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Spiro
Welcome Joy and Welcome Sorrow
Chamber folk from England

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A World Music Magazine


world music At Home, an intriguing collaboration between rising Malian singer/songwriter Fatoumata Diawara and hotshot Cuban jazz pianist Roberto Fonseca, was recorded live last year at the 'Jazz in Marciac' festival in France. The set starts off strong with "Sowa," a sweaty funk workout complete with a monster Stevie Wonder inspired clavinet groove, but things slow down considerably as the show progresses. Tom Pryor describes the ups and downs of this live recording.

 

world music I have more books on my shelves about the world's traditional music than any reasonable person should. Now I have another that is among the handful of the best: Lisa Urkevich's Music and Traditions of the Arabian Peninsula: Saudi Arabia, Kuwait, Bahrain, and Qatar. It comes at a time when many have forgotten the rich tribal variations of the region. Urkevich discusses the music, to be sure, but keep an eye on the "tradition" that is part of her book's title; for in them she adds context and texture to the songs, melodies and rhythms of this story.    Dick Dorsett shares a book that opens doors to understanding the region.

 

world music
Monsieur Doumani
Our June Music of the Month selection.
Monsieur Doumani is a trio from the island of Cyprus, and Sikoses is the group's second album. Together, Antonis Antonious (who plays the tzouras, a relative of the bouzouki), Angelos Ionas (guitar), and Demetris Yiasemides (flute and trombone) are credited with not only paying tribute to traditional Cypriot music, but also updating and experimenting with the island's folk music. While Monsieur Doumani's first full-length album in 2013 concentrated on traditional Cypriot songs and tunes, Sikoses ranges further afield, with original compositions and some occasional electronic manipulation... Utilizing Greek influences, Turkish influences, and plenty of inspiration from beyond the shores of Cyprus, Monsieur Doumani provides deep and profound commentary about present-day Cypriots and their current conditions.    Read Lee Blackstone's review and listen to a full song from our Music of the Month selection for June.

 

world music In 1998, an album of musique concrète released on an Italian label was misattributed to painter Brion Gysin, who had in fact received the tape from its creator: Paul Bowles. Bowles would die at age 88 one year later in his beloved Tangier, unaware of the release and leaving behind a legacy of fiction and essays. Yet the famed author of "The Sheltering Sky" was also a composer for stage and screen, studying with his dear friend Aaron Copland and writing copious amounts of music criticism from the 1930s through the end of World War II. He realized what came to be known as The Pool K III in 1958 toward a new direction in his own sound production.    Tyran Grillo finds it to be a document of indelible importance.

 

world music Rye Groove. It's dynamic, powerful and fiddly. It's a happy marriage of new and old, of seventies prog rock and traditional village music. Esko Järvelä Epic Male Band is an inspiring bunch of young Finns who have no fear. Says the band's leader, "Our music has been drawing comparisons to really strange bands. I know all of these four groups [Jethro Tull, Piirpauke, Slobo Horo, Taraf De Haïdouks] and recognize the connections even though I must admit that none of them belong to my everyday playlist. It seems to be an interesting fact that people find a great bunch of influences and connections to completely different kinds of bands from opposite edges of the world when listening to Epic Male Band. I haven't run into anything like this with any other project of mine. I guess it's just the result of five crazy and open minded musicians with very different musical backgrounds getting together to see what they can do together." Waldemar Wallenius talks to an epic male about an epic band.

 

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Listen to the world.
New music and old, from across genres and around the world, each week on RootsWorld Radio, hosted by RW editor Ciff Furnald.
Get more info on days and times for the broadcasts.
Listen to some previous programs on demand.

 

world music A deep relationship with the far north has found its way into many of Canadian composer Derek Charke's new millennial works, but nowhere so organically or with such intensity as in Tundra Songs. In addition to being one of the most fascinating interdisciplinary recordings to come out in a long time, it documents a return to genuine indigenism for its star performers: the Kronos Quartet. The recording features the throat singing of Inuit artist Tanya Tagaq and narration by Laakkuluk Williamson Bathory. Tyran Grillo shares his insight into the music and art of the north.

 

world music Here's a celebratory album that shows America at its multi-cultural best: a band that originated as a one-time project to recreate an Indian wedding tradition stretching to include New Orleans-flavored brass as well as hip-hop. On Gaadi of Truth, Red Baraat founder Sunny Jain leads the swinging sound with the double-headed dhol drum, buoyed by a small but hard-hitting set of brass players. On this album, the members step more boldly into hip-hop attitude and sounds, the title song covering, among other things, being singled out for security pat-downs because the protagonist seems to “look ethnic.” The group's brass sound is by turns thumpingly rhythmic and sweetly melodic. As “exotic” as the mix of styles may seem, it is likely to sound familiar to listeners. Marty Lipp finds it all to be serious fun.

 

world music If you've liked Pekko Käppi's unrestrained bursts of jouhikko on his previous recordings, you're forgiven for expecting more of the same on Sanguis Meu, Mama! His ancient and primitive string instrument (a Finnish variation of a bowed lyre) is just right for shamanic, hypnotic ritual music and the like. And he does look like a witch doctor, with long hair and flailing hands obscuring the mysterious play thing in his lap. He does rip some hard riffs on a couple of tracks toward the end of his newest work, but are you ready for a mellow string warrior? Sweet love songs, even? No, sweet love songs don't have blood and mayhem all over them. Even if most of the songs are newly written, they definitely draw their inspiration (and bloodlust) from murder ballads of yore, known in every land that man has ever trampled someone under foot. Waldemar Wallenius takes you to the sweet, dark places of Pekko Käppi & K:H:H:L.

 

world music Savina Yannatou and Primavera en Salonico return to the city that first put them on the map. Located in the North of Greece, Thessaloniki is the second largest city in the country. Established in the Late Antiquity years, it has had a tumultuous history, even though it's quite modern by Greek standards, at only around 2,600 years old. It is a city where the Christian Saint Paul sent his epistles and a city that is Byzantine in spirit, a fact that Yannatou references by opening and closing Songs of Thessaloniki with the hymn of the patron saint of the city, Saint Demetrius of Thessaloniki. It is a city unlike any other in Greece when it comes to cosmopolitanism, a fact that still holds true today. It is into this melting pot that Savina Yannatou has decided to jump. Nondas Kitsos gives us a bit of history and shares a whole lot of music from his beloved city.

 

world music Robin Williamson, perhaps the last true bard on earth, returns with Trusting In The Rising Light. Following a string of intimate programs setting the words of famous poets to music (among them Dylan Thomas, Walt Whitman, and William Blake), he now dips a long overdue quill into his own inkwell and scrawls a masterful new ream of originals. Ten years separate this recording from its predecessor on ECM, The Iron Stone, but the wait has been well worth it, not least of all for the contributions of his fellow session musicians. From that last album he retains violist Mat Maneri and to this nexus adds drummer-percussionist Ches Smith. Tyran Grillo finds it to be an attuned, free jazz-folk session that feels at once long overdue and just right for its time.

 

world music With age, supposedly, comes wisdom, and these two recordings -- one by the Calabrian group Re Niliu (In a Cosmic Ear), and the other by the Salentine ensemble Canzoniere Grecanico Salentino (Quaranta) – bear testament to the vitality of their musical traditions. Both groups are based in the south of Italy. Calabria is the foot sole part of the Italian boot, while the Salento and Puglia are located in the heel end: both regions contribute entirely distinctive sounds to the Italian palette, nurtured by Mediterranean winds and the influence of ancient, cross-cultural heritages that have traversed southern Italy. Lee Blackstone goes south.

 

world music Singer/instrumentalist Céline Ricard and multi-instrumentalist Daniel Loddo form the heart of La Talvera, one of the emblematic folk/world/roots entities of Occitania, a community stretching from Northern Spain to Northwestern Italy. While perhaps 15 million people across this swath of Europe primarily in Southern France --- speak or understand a form of Occitan, it remains officially unrecognized in much of this region, especially its heart in the French republic. With such official neglect, it is left to the poets and musicians to maintain the status and vibrancy of Occitan. In this effort -- through its more than a dozen recordings over 20 years -- this group originating in the Languedoc has built a musical home base, through its many recordings and collaborations. The theme this time is Solhelh Solelhaire - roughly "O bright sun" which is of course the bright sun of Occitania, as opposed to the cold and cloud of the economically dominant north of France. "O bright sun that warms the skin/and the heart of the poet with no blanket or coat." David Cox warms himself in the music of Occitania.

 

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world music These two LPs, both recorded in Vietnam, fit together in this review no better than a CAFO full of corn fed, corporate cattle and a back yard full of organic mustard greens. Whatever the case, they have a country in common. Hanoi Masters: War Is A Wound, Peace Is A Scar, apparently the first volume in Glitterbeat's Hidden Musics series, is a gem. Yet, it's not like anything here hasn't been heard before. The twang of Vietnamese mono-chord instruments has appeared on labels ranging from Folkways to Ocora. But that doesn't keep this collection from perhaps being the greatest assortment of buoyant, hardcore, exceedingly rare folk-based music from a particularly fertile sliver of southeast Asia ever released... The latest in Sublime Frequencies' confounding, mapless, aural travelogues into "the other" is Radio Vietnam a jarring stew of politically charged transistor snippets, news in English, ESL lessons, Vietnamese electric slide street guitar, lo-fi, synth drenched pop... Bruce Miller lets you know what works, and what doesn't.

 

world music Although French accordionist Jean-Louis Matinier and Marco Ambrosini, Italian virtuoso of the nyckelharpa (a Swedish traditional instrument that is something of a cross between hurdy-gurdy and vielle), have existed as a duo since 2008, it took a period of refinement before their music at last saw the digital light of day. Anyone who has followed the career of Anouar Brahem in the 21st century will have encountered Matinier alongside the Tunisian oudist on 2002's Le Pas Du Chat Noir and 2006's Le Voyage De Sahar. Ambrosini is recognized as a leading proponent of the nyckelharpa and has carried that instrument in fresh directions across a varied terrain of recordings. Matinier has elsewhere characterized his musical relationship with Ambrosini as “a total dialogue,” and the description could hardly be more appropriate. In Inventio, they complete each other's sentences. Tyran Grillo finds depth of interpretation that leads them across all borders.

 

world music Pray for Brain is a band unlike any other. This instrumental ensemble pushes the envelope and is refreshingly impossible to categorize. Rock, jazz and funk, along with a range of South Asian and Middle Eastern influences, slip between traces of surf, rockabilly and country in a great mix of cultures that twist and turn at the drop of a hat. The band emerged out of Sama Duo, formed by Mustafa Stefan Dill (guitars, oud) and Jefferson Voorhees (drums). When the pair jammed with Christine Nelson (upright bass), an instant connection was shared and a trio was born. None of the Above captures the unexpected magic of the Albuquerque-based group in an exciting way. Alex Brown finds it a diverse and unpredictable journey.

 

world music In the Basque Country, the trikitixa or diatonic accordion has dominated folk music over the past 150 or so years. The Basque trikitixa is traditionally played with a tambourine alongside, and perhaps, a vocal accompaniment. The name synonymous with the trikitixa over the past 25 to 30 years is that of the Bilbao-based marvel, Kepa Junkera, who burst onto the Basque local scene with his appearance at the national competitions in 1988. Joined by the Basque vocal group Sorginak he presents Trikitixaren historia Txiki bat - A Short History of the Trikitixa, a CD with an accompanying hardcover book by Josean Agirre, that tells the story of the trikitixa's absorption into Basque culture, its troubles with the church and later, the Spanish state, and its emergence in the 1980s as a vibrant token of Basque nationality. David Cox shares the music and the history of the 'little hand sound,' the trikitixa.

 

world music There were so many musical continents whose discovery, or perhaps sole existence, owe themselves to what were then the advanced technologies of the gramophone, amplification, or the radio. These devices, mixed with a heaping wallop of colonization, world war, shipping, immigration, and a growing western influence in general concocted musical stews that don't seem particularly avant-garde now; however, not so many decades ago, they either led to further musical explosions- such was the case with African American proto-rock and roll, aka R & B- or became the explosions themselves, an example of which spans this set. While highlife never hit American shores during its mid twentieth century heyday, it, alongside Congolese rhumba, changed everything in formidable hunks of Sub-Saharan Africa. And it was Ghana's E.T. Mensah and The Tempos who was at the helm of this change. The music on King of Highlife Anthology, 69 tracks from the band's golden era- 1950s and 1960s- includes Mensah's earliest, rawest, and probably best material. Bruce Miller delves deep into this substantial 4 disc and book set.

 

world music Like the image gracing the cover of this self-titled debut, Ensemble Ériu describes shapes carved into the earth over eons. And yet, there is undeniable freshness to its erosions. Such dynamic balance is embodied in cofounders Jack Talty and Neil O'Loghlen, who together arrange all of the material here and bake its stylistic mélange to a crisp. Where Talty's concertina epitomizes the sounds of old, O'Loghlen's bass thrives on jazz, though his traditional heart beats audibly when he picks up a flute or whistle. New interpretations of standard fare may often be said to stand out from the rest. Not so with Ensemble Ériu. Theirs stand in the rest, showing breadth of deference and influence in every song. Tyran Grillo thinks you will be challenged and delighted by this unique Irish ensemble.

 

world music Cuban pianist-composer-bandleader Omar Sosa has resided outside his homeland for over 20 years, and while he has engaged and recorded with an extraordinary array of artists from four continents, his ceaseless musical inspiration remains deeply rooted in Cuba and the African Diaspora, in the island's Lucumí spiritual tradition that gives this recording its name, ilé, home, earth.... Of Sosa's many ensembles over time, he is literally at home with fellow homeboy Camagüey conservatory mates Leandro Saint-Hill and Ernesto Simpson, buoyed by more than a decade's rhythmic partnership with Mozambican Childo Tomas. Omar Sosa Quarteto AfroCubano is one tight and versatile quartet, interweaving musical idioms from across the globe without ever a hint of the derivative. Michael Stone listens in.

 

world music For a country that hardly seems able to catch an even break, Haiti makes some great music that runs the gamut. Tabou Combo, arguably Haiti's most popular band, modernized African/Francophone/indigenous roots to a point of achieving international success but put off some traditionalists in the process, while artists like Boukman Eksperyans and Emeline Michel reined in the contemporary aspects of their sound enough to find the best of both worlds. Then there's Boulpik, a sextet that for the last decade has been specializing in an acoustic version of the konpa dance music popular in Haiti since the 1950s. The back cover of their CD Konpa Lakay refers to their style as street music. Their instrumental lineup of dual banjos, marimbula bass and percussion makes for a loose, jaunty sound... Tom Orr takes you to the roots of Haiti.

 

world music Can a bustling Brazilian song and Swedish slangspolska happily coexist? Can a Denmark-based duo without a squeezebox do justice to a Dominquinhos song about a sensitive accordion? The answer seems to be "yes, indeed." Vingefang - Miriam Ariana (voice and strings) and Lene Høst (voice, guitar and percussion) bring a clarity to their music that seems to demand the word "delightful." Whether it is their own compositions or a journey through the music of France, Denmark, Sweden and Brazil, they make it all their own... The editor shares his delight.

 

 


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world music

Following a six-year silence, master oudist Anouar Brahem returns with his most personal, yet somehow selfless, project yet. During the revolution that gripped his native Tunisia at the turn of 2011, Brahem experienced a creative drought and spent the following years gathering enough water to nourish the seeds that would become Souvenance. The title means "remembrance," but the music looks resolutely forward, drinking in uncertainty as if it were the only sustenance visible from atop the rubble of uprising. Though Brahem claims no direct correlation to these events, their echoes remain, needing to be heard. Souvenance brings together a new assemblage for Brahem, who situates his rosette within a quartet of piano, bass clarinet, soprano saxophone, and electric bass. One further layer finds realization in the Orchestra della Svizzera Italiana. Tyran Grillo shares a recording shows the artist at the height of maturity.

 

world music Three recordings feature Markus Tullberg, Swedish flute wunderkind, in a number of different projects that draw out the dynamics of his instrument. Specifically, Tullberg utilizes the wooden transverse flute, which was an important part of the southern Swedish folk tradition from the 19th to the 20th centuries. The tone of the flute is never piercing; generally, Tullberg brings a rich, mellow sound to each band concept. For +1, Tullberg is paired with Andreas Ralsgård. Dan "Gisen" Malmquist (clarinet), Jens Ulvsand (bouzouki and vocals), and Tullberg make up the trio on Diphtong. And Nos Honks brings in saxophonist Jonas Knutsson and French flautist Anna Roussel on Prisma. Lee Blackstone send out the call: "Wooden flute aficionados, unite!"

 

world music I'm listening to a great mix of American roots music. There's some bluegrass, some Cajun, some old-time front porch music, and a couple of traditional cowboy songs. And it comes from Finland. Yes. Finland. Tuomas Logrén is the guitarist for the fiddle-heavy Finnish ensemble Frigg. I think of Frigg as a Nordic ensemble; they draw from Finnish folk music supplemented by the traditions of Sweden and Norway. That's what I was expecting to hear on Yövesi, which is also the name of a lake in eastern Finland, home to a number of threatened species like the Saimaa ringed seal, the Arctic Char. Sounds Finnish so far, right? Greg Harness discovers the cowboy intersect between Finland and America.

 

 


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world music The a cappella songs of the Mississippi Delta's African American prison farms left their mark on 17year-old Alan Lomax when he first visited Parchman with his father John in the early 1930s, on a Library of Congress mission that among other things sprang Leadbelly and brought “The Midnight Special” to the American vernacular. Alan Lomax returned to record at Parchman in 1947, 1948 and 1959, logging work-song vocal traditions forged under plantation slavery and hammered out under Jim Crow. Parchman Farm: Photographs and Field Recordings: 1947-1959 is an artfully produced book and CD package that includes an essay by folklorist Bruce Jackson (longtime Lomax colleague, friend, and author of "Wake Up Dead Man: Afro-American Worksongs from Texas Prisons"), Lomax's black-and-white and color photos (all from 1959) and facsimiles of telling prison documents, artifacts of an era of U.S. social history whose residual animus persists into the Hands-Up-Don't-Shoot-I-Can't-Breathe present. Michael Stone takes a hard look at Parchman Farm, the music and the history.

 

world music Moorish music from Mauritania has been evolving for centuries and now Noura Mint Seymali and her group have taken another step towards sharing that music with the world on Tzenni. Her father, Seymali Ould Ahmed Vall, was a visionary scholar-artist who believed progressive Mauritanian music should be embraced, not dismissed for lacking strict traditionality. Her stepmother, Dimi Mint Abba, is hailed as a national treasure who gave her stepdaughter the opportunity to sing backup for her while she was a teenager. Her paternal grandmother, Mounina, was also a respected singer and musician. Needless to say, Noura Mint Seymali's experience of growing up in an iggawen, or griot, family has strongly shaped her own musical message for a global audience. Alex Brown looks into this inspirational music.

 

world music So much of the time in reviewing a recording, we look for the new, the surprising, the twist or the turn. Once in a while a recording like Mbalimaou comes along offering none of these, and is still fresh and exciting. Boubacar Traoré is now in his 70s and well into his second time around as a career musician. This is his 9th album since 1990's Mariama, a solo affair, just voice and guitar, recorded so raw you could hear his fingers on the strings and his breath between vocal lines. It was my introduction to him and I was spellbound. Since then he has presented his music with ensembles large and small, sometimes decidedly local, other times globally enriched. His latest, Mbalimaou rides the middle ground with a core group of African musicians on n'goni, percussion, kora and voices. Primarily recorded in Bamako (with some added dubs and mixing done in France), it is simple and clean - truly folk music in spite of all but one song being Traoré originals. Cliff Furnald listens in on one of the legends of Mali, again.

 


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world music Mette Kathrine Jensen & Kristian Bugge play beautiful traditional music from Denmark on fiddle and accordion. They learned their craft from the old masters, and their tightly sympathetic duo play energises both dances and concerts.

Listen to a live performance by Jensen & Bugge from The Tønder Festival in Denmark

world music At times like these, when we are reminded that even comedy (“The Interview”) is an at risk art form, recordings such as this are welcome. It is welcome because war and the Taliban took a heavy toll on Afghanistan's artistic traditions, so any evidence of the regions musical resurgence seems like a stand against recent repression. The Afghan-American artist Quraishi is self-taught on the rubab (Afghanistan's national instrument, a short-necked plucked lute), and familiar with regional ethnic styles of his home country; including Pashtun, Tajik, Uzbek, and Hindustani traditions. Nine tracks comprise Mountain Melodies, Quraishi's second release, and he includes Afghan folk songs, a classical raga, and composed tunes. Richard Dorsett struggles with the successes and failings of an important release,

 

world music A shaman, a magical weaver of ancient healing spells? No, not all Finnish accordion players of recent times can be called that, but I just had to try and see what that kind of opening line would look like, because I'm somewhat at a loss for words. Antti Paalanen is all of these and none, a musician who wants to delve deep, but also just wants to make some noise on his new release, Meluta.
Waldemar Wallenius explains the unexplainability of the accordion man from South Ostrobothnia.

 

world music
Xarnège represents the "Western Door" of Occitania; the group envisages the musical re-uniting of the two traditions, Basque and Gascon, separated by language and the Pyrenees. The group's name refers to the 'border' areas where the two cultures come into 'collision' with each other. The five members of the band hail from a variety of veteran Basque and Gascon bands. In this, their third disc, the group further explores this territory in-between where cultures mix. Talka Tum shows the influence of Gascon rock pioneers Familha Artùs, evidenced by the involvement of Romain Baudoin, but also reminiscent of iconic Basque folk acts such as Oskorri, Tapia eta Leturia and others. David Cox explores the Occitan border music of Xarnège.

 

world music Deep in depression-era Arkansas, a woman named Mancy Massengill observed the Saturday action at a photo booth in Batesville. She also noted the camera brand as well as the business opportunity making photos for weekend revelers might provide for a mother of three in a place in time where work and money were scarce. She sold hens and sent the cash away for a lens, and from that point on, she and her husband, and later their extended family, pulled a trailer-turned-photo-studio around rural Arkansas on weekends and made pictures for anyone who was interested. Three for a dime. A nickel extra for tinting. This story is told twice - by photographer Philip March Jones, and again by Mancy's son Lance - in the book Making Pictures: Three for a Dime and the companion CD Arkansas At 78 Rpm: Corn Dodgers & Hoss Hair Pullers, that together give a sense of the playfulness, the sorrow, the ragged isolation and the importance of community found in rural Arkansas in the years leading up to the depression... Bruce Miller explores a wonderful visual and musical history.

 

world music La Mal Coiffée, five women from the Aude and Hérault regions of France, enhance their legacy of Occitan polyphonies and syncopated percussion on L'Embelinaire. The group (whose name means The Bad Hair or The Badly Coiffed) has had success across France, and in particular, Occitania. Their particular Languedocien variety lives on, not only in every day speech but in the Calandreta schools, in music, and in literature. L'Embelinaire is a very special project based on nine poems by Joan-Maria Petit (Jean-Marie Petit) and three by Léon Cordas (Cordes), venerable Occitan poets, both from the Hérault region, a viticulture-based department with urban centres such as Beziers and Montpellier... David Cox introduces us to 5 Occitan singer/persussionists who bring the ancient language to life.

 

world music I first became aware of Guinean guitarist Djessou Mory Kanté in a series of spare recordings on the wonderful Popular African Music label. He played with his older brother Kanté Manfila on the legendary Kankan Blues. He also did his first recording as a front man for the label, Guitar Séche. Living in Paris, he has gone on to greater fame as an in-demand guitarist for super stars like Salif Keita, and most recently did guitar work and arranging for Sékouba Bambino Diabaté. So it's not like he just came out of nowhere this year with this remarkable album of instrumental works for his chosen instrument. Nonetheless, the album is hitting many listeners, including me, like a gentle bolt of lightening. River Strings: Maninka Guitar brings the artist into a sonic space that is near perfect. A clean, clear recording technique buoys the performances, and a spare ensemble of guitars, ngoni, bass, keyboards and percussion carry it all simply and beautifully... Cliff Furnald listens to sublime music from the Niger River.

 


Interview archive
  • Andrea Esperti
  • Don Edwards
  • Kim Carson
  • Wylie Gustafson
  • Mimmo Epifani
  • Monsieur Doumani (audio interview)
  • Sauti Sol (audio interview)
  • Mauro Durante
  • Attwenger
  • Svøbsk
  • Canzoniere Grecanico Salentino
  • Just a Band
  • Geoff Berner
  • Juan de Marcos González
  • Steve Riley
  • Väsen
  • Makana
  • Ellis
  • Deolinda
  • Frode Haltli and Trygve Seim
  • Tab Benoit
  • Caroline Herring, Claire Holley and Kate Campbell
  • Annbjørg Lien
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    About RootsWorld: RootsWorld is a world music magazine started in 1993, pretty much at the dawn of the term "world music" as well as the pre-dawn of internet publishing (I suspect this was the first music magazine of any sort published on the www). Our focus is the music of the world: Africa, Asia, Europe, Pacifica and The Americas, the roots of the global musical milieu that has come to be known as world music, be it traditional folk music, jazz, rock or some hybrid. How is that defined? I don't know and don't particularly care at this point: it's music from someplace you aren't, music with roots, music of the world and for the world. OK?

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