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FEATURES
Yo-Yo Ma & his Goat Rodeo pals
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30
Best of 2011
The editors pick their top albums of the year.
32
The New Latin Wave
A look at the latest movers and shakers in Latin American music and how they’re breaking down borders.
One of the most innovative African artists of the here and now...
38
Yo-Yo Ma
The cellist ditches his music score and goes on a Goat Rodeo with some first-class improvisers.
42
Baloji
The young, Belgium-based singer talks about his early life in the Congo and why he’s known as a ‘super-sorcerer.’
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Tools of the Trade: The Chinese Qin
38
Examining the history of this most ancient of Chinese zithers, associated with purity and enlightenment.
32
The New Latin Wave
Baloji
42
Amira
30 www.songlines.co.uk www.songlines.co.uk
Songlines 3
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UPFRONT
7 Welcome 9 Top of the World CD 10 M y World: Jonathan Dimbleby 13 BONUS CD Folkelarm: Traditional Music From Norway 14 News 18 Fado & UNESCO 21 Obituaries/Homegrown 23 G lobe-Rocker: Camille 25 World Music Chart 25 Cerys Matthews 26 G rooves: Dawda Jobarteh, Caroline Herring & Damien Barber 28 S onglines Music Awards 28 S onglines Music Travel 29 Letters & Reader Profile
13
REGULARS
Jonathan Dimbleby
Kriol Jazz Festival, Cape Verde
8 1°
52
10 San Francisco
54
50 Beginner’s Guide to Mercedes Sosa
52 Festival Profile: Kriol Jazz Festival, Cape Verde
54 S ounding Out San Francisco 57 Postcard from Switzerland 58 G rappa Advertorial 61 S ubscribe 93 Gig Guide & TV/Radio Listings 96 You Should Have Been There... 98 Backpage from... Buenos Aires
Camille
23
JAN/FEB12 70
‘The Muppets couldn’t craft a more daft tango hybrid’
COMPETITIONS 14 Win Andy Kershaw’s signed
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Europe
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Africa
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The Americas
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Middle East
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Australasia & Pacific
67 Songlines 5
UPFRONT
Welcome
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“I blame the French for all the cultural bureaucracy that surrounds the heritage lists”
he vinho verde will be flowing in Portugal, I’m sure, as after years of preparing and promoting its candidacy, fado has been put on UNESCO’s Intangible Heritage list. The 2011 additions were announced on November 26 in Bali (see story on p18). But I certainly don’t think fado needs UNESCO’s commendation for the world, or indeed Portugal, to value it. More worryingly, it takes gorgeous music into the murky realm of cultural politics and bureaucratic jargon. The UNESCO website comes up with this woolly definition: ‘This intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with a sense of identity and continuity, thus promoting respect for cultural diversity and human creativity’. I’m a great admirer of the UNESCO World Heritage Sites – the Fes medina in Morocco, Angkor Wat in Cambodia and the Djenné mosque in Mali. And we have 28 in the UK alone, including Stonehenge, Durham Cathedral and Ironbridge Gorge. UNESCO started its list of Masterpieces of the Oral and Intangible Heritage of Humanity in 2001 and, like the Eurovision Song Contest, you couldn’t help feeling there was politics behind it when, first, Georgian polyphony was inscribed, then Azerbaijani mugham and finally the Armenian duduk and its music – if only to avoid war in the Caucasus. I think it was no bad thing to acknowledge those traditions. People around the world are not so familiar with them and they deserve to be better known. By 2005, 90 ‘Masterpieces’ had been proclaimed and then UNESCO dropped the uncomfortable ‘M’ word, which did suggest something fixed and immutable, belonging in a museum. Now they are simply called ‘elements,’ which simply sounds non-descript. This year UNESCO added 14 ‘elements’ to the list, including Chinese shadow puppetry, the balafon from Mali and Burkina Faso, mariachi music from Mexico and fado of course. The inscription of fado seems inevitable when tango was listed in 2009 and flamenco in 2010. But when fado (like flamenco and tango) is a popular and dynamic style of music with big-name international stars, UNESCO’s endorsement seems superfluous. And by association, it reduces it to the level of the hopping procession of Echternach in Luxembourg which surely does need UNESCO for its credibility. I confess I haven’t been, but I have watched the video of a phalanx of men joined by white handkerchiefs bobbing from one foot to the other online. The Convention Concerning the Protection of the World Cultural and Natural Heritage was adopted in Paris in 1972 and I blame the French for all the cultural bureaucracy that surrounds the heritage lists. Look no further than the adoption of the Gastronomic Meal of the French onto the Representative List of the Intangible Cultural Heritage of Humanity in 2010. Foie gras, camembert, burgundy! Is a French meal really intangible? As well as questioning the definition, the pretentious nonsense justifying it on the website is hilarious. Much more straightforward are the Songlines Music Awards (see p28) so please vote. There are no intangible categories yet. And if you need to sort out a great present in a hurry, see the Songlines gift subscription offer on p61.
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Printing Polestar Colchester Ltd, Severalls Industrial Estate, Colchester, Essex CO4 4HT. Record trade distribution Worldwide Magazine Distributors. Tel: 0121 788 3112 UK newsstand & overseas newstrade distribution COMAG Specialist Division. Tel: 01895 433800 All rights are reserved. Reproduction in any manner, in whole or in part, is strictly forbidden without the prior written consent of the publishers. No responsibility for incorrect information can be accepted. The views expressed in the articles are those of the author, and not necessarily of the publisher. While every effort has been made to ensure accuracy of statements in Songlines, we cannot accept responsibility for any errors or omissions or for matters arising from clerical or printer’s errors, or for advertisers not completing their contracts. Songlines is also available in audio format from the Talking Newspaper Association, tel: 01435 866102, www.tnauk.org.uk Songlines USPS 1464-8113 is published Jan/Feb, March, April/May, June, July, Aug/Sept, Oct, Nov/Dec by Songlines Publishing Limited. The US annual subscription price is $44 airfreight and mailing in the USA is by agent Air Business Ltd, c/o Worldnet Shipping Inc, 156-15, 146th Ave, 2nd Floor, Jamaica, NY 11434, USA. Published by Songlines Publishing Ltd, PO Box 54209, London, W14 0WU. ISSN 1464-8113 © 2009 Songlines Publishing Ltd Songlines logo trade mark, registered under No. 2427714. Directors: Simon Broughton, Mark Ellingham, Paul Geoghegan, Lyn Hughes and Chris Pollard
✈ Songlines offsets its writers’ flights with ClimateCare. 1The text paper for this magazine is printed on 100% de-inked post consumer waste.
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Some of the albums that we kept coming back to in 2011: alex Beirut's The Rip Tide. World indie with a flare of brass – a gem of an album
tania Ane Brun's It All Starts with One. Sophisticated, focused, intimate
paul New Blood by Peter Gabriel. The classics brilliantly orchestrated
NAT Tamikrest's Toumastin – the final track alone makes it a winner!
ben Tinariwen's Tassili teams Saharan blues with indie ideas to desert perfection
sophie King Creosote and Jon Hopkins' Diamond Mine
james Early Rappers – Hipper Than Hop – The Ancestors of Rap
Olivia Southern belle Sarah Jarosz's album Follow Me Down
f Our 2012 wall calendar is now on sale.
Full colour, A4 size (opens out to A3) for £5 UK & £6 overseas
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UPFRONT
81
On your free CD – the editor’s selection of the top ten albums reviewed in this issue
1
Gilles Peterson’s Havana Cultura Band feat. Roberto Fonseca, El Micha and Osdalgia ‘Agita’
2
Tcheka ‘Fla Mantenha’
From the album Dor de Mar on Lusafrica Shifting moods, sweet From the album Gilles Peterson melodies and subtle Presents Havana Cultura: The Search rhythms from one of the Continues on Brownswood Recordings leading songwriters from Viva Cuba! See p74 Cape Verde. See p69
3
The Nordic Fiddlers Bloc ‘Polska From Delsbo’
4
From the album The Nordic Fiddlers Bloc on Etnisk Musikklubb A trio of Nordic fiddlers delve into each other’s traditions and find common ground. See p80
From the album Back Home on Valcour Records A varied crop of Cajun blues and swamp pop from accordionist Wilson Savoy and friends. See p72
†
1
From the album Kinshasa Succursale on Crammed Discs Baloji’s infectious album paints a vivid picture of a ravaged country. See p66
From the album Tajno Biav (Secret Marriage) on Oriente Musik The Polish band’s second album delves into Eastern Europe’s multicultural roots and proves to be as good as the first. See p76
9
2 6
Baloji ‘Congo Eza Ya Biso (Le Secours Populaire)’
Cˇ acˇi Vorba ‘Me Pacˇav’
3 7 5
10 8 4
6
5
Pine Leaf Boys ‘Whiskey C’est Mon Ami’
7
Lepistö & Lehti ‘Raudanselkä’
From the album Radio Moskova on Aito Records The much awaited followup to the accordion and bass duo’s last album, Helsinki. See p79
Turn over to see Jonathan Dimbleby’s playlist »
8
Noam Pikelny ‘Bob McKinney’ feat. Tim O’Brien From the album Beat the Devil and Carry a Rail on Compass Records A shining example of the banjo master’s songwriting skills. See p73
9
Carlos Orozco ‘A La Suegra’
From the album World Routes: On the Road on Nascente A collection of fantastic recordings to celebrate the tenth anniversary of BBC’s World Routes. See p87
New to Songlines? Subscribe now and get a
10
Yo-Yo Ma, Stuart Duncan, Edgar Meyer and Chris Thile ‘Attaboy’
From the album The Goat Rodeo Sessions on Sony Classical Yo-Yo Ma teams up with bluegrass luminaries. See p71
album for free!
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† Fusionland
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Songlines 9
UPFRONT
My World Jonathan Dimbleby
The BBC presenter professes to know little about the music he loves, but has been greatly affected by his travels and the artists he’s met over the years w o rds a n d y J o n e s P O RT R A I T A n to n i o O l m o s
Also on your CD: five tracks chosen by Jonathan Dimbleby
11
Sukay ‘Concepcion’
From the album The Rough Guide to the Music of the Andes on World Music Network Dimbleby was determined that the Andean flute would feature on the soundtrack to his South America series. “I don’t get too involved in choosing the music for programmes, but this was one I insisted on having.”
12
Staff Benda Bilili ‘Moto Moindo’
From the album Très Très Fort on Crammed Discs Meeting Staff Benda Bilili was one of the most memorable experiences of Dimbleby’s latest African Journey. He even got a ride on the back of Ricky’s customised motorbike.
13
Western Jazz Band ‘Vigelegele (Ululation)’
From the album Songs of Happiness, Poison & Ululation on Sterns Dimbleby has no idea whether he ever saw this band play live. But he’s rarely able to resist an invitation to dance, and tunes like this will keep him on his feet all night.
14
Samuel Yirga ‘Ambassel In Box Revisited’
A
t home in Devon, or when travelling the UK, as he has done every week for the past 24 years as host of BBC Radio 4’s Any Questions, Jonathan Dimbleby remains strictly a classical and opera man. “As a child, like many middle class children, I was forced to play the piano, and to learn the difference between Elgar and Beethoven. I’ve been lucky enough to travel and meet musicians all over the world, but I don’t really know much beyond what I’ve experienced personally.” Given this admission of ignorance as an introduction, our ensuing conversation about his musical encounters over the years is a surprisingly revelatory experience. With a journalistic career reaching back to the early 70s, the silver-haired presenter sustains a vivacious and engaging rapport, with a frame of reference extending from Greece’s last crisis in 1973, to far more recent meetings with hip-hop crews in Medellín, Colombia. “People forget recent history so easily, and music can be so important in reminding us of the past, of moments in time when things change,” says Dimbleby, turning to 1974 when he was filming the Turkish invasion of Cyprus and had to hotfoot over to Athens where the military junta had fallen. “It was the most wonderful experience. The
airport, and all the ports were overrun with people flocking back to Greece and celebrating. I ended up at a party thrown by Melina Mercouri [the singer who would later become Greece’s first female minister of culture] and walking arm-in-arm with her through the streets with her as she sang songs by Mikis Theodorakis. The music is the trigger for so many memories.” Around the same time, Dimbleby began his travels to Africa. Having been the first journalist to report on Ethiopia’s 1973 famine, he developed a love for the country that he still describes as being etched on his heart. He returned to Ethiopia last year while filming An African Journey and the Samuel Yirga track on his list is a fine example of a side of the country that he feels is often overlooked. “The whole country is so rich in music making, you hear different sounds and different instruments wherever you go. I think partly it’s because it was so isolated for so long, less influenced by America and the rest
Trying his hand at the cueca brava in Chile
From the EP album Hagere on Real World The young pianist emerged from Addis Ababa’s classical music school to become one of his country’s most exciting prospects. “To hear of a young Ethiopian emerging onto the world stage is so exciting.”
Chico Trujillo ‘Varga Varga’
From the album Chico de Oro on Barbès Records Probably the most successful band in Chile at the moment, the sound of Chico Trujillo accompanied Dimbleby around the country while filming earlier in the year. 10 Songlines
Cruising the streets of Kinshasa on the back of Ricky Likabu’s customised motorbike
January/February 2012
Geoff Price
15
UPFRONT
and that was one of our ground rules for the series, that we don’t portray places in terms which might be straight out of a backpacker travel guide.” Dimbleby admits that his grasp of new technology is not what it might be, but has trusted colleagues who ply him with music. Predictably, he can’t remember the names of either artist or tunes that rocked the crew bus, but further research, and a call to soundtrack compilers Rita Ray and Max Reinhardt reveal that fittingly, the roving playlist embraced both traditional and modern with Chico Trujillo and Violeta Parra in Chile, while Venezuelan ska sensations Desorden Publico made an impression in Venezuela. The series sees Dimbleby rubbing shoulders with descendants of slaves in a Brazilian qúilombo, and discovering how to dance the cueca brava with one of Chile’s most famous actors, Daniel Muñoz. “The cueca is undergoing a folk revival in Chile. Having been appropriated by the Pinochet regime to reinforce a jingoistic sense of national
‘‘You can tell when people have something to say, it comes out in the music” of the world that the culture has remained so rich. And of course that’s where the country derives great pride. Nobody wants to be portrayed as a beggar, a view which the media can be so complicit in generating.” In the 70s and 80s Dimbleby returned regularly to East Africa, and when in Tanzania would often visit Julius Nyerere [the country’s first president]. “He had a very modest, but extremely beautiful house, overlooking the ocean. He was generous with his time and we would talk for hours, then I’d head into town and invariably end up in some local dive, listening to the most amazing local jazz. I wouldn’t have a clue what any of the bands or the songs were but the atmosphere was wonderful, you could drink and dance all night.” I’m keen to hear more about the musical choices that accompanied the South America series, but Dimbleby is on a passionate African roll. He recalls road trips in humid heat along the Niger in Mali where his driver’s entire music collection consisted of Ali Farka Touré cassettes. “Just wonderful, I never tired of it, and completely understood how he’d become www.songlines.co.uk
such a huge star.” He replays an interview with Hugh Masekela “who obviously I knew of, but I wasn’t anticipating meeting him with great delight. He had such passion for his country, for his people, and though he’s even older than me, retains such anger, such concern for the way things are.” And the music? “It’s all that and more – you can tell, I think, when people have something to say, it comes out in the music. It’s the same with Staff Benda Bilili, their whole experience of life is wrapped up in their sound. These guys who have literally crawled their way up in this deeply troubled country, but their spirit, that overwhelming energy, is so evident when you hear the music which has made them such a phenomenon.” And so, finally, we talk South America, and his most recent series, aired this autumn to great acclaim on BBC 2. Again, Dimbleby professes to have no specialist knowledge of the music of the continent, though he is eager to point out that the Sukay track that opens the series has melody played on the Andean flute, and not the panpipes. “I find that such a derogatory term. It makes it sound like such a cliché,
pride the music had lost its origin, its connection with the streets and bars which made it the people’s music.” On screen, Dimbleby smiles as he waves a handkerchief with a red haired Chilean dancer. His apparent willingness to hit the dance floor at a moment’s notice has been a notable feature of his recent work – quite at odds with the serious political commentator of previous years. It has, he tells me, even led to an invite to appear on Strictly Come Dancing – an offer that looks about as likely to be accepted as he is to name a track by any of his favourite world artists. “I know I look ridiculous when I dance, and I have to be inveigled into dancing at all. But with the cueca, that whole courtship ritual between rooster and hen, it’s so sensuous that I got quite carried away. I thought I could dance like this for the rest of my life.” podcast Hear Violeta Parra’s famous song ‘Gracias a la Vida’, sung by Mercedes Sosa, on this issue’s podcast. more Read more about Latin America and Jonathan Dimbleby’s South American experiences on p32 Songlines 11
° B E ST
ALBUMS
2 01 1°
As we reach the end of 2011, this is our Top 10 selection of discs that have remained favourites with editors Simon Broughton and Jo Frost Carminho Fado
EMI Portugal
Reviewed in #77 See feature in #74
Anda Union
Boban & Marko Markovic´ Orkestar and Fanfare Cioca˘rlia Blind Note
The Wind Horse Hohhot Records
Reviewed in #80 See Making Waves in #77
Undoubtedly one of the most talked about bands at this year’s WOMAD (check out the video of them performing in the Songlines tent), this group of throat-singing, horse head fiddle players are from Inner Mongolia, China. Musically, there are similarities with the Tuvan group Huun Huur Tu, but with the addition of two excellent female singers. Their highly evocative music conjures up impressions of vast expanses of sparsely populated grasslands, as depicted in a documentary about the band recently shown at the London Film Festival. This album is definitely one for equine fans – the whinnying sounds they make on ‘Galloping Horses’ is quite amazing. JF
30 Songlines
Aurelio Laru Beya Real World
Reviewed in #74 See feature in #74
It’s thanks to the late Belizean singer Andy Palacio that the culture and music of the Central American Garifuna people is known internationally. Aurelio Martinez dedicates this album to his friend and mentor, with a particularly beautiful song written in Palacio’s honour, ‘Wamada’. In addition to the drum and percussion heavy Garifuna rhythms, there are contributions from Youssou N’Dour and Orchestra Baobab – a result of Aurelio’s Rolex Mentor-Protégé initiative with Youssou back in 2007 [see #64]. These West African vocal additions were recorded on one of Aurelio’s trips to Dakar, tracing the roots of his ancestors – he describes this album as ‘a homecoming.’ Palacio’s Garifuna legacy is in safe hands with Aurelio. JF
Balkan Brass Battle
Blind Note
Asphalt Tango
Muziekpublique
The story is a great one – the two top Gypsy bands in the Balkans go head to head. Boban and Marko Marković, the kings of Balkan brass from the ‘Trubacka Republika’ (Trumpet Republic) of Serbia versus Fanfare Ciocărlia, the peasant upstarts, from Romania. They’ve been touring the project for much of this year and the London show was a performance never to be forgotten. The CD too is fiery. Each band does a few of their own tunes, they each do a version of Duke Ellington’s ‘Caravan’ and they do four tracks together. A gristly gobbet of the best of Balkan brass. SB
It’s the haunting sound of the Armenian duduk on the opening track ‘Chiraki Par’ that initially got me hooked. Then there’s the fact that the musicians, from Armenia, Turkey, Mexico, Senegal and Madagascar, all now based in Belgium, recorded the album in aid of a Belgian NGO, Light for the World, who raise money for blind children in Africa. But regardless of the good cause, it’s the simplicity and sensitivity of the music they’ve created that makes this album so noteworthy. Interestingly, Muziekpublique only release one or two albums a year – their main work is putting on concerts and music classes in a small venue in Brussels. JF
Reviewed in #78 See feature in #76
Reviewed in #77
Every young fado singer has got to market themselves as the new voice of fado. But Carminho is the one to watch. She had a sell-out UK debut at Songlines Encounters in June, she did a stunning showcase at WOMEX last month and her album has gone platinum in Portugal. I’m not surprised. She has a versatile intimacy in her voice, as if she’s talking to you personally, and some of the lyrics she’s written herself, which give songs like ‘Nunca é Silêncio Vão’ a special intensity. Featuring several fine Portuguese guitar players, this CD represents a spectacular debut with the opening ‘Escrevi teu Nome no Vento’ a particular highlight with a gorgeous melody and delivery. Not surprisingly, she’ll be back in the UK in the spring. SB
January/February 2012
° B EST
ALBUMS
Cecil Sharp Project
Abigail Washburn
EFDSS/Shrewsbury Folk Festival
Rounder
Cecil Sharp Project Reviewed in #78 See feature in #75
So often, well-intended collaborative ‘projects’ look great on paper but don’t work in practice, seeming forced and lacking in real musical connection. Not so with this project, which I was privileged to witness in action when the eight musicians spent a week together coming up with the songs for a series of concerts and album [see #78]. The idea is simple enough – putting into song the experiences of English folk collector Cecil Sharp during his trip to Appalachia. It’s the quality of the musicianship and their obvious enjoyment in working and playing together that is striking, particularly on tracks such as ‘The Great Divide’ and ‘The Ghost of Songs’. The group are reuniting and touring in January, so try and catch the live show if you can. JF
www.songlines.co.uk
2 011°
City of Refuge Reviewed in #74
Dawda Jobarteh Northern Light Gambian Night Sterns
Reviewed in #79 See Grooves in this issue, p26
For me the kora is the greatest of African instruments, providing a sublime accompaniment or as a marvellous solo instrument in its own right. Dawda Jobarteh comes from one of the great griot dynasties in the Gambia and, now living in Denmark, he’s produced this album in which he does both with guitarist Preben Carlsen and lots of guest musicians. One of the loveliest tracks, ‘Nkanakele’, features South Indian flute player Shashank and apparently the wild guitar on ‘Dinding Do’ is actually Dawda Jobarteh on electric kora. A great debut album from an impressive new artist and it closes with a stately duet with the supreme kora maestro Toumani Diabaté. SB Songlines Digital subscribers can download ‘Namo’ from this album. See p61 for how to subscribe
Anoushka Shankar Traveller
Deutsche Grammophon Reviewed in #80 See feature in #80
The meeting of Indian music and flamenco isn’t new, but this is one of the best products of that fusion. Sitar player Anoushka Shankar (daughter of Ravi) worked with guitarist and (Grammyaward winning) producer Javier Limón on an album that really does chart a musical and emotional journey, if not a geographical one. There are great vocals from Buika, Duquende and Sandra Carrasco on the flamenco side and Shubha Mudgal and Sanjeev Chimmalgi on the Indian side and spectacular sitar duets from Anoushka and flamenco pianist Pedro Ricardo Miño and flamenco guitarist Pepe Habichuela. An exuberant recording which is one of the highlights of the year. SB
Söndörgo˶ Tamburising World Village
Reviewed in #78 See feature in #77
Söndörgő – hard to say, but easy to listen to – are a fabulous young band from Hungary. They have now started to make an international impact and this CD and their spectacular live shows are the reason. On delicate plucked tamburas, they play the music of the South Slav minorities in Hungary – virtuoso dance tunes that are fiery, but delicate. This CD, featuring Gypsy tambura master József Kovács, from whom they’ve learned many of their tunes, is a great calling card with a cross section of their repertoire as played in the southern city of Mohács. In addition to the tambura repertoire they play some great Macedonian tunes – notably the popular ‘Zajdi, Zajdi’ with their secret weapon, fabulous vocalist Kátya Tompos. SB
To describe Abigail Washburn as a singer-songwriter and banjo player seems woefully inadequate when you realise this is a woman who has become an unofficial US goodwill ambassador to China (she speaks and sings in Chinese). The illustrative album artwork, depicting a multitude of exotic-looking places and faces, is a good indication of what you’re going to hear. It’s an enchanting treasure trove of musical treats, featuring a host of instruments, from double bass, viola, guzheng (zither) and the beautiful yet rarely heard cello banjo (on ‘Bring Me My Queen’). By coincidence Washburn and her group are currently on tour in China and will be performing in Hohhot, home to another of my favourite bands of 2011, Anda Union. Now there’s a collaboration I’d like to see! JF podcast Hear a selection of tracks from some of these albums on the podcast CINEMA See p91 for the year's best world cinema WRITE IN Let us know your top ten list by emailing letters@songlines.co.uk or visiting our Facebook page
Songlines 31
BE G INNE R ’ S
G U I D E
Julio Etchart
Mercedes Sosa performing in London in 2008. This concert was her last before her death in 2009
f
BEGINNER’S GUIDE
Mercedes Sosa Chris Moss celebrates the life of Argentina’s folk singing superstar, who became the international voice of nueva canción
S
ometimes these regular cribs on seminal musical heroes have the cold content and respectful tone of obituaries – whether the subject in question is alive or dead. For Mercedes Sosa, the soulful folk singer of Tucumán in Argentina, let’s make an exception and talk about epiphanies. In 1989, I was teaching English to foreign students in Leeds while waiting to go to Buenos Aires to begin a contract to work for two years as a teacher there. My boss, to prepare me for a new life in a faraway expatria, loaned me a black cassette of Mercedes Sosa’s Greatest Hits. I was 23 years old, raised on The Stranglers, Bowie, New Order. This music was new, strange, in a foreign language – and it was a revelation. The song ‘María, María’ sounded to me like a celebration of everything on the planet. I had no idea what was being sung besides the name of some wonderful woman, María, but I could tell it was all good. ‘Unicornio Azul’
50 Songlines
was an 80s pop song mangled with prog rock poetry, but it worked. ‘Gracias a la Vida’ sounded sincere and sorrowful and seemed to come from deep inside the heart of this woman. Later I would learn she wasn’t a writer, but depended on inspiring talents like Chilean Violeta Parra, author of this ode to an existential gracias, to make her magic work.
The young Mercedes pictured in 1973
Fast forward – that little black cassette deserves the lead metaphor – to 1997 and I’m at a big summer music festival at the football stadium of Club Ferro Carril Oeste, in western Buenos Aires, and there she was, seated – by this time in her life, she was always seated – onstage, with a little Andean bongo drum known as a tambor between her legs and a rapt audience of all ages, all classes, all stripes, shutting up in reverence or singing along when invited. Sosa sang the songs I by now loved: all those above, plus the anthemic ‘Canción Con Todos,’ the lullaby ‘Duerme Negrito’ and the portentous ‘La Maza.’ Her lungs always blew me away – that rich alto voice, that seemed not just visceral but vital, coming from deep beneath the earth – and with it she could do just about all the shades and moods. Two years later, she died, and there was some news in the usual places, just as there’d been a few Latin Grammys in her later years, and yet it always seemed to me that the UK, January/February 2012
Much of the world failed to wake up to the magisterial talent of La Negra Sosa when Buenos Aires was a tin-pot village trading with English pirates, Tucumán and much of the north-western corner of what would become Argentina was annexed to Alto Peru (now Bolivia). The meeting of Spanish settlers and Quechua and Aymara speaking natives loosely affiliated to the Inca empire would provide a seedbed for the sowing of criollo music: a Spanish guitar plucked, an African drum beaten and voices from the mountains and the plains. From this meeting were spun a dozen rhythms: chacarera, zamba, vidala and vidalita, milonga and, ultimately, tango, too. Sosa, in her teens, won a singing concert sponsored by a local radio station and the prize was to perform for the station. She turned pro and, in 1962, recorded her first album, La Voz de la Zafra. With her husband, musician Manuel Oscar Matus, she then began to
Mercedes Sosa and president Cristina Fernández de Kirchner
www.songlines.co.uk
explore nueva canción (new song), a socially conscious movement already gaining ground in Chile and Cuba that drew on indigenous native and folk elements. Parra’s ‘Gracias a la Vida’ and Horacio Guarany’s ‘Si se Calla el Cantor’ (If the Singer is Silenced) were just two of the many nueva canción songs that Mercedes Sosa began to use in her repertory. From 1965 on, she recorded album after album – at least one album almost every year until 2005 – and expanded the thematic and tonal range of nueva canción, hometown Argentinian folklore and rock-folk fusions. Most of her work was as a solo performer, but she popularised the songs of other, overlooked Argentinian artists – notably Atahualpa Yupanqui – and also performed and recorded alongside Chilean band Quilpayún, emerging pop singer-songwriter Fito Páez and composer Ariel Ramírez, among others. When the military seized power in Argentina in 1976, Sosa, whose work had an affinity with the Guevarist, pan-Latino leftism then in vogue, was banned from the radio. She was harassed and threatened by police and by military and paramilitary forces, and, in 1979, arrested. She was released following international protests but decided to go into exile, first in Spain and then in France. She returned to Argentina in 1982, and began to collaborate with rising local stars such as León Gieco, a folk-rock star who would often join her onstage to sing his stirring ‘Solo le Pido a Dios’, and bad boy rocker and jazz fusion fan Charly García. If Sosa was championing these rising stars, she was also expressing solidarity with youth movements and an openness to rock and other genres. Later duets with Pavarotti, Joan Baez and Sting are testimony to her internationalism. But where Argentinian pop, rock and club music generally borrowed and bastardised imported influences – derivativeness is the defining cultural norm on the west bank of the River Plate – Mercedes Sosa, grounded deep in her own folkloric roots, always performed alongside foreigners as an equal. Like many great artists, Mercedes Sosa focused on the life and culture closest to home, and performed with friends and comrades, giving the local universal value. I’ve no idea why her voice and her songs transported me so effectively to Argentina months before I actually boarded the plane. But, she still serves that purpose now I am back in England. A Latin American legend, she sang out loud for those who had no voice and she deserves a wider audience, here in Britain and beyond. PODCAST ‘Gracias a la Vida’, chosen by Jonathan Dimbleby, features on this issue’s podcast
BEST ALBUMS
La Voz de la Zafra (RCA, 1962) Sosa’s first album features a range of native rhythms including the zamba, the galopa and the guarania and marks the arrival of a major talent.
El Grito de la Tierra (Polygram/ Universal, 1970) Sosa’s versions of Atahualpa Yupanqui’s tender lullaby ‘Duerme Negrito’ and the revolutionary crowdpleaser ‘Canción Con Todos’ (written by celebrated folklore lyricist Armando Tejada Gomez and nueva canción star César Isella) are the stand-out songs on this powerful folk album. 30 Años (Verve, 1995) This 30th anniversary collection has virtually all the essential songs, including ‘María, María’, ‘Gracias a la Vida’, ‘Todo Cambia’ and more, making it the superlative sampler. La Negra: The Definitive Collection (Wrasse, 2011) This new double compilation isn’t exactly definitive – neither ‘Maria, Maria’ nor ‘Gracias a la Vida’ are included – but its 40 tracks (including ‘Todo Cambia’, Alfonsina y el Mar’ and ‘Solo le Pido a Diós’) make for a generous collection. Reviewed in #80.
Competition We have three copies of Mercedes Sosa’s album La Negra: The Definitive Collection album to give away. Simply answer the following question: In what year was Mercedes Sosa arrested? See p7 for Songlines competition rules and address. Closing date February 3 2012
Best Avoided
De Mi (Polygram, 1991) The title means ‘Mine’ with Sosa acting as protective mother to all her co-singers; ‘Una Canción Posible’ with Víctor Heredia and a fragment of ‘María María’ with Milton Nascimento and Fernando Brant) are the not very lofty high points of a messy pop-rock-folk album of collaborations.
If You Like Mercedes Sosa, Then Try...
Atahualpa Yupanqui
Jose Pons
most of Europe and much of the world outside Latin America failed to wake up to the magisterial talent of La Negra Sosa. Haydée Mercedes Sosa was born in Tucumán, in north-west Argentina, in 1935, on July 9 – Argentina’s Independence Day, as it happens. Her dad was an unskilled labourer and her mum a washerwoman. One of her grandfathers was a French immigrant, while the other was a Quechua-speaking Indian. Her mestizo background gave her those striking looks and a culture that combined Andean and the European traditions, which she drew upon later as a singer. That sounds like an obituary already – so imagine a warm, subtropical land, close to the Andes but protected by them rather than threatened. In the 16th and 17th century,
30 Ans de Chansons (Le Chant du Monde, 1994) Listening to moving songs like the original ‘Duerme Negrito’ and ‘Canción para Pablo Neruda’ is like going back to the source. A fabulous songwriter, Yupanqui, born in the pampas of Buenos Aires province, has an earthy, emotive delivery.
Songlines 51
San Francisco
S O U N D IN G
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Jeff Kaliss takes us on a musical mystery tour of this majestic city
sounding out f
JENNY SOLOMON/Fotolia.com; Mela Sogono; courtesy of Theatre Bay Area
T
54 Songlines
he City by the Bay has long been a desired destination for the rest of the globe. On a relatively small peninsula – between the brisk ocean to the west, the breathtaking Golden Gate Bridge to the north, the placid skyscraperclad bay to the east, and the quiet majesty of San Bruno Mountain to the south – the diversity of San Francisco is as apparent in its musical offerings as in its world-famous restaurants. Its relatively benign climate, in which fog and sun are gentle competitors, allows for some amount of open-air dining and outdoor festivals in plentiful parkland.
Indoor music venues range from the historical and contemporary concert halls of the Civic Center to the hospitable clubs of the city’s many distinct neighbourhoods. There’s a large Asian population, principally Chinese, which also contributes to the musical and cultural variety. The greater San Francisco Bay Area is a haven for global traditions and a dynamic centre in which these traditions can evolve. Ali Akbar Khan came here in 1968, a year after the so-called Summer of Love, to fulfill the mission given to him by his father and teacher, Baba Allauddhin Khan: to bring North Indian classical music to “the right people.”
The Indian-born sarod master chose the northern reaches of the Bay Area as the ideal setting for his Ali Akbar College of Music because of “the atmosphere, the sun, and the mountain [Mount Tamalpais], and the people, who are sincere.” Like Nubian oud-player Hamza El Din, Akbar found his own world widened by his relocation to this eclectic locale. He counted among his students rock stars and classical virtuosi, and himself performed and recorded with jazz saxophonist John Handy. Now, more than two years after Ali Akbar’s passing, his college is still thriving and contributing to the Bay Area’s fertile musical scene.
VENUES
Ashkenaz
Mambazo and Hugh Masekela. Its younger sister across the Bay, Yoshi’s in San Francisco, was opened in 2007 in what’s become known as the Fillmore Jazz District but bookings have been even more eclectic, including, aside from the top-drawer jazz: Latin American and Brazilian, Caribbean, African, Hawaiian, and a variety catering to a sizeable local Iranian community, as well as occasional rock and funk. 510 Embarcadero West, Oakland, +1 510 238 9200, www.yoshis.com/oakland 1330 Fillmore Street, San Francisco, +1 415 655 5600, www.yoshis.com/sanfrancisco
Freight & Salvage A trio of Berkeley clubs have stayed true to the mission of providing roots music in comfortable environments at affordable prices. But the nonprofit community arts organisation Freight & Salvage Coffeehouse has moved into Berkeley’s newly refurbished performing arts district. It is now much closer to the campus, the underground station, good restaurants, and has also doubled its seating capacity. 2020 Addison Street, Berkeley, +1 510 644 2020, www.freightandsalvage.org
Berkeley’s Ashkenaz Music & Dance Community Center offers Cajun, Zydeco, Balkan, Turkish, reggae and Brazilian music, often with pre-show dance lessons, open mic sessions and kids’ programmes. 1317 San Pablo Avenue, Berkeley, +1 510 525 5054, www.ashkenaz.com
Yoshi’s Yoshi’s in Oakland is a world class Japanese restaurant and jazz venue, but recently they have featured more world music acts including Baaba Maal, Ladysmith Black
January/February 2012
FESTIVALS SFJAZZ
Master percussionist Zakir Hussain, former director of percussion for the Ali Akbar College, has sometimes been engaged by SFJAZZ, which makes use of several venues and a sizeable budget to showcase world music stars alongside jazz luminaries in its fall and spring seasons. Various Bay Area venues, +1 866 920 5299, www.sfjazz.org
Cal Performances The Cal Performances series brings a broad range of performers to the impressive stages of the campus of the University of California at Berkeley, including jazz, classical, theatre and dance. October-May, various campus venues, +1 510 642 0212, www.calperfs.berkeley.edu
SF World Music Festival This year saw the 12th edition of this three-day event which brings international artists from the Bay Area and from around the globe (see Festival Profile in #32). Autumn, various venues, www.sfworldmusicfestival.org
Hardly Strictly Bluegrass More than 90 acts perform for hundreds of thousands of fans at this free festival (whose 11th edition was featured in #80). The
Amoeba Records, which is a former bowling alley
La Peña La Pena Cultural Center, as its name implies, tends towards Latin American and Caribbean acts, some of them with a political activist agenda. 3105 Shattuck Avenue, Berkeley, +1 510 849 2568, www.lapena.org
The Plough and Stars To the west, in the Richmond District, you’ll find traditional Irish music, manifest in seisiúns, ceilidh dances, and contemporised forms, along with bluegrass (a distant Celtic cousin). The Plough and Stars also boasts www.songlines.co.uk
festival’s focus on bluegrass has expanded to other American roots music including classic and contemporary country singersongwriters such as Abigail Washburn. Late September-early October, Golden Gate Park, San Francisco, www.strictlybluegrass.com
Jewish Music Festival The annual Jewish Music Festival (running 27 years) might feature anything from liturgical music to Israeli hip-hop. March, various East Bay venues, www.jewishmusicfestival.org
Cherry Blossom Festival The delicacy of flower arrangement will contrast with the throbbing roar of taiko drums and singing, under the aegis of the San Francisco Taiko Dojo, during the Cherry Blossom Festival in Japantown. April, Post Street, San Francisco, www.nccbf.org
San Francisco Ethnic Dance Festival A tantalising variety of live musicians accompanying ritual, celebratory and artistic dances from around the globe. June, various San Francisco venues, www.sfethnicdancefestival.org
Stern Grove Festival Enjoy a variety of music and dance performance under the trees of Stern Grove in the city’s Sunset District while you picnic. Bring layers of clothing, in case of fog. June-September, Stern Grove, Sloat Blvd. at 19th Avenue, San Francisco, www.sterngrove.org som
A scene from the Cherry Blos Festival in Japantown
San Francisco Carnaval Rescheduled from the chill of February to the relative warmth of late May, the annual Carnaval Parade through the Mission District will feature a procession of syncopated and sometimes scantily clad dancers, with particularly strong showings from the Bay Area’s substantial Brazilian population. May, Mission and adjoining streets, San Francisco, www.sfcarnaval.com
Record Stores Amoeba Records
Down Home Music/ Arhoolie Records
Many local record stores have gone under – from the giant Virgin and Tower emporiums to smaller neighbourhood delights like the Streetlight and Village Music stores. But this former bowling alley in the Haight-Ashbury still stocks everything you’d want; new and used and meticulously organised, with friendly and knowledgeable staff to back it up. 1855 Haight Street, San Francisco, +1 415 831 1200, www.amoeba.com
In an unprepossessing edifice a few miles north of Berkeley, the revered Chris Strachwitz continues to promote roots music through his Down Home Music Store and, on the second floor of the same building, his Arhoolie Records label. The store has plenty of stock including music documentary DVDs produced by Les Blank. 10341 San Pablo Avenue, El Cerrito, +1 510 525 2129, www.downhomemusic.com, www.arhoolie.com
that it serves “the best pint of Guinness in San Francisco.” 116 Clement Street, San Francisco, +1 415 751 1122, www.theploughandstars.com
Berkeley’s Ashkenaz Music & Dance Community Center
Peña Pachamama The fun continues in this former North Beach speakeasy with Bolivian cuisine and cocktails and a menu of musical live shows five nights a week. Aside from an Andean house band, there’s a range of Latin and other sounds, plus dancers. 1630 Powell Street, San Francisco, +1 415 646 0018, www.pachamamacenter.org Songlines 55
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The best world music albums of the last six months
Music Buyer’s Guide Welcome to the Songlines Buyer’s Guide, a handy reminder of the best world music releases of the last six months. The CDs here have been reviewed in the last four issues of the magazine and each received a coveted ‘Top of the World’ accolade AFRICA
AFRICA
AFRICA
AFRICA
AFRICA
Bombino Agadez
Bako Dagnon Sidiba
Fatoumata Diawara Fatou
Tamikrest Toumastin
Cumbancha Discovery
Discograph
World Circuit
Dawda Jobarteh Northern Light, Gambian Night
The Touareg guitarist proves there’s a new star on the desert horizon.
The esteemed Malian jelimuso combines old and new for an album that is deep and impressive.
The Malian songbird draws on hunters’ rhythms of the Wassoulou tradition for her confident and impressive debut.
Sterns Music
Hypnotic desert grooves from the young Touareg band.
Reviewed in issue #77
Reviewed in issue #80
An album of beautiful music by the Danish-based Gambian kora player with guests.
Glitterhouse Records
Reviewed in issue #78
Reviewed in issue #79
Reviewed in issue #79
AFRICA
AMERICAS
AMERICAS
Vieux Farka Touré The Secret
Cimarrón Joropo Music from the Plains of Colombia
Genticorum Nagez Rameurs
Six Degrees
The son of legendary Ali Farka Touré, Vieux has finally found his own identity and voice.
Smithsonian Folkways Recordings
Reviewed in issue #79
Reviewed in issue #80
Upbeat, rural Colombian music from the nine-piece acoustic outfit.
AMERICAS
Jesse Legé, Joel Savoy & the Cajun Roues et Archets Country Revival Fiddles, flute and foot-tapping The Right Combination from the popular Frenchspeaking trio from Quebec. Reviewed in issue #78
Valcour Records
A happy-go-lucky and high-powered revival from two Cajun music masters and guests.
AMERICAS
Lucas Santtana Sem Nostalgia Mais Um Discos
Santtana infuses Brazilian music with his own ideas and grooves. Reviewed in issue #80
Reviewed in issue #77
62 Songlines
January/February 2012
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AMERICAS
EUROPE
EUROPE
ASIA
MIDDLE EAST
The Wilders The Wilders
Carminho Fado
Anda Union The Wind Horse
Khyam Allami Resonance/Dissonance
Free Dirt
EMI Music Portugal
June Tabor & Oysterband Ragged Kingdom
Hohhot Records
Nawa Recordings
Old-time country, bluegrass honky-tonk from the Kansas City quartet.
Channeling raw emotion, the young, new fado star delivers a painfully beautiful debut.
Topic
An impressive debut for these fiddle-playing Mongolians.
A mesmerising debut from the young London-based oud player.
Reviewed in issue #78
Reviewed in issue #77
A triumphant return for the two powerhouses of English folk.
Reviewed in issue #80
Reviewed in issue #78
Reviewed in issue #79
AUSTRALASIA
FUSION
FUSION
FUSION
FUSION
Gurrumul Rrakala
Kiran Ahluwalia Aam Zameen: Common Ground
Azam Ali From Night to the Edge of Day
Blind Note Blind Note
JuJu In Trance
Muziekpublique
Real World Records
Kiran Music/Avokado Artist
Six Degrees
Recordings
A beautiful collection of Middle Eastern lullabies from the Iranian-born singer.
The result of a concert held in the dark, this album is an intimate fusion of instruments.
The guitar and ritti duo become a band and look set to blow away the competition.
Reviewed in issue #78
Reviewed in issue #77
Skinnyfish/Dramatico
Gurrumul’s second album retains the same sensitivity of his acclaimed debut, while highlighting more varied influences. Reviewed in issue #80
The Canadian-Indian singer is joined by Touareg guests for an album of joyful AfroIndian songs.
Reviewed in issue #78
Reviewed in issue #80
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Songlines 63
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e Kasse Mady Diabaté Manden Djeli Kan The great Malian singer steps centre stage. A Top of the World in #60
r Iness Mezel
u Femi Kuti Africa for Africa Thrilling sax and raw Nigerian Afro-beat on one of Femi’s best albums. A Top of the World in #73
iGoran Bregovi´c
Beyond The Trance Mezel’s edgier take on the North African Berber-infused sound. A Top of the World in #75
Welcome to Bregovi´c A compilation of the best from the 2010 Songlines Music Award winner. Reviewed in #62
t Los De Abajo Actitud Calle Progressive ideologies set to festive, beat-driven salsa and rock. Reviewed in #73
o Souad Massi O Houria A variety of languages and emotions from the Algerian singersongwriter. Reviewed in #73
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3 Naomi Bedford ‘Roland The Headless Thompson Gunn’ from Tales from the Weeping Willow on Dusty Willow Recordings. See review on p76
1 Dawda Jobarteh
‘Namo’ from Northern Light, Gambian Night on Sterns Music. See Best Albums on p30 and Dawda’s Grooves on p26
4 Kevin Henderson ‘If I Get A Boanie Lass’ from Fin da Laand Ageen on Kevin Henderson. See review on p77
2 The Alan Kelly Gang ‘Galway Reels’ from Small Towns and Famous Nights on Black Box Music. See review on p77
5 Lucas Santtana ‘Hold Me In’ from Oi! A Nova Musica Brasileira on Mais Um Discos. See the Latin New Wave feature on p34
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Songlines 61