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.
Being a self-styled traditionalist doesn’t mean my musical tastes are so staunch that I shun any sonic adventurousness that steps over traditional boundaries. Cross the line into an over-reliance on gimmickry (which can take the form of too much technology or pop pandering for commercial purposes), and you’ve lost me. Taking chances by mixing traditions or styles in ways that leave musical integrity unscathed? You’ve got my attention.
Aziza Brahim, a Sahrawi woman who was born in an Algerian refugee camp as the war over the Western Sahara region was raging, doesn’t exactly go in for traditional Sahrawi music on Abbar el Hamada (Glitter Beat, 2016). Having lived and studied in Cuba and currently a citizen of Spain, some of her songs have an expected, and very welcome, Iberian and Latin edge. She even sings in Spanish for much of the album, the title of which refers to rocky desert landscapes and subject-wise deals with activist concerns like the ongoing plight of the Sahrawi.
The disc also digs into a measure of the “desert blues” sound that many Saharan musicians have become known for, as well as a few galloping rhythms that suggest a more laid back version of Senegalese m’balax (which has always had its own Latin flavors).
Brahim isn’t as frequent in her use of wailing, undulating tones as a lot singers with Arabic roots tend to be. Her approach is more pensive, but she sharpens her tone when needed, and partly because she also plays the bowl-shaped tbal drum while she sings, her voice fits the grooves as naturally as the grooves themselves, be they acoustic or electric. A stunning release all around.
She’s already a groundbreaker for use of the Swedish nyckelharpa (keyed viola) in the music of her native Spain, and now Ana Alcaide takes things a few steps further with Leyenda- World Music Inspired by Feminine Legends (ARC Music, 2016). Female folkloric characters from various cultures (including Spain, Mexico, China, Scotland and Alcaide’s own imagination) are celebrated in songs that range from lullaby-like softness to ritualistic and pulsating.
Nyckelharpa, baroque guitars and bouzouki are sweetened with other strings, reeds, percussion and celestial production values that surround Alcaide’s gracefully penetrating vocals and construct a pair of instrumentals that seem to tell otherworldly tales without any words at all. This is music that could serve as a soundtrack for any ancient or modern fantasy worth conjuring, or bring about just enough of a dream state to take you blissfully away from reality for a while. Either way, it’s stunning.
Chicha, the Peruvian-originated, organ-tweaked, fuzz guitar-laden psychedelic style of music with similarities to Colombian cumbia and Jamaican dub, continues on its revival path courtesy of Austin-based band Money Chicha. Their debut album Echo En Mexico (Vampisoul, 2016) is an irresistibly throbbing beat fest where unyielding layers of Latin percussion support keyboards, guitars and bass that are as trippy in their wall of sound as they are intertwined in their tightness. And tightness is indeed the key.
The chicha sound is one that must not lag in its skipping rhythms or spot-on melodic mesh that weighs in somewhere between surf rock, alternative Latin, Andean tradition, the ghost of Arsenio Rodriguez and music that simply wouldn’t appeal to polite society in Lima, Bogota or, well, Austin. Money Chicha go their own way by eliminating vocals entirely and giving the tracks a subtle funk push with a little extra breathing room among the instruments, resulting in a disc that satisfies to the frenzied max.
Lovers of African drumming and African music in general will happily tune in to West to West (ARC Music, 2016) by Nii Okai Tagoe. He’s a master of many a drum and percussion instrument affiliated with the Motherland and treads a beaten (beating?) path away from tradition by lacing his danceable pieces with horns, keyboards, violin, harp, bass and guitar.
Some unexpected turns are taken with arrangements as well, such as the blues sway of “3 Monkeys.” Not surprising for a gent who’s played with outfits as diverse as Baka Beyond and African Head Charge. This sort of thing has been done before, but Tagoe certainly does it spot-on.
A very different take on percussion and its relationship to the human voice can be heard on Chiaroscuro (Bent Records, 2016) a collaboration involving Baird Hersey & Prana with Nexus. Nexus is a virtuosic percussion ensemble; Prana is a group of singers who all specialize in singing two pitches simultaneously. That dual pitch knack helped inspire Garry Kvistad of Nexus to invent the vistaphone, four octaves worth of chimes gathered into one instrument and the perfect companion to the harmonic series scale of notes that the singers use to achieve their second level of vocal prowess.
The grandiosely-titled tracks on the album (“The Rituals of Dusk,” A Crown of Radiant Fire,” etc.) combine orchestral drums, gongs, glockenspiel, marimba, vibraphone, xylophone, voices and the debuting vistaphone to create music that I can only describe as equal parts refined and primal, rhythmic and atmospheric, structured and seemingly spontaneous, eerie and comforting, earthy and not of this earth. Repeating patterns of percussion and wordless voices ascend to mesmerizing heights and hover there, exploring in sonic terms the disc’s titular concept of light and dark contrasting yet harmonizing.
The three concluding compositions (including a mind-and-ear-altering Balinese monkey chant) are voices unaccompanied and lose nothing in the absence of their percussive counterparts. So is this disc the pinnacle of traditional music, the complete lack of it or something else altogether? Get it and decide for yourself. And prepare to be spellbound.
I don’t know a great deal about traditional Welsh music and thus can’t say how closely 9Bach adheres to it with their latest release, Anian (Real World, 2016). But I am quite taken with the shimmery emotiveness of singer/pianist/composer/lyricist Lisa Jen’s lead vocals, as well as the sparse yet very sturdy support her bandmates offer on guitar, bass, percussion, harp, hammer dulcimer and harmonies.
While some of the instruments used reportedly stray from tradition, the end result is a perfect fit, with modern production adding a kind of cool mist to softly enveloping music that often has a melancholy, longing feel offset by pure beauty. Anian is one to savor repeatedly.
There’s also a bonus disc, Yn Dy Lais (In Your Voice), that features Welsh-influenced poetry and storytelling rendered in English by the likes of Peter Gabriel and Rhys Ifans. It’s meant to make the nuances of the Welsh language more accessibly artsy and is worth a listen, but the lovely sounds on the first disc are the true reason to get this album.
A world away but still bringing tradition to a different level, Roddie Romero and the Hub City All-Stars take music with roots as old as the Louisiana bayou itself and jolt it full of rock, soul, blues, zydeco and funk energy. Gulfstream (Octavia Records, 2016) is a swampy, sultry, swaggering, sizzling slab of deep-south musical gumbo that will delight anyone who loves the celebratory sounds of New Orleans and Lafayette and appreciates the need to cool down for a ballad like the Aaron Neville-ish title track. It’s a party, albeit from the heart.
Richard Bona, the “African Sting,” melds his smooth Cameroonian roots music with the sounds of Afro-Cuban band Mandekan Cubano on Heritage (Qwest Records, 2016). African and Latin musical traditions have been best friends for a long, long time thanks to their shared origins, and Mandekan Cubano’s piano, dual percussion, trumpet and trombone lineup expertly underpins Bona’s joyous salsa-infused numbers and his softer side. Primarily a bassist but adept on numerous instruments, Bona adds unexpected touches like electric sitar to the range of Afro-Latin delights that comprise a very fine release.
Brazilian music, a familiar world staple for decades, has more recently been fused with electronica to degrees that some traditionalists have accepted and others rejected. Put me in the former category. It’s telling that Luisa Maita waited six years since her first album to put out a followup; perhaps she wanted to see how the Brazilian/electronica scene would play out in the interim. Her sophomore release Fio da Memoria (Cumbancha, 2016) has the breathy, sensual feel that’s nearly a given when it comes to female Brazilian singers, and the tunes roll out on a foundation of grooves rooted in samba, even if they’re not always rendered on organic instruments.
Maita’s steamy sentiments translate well, as the sung-in-English “Around You” demonstrates, and she’s got some stories of substance to tell, like “Na Asa,” a musical tale of dreams realized. Fio da Memoria is a keeper for sure, but Maita’s vocal mix of subtle and searing would benefit even more from backing that likewise balances real and electronic sounds equally.
If you need a reminder of how well traditional Ethiopian music meshes with jazz, The Rough Guide to Ethiopian Jazz (World Music Network, 2016) will handily serve. Trailblazer Mulatu Astatke kicks off with the horn-heavy proclaiming of “Gamo” and things jump ever further back into the Swinging Addis feel of the 60s and 70s from there.
While at only 9 tracks the collection can’t cover the whole spectrum, what you get is choice. Serpentine instrumentals are the bulk of it, including NYC’s Budos Band providing impressive overseas translation of the sound, but the soulful vocal thrills of Tlahoun Gessesse and Gabriella Ghermandi show just how large a role male and female voices also played (and play) on the scene. A superb sampler.
Rising Saharawi artist Aziza Brahim and her band will be performing live in London on Tuesday, 26 April 2016, at the Elgar Room (Royal Albert Hall). She will return to the UK on 29 July 2016 to play at WOMAD Charlton Park.
A musician and activist, Aziza Brahim will be presenting her new album ‘Abbar el Hamada‘ (Across the Hamada), a mix of Western Saharan sounds, Spanish flamenco rumba and West African music.
Raised in a Saharawi refugee camp in the Algerian desert, and living in exile for more than two decades (first in Cuba and currently in Spain), Brahim’s life and music embodies both the tragedies and hopes of the present-day migrant and refugee experience.
Western Saharan musician and activist Aziza Brahim explains, “I’m not able to separate politics, cultural and personal concerns. So, the focus of my music is all of these areas at the same time. Political, because of its commitment to the denunciation of social injustice. Cultural, because it searches for new musical ideas. Personal, because it expresses the worries of a person that aspires to live with dignity in a better world.”
For Ms. Brahim taking on the issues of today’s refugee crisis is both personal, having been raised in a Saharawi refugee camp in the Algerian desert and a fuel for the creative process for her latest recording Abbar el Hamada or Across the Hamada, out on the Glitterbeat label.
Conjuring up the familiar bluesy revolving rhythms of the Sahara and poking at the powers that control the flow of migrants and refugees, Abbar el Hamada is an expressive, yet restrained, call for compassion with Ms. Brahim’s plaintive vocals against a backdrop filled with plumy guitar lines and neatly worked African percussion.
With the 2012 recording Mabruk with Gulili Ma and the 2014 release of Soutak to her credit, the Saharawi singer has fashioned a smoothly produced recording with Abbar el Hamada, enveloping the desert blues in the warm, rich percussion of West Africa.
Recorded in her adopted home of Barcelona, Spain with producer Chris Eckman, Senegalese percussionist Sengane Ngom, drummer Aleix Tobias, Malian guitarist Kalilou Sangare, bassist and arranger Guilem Aguilar and guitarist Ignasi Cusso, Abbar el Hamada is possessed by a kind of laid back bluesy intensity that is captivating.
Beyond the message, Abbar el Hamada doesn’t rely on sharp edges, but instead enfold the message in a sleekly worked sound as with opening “Buscando la Paz” and the revolving rhythms of “Calles de Dajla.” Darkly lush tracks like “El Canto de la Arena” and “Mani,” with guest guitarist Samba Toure, are real treats with the sorrowful vocals of Ms. Brahim working their plaintive appeal against a quiet kind of blues.
“La Cordillera Negra” is another standout track with its subversive Spanish flair, slinky guitar lines and, believe it or not, a real percussion solo that is rich and rewarding.
Closing track “Los Moros” is just as delicious with its camel plodding across the desert rhythms and moody feel.
Abbar el Hamada is testament to Ms. Brahim’s social activism, as well as her ever increasing collection of fans, proving that while the road may be difficult music can lighten the load.