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The Cultural Richness of Diversity Showcased at Babel Med Music 2016 – Day 3

On Saturday night, most of the bands were French to please the general public. The crowd around was younger on average than in the previous nights. Some just wanted to be there to get a buzz and jumped up and down on the faster songs, while talking throughout the quieter ones.

Trio Keynoad appeared on stage representing the Provence Alpes – Côte d’Azur region. The members of Trio Keynoad are Ameylia Saad Wu (voice and harp), Christian Kiane Fromentin (violin, saz) and Nicola Marinoni (percussion).

Ameylia is the daughter of Lebanese writer Michel Saad and a Chinese mother. The group’s lyrics are poems by Ameylia’s father set to music. She grew up on Reunion Island and quickly became interested in learning the Celtic harp and classical singing.

The song “Follow your star” featured a steady darbuka beat. We easily recognized the Eastern structure of the song containing intervals of three-quarter tones.

The remaining songs ‘Okinanoss “Sega islands” and “Night Wings” invited us to a journey in space and time. A mixture of neo-classical and world music.

 

 

The next performance I attended at the Chapiteau stage was Compagnie Lyakam ((India – France). Jessie Veeratherapillay performed Bharata Natyam, the dance of her Tamil ancestors. It’s a form of Indian classical dance expressing grace, purity, and sculptural poses.

 

Compagnie Lyakam
Compagnie Lyakam – Photo by Charles Eloy

 

The musicians on electric sitar, saxophone and percussion, together with vocal harmonies, delivered jazz and flamenco flavors.

 

 

Soadaj, from Reunion Island (France) brought a breath of fresh air at the Salle des Sucres. The musicians specialize in Maloya that is, along with the Sega, one of two major genres of Reunion.

 

Soadaj - Photo by Charles Eloy
Soadaj – Photo by Charles Eloy

 

Pan-African and European influences are mixed into their music reflecting the melting pot of the band.

On “Out ‘Po” the crystalline voice of the blonde singer Marie invaded the space, supported by the sound of the didgeridoo, plunging us into a shamanic trance. The voice of Laurence, the second singer in counterpoint, harmony or response fitted completely into the music of the band.

The musicians of Saodaj were full of beauty, talent and youth, with a solid background and life experience. They brought us authenticity and the enthusiastic reception of the public was fully justified.

 

 

Belgium-based duo Vardan Hovanissian (Armenia) & Emre Gültekin (Turkey) played at the Cabaret stage. Vardan Hovanissian plays duduk, an Armenian music instrument like a double reed oboe, while Emre Gültekin plays the saz, a long-necked lute.

 

Vardan Hovanissian & Emre Gültekin - Photo by Charles Eloy
Vardan Hovanissian & Emre Gültekin – Photo by Charles Eloy

 

Both musicians brought into life the coexistence of two cultures that existed under the Ottoman Empire until the tragic events of the early 20th century with the physical elimination of about 1.5 million Armenians.

Vardan Hovanissian and Emre Gültekin produced a duo album “Adana“, one hundred years after the beginning of the Armenian genocide.

 

Vardan Hovanissian and Emre Gültekin - Adana
Vardan Hovanissian and Emre Gültekin – Adana

 

The title song “Adana” is dedicated to Adana, a city which housed a large Armenian community in the late 19th century and was exterminated during the genocide. Emre’s voice expressed suffering.

“Daglar” (mountain in English) is a poem written by Emre’s father. Emre sang softly. The accompaniment by the darbuka and the saz created a sense of emptiness on mountain tops. Vardan and Emre were supported by two experienced musicians mastering the Turkish and Armenian music structures based on Eastern and Western scales.

The concert by Vardan Hovanissian & Emre Gültekin ended with a standing ovation of more than 1,500 persons.

 

 

The band 7SON@TO that performed at Salle des Sucres is the flagship of gwoKa, the musical style Guadeloupe of island. It is mainly played with drums of different sizes called ‘ka’, a family of percussion instruments.

 

7SON@TO - Photo by Charles Eloy
7SON@TO – Photo by Charles Eloy

 

On stage, a lead singer in the center, 3 singers (two women and one man) and four percussionists.

Durg the song “Péyi Dewo” a singer took over the lead vocals. Then other musicians, and part of the audience responded. “Ah Ta Mama Yayo” had growing harmonies. I recognized Central African words in the Creole songs. Indeed, gwoka was born during the period of slavery and was a means of escape and communication. The audience accompanied the songs and danced to the vibes of the Caribbean Isles.

I found that the representation was a bit too pedagogic, but 7SON@TO brought into light their traditions rooted in our time. Their concert enriched me with their culture.

 

 

I hope that the coverage of more than one third of the acts gives you an idea of the new discoveries and highlights. Babel Med Music is, without question, one of the important international events in world music. We were very lucky with music and Mediterranean sunshine.

Read parts 1 and 2:

The Cultural Richness of Diversity Showcased at Babel Med Music 2016 – Day 1

The Cultural Richness of Diversity Showcased at Babel Med Music 2016 – Day 2

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The Cultural Richness of Diversity Showcased at Babel Med Music 2016 – Day 2

On Friday night, March 18, the public showed up early to BabelMed and rushed in at the opening of the gates, eager to have a good time.
Born into a noble family and descendant of Mogho Naba Konkis Konkistenga the village of north-eastern Burkina Faso, Alif Naaba delivered us folk music at the Tent stage. The lyrics were in French and his native language Mooré, one of the two official regional languages of Burkina Faso. He revisited the musical traditions evoking the West African regions of today.

With the song “Manita” Alif Naaba explained that musicians do not have easy love relationships under pressure from the families. Who wants a man who cannot afford to buy a pair of shoes?

Alif Naaba is a singer with a clear griot (storyteller, poet, musician) voice like Baaba Maal orSalif Keita.

 

 

Autostrad, a self-produced band stating its independence showcased at the Salle des Sucres. The musicians from Jordan compose on western scales, but the lyrics are in Arabic dialect.

 

Autostrad - Photo by Charles Eloy
Autostrad – Photo by Charles Eloy

 

“Estann Schwai” was a nice pop song on a slow reggae beat that made me think of Chris Rea or 10CC. The super Zen melody ended with a saxophone solo.

“Habeetak Bel Turki” featured beautiful guitar solos with jazzy guitar riffs throughout the entire song.

The term “Arabic Mediterranean Street indie” suits the band.

 

 

Breabach emerged in 2005 from the Scottish folk scene to undertake an international career. The musicians entered the Tent stage in total darkness. We listened to a flute, then a voice…The lights turned on, the crowd went on shouting and whistling.

 

Breabach - Photo by Charles Eloy
Breabach – Photo by Charles Eloy

 

Spectators could not keep their feet on the ground and jumped on the tent floor. We were not in the Wild West, but the atmosphere propelled by the rhythm generated an infectious energy.

The band played “Proud to play a pipe”, a composition dating back to the 17th century claiming their Scottish identity. Megan showcased her vocal capacities during the last verses and choruses.

I discovered the best of Scottish musicians with an academic background and the passion to create. They were pleased to be in Marseilles, smiling and joking during the concert.

 

 

Ricardo Ribeiro is advertised as being the rising star of the Portuguese Fado. Most of the time, Ricardo Ribeiro kept his hands in his pockets at the Tent stage.

 

Ricardo Ribeiro - Photo by Charles Eloy
Ricardo Ribeiro – Photo by Charles Eloy

 

His mournful tunes expressing melancholy, resignation, frustration and fatefulness made me feel down. Some people in the crowd overwhelmed by the Portuguese saudade applied handkerchiefs to their eyes to wipe off the tears. It was a bit unrealistic watching people coming to a concert to cry.

 

 

French band Temenik Electric, including five musicians, appeared on the Salle des Sucres stage to (re) discover their Arabian Rock. The group mixes Western music, reggae, funk and North African roots. They sang in the Arabic dialect northwest of Oran, but sometimes make incursions into French or English.

 

Temenik Electric - Photo by Charles Eloy
Temenik Electric – Photo by Charles Eloy

 

On the song “Denia” the vocals were backed by an energetic rhythm section and a powerful bass line. The keyboardist added oscillating synthesizer sounds in clever arrangements. Meanwhile, the singer said “Salam aleikoum, we salute you“. ACDC is singing “For those about to rock (we salute you).

Indeed, Temenik Electric can easily appear on a rock, alternative or world music stage.

During the last song “Ouesh Hada” (what happens? In Arabic), the atmosphere was Middle Eastern trance, whipping the crowd into euphoria.

Temenik Electric is a band aware of the events in the world, but not engaged, without political or philosophical claims. Their language is the universal one.

There is no wonder that Justin Adams (Tinawiren, Robert Plant guitarist) became interested producing their latest album “Inch’ Allah Baby” given the outstanding qualities of the band.

 

 

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The Cultural Richness of Diversity Showcased at Babel Med Music 2016 – Day 1

Three nights of music (17 March – 19 March 2016) at Babel Med Music, located in the Docks des Suds of Marseille with outdoor spring-like temperatures. What more could you expect? Would we discover a lot of new bands and creations?

I think that for budgetary reasons and cost effectiveness, the organizers try to get a fair balance between emerging talents for the professional participants and established ones for the general public. My review will feature fourteen acts out of more than thirty artists spread over three nights.

On Thursday night, I noticed a lot of professionals wearing a badge, who were attending the gigs. Canadian vocalist Alejandra Ribera started the concert series at the Tent stage. She was eye catching, wearing a long sleeveless black dress. Alejandra began the song “La Boca” in English, with a deep voice in a foggy universe, then switched over into another register, singing in Spanish with sometimes a piercing voice. Her Scottish roots took us into a melancholic mood as deep as a winter depression. Fortunately, the South American rhythms that followed made us jump with joy.

 

 

Also at the Tent stage, the project La Nuit d’Antigone (France – Germany – Turkey) presented the meeting of Mediterranean female musicians: Sylvie Paz on vocals, Perrine Mansuy on piano, Naïssam Jalal on flute, Diler Özer on percussion and DJ Ipek for sound design.

 

La Nuit d'Antigone - Photo by Charles Eloy
La Nuit d’Antigone – Photo by Charles Eloy

 

The lyrics were contemporary women’s poetry set to music. It was advertised that the performance was a history of women’s resistance. The singer read the lyrics in different languages on a page in front of her. It did not make it easy to get the message of feminine resistance through.

 

 

Baba Zula is a Turkish band from Istanbul, a metropolis located at the crossroads of the East and the West. The musicians grew up in the underground music scene and forged their own identity with traditional folklore, rock and heavy metal.

 

Baba Zula - Photo by Charles Eloy
Baba Zula – Photo by Charles Eloy

 

At the Salle des Sucres, Baba Zula plunged us into a psychedelic experience. We listened to the musical legacy of the Ottoman Empire that lasted from 1299 to 1923, and that ruled North Africa and the Middle East.

Baba Zula’s Murat Ertel on the electric saz wandered into the public. When she returned, singer Melike invited the audience to follow her during the song “Acis, Hopçe”. She swung, dressed in a green dress with veils floating between her arms and body.

Fuelled by the energy of the band, the young ladies in the audience started to shake their bodies. They were probably members of a fitness club teaching belly dance or Turkish tsifteteli.

David Bowie used to sing “We Could Be Heroes just for one day”. We were the queens and kings of the night with Baba Zula.

 

 

Djmawi Africa is an Algerian band formed in 2004. They practice a fusion of chaabi, reggae and Gnawa rituals with essentially a rock rhythm section. We felt the band has an international stage experience.

 

Djmawi Africa - Photo by Charles Eloy
Djmawi Africa – Photo by Charles Eloy

 

Djmawi Africa kicked off their performance at the Salle des Sucres with the song “Lala Aicha”. First, we could hear the violinist playing Middle Eastern accents. Then followed the guembri (a Gnawa bass lute) and the guitarist who played blistering solos and deep-rooted riffs.

African bands have a tendency to produce a festive atmosphere throughout the concert time, Djmawi Africa had a different approach. At times, slower compositions allowed us to enjoy the subtlety and diversity of their musicality, and then the band offered an energy-packed set.

Djmawi Africa love to explore the sounds and added the kora, djembe, the ngoni to their list of instruments.

Djmawi Africa, a progressive and eclectic Algerian band that pleasantly surprised us with its respect of Africanness and musical colors played on modern and ethnic instruments.

 

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Zik, a Musical Journey from the Mediterranean Sea to the Depths of the Sahara

Idirad - Zik
Idirad – Zik

Idirad

Zik (Soundfact, 2015)

Zik is the first album released by Idirad, an Amazigh (Berber) trio with Algerian and French band members, established in Brussels the capital of Europe.

Zik is a journey through the past, present and future that begins from the shores of the Mediterranean Sea to the depths of the Sahara. It is a mixture of the traditional Kabyle music, a part of the rich and varied Amazigh culture alive in North Africa, expressed with a modern twist.

Idirad forges an emblematic trademark by combining the creativity of French slam, the explosiveness of rock, the vibe of blues, the hypnotic melody lines of Tuareg guitars, Gnawa trance (one of the popular Moroccan music style), and the folk of the region of Kabylia (Algeria)

Idir Aït Dahmane, singer-songwriter of the band writes in Kabyle, his native language but also offers a broad palette by integrating French lyrics.

“Rose du Désert” is a song from the album that is universally relatable for its tribute to women and mothers who passed along the ancestral culture from generation to generation. The Amazigh alphabet, Tifinagh, is one of the oldest alphabets in human history dating back to 10th century BC and is now spoken by 50 million people worldwide.

“Rose du Désert’s” lyrical construction and poetic simplicity brings to mind the innocent and childlike atmosphere that’s harkens a comparison to Antoine de Saint-Exupéry’s, “Le Petit Prince.” By the end of the song, Idirad reminds us that the Amazigh culture is part of the African one, by bringing in a funky afro beat bass line which leads to a more up tempo beat.

“Amidini” was inspired by the journey that Idirad undertook to Tamanrasset, a Southern Algerian city in the Sahara desert. Never ending jam sessions with local Tuareg musicians, a Berber family living in North Africa, also contribute to the creation of the song. This influence can be heard in the harmonies on some of the tracks. With Anana Harouna of the Tuareg band Kel Assouf on vocals and guitar, one is reminded of those jam sessions and warm nights.

Idir Aït Dahmane left the mountain landscapes of Kabylia where he spent his teenage years to travelling around Europe and finally settling down in Belgium. He inherited, from the shepherds of his village, an amazing ability to observe his environment. His perception of that challenges and hopes that human beings face is clear in his song, “Welh’adj”:

No matter what you’re going through, *there’s a light at the end of the tunnel“*

A suborn darbuka is amplifying the dark side of the song.

The album “Zik” is built on a solid rhythmic structure consisting of guitars and percussive instruments like the darbuka and bendir. Mourad Mouheb, a Kabyle percussionist does not hesitate to enrich the rhythms of his native region with various African polyrhythmics.

With the addition of modern instruments like the electric bass and electric guitar, the music of Idirad embraces a dynamic creative space while keeping its authenticity and identity.

A dynasty of Berber pharaohs (945 BC to 715 BC) respected the worship of Râ (the Sun) during the festivals. “Soleil,” a French word meaning sun, is a track in “Zik” that tributes to the benefits of the sun in today s life. The vitality of the song reaches its climax with the hypnotic rhythms of Gnawa trance, a musical cocktail inviting to dance.

 

 

The album “Zik” is a musical journey from the shores of the Mediterranean to the depths of the Sahara. A journey sprinkled with poetry, trance and energy in alternation.

Purchase the Zik digital download in North America

Purchase the Zik digital download in Europe

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Music, the universal language at Babel Med in Marseilles, France

Jupiter & Okwess International
Jupiter & Okwess International
The tenth edition of Babel Med Music took place March 20 – 22, 2014 in the French city of Marseilles. This year, 30 bands were on stage in front of professionals and the general crowd. I attended about 10 concerts and reviewed a few.

Jupiter & Okwess International, the heartbeat of Congo Kinshasa

The word “makasi”, meaning “strong” in Lingala, an African Bantu language, reminds me of beautiful places and my youth in Congo-Kinshasa. Indeed, the music of Jupiter & Okwess International is the hypnotic power of Kinshasa, a city of nearly 10 million habitants.

In recent decades, many African musicians have settled down in Europe. Jupiter went the opposite way. Son of Congolese diplomats in Germany, he returned to Kinshasa, influenced by European and other music styles. In one of the songs, he sings “Ich bin ein Berliner”. This is a quotation from a June 26, 1963 speech by U.S. President John F. Kennedy in West Berlin.

Jupiter introduced as well a sense of organization amongst his musicians to the benefit of everyone. At fifty-one, Jupiter became an artist full of maturity and integrity.

Jupiter & Okwess International represents the heartbeat of Kinshasa, a dimension that brings us beyond the musical notes. The musicians invite us to a journey in the daily reality of the capital Kinshasa. I call it the organized chaos. During the concert, we hear musicians interfering vocally without disturbing the course of the concert. This is an element of Congolese culture where the oral communication named “la palabre” (chatter in English) is always present.

Jupiter as an ethnomusicologist makes us discover beats from the different tribes of Central Congo, Kasaï, Katanga, Bas-Congo and others living in the Democratic Republic of Congo, the fourth largest country of Africa. His universal spirit allows him to have a rare perspective on the various sensibilities of Congo-Kinshasa where his roots are coming from.

Lobi (translated from the Lingala): tomorrow, later for a concert of Jupiter & Okwess International.

Rita, the Israeli princess of ethnic music sings in Persian

Rita Jahan-Farouz
Rita Jahan-Farouz
Rita Jahan-Farouz, Israeli of Iranian origin gave us a concert with outstanding musicians. The concert started with the guest of the evening, Mark Eliyahu, a master of kamanche, a rustic fiddle of Iranian origin. The crowd got used to the musical intervals derived from the maqams, frequently played in Eastern music and present in the ancestral cultural roots of the mountain Jews of Dagestan. It feels as the kamanche is an extension of Mark’s Eliyahu’s body. The sound he plays is flowing from his inner soul.

Then Rita took over the stage. She started with a song in Persian, the official language in Iran, followed by a composition in Hebrew. She explained to the crowd that it is her choice to sing in both languages. Her communicative vitality carries this universal message.

Her repertoire reminds her of her youth spent in Tehran, where she was born. She sings the hits of Persian artists and traditional songs she listened to in her childhood. The musicians around Rita immigrated to Israel in recent decades from the former Soviet republics of Dagestan and Tajikistan. They include harmonies of Mediterranean colors. Rita generously gave a lot of space to her band’s members so they could express their talent.

Spotlights projected bright colored beams onto the performance space. At times, some turned to the yellow color of the sun, reminding us this central message that we are all alike on this earth.

The second part of the set comprised more upbeat songs. Rita, a princess out of the tales of the Thousand and One Nights turned into an Oriental dancer moving her arms, shoulders and head in a graceful manner.

Rita created a vibrant tapestry of music, dance and songs that fused together the heat of the Persian and Mediterranean traditions before a highly enthusiastic crowd.

On musical waves of the Reunion Island with Maya Kamaty

Maya Kamaty sings and plays on a kayamb, a flat rattle made from wood, sugar cane tubes and seeds. This instrument is the soul of Maloya and Sega, the two major music styles of Reunion Island, located in the Indian Ocean, east of Madagascar. It refers to the legacy of the slave plantations of sugar cane.

Maya Kamaty
Maya Kamaty
I felt a bit confused at the start of the concert. A musician playing on a synthesizer reminded me of the space music bands of the seventies.

After two songs, different vibes came up. The musicians turned into a powerful band. The arrangements took shape and were pleasant to listen to. During the performance, we rocked or surfed to the Creole rhythms of the Reunion Island.

Maya Kamaty as a songwriter and her musicians kept the attention of the crowd. Her inspiration finds the roots in Creole, blues and pop music with lyrics of her native language.

After studying in Montpellier, a city located in the south of France, she returned to Reunion Island. During this period, she became fully aware of her identity and went deeper into exploring the roots of Creole music and culture.

Her concert at Babel Med showcased the whole range of Maya Kamaty’s talent.

Next year I’ll be back at Babel Med in Marseilles to enjoy music and the Mediterranean sun.

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Renewed Neapolitan Roots and High Energy

Canto Antico - South Beat
Canto Antico – South Beat
Canto Antico

South Beat (Canto Antico, 2014)

The Vesuvius, Naples’ volcano, and the tarantula unveil an unsettled and overwhelming energy, all which moves with Canto Antico from the countryside to the city, gathering a fresh musical breath.The voice performs a meaningful and archaic world around the essential rhythm driven from the tammorra, while the piffero (a traditional reed instrument) or musa (bagpipe) betrays its origins from the South of Italy.

Canto Antico plays with the urban sound of the drums’n’bass. The final effect is a compact rhythmic and danceable sound. Renewed roots and high energy, that’s “South Beat”

One of Canto Antico’s strengths is the versatility of three players who are the core of the band (Francesca Di Ieso, Armando Illario and Francesco Nastasi). During the live performance we find on stage these three members, the same musicians who contributed to the recording sessions of the album “South Beat” released in December 2013.

The members of Canto Antico are descendants of the farmers around the Mt. Vesuvius. Before they went to town to study as musicians (even their profession now) and they lived part of their lives working on the field as used in this community. By this way, their fathers and elders transmitted their music and culture they want to preserve. This heritage of the inner soul of peasant communities mixed with classical and academic training creates an unique synergy in the traditional music and an explosion of instrumental virtuosity, a fascinating dialogue between tammorra, strings and brass instruments that you can listen in many parts of the album “South Beat”

Fico A Dicembre
F. Di Ieso – A. Illario – F. Nastasi

Nowadays, in a world where extravagance is not the norm, the attitude of a man who is aware of his feelings and lives with extreme freedom, it’s like a “Fico a dicembre” a out of season fruit.
A particularity of this community is closely linked to the vagaries of nature and the vulnerability of the volcano Vesuvius’ eruptions, which are considered as devastations with thousands of victims. However, the lava flows bring out minerals from the center of the earth making the land prolific. In relation to this, farmers have a willing heart, a way of being, a pleasure to share emotions, an extravagant fantasy expressed in words and actions that lead them to handle serious situations, a “Fico a decembre.”

Sanghe
F. Di Ieso – A. Illario – F. Nastasi

The challenges of an ambitious man in needs of going over his limits are like a fight guided from the rhythm of “tammurriata Avvocata”, a Neapolitan traditional ball.

Sanghe is a song and a dance performed on a mountain where there is a sanctuary for the Holy Lady. Starting from the coast, the pilgrims climb the mountain all night long. The dance has such strong rhythm and elements that it was often performed, like a fight, only by men. It’s the only kind of tammurriata played with more than one frame drum.

The pilgrims reached to the cult places walking or by “sciaraballo”, which means dancing cart. The most important characteristic is the presence of a high number of tammorre played at the same time. This cart is also decorated with local food and refreshment including wines that refers to the drinking Greek tradition more than twenty five centuries ago (Magna Grecia).

Two decades ago, this rural culture was on the edge of extinction. Today the oldest men in the villages, used to face the hard realities of the nature and life, show no signs of nostalgia. They are watching the youngsters playing and dancing with tammorra making sure that their traditions have a future. They claim the right to live in harmony with their environment.

The ritual dances whose origins are lost in the changes of faith and culture, have retained their identity of signs, gestures and music throughout the centuries. Today they can be interpreted as well as an expression of thanksgiving for the gifts of mother earth.

At Pentecost all members of Canto Antico join these festivities by walk or on the sciaraballo driven by the Biagio’s tractor, one of the prominent traditional singer, dancer, tammorra player. In daily life, he goes around the farms with agricultural tools, however, at the same time he is a living encyclopaedia of the Mt Vesuvius.

Fontanelle

F. Di Ieso – A. Illario – F. Nastasi

There is a cemetery in Naples where divine goddesses and lost souls are somehow interacting with living people that look after their remains.

Along this line Canto Antico created a modern propitiatory act in order to fight a spell generated from the western world that forces a passive reaction in front of emotional or dramatic events.
The Fontanelle cemetery in Naples is located in a cave in the tuff hillside in the Mater Dei section of the city. It is associated with the folklore of the city. The cave became for several centuries the unofficial paupers’ cemetery, starting with the plague of 1685 up through the cholera outbreak of 1836.

In the second half of the nineteenth century, a spontaneous cult of devotion to these unnamed dead developed in Naples. This devotion is not an act of fetishism as the Archbishop closed the cemetery in 1969 for a while, but show the respect of the Neapolitans to their ancestors for the ones in their community who suffered in their life in poor conditions.

In these last thirty years tammurriata moved to the countryside to Naples and other cities in the Northern Italy as well. But the post-industrial effects and the economical crisis broke a lot of dreams in the mass-consumption society and now people come back to their roots and rituals to look for a new identity.

The connection among dance, singing and music creates a unique personal experience each concert and at the same time a social gathering. This heritage of the inner soul of rural communities and living to the urban vibes of the members of Canto Antico allow them to bring back to Naples the musical expression and the social impact of tammurriata linked to community behaviour. This is not closed to outsiders as long as someone shows respect to another.

The song on the “South Beat” album about The Fontanelle Cemetery illustrates the social responsibility of the Neapolitans.

Buy the South Beat CD

Buy the South Beat digital download

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