Music Reviews: The Rolling Stones’ Blue and Lonesome + Putumayo Presentsa

By Ernest Barteldes

The Rolling Stones

Blue and Lonesome

Polydor

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As any fan of the Rolling Stones knows by heart by now, the band started out as mostly a blues band – like the Yardbirds, Alexis Korner and other contemporaries, they fed on the American music and went from there. That is quite evident from their self-titled debut album, which relied heavily on covers; including “Route 66” and Willie Dixon’s “I Just Want to Make Love to You” (this was before they recorded Lennon-McCartney’s “I Wanna Be Your Man”).

Though they would often include blues themes in their subsequent records, they never really did a blues album until now. According to the liner notes on Blue and Lonesome, the idea came while they hit a snag while recording an original tune in December 2015 and decided to “clean the palate” with a rendition of Walter Jacobs’ “Blue and Lonesome,” and the idea was planted.  The band played live in the studio with wild abandon, almost sounding like a bunch of 20-year-olds as they went along.  In the studio next door was Eric Clapton, who was invited to contribute on a few tracks, and by the end of only three days the album was done.

The band – augmented by session musicians Darryl Jones (bass), Chuck Leavell (keyboards) and Matt Clifford (Wurlitzer) delivered one heck of disc – they sound energized and clearly happy to be doing this.  Jagger’s harp is second nature to him as well as his trademark voice.  Clapton contributed to “Everybody Knows About My Good Thing” and “I Can’t Quit You Baby,” but he was subtle, mostly adding to Keith Richards’ lead guitar and doing his best to stay out of the way – you can hear this clearly on the latter, when you hear Richards on the left and Clapton on the right, both with their distinctive sound.

This is the essence of the Stones masterfully doing what they studied deeply for years and throughout their careers, not some opportunistic rock band trying to sell records by taking on the blues and failing miserably – examples abound out there without me having to name names.

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Putumayo Presents: African Rumba

Various Artists

Putumayo

 

When Angelique Kidjo took to the stage at Celebrate Brooklyn in the summer of 2016 for her Celia Cruz tribute, she stated that when she was in her native Benin, there were two artists that had superstar status:  The Queen of Salsa and James Brown – but she also said that Latin artists were highly respected, especially in the western part of the African continent.

As the liner notes of Putumayo Presents: African Rumba state, “in the 1930s a Cuban song called ‘El Manicero’ (The Peanut Vendor) became a worldwide hit reaching even in the heart of Africa The Ensuing popularity of Latin music and dance styles like the rumba, mambo and cha cha cha, which evolved into salsa, had a powerful effect on African music throughout the 1970s.”

“Latin music was so popular in Africa,” the notes add, “that when a 1974 concert featuring an array of international stars was organized in what was then Zaire, it wasn’t James Brown or B.B. King who filled the stadium but Cuba’s Celia Cruz and salsa star Johnny Pacheco who elicited the greatest response.”

This is quite evident in this Putumayo compilation that brings together music recorded   over the span of four decades, which shows how Latin influence shaped the music in that continent. Kicking off with “Aminata,” a duet by Cuban pianist Harold Lopez-Nussa and Senegalese bassist/singer Alline Wade recorded in 2015. The roots of the song are clearly African, but the beat and general feel is purely Cuban.  The same can be felt with Michel Pinheiro’s African Salsa Orchestra. A native of Benin, he found success later in life (he was a farmer for a long spell) in Abidjan, in The Ivory Coast. His “Paysan” has a slower tempo than most of the tunes on the disc, but it is very soulful thanks to his heartfelt vocal delivery.

Ricardo Lemvo and Makina Loka were also supposed to appear at Celebrate Brooklyn in the summer of 2016, but the concert was cancelled for unknown reasons. A native of Congo based in Los Angeles, his music has a stronger Central African influence (especially on the guitars and percussion) with more low-key acoustic arrangements that focus more on the vocals and beat – perfect to dance while still enjoying the music, as can be heard on “Tata Masamba.”

Also notable is the earliest tracks in the collection – Orchestre OK Jazz’s “Micorasson,” which is basically misspelled  “Mi Corazón”  (“My Love”) dates from 1956 – the year Elvis made his first recordings for RCA.  The interesting thing is that they sing in phonetic Spanish even though none of them spoke the language but you can hear how hard they try – even if they slip in some of their native words.

This is a great introduction to a genre few Americans – except maybe for a die-hard World Music Fan – have ever been exposed to, and a fantastic starting point for those who want to get to know these musicians better.

Angelique Kidjo’s Celia Cruz Tribute + Yosvany Terry Quintet at Celebrate Brooklyn

 

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Angelique Kidjo 

Yosvany Terry Quintet +

Angelique Kidjo

Celebrate Brooklyn

Prospect Park Bandshell

July 29, 2016

article and pictures by Ernest Barteldes

On an evening dedicated to the memory of the late salsa queen Celia Cruz, the Yosvany Terry quintet (Terry: saxes and chekeré; Yunior Terry: bass; Michael Rodriguez: trumpet; Manuel Valera: piano, Obed Calvaire: drums) came on with an energetic set of original music starting with an uptempo number with a strong Brazilian groove. The band played quite loosely, allowing for lots of free improvisation throughout. Following that vocalist Yanelle McPherson for a Irakere cover with very focused Afro-Cuban roots.

Valera was featured with an extended piano solo that followed some Spanish-language spoken word by the bandleader, who took the checker (an African made of a dried gourd and beads strung on the outside) and did a piece mostly based on it until the band joined in. McPherson returned for the last number,  an uptempo rumba with an extended drum solo that got the audience moving.

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Yosvany Terry Quintet

After a short break Angelique Kidjo came to the stage at first accompanied solely by an acoustic guitar with a ballad in her native Fulani. The 12-piece band (which included Terry and guest percussionist Pedrito Martinez) then kicked in – Kidjo immediately embodied Cruz’s fiery style, singing one of her classic numbers  – including Cruz’s signature “Azucar” cry, and followed that with a joyous original tune she explained was inspired by hearing the singer performing in Benin when she was thirteen years old.

One of the set’s highlight’s was the inclusion of a Spanish language version of “Voce Abusou,” a tune originally penned in Portuguese by the duo of Antonio Carlos & Jocafi (the song was also covered by Ella Fitzgerald)  – here it was given a more Afro-Cuban treatment, with focus on the percussion. After the tune, Kidjo acknowledged the  various influences present on the set, and stated that Afro-Caribbean and Brazilian music “survives through pain”  and given the current political climate, “you fight hate with kindness.”

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Angelique Kidjo

During one of the numbers, Kidjo left the stage (followed by some of the musicians) and walked around the audience, singing with great gusto. She also invited some members of the crowd to come up and dance along with the music.

The set ended with Kidjo’s classic “Tumba,” a song with a lively beat that has become her signature number – the audience was on their feet dancing and singing along to the chorus  – the ending of what was one of the season’s most memorable shows.

Angelique Kidjo is probably one of the few singers today that can do justice to Celia Cruz’s music – she has the same spirit and a voice just as strong as the late diva – I happened to be at Cruz’ final performance at Central Park Summerstage, and I am sure that she was looking down from heaven with a smile. It was a wonderful tribute – which I hope Kidjo takes on the road. More people deserve to hear this again and again.

Krar Collective + Hakim at Celebrate Brooklyn

 

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Krar Collective

Article and photos by Ernest Barteldes

 

Krar Collective + Hakim

Celebrate Brooklyn

Prospect Park Bandshell

Brooklyn, NY

July 15, 2016

On what turned out to be a very warm night in Brooklyn, things kicked off with the England-based Ethyopian trio named after the harp-like instrument played by  bandleader Temesken Zeleke (the trio is rounded out by drummer Grum Begashaw and vocalist Genet Assefa)  playing a selection of uptempo tunes that showcased the band’s talent and also Zeleke’s skills They kept everything very uptempo except for a short period in which the bandleader switched to a more traditional acoustic version of the instrument.

Assefa has great energy and chemistry with the band and audience, dancing and singing the music with great feeling, being the ideal frontwoman for a trio with two musicians who are extremely focused on their instruments.  During the more uptempo moments, she led the crowd to clap and sing along with the chorus even if most couldn’t understand a word.

Though Krar Kollective’s music is deeply rooted into tradition, they clearly have strong pop influences – Tamesken uses a variety of pedals to create a full band effect with an intensely improvisational sound, while Begashaw’s drumming  has a strong, Ringo-like rock vibe.

There was a strong NYPD presence at the show – I spoke to one officer, who told me that they were there following the recent military coup attempt in Turkey  – He said that they didn’t expect any issues, but stated that city officials would rather be safe than sorry. I smiled when he said that, and he thanked me for understanding, considering the anti-cop attitude that has dominated the media in recent times. I shook his hand and went back to hearing the music – there was some great music to be heard.

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Hakim

After a brief intermission, Egypt’s Hakim came on backed by a 12-piece band that included two keyboardists, a  three-piece horn section, several percussionists and electric guitar and bass.

Hakim’s very tight band  kicked things off with a funky instrumental piece that preceded the singer’s entrance.  As he entered to thunderous applause wearing a t-shirt with the inscription “Visit Egypt” , the singer immediately engaged with the crowd, greeting them in Arabic and getting to the hits, which most of his fans sang along to.

I had never heard Hakim on a live setting before, and was impressed with his command of the stage. He seemed to look straight into the eyes of audience members and was friendly with the photographers on the pit, stopping to pose for them as he belted out the music.

The band was well rehearsed, but they allowed various spontaneous moments  – one of the guitarists played an extended solo, and an accordionist had many opportunities to  throw in a few improvised riffs.

 

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Hakin does his thing

I was a little disappointed that Hakim didn’t even bother to greet non-Arabic speaking fans in English, but you could see he was inside his comfort zone, with many of his compatriots waving Egyptian flags as they lost themselves into the music.

He kept the energy level up during the entire set, and mostly stayed away from ballads except for one moment when he went into a more traditional direction with a 7/8 tempo tune. Apart from that it was party time as the singer got almost entire crowd to their feet to dance.

It was a very nice evening  – the energy was great and the music was highly inspiring, and it made for a fantastic musical discovery.

LAMC Shows at Summerstage and Celebrate Brooklyn

by Ernest Barteldes

I wish I had more time to attend everything that goes on at LAMC, but the truth is that this blog has not yet become profitable, and frankly I would rather not deal with some of the editors that have taken over some of the publications I used to write for (and the editors that were there before, they have all moved on to something else – as have I in a way).

So I did submit reviews of shows I attended at the venues above as part of the annual Latin Alternative Music Conference, but I’d like to share some of the more visual moments of those two evenings – stay tuned for actual reviews on All About Jazz soon.

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Hurray for The Riffraff played a very interesting World Music Set

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Hurray for the Riffraff at Celebrate Brooklyn

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More from Hurray to the Riffraff

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At Summerstage, Rodrigo Amarante… uh.. not really rocked anything. Just  navel-gazed for his entire set

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Tried to get what this dude was about, but he avoided anything anybody knew

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I tried to get it but… no

Outdoor Music: What to hear in July

by Ernest Barteldes

 

Last month I wrote about what to hear in June – since I was away in Poland for half of the month and thanks to the weekend glitches of the MTA, I was only able to hear one, which I recently reviewed for All About Jazz (I was going to run it in these pages, but I felt it would reach more readers there – I am not greedy). But now it’s time to look into July.

Please note that I am only writing about the free shows here – there are some interesting benefit concerts this month, but I chose to shine a light on the ones anyone can attend without shelling out.

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King Sunny Ade

I wouldn’t normally bother about shows during the Independence Day Weekend – everyone’s going to be somewhere else (myself included), but I do have some great recommendations for the next couple of weeks. But please note that the Nigerian legend King Sunny Ade will be at Summerstage on July 3 o what is his first North American tour since 2009  – so in case you will not be sunning yourself, don’t miss that show.

On  Thursday, July 7th,  a performance not to be missed is an evening of Indian-inspired music that begins with DJ Rekha (one of the leading Bangra MCs out there), and two of my personal favorite musicians: Karsh Kale, one of the most inventive songwriters I have ever heard.

About a decade ago, he joined forces with sitarist Anoushka Shankar (the daughter of Ravi Shankar and half sister of Norah Jones) for one of Breathing Under Water, one of the most brilliant World Music albums released in the 21st Century.  Closing the evening is the Sunny Jain-led Red Baraat, dubbed “one of the best party band around.”

I am sure to be there, even if I have an early start on Friday.

The second weekend in  July marks the highly anticipated (as far as I am concerned)  Latin Alternative Music Conference, an event that brings together media, musicians and labels for a smorgasbord of showcases, concerts and industry-related panel discussions – the most interesting for the general public being the free concerts they sponsor both at Summerstage and Celebrate Brooklyn.

On July 8, Rodrigo Amarante,  the co-founder of Brazilian rock band Los Hermanos and Orquestra Imperial (a samba supergroup that also features Moreno Veloso), takes the stage at Rumsey Playfield to showcase music from his debut solo album “Cavalo” (Horse). The evening also features Mexico’s Leon Carregui, one of this year’s breakthrough Latin artists. The next day, head over to Brooklyn to hear local Latin artists Buscabulla and Hurray for the Riff Raff and of course the headlining artist – Mexico’s Carla Morrison.

There aren’t many living jazz singers who I would say are among the greatest in history, but Diane Reeves (Queensbridge Park, July 27)  is surely among them.  Sex and The City fans will remember her belting out “Is That All There Is” on the season 5 finale, but I have paid attention to her for quite a while. She is incredibly versatile and tackles various genres without losing her signature style.  Opening for her is DJ Greg Caz, arguably the the most musically open-minded DJ in New York City – he not only loves music but has a deep knowledge of it that baffles me at times.

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Gregory Porter

Closing my recommendations for July is Gregory Porter (Celebrate Brooklyn, July 28) – his deep baritone and has you at hello, as I discovered when I first heard about him via the Starbucks app (gone are the days that they gave out music, thanks to their current partnership with Spotify). I heard him last year at Summerstage and was fascinated at his command of the stage and his captivating personality, and am eager to hear his music again in a live format.

Music Preview: What to Hear in June: SummerStage & Celebrate Brooklyn

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McCoy Tyner

By Ernest Barteldes

 

I love listening to music in clubs or arenas, but nothing really compares to heading outside during the summer to enjoy concerts in the outdoors.  Sure, it’s sometimes sticky and horribly crowded, but on the bright side many of the concerts happen to be free or at a very low cost (Celebrate Brooklyn has a long-standing policy of a $3 donation), so it is a great opportunity to get to know artists that you might not have the opportunity to know about otherwise.

Over the years, I have discovered many new artists from all kinds of backgrounds – the first time I heard Colombia’s Aterciopelados, Mali’s Amadou & Mariam and Puerto Rico’s Calle 13 was either at Central Park SummerStage or at Celebrate Brooklyn. I really cannot tell you how many times I have attended shows at both venues, but many were amazing experiences (sure, there were a few duds too, but let’s forget about those for now) that I will not forget anytime soon.

I was going to write a single preview for the entire calendar for this season. However, I found that to be a daunting task, so I decided instead to pick some favorites for the month of June and give readers of this blog a better preview for every month until the concerts come to an end in August-September. The picks below are based on my own preferences and not by what someone might have told me, and I also avoided paid benefit concerts, so you will not find any listings for those shows even though they might be quite interesting.

Things kick off in an extremely interesting way with a salute to legendary jazz pianist McCoy Tyner – who I heard live for the first time at Central Park SummerStage, the same venue that is paying tribute to him this year on June 4th.  And what a band does he have behind him, all gods of music in their own right –  Ron Carter (bass), Wallace Roney (trumpet) and Roy Haynes (drums).  You could not ask for anything better, really – it is like dying and going to jazz heaven for one evening.

Celebrate Brooklyn is not too shabby either – their season opens with none other than Sharon Jones & the Dap-Kings (June 8), who is known for her energetic performance style and overall great voice.  Like many African-American singers of her generation, she started out singing in church in Brooklyn and then gravitated to funk and soul in the 1970s, doing lots of backing session work. She was a late bloomer, and not until the late 1990s did she get her real break – and the rest, as they say, is history.

I have always thought that Yiddish music has not gotten enough attention – especially its more modern incarnations that have incorporated jazz tendencies and garnered more mainstream attention. A chance to catch this new wave of Yiddish music (the first time I heard these new direction was in a documentary about young Jews in Poland a few years back) will happen on June 15, when several stars come together for a mini-festival called Yiddish Soul: A Concert of Cantorial and Chassidic Superstars.

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Baaba Maal

Among the most influential Senegalese musicians around is Baaba Maal, a singer and guitarist who blends various musical influences (Celebrate Brooklyn, June 16). He sings in the unique Pulaar language, blending styles that go from more traditional rhythms to more popular sounds – including salsa. He will be sharing the spotlight with Lakou Mizik, a band formed following the devastating 2010 earthquake in their native Haiti.

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Angie Stone

Angie Stone (SummerStage at Betsy Head Park, June 22) got her first big break as part of the all-female outfit Sequence, when her voice led the hit 1979 “Funk You Up” (not to be confused with the recent hit “Uptown Funk,” which actually seems to borrow a lot from that old track), but it was not until the 90s when she established herself as a bona-fide solo act as one of the leading voices of the so-called “neo-soul” movement (a term many musicians have recently been avoiding). She recently released a new album entitled Dream (Shanachie Entertainment/Conjunction Entertainment/TopNotch Music), which takes her music into a whole new direction.

For fans of Afro-Latin beats, be sure to catch Ricardo Lemvo & Makina Loka (Celebrate Brooklyn, June 24), a Congolese musician of Angolan roots. I recall hearing one of their earlier albums and was impressed by their sound – they include songs inspired by the Caribbean and also Brazil – once I had to check if I was still listening to the same disc, because they go into so many different directions that it can be a bit overwhelming – but thoroughly satisfying to the ear.

Come back to these pages for reviews of some of these concerts and also previews of what’s to come in the coming months – it should be a very, very interesting season indeed.

 

 

 

 

Album Review: Badi Assad/Hatched

By Ernest Barteldes

I’ve been following Badi Assad for about fifteen years, from the time she was doing more avant-garde instrumental-oriented music right into her shift into the pop-jazz-fusion material she started putting on her records, going from 2005’s Verde up to Hatched (QuatroVentos),  in which she reinvents pop hits in her own way – the tunes are still recognizable, but her personal imprint combined with her signature acoustic guitar chops – are undeniable.

It was fortunate that I was oblivious of most of the tunes on the disc so I could appreciate the music without any bias, approaching them from a completely fresh point of view. She kicks off with Mumford & Sons’ “Little Lion Man” with a bossa-nova vibe that contrasts to the much faster paced original.  She transforms “The Hanging Tree” (from the Hunger Games soundtrack) into an acoustic funk that showcases her guitar and vocal chops, leaving the original recording as floundered Joe Cocker did to The Beatles on “With a Little Help From My Friends.”

My favorite recreation was her take on Lorde’s “Royals” – Assad plays it double tempo, with Simone Sou’s strong percussion as a backdrop to the Assad’s fluid guitar and Rui Barossi’s upright bass.

I am looking forward to catching this material in a live format. The last time I saw her perform was during the Verde tour, when she played accompanied solely by her guitar – it was great, but I would love to see her stretching it live with a band behind her.

Not that she needs it at all – she is highly engaging on her own.

If you happen to live anywhere near where she’s touring, do not miss the opportunity to hear her live. I have already told my friends in Fortaleza – the only major Brazilian city she is playing in at the time of this writing – to go to the show.

And a note to my readers in Chicago – the publication there that I have contributed there for over a decade has a new music editor who thinks he is the last Coca-Cola in the desert. He is doing the usual house cleaning that commonly comes with change in the masthead, so you will not be seeing my byline there for a while. The solution? Subscribe to my feed, because I have not forgotten you.