Sign up

Featured Blogs

Add blog
 
Top Bloggers
Jeremy Davis
Benedetto Basile
Roger Aldridge
Daemonia Nymphe
Ancient Future
LAPKAT
Ekultura.hu
MURAT SES
Gímaldin
AULAGA FOLK
Tomás Doncker Has an Important Message for Us All

With the state of the world today, now more than ever, we need the valuable reflection of artists.  Music in particular has the power to help us digest and comprehend the heaviest topics that are shaping our society.  Topics such as racism, police brutality, the loss of identity in a world homogenized by corporations and social media are ever present in Tomás Doncker’s album The Mess We Made

The single Church is Burning Down is Doncker’s reaction to the Charleston Massacre.   At first listen, the up-tempo nature of the song was not what I was expecting to accompany an event of this magnitude.  The fast drumbeat shortly followed by a groovy bassline draw the listener in and undoubtedly make them want to clap and twist along. 

Upon a few more listens I realized that this style well conveys the mood of the song and helps the message resonate strongly with the listener. Normally we would associate this fast-paced style with joy but in fact it can also convey urgency. A shooting, or the church burning down, are urgent situations but these also represent an even bigger picture. It is urgent that we break down the racist attitudes and structures that foster events like this. The lyrics “Hate brings hate no one wins” and “Don't wanna point any fingers don't wanna name any names” suggest that we need to rise above blame and hatred if we want to stop these atrocities.

The lyrics to this track, as well as the others, are very clear and straightforward making Doncker’s messages accessible to a wide audience. They give the listener a chance to process these concepts and start a dialogue. I look forward to hearing what’s next from Doncker. I feel we need more of this approach from all perspectives because no one can hear you when you’re yelling but they certainly can when you’re singing.

Stream Church is Burning Down here: https://soundcloud.com/tomasdoncker/church-is-burning-down

Image by: Phillip Jarrell

 

Login or Sign up to create a playlist or comment.

Kira Small Blends Soul and Jazz with \

Kira Small is a stunning Jazz-infused artist that needs to be on your radar now. This year we saw Small releasing her latest album endeavor, 3AM, a perfect glimpse into the budding musician's world. Throughout the record we hear Small showcase her strong vocal abilities, as intensity builds in tracks such as "Gift That Keeps on Giving," which lives up to its title.

 

On 3AM we experience different sides of Kira Small, in which she displays her talents as a musician. Standout pieces on the album include gorgeous tracks such as "For Love's Sake," and the title track "3AM," which will delight your ears as each piece tells a story.

Small's vocals recall a bit of Norah Jones and Aretha Franklin, which can be seen on two different sides of the spectrum. From soft to boastful, each song is built with an intricate intensity, and carefully crafted, to create an album that is not only memorable, but one you will fall in love with.

 

Soft and warm instruments make an appearance on the album from horns to keyboards, which create a familiar sound that Small puts her own unique twist on. Her soulful sound proves that every note and lyric on 3AM is a true labor of love. Kira Small's 3AM quickly proves to be a timeless record that shine from start to finish.

 

Watch Kira Small's "Attention" via Youtube https://youtu.be/6Zu0Pyj960s

 

Login or Sign up to create a playlist or comment.

Riga, Latvia coming up Next Week

Looking forward to a brilliant show in Riga, latvia next week for the a rock festival called the Fontaine Rock Festival. I will be taking my Electric Steel Pans to that town and rocking up a storm. I love this town I was there earlier in the year performing and doing some promotion for my new foray into this part of the world. Peace groove and kick some butt ya'll!

 

G

 

Login or Sign up to create a playlist or comment.

A Celebration of Malawi soul, Frequenzy welcomes Danny Kalima on the session stage

"Music is everywhere” Danny Kalima tells about his homeland Malawi.... And everything is music for this soul singer. He introduces the sound of the streets of Lilongwe to the Frequenzy stage in a session with soul.  

Not long ago, Kalima has participated in the well-known Dutch contest, called Giel’s Talentenshow, where his music was enthusiastically received. The musician is just living in The Netherlands for about eight months, but in Malawi  he is already well known for his music. Malawi is a country where many different musical genres meet and mix. The gospel of South Africa, the traditional music of Malawi and the soul of America can be heard in the music of Danny Kalima. Kalima himself, started out in the church choir and has sung in several other bands. With British Malawian record label Spare Dog Records, he released the EP "The Young Shall Grow". Currently, he is working on new songs as he performs throughout several European cities with his band.

Frequenzy is a Dutch online session platform that will bring good music along with an enthusiastic audience. With the sessions in the Gigant Apeldoorn, Frequenzy wants to create a stage for inspiring artists and their story. Danny Kalima is a good example of this.  

Watch the session at youtube:

https://youtu.be/FHMzXdExHWQ

More sessions at

frequenzy.nl

 

 

Login or Sign up to create a playlist or comment.

Atabal 4  1980Atabal 2016

 

Login or Sign up to create a playlist or comment.

Vexine Talks Music, and We\'re Listening!

Vexine has been on my radar for the better half of 2016. The group who have just released their new record, "Little Sin," have been creating a whirlwhind of musical ecstasy that will entice you from start to finish. Fronted by Sarah Gleason with her heaven-sent vocals, the group brings a charming yet daring sound to the table. Their uniqueness makes the stand out from the rest of the Virginia scene, as their raw, captivating stories truly come from the heart, and soul. We had the chance to catch up with Vexine, for an insighful interview that will make you fall in love with the down-to-earth group.

Tell us about the making of the "Little Sin" and the concept behind it?

The songs came together over three years. We started recording in 2014 and did three songs at a time. We'd record, go out and gig, write new songs and repeat. The title track, Little Sin, came from a melody Sarah started singing one morning over breakfast. That number seemed to capture the mood, so we went for the it for the title.

What elements influence your songwriting?

Melody most of all. Some of the songs are topical, so what happens around us figures into it, too.

If you could play any venue in the world, which venue would you choose and why?


The 40 Watt Club in Athens, GA. Because so much southern gothic music history happened there.

In this creative process, would you say you enjoy being in the studio, or performing live on stage more? Explain your reason.

As a band, we prefer live performance. There is a great chemistry between us onstage. We have fun.

How did VEXINE come together?

We started together in a different band. It was an alt-country act called the Velvet Maria's. We put a record out and while we were making the follow up, our songwriting evolved. The four of us left that band and decided to be Vexine.

What do you enjoy most about creating music in general?

When a song comes together in rehearsal, it is one of the most exciting things ever.

What songwriters and musicians do you look to for inspiration?
Elvis Costello, Bob Mould, Hank Williams, Sr., Sister Rosetta Tharpe, Lightning Hopkins....THE RAMONES...

What is the overall inspiration behind your songs; lyrically and musically?
We like to tell a story. Musically, we like a pretty simple structure so that the melody stands out.

What can we expect from VEXINE in 2016?
We want to get some video out!

 

Login or Sign up to create a playlist or comment.

Jason Achilles Mezilis Shares New LP, \

Jason Achilles Mezilis (Owl, Black Belt KARATE, Dizzy Reed of Guns N’ Roses) releases his highly-anticipated album, COMEDOWN,  June 28th 2016. The Los Angeles based artist brings to life a whirlwind of guitar licks with the instrumental record that Mezilis has produced, recorded and mixed entirely using analog tape, at his very own studio Organic Audio Recorders. The record also features Brett Rocha on drums, with album photography by Yoko Morimoto, and original artwork by Panos Tsagaris.

 

Recently sharing the lead single "Panhandle", the song helps set the tone for the record. The instrumental album and Mezilis himself have been garnering the praise of fans and critics alike; from Paste Magazine to Huffington Post to Buzzfeed, all have quickly become fans of his enticing and sultry brand of Rock n' Roll. The 7-song record is captivating from start to finish, with pieces ranging from heavy-hitters to eclectic and atmospheric; making it a must-have release for 2016.

 

COMEDOWN is out digitally, with a first-edition limited and hand numbered LP to follow.  

Jason Achilles Mezilis will also be playing his Album Release Show, this Saturday, July 2nd (w/ VOLTO! feat. Danny Carey of TOOL) at The Viper Room in Los Angeles. Find tickets here: https://is.gd/VoltoViperTixJuly2nd

 

LINKS

 

iTunes

Website

Vinyl Pre-Sale

Facebook

Twitter

 

Login or Sign up to create a playlist or comment.

Pandemonium Gitano Compilation Release

It took a while, but now it’s here: Rock Gitano is bringing out his very first compilation. Some may know the guy from Zurich and his wild side from his early days, others from the crazy Zurich night life. But no one knows the man behind the mask. The one driven out, the restless one, the one first shunned by society then adopted, only to run away again. One of the last true punks, bearing a thousand tons of attitude.

Rock began his career as a DJ more than 20 years ago. First as an electro DJ at all sorts of parties, later in the legendary Zurich club “Dachkantine”. But eventually, he went back to the music of his roots. To the music of the travellers that had accompanied him his whole life long, to the music of his soul, he being a traveller himself. Ever since, he calls himself simply Rock Gitano.

Rock Gitano has played in all the trendy clubs and venues in Zurich as well as throughout Switzerland; he can also look back on a number of regular gigs abroad, including Berlin, Munich and London.

Following on the heels of diverse collaborations and lengthy friendships with various touring bands and boozy club nights, Rock Gitano is now venturing a step further into pandemonium with the first compilation he has ever put together. Pandemonium Gitano is a perfect mix of Balkan folk songs, coupled with electronic beats and modern influences from the West. And when Rock issues the invitation to dance, then of course, they are all there: his buddies from Palko Muski, Gypsy punk legend Eugene Hütz with his cohorts from Gogol Bordello, the splendid Amsterdam Klezmer Band and other heroes from the global dancefloor. At times playfully electronic (Äl Jawala, Gypsy Sound System), at others organic with a groove (Terno feat. Mahala Rai Banda, Jaro Milko & the Cubalkanics), and always with just the right portion of punk (Russkaja, The Dreadnoughts). Fresh, lively music that makes you happy or as Rock himself says about his DJ sets, “It’s about love! It’s about peace! It’s about craziness!”

The CD is published on Swiss indie label, Jasha!Records, which was just launched in 2016 with the mission of bringing Gypsy/Roma music closer to those who want to hear it.

Rock Gitano’s "Pandemonium Gitano" is available as a CD and digital download.

 

Tracklist

 

1. Palko Muski – This Way (Switzerland)

2. Terno feat. Mahala Rai Banda - Romani Gili (Poland/Romania) (Exclusive)

3. Boom Pam - Ars Meduplam (Israel)

4. Round Table Knights feat. Reverend Beat-Man – Cut to the Top (Switzerland)

5. Äl Jawala - Heart Overload (Pelletronica&Sumakari RMX) (Germany) (Exclusive Version)

6. Gogol Bordello – Pala Tute (USA)

7. Amsterdam Klezmer Band – A Sheine Velt (Radio Zwarte Cross Version) (Netherlands) (Exclusive Version)

8. Russkaja – Energia (Austria)

9. Offchestra – Bajram (Kosovo)

10. Gypsy Sound System - Press the Balls (Switzerland)

11. Gypsy Hill - Balkan Beast (UK)

12. Jaro Milko & the Cubalkanics (Switzerland) (Exclusive)

13. Jaakko Laitinen & Väärä Raha - Murhamiesten Markkinoilla (Finnland) (Exclusive)

14. Haris Pilton & Gypsy Sound System – Gitanos (Switzerland)

15. Kumpania Algazarra – Pudim (Portugal)

16. The Dreadnoughts - Polka Never Dies (Canada)

 

Login or Sign up to create a playlist or comment.

A is for Atom Shares His Elements
This afternoon we catch up with the stunning sounds of Brooklyn based A is for Atom. The moniker of Mike Cykoski, he brings to life charming elements of electronic-based indie music that brings his sound to another level. His tunes are dynamic and playful, as he shares his two latest singles, "Chasing the Night," and "Amsterdam." This year A is for Atom is traveling a different route as instead of releasing a full-length, he is sharing a number of singles that will be offered digitally throughout the months. His musings are intricate, as his music brings his vibrancy and passion to another level. Ethnocloud speaks to A is for Atom, in an insightful interview, below.
 
Your new songs bring a bit of nostalgic and unique elements to the table. How have you continually channeled inspiration
from your inspirations while putting a twist of your own? 
 
Thanks! Yes, I listen to a lot of different music and try to synthesize it into my music. I really like a lot of new music coming out right now and I like to add older elements with a more modern twist (that's the goal anyway). 
 

What is the deeper meaning behind the title "Chasing the Night," and how does it portray the upcoming singles? Or are they all different? 

"Chasing the Night" is about trying to find equilibrium in a big city, dealing with loneliness and isolation and being unable to connect with other people. There is whimsical feeling I tried to capture as the subject heads into the crazy city nightlife and it all falls apart at the end. The next singles move away from the city and deal with motion--but still some sense of isolation remains as a theme throughout. 

 

Releasing singles one-track at a time, what is the most challenging part of completing them? Are you on a certain timeline?

The most challenging thing is to finish the songs and working with other peoples schedules. My goal is to release two per Month-I hope to release the next two-in the next couple of weeks (fingers crossed)

 

As you create songs what is your overall inspiration? Do you have to be in a certain mindset to write, record and create? 

I'm usually inspired by other musicians and songwriters--I really like the community of musicians that I work with in NYC. I also really take a lot of inspiration from cooking and now gardening, I think that as many other things that I can do-the more inspired I become with writing. I think that I'm always in the mindset to write and record, just need to wrestle with time a bit to get everything done! 

 

For the recently released singles, did you record all of the instruments yourself, or did you recruit the help of friends and other musicians? 

The last two were produced by Julian Cassia and I played a few instruments, but he played most everything. I was new with lead vocals so I wanted to focus on that-since I recorded these I have become a better singer and play more instruments on the new singles. 

 

Will be seeing a full-length release from you in the near future? 

I love making full-length albums for sure. I guess I see this as a singles market right now--I'll most likely release everything in a full length collection with remixes at the end of the year. Again--if time permits! 

 

Watch "Chasing the Night" via Youtube by A is for Atom: https://www.youtube.com/watch?v=5FuawZ4uvEA

 

Login or Sign up to create a playlist or comment.

\

 

From the hills of Los Angeles comes a bit of sunshine today, with the upcoming release from Jason Achilles Mezilis. A name that one is possibly familiar with, he has been a mainstay in the music scene; from producing albums in his Organic Audio Recorders studio, to playing with the hard rock band OWL, to recording Dizzy Reed of Guns n' Roses, Mezilis offers a delightful endeavor into the Rock world.

June 28th we will see Mezilis releasing an instrumental effort named "COMEDOWN," in which he has not only written, but self-produced as well. To give you a bit of background on Mezilis and his studio work, "COMEDOWN" was fully recorded on analog tape. This more so than anything, examplifies the effort that he has put into the release. 

An impressive batch of songs bring features of heavy rock and more melodic pieces, in which an array of intricacy is shown throughout. It's not easy to release an instrumental record, but Mezilis proves to be successful as each song portrays a different side of his musical abilities. Though instrumental records, especially guitar instrumental records can be very narrow in terms of diversity, yet "COMEDOWN," proves to be a classic record in its entirety as it sets itself apart from the rest. There is never a dull moment, as the songs interlock to craft a record that is intriguing upon each listen.

You can pre-order "COMEDOWN" via Bandcamp or Big Cartel. Be sure to also check out the Official Site.

Watch the first video for "Panhandle" via Youtube 

 

Login or Sign up to create a playlist or comment.

Changing Everything with Parker Harrison

Parker Harrison places himself prominently in the indie music world. His lastest single, "Love Changes Everything," is a delightful introduction to the Singer-Songwriter, as he combines elements of classic 60s and 70s songwriters, with a slight pop aesthetic. Currently sharing his debut EP, Clear Conscience, Harrison shows his talents for songwriting and performing with the carefully crafted batch of songs that took 5 years to create. The result was worth it, as the EP showcases his musical brilliance and uniqueness. I recently had the pleasure of speaking with Parker Harrison regarding his new EP, as well as his inspirations, which you can find below.

Parker Harrison "Love Changes Everything " Listen HERE
 
 

The new release, the Clear Conscience EP, brings back the nostalgic and classic sounds of infamous singer/songwriters of the 70s and 80s. How have you continually channeled inspiration from those outlets, while putting on a twist of your own?

 

The past eras mentioned are indelibly ingrained in my memory, so the songs of those periods are always flowing through my consciousness.  Likewise, the sounds of today are inescapable, so modern elements are going to find a way into my writing and production, and we end up with the current result.  

 

What is the deeper meaning behind the title “Clear Conscience”, and how does it portray the record?

 

It came from a quote from Ben Franklin, who said, “A clear conscience is a continual Christmas.”  I always thought that was one of his best quotes, describing a life without guilt and regret, to be able to die with a clear conscience.    I applied that idea to my song lyrics on this CD, in hopes of bringing those concepts forward to today.

 

Taking 5 years to finish the album, what was the most challenging part in completing it?

Getting the lead vocal takes to where I could be proud of them enough to release took a long time.  I hired a vocal coach to help me through that process. Also, the production process unfolded slowly, as I incorporated 2 producers and sifted through various parts to include in the final release.  Overall, I’m glad I took the time needed to ensure a quality release.

 

As you create songs what is your overall inspiration?  Do you have to be in a mindset to write, record and create?

One inspiration I would call upon is the desire to write songs that mimic those that my favorite writers like Daryl Hall or Todd Rundgren would write and sing.   If I could imagine one of them singing my song, and it actually sounding good, I knew I was on to something!

  Regarding a specific mindset required for creative moments, it’s really not necessary; creativity and inspiration can occur at almost any time, and in almost any situation.  No real rhyme or reason involved.

 

For the EP did you record all the instruments yourself, or did you recruit the help of friends and other musicians?

I involved many musicians, mostly in Nashville but also one key one in Houston.  I had producer Greg Bieck in Nashville cover keyboard parts and some bass and drum programming, along with a live drummer, background singers and 2 different guitarists.   In Houston I had producer Greg Giacona cover additional keyboard, bass and drum programming. 

 

Will we be seeing a full-length release from you in the near future?

I plan on releasing my second 5-song EP in the near future, which will complete the CD when combined with the first.  No immediate plans beyond this however.

 

 

Login or Sign up to create a playlist or comment.

New Fan Funded Tracks Added to the \'Archive of Future Ancient Recordings\' by Ancient Future

Ancient-Future.Com Records Presents
The Archive of Future Ancient Recordings (A.F.A.R.)

New Tracks Added to the Fan Supported Recording Series by Ancient Future

Photo of Bui Huu Nhut Recording A.F.A.R.Photo of Abbos Kosimov Recording A.F.A.R.
Bui Huu Nhut and Abbos Kosimov Recording A.F.A.R.. Photos by Michael Braden.

6/16/16 Update Adds Six New Pieces

On 6/16/16, six new pieces and a video make their debut in the fan funded Archive of Future Ancient Recordings, which gives supporters access to Ancient Future recordings as they are created. There are four new tracks, two of which feature two compositions, the first serving as an introduction to the second. There are now 13 tracks totaling 86 minutes and 51 seconds of music in the archive. Two of the new tracks are live versions of pieces originally recorded during Ancient Future's major label days, and two are brand new studio tracks, including Ancient Future's first ever cover of a popular song, a world fusion version of Jimi Hendrix's Purple Haze showcasing Bui Huu Nhut on Vietnamese dan bau, a one string instrument with a whammy bar! The piece also features Uzbeki percussion master Abbos Kosimov, who performs frequently with tabla phenom Zakir Hussain, and it is the very first studio recording featuring Matthew Montfort on his Godin Glissentar fretless guitar.

Tres Tarantas Tres (Montfort. 4:32). Based on the flamenco form Tarantas, but with a rhythmic structure of three groups of three, this piece also makes a foray into impressionism ala Eric Satie. Lineup: Matthew Montfort (flamenco guitar).

Gamarock (Montfort. 12:10). Recorded live 4/29/15, this piece from Dreamchaser fuses Balinese gamelan with rock and roll. Lineup: Matthew Montfort (scalloped fretboard guitars), Vishal Nagar (tabla), Jason Everett (7 string fretless bass).

Prelude/Bookenka (Montfort/Doug McKeehan 6:50). Recorded 10/16/13 at the World Without Walls Reunion Concert at the Freight & Salvage. Lineup: Matthew Montfort (scalloped fretboard guitar), Doug McKeehan (piano), Kash Killion (bass), Ian Dogole (percussion), Mariah Parker (santur), Jim Hurley (violin).

Purple Nam/Purple Haze (Montfort/Jimi Hendrix. 4:44). A Vietnamese version of Montfort's Purple Raga sets up an adventurous excursion into Hendrix's classic rock piece with Vietnamese dan bau instead of electric guitar. Lineup: Bui Huu Nhut (dan bau), Matthew Montfort (Godin Glissentar fretless 11 string guitar, fretless bass), Abbos Kosimov (Uzbeki percussion), Mariah Parker (keys).

The Archive of Future Ancient Recordings (A.F.A.R.)

30th Anniversary CD Mystery Cover

Ancient Future performed its first concert on February 11, 1979, at the Sleeping Lady Cafe in Fairfax, California. Since then, the band has gone on to perform hundreds of concerts nationally and internationally and release seven full length recordings and an HD video that have established Ancient Future as the trendsetting pioneers of world fusion music, a term coined by Ancient Future bandleader Matthew Montfort at the group's inception for music that combines ideas from many of the world's great musical traditions.

During Ancient Future's 30th anniversary year, a new Ancient Future band project was conceived: the Archive of Future Ancient Recordings (A.F.A.R.). The concept of the Archive of Future Ancient Recordings is to involve fans of world fusion music in supporting the production of an archive of live and studio recordings of cross cultural collaborations. The best of these recordings will be selected to be released commercially at a "future" date, at which point they will be on their way to becoming "ancient" recordings, hence the title.

To finance A.F.A.R., Ancient-Future.Com Records has been quietly providing financial supporters access to select files from Ancient Future's archives of alternate takes, live concerts and radio performances along with new studio recordings as they are created. To date, 18% of the fundraising goal has been raised at concerts, on Ancient-Future.Com, and through the Ancient Future Times, the band's email newsletter. The full archive of recordings is available during the project exclusively to supporters, and when the archive is complete, a portion of the recordings will be selected for commercial release on Ancient-Future.Com Records.

There are four supporter thank-you packages available ranging from $15 to $75, and while donations to the A.F.A.R. project are not currently tax deductible, donations of any amount are greatly appreciated and will be put to good use! There are a range of benefits for the various packages, including the A.F.A.R. email newsletter (which provides a window on the recording process as it develops), immediate access to downloads of the recordings placed in the archives, digital liner notes, limited edition CD-R's of the archives when complete with printed liner notes signed by Ancient Future leader Matthew Montfort, video and 24 bit audio files for hi-res playback on computers, and a 30% discount on the advance copies of the final commercial release. Detailed information on the various supporter packages and the benefits included can be found at www.ancient-future.com/afar.html.

Live Video of New A.F.A.R. Track

Prelude and Bookenka on Ethnocloud

A live medley of Prelude and Bookenka (The Adventurer), which was originally recorded on Ancient Future's Asian Fusion release,has been added to the Archive of Future Ancient Recordings. Fans can check it out on Ethnocloud at 720p now, and then get it in full resolution beautifully shot HD 1080p video and rich 96-kHz/24-bit audio as a thank-you for becoming a hi-res supporter of A.F.A.R.!

Ethnocloud Video URL: http://ethnocloud.com/Ancient_Future/?y_video=2024&b=942

 

Login or Sign up to create a playlist or comment.

Global Guitar Summit Summer Tour Global Guitar SummitFeaturing Konarak Reddy (India), Matthew Montfort (USA), and Teja Gerken (Germany)

Composite Photo of Konarak Reddy, Matthew Montfort, and Teja Gerken

Konarak Reddy, Matthew Montfort, and Teja Gerken Hi-Res Photo (1.9 MB):
www.ancient-future.com/images/konarak_matthew_teja300dpi5x7.jpg

Sunday, July 31, 6:30 PM - 9 PM
Fenix
919 Fourth Street
San Rafael, CA 94901
Tix: $12 advance, $15 door. For advance tix and reservations, visit www.fenixlive.com/dining/reservations, call 415-813-5600 or email info@www.fenixlive.com
Venue website: www.fenixlive.com

Thursday, August 4, 2016, 7:30 PM
Don Quixote's International Music Hall
6275 Highway 9
Felton, CA 95018
Tix: $12 advance, $15 door. Info: Call 831-603-2294 or email tmm@cruzio.com
Venue website: www.donquixotesmusic.info

Saturday, August 6th, 6:30 PM
Gryphon Stringed Instruments

211 Lambert Ave.
Palo Alto, CA 94306
Tix: $20 suggested donation. Info: Call 650-493-2131 or email michael@gryphonstrings.com
Venue website: www.gryphonstrings.com

Friday, August 12th, 8 PM
Sebastopol Community Center Annex
425 Morris St.
Sebastopol, CA 95472
Tix: $20 advance, $23 door. For advance tix and reservations, call Kevin at 707-824-1858 or email krussellmft@aol.com
Venue website: www.seb.org

This Global Guitar Summit presents three international acoustic guitar virtuosos who will perform solo and ensemble pieces. The summit features Indian nylon string guitarist Konarak Reddy, American scalloped fretboard and fretless guitar pioneer Matthew Montfort, and German fingerstyle guitarist Teja Gerken.

Global Guitar Summit 2016 Poster

Poster (100 k .pdf): www.ancient-future.com/pdf/pdf/global_guitar_summit2016poster.pdf

Konarak Reddy

Photo of Konarak Reddy

Konarak Reddy Hi-Res Photo (682 k):
www.ancient-future.com/images/konarak300dpi5x3.jpg

Hailing from Bangalore, India, Konarak Reddy is a legend among music aficionados in his home country. From the start, Konarak drew his inspiration from multiple sources, immersing himself in both Western classical theory on guitar and traditional Indian music on the sarod, which he studied with Gurus Debi Prasad Ghosh and Rajeev Taranath. Konarak later studied jazz improvisation at Boston's Berklee College of Music and the Musician's Institute in Hollywood, from which he graduated with honors. Today, his playing integrates Hindustani and Carnatic styles into contemporary solo guitar masterpieces, which frequently include live looping. Konarak was featured in a TEDx talk in 2013 (www.youtube.com/watch?v=a0ZP-hG7CN4), he frequently performs in Europe, and his own World Guitar Night, which has become an annual event in Bangalore, and featured international guitarists such as Andy McKee, Don Ross, Kevin Eubanks, Peter Sprague, Peter Finger, and others. His two albums, Searching for the Goddess and Solar Avatar have received critical acclaim. For more info, please visit www.konarak-reddy.blogspot.com.

Video

Konarak Reddy performing live in Budapest:
www.youtube.com/watch?v=2DMYe5YHq6U

Press

"He is known as one of India's most versatile guitarists. For over 35 years he's absolutely ruled the roost. Konarak Reddy has needed no introduction." - BANGALORE MIRROR BUREAU

Matthew Montfort

Photo of Matthew Montfort
Matthew Montfort Hi-Res Photo by Julie Marten (2 MB):
www.ancient-future.com/images/matthewmontfort600.jpg

Matthew Montfort is the leader of the world music ensemble Ancient Future. Featured in the December 2009 commemorative Les Paul issue of Guitar Player Magazine, Montfort is a pioneer among guitarists who have had their fretboards scalloped in order to play various forms of world music that require intricate note-bending ornaments while still being able to play chords. Montfort immersed himself in an intensive study with vina master K.S. Subramanian in order to fully apply the South Indian gamaka (note-bending) techniques to the guitar. He has released two solo CDs: Seven Serenades for Scalloped Fretboard Guitar and Sympathetic Serenade, for which he is recognized as one of the world's 100 Greatest Acoustic Guitarists by DigitalDreamDoor.com , a curated "best of" site, along with such luminaries as Michael Hedges, Leo Kottke, Chet Atkins, John Fahey, Adrian Legg, Merle Travis, John Renbourn, Tommy Emmanuel, Doc Watson, Pierre Bensusan, Toni Rice, Alex De Grassi, Stefan Grossman, Artie Traum, Joni Mitchell, and Peppino D'Agostino. He is also known for his work on Glissentar (11 string fretless guitar), electric guitar, flamenco guitar, sitar, charango, mandolin, and gamelan. He has performed concerts worldwide, from the Festival Internacional de la Guitarra on the golden coast of Spain to the Festival of India in Mumbai. He has worked with many world music legends, including tabla phenomenon Zakir Hussain and Chinese zither master Zhao Hui. Montfort wrote the book Ancient Traditions – Future Possibilities: Rhythmic Training Through the Traditions of Africa, Bali, and India, which has been used by many musicians to improve their rhythm skills. For more info, please visit www.matthewmontfort.com.

Video

Matthew Montfort performing 'Soul Serenade' at Ancient Future's 30th Anniversary Concert:
www.youtube.com/watch?v=TLfKTbpgO1Q

Press

Download Guitar Player Magazine Story on Matthew MontfortDownload Guitar Player Magazine Story on Matthew Montfort
5 Page Guitar Player Magazine/GuitarPlayer.com Media Report (1.4 MB):
www.ancient-future.com/pdf/MatthewMontfortGuitarPlayerMag.pdf

"Because Montfort’s guitar has a scalloped fretboard, his fingers touch only the strings, enabling him to produce ornaments more characteristic of the sitar. This album reveals a thorough knowledge of Hindustani microtonal ornaments, transferred in ways that create one of the most distinctive guitar sounds in contemporary music. However, it also reveals a lifetime of exploration in world music, which can be immediately summoned in a flash of inspiration. When this level of mastery is reached, there is no need to rewrite. The first improvisation has the depth of a reworked composition." – Teed Rockwell, INDIA CURRENTS, March 2009

Teja Gerken

Teja Gerken
Teja Gerken Hi-Res Photo (1 MB):
www.tejagerken.com/High_Res_Images/teja_color2.jpeg
More Hi-Res Photos:
www.tejagerken.com/photos/

German-born Teja Gerken is a contemporary steel-string fingerstyle guitarist whose playing merges the styles of European guitar pioneers such as John Renbourn and Pierre Bensusan with the distinct sounds of American players such as Leo Kottke and Micheal Hedges. Known for his original compositions, many of which employ alternate tunings, two-handed tapping, percussive effects, and other extended guitar techniques, Teja will also bring Celtic, jazz, and classical styles to the Global Guitars show. For more info, please visit www.tejagerken.com.

Video

Teja Gerken performing "1948" live:
www.youtube.com/watch?v=J7khy_8uhCA

Press

"Releasing his second CD, Postcards, is San Francisco area fingerstyle guitarist Teja Gerken, who delivers solo instrumental compositions with enough surprises and innovative twists to delight aficionados of the world music and folk genres. His tunes employ physical techniques such as two-handed tapping, alternate tunings, and percussive effects, but his developed sense of melody is what will keep his CD playing in your mind long after the 'stop' button is pressed. Another impressive feature is that Gerken's playing is captured without overdubs; the intricate arrangements delivered as you might hear the artist in concert. Gerken is one of a rare breed - a guitarist's guitarist with equal appeal for the non-musicians out there. His Postcards album is highly recommended." – GUITAR9.COM

 

Login or Sign up to create a playlist or comment.

Ancient Future
Ancient Future (06/18/16 02:29)
http://ethnocloud.com/Matthew_Montfort/?y_video=1150&b=943
A Gift

I was reflecting on what a gift music has been to me. At times I think of it as a language that enables me to express myself in a deeper way than from using words. Many things in life are of interest to me and I have a natural curiosity about them. Sometimes when I have a discussion with someone about life I am told, "You should write a book". My reply is always the same, "All of this is in my music". I feel a deep happiness when people who feel a connection with my music tell me they get it.

 

Login or Sign up to create a playlist or comment.

Typhoid Rosie Brings Rock n\' Roll Nostalgia To the Bowery Electric TONIGHT

Brooklynites Typhoid Rosie take to the stage at Bowery Electric this evening in support of their new record Hearts Bleed Goodbye. The show is going to be a good one! The nostalgic sounding band brings together classic elements of rock n' roll with a punk edge, giving lead singer Rosie Rebel room to show her vocal chops. Tonight the band takes center stage to remind us all why New York City is one of the greatest for live music.

The combination of Typhoid Rosie's players go above and beyond, to bring a show you have not quite seen before. Like a phoenix rising from the ashes, Rebel's lyrics hit home with many, as she sings about the depth of love and love lost, addiction, and other familar topics. Typhoid Rosie makes me remember why I love New York so much again. We need more raw, honest bands like them in the world.

Typhoid Rosie plays the Bowery Electric in New York City, TONIGHT, 5/19.
Doors at 7:30pm / 21+ / $8

 

Login or Sign up to create a playlist or comment.

Getting to Know SAIN
Sain is a rising new star in the world music scene. Bring an electic and noteworthy sound of Urban with a flare of Pop, he takes to the music world with full force. This year has already had quite a start for Sain. He has recently shared with us the single, "They Don't Know," which has already spawned an ear-cathing remix and eye-catching video. We had the chance to speak with the upcoming artist, about his inspirations and musical influences; a delightful first look into his musical mindset.
 
Meet SAIN.....
 
When you are writing music, what comes first, the music or the lyrics?
 
Well it all depends on what I get inspired by first, Sometimes I hear something and want to write to it
according to the tempo of the instrumental, Sometimes I just sit down and write by using my imagination.
 
Is your upcoming record, The Chapters, are the songs a continuation of the "They Don't Know," single and feel?
 
Yes "They Don't Know" is part of The Chapters which is an 8 track EP It was the first record that I recorded back in December 2013  for the project. I do have a remix for "They Don't Know" ready and it sounds great. Can't wait to share it with the world.
 
What is the meaning behind the title of The Chapters?
 
The Chapters meaning 'Chapters of Life', since I was restarting my career I decided to dedicate my first piece of music to
the story of everyones life. Each track sounds different and have different emotions behind them. It's basically a story that's based on our lives that I put down according to the way I see it through my eyes.
 
 
With slick lyrics, that read like poetry, how do you write the lyrics? What is the ultimate inspiration?
 
Anything can inspire me, Its all based on different experiences that I face in a daily basis. If I go to a new environment that I've never been to I write about something based on that because its the first experience I ever had there, So if you ask me what my ultimate inspiration is I'd have to say its life because that's what I put in my music lots of life.
 
Do you produce and record your own records, or do you head into the studio? How did you record The Chapters?
 
I usually record at a studio that my cousin Sal that runs his studio he has produced a record in the upcoming EP too, I might have co-produced a few records but I usually relay on producers to create the sound to what I have written or will write for a song. The Chapters was recorded in Sals studio and he was one of the main people that guided me 
into making it a great sounding EP.
 
The new video is gorgeously crafted. How did you come up with the story line (and/or treatment) for the piece?
 
Well me and a very close friend of mine were looking for people to shoot our video and we just couldn't find a person that could be legit behind the camera. They were either charging an impossible amount or they were just not ready to dedicate themselves fully to the video, Some just never got back to us after doing half the work even though we had the money to pay them.  So one night we talked and decided that we were going to do it all ourselves. He held the camera and directed the video while I took the footage and edited the video. We had abit of help  from a few other members that teamed up with us later on but most of the creativity came from me and him.  
 
What are your key musical goals for 2016? (It seems like you are off to a great start!)
 
Well the EP is on the way, Got some better video's on the way and I'm taking things up a notch. Its time to raise the bar because I believe that I have some great additions to the team. We now have a very talented video person that has all the equipment we need or a high quality video. I now have 2 videos on the way for The Chapters and we now have more producers and I have already started working on the next project that due for late 2016/2017. My goal is to lock down an international tour which is what we are currently working on doing for this year, I'd like to leave the rest as a surprise for the public.
 
Give a listen to the incredible, "They Don't Know" RemixL
 

Login or Sign up to create a playlist or comment.

Bencoolen Get Funky with New Release

Get to know BENCOOLEN; the band who has been creating a stir in the Washington D.C. scene in a big way. Recently releasing their new EP, out 5/12, Bencoolen shares "In Color." Throughout the record the band toys with various genres from rock to indie to reggae and a dash of jazz. "In Color," is a delightful release that sheds inhibitions or molds that a young band is 'expected' to fulfill. They are brilliantly unique and truly beat to the sound of their own drum.

Songs that immediately caught my attetin are the title track, "In Color," and "Spice," which show the pure essence of the band, From the start it is noticable that the band have a strong bond. Every note and every beat are perfectly in sync, which speaks volumes for the band. "In Color," is a promising EP from a band tha is creating quite a stir...and will definitely continue to do so.

 

Login or Sign up to create a playlist or comment.

The Manimals Unleash the Prominent \

Game of Thrones fans unite! The Manimals are here from Brooklyn for an enchanting new take on the hit series by R.R. Martin. Late last month we saw the band releasing their album SEVEN which is a take on the show's brilliant Season 6. Led by Brooklynite Haley Bowery, the band brings the album to fruition with each song on the record acting as it's own chapter. SEVEN has the feel of a well-written novel, where every word is carefully planned.

Bowery, which appears to be one of the driving forces behind the storyline, brings each track together with her stunning, and catchy vocals. The Manimals as a whole deliver a record that is a must listen for 2016, as they dive deep into the characters that bring Game of Thrones alive. The focus single, "Talk," is the first being shared, as it springs to life with the character, Tirone. With a sassy video accompanying the song, we get the full view of The Manimals, in their Game of Thrones inspired world, and their Glam Rock glory.

It is safe to say I've found my favorite new band for 2016.

"We don't get to choose whom we love."

 "Talk" by The Manimals: https://www.youtube.com/watch?v=ydPyXc8Ah5s

 

Login or Sign up to create a playlist or comment.

Falling in Love with Daiana Segovia

Daiana Solange Segovia is a woman of many hats. She's a recording artist, composer, lyricist, writer and Psychologist originally from Argentina who is based in New York City. Her stunning and unique musical style draws from several different genres, blending soul, pop and R&B with elements of electropop, classic jazz and Latin music. Her musical influences range from Aretha Franklin and Donny Hathaway to Ivan Lins and Argentinian vocalist Mercedes Sosa. She moved to NYC when she got an Scholarship to study music at The American Musical and Dramatic Academy, and now is ready to take over the world, one song at a time. 

Daiana is currently recording her first album in collaboration with American and Latin American producers.She has toured all over the world performing at prestigious venues in Asia, Europe, South America and the US singing as a Lead for the Royal Families of Thailand and Malaysia and being the only Latin Singer at Nelson Mandela's Memorial in NYC. Recently I had the chance to speak with Daiana, in a personal interview, that takes us inside her musical musings.

 

Tell us about the making of "Fall in Love" and the concept behind it?

"Fall in Love" speaks about loving someone even if you are going through a very rough time. It’s about believing that the power of love can guide you through and trusting it. It’s also about sensuality and being vulnerable. I was born in Argentina, so I grew up listening to Tango music and I have a very deep connection with its romanticism, sensuality and passion. When I write, the Argentine fire just comes through me and takes over. I can’t help it! I definitely think that defines me as an artist and human being.

“Fall In Love” is also the first song I wrote when I moved to the USA The melody and lyrics flew so spontaneously and fast that I underestimated the song for a long time. It wasn’t until I incorporated it on my shows and people started saying that was their favorite song that I actually decided to record it. I feel very lucky because I had the chance to work with one of my favorite arrangers and instrumentalists in the world: Dave Eggar.

Dave is very familiar with Argentine Tango and Folk and he immediately captured my essence and made a beautiful strings arrangement for it. I recorded it at Lynn Verlayne Studios in Brooklyn. I also co-writed the song with her.


What elements influence your songwriting?


Relationships. I think they can change your life and they are like a mirror to look at yourself. Relationships are like a powerful instrument to understand the world and yourself better. They bring deep and rich material to write about and I work out my own understanding through writing. I also get inspired by nature, travelling, writing and reading poetry, dreams, languages, conversations, strangers I meet on the train, improvising jazz, listening to a bunch of music from all genres, books, dancing, taking long walks…I truly feel that being passionate about life itself and wanting to share my enthusiasm with the world keeps me open to writing new ideas and music on a daily basis.

I also have a Masters in Psychology and I have done a few internships where I got the chance to speak and connect with –what the world calls- “the different ones” or “the suffering ones” and then I discovered the healing power of music. If my lyrics or my melodies can ever touch hearts and change lives, that will give me a sense of accomplishment that it will hard to put into words.

It will be just amazing. Magical.


If you could play any venue in the world, which venue would you choose and why?

Madison Square Garden in New York and Maracana in Rio de Janeiro. Those venue are so powerful!! I actually just saw David Gilmour’s concert at MSG and it was one of the best concerts I have experienced in my entire life.


In this creative process, would you say you enjoy being in the studio, or performing live on stage more?

I love them both but performing live brings an indescribable feeling. I love to genuinely connect with the audience and watch them smile or even cry –sometimes- with my songs. It’s almost like a therapeutic experience! Music has the power of releasing emotions and pain for both (the artist and audience) and it gives us a sense of hope about the future.

I enjoy the studio very much as well. Usually when I am working on a new song I take the first take home and I listen to it over and over. I usually find very spontaneous and fresh material that I keep for the final recording. I love improvising at the studio and singing my own background vocals as well.


What do you enjoy most about creating music in general?


That I can be myself and there’s no judgement. I can create my own world and play with it as much as I want. It’s a like parallel universe where anything is possible. My soul flies through my lyrics and my voice when I sing it. It’s like running naked in a huge field of endless possibilities. Pure freedom.


What songwriters and musicians do you look to for inspiration?

My top ten are Prince, Michael Jackson, Pink Floyd, Ivan Lins, Joni Mitchell, Stevie Wonder, Cuchi Leguizamon, Piazzolla, Freddy Mercury and Joe Zawinul. I play their music when I want to feel uplifted and get inspired… just listening to them takes me to another world where my mind and heart are set free.

Some of the albums and songs I play are; “The division bell” (Pink Floyd), “Innervisions” by Stevie Wonder, “Parade” by Prince, “Obivlion” by Piazzolla and “Lo cortez no quita lo cabral” by Facundo Cabral and Alberto Cortez.


What is the overall inspiration behind your songs; lyrically and musically?

I have had the chance to travel the world playing music. I have lived in India, South America, the Middle East, Europe and the USA and I learnt that music is one of the most powerful things in life. Life connects us with love, hope, grief and the most powerful things on earth and this happens beyond language, religion or cultural background.

That’s why I do music, because I love life and I love sharing my passion with everyone.

"Fall in Love" 

 

 

Login or Sign up to create a playlist or comment.

Aleks
Aleks (05/05/16 15:50)
Beautiful song, Daiana!
The use of music in politics

For ages music has been exploited by politicians during rallies and major gatherings.  From the most popular to the unknown artists they have been used somehow as crowd drawing, fillers or as a tools to build interest.

So my question is how far has an artist has to "play" along? Should it be those artists that subscribe to the political party policies or it should be just a job as usual for the artist? 

It is well known that once an artist has served the interests of these politicians or parties  they are discarded just like that.

I would say treat your music as business and avoid being used as a tool unless you subscribe to the party. 

The danger though of affiliation is that as an artist you might lose your rights of freedom of speech and end up being a puppet. I take it that a true artist believes in the freedom of  thinking and freedom of speech. An artist's work is to be a social commentator but not as a political party tool.

Lolo Rollins 

 

Login or Sign up to create a playlist or comment.

\'‪‎Hecate\'s Wrath\'‬ from new album on French CD compilation!!

Exciting news! “‪#‎HecatesWrath” from the forthcoming ‪#‎DaemoniaNymphe album “‪#‎Macbeth” will be included in the cd sampler of the French magazine ‪#‎Metallian! It will be printed in 25.000 copies and will be distributed to newsagents in France, Belgium, Switzerland, Luxemburg, Portugal, Greece and Canada!! Out on the 20th of May, don’t forget to get your copy!! #‎spyridonart

 

Login or Sign up to create a playlist or comment.

Living life outside the clouds  
There's a storm coming up
without clouds in the sky
The sun is shining bright
so I wonder why

Why's the wind so violent
as the rain is on leave
as trees were standing silent
in a quiet summer breeze

The storm show's many faces
some angry some in pain
up close they are all smiling
mixed messages how insane

Nature is deceiving me
like human beings do
they try to get me down
but I don't have a clue

For all I know it is alright
my discussion with the rain
but lies do fall drop by drop
I just can not explain

The storm show's many faces
some angry some in pain
up close they are all smiling
mixed messages how insane

A laughing sun whispers
it all will become bright
but all I see is darkness
not even a little light

It seems the rhythm of my life
believing I did it right
receiving sunny answers
but the storm rules out of sight

The storm show's many faces
some angry some in pain
up close they are all smiling
mixed messages how insane

Maybe tomorrow it's gonna rain
maybe the sun is gonna shine
it doesn't really matter
loneliness will be fine

safely being out the way
not hearing any word
no lies no false appraisals
it's save although absurd

The storm show's many faces
some angry some in pain
up close they are all smiling
mixed messages how insane

Away from anything that breaths
except some plants and trees
makes it all much easier
I know my mind agrees

Living life outside the clouds
not excepting rainy days
keeping to myself and I
freedom comes in many ways

The storm show's many faces
some angry some in pain
up close they are all smiling
mixed messages how insane

The storm show's many faces
some angry some in pain
up close they are all smiling
mixed messages how insane

(lyrics for a bluezy song)
 

Login or Sign up to create a playlist or comment.

On the land with plenty
the rains keep falling down
The soil lost all absorption
summer leafs turned brown

Streets are overflowing
with heartache and pain
New carton-box villages
this world is insane

We're living in a fucked-up world
a fucked-up world

The suits are getting richer
the rest just gets sick
Their grass 's getting greener
their wallets thick

The little people poorer
eating poisonous food
just broken down spirits
in a frown-away mood

We're living in a fucked-up world
a fucked-up world

So many places on fire
weapons payed for by the man
making money by the dead
delivered guns to the evil clan

Deceases getting spread
by people in a white gown
they already know the cure
another financial touchdown

We're living in a fucked-up world
a fucked up world

The man 's making statements
You go back to sleep
We've got it all covered
making an even bigger dust-heap

Now you just listen
listen to your priest
go fuck and make children
'cause the ones we used are deceased

We're living in a fucked-up world
a fucked-up world

Believe in your religion
grasp on to that thought
There's a hard waking up
when the truth is caught

There's no more escaping
in words and in songs
No planet to hold on
knowing to whom it belongs

We're living in a fucked-up world
a fucked-up world

There's no turning back
to times of freedom and wealth
They're steeling your life
messing up your health

You've lost all your rights
sticking your head in the sand
How-come you were silent
when the world came to an end

We're living on a fucked-up world
a fucked-up world

We're living in a fucked-up world
a fucked-up world

 

Login or Sign up to create a playlist or comment.

The unidentifiable beauty of a foggy day

It's like walking into a cloud, well actually it is walking in to a cloud. After one of those sleepless nights, (it must have been the worrying thoughts on the upcoming encounter with the disciples of the vehicle God, at the Centro Inspecção Mecãnica em Automóveis) the misty white curtain waved into the kitchen while opening the door at six o'clock. Our little, 18 year old, four legged companion disappeared out off site within a few feet. He only sees about 20 percent, only hears about 20 percent and acts like an old man who's only pleasure left is winding up the nurses that take care of him. Even before I could lift him up to help him down the stairs, my socks were impregnated with the cold water that was mirroring on the marble tiles of the terrace and my bathrobe was covered in tiny air-filled drops that seems to stick on the terry like dog hairs. I carried the little man down the stairs and of he went for his daily early morning routine. I did reach the firewood shed a bit sooner than I thought I would, somehow the distance get's shorter in a foggy world. With a few logs I went back up, realizing it was slippery after the scratch on my knee that substituted the bump on my head, left by the gutter of the woodshed. I know, I should have had my first coffee before getting that active, but our little Jack Russel just can't wait that long anymore.

The last warmth, from burning wood the night before, left thru the door opening and after putting the kettle on, ripping that stupid wrapped plastic from the fire-starter blocks, emptying the ashtray of the burner, lighting the fire, pouring instant coffee, rolling a fag because the e-Smoker is still charging, letting the dog back in, changing socks and pushing the button “on” at the laptop, I finally  can get to my own morning ritual. Scrawling thru Facebook groups, most related to Portugal, recycling, woodworking and alternative musical instruments, posting a few ironic remarks, checking emails and look at some video's from my fellow woodworkers on Youtube. After the third coffee it's time to go into the workshop and make something. It's annoying when certain events dissuade you from that daily rhythm, like taking the car for it's yearly inspection at the CIMA center. Unconsciously I have put off visiting the test center to the last day, although I know they are just doing their job and there's nothing I could complain about, going there for the last 8 years. Normally I would be the first in line, going very early and wait for them to open the office door, but this time, well, I just don't seem to get myself down from the lonely hill. The world out there doesn't seem to exist, the kitchen is getting warmer and that fourth coffee looks like a very good option. I chastise the lazy feeling that predominantly hides from the outside world deep in the recesses of my brain, sling a washcloth over my face and some crucial parts of my, deteriorating, body that a certain age simply entails, get dressed, go outside to the van and just look over a few things that the car-judge certainly will check out during the process. The left turn signal on the back of the car doesn't work, but after dismantling the cover and spraying some contact-fluid, the problem seems solved.

It must be around noon, the sun is shining bright, the valley is still covered in clouds. We are on top of our own little world and the village is hiding underneath a veil of white vapor. The test center will be closed only a half hour for lunch, contrary to the other buildings occupied by officials, so around that time I'm steering the old van backwards through the small street, off the hill, down to the main road. After about a 45 minutes drive, staring at those first few meters of the road surface that are visible, I'm steering into the “Power-wash” at the local Intermarché. The pressure of the water gun takes away half of the blended paint, but the underside of the van is as clean as the day it drove out of the showroom. The number becomes visible at the heavy chassis our car is blessed with, and the clean sparkling rust will make the people at the test center happy. They hate muddy cars so a first sign of friendliness reveals by the look at a freshly washed vehicle. “One of the break lights doesn't work”, a short but significant sentence, replied by me with “It must be the fault of the pressure washer”. After looking annoyingly for the exhaust, which has it's final part at the middle of the car, just underneath the sliding door, the four times repeated diesel test and shaking on the vibrating plates, which would even make the most experienced porn star blush, there's another problem revealed. “You need to change these rubbers and bolts”, the man says while ordering me on my knees to see the parts he's pointing out. “I will”. To my surprise he's returning from the little office with a green sheet, which means the car got through the test. “Just make sure you do the repairs OK?” I firmly confirmed and drove of the premises with my sunglasses on. The fog cleared and the sky looked blue, more than ever before.

A few minutes later I'm treating myself to an “abatanado” and a piece of chocolate cake at my favorite café, talk a bit to the owner who had me as his first customer every morning at 7, for over two years, when I had to bring my love to the train station for her daily 2 hour commute to Lisboa. Yes, those dark day's are over, still, I sometimes miss these early morning encounters with other “work folk” in the beautiful hours, just before the city awakes. On the way back I visit some friends, just because I pass their village, and we've learned to combine as many things in one drive. The valley, the village and bus-stop at the corner of our street that leads upon the hill, are still hidden silhouette's in the ever lasting fog. It's a day where the outside world didn't reach our little paradise.

When I get home, the kitchen is warm and cozy, my partner in love, adventures and creativity is sitting next to the wood-burner, again surrounded by balls of wool, making another fishtail sleeve for some kid to keep warm during these cold times. There's no need for worldly news on days like this to penetrate our little paradise, I could care less for some famous soccer player who died in a faraway country or who became the winner of “The Voice of Holland”. Just for one day I'm not seeing the racist remarks on the Internet about refugees, I'm not being informed on the highly corrupted manners of Portuguese politicians and bank managers. Just for one day I'm not worried about a nation that supports an absolute lunatic who wants to become president of his sick, commercialized Nation. For one day I embrace that unidentifiable beauty of a foggy day!

 

Login or Sign up to create a playlist or comment.

My Store

I am getting an idea of what it must be like for people to run a small business. The Store page on my website has links to my music for sale at Sheet Music Plus. The Store page is organized by types of music and there is information about how the music download process works for purchases at SMP. I have done my best to make this as easy as possible for people interested in my work.

I am not using paid ads to promote my store. However, information about it has been posted on several online music sites & forums, Facebook, and Linkedin. In addition, the music is currently being sold at discounted prices (see Music Sale). Suggestions for additional things that I might try are welcomed!  
 
Several hundred people typically visit my store page each month; however, there have been only a few purchases. I suspect that this is how it works for many small businesses -- more lookers than buyers. Nevertheless, I have a positive sense of trust that more people will discover and buy this music in due course. 

My purpose for selling music at SMP is two-fold: With a greater number of musicians and ensembles having my music there can be more live performances and income from music purchases will help to fund new recordings of my originals.

 

Login or Sign up to create a playlist or comment.

SXSW Tour Diaries: Part 1 (Sit Kitty Sit, Citabria, ruido/mm)

This year SXSW was no less than spectacular. As usual, hundreds of bands flooded Austin, Texas, bringing to the table their unique and prominent sounds. A select few certainly caught my attention this year, carrying a musical flag of their own. With no further ado, here is the first installment of the bands that perked my eardrums during SXSW, as they share with us their experiences at the legendary festival...

 

Kat Downs of Sit Kitty Sit shares the band's SXSW experience with us in the form of a video. Get to know the brilliant duo, and see their tour antics in real time!: https://www.youtube.com/watch?v=czrqab0rKmE&feature=youtu.be

 

Citabria "takes our hearts" at the festival this year and share their SXSW adventure. Here is their SXSW Tour Diary written by drummer Kevin Azevedo:


Walking out of the air-conditioned Austin International Airport, and into the gorgeous but extremely humid 94° heat, intensified the excitement brewing in my blood. The whole voyage from the Bay Area to Texas, I debated with myself. "Did I bounce out the right samples into the SPDX? Did I bring any shorts? Maybe Edgar brought an extra pair. How far am I going to have walk with this heavy ass gear? Should’ve packed lighter, this case is like 137 lbs. Fuck it.  I’m strong."

Since it was Citabria’s first time at SXSW, our manager Barb Rocks was giving us the run down on the regimen, as she drove the rental van into downtown. Our first show was on the rooftop of Handlebar. Off the bat we realized we needed dollies to roll our gear. Then I realized I can do without my electronic sampler because it just takes longer to setup and most stages won’t have the extra space. Then the amp Leo (vocals/guitar) was using blows, which forced him to connect direct into the PA (that’s always shitty).

My mind was racing again. "Am I playing too loud? Shit!! Did I count the song in right? Why does Nate look like he’s about faint?" I had to remind myself, these people will most likely never see us again, so might as well rock the f--- out and walk off the stage knowing that I gave them all I could. We performed good and the crowd definitely dug what we brought.

As I was watching the rest of the bands and talking to Nate (guitar), I had another realization. As good as these bands sound, I don’t know what their name is. Nor do they mention their name clearly or enough times for me to remember.
Let’s make a big poster tomorrow with our name on it.  And so we did after we bought dollies at Home Depot.

We sounded progressively better after every show, but there was one show in particular that was revelational. Edgar (bass/synths) is allergic to cats and couldn’t be at the Blue Cat Cafe where our buddy Lucas Gordon was performing his first show.  Therefore, Edgar discovered this lot that had some great bands performing that was giving out free beer thanks to Green Flash Brewery. We all joined him after Lucas’ performance and had a blast watching Andy Frasco and his freaks turn the crowd into a crazy dance floor. Andy mentioned something about doing whip-its at 7am so it kinda made sense. We ate pulled pork sandwiches and walked through a mucky thunderstorm to Cheers on 6th St. It was on the rooftop of that bar that I played my favorite show. The drum kit I had to use was a piece of shit. The hi hat stand wouldn’t go higher than my snare. The carpet was so small, it barely fit the bass drum on top of it.

As I played, the whole drum kit kept sliding away from me, and I was having to grab the drums before they’d get too far to hit. During the intro for our song "Hey Now" I look up at the crowd and everyone is engaged. As I start playing the pre-chorus, I look up at the night sky and smiled. I didn’t care anymore if the toms were hurtling away from me. I didn’t care about anything that could go wrong. I was on the rooftop in the middle of a bunch of high rises with my brothers playing the fuck out of this small stage for these awesome humans that chose to stick around for us. That was true joy.

ruido/mm hails from South America to bring an inspiring new look into the festival. Here they share their first SXSW experience! 

1- Is this real life?: We were having a blast after our dubut gig in the us, in the backyard of one of the most bizarre venues we've had ever laid feet on. As we lost ourselves among bad beer and weird conversations D.O.G ( dildo of god) was starting to play inside the the large ( and empty ) room of the weird hyppie place Super Happy Fun Land in Houston, just like we did.That was our first encounter with D.O.G members whom we would latter meet in my best sxsw experience (#3) . Right then seeing DOG performing so freely i remembered that you've got to have fun in the stage , don't matter for whom or how many people youre playing for, and thats what you want to do.
* Big thank you for Ultraviolent Ray for the good music and for the bass amp. <3

2 - The Hideout Experience-Our official gig in south by was at the small theather Hideout, just in the back of a nice coffehouse. There is something special about playing in theathers, for instance you know everyone thats in the audience really wants to be there FOR the music. And ,to our susprise,  we had a good audience and, lucky we could play for some "good ears" we were expecting to.
** Big thank you to Tom Laird for the support and the pictures.

3- Hotel Vegas Keeping it Real: We did have a ball before entering Hotel Vegas , Rafael and I,for our final night at south by. The place is kind of away from the "networking and playing cool" vibe you can find in convention center near bys, and finally i could say i had a sense of belonging & sharring  something a bit more truefull a bit more essential. There were people crowdsurfing, crazy fans shaking their heads and just a real nice mood sorrouding the air.
And the soundtrack for all that was two great concerts one with Dressy Bessy post punk act and another with the young, cute and noisy Cosmonauts.
Just the perfect end to swsx for me and Rafa aswell. The next day we headed to Houston to our last concert at the beautifull Cactus Store where i can honestly say we rocked.In the end all i can say is : dear south by , we are comming back for ya.

 

Login or Sign up to create a playlist or comment.

Smashing Lads - Easier Said Than Done

Wouldn't we all like to get away from the hum drum work, sleep, work, treadmil ? Well according to Oldham's SMASHING LADS it is 'Easier Said Than Done. https://www.youtube.com/watch?v=j1uqlK9-aoM

 

Login or Sign up to create a playlist or comment.

Get fancy with MAKAR! We talk with EthnoCloud about our upcoming record, Fancy Hercules and beyond! BEYOND! BEYOND!

The link below will lead you directly to our interview.

http://ethnocloud.com/Jeremy_Davis/?blog=674

 

Login or Sign up to create a playlist or comment.

Brenda Navarrete releases new music on iTunes

Brenda Navarrete’s new singles are now available on iTunes! If you like the songs, support the artist, and keep the music flowing!

 

Login or Sign up to create a playlist or comment.

Brenda Navarrete joins Gon Bops as endorsed artist

Brenda is excited to announce that she has signed an artist endorsement deal with the Gon Bops percussion company! The 26-year old singer, percussionist, composer and arranger from Havana, Cuba, will join the company’s elite lineup of top percussion professionals.

 

Login or Sign up to create a playlist or comment.

Chatting it Up with New York Staples, MAKAR

MAKAR is husband-wife duo Andrea DeAngelis, and Mark Purnell. Creating glorious Anti-Folk sounds throughout New York City for a number of years, the group are getting ready to release their latest endeavor into the world, Fancy Hercules. MAKAR first caught my ear with their most recent record, Funeral Genius, which saw the light of day a couple of years ago. DeAngelis honest and haunting voice is accompanied by Purnell’s prominent backing vocals. Usually armed with a guitar and piano, the duo bring new life into the genre, and expand their horizons far beyond. I had the great opportunity to speak with Andrea and Mark from MAKAR, in anticipation of the upcoming Fancy Hercules, due out later this year; which you may read below.

 

When you are writing music, what comes first, the music or the lyrics?

Mark: Andrea is a published poet and short story writer, whose work has appeared in Tin House and many other amazing publications. She’s also working on getting her first novel, Pushed, published, so we mine her beautiful words quite heavily. Everything we do is a full on collaboration as far as music and lyrics, but many times we’ll start at the well spring of Andrea’s literary proclivity and go from there. We’ll either be inspired by a poem and then write the music like Erase Face or After Autumn from our debut album, 99 Cent Dreams, or more typically, be horsing around cannibalizing our own song chords during rehearsals and come up with an entirely new song, with the words being inspired by the chords. This stems mainly from my desire to have one song transition seamlessly into another and yet be completely different. We don’t like any song to sound the same as another, but we do want a unified album and sound for the band, a unique mix of our interests and inspirations that can only be found in Makar tunes. Recently, during a rehearsal, Andrea was singing a melody, but didn’t have the chords for it. I was horsing around cannibalizing a song from Fancy Hercules and the chord progression and key fit perfectly with what she was singing. Within minutes we had a chorus and verse section which we are very excited about for a song called, I Want To Be Loved, which will either go on the next album or may even make it on Fancy Hercules if we finish it in time.

Andrea: Lately, the music and lyrics are originating in a more intertwined process, less of a hammering of parts together separately, less of building from words in poems to lyrics and then to music. Now the music and lyrics tend to grow from each other. Not that one way is better than the other, just different ways to approach songwriting in our repertoire.

 

Is your upcoming record, Fancy Hercules, a continuation of your signature sound, or is there a different route or approach you are planning to take, musically?

Mark: The similarities between Funeral Genius and Fancy Hercules can be found in Makar’s usual poet, pop, folk, rock, blues, punk mix, but Fancy Hercules definitely veers into weirdest album yet territory with the addition of whacky musical theater musings, songs about insomnia, depression, brain tumors, the meaning of time, family problems, the old ball and chain, a reworking of "Devil in a Dream" and very strange horror film/Mars attacks type chords. Not to mention an examination of the myth of Hercules and how he slaughtered his whole family as our title track. We’re also planning on doing this album acoustically. No drums, no bass, just piano, guitar and vocals, so that’s a huge and exciting departure for us. It’s Makar stripped down to the bare essentials, which is scary because you wonder if radio will care that there is very little production, but it’s just how we want to record this one, especially the song, "Devil in a Dream," which has been reworked with a big chorus and more structure then the first time around on Funeral Genius.

 

Andrea: I’m especially excited about revisiting Devil in a Dream. We’re going to call the new version – Devil in a Dream, Part II. On the Funeral Genius version, I was just messing around with fingerpicking on my guitar and a capo and Mark started singing over it. We captured it on a low-fi hand-held tape recorder just so we could have a recording to work with. But we liked the old dusty sound of the tape so much that we left it as is, untouched. And all of our attempts to duplicate the song didn’t have the same feel. So when we finally started playing Devil in a Dream out live, it became a markedly different entity from that hand-held intimate recording. Hence Part II. We’ve been debating recording this revisit in my parent’s third floor bathroom because the acoustics sound amazing and haunting and we recorded the outtake on the third floor originally.

 

Being involved in the music scene in New York, how would you say the scene has changed over time since you started performing in the area, to the current day?

Mark: The biggest change to the scene is that so many venues have closed as the rents in NY have gone insane. Our dear friend just lost her wonderful tapas bar restaurant out in Williamsburg when the landlord raised her rent from $7,500/month to $23,000/month, destroying an incredible local hangout and a livelihood she had built over the last ten years. The landlord didn’t even have a replacement yet, just did it out of blind greed. Seeing CBGBs close and become a clothing store was also very hard to take. Passing by would send waves of nausea crashing down over Andrea and me because we played there several times and it was like the mecca for so many musicians to come and drink of its essence and authenticity, an intoxicating mixture of so many musical styles. Of the venues still around, we dig playing at Pianos, Knitting Factory, Pyramid Club, Freddys Backroom, An Beal Bocht, Local 269, Leftfield, R Bar, Lovecraft. Other places that closed that we loved either playing or going to hear bands at besides, CBGBs, were Galapagos, Bar East, The Hook, Kenny’s Castaways, and Luna Lounge. Some re-opened in other parts of the city but some are gone for good which is both good and bad. Good because nothing stays the same and change is always refreshing and exciting, but bad because you get attached and it breaks your heart to see beloved places move on to new spaces or just end.

 

The name Fancy Hercules is surely intriguing! (And awesome!). What is the meaning behind the title?


Mark:
Ah, Hercules, so strong, so fancy, and yet no one focuses on the fact that he slaughtered his entire family. Yet Hera put a spell on him that made him go crazy and do just that. Our album title and title track, Fancy Hercules, is a re-imagined Hercules in a blues song living as a hobo/vagrant tramp following the train lines, trying to come to terms with what he’s done, circling the void, which is illustrated by the weirdest chord in Makar history D7b5th, rarely used in music at all, but of course Makar had to bring it out of hibernation. The train is gonna come means he’s going to pay for his crimes and penny on the track felt like a natural addition, an urban legend that a penny placed on the tracks will derail a train. It doesn’t but still seems to be a potent part of modern mythology. Fancy Hercules is not a concept album, but strangely, many songs can be seen as an extension of Hercules’ tormented psyche. I’m Alright is a song about insomnia which he undoubtedly suffers from, living with the guilt of his actions. Devil in a Dream could be seen as the harpies on his trail much like the hellhounds on Robert Johnson’s, Devil Don’t Do Me is about depression which he feels over losing his family. Time Flies is the first song Makar ever wrote and talks about the void again and wanting to see the end of night, which surely Hercules hoped to see after his 12 labors were completed. Ridge Rider is about a fictional character riding along a mystical and haunted ridge in search of meaning and redemption, but could easily be Hercules doing the same, all inadvertent, yet subconscious connections, which aided in choosing the songs for this album.

 

Andrea: I have never seen it this way, as an extension of Hercules’ psyche. It might be a stretch but I’ll let Mark stretch it. It is a very emotional album for sure. One of the songs, I’m Glad, is about my relief that my mom recovered from a brain tumor. But the album title came from a strange place, a grocery store on the lower east side. It was named Fancy Hercules or at least that’s what I read, sometimes I misread things. [Like a sign in an antiques store in New Jersey that said ‘We Buy Antiques’, I misread as ‘We Buy Angels’. So the title of the album came from that misseeing. For the longest time we only had the music for the song. Then the words came from the title. It’s funny our first album, 99 Cent Dreams, was inspired by a store name in Hackensack and that title track sprang up around the same. Sometimes a title is all you need to inspire the lyrics. I guess poetry works like that.

 

What do you hope to accomplish musically with the new record?

 

Mark: We hope to create a powerful album that connects with listeners on many levels and gets them thinking in different ways, and to do that with just piano, guitar and two vocals. We’ve never put out an acoustic album before, and even though we’ve been playing out acoustically for the past few years, I still think of us as a full on rock band with drums and bass. It’s like we’ve been moonlighting as an acoustic duo or going solo from our own band even though Andrea and I are the band and now write all the songs. It’s nerve-racking to be so exposed, to not have the power of the drums and bass and all the cool sounds and musical lines they add to our songs, but it’s also been a growing experience for Andrea and me as we have to rely on ourselves and fill in all that space that was formerly inhabited by the drums and bass…or not. Like a very wise person once said music is what’s between all those notes man.

 

Andrea - You are also known for your poetry and writing work. How do you incorporate those writings into Makar's lyrics?

Andrea: I think as a poet, you become used to phrases floating around in your head or fascinating you as you drive past a store with a name that snags your vision. I think I will always consider myself a poet first because that’s how my mind works. Even though I think it’s how most people’s minds work because why have so many people written poetry at some point in their lives? Because it’s natural and I think it’s the language of the present. Poetry records a moment, a feeling more so than any other written medium in my humble opinion. And songwriting is a natural offspring of poetry because when I’m writing poetry I also think about how the words sound and that’s musical as well as rhythmical even if it isn’t a poem that rhymes.

My most successful poems also contain a strong visual element so when I write lyrics I try to see the story. But lyrics and poetry can also be very different and almost oppositional to each other. Like I’ll just go off on a tangent and Mark definitely uses his keen editorial eye and red pen machete to shape and chop down my song ideas. Sometimes I think of songs in a too non-structural way like forgetting a chorus and Mark has to reign me in.

Fiction wise – I definitely based our song "Damion Day" (from our first album 99 Cent Dreams) on a conflicted character in my novel-in-process Pushed. So writing does feed my songwriting but not as much as it used to. Songwriting is becoming its own separate entity.

I’ve always been interested in folklore and mythology and some of those themes and stories are now working their way into my lyrics.

 

Does the band produce and record their own records, or do you head into the studio? How did you record (or are recording), Fancy Hercules?

Mark: We record, produce and mix our own albums. We usually go into a professional studio with an engineer for a day to get the bass and drums down (which we can’t do in our apartment) then take the tracks home to add the vocals, guitar and piano parts, but this time around because we’re going completely acoustic, no bass, no drums, we’re probably going to do everything at home using our Digi 001 Pro-tools setup, which we’ve used to record 99 Cent Dreams and Funeral Genius. Once everything is sounding how we want it to, we have it mastered and manufactured at Discmakers. We create all the album artwork as well then send it to Discmakers to include during the manufacturing process.

Andrea: As an indie artist, you always have to think about how can we record this album feasibly? And unfortunately bandmates drift apart, life gets in the way and we’re just left with the core of ourselves. One thing we’ve been unconsciously fighting is that MAKAR is really just us – Mark and me. We can depend on each other. Everyone else has been transient in hindsight. So we’re going to try to record that way for the first time. It feels especially vulnerable but also so honest.

 

What are Makar's key musical goals for 2016? (It seems like you are off to a great start!)

Mark: Thank you! In 2015, we received a very positive response to our second album, Funeral Genius, whichwas called “essential” by Rust Magazine. It got us featured in M Pire magazine, interviewed in Vents, No Depression and Independent Artist Buzz, and earned us a top 10 spot on The Deli Magazine’s Top 300 Best NYC Indie Pop Bands along with Vampire Weekend, Fun., MGMT and Santigold. We played CMJ’s music festival at the Pyramid Club, were named Rust Magazine’s Critic’s Pick and have had continuous airplay across the United States, Canada and the UK, on such stations as WROM, CIUT 89.5 FM (Toronto), CKRL 89.1 (Quebec), Radio Alchemy, The Waiting Room (UK), Rutgers Radio, Hub Radio and Insomnia Radio’s “Daily Dose.” Makar was also included on The NBTMusicRadio's Top 100 Tracks/Singles and Top 100 Albums ahead of David Byrne, Sigur Ros and St. Vincent and we charted ahead of Rush on the US College Radio Charts, which warmed the prog rock hating cockles of Makar’s indie folk pop rocking souls.


Most of this attention has been a result of a lot of elbow grease, sending CDs out, and making friends with a lot of cool bloggers, DJs and music lovers in the indie world, but is also due to our amazing publicist, Melissa Nastasi, who signed us to our first record deal with her then label, Sizzleteen Records. We can’t wait to drop our third album, Fancy Hercules, Fall 2016! It’s going to be very exciting to see what happens, and some amazing DJs that we love are waiting to play it in the US, UK and Canada! We’re just a little indie band from New York doing what we love and sharing that with whoever else loves it. And that’s pretty much what we’re going to continue to do this year and every year after that until that cold black cloud comes down and we knock on heaven’s door. Peace and love.

 

Login or Sign up to create a playlist or comment.

MAKAR
MAKAR (04/15/16 16:13)
Thank you so much for having us! It was a blast talking with you. Andrea & Mark of MAKAR
Ancient Future Times: Spring Shows and Skype Studies Sale

Ancient Future Times

Spring 2016 Issue:

Ancient Future at Willits Community Theatre April 3
•Featuring World Guitar Pioneer Matthew Montfort and Tabla Virtuoso Vishal Nagar

Ancient Future at Occidental Center for the Arts April 9
•Featuring World Guitar Pioneer Matthew Montfort, Tabla Virtuoso Vishal Nagar, and Pianist/Santurist Mariah Parker

Mariah Parker's Indo Latin Jazz Ensemble at Throckmorton Theatre April 30
•Featuring Mariah Parker (Piano, Santur), Paul McCandless (Woodwinds), Matthew Montfort (Guitar), Ian Dogole (Global Percussion), Brian Rice (Latin Percussion), Kash Killion (Bass, Cello), and Special Guest Michaelle Goerlitz (Latin Percussion)

Online Private Music Lessons Via Skype
•Study in the Comfort of Home with Ancient Future Leader Matthew Montfort


Ancient Future at Willits Community Theatre April 3Debut Mendocino Performance with Montfort's New Scalloped Fretboard Guitar

Photo of Matthew Montfort and Vishal Nagar
Photo of Matthew Montfort and Vishal Nagar by Michael Braden.
Watch Ethnocloud video. Stream Ethnocloud audio.

Featuring World Guitar Pioneer Matthew Montfort and Tabla Virtuoso Vishal Nagar

Sunday April 3, 2016, 7 PM
Willits Community Theatre

37 West Van Lane
Willits, CA 95490
Tix: $15. Available in person at Mazahar at 38 S. Main St., online at brownpapertickets.com, by phone at 800-838-3006, and at the door the night of the show if seats are still available. Doors Open at 6:30 PM.
Info: Call 707-459-0895 or email wct@willitsonline.com.
Facebook Event.
Press Release.
Poster (138k pdf).

Ancient Future Concert Poster

Matthew Montfort's New Custom Martin Scalloped Fretboard Guitar

Matthew Montfort's Custom Martin Scalloped Fretboard GuitarScalloped Fretboard Detail
Photos of scalloped fretboard guitar by Alan Perlman

Scalloped fretboard guitar pioneer Matthew Montfort's new custom guitar is the result of a collaboration between Montfort, the Artist Relations Department of C.F. Martin & Co., and San Francisco luthier Alan Perlman. It features an extra upper bout sound hole and a very large sound hole to add volume, a cutaway with extra frets for extended playing range, and a short scale yet wide neck for greater string bending capability.

Recommended Recording Featuring Matthew Montfort and Vishal Nagar

Yearning for the Wind Cover

Yearning for the Wind by Ancient Future (Ancient-Future.Com AF-90352). Sale $10. Buy 1 Now. "Matthew is joined by Vishal Nagar on tabla, and they clearly show (sonically) the joy than can be achieved by well-placed and strictly focused music. The tabla percussion makes it far more than 'just another raga'." — Dick Metcalf, ZZAJ PRODUCTIONS


Ancient Future at Occidental Center for the Arts April 9Debut Sonoma Performance with Montfort's New Scalloped Fretboard Guitar

Photo of Mariah Parker, Matthew Montfort, and Vishal Nagar
Photo of Mariah Parker, Matthew Montfort, and Vishal Nagar by Devki.

Featuring Matthew Montfort (Guitars), Vishal Nagar (Tabla), and Mariah Parker (Santur)

Saturday, April 9, 2016, 8 PM
Occidental Center for the Arts
3850 Doris Murphy Ct. (Bohemian Hwy. at Graton Rd.)
Occidental CA 95465

Tix: $22 advance/$25 door. Reserve tickets early at brownpapertickets.com.
Info: Call 707-874-9392 or email info@occidentalcenterforthearts.org.
Facebook Event.
Press Release.
Poster (138k pdf).

Concert Poster

Recommended Recording Featuring Matthew Montfort, Vishal Nagar, and Mariah Parker

Temporary CD Cover

The Archive of Future Ancient Recordings by Ancient Future (Ancient-Future.Com AF-2030). Fan funded. $15 up.Support Now. Ancient Future's fan funded recording project has 10 tracks and over an hour of music in it so far, with four more tracks to be added next month, and supporters of the archive can purchase a limited edition CD of all of these tracks, appropriately titled A.F.A.R. So Far.


Mariah Parker's Indo Latin Jazz Ensemble at Throckmorton Theatre April 30Pre-Release Concert for Live Recording Project

Photo of Mariah Parker Indo Latin Jazz: Live in Concert cover

Featuring Mariah Parker (Piano, Santur), Paul McCandless (Woodwinds), Matthew Montfort (Guitar), Ian Dogole (Global Percussion), Brian Rice (Latin Percussion), Kash Killion (Bass, Cello), and Special Guest Michaelle Goerlitz (Latin Percussion)

Saturday, April 30, 2016, 8:00 PM
Throckmorton Theatre
142 Throckmorton Avenue
Mill Valley, California
Tix: $20 in advance, $25 at the door, $35 reserved seating at tickets.throckmortontheatre.org.
Info: 415-383-9600.
Facebook Event.
Press Release.

Youtube Video of Milo's Moment
Mariah Parker's Indo Latin Jazz Ensemble performs 'Milo's Moment.'
Watch on YouTube.

Recommended Recording Featuring Mariah Parker's Indo Latin Jazz Ensemble

Sangria CD Cover

Sangria by Mariah Parker (Ancient-Future.Com AF 2017). Sale $10. Buy 1 Now. "Parker and friends blend the rhythmic syncopations of Latin jazz music with the entrancing, asymmetrical meters of East Indian rhythms resulting in first-class world music." — LATIN BEAT MAGAZINE


Skype online music lesson guitar pick icon carved in Bali for Matthew MontfortOnline Private Music Lessons Via SkypeStudy in the Comfort of Home with Ancient Future Leader Matthew Montfort

 

Download Guitar Player Magazine Story on Matthew MontfortHendrix Raga ArticleDownload Guitar Player Magazine Story on Matthew Montfort
Guitar Player Magazine Feature on Matthew Montfort Plus Online Lesson (1.4 MB pdf).

Matthew Montfort is now offering all styles and levels of guitar instruction as well as lessons on any of the subjects on the Ancient-Future.Com world music education web site via Skype and other web conferencing services. Instruction is tailored to the individual needs of the student.

Montfort wrote the book Ancient Traditions – Future Possibilities: Rhythmic Training Through the Traditions of Africa, Bali, and India, which has been used by many musicians to improve their rhythm skills on their instrument of choice. For all instruments and voice, instruction and coaching is also available on improvisation, solo development, rhythm training, reading Western notation, reading Indian notation, composition, music theory, record production, and world music forms such as Balinese gamelan, West African polyrhythms, Indian raga and tala, Arabic maqam, and Latin rhythms.

Guitar lessons are available in any style ranging from folk, jazz, blues, rock, and classical, to world music forms including flamenco, Indian, Arabic, and African music. Instruction including instrumental technique is also available for bass, fretless bass, mandolin, ukulele, sitar, charango and other unusual plucked instruments.

Music lessons make an excellent gift, and introductory sale rates on individual Skype lessons are being offered for a limited time. For further information, visit www.matthewmontfort.com or send an email to info@ancient-future.com.

Skype Lesson Sale

45 Minute Lesson. Sale $45. Buy 1 Now. 60 Minute Lesson. Sale $60. Buy 1 Now. Lesson prices include email or phone consultation prior to first Skype session, custom .pdf of lesson plan with written music if desired in Western notation, guitar tablature, drum tablature, Indian sargam, or other appropriate system, related audio or video files if needed, private Skype session, and follow up consultation if needed.

Recommended Training Manual

Ancient Traditions Book Cover

Ancient Traditions – Future Possibilities: Rhythmic Training Through the Traditions of Africa, Bali and India by Matthew Montfort (Ancient Future Music, 1985. ISBN 0-937879-00-2). Sale $52.95. Buy 1 Now. A must-have for all students of world music.

 

 

Login or Sign up to create a playlist or comment.

Peter Calandra Combines the Elements with \

Peter Calandra elightens ears once again wih another brilliant record “First Light;” his 7th and most recent release. The new collection of songs feature 2-brilliant key tracks, "Night City," and the title track, "First Light;" both which are delightfu to hear on the record. I have been following Peter Calandra's work for quite some time, and it indeed gets more enjoyable with each and every listen. His musical abilities shine through and spring to life. His combination of blending jazz and ambient textures, set him apart from the rest. It is also to be noted that his extensive background in composing for Broadway, film and television, gives him a a unique edge over his musical competition as well; proving he is not just a cookie-cutter artist. Calandra spreads his wings over an array of genres that come to life in "First Light."  His music is truly a labor of love and passion.

 

You can watch the video for "First Light" via YouTube: https://www.youtube.com/watch?v=52pj48pPtIE&feature=youtu.be

 

 

 

Login or Sign up to create a playlist or comment.

Cloud Dance Recording

James Barr made a new recording of my composition Cloud Dance. It has been added to my tracks on Ethnocloud. This is an impressionistic piece for solo guitar.  It was inspired by a day in which thick, low clouds driven by high winds seemed to perform a ballet. The music unfolds through shifting moods, textures, and movement. Except for a brief restatement toward the end of the opening phrases, the piece is largely through-composed and does not use a conventional compositional form. The notated music is fairly short and is meant to sound ephemeral -- like clouds that come into our vision and then are gone.

I cannot rave enough about James Barr's playing on this recording. His solo is brilliant, soaring, and envelopes one in a state of joy. I do not think it's possible for one to listen to his solo and not get up and dance.

The lead sheet for this piece is available at Sheet Music Plus. Besides guitar, Cloud Dance can be played by other instruments and small groups. 

Please give it a listen.  

 

 

Login or Sign up to create a playlist or comment.

Release is the 1th of april

Release is the 1th of april

The new CD "Eres la tierra mas linda" of the all-star-orkestra Tokama will be available the 1th of april all over the world!

Check the new promo-video out: https://www.youtube.com/watch?v=s45fsUJEieI

 

Login or Sign up to create a playlist or comment.

New single out now: #Stranded & Disliked

This song is for those have lost on the way 

but it is especially for the ones still here...

For more Info www.jobarteh-kunda.de

Thank you for your support !!!

 

Login or Sign up to create a playlist or comment.

Some of you asked for it and we will deliver!!
As “Macbeth” is doing brilliantly well with full houses everyday at the National Theatre of Northern Greece, we have been working hard finalising the soundtrack of the play (with the brilliant Ian Williams @ slaughterbackstudios) to be released very soon on bandcamp! Watch this space for further updates regarding the album: “Macbeth” the soundtrack of the play by Daemonia Nymphe. https://daemonianymphe.bandcamp.com/

 

Login or Sign up to create a playlist or comment.

ISC Semi-Finalists

A wonderful news to start the day. I am semi-finalist at ISC International Songwriting Competition with ‪#‎Mazui‬ tribute song for children in risk situation such Child Labor and Human Trafficking.

CONGRATS TO ALL SEMI-FINALIST SO FAR.

See the compleat list in the link below: 

http://songwritingcompetition.com/semi-finalists.html

 

Login or Sign up to create a playlist or comment.

New Single «Are You Ready?» (For the Goombay Dance) - out: 04.03.2016 (Download Audio Single)

ARE YOU READY?

Check out the official Video from the upcoming single «Are You Ready?» (For the Goombay Dance) - out: 04.03.2016

https://youtu.be/racIfYjsSIE

Download (preorder) Audio single on:
► iTunes: https://goo.gl/gk246W
► Amazone: http://goo.gl/hv4C8l
► Bandcamp: http://famara.bandcamp.com
► FAMARA Shop: http://www.famara.ch/shop

Follows:
Webside: http://www.famara.ch
Facebook: http://www.facebook.com/famaramusic
Soundcloud: http://soundcloud.com/famaramusic
Label: http://www.n-gage.ch/famara

Subscribe to our YouTube channel: https://goo.gl/u22X1D

Bless and see you...
FAMARA

 

Login or Sign up to create a playlist or comment.

From time to time we receive appraisal form different magazines, tha latest from the online artmagazine http://beartistbeart.com/ . Making the music we make that crosses the borderlines between world music, contemporary music and performance it is good to receive reviews also from the artmilieu.

 

Login or Sign up to create a playlist or comment.

A Big Band Misconception
There is a common understanding that each saxophone, trumpet, and trombone player in a big band has an individual part. However, that is a misconception with regard to harmony. Traditional big band arrangements -- with 5 saxophones, 4 trumpets, and 4 trombones (13 horns) -- typically use 4 or 5-part harmony. This means there are around three times the number of horns in a big band than the number of notes in the harmonic structures commonly used by arrangers. Therefore, 2 or 3 horns might play the same note, with unison or octave doubling, in a given harmonization.

As an example, a traditional way to harmonize a melody in top-down, close-position writing for 5 saxophones is the 1st alto plays the melody note, the 2nd alto plays the chord tone below the melody note, the 1st tenor plays the next chord tone (below that of the 2nd alto), the 2nd tenor plays the next chord tone, and finally the baritone doubles the 1st alto an octave lower. While there are 5 saxophones, the chord voicing is actually 4-part harmony. 

Top-down, close-position 4-part harmony as described above for saxophones is also used for the brass section. The 4 trumpet parts are usually written first and then the 4 trombones often double the trumpet parts an octave lower or with variations of this technique.

Open or spread voicings can go beyond the 4-part harmony used in close-position writing. In spread vocings, the trombones and/or lower saxophones often play basic chord tones (such as 1-7-3) and the trumpets and/or higher saxophones play chord tones or tensions. Including tensions (natural or altered 9, 11, or 13) in a voicing gives a greater amount of a richness to the ensemble sound. Spread voicings can use 5, 6, or 7-part harmony instead of being limited to 4-part. However, unison and octave doubling still occur when even 7-part harmony is used in concerted saxophone & brass passages.

Given this perspective of harmonic doubling in big band music, I have an idea to offer to big bands: Try playing my mid-size ensemble scores with doubled players on a part. As I envision this approach, it can give a fresh sound to conventional big bands. 

Bands are encouraged to experiment with this idea. Of prime importance is having lines with individual tone colors instead of harmonized saxophone, trumpet, and trombone sections. To do this, an expanded palette of tone color is created by using saxophone & woodwind doubles with the brass in combinations of playing open and in various mutes. Additionally, if available, instruments like soprano sax, flugelhorn, bass clarinet, and tuba can be used in the ensemble. With this palette of color choices, each wind instrument is taken out of its customary role in a section and combined with another instrument(s) to produce a distinctive sound for a given line in the score. Creative combinations of instruments are encouraged. 

As a way to begin, I recommend my piece Fanfare for big bands to try. It is reasonably easy to play (can be performed by high school, college, professional and community ensembles) and its page on my website has a suggested assignment of parts for a big band. 
 

Login or Sign up to create a playlist or comment.

Tipok along side with Atimbilla Perfect Love

Avinash Entertainment is at it a gain with one of the dopest collaboration of all time featuring B-towns finest, born with the instrument, MTN hitmaker Season 1 Finalist Atimbilla works in collaboration with the regions finest, senzational and hottest female vocalist Tipok just playing with a catchy high life riddim produced by Jay Claks at Avinash Entertainment Studios. Catch the recording session live on YouTube, Dailymotion, Tune. Released date scheduled for 6th of March this year. get your download buttons ready for a mega download experience. Avinash Entertainment to the world.

 

Login or Sign up to create a playlist or comment.

La YnE – La Grande Illusion (2014)

"Matti was inspired by lots of different music styles from different parts of the world. This album is a big blend of world music… A nice, but also sometimes weird but surprising blend of music. It’s a combination of music styles that are typical for some countries or world populations/tribes and modern music elements. Every track on the album is different. The album is 39 minutes long, which is a bit on the short side but that doesn’t bother me too much! The production is very good too."

 

https://grendelhq.wordpress.com/2016/02/10/la-yne-la-grande-illusion-2014/

 

Login or Sign up to create a playlist or comment.

Going Pop with Maya Azucena

Maya Azucena is a stunning pop vocalist with a knack for writing a captivating tune. Azucena has been on my musical radar for quite some time now, as she has spent a good amount of time garnering accolades in the realm of World Music. Her intriguing new tune, “Dance Revolution,” turns everything around though, as Azucena enters the world of Pop music, with her heart and soul in tow.

Maya Azucena: "Dance Revolution" 
https://soundcloud.com/mayaazucena/dance-revolution-dj-spinna-mix/s-yATSX

Like her prior releases, despite the genre change, Azucena produces honest music with a heartfelt message. I was surprised to hear that she has altered her sound for her latest single, but it most definitely works in her favor. The new piece is a real stunner, that has me very intrigued for what she will be producing next. She has a new album that is due out sometime this year, which I can assume will follow in the same musical vein as “Dance Revolution.” It is very exciting to hear her take on the genre, as she takes the elements of Pop music and really makes them her own; adding her own special flare and touch.

 

Login or Sign up to create a playlist or comment.

The Toumaranke Recording Project. Gambia Nov 2014.

The band I play in and manage, Toumaranke (led by my husband Moussa Sylla) have released our debut album, Takhaudi Dekau – Inside the Chicken’s Mouth, recorded in The Gambia in november 2014. It’s been an incredible experience, the process of conceptualizing, creating, recording and releasing music always is; but in our case doubly so as we did it all ourselves with the help of lots of friends, some crowdfunding money, and a willing sound engineer. The album is a direct result of the power of determination and co-operation – literally a dream come true.  There's a nice article, with some of the photos, on a friend's travel blog - Travel with Kat, or a more detailed write up on my wordpress blog - Toumaranke.  

 

Login or Sign up to create a playlist or comment.

Music from around the world, or world music subjectively - 6

Kachimba DX: Busca la felicidad! (CD)

 

A héten ismét szóba került a szerkesztőségünkben a világzene meghatározásának kérdése. Cseppet sem meglepő módon nem sikerült megegyeznünk, a szélsőséges értetlenkedők szerint ilyen alapon a lakodalmasrock is ebbe a kategóriába tartozik. Érthető módon egészen más véleménynek adtam hangot, és azonnal eszembe jutott Weyer Balázs válasza, amikor a műfaji meghatározásra kérdeztem rá, és azt felelte, hogy bármikor felismeri a világzenét, de a pontos definícióra nem vállalkozik. Így vagyok ezzel én is, bizonyos lemezekről azonnal megmondom, hogy world music vagy sem.

 

Az Okinaváról érkezett japán Kachima DX albumánál nem kellett gondolkoznom a hovatartozás kérdésén, jóféle latin muzsikát játszanak, amelynek sajátosan egyedi ízt ad a többnyire japán szöveg, és a helyenként felbukkanó hazai motívumok, illetve hangszerek. De amiért ezt a lemezt szeretni lehet, az nem más, mint a hamisítatlan latin hangulat. Maradéktalanul átjön az a fiesta feeling, amit az ember odaképzel Havanna vagy Rió karneváli forgatagába, és amit ez a tucatnyi zenész megteremt. Az már csak hab a tortán, hogy minderre élőben is képesek, miként azt az idei Womexen személyesen megtapasztaltam. Bár csak négyen jöttek el, olyan koncertet adtak, hogy csak azok nem perdültek táncra, és álltak be a konga sorba, akiknek felmentése volt testnevelésből.

 

Cseppet sem könnyű bármit kiemelni a Busca la felicidad! című albumról, de azért nem lehetetlen, mert például a „Viva gente” andalító dallamai, japán mondatai azonmód átölelik az embert; de a legösszetettebb szerzemény, a „Mo-re”, amelyben japán és közel-keleti motívumokat vélek felfedezni, zeneileg is nagyon izgalmas. Aztán ott van a címadó nóta, női énekkel, kellő mennyiségű fúvóssal, elektromos gitárral – elsőre különc darabnak tűnik, de fura mód mégis jól illik a többihez.

 

Kinek ajánlom: a latin és a japán zene kedvelőinek javallott hallgatnivaló.

2011-ben megjelent tizenegy szerzeményt tartalmazó album.

Bővebben az együttes weboldalán: http://kachimba.com/

 

 

 

Bazzookas: Skaradio.nl (CD)

 

Egy picit elbizonytalanodtam azt illetően, hogy ennek a lemeznek tényleg ebben a rovatban van a helye, vagy csak kakukkfiókaként kitúrta helyéről az iráni DVD-t. De mivel a Womexen kaptam ezt a promó lemezt, és ott ugye csak az lehet jelen, aki oda tartozik, szóval ettől a megállapítástól kezdve már csak azzal foglalkoztam, hogy élvezzem a nyolctagú holland brigád muzsikáját.

 

Ami egyértelműen ska alapokra építkezik, rengeteg fúvóssal, gyors tempóval; a táncoslábú hallgatók pedig máris partner után néznek, mert akárcsak a Kachimbaesetében, itt sem lehet nyugton ülni, miközben a ska rádió szól. Zeneileg nem ez az egyetlen jamaikai stílus az albumon, mivel van itt még reggae (Dreaming at the speed of sound) és még több reggae egzotikus fűszerekkel díszítve (Hypocrites), a korong mindezeken felül nyomokban soult és punk elemeket tartalmaz – egyszóval aBazzookas valóban változatos zenét játszik, így nem csoda, hogy van olyan fesztivál, ahová már ötödszörre hívják meg együttest.

 

Igazából élőben lenne jó látni őket, kivált a frontember Bas „Bazz” Barnasconi közepes rastafrizuráját, ahogy belakja a színpadot és megbolondítja a nézőket, miközben társai precízen, ám mégis nagy lelkesedéssel játszanak a háta mögött. Mivel erre egyelőre nem sok esélyt látok, marad a Skaradio.nl című lemez, rajta ez a szerfölött vidám, energikus muzsika, olyan robbanóanyagokkal, mint mondjuk a „Haha” című tétel és olyan finomságokkal, mint például a „Hypocrites”.

 

Kinek ajánlom: ska kedvelőknek.

2013-as sorlemez.

Bővebben az alábbi honlapon: http://bazzookas.com/

 

 

 

Idirad: Zik (CD)

 

Azon filóztam december végén, hogy mi történik akkor, amikor egy kis túlzással egyeduralkodónak számító zenei stílus árnyékában felnőtt nemzedék hangszert vesz a kezébe? Ugyanúgy folytatják tovább, mereven ragaszkodva a hagyományokhoz, vagy azt teszik, amitől élővé válik a népzene, vagyis továbbgondolják és változtatnak rajta? A válasz meglepő módon Belgiumból jutott el hozzám, az Idirad együttes tavalyi, 2015-ös lemezével.

 

Az egyik alapító tag (a kabil Ait Dahmane) találkozott a másik alapító taggal (a francia Olivier Crespel) és egy közös örömzenélés után úgy döntöttek, hogy a jövőben együtt folytatják, és olyan muzsikát játszanak, amiben keverednek gyerekkoruk zenéi, a tuareg és a berber hatások, meg persze a francia elemek. A végeredmény egy érdekes, első hallásra semmire sem hasonlító produktum, amely egészen más, mint az általam ismert tuareg előadók (Tinariwen, Aziza Brahim) zenéje, azoknál finomabb és bár fura ezt leírnom, de érzésre közelebb van Európához, mint Afrikához. Aminek azonmód ellentmond Dahmane éneke és Mourad Mouheb (ütős hangszerek) játéka, amelyben határozottan ott van a fekete kontinens, mégsem az egzotikum a hangsúlyosabb, inkább a pár hete dicsért Faris album hangzása köszön vissza. Mindezek ellenére – vagy pont ezért – a Zik egy fülbemászó, ráérősen építkező lemez, ahol a hangok lágyan áradnak – ezt pedig még az olyan furcsaságok sem zavarják meg, mint amikor éneklés helyett inkább szövegmondást, mondhatni slam poetryt kapunk (Rose du Désert).

 

Egy biztos, a Zik ígéretes bemutatkozó album, tele különféle hangulatokkal, zenei hangsúlyokkal. Ott van benne a sivatag, a hegyek, a zenei múlt – és persze a jelen, a maga elevenségével, ráérősségével. Ezúttal két számot említek („Rose du Désert” és a „Amidini”), mint hallgatásra érdemeseket, mert ezekben éreztem legerősebben Afrikát, a berber-kabil-tuareg hatást.

 

Kinek ajánlom: a berber zene kedvelőknek.

2011-ben megjelent album.

Bővebben az együttes Facebook oldalán: https://www.facebook.com/Idirad/timeline

 

Login or Sign up to create a playlist or comment.

\'Macbeth\' music by Daemonia Nymphe @ National Theatre of Northern Greece

Back in London after a short/long trip, leaving a phantasmagoric spectacle in Greece full of strong sounds and images, a dream as well as a nightmare...Enter the National Theatre of Northern Greece and reach a world of magic,strong emotions and pathos.. 
It will be played tomorrow, and tomorrow, and tomorrow…
‪#‎Macbeth‬ at the ‪#‎NationalTheatreofNorthernGreece‬.
directed by ‪#‎AnastasiaRevi‬
music by ‪#‎DaemoniaNymphe‬
set and costumes by ‪#‎MairaVazeou‬
lighting design and video art ‪#‎YiannisKatsaris‬

www.ntng.gr/default.aspx?lang=en-GB&page=2&production=43192

http://www.ntng.gr/default.aspx?lang=el-GR&page=2&production=43192

photo by Yiannis Katsaris, edited by Spyros Giasafakis

 

 

Login or Sign up to create a playlist or comment.

Music from around the world, or world music subjectively - 5

A 15. Womex Budapesten került megrendezésre, és nem csupán a számtalan remek koncert miatt volt számomra emlékezetes, hanem a rengeteg, itt megismert muzsikának köszönhetően. Ezért egy új rovatot indítok, amelyben – terveim szerint – a Womexen kapott demókról és lemezekről, illetve az utólag kapott korongokról írok röviden. Mivel a legtöbb esetben csupán pár számos promóciós anyagokról van szó, egy cikkben általában három korongot igyekszem majd bemutatni – szigorúan szubjektív alapon, némi háttérinfóval kiegészítve. Mindezt azért tartom fontosnak, mert bár népzenével jól állunk, és van pár exportálható minőségű hazai zenekarunk/előadónk, és időnként külföldi kollégáik is koncerteznek errefelé, azért még bőven van mit pótolnunk. Nemcsak a nagy fesztiválok hiányoznak, hanem a komolyabb szóló turnék is – hogy ez az anyagi helyzet, vagy más okra vezethető vissza, azt mindenki döntse el maga. Egy biztos, rengeteg, megismerésre érdemes (vagy kevésbé érdemes) világzene vár még arra, hogy elindítsuk a lejátszónkban.

 

 

Góbé: Ez van! (CD)

 

A Womex nulladik napján tucatnyi tehetséges magyar együttes lépett fel a Fonóban, de közülük csak három nyerte el maradéktalanul a tetszésemet. A rovatba most bekerült Góbé azzal lepett meg, hogy a hagyományos népzenét újszerű módon tálalták. A részben eredeti formában megőrzött szövegek mellé olyan zenét társítanak, amely egyrészt illik az eredeti muzsikához, másrészt olyan mérvű újragondolásról tesz tanúbizonyságot, amihez foghatót nem ismerek idehaza. Ráadásul fiatalok, tele tűzzel, lelkesedéssel, humorral – egyszóval ha megmarad a kitartásuk, alkotóerejük, akkor véleményem szerint nagy jövő előtt állnak (akár az országhatáron túl is).

 

Nem csoda, ha a koncert után mindenképpen meg akartam hallgatni az idén megjelent második lemezüket, hogy kiderüljön számomra, látvány nélkül mennyire meggyőzőek. Némileg elbizonytalanított, hogy amikor a munkahelyemen próbáltam ismerkedni a számokkal, kollégáim éppen azt az életkedvet hiányolták belőle, amely a koncerten annyira megfogott. Napokkal később sort kerítettem az optimálisabb körülmények között végrehajtott zenehallgatásra, és ennek fényében azt mondom, a Góbé nagyon tud. Mondjuk a lemezindító nóta első hallásra kakukktojás, mert ez esik legközelebb a hagyományos népzenéhez, pedig a cimbalom és a hegedű ellenére ezt is saját képükre formálták. Mintha ezzel akarnák a zenehallgató Jancsi és Juliskát az általuk felépített erdő mélyébe csalogatni, ahol az egyes számokat jelképező tisztásokon remekül elfér egymás mellett a népzene és a legkülönfélébb stílusok keveréke (blues, a capella, bárzene stb.). De még ott is sikerül belecsempészniük az egyéniségüket, ahol nem írják át teljesen a zenét (Mindenkinek).

 

A kedvenceim közül mindenképpen említést érdemel a címadó nóta, mert annyira sikerült elmenni vele egy másik irányba, hogy ha nem lenne mellette a szöveg, akkor szerintem kevesen ismernék fel benne az eredetit. Aztán ott van a bárzenére visszavezethető „Csúszik-mászik”, a maga melankolikus-szomorkás hangulatával. Számomra a csúcspontot azonban egyértelműen a „Sír a szemem” című tétel jelentette: egyszerűen imádom a cimbalom-hegedű kettőst, és az ezt megkoronázó éneket, a refrén pedig azonmód beépült a hallójáratomba, és legalább annyira tartós maradásra rendezkedett be, mint amennyire a Telenor reklám zenéjét dúdolja az ország. Összességében csak dicsérni tudom a Góbé második lemezét, és még annyit fűzök hozzá, hogy szerintem élőben sokkal jobban átjön a bennük lévő energia, életerő – ezért muszáj megnéznem őket legalább még egy alkalommal.

 

Kinek ajánlom: A népzene modernizációját támogatóknak, a magyar világzene kedvelőinek, és mindazoknak, akik egyszerűen csak valami újszerűre vágynak.

2015-ben megjelent kilencszámos album.

Bővebben az együttes weboldalán: http://gobezenekar.hu/#gobe

 

 

 

Arctic Paradise 2016 (CD)

 

Még egy válogatáslemez, amelyet nem egy kiadó, hanem az adott ország kulturális minisztériuma gondoz/támogat. Úgy tűnik, a legtöbb helyen már felismerték, hogy ha tényleg szeretnék megismertetni zenéjüket a nagyvilággal, akkor nem csupán a magánszféra erőfeszítéseire kell hagyatkozni, hanem szükséges kormányzati szinten, hosszútávra szóló koncepcióval is támogatni a promóciót – és nemcsak az autentikus, szakmai zsűri által jóváhagyott előadókat/együtteseket kell támogatni, hanem a tehetségeket, az értéket felmutató produkciókat. A finneknél a jelek szerint működik a minőségi válogatás, bizonyíték erre ez a válogatáslemez, amelyen zavarba ejtően nagyszámú stílus képviselteti magát.

 

Annak idején, szépreményű ifjúkoromban, amikor az első tánciskolás kurzusomat nyűttem, többek között polkára is megpróbáltak tanítani – csekély sikerrel. Ellenben az a lendület, az a vidámság, ami emlékeimben a polkához kapcsolódik, nos, az nagyon tetszett, így nem csoda, ha a lemezindító szerzemény, amit a 40-50 tagú FBB (Sibelius Academy Folk Big Band) prezentál, azonmód a szívembe lopta magát. Észak vitalitása, a hagyomány szeretete – mind-mind ott van benne. Minden, ami ezután következik, csak újabb bizonyíték arra, mennyire sokféle muzsikát szeretnek/művelnek a finnek – tangó, flamenco, afrobeat, jazz, funk és ki tudja még mi minden hallható a lemezen.

 

Kicsit bajban vagyok, amikor a kedvenceimet kell megneveznem, mert ezúttal háromnál több szám tetszett. A „legfurább csoport” címet nálam egyértelműen a négytagú Sväng nyerte el, akikről annyit kel tudni, hogy a zenekarban csak szájharmonikát használnak (természetesen többfélét), ami egyszerre jelent egzotikumot és kötöttséget – ez utóbbit azzal ellensúlyozzák, hogy tényleg abból a kultúrkörből választanak, amihez éppen kedvük van. Aztán ott van a Puhti, a Womexen is látott hölgyek duója, akik harmonika-ének-tánc hármasban keresik és találják meg az érvényesülést – kissé bizarr, amit csinálnak, de nagyon hangulatos (lásd videó). Szerencsére régi kedvencem, a Kardemimmit is képviselteti magát a lemezen, ami azért örvendetes, mert náluk valami éteri tisztaságú muzsikát eredményez a kantele és a csengő női ének találkozása. Az éneket tekintve mindenkit lepipál a Tipsy Gipsy duó, a sikkantások, az erőteljes hang azonnal magára vonja a figyelmet. Érdekes egyébként, hogy mennyire hangsúlyosan használják a lemezen szereplő együttesek a harmonikát – tudom, pár évtizede ez volt az ügyeletes kultuszhangszer (legalább annyira, mint amennyire mondjuk az elektromos gitár), de akkor is fura nekem ez a markáns jelenlét.

 

Kinek ajánlom: Akik szeretik a harmonikát, a finn dallamokat, vagy csak szeretnek rácsodálkozni, ha latin muzsikát északiak játszanak.

A lemez a kortárs finn világzenéből válogat, és bár a címében 2016 szerepel, a felvételek 2014-2015-ben készültek.

Bővebben az alábbi honlapon: www.musicfinland.fi

 

 

 

Vaudou Game: Apiafo (CD)

 

Aki az együttes neve láttán elbizonytalanodik, mert hamarjában nem tudja eldönteni, hogy ez most vudu vagy nem vudu – azt megnyugtatom, mert ez valóban vudu, csak egyrészt franciául így írják, másrészt pedig nem a haiti zimbes-zombis fajtából, hanem Nyugat-Afrikából érkezett, ahol eredetileg kialakult ez a vallás.

Aki a zene hallatán elbizonytalanodik, hogy ez esetleg egy kiadatlan korai James Brown felvétel, az ugyan messze jár a valóságtól, azonban az igazságtól nincs távol, mert aVaudou Game muzsikájától egyáltalán nem idegen a soul és a funk, így a harmadik tételkén felhangzó „Pas Contente” tényleg szerepelhetne bármelyik Brown albumon. A lemezborító pedig egyszerre puritán és nosztalgikus utalásokkal teli – elég csak ránézni Peter Solo maszkjára, a lazán hátravetett gitárra vagy a hetvenes-nyolcvanas éveket idéző nadrágjára.

 

A színpadon mindez így együtt himnikus-hipnotikus erővel bír, miként arról élőben megbizonyosodhattunk a 15. Womexen megejtett fellépésük során, amikor remek muzsikusok társaságában Peter Solo elvarázsolta a közönséget. Akárcsak a koncertet, az albumot is átjárja az a lüktető erő, amiben egyszerre ott van Afrika, a vudu és a hetvenes évek afro-amerikai funk zenéje. Bár klipet a harmadik, „Pas Contente” című számhoz készítettek, melynek érdekessége, hogy közreműködőként Roger Damawuzan énekel benne, nekem sokkal jobban tetszik a következő tétel (Meva), mert olyan lüktetése, húzása van, ami azonnal magával ragadja a hallgatót. Vagy ott van az „Ata Calling” kompozíció, amely leginkább zenei kísérettel előadott fohászra emlékezetet, kihangsúlyozva az egész album vallásos jellegét.

 

A spirituális jelleg ellenére az Apiafo album ideális bármely házibulira, ahol a jelenlévők vad törzsi táncban kívánják levezetni fölös energiájukat, és nem idegenkednek a fúvósokra épülő funktól. A zenét tovább gazdagítja Peter Solo gitárjátéka, amely pormentesen idézi fel a hetvenes éveket, viszi tovább a hagyományokat (melyek az eddig említetteknél jóval nagyobb számban vannak jelen), hogy azokat újragondolva valami újszerűt hozzon létre. Egy biztos: nagyon jól sikerült lemezzel mutatkozott be a Vaudou Game.

 

Kinek ajánlom: A funk és Afrika kedvelőinek.

2014-ben megjelent album.

Bővebben a kiadó honlapján: http://metiola.com/artist/vaudou-game/

 

Login or Sign up to create a playlist or comment.

Now in Chile for ´´Musicas del Mundo´´ festival

Hola Chile, llegamos! 
Walking by the streets of Santiago in Chile with the couple who is hosting me in their home, we found some nice banner of "Musicas del Mundo" Festival. Excited for the 17th.

 

Login or Sign up to create a playlist or comment.

Juan Wauters cured my January blues last Friday as his humble Uruguayan-cum-NYC melodies were characteristically delivered to a doting Dalston crowd.

Stating over a cigarette before the show that “it’s cool that people came”, from the outset the evening had a familial feel. Asked to play whilst on holiday in Europe, his unassuming self thoroughly jollified a packed Waiting Room made up of a small but affectionate following, smitten with his easy-going, almost apologetic style. Decked out in baggy bomber jacket, he jovially played through his second and most recent album, Who Me?: a collection of 13 songs, most of which are less than 3 minutes long. Highlights came through the nasally ‘She Might Get Shot’ and an audaciously long singalong to ‘Todo Terminó’.

With a catchphrase of “oh yeh” seeming to emerge with a Hispanic twang, his image (and reality) of a humorous traveller performing a pleasing rendition of his recent work worked perfectly in the venue – a home from home for musically meandering East Londoners. Joined on stage by friends from Réunion and the UK on skittish drums and needed bass, it was less of a concert, more of a campfire twiddling.  

In order to paint a rounded picture of the former Beets frontman, with his basic folk-pop and anecdotal lyricism, you need only hear the anecdote behind the cover of Who Me?. Standing on the hood of a car with the Manhattan skyline in the background, he ironically dwarfs the buildings whilst shying away from the camera. He says he looked uncomfortable because they had to stop traffic in order to take the shot. Being in the way isn’t really his way.

He left the audience with the sweet ‘Goo’ from his first album, before which he reminded us that “I’ve played 45 minutes already - I’ve got a life!”. Pitchfork’s Mike Powell appropriately refers to Wauters’ vibe as ‘music that takes on smallness as a cause’. The album and his gigs may not be different. They may not say much. But they are enjoyable. Just the ticket for some lazy listening on a summer’s day in Brockwell Park. Perhaps whilst sipping a cold Nortena discovered in a nearby crafty aleshack.

 

JtM

 

Login or Sign up to create a playlist or comment.

X