Posts Tagged ‘fado’

mariza’s ‘vozes do mar’

January 26, 2011

If this doesn’t warm you up…you’d best check your pulse.

 

playlist #100 (2/1/2010)-the centennial show

February 1, 2010
World of Music
Pgm #100 – It’s the centennial show today as we review some of the defining songs and sounds of the last 2 + 1/2 years together
Listen Mondays 3-5pm EDT  – at 105.9FM in Burlington, VT or online at The Radiator
—-
Nas with Youssou N’Dour & Neneh Cherry: Wake Up (It’s Africa Calling) / Open Remix / http://www.intrahealth.org/open/ (download) – (USA / SENEGAL)
—-
Les Boukakes: L’Alawi / Bledi / Mosaic Music 364652 – (MOROCCO)
Claudia Acuña: El Cigarrito / en enste momento / Marsalis Music 74946 – (CHILE)
Tinariwen: Chatma / Amassakoul / Independent Records 14 – (MALI)
Umalali: Fuleisei (Favours) / The Garifuna Women’s Project / Cumbancha 6 – (BELIZE)
Eladio Romero Santos: La Muñeca / Bachata Roja-Acoustic Bachata from the Cabaret Era / iASO 3 – (DOMINICAN REPUBLIC)
—-
Jiang Ting: Tea Leaf Picking Dance / Dance / MA Recordings 66A – (CHINA)
Chiwoniso: Kurima (Planting) / Rebel Woman / Cumbancha 8 – (ZIMBABWE)
Petru Guelfucci: Zittelluccia di Rumania (Little Girl from Rumania) / Corsica / Tinder Records 42821002 – (CORSICA)
Mariza: Há Festa Na Mouraria (There’s a Festival in the Town) / Fado en Mim / Times Square Records 9026 – (PORTUGAL)
Gilberto Gil: Metáfora / Gil Luminoso / dg Brazil / 31618 – (BRAZIL)
—-
Tiddas: Inanay / The Rough Guide to Australian Aboriginal Music / Rough Guide 1207 – (AUSTRALIA)
Andy Palacio: Weyu Lárigi Weyu (Day by Day) / Wátina / Cumbancha 3 – (BELIZE)
Ludovic & Kruno: Oleo / Philadelphie Sur Seine / Gypsy Jazz Distribution 2008 – (CROATIA / FRANCE / PHILLY, PA)
Indian Ocean: Khajuraho / Kandisa / Times Music 1 – (INDIA)
Willie Colón & Héctor Lavoe: Ghana’E / La Gran Fuga / Fania Records 773130228 – (PUERTO RICO)
—-
Beethova Obas: Lina / Caribe! Caribe! / Putumayo 153 – (HAITI)
Luna Itzel: Besame Mucho / Frida / Global e Rack 13217 – (MEXICO)
Cristobal Perez y Su Conjunto: La Negra Celina / The Rough Guide to Cumbia / Rough Guide 1043 – (COLOMBIA)
Gaudi & Nusrat Fateh Ali Khan: Bethe Bethe Kese Kese / Dub Qawwli / six degrees 657036 1137 – (PAKISTAN / UK)
—-
Lee “Scratch” Perry: Invisible Dub / Spirits in the Material World / Shanachie 45067   (JAMAICA)
Sunshiners: Notorious / Welkam Bak Long Vanuatu / Ter a Terre Records 21 – (OCEANIA)
International Velvet featuring Mustafa Akbar: Sundown / The New Gold Standard 2 / Fort Knox Records 28 – (WASHINGTON DC, USA)
—-
Debashish Bhattacharya: Aviskaar / Calcutta Chronicles: Indian Slide Guitar Odyssey / Riverboat Records 1049 – (INDIA)
—-

world of music at 100

February 1, 2010

This week’s World of Music is the 100th show.

I thought the best way to celebrate would be to revisit some of the most unusual and fun sounds we’ve experienced over this last 2+1/2 years, along with some of the new artists we’ve learned about together. I’m thinking of the outrageous Moroccan group Les Boukakes; from Belize, Umalali and Andy Palacio; India’s slide guitar master Debashish Bhattacharya; the desert nomads Tinariwen; and national styles like fado, cumbia, bhangra, bachata, compàs, and qawwali. For starters.

World of Music is a Ben Franklin-brandishing, round 100, centennial mix of blues, jazz, poetry, and world music every Monday from 3-5pm ET on the Radiator.  Online, or at 105.9FM if you’re listening in Burlington, VT.

Stop by for the birthday party!

playlist #85 (10/19/2009)-a jolly good mix of tunes

October 19, 2009
PoJazzImage
World of Music
Pgm #85 – New releases, international adventures, and discovering the world right here at home
Listen Mondays 3-5pm EDT  – at 105.9FM in Burlington, VT or online at The Radiator
—-
Nas with Youssou N’Dour & Neneh Cherry: Wake Up (It’s Africa Calling) / Open Remix / http://www.intrahealth.org/open/ (download) – (USA / SENEGAL)
—-
Michael Rose: Guess Who’s Coming to Dinner? / The Mighty Quinn (film soundtrack) / MGM Pictures 3341 – (JAMAICA)
Fatima Spar and the Freedom Fries: Andrejs Nächt / Zirzop / Geco-Tonwaren 293 – (BALKAN / AUSTRIA)
Bonerama: Cabbage Alley / Bringing It Home / MTP 1101 – (N’AWLINS)  * At FlynnSpace this Thursday, 10pm: https://www.flynntix.org/tickets/reserve.aspx?PerformanceNumber=5403& *
—-
Youssou N’Dour: 4-4-4-4 / Rokku Mi Rokka (Give and Take) / Nonesuch 266044 – (SENEGAL)
Les Orientales: Stenitek – Besame Mucho (Kiss Me A Lot) / Music-Hall d’Algérie / mk2 Music 8345106342 – (ALGERIA)
Kadda Cherif Hadria: Djezaïr / Djezaïr / Naïve 36911 – (ALGERIA)
Soha: C’est Bien Comme Ça / D’Ici et D’Ailleurs / Opendisc 5099950318100 – (ALGERIA)
—-
Le Vent du Nord: Au Bord de la Fontaine / Maudite Moisson! / Borealis 151 – (QUÉBEC)
Rupa & The April Fishes: Culpa de la Luna (It’s the Moon’s Fault) / Este Mundo / Cumbancha 15 – (SAN FRANCISCO) *NEW – Coming to Parima on 11/9/09 – http://www.parimathai.com/ *
Easy Star All-Stars: Like the Stars / Until That Day / Easy Star Records 1016 – (JAMAICA)
Dee Dee Bridgewater: Afro Blue / Red Earth / DDB Records 9091 – (USA / MALI) * Coming to the Flynn on 11/1/09 – https://www.flynntix.org/tickets/reserve.aspx?PerformanceNumber=5403
—-
Novalima: Libertá / Coba Coba / Cumbancha 9 – (PERU)
Mamane Barka: Wo Kuru /Introducing Mamane Barka / World Music Network 114 – (NIGER REPUBLIC) *NEW*
Mariza: Vozes do Mar (Voices of the Sea) / Terra 4Q 1814 – (PORTUGAL) *NEW*
Andy Palacio & The Garifuna Collective: Baba (Father) / Wátina / Cumbancha 3 – (BELIZE)
—-
Tony Whedon & friends: Things to Pray to in Vermont (to the tune of “If I Had You”) / Last Days: Live at the Black Door / PoJAZZ 1 – (MADE IN VERMONT) *NEW – CDs can be purchased online for $10 at: http://www.digstation.com/AlbumDetails.aspx?albumID=ALB000036245 *
Pitz Quattrone & The Earthman Band: Locomotor / The EP / http://www.pitzondidge.com    802-229-4952 – (MADE IN VERMONT) *NEW*
Twist of the Wrist: Donna Lombarda / Twist of the Wrist / self-produced N/A – (MADE IN VERMONT)
Guagua: Charanga / Pan Frito / http://www.guaguavt.com 1128 – (MADE IN VERMONT)
—-
Les Loups Noirs d’Haïti: Jet Biguine / Tumbélé! / Soundway 17 – (MARTINIQUE) *NEW*
Hal and the Big S: Zamiyego / Umoya / Halspirit Records 2 – (SOUTH AFRICA) *NEW*
Emily Loizeau: La Femme a Barbe (The Bearded Lady) / Pays Sauvage / Opendisc 531407 – (FRANCE) *NEW*
Kailash Kher & Kailasa: Guru Ghantal / Yatra (Nomadic Soul) / Cumbancha 14 – (INDIA) *NEW*
—-
Mexican Institute of Sound (remix): Cha Cha Cha / Lotería Beats Mixtape vol. 1 – Raul Campos / Nacional Records 68499 – (MEXICO)
Félix Baloy: Mami Te Gustó / Baila Mi Son / Tumi 100 – (CUBA)
—-

the ‘other’ barefoot diva

May 22, 2009
5/21/09-Maria de Barros

5/21/09-Maria de Barros (bad pic but a lovely lady!)

Maria de Barros is the god-daughter of Cape Verde’s legendary Cesaria Evora, whose comfortable presence and symbolically shoeless performance style has earned her the nickname, “the barefoot diva”.

In last night’s show, the shoes (Maria’s) came off before the first song had even hit the chorus. It took a little while for everyone in the typically polite and reserved (Vermont) audience to come around, but by the end of the evening the chairs were pushed aside and discarded shoes lined the floor at the bottom of the stage as Higher Ground’s Showcase Lounge erupted in a world-class dance party. 2009-May21-MariaDeBarros03

Maria de Barros and her band sang and danced a warm musical embrace in a performance that exuded “morabeza” – an adjective, she said, that describes the kind hospitality and characteristically generous spirit of people from her native Cape Verde.

No surprise, then, that Morabeza is also the title of her brand new recording.

The show itself blended tunes from the new release, along with some from de Barros’ two previous recordings. Every song was sung in Portuguese, but their individual styles were as diverse as the wide cultural and historical crossroads of the West African islands themselves.

In a little over two hours, the mood bounced naturally from lilting samba and reggae grooves to emotionally infused morna love songs, and – de Barros’ specialty – outright party music in Cape Verde’s native coladeira style. Her light voice, bright smile, and radiant stage presence were a good match for the feel of the music.

2009-May21-MariaDeBarros02I would like to have heard more from some of the individual band members. The acoustic guitarist had a little solo time in the light, as did the the percussionist. The ukulele-reminiscent cavaquinho is a curious instrument native to this kind of music, and it’s an unusual enough sight in this part of the world that it could have been featured and highlighted more than it was to give another dimension to the performance. Nice to hear (and see) it played, nonetheless.

Near the end of the concert I ran into a couple of friends who had also attended Mariza’s amazing show, back in March. Though Mariza and de Barros both sing in Portuguese, and de Barros’ style can be considered “fado informed”, it’s not truly fado music. So deeper comparisons can’t really be made between the two. My friend and I agreed; listening to these two is better thought of like appreciating the special, individual qualities of two different wines: if Mariza is port, then surely de Barros’ lighter, tropical-flavored style is Viñho Verde.

Is it a coincidence, this comparison of a ‘barefoot diva’ to wine, and wine’s inevitable associations with barefoot grape-stomping? Nah. Like spending an evening with an artist of Maria de Barros’ caliber, it’s purely intentional even if the results are happily unexpected.

Last night’s concert was the latest in the ongoing Cumbancha/Putumayo World Music series at Higher Ground, next one’s coming up on July 7th: Nigeria’s pioneering King Sunny Ade and His African Beats!

For further listening: I like Morabeza, but for the choice of tunes and the blend of instruments I probably still prefer her earlier Dança Ma Mi (“Dance With Me” – 2005, Narada Records). Try both, you sure can’t go wrong.

cape verde in burlington

May 21, 2009
Maria de Barros (Photo: Johnny Fernandes)

Maria de Barros (Photo: Johnny Fernandes)

The day’s finally arrived, after months of anticipation – Cape Verdean singer Maria de Barros is in town for a show tonight! She’s on tour now with the new recording “Morabeza”, which was partly recorded here in Vermont at the Charles Ellers Studios.

She’s the god-daughter of Cape Verdean legend Cesaria Evora, carrying forward in that Portuguese fado-inspired tradition and bringing her own upbeat style to the music as well.

Ready to dance? Me too. What a way to launch summertime!

—-

Doors at 7:30pm, the show starts at 8 in the Higher Ground Showcase Lounge. Click here for ticket/accessibility info.

mi fado

March 5, 2009

It takes a lot for all of the elements to come together just right and create the kind of music experience offered last night at the Flynn Center.

3/4/09 - marquis for mariza

3/4/09 - marquis for mariza

The evening began at 6 in the adjacent Amy Tarrant Flynn Gallery with an excellent hour-long, anecdote-packed a/v tour through the colorful history of Portuguese “fado” music, a relatively recently evolved singing style from two very different but coexistent sources: the ‘tavernas’ in Lisbon’s working class neighborhoods, and the more formal academic environment at the University of Coibra (where fado is traditionally only sung by men! Quel dommage!).

One music; two distinct paths of expression – as I was listening to the discussion on fado it occurred to me how often we find this kind of divergence as a particular style takes root and evolves simultaneously but separately, in different areas of the same geographical region. Indian classical music came to mind immediately, with its improvisatory Hindustani tradition in the North (a style partly shaped by centuries of neighboring Islamic and Persian influence), and the voice-reliant, religious-themed orientation of Carnatic music in the South.

At 7:30 the concert began, three solitary guitars on the stage in three distinct voices (bass, lyrical Portuguese, and classical acoustic), strumming a stirring prelude in anticipation of the entrance. And a moment later, there she was: Mariza, with her signature stylish peroxide wavy bob and long black fitted dress. She strolled into the scene with a radiant smile and a broad wave and began singing in the dark, soaring voice that simultaneously defines her artistry and dispels any initial impressions given by her petite physique.

Half African (mum is from Mozambique, where the future fadista was born), and half Portuguese, Mariza was raised in a seaside Lisbon ‘taverna’ owned by her father. Early on, she described the ‘fado weekends’ her father’s tavern hosted, and her own first forays on the stage as gradeschooler when she was allowed to sing her three fado songs at 9pm each Saturday night, promptly followed by a 10pm bedtime where her father carried her upstairs and tucked her in. (And where the young Mariza, waiting in anticipation for the sound of her father’s footsteps going back downstairs, promptly hopped out of bed and took a seat on the second floor landing to listen the rest of the night’s singers…)

If you’ve heard ‘fado’ you may be inclined to describe it as a mournful, wailing, sad or nostalgic sounding style of singing. You’re definitely right about that. As Mariza demonstrated, though, that’s like looking at the half moon and describing it as “dark”. Accurate, but that’s only part of the story. In omitting the ‘other’ half you’ve not only missed a significant and defining characteristic of the whole picture, you’ve also neglected to describe the one obvious factor upon which you based your judgement of the ‘dark’. (Without light, no dark. The classic paradox.)

So, as it goes with most artistic effort, fado can be thought of much more as a spectrum of expressive capacity rather than a single wedge of the emotional color wheel. For all of its poignancy and longing and wistfulness (‘saudade’) there is also joy and passion, and a love of life and homeland. Mariza’s performance was infused with all of that, and the surprisingly contrasting emotions of the songs she shared made for a compelling and exciting narrative that just kept on unfolding in new insights throughout the show.

I mentioned all of the elements coming together last night to make this a special, memorable experience. The musicianship was incomparable; the unique combination and balance of instruments seemed a good fit for what occasionally can be an alternately constrained or overly ‘lively’ sound at the Flynn; and the subdued, striking lighting schemes gave every illusion of creating the intimate ‘taverna’ space that this music calls home. (I could have lived without the flashing “laser Floyd” spotlight efx on one of the early ‘up’ numbers, but it’s a small complaint to balance against the otherwise beautiful tableaux throughout.)

Mariza is in the second month of a 4-month, 47-city North American tour in promotion of her new recording “Terra”. She is a powerhouse of a singer and a gracious, charming host on stage, generously sharing the spotlight and credits with her fellow performers. If you missed her here you may still be able catch her in another city, and by all means do it if you can. (Tour schedule’s on her website…a Flash-heavy experience, be patient…)

Otherwise I can recommend her earlier recordings, “Fado em Mim”, “Fado Curvo”, and “Transparente” (a tribute recording to her African grandmother).

“Fado”, as Mariza informed the audience last night, “means ‘fate’ or ‘destiny’.”

How very fortunate for us that hers included Vermont as a destination.

—————

[The musicians: Mariza, fadista; Jose Marino Abreu de Freitas, bass; Angelo Braz Freire, Portuguese guitar; Diogo Clemente, classical guitar; Hugo Marques, drums; Simon Wadsworth, piano/trumpet]


%d bloggers like this: