Various Artists / ¡Gozalo! Bugalu Tropical, Vol. 2 (Vampisoul) South American
This collection continues Vampisoul’s exploration of Peruvian boogaloo and proto-salsa in the latter 60s, providing a broad array of artists whose music can match anything coming out of Cuba or New York around the same time. The quality is top-notch throughout (although I did find the overly nasal vocals on Melochita y su Conjunto’s “Cobardia” [#27] a bit grating), though technically speaking less than half the cuts are actually boogaloo. But if you’re looking for that blend of Latin and soul, try Enrique Delgado y Los Destellos’ instrumental “Boogaloo del Perro” (#8), featuring some fuzzed & distorted guitar work, Coco Lagos y sus Orates’ groovy “Guajira Boogaloo” (#10), which lives up to its name, Tito Chicoma y su Orquestra’s “Aqui” (#18), and Mario Allison y su Combo’s call-and-response workout “Oh Yeah” (#26). Fans of Latin jazz will want to check out El Combo de Pepe on the disc’s longest track “Descarga en Menor” (#5), which features extended exploratory solos on sax and piano. The female side of salsa is represented by Vicky Zamora on two cuts—“Pepito” (#17), which looks back to the mambo craze of the 50s, and “Felipon” (#25), a straight salsa number. Guitar enthusiasts will enjoy “Las Guitarras Tropicales” (#3), “No Hay Dos” (#13), and “Comentario en el Solar” (#20), while fans of the vibes should try “Boogaloo Sambroso” (#4) and “Coco’s Descarga” (#19). But you just about can’t go wrong with anything on this compilation. While we await Volume 3, I’m headed back to check out Volume 1.
Paul Borelli 9/12/07
Various Artists / Always Lift Him Up: A Tribute to Blind Alfred Reed (Proper) Folk
Blind Alfred Reed was a West Virginia fiddle player and singer/songwriter who recorded 21 sides in the 1920s, the most famous of which is probably “How Can a Poor Man Stand Such Times and Live.” The Depression essentially put a stop to his recording career, and his work was largely forgotten until the folk revivial of the 1960s and Ry Cooder’s early work in the 1970s. This tribute is performed by all West Virginia artists, or those originally from there, including Ray Benson (#17) Tim O’Brien (#11 & 19), Kathy Mattea (#6), Connie Smith (#8), Little Jimmy Dickens (#1), and Charlie McCoy (#15). Reed was obviously a fundamentalist Christian, and many of his songs talk of his religion and those who disobey its teachings, which includes anyone who plays cards, drinks alchohol, uses tobacco products, watches movies, or women who cut their hair short (#4). Some may find his view that a woman’s place is in the home as quaint (#1 & 6), but for me it smacks as no different from the religious fanaticism causing so much bloodshed in today’s world. Reed is often seen as a kind-hearted man, largely from the sentiments of the title track (#12), but even here the intention is to steer the sinner to Jesus. I find his work more appealing when he is singing about social evils such as greed (#10), poverty (#19), and disasters (#14 & 15). There’s no denying Reed’s talent as a songwriter; it’s unfortunate that he most often used that talent to condemn others.
Paul Borelli 12/06/07
Various Artists / Americana (Putumayo) Americana
Putumayo’s latest compilation seems to suggest that the heart of Americana music lies right here in Central Texas—4 of the 12 artists featured on this disc have Austin or Central Texas connections: Robert Earl Keen (#4), Carrie Rodriguez (#7), Terri Hendrix (#10), and Ruthie Foster (#12). OK, so maybe Texas artists’ independent spirit means they are less tied to major labels and therefore easier to license from. But we’ll bask in the idea that our musicians are exceptional nonetheless. Keen describes, in his typically colorful way, the age-old lure of the open road, while Rodriguez teams up with admirer and legendary song-writer Chip Taylor on another song about traveling, “Sweet Tequila Blues,” although here the destination is back home to Austin. Hendrix keeps things at home as well in “Prayer for My Friends,” which wishes the best for loved ones despite any differences we may have. Foster closes the compilation with her trademark soulful vocals on “Hole in My Pocket,” in which an outsider seeks help in finding salvation. Norah Jones has called Dallas home, and her side project, The Little Willies (#3), take a boozy country approach to “It’s Not You It’s Me” (#3). Former member of Alison Krauss’ band and a Grammy winner in her own right Alison Brown trades in her banjo for an acoustic guitar on the country, jazzy instrumental “Deep Gap” (#9). Tennessee’s wispy-voiced RobinElla blends country, folk, and a trace of pop on the gently rolling “Down the Mountain” (#1). That mix of other genres, such as jazz and pop, with a firm foundation in traditional folk and country is perhaps the defining characteristic of Americana succinctly captured here.
Paul Borelli 7/28/07
Various Artists / Amiga a Go Go (Amiga) Pop
To think that 18 years have passed since the Wall came down in Berlin, and it’s only now that these “deutsch-demokratische rare grooves” have surfaced. Yes, as it turns out, soul and funk-influenced music was alive and well behind the Iron Curtain, or at least in the German Democratic Republic. Amiga Records has compiled on this CD 20 jazzy, funkified Socialist gems from the years 1968-1979. The sound here is often big, brassy, and sleazy (in a good way, of course). With 12 instrumentals (which I have marked on the back), there is plenty of fodder for back-announcing beds. Here are some of my recommended tracks: 1 (rambunctious cruiser), 8 (did the Go Team! Rip off this epic riff?!), 9 (pissed-off fräulein), 12 (funky chorale), 13 (BIG sound cover of “House of the Rising Sun”), 14, (sleazy romp), and 20 (mod raver). No FCC violations. Recommended. Scott Gardner 7/21/07
Various Artists / Anchored in Love: A Tribute to June Carter Cash (Dualtone) Country
Though she played second fiddle to her more famous second husband, Johnny Cash, June Carter was nonetheless a key figure in American music, primarily as the daughter of Mother Maybelle Carter and a member of the seminal Carter Family. Sadly, most of the artists here seem so overcome with reverence for her that their performances fail to rise above bland re-enactments of the songs, instead of providing fresh re-interpretations. Of course, part of the problem could also be the AAA radio roster of performers used to playing it safe—Willie Nelson & Sheryl Crow (#1), Elvis Costello (#7), and Roseanne Cash (#8) are prime examples. One who does not play it safe but perhaps should is Grey Delisle (#9), whose overwrought, whispering rendition of “Big Yellow Peaches” is affected and annoying. But now to the highlights: Carter’s daughter Carlene teams up with strong-voiced Ronnie Dunn for a spirited remake of the Johnny & June duet “Jackson” (#2). Current country hunk Brad Paisley does a nice if understated take on the A.P. Carter classic “Keep on the Sunny Side” (#5). And in the who’d-a thunk it category, Billy Bob Thornton provides home-spun narration backed by the Peasall Sisters on the wilderness yarn “Road to Kaintuck” (#8). Emmylou Harris turns in a fine performance on “Song to John” (#12), but the message of June subordinating herself to Johnny because it is “God’s plan” is a bit distasteful. She may have accepted secondary status in her household, but she deserves a first-rate tribute, which, with a few exceptions, this isn’t.
Paul Borelli 6/9/07
Various Artists / Best of Jazz Guitar, Vol. 1 (Mel Bay) Jazz
From the publisher of guitar instruction books for 60 years comes this compilation of current jazz guitarists, with a few big names (Herb Ellis, John Pisano, John Pizzarelli) and many more unknowns. After a fine, restrained cover of Herbie Hancock’s “Cantaloupe Island” (#1) by the three-guitar ensemble MB3, the disc falls into a rut of unchallenging covers of familiar standards that sounds a lot like standard background lounge jazz. But the back end of the disc contains more inventive and interesting originals by artists who apparently know that you have to push the envelope if you want to stand alongside the classics. Vic Juris, joined by saxman Dave Leibman, takes “Dizzy, Trane & You” (#7) through many unexpected chord changes at a rapid clip, constantly challenging the listener to keep up the pace. Jonathan Kreisberg takes a more lumbering rhythm on “Hobroken” (#8) but also takes the road less traveled both on his free-ranging solos and on his heavily flanged comping behind trumpeter Scott Wendholt, almost like John Scofield jousting with modal-era Miles. On “Squib” (#9), Bruce Saunders and his accompanying horn players keep their solos mellow, with the volume turned down and the scales never venturing too far out of the pocket, while the rhythm section maintains an aggressive funk/herky jerky foundation. Dave Stryker conjures up images of a young George Benson’s Columbia recordings on “I Wish You Love” (#10), a breezy jog that even includes a line out of Bacharach and David’s “Wives & Lovers.” Which just goes to show it’s OK to quote the classics, as long as you’re also bringing something new of your own.
Paul Borelli 4/28/07
Various Artists / Brazilian Playground (Putumayo) Brazilian
The Putumayo Kids series has won awards for its friendly way of teaching children about different parts of the world through music, though many adults would also benefit from a little more education about other cultures. As expected, the kid-friendly songs in this compilation tend to be light, energetic but overly exuberant, and sometimes silly. You won’t find any of the harder edged Brazilian styles, like baille funk, here. Adults will likely most enjoy the track from Brazilian icon and Minister of Culture Gilberto Gil on the polyrhythmic “Expresso 2222” (#12). Gabriel Moura’s syncopated “Tem Fila” (#8) describes silly events in everyday life and has some exaggerated vocals to emphasize the humor. “Se a Alegria Existe” (#9) by Teresa Cristina is a nice flowing, acoustic-folk samba piece. Adriana Maciel offers and almost lullaby-like samba on “Samba Dos Animais” (#11) that differs from Cristina’s in its use of electronics. O Karaiva’s “Xote das Meninas (Ela So Quer)” (#10) is a bouncy accordion-led piece with call-and-response vocals. And bouncing is what many of these tracks are meant to do, reflecting the care-free, playful attitude that should be the prevailing mood of childhood.
Paul Borelli 10/7/07
Various Artists / The Chicas Project (Nacional) Soundtrack
According to the description in the liner notes, The Chicas Project sounds like a Latina version of The Simple Life (the Nicole Richie/Paris Hilton “reality” show). Regardless, this soundtrack compilation features edgy current Latin music featuring much of the Nacional Records roster with tracks pulled from their full-length CDs, in particular, the Pinker Tones (#6 & 10), Nortec Collective (#12 & 15), Mexican Institute of Sound (#7), Pacha Massive (#2 & 8), Sara Valenzuela (#14 & 17), and Aterciopelados (#16) and its members solo projects (#4 & 9). The Pinker Tones’ anti-political send-up “Karma Hunters” (#6) is the show’s theme song, and “Beyond Nostalgia” (#10) is a smooth, updated bossa nova tune in the Walter Wanderley style. The Nortec Collective tracks feature modern beats & rhythm tracks peppered with blasts of traditional Mexican trumpet. One of the pleasant surprises here is Bitman & Robin’s “Answer 2 the Beat” (#11), a slice of Latin acid jazz with a funky beat, Rhodes piano vamping, swirling synth washes, and sampled vocal snippets. Taking a similar approach but with a dub rhythm is Monareta’s “Llama” (#5), which spices up the rhythm track with sporadic horn riffs. Bomba Esteréo likewise uses a reggae-based beat, plenty of synths, and an array of Latin percussion on the instrumental “Tambora” (#3). And Cuarto Poder offers a dance invitation with their vocal reggaeton opener “Arenita Playita” (#1). If anything, this soundtrack proves that the future of cutting-edge popular modern music, regardless of genre, will have a heavy Latin flavor.
Paul Borelli 4/21/07
Various Artists / Classic African American Gospel (Smithsonian Folkways) Gospel
Smithsonian Folkways gives a musical education with its collection of “Classic African American Gospel.” This folk collection covers a broad range of African-American religious music, including early a cappella African-American spirituals of the 40s (#6 "Moses Smote the Water" by the Thrasher Wonders), the vocal quartets of the 50s (#2 “Oh Lord, I’m So Glad I Got Good Religion” by The Starlight Gospel Singers), contemporary church choirs(#19, “We Praise Your Holy Name” by the Mississippi Mass Choir), as well as the more individualistic and without coincidence more bluesy, expressions of faith (#16, “Low Down Death Right Easy” by Dock Reed). While most of the track list includes folk recordings as opposed to studio recordings, this collection contains many gems in the rough. My favorites include the soulful “Holy Ghost” by Juanita Johnson & The Gospel Tones (#9), the Dixieland jazz gospel number “Where Could I Go” by Sister Ernestine Washington (#10), and the country-blues song “Let the Church Say Man” by Sonny Terry & Brownie McGhee (#11). In addition to its rare recordings, this collection is supplemented with detailed liner notes by the music historian Kip Lornell, who gives a history of gospel music as well as informative biographies of the featured artists.
Betsy Shepherd 6/24/09
Various Artists / Do That! Rare Gems From the Terrorbird Vault (Terrorbird) Indie
This two-disc collection of rarities and remixes from Terrorbird Promotion was distributed digitally only to radio stations to celebrate the company’s first anniversary. The roster of artists reflects the company’s edgy indie emphasis in the realms of pop, rock, electronica, and hip-hop, the best known of which are Buck 65 (disc 1, #2), the Raveonettes (disc 1, #5), Deerhoof (disc 1, #10), David Vandervelde (disc 1, #11), Underworld (disc 2, #3), and Sage Francis (disc 2, #4). Obviously, there’s a lot to choose from with 29 tracks, so among the best clean tracks are the dreamy, rhythmic indie electronica of Tycho (disc 1, #1), the Raveonettes dark, driving mix of melody and distortion (disc 1, #5), the whiny, nasally Beastie Boys-inspired hip-hop of The Yah Mos Def (disc 1, #7), the cute, quirky Japanese indie pop of Deerhoof (disc 1, #10), Sage Francis’ gritty, defiant “Rehab” (disc 2, #4), and the simplistic electronic melody mixed to overdriven extremes by Dan Deacon (disc 2, #14). Ordinarily, I would also recommend the tracks by Dri (disc 1, #14) and Chromeo (disc 2, #7), since their CDs were among the best of 2007, but these remixed versions are inferior to the originals. Still, they may be worth a listen for those not already familiar with their work. Also, Sally Shapiro’s pretty Christmas tune (disc 1, #12) would be recommended if the holiday were not already past. As they say in the sports world, wait till next year.
Paul Borelli 1/03/08
Various Artists / Esopus Magazine #8: Spam (Esopus) Alternative
Esopus is a New York-based art magazine that offers critical perspectives on contemporary culture and includes a themed CD typically with songs from independent artists. The upcoming issue’s CD focuses on the phenomenon of Email spam, here interpreted by 10 artists. While some of the cuts deal with particular types of Email spam scams, such as Nigerian bank scams (Greg Tate’s Garage Band’s electronic instrumental “Call of the Wily,” #3), penis enlargement scams (Fryda Hyvönen’s “For Me to Say,” #4), and high school reunion sites (Dylan in the Movies’ “Graduation Day,” #8), many of the artists are fascinated or inspired by those mysterious messages composed of random words and phrases strung together or in a language completely foreign (#2, 7, 9). There are also songs inspired by offers of Prozac (#10), sexy come-ons (#6), ink cartridge sales (#5), and even an imagined ad in which one village espouses its superiority and tries to lure defectors from another, as reflected in Final Fantasy’s quirky chamber pop “Flare Gun” (#1). Given the digital origin of the source of inspiration, many of the artists mix their pop constructions with elements of electronica (#3, 7, 8, 9, 10). On the other end of the spectrum is Lost in the Trees’ folky feel with a waltz-like rhythm and acoustic guitar, violins, and saw. Yet despite the disparate sources of inspiration, the exploitative nature of spam, and the artists’ different approaches to the topic, the disc coheres as a singular and interesting collection of pop constructs.
Paul Borelli 4/28/07
Various Artists / Esopus #9: Dreams (Esopus Magazine) Indie
Esopus is a New York-based arts magazine published twice a year that includes a themed CD of music in each issue. For their latest disc, they had 11 musical acts pick from dreams submitted by the magazine’s readers (see the enclosed 1-sheet for the complete text of the dreams as well as information about each musical act). As you might expect, many of the tracks have a “dreamy” quality about them through use of odd electronic tones, sampled sounds, and plenty of echo and reverb. Black Moth Super Rainbow begins the fun with their trademark indie psychedelic electronica on “One Day I Had an Extra Toe,” probably the most amusing of the dreams. The track sounds like it easily could have been included on their latest album, Dandelion Gum, and was likely recorded at the same time. The Finnish collective Paavoharju begin “Sumuvirsi” (#3) with a simple violin melody that soon slips into deep, echoing keyboards, goose noises, the sound of a train traversing the tracks, and delicate female vocals. Toronto’s Hank delivers a jazzy, reverb-drenched piece with moody electric guitar and brushed cymbals on “Me and My Daddy Are Walking in the Desert” (#4). “One Kill” (#6) from Dirty Projectors starts with electronic drumbeats but then adds soukous guitar and an Afrobeat rhythm, ending with 4 loud snare shots. “Moon Flower” (#5) is one of the prettier pieces with male-female harmony and a one-note violin pattern. I guess you could say this is the stuff that dreams are made of.
Paul Borelli 10/28/07
Various Artists / Goin' Home: A Tribute to Fats Domino (Vanguard) R&B
It’s hard to knock Fats Domino—the man has always exuded easy-going charm, probably a major factor in his remarkable success in the 50s and early 60s. He became an even more sympathetic figure after being rescued from the flooding after Hurricane Katrina. And the proceeds from this two-disc tribute, which includes everyone from John Lennon, Paul McCartney, Neil Young, and Willie Nelson to Corinne Bailey Rae, Joss Stone, and Norah Jones, will go toward restoring homes in Domino’s 9th Ward. Still, even though his 1949 hit “The Fat Man” is sometimes called the first rock n roll song, his sauntering boogie-woogie style is not particularly captivating, one might even say bland. And the A-list performers here mostly fail to make it any more exciting. Even perhaps Domino’s best song, “I Hear You Knockin’,” is mailed in by an uninterested-sounding Willie Nelson (disc 2, #9). But there are a few highlights: John Lennon’s 1975 recording of “Ain’t That a Shame” (disc 1, #1) starts things off in rollicking fashion. Taj Mahal & the New Orleans Social Club turn in a funky, bad-ass version of “My Girl Josephine” (disc 1, #5). Marc Broussard displays his surprisingly soulful vocal style on “Rising Sun” (disc 2, #5), and Norah Jones makes things interesting with unusual phrasing on “My Blue Heaven” (disc 2, #3). Beyond that, some of the performances are just OK, others painful. As Fats might say, “Ain’t that a shame.”
Paul Borelli 10/28/07
Various Artists / Gypsy Groove (Putumayo) World
I’ll have to admit I was a little skeptical of the groove-iness of this compilation after the first two cuts, which have a lot more bounce than the usual chill-out, downbeat vibe of past titles in the Putumayo Groove Series. Not that they’re bad tracks; I just can’t see people dancing or chilling to what are essentially traditional gypsy tunes with louder bass and an occasional sample. But by the time Gipsy.cz starting rapping in Czech over a soft acoustic guitar and vibes on “Jednou” (#3), I was starting to get in the groove. After a relapse back into traditional gypsy beat by the Amsterdam Klezmer Band (#4), we get to the real meat & potatoes of this compilation as the Balkan Beat Box grafts some genuine hip-hop beats onto whoops and Balkan brass. Uzbekistan’s Karen Gafurdjanov (who’s actually a man, baby!) keeps the party going on “Yor Uzga” (#6) with traditional Uzbeki stringed instruments, violin, electric piano, and funky organ. Fans of accordion & Herb Alpert horn charts will dig “Zi Ne Sui Pa Pur Tua” from Magnifico & Turbolentza (#7). After a few tamer tracks, the disc closes out on a high note as Eastenders, from Germany, sprint through a flamenco-flavored come hither dance number. While not every track in this collection will inspire you to throw down, they do maintain an authentic gypsy flavor, which is more than can be said for a fair amount of today’s supposedly ethnic-based dance music.
Paul Borelli 3/17/07
Various Artists / Israel (Putumayo) Middle Eastern
This collection of “a new generation” of Israeli artists suffers from what has increasingly become the side effect of globalization, or the shrinking of the planet—bland homogeneity. Other than the fact that the vocalists here sing in Hebrew, there is little to distinguish this music from that made anywhere else. A few tracks may weave in a slight strain of traditional Israeli music but most have a predominantly global sameness. The exceptions are the tracks worth hearing: Rona Kenan, the daughter of a well-known writer, collaborates with older star of song, film, and TV Gidi Gov on the traditional lovers’ dialogue “Ha’rikud Ha’muzar Shel Ha’lev” (#4), with a waltz-like tempo and accompaniment on accordion, guitar, and violin. The seven-member group Sheva is known for combining reggae with other styles of world music. On “Ashrey Ha’ish” (#8), they blend traditional middle-eastern instruments with a reggae rhythm that works very nicely. The Yemenite group Zafa appears to use an oud on “Tariki” (#7), but other than being featured in the intro and an occasional line here and there, it takes a back seat to club beats, heavy bass, soprano sax, and electronica. The song structure of Palestinian singer Amal Murkus’ “Ta’alu” (#11) has a middle-eastern feel to it, but the instruments behind her, other than a dusky flute, do not sound middle eastern. And so it goes throughout this compilation—the search for true Israeli flavor is more often than not elusive.
Paul Borelli 9/19/07
Various Artists / Latin Jazz (Putumayo) World
The latest Putumayo compilation acts as a nice introduction to the world of Latin jazz, featuring several of the big names of the genre as well as some contemporary practitioners of the still flourishing art. Beginning with band-leader Machito, joined by legendary jazz saxophonist Cannonball Adderly, from his 1957 album Kenya and continuing with other legends like percussionists Tito Puente (#4) and Ray Barretto (#6), and pianist Eddie Palmieri (#10), the listener will quickly become familiar with the essential Latin groove that provides a bed for soloists to engage in their jazz improvisations. But honestly, this collection is more focused on the Latin, as in salsa, than on the jazz end of the spectrum. Though the last two tracks by legendary Cuban trumpeter Chocolate Armenteros (#9) and Palmieri feature the extended format for jazz improvisation, most of the other tracks would serve just as well for dance-floor workouts, which we have no objection to whatsoever. Of the more contemporary contributors, Poncho Sanchez (#2) offers an extended conga solo on “El Sabroson,” and his track, along with “Manny Oquendo & Libre (#8) offer the only vocal cuts on the disc. The pleasant surprise here is Hilton Ruiz, whose bright, cheery “Steppin’ With T.P.” (#7) combines flute, guiro, vibes, and a nifty 60s melody for a taste that truly refreshes. One could quibble that there is no Dizzy Gillespie or that the Tito Puente track is from the end of his career rather than his heyday, but as an introductory sampler, this disc will give the uninitiated a big bite of that Latin flavor and spur them to later pursue all those omitted pleasures at their own pace.
Paul Borelli 6/30/07
Various Artists / Latin Reggae (Putumayo) Reggae
The latest Putumayo compilation features reggae music sung in Spanish by a lineup of artists primarily from South American and Spain, with Barcelona contributing 6 of the 11 tracks. Despite the CD’s title, very few of the selections exhibit much Latin flavor (other than the Spanish vocals), with most artists opting either for the light, sunny sound (#1, 2, 4) or dark, heavy-bass dub sound (#3, 8, 10) of traditional reggae. The most interesting cuts, though, are those that break out of those well-traveled patterns. Brooklyn-based DJ & Antibalas member Ticklah gives a dub treatment to a classic salsa tune by Eddie Palmieri with guest vocals by Mayra Vega on “Si Hecho Palante” (#7), Go Lem System manages to mix reggae and Latin beats together, along with heavy bass and classic reggae horn charts to “Pura Sangre” (#6), while Cultura Profética blend Afro-Cuban piano lines and vocals with heavy bass and wah-wah guitar on “Reggae Rustico” (#5). “Desbaratado” (#11) from Montreal’s Sarazino closes the disc with the greatest departure from classic reggae—chunky organ and more of an electric pop melody combine with the reggae rhythm and backing Caribbean vocals for a fusion of old and new that works quite well. But the collection as a whole could have benefited from a more diverse sampling of artists who have used reggae with other styles, such as the rock en Español sounds of groups like Los Fabulous Cadillacs, to show that Latin musicians have gone far beyond merely repeating classic reggae with Spanish lyrics.
Paul Borelli 2/14/08
Various Artists / Loteria Beats Mixtape, Vol. 1 (Nacional) Latin
Never been a big fan of the remix album, but this one, from KCRW DJ Raul Campos, is a little different—at least its first half—in that the tracks flow together and overlap like a conventional mix-tape. The album begins in a mellow mood as DJ Bitman starts with a chill vibe and some cocktail piano on “Shine” (#1). Nortec Collective also seems chilled way down, losing their distinctive Tijuana sound amidst the heavy beats and electronic atmosphere. But towards the end of their track, the flamenco guitar and handclaps of Los Rumors’ “Como Mi Ritmo No Hay Dos” (#3) start seeping into the mix, setting up what is probably the best cut on the disc. The Flamenco Nuevo sound is filled out with breakbeat drums, scratching, multiple male vocals, and toward the end of the track, funky electric keyboards. Cuarto Poder (#5) and Papashanty (#6) swing into reggaeton mode. Brothers Behind the Light with SBL (#8) take things in a sultry direction with sexy female vocals in English, electric keys, and a bongo-flavored club beat. Thievery Corporation (#9) keeps the bongo beat going with Fender Rhodes, nicely sung male vocals, and a timbale solo. The remaining cuts are indistinct club fare, with David Byrne sounding a little out of place amongst the club backdrop (#11) and The Black Eyed Peas ruining Sergio Mendes (#12). But if you want something to keep you moving on the dance floor, this CD will do the trick.
Paul Borelli 9/26/07
Various Artists / Make the Most of Your Time on Earth (World Music Network) World
This collection is a 1-disc sampler from a larger 3-disc box set intended as an entry point into the vast wealth of world music, with each disc taking on a segment of the world—the Americas, Africa, and Europe & Asia. There is also an implied tie-in to the Rough Guide travel books, as the collection is billed as “the ideal soundtrack to inspire your next adventure.” Obviously no single disc can fairly represent all of world music, so it’s best to focus on the quality of the selections. The opening African tracks by Saba (#1) and Akli D (#2) are meant to ease the transition into another culture by picking cuts that fuse some indigenous African flavor with more universal club beats. Kékélé’s “Fungola Motema” (#3) is an interesting selection because it shows a blend of Afro-folk/pop with Latin Caribbean & salsa rhythms and instrumentation. Finishing out the African section is a virtuoso jam featuring Habib Koité, Keletigui Diabate, and Djelimady Tounkara (#4) and an Afrobeat call for “Progress” (#5) by the always funky Tony Allen. The Americas includes rocking Chicago blues from R.L. Burnside (#6) and south-of-the-border hybrids from Dino Saluzzi’s tango & jazz (#7) to Nortec Collective’s norteño & electronica (#8) to Colombiafrica’s Afropop & salsa (#9) to Any Palacio’s garifuna mix of Afro-Latin folk (#10). The Europe & Asia section is the least impressive—Cristina Branco’s Portuguese fado (#11) and Pakistan’s Nusrat Fateh Ali Khan (#15) stand out best.
Paul Borelli 11/10/07
Various Artists / Miami Records Sampler 2007-01 (Miami) Latin
This latest sampler from Miami-based Miami Records and Discos Fuentes offers eight selections that range from salsa to Tejano to Latin pop. Joe Arroyo begins “El Macao” (#1) with a slow, seemingly moody electric piano foundation before suddenly launching into a fierce salsa call-and-response dance number punctuated by clarinet soloing and ending with a quickening pace. “Enamorado” (#2) is a bright, cowbell-heavy salsa tune with intermittent trumpet and trombone blasts, while Colombia’s Sonora Carruseles (#3) offers some classic Afro-Cuban salsa with dual trumpets and a nonstop conga, timbale & guiro beat. El Equipo closes out the salsa portion of the disc in fine fashion on “La Triago Yo” (#4) with more manic cowbell and dueling trumpet and trombone sections. Miami Records stalwarts La Sonora Dinamita (#5) offer a hand-clapping ranchera with plenty of trumpet and cowbell. Les Corraleros de Majagual (#6) bring out the accordion on a slightly funky ranchera with some rapping halfway through. Les Gigantes del Vallenato (#7) and Otto Serge (#8) take things in a pop direction, though still hanging onto the accordion. I’ll stick with the party-hearty salsa and rancheras on another fine sampler from Miami.
Paul Borelli 6/16/07
Various Artists / Moro No Brasil (Milan) Soundtrack
This companion to the film of the same name contains the live performances seen in the film and, as film-maker Mika Kaurismaki admits in the liner notes, concentrates on the areas of Pernambuco, Bahia, and Rio de Janeiro and stays away from big-name stars. It also exposes other song forms besides bossa nova and samba (though there is plenty of the latter here as well), which tend to show the Indian and African roots of Brazilian music more clearly. The opening track is an example of Brazil’s Indian heritage—a simple melody accompanied by voice, a stringed instrument, and guiro-like percussion. In fact, there are several tracks that consist only of vocals and percussion (often a tambourine), such as Caju & Castanha’s “Mulher do Corno Rico e a do Corno Pobre” (#7) and the two songs performed by Zé Neguinho do Coco (#8 & 9). The African influence can be heard clearly in the Afro pop-laced “Alegria da Cidade” (#2) by Margareth Menezes and in the instrumental drum track “Ritmos do Baguncaco” (#4) by Grupo Cultural Baguncaco. Funk has also found a home in Brazil, as heard on the title track (#18) and the James Brown medley from Ivo Meirelles & Funk ‘n Lata (#19). And of course there is plenty of samba (tracks 10-17) by old masters like Walter Alfaiate (#11 & 12), whose voice has seen better days, and the young star Seu Jorge (#13, 16). Overall, this compilation shows the authentic music of the people of Brazil, in all their multi-cultural variety and in ways not often seen by their neighbors to the north. Recommended: 2, 3, 6, 15, 16, 17, 18, 20.
Paul Borelli 5/5/07
Various Artists / New Orleans Brass (Putumayo) Jazz
This collection celebrates the long history of New Orleans brass bands & Dixieland jazz by including performers and groups that date to the 1950’s revival of this music, such as the Dukes of Dixieland (#11) and Preservation Hall Hot 4 (#9), through the next generation that emerged in the 80s & 90s, led by The Dirty Dozen Brass Band (#7) and Kermit Ruffins (#10), up through some of today’s bright young stars, such as Troy “Trombone Shorty” Andrews (#1, 6) and Leon “Kid Chocolate” Brown (#8), who will keep the music alive for years to come. The music featured here is just what you’d expect: Dixieland parade music (#1-3), gospel standards (#4-5), R&B (#7), and blues (#8). Standout tracks include Trombone Shorty and his trumpet-playing brother James, who does a fine Satchmo-like vocal on “Bourbon Street Parade” (#1), The Yockamo All-Stars’ sax-lead instrumental “Blow, Blow Tenor” (#2), Leroy Jones’ tasteful take on an old King Oliver favorite “Whoopin’ Blues” (#3), Trombone Shorty’s own instrumental interpretation of the pop song classic “Dreamboat” (#6), Dr. John’s typically easy vocals backed by The Dirty Dozen Brass Band on the R&B classic “It’s All Over Now” (#7), and Kid Chocolate’s heartfelt singing on the blues chestnut “St. James Infirmary Blues” (#8). None of the performances here advance or add anything new to the New Orleans heritage, but they heed the advice of another R&B hit not to mess up a good thing.
Paul Borelli 10/21/07
Various Artists / Nouvelle Vague Presents New Wave (District 6) Rock
Marc Collin and Gilles Leguen of Nouvelle Vague have put together this nifty 2-CD collection of new wave/post punk era bands covering (mostly) 60s songs. There’s a nice mix of popular (Devo, Gary Numan, Joy Division) and more obscure (Polyphonic Size, Antena, Telex, Karel Fialka) bands to enjoy. Some of the standout tracks (besides, of course, Devo’s “Satisfaction”): CD 1- 2,7, 9,12; CD 2 – 2, 3, 6, 9 and 11 (long). FCC violation on CD 1 track 11.
Scott Gardner 7/21/07
Various Artists / Oh Santa! (Yeproc) Holiday
This collection of Yeproc recording artists defy tradition in bringing us a decidedly bleu Christmas. The only standard included here is the Legendary Shack-Shakers’ take on “God Rest Ye Merry Gentlemen” (#7), which descends into their usual hellfire and damnation territory with a somber minor key and hammering percussion that sounds like Lucifer’s metal forge. The party gets started with a cheery glow, courtesy of Los Straitjackets’ “Holiday Twist” (#1), one of their better vocal numbers of recent years. After Jason Ringenberg’s bipolar “Lovely Christmas” (#2), which bounces between sunny, sweet country and frantic, stressed-out rock, Jake Brennan does a spot-on Elvis Costello impression circa Get Happy! with “Santa Gave to You What You Gave to Me” (#3). Marah’s “New York Is a Christmas Kind of Town” (#4) has a genuine vintage feel to it but might have trouble appealing to those outside the Empire State. Back on the darker side of the holiday, the Moaners’ “Something Funny in Santa’s Lap” (#8) and the American Princes’ “The Business of Christmas” (#9) express the sleazy and manipulative feelings about Christmas through noisy, slightly discordant rock. Just the opposite of Apples in Stereo, who are blessed out with sweet harmonies on “Holiday Mood” (#6). The Minus 5 suggest that the holidays are best endured with a little self-medication on “Your Christmas Whiskey” (#12), and they seem pretty cheery about it. I suppose we all have our own way of getting in the Christmas “spirit.”
Paul Borelli 12/06/07
Various Artists / Le Pop 4 (Le Pop Musik) Pop
The fourth volume of the excellent Le Pop series serves up another delicious sampling of the “nouvelle scène française,” that is, of the resurgent French neo-pop scene. Specifically, the chanson is the thing here. This is not indie-pop, this is pure pop, with an emphasis on singers and their songs, and of course there’s that undeniable French cool. Though one senses the ghost of Serge at times (e.g. tracks 3, 10), the freshness and originality of the artists keeps Le Pop from being an homage to the past. Quite the treat for Francophiles. Here are some of my favorite tracks: 4, 8, 9, 10, and 16. No FCC violations. Recommended.
Scott Gardner 7/21/07
Various Artists / Rough Guide to Africa & the Middle East (World Music Network) World
Any compilation that attempts to cover all of Africa and the Middle East will necessarily be rather broad, so this collection is best seen as an introduction for the beginner. There are several big names that everyone should know—Baaba Maal (#4), King Sunny Ade (#5), Oliver Mtukudzi (#7), and Ofra Haza (#10). And while each of these is good in its own right, I most enjoyed the polyrhythmic proto-funk of Gigi (#1), the Herbie Hancock-like jazzy fusion of Tweak & Tony Allen (#2), the off-beat, sunny Afro pop of Mory Kanté (#6), the strange, electronic yet melodic sound of Congotronics (#9), the Latin-Arabia of Morocco’s Rhany (#12), and the bluesy jam and echoing vocals of Mariem Hassan (#14). Fans of African proto-blues will also enjoy Niger’s Etran Finatawa (#13). World beat enthusiasts may prefer Amr Diab’s Middle Eastern-flavored flamenco (#8), Haza’s pure vocals, Middle Eastern melody, and groove-oriented rhythm track (#10), or Malik’s slick, synth-based R&B (#15). Those looking for more traditional African music should check out not only Maal, Ade, and Mtukudzi, but also Kekele’s bright Cuban-inspired rumba (#3). As far as introductory samplers go, this compilation retains a surprisingly high level of quality throughout (with the exception, possibly, of the last track). Even seasoned connoisseurs of African and Middle Eastern music will find much here to enjoy.
Paul Borelli 5/19/07
Various Artists / Rough Guide to African Blues (World Music Network) African
The lineage of American blues tracing back to Africa has been well documented, but this collection shows the many different faces of the African roots of the blues as well as some recent collaborations between American and African musicians in the blues format. In the latter category, we have American Corey Harris joined by the late Malian icon Ali Farka Touré on Skip James’ “Special Rider Blues” (#3) and American guitar whiz Bob Brozman paired with Guinean kora master Djeli Moussa Diawara (#11). And there is well-known Senegalese star Baaba Maal with long-time friend Mansour Seck (#14). But the real finds here are the lesser-known African artists like Mariem Hassan from Western Sahara, whose La Tumchi Anni” (#1) with slinky guitar and insistent, pounding drum-work sounds joined at the hip with American blues. Mali’s Oumou Sangare more closely fits our expectations for African blues with a repeating call-and-response pattern with a female chorus backed by a guitar-like instrument and hand drums. The nomadic group Etran Finatawa represents the desert blues sound of the Tuareg and Wodaabe cultures on “Iriarer” (#6) with electric guitar, pounding drums, sleigh bells, and chanted vocals. Sudanese vocalist Rasha, on the other hand, is backed by sax and conga-like percussion on the Latin-sounding “Azara Alhai” (#12). And Ayalew Mesfin & Black Lion Band have a more rock & soul sound, mixing organ, guitar, drums & brass on “Feqer Aydelem Wey” (#9), recorded in 1977. This disc shows that, as in the U.S., there are many different shades of the African blues.
Paul Borelli 6/30/07
Various Artists / Rough Guide to Bellydance Café (World Music Network) World
Bellydance music is characteristically Middle Eastern, the undulating melodies and driving rhythms conjure up images of exposed mid-riffs, flowing veils and skirts, male on-lookers in robes and turbans. The music typically is a combination of violin, oud, tambourine, clarinet, and hand drums. The majority of tracks here fit that pattern and come from Egypt and Syria, though there are also examples from Israel (#2), Turkey (#3), and Morocco (#12). It’s all pretty much what you’d expect, though some tracks are instrumental (#1, 3, 4, 6, 7, 9, 10, 11, 13, 14, 15, 17) and others include vocals (#2, 5, 8, 12, 16, 18). The tracks that stand out from the rest include Mokhtar Al Said, who plays the tabla solo (#6) and with El Ferka El Masaya (#17) in the two percussion-only numbers, Glykeria, whose “Min Perimenis Pia” (#8) blends traditional bellydance with the song forms of her native Greece, the Upper Egypt Ensemble (#13), who use the distinctively Egyptian mizmar, a shimmering folk oboe, the Sami Nossair Orchestra, who on “Mawwal Al Hawa” (#14) and “Ala Nar” (#15) feature a lead instrument that sounds a lot like an accordion, and Lebanese icon Mohammed Iskandar (#18). Current political events in the Middle East have overshadowed the traditional sensuality of bellydancing and the music that accompanies it. This collection serves as a welcome reminder of that tradition.
Paul Borelli 5/26/07
Various Artists / Rough Guide to Bollywood Gold (World Music Network) Asian
This collection of classic Bollywood fare features some of the biggest names of the genre—the most widely recorded singers in history, sisters Asha Bhosle (#4, 5) and Lata Mangeshkar (#6, 10, 14), Bhosle’s late husband, composer R.D. Burman in a rare vocal performance (#3), the yodeling Indian Kishmore Kumar (#2, 6, 11, 15), and the always entertaining Mohammed Rafi (#5, 7). Some of these tracks have been anthologized before but are definitely worth repeated listens, such as the wild twisting guitar on the multifaceted “Aaja Aaja Main Hoon Pyar Tera” (#5) and Rafi’s trademark “yahoo” yells on “Chahe Mujhe Koi Junglee Kahen” (#7). Also not to be missed are the opening playful boy-girl duet “Chandni O Meri Chandni” and Kumar’s yodeling on “Zindagi Ek Safar Hai Suhana” (#2). Also check out the vintage whistling & yodeling by Kumar on “Yeh Shem Mastani” (#11), which would not sound out of place in an American western. And as the name implies, “Kehta Hai Joker” (#13) contains some insane laughter. Kumar appears to have returned to the west in “Mere Sapno Ki Rani” (#15) with its sweeping 50s strings and harmonica. Though a few tracks do include the more traditional Indian instruments such as the sitar and tablas on Mangeshkar’s “Chalte Chalte” (#14), many others mix in a variety of western elements, making this an easy introduction for the western listener and also demonstrating how far-ranging and creative Bollywood soundtracks have been for many years.
Paul Borelli 3/31/07
Various Artists / Rough Guide to Brazil (World Music Network) Brazilian
Many will recognize Brazil as the home of the samba and bossa nova, which achieved mainstream pop and jazz success in the U.S. in the early 60s. But Brazilian music is much broader than that—combining the native Indian with African, Afro-Cuban, Portuguese, and all the other European cultures that settled or colonized the country. For starters, Carlinhos Brown’s Aguaxire/ Saleromi” (#2) begins with an electronic bed but soon breaks into tribal-sounding drums and call-and-response singing on an ancient Yoruba prayer that also works in Salvadoran elements. Mylene (#5) presents a modern, club-worthy track reminiscent of Sade but which adds bossa nova and indigenous Indian flavors, while Vanessa Bumagny has a contemporary rock sound with a touch of traditional percussion on “Ta Comecando” (#14). The revered choro style, which gave birth to samba and bossa nova, is here shown on instrumentals by violinist Nicholas Krassik (#6) and clarinetist Paulo Moura (#15) and on a vocal track by Casuarina (#11). Dona Edith Do Prato offers an ancient children’s circle song on “Tombo Do Pau” (#7). O Karaiva blends reggae-like off-beat rhythms with accordion on “Coracao” (#3). Chico César captures a little of that reggae beat on a more pop-rock tune (#10). Jussara Silveira shows Brazil’s Portuguese roots on the fado-flavored “Caravela” (#12). But if you still yearn for that breezy samba sound, try tracks 1, 4 & 8. As this compilation shows, Brazil is a musical world unto itself.
Paul Borelli 8/15/07
Various Artists / Rough Guide to Flamenco (World Music Network) European
The Rough Guide series of world music compilations has included so many different styles of music for so long that they are now issuing second editions of certain genres, such as this second pass of Flamenco and last month’s Salsa title. However, in both cases, there is so much quality material to choose from that many volumes of each would suffer no degradation. This disc focuses on exceptional cuts from the 90s and new millennium. In some cases, that means mixing traditional flamenco with other, more modern styles. Gravel-voiced Diego Carrasco’s “José Monge Cruz” (#2) pays tribute to the man known as El Camaron, who is credited with flamenco’s rebirth around 1970, by adding electric guitar, a rock drum beat, and jazz trumpet to a flamenco foundation. The group Ojos de Brujo adds subtle scratching and an urban pop feel to the stand-out “Sultanas de Merkaillo” (#9). The aforementioned Camaron appears with guitarist Tomatito on “La Voz Del Tiempo” (#3) on a more traditional flamenco number. And Carrasco reappears with Miguel Poveda on “Alfileres Del Color” (#7) on another traditional piece with excellent guitar work by Juan Carlos Romero and Moraito Chico. Gerardo Nuñez offers the lone instrumental on guitar in “Sahara” (#11). Sergio Monroy offers a rare piano-based number on “Mozamo” (#4), and female vocalists can be heard on tracks 1, 6, & 8. It’s hard to go wrong with any of the cuts on this compilation, given flamenco’s intrinsic passion, drive, and demanding musicianship. I hope that third edition comes soon.
Paul Borelli 7/28/07
Various Artists / Rough Guide to Indian Lounge (World Music Network) World
Most westerners can’t take their Indian music straight—we prefer the amalgamation of Bollywood, which mixes all kinds of western styles into its stew, or what this compilation calls Indian Lounge, which is Indian instruments like the sitar and tabla used in the service of western song structures and beats. In fact, many of the performers here are British, some with Indian ancestry. James Asher (#1) is a British New Age artist who uses Indian instruments for his soothing chill-out tune “Further East.” Apache Indian (#2), of Indian heritage, mixes reggae with Indian and club elements. Bombay Dub Orchestra (#3) is awash in strings with a light tabla beat floating underneath. And Karen David (#12), though born in India, grew up in Canada and has worked with Andrew Lloyd Webber; her track “Alive” definitely sounds like one of his. Atif (#4), Bally Sagoo (#5), and Niraj Chag (#7) all sing in the Indian style, but their backing instrumentation is that of a western club, part of the Bengal to Brighton connection mentioned in the liner notes. It’s all pleasant enough if you like the sanitized version of world music that keeps everything in a western perspective. But buried in the middle of this disc are two examples of the real thing—Calcutta slide guitarist Debashish Bhattacharya (#8) on one of his shorter pieces and Hindu classical vocalist Ajoy Chakrabarty (#9), who shows his amazing vocal control on the longest piece on the CD, though still very short by classical Indian standards. These two pieces may wake you from your lounging, but then all great music usually does.
Paul Borelli 9/26/07
Various Artists / Rough Guide to Latin Funk (World Music Network) Latin
Putting together a collection of Latin funk seems like a great idea, but this is more like half of such a collection. The first seven cuts all bring a funky backbeat and mix in various Latin instruments and Spanish vocals, but the backside tracks lose the funky groove despite sporting well-known Latin artists like Ozomatli, Nortec Collective, and Bitman & Roban. Jose Conde (#1) of New Orleans begins with a spacey intro that quickly gives way to the funky second-line drummer, Ziggy Modeliste of the Meters, followed by horns, congas, and a snaky guitar line. Joe Bataan (#2) is one of the funky Latin originators, dating back to his days with Fania in the 60s. Here he combines with Daniel Callas with summertime organ and guitar on a breezy feel-good groove. Antibalas (#3) is of course known for their politically charged Afrobeat, but here they cover Willie Colon’s “Che Che Colé Makossa,” though still sounding more African than Latin. X Alfonso (#5) is a young Cuban formerly from Sintesis whose group here maintains a funky drumbeat and bass line while layering horns, acoustic and wah-wah guitar, and multi-part vocals and raps over an irresistible groove. Los Amigos Invisibles (#6) recalls the “Carwash” days and 80s electro-funk but updated with hip-hop vocals and a heavy dose of cowbell. The Spam All-Stars (#7) go on an extended groove, starting with a funky drumbeat, extra heavy bass, and punchy horns, followed by call-and-response vocals. The remaining tracks can’t live up to the funky first half of the disc, but half a party is better than none.
Paul Borelli 10/14/07
Various Artists / Rough Guide to Latino Nuevo (World Music Network) Latin
This collection attempts to capture the flavor of new or alternative Latin artists, that is, those who add elements from rock, hip-hop, electronica, or other non-Latin styles to music that has some traditional Latin characteristics. I say “attempts” because the selections here steer toward the safe middle ground, avoiding edgier styles like hard-core rock en espanol. Some of the roster should be already familiar, such as Ozomatli (#8), Yerba Buena (#6), and Quetzal (#14). Quantic (#4) and the Spam Allstars (#9) have appeared on previous Rough Guides. The latter always bring the funk, and “Afrika” is no exception, cementing the Afro-Latin connection with soukous guitar, percussion, & flute. Yerba Buena also has a little African flavor on “La Candela” (#4) with its percussion intro, slowly adding horns, hand-claps, electronic keyboards, raps & much more. Hector Buitrago, half of Colombia’s Aterciopelados, blends soft electronica, tropical slide guitar, flute, and band-mate Andrea Echeverri’s vocals in a gently swaying slice of world beat. The Cuban Cowboys (#2) mix roots rock guitar with classic Latin melody and a steady backbeat on “Jardin de la Verdad,” the disc’s most rocking number. Alex Wilson (#5), of African heritage, sounds like he’s mixing Bollywood and salsa on “Oh Kuri.” And if rap is what you seek, The Welfare Poets (#12) and Rico Pabon (#13) will fill your bill. If anyone wonders whether Latin is world music, this collection provides the answer.
Paul Borelli 10/14/07
Various Artists / Rough Guide to the Music of Paris (World Music Network) European
This musical snapshot of Paris, past and present, largely falls into three strains—jaunty café tunes featuring acoustic guitar (tracks 1-3), accordion music (tracks 7-9, 11, 13-16), and jazz (tracks 5, 12, 17-18). There are a few variations, of course: Pauline Croze’s adult comtemporary (AAA format) spin on café music (#4), Rue de la Muette’s rocked-up version of musette (#10), and, the most interesting, Lili Boniche sound like an 80-year-old Arabic Leonard Cohen. Of the jaunty café fare, the best is David Lafore’s “Plat À Gratin” (#3), backed by horns and mandolin. The jazz artists include the legendary gypsy swing guitarist Django Reinhardt (#17), equally legendary New Orleans ex-pat Sidney Bechet (#18), gifted contemporary guitarist Biréli Lagrène (#5), and long-time Italian-born jazz vocalist Aldo Romano, who sounds like a French Tony Bennett. But it’s the accordionists who rule here—Richard Galliano revived accordion jazz in the 80s and is shown in a jazz context here (#7), though he has since gone on to master musette. Tony Murena (#9) is considered by some the most influential accordionist ever, and the virtuosity he shows on this track shows why. Vetese Guerino (#16) is another old school master, featured here in a recording from 1933. Like Galliano, Marcel Loeffler (#11) is another modern-day master, and he takes a swing jazz turn, accompanied by some fine acoustic guitar, on “Swing Suspens.” There is some fine playing on the other accordion pieces as well, but it’s hard to improve on these four masters.
Paul Borelli 11/4/07
Various Artists / Rough Guide to North African Café (World Music Network) African
The lands of Egypt, Morocco, Tunisia, and Algeria have long been melting pots for various cultures, from the native African and Arabic peoples to European occupiers from Spain and France. This collection shows how those cultural strains combine in many different, interesting ways in the music played in cafés not only in North Africa but also particularly in France, where many North African ex-patriots have settled. The French influence is especially noticeable in the tracks from Maurice El Medioni (#2, here teamed with Nuyorican percussionist Roberto Rodriguez), the accordion waltz of Cheb Balowski (#8), and another waltz by Tarik (#14) featuring piano and accordion. The Andalusion influence is best heard on Akim El Sikameya’s “A Chaque Instant, Oran,” which sounds remarkably like a bossa nova. El Tanbura’s “Sar A Lay” (#9) begins with what seems like a samba beat, but the song quickly adds oud and an Arabic call-and-response vocal. Africa is best represented on the tribal-sounding “Halawa Ya” (#13), featuring hand drums, hand claps, oud, and a repeated communal chorus. On the other end of the spectrum is the modern rock sound of Les Boukakes’ “Dorbiha Zina” (#12). Madioko & Rafika employ a modern urban beat and synth keyboards, mixed with African percussion and a touch of oud, on “Eillelli” (#4). There is also a fleeting glimpse of jazz in the bass line of the S.O.S. Project’s “Hat” (#5). And there is plenty of more traditional Arabic music on tracks 1, 3, 6, 7 & 10. Though Westerners may have a one-dimensional impression of this part of the world, this collection demonstrates a much more fascinating complexity.
Paul Borelli 6/30/07
Various Artists / Rough Guide to Salsa (World Music Network) Latin
What’s not to like about salsa? The irresistible rhythms, the punchy horn charts, the percolating conga & timbale beats, and the call-and-response vocals all add up to an infectious groove meant for dancing. Considering that this is the second Rough Guide salsa comp this year (following the excellent Rough Guide to Salsa Dura NYC), the folks at World Music Network have found plenty to like in this increasingly popular genre. Here we span the salsa globe to hear sounds from Colombia (1, 3, 5 & 13), New York/New Jersey (2, 4, 10), Cuba (11), Africa (6), LA (7), and a few places you might not expect, like the UK (9), Chicago (8), and Virginia (12). The disc is also sequenced to mimic a night out at a salsa club, starting relatively slowly with a salsa history lesson by Colombia’s Macolla (#1) and building in intensity until the scintillating closing cut by Fruko y Sus Tesos (#13), which features a funky organ break just before the song ends. Other unusual instruments include an electric piano on “Atrevete” (#12), looped eletronica beats (barely recognizable as such) on “R&B Latino” (#9), a nice flute solo and some amazingly exuberant horn breaks on the mambo/cha piece “Ven Pa’ Que Goze” (#8), and guitar and sax by Congo’s Kekele (#6). The only blemish on the entire set is a screaming, Santana-esque electric guitar solo on “El Gato Boogaloo” (#5), an otherwise excellent track. There are also great jazzy piano and timbale solos in “R&B Latino” (#9). But perhaps the hottest tracks are turned in by Wayne Gorbea (#3) and Yumuri y Sus Hermanos (#11). Any way you serve it up, this collection is muy picante.
Paul Borelli 6/16/07
Various Artists / Rough Guide to Salsa Clandestina (World Music Network) Latin
This collection, assembled by DJ Bongohead, represents the edgier side of contemporary salsa music, or, in some cases, other styles or concoctions that mix salsa into their brew. While a few of the cuts included here maintain the traditional mix of horns, Latin percussion, and passionate vocals, many others mix in more recent elements, such as electronica (#9), scratching (#14), and reggaeton (#7). Some names, like Ozomatli (#2) and Los Amigos Invisibles (#13) should already be familiar to anyone who follows the current Latin scene. Others, like smooth jazz pianist Bob James, playing with Rob Swift (#14) or Tin Pan Alley composer Irving Fields teaming up with Roberto Rodriguez on the Jewish-flavored “Wolfie’s Corner” (#15), are more of a surprise. And speaking of surprises, I didn’t expect salsa covers of James Brown’s “It’s a Man’s World” (#1) or the Rolling Stones’ “Sympathy for the Devil” (#12). So, with all this diversity, what really stands out? The Spam Allstars’ funky groove “Charanga E-350” (#6) mixes head-bobbing beats, fuzz bass, flute, off-beat percussion, and even a violin solo. Los Mocosos’ “Bandolera Era” (#9) is a fast-paced rumba with eerie electronica, Latin rapping, and a wailing sax solo. The aforementioned Swift/James collaboration (#14) starts with a spoken intro, a slinky bass line, and heavily processed scratching before the horn section introduces the melody. And, obviously, this is just the tip of the iceberg for a style that’s still evolving.
Paul Borelli 9/26/07
Various Artists / Rough Guide to Salsa Dura NYC (World Music Network) Latin
For those about to dance, we salute you! This collection of New York-based Afro-Cuban salsa dura (hard salsa, as opposed to the overly slick, eroticized salsa romantica) is a nonstop, hip-shaking Latin dance party. From the opening “Lo Que Traigo es Sabroso II” by multiple-Grammy-winner Latin piano master Eddie Palmieri, things do not slow down one bit until Joe Quijano finishes off the disc with a Latin-ized reworking of the Cole Porter classic “I Get a Kick Out of You” (#11). Throughout you will wiggle to the undulating rhythms generated by congas & timbales under melodies rendered on piano, flute, and horn sections led by trombones & baritone sax. There are no low-lights, but the highest of the high include Jimmy Delgado’s “Naci Rumbero” (#4), the 60s-commercial-sounding horn-led “Oigan Mi Rumba” (#6) by Chico Alvarez, and the one number featuring a female lead vocal by Yousie Barbara, “Ramon” by Las Estrellas Cobo (#9), which also has a great vibraphone break. The numbers by Jimmy Bosch (#7) and George Delgado (#8) are also particularly tasty. This style of salsa, born in the 1970s and now experiencing a resurgence, will appeal to fans of Tito Puente and Celia Cruz, as well as anyone else with a pulse.
Paul Borelli 3/17/07
Various Artists / The Rough Guide to Vietnam (World Music Network) Asian
This collection shines light on the musical heritage and current styles of misunderstood country of Vietnam. The tracks here show traditional folk-based music, modern pop, and a few songs that blend together various influences. Two trends run through most of the tunes included here—the historical influence of China, which occupied Vietnam for a thousand years, and the ubiquitous dan bao, a one-stringed instrument considered the quintessential sound of Vietnamese music. Other instruments heard in many tracks include the dan tranh (a 16-stringed zither), ty ba (lute), and sao truc (flute). Those interested in traditional Vietnam should try tracks 2, 7, 9, 10, 13. On the opposite side of the spectrum, Cam Ly (#3) and Guang Linh (#12) are the most popular contemporary singers, and their backing bands contain plenty of high-gloss production and synthesized instruments. Huong Thanh (#1) mixes both worlds, beginning “Crossing the Valley” with traditional instrumentation before transitioning to a more contemporary beat with support from guitarist Nguyen Le. Self-taught guitarist Kim Sinh (#6) employs a bluesy feel on his solo instrumental, even though he has never been exposed to American blues. Blue Asia (#4) creates a bluesy fusion by combining dan bao player Thuy Hanh with sampled drumwork from America’s Bernard Purdie. But perhaps the wildest ride on the disc is from Dan Bao Vietnam (#14) with what sounds like an electrified dan bao covering the classic American western instrumental “Ghost Riders in the Sky.” Move over, Dick Dale—the Vietnamese are coming!
Paul Borelli 6/9/07
Various Artists / Selections From People Take Warning! (Tompkins Square) Folk
This sampler disc contains 10 of the 70 tracks from the 3-disc box set of disaster songs and murder ballads from 1913-1938. It was a time, say the liner notes, when people often turned headlines and local events into song, and no headline was bigger than the sinking of the Titanic, told in the opening acoustic blues of Hi Henry Brown and Charlie Jordan. The songs in this collection were remastered from vintage 78s, so there is a fair amount of unremovable surface noise, which both lends an air authenticity to these rare old recordings and often makes it harder to hear the lyrics, a notable drawback for songs that tell a story. Stories of train wrecks were common, and here we have two from Blind Alfred Reed (#2), accompanied only by a violin doubling on the melody, and the Carver Boys (#3), who offer a full arrangement with harmonica, guitar, and harmony vocals. Ernest Stoneman sings a simple ditty with harmonica and guitar about a devastating flood by the mighty Mississippi River (#4). Undoubtedly the most striking number in this set tells the story of a fatal fire at an Ohio prison (#5), rendered melodramatically by a female voice’s spoken soliloquy over her dying son in the middle of the song. “Memphis Flu” (#6) is delivered gospel style with a rousing vocal chorus and hand-claps. “Lanse des Bellaires” (#8) is a Cajun fiddle number sung in French. John Hammond offers the chilling murder ballad “Pretty Polly” (#9) accompanied only by banjo. “Dupree Blues” (#10) tells of a man who commits murder to steal a diamond ring for his girl. Needless to say, the story doesn’t end happily.
Paul Borelli 10/14/07
Various Artists / Si, Para Usted: The Funky Beats of Revolutionary Cuba, Vol. 1 (Waxing Deep) Latin
This compilation, put together by Canadian DJ Dan Zacks, assembles tracks representing the funky side of 70s & 80s Cuban music, which, as Zacks explains, was allowed to flourish through state-sponsored music schools, whose graduates earned a regular salary, and a non-competitive marketplace with a single record label and system of radio stations, meaning that artists did not need to chase airplay and “hits.” The results are, as expected, creative—blends of traditional Cuban son and percussion with African and American funk, polyrhythmic beats, heavy bass, fuzz and wah-wah guitar, other-worldly organ, and spacey sound effects. The first 6 cuts are consistently excellent; it’s hard to pick a favorite between Irakere’s “Bacalao Con Pan” (#2) with wah-wah guitar and a Farisa-like freakout on organ by Chucho Valdes, Los Van Van’s “Y no le conviene” (#3) featuring strings, plenty of conga, and a jazzy organ solo, and Los Reyes ‘73’s trippy “Adeoey” (#4) with echoed sound effects and a horn & wah-wah guitar tandem from some lost kung fu movie. Another highpoint is Orquestra Riverside’s “En Casa Del Trompo No Bailes” (#9), starting with a slower, head-bobbing beat, punchy horn charts, and a lead vocalist who sounds like a game-show host. Towards the end, things veer a little farther away from the funk with some jazz fusion on “El Fino” (#15) and “Sandeando” (#16), whereas the closing “Casina Y Epidecus” (#17) uses middle eastern rhythms & melodies. Still, this entire project is a fascinating look into a fertile and largely unknown era of Cuban music.
Paul Borelli 9/5/07
Various Artists / Slack Key Christmas (Palm) Holiday
I had high expectations for this release, even though my exposure to Hawaiian slack key guitar was mostly from guest musicians on Ry Cooder’s 1976 release Chicken Skin Music. But I also noted that these recordings were made in Hawaii and included several Grammy-winning musicians. Sadly, I was disappointed, not by the level of musicianship, which is superb, but by the lack of Hawaiian flavor or any other notable flavor for that matter. Eight different guitarists render a dozen Christmas classics, including the Hawaiian staple “Mele Kalikimaka” (#11), without additional accompaniment. And while their technique is near flawless, there is little passion or character in the arrangements. It’s like listening to classical guitar, but with steel strings and different tunings. Of course, if you want a mellow, by-the-book interpretation of these classics, then you may find this right up your alley. That said, the best tracks here are Wailu Ryder playing “Rudloph the Red Nosed Reindeer” (#6) in which he varies from the traditional melody just slightly in a few spots to break out of the mold, and Ben Kaili’s “Little Drummer Boy” (#9). Randy Lorenzo seems to struggle a little with “Mele Kalikimaka” (#11), perhaps not the best tune to be adapted for solo guitar. Which brings me back to my original point: perhaps a little steel guitar and some island percussion might have lightened his load and made the whole experience more like a vacation in paradise.
Paul Borelli 12/06/07
Various Artists / Soulsville Sings Hitsville (Stax) Soul
It’s an interesting premise – the slick sounds of Motown given Stax’s earthier treatment. Because the two are probably the most celebrated and diametrically opposed American soul labels, the listener will probably approach this with wilder expectations than what’s actually offered here. But that’s not saying there aren’t great moments. Booker T. and the MGs’ “I Hear a Symphony” (#9) is a bouncing, feel good rarity. Margie Joseph’s “Stop! In the Name of Love” (#1) transforms the glittery original into a real world negotiation complete with spoken intro. Isaac Hayes’ classic version of “Never Can Say Goodbye” (#6) stands tall as the collection’s big hit. And Frederick Knight’s “Someday We’ll Be Together” (#13), from his one hit LP (1972’s I’ve Been Lonely So Long), features the personality and guitar fills that made it so special. Also notable is O.B. McClinton’s straight country take on “I Wish it Would Rain” (#14). In his day, McClinton was hot on Charley Pride’s tail as the next big African-American country singer. Needless to say, the song is a gangling presence here, but when taken out of the Motown/Stax context, it’s quite good. And I imagine someone’s bound to like the Bar-Kays’ 12-minute-plus Funkadelic/fusion bethrottlement of “I Heard it Through the Grapevine” (#15). The other cuts don’t accomplish much in the reinterpretation department. Billy Eckstine’s “My Cherie Amour” (#7) and Barbara Lewis “Oh, Be My Love” (#8), in fact, out-glitz the Motown originals.
Kim Simpson 2/29/08
Various Artists / The Sound of Rio: BrasilEirinho (Milan) Soundtrack
The film The Sound of Rio: BrasilEirinho documents the flourishing choro music scene in today’s Rio de Janeiro. Choro has been around since the 1870’s and is the ancestral predecessor of samba and bossa nova, mixing elements of Afro-Brasilian, Euopean dance-hall music of the 19th century, and the hip-swaying rhythms of native Brasil. It’s a form that requires an intense, dedicated study of traditions but also allows for individual improvisation, like jazz. These tracks, which were recorded at a live celebration of choro led by Trio Madiera Brasil, show both its quieter, melancholy side (#7, 10, 13) and its dance-friendly, up-tempo side (everything else). The tracks range from the nearly classical sounds of solo guitar impresario Yamandu Costa (#4) and the Trio Madiera Brasil (#2), comprised of two guitars and a mandolin, to a full band with the aforementioned plus trumpet, trombone, tambourine, clarinet, and vocals (#14). Highlights include the opening “Machucando,” which begins in classical mode but then quickly morphs into a rousing dance number, the duet “Um Calo de Estimacao” (#3) by Teresa Cristina and Rui Alvim, the off-kilter chords and rhythms that begin “Assanhado” (#5), which then changes to a more conventional melody as each member of the Trio solos, then returns to its odd beginnings, and the touching solo piece by Costa (#13) in which the audience sings the words to accompany him, an indication of the uniting national character of this music. You’ll feel drawn to the music and country, too, as every track is a delight.
Paul Borelli 5/5/07
Various Artists / Stax 50th Anniversary Celebration (Stax) Soul
Now that they’ve acquired the legendary Stax Records and its treasure-filled back catalog, The Concord Music Group is kicking off the rejuvenated label with this 2-disc anthology of greatest hits. In the 60s, Stax was the Memphis gritty southern soul counterpart to Motown’s uptown pop sheen. This collection emphasizes the major hits of superstars like Otis Redding (disc 1: 6, 8, 16, 20), Sam & Dave (disc 1: 9, 11, 19), Carla Thomas (disc 1: 1, 12, 15, 28), and Isaac Hayes (disc 2: 3, 7, 10) as well as one-hit wonders like Eddie Floyd with “Knock on Wood” (Disc 1: 14), Linda Lyndell with “What a Man” (disc 1: 24), and Jean Knight with “Mr. Big Stff” (disc 2: 6). Sprinkled amongst the hits are a few lesser known songs and artists like the Astors (disc 1: 7), Ollie & the Nightingales (disc 1: 21), and the Tempres (disc 2: 18). Unfortunately, there are no liner notes with this advance copy, so it isn’t easy to trace the musical evolution of the label, but generally disc 1 covers the 60s and disc 2 the 70s. You can also hear some of the label’s early, more doo-wop-influenced efforts on disc 1, particularly Carla Thomas on “Gee Whiz” (disc 1:1). And behind it all is the rock solid playing of the label’s house band Booker T. & the MGs (disc 1: 4, 22; disc 2:1). Other highlights include Isaac Hayes’ fuzzed out take on “Walk on By” (disc 2:3), the Bar-Kays’ follow-up to Hayes’ funk classic on “Son of Shaft” (disc 2:11), and Johnnie Taylor’s cautionary tale “Jody’s Got Your Girl and Gone” (disc 2:5). One hopes that Concord’s stewardship of the label will bring more forgotten classics and buried treasures out of the vaults, but for now this collection will do.
Paul Borelli 4/14/07
Various Artists / Stax Does the Beatles (Stax) Soul
As a conceptual exercise – Beatle covers recorded for legendary soul label Stax – this compilation’s adequate. As a Stax showcase, though, it’s unremarkable. A good third of these cuts are true rarities: Otis Redding’s “Day Tripper” (#1) is an energetic alternate take from his ‘66 Dictionary of Soul sessions; Carla Thomas’s live supper club (and no big deal) version of “Yesterday” (#5), Booker T. and the MGs’ “Got to Get You Into My Life” (#3) and the Bar-Kays’ “With a Little Help from My Friends” (#12) have never been heard anywhere before this; Reggie Milner’s “And I Love Her” (#11) and John Gary Williams’ not-strictly-Beatles “My Sweet Lord” (#14) (featuring a worthwhile spoken section to the Lord) were released as singles and are compiled on CD here for the first time. The collection, actually, might have been well served by dropping the unreleased version of the Bar Kays’ “With a Little Help from My Friends” (#12) – which, like Steve Cropper’s solo version (#4), leans heavily on Joe Cocker’s 1968 arrangement – in favor of Booker T. and the MGs’ charting version of “Something,” which makes no appearance here. All of this music has its merits – there’s colorful instrumental background to spare, although very little of it demands to be heard as foreground music. Highlights: Booker T. and the MGs’ sci-fi doctor take on “Eleanor Rigby” (#6) and the thumbtack-piano intro of the Bar Kays’ “Hey Jude” (#15). (Beware of the chart info in the booklet – it’s unclear if not outright wrong.)
Kim Simpson 2/29/08
Various Artists / Summer Records Anthology 1974-1988 (Light in the Attick) Reggae
This compilation documents the independent Canadian reggae label started by Jamaican ex-pat Jerry Brown in the basement of his Malton, Ontario home. The early tracks, produced by Oswald Creary, are somewhat primitive, but the leadoff track, “Love Makes the World Go Round,” has singer Johnny Osbourne sounding like a reggae Smokey Robinson with his high voice on a plea for peace. Soon after, Brown recruited Prince Jammy, who had learned engineering from King Tubby, and the tracks begin to reflect more the trademark Jamaican sound with heavy bass, lots of reverb, and cavernous echo and other effects. Unfortunately, the song-writing wasn’t very distinguished, but the Summer house band, Earth, Roots & Water, turn in a fine instrumental on “Awakening” (#5), which opens with a catchy drum riff. Many of the songs have religious and peace themes, but the artist Ranking rails against “Chatty Chatty People” (#10), and Brown takes his turn behind the mic in his quest for a “Dreadlock Lady” (#12). The last two cuts begin to show the effect of electronic instrumentation in the late 80s on Willi Williams’ “Run Them a Run” (#14) and Unique Madoo’s catchy “Call Me Nobody Else” (#15). These tracks won’t take their place beside any of the classics, but they offer a fond glimpse at early Canadian reggae played not for financial gain but for the love of the music itself.
Paul Borelli 10/14/07
Various Artists / Tamburitza! Hot String Band Music From the Balkans to America 1910-1950 (Arhoolie) European
This two-disc collection is a survey of Balkan string music as it emigrated from Eastern Europe to the United States, eventually becoming an integral part of the ethnic communities here in the U.S. Assembled by Arhoolie’s Chris Strachwitz, the tunes here attempt to represent not only performers and songs that were popular but also examples of incredibly precise playing, improvisation, and vocals in the vernacular style. Perhaps the most impressive is “Otvori Mi Mili Pile Vrata” (disc 2, #19), by the legendary Popovich Brothers, played in break-neck 2/4 time with incredible virtuosity. There is also a version of the world famous “La Paloma” (2:11), a kind of walking tour of the best known tamburitza groups with narration on “Tamburaska Potpurra” (2:22), and an example of the way tamburitza assimilated other cultural styles to remain popular with the youngsters on “Hey Tambu-Re-Bop” (2:14). Also recommended from disc 2 are tracks 5, 7, 9, & 10, the latter three from the Skertich Brothers. The star of disc 1 is Verni’s Troubadours (1:3, 5), whose “Cujes Mala” seems to exhibit a little of the Greek influence in tamburitza. The latter half of disc 1 (tracks 14-23) highlights pre-electrical recordings going back to 1909, some of them recorded in Europe (1:15-18). The accompanying booklet contains extensive notes for each track, and the track listing on the tray card indicates which tunes are instrumentals. You really can’t go wrong with any of the tracks in this collection, which offers a wonderful glimpse into a culture and time many of us have seen only fleetingly.
Paul Borelli 4/14/07
Various Artists / Tango Around the World (Putumayo) World
The passionate dance music born in Buenos Aires is appropriately thought of as an Argentinian phenomenon, and, indeed, 4 of the 11 tracks on this disc are from tango’s birth country. But this collection attempts to show how tango has traveled abroad to unlikely locales, such as Senegal (#1), Norway (#6), and Finland (#2), and how it has evolved from its classic tradition into more modern forms that include electronic instrumentation, particularly at the hands of Electrocutango (#6) and Greece’s Alexis Kalofolias and Thanos Amorginos (#7), whose “Gia Ligo” not only adds electronics and contemporary beats but also reaches into the past with a sample from a 1948 song by Danae Stratigopoulou. Senegal’s Ousmane Touré (#1) delivers a convincing tango vocal on “Dimba,” though the rhythm is goosed just a tad with rhythms from his homeland. Likewise Portugal’s Liana (#9) mixes in a little of her country’s fado song form in “Estrela da Tarde. It’s a little surprising that the collection does not include any artists from North America or from France, with such accordion masters as Richard Galliano and Jacques Pellarin. But the Argentinian contingent holds up quite well, with harmonica player Hugo Diaz (#11) paying tribute to the birthplace of tango and a trio of vocalists each lending their personal touch to the form, whether it’s the smoky voice of Melingo (#3), the whispered passion of Federico Aubele (#5), or the rusty, aged voice of Caceres (#10). Other countries may have adopted the tango, but Argentina still holds the patent on this elegant style.
Paul Borelli 11/10/07
Various Artists / Think Global: Salsa (World Music Network) Latin
What’s not to like about salsa music? Well, if you’re constantly depressed and hate fun, then it might not appeal to you. But for everyone else, it’s hard to resist the fiery New York-born mix of Latin and African rhythms, dance-friendly tempos, and passionate vocals. This collection gathers some of the well-known players of the genre—Spanish Harlem Orchestra (#1), Zairean transplant Ricardo Lemvo (#2), Ray Ramos (#6), Wayne Gorbea (#14), and Colombia’s Sonora Carruseles (#10) and Grupo Caneo (#11). The roster emphasizes the sizable New York, Los Angeles, and Colombian scenes but omits the fourth corner of the salsa world—Cuba, no doubt due to the political tensions between Castro’s island and the West. Most of the groups here play up-tempo numbers with one or more vocalists, a horn section, and the requisite collection of Latin percussion. Some notable variations include Lemvo’s subtle mix of African touches like Afro-pop guitar, Adriana Santana (#4), the lone female lead vocalist carrying the torch for the late Celia Cruz, up-and-comer David Cedeño (#5), who mixes a little reggaeton break into “Salsa Na’ Ma,” and Grupo Latin Vibe (#7), who replace the usual horn section with vibes as the lead instrument. La Excelencia (#3) live up to their name with a cowbell-heavy percussion attack and a trio of vocalists that includes two men and one woman. You can’t go wrong with any of the cuts here, but if I had to play favorites, start out with tracks 1, 2, 3, 7, 10 & 11.
Paul Borelli 9/26/07
Various Artists / Think Global: Tango (World Music Network) World
As a dance, the tango is the ultimate in sensuality; musically, it evokes similar passions but adds to them the danger and desperation of the back alleys of Buenos Aires as well as the jaded, world-weary ennui of old Europe. No wonder that contemporary dance/electronica musicians looking for a little spice to embolden their compositions have found tango an effective ingredient. This compilation, happily, offers a healthy sample of both the older, purer, more traditional forms of tango (tracks 1-5, 8-12, 15) and its newer adaptations (#6, 7, 13, 14). The purists will enjoy the first three tracks, including the prototypical tango melody of the instrumental “Milonga De Mis Amores” (#2), and the rough-hewn vocals of Melingo (#1) and Juan Carlos Caceres (#3). For a female vocalist’s perspective, there is protest singer and folk archivist Suni Paz with a very traditional reading of “Sueno De Barrilete” (#4) and Beatriz Suarez Paz backed by a larger ensemble including violin and piano on Piazzolla’s “Oblivion” (#5). Pure-voiced Horacio Molina offers a sensitive, nuanced performance on another Piazzolla work, “Jacinto Chiclana” (#9), accompanied only by acoustic guitar. For an alternative to the typical guitar and bandoneon accompaniment, try Hugh Diaz’s harmonica treatment on “Melodia De Arrobal” (#8) or Gustavo Beyetemann’s piano work on “Corraler” (#11). Barcelona’s Jaleo Real (#12) starts with traditional tango that morphs into Cuban son and flamenco. As this track and the entire collection amply demonstrate, tango has seduced the whole, wide world.
Paul Borelli 4/21/07
Various Artists / Think Global: Women of Africa (World Music Network) African
As stated in the liner notes, presenting an exhaustive look at African women musicians would be exhausting. But this collection at least offers representatives from across the continent—Mali (#2, 4, 11) and Western Sahara (#7) in the west, Cameroon (#1) and Congo (#9) in the middle, Ethiopia (#3), Somalia (#5), and Sudan (#10) in the east, and South Africa (#8, 12) and the island of Madagascar (#6) in the south. There are a few familiar voices from past World Music Network releases—Sally Nyolo backed by slinky guitars and high-pitched ululations (#1), Mariem Hassan’s powerful voice on top of a funky blues rhythm and pounding drums (#7), and Mama Africa, Miriam Makeba, reprising her signature hit on the infectious dance number “Pata Pata” (#12). Oumou Sangare (#2) offers the female version of the now-familiar Malian blues with its spare arrangement and keen sense of longing in her tribute to a deceased comrade. Gigi (#3) is backed by the heavy bass of husband Bill Laswell on a flowing, rich number “Salam.” Mbilia Bel (#9) was one of the first female soukous artists and shines on a bright, almost Carribean rumba. Madagascar’s Vakoka (#6) employs a samba-like rhythm on the swaying “Era.” Zulu singer Busi Mhlongo (#8) takes on an aggressive, raspy vocal style to compete in the male-dominated maskanda genre. Just like the other women here, her bold voice brings much-needed balance to a society and world that often tries to silence her message.
Paul Borelli 10/14/07
Various Artists / Think Global: World Christmas (World Music Network) Holiday
It’s no surprise that Christmas music in other parts of the world sounds a lot different from what you hear over here. Those looking for the classics will find only a few recognizable standards on this disc: The Cox Family give a heartfelt Appalachian rendering of “Go Tell It on the Mountain” (#14), fans of Loreena McKennit & her ilk will enjoy the Celtic/American sounds of Cherish the Ladies on “O Holy Night/Cill Chais” (#7), and those with a skewed sense of humor will appreciate Bahamian Joseph Spence’s mangling of “Santa Claus Is Comin’ To Town” (#9). However, in the Dominican Republic, Christmas, as interpreted by Reynold, sounds like meringue (#1), and in Puerto Rican Yomo Toro’s hands, it sounds like salsa (#2), which doesn’t sound all that different from parang, the style practiced by Trinidad’s San Jose Serenaders (#4). The African Guitar Summit delivers a bright slice of Afro-pop with a slightly Latin rhythm on “Afe Hiya Pa” (#3). The remaining artists represent the non-Anglo European heritage, including French strains from Canada (#5), Louisiana (#10), and France itself with the Ensemble Choral du Bout du Monde (#11), which start in the cathedral and end up at a folk festival. Sweden’s Triakel (#8) deliver the darkest tune about a very poor family, while the American/Bulgarian group Kitka (#12) offer some Eastern European flavor. And all of these flavors make this one of the more interesting and enjoyable Christmas collections.
Paul Borelli 12/06/07
Various Artists / Le Tour 3 (Local Media) Pop
Like the Le Pop series, the Le Tour series (both out of Germany BTW) has provided those of us outside of France with a fascinating and entertaining overview of the “nouvelle scène française.” Though both series mine the neo-pop scene, Le Tour has a more playful, at times rambunctious feel (like, I could dance to some of these). There’s really not a stinker in the lot here, but I can recommend the following tracks: 1, 3, 9, 11, 15, 16 (Rockin’ the Casbah, in Arabic!), 17, and 19. No FCC violations. Highly, HIGHLY recommended!
Scott Gardner 7/21/07
Various Artists / World Hits (Putumayo) World
The stated intention of this latest Putumayo compilation is to lure unsuspecting non-world music fans to appreciate sounds from other shores by presenting a collection of crossover hits from world music artists, hoping that said non-fan will respond, “I know that song. So that’s world music? I guess I like world music.” For the rest of us, this is familiar territory that doesn’t require its own compilation. But if you’re looking for the best of the well-trodden, start with Mongo Santamaria’s boogaloo take on Herbie Hancock’s jazz standard “Watermelon Man” (#4), Miriam Makeba’s proto Afro-pop “Pata Pata” (#8), and Manu Dibango’s funky “Soul Makassa” (#10). Carlos Santana’s reworking of Tito Puente’s “Oye Como Va” (#5) and Jimmy Cliff’s “The Harder They Come” (#6) were pleasant enough the first few times I heard them, but by now have been so burned into the collective unconscious as to make radio airplay a waste. Kaoma’s “Lambada” (#7) is also nice enough, if you don’t mind being associated with the embarrassing dance fad that bears its name. The rest are just not very interesting examples of world music because they’ve been watered down to appeal to a mass audience. Which, as we noted above, is the whole rationale for this compilation.
Paul Borelli 8/15/07
Various Artists / World Party (Putumayo) World
As the title suggests, this latest Putumayo collection emphasizes good-time, get-down music, and this collection delivers on those expectations with an upbeat worldly mix of artists and styles that draw heavily from salsa, reggae, zydeco, and Afro-pop. Kicking things off is the Sicilian ska band Roy Paci & Aretuska, who, except for the spoken Italian intro, could easily pass for a Caribbean outfit, and Paci is a skilled, machine-gun fast vocalist. Martinique’s Jean-Phillippe Marthély, Jean-Paul Pognon & Jean-Luc Guanel deliver some smooth salsa in French on “Woté Monté” (#2). Osibisa blends Afro-Cuban with 70s-inspired funk & soul with a sing-a-long chorus on “Sunshine Day” (#4). Laurent Hounsavi from the African country of Benin offers Afro-Cuban rhythms with piano and horns on “Mindé Se” (#5). Jamaican reggae legends Burning Spear have a multi-cultural, inclusive message on “Walk” (#6). Argentina’s Los Pinguos use reggae’s off-beat rhythm on a slick slice of Latin pop with “My Love” (#8). Haiti’s Orchestre Tropicana D’Haiti combines a Caribbean calypso flavor with Afro-Cuban rhythms on “Gason Total” (#9). Sarazino’s members come from Canada, Algeria, and Ecuador and on “Cochabamba” (#10) they draw on their multi-cultural roots by mixing 70s wah-wah guitar, funky rhythms, French rapping, vocoder, and 80s dance-floor synths for a rolling, head-bobbing pop concoction. Yep, this is one party to which I could swear allegiance.
Paul Borelli 4/14/07
Various Artists / Los Zafiros: Music From the Edge of Time (Hepcat) Soundtrack
This soundtrack from the Lorenzo Destefano documentary about Cuban 60s pop group Los Zafiros (the Sapphires) mixes original recordings by the group with modern tracks by its two surviving members Manuel Galban (a member of the Buena Vista Social Club) and Miguel Cancio, their friends, and the tribute group Los Nuevo Zafiros. The original Zafiros, called the Beatles of 60s Cuba for their popularity, mixed American doo-wop vocals with traditional Cuban son, salsa, and other Latin forms, and their songs shine here. “La Caminadora” (#2) emphasizes Latin roots over American influence, as the backup singers are limited mostly to freight-train wah-wahs against an Afro-Cuban rhythm and melody, with an extended piano and orchestra instrumental break. “Hermosa Habana” (#4) begins with soft, a capella vocals, then lush strings on a moody, minor-key ballad with a more Americanized rhythm and melody. “Congo Leri” (#7) begins with a spirited conga intro and remains Cuban throughout, the backing vocals giving the only hint of doo-wop. “Y Sabes Bien” (#8) and “Mi Oracion” (#25) are firmly planted in American doo-wop, including soaring tenor & falsetto, with slight Latin rhythm touches. “Herido de Sombras” (#8) is a slow, romantic Latin ballad with doo-wop backing vocals and shimmering, tremelo guitar. “Cuando Yo La Conoci” (#14), “Bellecita” (#17), and “Chavrot” (#20) are up-tempo doo-wop numbers with a rhumba beat. The modern songs in this collection are rough, impromptu affairs when placed in contrast to the brilliance of these highly original Sapphires.
Paul Borelli 7/28/07
