Azarbe is a folk music group that was formed in Murcia in 1999 with a classic format of the traditional bands of the Spanish Southeast.
The majority of its members come from the traditional music scene, and they had experience performing in well-known groups such as Cuadrilla Maquilera, directed by Manuel Luna.
The group has a wide repertoire rooted in the strength of traditional Murcian tunes (aguilandos, jotas, malagueñas, marches, etc.) and original songs that incorporate influences from the entire Mediterranean musical arch.
Acuarela de mi tierra Producciones (Trenti, 2001) Cuerdeando (B. Producciones, 2003) De la huerta al noroeste (Sonopress, 2007) Vengo de la romería (Discmedi, 2010) Murcia por Navidad (Surefolk, 2012) 15 años de folk (El Sr. Guindilla Records, 2015)
Atlántica was formed in 1988, months after Marcos Bárcena and Kate Gass met in France, at the Saint Chartier International Traditional Music Festival. After that, they worked in the field of traditional music, first as a duo and later as a quartet with percussionist Miguel Cobo and accordionist and keyboard player Ramón Bueno.
The band’s versatility was one of their principal assets. The sheer variety and quantity of the instruments Marcos Bárcena and Kate Gass played in their concerts was remarkable, because both musicians share a multi-instrumental approach and a knowledge of the music of Celtic roots from many countries.
Their first album, called simply Atlántica, appeared in 1996. While working together as a duo, Marcos Bárcena and Kate Gass also found time to be members of Luétiga, a group devoted to research, arrangement and interpretation of Cantabrian folk music (Cantabria is a region in the north of Spain located between Asturias and the Spanish Basque Country).
With Luétiga, Marcos Bárcena and Kate Gass recorded three albums: La Ultima Cajiga (1992), Nel el Vieju (1994) and Cernula (1996). They also took part in the Misa Popular Cántabra, a folk mass composed by Nobel Samano, which was performed by Luétiga with two choirs and a group of dancers.
In 1998 Marcos Bárcena and Kate Gass decided to leave Luétiga to follow their own musical direction and put all their energies into their own projects, mainly recording the second Atlántica album, Transitus and arranging a live repertoire as a quartet, combining Celtic pieces from Ireland, Scotland, Brittany and North America with music from Cantabria, Galicia and Asturias
Atlántica also performed concerts with conferences about Cantabrian folk music for senior citizens and high school students, they animated ceilidhs with the aid of two callers, and participated, together with the Markab Theatre Company, in La Leyenda de los Besos, a musical play based on a short story by Manuel Llano.
The band had a show for kids called Atlántica con el Medio Ambiente, where they combined music with dances, games and stories about the environment. During the 1990s Atlántica was present in most folk festivals in Cantabria and the band played in many other places throughout Spain, as well as in Portugal and Wales.
Atlántica’s performances in more than sixty schools in Cantabria gave it extensive experience with kids.
Transitus includes dance tunes and songs from Cantabria and other Celtic regions, together with their own compositions in traditional style. By Transitus they meant to define a meeting point between the musical traditions of different places sharing common roots. It is a musical journey where they try to give their own vision of Celtic music, a global vision born out of their own experiences and contacts with this world. Transitus means a transit both through space, since they took the listener to the music of different countries, and through time, reflecting several periods, with a nod to the Iron Age men and a wish for the survival of traditional roots and the union of the nations.
The group disbanded in January of 2006. Ramón, Miguel and Jorge stayed together and formed another band named Garma.
Kate rested from music for 2 years for various reasons including the stress of working in a men’s world and being a single mother with 2 adolescents, and a sick mother. Marcos went on a spiritual adventure for a year and a half from which he returned in 2007 and later released an album of his own compositions, titled Marcos Barcena.
In May 2007 Kate took up her musical career again, this time as a solo artist working on a project called “Solistas Internacionales” with Paco Diez (Spain), Wafir (Sudan), Magali(Peru), Yoshie (Japan) and Laurent (France).
Atlántica (Several Records, 1996) Transitus (Resistencia, 1998) La luz del iviernu Lugas (El Tripulante, 2000) Lugas (El Tripulante, 2001) En directo (RTVE Música, 2002) Desde esta orilla (RTVE Música, 2004)
Amparo Mercedes Sánchez Pérez was born in Alcalá la Real (Jaén) on September 24, 1969. She grew up in Granada.
While in Granada, Amparo Sánchez joined her first band, the Correcaminos (Roadrunners) at 16.
In 1993 she moved to Madrid where she recorded her first album titled “Haces bien” (Fábrica Magnética). Later, she formed the group The Gang.
In 1995, accompanied by her guitar, she performed her own songs and some covers in Madrid’s famed Malasaña neighborhood. Together with La Vacazul, she formed a group called Ampáranos del blues, with which he toured parts of Spain and made her way to France.
Manu Chao and Radio Bemba were living in Malasaña at the time. Amparo married Manu Chao and they stayed married for several years.
Amparo served beer in a bar called Tio Vinagre, a place where musicians jammed on guitars, cajones and bongos. This led to the creation of Amparo’s celebrated mestizo music band Amparanoia.
Amparanoia’s 1997 debut album, El Poder de Machin, had deep Latin American influences.
In 2000, she discovered Mexico’s diverse art and its people: music, painting, Frida Kahlo, Chiapas and the revolutionary movement.
Amparanoia suffered a tragedy in 2004. On Saturday, October 9th, 2004, Amparanoia’s piano player, Caridad Borges, died in a car accident in Camaguey, Cuba. She was driving with her husband, Jose Alberto Varona, Amparanoia’s trumpet player, and her daughter Carirosa. Both Jose and Carirosa were critically injured and fighting for their lives.
In 2005, accompanied by her three musicians, she stayed for one month in the Zapatista community La Realidad. There, she recorded the song Somos viento.
In 2008, she disbanded Amparanoia and decided to continue her career as a soloist.
In 2010, Amparo released her first solo album, Tucson-Habana with an acoustic repertoire composed entirely by herself, with the exception of the song “La Parrandita de las Santas”, by the Cuban composer and singer Mane Ferret. It was recorded in two stages, one in 2007 in Tucson, Arizona and the other in 2009 in Havana, Cuba. The album includes a collaboration with Omara Portuondo.
In 2012 she released Alma de Cantaora, 13 songs that featured various high profile guests: Caléxico; Baby; De Pedro; Mane Ferret; Arianna Puello; Muerdo; Howe Gelb; and Charlat’58 and Bongo Botrako.
In 2014 she released the album Espíritu del sol. That same year Amparo published the book La niña y el lobo.
Amparo ractivated Amparanoia in 2017. The band released ‘ El Coro De Mi Gente ’, a reinterpretation of ‘El Poder de Machín’, the record she released exactly 20 years earlier, and was a landmark in the Spanish music scene of the 1990s.
Aljibe plays contemporary folk based on the traditional music of Castile, La Mancha and other parts of Spain.
Aljibe has been working since 1985, investigating and reworking traditional songs to make them attractive to all types of audiences.
This veteran group has the classical instrumentation of the Castilian groups, supported by contemporary instruments and influences from other cultures as well. The style has evolved over the years, pure compilation to developing new material based on traditional forms such as seguidillas, fandangos, torrás.
Juan Rodríguez Tembleco: Solo voice, accordion, bagpipes, charro bagpipes, saxophone, bandurria and lute. Founder of Azada y Aljibe. He has collaborated with Paco Díez and La Bazanca. He also participated in other groups such as the Captain Street Big Band and the Municipal Band Joaquín Rodrigo de Aranjuez.
Luis Ramón Martín: Bandurria, lute and Spanish guitar. He began with the group La Picota de Yepes and later joined Aljibe. He is one of the best plectrum musicians of Castilian music.
José Manuel Rodríguez Tembleco: Voice, bandurria, lute, electric bass and percussion. A member of Aljibe since the very beginning, he stands out for his enormous rhythmic capacity in Spanish and Arabic percussion. Sound technician of the group.
Domingo Martínez: Spanish and acoustic guitar, manchego guitar. Started in music in the Orquesta de Plectro y Púa Vicente Aleixandre. He has performed with several jazz, classical, and country acts always as a string player, playing lute and banjo.
Luis Miguel Novas: Flutes, clarinet, dulzaina and bagpipes. He completed the recorder flute degree with Professor Álvaro Marías at the Royal Conservatory of Music of Madrid, obtaining an graduated with honorable mention. He has worked and collaborated in bands such as the Real Capilla de Madrid and La Bazanca.
Manuel Marcos: Voice, piano, keyboards, guitar and percussion. He studied piano at the Royal Conservatory of Music of Madrid with José Luis Fajardo. He has been a member of the Dioptrías Blues Band, and the group Algarabía. He has collaborated in recordings such as Mañana de Navidad, with the group La Berza.
Teodomiro Rodríguez: Electric bass, flutes and percussion. Founder of the Nueva Castilla group and later, of Aljibe, he left the group twice to work in Warsaw and Prague at the Cervantes Institute.
Teresa García: Voice, violin and percussion. Classically-trained, she collaborated with several Galician bands before joining Aljibe.
Temas Infantiles Tradicionales de la Comunidad de Madrid (Saga, 1987) Surco arriba, surco abajo (Saga, 1987) Felices Nusotros (Tecnosaga, 1989) Gañanes, gancheros y otras faenas (Several Records, 1991) La Marca del Oricuerno (Several Records, 1997) El Motín de Aranjuez (Several Records, 1998) Penas y Alegrías (Sonifolk, 2002) Al lado del Mediodía (Galileo, 2002) Enea (self-released, 2011) Agua. Músicas Tradicionales de la cuenca del Tajo (Doce Calles, 2018)
Aliara was formed in November 1978 with the aim of
recovering and promoting the traditional folk music of the Valle de los
Pedroches, a region north of the province of Córdoba, in the Sierra Morena. Due
to its historical-geographical characteristic, the Pedroches has served as a crossroads
and an obligatory passage between Castile, Andalusia and Extremadura, thus
forming a peculiar autochthonous folklore with numerous influences.
Through constant research work since its inception in 1978, the experiences and the broad musical background of its members, a deep knowledge of Andalusian traditional music emerged. Aliara has a repertoire of more than 90 native songs, which can be configured different types of concerts, always trying to keep a balance between the musical development of traditional songs and its rigor and historical purity.
The name Aliara comes from a container made with a hollow
bovine horn where you can transport the vinegar and oil to dress the meals.
Doroteo Amor Antoli – Voice, flutes and whistles; Javier
Jaramillo Perez – Voice and guitar; Alberto – Percussion, voice and guitar; Maria
Jose Luna Sanchez – Voice and Percussion; Susana Luna Sanchez – Voice and
Percussion; Fernando Sanchez Fernandez – Laud, rabel and percussion; Bartolome
Sanchez Fernandez – Bandurria, Guitar and percussion; and Rafael Sanchez
Fernandez – Bass.
Spanish flamenco and ballad singer Antonio José Cortés Pantoja, better known as Chiquetete, died in Seville, Spain on December 16, 2019 after surgery complications. He was 70 years old.
Chiquetete (the boy) was born in Algeciras, Cádiz, on July 26, 1948 in a gypsy family. The household relocated to Seville when he was 8 years old. At 12, he joined the group Los Algecireños (later called Los Gitanillos del Tardón) with Manuel Molina Jiménez and Manolo Domínguez “El Rubio”. At that time he adopted the artistic name of his maternal uncle, known as El chiquetete de Jerez.
In 1976, he won the Mairena del Alcor Prize. After that, he began his solo career with the recording Gitano yo he nacio in 1977 and Triana despierta (1979), accompanied by acclaimed guitarists Paco Cepero and Enrique de Melchor.
He was a flamenco singer until 1980. Chiquetete’s LP Altozano meant a radical shift in his career as he entered the romantic ballad genre with flamenco influences. This was followed by Tú y yo in 1981.
In 1988 he released Sevilla sin tu amor, which included one of his greatest hits: A la Puerta de Toledo. A year later he released Canalla, with songs composed by romantic ballad hit maker Juan Pardo, although this album was not as successful as previous efforts.
In the 1990s he released three albums. After retiring for a few years, Chiquetete came back with Como la marea (2004), produced by his son Fran Cortés.
In recent years, Chiquete continued performing traditional flamenco and ballads.
Spanish singer-songwriter Javier Ruibal will be presenting his new album titled “Paraísos Mejores” (Better paradises) at Sala Galileo Galilei in Madrid on December 14 and 15.
Javier Ruibal is the recent winner of the National Prize of Current Music. He’s one of Spain’s finest songwriters and his music is rooted in Andalusian traditions, including flamenco, as well as Mediterranean and North African influences and jazz.
The album was produced by Javi Ruibal, Javier’s son, and features some of Spain’s finest instrumentalists: Jose Recacha, Manuel Machado, Federico Lechner, Victor Merlo, Diego Villegas, and Faiçal Kourrich. Arrangements include wind and strings sections.
Vigüela has captured the essence of Spanish folk music as performed in village homes, festivities and celebrations in the province of Castilla-La Mancha and beyond. The group performs their materials on folk instruments and kitchen utensils such as guitarros manchegos (small guitars from Castile-La Mancha), castanets, frame drums, the zambomba friction drum, folk guitars, triangles, the bowed 1-stringed rabal, lutes, jars, bottles, mortar and frying pans.
The rest of the chart:
2. SANS – Kulku – Cloud Valley
3. Ammar 808 – Maghreb United – Glitterbeat
4. Samba Touré – Wande – Glitterbeat
5. Anandi Bhattacharya – Joys Abound – Riverboat / World Music Network
6. Fatoumata Diawara – Fenfo – Montuno / Shanachie / Wagram
7. Minyeshu – Daa Dee – ARC Music
8. Baul Meets Saz – Namaz – Seyir Muzik
9. Grupo Mono Blanco – ¡Fandango! Sones Jarochos de Veracruz – Smithsonian Folkways
10. V.A. – Two Niles To Sing a Melody: The Violins & Synths of Sudan – Ostinato
11. Chancha Vía Circuito – Bienaventuranza – Wonderwheel
12. Angelique Kidjo – Remain in Light – Kravenworks
13. Yossi Fine & Ben Aylon – Blue Desert – Blue Desert
14. Arat Kilo, Mamani Keïta, Mike Ladd – Visions of Selam – Accords Croisés
15. The Turbans – The Turbans – Six Degrees
16. Cimbalom Brothers – Testvériség / Brotherhood – Fonó Budai Zeneház
17. Marta Gómez – La Alegría y el Canto – Aluna
18. Eliades Ochoa & Alejandro Almenares – Dos Gigantes de la Música Cubana – Tumi
19. Harouna Samake – Kamale Blues – One World
20. Stella Chiweshe – Kasahwa: Early Singles – Glitterbeat
21. Sväng – Sväng Plays Tango – Galileo Music
22. Sekou Bah – Soukabbè Mali – Clermont Music
23. Cemîl Qoçgîrî & Manuel Lohnes – Bêdawîtî – Ahenk Müzik
24. Opium Moon – Opium Moon – Be Why Music
25. Red Baraat – Sound the People – Rhyme & Reason
26. Bombino – Deran – Partisan
27. Hermeto Pascoal – Hermeto Pascoal e sua Visão Original do Forró – Scubidu
28. Riccardo Tesi & Banditaliana – Argento – Visage
29. Small Island Big Song – Small Island Big Song – Small Island Big Song
30. Dur-Dur Band – Dur-Dur of Somalia: Volume 1, Volume 2 & Previously Unreleased Tracks – Analog Africa
31. Alba Griot Ensemble – The Darkness Between the Leaves – Riverboat / World Music Network
32. Jaune Toujours – Europeana – Choux de Bruxelles
33. Mehdi Rostami & Adib Rostami – Melodic Circles – ARC Music
34. Catarina Dos Santos – Rádio Kriola – ARC Music
35. Ann O’aro – Ann O’aro – Buda Musique
36. Okonkolo – Cantos – Big Crown
37. Markus & Shahzad – Tumba ! – Dionysiac Tour
38. Monsieur Doumani – Angathin – Monsieur Doumani
39. Nancy Vieira – Manhã Florida – Lusafrica
40. Bokanté + Metropole Orkest – What Heat – Real World
Throughout September and October, the Spanish-speaking nations and Hispanic residents in the United States celebrate Hispanic Heritage Month (Sept. 15-Oct. 15) in the United States. Other countries celebrate the Dia de la Hispanidad (Hispanic Heritage Day).
During the monthlong Hispanic Heritage Month celebration, the United States honors the culture and traditions of U.S. residents who trace their roots to Spain, Mexico and the Spanish-speaking nations of Central America, South America and the Caribbean. World Music Central has put together a list of recent recordings that showcase the diversity of Hispanic music.
Old-School Revolution is an irresistible album by the Hip Spanic Allstars, a new supergroup that brings together members of iconic bands Santana, Tower of Power, Spearhead, and Los Mocosos.
The multinational band celebrates and updates the exciting music made in the 1970s where Spanish Caribbean salsa and Latin jazz met rock and African American soul and funk.
One of the most exciting artists out of Cuba is Eme Alfonso, a talented artist that grew up in a family of groundbreaking musicians, Grupo Sintesis. Her album discography includes Eme (Colibrí) and Voy. Eme has been releasing a series of mesmerizing videos with her latest songs, including:
Cuba is also a land of extraordinary pianists. This is year there has been a wave of albums by some of Cuba’s finest, who combine jazz and Cuban roots music: Alfredo Rodríguez – The Little Dream (Mack Avenue MAC1130, 2018), Dayramir González – The Grand Concourse (Machat Records, 2018), and Un Día Cualquiera by Harold López-Nussa (Mack Avenue).
Cuban pianist and composer Omar Sosa has a new album with fellow Cuban vocalist and violinist Yilian Cañizares titled Aguas, scheduled for release on OTA Records on October 5, 2018. Afro-Cuban roots meet Western classical music, and jazz.
The legendary Cuban guitarist, vocalist and songwriter Eliades Ochoa (of Buena Vista Social Club fame) has released a delightful instrumental album with Cuban guitarist Alejandro Almenares – Dos Gigantes de Música Cubana (Tumi Music, 2018).
One of the iconic Cuban albums of the 1990s, A toda Cuba le gusta (World Circuit) by Afro-Cuban All Stars has been remastered and reissued on vinyl.
Canada-based Cuban musicians Okan (Elizabeth Rodriguez and Magdelys Savigne) have a debut EP titled Laberinto, scheduled for release October 19, 2018. Okan mixes fusion jazz, traditional Cuban music, Mexican influences and jazz swing.
With 127 million residents, Mexico is the largest Spanish-speaking country. The Mexican diaspora has brought mariachi music, norteño and son jarocho to the United States. Mariachi Herencia de México, formed by students from Chicago’s Mexican-American neighborhoods has a new album titled Herencia de la Tierra Mía (Heritage of My Land).
The charming self-released album features iconic Mexican American world music artist Lila Downs, Mexican mariachi star Aida Cuevas and Mexican harp virtuoso Ivan Velasco Herencia de la Tierra Mía includes sones, passionate boleros and a delightful jarocho medley. It was produced by acclaimed Spanish producer Javier Limón, director of the Mediterranean Music Institute at the Berklee College of Music in Boston.
Mexican vocalist Magos Herrera (currently based in New York) celebrates Ibero-American (the music of Spanish and Portuguese countries) culture on her new album Dreamers (Sony Music Masterworks). Magos Herrera collaborates with the string quartet Brooklyn Rider. This is not a chamber jazz album, but rather a cross-genre recording where Magos Herrera and Brooklyn Rider invited guest percussionists on flamenco and global percussion, and flamenco star Miguel Poveda.
Magos Hererera performs songs with lyrics by renowned songwriters and poets and writers, including Octavio Paz, Rubén Darío, and Federico García Lorca. It’s a fascinating production with exquisite arrangements.
Son jarocho, with its captivating guitars and poetic lyrics combines the basic roots of Veracruz’s Mexican musical culture: Spanish guitars and poetry, indigenous rhythms and Afro-Caribbean influence. New York-based Radio Jarocho and acclaimed Veracruz musician Zenen Zeferino have released Rios de Norte y Sur.
A different take on son jarocho is the remarkable Fingertip Carnival, a collaboration between Chinese pipa (lute) maestra Wu Man and son jarocho ensemble Son de San Diego.
Smithsonian Folkways Recordings has released the self-titled album Mariachi Reyna de Los Angeles. This groundbreaking all-female ensemble has served as a role model for Hispanic women in music. This is classic spirited mariachi at its best. The album includes a 44-page booklet with notes in English and Spanish.
The highly romantic boleros are very popular across the Spanish-speaking nations. A form of rootsy guitar-based bolero has developed in Mexico’s Costa Chica region bordering the Pacific Ocean.
Gary Nuñez & Plena Libre have been touring extensively with their explosive mix of Puerto Rican plen and bomba, salsa and jazz. Amores en el Camino (Love’s Journey) is their 2018 album. The album was originally scheduled for release in 2017, but it was moved to February 2018 due to Hurricane Maria and the subsequent disaster in Puerto Rico.
Puerto Rican saxophonist and composer Miguel Zenón has released Yo soy la Tradición, his eleventh album. Yo soy la Tradición was commissioned by the David and Reva Logan Center for the Arts and the Hyde Park Jazz Festival. It is a set of 8 chamber compositions for alto saxophone and string quartet that include Zenón and the Chicago-based Spektral Quartet.
Puerto Rican-Peruvian act Zemog El Gallo Bueno (Abraham Gómez-Delgado) has combined three of his releases on YoYouMeTú Volume 3. Zemog El Gallo Bueno makes an eclectic cocktail of sounds that includes cha cha ch, salsa, guaracha, rock, funk and electronics. The album will be available November 9, 2018.
Peruvian band Dengue Dengue Dengue has a new mini-LP titled Semillero released September 2018 by On The Corner Records. The 6-track recording includes a mix of electronic music with Afro-Peruvian coastal rhythms and healing chants from the Huni Kuin people of the Amazon River.
Galicia in northwestern Spain is a land of pipers, traditionally male. The trailblazing Susana Seivane is one of the finest bagpipe players of her generation. She has just released her fifth album titled Fa.
Also from Galicia is the grand folk orchestra called SondeSeu, an orchestra featuring folk music instruments such as zanfonas (hurdy gurdies), bagpipes, flutes, drums, fiddles and vocalists. The new album Beiralua features special guests on vocals and bagpipes.
Galician experimentalist and multi-instrumentalist Mercedes Peón reconstructs tradition with a mix of electronics, rock, traditional acoustic instruments, sampled sounds, and fascinating vocal experimentation on her new album titled Deixaas.
Argentine pianist Juan Carlos Cambas has been living in Galicia since 2002. He has released “Almas en el viento / Música Argentina de raíz“. Juan Carlos Csambos has been exploring the music of countries where large numbers of Galicians emigrated to: Argentina, Cuba, Venezuela, Brazil and Uruguay.
Argentine tango and Portuguese fado come together on Tango Fado Duo (Sorel Classics). The album features Portuguese guitar virtuoso, Pedro H. da Silva and bandoneon maestro Daniel Binelli. Together, they delve into two of the most passionate musical genres in the Hispanic and Lusophone world.
American keyboardist Stu Mindeman collaborates with Chilean musicians on the exquisite Woven Threads, mixing jazz, Chilean music and global rhythms.
Folk music band Aljibe, from Central Spain, explores the music of the Rio Tajo (Tagus River) basin on Agua. The band presents reconstructed traditional music from Castile and other regions. The CD is housed in a beautifully-packaged hard cover 144-page book with vintage photos and lots of details about the songs selected.
Chano Dominguez started as a progressive rock keyboardist with Andalusian rock band Cai and has become one of the leading flamenco jazz pianists. His most recent album is a collaboration with Spanish jazz bassist Javier Colina: Chano & Colina (Sunnyside, 2018)
Colombian singer-songwriter Marta Gómez released La alegría y el canto (Aluna Music), an album featuring well-known musicians from South America, Cuba and Spain.
Brazilian music is the focus of Colombian singer-songwriter Chabuco’s 2018 album Encuentro. It’s a nicely-crafted encounter between the tropical music of Colombia and Brazilian music, featuring Brazilian musicians.
One of the hottest musical styles in New York’s Hispanic community was bugalú (boogaloo), a hybridization of Latin Caribbean music and African American influences. New York City-based band Spanglish Fly has renovated boogaloo and released Ay Que Boogaloo! (Chaco World Music) earlier this year. This time Spanglish Fly ventured beyond boogaloo, adding bolero, New Orleans funk, swing jazz, Arabic chants, and other innovations.
Los Texmaniacs plays the border music of Tejas (Texas), Tejano music. Their latest album Cruzando Borders (Smithsonian Folkways Recordings, 2018) brings together Spanish, Mexican and American country music roots. Guest includes Lyle Lovett and country singer Rick Treviño.
Orquesta Akokán – Featuring José “Pepito” Gómez (Daptone Records) is an encounter between a big band collective of Havana’s finest musicians and musicians from New York’s Latin music scene with mouthwatering mambo as the common language.
Various string instrument masters appeared live at a festival in the Czech Republic and recorded Strunk Nad Oslavou – Strings over the Oslava River 2016 (Indies Scope, 2017). The lineup included Germán López, one of the finest timple (a small Spanish guitar from the Canary Islands) players in the Canary Islands, Spain; along with Italian guitarist Antonio Forcione; Senegalese kora master Seckou Keita; and Czech mandolin virtuoso Martin Krajíček.
Makrú, a band from the Mission District in San Francisco combines skillfully Colombian and Caribbean music, flamenco, rock, Middle Eastern flavors and much more on – Tu Mission (Makru Music, 2018)
Canadian flute virtuoso Ron Korb celebrates the music of Latin America and Spain on World Café, featuring Cuban and Canadian musicians with a mix of melodic jazz, tango, rumba flamenco and other influences.
Paraguayan harp player Carlos Reyes collaborates with Brazilian guitarist and vocalist Badi Assad and American blues guitarist on Blues & Latin, a combination of blues, smooth jazz and South American sounds.
Los Romeros: Royal Family of the Spanish Guitar by Walter Aaron Clark (University of Illinois Press, 2018) is an depth look at the leading Spanish guitar family in the United States, the Romeros. The family tradition was started by Spaniard Celedonio Romero who emigrated to the United States in the 1950s.
Beiralua is the fifth album from Sondeseu, one of the great folk music orchestras in Europe. The large ensemble from Spain’s Galicia region celebrates traditional music and new works by Galician composers such as Rodrigo Romaní, Xosé Luis Romero, Quico Comesaña, Luis Emilio Batallán, Pedro Lamas and Anxo Pintos.
SonDeSeu’s sections include bagpipes, percussion, zanfonas (hurdy gurdies), fiddles, requintas (Galician wooden flutes), vocals, harps and plucked strings (bouzoukis). It’s a charming and beautiful sound that highlights unconventional instruments like the zanfona, bagpipes and other instruments in an orchestral context.
Guests include acclaimed vocalist Rosa Cedrón, the Treixadura Orfeón, piper Susana Seivane and orchestra founder Rodrigo Romaní.
SonDeSeu was founded in 2001 by Rodrigo Romaní in the former department of Traditional Music of the School of Arts and Crafts (today E-Trad), at the current Municipal School of Folk and Traditional Music of Vigo.