Innovative Granada-based Brazilian percussionist Rubem Dantas is set to perform in Seville, Spain as part of his Cajon Tour. The concert will take place Tuesday, May 9th at Teatro Central. Acclaimed singer La Susi will appear as guest artist.
Rubem Dantas introduced the Peruvian cajón to flamenco nearly 40 years ago, as part of Paco de Lucía’s band. Since then, the cajón has become a regular instrument in most flamenco ensembles.
Dantas will be presenting pieces from his most recent solo album Festejo along with covers of composiitons by Paco de Lucía, Camarón de la Isla, La Susi, Vinícius de Moraes, José Fernández and Justo Heredia.
The lineup includes Rubem Dantas (percusssion), Saray Fernández La Pitita (dance), Justo Heredia Malaguita (vocals), Joaquín Sánchez (clarinet and harmonica), José María Pedraza Petaca (piano), José Fernández Petete (flamenco guitar) and La Susi (vocals).
Terje Isungset was born in 1964. He is regarded as one of the most creative, uncompromising and distinctive percussionists in Norway. He has spent many years developing his own unique mode expression, crafted instruments himself, using materials found in natural surroundings.
Isungset performs throughout the year with various bands from Norway and other European countries.
Isungset has made a major contribution on various folk music CDs. The many years he has spent working to create a genuine, rhythmic dimension in his music have enabled him to develop a distinctly individual musical identity built on Norwegian sounds.
In additional to conventional percussion, Isungset has experimented and performed with glass and ice percussion instruments, ice horns and other creations.
Orleysa (Odin NJ 4039-2, 1991)
Rom, with Isglem (NOR-CD 9102, 1991)
To steg, with Isglem (NOR-CD 9204, 1992)
Juv Utla (NOR-CD 9309, 1993)
Svanshornet, with Orleysa (Odin NJ 4048-2, 1993)
Rit, with Karl Seglem (NOR-CD 9410, 1994)
Haugtussa, with Lynni Treekrem and Ketil Bjornstad (Kirkelig Kulturverksted FXCD 159, 1995)
Brodd, with Utla (NOR-CD 9514, 1995)
Okuta Percussion (Osika Eucd 1343, 1996)
Null g, with Isglem (NOR-CD 9615, 1996)
Tya, with Reidar Sk?r and Karl Seglem (NOR-CD 9717, 1997)
Reise (NOR-CD 9724, 1997)
Trad, with Niss Kerstin Hallgren (Amigo AMCD 739, 1998)
Spir, with Karl Seglem (NOR-CD 9830, 1998)
Jol, with Hans Fredrik Jacobsen (Via Music VCD 375, 1998)
Lavalek, with Groupa (Xoucd 125, 1999)
Dans, with Utla (NOR-CD 9935, 1999)
Bergtatt, with Oslo Chamber Choir (Kirkelig Kulturverksted FXCD 214, 1999)
Glare of the Tiger is a series of remarkable world music jams performed by a superb collective of forward-thinking jazz musicians led by acclaimed composer and percussionist Adam Rudolph.
Throughout the album, the rhythm section lays out a solid foundation of creative percussion and bass over which you get a series of horn, electronic keyboard and guitar melodic evolutions and improvisations that mix jazz, jazz-rock and world music elements. You can hear influences from Ethiopian, Indian and Gnawa music at times, and from many other parts of the world.
Adam Rudolph plays a wide range of percussion instruments, including a drum set composed of hand drums from different traditions: Haitian kongos, West African jembe and Moroccan tarija (small frame drum).
The state of the art recording of Glare of the Tiger was made at Bill Laswell’s Orange Music Studio with James Dellatacoma as head engineer.
The lineup on Moving Pictures includes Adam Rudolph on handrum set, sintir, cajón, itótele, glockenspiel, gongs, additional percussion; Alexis Marcelo on Fender Rhodes, electric keyboards & Hammond B3; Damon Banks on electric bass; Graham Haynes on cornet, flugelhorn, electronics; Hamid Drake on drum set, percussion; James Hurt on sogo and kidi drums, oghene bell, okónkolo, Fender Rhodes, smart phone synthesizer module and sound design; Kenny Wessel on electric guitar, electronics; and Ralph M. Jones on c flute, alto flute, bass clarinet, soprano and tenor saxophones, husli and bamboo flutes.
Fellé Vega, is a renowned Dominican artist; Dominican percussionist native of Santiago De Los Caballeros who defines himself as an Imaginary Folklorist.
Percussionist, composer, inventor, instrument designer, who over the course of his multi-faceted 25-year career has shared the national and international stage with many notable artists, has participated in numerous jazz festivals around the world and led several musical groups, has served as instructor and lecturer at percussion workshops in addition to being a composer and designer of musical instruments.
This craftsman of rhythms and varied instruments exhibits in his music a strong ethnic fusion that is the result of the African, Spanish and Taino influence ever-present in the Caribbean.
Devoted to finding the sound of life, Fellé has distinguished himself by his experimentation with recyclable materials and everyday objects that have percussive possibilities, such as pails, lids and pots, which he then turns into musical instruments. His use of such materials to create music has earned him on many occasions the title of musical wizard from Dominican music critics.
Fellé currently heads the Monday’s concert series Monday’s Jazz every Monday in Bar Code, is the musical director of the jazz and world music group Orquesta de las Danzas Mezcladas, and member of the most famous percussion quintet in the country Cuero, Madera y Metal, as well as the music coordinator of the Palafitos Jazz Festival in Moca.
He is the creator and director of motivational percussion workshops offered at public and private schools called Tocando la Vida, (playing the life) and conducts an innovator idea for workshops based on percussion dynamics for corporate human resources department called SonTeam.
Fellé designs and manufactures percussion instruments under his own trademark, Tokit, for which he uses wood and recyclable materials. The percussion instruments called Boombaquin (percussion box), Tata, Gargaritas, Gayumba, Cuadrangarang, and Tambiro are some of his original creations.
At the moment, he is pointing all his energies in commercialize internationally the Boombakini. This instrument was designed by Fellé in the early 1990s and has being played by several Dominican and international musicians around the world. This is the first Dominican instrument that has been patented, something that makes Fellé very proud.
Retreta para el alma, by Felle Vega and La Orquesta de las Danzas Mezcladas (2005)
Federico Tellechea was born in 1979. He studied percussion and drum set with Facundo Guevara, Ariel Perez, Pablo Laporta, Fabricio Ortolan and Hubert Reyes, specializing in Rioplatense, Afrocuban, Afrobrazilian, Afroperuvian and rock-funk-Latin drums.
He has performed with tango group La Chicana, Afroperuvian group Como que no, accompanies the singer Casiana Torres and is tumbador (conga player) in the group Shamanes. He plays in Milamores and Los Ritmocerontes where he also sings background vocals.
Since 1997 he builds instruments like Peruvian cajon, Kalimbas and Marimbulas. He participated as percussionist in the group Caturga, carrying out, among other, the show “El camino del fuego”.
American percussionist Jerry Leake has recorded a superb album where he explores various musical genres. Leake is best known for his Cubist projects where he fused world music, rock and jazz-rock.
Crafty Hands is album dedicated to percussion and it’s a true delight. Jerry Leake uses an arsenal of percussion instruments drawn from many different global cultures, creating a rich and masterfully-crafted palette of rhythms. However, Leake is joined by other musicians, who enrich his work and take the fusion even further, incorporating jazz, rock, and ambient electronic music.
The opening piece, “Crafy Hands”, sets the tone with a traditional Ewe song where he uses a mix of instruments from three of Ghana’s ethnic groups, the Ewe, Dagomba and Ashanti. On top of this he layers Senegalese sabar beats, Moroccan frame drum and karkabas (metal castanets) and well as complex flamenco bulerias. Here, Leake is accompanied by guitars.
On the second piece, an original titled “Apprentice”the music turns electric and more jazz fusion-oriented, combining powerful drum set beats, electric bass, piano and guitar with harmonica along with various other percussion instruments. It’s based on a Dagomba rhythm and melody and showcases the talent of three students from Leake’s Berklee Global Jazz class.
“Time Hunt” is total jazz-rock fusion featuring fantastic synth solos that recall Joe Zawinul, electric guitars that echo Bill Frisell and Leake’s wide-range of percussion, ranging from marimba to tabla and drum set.
On Track 4, “Do you Think Your Thought” Leake invited DJ Mr. Rourke, who adds hip hop vocal samples that are combined with various drums.
“Blue Water” is a short shamanic composition with a flute that sounds Native American along with percussion, water sounds and resonator guitar.
Track 6 features a mesmerizing solo vibraphone performance titled “Alchemy.”
“String Theory” has some of the best electric guitar work on the album, with a soaring guitar that progresses beautifully accompanied by an assortment of irresistible rhythms.
The brief “Mr. Gong Prelude” highlights the gong accompanied by thunder tube. It leads into a traditional Dagombe song titled “Mr. Gong”, where Afro-roots fusion returns with rock-style guitar and outstanding percussion.
Track 10, “Tarang” is a tabla solo by Leake.
The remarkable sound of the talking drum opens “Dub Clef,” another traditional Dagombe tune that is reconstructed as a jazz-rock piece with electric and acoustic guitars and more masterful percussion structures. This piece has very close connections to the sound you’ll find on the Cubist albums.
The solo vibraphone reappears on track 12, “Quarks.”
Mr. Rourke returns with his turntables and samples on the last track, “Begin by Listening”. Spoken word and ethnic vocal samples sound much better than rap in the context of world music. Leake adds trance-like beats.
The lineup on Crafty Hands includes Jerry Leake on sabar, cajón, karkabas, vocals, bendir, gonkogui, atoké, shakers, floor tom, gender wayang, gung-gong, handclaps, lunga, cymbal, drum set, riq, yabla, daval, tar, triangle, marimba, cowbell, agogo, pandero, recorder flutes, water sounds, thunder tube, vibraphone, sogo, sabar, kidi, guiro, atoké, and clave; Randy Roos on nylon string, electric, baritone, MIDI and resonator guitars, bass; Steve Hunt on keyboards; Mr. Rourke on turntables and samples; Santiago Bosch on electric piano; Roni Eytan on harmonica; and Max Gerl on electric bass.
Percussionist Ángel Sánchez González, a.k.a. Cepillo, has become one of the essential accompanists of today’s best flamenco musicians and shows. He was born in Sanlúcar de Barrameda (Cadiz province, Spain). Since his early years, he played his rhythms with flamenco, rock, jazz fusion and Brazilian musicians and groups.
Cepillo is a regular on the concerts of renowned artists such as Gerardo Núñez, Manolo Sanlúcar, Tomatito, Duquende, Carmen Cortés, Carmen Linares, Rafael Riqueni, Esperanza Fernández, Vicente Amigo, Isidro Muñoz, José Miguel Évora, José Antonio Galicia, Javier Barón, La Tobala, Pedro Sierra, Tino di Geraldo, Perico Sambeat, Michael Brecker, Renaud García Fons and Zakir Hussain, among others.
Cepillo has had a long career, performing throughout Spain and appearing in some of the best venues and festivals in Spain and abroad.
He has appeared in numerous recordings, including ‘Un ramito de locura’ by Carmen Linares, Jazzpaña, ‘Gerardo Núñez presenta. La Nueva Escuela de la Guitarra Flamenca’ and more.
Part of the East Meets West Music label’s Utsav! series celebrating the life and music of sitar master Ravi Shankar through the works of students, collaborators and fellow musicians, composer and percussionist Bickram Ghosh conjures up a lush collection of tracks entitled Maya.
After having played with the revered master Mr. Shankar for more than ten years, appearing on the Grammy winning Full Circle, collaborating with Sonu Nigam on The Music Room, collaborating with Anoushka Shankar and Rahul Sharma on the Decade of Great Fusion 2000-2009 and releasing his own recordings Drum Invasion, Electro Classical, Beyond Rhythmscape and Gumshuda, Mr. Ghosh is ever the revering devotee and disciple of Mr. Shankar.
One needs to look no further than Mr. Ghosh’s own words on Maya’s cover, “I am constantly inspired by the evocativeness of Raviji’s compositions – the subtle rhythmic interplays, the presentation of both East and West, his mind-bending melodic inventions and improvisations. He is a true star of world music and his body of work is a never-ending gift.”
While imitation might be the sincerest form of flattery, Maya is anything but imitation or mere flattery. Chocked full of sitar, cello, oboe, santoor, violin and keyboard programming, as well as Mr. Ghosh’s own mastery of the tabla, udu and cajón.
Maya is a sleek listen into a hypnotic blend where the music of the East rises up to embrace the music of the West. Threaded throughout with vocals and plummy rhythms, tracks like opening track “Maya Sutra” thrum with the goodness of an easy grace.
Equally rich are tracks like the cello laced “Devotee” with vocalist Uljaini Mukherjee, the percussively rich “Mohana,” the darkly lush “The Journey to the Light” and “We Were Children” replete with mandolin, oboe, English horn, keyboard programming and Mr. Ghosh on udu, kahon, kanjeera and tabla.
Closing track “Maya’s Allure” with saxophone, mridangam, flute, viola, electric violin, xylophone, udu, tabla, handsonic, shakers and cajon is just as delightful in this jazzy collaboration.
Mr. Ghosh has cast a delightful spell with Maya. Sophisticated and fresh, Maya conjures lush spell after lush spell and so is a wonderful tribute to the maestro and ultimate musical conjurer Ravi Shankar.
Mickey Hart was born on September 11, 1943, in Brooklyn, New York City. He is best known for his nearly three decades as a fundamental part of the influential rock band the Grateful Dead. As half of the percussion unit known as the Rhythm Devils, Mickey and Bill Kreutzmann went beyond the conventions of rock drumming. Their extended polyrhythmic excursions were highlights of Grateful Dead shows, introducing the band’s audience to an ever-growing set of percussion instruments from around the world. Exposure to these exotic sounds fueled Mickey’s desire to learn about the various cultures that produced them.
Hart’s tireless study of the world’s music led him to many great teachers and collaborators including his partners in Planet Drum. The self-titled Planet Drum album not only hit #1 on the Billboard World Music Chart remaining there for 26 weeks it also received the Grammy for Best World Music Album in 1991- the first Grammy ever awarded in this category.
Planet Drum was one of twenty-nine recordings released on Mickey Hart’s The World series on Rykodisc Records. The World offered a wide variety of music from virtually every comer of the globe with releases like Voices of the Rainforest from Papua New Guinea and Living Art Sounding Spirit: The Bali Sessions.
Mickey’s experiences have led to unique opportunities beyond the music industry. He composed a major drum production performed by an assembly of 100 percussionists for the opening ceremony of the 1996 Centennial Olympic Games. Additionally Mickey has composed scores soundtracks and themes for movies and television including Apocalypse Now Gang Related Hearts of Darkness The Twilight Zone the 1987 score to The Americas Cup the Walter Cronkite Report and Vietnam A Television History arvdr The Next Step. In 1994 Mickey along with all the members of the Grateful Dead was inducted into the Rock and Roll Hall of Fame.
Mickey’s lifelong fascination with the history and mythology of music is documented in four books: Drumming at the Edge of Magic: A Journey into the Spirit of Percussion Planet Drum Spirit into Sound: The Magic of Music and Songcatchers: In Search of the Worlds Music written in collaboration with National Geographic.
In 1999 Mickey was appointed to the Board of Trustees of the American Folklife Center at the Library of Congress. In October of 2000 the Saybrook Graduate School and Research Center conferred an honorary doctorate of humane letters upon Mickey for his work in advancing the preservation of aural archives.
Mickey is the 2003 Recipient of The Music Has Power Award by The Institute for Music and Neurologic Function part of the Beth Abraham Family of Health Services.
Mickey is the recipient of the 2004 Governors Award presented by NARAS (National Academy of Recording Arts and Sciences).
On Sept. 18 2004 Mickey set a new Guinness World Record for the largest drum circle with 454 drummers.
Mickey Hart served for twelve years on the American Folklife Center (AFC) Board of Trustees and helped to establish the “Save Our Sounds project a collaboration between the AFC and the Smithsonian’s Center for Folklife and Cultural Heritage. He also served on the Smithsonian Folkways advisory board in the late 1980s where he was instrumental in shaping digitization strategy for the Moses and Frances Asch Folkways Records Collection and served as technical director for The Original Vision the initial Smithsonian Folkways reissue of Woody Guthrie and Lead Belly recordings. Hart also digitally remastered the Smithsonian Folkways album Hawaiian Drum Dance Chants and with Thomas Vennum Jr. supervised sound duplication for the album Navajo Songs.
In 2011 Mickey Hart made an agreement with Smithsonian Folkways Recordings to release the world music recordings known as The Mickey Hart Collection.’ The plan is to preserve and further the Grateful Dead percussionist’s endeavor to cross borders and expand musical horizons. Smithsonian Folkways will make many of Mickey Hart‘s music projects available digitally (stream and download) for the first time while keeping physical versions in print as on-demand CDs.
The Mickey Hart Collection started with 25 albums drawn from The World, a series Hart curated that incorporated his solo projects other artists’ productions and re-releases of out-of-print titles. Six of the twenty-five albums form the “Endangered Music Project”, a collaboration between Mickey Hart and the American Folklife Center at the Library of Congress which presents recordings from musical traditions at risk. Both The World and The Endangered Music Project were previously distributed by Rykodisc from 1988 to 2002. Hart co-produced The Endangered Music Project with Alan Jabbour former Director of the American Folklife Center of the Library of Congress.
The Mickey Hart Collection‘ offers a wide variety of music from virtually every corner of the globe recorded in a diverse range of locations from the Nubian Desert to the Papua New Guinea rainforest. “Music is our talking book our portal to the spirit world. I hope you will enjoy these audio snapshots of my musical journey ,” Hart said. “It’s an honor to have my recordings at Smithsonian Folkways alongside the greatest songcatchers of our time.”
Today, Hart continues his extensive Grateful Dead career with fellow original bandmates Bob Weir and Bill Kreutzmann — and now with John Mayer, Oteil Burbridge, and Jeff Chementi — in Dead & Company. The supergroup’s 2016 summer tour sold out shows nationwide in the United States, garnering acclaim from critics, Deadheads, and new fans alike.
Rolling Thunder (Warner Brothers BS2635 1972) Diga Rhythm Band (1976)
The Rhythm Devils Play River Music with The Rhythm Devils (Passport Records PB 9844, 1980)
Dafos Mickey Hart Airto Moreira Flora Purim (Reference Recordings RR-1, 1983)
Yamantaka with Mickey Hart Henry Wolff Nancy Hennings (Celestial Harmonies Records, 1983)
Music to be Born By (Rykodisc, 1989) At the Edge (Rykodisc, 1990) Planet Drum (Rykodisc, 1991)
The Apocalypse Now Sessions with The Rhythm Devils (1991) Mickey Hart’s Mystery Box (Rykodisc, 1996) Supralingua (1998)
Spirit into Sound (2000)
The Best of Mickey Hart: Over the Edge and Back (Rykodisc, 2002) Global Drum Project, with Zakir Hussain Sikiru Adepoju Giovanni Hidalgo (Shout Factory 2007) Mysterium Tremendum (2012) Superorganism (Empire, 2013) Planet Drum, 25th Anniversary edition (Universal, 2016)
Adel Shams Eddine (also spelled Adel Shams El Din) was born in Cairo in 1950, but is currently living in France. He has been one of the mainstays of the Al-Kindi Ensemble ever since it was created, and indeed he has become indispensable as an accompanist. His total mastery of even the most complex rhythmic cycles have made him a much respected performer on the riqq (tambourine).