Every once in a while I endeavor to break myself of one of many bad habits. Not the least of these is a tendency to occasionally (okay, all too often) let music sent to me for review slip by unheard due to distractions, preconceived notions or pure idleness. The foursome reviewed here remind me of what a fool I can be when I don’t keep my ears and heart open.
Sweet aplenty but not sticky, a New York City band called Baklava Express musically navigates a rich journey of Middle Eastern sounds, maybe jazzed up a bit, Europeanized or served with a side of Turkey, but always spot on.
The group’s fairly minimal lineup of oud, guitar, bass, violin, and percussion is loaded with finesse that, even sans vocals, creates a signature sound on their album Davka. Like the five fingers on the CD cover’s Hamza, the players comprising Baklava Express operate as one. Throughout tunes fast, slow or in between, this mystically equipped musical train is on a perfect roll.
Of course, there’s mystical and then there’s just plain mysterious. So far as the latter, count in an album entitled El Rodar Del Bolindre (Iberica Actua) by Spain’s Aulaga Folk band. The lyrics and liner notes are entirely in Spanish, so I had myself a listen free from linguistic context. The music is alternately relaxing and rousing, likewise moving easily between crafty instrumental passages and vocal firestorms.
There are Celtic accentuations to be heard, along with flamenco-based sounds, diversions into balladry and moments that quite honestly rock. But there’s ongoing seasoning from violin, flute and clarinet to keep things from getting too heavy. I later learned that the album title refers to the rolling of a marble, and the music ostensibly reflective of not knowing where that marble is going to roll. But even without such rudimentary information as to the band’s intent, the music is a labyrinth of non-stop delights.
More sumptuous music out of Spain arrives courtesy of Ivan Tirado. His skills on guitar, oud, mandola and sitar are evident on every moment of the 2022 release Meraki.
Tirado knows exactly when to lay on the fusion, when to let tradition lead the way, when to let his playing soar and when to give the accompanying bass, percussion, violin, piano, flute and soprano sax their share of the spotlight. The disc is mostly instrumental but with enough vocal coloring to add to the overall excellence.
The new release Bossa Nova covers familiar Brazilian ground for the longstanding, ever-reliable Putumayo label. But even when revisiting places they’ve been before, Putumayo always manages to compile artists of the highest quality. Ana Caram’s opening take on the classic “Blue Bossa” recalls the extent to which the style was influenced by American jazz, and the remaining tracks (sung primarily by women) follow suit to varying degrees.
Laid-back acoustic flows, brushy rhythms and poetically delivered lyrics are the order of the day. While Bossa Nova’s international reach gets a nod on the closing track by Portugal’s Orquestra Bamba Social, it’s a timeless landmark Brazilian vibe presented here. Even if you’ve got a fair amount of Bossa Nova in your collection, make a good thing that much better by adding this one. (www.putumayo.com)
Author: Tom Orr
Tom Orr is a California-based writer whose talent and mental stability are of an equally questionable nature. His hobbies include ignoring trends, striking dramatic poses in front of his ever-tolerant wife and watching helplessly as his kids surpass him in all desirable traits.