Italian reggae band Mellow Mood is set to perform April 18, 2018 in Liverpool. Their most recent album is 2 the World.
Venue: Invisible Wind Factory, 3 Regent Road, Liverpool
Italian reggae band Mellow Mood is set to perform April 18, 2018 in Liverpool. Their most recent album is 2 the World.
Venue: Invisible Wind Factory, 3 Regent Road, Liverpool
Asaran Earth Trio – Why Should Your Heart Not Dance (2017)
Why Should Your Heart Not Dance is an independent release by New York-based, female a cappella world music ensemble Asaran Earth Trio. The trio was assembled by Brazilian vocalist, percussionist and graphic designer Anne Boccato. She recruited Artemisz Polonyi from Hungary and Astrid Kuljanic from Croatia.
Initially, the three artists traded songs from their countries’ traditions, but soon they ended up incorporating folk songs from other regions.
During Asaran Earth Trio’s live performances, the artists encourage audience participation by passing handmade musical instruments crocheted from plastic bags and invite the audience to sing along with them.
Why Should Your Heart Not Dance features jazz-infused traditional songs from the United States, Macedonia, Hungary, Portugal, Brazil, Italy, Bulgaria, Spain and a few originals as well. The songs include vocals and percussion accompaniment, no other instruments. The songs have a rootsy, live feel, with few studio effects like reverb that are commonly used in modern recordings.
The three musicians have solid jazz backgrounds. Polony explains that improvisation is essential to Asaran Earth Trio: “It’s a foundation we can return to in difficult passages, and a way of finding new expressions. We leave a lot of opportunities built into arrangements.”
Anne Boccato indicates that her goal in life is “to write things that groove, even when those things are very complex. It has to feel good.”
Why Should Your Heart Not Dance features outstandingly expressive vocals by Asaran Earth Trio, an ensemble that soulfully explores folk music traditions from various corners of the world.
Buy the digital version of Why Should Your Heart Not Dance.
Vassar Clements was one the United States’ most versatile fiddle players. His career began at a very early age. His phenomenal ability to virtually play any kind of music (bluegrass, country, pop, rock, jazz and swing) garnered him various awards including five Grammy nominations and a track record that involves multitudes of recording performances.
Vassar was a prolific composer of instrumentals and played seven instruments: violin, viola, cello, bass, mandolin, guitar and tenor banjo.
Vassar’s career spanned over fifty years. His association with Bill Monroe began when he was only 14 years old and still in school. He started with Bill as a regular Bluegrass Boy in 1949 and was with him through 1956. From 1957 to 1961 he performed with bluegrass artists Jim & Jesse McReynolds. In 1962 he took leave from his music to pursue other interests but returned to full time music when he decided to make Nashville his home in January 1967.
Vassar did recording sessions and played tenor banjo in Nashville’s Dixieland Landing club until October 1969. He then started touring with Faron Young and doing occasional solo dates when time permitted. In February 1971 he joined John Hartford and his Dobrolic Plectral Society, initiating a professional association and personal friendship that has grew stronger through the years. After ten months and earning an enormous amount of recognition and popularity, the group decided to disband. Vassar then found himself with the legendary Earl Scruggs and the Earl Scruggs Revue.
During that time, one of the most important milestones in his career was his participation on the Nitty Gritty Dirt Band’s 1972 Landmark album Will The Circle Be Unbroken. This historical event was produced by William McEuen and featured an extravaganza of bluegrass, country and folk’s greatest artists. It was the turning point that re-kindled Vassar’s career and at the same time introduced him to a much younger non-country audience.
Within a few short months Vassar was recording and/or performing with Dicky Betts, Jerry Garcia, The Grateful Dead, The Allman Brothers, Linda Ronstadt, The Nitty Gritty Dirt Band, David Grisman, Paul McCartney, etc. In May 1973, The classic Old & In The Way album was recorded in San Francisco during a live performance. The Sales from this project have exceeded other albums of like kind and has formed staunch cults that still exist after twenty three years.
Since 1973 when Vassar signed his first major label deal with Mercury/Polygram records his personal discography ranged from country, waltzes, swing to jazz. Ironically, in 1992 he recorded his only straight bluegrass recording for Rounder Records titled Grass Routes.
His early experience growing with jazz and swing music left an indelible mark on his style. Vassar said: “bands like Glen Miller, Les Brown, Tommy Dorsey, Harry James and Artie Shaw were very popular when I was a kid. I always loved rhythm so I guess in the back of my mind the swing and jazz subconsciously comes out when I play because when I was learning I was always trying to emulate the big band sounds I heard on my fiddle.” Understandably the form of jazz music created by Clements was a mix of the diverse influences that touched him throughout his career but particularly his affinity for the jazz and swing music of his youth.
Therefore it is no surprise that even though early in his career, as he learned and developed bluegrass and country styles, he also gained respect as a jazz player. Hence classic number two: Once In A While which resulted from a jam session with Miles Davis’s ex-band members Dave Holland, John Abercrombie and Jimmy Cobb. Classic number three: Together At Last. with Stephane Grappelli was produced by Tim Yaquinto and recorded in Vassar’s former studio.
Back Porch Swing was Vassar’s first album to feature the Little Big Band. Recorded between September 1997 and September 1998 at the Historic RCA Studio B in Nashville Back Porch Swing was performed almost entirely live with the exception of vocal and string overdubs.
Vassar Clements participated in Dead Grass (2000) a bluegrass twist on some Grateful Dead favorites.
Full Circle (OMS Records) released in 2001 had Vassar returning to his bluegrass roots with an all star cast that included Sam Bush, Bela Fleck, Bryan Sutton, Peter Rowan, John Cowan, Josh Graves, Jeff Hanna, Jimmie Fadden, J. D. Crowe, Billy Troy, Alan O’Bryant, Ricky Skaggs, Jim & Jesse and Jake Landers.
In May of 2004 Runaway Fiddle (OMS Records) came out. This project was a labor of love of two of the greatest American fiddle players of modern times Vassar Clements and Buddy Spicher. Buddy Spicher is one of Nashville’s most recorded session artists and arrangers. On Runaway Fiddle these two legends teamed up to record tunes they grew up loving playing and internalizing but for the most part never recording. Selections include 192’s show tunes Western Swing Dixieland. Several songs are interpretations of songs popularized by country music icon Bob Wills who created the new art form called Western Swing.
His CD Livin’ With The Blues (Acoustic Disc) was released in August of 2004. It was his first blues album. While Vassar Clements has often been considered the ?bluesiest? of the bluegrass fiddlers it wasn?t until producer Grisman asked him what kind of record he wanted to make that the soft spoken septuagenarian replied “I’ve always wanted to make a blues record.”
Livin? With The Blues includes Skip James? swampy “Cypress Grove ” with Vassar’s lonesome fiddle accompanied by Bob Brozman’s slide guitar. Elvin Bishop cleans house with his own “Dirty Drawers” and “That?s My Thing ” while Maria Muldaursings with Vassar on “Honey Babe Blues” and Bessie Smith?s “I Ain?t Gonna Play No Second Fiddle.” Other tracks include Roy Rogers desolate take on Robert Johnson?s “Phonograph Blues ” “Mambo Boogie” featuring Dave Mathews and the Booker T. Jones classic “Green Onions ” given a new twist by Charlie Musselwhite and Vassar. “Rube’s Blues” featured blues guitar whiz David Jacob-Strain (who was 19 at the time) helping Vassar reinvent a bluegrass standard and Norton Buffalo with his unique soul treatment of his own “Don’t Stand Behind A Mule.”
In November of 2004 Vassar Clements joined bluegrass quartet The Biscuit Burners onstage at the Ryman Auditorium in Nashville. Vassar played on two of the band’s original songs “Come On Darlin'” and “Red Mountain Wine”. The surprise appearance was part of the historic Ryman Auditorium’s $1 on the 1th Mystery Artist Series celebrating the 1 year anniversary of the legendary theater’s renovation.
On March 11, 2005 Vassar was diagnosed with lung cancer. He died at his home August 16th, 2005 at 8:25 am. He was 77.
[Biography adapted from Vassar Clement’s official biography].
Vassar (Mercury Records)
Superbow (Mercury Records)
Southern Waltzes (Rhythm Records)
Vassar Clements John Hartford & Dave Holland (Rounder Records)
Crossing The Catskills (Rounder Records 1972)
Vassar Clements (MCA Records)
The Bluegrass Session (Flying Records 1977)
Grass Routes (Rounder Records)
Saturday Night Shuffle – A Celebration of Merle Travis (Shanachie Records)
Hillbilly Jazz (Flying Records 1978)
Hillbilly Jazz Rides Again (Flying Records)
New Hillbilly Jazz (Shikata Records)
Together At Last with Stephane Grappelli (Flying Records 1987)
Nashville Jam (Flying Records)
Westport Drive (Mind Dust Records)
The Man The Legend (Vassillie Productions)
Country Classics (Vassillie Productions)
Vassar Clements Reunion With Dixie Gentlemen (Old Homestead)
Once In A While, Jam with Miles Davis’ ex-band members (Flying Fish Records 1992)
Live in Telluride 1979 (Vassillie Productions 1979)
Music City USA (Vassillie Productions)
Old And In The Way – Volume 1 (BMG Music)
Old and In The Way – That High Lonesome Sound – Volume 2 (Acoustic Disc)
Old and In The Way – Breakdown – Volume 3 (Acoustic Disc)
An Americana Christmas with Norman Blake (Winter Harvest)
The Bottom Line Encore Collection (Bottom line 1999)
Vassar’s Jazz – Golden Anniversary (Winter Harvest)
Back Porch Swing (Chrome Records 2000)
Dead Grass (Cedar Glen Music Group)
20 Fiddle Tunes & Waltz Favorites
Full Circle (OMS Records 2001)
Will The Circle Be Unbroken – Volume II – 3th Anniversary Edition (Capitol Records)
Will The Circle Be Unbroken (United Artists)
Will The Circle Be Unbroken – Volume III (Capitol Records)
Old & In The Gray (Acoustic Disc)
Runaway Fiddle with Buddy Spicher (OMS Records)
Livin’ With The Blues (Acoustic Disc 2004)
The Fiddle According to Vassar (Homespun Tapes). Taught By Vassar Clements. 9-minute DVD or VHS Includes music book
Vassar Clements In Concert – Vassar Swings (Shikata Records)
Vassar Clements In Concert – Ramblin’ 81 (Shanachie Records)
BKO – Mali Foli Coura (Buda Musique, 2017)
Mali continues to produce some of the most fascinating acts in West Africa. One if the finest in recent years is BKO. The groundbreaking ensemble is back with Mali Foli Coura, a remarkable album where Malian tradition, the blues, spectacular jembe drumming and trance-like electric distortion permeate the music.
The lineup includes Fassara Sacko on lead and backing vocals and Khassonke dunun; Ibrahima Sarr on jembe and backing vocals; Adama Coulibaly on donso-ngoni, lead and backing vocals; Abdoulaye Kone on jeli-ngoni; and Aymeric Krol on drums and backing vocals.
Buy Mali Foli Coura
Today we celebrate the 100th birthday of John Birks “Dizzy” Gillespie. Dizzy as he was affectionately known was one of the greatest jazz innovators of the twentieth century. His music, Bebop – “Bop” for short, was improvised, with complex and often dissonant chords, and sometimes very rapid tempos. It began in jam sessions in Harlem, and made a dramatic entrance into the music scene in the mid-1940s. Listeners were startled by it, and some traditional jazz musicians even described it as noise. But, it took over the world of jazz rapidly, and as a genre would influence generations of musicians to come.
Nothing so amazing and so influential has been heard in jazz since. Looking back, many writers have focused on Dizzy’s musical genius and technical mastery, but I am going to talk about Dizzy’s love of Cuban music and his connection to Cuban musicians.
Dizzy was born on October 21st, 1917 in Cheraw, South Carolina, and his father was a bandleader. Dizzy was surrounded by instruments as a young child. He learned to play piano starting at age four and later taught himself trumpet and trombone. He soon became a professional musician. It was while he was playing in Cab Calloway’s orchestra in the 1940’s that Calloway introduced him to Mario Bauzá. Bauzá was one of the first musicians to introduce Latin music to the United States. He would later connect Dizzy to Luciano Pozo Gonzáles, who was known as Chano Pozo.
Chano Pozo cut a strong and charismatic figure on stage. He could dance and sing as hard as he played conga. Even though it was difficult for them to understand each other. But, Dizzy said in the documentary film, A Night in Havana: Dizzy Gillespie in Cuba, that they both “spoke Africa.” Dizzy saw him as a brother. Before they met, Cuban music had only an occasional influence on jazz, and vice versa. That would soon change. Dizzy quickly welcomed Chano Pozo as a conguero into his band. And, on September 29th 1947, Pozo and the bongo player Chiquitico performed with Dizzy at a Carnegie Hall concert. As Alyn Shipton wrote in “Groovin’ High: A Life of Dizzy Gillespie”:
“Few collaborations capture the heady excitement, virtuosity … that can be found in “Manteca”, “Cubana-be Cubana-bop” (also known as the Afro-Cuban jazz suite) and “Guarachi Guaro” from the first fruits of Pozo’s tenure with Dizzy’s band.”
Dizzy incorporated much of Chano Pozo’s Santeria chanting into Bop – something that was new, and at times perplexed his fellow musicians, but later caught on. Likewise, bands in Bop had hitherto only a single drummer, but suddenly congas and sometimes a group of Cuban percussionists became a regular component of the music, adding additional excitement and rhythmic spice. Chano Pozo was tragically murdered at the age of only 33, but he left behind a powerful mark on modern jazz that reverberates to this day. Dizzy also recorded several beautiful pieces with the masterful Cuban composer and arranger, Chico O’Farrill, including the album Afro-Cuban jazz moods, on which the well-known Cuban maraca player, Machito, also performed.
Dizzy fell quickly in love with Cuban music. It was a firm embrace. He said several times in different interviews that slaveholders forbade drumming in the United States, yet drumming was kept alive in the South Americas and Caribbean, a drumming that has as its roots Africa. Cuban music is a music with rhythm at its center. The clave rhythm, broken up into a first measure of two notes and a second measure of three or vice versa, finds its origins in Sub-Saharan Africa. Indeed the word clave means key. And it is used to help organize many Cuban rhythms, including rumba, son, salsa and mambo. Dizzy was no stranger to rhythm. He wrote in his autobiography, “To Be or Not … to Bop” of six prerequisites that all successful musicians must have: mastery of instrument, style, taste, communication, chord progressions and rhythm. “Rhythm,” he wrote, “includes all of the other attributes because you may have all of these others and don’t have the rhythmic sense to put them together, then it would negate all of your other accomplishments.”
The Cuban music that Dizzy fell in love with in the 1940’s would stay with him for the rest of his life. Forty years later, he was invited to headline the fifth international jazz festival in Havana. He described going to Cuba as “coming home.” There, like a loving father, he embraced and nurtured the emerging jazz talents of several younger Cuban musicians, including Arturo Sandoval and Gonzalo Rubalcaba. Arturo who is a trumpeter later recounted that he thought Dizzy was expecting to find only a group of great percussionists when he arrived in Cuba, but was a bit surprised to find a trumpeter with some technical prowess.
Dizzy’s love of world music did not stop and rest in Cuba. He travelled the world as part of the Jazz Ambassador program with a band of musicians from all of the Americas on behalf of the United States State Department. They toured South America, the Middle East, and still other countries. He went with a sense of curiosity and openness. But he also felt a deep need for the world to know and to appreciate jazz. He felt the same need in the United States, where racism impeded its acceptance. For Dizzy, music was a delight, he emanated joy from the stage.
In 2002, Gillespie was inducted into the International Latin Music Hall of Fame for his contributions to Afro-Cuban music. Dizzy had long embraced the Ba’hai faith. It is no accident that a man who wanted to be remembered not only for his music, but also for his humanitarianism, was so moved by a religion that speaks about the worth of all religions, and the equality and unity of all people.
Noam Pikelny was born February 27, 1981, in Chicago, Illinois. He is one of the finest banjo musicians in the United States. In 2004 he released his first solo album titled In the Maze. In 2010 he was awarded the first annual Steve Martin Prize for Excellence in Banjo and Bluegrass earning him an appearance on the popular American TV program The Late Show with David Letterman.
In 2011 Pikelny released his second album Beat The Devil and Carry A Rail. The album hit both the Billboard Top Heatseekers and Bluegrass album charts and was the focus of a Funny or Die parody video starring Pikelny with appearances from Steve Martin, Ed Helms, Earl Scruggs, Chris Thile, Gillian Welch and others.
Noam Pikelny works regularly with well-known artists beyond the bluegrass world including Punch Brothers Wilco Fiona Apple Norah Jones and Jon Brion for the soundtrack to This is 4 a feature song on The Hunger Games soundtrack and a collaboration with Marcus Mumford for the Coen Brothers’ film Inside Llewyn Davis.
In 2013 Noam Pikelny released Noam Pikelny Plays Kenny Baker Plays Bill Monroe, an interpretation of traditional Bluegrass through a bold complete adaptation of one of the most influential instrumental bluegrass records of all-time. Joining Pikelny on this album are some the best instrumentalists in bluegrass: Stuart Duncan (fiddle), Bryan Sutton (guitar), Ronnie McCoury (mandolin), and Mike Bub (bass).
The original album Kenny Baker Plays Bill Monroe was recorded in 1976 five years before Pikelny was even born. It contains twelve classic tunes written by the father of Bluegrass Bill Monroe (1911-1996) and performed by his longtime fiddler Kenny Baker (1926-2012). While many outstanding musicians worked for Bill Monroe, Monroe would introduce Kenny Baker to audiences as “the best in bluegrass.”
Baker’s fiddle provided an elegant and refined voice to Monroe’s music and Pikelny accurately transposes Baker’s versions to the banjo note-for-note track-by-track. It is the first bluegrass record that remakes an entire album in sequence though never turning into an exercise in musical impersonation; instead Pikelny uses the Monroe instrumentals as blueprints and catalysts for his own improvisations and those of his band.
In the Maze (Compass Records 2004)
How to Grow a Woman from the Ground, with Chris Thile (Sugar Hill 2006)
Punch, with Punch Brothers (Nonesuch 2008)
Antifogmatic, with Punch Brothers (Nonesuch 2010)
Beat the Devil and Carry a Rail (Compass Records 2011)
Who’s Feeling Young Now?, with Punch Brothers (Nonesuch 2012)
Noam Pikelny Plays Kenny Baker Plays Bill Monroe (Compass Records 2013)
Universal Favorite (Rounder Records, 2017)
The Sachal Ensemble was formed by Izzat Majeed, a Pakistani investor and hedge fund manager who became a philanthropist and music producer. Born in Lahore in 1950, Majeed’s dream was to recreate the soundtrack of his childhood. His hometown, the second largest city in Pakistan, was once a cultural and artistic center in the region.
In the 1960s and 1970s, Lahore was at a peak as the home of “Lollywood,” the Pakistani equivalent of India’s Bollywood. Movies featured between 10 to 15 songs and the industry employed a considerable number of musicians, composers and arrangers. Music was fundamental to the life of the city.
Izzat’s father, Abdul Majeed, was the chairman of the film producers association of Pakistan and a music lover who would take his son to hear all the touring American jazz musicians passing through Lahore. That’s how an 8-year-old Majeed got to hear pianist Dave Brubeck at a venue near his family home. Brubeck was still a year away from recording “Take Five,” which would become the biggest selling jazz single ever. For the young Izzat, the concert had a profound effect. “That’s where I got hooked on jazz,” says Majeed.
But following a military coup in July 1977, General Muhammad Zia-ul-Haq became president and his dictatorship set out to “cleanse” Pakistan’s cultural landscape. Most non-religious music was declared sinful and the film industry, severely limited by religious bans, fell to pieces. In Lahore, even virtuoso musicians had to become taxi drivers or shopkeepers just to make a living.
Despite his success in finance, Majeed’s true passions “have always been and will always be about art and music,” he affirms. And so, he decided to do something about it.
“These great musicians – from both folk and classical schools – were left hungry and jobless,” said Majeed in a recent interview. “We were losing our instruments, losing our musicians, losing our culture; something had to be done about it.”
Long a patron of the arts and a lover of poetry (he is a published poet himself), Majeed founded Sachal Studios, named after the Sufi poet Saeein Sachal Sarmast, in 2003, on Waris Road, once the center of Lahore’s film studios. He then looked for the city’s great musicians, many of whom had put away their instruments. What’s more, Majeed had to buy instruments for several players.
Initially, Majeed and the Sachal Ensemble focused on the region’s classical and folk music. But then, he started to dream about the possibility of jazz being played on local instruments, and once he introduced the sounds and concepts of jazz, the musicians “took to it very naturally.” As they searched for a broader audience and looked outside Pakistan, they began to explore cross-cultural versions of Western jazz standards, pop and film classics.
Unexpectedly, Sachal Ensemble had a breakthrough when a video of their version of Brubeck’s Paul Desmond classic “Take Five” went viral. Brubeck, who died in December, 2012, in reality got a chance to listen to it, calling it “the most interesting recording of it I have ever heard.”
Song of Lahore (Universal Music Classics, 2016)
Brazilian jazz-funk band Azymuth will be touring Europe in October. Ivan, Alex and Kiko will be presenting material from their latest album Fênix, along with many of their classics.
Oct 13 – Fasching (Stockholm Jazz Festival), Stockholm
Oct 14 – The Hideaway, London
Oct 15 – The Hideaway, London
Oct 17 – Gretchen, Berlin
Oct 18 – Bravo Caffè, Bologna
Oct 19 – Auditorium Fausto Melotti, Rovereto tbc
Oct 20 – Santeria Social Club, Milan
Oct 21 – La Bellevilloise, Paris tbc
Oct 23 – Band On The Wall, Manchester
Oct 24 – Hoochie Coochie, Newcastle tbc
Oct 25 – Neimënster, Luxembourg tbc
Oct 26 – Jazz & The City (Festival), Salzburg
Oct 27 – Jazz & The City (Festival), Salzburg
Oct 28 – Jazz & The City (Festival), Salzburg
Black Seeds – Fabric (Easy Star, 2017)
Black Seeds, one of the most successful international reggae bands, changes course on Fabric. While there is still some great reggae in Fabric, the band ventures deeply into a crossover sound of funk, soul and pop.
Some of the highlights of the album are the first two tracks, “Better Days” and “Everybody Knows.”
Personnel: Barnaby Weir on vocals and guitars; Daniel Weetman on vocals and percussion; Jarney Murphy on drums; drums; Nigel Patterson on keyboards; Ned Ngatae on guitars, vocals and keyboards; and Francis Harawira on bass and bass synth.
Buy Fabric in Europe
Buy Fabric in the rest of the world
Farafina – Bolomakote (Intuition, 1992)
The raw, percussion-driven but still melodic sounds of Farafina burst forth on this 1992 release. Layers of drumming provide a solid foundation for bala (wood and gourd xylophone), flute and lyrics that focus mainly on the subject of man’s place in the world and the fulfillment of destiny. But don’t get the idea that it’s heady-sounding stuff. It’s energetic and passionate, with a thunderously tight ensemble sound that knows when to fuel the fire and when to sit back and let it burn. So grab your drum, join in, and feel the spirit.