In The Spotlight...

Cesaria Evora

Cesaria Evora is a charming, super talented global star who is known in her country, Cape Verde Island, as "the veritable ambassadress of Cape Verdean music. For Cesaria, like jazz diva Shirley Horn, fame came much later in her life (and from outside of her country). She was over 50 years of age when her first album brought her universal praise and acclaim.

Cesaria has an elegance, a gracious demeanor. When she sings warm, rich, renderings of smooth melodies, her voice rings with a wonderful folksy resonance. She appears to be one who takes her time to share, convey nostalgic stories, marvelous tales of life, love, beauty and sadness too. After all, the mornas she is so well known for being the exponent of are Cape Verdean "blues." And, the slow haunting, rhythmic, melancholy style in which Cesaria sings, expresses love, sadness, longing---and good times too, as all good blues does.

For years Cesaria had been a very popular and beloved singer in her country where she was known as "The Queen of the Morna." Evora's country was engaged in a struggle for freedom, which meant life was not a cheery bed of roses. However, unlike many others, she remained in her country during the struggle for independence (See Global Beat Archive, August, 1996). After independence in 1975, in the early 1980s Evora traveled to France where she was warmly received and her music was greatly appreciated. And, in was in France, at the age of 52, she became a very big success, a global star, a Grand Diva. Cesaria, who often performs barefooted on stage does so to express her unity with the disadvantaged women and children in her country, is fondly know as the "Barefoot Diva."

Cesaria who cites Billy Holiday and Bessie Smith as two of her favorite singers, received a Grammy nomination in 1995 for her self-named album Cesaria Evora, which was recorded live. The album remained at the top of BillBoard's World Music charts for many weeks. Cesaria was joined on this date by a cast of wonderfully creative artists who capture the spontaneity, the very essence of the gorgeous songs and music live.

The musicians on the date were Paulino Viera (6- and 12-string guitar, bass, cavaquinho, a small four string rhythm guitar, harmonica, backing vocals, percussion), Toy Viera (cavaquinho, backing vocals), Osvaldo Dias, "Vaiss" (12-string guitar, backing vocals, whistle), Armando Tito (6-sting guitar, backing vocals), Téofilo Chantre and Ramiro Mendes (backing vocals), Raoul Barbosa (accordion), Dominique Pifarelli (violin), Bau (violin), and Pierre Gosseze (clarinet).

The Cape Verdean mornas, or blues, are also similar to the African American blues form in that Cape Verdean musicians also took what was at hand, whatever instruments they had access to, such as violin, accordion, and guitar, and popular styles of music such as waltzes, ballads and fox trots, to create some very fine music. In America such blues artists as Ardoin Amédé (See Blues Archive) took up playing the accordion and created dozens of popular "zydeco" blues masterpieces that were based on such dances as two-step waltzes.

On the release Cesaria Evora, Cesaria uses her vast musical and life experience to sing about topics that range from from philosophy ("Advice," "Tudo Tem Se Limite"--A Limit To Everything) to beauty ("flor Na Paul," Flower In Paul), to enjoying beauty ("Areia de Salamansa," Sands Of Salamansa),to inspiration ("Tudo Dia É Dia," Everyday Is A New Day), and to living ("D'nhirim Reforma"--Pension Money, Na Cancera Ka Te Medida"--My Fatigue Is Endless).

Cesaria Evora captivated audiences from San Francisco to New York City to New Orleans in 1996 when she toured the United States. And, she won the hearts of many music lovers here with her stately warmth and grace, bluesy mornas, upbeat, rhythmic melodies, and her lovely voice that she uses so magnificently to deliver songs softly yet tenderly and passionately. A bouquet of the finest roses for Cesaria Evora, the Global Grand Diva.

Nonsuch Records, 1995

Nokhanya© 1997-2005

In The Spotlight...

Nguyen Le
Tales From Viet-Nam

"One might think that 'Tales From Viet-Nam' is about the country, its strengths & its weaknesses, its happiness, its melancholy. It's all of this, indeed, but spoken with a distant voice. Thus were born the dreams, from the desire of Viet-Nam."

Nguyen Le, Tales From Viet-Nam

Born in Paris, Nguyen Le lost his ability to speak Vietnamese when he started school. In 1994, however, he embarked upon fulfilling the dream of creating Tales From Viet-Nam a moving, magical blending of jazz, poignantly sung traditional Vietnamese songs played on ancient instruments, and compelling, masterfully performed contemporary sounds.

Nguyen an accomplished guitarist with rock and jazz backgrounds has worked with writer, composer and arranger Vince Mendoza, and appears on one of his recent releases, Sketches. He plays electric, acoustic and fretless guitars on this date, and is joined by a group of talented musicians that includes Huong Thanh (vocals) from Ho Chi Minh City, Hao Nhien (zither, dan trahn, dan bau, sao flute, sapek clappers), Paol Fresnu (trumpet, flugelhorn), Simon S. Hansen (saxophones, concert brass and African flute), Michel Benita (acoustic bass), Francois Verly (percussion, marimba, piano, keyboards), Joel Allouche (drums), Steve Arguelles (drums, percussion), special guest Trilok Gurtu (drums and percussion), and Thai An (moon lute (dan nguyet).

The delicate, passionate, ethereal voice of Huong Thanh is heard on such pieces as the opening cut, "The Wind Blew It Away" (Qua cau glo bay), the story of a young girl so in love she gives the object of her love everything, including the shirt from her back. Huong's singing is accented by the interplay, the synthesis between new and the ancient instruments and music from diverse cultures.

"Hen Ho," (Promise Of A Date) which starts off with Nguyen playing a slow, haunting melody on the fretless guitar, and Trilok Gurtu on the tablas, is a peaceful, meditative composition, very serene, very beautiful. It segueways into a guitar solo that sounds like the blending together of an electric guitar/sitar/kyoto, and takes the piece into a rhythmic soundscape that brings to mind Weather Report's "Boogie Woogie Waltz" (from the album Sweet Nighter).

Nguyen Le'sTales From Viet-Nam is full of wonderful enriching tales, history, culture, and sounds, and when it meets America's indigenous music jazz, Indian music, and music played by European-based musicians the fusion, the energy, the interplay of the rich, highly complementary work of these creative artists is fine, is mystical, is magical, is marvelously beautiful work.

ACT Music, 1996

Nokhanya© 1997-2005

In The Spotlight...

Joe Zawinul
My People

Joe Zawinul is one of the most significant creative forces in jazz. The Austrian born keyboardist has worked with such legendary giants as Miles Davis and Cannonball Adderly. Joe formed and worked with Weather Report and the likes of Wayne Shorter, Eric Gravatt, Alphonso Johnson, Miraslav Vitros, and Dom Um Ramao. Most Recently he has led the group known as the Joe Zawinul Syndicate.

Zawinul is always exploring, composing, arranging, performing, blending diverse sounds. He honors cultures from whence the music comes and fuses ancient instruments, voices and music with electronic music. Joe stretches out, reaches out and builds creative global bridges and celebrates humanity.

On the release My People, Joe Zawinul (keyboards, vocals) joins forces with a stellar global group of creative artists that includes Salif Keito, Mali (vocals), Thania Sanchez, Venezuela (vocals), Souleymane Doumbia, Trilok Gurtu, India (percussion), Arto Tuncboyaciyan, Anatolia (percussion, vocals), Djene Doumbouya, Guinea (vocals), Alex Acuna, Peru (percussion), Tal Bergmann, Israel (drums, percussion), Assistan Dembele, (Ivory Coast (background vocals), Bolot, Atlai Mountains, South Siberia (throat vocals, topshur), Burhan Ocal, Turkey (vocals), and opening words by Duke Ellington (US). Joe's son Ivan adds his arranging, producing and engineering talents on the date as well.

The instruments and voices blend, complement each other and create a world fusion of creative sounds. Fusing, not in the sense of a form or style of music, but of musicians who have come together to play, to contribute to making music by drawing from the sounds and rhythms of their respective cultures, their homeland.

On The compositions "Waraya" and "Bimoya" Salif Keito on lead vocals creates nonstop rhythmic, moving music that transcends language differences and nicely translates through musical sound the passionate spirit of the pieces. "You Want Tea Papa" sung by Arto Tuncboyaciyan nicely conveys, sweet, warm feelings of child-like innocence and affection. "Mi Gente," which features Thomas Sanchez (Venezuela) on vocals and Beto Sabala (Peru), Kenny O'Brian and Lucho Avellaneda (Peru) on backing vocals, is a wonderful, percussion-driven, festive, jubilant, celebratory piece.

My People, which is a marvelous creative work, nicely showcases the talents of Joe Zawinul and a global cast of creative artists that have joined together to share, to perform marvelous sounds, and to celebrate the beauty and diversity of cultures that encircle the globe.

Escapade Music, 1996

Nokhanya© 1997-2005

In The Spotlight...

Marlui Miranda
Ihu
Todos Sons

"In Brazil more than 220 ethnic groups still survive, each with its particular means of expression and an infinite universality of songs, which run the risk of oblivion. These people ought to be part of our cultural world and so we must acknowledge them.

Ihu is a word from the Kamayura Indians which signifies all sounds (Todos Os Sonos). Everything originated from movement or from non-movement. Ihu is all that reaches the ear, where also included the supernatural, the sound of the spirits and the magical entities of the forest."

Marlui Miranda, 1995

These are the words of Marlui Miranda, the celebrated Brasilian musician, singer, advocate for the Amazon Indians of Brasil, and musical anthropologist who spent some twenty years working to interpret the words and the culture of some of the Indians, the indigenous people of Brasil. Ihu: Todos Sons (Sounds) is the result of Marlui's monumental and dedicated efforts that resulted in an impressive, expressive, creative masterpiece that is refreshing, insightful, and moving.

Miranda captures and reflects the music, the cultural and spiritual essence of the Indians wonderfully and in a dignified and high creative manner. Marlui uses her very versatile, rich, tonal, multi-ranged, warmly expressive, imaginative, melodic voice to incorporate the sounds and nuances of the music. She pays careful attention to maintaining the authenticity of the culture, the music, the different ways of playing and singing the music, and to reflecting the Indians' heritage and spiritual tradition.

The songs/sounds/chants Marlui celebrates, touch the soul and transcend language and cultural borders. Some of the songs, tales, stories, which when translated seem simple in words, beautifully express what the indigenous people feel, how they live their lives, ritual in their lives and of the important role they play. And, in researching and recording the songs, Miranda has prefaced the lyrics of each song which is written in the original language, with a bit of information about the various Indians who create the songs and how the lyrical renderings relate to their lives.

The fine group of creative artists that joins Miranda on this date includes Gilberto Gil (vocals), Bugge Wesseltoft (piano), Rodolfo Stroeter (acoustic bass), Paolo Vinaccia (percussion), Caito Marcondes (percussion), Teco Cardoso (flute, including Kukuta Indian flutes), Grupo Beijo, Decio Ramos (borel), and Paulo Santos (torre).

The songs that represent many different indigenous Brasilian peoples, feature rhythmic renderings where the voices blend and complement each other beautifully. Some are reminiscent of instruments, some are like very meditative, peaceful melodies, others resemble harmonious echoes, chants and wonderful haunting, ethereal sounds, and others sound like enchantingly woven tales of wonder.

"Mena Barsaa" (Baya Barsala) from the Tukano Indians of the Amazon, is a ceremonial celebration song whose main feature is the dance to the elderly, which is often sung in unison by adult men in village. In more elaborate rituals one group offers another wild fruit. "Bep," an adaptation and arrangement by Miranda of a song of the Kayapo Indians of Para, sings of a nomination rite in which people receive their names. A person can have as many as 35 names. "Festa Da Flauta," (festival of the flute) from the Nambikwara Indians of Guapore, is a festival that is held when people come together to celebrate, share, or to perform specific tasks (clearing the forest). "Ju Parana," adapted from the Jurana Indians of Mato Grasso of the North, features a passionate, vocal delivery of lyrics that movingly sing about a big flood that came many years ago.

Ihu: Todos Os Sonos by Marlui Miranda, is masterful musical work, by a creative artist who is committed and compassionate, one who generously and kindly shares and enables the world beyond the world of the indigenous peoples of Brasil to have a bit of insight into their world of songs and sounds, into the culture and heritage that shape their lives.

Blue Jackel Entertainment, 1995

Nokhanya© 1995-2005

Emmanuel Nado
Global Beat Guest Contributor

Emmanuel was born and raised in Cote D'Ivoire, West Africa. He hosts "Echoes of Africa," an incredibly informative and popular music magazine program featuring African and African inspired music from many parts of the globe. The program airs weekly on KKUP Radio, a fine community radio station in the San Francisco Bay Area. The weekly magazine format includes music and interviews that focus on the culture and geographical aspects of specific areas of Africa. Occasionally the program switches to a potpourri format featuring musical variety from many African countries. Interviews are conducted with African artists living and working in America, and with visiting artists from the continent. Guests have included Salif Keita, Mariam Makeba, Lucky Dube, Ali Farka Toure, Ismael Lo, Raba Maal, Fela, Alpha Blondy, Johnny Clegg, Lady Smith Black Mambazo, Juluka, Thomas Mapfumo, Zaiko, Loketo, Rigo Star, Four Stars, Pepe Kalle, Toure Kunda, Majek Fashek, Kassav, Nouvell Generation, and the Soukous All Stars.

Emmanuel, a former photojournalist and writer, has a rich and varied background in music, communications, and travel. Fluent in French, his passion for the music and culture of his motherland encouraged him to trace the influences of African music and rhythms in many countries to the history and journeys of African people around the world. In addition to the music and experiences he brings direct from Africa, Nado also writes about African music. He is a columnist with Reggae Calendar International, a monthly San Francisco entertainment publication.

We are very pleased to have the opportunity to have Emmanuel share these unique sounds, his knowledge and insight about African music, its compelling influences on world music, and his masterful ability to inform and communicate through music.

Indeed Emmanuel loves to travel, and recently journeyed to Cuba where he spent time learning more about the culture and music of this island nation. We thank Emmanuel for the information he shares in the report that follows, what he learned about Cuban people, their culture and music. We are sharing this first report on Cuban culture and music, and will be looking forward to future installments and on finding out the happenings on the African and global music scene, plus much, much more information Emmanuel will be sharing with us.