Chris Thile will conclude his season-long Debs Composer’s Chair residency at Carnegie Hall on Wednesday, May 8, 2019. The special one-night-only performance at Stern Auditorium / Perelman Stage, includes his celebrated acoustic groups Nickel Creek and Punch Brothers on the same bill for the first time.
Nickel Creek Chris Thile, mandolin Sara Watkins, fiddle Sean Watkins, guitar
Punch Brothers Chris Eldridge, guitar Paul Kowert, bass Noam Pikelny, banjo Chris Thile, mandolin
Wednesday May 8 at 8:00 PM Stern Auditorium / Perelman Stage at Carnegie Hall 57th Street and Seventh Avenue, New York
Okay, I know what you’re
thinking. You see the title The Art of the Vietnamese Zither and I can hear the
huff of your sighs and feel you rolling your eyes from here. Perhaps you are
imagining a rather spare, academic exploration of the zither and a dense
intellectual tour through Vietnamese music with an impossible array of terms to
learn and understand in order to grasp the Vietnamese zither. Well, nothing
could possibly be further from the truth. Achingly elegant and intricately
engaging, The Art of the Vietnamese Zither will have listeners perched on the
edge of their seats, anticipating note after note capable of musically
expressing a summer afternoon, the rainy season and a young man’s ride on a
horse to seek his bride all by way of the Vietnamese zither.
Armed with a musical
education that includes the Music Conservatory of Saigon and the Ecole Normale
de Musique de Paris, as well as previous recording credits Beyond Borders and A
Journey Between Worlds, Vietnamese composer, pianist and zither player Tri
Nguyen has turned out a stunning recording with The Art of the Vietnamese
Zither. There’s nothing spare or clinical about this music. It comes across as
sweepingly cinematic and deeply personal to Mr. Nguyen whether it is a grand,
bold piece like “Strategist Khong on the Fortress” or a delicately intimate
song like “Autumn Moon Lullaby.”
Composing and arranging most
of the tracks, Mr. Nguyen has gathered up a group of musicians to join his
vision and own zither playing on the Art of the Vietnamese Zither like Buynta
Goryaeva on violin, Iryna Topolnitska on violin, Carolin Berry on viola, Dima
Tsypkin on cello, Son Mach on violin, Thanh Trung on guitar, Trung Tran on
monocord, Nguyen Quyet on Vietnamese bamboo flute, Thien Lam on Vietnamese
lute, Tran Hien on Vietnamese drums and for an unlikely addition on several
tracks Qais Saadi on percussion and oud.
From the very opening track
“Exchange of Love” through to the last note of closing track “Black Riding
Horse,” The Art of the Vietnamese Zither is masterful in its balance. It’s easy
to pick out the reverence to ancient musical traditions of Vietnam and where
Mr. Nguyen marries that with Western traditions as on the elegant “Song of the
The bright delicacy and
careful bend of notes allow tracks like “Twilight Mist,” “Sadness of the South”
and “Move on Water, Walk on Clouds” to simply flow like fluttering silk in the
breeze. Stepping away from the delicate into the bold “Melancholy” and
“Strategist Khong on the Fortress” prove that there’s plenty of drama in
Vietnamese music. And, if that weren’t enough, Mr. Nguyen dazzles with a kind
of hybrid track on “Child Where Are You?” with Mr. Saadi providing percussion
and interestingly enough sinuous oud lines, and again on the track “Golden
Skies.” Closing with the traditional Vietnamese folk song “Black Riding Horse,”
Mr. Nguyen fleshes this track out with traditional Vietnamese bamboo flute,
lute and drums to dazzle listeners with this wild musical ride on a black
The Art of Vietnamese Zither
is a gorgeously sumptuous listen and well worth the journey across southern
Vietnam’s musical landscape.
This is an ambitious world music album
inspired by the Buddhist philosophy and musical chanting of Sakya Tashi Ling, a
monastery belonging to one of four Buddhist schools from Tibet, the Sakyapa
tradition. They later set up the first Buddhist monastery in Spain.
The orientation is mostly toward Western
listeners, with the Buddhist chanting adding an exotic ‘Eastern’ appeal over
the 14 smooth jazz and lounge tracks.
Our picks include the pleasant piece Emotions
and the soaring I Wanna Fly. The music is generally a mix of pop and New Age
music, architected by Sergio Medrano and Miguel González.
Everyone knows that the tin
with an assortment of cookies is just so much better than the tins with just a
single kind of cookie. It’s just so much better to sample one’s way through
dark chocolate covered cookies, white chocolate wafers, shortbread squares,
bites of buttery Madeleine cookies or milk chocolate covered cookies with tiny
pictures pressed into the chocolate than a beaten up bag of plain old
snicker-doodles. That’s just fact.
Interestingly enough it can
be the same way with music and our friends at ARC Music know this and have put
a wonderful collection for listeners to nibble their way through on Journey to
the Middle East. This compilation works its way through the music of Syria,
Egypt, Persia, Israel, Cyprus, Lebanon and Turkey. This glorious collection
would delight the most seasoned listener or the newbie listener dipping an ear
into the musical mysteries of the Middle East.
Listener get a dose of the dramatic right up front with the traditional song and dance from Cyprus titled “Cifdetelli” by the folk ensemble Yeksad. Journey to the Middle East turns hip with Hossam Ramzy and Phil Thornton’s “Planet Egypt” replete with hypnotic percussion and call-and-response interplay between mizmar, argul and kawala from the ARC release Planet Egypt.
Up next is “Aziz Jun” by Zohreh Jooya, originally from the ARC release Persian Nights. Fans will simply not want to miss “Midnight Sun” by Dastan Trio. This track is just simply impressive as Dastan musicians Pejman Hadadi, Hossein Behroozi-Nia, and Hamid Motebassem weave a web of improvisational mastery on barbat, setar and tombak that includes some spectacular percussion.
If that weren’t enough to lure listeners to Journey to the Middle East, there’s the sly and sassy “Iraqi Jazz” by Ahmed Mukhtar, the sweetly soulful “Mi Yitneni Of” by The Burning Bush, originally from the ARC release Folksongs from Israel. There’s also “Amaken” by Andre Hajj & Ensemble, the sultry vocals on the Syrian song “Hayyamatni” by Zein Al-Jundi and Armenian dance song “Karoun, Karoun/Nooneh” by Alan Shavarsh Bardezbanian.
The Iranian percussionists of Zarbang have on offer “Cycling Feast” and it is a powerful Sufi trance, ancient Iranian call to the wild and percussion extravaganza all rolled into one. Journey to the Middle East keeps up the wild ride all the way to the end with a final track from Ensemble Huseyin Turkmenler called “Rumeli Karsilamisi.”
Journey to the Middle East is a whole assortment treats and everyone knows that’s the best.
Pandit Ravi Shankar – Vision of Peace (Deutsche Grammophon/Universal, 2000)
This double CD showcases some of Pandit
Ravi Shankar’s international prowess. The first CD has Japanese-Indian
collaborative tracks featuring Pandit Ravi Shankar on sitar and Ustad Alla
Rakha on tabla, accompanied by Japanese musicians Susumu Miyashita and Hozan
Yamamoto on flute and string instruments. Our pick on this CD is the energetic
The second CD is more traditional, with
Raaga Jogeshwari and Raaga Hameer. In sum, a fine listen for an afternoon of
Refugees for Refugees – Amina (Muziekpublique, 2019)
It’s become fairly standard to sum up a person’s life in a single moment. We catch a glimpse of the face as some person crosses a border, disembarks from a ship or jockeys for space in a refugee camp and we sum up that life.
There are some who would chalk up the refugee story by making it part and parcel to tragedy, war or desperate circumstances, while the less sympathetic would see an unwanted burden. But that’s never the whole story. We don’t see bread bakers, engineers, nurses or store owners where the family’s store has successfully existed and operated for and by generation after generation of the same family. We certainly don’t see the keepers of traditional craft work like carving or needlework or artists or musicians. We dismiss the back story of the refugee, that life before being uprooted, and perhaps the most precious of that life. It is with some sadness that I think we might be truly missing out.
It’s somewhere in here that
Muziekpubique, a non-profit organization in Belgium, has seen this missed
opportunity. Running a program promoting folk and world music by way of
concerts, music lessons and a record label. This clever organization and label
has teamed up musicians from Pakistan, Tibet, Syria, Afghanistan, Iraq and
Belgium to create Refugees for Refugees, resulting in a second release of the
recording called Amina, in support of Muziekpublique and Cinemaximiliaan, a
kind of cross cultural crossroads for refugees in a Brussels park where refugees
can get information, find friends and even watch a movie or find a creative
While the good deeds of Refugees for Refugees might be incentive enough to support this project, the better bet is to support this wonderful music. Amina is full of delightful surprises and lush pleasures. Composing and arranging most of the music on Amina by members of Refugees for Refugees, this collaboration where one musical tradition is seamlessly enfolded in another, sometimes in improbable combinations, comes across as wholly organic.
Pooling the talents of Pakistan’s Asad Qizilbash on sarod, Tibet’s Dolma Renqingi on vocals, Syria’s Fakher Madallal on vocals and percussion, Tibet’s Kelsang Hula on dramyen and vocals, Afghanistan’s Mohammad Aman Yusufi on dambura and vocals, Belgium’s Simon Leleux on oriental percussion, Iraq’s Souhad Najem on qanun, Syria’s Tamman Al Ramadan on ney, Syria’s Tareq Alsayed Yahua on ud and Belgium’s Tristan Driessens on ud Amina flows free in that otherworldly space where musicians, regardless of their country or tradition, meet and commune, that place where all the good things in music happen.
Hooking listeners from the
opening strains of “Perahan,” Amina dazzles with a heady mix of vocals, ud and
ney. And, the tracks just get better with “Semki Molem” with its rich
combination of deep male chorus against the soaring vocals of Aren Dolma. The
ud laced “Qad Hijaz” is just as powerfully stunning as “Kesaro Sarko.”
Other goodies include the
sarod and quanun rich “Punarjanm,” “Tonshak” with its scratchy throat singing
against Tibetan vocals by Ms. Dolma and musical combination of sarod, dramyen,
ud, ney and bendir and all the glorious quanum riches of “Shuq.” “Tales of the
Mountain” will raise the hairs on the back of your neck it’s that good, just as
simple pleasures of sarod and dholla will delight on “After the Dust.” And
still the goodies just keep coming with “Rose Gate,” “Wasla Qudud Bayati”
“Lhasa” and closing track “Chaman Chaman.”
With Amina, supporting a good cause never sounded so good.
Sheila Chandra – Out on my own (Indipop, 1984, reissued by Narada//EMI in 2000)
This is a slender album by today’s standards, with 10 tracks just stretching over 40 minutes. But it is an important milestone in the musical path of Sheila Chandra, leading UK-based Indian-origin fusion artist from the 1980s.
As the liner notes explain, this was Sheila
Chandra’s declaration of independence from pressure from her first label, after
scoring a U.K. hit with the group Monsoon and the song, “Ever So
Tablas, keyboards, guitar and sitars provide the backing for her strong experimental vocals. Our picks include the title track and the ambient ‘Prema;’ also check out the dreamy ‘From a Whisper.’
Shubbak Festival will return to London’s Barbican Hall on Tuesday, July 9, 2019 with a special tribute concert to the late Palestinian singer, songwriter and composer Rim Banna. The show will include musicians who knew her best as well as close peers in the Palestinian music scene.
The performers include Lebanese visual artist and singer-songwriter Tania Saleh, Palestinian composer and pianist Faraj Suleiman and Syrian producer/MC Bu Kolthoum who will be performing newly re-orchestrated versions of Rim Banna’s material, accompanied by a specially assembled band.
The event is called “The Trace of the Butterfly,” which is the name of one of Banna’s songs as well as a poem by Mahmoud Darwish.
There’s a revolution happening on the music front in Cuba led by a visionary group of millennials that’s banging down post-Buena Vista Social Club doors with an intoxicating mix of Santeria/Afro-Cuban roots, jazz, hip-hop, soul and funk.
In the vanguard of this new movement, alongside such as Roberto Fonseca, Danay Suarez and the project Havana Cultura, is Daymé Arocena.
In her mid-20s, this smoky voiced young songstress follows a 60-year conga line of Cuban musicians influenced by Caribbean Yoruba traditions. As she explains: “We have had limited information about musical activities internationally, so we’ve had to research our roots to create something new.”
Now, she declares, her generation is looking for a link with the world: “We wanna make Cuban music universal again by mixing the traditional with our young spirits. This new era is mixed and fresh.”
Arocena is both saddened and perplexed by the fact that international audiences and reviewers seem to expect all Cuban musicians to be in the old school mould.
“The Buena Vista Social Club represents the music of the pre-revolution period, but it’s crazy to think that we haven’t done anything else since 1959. We’re a little island full of music, because Cuba is a country with a mix of races, languages, religion and culture. People can’t just talk about Cuban music being in Spanish with one clave.”
The fast-rising diva – a disciple of Nina Simone and Marta Valdés — is on a mission to change preconceived ideas about Cuban music, but insists she’s not alone in that aim. “I just got the opportunity to do it with an international response, but there are a lot of us fighting.”
While Arocena’s acclaimed albums, Nueva Era and Cubafonía, contain a range of styles, she says her master plan is simply to make “Cuban jazz music for everyone“.
Her self-composed songs are imbued with the spirituality of Santeria: “It’s really the national religion of Cuba because it’s the only one that was born here. It’s the result of the mixing of Yoruba and other West African roots and Catholicism with other Cuban native, Asian and European influences. I’m crowned Yemeya — the saint of the sea — so I’m a practitioner and my music and my life are connected with it.”
Arocena proudly wears the traditional dress of Santeria and is bare-footed on stage: “It’s my way of keeping protected,” she informs.”
The singer, arranger and composer regards English producer Gilles Peterson, the man behind Havana Cultura that helped launch her international career, as part of the family. She says that Peterson and the Havana Cultura project gave her the freedom to be herself.
Music has been Arocena’s calling since the tender age of four, when she performed on dusty street blocks across Cuba.
At age 9 she was accepted into one of the country’s most prestigious music schools, where she studied choir directing rooted in Western classical tradition. By 14, she was the principal singer in the prestigious Cuban big band Los Primos, impressing the likes of jazz heavyweight Wynton Marsalis.
Arocena ascribes her love of jazz and hip-hop to the southern US, where rappers and musicians alike have affiliations to the Afro-Christian Church. She describes hip-hop as the urban spirit of the street. “As a creator and performer you have to be plugged into it; it’s the best way to understand the worries of the people.”
Daymé Arocena namechecks Herbie Hancock and Kendrick Lamar as musicians she’d one day like to work with. If her international profile continues to grow at its current rate, she may soon be able to cherry-pick her collaborators.
• The above interview first appeared in Rhythms, Australia’s only dedicated roots music magazine.
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion