Cómhrá na dTonn, a Book and CD About Irish Traditional Music

Cómhrá na dTonn by Máire Nic Dómhnaill Gairbhí
Cómhrá na dTonn by Máire Nic Dómhnaill Gairbhí

Cómhrá na dTonn by Máire Nic Dómhnaill Gairbhí (2004, ISBN 0-9545324-0-6)

Cómhrá na dTonn means the Conversation of the Waves. It is a book of traditional Irish music from the past and comes with a companion CD. It is
authored by Máire McDonnell Garvey (Máire Nic Dómhnaill Gairbhí). Together with Dan Healy and Ciarán Ó Raghallaigh, she has been collecting and playing traditional music for many years.

The name Cómhra na dTonn comes from a little deserted fishing village called Aughris, on the north Atlantic coast between Sligo and Enniscrone. Large stones similar to the Giant’s Causeway face the sea. There is an opening under the cliffs and it is said to run for about a mile. When the wild Atlantic waves roll towards the cliff’s they rush into this opening and the roar can be heard for over thirty miles away.

The tunes on the CD have much to do with the sea and nature. To accompany the CD, Máire Nic Dómhnaill Gairbhí wrote a book of the same name. The story of each of the twenty tracks is related in the book as is the music and history and many pictures.

Máire Nic Dómhnaill Gairbhí talks of the forgotten people of Ireland. “In the 19th century there were many collectors of Irish tradition music and songs. Patrick Lynch, George Petrie, W.P. Joyce, William Forde and Captain Francis O’Neill. The setting up of the Folklore Society of Ireland, the Feis Ceoil, and Conradh na Gaeilge were all instrumental in bringing Irish tradition forward in order to equal its European neighbors. Men and women in these societies did wonderful work for the future of Ireland. Eibhlín Bean Ui Coistealbha, who was teaching in the Presentation Convent, in Tuam married the local doctor, and collected songs from the Tuam, Connemara and Mayo singers, where Irish was the spoken language at that time. She published her collection under the name Amhrán Muighe Seola.”

Our Ancient music is seldom heard,” says Máire Nic Dómhnaill Gairbhí. “We have delved into the well of 400 years ago and came up with The Wild Geese, the tragic story of the destitute women ‘ag caoideadh’, as the ships set sail for France as their men folk were going to join the Irish Brigades to fight for King James II. It was 1691, after the fall of Limerick. Before that around the forming of the Confederation of Kilkenny, the Parliamentarians defeated the Confederate Catholics at Cnoc na nDos near Mallow in Co. Cork, and not a man of Allister Mc Donnell’s army under the command of Taffe was left alive. MacAllistrum’s Lament-March is a fitting tribute to the dead.”

Máire also talks about the closeness of Irish tradition to the other 5 Celtic countries and the reasons for this. “Pointing out that Thomas Connellan and his brother Lawrence both Harpers from Cloonamahon in Co. Sligo, both lived in Scotland for years and both Ireland and Scotland claimed their compositions. I say we come from the same tradition. We have Planxty Davis one of Thomas ‘s compositions.”

Further research was done in Wexford, the home of the Mummers. “It took some time to discover the two most important men of that era. Now almost forgotten except for the oldest generation. Their stories are full of excitement and challenge; Arthur Warren Darley was born in Dunlaoghaire and first lived in Silchester Road. In 1923 he purchased a house in Northumberland Road, Dublin. His family was musical both in traditional and classical. His grandfather played the uilleann pipes and fiddle, his father played fiddle and viola and Arthur played fiddle and piano. Arthur was playing the fiddle well at 8 years of age. He was a fellow in The College of Violinists, London, Professor of Leinster School of Music, Director of the municipal School of Music, and was deeply interested in Irish Music. He met P. J. McCall who spent much of his time in Wexford. Together they collected old tunes and Ossian Publications published them. It was P J McCall who composed the famous Wexford Ballads and Arthur Darley put the music to them – The Boys of Wexford, Boolavogue, Kelly The Boy from Killane.”

Arthur read a paper to the Irish Literary Society in 1897,” continues Máire. “He talked of the ancient bards and harpers, and the supremacy of their music. He had theories as to how the position of Irish music could be advanced in the future. He said, many believe he song known as Killarney is an Irish air Kathleen Mavourneen, Molly Bawn and many others are accepted as genuine. “Now is not such ignorance lamentable? ” He said Thomas Moore and Stevenson were censurable for their work. They changed the name of “The Foxes Sleep” to “When he who adores thee”, and they removed all the vestige of Irish character from the ancient melody. Arthur adjudicated at the Feis Ceoil all over
the 32 counties
.”

Then, Máire came to a very interesting item. The connection between County Mayo and counties Armagh and Down, bring a new element to her history. “The O’Neill Clan were numerous O’Neills of the Fews, Armagh. O’Neills of Mayo were descended actually from the Fews, the Leitrim O’Neills and the Meath O’Neills. The first migrations from the north in medieval times were the Mc Donnell’s and the Mc Sweeney’s who came to this part of the world as galloglasses or professional soldiers, hired by the Burkes. Migration took place from Ulster to County Mayo, from the end of the 18th century. The late Cardinal O Fiaidh did a study of this.”

When Máire moves into the 18th century, she finds an underlying seam of culture right across Mayo. “Songs and music were heard at every fireside. In remote areas people sang Carolan’s songs. Dr Douglas Hyde collected many sean-nós songs around the Mullet. Here I come to Patrick Lynch. I have the list of 189 tunes he collected in Mayo from Queen’s University, Belfast.”

The book is available from the www.comhranadtonn.com Web site.

Máire McDonnell Garvey was born in 1927 in Ballaghaderreen, County Roscommon. She moved to Dublin in 1948. She plays fiddle, researches Irish traditional music, has written three books and is a member of various historical and musical societies.

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Cheb Balowski\’s Mestizo Sound on Tour

Madrid, Spain – Cheb Balowski, a group based in the Barcelona area, which
plays hybrid music, is just about ready to take its album Potiner on
tour. This is the band´s second album release with the independent Propaganda
pel Fet label. Potiner was the excuse to take one step forward to find
its place in the European market. The group has been touring France, Italy,
Germany and Belgium.

The album, produced by Stephane Carteaux, the band´s engineer and bass player
of the band Color Humano, has helped with the artistic development of the band.
Cheb Balowski’s sound is made of a high dose of ‘groove’ and dense rhythms,
crossing over genre boundaries, including Balkan, Arabic and Mediterranean
sounds. Cheb Balowski’s Mestizo Sound on Tour

Important collaborations have included some members of the US band Kultur
Shock and some Radio Bemba members from France. Balowski is a polish word; an
adjective derived from the verb balovac, which means to have fun while dancing.

Concert dates:

16/04-Utrecht-Tivoli De Helling (Holland),

17/04 DEN BOSCH – W2 (Holland)

18/04 Ancienne Belgique-Brussels (Belgium

01/05 Davignac-Carpa (France)

27/05 Nato KarlLiebknecht Str 48- Leipzig (Germany)

Gebaude 9- Deutz-Mulheimer Str –Cologne (Germany).

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Teada: a fiddle dee dee, a fiddle da da

Téada - Give Us a Penny and Let Us Be Gone
Téada – Give Us a Penny and Let Us Be Gone
Téada – Give Us a Penny and Let Us Be Gone (Green Linnet GLCD 1228, 2004)

Oisín Mac Diarmada – Irish Fiddle Music From Sligo (Green Linnet GL 1227, 2004)

Back in my college years, I had the good fortune of gleaning the knowledge of Celtic music from a dear friend. Although she wasn’t Irish in this life, it didn’t take much to provoke a jig out of her. I knew very little about Irish culture prior to meeting this friend and I still know little about Irish music now, but I have gained an appreciation. Years later, I recorded with two Irish
fiddlers on a couple of demo projects. Since I couldn’t read or write musical notation, I was pleased to work with musicians that could improvise at the spur of the moment. It didn’t matter that those musicians weren’t of Irish blood because the Celtic spirit charms anyone willing to be swept away by its musical magic.

Many years later I find myself reviewing two recordings that marry mastership of elder musicians with the bombastic enthusiasm of youth. The young Celtic quintet, Téada could no doubt get everyone in an Irish pub dancing in the time that it would take them to tear through a jig. And forget swallowing down that pint of ale because you won’t be needing it. After a few measure of the first track, I thought, these musicians are incredible and by the third track, I was dancing around my apartment. The passion on this CD, Give Us A Penny And Let Us Be Gone is contagious and even those Joe Cools that stand in a corner with their arms across their chest won’t be able to resist the urge to at least fake a jig. Let them try.

Group founder, fiddler and vocalist Oisín Mac Diarmada plays his fiddle at full throttle, but he can also slow it down for a love song. An example of this can be heard on the song Bríd Thomáis Mhurchadha. London-born guitarist/flautist John Blake also chips in some primal energy, heard throughout the CD. Paul Finn (accordion/concertina) struts his stuff, especially on the set dance, The Ace and the Duece of Piping. Bodhran player, Tristan Rosenstock keeps those Celtic tribal beats going and banjo/bouzouki player Seàn McElwain alternates between joining the rhythm section and performing duets with the fiddler.

It’s impossible to pick favorites to discuss here since in time all the tracks could become favorites. There isn’t one bum track to dismiss and I haven’t the time to describe each tune in detail. The musicians play every tune as if it were their personal favorite, paying close attention to phrasing and the chemistry between the various instruments. While I wouldn’t say that vocals is this quintet’s strength, you will find Oisín singing on the three songs, Bríd Thomáis Mhurchadha, Thíos I dTeach an Tóraimh and Piopa Ainde Mhóir, most of the songs are lively instrumentals. The barndances, John Egan’s/Saunder’s Fort presents a wonderful musical conversation with the bodhran and the fiddle.
Unexpected twists and turns can be found on the set of reels, Humours of Lissadell/Maude Miller/The Jolly Tinker and the air, The Trip We Took over the Mountain offers a nice respite from the up tempo fare that appears on this CD.

Oisín Mac Diarmada - Irish Fiddle Music From Sligo
Oisín Mac Diarmada – Irish Fiddle Music From Sligo
Fiddler Oisín Mac Diarmada’s solo recording, Irish Fiddle Music From Sligo was released at the same time as theTéada CD. The fiddler who resembles a gangly teen, appears on the cover wearing a track suit and trainers (sneakers) and one would never guess his fiddling mastership from that photograph. The press release cites a collection of impressive kudos from those in the know and Oisín lives up to every adjective used in those glowing citations.

Oisìn appears to be having a wonderful time pulling out his favorite mix of reels, jigs, hornpipes and Leitrim style polkas. Each tune comes with descriptive notes of the tune’s origins. Again it’s difficult to single out tunes to review. The press release cites, two standouts Séamus Ennis version of The Lark in the Morning and The Morning Thrush by Séamus’s father, James Ennis.

Oisìn is joined on a few of the tracks by his bandmates and also the London-born fiddler John Carty. However, disregard the musician credits at the end of the liner notes since they do not correspond with the proper tracks. It’s the equivalent of taking the wrong map on a road trip, the listings after each track will give you the right information. However, who’s going to care about that faux pas after listening to this CD? The stunning final track, Aughamore/Hughie’s cap will leave its listeners breathless anyway.

I find both Téada‘s Give Us a Penny and Let Us Be Gone and Oisín Mac Diarmada’s solo release magical. And so what if the enchantment took me on a side trip down memory lane. It might do the same to all of its listeners. And it’s a good idea to slip into your dancing shoes before listening to Téada‘s CD otherwise you’ll wear out the soles of your feet.

Buy Give Us A Penny And Let Us Be Gone and Téada’s first CD, Téada; and Oisin Mac Diarmada’s Irish Fiddle Music From Sligo.

This review can also be found on Cranky Crow World Music.

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Emmanuel Riley – Pan Tuner and Renowned Pan Soloist

An April Spring Saturday in Brooklyn, New York, heralded the first-time visit of
Emmanuel ‘Corbeau Jack’ Riley – steel pan soloist extraordinaire and, master pan
craftsman and renowned pan tuner – to the When Steel Talks studios for an
exclusive and candid interview. In his own words, the soon-to-be Lincoln Center
honoree gave insight from his beginning love affair with music, to his present
day activities.

As an integral member of the steelband culture and movement, Jack Riley wears at
least three hats. He creates the pan instrument – hammering and shaping by hand
discarded 55-gallon steel drums then turns to the next phase – tuning the pans
and finally turning out a fully handcrafted musical instrument. Jack is a great
improvisational steelpan player and renowned soloist. Having received accolades
as a creator of and performer on the steelpan, he has the unique distinction of
one who can truly be hailed as the “Master” of the Steelpan instrument.Emmanuel ‘Corbeau’ Jack Riley told how in the 1940s, as a child of only three
years, he went into a store and was fascinated by a musical instrument. He grew
up surrounded by music and delighted in listening to his father’s comprehensive
record collection, which was to have tremendous impact in his musical style and
finesse. He found himself drawn hypnotically to the steelpan so much so that
this family moved him around to keep him away from the bands, only to find there
was one practically around the corner wherever they sent him!

In those days the instrument had just four or five notes when Jack and friends
joined their first steelband – Hell’s-A-Poppin’ Port Royale. Mere teenagers,
they soon tried to join Invaders, but were thought too young and so formed their
own band – Green Eyes, which eventually became Sombrero. Beginning as a repairer
of the pans when the police found them and punched holes through the drums in an
effort to destroy the instruments, Jack Riley eventually became more rounded and
extended his tasks to ‘tuning’ pans, bringing them back into musical shape. He
and friend Mike Schneider started tuning for other bands, the first being
Renegades. They eventually did join Invaders as teenagers, where he met Ellie
Mannette who showed him how to refine his tuning skills.

Jack remembers how an Invaders’ pan player by the name of Sterling first came up
with the concept of playing two pans together (forerunner of today’s “Second
Pans” or “Double Seconds”), and brought his two pans which he wanted to play to
Ellie, who went away and came back with a more refined concept of his idea -and
the rest is history. He himself started out as a Tenor player and recounted one
of his most memorable moments, though young and very shy, as playing a solo,
back in the day when the orchestra played seated with the pans secured about the
neck. Jack had to stand to render his solo. Later his pan instruments of choice
became the Double Seconds.

He tuned for Invaders Steelband and eventually did the same for Desperadoes (he
credits their leader the legendary Rudolph Charles aka the “Hammer” – for
teaching him even more about the art of pan tuning). He also traveled with
Desperadoes to Africa in the early 1960s. He was also part of the National
Steelband of Trinidad and Tobago and toured with them to such places as North
America, Europe and the 1967 World Expo in Canada, as both player and resident
pan tuner.

Eventually his love for tuning pans won out, especially when he surmised he had
reached his peak as a great pan soloist renowned for his dedication and
dexterity. Pan tuning is a laborious process because of the initial sinking of
the steel drums, and while he himself is accustomed to the work, he acknowledges
that it would be encouraging and less daunting for would-be pan tuning
apprentices, if there was a mechanical process for sinking pans. It would also
have to be economical and basically accomplish that first phase with outcomes
similar to those from the methods employed by Ellie Mannette with his own line
of pans.

These days, occasionally Jack can be caught playing a Six-Bass at different
events, while enjoying his work as a pan tuner, primarily for New York’s Moods
Pan Groove. He is looking forward to receiving his award as one of the two
honorees at the June 20th Tropical Sensation’s Pan Jazz concert being held at
Lincoln Center in New York.

Catch the full interview with Emmanuel Jack Riley at When Steel Talks… Click
here
http://www.panonthenet.com/masters/artist/cobo/CoboJack.htm

By CP – Basement Press Release Writer

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The Agenda for Century 21

agendaC21.com is the home of desperado rockers The Used Johnnys. Being sickened and horrified about the situation in Iraq, the group banded together around a camp fire; vowing to write and produce a protest song that kicks “the system” back in to touch.

We sang, we ranted, we scoured the Internet for our “masters’ voices” and we came
up with this! An “Apocalypse Now” mix of political out takes, dark cynicism and
a hope that this will one day all en
d.”The Used Johnnys encourage anyone to to log on to their Web site and use this material. “We will gladly supply CD audio copies to any interested parties willing to broadcast this type of satirical anti war protest material,” says Johnny. “So far we have logged over 1000 downloads since the anniversary of the start of war in Iraq.”

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Viento de Agua Unplugged: Materia Prima

Washington DC, USA – Smithsonian Folkways Recordings released recently Viento de Agua Unplugged: Materia Prima, a back-to-basics recording of Afro-Puerto Rican bomba
and plena roots repertoire songs recorded “live in studio” by one of the styles’
most prominent ensembles.

Meaning “Raw Material,” the title ‘Materia Prima‘ reflects Viento de Agua’s
approach to the album: they dispense with overdubbing and layering techniques
typical of commercial productions to present these basic, people’s genres in
tune with their original, street-corner intentions. Bomba and plena forms,
though different in their origins, both rely on intense percussion and
call-and-response vocals to express the social experience of Puerto Rico’s
African descendant population.This is the ninth recording in a series of 25 Latino recordings sponsored by the
Smithsonian Latino Music Project’s Tradiciones/Traditions program, Materia
Prima
is a special contribution to the history of recorded Afro-Puerto Rican
music.

The Afro-Puerto Rican bomba first emerged during the period of slavery in the
latter 17th century. These socially subversive songs provided the people with
needed diversion and spiritual inspiration, and served as a catalyst for slave
rebellions and uprisings against inhuman conditions. Plena, meanwhile, developed
in the beginning of the 20th century in the coastal areas of Ponce and Mayagüez.
The style’s appearance corresponds to the formation of the Puerto Rican working
class, largely concentrated in and around the huge, U.S.-owned sugar
plantations. The plena tend to be more narrative and topical in its themes, and
is sometimes identified with political protest movements or satirical
commentaries on social power.

Buy Viento de Agua Unplugged
.

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Bush Could Invade Cuba to Get Reelected, Silvio Rodriguez States

(Prensa Latina – Cumbancha) Havana, Cuba –  If he found himself in a tight spot for his reelection, US
President George W. Bush could invade Cuba to try to remain in power, Cuban
folk singer Silvio Rodriguez reflected.  "I think it is possible that Bush
et al, if they see themselves losing elections, want to use an aggression to
Cuba to gain more votes
," Rodriguez replied in an internet forum through
Cuban cultural magazine La Jiribilla website.  In an A&Q session with more
than 130 fans, the author of emblematic Cuban New Trova songs stated that US
President, as usual, would love to be seen as a Hollywood hero. On what
would happen in Cuba when President Fidel Castro dies, the musician thinks
an immediate recovery from such a loss is vital, since getting stuck in
laments could do away with the work of the revolution leader.  The also
member of the Cuban Parliament stated he has defended the Cuban government
because "I think it embodies the best of our essences as a nation and as
history
."  Incisive in many of his lyrics, Rodriguez admits he sometimes
restrains his criticism to avoid manipulation.  "Although I think committed
self-criticism is indispensable to move forward, I don’t like the idea of
transcending as a vicious flaw-hunter
," he concluded.

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Good Times, the Argentine Sounds of Luis Jahn

Chicago,USA – Buenos Tiempos, Argentine singer Luis Jahn’s new CD on
Del Sur Music, is a follow up to the 2003 release
of Compromiso. A CD release party is slated to take place at the Old Town
School of Folk Music on Wednesday, April 14 at 8:30 pm.

Written, arranged and produced by singer-guitarist Luis Jahn, Buenos
Tiempos
remains faithful to his signature heartfelt lyrics and melodic
arrangements. The Latin grooves on Buenos Tiempos lay the tracks for a
musical journey that is both familiar and innovative. From the bohemian jazz of
"Cafe en "El Ultimo Beso" to the wordplay on the experimental "Tinta versus
Tinto" featuring Chicago poet Lito Barraza, Jahn is joined by Mexican trovador
Alfonso Maya on "Tlatelolco", an ode to those killed by the government in 1968.
Instruments like the charango and the pezuna give songs like "La Mala Suerte"
and "El Chambeador" an Andean flavor. "Buenos Tiempo (Good Times) stems from the idea that now more than
ever it’s a good time to find what’s been lost, finish what’s been started and
to dream the impossible. Music has always been my path to achieve this
,"
explains Jahn. "On this record both musically and lyrically I explored much
more than I have in the past
."

Living in Chicago since 1989, Jahn has performed at different venues, including
the Chicago World Music Festival 2003, Hothouse, Old Town School of Folk Music,
and La Décima Musa. He has also played in several universities such as the
University of Illinois at Chicago, University of Wisconsin-Madison, Triton
College and Lake Forest College. He has played in South America for various
fundraisers and events and was invited to share the stage in Buenos Aires with
Leon Gieco and Mercedes Sosa.

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CDstands.com Launches Its New Line Of Wooden CD Counter Displays.

Hamilton Square, New Jersey, USA – CDstands.com now offers a new line of hand-crafted, wooden counter displays designed to truly showcase merchandise in a retail store. The displays are created from red oak finished with a beautiful clear gloss to give a rich look with a “down-to-earth” feel. Inside each display, CDs cleverly sit on metal-wired tiers that provide a strong, sturdy support.SECTION 2


CDstands.com now offers a new line of hand-crafted, wooden counter displays designed to truly showcase merchandise in a retail store. The displays are created from red oak finished with a beautiful clear gloss to give a rich look with a “down-to-earth” feel. Inside each display, CDs cleverly sit on metal-wired tiers that provide a strong, sturdy support.

Merchandise best suited for the displays include CDs, software, and DVDs. The displays are also a perfect fit for small books and certain styles of brochures or pamphlets.



The new product line has eight models to chose from:

2 tiered (1×2) wood display holds 10 CDs – 8 DVDs – 1 through 2 titles

3 tiered (1×3) wood display holds 15 CDs – 12 DVDs – 1 through 3 titles

4 tiered (1×4) wood display holds 20 CDs – 16 DVDs – 1 through 4 titles

4 tiered (2×2) wood display holds 20 CDs – 16 DVDs – 1 through 4 titles

5 tiered (1×5) wood display holds 25 CDs – 20 DVDs – 1 through 5 titles

6 tiered (2×3) wood display holds 30 CDs – 24 DVDs – 1 through 6 titles

8 tiered (2×4) wood display holds 40 CDs – 32 DVDs – 1 through 8 titles

10 tiered (2×5) wood display holds 50 CDs – 40 DVDs – 1 through 10 titles

— Book quantities depend on the size of the book.

Pricing is made available for single unit sales and discounted for larger orders. Displays are extremely “price-friendly” with the 2 tiered display starting at $14.95 and the 10 tiered starting at $39.95. Discounts for larger orders begin at 5 units.



Scott Clark, President of CDstands.com, stated: “With the fierce competition for counter space, we wanted to create an affordable display that would out-shine other counter displays. The design and feel of our wood displays simply illuminate the product they are showcasing. Customers are attracted to the earthy feel of the display. This leads to increased product browsing and buying “.



For product suppliers, a wood display provides a huge incentive for stores to stock products over lesser displayed item. For retailers looking to increase sales of current merchandise, a wood display can be the answer to catching a customer’s attention.



In March 2003, CDstands.com began supplying it own line of corrugated displays to the independent music community and quickly grew into being a leading corrugated supplier for large companies and chain stores.



Clark mentioned: “Corrugated displays will always be the staple for large retailers; however, when you get into the markets consisting of independent artists, gift stores, tourist shops, or other “ma & pa” retail outlets, a wood display is a much better fit with that type of shopping environment”.



CDstands.com is based in Hamilton Square, New Jersey. For more information on CDstands.com and its products, please visit http://www.cdstands.com

=====================

CDstands.com

(609) 689-1711

press@cdstands.com

CDstands.com

=====================

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Oliver Mtukudzi on Tour

Oliver Mtukudzi
Oliver Mtukudzi
New York, USA – Making his fifth North American tour since his debut on the very last Africa Fête tour in 1999, Oliver Mtukudzi will be on an 11-city tour from April 12th through the 26th with his longtime band for 25 years, The Black Spirits. In 2003,Tuku sold out his 30-concert tour. With performances on Late Night with David Letterman and Austin City Limits (with Bonnie Raitt) and 2 national NPR features, Oliver’s profile was raised considerably setting the stage for a very powerful return tour. A legendary figure in contemporary African music, Oliver’s albums are consistent
bestsellers in his native Zimbabwe, and his previous three acclaimed releases on
Putumayo have helped catapult him to international recognition as one of the
African continent’s most important artists. In the last two years Oliver
Mtukudzi has won “Best Male Artist” at the Kora Awards (Africa’s version of the
Grammies).

Listen to samples:
Ndima Ndapedza” by
Oliver Mtukudzi

and “Ngoromera” by Oliver
Mtukudzi.

Tour Dates:
Dates subject to change. Please verify with venue.

 

Date: City & State: Venue:

 

4/13/04 Vienna, VA www.wolf-trap.org
4/14/04 Vienna, VA www.wolf-trap.org
4/15/04 Chatham County, NC
Shakori Hills Grass Roots Festival
4/16/04 Princeton, NJ
McCarter Theatre
4/17/04 Lebanon, NH
Lebanon Opera House
4/18/04 Somerville, MA
Somerville Theater
4/19/04 South Hadley, MA
Mount Holyoake College
4/20/04 Bar Harbor, ME
College of the Atlantic
4/22/04 New York, NY
SOBs (Two Shows)
4/23/04 Minneapolis, MN
Cedar Cultural Center
4/24/04 Madison, WI
Wisconsin Union
4/25/04 Chicago, IL
HotHouse Cultural Center

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Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion