(Prensa Latina – Cumbancha) Havana, Cuba – Producciones Abdala will celebrate on May 25 its five years of work promoting the wide spectrum of Cuban sounds. Producciones Abdala’s Unicornio label director Eduardo Ramos stated that they have distributed over a hundred productions from folklore to son, bolero, jazz, children’s, traditional and chamber music, as well as other contemporary trends. In the recently concluded Cubadisco 2003, they obtained 115 nominations and 33 awards including the Grand Prize for the CD “Canciones del buen amor” (Songs of Good Love) by Jose Maria Vitier. Among its latest CDs are “I wish you have good luck,” by Paulo F.G., “Troubadour” by Amaury Pérez, “Virtuoso Flute” by Niurka Gonzalez, “It Will Always be Love,” by the Evocacion duet and “Si de Tanto Soñarte,” by Lázaro Garcia.
Running late on this mild spring evening, I angle into the nearest parking spot and run up the steps of an old, gutted, church, transformed into community center. Before even opening the door, I hear a well rosined bow gripping the strings of a fiddle. Chagrinned to have missed the first notes of his opening tune, I push on the wooden door to see Bruce Molsky sitting twenty feet away, on the stage. Molsky’s warm, smiling eyes meet mine and with a friendly nod of his head, he welcomes me into the hall. Everyone, I think, should be so lucky as to receive a personal greeting from this magnificent fiddling genius. I scan the room filled with roughly 60 people and slip into a folding chair next to the sound controls. Besides the two lamps shining on stage, the audio-system’s green desk light provides the only other lamp in the room. I’m at the back of the hall which was once the church’s sanctuary, yet Walking In The Parlor pierces the darkness and rings true in my ears. Molsky couples this tune with Rebel’s Raid. Though not a common technique among old time musicians, Molsky likes to build energy and add interest by pairing tunes together. One number ends and the next begins without any break or interruption.
Continuing with his fiddle, Molsky sings Peg and Awl. His voice grips the air, sounding as rosined as his bow strings. I’m suddenly aware of the many similarities between Molsky’s voice and his fiddle. They resonate amazingly at the same pitch. If his fiddle had lips, it would sing in a voice exactly like Bruce Molsky’s. I close my eyes and let the sonorous duet wash over me.
Molsky then strums his guitar and shakes his head. “It was in tune when I put it on the plane” he jokes. He fingerpicks Knoxville Blues. A tiny baby squirms and babbles among the show attendees, making it easy for me to complete the picture in my mind that I’m not really in the year 2003, in a building on the campus of the University of Madison, Wisconsin. But rather, I’m back in 1902, sitting on a tuft of grass in a Tennessee farm yard with the rest of my family, listening to Uncle Bruce entertain us. It’s not all that far fetched an idea. Old time music has it’s roots in the Appalachian mountains, dating back much father than the early 1900s.
Molsky pulls me back to the present with some banter before playing the tune, Fare The Well. “I’m not from the South. I did grow up in the South Bronx though…you gotta problem with that?” he rasps, smiling broadly. “No, Sir!” calls out a voice from the audience. We all chuckle. I’m not overly impressed with the acoustics tonight. Molsky sounds fine on his instruments and singing, but a touch too soft when talking. I determine to move up to the front during intermission.
The guitar is swapped for the banjo and we are treated to Rove Riley Rove, paired up with Uncle Norm’s. After another banjo number, we learn some finer points about Canada. Before playing a couple of fiddle tunes from John Arcan, The Grey Owl and Victor’s #39, Molsky tells us about a marvelous fiddle festival, Fiddles of the World, held up in Halifax, Nova Scotia. It was there, four years ago, that Molsky heard about First Nations people. This is the term that Canadians use to refer to the people who lived on that land before the Europeans crossed over the Atlantic. During these two tunes we see Molsky’s animated face. His expressions are so varied, it’s as if he’s deep in conversation with his fiddle.
Lady Hamilton is played and then we are enjoined to sing along with Sail Away Ladies. “If I’m singing and you feel like singing, please join in” he says. While I love to sing, and I do sing along when thusly asked, in general, I’d rather listen. Molsky’s voice takes on such a personal tone, it feels like he is singing just for me. And I’d think everyone in the audience could say the same thing. Again the rich sound of both voice box and fiddle box fill our ears and every crevice of the room. I drink in the sound of the soprano fiddle and the baritone singer, their voices full and luxurious, made for one another. We hear Jeff Sturgeon and Sally’s Little Favorite. Molsky looks out at the audience and smiles an impish grin. As he fiddles these last few songs, his fingers are moving so fast, they fly like a typist on the keyboard typing eighty words per minute.
Cotton Eyed Joe holds several agreeable fiddle tricks. The tune is a lively one and includes Molsky sliding his finger down the peg board as he draws his bow across the string. We also discover that even fiddlers can rap. Old time fiddle master, Tommy Jarrell, taught Molsky the technique of rapping the wooden part of the bow against the fiddle. This tune moves so much, I notice the heel of Molsky’s foot banging from side to side rather than a more sedate toe tapping as he keeps the beat.
After a short intermission, during which we are brought up to-date about local folk music activities by the show’s presenters, Madfolk, we settle back down for Mike in the Wilderness which includes lots of colorful left handed plucking and Black Jack Grove where the bow whips around on the strings so much I am reminded of a flag being pummeled by the wind. I note that Molsky holds his bow with the first three fingers of his right hand. “You could cut off these two (ring finger and pinkie) and it wouldn’t make any difference” he says.
Of Molsky’s many varied musical talents, one of them is not as a choir director. He attempts to get us to sing along in this call and response song, Let’s Go to Hunting. The audience does not respond as hoped. Imagine Dutch painter, Jan Vermeer, handing out paint brushes to his patrons and entreating them to “add another pearl.” It’s just not going to happen. Likewise, Bruce, most of us want to hear you sing, not the off-key fellow sitting next to us. Conversely, the next song, Poor Cowboy, works tonight as a sing-a-long. Maybe because Molsky teaches us how to sing it and it’s a simpler song to sing for those of us who are musically challenged.
Molsky calls himself an African music freak. The next number was influenced by the Zimbabwe National Choir. Molsky heard a recording from the 1967 LP Africa in Revolutionary Music (LSM Records) and wrote this song. It’s still untitled, but Molsky is compelled to share it with us. I’m glad he does. It’s unlike most of his other music and resultantly adds another dimension to his repertoire. “Music evokes a different response every time you play it” he states as an excuse for not being able to find the right name for the song. Indeed, if the song’s emotional message keeps changing with every rendition, naming it would, in a sense, nail it down. That might not be a good thing.
During Roustabout, played on the banjo, Molsky, true to his word, spends time tuning the instrument while simultaneously playing the song. “Banjo players spend half their time tuning their banjo and the other half playing out of tune” he says.
We hear Give The Fiddler A Dram and Three Forks of Cheat, both fiddle tunes. When Molsky sings I Truly Understand and Field Holler, I find I need to look carefully at his feet. His voice sounds so rooted and plangent that I wouldn’t be surprised to see that his feet have become cemented to the floor, he is that solid sounding. His pitch is remarkable. He then warns us that he has only one more song before the evening is over.
Pickin’ The Devil’s Eye is one of my absolute favorites. The way that Bruce plays this makes me think there is more than one fiddler on stage. After this tune and leaving no doubt as to his virtuosity, Molsky exits. We respond in kind with a rousing round of clapping, not stopping until Molsky re-appears. The encore is of the same caliber. We all go home with joy in our hearts.
In 2003, Rounder Records has reissued The Klezmatics’ seminal recordings, Shvaygn=Toyt (Silence=Death) originally released on Piranha Records in 1988 and Rhythm & Jews released on Piranha Records, 1991. Both CD’s were recorded in Germany and the songs on the CDs are sung in Yiddish and German.
Silence=Death features the Les Miserables Brass Band along with The Klezmatics lineup that includes, Kurt Bjorling (clarinet), David Licht (drums), founding member and composer, Frank London (trumpet), Paul Morrissett (bass), Lorin Sklamberg (vocals, accordion and piano) and celebrated klezmer fiddler Alicia Svigals (who later embarked on a solo career).
The recording marries Russian waltzes with swing and experimental jazz, folk and klezmer music resulting in an eclectic musical stew. First Waltz features a circus-like atmosphere filled with oompah pahs, swirling clarinet, sparkling horns and Lorin Sklamberg’s emotive vocals. Glass of Wine would be equally at home on a Tom Waits’ recording and a Jewish wedding party. Other tracks on the CD range from moody waltzes, Balkan gypsy and experimental jazz music and it is only the talent of the band members that hold this melange together.
A similar lineup of musicians appears on the follow up Rhythm & Jews with clarinetist David Krakauer replacing Kurt Bjorling and Krakauer’s presence can be felt throughout the recording.
On first listen, Rhythm and Jews appears less eclectic than Silence=Death. There are an equal amount of romps as there are laments on the CD, but the group favors orchestral arrangements over jazzy numbers. Fun Tashlikh focuses on Krakauer’s impassioned clarinet performance that is draped over North African percussion. NY Psycho Freyleklis combines Manhattan mayhem with a Balkan gypsy wedding party and features Alan Bern on accordion. Araber Tants features Alicia Svigal’s sonic violin and Tsiveles Bulgar showcases the band members’ musical prowess.
While many purists will argue that The Klezmatics do not record and perform authentic Klezmer music, the group has brought klezmer music to a larger audience. And perhaps they have taken klezmer music to the next level. For some folks, these two recordings will be a pleasant trip back in time.
The Black Sidis of Gujarat are a tribal Sufi community of East African origin which arrived to India eight centuries ago and made Gujarat their home. They carried with them their exceptionally rich musical tradition and kept it alive and flourishing through the generations, unknown to the rest of the world. Their history is rooted in the slave trade of the 13th century and beyond, when Arab and later European slave traders systematically captured thousands of African men, women and children and took them across the seas for sale to the highest bidders. Many Sidi arrived in India as slaves to the Maharajas and Nawabs of the day, whilst others came as merchants, navigators, sailors and slave kings, settling in Gujarat. Their Nubian features attracted the Arab slave traders because of their huge demand in many Indian households as trusted servants and status symbols. That remains true in the Parsi community and several Sidi royal family lineages also continue to thrive to this day in
A traditional occupation of African-Indian Sufis in Gujarat has been to perform sacred music and dance as wandering faqirs, singing songs to their black Sufi saint, Bava Gor. Sidi men and women perform sacred music and dance during rituals in the shrines to Bava Gor, and have lived on accepting alms for touring these devotional genres from villages to shrines for centuries. The Sidis are the most musically inclined, who recognise music as a tool for becoming closer to God. Many Sidis also perform as muezzins as they feel closely related to Hazrat Bilal, a black African man who was the first person chosen by Prophet Mohammed to recite adhan (call to prayer). Over time, the Sidis’ native African music styles, melodic and rhythmic structures, lyrics and musical instruments mingled with local influences in Gujarat to form this unique and symbolic representation of African-Indian ness.
The Sidi speak word perfect Hindi and Gujarati, but have remained an oppressed class in India. Because they are black, from Africa, and Muslim, this has kept them at a lower socio-economic and educational level, but recently their situation is finally beginning to change for the better.
Courtesy of Yusuf Mahmoud, Busara Promotions
New York, USA – New York City’s premiere world music club, Sounds of Brazil (SOBs),in association with Africamondo, will be presenting the 1st Annual Africa Mondo Festival on Sunday, May 25. There will be live performances by Dominic Kanza and The African Rhythm Machine, Diblo Dibala, Kaïssa Doumbè and The Drums ofAfrica. Manning the wheels of steel will be Mister P and the event will be hosted by radio personality Kola Nut fromWLIB.
S.O.B.’s has remained in the forefront of musical diplomacy by presenting the most accomplished African musicians from Ali Farka Touré to Zap Mama, to music lovers worldwide. Now, with increased interest in the sounds of Africa, S.O.B.’s has created the Africa Mondo Festival that will once a year present the world’s greatest African musicians.
To initiate the Festival The Drums of Africa will perform a percussive prayer. Immediately following will be a moment of silence in honor of the world’s loss of one the most significant African musicians of the late twentieth century, Baaba Olatunji, to whom this first Festival is being dedicated with a portion of the proceeds going to the Baaba Olatunji Foundation.
Taking the stage first will be the spicy and joyous music of Dominic Kanza and The African Rhythm machine. Into his stew of Congolese soukous, Kanza throws spices from all of his international musical experiences including collaborations with Papa Wemba, José Feliciano, Paul Simon and Harry Belafonte.
Named best female vocalist in the 2001 African Music Awards, Kaïssa Doumbè has been thrilling audiences with her unique blend of R&B, jazz, makossa, African and Brazilian fusion. She sings in her native Cameroonian language and is accompanied by an international group of musicians with songs against war and injustice. Her electrifying performance is a testament to the power of music that
transcends cultural differences.
As if the evening wasn’t already magical, guitar wizard Diblo Dibala takes the stage next. Dibala is a master of the electric guitar, to such an extent that he can add intriguing new elements to a song without sounding cliché. He can take a song that begins as a romantic ballad, and slowly transform and rework it with his guitar playing into a hot dance track. Within each song, Dibala’s solo work
leads the music to higher and higher heights of listening pleasure.
For more information go to S.O.B.’s
Berlin, Germany – The deadline for showcase and conference applications for WOMEX 2003 (Sevilla, Spain) is May 30.
Those interested in taking part in a WOMEX showcase, or submitting a conference proposal, can go to:
All proposal forms can be found at WOMEX.
The Worldwide Music Expo WOMEX is a great networking point exclusively dedicated to world, roots, folk, ethnic, traditional and local music of all kinds.
Address: WOMEX c/o Piranha Kultur, Carmerstr.11, 10623 Berlin, Germany. Phone: +49 (30) 318 614 0, Fax +49 (30) 318 614 10. E-mail: email@example.com
(Prensa Latina – Cumbancha) Havana, Cuba – In the midst of ambitious projects, Adalberto Alvarez Zayas turns 55 year-old. He began his 30 years of artistic life and 25 years of recording with the Son 14 orchestra and Frank Fernandez as producer of “A Bayamo en Coche” (To Bayamo by Carriage), one of the most renovating works of the Cuban musical industry during the last five decades. Putting the finishing touches on his next CD for Bis Music recording company, Adalberto Alvarez noted his efforts to rescue and popularize partner dance. “I have a lot of faith in a program I will launch with television director Victor Torres this summer.”
Adalberto rejoiced being named a Prodigal Son of Camaguey, honoring his 55th birthday and 30-year artistic career. There were over 15,000 people at the gala, including the presence of other musicians from the territory where he began his professional life in 1973.
The Camaguey Hotel dedicated a room to him designed similarly to the atmosphere of his house. Alvarez wanted to be a pilot and ended up studying bassoon at the National Art School. With the Son 14 orchestra in 1978, Adalberto returned to the best contributions of Arsenio Rodriguez to the format known as ensemble and enriched it creatively to preserve the dancing flavor and melodic beauty of the “traditional,” rejuvenated by the contemporaneous sound. His loyalty to this style led to his current nickname el “Caballero del Son” (The Gentleman of Son).
London, England – As part of a national tour, Serious is presenting five of the world’s leading exponents of the plucked string at the Queen Elizabeth Hall on Wednesday 4 June. It features a series of dazzling solos and unique collaborations, using minimal amplification to draw out the subtle and beautiful nature of the music.
The varied line-up includes one of the finest finger-style acoustic guitarists, Martin Simpson; Scottish guitarist Tony McManus, who brings the traditional jigs and reels of the Celtic diaspora to life; maestro of the kora, Senegalese Seckou Keita; Welsh harpist Llio Rhydderch; and Minna Raskinen who plays the haunting traditional Finnish kantele.
Mariza is one of the rising stars of fado. She has one of the finest voices in the fado scene. Mariza brings together tradition and innovation, with her new arrangements of traditional fados and her charismatic image.
This interview was made exclusively for World Music Central at WOMEX, Essen (Germany), in October 2002.
You grew up in a part of Lisbon called Moreria. How did that affect the kind of music that you were introduced to?
A lot. I suppose that if I hadn’t grown up there today I would not be a fadista. I would be a singer, but not a fadista.
Is that because of your family background or the area where you grew up?
Because of the area. We are talking about one of the oldest and traditional neighborhoods in Lisbon where musicologists say that in the 19th century fado was born there. So when you walk the streets of Moreria, every corner, every street, every house, even the way of living of the people, is a fadista life. You can always listen to someone singing when they are cleaning,
singing fado. Even the woman who sells fish is singing. It’s more than a tradition; it’s a way of life.
Are your parents fado fans?
Yes, they are fado fans, not performers. They sing very badly. But they had a little restaurant in Moreria and we used to have fado afternoons on Sundays. I was accustomed to listening to fado and listening to the best traditional fadistas. It was a really small place, a very traditional place, but with very nice ambience. In the 1980s you could find people from the theater, culture, journalists, the traditional fadistas, everybody. And I started singing fado there at the age of 5. At the time I didn’t know how to read so my father started making cartoons. He listened to the poems and started making cartoons for me to learn. And I started learning the poems and singing
fados. In fado we don’t have lyrics, we have poems.
Growing up in Moreria was one of the best things to me because I know since I was a child I wanted to be a singer, but being a fadista is completely different. And growing up there made me a fadista. Normally, at my parents’ home, we used to have lunch and dinner, listening to fado and Portuguese music. So it’s a kind of traditional thing.
Why do you think there is so much interest in fado, not just in Portugal, but also outside Portugal?
I feel that although I really don’t have an explanation for that. I suppose it has to do with a kind of curiosity in the world to learn about all kinds of cultures.
Why do you think most of the best-known fadistas now are women?
I’m not sure if I’m correct telling you this, but it’s a feeling I have. When you look at men singing, sometimes for them it’s hard to have a connection with feelings. Socially speaking, it’s not normal for people to see men trying to show their feelings. With a woman it’s easier, you feel more connected. You have a connection. You have a relationship. I have seen a
woman crying, talking about the feelings, talking about what she’s feeling inside, why she has that grief, why she has that sorrow, why she lost that love, but for men it’s not normal to talk about those things.
Considering that you grew up listening to traditional fado, what are you trying to do with fado? Are you trying to create something new?
I show what I feel and what steps I think fado could give to have an evolution. I think everything has an evolution. And when we talk about a culture that is 240 or 270 years old, to get here that culture had to grow along the centuries so we can’t stop now. Because we talk now about the old generations of fado, every generation makes something new with fado that takes it one step ahead. What I’m trying to do is the same. I’m trying to respect the traditional poems, the basis, but at the same time showing what I feel for the new steps in this culture.
And because of this are you having any problems with the purists?
No, actually they respect me a lot in Portugal. The first thing was, “who is this crazy woman?” Because I have a very different kind of look. It’s not traditional. When you are talking about a traditional fadista you are expecting a person completely dressed in black, with black hair and a pony tail and I don’t have anything like that. So at my first appearance people asked “who is this crazy woman?” Then the second time they listened to my voice and my singing, so they understood I’m singing fado and I’m very traditional when I sing it, so now I have the respect of the most purists, the most traditional, the oldest fadistas and, one thing that makes me very
happy, I have the respect of young people too, so I’m very happy with that.
Is your image something very conscious? Do you look the way you look because you like it or are you trying to shock the public?
It’s because I like it. Dying the hair blond was something I did for fun. I appeared on TV with it in Portugal and they started associating the hair with me, so it was nothing meant to shock. It’s not something I did to have a certain image or to have a new look. It’s me. And when we talk about my dresses and the colors I use it’s because I like it. I don’t mind when they say
“she has too many colors, and the hair”. Sometimes some old people in Portugal, in the street, come and say “I love your voice, but your hair,” and I ask “when you close your eyes do you like it?” “I love it,” they say, so I tell them “close your eyes because I love to be like this.”
You recorded your first album when you were 26. Why do you think it took so long for people to discover your talent?
I stopped singing fado when I was 15 or 16 years old. Because I used to sing in social clubs in the neighborhood, but I stopped doing it because my friends at school started telling me “it’s that old thing and for old people”, so I stopped.
So it was not cool.
No, it was not cool. “Are you not ashamed of singing fado?” and they started to show me other kinds of music. When I was 15 or 16, if you asked me about some famous rock bands, I had no idea what they were talking about because my universe was only fado, because at my home we listened to fado, and my friends started showing me other kinds of music. Other styles.
And I started doing research about blues, jazz, Gospel. I knew about Frank Sinatra and Barbara Streisand, but fado was really my universe. And I stopped singing fado when I had bands. I used to play in casinos and clubs, but never thought about making records. I just sang because I liked it and loved to do it, but I never thought about making a record. I never thought about having an
I used to sing fado for my family and friends and, later, at shows in clubs for friends, just for fun. One of those evenings, I was at a club and at the end of the evening there was a man that had a fado house in Lisbon. He enjoyed my show and gave me an invitation to go to his house to sing one day a week. And I said why not, I have nothing to do. OK. But really for fun. And then I started singing there and I felt like I didn’t want to sing any more blues, jazz or soul, I wanted to sing this so I started singing every day and then Jorge Fernando, the producer of this record, asked me “why don’t make a record?” And I was thinking, this man is crazy, he wants to make a record with me? Why? Who’s going to buy this? The family? And I said to him: ““OK, let’s do it. It’s something for us.” And he said, “yes it’s something for us.” We started working on the record. I started doing research about the poems I wanted to sing and then everything got started.
How did the recording happen? Did you use musicians you knew or did the producer bring his own musicians?
Jorge is well connected with fado so we brought the musicians.
Were these professional musicians that had been around for a long time?
Yes. At that time I was a professional too because I was living from making music. Not from fado, but singing other kinds of music. I knew some of the musicians because I worked with them in some clubs, because some of them are not only fado musicians, they are musicians. And actually I know 50% of the musicians in Lisbon, because music in Lisbon is not a big market if we are talking about clubs. It’s not very big so I know them and they know me very well. So we started working and it was really good to work with those people and to work with Custodio Castelo, the Portuguese guitar player. It was really good because I learned a lot and they are very nice musicians, good people.
How did it feel recording in Portugal and having a Dutch label release the album?
It’s very strange because at that time my feeling was very patriotic, like fado is from Portugal. I remember that they told me it’s a very good label. It’s small and it’s going to be good for you. But I was like, it’s not Portuguese. I want a Portuguese company. If I want to release something I want it to be Portuguese, but I was not thinking about having a big label. And they wanted to release the album so for me it was something crazy because the thing I wanted to do was to have an album and to sell it at the fado houses and give copies to some friends. I hadn’t planned to do this and they started talking to me and they said they are small label, with few artists. The problem
was that I didn’t want anything big. I don’t need that, but everything changed.
How do you normally connect with audiences that are not fado audiences? For example, a European audience that is not in a cozy, fado house. Do you think they understand what you are singing to them? Do you explain things or is the music enough?
I try to explain it of course. I know I’m singing in a different language, but there are some words people know like saudade, like morte, you know. I have some words that can make a connection with them. One thing I really enjoy is to feel you are making a trip with me when I’m singing. It’s like I give you something and you give something to me. It’s like give and receive. And when I do my shows I try to explain the meaning of the poems and I try to give that energy to everybody that is sitting there because when I perform it’s not like I’m in a big theater, or I’m singing for 10,000 people. My audience, they are my friends because they come to see me. It’s like you being in my sitting room and we are in a very intimate place and I’m singing for you. It’s a kind of feeling I have.
Do you have a regular band that you tour with?
Yes. I have the musicians who work with me. We have been working together for about 2 years, but they’ve been my friends for a long time. One of them is a classical guitar player, my friend for 20 years, from the same neighborhood. I used to sing and he was learning how to play the
acoustic guitar. When all this started to happen, he was the person to call so we are more like a family. I like to think like that because I need them, like they need me.
How’s the song writing process? Do you like to take poems that you are already familiar with and do you also write your own lyrics?
No, I don’t feel like I could compose. It’s difficult.
But is it something you might consider?
Yes, why not? But I need to have experience with life to reveal more true feelings. That’s why I always choose poems that are not talking about deep lost loves. My poems talk about the city. Of course we talk about love, but not in a big way. We talk very softly and that’s how I normally choose. I fall in love with the music and then choose a poem.
So the music comes first?
For me, yes.
How has Amalia Rodrigues affected your music?
A lot. It’s impossible and irresistible not to sing Amalia when you are a fadista because she had a wonderful voice. She sang the best poems. She had people who wrote poems just for her. She had the best composers making fados for her so it’s irresistible not to sing and of course we have about 230-300 traditional fados. When we talk about Amalia fados we are talking about fados musicados. And it’s the most modern way to sing fado because she brought modernity to fado. So what I like to do is to mix traditional fado with fados musicados, and original fados and that’s why the record is like that.
When are you planning to record a new album?
We’re going to record the new album, in January of 2003. I can’t tell you exactly what we are going to do. We have some ideas, but not something fixed yet.
Are there going to be any big changes from the previous one?
I think it’s going to be a step forward. Of course with every record we try to take a step forward. We’re going to try to make it. The producer is going to be a different person, Carlos Maria Trindade, from Madredeus, and we have a lot of poems from the biggest poet in Portugal. We have poems and music from the most important composers in Portugal so I think we’re going to have a very good record.
San Francisco, USA – The new volume of the Rough guide collection, released this month, centers on Puerto Rico. The Caribbean island has become home to some of the most dynamic rhythms in the world.
The Rough Guide To Salsa De Puerto Rico traces the genre’s development both in Puerto Rico and the Nuyorican communities of the United States.
This collection showcases its most innovative musicians, featuring the music of some of the biggest salsa legends, and also follows how the island’s folkloric styles (such as bomba and plena) were instrumental in the development of salsa.