Ukulele virtuoso Daniel Ho talks to World Music Central about his newly released album Between the Sky & Prairie, a collaboration with Mongolian musicians The Grasslands Ensemble. The Sky & Prairie is a beautifully-crafted album produced by Wu Chin-tai “Judy Wu” (Wind Music) and Daniel Ho.
Your latest album, Between the Sky & Prairie is a collaboration with The Grasslands Ensemble. How did you come in contact with the musicians?
I had been working on world music projects with Wind Music, a Taiwanese record company, for around five years. We recorded three Taiwanese aboriginal albums and a project with Wu Man (the pipa player for the Silk Road Ensemble) and Cuban percussionist Luis Conte. Our goal was to present traditional music, untouched, in a contemporary framing. We were lucky to receive two Grammy nominations and four Golden Melody Awards (Taiwan’s Grammy Award) for these collaborations and were invited to produce an album of Mongolian music. We visited Mongolia a few times and met many wonderful musicians, which became The Grasslands Ensemble.
Tell us about the recording process in terms of location, rehearsing, communication and so forth.
My co-producer, Judy Wu, helped to select the music with executive producer Li Dong. I don’t speak Chinese so she also communicated my arrangement ideas to the musicians as well as scheduled the recordings.
How did this experience affect you?
I had never been to Mongolia and I am grateful that music brought me half-way around the world to experience its rich culture and breathtaking grasslands. I treasure my new friends who have been so generous with their music.
Between the Sky & Prairie is released by Wind Records, a Taiwanese record label. How was the experience?
Wind Music is a wonderful record label. I admire their dedication to preserving culture and the entire staff is so kind and thoughtful. I always look forward to doing projects with them because it is more like having fun with friends than working!
The physical version of the album is gorgeous, with a beautifully- designed hard cover book. Is this the first time you release a project like this?
Actually, all of the albums we’ve released with Wind Music look like this. We put everything we can into all aspects of our projects – the music, recording quality, graphic design, music videos and documentaries.
Will you be doing more collaborations with musicians from other musical traditions?
I don’t have any specific plans right now, but I look forward to what’s around the corner. I’ve found the greatest joy in learning about the origins of music – how sound is used to convey emotion in ways that don’t conform to our Western framework of melodic development, harmonic structure, rhythm, and form.
What do you consider as the essential elements of your music?
Composition is at the core of my music. I’m always trying to open my mind melodically (traditional world music is great for this because its melodies are independent of Western rules and restrictions), expand my harmonic vocabulary, and develop my ability to function in advanced rhythmic settings like odd meters and polyrhythms. African, Indian and Latin music are wonderfully rhythmic.
Who can you cite as your main musical influences?
I love Bach’s voice leading and counterpoint and use his techniques for all of my writing. Harmonically, Dave Grusin is the strongest influence on my music, and rhythmically, I draw from world music influences as well as great drummers like Jeff Porcaro and Steve Gadd.
Tell us about your first recordings and your musical evolution.
I first started recording in high school with my friend David Ho on a Tascam four-track cassette tape recorder. In the early 90’s, my first professional recordings were on 24-track, 2-inch tape recorders in studios in Los Angeles.
Around the mid-1990’s the Alesis ADAT began the revolution of affordable studio-quality home recording. From there it went to Mac-based fully editable digital recording in the mid to late 90’s. Technology quickly changed how we capture sound.
I started my record company, Daniel Ho Creations, in the mid-90’s and have recorded over 100 albums in my home studio. Without the pressure of paying for studio time, it is incredibly liberating.
Aside from Mongolian music, are there any other musical traditions that interest you?
I love all kinds of world music, though some of them would require me to be more skilled before I’d be able to collaborate effectively.
For example, I love Cuban music, but I would first need to develop my sense of rhythm before I could play with Cuban musicians.
What ukulele models are you playing now? Who builds them?
I play a Romero Creations Tiny Tenor. Pepe Romero, Jr. is a world- class luthier and the son of classical guitar legend Pepe Romero.
Four years ago, I had the opportunity to design this instrument with him. We looked at all the qualities we love about the ‘ukulele, like its portability and sound, and tried to expand on them. We came up with the Tiny Tenor, which is a full tenor scale ‘ukulele that fits in a concert ‘ukulele gig bag.
The instrument caught on over the past few years and Romero Creations is now distributed by YAMAHA in Japan. For me, this experience was like writing a song with wood. It is exciting to see people all over the world making music with an instrument we created! You can find more information about our instruments at RomeroCreations.com.
Have you even played a Portuguese cavaquinho or a Spanish timple?
No I haven’t. I’d like to though.
If you could gather any musicians or musical groups to collaborate with, whom would that be?
I would love to do a project with Yo Yo Ma. Working with Dave Grusin would be amazing, too. Or maybe a mandolin and ‘ukulele project with Chris Thile.
What music are you currently listening to?
I really enjoy listening to James Taylor. I love the sincerity of his songwriting and voice. But I don’t do a lot of listening. As a writer, I try to avoid getting melodies stuck in my head which could end up in something I’m composing.
What new projects are you working on?
Presently, I’m working on a comprehensive ‘ukulele program with YAMAHA music school. I’ve been a student of music all my life and I’m excited to share what I’ve learned so far. The project will launch in April 2018.
The Savannah Music Festival has announced the world music artists set to perform in 2018. The festival next year will take place March 29th through April 14th, 2018, at a number of venues throughout Savannah’s Historic District.
As usual, the festival selected first rate world music acts. Mali’s Trio Da Kali will share a bill with South African guitarist Derek Gripper (a kora music practitioner).
Malian kora maestro Toumani Diabaté is set to perform with his son Sidiki Diabaté in A World of Strings, an original production also including Brazilian music played by Savannah Music Festival Associate Artistic Director and mandolinist Mike Marshall and pianist Jovino Santos Neto (who will also play a solo show).
Iberian sounds include the great Dominican Republic-based Spanish flamenco singer Diego El Cigala and Portuguese fado singer António Zambujo.
Cellist Mike Block will perform with fellow Silk Road Ensemble musician Sandeep Das on tabla.
The festivals’ Latin Dance Party features the unrivaled Cuban son ensemble, Septeto Santiaguero.
Festival favorites Lúnasa (Ireland) and Tim O’Brien will team up for a concert of Irish and Appalachian-influenced music.
Alasdair Fraser & Natalie Haas play on a double bill with an electrifying new all-female acoustic music quartet called The Goodbye Girls.
For ticket information and the rest of the programming, including classical music, American roots music, jazz, theatrical productions and films, visit www.savannahmusicfestival.org.
headline photo: Septeto Santiaguero with El Canario
Savannah Music Festival has announced its 2018 programming. The festival will take place March 29th through April 14th, 2018, at several venues throughout Savannah’s Historic District.
In the American roots area, bluegrass sensations Rhonda Vincent & The Rage and Claire Lynch Band will share the stage on opening night, followed the next day by the Mission Temple Fireworks Revival with Paul Thorn Band and the Blind Boys of Alabama.
Songwriter-guitarist Margaret Glaspy is set to perform on a double bill with Argentine composer, singer and guitarist Juana Molina.
Tulsa’s John Moreland will share an alt-country bill with Nashville songwriter and guitarist Aaron Lee Tasjan.
New acoustic music projects include Hawktail and the Savannah Music Festival debut of Kittel & Co., guitarist Tommy Emmanuel plays on a co-bill with Jayme Stone’s Folklife and the original production The Voice is a Traveler features Moira Smiley and Anna & Elizabeth.
Rosanne Cash & John Leventhal will return to the Lucas stage as a duo and Marty Stuart & His Fabulous Superlatives are set to play Ships of the Sea, as do the North Mississippi Allstars.
Recent MacArthur “Genius” Grant recipient Rhiannon Giddens will present her first theater show at Savannah Music Festival, and Béla Fleck & Abigail Washburn return with music from their new album, Echo in the Valley.
For ticket information and the rest of the programming, including classical music, world music, jazz theatrical productions and films go to www.savannahmusicfestival.org.
It is a long time since I have contributed reviews to this site. The reasons are many, varied and not a matter of public record. They’re also quite boring, so you wouldn’t want to hear about them in any case. My tendency had been to write reviews in groups united by some sort of genre, style or perceived common-ground theme. But I presently find myself so far behind that the disconnected overview I am about to subject you to is the only approach that will effectively close the gap. Apologies, and away we go.
As a longtime fan of Afrobeat music, I was greatly interested when I heard that Chicago Afrobeat Project would be collaborating with drummer Tony Allen. Allen, after all, was the man behind the kit for all of Fela Kuti’s groundbreaking records and was just as instrumental (pun absolutely intended) in creating the Afrobeat style. What Goes Up (Chicago Afrobeat Project, 2017) does not disappoint. Allen’s militantly polyrhythmic drumming is as spot on as ever. He also brings the experimental feel of his recent works, so the album isn’t simply formulaic Afrobeat but rather an effective blend of contemporary textures (including measured doses of rap) and traditionally-grounded grooves.
Horns, stinging keyboards and no-nonsense vocals (largely female) share most of the upper mix with Allen’s drums, while bass, guitars and percussion provide covert menace beneath. The lyrical unrest typical of Afrobeat is very much present in songs that address racial and gender inequity, political nonsense, media trickery and the belief that the high and mighty will be toppled sooner or later. None of the tracks are even five minutes in length (another departure from the once-usual Afrobeat template) and lest you think it’s all message-laden heaviness, “Afro Party” will handily prove otherwise. If this is the current state of Afrobeat, it’s in a healthy state indeed.
While Afro-Cuban, Afro-Brazilian, Afro-Colombian and Afro-Peruvian music have all been getting their due of late, Afro-Venezuelan music hasn’t fared as well. Perhaps the level of upheaval in that nation has some bearing, but now there’s a degree of redress to be found with Loe Loa: Rural Recordings Under the Mango Tree (Odelia, 2017) by Betsayda Machado and Parranda El Clavo.
Percussion and vocals are all you hear on this field recording (albeit captured with modern technology), and given that Betsayda and her many-strong ensemble are descended from escaped slaves who lived in hidden village communities, the drumming and call-and-response voices ring with an air of both celebration and defiance. This is thunderously rousing music, binding in its spell and guaranteed to raise your spirits to the highest heights. Alan Lomax is surely smiling from the Great Beyond.
Similarly, Transmision En La Erita Meta (Sendero Music, 2017) is all about drums and voices, though the drums here are more than instruments. They are a trio of sacred Cuban bata, vessels of sound created to invoke and seek the blessings of the deities known as orishas, belief in which originated among the Yoruba people of West Africa and survived the slavery era. The worship system of Santeria was later syncretized with the saints of Catholicism, but purer forms of orisha worship endure in Cuba and elsewhere.
Spoken testimonies are interspersed among the 21 tracks on the CD, and if your understanding of Spanish is as non-existent as mine, the hypnotically complex pulses of the double-headed, bell-festooned bata and reverent vocal chants are all you’ll need to connect to the Divine. The disc comes with an extensive booklet that tells in great detail how the story of the particular drums used fits into the overall tradition that inspired their use. It’s as absorbing to read as the drumming is to listen to. Curl up and absorb yourself in both.
Keeping close geographically as well as covering more music that came about in the age of slavery, Darandi (Real World/Stonetree, 2016) by Honduran Garifuna master musician Aurelio, captures him at his raw best. Following a performance at the U.K. WOMAD festival, he took his band to the in-house studio at Real World Records and recorded a dozen live-and-direct tracks that are a kind of greatest hits from his three previous studio albums.
Acoustic and electric guitars, bass and a pair of snare-buzzed traditional hand drums provide the accompaniment to Aurelio’s nimble voice and the glorious wraparound of his three backing vocalists. The African roots of Garifuna music resound in the highlife-like guitar chiming and feverish drumming, but Spanish and Central American indigenous elements are just as present. I’ll leave it to you to research the Garifuna origin story if you don’t already know it. I’m too busy listening to this excellent music.
The liner notes of A Je (Riverboat Records/World Music Network, 2017), the latest by Monoswezi, describe them as “African-Nordic jazz alchemists.” And who am I to argue? Such wording makes my task of describing their music that much easier. I’m fairly sure this is the group’s third album, and the most immediately striking addition to their sonic brew is the harmonium, that hand-pumped organ so central to Pakistani Qawwali devotional music. The instrument gives a penetrating mystical edge to Monoswezi’s already very fine fusion of Mozambican, Norwegian, Swedish and Zimbabwean sounds. As before, I’d peg the rhythmic side of things as mostly African, though melodically it’s the punctuation of instruments like clarinet, banjo and the prior- mentioned harmonium that add the welcome Scandinavian chill and outward reach.
New to the lineup is Sidiki Camara, a calabash and ngoni (lute) player whose name I’ve seen in the credits of many a West African music album and who brings an extra layer of spark to this one. A Je is Monoswezi’s best yet, full of propulsive, hands-on percussion, adventurous but mutually perfect combinations of lead instruments (such as banjo and mbira plucking happily side-by-side) and vocals that sound like jelis singing tales of recent trips to Arctic zones and beyond. Consistently great listening through and through, so count it a must-have.
Closer to the African mainland (just to the west of it, specifically) we find the latest up-and-coming singer from Cape Verde, Elida Almeida. She scores on Kebrada (Lusafrica, 2017) which despite her young age finds her fully adept at the heart-stirring nuances of singing in familiar Afro-Portuguese styles like funana and coladera, mixing things up with some Latin and Caribbean inflections. Nothing revolutionary, just great music for the many out there who love the sounds Cape Verdeans have brought to the world. The fact that one of the contributing musicians is recently deceased Malagasy accordion master Regis Gizavo makes it even greater and more than a little bittersweet.
Sometimes three pieces are all you need. Such is the case with Stringquake, whose album Cascade (Stringquake, 2016) blends Amelia Romano’s harp, Misha Khalikulov’s cello and Josh Mellinger’s percussion into instrumentals that range from intimately moody to absolutely grand. The two stringed instruments complement each other to perfection, an intertwining mesh that trades leading roles of tonal beauty while keeping pace with a percussion backdrop that includes cajon, frame drum, tabla and steel pan. You can rightly call some of this chamber music, some of it jazz fusion (like the cover of Don Cherry’s “Guinea”) and some of it world music in the not-otherwise-easily-classified sense. But it’s all beautifully, passionately rendered and stands up to repeated listens that continue to impress.
If an unconventional musical foursome is more your speed, check out Astrid Kuljanic on her release Riva (One Trick Dog Records, 2017). Her band, comprised of accordionist Ben Rosenblum, bassist Mat Muntz and percussionist Rogerio Boccato, is called the Transatlantic Exploration Company and her own background of having been born in Yugoslavia, studying music in Italy and Manhattan and finding inspiration on the Adriatic island of Cres makes the name perfectly fitting. And not surprisingly, the music fits the moniker as well. Kuljanic’s swooping, versatile vocals make her sound at home singing reconfigured traditional Croatian songs, scatty jazz pieces, samba-inspired charmers, a quirky original or two and a completely unique take on Dizzy Gillespie’s “A Night in Tunisia.” She and her players sound like they’re having a blast and the music is again hard to classify, but the whole thing is head-spinning good. Available from www.onetrickdogrecords.com
Lovers of sevdah, the often-melancholic traditional music from Bosnia and Herzegovina, will rejoice in Divanhana’s Live in Mostar (ARC Music, 2017). The band sports instrumentation that only bows partly to tradition (accordion, electric piano, electric bass, drums, percussion and violin) and livens up their “Balkan blues” with jazzy breaks and klezmer-like seasonings. The achingly gorgeous lead vocals of Naida Catic (particularly on the unaccompanied “Daurko Mila”) are clearly a major asset, but the entire band rises to the occasion.
Given how crystalline the sound is, you might easily mistake the disc for a studio album until the audience reaction reminds you that a lucky bunch of folks were able to enjoy this live and direct. And the CD comes with the next best thing to having been there: a DVD featuring live performances and interviews. Get this and savor a double dose of sevdah at its progressive best.
If your collection of Cuban music isn’t complete (and whose is?), pick up Cuba! Cuba! (Putumayo, 2017). The various artists here are mostly in classic sound mode and some are younger artists carrying the torch for that classic sound. Still, the Putumayo folks like to throw in a wild card or two, and one surprise here is the unearthed instrumental “Guajira” featuring legends Alfredo Valdes Jr. on piano and trumpeter “Chocolate” Armenteros, recorded in Peru in 1964. That track serves as a kind of guidepost for the other fine singers and players on the disc, including veterans Roberto Torres and Armando Garzon (the latter with the ever-venerable and hypnotic “Chan Chan”), Miami-based young traditionalists Sonlokos and the always invigorating Jose Conde y Ola Fresca. This one’s got sizzle to spare.
“Chan Chan” is also the opening track on Mista Savona Presents Havana Meets Kingston (17 North Parade/VP, 2017), a brilliantly realized Cuban/Jamaican fusion in which son meets one drop, congas patter away alongside nyabinghi drums, Spanish-accented troubadours trade off with Trench Town chanters and both sides nice up the party. Some songs are more one locale than the other and employ a key element (like deejay chatter or regional horn riffs) that make the connection, while most are seamless mashups that are simply thrilling, like veteran guitarist Ernest Ranglin joyously picking his way through “410 San Miguel” with pianist Rolando Luna nimbly matching the vibe (and that’s before the dub effects even kick in).
Some of the other participants on the album are Sly and Robbie, Barbarito Torres, Changuito, Bongo Herman, Julito Padron and a chorus of notables that includes Leroy Sibbles, Lutan Fyah and Price Alla. That’s just the tip of things. No other written words will do justice to this landmark release recorded at Havana’s Egrem Studios under the guidance of producer/arranger/keyboardist Jake Savona. Highly recommended.
Grandly combining Italian traditional music with jolts of contemporary Western pop, Canzoniere Grecanico Salentino strike a tasty, dance-ready balance on Canzoniere (Ponderosa Music Records, 2017). CGS are one of those bands that can seemingly do it all, mixing accordion, uniformly rhythmic clatter and a reggae feel on “Ientu,” infusing “Moi” with a start-and-stop techno stomp that dramatically punctuates the traded vocals, builds simplicity into complexity in nothing flat with help from guitarist Justin Adams on “Aiora” and erects walls of sound throughout using instruments and voices that are organically and electronically symbiotic. I’m not sure if the term “mind-blowing” is still in the accepted lexicon, but this album fits that description in a most satisfying way.
Scotland’s Mary Ann Kennedy gives us An Dan: Gaelic Songs for a Modern World (ARC Music, 2017), and a very nice lot they are. Her voice is grand and soaring and the arrangements, heavy on strings and Kennedy’s own piano, match to near-perfection. The lyrics are from a combination of literary sources while the musical arrangements are again Kennedy’s work, so the whole thing has an air of tradition mixed with vision.
Those who appreciate the familiarity of Gaelic music will be spellbound even as subtleties like the South African melody that underpins “Song for John MacDonald” ring true from a world beyond. For pure beauty, you can’t beat this.
Spanish multi-instrumentalist, composer, researcher and inventor Raúl Rodríguez has released another impressive recording titled La Raíz Eléctrica.
The new album continues Raúl Rodríguez’s explorations of flamenco, Caribbean and African music connections. On La Raíz Eléctrica you’ll find a delectable mix of flamenco, Afrobeat, Cuban son, Haitian vodoo rhythms and Andalusian rock.
La Raíz Eléctrica features a remarkable cast of guests, including Haitian musicians from Lakou Mizik, Boukman Eksperyans as well as Paul Beaubrun; American singer Jackson Browne; and other extraordinary musicians.
Raúl Rodríguez showcases his talent playing a wide range of musical instruments including two variations of the Cuban tres he came up with: the flamenco tres and the electric tres, which appears in this album for the first time.
La Raíz Eléctrica has it all: fiery percussive pieces, notable solo guitar performances and inspiring songs.
You don’t want to miss the physicals version. La Raíz Eléctrica comes with a 100+ page hard cover book with essays, photos , credits, English-language translations and a cover by one of Spain’s most talented graphic designers, Mariscal.
The lineup includes Raúl Rodríguez on vocals, tres flamenco, electric tres, electric guitar, flamenco guitar, lap steel guitar, acoustic guitar, backing vocals, keyboards, palmas (flamenco handclap percussion), bombo, caja, shekere, karkabas, kazoo; Aleix Tobias on drums, cajon, calabash, darbuka, bells, bendir, congas, tambourine and effects; Pablo Martin Jones on cajon, palmas, bell, kalimbas, bongos, congas, bells; Guillem Aguilar on bass; Mario Mas on electric and flamenco guitar; Domi Jr. on jembe; Peterson “Tipiti” Joseph and James Acarrier on kone (Haitian metal horns); Jackson Browne on vocals; Javier Mas on archlute; Paul Beaubrun on electric guitar; Theodore “Lòlò” Beaubrun on lead and backing vocals; Mimerose P. “Manzé” Beaubrun, Natacha Massillon, Caroline Dejean Andrus, Donier Mondesir, and Emilio Cuervo on backing vocals; Domi Serralbo and Paco Pavia on palmas; and dancer Juan de Juan.
La Raíz Eléctrica is a masterfully-crafted cross-pollination of musical styles by one of Spain’s most gifted musicians.
On Yeraz, Jivan Gasparyan presents a new, remarkable perspective of the ancient Armenian duduk. The album was recorded in Geghard, a medieval monastery in the Kotayk region of Armenia that is registered as a UNESCO World Heritage Site.
The lineup on Yeraz is an all-duduk quartet that performs evocative and bittersweet musical pieces representing the agony, optimism and vivacity of the Armenian people.
Personnel: Jivan Gasparyan on duduk; Jivan Gasparyan Jr. on duduk; Armen Ghazarian on duduk; and Vazgen Makaryan on duduk.
Yeraz is an outstanding recording by the great maestro of the duduk joined by three equally talented duduk players.
Monoswezi – A Je (Riverboat Records TUG1103, 2017)
Transnational band Monoswezi, led by Hallvard Godal has released another fine example of African and world fusion. A Je showcases Pan-African influences that include West African ngoni, Zimbabwean mbira, trans-African percussion; African American banjo; along with Indian harmonium.
Monoswezi is at its best when the explosive mix of global percussion, traditional strings and western musical instruments interact with each other.
Personnel: Hallvard Godal (Norway) on vocals, harmonium and clarinet; Sidiki Camara (Mali) on ngoni; Kim Johannesen (Norway) on banjo; Hope Masike (Zimbabwe) on mbira, percussion and vocals; Calu Tsemane (Mozambique) on vocals and percussion; Putte Johander (Norway) on vocals and bass; and Erik Nylander (Sweden) on drums and percussion.
Acclaimed world music festival WOMAD Gran Canaria has announced its 2017 programming. WOMAD Gran Canaria will take place November 10-12 at Parque de Santa Catalina in Las Palmas de Gran Canaria (Canary Islands, Spain).
The lineup this year includes:
101 Brass Band (Canary Islands, Spain), Beating Heart (UK), Bombino (Niger), Hindi Zahra (Morocco), Horace Andy (Jamaica), Kuarembó (Canary Islands, Spain), La Dame Blanche (Cuba), Miroca Paris (Cape Verde), Niño de Elche (mainland Spain), Orkesta Mendoza (USA), Papaya (Canary Islands, Spain), Profecía Crew (Canary Islands, Spain), Tu Otra Bonita (Spain), and The Brand New Heavies (UK).
WOMAD Gran Canaria also includes adult workshops led by Ripton Lindsay (Jamaica) and Ras Happa (Jamaica) as well as children’s workshops by Purple Moon (Canary Islands, Spain) and Urban Outdoors (UK).
The WOMAD Gran Canaria is supported by the City of Las Palmas de Gran Canaria and the Gran Canaria island government (Cabildo).
Steven Chesne – Sapient: A Cantata of Peace (Brahmasong Records, 2017)
American musician and composer presents a beautiful and masterfully-crafted project titled Sapient. He spent a year researching peace chants and prayers from various parts of the globe and brought them together here in this remarkable album.
Sapient includes performances representing the major religions of the world as well as lesser known ethnic groups: the words of Buddha, Lao Tzu, Jesus, Mohammed, the Sikhs, the Hindu, the Jews, the Cheyenne, the Kikuyu, and the Baha’i.
Chesne brought in talented vocalists from various parts of the world and added his magic as a composer and arranger, creating beautiful symphonic soundscapes and rhythms that accompany the exquisite vocals.
Each tradition is represented separately except for the final piece, “Nyansapo – the Wisdom Knot,” where Chesne weaves in all traditions with ease.
Steven Chesne plays the majority of the instruments. The vocalists featured are: William ‘Kymo’ Kamore; Mariani Shuilan May; Uyanga Bold; Florence Kinyua; Thomas Segen; Sudakshina Alagia; Taraneh Sakurai; Ven. Agga Mahapandita Dr. Walpola Piyananda; Ven. Bambarawane Kalyanawansa; Ven. Attidiye Pugngnarathana; Natalie Shtangrud; Steven Rushingwind; and Bhai Jaswant Singh Zira.
Guest musicians: Kourosh Zolani on santur and Amadou Fall on kora.
Mario Adnet and Paulo Jobim – Jobim Orchestra & Guests (Adventure Music, 2017)
Jobim Orchestra & Guests celebrates the music of Antônio Carlos Jobim (Tom Jobim), one of the greatest composers of bossa nova and Brazilian popular music. This project is led by acclaimed composer and arranger Mario Adnet and Antônio Carlos Jobim’s son, composer Paulo Jobim.
In a previous project, symphonic Jobim, Mario and Paulo recreated Jobim’s material through a classical music perspective. On this new recording, Jobim Orchestra & Guests, the arrangers move towards bossa nova and orchestral jazz featuring a jazz ensemble and strings.
The album is based on a study by the Antônio Carlos Jobim Institute, a institution that holds the original manuscripts of musical scores and arrangements. Adnet wrote seven new arrangements and adapted four scores originally written by German conductor, composer and arranger Claus Ogerman.
Jobim Orchestra & Guests also includes two original arrangements and three original compositions by Paulo Jobim, two of which were recorded by Antônio Carlos Jobim in the 1970s.
The list of guest instrumentalists and vocalists is impressive, featuring some of the finest musicians in the Rio de Janeiro scene.
The album includes Jobim’s most iconic songs, including the all-time favorite Águas de Março, Desafinado, Chega de Saudade, Falando de Amor, and many more.
The lineup on Jobim Orchestra & Guests includes Yamandu Costa on 7-string guitar; Alfredo del Penho on guitar; Marcos Nimrichter on piano; Antonia Adnet on guitar and vocals; Mario Adnet on guitar; Paulo Jobim on guitar; Jorge Helder on bass; Antonio Neves on drums; Armando Marçal on percussion; Eduardo Neves on flute; Henrique Band on flute and baritone saxophone; Paulo Guimaraes on flute and alto flute; Cristiano Alves on clarinet and bass clarinet; Adalto Soares on French horn and trumpet; Aquiles Moraes on flugelhorn; Everson Moraes on trombone.
Vocals: Alice Caymmi; Alfredo del Penho; Luiz Pié; Júlia Vargas; Antonia Adnet; Paulo Jobim; Mario Adnet; Vicente Nucci; Dora Morelenbaum; Isabel Jobim; Maucha Adnet; and Isabella de Fonseca.
Violins: Claudio Cruz; Adonhiran Reis; Felipe Prazeres; Priscila Rato; Tomaz Soares; Luisa Neiva; Angélica Areias; Ricardo Amado; Gustavo Menezes; Fabio Peixoto; Thiago Teixeira; and Rudá Issa.
Violas: Gabriel Marin; Daniel Prazeres; Ricardo Taboada; and Thais Mendes.
Cellos: Alceu Reis; Marcus Ribeiro; Marcelo Salles; and Marie Bernard.
Basses: Rodrigo Fávaro; Larissa Coutrim.
Jobim Orchestra & Guests includes a DVD with interviews, masterfully-directed video versions of the songs and behind the scenes footage.
Jobim Orchestra & Guests is an exquisite recording that showcases outstanding recreations of the timeless, classic songs of Tom Jobim and the rich talent of the current Rio de Janeiro music scene.
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion