Dalla have ignited the traditional music of Cornwall with their boundless imagination and irrepressible, infectious approach to the music. They love their native culture, and with their combination of intimate familiarity with this unique tradition, unparalleled 'pedigrees' in the Cornish music revival, and their wealth of ideas (and ability to make them work) - there are no musicians better equipped to do this music justice.
The line up includes clarinet, bouzouki, fiddle and vocals, and the repertoire is a mixture of instrumental pieces and songs in both English and Cornish (a Celtic language similar to Breton or Welsh). Some of the material is old, some new, and all of it is Cornish. Outside influences can undoubtedly be heard in Dalla's music however, and this is as much a product of Cornwall's own rich cosmopolitan history as it is of the diverse backgrounds and adventurousness of the individual members.
1 Dean Younk a Gernow (Young Man of Cornwall) 2 Tane an Gove (The Smith's Fire) 3 Bal Maidens' Chant 4 King of Sweden 5 Can Dilly (Dilly Song) 6 Tansys Golowan (Midsummer Bonfire) 7 Crantock Games 8 Descent 9 Seventeen Come Sunday 10 Hernen Rooz (Red Herring)
Dalla have ignited the traditional music of Cornwall with their boundless imagination and irrepressible, infectious approach to the music. They love their native culture, and with their combination of intimate familiarity with this unique tradition, unparalleled 'pedigrees' in the Cornish music revival, and their wealth of ideas (and ability to make them work) - there are no musicians better equipped to do this music justice.
The line up includes clarinet, bouzouki, fiddle and vocals, and the repertoire is a mixture of instrumental pieces and songs in both English and Cornish (a Celtic language similar to Breton or Welsh). Some of the material is old, some new, and all of it is Cornish. Outside influences can undoubtedly be heard in Dalla's music however, and this is as much a product of Cornwall's own rich cosmopolitan history as it is of the diverse backgrounds and adventurousness of the individual members.
1 Dean Younk a Gernow (Young Man of Cornwall) 2 Tane an Gove (The Smith's Fire) 3 Bal Maidens' Chant 4 King of Sweden 5 Can Dilly (Dilly Song) 6 Tansys Golowan (Midsummer Bonfire) 7 Crantock Games 8 Descent 9 Seventeen Come Sunday 10 Hernen Rooz (Red Herring)
el sello discografico Musart lanzo en 1996 el disco "SANTERO"dedicado a las músicas sagradas o de "Santería"Cubana,con la participación de CELIA CRUZ,MERCEDITAS VALDES ,EL CORO YORUBA y otros artistas.
1. Chango 2. Baba Lou Aye 3. Yemaya 4. Ochun 5. Obatala 6. Eleggua 7. Ogun 8. Ochosi 9. Rezos A Obatala Y Yemaya 10. Rezos A Chango Y Ochun 11. Cabildo De Olla
el sello discografico Musart lanzo en 1996 el disco "SANTERO"dedicado a las músicas sagradas o de "Santería"Cubana,con la participación de CELIA CRUZ,MERCEDITAS VALDES ,EL CORO YORUBA y otros artistas.
1. Chango 2. Baba Lou Aye 3. Yemaya 4. Ochun 5. Obatala 6. Eleggua 7. Ogun 8. Ochosi 9. Rezos A Obatala Y Yemaya 10. Rezos A Chango Y Ochun 11. Cabildo De Olla
Antibalas Afrobeat Orchestra se creó en 1998 de la mano de Martín Perna, al que se unieron un número variable de miembros (han llegado a ser dieciocho, ahora son doce) para tocar un tipo de música completamente deudora de la creada por el nigeriano Fela Kuti, fallecido un año antes: el afrobeat, esa ingeniosa combinación de cantos tradicionales africanos con el jazz y el funk, sin descartar otros sonidos y dejando también un espacio a la improvisación. Un ritmo que te lleva a mover las piernas de manera inconsciente. Y una música que apuesta además por la crítica política y la defensa de los derechos humanos.
01 - Who Is This America Dem Speak of Today. 02 - Pay Back Africa. 03 - Indictment. 04 - Big Man. 05 - Obanla'e. 06 - Elephant. 07 - Sister.
Antibalas Afrobeat Orchestra se creó en 1998 de la mano de Martín Perna, al que se unieron un número variable de miembros (han llegado a ser dieciocho, ahora son doce) para tocar un tipo de música completamente deudora de la creada por el nigeriano Fela Kuti, fallecido un año antes: el afrobeat, esa ingeniosa combinación de cantos tradicionales africanos con el jazz y el funk, sin descartar otros sonidos y dejando también un espacio a la improvisación. Un ritmo que te lleva a mover las piernas de manera inconsciente. Y una música que apuesta además por la crítica política y la defensa de los derechos humanos.
01 - Who Is This America Dem Speak of Today. 02 - Pay Back Africa. 03 - Indictment. 04 - Big Man. 05 - Obanla'e. 06 - Elephant. 07 - Sister.
Béla Fleck and the Flecktones debutó discográficamente en 1990. El que nos ocupa es el décimo disco de la banda incluyendo sus registros en vivo. El hoy cuarteto es liderado por Béla Fleck, uno de los ejecutantes de banjo más reconocidos a lo largo y a lo ancho de lo existente. Pero también está el tremendo bajista Victor Wooten, el ¿baterista? Future Man y Jeff Coffin, básicamente saxofonista y último en integrarse a las filas del combo.http://www.elintruso.com/article.php?id=892
Músicos: Béla Fleck: banjos, bantar, guitarra Victor Wooten: bajos eléctricos Jeff Coffin: saxos, flauta, teclados, clarinete, percusión, whistle Future Man: Synth Axe drumitar, Zendrum y batería acústica
1. Fugue from Prelude and Fugue No. 20 in A Minor, BWV 889 2. P'lod in the House 3. Rococo 4. Labyrinth 5. Kaleidoscope 6. Who's Got Three 7. Weed Whacker 8. Couch Potato 9. Chennai (Indian 5/4) 10. Subterfuge (Bond) 11. Interlude 12. Misunderstood 13. The Whistle Tune
Béla Fleck and the Flecktones debutó discográficamente en 1990. El que nos ocupa es el décimo disco de la banda incluyendo sus registros en vivo. El hoy cuarteto es liderado por Béla Fleck, uno de los ejecutantes de banjo más reconocidos a lo largo y a lo ancho de lo existente. Pero también está el tremendo bajista Victor Wooten, el ¿baterista? Future Man y Jeff Coffin, básicamente saxofonista y último en integrarse a las filas del combo.http://www.elintruso.com/article.php?id=892
Músicos: Béla Fleck: banjos, bantar, guitarra Victor Wooten: bajos eléctricos Jeff Coffin: saxos, flauta, teclados, clarinete, percusión, whistle Future Man: Synth Axe drumitar, Zendrum y batería acústica
1. Fugue from Prelude and Fugue No. 20 in A Minor, BWV 889 2. P'lod in the House 3. Rococo 4. Labyrinth 5. Kaleidoscope 6. Who's Got Three 7. Weed Whacker 8. Couch Potato 9. Chennai (Indian 5/4) 10. Subterfuge (Bond) 11. Interlude 12. Misunderstood 13. The Whistle Tune
It is rare to find a musician that has a transformative journey, and manages to maturely incorporate de novo influence without awkwardly losing their own identity. Abigail Washburn manages to balance her myriad influences nearly perfectly, the two most odd bed-fellows being American and Chinese folk. Washburn began her long-standing love of Chinese culture and music during a life-shaping trip to China when she was only 18. She frequently cites this trip as inspiration for her own explorations in American culture and tradition.
This, only her sophomore album, is a jaw-dropping manifesto on the universal language and nature of music, possessing a truly unique sound. To say that there is a seamless integration of all Washburn’s influences into each track is a gross-understatement, bordering on disservice. The opening volley provides a good primer for the sounds of the album. Entitled “Overture,” it is just that: an opening…a beautiful, broad introduction. A sweeping medley of the musical styles and landscape that Washburn explores over the course of the album, peppered with strains and themes from every track.
The tumult of the strings, haunting cello strikes punctated by frenzied banjo and violin runs, provides a stirring foundation for the deep and soulful blues vocals on the ominous “Strange Things.” “Great Big Wall in China” is a compelling narrative, where Washburn takes the role of bard in the tradition of American folk while the music smoothly moves from chamber-like string ensemble to a folk-dance 6/8 stride to toccata and back again. “Taiyang Chulai” shines as one of the albums most effusive tracks, with characteristically Asian warbling and tremolo of the mandolin and vocals reminiscent of poetry or prose set to music. “Banjo Pickin Girl” is a great re-purposing of Doc Watson’s “Lonesome Road Blues,” featuring some blisteringly-fast clawhammer banjo picking and a heavy helping of preciousness. “Sugar and Pie” opens as if a classical recital or study in tonality before bursting into some toe-tapping old-time melodies.
One of my favorite tracks is the nautical knavery of “Captain,” delivered with a chilling precision dipping in and out of haunting, dissonant intervals. The track deftly builds a spectacular tension that is never completely dissipated.
“Kangding Qingge (Old Timey Dance Party)” is the album’s crowning achievement, successfully fusing a groove that draws equally from blues and old-timey music (but could just as easily fit right in with any of today’s folk-influenced indie giants) with Mandarin Chinese vocals and brilliant banjo picking that simultaneously oozes technical and stylistic prowess.
Other than the impressive music, the most remarkable aspect of the album is Washburn’s voice. The definition of versatility, it’s stunning how facile her transitions are from soaring Chinese operatic vocals (tracks sung entirely in Mandarin Chinese are remarkably natural and fluid) to blues-n-soul croon, from the distinct non-resonant vocal style of Chinese singers to the resonant, harmonic singing of the West. The influence of Chinese style on her vocals is apparent, as she takes great care in inflecting each note precisely and perfectly to convey the exact mood she is picturing. The spectrum of moods and emotions she can convey with her vocals is astonishing, and testament to the utility of fusing both Western and Eastern style.
The other aspect of this album that truly soars is the quality of the players. When you lump the mind-boggling talents of Abigail Washburn (banjo and voice), Béla Fleck (banjo, interviewed earlier this year), Casey Driessen (violin), and Ben Sollee (cello) together, you can’t help but come up aces. The litheness of all the strings provide for some fantastic contrapuntal passages, both fugal and canonical, throughout the album.http://auralstates.com/2008/10/abigail-washburn-the-sparrow-quartet-self-titled-nettwerk.html
01. Overture (2:37) 02. A Fuller Wine (5:02) 03. Strange Things (4:57) 04. Great Big Wall In China (6:10) 05. Taiyang Chulai (2:39) 06. Oh Me, Oh My (3:32) 07. Captain (5:57) 08. A Kazahk Melody (1:49) 09. Banjo Pickin’ Girl (3:02) 10. Sugar and Pie (4:58) 11. Kangding Qingge (Old Timey Dance Party) (4:45) 12. It Ain't Easy (3:43) 13. Journey Home (4:13)
It is rare to find a musician that has a transformative journey, and manages to maturely incorporate de novo influence without awkwardly losing their own identity. Abigail Washburn manages to balance her myriad influences nearly perfectly, the two most odd bed-fellows being American and Chinese folk. Washburn began her long-standing love of Chinese culture and music during a life-shaping trip to China when she was only 18. She frequently cites this trip as inspiration for her own explorations in American culture and tradition.
This, only her sophomore album, is a jaw-dropping manifesto on the universal language and nature of music, possessing a truly unique sound. To say that there is a seamless integration of all Washburn’s influences into each track is a gross-understatement, bordering on disservice. The opening volley provides a good primer for the sounds of the album. Entitled “Overture,” it is just that: an opening…a beautiful, broad introduction. A sweeping medley of the musical styles and landscape that Washburn explores over the course of the album, peppered with strains and themes from every track.
The tumult of the strings, haunting cello strikes punctated by frenzied banjo and violin runs, provides a stirring foundation for the deep and soulful blues vocals on the ominous “Strange Things.” “Great Big Wall in China” is a compelling narrative, where Washburn takes the role of bard in the tradition of American folk while the music smoothly moves from chamber-like string ensemble to a folk-dance 6/8 stride to toccata and back again. “Taiyang Chulai” shines as one of the albums most effusive tracks, with characteristically Asian warbling and tremolo of the mandolin and vocals reminiscent of poetry or prose set to music. “Banjo Pickin Girl” is a great re-purposing of Doc Watson’s “Lonesome Road Blues,” featuring some blisteringly-fast clawhammer banjo picking and a heavy helping of preciousness. “Sugar and Pie” opens as if a classical recital or study in tonality before bursting into some toe-tapping old-time melodies.
One of my favorite tracks is the nautical knavery of “Captain,” delivered with a chilling precision dipping in and out of haunting, dissonant intervals. The track deftly builds a spectacular tension that is never completely dissipated.
“Kangding Qingge (Old Timey Dance Party)” is the album’s crowning achievement, successfully fusing a groove that draws equally from blues and old-timey music (but could just as easily fit right in with any of today’s folk-influenced indie giants) with Mandarin Chinese vocals and brilliant banjo picking that simultaneously oozes technical and stylistic prowess.
Other than the impressive music, the most remarkable aspect of the album is Washburn’s voice. The definition of versatility, it’s stunning how facile her transitions are from soaring Chinese operatic vocals (tracks sung entirely in Mandarin Chinese are remarkably natural and fluid) to blues-n-soul croon, from the distinct non-resonant vocal style of Chinese singers to the resonant, harmonic singing of the West. The influence of Chinese style on her vocals is apparent, as she takes great care in inflecting each note precisely and perfectly to convey the exact mood she is picturing. The spectrum of moods and emotions she can convey with her vocals is astonishing, and testament to the utility of fusing both Western and Eastern style.
The other aspect of this album that truly soars is the quality of the players. When you lump the mind-boggling talents of Abigail Washburn (banjo and voice), Béla Fleck (banjo, interviewed earlier this year), Casey Driessen (violin), and Ben Sollee (cello) together, you can’t help but come up aces. The litheness of all the strings provide for some fantastic contrapuntal passages, both fugal and canonical, throughout the album.http://auralstates.com/2008/10/abigail-washburn-the-sparrow-quartet-self-titled-nettwerk.html
01. Overture (2:37) 02. A Fuller Wine (5:02) 03. Strange Things (4:57) 04. Great Big Wall In China (6:10) 05. Taiyang Chulai (2:39) 06. Oh Me, Oh My (3:32) 07. Captain (5:57) 08. A Kazahk Melody (1:49) 09. Banjo Pickin’ Girl (3:02) 10. Sugar and Pie (4:58) 11. Kangding Qingge (Old Timey Dance Party) (4:45) 12. It Ain't Easy (3:43) 13. Journey Home (4:13)
Violinist Titi Winterstein and his quintet are Sinti gypsies from the Alsace region of France and the border area of Germany, and they play traditional Gypsy music inflected by American jazz, much in the style of the great Manouche Gypsy guitarist, Django Reinhardt. Titi's group goes beyond Django in pure energy, however. With Titi's violin, accordionist Klaus Bruder (who is not a Gypsy), and a three-guitar-strong lineup featuring Lulu Reinhardt front and center, this is an amazing album.
01. Noto-Swing 02. Amoureux 03. Sur Ma Tombe 04. Milko 05. Sinto Nova 06. Swing 07. Djinee Tu Kowa Ziro 08. For Babs 09. Ich Leibe Die Sonne, Den Mond Und Die Sterne 10. Lulu-Valse 11. Hunn, O Pani Naschella 12. J’ai Souvent Pleure
Violinist Titi Winterstein and his quintet are Sinti gypsies from the Alsace region of France and the border area of Germany, and they play traditional Gypsy music inflected by American jazz, much in the style of the great Manouche Gypsy guitarist, Django Reinhardt. Titi's group goes beyond Django in pure energy, however. With Titi's violin, accordionist Klaus Bruder (who is not a Gypsy), and a three-guitar-strong lineup featuring Lulu Reinhardt front and center, this is an amazing album.
01. Noto-Swing 02. Amoureux 03. Sur Ma Tombe 04. Milko 05. Sinto Nova 06. Swing 07. Djinee Tu Kowa Ziro 08. For Babs 09. Ich Leibe Die Sonne, Den Mond Und Die Sterne 10. Lulu-Valse 11. Hunn, O Pani Naschella 12. J’ai Souvent Pleure
Nortec Collective lo conforman Bostich, Clorofila, Hiperboreal y Fussible. Nortec, además de ser el nombre de un tipo de sonido contemporáneo, es principalmente un colectivo de música formado en la ciudad de Tijuana en México, cuyo objetivo es la realización de música electrónica mezclada con norteña así como con banda sinaloense y tambora. Nortec es también conocido como Nortec Collective y cada integrante realiza proyectos por separado. Cada músico produce sus LP's con el símbolo del Colectivo Nortec y bajo el sello discográfico Mil Records o con la disquera en donde esté grabando.
El sonido Nortec inició en 1999 cuando Pepe Mogt, cansado de seguir tendencias musicales extranjeras, empezó a experimentar con samples de una vieja banda sinaloense y de discos norteños, alterando los sonidos en su disco duro y a través de los filtros de sintetizadores analógicos. La idea surgió en una fiesta, cuando Pepe después de escuchar con detenimiento los sonidos percusivos y angulares de las omnipresentes bandas de tambora y norteña, los géneros musicales más populares en la región de Tijuana. Por medio de contactos en estudios de la Zona Norte de la ciudad, Pepe empezó a compilar tracks de dicha música, mismos que repartiría entre sus amigos para comenzar la experimentación con esos sonidos como punto de partida.
Tracklist 01 - Tengo la voz 02 - Tijuana makes me happy 03 - Funky tamazula 04 - Don loope 05 - Olvídela compa 06 - Autobanda 07 - Dandy del sur 08 - Almada 09 - Colorado 10 - Narcotéque 11 - Esa banda en dud (Feat. Calexico) 12 - Bas infierno 13 - Revu rockers 14 - Tijuana bass 15 - El fracaso
