World music and folk event Musicport Festival has released Tier 3 and day tickets together with new additions to the line-up: comedian John Hegley, Manic Chord Theatre, Jo Freya, Annie Whitehead & Jennifer Maidman and Talaro (Gambia /Czech Republic). The festival will take place at Whitby Pavilion in Whitby, UK, October 18th-20th, 2019 (Plus On Tour to villages October 21st -25th).
Orchestra les Mangalepa; Catrin Finch and Sekou Keita; Lemn Sissay; Banco de Gaia; Amira Medunjanin; Reem Kelani; Orchestra that Fell to Earth; Sarah Jane Morris; Jim Moray Trio; Varldens Band; The Lake Poets; Riccardo Tesi; Martin Stephenson; John Hegley; Anne Niepold; Reg Meuross/Twelve Silk Handkerchiefs; The Hut People; Katie Spencer; Jo Freya Annie Whitehead & Jennifer Maidman; Jay Johnson.
Sunday full day
Aziza Brahim; Peatbog Faeries; Moussu T et Lei Jovents; Belinda 0’Hooley; Holy Moly and the Crackers; The Little Unsaid; Me and My Friends; Rafiki Jazz; Commoners Choir; Harry Gallagher; Rebecca Riley; Joe Solo; Joshua Burnell; Don’t Feed the Peacocks; Rosie Brown; Hannah Sanders & Ben Savage: The Far Side.
Plans are being made to involve 20 schools in workshops and events in the lead up to the event and the village tour is beginning to take shape with 8 concerts in villages surrounding Whitby with acts including Andy Irvine (Eire), Poor Nameless Boy (Canada) and Moussu T E Lei Jovents (France) performing in small venues on a pay what you feel basis for local residents.
Amira Medunjanin was born on April 23, 1972 in Sarajevo, Bosnia and Herzegovina. At the time, traditional music in the former Yugoslavia was popular, and sevdah fascinated her. Amira’s attraction towards the oral tradition of Bosnia and Herzegovina and wider Balkan region led her to dedicate herself to creating a special voice within sevdah to explore its meaningful capacity to the full. She had spent years searching in vain for to find people who shared her ideas about sevdah, and for the best way to present it.
After guesting on Mostar Sevdah Reunion’s album A Secret Gate in 2003, Amira recorded her debut album, Rosa, (Snail Records, 2005), which received rave reviews in the UK and across Europe.
In April 2009, Amira released the Live album, a recording of a concert held at the Jazz Fest Sarajevo in 2008. At the same time, in April 2009, Amira released the studio album titled Zumra. The album represents the groundbreaking approach to the musical tradition of Bosnia and Herzegovina, Serbia and Macedonia by mixing contemporary accordion and arrangements to the traditional melody, lyrics and vocal styling.
The album Amulette came out in 2011. Pianist and arranger Bojan Z reinterpreted traditional in new ways.
Silk and Stone was released by Aquarius Records and World Village in May 2014.
The well-received album Damar was released by Aquarius Records and World Village in November 2016.
In 2018, Amira released Ascending. It is an anthology featuring new versions of previously recorded songs plus new and old songs recorded for the first time. Ascending is a collaboration with Norway’s famed chamber orchestra TrondheimSolistene.
A Secret Gate, with Mostar Sevdah Reunion (Snail Records, 2003) Rosa (Snail Records, 2005) Amira Live (2009) Zumra (World Village, 2010) Amulette (World Village, 2011) Silk and Stone (Aquarius Records/World Village, 2014) Damar (Aquarius Records/World Village, 2016) Ascending (Town Hill Colony, 2018)
Medunjanin & TrondheimSolistene – Ascending (Town Hill Colony, 2018)
Bosnian vocalist Amira Medunjanin is one of the finest performers of sevdah, a passionate musical genre from the Balkans. On Ascending, Amira takes a detour, recreating some of her previously recorded songs with a new perspective, collaborating with Norwegian classical musicians.
“Just like fifteen years ago, I still find important that our traditional music should reach, as many people as possible, so they are able to feel and understand what a beautiful soul we have” mentioned Amira “and all this time I have been intensively sharing my life with music and I felt the need to record an album which is in fact some kind of recap of my previous work. The usual thing is to publish compilation of already recorded songs that were interesting to listeners. But you know that neither I follow any trends, nor I obey the way the music industry works. With this album I am turning the new page in my life in music and hopefully I will endure until my 30th anniversary”.
“Ascending” includes the re-arranged songs; a second set of songs that were never recorded before, but Amira performed them only live; and four new songs that she had never played, nor recorded before.
includes Amira Medunjanin on vocals; the TrondheimSolistene chamber orchestra; Bojan
Z. on piano and percussion; Zvonimir Šestak on double bass; Ante Gelo on guitar;
Boško Jović on guitar; and Nikola Stajić on guitar.
Ascending is an exquisite recording of unconventional sevdah with a beautiful cover drawing by Azra Halilbegović.
In this era of harsh voices speaking know-it-all rhetoric from various political, religious, cultural and elitist viewpoints, the need for musical voices to tame the beasts has never been greater. I’ve recently been treated to some releases featuring female voices that succeed in temporarily transporting me away from the madness and may prove even more antidotal in the long run.
Bosnian singer Amira Medunjanin immerses the listener in the depths of sevdah, the word used to describe the emotional intimacy of her native traditional music. Sevdah is to Bosnia what blues is to America or fado is to Portugal: an expressing via music of what the heart longs for and the spirit believes in. Damar, (World Village/Harmonia Mundi, 2016), Medunjanin’s latest, goes measurably beyond Bosnian tradition, giving her small unplugged ensemble the means to stretch out in a few jazz and pan-Mediterranean subtleties with acoustic guitar and piano most often leading the way.
Medunjanin’s beautifully faraway tones flow like lifeblood through love songs, sacred devotions and declarations of the indomitable spirit of Sarajevo and other recently troubled locales in her home region. Music seldom gets more up close and personal -or quietly thrilling- than this.
Her choice of costuming looks rather grandiose on the cover images that adorn her CD Songs of Resilience (Simrit Kaur Music, 2016), but Greek-born, South Carolina-raised singer/songwriter Simrit isn’t about to go over the top musically. Her influences range from Orthodox chants to African drumming and the rhythmic mantras of yoga, and while you might fear the results to be some kind of mystical mess, they’re not. Electronic textures do figure into the music but take a back seat to the kora, guitar, cello, bass, harmonium, piano and percussion that provide melody, strength and unhurried forward motion to the songs.
A steadily militant beat propels the opening “Prithvi Hai” as Simrit intones with both the intimacy of a coffeehouse singer and the authority of a shaman, enveloping the instrumental backing and building to a spatial climax that results in bliss the rest of the album sustains.
Simrit’s songs take their time; most of the tracks here clock in between 6 and 10 minutes. Still, the musical journey is well worth the investment. Understated rhythms are given just enough production value to skirt the line between ancient and modern, and Simrit’s dreamlike vocals (in several languages including English) similarly touch upon the here and now while seeming to reach for something beyond. If such wordiness leads you to believe this music is difficult to categorize, believe it. But rest assured it’s also a healing, calming experience and a substantial sonic adventure.
And then there’s Peia, a singer whose scholarship to the New England Conservatory of Music was ostensibly for her to study opera. Instead, she found herself enamored with a myriad of global styles and set out to explore numerous connections between music, culture and the forces that have the power to preserve them.
Peia’s heritage is Scottish and Irish, and while some degree of that is evident on Beauty Thunders (Peia Song Music, 2016), she goes a good deal further. Moving seamlessly from Hungarian lullaby to Scottish reel, Peruvian proverb and poetic originals, Peia constructs a prayer-like cycle of songs that often permeate with hushed vocals and restrained melodies before adding grooves that edify and further mesmerize.
Declare yourself emotionally bankrupt if the singing, particularly the way Peia’s playfully angelic reach blends with the harmonies of Luna Marcus and Murray Kyle, doesn’t leave you spellbound. But by all means save ample appreciation for the unerringly earthy accompaniment, which includes Peia’s own charango and harmonium in addition to guitar, oud, bass, fiddle, Irish whistle, bagpipe and percussion.
Whatever thunders the title may bespeak, this gem of a disc is more about the beauty aspect: a delicate beauty anchored by the sort of hope expressed in the concluding song “We Will Rise Again” and affirmed by sweet, glorious music that leaves no doubt as to the truth of such a statement. (www.peiasong.com)
Headline photo: Peia by Arterium
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion