When you think about Celtic music, you probably think of someone from the Scottish Highlands, Ireland or maybe France, but you will definitely change your mind when you hear the sounds of this talented musician from Galicia, Spain who has collaborated with the likes of The Chieftains (he was considered their “seventh member” when he worked with them), Sinéad O’Connor, Mexican-American band Los Lobos and Ry Cooder, to name a few.
Carlos Núñez is a virtuoso of the gaita, which is the Galician version of the bagpipes (another take on the instrument is also widely used by folk musicians in Italy). His style could be described as a blend of flamenco, Spanish folk, jazz and Celtic music with a contemporary, almost pop-like feel. His band’s arrangements are highly percussive and include instruments not commonly associated with Celtic music, such as Spanish guitars, electric bass, horns and Latin drums.
In a live format Núñez has fantastic energy and creativity with his improvised licks. He plays his gaita with the demeanor of a rock guitarist–which is probably why some of his fans have nicknamed him “the Hendrix of the bagpipes.” His band, which is rounded out by Stephanie Cadman (fiddle, step-dancing, vocals), Pancho Alvarez (medieval guitar) and Xurxo Nuñez (percussion), has great chemistry together. This is definitely something to discover if you haven’t yet done so. (Ernest Barteldes)
February 12 at Old Town School of Folk Music, 4544 North Lincoln, (773)728-6000. 8pm, $10 suggested donation.
Brazilian singer Maria Rita built her career doing her best to be outside the shadow of her late mother Elis Regina, a legendary performer in her own right whose career was cut short by a cocaine overdose. It was not an easy task, since Rita’s voice is incredibly similar to her mother’s. Over the years, she stayed away from Regina’s material while making inventive, jazz-inspired albums accompanied by a simple trio of piano, acoustic bass and drums (the exception was 2007’s “Samba Meu,” which was recorded with various percussive instruments added to the band.)
It was not until 2012 that she finally agreed to work on a project with Regina’s music in commemoration of the thirty year anniversary of her passing. “Viva Elis” was originally planned to be a limited five-performance engagement, but due to public demand it later evolved into a national tour and a CD and DVD entitled “Redescobrir.” The album covers her mother’s greatest hits played in arrangements close to the original recordings (the audience is heard cheering at the opening chords of tunes like “Como Nossos Pais” and “Águas de Março”) while some of the lesser-known songs were given a completely different treatment under the musical direction of her brother, arranger and producer João Marcelo Bôscoli. Read the rest of this entry »
Trading in Joshua Abrams’ “Represencing” release is a lucrative practice. Somehow the 550-copy, vinyl-only album hasn’t become widespread in digital form during the past year, raising the resale price of the artifact while maintaining the mystique of its allure to those with the pleasure of owning it. The worldwide acclaim is justified—it’s an instant classic—Chicagoan by way of Southern Morocco, where The Gnaoua World Music Festival is held. There, the guimbri, a three-stringed bass made out of animal hide, is mystically employed by the Gnawa in a dialogue with Westernized guest jazz, pop and rock musicians, an event of immense local import. Attendance averages half a million people over four days, and many of the performances are free of charge. Read the rest of this entry »
After dabbling with electronic music in collaboration with Karsh Kale on “Breathing Under Water,” and then pursuing flamenco-fusion on her own “Traveller,” sitarist Anoushka Shankar returns to her classical roots with “Traces of You” while still keeping other genres within arm’s reach. The opening track “The Sun Won’t Set,” for instance, is a beautiful ballad recorded in collaboration with her half-sister Norah Jones, and is much closer to Jones’ alt-folk style than to Indian music.
Though much of the disc is dedicated to Indian ragas, some of the tunes venture into completely different directions. “Metamorphosis” brings together traditional and modern sounds, including electronics and electric bass, while the soft, piano-centric ballad “Fathers” has elements of modern jazz. Read the rest of this entry »
Save for balladeer Jack Johnson or the late Iz, few Hawaii-based artists seem to get much attention in the mainland no matter how big they might be on the island. Luckily for Oahu-born The Green, that trend does not hold true. Their mellow, optimistic take on reggae seems to have struck a chord with mainstream fans, and from their self-titled 2010 debut onward they have been able to get the attention of reggae radio stations with reach far beyond Hawaiian locals. Their third release, “Hawai’i ’13,” (out on Easy Star) is proof of that. Read the rest of this entry »
Arguably one of the lead voices of the current fado revivalist movement in Portugal, Mariza maintains the tradition of the genre while turning the spotlight on a whole new generation of composers that help keep her country’s most traditional musical style ripe for rediscovery by young generations who may have otherwise relegated it to the past.
Mariza has a dramatic singing style reminiscent of the late “Queen of Fado” Amalia Rodrigues. She brushes off those comparisons, as in the release of her 2007 live album “Concerto Em Lisboa,” where she states that, “there will be no next Amalia Rodrigues like there is no next Tom (Antonio Carlos) Jobim.” After all, new talents will always emerge but they will never be able to replace those who have passed. Read the rest of this entry »
On their sixth musical foray, the duo formed by Garry Hughes and Andrew T. Mackay emerge with their trademark mix of electronica, orchestra and Indian sounds. During their career they have collaborated with luminaries like percussionist/composer Karsh Kale (who co-produced one of their earlier efforts) and sitarist Anoushka Shankar, all the while maintaining a tendency to focus on a dance-floor-friendly format.
This time around, they lean toward a more diverse direction by incorporating Asian-centric grooves. For instance, “Blue Mosaic” features wordless vocals and the koto, a traditional Japanese instrument, while “City of Amber” contains a fierce drum ‘n’ bass groove, much to the delight of DJs and remixers. Read the rest of this entry »
Tijuana-born Julieta Venegas is a multi-faceted singer-songwriter who is equally comfortable belting out acoustic-based, folksy tunes alongside more pop-oriented songs, as evidenced by her 2012 release “Los Momentos,” which she is promoting with an extended tour of the United States. ”Los Momentos“ showcases a more mature side of Venegas, who took a short break from performing following the birth of her daughter Simona three years ago. Her songs have a greater depth, and she has come to embrace traditional instruments with greater frequency. The title track has a touch of jazz, and the black-and-white promo video for the tune has a retro fifties feel that showcases her accompanied by a grand piano. Read the rest of this entry »
There’s a tendency to attach the catch-all label of “world music” to any artist or band with non-Western musical influences. Accurate? Not always. But it’s a simple description to categorize and define a band’s sound. That being said, to classify the music of Slowbots as “world music” or “multicultural” is to immediately confine it to labels that don’t fully reflect this Chicago music collective’s varied influences. Slowbots’ moody ballads owe as much to the Velvet Underground as they do to the traditional Urdu singing that vocalist Yasmin Ali was trained in. In Slowbots you can hear strains of shoegaze, trip-hop, and folk with spacey, fuzzed-out guitar lines weaving their way through the soulful vocals of Ali and Angela Salva’s plaintive violin, all anchored by the R&B-influenced percussion work of Katie Chow. Read the rest of this entry »
By Dave Cantor
Photo: Michael Jackson
Honing in on sounds drawn from Jamaica invariably abut America’s jazz tradition. Drummer Ted Sirota’s more than vaguely familiar with both. But his estrangement from reggae and dub didn’t occur because of lacking fealty. The drummer just found himself more easily insinuated into jazz ensembles.
“I’m rediscovering the whole thing,” Sirota says of Chicago’s Jamaican music scene, after spending the better part of the last two decades working in jazz mode across the city, including a regular date at the Green Mill as Sabertooth’s backbone.
Earlier in his career, the percussionist did time in David Byrd’s ensemble, which at one point included a former Black Uhuru guitarist. Other well-known guests weren’t too uncommon, either.
“Sometimes we’d play gigs where Hamid Drake would do percussion,” Sirota says. “He’d bring a djembe, and I’d play drums—we’d switch off a little.” Read the rest of this entry »