Category Archives: CD Reviews

Omar Sosa and Adam Rudolph Present Pictures of Soul

 Omar Sosa and Adam Rudolph - Pictures of Soul

Omar Sosa and Adam Rudolph – Pictures of Soul
San Francisco, USA – Pictures of Soul is an improvised music collaboration between Cuban pianist Omar Sosa and Los Angeles-based percussionist Adam Rudolph. These two creative musicians have enjoyed each other’s work at a distance for several years. Both share an appreciation of ritual trance music – music that lead the listener into altered states of consciousness.

In April of 2002, when Sosa and his Septet arrived in Los Angeles for a run at the Jazz Bakery, it was possible for these kindred spirits to meet and make music together. The result is Pictures of Soul, a poignant aural journey into the transcendent realms of the creative music process.

Sosa and Rudolph both experience their art as an interactive spiritual voyage. Their approach in the studio called simply for an openness to explore musical landscapes together – without charts, without rehearsal. In Pictures of Soul Sosa plays mostly acoustic piano, both on the keys and inside the instrument.

Rudolph is featured on an array of hand drums, including jembe, tarija, dumbek and tabla.Sosa has released ten recordings on the Otá label since 1997, including 2002’s Pictures of Soul. He performed recently with his Octet at the opening of Carnegie Hall’s new Zankel Hall, about which Alex Ross of The New Yorker remarked that Sosa has “a ferocious flair for rhythm and a keen musical wit”. Composer John Adams, who curated the opening of Carnegie Hall’s new venue, commented that “Sosa is a deeply creative musician with an extraordinary harmonic sense. His piano playing is sui generis: It has obvious roots in Cuban music, but he’s taken his approach to the keyboard into completely new regions.”

Mr. Rudolph, a native of Chicago, is known as one of the early innovators in what is now called “World Music.” In 1977 he co-founded The Mandingo Griot Society with Gambian musician
Foday Musa Suso, one of the first bands to combine African and American music. In 1988, he recorded the first fusion of American and Gnawa music with Moroccan sintir player and vocalist Hassan Hakmoun and jazz trumpet great Don Cherry. In the same year, Rudolph began his association with the legendary Yusef Lateef. He currently leads his own ensemble, Go: Organic Orchestra.


Bows and strings

N. Rajam  - Radiant
N. Rajam – Radiant
N. Rajam

Radiant (Sense World Music, 2002)

It isn’t often that I am able to review a woman classical Indian musician so I am quite pleased to share violinist N. Rajam’s Radiant  CD with you. I read in Rough Guides World Music (volume 2) that Indian women are not given the same musical opportunities as Indian men. While male musicians attend the various gharanas and have access to masters of various traditional instruments, their women counterparts are not given the same opportunities and usually study traditional singing. And in Southern India, women do study violin. However, the violin didn’t take the role of a solo instrument in India, until after the 1960’s when N. Rajam arrived on the scene.

She is responsible for introducing the Gayaki ang vocal style to the instrument. And you can hear N.
Rajam’s violin sing in a vocal style on this CD. In fact, it is uncanny how the slides and runs resemble the human voice, especially that of the Hindustani vocal traditions.N. Rajam hails from Southern India and her family boasts generations of talented violinists, including her brother T N Krishnan. She inherited her technique from her father Sr. Narayana Iyer who encouraged his daughter to
incorporate vocal music and the ancient veena into her playing.

Later, N Rajam would seek training in Benares, located on the banks of the Ganges River where she was tutored by the legendary singer, Omkarnath Thakur for 15 years. This intense vocal training would surface later in Rajam’s violin performances. She has incorporated various vocal styles into her playing including, khayal, thumri, tappa and bhajan. And her seamless performance makes a difficult task seem effortless. Her violin shudders, quavers and converses with itself while instilling longing and other moods into complex melodies. She alternates between slides and runs of a pentatonic or 5 note scale. According to the liner notes playing the pentatonic scale on a violin is a fete in itself. “Technically, it offers a particularly stiff challenge to violinists because it consists of only
five notes, and the gaps between the notes on the neck of the violin are sizable.”

Rajam performs the popular evening raga, Malkauns and tabla player Akram Khan provides the beats. The first track, Raga Malkauns starts out slow and eventually builds as it flows into Raga Malkauns (teental). Tracks 2 and 3 allow Akram Khan showcase his improvisational solos. There is some playful exchanges between instruments, but usually Rajam repeats a phrase a few times, while Khan ignites an explosion of beats. Their performance grows in intensity until it reaches a dynamic climax. Meanwhile, Rajam extracts amazing tones from her instrument and she rivals virtuoso violinists of the west. And in fact, she blows me away with her mesmerizing interpretation of the ragas.

Track 4, Raga Khamaj, Thumri moves into contemplative territory and is romantic in nature. Set to a 6 beat cycle, you can hear the violin mourning its broken heart. Next the performers flow into Raga Nilambari (ektaal) and they conclude with the melancholic Raga Bhairavi (an evening raga). And by the end of this recording, I am wondering why I haven’t heard of the talented Dr. N. Rajam until now. I look forward to hearing more of her recordings in the future and if I ever get the chance to see her perform in the Seattle, I will jump at the opportunity.

Compliments of Cranky Crow World Music.


Tunes From the Dunes

Various Artists – Oxfam Arabia
Various Artists – Oxfam Arabia (World Music Network RGNET 1121 CD, 2003)

Various Artists – The Rough Guide to the Music of Egypt (World Music Network RGNET 1114 CD, 2003)

World Music Network’s sprawling Rough Guides series has included two previous collections in support of the humanitarian organization Oxfam. They centered on African and Latin music, and were as solid an overview of those genres as any in the mid-priced Rough Guides lineup.

Oxfam provides what’s needed most where it’s needed most (health care, finances, protection from natural and man-made disasters, preservation of human rights, etc.), and since most folks who listen
to world music are also attuned to world problems, the Oxfam discs are a great way to get your global fix and have a hand in making things better as well.

Oxfam Arabia is 67 minutes of top notch sounds from across North Africa and the Middle East. It’s got the diversity you’d expect from such a region, be it classical and traditional pieces, rai, folkloric or fusion. So there’s diversity here, from the contemporary sass of Algeria’s Abdou to different approaches toward masterful oud playing courtesy of Rabih Abou-Khalil and Naseer Shama, Transglobal Underground’s controlled techno frenzy, reggae-like grooves by Sudan’s Abdel Gadir Salim and the in-concert zest of Warda Jazairia.

If you hold to the opinion that the Arab world is your enemy, you don’t deserve a disc like this. But if you refuse to believe the vile spewing of fanatics on both sides, this music will enrich and delight you in addition to bolstering a worthy cause.

Some of the same artists from the Oxfam disc are also in good form on the The Rough Guide to the Music of Egypt. Modern Egyptian music can’t exactly be traced as far back as the pharaohs and pyramids and all that, but it has deep roots anyway, particularly links to pre-Islamic musical poetry. It’s only in much more recent times, however, that the Egyptian capital of Cairo has become the center of the Arabic music industry. Influences from all over the Arabic realm and beyond have
found their way into Egypt’s music, which as a result can be supremely fanciful or funky. So feel free to be just as seduced by the jabbing rhythms that punctuate the voice of Nugat El Saghira as you are by Ali Hassan Kuban’s Nubian tartness, Amr Diab’s Iberian leanings or the lush simmering of pieces both grand and simple from such key artists as Hamza El Din and Mahmoud Fadl.

I could go into loads more detail here, but all you really need to know is that this is a deliciously good sampling of essential music from a fascinating place.


Singing the blues for Mother Earth

Where We Live, Benefit CD for Earthjustice
Where We Live, Benefit CD for Earthjustice
Where We Live, Benefit CD for Earthjustice (Higher Octave Music, 2003)

Musicians have proven time and time again their compassion by recording benefit albums or performing at benefit concerts. We have seen several compilation releases aimed at humanitarian causes in 2003, including Drop the Debt, Planet SOS and now a benefit CD for the non-profit organization Earthjustice, Where We Live which orchestrates a campaign for the universal right to clean air and clean water. The compilation boasts an array of well-known artists performing mostly blues and gospel tunes including, Norah Jones, Pops Staples with Ry Cooder, Maria Muldaur with Bonnie Raitt, Mose Allison, Tina Turner with Robert Cray, Bob Dylan and John Hammond with Tom Waits. However, this doesn’t surprises me since 2003 was both the year of the blues and a time of planetary awareness.

According to the press release, “In the United States alone, more than 70,000 people die of air pollution, and 40% of the nation’s waterways do not meet basic water quality standards.” It’s much worse in other regions in the world because in other parts of the world, you would be fortunate to find drinkable water. And in Cairo or Mexico City, clean air would be a high price commodity. However, as we all know, we can only tackle one problem at a time. Earthjustice is a non-profit public interest law firm dedicated to preserving wildlife and defending the rights of all people so that we can live on an ecologically sound planet.

I find this compilation enjoyable and I believe that protecting the planet is the best cause of all. Norah Jones delivers the soulful Peace. Pop Staples along with Ry Cooder (on slide guitar) contribute the rousing gospel blues tune, I Shall Not Be Moved. Los Lobos honor the earth and the late Marvin Gaye with their rendition of What’s Going On? (a song that never fails to bring tears to my eyes) and Bob Dylan proves he’s still in top form, performing a honky-tonk tune, Watch the River Flow.

While many of the songs fall into the blues and gospel genres,Rubén Blades croons the sexy Latino Estampa, Willie Nelson a country western song, Living in the Promised Land. Sweet Honey in the Rock delivers a traditional a
cappella song, More Than a Paycheck and Captain Beefheart performs his zany Happy Earthday. Most of the songs that appear on the CD are familiar covers and songs that provoke an emotional response. And certainly it is well worth your time to pick up this CD and support a good cause.

But for those of you who realize that every individual effort makes a difference in promoting sustainability, you can go many steps further in achieving this goal by doing one or more of the following suggestions:

Consume less meat or go vegetarian
Stop supporting the tobacco industry (do not smoke)
Use natural cleaners in your home and business
Eat organic foods & support organic farms
Drive your car less & seek alternative forms of transportation
Don’t buy or wear clothing manufactured from petroleum products
And elect progressive leaders that will protect the environment
Give your support to green businesses and corporations
Use your power as a consumer
Use your power as a compassionate human being
Invest your money with green companies

And for now consider the Native American adage of protecting the environment for the next seven generations (including animal and plant life). In the meantime, support good causes and join the musicians on Where We Live in preserving Mother Earth and celebrating the musical treasures presented on this CD.

CD Tracks:

1. Norah Jones, Peace
2. Pops Staples with Ry Cooder, I Shall Not Be Moved
3. Los Lobos, What’s Going On?
4. Bob Dylan, Watching The River Flow
5. Maria Muldaur with Bonnie Raitt, It’s A Blessing
6. Rubèn Blades, Estampa
7. What A Wonderful World, Dan Zanes with Lou Reed and The Rubi Theater Company
8. Michael Franti & Spearhead, Yes I Will
9. Willie Nelson, Living In The Promised Land
10. The Neville Brothers, Sister Rosa
11. Sweet Honey In The Rock, More Than Just A Paycheck
12. Karen Savoca, Two Little Feet
13. Mose Allison, Getting There
14. Tina Turner with Robert Cray, A Change Is Gonna Come
15. John Hammond with Tom Waits, I Know I’ve Been Changed
16. Happy Earthday, Captain Beefheart


Sweet, sweet showers of Blues

Knut Reiersrud - Tramp
Knut Reiersrud – Tramp
Knut Reiersrud

Tramp (Kirkelig Kulturverksted, 1993) & Sweet Showers of Rain (Kirkelig Kulturverksted, 2001)

Norwegian blues man Knut
discovered Miles Davis when he was 10 then at age 12 Knut and his brother bought guitars after seeing Buddy Guy and Muddy Waters on TV. By the ripe age of 18, Buddy Guy and Otis Rush heard Knut perform and invited him to Chicago. Since that time Knut has played over 5,000 concerts and recorded over 100 albums, but only released a handful under his own name. He has mastered 10
different string instruments and tours with 8 guitars with different tunings. And I bet few readers of this site, outside of Norway and the Chicago blues community have heard of this phenomenal musician.

Knut is also an imaginative musician and it’s easy to see his curiosity of diverse cultures in a childhood photograph that appears on the Sweet Showers of Rain CD. A much younger version of Knut is dressed in a Polynesian grass skirt and an adult size sombrero; and he’s holding Mexican maracas in his hands. Well, not much has changed since that photograph was taken since Knut’s music
carries a childlike inquisitive nature and he’s still exploring other cultures such as West Africa, American blues, Indian (India) and traditional Norwegian music.

The 1993 release, Tramp features cora, soaring West African vocals, African percussion, cora along with blues gospel singers, Five Blind Boys from Alabama who accompany Knut on two songs by Blind Willie Johnson, Everybody Oughto Treat a Stranger Right and Let Your Light Shine.

The title track, an instrumental, features organ and guitar bouncing along a jagged path. No Problem and Fareslatten are instrumental tracks featuring guitar and African musician Alagi M’Bye on Cora. Jarabe takes the treatment a bit further by adding soaring West African vocals, talking drum, jembe and organ among other instruments. And the cover of Big Joe William’s Baby Please Don’t Go
and the African Tobakobe blends Gambian vocals (Juldeh Camara) with the blues classic.

Fast forward to 2001 and the release of Sweet Showers of Rain an album that points to Jimi Hendrix guitar, 1970’s funk, roadhouse blues and recall such performers as T-Rex, Sly and the Family Stone and legendary blues musicians. The cora has been replaced by sitar and the acoustic guitar has gone electric, but you’ll also find organ, harmonium, drums, ambient treatment, loops and samples played on turntables. Blues Power (Part 3) recalls Jimi Hendrix and American funk along side samples of Otis Jones, Lightening Slim, Howling Wolf and the Parchman Farm Inmates. The titular track features wah wah guitar, funky bass and unusual vocal syncopation that recalls T-Rex. And A Lovely Disaster also recalls T-Rex, but a sitar and a rap vocalist are added giving the song exotic and a gritty appeal.

Roadhouse blues Giving Up (by Van McCoy), the funky Jumpin’ Judy, the ambient Down on Me and The Old Man Still Sings (sounds like the Beatle’s Abbey Road album) also are worth a mention. However, the traditional songs, Motherless Children and Reap What you Sow and the original Epitaph (about a falsely
convicted felon awaiting his untimely death) send chills up the spine. Knut might be of Scandinavian descent, but blues courses through his veins and he’s able to deliver the musical goods as well as, America’s infamous blues men.

Technically, these albums do not fall under Norwegian folk-roots, but they do fall into international traditional music and are far reaching. I encourage viewers of this site to check out these recordings.  and you can find them at Kirkelig Kulturverksted.

Compliments of and happy holidays from
Cranky Crow World Music.


New Californian Worksongs


Worksongs (Vanguard 79738-2, 2003)

Mestizaje (or mestizo) is a Spanish word used more and more to describe
musical hybrids in Spanish speaking countries. The Hispanic melting pot in
southern California has been producing some really interesting musical
combinations for many years. East Los Angeles band

appeared in the late 1990s with as combination and Spanish and
English lyrics, mixing American sounds with Mexican and other Latin American
influences. Quetzal’s latest CD, Worksongs, continues the hybridization process by
providing American rock, folk and blues melded with Mexican son jarocho,
Afro-Cuban sounds, and much more. As the title suggests, the lyrics talk about
the hard working people who helped build California.

The album was produced Produced by longtime Los Lobos saxophonist Steve
Berlin. He saw the working relationship a perfect fit. “It’s profound, there’s
not enough articulation about what’s going on in East LA [Los Angeles],” he
says. “Worksongs is not just a record; they are the voice of the culture.
We’ve [Los Lobos] carried the torch long enough, and I think Quetzal is the next
to step up and speak for the community




Touch of MacMaster’s Hand

Natalie MacMaster - Blueprint
Natalie MacMaster – Blueprint

Natalie MacMaster

Blueprint (Rounder Records, 2003)>

Two tunes on Cape Breton fiddler Natalie MacMaster’s latest recording, Blueprint succinctly describe the power behind the 30-year old musician’s feisty gift. They are “Touch of the Master’s Hand,” based on a poem by Myra Brooks Welch; and the love song, “My Love, Cape Breton and Me,” which ends the recording. The first tune cites, “From the room far back a fair-haired girl came forward and took the bow. Then she wiped dust from the old violin and tightened up the strings. She played a tune so pure and sweet you could hear the angels sing.” I would bet that Natalie could also transform a tired old instrument into the stuff of angels.

Natalie’s cousin Bob Quinn wrote the second tune for MacMaster’s marriage to fiddler Donnell Leahy that took place on October 5, 2002. Quinn’s 18-year old daughter handled vocal duties at the wedding and on the recording. The song which was recorded in Halifax and produced by Natalie and her husband, speaks of the simple things in life and also about returning to one’s roots.

Natalie’s roots go deep into the heart of Canada’s Cape Breton. She was born into a fiddling community and is related to fiddling royalty, yet she relocated to Ontario after her wedding, giving the song a lasting poignancy.

The remaining 12 tracks were recorded in Nashville, Tennessee with “new acoustic” producer Darol Anger at the helm and embellished by an array of stellar bluegrass talent. MacMaster teams up with Bela Fleck (banjo), Jerry Douglas (dobra), Victor Wooten (bass), Alison Brown (banjo), John Cowen (vocals), Sam Bush (mandolin), Bryan Sutton (guitar), Edgar Meyer (Arco & Pizz bass) and her regular band mates to create a masterful marriage between traditional Cape Breton repertoire and new grass. They even toss in a few bluesy chops and jazzy bits here and there. However, besides this rich line up of musicians, what strikes me the most is being able to hear joy welling up in Natalie’s heart when she performs.

Her musicianship boasts both technical brilliance and absolute soul fullness that shouts integrity. If only there were more Natalie MacMaster’s in the world, I believe we would live in peace.

The tracks on Blueprint range from the pastoral “Eternal Friendship” to the tricky “Devil and The Dirk” with its alternating fiddle textures (staccato and sweet lyrical) and everything in between. Natalie’s fiddle kicks into gear on Gravel Shore then the musicians take turns at solos while building off of each others’ creative impulses. I am surprised to find Swedish guitarist Roger Tallroth’s (Vasen) “Josefin’s Waltz” on this recording, yet a few similarities between Swedish traditional music and fiddle music of the Americas do exist. Bela Fleck chips in Bela’s Tune and Natalie pays homage to her parents with the romp, Minnie & Alex’s Reel.

The musicianship is extraordinary on this spirited disc. Natalie plays straight from the heart and expertly turns musical phrases. She has toured the world and shared stages with such luminaries as Carlos Santana, Luciano Pavarotti, Alison Krauss and The Chieftains. And now she stars in her own show, accompanied by some of the hottest bluegrass musicians. Certainly her latest recording is a blueprint for success, but it also a CD filled with longing for one’s home. Whether or not you make your home in Cape Breton or elsewhere, finding your way home will be less complicated after listening to this heart-felt recording.


Feathered friends

Mary Youngblood - Beneath the Raven Moon
Mary Youngblood – Beneath the Raven Moon
Mary Youngblood

Beneath the Raven Moon (Silver Wave Records)

Mother of four children, Aleut and Seminole Indian, award winning flautist Mary Youngblood offers us her third release on Silver Wave Records, Beneath the Raven Moon. Inspired by the wonderful spirits that have walked with Mary on her journey through life and based on her poem, Beneath the Raven Moon, this CD features an array of styles from blues to traditional to classical in which each song title represents a line in the poem. “Cama-I/ Walk with me/ beneath a raven moon/ and we shall dance/Laugh with me/caress the smile/within my heart/and we can love/dream with me/above the Mother Earth/and we will fly/Ipiluni.”

This peaceful music comes at a time when many among us fear the planet’s extinction. Yet, when Mary’s voice and flute flow through a room, hope also presents itself. Her music is as stunning and haunting as the infamous Native American flutist R. Carlos Nakai, another musician that has successfully blended European and
Native American traditional music. Mary’s music differs from Nakai’s compositions in that it possesses a feminine edge that travels straight to the womb of Mother Earth. At times her songs hover above us and at other times they soars past us, always spirited, sometimes mirthful and at other times, tranquil.

Similar to her label mates, Joanne Shenandoah and Lawrence Laughing, producer Tom Wasinger comes on board offering his musical talents on a variety of instruments, Beneath the Raven Moon also marks the first CD in which Mary offers her sultry vocal talents. Joanne Shenandoah had enlisted her vocal talents on Youngblood’s CD, Heart of the World leading Youngblood on a new direction. Beneath the Raven Moon showcases Mary’s multiple gifts and her vocals can be heard on Walk with Me and Caress the Smile.

Walk with Me features bluesy guitar which is seduced by equally bluesy flute. The title song falls into the classical realm with flowing guitar, violin and flute. We Can Love is a beautiful chamber piece in which Youngblood’s flute caresses the strings that augment the composition. Two traditional Aluet songs, Piluni and Cama-Igrace the album while adding a timeless sacred quality to Mary’s inspired poem

Youngblood dedicated her heartfelt recording to those human beings in which she has loved, “To walk with another human being on life’s journey is a courageous endeavor.” One might say the same thing about recording and performing music that comes from the soul. And in that respect Mary Youngblood is a courageous musician here to offer us peace through her music.

Buy Beneath the Raven Moon


Marimbas and Flamenco Mestizo Sounds


Ayatana (Ventilador
Music CDA 035, 2003)

The Ventilador label has become Barcelona’s essential label for new world
music talent. Ayatana is an unusual group that falls into the growingly popular
“mestizo” (hybrid) category. It’s unusual because the veteran musicians combine
flamenco, world percussion and jazz using instruments that most flamenco and
mestizo artists rarely use. The most intriguing is the use of the marimba, an
instrument rarely (if ever) used in Flamenco. The foundation of Ayatana is percussion (palmas, cajón, shakers, frame drums,
etc.), and marimba combined with the harmonies and melodies of the archilaúd, an
instrument derived from the lute that has a much longer neck and resonance box.
There are also Flamenco and Gypsy rumba vocals throughout the album by singer
and dancer Vicky Romero.


Hurdy-Gurdy Man

Gilles Chabenat & Alain Bonnin -  Trame
Gilles Chabenat & Alain Bonnin – Trame
Gilles Chabenat & Alain Bonnin

Trame (independent release)

The piano played a pivotal role in the history of jazz. Many jazz pianist luminaries such as Oscar Peterson, Thelonious Monk, Bill Evans, Jelly Roll Morton and Duke Ellington come to mind. However, with a few exceptions, the traditional French instrument, hurdy-gurdy has not played a starring role with jazz ensembles. When I performed a web search on the hurdy-gurdy’s role in modern jazz, three performers’ names appeared including Matthias Loibner, guitarist/hurdy-gurdy player for the Austrian jazz/rock/folk fusion ensemble Deishovida, a Swiss musician-composer Mani Planzer and Gilles Chabenat of the jazz duo Trame. Certainly a case could be made for the versatility of the unusual French instrument which fits in equally well in jazz and traditional or folk-roots music. Yet when it comes to jazz, it takes a bit of imagination and a lot of musical technique to pull this fete off. Fortunately, French musician Gilles Chabenat brings those qualities to his instrument and to his

French pianist Alain Bonnin and Trame’s other half also brings his musical gifts to the table. Alain and Gilles met while recording with the Corsican vocalist I Muvrini (another musical innovator). Alain and Gilles realized that they had many musical things in common and formed Trame. And although Alain wrote 4 of the 14 tracks that appear on the duo’s self-titled CD, it’s hard to tell where one musician ends and the other begins. The instrumental tracks often veer off on tangents similar to a person embarking down one street then changing their mind and racing off to another street. The music here is quite complicated and exasperating at times, yet in the end listeners are taken to a new place and one they probably hadn’t even considered. It’s as though the musicians’ intuition works over time and this instinctive quality colors this recording.

Alain’s Septembre comes off as a warm jazz standard. But his track, saccages takes on a faster pace with hurdy-gurdy ripping through Alain’s carefully anchored piano and the musicians venture into a funky territory. Similar to other tracks, le fil/Mab feels melancholic and reminds me of a desolate snowy scape and recalls music by Finnish accordionist
Maria Kalaniemi and other Nordic jazz composers. On the whimsical couleur par couleur the piano and hurdy-gurdy weave a musical tapestry with each instrument representing its own unique color and texture.

La pierre tres-unie features Gilles performing a solo piece which fuses John Cage-inspired experimental music with the feel of a French circus troupe. And Gilles explores every nook and cranny of his electric instrument. Alain solos on terre et fer and les pays decouverts while uncovering a variety of musical themes. Noir animal alternates between the heaviness of rock music and a light lyrical mode, but again veers off in a new direction, growing darker and dissonant then returning to the light lyrical mode.

It takes a lot of brain power to compose intricate music, yet, the duo render their music seemingly with little effort. Although at first the music might sound familiar, it does take a few left turns and spins its listeners around. It is music for brainy and intuitive people alike, with plenty of Gallic charm to spare.

Compliments of Cranky Crow World Music.

Buy Trame