative, creative and commercial debate.

Taking place in Manchester England and New York this year (September 12-16th
Manchester & 21-22nd October New York)

– over 2000 music industry professionals & delegates from UK Europe & USA.

– 5 days and 5 nights

– By Day: seminars, discussions, workshops, debates, interviews, networking..

– By Night: Europe’s largest Urban Music Festival. 50 venues, 5 nights, 500
bands.

– The Essential Uk/European music industry gathering each year.

info@inthecity.co.uk

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Zimbabwe Group Black Umfolosi Denied Entry in Israel

Black Umfolosi
Black Umfolosi
East Jerusalem – Sunday’s performance, 27th of July 2003, by the internationally renowned Zimbabwe group Black Umfolosi was cancelled.

Black Umfolosi could not take part in the second performance of the Jerusalem Festival – Songs of freedom 2003 because of the Israeli Authorities refusal to allow the group into the country.

A similar incident happened earlier in the week with Austrian-Palestinian musician, Marwan Abado.

Despite all efforts by several diplomatic missions, the ministry of interior refused the group’s visa application with no justification, preventing the Zimbabwe group, which has toured all over the World, from participating in the Jerusalem Festival Songs of Freedom 2003.

We see no justified reason for this act by the Israeli authorities but another obstacle in our long road for peace,” said a festival spokesperson.

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Another Blue Moon, a tribute to a hallowed tradition of the Sarod

Arnab Chakrabarty, a young Indian sarod virtuoso, has released his debut album of Hindustani sarod music. Another Blue Moon, produced by Indian Ocean Records, a Hampshire Media Ventures company, features ragas Bihag and Zilha Kafi. Arnab has played a 27-minute alap, followed by three gats in teentaal, the 16-beat time cycle. The opening sequence of Zilha Kafi is borrowed from the tappa vocal form native to the Punjab, and two gats are presented.

Twenty-three year old Arnab, who describes himself as an “eclectic mix of the old and the new“, is a disciple of Buddhadev Dasgupta, one of the legends of this fretless instrument that instantly reminds one of the banjo. He also says he is “deeply influenced” by the music of Ustad Amjad Ali Khan. The International Relations graduate from Hampshire College, Amherst, MA, now lives in Calcutta, and is pursuing his music as a full-time career now.

On this recording, Arnab is accompanied on the tabla by Debasish Sarkar who is the most distinguished disciple of the late Kanai Dutt, who appeared frequently in the 1970s with Ravi Shankar, and on the tanpura by Piyush Unnithan, a vocalist and disciple of Dr. Girija Devi.

This CD will be available soon with most music retailers in India, or by electronic mail-order at www.hampshiremedia.com. It is priced at Rs. 220 in the Indian market and internationally, US $10.

Hampshire Media Ventures is a progressive media company with interests in global music, independent film, and digital delivery of content. HMV is particularly interested in music of the subcontinent, and wishes to identify with the avant garde in Indian classical music.

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Nominees For The Bollywood Music Awards Chosen

New York, USA – Over the past weeks the jury for the U.S. based Bollywood Music Awards have cast their ballots for the best  five performances by music artists as well as their choice of the best song released last year.

The music artists and music makers who have received the top five rankingshave now been declared for the  Bollywood Music award to be held on Nov 1st2003 at the Mark G Etess Arena in the Trump Taj Mahal Casino, Atlantic City,New Jersey  where the winners will be declared.

Special award for distinguished contribution to the Indian music industry will be given at the Awards night to a singer who has promulgated Indian music and culture worldwide.Additionally, an nternational Star of stupendous magnitude will also be recognized at this event. Mr Kamal Dandona,Chairman of the Bollywood Group said ”The Bollywood Music Awards have been instituted with a vision that the enduring link with India is through the vibrant  medium of music which should be kept alive and
everlasting. The Awards are the token of appreciation and recognition by NRI ’S globally for the music makers
.”

The Bollywood Music Awards will be an electrifying event with performers from several countries and will be viewed by over 220 million viewers on television, cable, Internet, satellite in over 80 countries.

Bollywood Music Awards makes history in entertainment industry with advanced Online Ticketing capabilities. Now, Attendees Can Buy “Seat” – Not Just Ticket – Online.
Visit: www.bollywoodmusicawards.com and go to Online Ticketing section for
details.

The list of nominees is as follows for the Bollywood Music Awards:

NOMINATIONS
Category – (FILM)

Best Music Director- Film-
1)A.R. Rahman – Saathiya
2)Anand Raj Anand – Kaante
3)Jatin Lalit -Chalte Chalte
4)M.M.Kreem – Sur
5) Vishal / Shekhar – Jhankaar Beats

Best Song of the Year
1.Aa Bhi Ja-Sur
2.Ishq Samundar-Kaante
3.O Humdum Suniyo Re – Saathiya
4.Tauba Tumhare Yeh Ishare– Chalte Chalte
5. Pari Pari – Hungama

Best Singer – Male
1.Lucky Ali-Aa Bhi Ja – Sur
2.Sonu  Nigam – Saathiya – Saathiya
3.Shaan – Suno Na – Jhankaar Beats
4.Sukhvinder– Layi Vi Na Gaye – Chalte Chalte
5. K K – Bardasht – Humraaz

Best Singer – Female
1.Sunidhi Chauhan- Ishq Samundar–Kaante
2.Richa Sharma—Maahive-Kaante
3.Shreya Ghosal– Jadu hai nasha hai-Jism
4.Alka Yagnik –Tauba Tumhare Ishare- Chalte Chalte
5. Chitra – Mere Dil Ka hai Tumse Hai Kehna – Armaan

Best New Musical Talent
1.Mahalaxmi Iyer-Sur
2.Mahalaxmi Iyer-Jhankaar Beats
3.Shekhar – Supari
4.Sonu Kakkar – Dum
5.Shashwati- Mumbai Matinee

Pop

Best Album
1.Adnan Sami Khan – Tera Chehra
2. Alisha Chinoy-Alisha
3.Abhijeet – Tere Bina
4. Euphoria -Teri Gully
5. Bombay Vikings-Woh Chali

Best Artist Male
1.Adnan Sami Khan – Tera Chehra
2.Abhijeet – Tere Bina
3.Nitin Bali- Baliwood
4.Neeraj Shridhar-Woh Chali
5. Shaan – Bhool Jaa

Best Artist Female
1.Shashwati-Kaanta Laga-DJ Doll.
2.Falguni Pathak- Yeh Kisne Jadoo Kiya
3.Alisha Chinoy –Alisha –
4.Annamika – Pyar Hai
5. Sunidhi Chauhan – Pyar ke Sur

Best Bhangra Group
1.Hans Raj Hans – Haye Soniye
2.Jazzy B – Tera Roop
3.Punjabi MC-Mundian to bach ke
4.Gurdas Mann-Panjeeri
5. Daler Mehndi – Mojaan laen do

Best Remixed Album
1.Kaliyon Ka Chaman – UMI 10 Harry Anand
2.Kata Laga – DJ Doll
3.Return of Daddy-DJ Aqueel
4.Dance & Romance- Bally Sagoo
5. Baliwood – Nitin Bali

Best Dance Video
1.Mundiya to bach ke
2.Kaliyon Ka Chaman
3.Kaanta Laga
4.Kabhi Naee
5. Aaika Dajiba

The Music Company of the Year:
1.Universal- Sur
2.T Series – Chalte Chalte and Kaante
3.Saregama – Saathiya and Jism
4.Times Music – Mumbai Matinee
5. Crescendo -Jhankaar Beats

For further details contact
www.bollywoodmusicawards.com

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Austrian-Palestinian Musician Deported by Israeli Authorities

East Jerusalem – Artist Marwan Abado, an Austrian National of Palestinian origin, was detained immediately upon his arrival into Tel Aviv airport on Sunday 20th of July, and then was deported.

Abado was scheduled to participate in the Jerusalem Festival – Songs of Freedom, and in Bethlehem. His detention and deportation came in spite of the fact that Abado had obtained a visa through the Israeli Foreign Ministry. Several diplomatic bodies tried to intervene in the matter to have Abado released, including a representative from the Austrian Embassy, UNDP and the Consulate General of France. However, the Israeli Security continued to deny Abado entry, canceled his visa and put him on the first plane to Vienna after 24 hours of detention.

Regarding the incident, the festival organizers said: “We see such an unjustified action creating another unnecessary obstacle on the road to peace.”

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New CD by Hindustani Classical Vocalist

Hamilton, Ontario, Canada – A new music CD titled Sarathi has just been released in Canada containing the Khayal performance by one of the rising vocalists of India, Sarathi Chatterjee.

The CD contains Sarathi’s beautiful rendition of two Ragas: early morning Raga Ahir Bhairav and evening Raga Puriya Kalyan.

Sarathi lives in New Delhi, India and is a senior disciple of Pandits Rajan and Sajan Mishra. His style is a blend of Kirana and Benaras Gharanas of vocal music. He is an A grade artist of All India Radio and Television.The release of this CD by Aochar Music of Canada was timed with his concert tour of Toronto area during the month of July 2003.

For any further information about this CD by Sarathi, email info@aocharmusic.com, or telephone: 905-627-7496

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The Indian Way

Joseph Fire Crow - Legend of the Warrior
Joseph Fire Crow – Legend of the Warrior
Joseph Fire Crow

Legend of the Warrior (Makoche Recording Company, 2003)

There seems to be no shortage of Native American flautists or a shortage of innovative Native American flute recordings. Joseph Fire Crow who hails from the Cheyenne Nation (Montana) falls close to Lakota flautist Kevin Locke (Lakota) in his execution and reverence to Native American tradition.

A barrage of electric guitars (on the titular track) appears on Fire Crow’s latest release, Legend of the Warrior along with other contemporary instruments, but the performer’s Indianness shines through.

One listen to the infectious American Indian rhythms played out on traditional percussion, traditional chants and heart aching flute swirling about and listeners know they are getting the real thing.

Legend of the Warrior features the compositions of a virtuoso musician. Fire Crow either rearranges traditional songs or writes new material inspired by the songs of his ancestors. Each song comes with a brief story that not only explains the origin of the songs, but also allows listeners to become personally acquainted with Joseph Fire Crow. His songs are intimate and even if you are merely putting this CD into your stereo, you might feel that you are sitting around a campfire of long ago, listening to wisdom tales told by Native elders.

The titular track acts as an attention grabber with its power beats and electric guitar solo. This segues nicely into The Forty Nines, a song about snagging a mate through music. Sweet Medicine features emotive flute over light percussion and Where is my Angel? brings in piano

A Far Cry features melancholy flute over a jazzy background, imagining Miles Davis on flute instead of trumpet describes this song. Fire Crow adds various textures to his playing, trills and flutters on Cheyenne Man, (a song about self-image and heritage). The remainder of songs on the CD showcase the musical range of the wooden flute and Fire Crow’s ear for innovative compositions. While an array of Native American flautists exists including Carlos Nakai, Kevin Locke, Mary Youngblood, Burning Sky (just to name a few), you would do well to add Joseph Fire Crow to this collection.

Buy Legend of the Warrior

Compliments of Cranky Crow World Music.

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35 Artists Selected for the Flamenco Song, Guitar and Dance at the Festival del Cante de Las Minas

La Unión, Murcia, Spain – The renowned flamenco festival, Festival Internacional Del Cante De Las Minas, has just announced the finalists for its annual contest. After 19 selective contests throughout the Spanish territory, between May, June and July; the Festival Qualifying Jury selected the following participants:

Cantaores (Singers):

Nazareth Cala Luque, from Cádiz
Miguel Ángel de Tena Martínez “Miguel de Tena”, from Badajoz
Antonio Ortega Jiménez, from Sevilla
Inmaculada Martín RoldánMari Nieves Nieto Fernández, from Sevilla
Domingo Herrerías Pozo, from Córdoba
Álvaro Díaz Carrellán, from Huelva
“Rubito Hijo”, from Sevilla
María Dolores Expósito Carbonell “Loli
Carbonell”, from Huelva
Guillermo Cano García, “Niño Romero”, from Huelva
Raúl Montesinos Hoyos, from Sevilla
Rosario Guerrero Escalona, “La Tremendita”, from Sevilla
Antonia López López, from Almería
Salvador Salas Munar “El Potro”, from Cartagena
Juan Pinilla Martín, from Granada
David Pino Illanes, from Córdoba
Francisco Javier Sánchez Bandera “Bonela Hijo”, from Málaga
Francisco Garrido, from Huelva
Manuel Domínguez Gallardo, from Sevilla

Guitarists:

Juan Antonio Silva Campallo “Juan Campillo”, from Sevilla
José María González Bonilla “El Mami”, from Madrid
Antonio Rey, from Cádiz

The Festival Internacional Del Cante De Las Minas is the largest Flamenco festival in spain. It combines world class performances by the best performers together with a contest that seeks new talent. The following artists will peform August 9: Miguel Poveda y su grupo; Chano Lobato, Matilde Coral and Juan “Habichuela”; August 10, Opera Flamenca “Sueños de Libertad”; August 11, Estrella Morente ; August 12, la Compañía Andaluza de Danza, Gerardo Núñez and Carmen Cortés. From August 13 through 16 the international song, guitar and dance contest will take place.

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Can Today\’s Rock Become Tomorrow\’s Classical?

Preface: For the following article I have chosen The Hampton String Quartet® as the premier example of a classical string quartet that plays arrangements of rock. There are other chamber groups who have, at one time or another, played covers and/or arrangements of rock music, but The Hampton String Quartet is the only group and certainly the first to have made a career of exclusively playing rock music with a repertoire that spans Led Zeppelin to The Beach Boys, Hendrix to Jethro Tull and The Beatles to The Who. Kronos (an arrangement of “Purple Haze”), Apocalyptica (four cellists who play arrangements of Metallica), the Balanescu Quartet (interpretations of Kraftwerk tunes), The London Symphony Orchestra’s “Symphonic Music of the Rolling Stones”, The London Philharmonic Orchestra’s “Symphonic Led Zeppelin” and the more recent “String Tribute to Tool: Third Eye Open” – Piotyr Jandula (who has also contributed to the two CDs “The String Quartet Tribute to Led Zeppelin, Vols 1 and 2) are examples of other classically trained groups who have, on occasion, ventured into rock.The Hampton String Quartet® (HSQ®) is fond of saying, or explaining (as the case may be), that it is doing just what classical composers such as Bach and Beethoven did – borrowing from the folk music of the day and integrating that folk music into new, larger works.

What is the folk music of our day? The American Heritage® Dictionary of the English Language, Fourth Edition defines Folk Music as “originating among the common people of a nation or region and spread about or passed down orally, often with considerable variation.” Perhaps a little updating is in order as technology has rendered the “…passed down orally…” part unnecessary. The folk music of our day is passed down via CD, TV, radio, and the Internet, etc. The part of greater import of the definition is “originating among the common people.” When HSQ arranges and performs a Led Zeppelin tune, where is the folk music? In an article written by Susan Fast (Listening to Led Zeppelin: Ritual, Otherness and Body in the Music [forthcoming] and published in The New Grove Dictionary of Music and Musicians, 2nd edition), she reports, “In addition to blues and folk music, traditional Arabic and Indian music were important influences [in Led Zeppelin], found in such works as Friends, In the Light, Four Sticks and especially Kashmir, which pushed musical boundaries….” Although re-inventing Led Zeppelin for classical string quartet is twice removed from the music’s more traditional folk music origins, it no less captures the contemporary music of our day – rock – just as Bach and Beethoven did in their day (Ode To Joy from the ninth symphony, for example).

Now for the big question – will HSQ’s rock/classical compositions be studied and performed one hundred years from now as we do Brahms? Certainly the students in the future will instantly recognize the origins of each work (HSQ gives credit to the underlying works – something Beethoven didn’t have to do). Absolutely, the students of the future will have recordings of the music actually being played to aid in interpretation, but will it garner the studious affections of academicians and journeymen such as they now bestow upon Stravinsky? The answer to this question is, of course, who knows? Stravinsky’s Le Sacre du Printemps got a pretty bad reception on first hearing and many notable great works have also fared less than favorably at their premiers. Similarly, the Tool tribute album, the all-cello Apocalyptica endeavors and the London Symphonic’s Rolling Stones’ interpretations received less than stellar reviews. Now, let us not mistake these observations as a suggestion that a popular arrangement of California Girls (HSQ after The Beach Boys) might someday rival Beethoven’s Ninth – I won’t even go there – but I do suggest that the trained embodiment of tried and true folk (rock) songs can legitimately bolster the great archives of classical compositions and further the development of new artistic modes of expression. In much simpler language, some rock is here to stay.

The Dirty “R” [rock] Word

How about publishing these works for posterity and offering them for sale along side of Haydn’s string quartets? Walking the unpopular road always takes courage – enter Mona Lisa Sound (MLS) – the publishing arm of HSQ – and others who want to risk being looked down upon by the classical cognoscenti. HSQ and MLS have gone one step further than just playing rock by publishing HSQ’s arrangements as sheet music for all to play. On a recent foray into a prestigious and well known classical retail sheet music dealer in NYC (by appointment), MLS spoke to a representative there about stocking MLS scores and got the quintessential classical response to any sentence uttered that contained the word, “rock”: “No, goodbye – not interested”. “Perhaps you would like to look at the score I hold in my hands here two inches from you before rendering judgment.” “No thanks, goodbye – ain’t gonna do it – not gonna happen.” The Juilliard School Bookstore manager wouldn’t even grace MLS with his presence (after several phone calls and an impromptu visit). Now, if you have ever been in The Juilliard School Bookstore, you know that it is so small, the manager had to be hiding under a table. This, even though he was aware that I had spent 10 years in Juilliard prep, that the other three members of HSQ are all Juilliard graduates and that the composers/arrangers are members of one of the largest selling string quartets in history (over 1 million CDs sold on RCA) – not to mention having been nominated for a Grammy. Goodness – such power this word “rock” can wield! Can you imagine if the military got hold of it?

All sarcasm aside, the songs of (most notably) Led Zeppelin and Hendrix, The Beatles, Stones, Kansas, Jethro Tull, and The Who do have lasting power in their own right. Having been authenticated by the touch of the classically trained hand, these tunes come into their own in a fresh and newly accessible way. They certainly strike a chord at HSQ concerts – standing ovations always prevail and, interestingly, for some very different reasons. The audience member of eight years old may see instruments he or she doesn’t recognize (i.e., not guitars or drums) playing music he or she recognizes and conversely, the audience member of eighty years old sees instruments he or she recognizes (violins, etc.), playing music he or she doesn’t recognize.

Some critics have likened this music to Bartok; HSQ’s arrangement of Black Dog by Led Zeppelin has no less than 96 metric changes. The Battle of Evermore is played with guitar picks on cello, viola and violin, raising some eyebrows when the cellist cradles his cello across his knee like a guitar (HSQ likes to explain to the audience that this is a good way to make a $200,000 Vuillaume sound like a $100 guitar). Similar reactions occur when Kronos uses feedback in live performances of Purple Haze.

Schubert vs. McCartney

One case in point is my arrangement of The Beatles’ extremely lighthearted work, Ob-La-Di, Ob-La-Da (see illustration). Above all arrangements I have written for HSQ to date, this one most exemplifies what HSQ is all about, i.e. – the meeting of Rock and Classical styles. What better contrast and challenge than to combine the Beatles tune with one of the heaviest and darkest of classical works, Schubert’s Erlkönig. After stating the Schubert theme, I give the McCartney/Lennon melody equal billing and gradually move them until they are both vertically superimposed in a duel. I inject a little Beethoven (6 bars from his ninth) for good measure which becomes a false bridge allowing the music to move seamlessly back into the Schubert – two very different musical periods flowing one into the other. After both wreak havoc on the other in a rhythmic juxtaposition of the syncopations in the first with the triplets of the second, I allow Schubert to win (by a slim margin) in deference to the great composer. Although, if the tag is chosen in performance, the Beatles get the last laugh.

What’s Wrong with Enjoying the Concert?

Concertgoers to this music have a great time, simply put and always true for over 15 years. No programs to study and no 1st and 2nd movements you dare not clap after. The evenings are fun and challenging and Led Zeppelin never sounded so good (how’s that for snobbism?). Upon closer scrutiny, most (but not all) of HSQ’s works are not just fun – you must go beyond that – they are substantive and passionate (let me be the first to admit, a few are more like covers). For illustrations of rock transformed into classical music, take a look and listen to HSQ’s versions (published by Mona Lisa Sound) of Babe I’m Gonna Leave You, Dazed and Confused, Friends (instruments in this one are detuned), Over the Hills and Far Away, Stairway to Heaven, Blackbird, Black Dog, The Battle of Evermore, I Will (theme and variations), Ob-La-Di, Ob-La-Da (with added Schubert’s Erlkönig), Jingle Bells (con Berlioz), Silent Night, God Rest You Merry, Gentlemen (complete with Fugue), Bach Chorale #21 (a/k/a American Tune) and Scarborough Fair/Canticle (enter Vivaldi). One other work, and the only one not arranged by a member of HSQ, is a beautiful arrangement of White Rabbit (Jefferson Airplane) from HSQ’s third RCA release, What if Mozart Wrote “Born To Be Wild”, and which was featured in a film of the life of Baba Ram Das.

End Note

Broadening one’s artistic palette often involves some risk – but such is growth. All new ventures by their very definition involve charting uncharted waters. In the words of one such folk hero, the challenge is “…to boldly go where no man has gone before….” Perhaps HSQ and MLS are the Star Trekkers of today – maybe yes – maybe no – only time will tell.

Mona Lisa Sound, Inc.
1-877-787-9505 (toll free)
www.MonaLisaSound.com
© 2003 John Reed

[Photos and ilustrations, from top to bottom: 1) The Hampton String Quartet®, 2) Led Zeppelin circa 1968, 3) Brahms, 4) Jethro Tull in the 1970s, 5) Schubert.]

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Spoons and Fiddles

Le Vent du Nord - Maudite Moisson
Le Vent du Nord – Maudite Moisson
Le Vent du Nord

Maudite Moisson [damned good harvest] (Borealis, 2003)

Quebecois musician and dancer Benoit Bourque (Matapat) brought the traditional group Le Vent du Nord to
my attention recently and as luck would have it, this charming quartet will be showcased at the 26th Annual
Vancouver Folk Music Festival. Le Vent du Nord (The North Wind) features Benoit on accordion, bones,
mandolin, response vocals and step dancing, yet he represents only 1/4 of this sprightly group. Originally
formed by Pianist Nicolas Boulerice (piano, hurdy-gurdy and lead vocals) and accomplished violinist Olivier
Demers (fiddle, guitar and vocals), Benoit and Guitarist Bernard Simard (formerly of La Bottine Souriante)
joined this Quebecois all-star quartet.

Recorded last December, the quartet’s debut CD, Maudite Moisson
was recently released in Canada thus giving Canadians another reason to celebrate the country’s diverse
musical traditions. The four artists featured on this recording are all well traveled and versed in traditional French language music
from Quebec and Brittany. Various tracks such as, Les trois freres Roy, Le moine complaisant and Chanson
d’ Hortense/Gigue des militaires were passed down to Nicolas through his various ancestors. Other songs
such as Riton/ C’est dans Paris or Au bord de la fontaine are traditional songs arranged by members of the
La Vent. While others, Grand-Pit/ Reel a deux tetes, Valse pour une fee and Petit reve II are original
compositions. However, the songs here flow seamlessly into one another and blend historical monuments with
a contemporary renditions. You will not find programming or electronic instruments on this recording which
further proves that acoustic instruments still have the ability to excite the senses. The rhythms created here of
the toe tapping variety induce listeners to get up and dance. And the love songs, old fashion in the traditional
sense, also delight ears hungry for musical sustenance. Fiddles dance with melodies played out on
accordions, hurdy-gurdy, guitar and effervescent piano. And all four musicians chip in vocals that run the
gamut from sensual to sublime.

Fans of Matapat, La Bottine Souriante and other neo-traditional Quebecois groups would do well to add this
recording to their collection. When many people think of Quebec, they conjure up images of the Separatists
Movement, Pierre Trudeau or horses and wagons trudging through snow and yet, Quebec harbors a wonderful
musical tradition that mirrors traditional music from Brittany and Cajun music from New Orleans. It’s a music
akin to celebrations, Quebecois kitchen parties, love, romance and storytelling. Le Vent du Nord’s Maudite
Moisson (damned good harvest) reaps the rewards of effort, talent and a nod to tradition.

(compliments of Cranky Crow World Music).

Buy Maudite Moisson

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Your Connection to traditional and contemporary World Music