Albaluna is an outstanding Portuguese band that is hard to describe. Their sound is rooted in a fantastic mix of Mediterranean and Middle Eastern influences, northern European folk, medieval music and progressive rock. They call it ethnic prog. Whatever, you call it, it is one of the most captivating and original acts I’ve heard out of Europe recently.
Amor, Ira & Desgosto (Love, Wrath and Disgust) combines ancestral instruments from around the globe as well as modern instruments, injecting the high energy of progressive rock drums, electric bass and keyboards along with charismatic vocals that cut across time.
The group’s performances range from intimate acoustic concerts to lively electric shows at folk and rock festivals. The band has performed in Portugal, Spain, France, Italy, Germany, Lithuania, and India.
Prior to Amor, Ira & Desgosto, Albaluna released three albums and two EPs, “D’Antes” (2010), “Marca Antiga” (2012), “Alvorada da Lua” (2014), “Nau dos Corvos” (2016) and “Nau dos Corvos – Lado B” (2017).
The lineup includes Ruben Monteiro on sanfona (hurdy gurdy), kopuz, kisa, divan, harmonium, davul, zurna, keyboards, santur, and vocals; Raquel Monteiro on medieval viola and violin; Dinis Coelho on jembe, darbuka, dahola, bendir, tombak, daf, tabla and riq; Christian Marr’s on voice, bass and bouzouki; Carla Costa on tin whistle, ney and gaita de foles (bagpipe): Tiago Santos on drums; and Luís Runa on keyboards.
Luis Delgado, who was born in July 1956 in Madrid, can safely be called one of the most versatile musicians in Spain. The multi-instrumentalist, composer and producer played his first concert at the age of 14, as a member of the Laudes Ensemble “Gaspar Sanz”. Since then (aside from his regular music studies under the renowned eminence D. Manuel Grandio), he has recorded numerous records as a solo artist, and many more as a member of various different groups. He has also produced more than 30 albums and has collaborated as a musician on over 100 recordings.
Delgado’s musical spectrum ranges from Andalusian-style rock to various different kinds of traditional and world music, and even includes Medieval and ancient music. The latter has always played a special role in Delgado’s life, his heart belonging especially to past times.
During the course of his career, Delgado has become particularly well known as a specialist in the music of Moorish-occupied Spain (‘Al-Andalus’), also known as Arab Andalusian music. In this capacity, he has not only recorded an impressive number of albums, but also composed and produced numerous soundtracks for television series, dramas and documentaries with appropriate themes. He has also written original music for a large number of theater productions and two ballet productions worth mentioning: “Arrayan Daraxa” (at the closing event of the EXPO 1992 in Seville) and “Jaleos” (which was premiered at the New York City Center, another renowned venue).
Delgado worked as a consultant and Senior Composer at the Planetarium in Madrid. His extensive discography features over a thousands musical instruments from his private collection, part of which are exhinited to the public in the “Museo de la Música- Colección Luis Delgado” (Museum of Music – Luis Delgado Collection) in the walled city of Urueña (Valladlid province).
Vathek – Procesos Electrónicos Para Instrumentos Acústicos (Grabaciones Accidentales, 1986) Alquibla, Música Original De La Serie De TVE (RTVE Música, 1990) Alquibla II, Musica Original De La Serie De TVE (RTVE Música, 1991) Banda Original Del Programa De Planetario (Via Lactea, 1993) Halilem (Pneuma, 1995) El Sueño De Al-Zaqqâq (Nubenegra, 1997) Sol y Sombra (Álba musica, 1997) Tres Culturas (Pneuma, 1998) Jardín De Al-Andalus. Música Arabigo-Andaluza De La Sevilla Medieval (Pneuma, 1999) El Hechizo De Babilonia (Nubenegra, 2000) Riyad Al-Hubb (daquí, 2001) Planetario De Madrid · Volumen II (Ayuntamiento De Madrid, 2001) Shanti (Nubenegra, 2003) Ecos Del Espíritu (Pneuma, 2004) Dirigido por Gerardo Vera: Música para el Centro Dramático Nacional (Warner Music) Viajes Sonoros Enjarje; La Torre del Salvador
With Los Músicos de Urueña:
La Lírica Sagrada en los Trovadores
Música en la Catedral-Museo de Jaca
La Estrella de Belén
Los Músicos de Urueña en la Capilla Mudejar de San Bartolome
Romancero Viejo y Nuevo en el Quijote
El Vino en la Música de las Tres Culturas
Musica Sefardí – Sinagoga del Tránsito
Musica de las Tres Culturas – Museo Vivo de al-Andalus en Córdoba
Musica Medieval para el Museo de la Catedral de Jaca
Musica Medieval para el museo diocesal de Jaca, with César Carazo
Manuel Iman was born in Seville, Spain. He became involved in music at a very early age. His first recording came in 1975 when he made 14 de Abril with the group Goma. The album was one of the first fusion efforts of that time and has now become a collector’s item. Three of the pieces of this album were included in the soundtrack of the successful film Manuela in 1976.
In 1976 the first seeds of the Andalusian progressive rock group Iman were sown and by the following year, the full band was gaining ground with its live performances. They were signed by CBS for whom they recorded Iman, Califato Independiente. The critics raved over its innovative and subtle combination of Flamenco, Rock and Eastern roots.
In 1980, Camino del Aguila was released, incorporating tropical influences. One of Manuel’s compositions was included in the soundtrack of the French film Frigg force 9.
Iman became a legendary name in Spanish rock and its recordings were re-released on CD by Musea a French record company. In 1997 Sony Music, Spain reissued both albums.
After moving to Madrid in 1981, Manuel became a sought-after creative force in the recording industry and produced, performed and arranged works for artists as varied as Lole & Manuel, Paco and Pepe de Lucia, Pata Negra, Kiko Veneno, Ole-Ole, Los del Rio, Remedios Amaya, Emilio Aragon and many more. He also worked making music for commercials and documentaries.
In 1985, Manuel got involved in the creation of a commercial project, the pop band La Decada Prodigiosa, covering popular 1960s songs (EMI Hispavox), that had outstanding success. The first five albums released sold 2.5 million copies and the band toured Spain extensively for five years and appeared in many TV shows. One of the biggest live shows took place in the island of Tenerife island (1989) where Manuel performed with the band in front of more than 250.000 people.
In 1991 Manuel began work on a solo album, entitled La Danza del Espacio for Productora Andaluza, released in 1992. He worked on music for the video commissioned by Tele Expo (the TV station created for the 92 World Expo) Sevilla entre dos Exposiciones.
Manuel also coordinated and directed a large scale tour entitled Rock Andaluz- Ayer y Hoy in which important names from the past and present were brought together.
In 1995 he moved to Malibu, California, composing and producing music for video and preparing a new album. Called from Spain in 1996 for a new project, Manuel became the Musical Director and music composer of El Circo del Arte show, a successful new project produced by the show business mogul Emilio Aragon.
In 1997 he returned to Malibu and he worked as a producer and composer for Dunrite Productions. In 1998 the CD Reflections was released with Domo Records, an instrumental collection that includes three pieces by Manuel. His music was also included in Music for the Spirit, on Domo Records. Songs from a grateful heart, an instrumental Spanish guitar collection, was released in 1998 (Visions International).
For the same company, he also worked with more artists in the CD Live in Long Beach. In addition he produced another solo album Flowers in the desert (EverSound), released in October 1998, working with Grammy Award winner Roger Nichols and Paul Dieter.
In 1999 music by Manuel was included in the compilation CD Expressions (EverSound) and produced and performed three carols for the compilation CD Tidings of Joy (EverSound), one of them, Little drummer boy featuring his daughter Lucia Iman.
In 2000, Manuel worked on a new album titled Legacy, based and inspired in old Indian bhajans creating a fusion with blues, reggae, Flamenco, Brazilian and African music featuring the collaboration of outstanding musicians from around the world like Dan Moretti, Abraham Laboriel, Madan Gopal, Gita Jaiyaram, Bob Nichols, Jim Monahan, Scarlet Rivera, Nigel Holton, Windy Barnes, Sanjay Talwar and many more, with Nichols again in the mixing and mastering for this project.
In 2001 he produced and arranged Save the Day for Visions International, Untraveled Road, an alternative country CD for Steve Mc Peters and Rich beyond words for Rich Neel.
Manuel returned to Seville and continues to perform and produce recordings there.
La danza del espacio (Aspa Records, 1992) Songs from a grateful heart (Visions International, 1998) Flowers in the desert (EverSound, 1998) Legacy (Collaboration Works, 2000) Your love is my blessing (EverSound, 2003) Sevilla Infinita (Manuel Iman Music, 2018)
Guitarist, composer and producer Luis Cobo Manglis was born in Sevilla (Spain). At 13 he began to learn guitar and at 17 he became a professional musician, performing at the joint Spanish/US naval base in Rota (Cadiz).
He was one of the pioneers of Rock Andaluz (Andalusian Rock) in the late 1970s as the leader of legendary band Guadalquivir.
Manglis explains how Guadalquivir was formed: “One night, while I was playing at the Club Raices in Madrid that was the cradle of jazz-rock in Spain, José Valera came to see me. He was the personal manager of Triana and my friend from Seville. He directly proposed that I set up a group to play at a festival that was being organized by Triana and it was going to feature all Andalusian groups, such as Storm, Iman and Triana.
It was then where the opportunity presented itself since Andrés Olaegui and I had a guitar duo and we had served in the compulsoty military service together and also in the band Manantial group, the seed of what would later be Guadalquivir.” Manglis and André put together the band, rehearsed feverishly and played at the influential festival in the Madrid suburbs. Guadalquivir was born.
He was also a guitarist for the stars of Rock Andaluz, Triana, between 1981 and 1983.
In 1990 he founded Arrajatabla, together with Raimundo Amador. They won the gold award at the “Band Explosion” festival in Tokyo, Japan. Arrajatabla recorded a now classic album called Sevilla Blues, which features a marvelous collection of Flamenco, Jazz, Blues and other fine herbs.
In 1996 he formed world music band Manteca, with which he recorded two CDs, Pa Darte Gloria and Bailando Con Cabras. Both albums were released in Europe and Southeast Asia, featuring high quality instrumentation and well known guests, including saxophonist Jorge Pardo.
With the new millenium, in 2002, Manglis founded Manglis Compas Machine. He met Singaporean (of Indian origin) percussionist and tabla player Nantha Kumar. Together they recorded the CD Mandala.
Manglis Compas Machine has participated in numerous festivals. It’s been over thirty years dedicated to world music hybrids
Guadalquivir, with Guadalquivir (EMI Harvest, 1978) Camino Del Concierto, with Guadalquivir (EMI Harvest, 1980) Después Del Silencio, with Guadalquivir (Caskabel, 1983) Sevilla Blues, with Arrajatabla (Fonomusic, 1992) Escalera Al Cielo (Movieplay, 1981) Dandy (Movieplay, 1983) Pa’ Darte Gloria (Fonomusic, 1996) Bailando con Cabras (Fonomusic, 1998), Mandala (Factoría Autor, 2006)
Spanish, born in Tangiers of Spanish parents from Andalusia on the 29th July 1955, Eduardo is the seventh son in a family of eleven, nearly all of whom are talented artists or musicians. Two of them, his brothers Jose (a painter) and Salvador (a drummer) along with Eduardo, are Internationally acclaimed and respected artists.
Niebla’s first musical encounter was with his brother’s accordion at the age of five. Three years later, his older brother Antonio gave him his first guitar. By this time the family had moved to Gerona in the Northeast of Spain.
At the age of eleven Eduardo formed his first folk/pop band Los Helios. They regularly performed in schools. In addition he made radio appearances with his sister Pilar, featuring poetry reading with flamenco guitar accompaniment. In 1966, Niebla with his brother Felix (double bass) and Salvador (drums and percussion) formed the Guevara Group. They appeared at many concerts and folk festivals throughout Catalonia.
In 1968, as a member of the new band Metafora, Eduardo had his first taste of electronic music, inspired by the works of Jimi Hendrix. They also performed in concerts and festivals throughout Spain. In 1973 he turned professional and founded the progressive symphonic rock band Atila. In addition to touring, they produced three hugely successful albums: The Beginning of the End (New Promotions), Intentions (BASF) and Reviure (EMI Odeon), composed and arranged by himself.
In 1975 Atila toured France, taking part in several exhibitions of conceptual art with the Spanish painter Jaume Xifra. Eduardo also composed, arranged and played music for the Arab Theatre of Paris. In Spain, Atila were appearing regularly at every major music festival in the country. In addition to winning various prizes and having many television appearances, they were voted one of the best groups of 1974-75 by both the Spanish public and music critics. Eduardo was voted among the seventh best guitarists in the Iberian peninsula. Atila albums are now collectors’ items.
In 1976 Eduardo became interested for the first time in performing in a duet form working with jazz guitarist Carlos Gonzalez in Seville. The duo composed pieces inspired by the works of Wes Montgomery. In 1978, Eduardo went to London and first appeared on the music scene as a studio session player.
By 1980, he had become a member of the group Mother Gong, with whom he recorded the album Fairy Tale. In the same year he was invited to Ronnie Scott’s Club to perform in a duet with free-jazz saxophonist Lol Coxhill; since then they have played together on several occasions.
In 1981 Eduardo broadened his musical horizons and composed orchestral works for films and documentaries like Active Birth, RD Laing, Pablo Neruda (Madd Knipp Productions), El Gato y la Paloma (Alan Productions) etc. He also appeared as a guest artist with the writers and poets Fran Landesman, John Cooper Clarke and Mike Horovitz on various occasions. In the same year he formed a new band under his own name.
He wrote and arranged the music for their album Towards the Sun. The members of the band were both classical and jazz musicians: Salvador Niebla (drums and percussion), Judy Garratt (violin, Boston Pop Orchestra), Dennis Milner (double bass, London Philharmonic), Mark Lorraine (French horn, New York Philharmonic Orchestra), Lol Coxhill (Saxophone), Didier Malerve (Flute -Gong), Lyn Dobson (saxophone and flute ex Soft Machine) John Mackenzie (electric bass), Elise Lorraine (vocals) and Zandy Gordon (Keyboards).
In 1981, he also collaborated with the group Tapstep. In the following year, 1982, he worked with many musicians in the jazz arena with his own Niebla Quartet.
It was in 1983 that he started the very successful Eduardo Niebla Guitar Duo. In this format he found a much more prominent vehicle for his guitar expertise. Some of the releases include Light and Shade, Eurotour, Celebration, Music Without Frontiers, Poema, etc. The act was repeatedly
acclaimed the best guitar duo on the European circuit. Some of his accompanists include Bob Grant, Emilio Maya, Antonio Forcione, Pepe Justicia., Michele Cea, Dominic Grant, Victor Unukovsky, Mark Johns, Giorgio Serci.
The Eduardo Niebla Guitar Duo appeared at every major concert venue in England, Wales and Scotland as well as at every major guitar jazz festival. In London they have performed at the Barbican and the South Bank Centres, the Wigmore Hall, the Bloomsbury Theatre and the Richmond Theatre as well as the Fairfield Halls in Croydon. They also appeared at the Wembley Arena where they were guests on the Barclay James Harvest European Tour in 1983 which took them to all major European cities. The duo tours Europe every year and has made many television appearances both on regional and national television in these countries. In 1990 at the San Isidro Fiesta in Madrid, they played at the Rockodromo Arena at the close of the ceremony to an audience of 35,000 people.
Eduardo toured South Africa, performing solo concerts with great success. He took the opportunity to do some research on the music of local tribes, which inspired him to write many new compositions. The same year the Eduardo Niebla Guitar DuoO had a new recruit: Russian jazz guitarist Victor Unukovsky. This collaboration led to the recording I Can Fly Now CD (1996). In January Eduardo met the Arab ud player from Palestine Adel Salameh. Their collaboration resulted in many international appearances at concert halls and festivals. Their work can be heard on the recording Mediterraneo CD (1996).
In August 1996 the Eduardo Niebla Live! (with Wajahat Khan on sarod and Sukhvinder Singh on tablas) had a very successful tour in Spain, culminating in a new recording Magic Nights (1996). He also toured Britain with Adel Salameh, receiving very positive and warm responses. In 1997, Eduardo teamed up with gypsy singer and percussionist Paban Dasbaul, recording a set of very beautiful and traditional Indian gypsy songs, arranged and produced by himself. In the same year he recorded duets for guitar and Indian bamboo flute, featuring Deepak Ram. He also met Indian sitar virtuoso, Purvayan Chattergee, culminating in a set of new compositions and recordings.
In 1998, Eduardo Niebla Guitar Duo undertook a very intense and successful tour of Europe, presenting an electrifying program of his compositions featured on his new CD. Concert after concert he left audiences spellbound, and repeatedly received standing ovations. In the same year he also started THE EDUARDO NIEBLA EXPERIENCE, comprising tabla player (Sanjay Jhalla) and guitar accompanist, Giorgio Serci. Concerts followed in Spain and in the UK. 1999 has brought further intensive touring in Europe and Ireland as well as the UK – followed by the release of his latest CD “The Gift” this September.
Eduardo has also produced recordings for many other musicians and collaborated in countless productions that have encompassed the whole spectrum of musical styles. Artists include Belinda Carlisle, Tom Newman, Gary Grant, The Sailors and George Michael to name but a few. After all these years of dedication to composing, arranging and performing music distributed world-wide, Eduardo Niebla has now achieved international recognition for his expertise and creativity on the guitar.
Towards the Sun (1981) Light and Shade, with Antonio Forcione (Sol International Records, 1984) Eurotour, with Antonio Forcione (Sol International Records, 1985) Celebration, with Antonio Forcione (Venture, 1987) Music Without Frontiers, with Antonio Forcione (1987) The Alexander Project, with A. Foulcer (1988) Sequence for Guitar (1990) Work for Three Arts (1991) Spanish Projects (1992) The Sailors (1992) Poema, with Antonio Forcione (Jazzpoint Records, 1992) Breathing (1993) I Can Fly Now (Sol International Records, 1996) Magic Nights (1996) Mediterraneo, with Adel Salameh (1996) The Gift (LMR Records, 1999) Natural ( LMR Records, 2003) Lights from the Inner Side (LMR Records, 2004) My Gypsy Waltz (LMR Records, 2010)
“Playing With Fire” (7D Media, 2918) by Deep Energy Orchestra is a great example of electric fusion, where Indian classical, progressive rock and jazz find a common ground. The Deep Energy Orchestra is characterized by the mesmerizing sounds of the Warr guitar, exquisite electric violin and masterful tabla.
The Deep Energy Orchestra lineup includes bassist and composer Jason Everett (Mister E), progressive rock virtuoso Trey Gunn (King Crimson), Indian percussion maestro Selvaganesh (John McLaughlin, Masters of Percussion), 7-string violin wonder Radhika Iyer and a Seattle-based classical string ensemble featuring Rachel Nesvig on violin, Aleida Gehrels on viola and Phil Hirschi on cello.
“Playing With Fire” is cutting edge, forward-thinking fusion at its best.
One of the defining bands in the history of Chilean music, the members of Los Jaivas first began playing together in 1963, and their sound soon grew into a genre almost all its own: progressive Andino rock. Mixing elements of South American ancestral and folk music with progressive rock, Los Jaivas emphasized elements of improvisation on ethnic instruments such as the tutruka, charango, tarka, tumbadoras, bongo and maracas, while jamming with the intensity and power of a progressive rock band, all the while adding symphonic touches to it all.
But more than just a band, Los Jaivas represented for many the freedoms and liberties associated with the Socialist movement in Chile in the late 1960s and early 1970s. Many artists decided to return to their native country’s own musical roots for inspiration instead of merely following foreign trends, and Los Jaivas took that one step further with their unique fusion of the two, making complicated and challenging folk music in the Andean tradition that spoke to the Chilean people in a time of change.
Following the military coup in 1973, Los Jaivas went into self-imposed exile in Argentina and France, where they were well received by foreigners and Chilean ex-patriots. 1977’s Cancion del Sur quickly became a classic of Chilean music, but probably their greatest success came in 1981 when they were asked by a Peruvian friend and film producer who was also exiled in France to compose music for Pablo Neruda’s masterwork Las Alturas de Machu Pichu (The Heights of Machu Pichu).
Composed as an epic rock opera, the band took the challenge one step further, and got permission to perform the new record on top of Machu Picchu itself, the world-famous ruins of the Inca Empire which sit perched high in the mountains of Peru. One of the truly great concerts in the history of South American music, the show was made possible with the help of the Peruvian government (helicopters lifted the grand piano and sound system to the peaks) and financed almost completely by Los Jaivas themselves, and was a major television event in Chile when it was finally broadcast on TV.
In August 2003, Los Jaivas celebrated 40 years in music, and their album Las Alturas de Machu Picchu was honored by Absolut vodka in May 2005 as one of the masterpieces of Rock en Español.
Ariane De Bievre plays flutes and percussion. She studied classical flute and also mastered the bansuri (Indian flute). She is also a skilled percussionist. She plays bodhran, bendir, daf and other instruments.
Ariane has performed with Julos Beaucame, Satya, Karo-Trio-Flute, Ten Strings, Univers Zero and Galician Celtic band Camaxe.
Peter Gabriel has earned a worldwide reputation for his support of world music, his groundbreaking work as a progressive rock pioneer, his innovative recordings as a solo musician and writer, and for and his creative video productions.
Gabriel was born February 13, 1950 in Cobham (Surrey, England). While at school in 1966 he was a member of two bands The Spoken Word and The Garden Wall. The latter included two schoolmates, keyboardist Tony Banks and guitarist Anthony Phillips. In 1967 Gabriel, Banks, Phillips and bassist Mike Rutherford formed Genesis which would later become one of the most famous progressive rock bands of all times.
Initially, Peter Gabriel was a flute player but soon became the lead vocalist. He also became the main lyricist for Genesis. Gabriel also introduced theatrical elements to the band’s shows. He used makeup and various costumes during the band’s live performances. Genesis became a legendary band thanks to its charismatic vocals, its elaborate lyrics, outstanding music and innovative visual effects. Progressive rock fans worldwide consider the band one of the finest in the history of the genre and numerous groups and singers were heavily influenced by Genesis and Peter Gabriel.
In 1975 after tensions during the recording of the double LP The Lamb Lies Down on Broadway, Peter Gabriel left and started his solo career. Soon, Peter Gabriel reached success with a series of pop hits such as “Solsbury Hill,” “Here Comes The Flood,” “Games Without Frontiers” and the anthemic “Biko,” a tribute to slain South African activist Steven Biko.
In 1980 he got together with a group of people to found word music organization WOMAD (World of Music Arts & Dance). In a series of international festivals held in various countries and continents each year WOMAD brings together traditional and modern world music as well as arts and dance from every corner of the globe. Peter Gabriel is currently an advisor on the board of WOMAD.
Shortly afterwards Peter Gabriel established Real World Studios in Wiltshire England designed as an ideal environment for performance. It also became the base for Real World Records a label that is dedicated to recording and promoting a wide range of world music and eclectic artists.
Gabriel has released over 1 albums and in 1986 he won his first Grammy with his seventh album So. The videos from this project established him as a leader in video production and included ‘Sledgehammer ‘ which won the most music video awards ever including a No. 1 position in Rolling Stone’s top 1 videos of all time.
Peter Gabriel has been involved in a broad spectrum of human rights and environmental issues. His song,Biko, was the first pop song which talked about the effects of apartheid and in 1988 and 199 he was involved in the Nelson Mandela concerts at Wembley. In 1988 he also worked with Amnesty International to set up the Human Rights Now tour visiting many countries with Sting Bruce Springsteen Tracey Chapman and Youssou N’Dour.
Following this he initiated the,Witness” program which was launched in 1992 in conjunction with the Reebok Foundation in the USA. The organization aims to arm human rights activists from around the world with hand-held video cameras and other tools of mass communication. To date they have supplied hundreds of cameras to over fifty countries and have also set up a bi-weekly Witness web broadcast via Macintosh’s Quicktime Channel.
In 1989 Gabriel visited the USSR to help launch Greenpeace and also contributed to the One World One Voice album – a collaborative project which featured artists from all over the world.
The first two-CD anthology of Peter Gabriel’s solo career Hit (Geffen/Universal Music) was released November 4 23. Simultaneously the record company released Growing Up Live a long-form concert DVD from Gabriel’s most recent tour up to that point. Hit was compiled with Gabriel’s full participation. It featured 29 recordings each newly remastered. Three of the selections were previously unreleased: Burn You Up Burn You Down, the radio edit of “Blood Of Eden” (the original is on the Us album) and a live “Downside Up” (the original is on Ovo).
At the end of 1997 Gabriel was invited by Mark Fisher to help create a show for the central space of the London Millennium Dome. 1998 was spent brainstorming ideas on the narrative and visual concept. In 1999 while continuing to be involved with the show’s development Gabriel composed the music. The show was opened on January 1st 2000.
Peter Gabriel’s music was censored after the September 11, 2001 attacks. Clear Channel Communications one the largest radio networks in the United States sent out of a list of 15 songs that were recommended to be pulled from airplay. One of the songs on the list was When You’re Falling, a collaboration between Gabriel and Afro Celt Sound System.
In the year 2000 Peter Gabriel entered the world of digital music distribution. He founded On Demand Distribution (OD2) together with Charles Grimsdale. The objective of the company is to sell and promote the music that the company manages through a diverse set of on-line retailers and to find new channels for music sales. These services will allow record labels and artists to securely distribute digital music and get paid.
The album Scratch My Back was released in 2001 and consists of cover songs written by David Bowie Lou Reed Arcade Fire Radiohead Regina Spektor Neil Young and others. The concept for the record was that Gabriel would cover songs by various artists and those artists in turn would cover Gabriel’s on a future follow-up album. The follow-up finally came out in 2013 titled And I’ll Scratch Yours.
Emily Burridge works internationally as a cellist (she started playing the cello at the age of five), singer, composer and producer. She usually collaborates with renowned artists in the alternative musics, such as for example Gandalf, who plays in Footsteps in the Sand, together with other musicians. Emily also works in soundtracks, and keeps an intense activity with respect to concerts. Her voyages and contacts with the native cultures of South America have made her into a woman who is concerned with the cultural preservation of minorities, and have provided her with an unusual artistic background.
Footsteps in the Sand is Emily Burridge’s second CD release. The album evolved from the personal experiences of Emily when she was living on the North East coast of Brazil. Seeking out tradition and armed with her portable digital recorder, she traveled on local buses to isolated places and visited rural communities. She recorded both tribal groups and individuals singing chants and songs. From these people she discovered a folkloric world, rich in musical diversity.
Produced in studios in Brazil, Austria & England, Footsteps in the Sand features musicians from all these countries. In her music, Emily is capable of gathering, in a truly spontaneous way, elements derived from her Classical upbringing, together with those coming from the ethnic musics she has lived with. Blending her vocals and sonorous ‘cello with percussion and classical harmonies, together with the aforementioned location recordings, she has created in sound a virtual Brazilian environment.
Emily Burridge’s music crosses over into various genres, including New Age, Classical, world music, and ambient.
In recent years she has collaborated with guitarist BJ Cole in a series of albums with crossover duos for pedal steel guitar and cello.
Earth Songs (White Horse World Music 1994, remastered in 24)
Footsteps in the Sand (White Horse World Music, 2004)
Bridge between Worlds (White Horse World Music, 2006
Out of the Blue (White Horse World Music, 2010)
Into the Amazon (White Horse World Music, 2010)
Into the Blue, with BJ Cole
The Gnossienne Suite, with BJ Cole (2011)
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion