Marinho – Gaitas de Fole em Portugal (Fundacao GDA, 2018)
Portuguese multi-instrumentalist Paulo Tato Marinho dedicates Gaitas de Fole em Portugal (Bagpipe music from Portugal) to the bagpipes of Western Europe. He plays various types of Iberian bagpipes along with Irish, Scottish and Breton pipes.
Gaitas de Fole em Portugal contains a mix of modern recreations
of traditional and medieval Portuguese tunes, dances and songs along with original
compositions. In addition to bagpipes, Paulo Tato Marinho also plays a wide
range of wind instruments, percussion and string instruments such as cavaquinho
and viola braguesa.
Gaita de fole is the name used in Portuguese to refer to a
set of wind and reed musical instruments that have in common the ability to
emit continuous sound through a flexible air bag. Its variety is enormous in
morphological and musical characteristics, corresponding to different
geographical and historical origins.
El Olimpo De Los Orishas is an irresistible global electronica album by Cuban musician Kumar Sublevao-Beat also known as Afrosideral. A former rapper, Kumar embraced world music when he moved to Spain. El Olimpo de los Orishas is a superb tribute to Yoruban music and deities that are present in some parts of Cuba and Brazil.
Kumar combines cutting edge electronic beats and samples; Afro-Cuban chants; Cuban and Brazilian rhythms rooted in African traditions; electric guitars and bass; and more.
El Olimpo De Los Orishas includes an impressive cast of Cuban and Brazilian musicians: Ariel Brínguez, Martín Meléndez, Jurandir Santana, Dreiser Durruthy, Sexto Sentido, Doctor Matanza and Arema Arega.
British composer, singer-songwriter and guitarist Ajay Srivastav combines American Delta blues resonator and slide guitar with Indian musical forms and instruments, including tabla and tanpura. On Karmic Blues, he also uses string ensembles and bass that provide a rich tapestry of sounds, incorporating dreamy classical and Indian elements.
Karmic Blues is a fascinating amalgamation of blues and Indian folk traditions.
Canada-based Cuban singer-songwriter is known for his pop-leaning style, including catchy hooks commonly used in Spanish-language commercial productions. There are undeniable Cuban elements as well, such as Afro-Cuban percussion, Spanish-influenced guitars, intimate nueva trova poetic lyrics and song delivery. Additionally, Alex uses rich jazz harmonies.
Sublime is an acoustic effort. “Acoustic music just goes with my soul,” explains Alex. “I’m not against synths and electronics, but I’m not interested in just making a big noise and getting people to dance. I wanted the songs on this album to have some breathing space. I suggest things, leave things at a subliminal level. Every listen will tell you something else.”
Australian audiences were reported to be “spellbound
throughout” recent performances by Garden Quartet’s performance of music
from their debut self-titled album. Ancient Persian language and melodies are
embroidered with threads of trans-global influence – old and new. While the result
is born of improvisation, it delivers a complete soundscape, Earthy yet
ethereal. Delicate and vibrant.
relocating from Iran to Melbourne, front woman Gelareh Pour has ventured beyond
her classical training. Collaborating with experimental musicians, her
adventurous spirit found a platform to soar. Pour has dabbled in genres from
theatrical to Persian post-Rock and metal.
in 2016, Garden Quartet comprises two Iranian-born artists with two from
Melbourne. On kamancheh (4-stringed Persian spiked fiddle) and qeychak (bowed
lute), Pour plays in musical conversation with partner
Bryan O’Dwyer (drums), Mike Gallichio (electric guitar, bass and piano)
and Arman Habibi (santur and vocals). The engine room of guitar
and percussion provide solid ground for the rhythm of the santur (hammer
dulcimer) and the melodic drone of Kamancheh.
Original compositions accompany emotive poetry. In Iran, women singers cannot perform publically as soloists. In a modern diasporic setting, Pour’s Farsi vocal interpretations scale unexpected heights. On ‘I Am An Ocean’, she sings the words of Nozar Parang: Why stay in dirt with no hope? On ‘Anxiety Wars’ (lyrics by Houshang Ebtehaj: The small cage door is open but it’s a shame, The wings of my voice are broken.
As an ethnomusicologist, Pour’s instrumental practice preserves a classical tradition. As an interpreter of words, she expresses her own need to be heard on a welcoming platform.
The conversations between instruments and voice follow the improvisational tradition of her musical roots. The interplay of learned structuring and innovation captivates. Joining Pour and O’Dwyer on production, Myles Mumford shares their passion and experience over an array of musical styles.
Mehmet Polat and Embracing Colours – Quantum Leap (Aftab Records, 2019)
Ud virtuoso and composer Mehmet Polat presents a new band
and direction on his latest album, Quantum Leap. The Embracing Colours ensemble
represents a jazzier side of his modal compositions. Although Polat spent
recent years inspired by the fertile musical traditions of the Middle East,
Africa, India, Europe and the Balkans, this new venture explores focuses on
Mehmet Polat describes the musicians in his new band: “Joan Terol Amigo is a genius on drums, Hendrik Muller is a master of grooves on bass and Bart Lelivelt is a brilliant accordion player. The ud is a traditional instrument played in all Arabic countries, West Asia and Eastern Europe, and can be a great connector of cultures.”
Throughout Quantum Leap, the masterful ud dances around the admirable accordion and bass, interweaving tasteful jazz, Balkan, Anatolian and Flamenco elements.
Embracing Colours includes Mehmet Polat on ud, Joan Terol
Amigo on drums, Hendrik Muller on bass and Bart Lelivelt on accordion.
Guest musicians: Cigdem Okuyucu on vocals (track 4), Eric Vloeimans on trumpet; Imamyar Hasanov on kamancha; and and Michalis Kouloumis on violin.
If you have even the slightest affinity for Brazilian music you need a copy of Vitto Meirelles’s Da Hora, out on the Cooking Vinyl label. And, I’m not just saying that because the cover features Mr. Meirelles in the buff with just a guitar. Yes, after years of bitter complaints about CD covers exploiting women’s bodies to boost sales, we can just chalk this up to an About Time Moment. Regardless of the cheesecake photo connotations, Mr. Meirelles has crafted a first rate recording that is a smart, savvy and satiny follow-up to previous recordings Da Fonte and Vem Rei.
Conjuring up an airy and intimate feel on Da Hora, singer, composer and musician Mr. Meirelles enlists percussionists Domenico Lancellotti, Marivaldo Paim, Carlos Sales and Pedro Fonte in addition to his own playing guitar, piano, bass and electric keyboard to weave this silky smooth Brazilian musicscape. Mr. Meirelles’s past work with the like of Gilberto Gil, Salif Keita and Seu Jorge and composing for film and theater serves him well on Da Hora in crafting engaging tracks and moods.
Opening with the “A Fonte Secou” featuring Denis Lavant, listeners are teased with flirty bit of opening accordion before riding the easy, breezy vocals of Mr. Meirelles and some delicious percussion dashed with a bit of cuica.
Lazing his way into “Nada E melhor do Que Voce,” listeners are lulled by backing Brazilian drumming, guitar and keyboards against Mr. Meilleres’s vocals before giving way to sections of just percussion and vocals.
Full of interesting turns of vocal phrasing and percussion, Da Hora transforms what might have been ordinary Brazilian fare into something extraordinary. Equally delicious are servings of “Outro Ceu,” the savvy swinging “Le Cannibale,” “Um Tempo ao Tempo,” the delicately worked “Tudo Era Leve” and the faint vocal backing of easy feeling “O Amor E Tudo.”
Title track “Da Hora” is indeed a standout track, along with “Sou Menina Menino” and the bonus tracks “Tu T’laisses Aller” and “Aguas de Marco.”
Da Hora’s warm intimate feel is dreamy drowsy laze steeped in Brazil, and we all know if Brazilian music is playing then all is right with the world. And hey, there’s a naked man with a guitar on the cover.
Slovak band Hrdza have been making world fusion since the late 1990s. The ensemble is known for its original material rooted in Slovak traditional music, combining east European folk elements with modern musical influences.
Hrdza is a vibrant live act, featuring robust vocals and catchy melodies that engage the audience.
The 2018 album Neskrotený includes 11 original musical pieces predominantly written by the band’s frontman Slavomír Gibarti and 3 adapted very little-known traditional songs with vocals in Slovak, Rusyn and Ukrainian.
Band members in 2018 incldued Slavomír Gibarti on lead vocals, guitar; Susanna Jara on vocals, violin; Dominik Maniak on violin, vocals; Marak Szarvaš on percussion; Pavol Boleš on bass, vocals; and Matej Palidrab on accordion.
Fiddler Michael Cleveland is one of the essential instrumentalists in the current bluegrass scene. On his album Tall Fiddler, he treats the listener to as tasty mix of well-constructed traditional and contemporary bluegrass, country and what is known as jamgrass (a mix of bluegrass and improvised acoustic music).
Tall Fiddler features an impressive cast of bluegrass musicians, some of the biggest names, including Del McCoury on vocals; Jerry Douglas on dobro; Tim O’Brien on vocals, banjo and mandolin; Bela Fleck on banjo; Sam Bush on vocals, mandolin and slide mandolin; Tommy Emmanuel on lead guitar; and the Travelin’ McCourys.
Cleveland has won the Fiddle Player of the Year bestowed by
the International Bluegrass Music Association. This year, he added two more
awards at the recently held 30th Annual IBMA Awards. Cleveland won the Fiddle
Player of the Year. In addition, Cleveland and his band, Flamekeeper, were
named Instrumental Group of the Year.
In 2019, Cleveland’s remarkable career was celebrated with the release of Flamekeeper: The Michael Cleveland Story, a documentary on his life.
Musical collaborations hold a particular fascination for me. I assume that many start in the simplest ways with the questions from one musician to another, “Hey, wanna play some music?” Now I’m sure that there is the occasional “no” but really what self-respecting musician ever says no to a gig or to at least show off their latest riff? Music is this wonderful messy conglomeration of instruments,genres and styles that have crossed hills, mountains, rivers, regions and countries a million times over from the beginnings of the earliest flute or drum.
Ethnomusicologists, despite all the studies, scratched out records or archaeological evidence, are dependent on a fair amount of guesses or suppositions on the evolution of song or the origins of one single instrument. A disputed claim by two neighboring towns as the birthplace of a particular instrument can break out into a brawl if not monitored closely. In a weird way music is the big human collaboration.
When I come across these musical cross-pollination recordings, the first thing I want to ask is what was it about this other genre of music that fascinated you? I know what I hear after the collaboration is essentially complete, but what did you find that worked melding two different musical traditions and what didn’t work. My second questions is why must you print liner notes over photographs making it impossible to make out what’s in the liner notes.
There’s a wonderful collaboration out there available for a listen on Italy’s Felmay label called Gobi Desert by the Guo Gan Trio. Some music fans might have had a listen into the 2014 Guo Gan Trio recording called Jasmine Flower with Guo Gan on erhu with Rao Ying on zheng and Lai Long Han on dizi and xiao. Now the Guo Gan Trio is back with yet another trio and another sound. Teaming up with Turkish saz player Emre Gultekin and Turkish percussionist Levent Yildirim.
On the surface, to those without a little history under their belts, some might consider this an unlikely collaboration, but if you think about the Silk Road trade routes that stretched all the way from China through Turkey to its final reaches in southern Italy the musical sharing leap becomes easier. The Silk Road started around 114 BCE, so it’s not hard to imagine that collaborations like this went on longer and farther than we could have ever have guessed.
This collaboration is indeed a treat. Packed full of erhu, doholla, uc telli, bendir, baglama and tembur, Gobi Desert is a musical landscape that graces the lines of the elegance of Chinese musical traditions into the meaty, sinuous turns of Middle Eastern music, Guo Gan, Emre Gultekin and Levent Yildirim set up a collaborative musical space that is as entertaining as it is engaging.
Opening with the title track and Guo Gan composition “Gobi Desert,” the trio fashions a delicate hybrid that almost comes across as an elegant court music with picked out doholla in between lines of erhu and rippling uc telli. The effect is stunning. Equally exciting is the Emre Gultekin composition “Kogaoglan Pacarani” that blends erhu with baglama and tembur with some truly spectacular percussion by Mr. Yildirim so fans will not want to miss a moment of this.
Other treats include the erhu fronted “Chinese Bike,” the deliciously mysterious “Tera Kiya,” the vocal laced “Harput” and moving erhu solo of “Parting at Yang Guan Pass.” Wrapping up with “Biday derya” the Guo Gan Trio hooks listeners with the whirlwind of erhu, doholla, tembur and baglama with some additional guest help from Malabika Brahma on dubki and vocals.
This is a stunning collaboration and we just can’t wait to see what trio Guo Gan cooks up next.