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Afro-Brazilian and Afro-Cuban jazz and dance music are pretty familiar to Northern ears at this point -- but Afro-Peruvian? What might that sound like? If you're imagining polyrhythms crossed with pan pipes, think again: this is urban Peruvian music, and to be honest, it often sounds kind of like a cross between Afro-Brazilian and Afro-Cuban music, when it isn't just sounding more or less like one or the other. What makes Novalima's sound unique isn't so much its cultural mix as its production style: instead of making modern electronic dance music with a Latin flavor, this quartet takes traditional Peruvian instruments and uses them to make Latin music spiced with electronic elements, and the result is both more musically compelling and more funky than you might expect. They bring in a host of guest artists, including several female singers who grace some of the album's finest songs: the house-inflected "Machete" is one of the album's highlights, as is the eerie, dubbed-up and atypically electro-flavored "Mandinga." "Cardo" makes funk out of a six/four rhythm (which one might have thought to be impossible), and "Candela" pays tribute to Cuba with its irresistible rhythmic structure. Only "Alcajazz," which starts out tedious and stays that way even when an amped-up club beat kicks in partway through, fails to impress. Highly recommended overall. ~ Rick Anderson Afro Review
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Liner Note Author: William Hogeland.
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| | Bobby Bare Drunk & Crazy...Plus CD (2007)
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How did Bobby Bare follow up 1979's rowdy, bawdy "live" Down & Dirty? By getting Drunk & Crazy, of course. From its title to its collection of cheerfully vulgar Shel Silverstein tunes, 1980's Drunk & Crazy is a cousin of Down & Dirty, revving up the loose, boozy, roguish charm of that 1979 platter's "Numbers" and "Tequila" until things almost get boorish. Almost, but not quite: the nasty black humor of "If That Ain't Love" -- where Silverstein ponders "I slapped your face and I stepped on his/And if that ain't love, what is" -- is saved from meanness thanks to Bare's sly delivery, which also keeps Edward Lee Pangborn's "Bathroom Tissue Paper Letter" from descending down the toilet. These are hardly the only dirty jokes here -- there's also Royal C. Bannon's timeless "I've Never Gone to Bed with an Ugly Woman," with its punchline "but I sure woke up with a few," along with a host of other Shel songs, the best of which are the title track, "Food Blues," the positively debauched "Drinkin' and Druggin' and Watchin' TV" (complete with an offhand dig at Jim Bakker's PTL ministry), and the blues boogie "Gotta Get Rid of This Band," all songs Dr. Hook & the Medicine Show could have sung at their dirty hippie peak but are better suited to Bare's easy swagger. All these puns and quips overshadow the numerous times things slow down just a tad, as Bare sings Ray Willis' slow honky tonk ballad "I Can Almost See Houston from Here," the myth-making "Song of the South," which is bettered by the picturesque, galloping "Appaloosa Rider," and a fairly sublime version of Guy Clark's "Desperados Waiting for the Train." Such songs not only give Drunk & Crazy a bit of variety, but they also are reminders that no night of heavy drinking is without its bouts of maudlin sentiment, which is why the album is such a perfect soundtrack to getting drunk and crazy: it feels like a wild night out at the bar, right down to how the raucous moments ultimately overshadow the times everybody tries to sober up and get a bit serious. [Raven's 2007 reissue of Drunk & Crazy -- appropriately titled Drunk & Crazy...Plus -- adds nine bonus tracks: Silverstein's goofy singalong "Greasy Grit Gravy" from 1978's Bare; four songs -- almost a full side -- of 1982's Ain't Got Nothin' to Lose highlighted by Bare's spectacular version of Guy Clark's "New Cut Road" and also featuring "If You ...
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Europe is quite aware of the music made by trumpeter Eric Vloeimans, and much more than Americans, simply because he does not visit stateside all that much. This club date done at Yoshi's in Oakland, CA likely turned more than a few listeners into converts, especially if they enjoy the self-examining side of jazz. With electric guitarist Anton Goudsmit and acoustic pianist Harmen Fraanje, Vloeimans conducted this program of originals and a lone standard in a most sensual, sparse, chamber music-style that is as arresting as it is introspective. Not serene in the strictest sense, the trio delves in film noir nuance. Vloeimans isn't as much a romantic as he is interested in under-the-surface tones and implied emotional inferences. Those who may need more energy in a factor that involves volume may not appreciate this approach, but the sheer musicality of what you will hear is at an unquestionable high level. At times the trumpeter simply drops out to allow his sidemen all the necessary room to tell their mysterious tales, and both are quite capable of wringing every drop of emotion out of their hearts, letting a raft of sweat and tears splatter to the floor. Where "Corleone" is Godfather-inspired in a spirit soul or chamber-like framework, a calm-before-the-storm motif is established that is utterly foreboding. "March of the Carpenter Ants" has that slightly bouncing off-the-walls feeling, but is ever so spatial in midtempo and increasingly dramatic tones. The sung style and overblown trumpeter evokes ethnic overtones during "Fatima," which may be the single track where he is duly featured. There's an ECM resonance on "Ernesto"" that has reverent church-bell inferences via the tiny trumpet notes of Vloeimans, "Wet Feet" is the shortest cut at three minutes, very dainty and disarming, while "Harry Bo" is the most energetic, interactive, and tango-structured piece. The music generally is very enjoyable, and displays ...
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Growing like wildfire under the canopy of live electonica and world roots music comes Beats Antique, a masterful merge of modern technology, live instrumentation and seductive performance. After only 2 and half years performing as a cohesive force, the group has just self released their third album, Contraption, Vol.1 which marks the first in a two-part EP series. The seven-track EP is dance-floor ready, infused with orchestral textures and a worldly flare that has fans clamoring for more. Using only word-of-mouth marketing, Beats Antique’s new tracks have over 700 paid downloads and 20,000 plays on the EP in the first week of their self-release. There is no doubt that the merge of old world instruments and live producing is on the rise and Beats Antique is leading the way. Beats Antique combines the sounds of the Middle East with the styles of hip-hop, brass band, downtempo, glitch and dubstep in a new collage of music that is mixed and broken down with clever breakbeats for an adept international flair. Beats Antique is producing an un-charted style of music by adding live horns, accordion, glockenspiel, viola, string quartets, kalimba, clarinet and various unusual instruments to their big beat arrangements. Born of Oakland, CA, the musical trio consists of producers, David Satori, Sidecar Tommy and world-renowned belly dance performer/producer Zoe Jakes, who helped inspire the thematic Middle East tempo of the band.Coming off a landmark tour in the US and UK in support of their previous release, “Collide” on CIA (Miles Copeland’s new label, previous manager/producer of The Police, REM, etc.) “Collide” has reached the Top 10 list of most downloaded artists under Middle East and World Dance and the Top 20 most downloaded electronica albums on Amazon.com. Beats Antique returned to the states with ...
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