All posts by Angel Romero

Angel Romero y Ruiz has been writing about world music music for many years. He founded the websites worldmusiccentral.org and musicasdelmundo.com. Angel produced several TV specials for Metropolis (TVE) and co-produced "Musica NA", a music show for Televisión Española (TVE) in Spain that featured an eclectic mix of world music, fusion, electronica, new age and contemporary classical music. Angel also produced and remastered world music albums, compilations and boxed sets for Alula Records, Ellipsis Arts, Music of the World.

Artist Profiles: Sara Tavares

Sara Tavares

Sara Tavares was only 16 years old, when she won two of Portugal’s most prestigious TV music contests. Born out of a second generation Cape Verdean immigrants, Sara grew up between two cultures.

Initially known as a singer and composer of Gospel, Soul and Funk, she gradually incorporated more of her African music in her compositions. In 1994, she recorded her first album Sara Tavares & Shout, released in 1996. To present the album she performed all over Portugal, Cape Verde, and France.

Her second album Mi Ma Bô, produced by Lokua Kanza, reached gold in Portugal. The album was a mix of African rhythms and melodic pop songs.

By the end of 1998, Sara Tavares decided to start working on her new album. To achieve that, she stopped performing, and went through a long period of introspection to search for her real roots and influences.

As a result of such profound search, Mi Ma Bô was born. Mi Ma Bô, which translated from the criolo (language from Cape Verde) means “Me and You”, is an intimate album, wherein Sara’s voice links all the emotions expressed in its lyrics and melodies.

In this record, Sara Tavares establishes herself not only as a huge musical talent, but also as a composer and co-producer, which assures us of her maturity, her talent and of the long career she has in front of her.

Mi Ma Bô was produced by Lokua Kanza, a musician from Congo, living in Paris. He has previously worked with other African artists such as Ray Lema, Manu Dibango, Papa Wemba, Miriam Makeba and Youssou N’dour. Together with Sara’s co-production, the final result is a very special album, with African colours and a touch of soul, that winds up stirring the listener’s soul.

Sung in three different languages (Portuguese, Criolo and English), “Mi Ma Bô” really shows the universality of the language of music. The album reached gold status in Portugal.

In 2006, her third album, Balancê, came out on World Connection (Europe) and Times Square (North America).

Sara Tavares has become one of the leading exponents of Lisbon’s world music scene. “There is a big, big generation of Cape Verdeans and other Africans here in Lisbon, in Paris, in Boston, all over; with a kind of messed-up identity,” says Tavares. “Our generation feels very lost because there is no culture specifically for us; that talks about our reality.”

When I walk around with my friends, it’s a very, very interesting community,” Tavares explains. “We speak Portuguese slang, Angolan slang, some words in Cape Verdean Crioulo, and of course some English. In Crioulo there are already English and French words. This is because slaves from all over the world had to communicate and didn’t speak the same languages. We are a metisse culture.”

Multilingual wordplay shows up throughout Tavares’ album, and she hops across cultural references as much as she embraces any. The album title Balancê has many different meanings. The noun balan?o is used in Portuguese when music swings. Lusophone Africans use the verb form Balancê in a more general way. “When you are eating something really good you say “this food is Balancê!“? explains Tavares.

For me the song, Balancê is also about balancing yourself,” Tavares continues, “between sadness and joy; day and night; salt and sugar. It’s about balancing emotions. You are always walking a thin line and you have to keep your balance. You have to dance with that line in order to keep standing. If you stay too rigid, you will fall.”

I was in Zimbabwe a few years ago and I saw some really drunk people dancing,” Tavares chuckles. “We were watching them, and they were always almost falling and then they would catch themselves. Just like those people dancing, I also want to dance with that kind of freedom and balance.”

Through music, Tavares seeks cultural roots, along with the help of veteran African musicians in Lisbon and back in Cape Verde where she travels every year.

The whole album is like little lullabies to myself,” says Tavares. “All the messages are about self-esteem, loving yourself. About liking what is different in you. About integrating all the parts of you.”

“Bom Feeling,” whose title combines a Portuguese word with an English word that “everyone uses,” translates as “Good Feeling.” While some people look down on the Portuguese slang associated with African people in Portugal, Tavares embraces it. Tavares says she is from a “broken home” and identifies with street culture.

“Poka Terra” is influenced by Afro-Beat and semba (a style from Angola). The song’s title is an onomatopoeia for the sound a train makes. Tavares is calling on people to catch the train of consciousness and to become responsible for yourself. She sings “An alligator that sleeps will be turned into an alligator bag sold in some store.”

On “Planeta Sukri” (Sugar Planet) Tavares places a reggae style sound system on top of a traditional Cape Verdean rhythm coladeira (a style made popular by Cesaria Evora). “The poem of this song can be seen as a love poem,” says Tavares. “I am saying “Take me to a sugar planet, take me to place where there is no sadness, no cries. And this place is inside of you and me and everyone.” I mean it more in a spiritual way than a romantic way. The ballads are very much like little prayers.”

Tavares talks to the moon on “Muna Xeia” (Full Moon). The song title emerged when Tavares made a mistake and accidentally combined the English word “moon” with the Portuguese word for the same “lua.” “It’s a very feminine song with me talking to the women,” Tavares explains. “First the woman inside of me and then the women in Africa and the women in the world. I sing, “Moon go in peace, moon go in faith, walk in peace, walk in faith.””

Tavares spent time in Cape Verde working with a contemporary dance company. “You know how contemporary artists do crazy experimental stuff” she asks. “Well, they gave me the strength to experiment. If those who live in and own the culture, then we in diaspora can also experiment. As long as someone keeps the tradition. It’s a two-sided knife.”

I want to be a part of a movement like the African Americans were, like the African Brazilians were,” Tavares says. “Instead of doing the music of their ancestors, they have created this musical identity of their own. And it is now respected. It is considered whole and authentic and genuine. It will be a long time before the people from my generation do not have to choose between being African or European. I think you shouldn’t have to choose. You should just be there. Celebrate that. Be that!

Discography:

Sara Tavares & Shout! (BMG Portugal, 1996)
Mi Ma Bô (RCA, 1999)
Balancê (Times Square Records, 2005)
Xinti (World Connection, 2009)
Fitxadu (Sony Music, 2017)

www.saratavares.com

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Artist Profiles: Terrakota

Terrakota

Terrakota is a Portuguese world fusion band that generates “organic music” rooted in sub-Saharan Africa, that absorbs sounds from the Sahara, the Caribbean, the West Indies, and rises above the Jamaican sun.

Discography:

Terrakota (Zona Musica, 2002)
Humus Sapiens (Zona Musica, 2004)
Oba Train (Gumalaka, 2007)
World Massala (Ojo Music, 2010)
Re-Cooked Sessions (Optimus Discos, 2012)
Wontanara, EP (2015)
Oxalá (2016)

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Eddie Palmieri’s Loving Tribute to Iraida Palmieri

Eddie Palmieri – Mi Luz Mayor (Uprising Music/Ropeadope, 2018)

Mi Luz Mayor (My Greater Light) is dedicated to Iraida, Eddie Palmieri’s late wife, who was the love of his life. The legendary Latin jazz pianist, composer, arranger and band leader selected the music that Palmieri and his wife relished in their youth. The album features musical pieces by various composers and originals by Palmieri.

“Because this music is in her honor, everything from start to finish had to be of the highest caliber and I am proud to say that it is just that,” says Palmieri about Mi Luz Mayor.

Although Eddie Palmieri is well-known as a Latin jazz composer and performer, his music incorporates a rich variety of influences on salsa, Colombian music, Afro-Latin music, Colombian cumbia, rock, Puerto Rican rural music, mambo and romantic boleros.

The list of musicians who participated in Mi Luz Mayor is impressive. In addition to his regular band, Eddie Palmieri invited some of the finest musicians and vocalists in the Latin jazz and salsa scene, hailing from the US, Puerto Rico and Cuba.

Three special guests appear on Mi Luz Mayor, Puerto Rican salsa and bolero star Gilberto Santa Rosa on vocals; famed Puerto Rican-American salsa singer Hermán Olivera; and the fabulous Carlos Santana on electric guitar, injecting a remarkable solo on Mr. Congo, which makes this piece sound like top of the line Cuban timba.

Eddie Palmieri

The lineup on Mi Luz Mayor includes Eddie Palmieri on piano; Luques Curtis on bass; Karl Perazzo on timbales; Camilo Molina on timbales, drums and itótele; Pequeño Johnny Rivero on congas; Anthony Carrillo on bongos, cowbell and iyá; Nelson González on tres; Gabriel Lugo on okónkolo; Jerry Medina on backing vocals ; Juan Pablo Díaz on backing vocals; Brian Lynch on trumpet; Jonathan Powell on trumpet; John Walsh on trumpet; Pete Nater on trumpet; Chris Rogers on trumpet; Conrad Herwig on trombone; Jimmy Bosch on trombone; Joe Fiedler on trombone; Chris Washburne on trombone; Doug Beavers on trombone; Tokinori Kajiwara on trombone; Louis Fouché on alto saxophone; Yosvany Terry on alto saxophone; Ralph Moore on alto saxophone; Ivan Renta on tenor saxophone; Craig Handy on tenor saxophone; Jeremy Powell on tenor saxophone; Gary Smulyan on baritone saxophone; and Ronnie Cuber on baritone saxophone.

Special guests: Giberto Santa Rosa on lead and backing vocals; Carlos Santana on electric guitar; and Hermán Olivera on lead vocals.

Mi Luz Mayor features exceptionally good, timelessly crafted Latin big band songs by one of the brightest Latin Jazz artists of our time.

Buy the Mi Luz Mayor CD and download in Europe

Buy Mi Luz Mayor digital download in North America

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Multifaceted Ud with an Indian Cultural Foundation

Dhafer Youssef – Sounds of Mirrors (Anteprima, 2018)

Seasoned Vienna-based Tunisian ud (lute) player, composer and vocalist Dhafer Youssef has been working for the past years on a variety of fusions, mixing Arabic ud with jazz and other musical forms. On Sounds of Mirrors, Dhafer Youssef invited famed Indian percussionist Zakir Hussain, fulfilling his dream of working with the acclaimed tabla player. He also recruited another colleague, Turkish clarinetist Hüsnü Şenlendirici.

 The third guest of honor on Sounds of Mirrors is Norwegian jazz guitar virtuoso EivindAarset, who contributes atmospheric electric guitar and electronics.

Sounds of Mirrors is a reflective album of great beauty, showcasing the versatility of the ud in a fascinating dialogue with the rhythms of the tabla and clarinet melodies, enriched with “aerial guitar.” Although Dhafer Youssef is the composer and arranger of the album, he gives plenty of space to HüsnüŞenlendirici.

Even though Sounds of Mirrors was originally meant to be a tribute to ZakirHussain and tabla, the album took a twist. Shafer felt that “working with and from an Indian cultural base, we could approach a more universal speech…”

Dhafer Youssef’s earlier albums include Malak (Enja), Electric Sufi (Enja), Digital Prophecy, Divine Shadows, Glow (Material), Abu Nawas Rhapsody (EmArcy), Birds Requiem (Okeh), and Diwan of Beauty and Odd.

Buy Sounds of Mirrors

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Artist Profiles: Las Maravillas de Mali

Las Maravillas de Mali

Formed in the early 1960s, Las Maravillas de Mali became an iconic ensemble of the Afro-Cuban musical tradition, singing in Spanish, Bambara and French.

In the middle of the Cold War, the early 1960s was a period of Communist camaraderie between the Africa of independence and the revolutionary Cuba of Fidel Castro and Che Guevara. In 1964, the Cuban government invited ten young musicians from Mali to study in Havana. These young artists spent seven years studying music in Cuba, marking the establishment of Las Maravillas de Mali.

The group recorded one self-titled album in 1968 that included the song that became one of the greatest hits in this revolutionary era: “Rendez-Vous Chez Fatimata,” combining Cuban influences with traditional Malian music.

Las Maravillas de Mali’s story came to the attention of French producer Richard Minier in 1999 and he worked to recreate the ensemble. Together with the band’s remaining survivor and original member, Boncana Maïga, Minier retraced the group’s steps and went to Havana on several occasions, re-recording new versions of the album’s songs in the same surroundings as before, in the now famed Egrem studios.

In 2018, the orchestra was revived again in an effort led by Malian musician and founder Boncana Maïga, Cuban pianist Manolito, Beninese vocalist Jospinto and Guinean vocalist Mory Kanté.

Discography:

Maravillas De Mali (Disco Stock, 1968)
Maravillas De Mali (Maestro Sound, 1999)

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Artist Profiles: ALMMA

ALMMA stood for A Free Association of Madeiran Musicians. In 1996, eleven Madeiran musicians coming from diverse musical backgrounds gathered together in a small village, Jardim do Mar, west of Funchal (Madeira’s capital) to record an experimental album that would create a new atmosphere for Madeiran traditional music.

The purpose of these musicians was to show the various developments in Madeiran traditional music during the last centuries. Madeira was an island colonized by Portuguese settlers in the XV century, but because of its geographical position in the Atlantic ocean it was a cosmopolitan port for all travelers, from Arabic pirates to African slaves, English businessmen, Italians, Dutch, Spaniards and Celtic peoples.

So, Madeiran traditional music, although dominated by northern Portuguese traditions, had other important influences. Of particular importance were Arabic chants and instruments, as well as the richness of African drums and oral stories.

Unfortunately, for many centuries historians and governments tried to hide those influences and, in the name of Portuguese unity, only taught the politically correct musical traditions. ALMMA was the opposite. In a contemporary way, it showed the richness of Madeiran music. The band blended African drums with Arabic flutes and chorus, all mixed with Portuguese fados and Celtic danceable tunes. It seems a very strange melting pot, but in the end it truly presents the variety of Madeiran culture, not only in music, but also in other ways, such as poetry, myths and costumes.

Musicians:

Nuno morna – vocals, percussion, samplers, duduk, shanai, hurdy-gurdy

Manuel rodriguez – acoustic and electric guitars, viola de arame, rajao, percussion, vocals

Tozé cardoso – keyboards, viola de arame, guitar, vocals, percussion

Marília Andrade – vocals, percussion

CarlosCruz – braguinha, mandolin, quatro, percussion

Mário Freitas – bass, sitar, percussion

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Artist Profiles: Madredeus

Madredeus in 2000

Creating a distinctly modern Portuguese sound, Madredeus became one of the most critically acclaimed and commercially successful Portuguese bands in Europe. This Lisbon-based sextet’s music is steeped in Portuguese culture, informed by a wide range of musical influences and prized by audiences throughout Europe, Brazil, and Japan.

In 1985 Pedro Ayres Magalhaes, bassist of Herois do Mar and Rodrigo Leao, bassist of Sétima Legiao, began to mature the idea of making another type of music due to the fatigue caused by their involvement in the Portuguese pop scene.

During a break in the activities of their respective groups, Pedro and Rodrigo joined to rehearse some guitar repertoires. Pedro also presented some lyrics although they lacked a voice. They were joined by accordionist, Gabriel Gomes.

Soon, a cellist who was studying at the Lisbon Conservatory began to collaborate with them. However, they continued to lack a voice, because despite doing continuous auditions, they did not find one that fully satisfied them. One night, Rodrigo and Gabriel visited the Barrio Alto and discovered a young girl who sang a fado at a table with some friends. They immediately established contact. Everyone agreed that it was the voice they were looking for. So they started rehearsing together.

The rigors of winter forced them to look for a more welcoming place and that is how they ended up rehearsing in the convent of Madre de Deus, in Xabregas, east of Lisbon.
During 1987, Madredeus’s essays gradually transformed into a gathering of friends and musicians in which opinions and ideas were shared. The group remained nameless so those who frequented the rehearsals began to call them “Madredeus”.

Meanwhile, Pedro Ayres began to tempt the label with which he released the records of his previous group, with some recordings by the new group. At the same time, Rodrigo Leao began to experience a new sound, that of the synthesizer. His first work was recorded in the same rehearsal place. To make little noise the musicians played barefoot and had to stop the recording every time a heavy vehicle passed by, due to the noise. On November 30, the album was presented.

From there on, instrumental arrangements inspired by tradition, that sought to revive the interest and taste for the Portuguese language began to have more and more followers.

The first week of December of that year “Os Dias da Madredeus” was released. The album immediately became an assiduous presence on radios and newspapers and began to be an obligatory reference of Portuguese music.

In 1988, the group began to be constantly requested for more concerts in Portugal. That year was very important in consolidating the group in its own country. The following year, they had exceeded all initial expectations.

Two years later, Madredeus recorded the album Existir. For the first time in a studio. At that time they met Antonio Pinheiro da Silva who would continue with them as a producer on their first albums.

In 1991 they gave their first concert in Spain, where they would reap great successes. That same year, they recorded their first live work, Lisbon. EMI reissued the second work album.
In 1992 and in 1993 they had already traveled throughout European countries, America and Japan.

In 1994, after a short break after the frenzied activity of the previous year, the band started a relationship with Wim Wenders who was preparing a film about Lisbon, and wanted to use some Madredeus songs in the soundtrack. They flew to England to record some songs, and decided, to the delight of Wim Wenders, to create some of them expressly for the film. They came back with two albums instead of one. So the first of them was published in the spring under the title Espírito da Paz.

After several concerts, performing in places of great prestige, Rodrigo Leao left the group to dedicate himself to his solo career and was immediately replaced by Carlos María Trindade. He accompanied Madredeus on a long tour of Spain. Then they traveled around the world carrying their music. At the end they presented the songs of the soundtrack of the film in an album, the second that year, titled Ainda.

1996 was a year in which concerts and breaks and conversations were interspersed. A year later, Gabriel Gomes and Francisco Riveiro left the group. Bassist Fernando Judice replaced them. It was a new group that marked a new stage in the career of Madredeus.

In 1998 they recorded live O Paraiso, a trip throughout its musical career. During these two years they resumed their tours and continued to be successful all over the world.

Then came “Antologia“, a disc composed of travel notes brought from around the world. Images of moments, snapshots of emotions, some of Madredeus’ songs, built on dreams and landscapes, hopes and longings.

In November 2007, longtime vocalist Teresa Salgueiro left Madredeus.

Madredeus in 2012

In April 2012 Madredeus released Essencia and announced too its new lineup, featuring Beatriz Nunes (vocals), Pedro Ayres de Magalhães (guitar), Carlos Maria Trinidade (synthesizer), Jorge Varrecoso (violin), Antonio Figueirido (violin) and Luis Clode (cello).

Discography:

Os Dias Da Madredeus (EMI, 1987)
Existir (EMI, 1990)
Lisboa (EMI, 1992)
O Espírito Da Paz (EMI, 1994)
Ainda (EMI, 1995)
O Paraíso (EMI, 1997)
O Porto (EMI, 1998)
Movimento (EMI, 2001)
Euforia (Capitol Records, 2002)
Electronico (Capitol Records, 2002)
Um Amor Infinito (EMI, 2004)
Faluas Do Tejo (EMI Music Portugal, 2005)
Essência (Éter, 2012)
Capricho Sentimental (Éter, 2015)

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Artist Profiles: Mónica Giraldo

Mónica Giraldo – Photo by Carolina Iregui

Guitarist and singer-songwriter Mónica Giraldo was born in Bogotá, Colombia. She studied music at Universidad de los Andes in her hometown and later studied further at Berklee College of Music in Boston, USA.

Since her return to Colombia, she recorded several albums: Muy Cerca (Very Close) in 2005 with Producer Felipe Álvarez (Polen Records); Todo da Vueltas (Everything Turns) in 2008 with Producer Mauricio Pantoja and independent label Codiscos, which earned her a nomination for Best New Artist at the 2008 Latin Grammys.

She also released Que venga la vida (Let life come) with Polen Records in 2014, and Bajo el mismo cielo (Under The Same Sky) in 2017, co-produced by Giraldo, Mauricio Pantoja and Andrés Peláez.
Mónica Giraldo has collaborated with various artists in various albums, such as Mestizajes with the Bogotá Philharmonic Orchestra in 2010, La Voz de mi Padre (My Father’s Voice) in 2011, and in Café Latino and Café del Mundo by Putumayo Records in 2013-2014. Her performing career includes venues in Colombia, Mexico, USA, France, and Japan among others.

Mónica Giraldo is a woman strolling two paths. The first one is taking her deeper and deeper into the soul of Colombian music, surrounded by the energy of her native land’s traditional rhythms such as cumbia and bullerengue. The other one leads her out and away, enjoying melodies and harmonies from the world.

Discography:

Muy Cerca (Polen Records, 2005)
Todo da Vueltas (Codiscos, 2008)
Que venga la vida (Polen Records, 2014)
Bajo el mismo cielo (2017)
Al Oido -The best of Mónica Giraldo (GLP Music, 2018)

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Interview with Flamenco Arabic Ensemble Mujeres Mediterráneas

Mujeres Mediterráneas (Mediterranean Women) is an all-female ensemble based in Granada (Spain) featuring artists from various backgrounds, who combine Flamenco and Arabic music. World Music Central interviewed this rising act.

 

Mujeres Mediterráneas – Photo by José Asensio

 

How did the Mujeres Mediterráneas project come about?

Mujeres Mediterráneas is a musical ensemble based on the coexistence of music and cultures, specifically between Flamenco and Arabic Music. It was created in 2015 as a result of the vital encounter of our music on stage. The project arose from a musical encounter where Arab singer Habiba Chaouf coincided with flamenco guitarist Pilar Alonso; a musical and cultural exchange was created that grew and resulted in the current quartet incorporating flutist, Mixtlan Solomon and the then little known flamenco cantaora (singer), Ana Sola.

In the musical universe of Mediterranean women, Middle Eastern and Andalusian rhythms are interwoven between harmonies, flamenco songs, Arabic songs and Sephardic melodies. Thus, they discover and experience a personal musical language that dialogues between East and West in a free and playful way. Enjoying the musicality and diversity of the languages (Berber, Classical Arabic, French Dariya and Spanish). Between the “pinches” of the flamenco guitar, the melodies of the flute, the rhythmic variations of the bendir and flamenco palmas (handclap percussion), the Arabic and flamenco voices move between Morocco, the East and Spain, transporting us to a trip throughout the Mediterranean, remembering the essence that each culture entails.

 

 

How did the four members of the group meet?

Habiba and Pilar coincided in a fusion show. This meeting generated a friendship relationship by sharing the customs of their cultures in essays accompanied by the gastronomy of both countries. In each rehearsal the music was present in a natural way and likewise mixed, like a stew that requires different ingredients. The Arabic voice feels accompanied by the flamenco harmonies and rhythms and feels them as their own and the guitar is recreated in the Arabic melismas as “quejíos” (flamenco moans).

Mixtlan, recently arrived from Argentina, with much knowledge of flamenco and Arabic music, joined the group with flamenco singing sung with the flute in what we call the “flautaora”.

Ana, one of the most important cantaoras of her generation, joined later, providing with her vocal strength and her stylistic versatility a very personal vision of the flamenco side.

 

Mujeres Mediterráneas – Photo by José Asensio

 

What are the essential elements of your music?

We work with “the dialogue between the Arabic voice of Habiba and the flamenco voice of Ana” with the accompaniment of Pilar’s guitar and Mixtlan’s flute, along with the instrumental songs of the “flute” and the falsetas of the “tocaora” (guitar player). All this is completed with the rhythms of the bendir performed by Habiba and the flamenco palmas of Ana.

Who can be cited as the main musical influences of the group?

We are inspired by classical Arabic music and poetry and flamenco in general, giving our “personal touch”. Each of us carries a “backpack” of musical knowledge that, when put together, generates a particular sound.

What musical instruments do you use?

Flamenco guitar, Pilar Alonso.
Flamenco flute, Mixtlan Solomon.
Arabic bendir Arab, Habiba Chaouf.
Flamenco palmas, Ana Sola.

What has been the reaction of the public so far?

The public surprises us with their reaction every time we get on the stage. We are grateful for the coexistence of cultures and the naturalness that characterizes us when we present ourselves in public. We also see that they enjoy female complicity that is not frequent in the current music scene.

How’s the flamenco scene in your area?

Flamenco is very healthy in Granada. Since it was named a World Heritage genre, it is cared for and more powerful. Flamenco reaches every corner of the world and that makes it possible to mix with all cultures, being a very open music.

Have you recorded any albums?

We are currently in the process of recording.

Much of what is broadcast on the radio, internet and movies is pop and hip hop. How do you divulge your music?

We currently do it with music videos on Youtube and our live performances.

 

 

Is there any effort on your part to raise awareness of flamenco and the music of the Maghreb?

Both Maghreb and Flamenco music are world-renowned, we take care of making them live together naturally, from the enjoyment of musical diversity and the complicity of common aspects from where they meet.

We like to share our music with all kinds of audiences including children that provides us their natural vision of mixing, from innocence without prejudice.

If you could gather musicians or musical groups to collaborate, who would you call?

We are open to collaborations from both the Flamenco world and the Arab world, as long as their music flows with our style.

Are you preparing any new projects

We are preparing the recording of our first album and a new show which shows the linguistic relationship between Arabic and Flamenco.

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Artist Profiles: Mafalda Arnauth

Mafalda Arnauth

Mafalda Arnauth, born in Lisbon in October of 1974, was one of the great new sensations in fado in the late 1990s. She started her career in 1995 when invited by Joao Braga (an important fado singer) to participate in a concert at S. Luis’s Theater. What initially seemed to be a single experience, turned out to be a way of life.

Today her value is recognized, not only in Portugal but also in many foreign countries, where her presence is regularly requested.

Mafalda Arnauth, her first album released in 1999, was immediately acclaimed by specialists and won the Prize for Best Upcoming Voice by the weekly magazine Blitz, a sign that new generations are back into fado.

After a year filled with concerts and important invitations, that took her to the most important concert halls in The Netherlands, the Louisiana Centre (Denmark) and to Italy, to perform in the festival Sete-Sois, Sete-Luas, an important Mediterranean folk music event, she sang at Centro Cultural de Belem, where she was warmly acclaimed by the press.

Mafalda Arnauth

Mafalda’s second album, Esta voz que me atravessa (This voice that goes through me) was released in 2001 and was produced by Amelia Muge and Jose Martins. Her album Encantamento was self-produced. She feels it “leaves fatality, disgrace, and nostalgia behind. Hope is fed on sadness; inspiration on suffering; strength and courage on difficulties.”

Discography:
Mafalda Arnauth (EMI, 1999)
Esta Voz Que Me Atravessa (EMI, 2001)
Encantamento (EMI, 2003)
Diário (Universal Music Portugal, 2005)
Flor De Fado (Universal Music Portugal, 2008)
Rua Da Saudade – Canções De Ary Dos Santos (Farol, 2009)
Fadas (Universal Music Portugal, 2010)
Terra Da Luz (Warner Bros. Music Ltd. 2013)
Pessoa (Coast to Coast, 2013)
Mafalda Arnauth & Atlantihda (Sony Music, 2015)

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