Elaine Weissman — Folk Alliance Founder

It was a basic idea – create a cooperative organization of people who operated venues where folk music and dance were performed. As Director of the California Traditional Music Society (CTMS), Elaine Weissman saw the need for networking on behalf of her own organization on a daily basis, so Elaine did what Elaine did best – became the catalyst. Along with her husband, Clark, in 1989 she put out a call, over 125 people met in Malibu, CA, and the North American Folk Music and Dance Alliance began.But the Folk Alliance was only one of Elaine’s many hats. As the Director of the
California Traditional Music Society she oversaw a full calendar of concerts,
classes, the Summer Solstice Festival (and training for volunteers and on-site
staff), the Taste of Folk Music festival, and Music in the Schools program.
Elaine was a committed arts advocate in the city and county of Los Angeles,
fighting for recognition for folk music and dance in all sectors of the arts and
at all levels of government.
Elaine was one of the first people to bring traditional Quebecois artists into
America, and worked for many years booking various bands, as well as running her
other projects. Her love of tradition (celebrated in the new scholarship fund
for traditional artists described on page 3) meant that community-based voices
were preserved and celebrated. A major result of her advocacy resulted in the
Folk Arts position of the City of Los Angeles Department of Cultural Affairs
being posted in the CTMS office – an unprecedented vote of support and
recognition of the high quality of work that CTMS as an organization produces.

Elaine was a proud wife, mother, and grandmother. Her partnership with her
husband, Clark, made many things possible, for themselves, their children, their
many friends in the greater folk community across the U.S. and Canada, and
Jewish community of southern California.

Committed, concerned, tireless, energetic, opinionated, inspiring, supportive,
visionary, generous of spirit are just a few words that can be used to describe
Elaine, a woman of many talents and a vast-reaching heart. Our favorite story
was told by her daughter Suzanne in Montréal at the luncheon for the newly
re-named Elaine Weissman Lifetime Achievement Awards ceremony. She described her
mother going in for her cancer chemotherapy fully loaded down with Irish or Old
Time music, mailing labels, and the CTMS newsletter – and introducing all her
fellow patients to that old folkie tradition – the newsletter mailing party.
Everyone buckled down to slap mailing labels on newsletters – just one more
story in the life of the woman who no one could say “no” to.

[Obituary courtesy of the Folk Alliance].

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Sree Sanmukhananda Sangeetha sabha Festival, Delhi, 04th day concerts

On Monday the 28th Feb’2005, the festival started with the concert of Vechoor
Shri C. Sankar and Party. He started with a Tyagaraja kriti in Sriranjani (Brochevarevarura)
and then ‘Santhamulekha’in Sama raga which was an elaborate piece. Thelialeru
rama in Dhenuka raga of St. Tyagaraja was delivered very well and then the raga
alapana in Madhyamavathi was well rendered with care and good manodarma. The
kirtana – ‘Rama Katha Sudha’ was very ably handled with good tala kattu and kala
pramanam. One can certainly certify the good padandaram in the presentation of
niraval and swara kalpana that is very much appreciable. The accompaniments Sh.
HN Bhaskar gave very good violin support and Kalakad Sh. Srinivasan on the
Mridangam ably supported the artist.In the Second half Smt. Jayanthi Mohan, who is a regular visiting artist of
Shanmukhananda Sabha was staged . As per the trend of the day the concert
commenced with a Kriti of Tyagaraja ‘ Manasuloni ‘ followed by Nasikabhushani –
Maravairi ramani. Perhaps the weather did not cooperate with the artist and a
slightly lower sruti would have been much appreciated and comfortable too. The
raga alapana in Latangi and the kriti of Pattanam Subramaniam Iyer – Marivere in
K. Chapu was well attempted. The raga alapana followed by the violinist is worth
mentioning and was of high order. Sh. Bhaskar’s support to the artist was a boon
and boosted the atmosphere.

The main piece in Thodi – Kadanavariki was a good selection and the niraval
and swara kalpana showed the MLV style of music to which the artist belong to.
Palladam Sh. Ravi on the Mridangam and Trichy Murali on Ghatam gave a very good
Tani Avartanam with clear Chol Kattu presented by them- specially on Ghatam by
Murali.

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Omar Sosa Quartet in New York City, Featuring Mino Cinelu

New York, USA – The pianist
Omar
Sosa
received three standing ovations during the opening weekend of Zankel
Hall and he’ll surely reap more New York praise when he brings his stellar band
featuring percussionist
Mino
Cinelu
to the Blue Note, 131 West Third Street in
the Village (New York City), March 7 – 9 at 8:00pm and 10:30pm nightly. Tickets
are $25 at tables and $15 at the bar.
The lineup at the Blue Note will be
Omar Sosa (Piano), Mino Cinelu (Percussions),
Geoff Brennan (Acoustic Bass), and~ Eric Crystal (Saxophones).

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Putumayo’s Acoustic Brazil

Putumayo presents... Acoustic Brazil
Putumayo presents… Acoustic Brazil
If Márcio Faraco lived in Brazil he would probably be very famous,” says Putumayo producer Jacob Edgar, who with Putumayo founder Dan Storper compiled the new Acoustic Brazil CD. The CD highlights the delicate side of Brazilian music, the counterpart to the upbeat dance music for which the country is also known.

Putumayo has pulled together a mix of songs by some of the greatest names such as Caetano Veloso, Chico Buarque, and Gal Costa, as well as some lesser-known gems not yet released in America. “We stumbled across Márcio about four years ago in a bar in Paris called the Blue Noite while visiting with Brazilian singer Nazaré Pereira,” Edgar recalls. “The music scene in Brazil has a strong local flavor and it’s hard
for expat Brazilian musicians to be successful in their homeland when they are
not based there. Here we were on a rainy winter day in Paris in this bar and
this whole community was creating a great tropical feeling, artists with great
potential had they lived back home in Brazil.”

Another find on this CD is Glaucia Nasser, a relative unknown on the Brazilian
music scene. Nasser was a self-help consultant before pursuing her dream to
perform professionally. “Our international sales manager came back from
Brazil with this very independently released CD,” says Edgar, possibly the
person who listens to more new music than anyone else in the world. “Whenever
our sales staff travel we encourage them to bring back new music.”

Lula Queiroga’s “Noite Severina” comes from an underground release yet to be heard in the United States. “Queiroga is a quirky artist outside of the mainstream, like Tom Zé,” Edgar explains. “His sound is very similar to Lenine, whom he has served as somewhat of a mentor. It is a very northeastern sound, acoustic but with subtle electronic accents.”

Acoustic Brazil cuts across eras and styles, tied together by powerful songwriting and the sheer beauty of the Portuguese language and Brazilian melodies. Caetano Veloso—who is featured on a Putumayo CD for the first time (though he has reached superstar status at home and abroad)—was a founding member of the tropicalismo movement, which blended bossa nova, rock, psychedelica, and protest music. Chico Buarque—who was criticized for not being political enough in the 1970s—sings here: “I leave behind many enemies because I’ve always been honest.” The more extreme the military dictatorship became in Brazil, the more radical Buarque became, which eventually landed him in jail, a credit he ironically shares with Veloso. Both are considered to be among the top ten Brazilian musicians.

Rita Ribeiro is no newcomer to Putumayo, which released her Perolas Aos Povos CD in 1999. Ribeiro comes from the northeastern state of Maranhão, known as the Brazilian capital of reggae.

On “Moro Na Roça,” Mónica Salmaso pays homage to Clementina de Jesus—a
granddaughter of African slaves who began singing professionally late in life
after serving as a housekeeper for over twenty years. Singing while washing
clothes, this “rough diamond” of a singer preserved the lundus and jongos of the
Angolan Bantu.

We’ve done fun and upbeat Brazil on our Brasileiro and Brazilian Groove albums,” says Edgar. “So we thought people would be ready for something more laid back.”

A portion of Putumayo World Music proceeds from the sale of this CD will be
donated to AMENCAR, an organization dedicated to the struggle for civil rights of children in Brazil.

Buy Acoustic Brazil.

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Ojos de Brujo Bari Remixes

Ojos de Brujo - Remixes From Bari
Ojos de Brujo – Remixes From Bari
Los Angeles, California, USA – The turntable wizardry of Spanish group Ojos de Brujo takes center stage with the U.S. release of Remixes From Bari, a blast of neo-Mediterranean bangers that brings the up-all-night sound of afterhours Barcelona to American dancefloors. Conjured up by the group’s brilliant turntablist, DJ Panko, this six-track collection offers up remixed favorites including “Cale Bari,” “Tiempo de Drumba” and a hypnotic reinvention of “Quien engaña no gana” (“Cheats never win”). Also included is a remix from the group’s resident gitano guitarist (and breakdancer) Ramón Giménez.The band will play concerts at South by Southwest (SXSW) in Austin, Texas, on March 19, 2005, and a U.S. tour is set for June and July 2005.

Ojos De Brujo Touring Lineup: Marina “La Canillas” Abad – vocals; DJ Panko – turntables; Max Wright – MC vocals, percussion; Ramón Giménez- flamenco guitar, breakdancing; Paco Lomena – flamenco guitar; Javier Martín – bass; Sergio Ramos – drums; Xavi Turull – percussion; and featuring: Elisa Belmonte – flamenco dance; Andre Cruz – video production and direction.

Buy Remixes From Bari

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Bruce Rouse, Rouse House Concerts, Dies in Texas

Bruce Rouse, co-founder of Rouse House Concerts, and a former Folk Alliance board member died unexpectedly on February 26, 2005. News of Bruce’s death reached many at the Folk Alliance Conference in Montréal and provoked widespread mourning among his many friends at the conference. Bruce was an avid supporter of the Folk Alliance. He attended every annual
conference from the 1997 meeting in Toronto through the 2004 meeting in San
Diego. He served as a judge for the 2004 official showcases in the
singer/songwriter category and led peer group sessions for house concert
presenters.

As a member of the Folk Alliance Board of Directors from 2000 to 2003, Bruce
advocated for the interests of house concert promoters and those of the artists
that meant so much to him. He was a dedicated Board member, bring to the table a
great heard and love of the Folk Alliance community. He was a tireless advocate
for bringing the Folk Alliance International Conference to Austin, working
closely with the Texas Music Office to help make it happen. No one was happier
than Bruce when Austin was chosen as the host city for the 2006 conference.

Bruce and his wife Liz made their mark on the Austin folk scene by hosting
concerts in their North Austin home for 14 years — hundreds of artists and
thousands of folk music fans gathered at the Rouse House Concerts, to enjoy and
celebrate music and friendships. They suspended their series in the fall when
Bruce retired from his job as a petroleum engineering researcher at the
University of Texas and the couple moved to Sun City Texas in Georgetown,
planning to soon continue the tradition of music in their new home.

[Obituary courtesy of the Folk Alliance].

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Nuklearte, World Music with an Environmentalist Attitude

Nuklearte - La via della sete
Nuklearte – La via della sete
Italy – The latest album by Nuklearte La via della sete (CNI Music, 2004) came out three years after Tale Tale.

The Sicilian group, was born from the artistic jointure between Ramya and
Maurizio Cucuzza and immediately beloved by Peter Gabriel and Thomas Brooman who
wanted them from the very beginning in 1998 to take part of the WOMAD circuit. La via della sete (The way of thirst) is a tale dedicated to the state of the environment and human rights and actually, this “sete”, thirst, is first of all the thirst for justice and for equality, a river of music and words born in the middle of nature and isolation.

From a musical point of view, La via della sete, signs a path towards a south eastern track leading to “another possible world”, 12 real acoustic mantra and mandala, sang in Djulajingala Sicilian, English and Italian, in which tablas and sitar meet African percussion and the “electric body” of loops, are supported by a typical rock layer of bass, drums, guitars and keyboards.

Buy La via della sete

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Sree Sanmukhananda Sangeetha sabha Festival, Delhi

The third day music and dance festival of Sri shanmukhananda Sangeetha sabha
featured Ragam Sisters and Priya Sisters at Andhra Bhawan.

Ragam Sisters commenced their concert with a Varnam in Ragam Sree followed by
ragam Hamsadwani (Varana Mukha). After a sprite rendering Dikshidar kriti in
Suddha Dhanyasi ( Subramanyena Rakshitoham) the sisters took up Sriranjani raga
alapana which was well attempted and the kriti Sogasugamrudanga Thalamu with its
swara prastharas was very well handled with maturity. The sarvalagu in kalpana
swara was noteworthy. After the Kriti Nenenduvedakutura it was Mohanam-
Bhavanuta of Sri Tyagaraja with good raga alapana and niraval swaras. The main
piece of the evening was Bhairavi with a Tyagaraja kriti – Upacharamu jeseva
which is very rarely heard now a days. It was very well rendered and the way the
kriti was handled by sisters was well appreciable and very promising. Thereafter
the kritis of syama sastry Kanakasaila (Punnagavarali), Narayanathe namo namo
and a Ragamalika- Kuraiyondrumillai was well received by the audience. The
concert was concluded with Lalgudi Thillana in raga Revathi.
The accompaniments Ms. Lakshmi Venkataramani on the violin, Kumbakonam N.
Padhmanabhan on Mridangam and Sh.G. Ravichandran on Ghatam gave a good support.

In the second half of the festival it was Priya Sisters Nadabhushanam
Shanmukhapriya and Haripriya.
The concert started with a spiritly varnam in Abhogi raga followed by Varana
Mukha in Hamsadwani. Then the two rare krities ‘Ranganadude’ in Sourashtram and
Etavuna Nerchitiv O Rama in Yadukulakambhoji were render very well and well
received by the audience. The composition of Koteeswara Iyer ‘Arul Seyya Vendum’
in Rasikapriya excelled with the swara kalpana and handling of Vivadi mela raga
in a very matured way. Even the raga sunadavinodini – Devadi deva of Mysore
vasudevachariar was very well rendered and worth mentioning. The Navavarnam in
Sriragam gave a divine ambiance to the concert. The main raga – Thodi and the
Tyagaraja Kriti- Dasarathi was a good choice and excellently produced both in
the raga alapana and visthara swara prastharas. Here the bow trick of the
violinist Sh. Ragevendra Rao is worth mentioning which was of high class.
Thiruvaruru Sh. Vaidyanathan and Sh. Ravichandran on the mridangam and Ghatam
respectively gave a scintillating tani Avartanam. The sisters continued the
concert with a vrutam and rare tukdas which was a good change for the music
lovers of Delhi.

Both Ragam and Priya Sisters are promosing artists and well projected by Sree
Sanmukhananda Sangeetha sabha.

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Sheva Musician, Mosh Ben Ari, Presents New Album

Israel – Mosh Ben Ari, an Israeli songwriter, musician
and composer, has a new album, Path (Derech). This is Mosh Ben Art’s follow up
to his very successful first release Til Me (Ad Elie). Path is a window looking
at the way of life of the Israeli people.

The creation of Path took a year and a half, in between
touring Israel and abroad with popular world music group Sheva. He spent every
free moment in the recording studio, living this composition of music, day after
day, hour after hour. Mosh has created an Israeli rock album with scents of
tropical reggae, Cuban rhythms, African beats and a touch of hip hop. The CD
includes 15 pulsating songs. Every song was written and composed by Mosh and
produced by Mark Smolin. The sound on the album is greatly enhanced by a band of
8 musicians.

In support of Path, Mosh continues to tour Israel.

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Camaxe

The first album by Camaxe, Imaxes, is out now. The roots of Camaxe come from the Galician tradition, which band leader Miguel Allo has been exploring for over 20 years.

Allo’s reference points are Galician bands such as Fuxan os ventos, Milladoiro and Luar na Lubre.Miguel started studying dance and music at a very early age with Marisol Palomo (vocalist of the band Ialma), Mario Romero (Os Rosales) and Xóan Porto (Leilía).

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