Music festival Africa Oyé has announced that roots reggae legend Max Romeo will be performing at its 25th Anniversary festival. Africa Oyé 2017 takes place Saturday, June 17-18 at Sefton Park, Liverpool. Admission is free.
Max Romeo has had top 10 hits throughout Europe and has been sampled by artists like Jay Z and The Prodigy. Max Romeo’s career started when he signed a contract with Bunny Lee, one of the biggest producers of his time in Jamaica in the 1960s. Hits such as ‘Chase The Devil’ lead to international success and to performances across the world.
After working with producer Lee ‘Scratch’ Perry, Romeo’s style evolved from a typically Jamaican ska towards to pop reggae.
Other artists scheduled to perform include Mokoomba (Zimbabwe), Jupiter & Okwess International (DR Congo), Dobet Ghanore (Ivory Coast).
Chris Thile was born in Santa Mónica (California) on February 2, 1981. He’s a renowned mandolin virtuoso who has performed since a very young age with some of the biggest names in contemporary bluegrass. Chris was a founding member of The Grass is Greener with Richard Greene and David Grier and also a member of Nickel Creek together with Sara Watkins and Sean Watkins.
Thile began playing the mandolin at the age of 5 and started performing at California bluegrass festivals. At the age of 12 he won the prestigious national mandolin championship at the Walnut Valley Festival in Winfield, Kansas in 1993. That same year Thile began recording his first solo album with mostly self-penned songs.
His third solo album Not All Who Wander Are Lost featured guest appearances by Dolly Parton, The Dixie Chicks and Edgar Meyer. Later, Thile teamed with mandolin master Mike Marshall for an album of duets called Into the Cauldron that included jazz, world music and the music of Bach.
“When you grow up with something you can become so familiar with it that you start to take it for granted ” Chris Thile said about his 2006 album How to Grow a Woman from the Ground. “And especially when you grow up playing it at a time when quite frankly you have nothing to express it’s easy to ignore as a more mature musician the expressive possibilities of that particular musical aesthetic—and they are great they are many. So I came to see that bluegrass was something that I was unfairly dismissing about my musicianship.
“Part of it was getting divorced and realizing that I was singing bluegrass heartbreak songs. That’s what would really resonate with me; those were the songs I was singing—’Bury Me Beneath The Willow ‘ ‘More Pretty Girls Than One.’ And another part of it was living in New York because for me at least New York demands that you find what it is about you that’s unique. There are so many talented people—exceptional people—that to stand out you either have to be completely average or really really different. And having been trained in the ways of bluegrass as a kid I realized how much that meant to me. I felt you can’t fight yourself—any time you’re fighting yourself you might not lose but you just can’t win. And I realized I do that well because that’s what I grew up with. So it signifies a return of sorts; I’m realizing what a meaningful part of my life that music is.”
How to Grow a Woman from the Ground included young musicians with a great reputation in bluegrass music, including fiddler Gabe Witcher whom Thile had met at the Follows Camp festival; banjo virtuoso Noam Pikelny; guitarist and singer Chris “Critter” Eldridge; and bassist Greg Garrison.
In the following years, Chris Thile collaborated with cellist Yo-Yo Ma, bassist Edgar Meyer, guitarist Michael Daves, Stuart Duncan and many other musicians. He also started a new band called The Punch Brothers.
In late 2016, Chris Thile became the new host of A Prairie Home Companion, a popular radio theater show featuring music, humor and storytelling that is broadcast by public radio stations across the United States.
The Flamenco Viene Del Sur 2017 will present winners of the influential Festival de las Minas de la Unión flamenco contest. The artists are set to perform on Tuesday, May 23, 2017 at Teatro Central in Seville.
Alfonso Aroca (piano)
Although Alfonso Aroca has led soul, funk and music projects around the world, he’s a remarkable flamenco pianist as a soloist and accompanist to flamenco singers and dancers.
Antonia Contreras (vocals)
Antonia Contreras started singing flamenco at a very young age. Although she temporarily abandoned her artistic career, she resumed it by convincing himself that cante (flamenco singing) gave meaning to her life.
Alba Heredia (dance)
Alba Heredia belongs to one of the most important dynasties of the flamenco world, Los Maya. She’s the nice of Manolete, Mario Maya and Juan Maya Marote. Alba has danced since her childhood in La Rocío, her grandmother’s famous cave. In 2015 she won El Desplante Award.
Mari Ormberg and singer Kari Røyinlid-Song – Den Store Stuten
Fiddler Mari Ormberg and singer Kari Røyinlid have released an album of folk tunes from The Åseral area of Norway. The album, titled Den Store Stuten (Etnisk Musikklubb EM 120) includes a booklet with liner notes that describe the lyrics, the music and the artists.
The Åseral area is where some of the oldest and most authentic techniques, compositions and original tonal types of Norway are found. The earliest melodies can be dated back to the Middle Ages.
Kari Røynlid was born and raised in Åseral. She grew up learning folk music by being a part of the musical environment in the hamlet. She was predominantly taught by Ingebjørg Liestøl, Jens Røynlid and Kari Røynlid (The older).
Mari Ormberg plays hardanger fiddle. She has a bachelor’s degree in (utøvende) folk music. Since she moved to Åseral in 2010, she has been studying the region’s “slåttespel”, the traditional Norwegian fiddle music.
Shetland fiddler Chris Stout is one of the finest fiddlers of his generation in the UK. Stout was best known as a frontline member of Fiddlers’ Bid. His debut solo release First O’ the Darkenin’ however focused attention on his formidable individual talents at the helm of his own five-piece band winning him a nomination for Best Traditional Track at 2005’s Radio 2 Folk Awards.
Stout was born in Lerwick and grew up in Fair Isle until he was 7 years old “…where I caught my first glimpse of the fiddle when I was only 3! It was being played by my friend Ewan Thomson who was 7 years old at the time but has subsequently made the art of violin making his career. I now play two of his instruments a fiddle and viola.”
He played classical music at school and traditional music at home with his father who plays the accordion. “He took me to play at the Accordion and Fiddle clubs which was my introduction to traveling round the halls in Shetland and gave me my first performance experience.”
1990 was an important year for Stout. “I moved schools and became friendly with other young musicians who were mainly fiddle players. This group of youngsters were given the name ‘Fiddlers’ Bid’. They enjoyed frequent afternoon sessions possibly in place of classes such as Math or English with their teacher Willie Hunter. Countless concert experiences at coffee evenings and such like came rolling in.”
In the same year he won Shetland’s ‘Young Fiddler of the Year’ competition for his traditional fiddling. “I became Shetland’s ‘Young Musician of the Year’ for performing a classical repertoire. Having studied for a year with fiddle player Arthur Scott Robertson it was the advice of my classical tutor Teresa Mooreland that I should continue my studies on the mainland.”
In 1991 Stout gained a place at the music school of Douglas Academy in Glasgow where he studied for two additional years before gaining a place at the Royal Scottish Academy of Music and Drama (RSAMD). “During this time I played most weekends with the popular singing group ‘The Clydesiders’. This gave me a real appreciation and understanding of using the fiddle in an accompanying role to the voices. In retrospect it was probably my first opportunity to use the fiddle in an improvisatory style.”
Throughout his studies at the RSAMD he became more fascinated and excited by contemporary classical music. “As part of my degree I spent time working in an electro acoustic music studio. I completed my degree in classical violin and went on to do Masters in electro acoustic composition studying with the leading composer Alastair MacDonald. I was lucky enough to have one of my pieces released on a compilation CD of electro acoustic music featuring some of Britain’s top composers in this field.”
In 2000 Stout took part in a UK tour called ‘Fiddles on Fire’ with fiddlers Dezi Donnelly (Manchester) Eliza Carthy (England) and Susanne Lundeng (Norway). “This gave me my first independent break as a solo fiddle player on a national level.”
Stout has put this eclectic musical experience to good use. “I work with jazz musicians including London based trombonist Annie Whitehead drummer John Rae with his ‘Celtic Feet’ band saxophonist Phil Bancroft and ‘Orquestra Scotland Brasil’ 2003 collaboration.”
“I am in demand as an electro acoustic composer. I composed a piece for Phil Bancroft in 2002 which was performed as part of the UK tour ‘Double Helix’. This was one of 3 professional commissions since leaving music college.”
Chris Stout’s quintet features Fraser Fifield (soprano saxophone) Catriona Mackay (harp piano) Malcolm Stitt (guitar) and Neil Harland (bass). The Quintet’s sound draws on the full breadth of Chris’ diverse skills and interests centered on his beloved Shetland traditions but weaving in a rich array of jazz and world-music influences.
In 2007 Stout released his solo album Devil’s Advocate.
Chiwoniso Maraire spent most of her adolescence in both Zimbabwe and the United States. She was born and raised in Olympia Washington where her famous father Dumisani Maraire lived and taught traditional Shona music between 1972 and 199 and was a renowned stage performer along with her mother Linda Nemarundwe Maraire.
‘Musical instruments were a core element of my childhood. By the age of four I was playing mbira; Tichazomuona my first recording with my parents was released when I was nine ‘ remembered Chiwoniso.
Chiwoniso played and recorded as a child with her father’s marimba groups Dumi and Minanzi and then with Mhuri ya Maraire’ (The Maraire Family). At the age of 15 she returned to Zimbabwe with her family.
In 1994 Peace Of Ebony won the the Best New Group out of Southern Africa award in the Radio France International Discovery contest. P.O.E’s entry ‘Vadzimu’ a song they composed specifically for the competition was a potent mixture of the Shona English and French languages riding over a heavy mbira-laced rhythms. Vadzimu appears on the Putumayo ‘African Grooves‘ compilation.
The success with A Piece of Ebony led her to join Zimbabwe’s leading band Andy Brown and The Storm. It was at that time that her talents as singer and musician blossomed. The Storm achieved huge success both in Zimbabwe and abroad. They played various concerts in Europe and Africa including performances at the SADC Music Festival in Zimbabwe in 1995 and The Masa Festival in Ivory Coast in 1997.
At the same time Chiwoniso continued to write her own music and performed alongside other artists with the support of The Storm. She also embarked on the 2 year General Certificate in music course with the Zimbabwe College of Music and studied sociology as well. She believes that the artist has to flow with the times otherwise the public turns away to follow the latest craze. Keeping with that belief Chiwoniso took up the challenge of learning and playing percussion including the mbira an African thumb piano indigenous to the Shona people of her country.
In Zimbabwe’s old tradition women were not allowed to play the mbira but the bright young star lived in a time where the past and the present must work together to move forward. The mbira she said “Is like a large xylophone. It is everywhere in Africa under different names: sanza kalimba etc. For us in Zimbabwe it is the name for many string instruments. They are many kind of mbiras. The one that I play is called the knuwga-knuwga which means brilliance-brilliance.”
Music had always been a natural element of Chiwoniso’s environment. “My mother performed until she was eight months and half into her pregnancy. I was born in our house. An American-Indian midwife assisted my mother in the delivery. That’s how my parents wanted it to be.” While her parents were teaching music in the downstairs rooms of their home Chiwoniso and her brother would play around with the percussion instruments that were all over the house. “My father never forced us to play music and did not care even if we broke any of the instruments as long as we created our own experience.”
As a vocalist Chiwoniso’s musical gift developed and matured with The Storm over the years and led her to the recording of her first solo CD Ancient Voices for which she received the Decouverte Afrique 98 award presented by R.F.I. (Radio France International) and the French Foreign Office.
In 1998 Chiwoniso won the Radio France International Discovery Competition in her own capacity and signed a contract with Lusafrica resulting in her first CD Ancient Voices recorded and produced by Keith Farquharson.
Ancient Voices was a tremendous success and brought critical acclaim to this talented young Zimbabwean mbira player. Of note was Chiwoniso’s ability to flawlessly interweave English and Shona an ability that has become a strong signature in her work. Ancient Voices is a successful fusion of blues, jazz, reggae and rhythms from Zimbabwe.
Chiwoniso fronted her acoustic group Chiwoniso & Vibe Culture for several years. From 21 to 24 she was also a core member of the multinational all-women’s band Women’s Voice whose original members hailed from Norway Zimbabwe Tanzania America Israel and Algeria.
Her musical collaborations have included recording with Marie Boine Brilliant Kris Kristofferson and Sinead OConnor on the CD celebrating the 1th commemoration of the Nobel Peace Prize Awards composing and performing for the UNDP Africa 215 song project Les Tams-Tams de l’Afrique alongside Salif Keita Habib Koite (Mali) Ismael Lo Youssou Ndour Manu Dibango Baaba Maal (Senegal) Achieng Abura (Kenya) Saintrick and Koffi Olomide (Congo).
She did a huge amount of session work through the years working with artists from around the world in greatly diverse styles. Chiwoniso released an acoustic solo CD Timeless with her group Vibe Culture.
In 2006 Chiwoniso won second place in the World Music category of the International Songwriting Competition. Out of around 15 entries from 82 countries throughout the world two songs from her new album reached the semi-finals – one of which “Rebel Woman’ made it through to the finals and earned her 2nd place.
In September 2008 Chiwoniso released her fourth album and first international album in over ten years Rebel Woman on the Cumbancha label.
Chiwoniso died July 24th, 2013.
A Piece of Ebony: From the Native Tongue (1992) Ancient Voices (Lusafrica/Tinder, 1998)
Chiwoniso & Vibe Culture: Timeless (2004) Rebel Woman (Cumbancha, 2008)
Chirgilchin are the 1998 champions of the Tuvan national throat singing competitions in Kyzyl the capital of Tuva. Chirgilchin means either mirage or miracle in the Tuvan language.
In 1996 Alexander Bapa also the founder and producer of Tuvan Throat Singing group Huun Huur Tu gathered the cream of the younger generation of Tuvan musicians and formed Chirgilchin. One of the group’s more extraordinary features is the appearance of a Female Throat Singer which is still quite uncommon in Tuva.
All Chirgilchin’s songs are in the Tuvan language and the group plays instruments such as the Doshpuluur – a kind of lute with two strings the Igil – a violin with two strings the Limbi – a trapezoid harmonic soundbox Flute and the Dymbra – a rattle drum used by the Tuvan Shamans in their rituals.
A Chirgilchin performance will also get the public acquainted with shamanism. The Tuvan religious culture is primarily shamanistic but for some hundreds of years has also been strongly influenced by Tibetan Buddhism [or Lamaism as they call it]. Indeed many people note the relationship between some Tuvan throat singing styles and the religious chanting of Tibetan lamas.
Throat-singing or overtone singing is the audible expression of producing two or more notes at once. This startling technique was developed in response to the sounds of the natural environment in which Central Asian nomadic tribes roamed.
A particularly rich throat-singing tradition survives in Tuva and neighboring Mongolia. In these areas marked by vast grasslands and mountain ranges throat singing is called khoomei. The singer produces overtones by varying the shape of his mouth and pharynx; as a result two three or even four distinct tones can be heard at once. The fundamental tone remains constant while melodies are sung with the highest overtone resembling the sound of a flute.
Chicago Afrobeat Project (CAbP) is a dynamic musical collective rooted in 1970s funk and jazz-infused afrobeat. CAbP mixes traditional afrobeat with other dance-invoking musical motifs such as Chicago’s electronic house music complex West African percussion rhythms and upbeat funk.
At each performance the polyrhythmic groove and sharp horn lines of CAbP stir up energetic momentum sweeping listeners directly to the dance floor time and time again.
The group began in late 2002 in a third-story loft on Lake Street in downtown Chicago. What began as a simple experiment turned into sifting through unique and colorful musicians literally from around the world.
One by one at a series of loft rehearsals in downtown Chicago like-minded musicians joined the project until members of the current band felt an undeniable chemistry.
Today the ever-morphing 7- to 14-piece CAbP consists of a full percussion section a full horn section keys guitar bass and African dancers (at select shows) — and is still growing.
The band’s live set consists of originals as well as carefully chosen classic and obscure afrobeat covers — each embedded with the unique CAbP footprint. In CAbP each member is a leader an ensemble player a percussionist and a soloist.
Chet Atkins grew up in the Great Smoky Mountains. He was a disciple of the legendary guitarist Merle Travis (Chet named his daughter Merle). Together with Merle Travis and Doc Watson he made up the trinity of country guitar. Chet was able to record with his hero before his death.
Chester Burton Atkins was born June 2, 1924 on a farm near Luttrell eastern Tennessee about 2 miles northeast of Knoxville. Chet Atkins’ origins were humble. Suffering with asthma throughout his youth he was a sickly child who nonetheless had to face working his family’s farm when his parents separated. He was only 1 at that time. But his father was a music teacher and song-leader with a number of traveling evangelists and his brother Jimmy -13 years older than Chet- was himself an accomplished guitar player.
Chet’s first instrument was a ukulele strung with wire from a screen door which he was able to get music out of for only short periods of time before the soft steel strands broke. Chet moved to Georgia when he was 1 to live with his father hoping the climate would be easier on his asthma. By this time he was playing a Sears Silvertone guitar which inexpensive as it was at least did not rely upon scrap metal for strings.
He left high school at age 17 knowing he wanted to pursue a career in music. In fact he admits that his childhood adversity was a significant motivator in driving him to be “the greatest at what he did.”
A series of performance slots on a number of radio stations as well as the popular Old Dominion Barn Dance often ended in Chet’s dismissal largely because he was already a sophisticated well-versed musician working for employers who wanted nothing but simple twangy “hillbilly” guitar.
His big break came when a gig with the legendary Carter Family led him to the Grand Ole Opry where his talents were finally appreciated. Chet became a sought-after session player working on records by some of the great pioneers of both country and rock’n’roll including the Everly Brothers and a kid from Tupelo Mississippi named Presley.
When he became RCA Records’ Manager of Operations Chet convinced the label to build an office and studio on Music Row in Nashville spearheading the music industry’s migration to Music City.
He was the main architect of the “Nashville Sound “which saved commercial country by marrying the music to pop sensibilities. His legacy to the industry he helped found and the culture he defined is undeniable. Upon leaving RCA Chet continued his highly successful career as a recording artist when he signed with Columbia Records where he remained till his death.
Chet Atkins is country music. He has played with Maybelle Carter Homer &Jethro Hank Snow Elvis Presley Eddy Arnold Jerry Reed Les Paul Ray Charles Hank Williams Sr. Kitty Wells Faron Young Lester Flatt &Earl Scruggs the Louvin Brothers Ernest Tubb Marty Robbins Webb Pierce Johnnie &Jack George Morgan Wanda Jackson George Jones etc. He has produced albums by Patsy Cline the Everly Brothers Floyd Cramer Waylon Jennings Skeeter Davis Skeets McDonald Porter Wagoner Charlie Pride Charlie Rich Hank Locklin Roger Miller Roy Orbison Don Gibson Bobby Bare etc. As a talent scout Chet helped sign Willie Nelson Dolly Parton Guy Clark Steve Wariner Tom T. Hall Connie Smith Dottie West and countless others.
A historical meeting between Chet Atkins and Doc Watson two of the 20th century’s most influential American guitarists was documented in 1980. Released for the first time on CD Reflections was an artifact for the ages and should be inspiration for guitarists for generations to come.
Chet while humble about his place in the world of music and obviously at peace with both himself and his plans for the future made it clear that he and his guitar had a lasting romance that shows no signs of abating. “There may come a day when I can’t play anymore ” Chet said “but otherwise I’ll be playing as long as I live. I could never put the guitar down ” he concluded laughing. “It might forget who I was.”
Atkins recorded more than 75 albums. In the years before his death he collaborated with many artists representing diverse genres such as Mark Knopfler Paul McCartney Eric Johnson George Benson and Earl Klugh.
Chet Atkins died of cancer on Saturday June 3, 2001 at this home in Nashville. He was 77 years old.
There were rumors started just a few months after Chet’s passing about a collection of unreleased solo guitar recordings Chet had made in his home studio. Chet’s Grandson Jonathan his engineer Mike Poston and longtime friend and sideman Paul Yandell all went down into Chet’s home studio. What they found were 28 cuts of Chet playing solo guitar arrangements some newly arranged solo performances of some of Chet’s favorite songs some songs that had never been recorded in any form. It was a special solo project Chet had undertaken himself over a 10 year period beginning in 1982. The recordings became available in 2003 under the title: Chet Atkins: Solo Sessions.