Kristin Scott Benson grew up in South Carolina, surrounded by a musical family. After receiving a much-anticipated banjo for Christmas when she was thirteen, Kristin became enthralled with the instrument and spent her teen years studying the playing of all the banjo greats from Earl Scruggs to Bela Fleck.
After high school, she attended Nashville’s esteemed Belmont University, where she graduated Summa Cum Laude with a BBA in Marketing and a minor in Music Business.
She was a member of the Larry Stephenson Band for seven years. In 2008 she joined Nashville bluegrass band the Grascals, replacing Aaron McDaris.
After 13 years in Nashville, she relocated back to the Carolinas with her husband and young son. Her solo release, Second Season, features eight instrumentals (half of them originals) and four vocal performances. The album showcases her powerful banjo playing, while still appealing to fans that aren’t motivated solely by instrumental prowess.
is the four-time International Bluegrass Music Association’s Banjo Player of the Year (2008, 2009, 2010, 2011).
Kristin Scott Benson is the 2018 winner of the Steve Martin Prize for Excellence in Banjo and Bluegrass. “My family and I are overwhelmed with gratefulness!” said Benson. “Getting to know my banjo heroes, many of whom are on the board, is prize enough, but Steve Martin’s graciousness is a huge blessing. We don’t know how to adequately say thank you for something like this!”
Salsa star Gilberto Santa Rosa was born August 21, 1962 in Santurce, Puerto Rico. He made his first recordings for Combo Records, the label of El Gran Combo’s maestro Rafael Ithier. Starting in 1990 he began achieving enormous success with his great shows in San Juan, which would become his trademark.
In 1995, El Caballero de la salsa (the gentleman of salsa) signed with the Sony label and from that time many of his CDs became gold and platinum. Gilberto Santa Rosa is one of salsa music’s superstars and a popular bolero singer as well.
Perspectiva (Discos International, 1991) A Dos Tiempos De Un Tiempo (Sony Discos, 1992) Nace Aquí (Columbia, 1993) Tres Con Cache (Bronco, 1993) De Cara Al Viento (Sony Tropical, 1994) En Vivo Desde El Carnegie Hall (Sony Tropical, 1995) Escencia (Epic Records, 1996) …De Corazón (Sony Discos, 1997) Salsa Sinfónica En Vivo Teatro Teresa Carreño Caracas (Sony Discos, 1998) Expresión (Sony Discos, 1999) Romántico (Sony Discos, 2000) Intenso (Sony Music, 2001) Viceversa (Sony Discos, 2002) Solo Bolero (Sony, 2003) Auténtico (Sony Discos, 2004) Asi Es Nuestro Navidad (Sony, 2006) Directo Al Corazón (Sony Discos, 2006) Contraste (Sony Music, 2007) Irrepetible (Sony Music Latin, 2010) Gilberto Santa Rosa (Sony Music, 2012) Necesito Un Bolero (Sony Music, 2014)
Um Kulthum [also written Umm Kulthum, Oum Kolthoum, Oum Kalsoum, Omme Kolsoum, and Oum Kulthoom] was one of the greatest vocalists in Arabic music during the 20th century. She was born in 1904, in a small village in the south of Egypt.
In her singing, the highly influential Um Kulthum offered an authentic art, relevant and rooted in the life of her people. She created a new genre of Arabic singing, which was adopted by many artists. She emphasized the sacredness of the sung lyrics, as though the words were from the Koran or from Arab classic poetry.
In 1975 she died, endowing the world a rich repertoire and one of the greatest human voices.
Ya Karawan – O plover (1926) Othkorene – Remember me (1939) Kull al-ahabbah – All the friends (1941) Raq il Habeeb – My beloved tendered back (1941) Ana Fi Entezarak – I am waiting for you (1943) Ghulubt asalih – Tired of forgiving (1946) Yali Kan Yashqiq Anini – You who enjoyed my cries (1949) Rubaiyat Al-Khayyam – Quatrains of Omar Khayyám maqam rast (1950) Ya Zalemny – You who were unjust to me (1954) Dalili Ehtar – I am lost (1955) Dhikrayatun Qessat Hobbi or the story of my love – memories (1955) Gharib’ Ala Bab erraja – Stranger at the door of hope (1955) ‘Awwidt ‘ayni – I accustomed my eyes (1957) Arouh li Meen or Arook Lemeen – Whom should I go to (1958) Hagartek or Hajartak – I left you EMI (1959) Hobb Eih – Which love maqam bayyati (1960) Howwa Sahih El-Hawa Ghallab – Is love really stronger? (1960) Lessa Faker – You still remember (1960) Ansak Ya Salam – Forget you? Come on! (1961) Hayart Albi Ma’ak – You confused my heart maqam nahwand (1961) Hasibak lil-zaman – I will leave you to time (1962) Zalamna El Hob – We have sinned against love (1962) Betfaker fi Meen – Who are you thinking of? (1963) Toof we Shoof – Wander and wonder (1963) Araka asiya al-dam – I see you refusing to cry (1964) Enta Omri – Sono – You are the love of my life (1964) Lel Sabr Hedod – Patience has limits (1964) Sirat el Houb – Tale of love (1964) Amal Hayati”; Sono – Hope of my life (1965) Baeed Anak – Away From You maqam bayyati (1965) Enta El Hobb – You are the love (1965) Al Atlal – The Ruins (1966) Fakarouni – They reminded me (1966) Fit al-ma’ ad – It is too late” or “The rendez-vous is over (1967) Hadeeth el Rouh – The talk of the soul (1967) Hathehe Laylati – This is my night maqam bayyati (1968) Alf Leila wa Leila – One thousand and one nights (1969) Aqbal al-layl – Night has arrived (1969) Es’al Rouhak – Ask yourself (1970) Wi-darit il-ayyam – And time passed by (1970) Aghadan alqak – Shall I see you tomorrow? (1971) El Hobb Kolloh – All the love (1971) Men Agl Aynayk – For your eyes (1972) Rihab al-huda al-Thulathiyah al-Muqaddisah – The paths to repentance or the holy trinity (1972) Ya Msaharny – You that keeps me awake at night (1972) Hakam ‘alayna al-haw’a – Love has ordered me (1973) Leilet Hobb – A night of love (1973) La Diva (EMI Arabia, 1998) La Diva II (EMI Arabia, 1998) La Diva III (EMI Arabia, 1998) La Diva IV (EMI Arabia, 1998) La Diva V (EMI Arabia, 1998) The Classics (EMI Arabia, 2001)
Vishnu Gobind Jog (V.G. Jog) was a venerated elder statesman of the North Indian violin. A highly respected musician and educator, he toured throughout the world as a soloist and with many of India’s great instrumentalists. His distinctive style won him a special place among India’s great musicians, and his soulful music was praised by Westerners such as John Coltrane and Eric Clapton.
Born in Maharashtra in 1922, he studied with Sri Shankar Rao Athavela, Ganapat Rao Purohit, and Allauddin Khan.
Since 1999, Pandit Jog had been suffering from Parkinson’s disease. The disease had not only disabled the elderly musician by taking away the violin away from his hands, but was also taking away all his assets. Without music, his sole source of income, the high cost of health care became an unsustainable burden for the Jog family. Additionally, the unexpected death of his son added a misfortune to the indisposed violinist and his family. Various benefit concerts were held to provide him and his family with urgently needed financial aid.
Along with the Padma Bhushan, Jog also received the Sangeet Natak Akademi award, West Bengal government’s Rajya Natak award, the Kalidas Samman, the Bhuwalka Puraskar and the Hafiz Ali Khan award.
Jog had a long involvement with the All India Radio’s Kolkata center as music composer and producer, as well as being member of the AIR’s audition board.
V.G. Jog died on January 31, 2004.
Bismillah Khan With V. G. Jog (His Master’s Voice, 1962) Raga Kedara / Raga Chandrakauns (Odeon 1963) Duets (His Master’s Voice, 1965) Manik Varma ((His Master’s Voice, 1965) Shenai & Violin (His Master’s Voice, 1968) Shyam Kalyan / Raga Des / Dhun (His Master’s Voice, 1970) Violin & Shehnai – Jugalbandi (His Master’s Voice, 1977) The Distinctive Two, Violin & Flute Jugalbandi (His Master’s Voice, 1978) Violin Recital (His Master’s Voice, 1982) Ragas: Jogkaus Khamaj (Chhanda Dhara, 1983) Jugalbandi Harmonium And Violin (His Master’s Voice, 1985) Jugalbandi – Duet For Violin And Guitar – Raga Bageswari (Chhanda Dhara, 1988) Violin (Moment Records, 1991) Monsoon Raga Nataraj Music, 1993 Waves Of Ecstasy Vol. 2 (All India Radio, 1995) Waves Of Ecstasy Vol. 3 (All India Radio, 1995) Indian Classical Duets Vol 1 (ITC Limited, 2009)
Hermeto Pascoal is a prominent Brazilian composer and multi-instrumentalist. His compositions appear on albums by Miles Davis and other jazz heavyweights.
He was born in 1936 in Lagoa da Canoa, a small town in northeastern Brazil. His reputation in Brazil is the result of a varied career. As a juvenile he learned to play the flute, appearing on a multitude of occasions. When his family moved to Recife in 1950 he spent the following six years as an accordion player for radio stations, ending as the director of a complete orchestra. Pascoal then moved on to Rio, stunned by the possibilities and musical opportunities arising for him.
In 1964 he joined Aito Moreira in a group called Trio Sambraza. Two years later, again with Airto, a first record was released in Brazil with the Quarteto Novo. When in 1969 the group broke up and Airto Moreira left for the States to play with Miles Davis, Hermeto stayed behind.
Pascoals’ international career began two years later. Airto called him to arrange his productions in New York. Miles Davis, who was fascinated by the wilfulness of Brazilian and especially Pascoal’s music gave him room for two compositions of his own on the album Live Evil. In the same year, 1972, Hermeto Pascoal’s first album, together with Flora Purim, Airto Moreira and Ron Carter was released; called Hermeto.
In 1964 he joined Aito Moreira in a group called Trio Sambraza. Two years later, again with Airto, a first record was released in Brazil with the Quarteto Novo. When in 1969 the group broke up and Airto Moreira left for the States to play with Miles Davis, Hermeto stayed behind. Pascoals’ international career began two years later. Airto called him to arrange his productions in New York. Miles Davis, who was fascinated by the wilfulness of Brazilian and especially Pascoal?s music gave him room fo two compositions of his own on the album Live Evil. In the same year 1972, Hermeto Pascoal?s first album, together with Flora Purim, Airto Moreira and Ron Carter was released; called Hermeto.
Due to the recognition Pascoal received in the United States, the Brazilian record industry’s interest grew rapidly. In 1973 he released an album called A Musica Livre De Hermeto Pascoal. It was due to his innovative power, his restlessness, his search for unconventional musical instruments: bottles, stones, water splashing, and almost everything else that could create sounds; that people started calling him “Bruxo”, the wizard.
His masterpiece, a milestone in the Brazilian music world, was the album Slaves Mass, released 1977. Many other releases followed after this breakthrough.
His influence on Brazilian music extends well beyond his own remarkable output as a writer an multi-instrumentalist. As the father-figure for avant-garde Brazilian Jazz, Pascoal’s pioneering music has prepped a generation of musicians who are now having a great deal to say about the direction of the American music scene.
Airto, had this to say about his mentor: “He is the most complete musician I ever met in my life. I consider him almost a genius.“
Pascoal plays flutes, keyboards, guitar and bass with equal facility; and reads, writes and arranges without the benefit of any formal training.
Conjunto Som 4, with Conjunto Som 4 (1961) Em Som Maior, with Sambrasa Trio (1966) Quarteto Novo, with Quarteto Novo (1967) Brazilian Octopus, with Brazilian Octopus (1969) Hermeto Pascoal, reissued on CD as Brazilian Adventure (1970) A música livre de Hermeto Pascoal (Sinter, 1973) Slaves Mass (Warner Bros. Records, 1976) Trindade (1977) Zabumbê-bum-á (Warner Bros. Records, 1979) Ao vivo Montreux Jazz Festival (Atlantic, 1979) Nova história da Música Popular Brasileira, compilation (1979) Cérebro magnético (Atlantic, 1980) Hermeto Pascoal & Grupo (1982) Lagoa da Canoa, Município de Arapiraca (Happy Hour Music, 1984) Brasil Universo (1986) Só não toca quem não quer (Intuition, 1987) Hermeto solo) por diferentes caminhos (Som Da Gente, 1988) Festa dos deuses (1992) Instrumental no CCBB, with Renato Borghetti (Tom Brasil, 1993) Música! o melhor da música de Hermeto Pascoal, compilation (1998) Eu e eles (Rádio Mec, 1999) Mundo verde esperança (2002) Chimarrão com rapadura, with Aline Morena (2006) Bodas de Latão, with Aline Morena (2010) The Monash Sessions (Jazzhead, 2013) No Mundo dos Sons (SESC SP, 2017) Viajando com o som (Far Out Recordings, 2017) Natureza Universal (2017) Palmares Fantasy (Far Out Recordings, 2018) E Sua Visão Original Do Forró (Scubidu Music, 2018)
Juan José Robles Mayol started his musical career as a child in rondallas (ensemble of stringed instruments) and folk bands in his his hometown, Alhama de Murcia, in southeastern Spain, playing the Spanish guitar, the lute and the bandurria.
At fifteen, he and his colleagues they founded the folk-rock group Malvariche, with whom he recorded three albums: “La Leyenda” (1992), “Que llueva, que llueva” (1995) and “En concierto” (1997).
From 2002 to 2008, he was part of the Camerata Aguilar orchestra, an ensemble with which he ventured into classical music. He participated in two of their recordings: “Scaramouche” (2003) and “Los Aguilar” (2008).
In 2007 he received the Professional Music Degree, in the specialty of plectrum instruments, at the Professional Conservatory of Music of Murcia.
In 2008, he became part of Manuel Luna’s Cuadrilla Maquilera. He participated in the band’s “Por Parrandas” (2010) and “Viajes Sonoros” (2016) recordings; and also performed with La Banda del Pepo, where he experimented with instruments such as saz, cümbüs and zanfona, among others.
In 2015, he founded with other colleagues, the traditional Murcian music group Mujeres con Raíz, with whom he recorded “Las edades de la vida” (2017).
His solo career began in 2016, with the self-release “Tiempo de espera”, focused on the instruments that always accompanied him in his long career. This first work was well received by the public and the media specialized in traditional and folk music. The lineup included Juan José Robles on various string instruments; Enrique González on percussion; Óscar Esteban on tambourine; Pablo Orenes on acoustic and electric bass; Constantino López on acoustic guitar and mandola; Jero Galián on Spanish guitar; Pepe Ludeña on violin; José Antonio Aarnoutse on flamenco guitar; Dani Valera on palmas; Carlos Beceiro on zanfona; Roberto Cubero on mandolin; and Carmen María Martínez Salazar and Jaime Lafuente on vocals.
“Tiempo de espera” was presented at the inaugural gala of the EXIB 2016 (Ibero-American Music Expo), in Évora (Portugal), sharing the stage with Portuguese artists Luís Peixoto, João Afonso and Celina Da Piedade, among others.
Between 2017 and 2018, he participated in the farewell tour of Paco Muñoz and in 2018 in Simfonic by Pep Botifarra & Pau Chafer.
In 2019, Juan José Robles released the album In-Quietud.
La Leyenda, with Malvariche (1992) Que llueva, que llueva, with Malvariche (1995) En concierto, with Malvariche (1997) Scaramouche, with Camerata Aguilar (2003) Los Aguilar, with Camerata Aguilar (2008) Por Parrandas, with Manuel Luna y la Cuadrilla Maquilera (2010) Viajes Sonoros, with Manuel Luna y la Cuadrilla Maquilera (2016) Tiempo de espera (Juan José Robles, 2016) Las edades de la vida, with Mujeres con Raíz (2017) In-Quietud (Juan José Robles, 2019)
Rosalía Vila Tobella, better known as Rosalía, was born on 25 September 25, 1993 in San Esteban de Sasroviras, Spain.
The Spanish singer-songwriter is known for her trailblazing flamenco crossover sound, fusing flamenco with electronic beats, reguetón and other modern elements.
Her first album was the critically acclaimed “Los Ángeles ” released in 2016. It was followed by her groundbreaking “El Mal Querer ,” released in 2018.
Her song “Malamente” won Best Alternative Song and Best Urban Fusion/Performance at the 2018 Latin Grammy awards.
In 2019, Rosalía collaborated with James Blake on his new album, appeared in Pedro Almodóvar’s film “Dolor y Gloria”, and released a highly successful single titled “Con Altura (with J Balvin and El Guincho).”
Rosalía received the 2019 MTV European Music Award for Best Collaboration for her song “Con altura,” a joint effort with producer J Balvin (Spain) and El Guincho (Colombia). During her performance at the award ceremony in Seville, Rosalia put on an innovative, spectacular show, turning the stage into a tablao (flamenco nightclub) full of dancers and singers.
Joanne Shenandoah is a Wolf Clan member of the Oneida Nation — Iroquois Confederacy. She is the daughter of Maisie Shenandoah, a Clanmother and the late Clifford Shenandoah, an Onondaga chief and jazz guitarist.
Her parents had a deep love for music encouraging Joanne to study voice flute piano clarinet guitar and cello. Joanne’s talent combined with her beautiful clear voice enables her to embellish the ancients’ songs of the Iroquois using a blend of traditional and contemporary instrumentation.
After spending 14 years as a computer programmer and consultant in Washington DC, Shenandoah became close with the tribal elders and her extended family who reacquainted her with the stories and songs of her people which prompted a personal artistic reawakening in 1989. Since then Joanne Shenandoah has won several musical achievement awards most recently she received “Best Female Artist” at both the 1999 and 1998 Native American Music Awards and in 1997 she was recognized as a “Native American Woman of Hope.”
Joanne Shenandoah’s music has been featured on the popular TV series “Northern Exposure”. She has appeared with Jackson Browne, Rita Coolidge and Willie Nelson and at the White House for Hillary Clinton and Tipper Gore.
On May 12, 2002 she was presented with an Honorary Doctorate of Music at Syracuse University’s (Syracuse New York) 148th commencement. The award is the first of its kind ever presented to a Native musician at an American university.
In 2003 she was a guest artist on the album Sisters (Oneida Hymns) with Maisie Shenandoah and Liz Robert.
In 2005 she appeared on the album Sacred Ground, a Tribute to Mother Earth. The album is a compilation by Katahdin Productions that features all new recordings by celebrated stars in the genre. She delivers both a traditional spirit and contemporary style on “Seeking Light”. She is also featured on the final track Mother Earth joining Walela for the anthem that was used in the award-winning documentary Homeland: Four Portraits of Native Action. The film takes an in-depth look at the environmental hazards threatening Native American reservations.
In 1990 Olov became the first world champion of the nyckelharpa. He began to play the nyckelharpa in 1980 as a fourteen-year old and was named a ‘riksspelman’ (master musician) in 1984. Olov has studied with the legendary Curt Tallroth and Erik Sahlstrom and is presently a teacher at the Royal College of Music in Stockholm. He is regarded as one of Sweden’s most prominent nyckelharpa players and is an inspiration for numerous young performers on the instrument.
Apart from his association with celebrated Swedish band Väsen, Olov has also played with groups such as Kronos Quartet, Nordman, Trio Con X as well as solo performances. He has recorded with the chart-topping Swedish rock group Nordman and has played on the albums Early Music (with Kronos Quartet), Till Eric (with the Nyckelharpa Orchestra) and his solo project Storsvarten.
Olov collaborates with Scottish harpist Catriona McKay, a member of Fiddlers’ Bid. Since first working together in 2002 Catriona and Olov have collaborated in the Celtic Connections 2007 concert Fiddler’s Bid International on Olov’s solo album ‘I lust och Glod’ and on Catriona’s dazzling Floe project.
* Olov Johansson: Vasen (Drone DROCD001, 1990) * Vilda (Drone DROCD004, 1992) * Essence (Auvidis Ethnic B6787, 1994) * Levande (Drone DROCD009, 1995) * Spirit, compilation (NorthSide NSD 6004, 1997) * Whirled (Northside, 1997) * Varldens (Europe: Xource/MNW XOUCD118 / US: NorthSide NSD 6006, 1997) * Gront (Europe: Xource/MNW XOUCD126 / USA: NorthSide NSD 6041, 1999) * Live at the Nordic Roots Festival (NorthSide NSD 6065, 2001) * Trio (NorthSide NSD 6077, 2003) * Keyed Up (NorthSide NSD 6080, 2004) * Live in Japan (2005) * Linnaeus Väsen (Northside Records, 2007) * Mike Marshall & Darol Anger with Väsen (Adventure Music, 2007) * Väsen Street (Northside Records, 2009) * Brewed (Northside Records, NSD7100, 2017)
André Cibelli Abujamra was born May 15, 1965 in Sao Paulo. Boldness has always been part of André Abujamra’s more than forty-year career. He has experimented with many musical genres. He is a Brazilian score composer, musician, singer, guitarist, actor, and comedian of Lebanese and Italian origin.
André has worked on nearly 30 films, and has composed the soundtracks to acclaimed Brazilian films such as Durval Discos (2002), Carandiru (2003), and Cafundó (2005). He has also had several minor roles in Brazilian films and has written soundtracks for Brazilian TV.
Together with Maurício Pereira, André is also part of the experimental rock duo Os Mulheres Negras. He also finds time for his experimental projects Fat Marley, Gork and Okê Arô. His solo projects include O Infinito de Pé (2004), Mafaro (2010), O Homem Bruxa (2015).
His album Omindá – A União das Almas do Mundo Pelas Águas (The Union of Souls of the World by the Waters), is the fruit of eleven years of research, travels and friendships. He follows the same innovative way of his previous works, where he mixes film, music, theater and technology.
Omindá in Yoruba is the junction of the words Omin (water) and Da (soul). The meaning signals the goal of the project: to be a great celebration of diversity and communion for art, an artistic encounter with these artists from various parts of the world, living with various cultures, traditions, and music and drawing connections between Brazil and abroad.
The list of artists who make Omindá one of the most interesting projects conceived by a Brazilian artist in the last decade is vast, over 65 minutes (and 15 videos), composed by André and with partners like Xis, Theo Werneck, Oki Dub, Mauricio Pereira, besides Mintcho Garramone, Anelis Assumpção and Martim Buscaglia, among others.
The international lineup includes The City of Prague Philharmonic Orchestra, The Mystery of the Bulgarian Voices, Zaza Fournier (France), Ballaké Sissoko (Mali), Maria de Medeiros (Portugal), Sasha Vista (Russia), Oki Kano (Japan), Julia Ortiz and Dolores Aguirre (Argentina), Rishab Prasanna and Sharat Srivastava (India), as well as Marcos Suzano, Ricardo Vignini, Trupe Chá de Boldo, Ritchie and Paulinho Moska. “I’ve been meeting these wonderful people along the way,” says André.
André was inspired by the theme of water – this commodity that abounds and is missing. With a multicultural orchestra, a red turban, a necklace with the mystic symbol of the design (used by all participants) and always a guitar on the shoulder, André Abujamra unites the improbable in a fascinating mashup.
“In these technological times where borders become non-existent, but mental barriers still prevent us from living in unity, I seeks inspiration in the waters, which know no boundaries,” says André.
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion