A World Music Magazine

world music Anoura, the new album by Malian singer and guitarist Anansy Cissé, was produced over a period of four years against a background of political turmoil in the north of Mali where Cissé is from. The sleeve notes tell us that that some of the songs, all sung in his own Songhai language, reflect this particular social situation while others express more personal feelings. The four years have allowed time for the production to be well honed and with its thoughtful layering of interlocking guitar overdubs it certainly feels like a studio album, but it's none the worse for that and never sounds overworked. Throughout the album there is an extremely effective play-off between the acoustic and electric sounds coming from guitar, ngoni and, on two tracks, the soku, a Malian fiddle. Read Mike Adcock's review and listen to some excerpts from the new album


world music Orava - Panorama Of Folk Song And Music Culture comes as a very nicely put together package: two CDs, in a 74 page hard-back book in a protective sleeve containing lots of color photos and details of the performers, texts about the project, song lyrics, and a map of the region. It features music by performers from 19 villages in the Orava region, which is at Slovakia's northern tip, bordering on Poland. It features male and female singers solo and ensemble, in unison and harmony, unaccompanied or joined by diatonic accordions, fiddles, string bands, bagpipes, or whistles including píštalka and koncovka. It's strong, loud singing, characteristically often pushing to the very top of the singers' registers, as is much Slovak singing particularly in the mountainous areas, and the melodies are in the distinctive modes that are typical of much old Slovak tradition, returning frequently to the root note but nevertheless having a feeling of suspension. http://www.rootsworld.com/reviews/orava-21.shtml Join Andrew Cronshaw in exploring the music of this region.


world music Alostmen, a quartet centered on two-stringed lute player Stevo Atimbire, are pushing music forward a bit differently; their approach is much more rooted in Ghana’s past. For one, Atimbire’s kologo is an instrument that connects to fra fra tribespeople in the country’s north. And certain tracks, such as the unadorned “Bayiti,” driven by voice and solo kologo, are unmistakably West African, the voices repeating singular words over the melodically minimal music. Yet, Alostmen are young guys as into hip hop or reggae as anything traditional, which is why their music sounds so startling fresh. Read Bruce Miller's review.


world music There is always a sense of satisfaction when two veterans from entirely different musical scenes join forces to create something genuinely new and different, the feeling that old dogs still have some new tricks left. Poul Lendal is certainly a respected old dog of Danish folk music; after more than four decades as a performer and teacher he’s pretty much a godfather of it all. David Mondrup’s time with electronic music isn’t quite as long, but he’s established a reputation as one of Denmark’s great innovators and teachers of the subject. As Vaev, the pair have come up with something that steps outside the sometimes-jaded boundaries of folktronica. Chris Nickson shows us an interesting new kind of folk music from Denmark.


world music Ville Ojanen is from Finland's fiddling nexus, Kaustinen, and over the years has been a member of Sikiät, the dance group Ottoset, Folkkarit and Troka. While still a part of that scene, and the Kaustinen accent and its evolving tradition is strongly there in his compositions, he moved away geographically, the music he composes is wider in its influences, and while he's a very fine fiddler, his albums aren't about showcasing his fiddling, with other instruments in an accompanying role; they're albums of his compositions, featuring a variety of musicians. This is his fifth, with a titular tie-up he must have been waiting for: the Roman numeral V, 'viisi' - Finnish for five and his first initial. Listen while you read Andrew Cronshaw's review.


world music Influenced by the Latin-American nueva canción movement as well as the 1960s British invasion which they were exposed to growing up, Los Bunkers learned their musical chops as a Beatles cover band in the Biobio region, hence their original moniker Los “Biotles.” With the return of democracy and a limited but vibrant music industry they moved to Santiago. It seemed that this young Chilean band incarnated not just the psychedelia of the British invasion, but also the emancipatory power of Chilean folksong. David Cox explores the history of this important Chilean band.


world music Despite having been formed nearly a decade ago, Floyds Row, named for a thoroughfare in their home base of Oxford, have but one album to their name. Recorded in 2013 and bearing a 2017 release date, The Oxford Sessions has a classical and early music air with some folk and traditional tinges. The core ensemble is the trio of Alistair Anderson (concertina, Northumbrian small pipes), Andrew Arceci (viola da gamba, double bass) and Chris Ferebee (guitar, mandolin, cittern, lyre). Vocalists Hannah James and Joshua Copeland, flautist Becky Rea and harmonium player James Percival are listed as guests. Split evenly between original compositions and arrangements of others' works, the tracks are more likely to make you lay back and ponder rather then get up and dance. Tom Orr shows that here at RootsWorld, it does not have to be new to be newsworthy.


world music

world music

In 2009, Omar Sosa made an eight-country tour of East Africa. The tour resulted in the film documentary “Souvenirs d’Afrique,” and an evocative trove of Sosa’s improvisations with local traditional artists during each of the tour stops. More than a decade later, and the consequence of close and sympathetic listening across half a continent, An East African Journey achieves what few so-called “world music” undertakings ever manage. Sosa’s playing is restrained throughout, engaging with, augmenting, and building upon the subtle creations of his artistic partners, rather than using their striking and diverse talents as mere spice for his own work. What makes this title still more compelling is its departure from European and North American artists’ more typical turn to West Africa for genre-bending musical inspiration.

Sosa collaborates with Olith Ratego (Kenya), Rajery and Monja Mahafay (Madagascar), Abel Ntalasha (Zambia), Steven Sogo (Burundi), Seleshe Damessae (Ethiopia), Dafaalla Elhag Ali (Sudan) and Menwar (Mauritius) on the 13 tracks presented on his new release. Michael Stone delves into this fascinating approach to collaboration. Read his review and listen to some of the music.


world music "One must always protect the dialects because they contain the essence of the history and culture of our country." - Roy Paci

Dialects—more accurately described as regional languages—need to be protected because, as Paolo Coluzzi observed in a 2009 article in the journal "Modern Italy," Italian is "a secure and vital language, spoken by almost the entire Italian population," but many of "the other varieties present in Italian territory are endangered…and are at risk of extinction."

Paci's words could serve as a statement of purpose for Linguamadre. This new Italian group has released its first album, Il Canzoniere di Pasolini. All but one of the nine tracks have been adapted from among the 800 poems and traditional songs collected by the poet, novelist, and filmmaker Pier Paolo Pasolini and published in his 1955 collection, "Canzoniere Italiano" (Italian Songbook)... Linguamadre eschews the folkloric, instead drawing on Italian folk music, jazz, and electronics to create contemporary arrangements that are as mysterious, unpredictable, and often as strange as the poems and lyrics themselves. George de Stefano explores Linguamadre's new, vibrant interpretations of the poems and lyrics collected by Pasolini sixty-six years ago.


world music Leyla McCalla's Vari-Colored Songs, was her first solo album, issued as a limited run in 2013. McCalla’s intention to acquaint listeners with Hughes’ poetry by putting his words to her compositions is laudable. Hughes is a giant among writers, intellectuals and activists, a keystone of the Harlem Renaissance of last century’s 20s and 30s that produced a starburst of intense Black brilliance in music, the fine arts and literature, as well as thought; the Harlem Renaissance also served as a forum to define and legitimize pride in one’s blackness. McCalla, who is of Haitian descent, sets eight of Hughes’ poems to her string band, country, and New Orleans style music, interspersing these curiously with traditional Haitian fare. Two compositions of her own are included, music and lyrics both. All told, it is an idiosyncratic and intriguing collection that yields mixed results.

The reissue of Vari-Colored Songs is timely for its devotion to Hughes and his deceptively simple, yet profound and beautifully cadenced Afro-centric writing, as a harbinger of Black Lives Matter, and his poems, indeed all of his writings, both personal and emblematic, are a reminder that we are still awaiting a national reckoning on race. Carolina Amoruso delves into this complex endeavor. Read and listen.


world music There has been some sniffiness among purveyors of… call it what you will, but ‘world music’… about the ‘fusion’ word. Indeed its use can sometimes warn of music that, though often skillfully played, might turn out to have a rootless superficiality. So, on the face of it, Folklore Fusions is not a promising title. But, at least for the ‘folklore’ part, in today’s stream of recorded music in all its formats perhaps there’s some sense in giving the prospective listener some clue as to what sort of thing they will hear.

Shum Davar, based in Prague, is a band whose members have Belorussian, Georgian, Czech and Slovak backgrounds, playing music drawing mainly on klezmer, Roma and Balkan traditions. Fusion, folklore or whatever, they have excellent material, both traditional and new-made, and they do it with such fire and originality that one’s immediately engaged in the album’s well put together flow. Read Andrew Cronshaw's review and listen to some excerpts from the album.


world music Initially, François Couture's Souvenance fulfills the expectation that it is to be a collection of 14 dance tunes, originals but keeping well within the conventions of the tradition. Given that this is music from Quebec, it doesn't come as a surprise to find the track list includes gigues (a mainstay of the region's tradition), Celtic style jigs and reels, and melodies with a sometimes decidedly French flavor. In fact the titles of all the tracks here indicate that they are conceived as dance tunes. But as things develop things are not always quite what they seem. Mike Adcock takes you through the twists and turns of this danceable yet challenging set of tunes.


world music On Y, Motus Laevus delivers a seriously diverse blend of new thinking and traditional melodies, ranging from slow and relaxing tunes to fast arrangements that makes you want to dance. The musicians behind the project, Edmondo Romeno, (soprano sax,clarinets, and chalumeau and fluier - wooden flutes). Tina Omerzo (voice, piano, keyboards) and Luca Falomi ( acoustic, classical, baritone,12 strings and electric guitars, acoustic bass) all have impressive backgrounds in playing, composing and researching a variety of musical genres. Maria Ezzitouni reviews. The band shares two videos.


world music While drummer Terje Isungset and trumpet player Arve Henriksen (who both double on several other instruments here) have long musical histories apart and together, more apart, really; this is their first duo release in six years. The Art of Travel is an album that delves deep to find hidden corners and curious nooks and crannies, the way all good travellers should. The pair show that there is an art to their particular type of travel, crossing through chaos to find order and beauty in the music. It’s a mix that travels through time and space, on files exchanged online between their homes in Norway and Sweden during lockdown. Chris Nickson takes you there to listen.


world music “I wanted to make a record, both of us did, that had a strong female voice, without any apology for that.”

Sad, funny, poignant, quirky. The new album from Suzzy Roche and her daughter, Lucy Wainwright Roche, is indelibly colored by the surreal, frightening first weeks of the pandemic, which stopped New York City in its tracks, though this duo found a way to wriggle through and create a comforting and discomforting elegy for our times. Marty Lipp talked to Suzzy Roche about the new recording, life in lock down in NYC, her sisters, and of course, her daughter Lucy.


world music Bará is a trio based in Europe, but the music has roots that spread much wider. Vocalist and ngoni player Baba Sissoko hails from Mali and his original songs call on that country's rich traditions. Percussionist Afra Mussawisade was born in Iran where he studied Persian classical music but he moved to Europe as a child, soon becoming exposed to other musical styles. Jozef Dumoulin, on keyboards, is Belgian. He began his career studying jazz piano but his inspiration now comes from a much broader musical field. All three musicians have worked with a wide range of international musicians in concerts and recording and have played together before, but this is their first venture recording as a trio. The result is an album that sounds fresh, varied and rather special. Whilst each musician makes his own distinct contribution to Bolo Saba, there is a sense of unity and purpose in the music that belies the differences between them. Read Mike Adcock's review and listen to some of the songs.


world music Ásgeir Ásgeirsson is an Icelandic player of bouzouki, saz and more. Since 2017 he has been creating a big, beautifully executed project: a trilogy of albums of Icelandic folk songs and melodies from Bjarni Thorsteinsson's 1905 collection, interpreted and developed from the perspective of the traditions of Turkey, Bulgaria and Iran. Featuring top musicians from those places, with the songs largely performed by Icelandic singer Sigrídur Thorlacius, they were recorded in studios in Iceland, Bulgaria, Greece, Turkey, the Netherlands, Iran and India.

This year brings the final album, Icelandic Folksongs Volume 3, Persian Path. Its instrumentation comprises a rich orchestral blend of qanun, santur, oud, ney, kamanche, qeychak, setar, violin, cello, percussion and Ásgeirsson's instruments which here include touches of guitar synth. They mould themselves to the Icelandic material, elaborating and extending it with arrangement and composition by Ásgeirsson and the players. The result is a sweeping, indeed epic, flow of melodies. Read Andrew Cronshaw's review and listen to some of all three recordings in the series.


world music "Inside my mountain, hay un misterio."
With these suggestive words, the first line of the first track of Oye Mujer (Listen Up, Woman), Ladama lays down their brand of sexual politics vaunting empowerment and liberation on their own terms. Ladama (La Dama—the lady, without a facetious undertone) is an all women collective of players from the Latin American world, including the US. Ladama isn’t intent to merely throw down a velvet gauntlet of sexual empowerment. The group has also taken up, notably as women, the web of urgencies of the day, including global warming, homelessness, poverty, immigration, indigenous rights, and more. Ladama is not just a mouthpiece against indignity: these women are serious musicians, all, and care equally about their art as players, composers, lyricists and arrangers, achieved, they are proud to disclose, collectively. Their commitment to mastery as women musicians engages the listener, lending more agency to their message. Read Carolina Amoruso's review and listen.


world music Makgona Tsohle Reggi is a collection of ska and jerk-inspired instrumentals by the Makgona Tsohle Band. But this is decidedly not a reggae or ska record. What it is instead is a collection of twelve sharp, terse performances featuring organ-drenched staccato chug, guitars that seem to push past the limits of their amplifiers, and saxophones-as-human-voice, all buoyed by drum patterns that skitter and jab. And while the influence of Jamaica is present, it melds so effortlessly with South Africa’s own sounds of the era as to have ended up producing a type of raw, garage groove that occasionally defies geographical identity altogether. Listen to the music and read Bruce Miller's review.


world music It's been a lousy year, but one would never know it listening to Sharon Shannon’s joyous new album The Reckoning, which was conceived, made remotely and released through the early months of the coronavirus pandemic. We’ve been told that during this dark, turbulent and grueling year to find our little joys. And damned if Shannon hasn’t done just that, finding joy in her squeezebox, tootling out tunes with a band of co-conspirators from around the world, managing a virtual worldwide trip while staying locked down in her County Galway home. Read Marty Lipp's review.


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Dark, slow, intense, deep-pitched duetting, on hardingfele very unusually tuned an octave down, and electric viola similarly plunged to octave-low register, in ‘sorrowful tunes to make your heart sing’ - these are the melodies of songs, from living tradition, hymn-books and manuscripts, of sadness as melancholy as the plover’s cry, love lost, farewell, the transience of life, and ‘bottomless baroque mystery.' Norway’s Ånon Egeland has a distinguished, open-minded and multifaceted career in traditional music and the inspiring communication of its skills and knowledge to new generations. Mikael Marin is the viola player with the very well-known Swedish trio – recently become a duo – Väsen. In live performances of this project the two of them, with grey beards and dressed in retro suits and hats, appear like ghosts from another time. Listen to their collaboration and read Andrew Cronshaw's review.


world music The Ludwig Variations is not, as one might expect from the title, a set of variations on the works of ol' Ludwig Van B (whose 250th birthday anniversary is this year). No, this Ludwig is a creaky, wheezy old small piano-accordion made by the German company Ludwig, and in these pieces its characterful sounds are augmented and celebrated by Mike Adcock and a cast of his pals responding to these pieces on a sympathetic range of other mainly acoustic instruments. Mike explains "In the early days of the Corona virus lockdown of 2020 I sat down one evening in my living room, my head full of thoughts about what the coming months might bring. I'd taken down from a shelf an ancient and rarely touched accordion, thinking to explore its charms, and began to improvise." Hear the results of his experiments in Andrew Cronshaw's review.


world music

world music

Nahawa Doumbia, a singer from Mali's extraordinarily musical Wassoulou region, has been releasing records for nearly 40 years. She's also been the focus of two other 'Awesome Tapes From Africa' releases, recordings that show off her voice over solo acoustic guitar as well as larger bands that combine traditional instruments with electric ones. With Kanawa, the label is releasing brand new music from this West Africa treasure... And not surprisingly, it induces surrender. Doumbia's voice has only gained power with age... Lyrically, she speaks to what she has been witnessing in her home country: the treacherous flights of young people to Europe, the struggle for Malians to find employment and build their own country, and a denouncement of the fundamentalist horrors that have ransacked the country's northern regions in recent years. Ultimately, she's arguing that leaving Mali works against the country's future, no matter the current issues. Bruce Miller reviews the legendary singer's new album.


world music Young, largely city-based, musicians finding and learning from the old village players has created an upsurge of enthusiasm for, and dancing to, Polish traditional dance music, mainly its lurching, energetically fiddled mazureks (mazurkas). The playing, organising and teaching work of Janusz Prusinowski and his band have been a huge influence in this revival since the time of their first album in 2008. WoWaKin brings a further and very engaging burst of dance-impelling energy that I'm finding as enthusiasm-inducing as I did that first Prusinowski Trio album. All of the material on the trio's Wiazanka is traditional, much of it learned from living or recently deceased musicians from across lowland Poland who played for weddings, funerals and as village entertainers. While keeping all the traditional technique and instrumentation, WoWaKin have not only absorbed the essence but vitalize it with their own approaches. Andrew Cronshaw reviews and you can listen in.


world music It's likely that this collection's existence makes little sense to anyone unfamiliar with Harry Smith or the original 6-LP Anthology of American Folk Music he curated, originally released by Folkways in 1952. Yet, if there's a soul out there somewhere who's just now tapping into this music via this comp, it will then get a chance to stand on its own as a collection of music recorded commercially and released on 78 RPM shellac discs in the US circa 1927-30. They will hopefully note that it isn't representative of what was popular at the time. Hell, it's not even representative of whatever 'American' is... Harry Smith was a collector - of Easter egg patterns, textiles, paper airplanes, and at one point, records. He also saw a pattern to the sides he decided to initially compile for the anthology. He mixed alchemy with academia to make choices, and as awesome as the original collection is, there are some clunkers, which means those clunkers' equally weak B sides appear here. So, both the original anthology, and this mirror collection are filtered by the commercial nature that allowed them to exist on record in the first place, and then again by a curator driven by the power of particular patterns as much as by the records' quality. Arguably then, the idea of a collection of B sides undoes Smith's vision. All that said, it's a wonder the music is as good as it is. Bruce Miller digs deep into the archive. Listen with him.


world music Lo'Jo is one of those remarkable bands that's crafted a sound that's instantly identifiable. Five seconds and you know who it is. But rather than simply trade on that, they've used it as a springboard from which they can experiment. On each of their albums for more than 20 years, they've mutated and subverted many musical norms. They've tried things, brought in new ideas and instruments well before they became established in Western music. Transe de Papier is no different. The familiar elements are there: the poetic, gravelly voice of Denis Péan, the harmonies of the Nid El Mourid sisters, and the violin of Richard Bourreau, which often sounds nothing like an ordinary violin. That's the established core, along with relatively recent bassist Alex Cochennec, but it's how they use those pieces that illustrates the changes. Read Chris Nickson's review and listen to some of the music and a video.


world music The story on how Rafael Machuca, a Colombia tax lawyer, came to own and operate Colombia’s most eccentric record label is almost as odd as the sounds found in this collection. The tale goes something like this: Machuca was in charge of finding live music for a lawyers directors’ party, and, having no clue how to search for traditional sounds, contacted his brother-in-law, Humberto Castillo, a record dealer in Medellin. Castillo traveled up country and helped Machuca find a variety of Barranquilla nightspots full of local talent that no one had thought to record. The long and short of all this is that Machuca, a man who previously had no interest in music, much less the music business, became infatuated with what he heard, joined one band on tour and ultimately used his tax knowledge to form a label with contacts and suggestions for musicians by Castillo. Out of this came a half decade of coastal Colombia’s most outrageous psychedelic rhythms. Machuca encouraged single-takes, and at times, put together bands out of whoever was around, meaning some of these “groups” he recorded never existed outside of the one or two sides they waxed for the label. The music on La Lorcura de Machuca 1975-1980 is well-grounded in Cumbia and Vallenato, so its roots aren’t obscured so much as decked out in glow-in-the-dark feathers and high-heels. Read Bruce Miller's review and listen to a few tracks.


world music Cimarrón is a Colombian group playing llanero joropo music, the music of Colombia’s north-eastern plains (los llanos). In October, they performed live from the river and savannahs in the Orinoco Plains. Watch the impressive full video (24 minutes) and read a short intro to their music by Andrew Cronshaw.


world music The term “Afro-Futurism,” supposedly coined in 1993, but certainly put into practice philosophically and otherwise way before then, has been receiving much attention over the last few years. And it makes sense too. When a group of people- jailed, shot by police, denied fair housing, wages, or equity with regards to all manners of health and educational issues- finds itself systemically deprived of justice, a look to sci-fi and other ways to use the future as a way to escape the present is one logical reaction to various forms of oppression. The idea of space travel, both figurative and literal, is what fueled the music and writings of master bandleader, composer, and keyboard wizard Sun Ra... It only makes sense that Canadian-Malian artist Djely Tapa would embrace the term as a way to update griot traditions as a form of feminism. She has harnessed rhythms and stories at their root, but delivered them coated in dub murk and trippy electronics. Tapa grew up in Kayes, learning the music of the griots to whom she was related, all the while finding herself fascinated with Western culture. Eventually moving to Montreal to study Mechanical Engineering, she fell in with the cities massive African Diaspora and dug back into her griot-based roots. Eventually, she connected with Chadian-Canadian DJ AfrotroniX, who produced Barokan. Read Bruce Miller's review and listen to some of the music.


world music Some may fondly remember the stringy, reedy swingy halling/polska honk of Filarfolket, a prime and now legendary band in the Swedish folk music revival. Mapou often evokes that swing. Pairing ex-Filarfolket saxophonist Sten Källman on baritone, tenor and soprano with Haitian voudou drummer Sanba Zao, it draws on Swedish and Norwegian traditional halling, polska, waltz or springlek and Haitian melodic rhythms.

In music of just reeds and drums, plus touches of brass, with no chordal instruments but rich with implied and actual harmony, they’re augmented by two more Haitian percussionists, bass clarinettist and soprano saxophonist Robin Johansson and, on a few tracks, a bunch of Swedish reeds and brass players. The resonant and gutty patter and pitched ring of the drums creates a rhythmic and melodic world, over and within which the reeds float and weave their own melodies, softly solo or in thicker ensemble. Andrew Cronshaw reviews and presents some of the music.


world music Three words to thrive by is as interesting for its uplifting jazz music as its is for the creative process behind the album. The trio of Emanuel Ruffler (piano), Rashaan Carter (bass) and Timothy Angulo (drums) starts off with discussions that becomes ideas, that then inspire them to make music.

”This trio is born of conversation. It’s origin, thought and dialogue is rooted in listening, sharing, and learning. We’ve developed a fairly regular routine in which a discussion precludes and completes a rehearsal or a recording. We’ve developed a trust that ushers these exchanges through a wide range of ideas and topics. These conversations forms the core of the music,” explains pianist Ruffler.

Their first single, “Jazz Dakar” was released on the 30th of October and was born after all three went to West Africa, where they were deeply touched by the history of slavery. The Gospel singer and activist, Valerie Troutt completes the piece with a melody originally meant for a horn. Troutt’s voice has similarities with Anita Baker’s and it is hard not to wish for more. Read Maria Ezzitouni's review and hear some of the music.


world music Twenty-one years ago I reviewed Galician gaiteira (bagpiper) Susana Seivane’s first album, a sparkling production of arrangements in which she was accompanied by a bunch of leading musicians in the upsurge of energy in Galician traditional music. For her sixth album Dende O Meu Balcón (‘From My Balcony’), she has returned to her traditional Galician roots, in classic tunes and songs, with the raw gaitas and percussion and strong melodies. Hear some of the music and read Andrew Cronshaw's review.


world music


world music

First, please join me in learning a little about the Walloon Region, a place and a culture in southern Belgium that shares borders with Flanders (Belgium), France, and Germany. Wallonia is the poorer cousin of Flanders and Brussels, economically and politically, but covers a bit more than half of the country's territory. Its residents speak their own distinct Romance language, Walloon, as well as French. Perhaps most descriptive is that the name itself is rooted a Germanic word meaning "the strangers"?

Gote d’Èwe opens with what seems to be an electronic wind but it quickly becomes clear it is human breath. This breathing is overlaid first by a single female voice, then a full chorus, creating a rhythm and a polyphonic melody... La Crapaude (the girlfriend, in dialect) are joined by rough, simple percussion instruments. They immerse you in the wonders of the Walloon tradition, sung not as traditionalist re-creation, but as living contemporary vocal music. Charlotte Haag, Sabine Lambot, Pascale Sepulchre and Marie Vander Elst, accompanied by percussionist Max Charue, delve into the folk tales of Wallonia and present them in rich harmonies, punctured by hands clapping, sticks clacking.   Hear more and read Cliff Furnald's full review.


world music The playfully named Le Chat Brel is an arresting mélange of music inspired by a number of post-War and mid-century cultural trends, mostly in France and Italy. In essence it is the story of two ships, one laden with an accordion on deck (and a piano in storage), the other carrying a violin and viola, that set sail from Franco-Italian harbors, bumping from performance to performance in ports mostly European. They would pass each other like the proverbial ships in the night until their captains came to see that they rode kindred waves, and a bond between them was cast. Maurizio Minardi, master of the keys, and Gabriel Bismut, master of the strings, are the two seafarers who vaunt their affinities on the album.

The curious title gives us a hint as to some of these affinities: “Chat” and “Brel,” when combined might bring to mind Claude Chabrol, one of the signature directors of the French Nouvelle Vague, groundbreakers in cinematic technique and engaged in social commentary. And Brel, of course, suggests the much venerated Francophone singer-songwriter, poet and gallant of Paris’s Bohemian set, Jacques Brel. Read Carolina Amoruso's review, listen to some of the music and watch two videos.


world music The gifted, unassuming Malian singer-guitarist Afel Bocoum is internationally known as a member of the band of his late mentor Ali Farka Toure and more recently, his work on Damon Albarn's Mali Music and Africa Express projects. But it's Bocoum's reflective solo recordings which I think show him in the best light. So I approached this new release, with its clutch of guest artists and promised combination of tradition and innovation, with a degree of caution. Bocoum wouldn't be the first traditionally inclined artist to end up drowned in a stodgy soup of well-intentioned overproduction. Turns out I needn't have worried. Lindé may have flash, dash and big-name cameos, but at the heart of every track is the easy rolling West African rhythm and melody of Bocoum's sound. Listen in with Jamie Renton


world music Garefowl was the name given to the Great Auk, a bird prized for its down and eventually hunted to extinction. In 1840 the last Great Auk of St. Kilda - the remote Scottish archipelago at the westernmost tip of the Outer Hebrides that was abandoned 90 years ago - was killed by an ancestor of Ewan Macdonald, the man who is one of the driving forces behind this album. Cliffs commemorates both events.

Most of the pieces draw on music collected on St. Kilda or recorded later by those who had lived there. Others, composed for this album, find their inspiration within the grater orbit of St Kilda and its history: family stories, journeys on the water, or a glimpse of someone on the street. Recorded during lockdown, with the North Atlantic water and air and the cries of the birds as the backdrop, it’s an original, thickly-textured, thoughtful and sometimes profound piece of work. It’s slow music, that develops like waves moving gradually from the deep to the shore. It envelops all the senses and emotions, taking its time to build and swell then recede again.   Read Chris Nickson's review and hear some of Garefowl's music.


world music Some musicians involved in folk music release an album as soon as they have the ability, repertoire and resources. Other spend many years playing with and learning from tradition-bearers living and passed, and build a reputation before committing to their first release, and when they do it’s well worth paying attention.

Fiddler Michal Noga is of that latter category. Michal’s playing is top-class, impeccably accurate and full of lightness and energy, and on Stopy he is accompanied by a band of fiddle, kontra, cimbalom and double bass. All of them sing, and they’re joined for the album by male and female solo and group singers and, for individual tracks, extra instrumentalists including clarinet, sax and double-chanter bagpipe. There’s a nice conceptual feel to the way the music is presented, that alludes to this being youngish present-day musicians paying tribute to the musicians and bands who have carried the traditions.   Read Andrew Cronshaw's full review and listen to the music.


world music It is hard to believe that the Rheingans Sisters were ever anything as straightforward as a folk duo. Over the course of four albums they’ve developed into a duo with strong roots and influences in folk traditions, who compose and play music that’s far more amorphous and beyond easy definition.

“We have a strong sense of the atmosphere we want to create in our music - the colours, textures, the feel of each track being of equal importance to us as lyrics, melody, arrangement…We’re also quite influenced by musical styles where this is apparent - the trance like qualities of some traditional dance music has always attracted us as well as the pattern making repetition of classical minimalism.”

That trance, the sense of transport, seeps through on much of the music on Receiver. It is a very textured album. It can be very beautiful at times, rough and ready at others. It’s most definitely not polished to glossy perfection.   Read Chris Nickson's full review and listen to some of the music.


world music Andrew Cronshaw writes:
At the end of the 1960s I was given a present of Shirley CollinsThe Power Of The True Love Knot. To be honest, I wasn’t immediately all that attracted by her singing – it seemed conversational, unlike the more projected singing I was accustomed to in the folk scene music of the time. But that’s precisely it; Shirley sings a song to you, she tells it, and the songs and their melodies from that LP lodged in my mind. After a long hiatus, she returned in 2016 with Lodestar. And now, we have Heart's Ease.

Her voice is deeper, but it still has that warmth, like she’s telling the song just for you. Not commercial-type close-mic breathy intimacy, it’s much earthier, and she sounds like family. And there’s that rounded, natural Sussex accent.. The accompaniments, too, have changed; they’re more string-bandy, featuring the Lodestar Band of Ian Kearey, Pete Cooper, Dave Arthur, Pip Barnes and Ossian Brown, variously on 12-string guitar, fiddle, banjo, guitar, mandolin, bass, melodeon, electric guitar, hurdy-gurdy, and Ian also plays Shirley’s erstwhile instrument, a cittern with 5-string banjo neck and a heart-shaped sound hole.   Read Andrew's personal reminiscences and short bio, and his full review of the album, accompanied by a number of songs.


world music Honeywood is hardcore dance music; no ifs, ands, or buts. It’s serious dance music. It satisfies the feet and it also does a very good job on the heart. But no programming, no 808s. This is all acoustic, played by the Ontario duo of Emilyn Stam and John David Williams who often manage to sound like a quartet or more, even without guests, as they roll out the melodies on accordions, clarinet and five-string fiddle. Alongside their own material, there’s plenty from the tradition to sit alongside on their second release. But the devil is in the arrangements. They’re more than complex, built of the kind of natural empathy that can only come from a couple who live and breathe their music together, 24 hours a day. Read Chris Nickson's review and dance to some of the tunes.


world music


world music

“Some of my biggest influences were people like Louie Armstrong, Professor Longhair, Dr. John, Jackson do Pandeiro, Luis Gonzaga, Chico Science. If those artists were alive today and we put them in a studio and recorded an album, what would it be? That was the inspiration,” says drummer Scott Kettner. When Nation Beat released its first album in 2005, the shorthand description of their sound usually was that it was a pairing of American country music with the Brazilian country music from the northeast. On the second, 2008’s Legends of the Preacher, the band reimagined Hank Williams “I’m so Lonesome I Could Cry” with a Brazilian syncopated beat, but the other cuts on the album were literally all over the map, touching on funk and soul too.

The Royal Chase now features Kettner on percussion and four brass players. The title of the new album hints at what has been going on with Kettner. “I’m always chasing something and I don’t always know what it is, but it drives me. It makes me practice and keep recording albums. I never feel like I’ve completed it….I’m trying to get to something and that’s my royal chase.”

Marty Lipp talks with Kettner, and reviews Nation Beat's latest album.


world music What do you do after you’ve celebrated 10 years together as a band? How do you keeping going and still have it sounding as fresh and new as it did at the start? There’s no easy answer, of course. And when Dreamers’ Circus recorded Blue White Gold in 2019, nobody could envision what 2020 would become. Yet, unwittingly, they seem to have made a CD that fits perfectly the times in its mix of beauty, jauntiness and hope. Chris Nickson wakes up to the striped down sound of this wonderful Copenhagen-based ensemble.


world music Waves of Algerians have been making France home for over 100 years now, escaping regressive Algerian politics or in search of better work opportunities. Whatever the case, it makes sense that the home of the colonizer would include among its population thousands of people representing the (formerly) colonized. Cities such as Paris, Marseilles, and Lyon have the largest concentrations of North Africans, and despite the racism these folks have felt in this country, they have been re-defining French culture for decades. Algerians are French, so it’s natural that these cities became the focal points for musical recordings such as the tracks collected in Maghreb K7 Club: Synth Raï, Chaoui & Staifi 1985-1997, all of which are the product of Maghrebis living in Lyon. This collection allows tracks initially produced on cassette in the Guillotiere district of Lyon by the musicians dominating the area’s scene at the time their first vinyl release. In fact, this place had been a hub for Algerian culture for years, so there was something of a musical synthesis taking place, which helps account for the wide-ranging styles here. Because, while the term Rai is often used to represent much late 20th-century Algerian pop, there’s more to it than this. Delve in to this unique collection with Bruce Miller.


world music The third album of the Andalusian sextet La Banda Morisca retains much of the flavor of the group’s first two discs, while moving the band’s sound forward into new territory. Informed by the traditions of old Al-Andaluz, the longest-Islamicized region of Spain which also maintained long standing ties with the Middle East, the Maghreb and other parts of the Mediterrranean and Africa, their new disc is quite well polished for a global audience. While the Arabic influences on Spanish music are obvious, La Banda Morisca makes the connection explicit, following on the success of Andalucia’s Radio Tarifa and such Valencian singers such as Miquel Gil and Carles Denia. Read David Cox review of Gitana Mora.


world music The music on this disc resides in a place many would consider either anti-science, or at the very least see as the type of woefully ignorant occurrence that happens when modern medicine isn’t as readily available as it should be. Certainly, in Northern Malawi, one of the poorest places on earth and also where these performances were recorded, Christians, themselves espousing the often-dangerous beliefs of the colonizers, see what’s on offer here as an embarrassment. Yet, with the continued existence of these types of performances come places to have conversations about cultural preservation, resistance, and music and dance as therapy and performance as art. Consider the fact that Music Therapy is a clinical, evidence-based science in the west. Vimbuza, the music and dance on offer on this collection, tends to occur at night and at least in this area, under the leadership of Doctor Kanuska, who is a well-respected figure in the villages of the Northern Mzimba region. Read Bruce Miller's review of Mutende Mizumu by Doctor Kanuska Group.


world music There was no more radical shift in production and/or styles in popular music than the jarring lurch that happened in many parts of the globe at the dawn of the 1980s... For lovers of buoyant, body moving, raw guitar-based music everywhere, Sao Tomé and Principe were still churning out the heavy stuff as late as 1985, as this collection of extended rhumba and puxa jams so emphatically demonstrates. A companion to Bongo Joe’s recent compilation from these islands, and featuring a single artist and only 4-extended tracks long, Pedro Lima's Maguidala is perhaps even more consistent than its predecessor. Lima, who died in 2019 at the age of 74, had been gigging with bands since he was a teenager, including his family band Os Leoneses. His voice conveys a subtle warmth over simmering, intertwining guitar patterns for a sound that might be mistaken for anything from soukous to benga. But what’s on offer here doesn’t quite sound like anything else from the time or region... Read Bruce Miller's review and listen to 2 tracks


world music Veteran English musician Ian A. Anderson has made good use of lockdown... This second decades-spanning compilation takes in most facets of his musical interests, with a number of cuts appearing on CD for the first time, like the possibly apt-for-the-times “Another Normal Day” from his Hot Vultures years, a song that bounces into the brain... What’s so refreshing is that the quality is high throughout – no barrels scraped here, not even close - which makes you wonder how much more excellent music he has hidden away in his cellar. Read Chris Nickson's review and hear some of the music.


world music Bucking the trend for brash West African desert rock and blues (Tinariwen and their ilk), this solo debut from Tidiane Thiam offers an altogether gentler kind of guitar music from the region. The album’s title translates as “Remember," most apt given that many of the melodies here can be traced back as far as the 11th Century. Thiam, who is a photographer, visual artist and folklorist as well as a guitarist, is eager to keep alive the traditional sounds of northern Senegal. Recorded in his riverside hometown of Podor, the country’s northern-most outpost (the last stop before Mauritania) Siftorde shows how simple is sometimes best. Read Jamie Renton's review and listen.


world music

Although Sarah Palu has made a name for herself as a film composer in Finland, and plays in a few bands, this is her debut as a solo artist, and on it she’s set the bar incredibly high for the future. While plenty of albums are tucked away after a week or two, this one sticks around and practically demands to be played, its nooks and corners are slowly discovered. Palu is primarily a kantele player, but she hardly defines by it. There’s an emphasis on strings, but the music she’s written, played by herself and several others, flows rapidly and easily across stylistic borders. Not folk, not dance, not world. About all you can say is that it’s always decidedly Northern. Read Chris Nickson's review and listen to some music.


world music Before Matsuli became a record label, it was a blog doing hungry music fans a solid by posting mp3s of live gigs, rare, out of print LPs, and generally being among a flurry of online activity then equipping folks such as myself with African sounds we either never thought we'd hear, or never knew existed in the first place. Matt Temple, the man behind the label, which kicked off in 2010 and focused on 1970s South African reissues, shined some much needed light on little known artists and styles, and the goods keep coming with three new albums this summer by Dudu Pukwana, Busi Mhlongo and Zorro Five. Read Bruce Miller's review of all three and listen to a track from each.


world music

world music

Siti of Unguja (Romance Revolution on Zanzibar) is a tribute to a pioneering woman artist, Siti Binti Saad (1890-1950). It celebrates, amplifies and updates the ages-old genre of music unique to Zanzibar, taarab. Remarkably, Siti Binti Saad was able to wrest taarab from the province of men only, appearing as a lead performer who opened the way for other Zanzibari women musicians. Remarkably, too, she introduced lyrics to her songs that addressed the exploitation of women, classism and corruption.

What makes this both a tribute to the past and a compelling contemporary playlist goes beyond the music itself and the masterful arrangements: for the first time we hear the voice of Siti Binti Saad's great-granddaughter, Siti Muharam. Siti Muharam had lived for many years silently on Zanzibar with her fabled legacy, until she was coaxed into recording her great grandmother's repertoire. Listening to Muharam is like opening and savoring the flacons of a collection of precious Zanzibari spices; each song, each instrument and player, has its own flavor, while together they create a dreamy bouquet, an East African garam masala. Hear some of the music and read Carolina Amoruso's full review.


world music

The members of Fiolministeriet (The Ministry of Fiddles) have all been busy, but it’s taken than nine years to finally getting around to follow-up to the eponymous debut and we barely bat an eyelid. Still, they’ve returned with the outstanding Et Nyt Life, and it really does sound like a rebirth; straight out of the traps it’s full of passion. On “Riga Balsam” you can hear the raw scrape of bow on string and almost feel the texture of the wood. Even in the interlacing of its slower, delicate middle section that earthy sense remains. It’s a powerhouse beginning to an album, the execution joyful and full-blooded... Read Chris Nickson's full review and listen to the music in RootsWorld


world music The three Lithuanian women who make up Sen Svaja claim to possess origins of pixies. While that intriguing idea of their ancestry may or may not be true (who can be certain in the Baltic or Nordic countries?), there's certainly some dark magic about the music they make on Kraitis Is Pelkes. The title means 'the dowry from the swamp,' and it's filled with riches from across Europe; mostly their homeland, but some songs have their beginnings as far away as Turkey, Britain, and Norway. "Ralia Rolia" sets the tone for the disc, a shepherd's song that seems to be steeped in shadow: there's an insistent zither riff, some brooding bass – the subtle programming complements the arrangement – and the very eerie mix of the three voices. It really does contain something of the otherworldly. Maybe not a swamp, perhaps a portal hidden in slab of rock that leads to a stranger world... Chris Nickson takes you into this strange place.


world music The sextet Nihiloxica - featuring two Europeans on kit drums and electronics, and four Ugandans who live and play traditional hand drums in Kampala as the Nilotika Cultural Ensemble - is named after the giant Marabou storks found in much of sub-Saharan Africa. These birds, nearly as tall as people, ugly and menacing, are scavengers on the ground but graceful in the air. None of this describes this band, though like the Marabou stork, Nihiloxica thrive in Kampala and elsewhere... Kaloli should surprise no one who's heard the band's earlier releases. Perhaps the sounds are bit less jagged in their force, but the dark, wasteland-washes of synth never disguise this as music to get physical with. Its primary concern is equal parts dance and trance, something percussion ensembles all over the African continent honed to perfection centuries ago. In that sense, Nihiloxica perform an update on ancient ritual that connects them equally to contemporary artists and to a variety of age-old regional Ugandan drum styles. Listen in, and read Bruce Miller's review.


world music The third full-length CD from Estonian band Trad. Attack! finds Sandra Vabarna (vocals, Estonian bagpipes, Jew’s harp), Jalmar Vabarna (12-string guitar, vocals), and Tõnu Tubli (drums, percussion, trombone, glockenspiel, vocals) firing on all cylinders. Make Your Move is a fierce and fearless treatment of traditional material, and in this surreal time of worldwide pandemic, you do not want to miss this album. Since 2014, Trad. Attack! have been focused on updating the sound of Estonian folk music. The band has always exuded a feeling of joy and playfulness, and they do not shy away from pop gloss, the dance floor, or fully utilizing the recording studio to realize their vision. Each album has opened up new routes for Trad. Attack!, and Make Your Move is full of strong musicianship, electronic flourishes, and punk energy. Lee Blackstone rocks out in Tallinn.


world music Collaborations between musicians from seemingly disparate cultures or geographically distant places are certainly nothing new; they also often serve more to show listeners what these ostensibly dissimilar cultures actually have in common, as so much music is coincidentally or otherwise connected by instrumentation, tone, or rhythm... Yet, the musicians on Afropentatonism are from a different version of the typically problematic terms “east” and “west,” in this case Niger and Ethiopia, both landlocked African nations with undeniably rich music scenes that have received more global attention over the last 20 years. Guitarist Alhousseini Anivolla is known for his work with Etran Finatawa, while Girum Mezmur, a musical chameleon, tends to lend his six-string energy to western-derived soul-jazz fusion all the while doing a huge part to keep Addis Ababa’s fertile musical scene chugging along. Because Mezmur, who has been on the scene for closer to 30 years, can be found playing in any number of styles, it’s not surprising that he bends to compliment and comment on his West-African partner’s grooves here for music that fits right into the single-chord hypnosis Tuareg desert guitar is famous for invoking. Read Bruce Miller's review and listen to some of the music


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world music “The simple fact is that I love brass instruments and percussions,” says Anna Dantchev about the configuration of instruments on her new work with her band, Dantchev:Domain.     Say It painstakingly places and moves sounds about to express a mood, a feeling, a memory, like the pieces on a chessboard, locked in harmony instead of battle. Dantchev’s compositions, her vocals, and arrangements combine to craft an audio memoire using intriguing instrumentation, that creates a sometimes solemn and martial sound defined by the deep brass of sousaphone, tuba and trombone. Dantchev’s voice, too, is brassy and round with a slight bell-ringing vibrato. Percussion­the battery includes a drum kit, an assortment of individual drums and small percussion instruments, and Dantchev’s tupan, a traditional Bulgarian, two-headed drum ­complements the brass to create an unusual, yet successful coupling that achieves a big, though tempered, sound. Key to taming that brashness is the frequent intercession of guitar and vibraphone. http://www.rootsworld.com/reviews/dantchev-20.shtml Carolina Amoruso shares her thoughts on the music.


world music

world music

From Honduras, singer Nohelia Sosa intertwines her evocative alto with the discreet backing of her band, Sus Santos: guitarist Randy Sanchez, bassist Justin Bransford, and singer-songwriter-drummer-percussionist Rafael Herrera. They convene fluently where Latin folkloric, pop, canción romántica and rock en español meet R&B, C&W, and rock ‘n’ roll. The consequence is a fluent hemispheric sound attuned to the changing demographics, diversifying complexion, and hybrid vitality of artistic expression north of the Rio Grande, not a line of division or great wall, but an embracing cultural bridge linking with, indeed celebrating what the Americas may yet become. Read Michael Stone's full review of Nohe & Sus Santos' Tempestad and listen to some songs.

This is our Music of the Month selection for July, 2020. Subscribe, or get just this CD, and support RootsWorld with your donation.


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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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