Freestyle Music

Here’s a big batch of fresh music from the Latin, funk, jazz, and Afrobeat-centric Freestyle Records:

Love International by Kokolo
This ska and funk flavored album is tinged with some island flair, especially on the title track. Latino touches show up as well, as in track 5, “Congo Bongo,” and track 8, “Sabroso.” Most tracks are sung in English, but Spanish influences a few. Track 7, “While I Got the Microphone,” is funky and infectious. The overall vibe is peace, love, harmony, and let’s party.

Fried Samba by Malena
Disco and South American instruments are in symbiosis on this upbeat, danceable album. Track 1, “No Llores Mas,” calls Diana Ross to mind with its disco-heavy beat. Track 2, “More Afro,” has lots of intoxicating horns—makes you want to find a darkened dance floor and a sultry partner. Track 5, “No Me Digas Nada,” is refreshingly downbeat, and track 6, “Que Dificil Es,” is meandering, jazz-inspired slow dance. Things pick back up with track 7, “Llega El Verano,” and keep rolling to the end.

Bagunca, The Very Best of Sirius B, 1998-2006
Brazilian music and jazz meet on this album, set off by the lovely voice of Azhar, who sings in both English and Portuguese. The jazz element lends a slightly frantic, scattered feel to many of the tracks, which a true jazz fan will be able to appreciate. Bonus: The disk includes a cover of Herbie Hancock’s “Watermelon Man.”

Homenaje by Brownout
Horns and a 1970’s vibe (with a Latin twist) pervade this album. Track 3, “Laredo 77,” feels like the theme song to a “Starsky & Hutch”-style cop show. Track 1, “Brown Wind and Fire,” is a bit scattershot, with a discordant mix of horns, guitar, and drums. Most of the album—which is largely instrumental—has it’s stuff together, with a lot of upbeat horns and danceable tracks. Best song title: “Latin Asscape”—it’s track 6.

Tremendo Boogaloo by Manteca
The fast and fun tracks on this album back up its party CD cover. A strong Latin flavor carries the CD, but hints of 60’s-esque jazz pop up. Almost every track is sung in Spanish, with the exception of track 3, “Every Monday.” Singer Martha Acosta’s voice is rich and clear, bringing depth to the collection.

Atlas by Guida de Palma & Jazzinho
If you love jazz, you need to add this album to your collection. Singer Guida de Palma splits her time between Portuguese and English, offering a unique twist on the American musical invention.

It’s about time we heard some good news out of Iraq. And Tigris Nights, the newest release from the two-man band Gilgamesh, is very good news. The album is appealing and well-rounded and likely to attract even new world music listeners. Some tracks are purely instrumental and would make a great backdrop at any party. Others include vocals that are heartfelt and spiritual.

Check out one of the tracks on YouTube.

Iraqi musicians Amir Saion and Hassan Albadri are both accomplished musicians and songwriters who have been performing music since their teens. Norwegian saxophonist Oivind Stomer, guest musician on this album, provides an interesting counterpoint to the traditional Middle Eastern oud and tabla. Overall, the album has a classical, approachable feel and is a great introduction to world music.

Download Tigris Nights at Amazon.com.

There aren’t many places that Americans can’t go. An U.S. passport is like a golden ticket to the world. So, it seems strange to have a nation just 90 miles off our coast that’s off-limits.

Putumayo’s Cafe Cubano offers a peephole view into this communist-ruled country. Every track is full of Cuban soul, reflecting the passionate people that call this island nation home. A Dutch friend who recently visited Cuba tells me that this love for music and dance remains undampened, despite pervasive poverty and a hamstrung economy.

One musician beloved by the people—but not by the government—is Pedro Luis Ferrer. His pro-democracy bent has made him something of an outcast with Cuban media, but his folksy style has made him popular at home and abroad. Ferrer teams up with his daughter Lena on track 3, “Ay, Mi Vidita”. Her sweet, full voice plays nicely over his amiable, upbeat guitar, creating a cheerful tune that will surely have you singing along.

View an excerpt from the 2008 documentary, Pedro Luis Ferrer: La Revolución de un Hombre.

Further along, sultry horns and octogenarian vocalist Adriano Rodriguez give track 5, “Morenita,” a vintage feel, in the vein of the old Cuban classics. There is also a genial familiarity to track 6, “Pincel Campesino”—it’s another new composition that calls the past to mind.

The bolero on track 7, “Escandalo,” is a Mexican classic, as interpreted by Cuban vocalist Armando Garzon. The ballad style is slow and bittersweet, and the bolero’s romanticism has made it popular throughout the Latin world.

This glimpse of Cuba is sure to leave you wanting more. With Fidel on his way out, let’s hope that we and the Cuban people will soon have more.

Buy Cafe Cubano at Amazon.com.

Norwegian folk singer Øyonn Groven Myhren’s newest album Gullveven (from the Etnisk Musikklubb label) is a collection of medieval Scandinavian ballads, sung in a straight-forward, traditional style. The sound is strange to the American ear, but pleasant in its simplicity and peacefulness.

The instrumentation is light (several tracks are performed a cappella), and the focus is solidly on Myhren’s vocals. At times, there’s a crystalline quality to her voice that feels a bit desolate, seeming to evoke the coldness of her native land. Elsewhere, playfulness reigns—track 6, “Jomfrua og fanten,” skips along like a child’s rhyme. Similarly, the quirky accompaniment on track 10, “Jenta som skulle skjera stra,” makes it feel like a whirl on the carnival carousel, cotton candy in hand. Other tracks sound like lullabies, taking listeners back to their cradle days.

When Myhren’s voice turns mournful, the sound is reminiscent of Celtic balladry. Track 3, “Hermod Unge og gygri” calls Loreena McKennitt’s “The Highwayman” to mind. Track 11, “Grisilla og Kong Ridder,” pairs a fiddle with delicate vocals. Myhren’s a cappella pieces are particularly haunting—the silence that frames each phrase is as compelling as any instrument accompaniment.

Bottom line: Myhren is singer in complete control of her instrument and material. Her emotive style will make you wish you spoke Norwegian just so you could understand the stories she tells.

Download the whole album or just your favorite songs at Amazon.com.

Do the blues speak to you? Do hot Brazilian-style beats and funky African rhythms get your hips moving? If so, cast your ears across the ocean to Cape Verde, an island nation off the coast of Senegal. The Rhode Island-sized country was originally a Portuguese colony, a weigh-station for the transatlantic slave trade. In recent times, periodic droughts and an unstable economy have caused major emigration—more Cape Verdeans now live abroad than at home.

This separation from home and the difficulty of life on the islands are the foundation of the morna, the national song style. Mornas are sung in the native Creole and accompanied by string instruments. The melancholy sound is similar to the Portuguese fado and the Brazilian modinha, both of which are believed to have their roots in the African lundum. On the lighter side, there’s the coladeira, with its sensuous and danceable rhythms, and the African-influenced funana style, which is heavy on the accordion.

Cesaria Evora, known as the “Barefoot Diva,” is Cape Verde’s most famous musical export.  In 1988, at age 47, Evora recorded her first international hit, “Sodade,” in Paris. The song topped French music charts and launched her career as the “Queen of Mornas.”

You can shop her extensive discography on Amazon.com—if you’re not sure where to start, the site lets you download her songs as individual MP3s. To get a broader view of the Cape Verde musical scene, tune into the world music gurus at Putumayo and check out their “Cape Verde” collection, also available on Amazon.com.

And lastly, check out SodadeOnline.com, the website for Sodade Magazine, a quarterly publication devoted solely to Cape Verdean music. The site bills itself as the “preeminent online source [for] the latest and hottest feature articles, news, tributes, interviews, tour dates, music reviews, [and] videos…”

The funky/freaky/industrial mood of Cross Club, on the outskirts of Prague, definitely sets it apart from the tourist hubs in the center of town. In fact, our little posse of French/English/American travelers was the only tourists in the place. Our guide to the grungy side of Prague was a young Slovakian who manned the desk at the hostel.

We wandered through several large rooms, packed with people and mechanized gadget decor, both emanating an angry vibe. In a room with double-decker seating (literally, you climb a few steps to reach the upper level and scuttle bent double to your seats), we found a place to squeeze in.

At the bar, my usual vodka-and-cranberry was translated into a vodka-and-black currant (a tasty alternative, it turns out). The bartender filled my glass with ice, lit himself a joint, and then poured in the alcohol and juice. Weed is illegal in the Czech Republic, my Slovak friend told me, but enforcement is lax (apparently).

Back at the table, our multi-national group shouted over the raging tunes. And then, a sudden shift—the music went from tortured, screaming vocals to R&B. The change seemed out of synch with the rest of the scene, but the other patrons were unfazed. And perusing Cross Club’s website after my visit, I found that the venue seems to be a catch-all musically, hosting rock and reggae concerts periodically.

The club was still rockin’ when we made our exit at 1 a.m. On the way out, we popped into a few rooms we’d missed on the first tour. The most intriguing had a stage and large projection screen and an open dance floor. On the screen, images of chimpanzees and twin bald women flashed, punctuated by a strobe light and grating, melody-free techno music. People filled the dance floor, but no one was dancing. All stood staring straight ahead at the screen. Fascinating though it was, this entertainment was hard to enjoy without hallucinogens, so our straight-laced crew headed for the door and back to Prague proper.

The smoke from Will’s cigarette drifted up to join the cloud that hung just below the brick cave’s low ceiling. Smoke particles refracted the stage lights—violet, fuchsia, and yellow—giving the tiny room a hazy glow. Patrons packed every table, filled every chair, the crowd a mix of local music lovers and tourists appreciating Prague’s vibrant musical culture.

The venue was AghaRTA Jazz Centrum, Prague’s hottest spot for jazz, tucked away down a hidden stairwell in Stare Mesto (Old Town). Will (a Briton who was occupying the next bunk at the hostel) and I were jazz novices, first-timers on this smoky, moody scene. AghaRTA’s playlist is packed every night of the week, and this particular evening, we were audience to the AghaRTA Gang, featuring saxophonist Stepan Markovic, whose strong features recalled a balding Kirk Douglas.

The four men onstage played their instruments as well as their archetypal jazz characters.  The piano player was the affable emcee, introducing each number with a little light commentary and a friendly smile. The bass player was brooding, with a mop of curly dark hair and a fixed, pensive expression. The drummer was wild, sweat pouring down, in his own world of pounding drumsticks and shivering cymbals. And there was the star, Mr. Markovic, off to the side of the stage, smoking a cigarette and waiting for his cue—his appearance on stage sending the crowd into rounds of applause.

The songs were mostly upbeat and quick-tempoed, with an occasional lingering, longing melody mixed in for contrast. Many of the selections were American fare, certainly classics to any attuned jazz ear. The tightness of the room created a feeling of intimacy between the audience and the musicians. There was no talking, no dancing, just a hundred people sitting in rapt attention of four music-makers giving it their all.

AghaRTA is one of several fine jazz venues in Prague. Check out a list of them here. And if you can make it this fall, you’ll be in for a treat—the city will be hosting the 2008 Prague International Jazz Festival, an event that’s entering its 45th year of existence. But whenever you visit and whatever you do, don’t leave Prague without a lungful of smoke and an earful of jazz.

Up next: Prague’s hard edge.

Travel Tracks is on the move!  Just a few days ago, I arrived in Rome, where I’ll be staying with an Italian family for three months. On my way to the Eternal City, I visited some old Soviet stomping grounds: Kiev, Ukraine, and Prague, Czech Republic.

The cold of Kiev forced us indoors most nights, and we tuned the TV to the Ukraine’s version of MTV—except that they actually play videos! The viewing was intriguing—Western with a twist. There were Russian rappers, complete with baggy pants and major bling. Scantily-clad popsters co-opted American melodies, layering on their own Ukrainian lyrics.

And then there was Verka Serduchka. Now, Verka is original. Her hat is her trademark: it’s a mirrored cap topped with a large, glittering star.  And she is actually a he—she’s the most famous character of Ukrainian performer/comedian Andriy Danylko. With huge sunglasses (and huge breasts), the middle-aged Verka makes quite an impression.

In 2007, Verka’s popularity won her the coveted honor of representing the Ukraine in the Eurovision singing contest.  The annual contest is an experience all by itself, with the winner usually catapulted to instant fame and fortune. Verka’s inclusion in the contest was something of a controversy, because some lyrics in her song, “Dancing Lasha Tumbai,” were interpreted as anti-Russian.

Verka’s current single, “Kiss, Please,” is both catchy and hysterical.  She sings in English: “I need your dance,” “I need your kiss,” I need your sex,” etc.  But she also mixes in some Ukrainian (I think) and a fair dose of nonsense sounds: “biddy, biddy, biddy, biddy…”  The video is set in a men’s locker room and ends with Verka falling into the arms of several towel-wearing hotties. In short, it’s fabulous, just like Verka.

Next up: the smoky jazz of Prague.

“Volare! The Very Best of the Gipsy Kings” is the perfect introduction to this French phenomenon. The double album is packed with their signature get-up-and-dance rhythms. Soaring guitars and passionate vocals create an intoxicating blend of flamenco and rumba. Classics like “Bamboleo” and “Volare” make it clear why the Gipsy Kings have been worldwide stars since 1987.

The group is made up of two sets of brothers, Reyes and Baliardos, from the south of France. Music is a family tradition, stretching back generations to their gypsy heritage. Look for the Gipsy Kings near you—they are currently touring nationwide, and their show is worth every penny.

Buy “Volare!” at Amazon.com

Crammed Discs’ 20 Ways to Float through Walls is both wildly eclectic and totally fabulous.  With contributions from Gypsies, Tuaregs, Brazilians, Brits, Belgians, and others, the album is a seriously entertaining world tour.  The disparate mix offers something for everyone, and each song has its own appeal. 

In such a grab-bag album, many songs are sure to captivate some people and leave others cold.  If you’re feeling adventuresome, take the plunge and buy the whole album.  If you prefer to cherry-pick, Amazon.com lets you download tracks individually for .99 cents apiece. 

Here are a few (of many) favorites:
—Kocani Orkestar, “Usti, Usti Baba”:  The horns on this Gypsy wedding song are dangerously catchy—they may just make you want to get married in Macedonia. 

—Sussan Deyhim with Bill Laswell, “The Candle and the Moth”:  Pent up emotion simmers just under the surface of this sensuous track from Iranian diva Deyhim.  Her nuanced vocals slip and slide over the low key Eastern instrumentation—quite the mood-setter.
—Mahala Rai Banda, “Morceau d’amour/Spoitoresa”:  The style of the Romanian vocals here somehow evoke the mournful wail of Middle Eastern belly dance music.  Layered over dirge-esque horns and, later in the song, a frenetic techno beat, it’s a trippy ride.
—Tartit, “Tabey Tarate”:  Hailing from Mali, this group of Tuaregs (a matrilineal Muslim society where the men wear veils rather than the women—go, ladies!) offers a spartan track, with tremulous voices and hand-clap percussion. 

 
—Tuxedomoon, “A Home Away”:  This American band does the horn-heavy Balkan Gypsy thing with a David Bowie-esque, 80’s twist.

The album is aptly titled, floating through the walls of genre and country.  It creates connections between people and cultures, which is world music at its best.