Music Preview: GlobalFest 2018


Mariachi Flor de Toloache

By Ernest Barteldes

Although the weather might be less than inviting in New York in January with record cold temperatures, snow and sleet, it is also the month when various important cultural events take place – one of them being the World Music smorgasbord known as GlobalFest, which this year takes place at B.B. King’s Blues Club and its adjacent bar Lucille’s Grill and Liberty Theater across the street.

For those who have never been to the event, GlobalFest is a six-hour long event that brings together several artists from around the globe who showcase their music to an audience made up of music journalists, label scouts and curious fans willing to know “what’s next” in the scene.

Few of the artists on the list are necessarily household names Stateside – in fact, I had only heard about one of them, New York-based Mariachi Flor de Toloache, who I heard at Celebrate Brooklyn as co-headliners with LAMC in 2013 and as special guests with Mexican-American singer Lila Downs in 2016.


That, however, is the entire point of the festival – to introduce these musicians to U.S. audiences and specially bookers in search of acts to perform in their own festivals and venues. Over the years, I recall hearing then lesser known artists such as Lenine (then already a star in his native Brazil), Cambodian retro pop outfit Dengue Fever, Cape Verdean singer Sara Tavares and yes, a then up-and-coming Lila Downs, who graced the stage (then at Webster Hall) back in 2007.


La Dame Blanche

Sure, there were many others who came and went without making much noise in spite of good performances, but this is a golden opportunity not only for artists to be discovered but also for many of us music fans to get to know artists that we would not otherwise be exposed to, especially when many of us fail to diversify our listening habits more and more as we stream music that we are comfortable with.

GlobalFest takes place at BB King’s Blues Club and Liberty Theater. For more information, visit  Click here for info on the lineup, and tickets can be had here


Weekend Music in Review: Frank Haye & Brooklyn Interdenominational Choir at BRIC Celebrate Brooklyn, Brazil Summerfest featuring Elza Soares and Liniker & Os Caramelows at SummerStage in Central Park


Brooklyn Interdenominational Choir

By Ernest Barteldes 


Frank Haye & The Brooklyn Interdenominational  

Gospel Choir 

BRIC at Celebrate Brooklyn 

August 4, 2017 


The Brooklyn Interdenominational Gospel Choir  – backed by keyboards, bass, guitar and horns – opened their short set by blending secular and Christian music, including snippets from Nina Simone’s “Ooh Child,” Kool & The Gang’s “Celebration” and the Temptations’ “My Girl” and then drifting into a bluesy slow-tempo religious tune that set the tone for the remaining of their set – the music went in various directions, and included a song that challenged the singer as the key was modulated several times.  

One of my favorite moments was a country-inspired number whose lyrics spoke about self-doubt and finding your faith in spite of everything – which then went into the grand finale with the classic “Oh Happy Day” featuring a contralto that blew everyone away with her great energy and vocal prowess.  

The concert was followed by a screening of Creed with a live score performed by the Wordless Music Orchestra, which will be returning to the Prospect Park Bandshell on August 10 for a performance backing Selma fronted by Jason Moran 


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Liniker & Os Caramelows

Linikner & Os Caramelows + 

Elza Soares 

Brazil Summerfest at SummerStage 

In Central Park 

August 5, 2017 


The annual Brasil Summerfest – a weeklong festival showcasing Brazilian talent –  kicked off at SummerStage with Liniker & Os Caramelows, a large ensemble led by dress-clad Liniker Barros, a powerful singer who prefers to be considered genderless – on an early interview with a Brazilian newspaper, Liniker identified as “gay, black and poor” but hell the band can swing! Their music navigates from blues to funk but their roots are deeply rooted in Tropicalismo – Brazil’s response to Psychedelics that made musicians like Caetano Veloso, Gal Costa and Baby Consuelo household names in their native country. 


Elza Soares

Elza Soares came on with a selection of music from “Mulher Do Fim Do Mundo,” her first release in over a decade. As Sao Paulo’s Folha de Sao Paulo noted, fans who were hoping to hear familiar sambas might have been a bit disappointed as she focused on new material – she sang seated on a a throne because of current back problems – but it was a stellar performance nevertheless. Due to current political problems in Brazil, the event was politically charged – some fans were screaming “Fora Temer” throughout the set (because many on the left want to get rid of embattled conservative president Michel Temer) – something she encouraged between songs.  

Soares acknowledged the “young Sao Paulo musicians” who made her album possible and kept on going with more alternative material – fans in the audience seemed well-schooled in the material and sang along with every song. Soares did veer into some more traditional material towards the end, but this was definitely her statement – she was not interested in rehashing the past but to look to the future instead – this was definitely not your grandma’s Elza Soares.

SummerStage in Central Park: Chicano Batman & Los Pericos at LAMC

by Ernest Barteldes

Chicano Batman + Los Pericos

LAMC at Summerstage in Central Park

July 15, 2017



Chicano Batman

Los Angeles-based Chicano Batman came on stage with their Psychedelic-inspired sound, complete with Mellotron-based tunes and a look more suited to Ed Sullivan circa 1968 then Central Park in 2017, but I guess that is the message they want to convey. Though mostly a quartet, they were often enhanced by a pair of backing vocalists – one whom took over the keyboards when lead singer Eduardo Arenas either stepped away from the mic to sing lead or played guitar.

I half expected this edition of the LAMC to be a bit political given the current divisions in the United States, but was surprised that no one spoke of walls or anything related to the current president in this country: it was all about the music and little else. The band instead took the opportunity to showcase as many of their influences as possible, including a Cumbia-inflected tune and a ranchera in which the bassist took over the guitar while Arenas took over the bass guitar.

Chicano Batman has great chemistry together, but it seems they are not yet ready to play large stages like Rumsey Playfield.  There is no doubt about their talent – their instrumental moments were quite great – but they seemed a bit overwhelmed about being before a numerous audience like the ones often seen there – I guess we are looking at diamonds in the rough, and would be happy to learn they’ve evolved in coming years.


Los Pericos

After a short break, Argentina’s Los Pericos brought a mix of funk and reggae with a Latin take – I felt they were very influenced by Brazil’s Paralamas do Sucesso – that got the audience moving from the moment they played their first chord.  They had great energy and effectively communicated with the crowd by calling on the different nationalities represented there.

Los Pericos has been around for three decades, and their set reflected that experience: the music went from disco-inflected moments to salsa and various other rhythms while never losing touch with their original influences. Since there were many in the audience who had probably never heard of them, the band jam-packed their set with their best material so people could know what they were about.  A handful of their tunes were in English – with lyrics that either talked about heartbreak or romantic defiance – but most were in their native Spanish.

It was a wonderful afternoon – I just wish the weather on Friday had been a bit better so I could have caught the showcase at Celebrate Brooklyn the previous night – it would have made for a much better musical experience.

What to hear in July: Summerstage, BRIC Celebrate Brooklyn and Bryant Park

By Ernest Barteldes


Esperanza Spalding – July 30 at Celebrate Brooklyn

July is one of the busiest months in the summer outdoor concert schedule here in New York, and I am one who fully enjoys this – First of all, the Latin Alternative Conference comes to town, bringing tons of Latin talent both to Celebrate Brooklyn and Summerstage (plus many other venues – it’s a music smorgasbord for sure), so things get even more interesting.  Not only that, the public pools are also open so there is a lot to do even if you want to spend the hot days in a lazier fashion.

As I did before, I am only highlighting the free shows, since the ticketed benefit concerts are either sold out or have their own publicity machine behind them – it’s not like they need the likes of me.  For detailed times and locations please refer to the hyperlinks included here.

Things kick off on July 1st in Central Park with a celebration of French and American jazz with a lineup that simply doesn’t feel enough for a single evening, including gypsy guitar virtuoso Stephane Wrembel,  upcoming jazz/pop singer Kat Edmonson and singer Catherine Russell alongside bandleader extraordinaire Vince Giordano. It should be one hell of the night which as usual I am missing because I have plans out of town.

Over at Celebrate Brooklyn Musiq Soulchild does free concert on July 7th – he is regarded as one of the best soul singers of his generation and deserves it – his delivery is fantastic and so is his performance – I expect it to be packed that night.


Jimmy Heath

On July 8th jazz great Jimmy Heath heads to Queens with his big band – the man has played with the likes of John Coltrane, Dizzy Gillespie and Miles Davis (to name a few) and is still here to tell the tale. Look forward to lots of bebop but also contemporary and straight-ahead jazz.

Those not willing to head all the way to Queens that night might want to check out New York’s own Mariachi Flor de Toloache and cumbia queen Totó La Momposina in Central Park. I heard the former during an LAMC concert at Celebrate Brooklyn  few years back – from what I remember it was a lively concert that paid tribute to the traditions of the music of their native Mexico but also looked ahead, using  complex vocal arrangements a few tunes in English; some songs were played with the addition of the cajón and also the ukulele, which both enhanced the songs and gave them an intriguing, innovative sound.


Mon Laferte

The LAMC kicks off on July 12 in Central Park with Puerto Rico’s ÌFÉ, New York’s own Princess Nokia (an interesting use for the virtually defunct cellphone brand, no?) and Chile’s Mon Laferte, a self-taught powerhouse of a musician who blends electronic, rock and R&B in her own unique manner – her video for “Amarrame” (feat, Juanez) is on heavy rotation on Latin music channels (I happened to catch it while vacationing in the Dominican Republic a few weeks ago), and I really want to see how this translates in a live format

The late Fela Kuti is celebrated in music and theater for his contribution to what became the Afrobeat movement, and his legacy is being memorialized on July 16 in a concert  that brings together his son Seun Kuti and Roy Ayers, one of the elder Kuti’s many collaborators during his career and beyond – Ayers is one of the godfathers of the neo-soul movement and a highly respected artist in his own right.

I can’t remember the last time I heard Mali’s Amadou & Mariam on stage – I recall it was at Summerstage about a decade ago when I was still writing for the now-defunct Global Rhythm and New York Press. They are a married blind duo who play their own brand of African blues, and have this magical sound to them. It will be good to catch them again after all this time in Brooklyn on July 21st


Accordion Festival 

On the same day, The Accordion Festival – closing up the Accordions Around The World program happening in Bryant Park – takes place, with tens of players over a five-hour period. Something for those who want to hang in midtown Manhattan and have a good time.

During her tragically brief career, Amy Winehouse left us a memorable canon of songs over two albums (only one released in the US market) and (as far as I know) a single guest appearance – her last recording – on Tony Bennett’s Duets II album. Her music is certainly remembered, and will be the basis for the program developed by BalletX / YY Dance Company on July 26 in Central Park.


Andrew Bird

The month closes in Brooklyn (July 30)  with two of my favorite young musicians: multi-instrumentalist, whistler and vocalist Andrew Bird, who I discovered in a completely unusual way: on the soundtrack of the 2011 Muppets movie, Towards the end of the movie, newcomer Walter did a surprise performance of “The Whistling Caruso” – which was actually played by Bird.

The other favorite is Esperanza Spalding, the genre-bending bassist who began her career doing avant-garde jazz and then went on to make extremely diverse albums that explored a variety of sounds, going from straight-ahead jazz, soul and more recently Emily’s D+Evolution (Concord), an experiment that blends musical theater, jazz, funk and much more – something that some fans heralded and others failed to fully comprehend (me being the latter) – when she first emerged, Spalding was a breath of fresh air in the jazz world, and continues to evolve throughout the years – I can only imagine what she is going to bring to the fore this time.

Album Review: Chuck Loeb’s “Unspoken”


by Ernest Barteldes

On  Unspoken (Shanachie, 2017) , legendary  Fourplay and Steps Ahead lead guitarist Chuck Loeb explores various sonic  textures over a collection of ten originals he either –except for one –  wrote or co-wrote. He kicks off the album with the up-tempo “Cotton Club,” a funk-driven tune that he dedicates to the staff of the eponymous Tokyo venue, which he describes on the liners as “my favorite jazz club in the world.”  The track was co-written with Jeff Lorber, who also contributes piano – including a dexterous solo – to it.

Loeb plays various instruments throughout the track – on tunes like “Natural Light” and Way Up High” he performs virtually everything except drums.  Though the arrangements to these tunes are relatively sparse, he uses them as a fodder to improvise more freely – on the former, Andy Snitzer contributes a mellifluous solo, while Loeb adds interesting textures on acoustic guitar.

The title track has a more downtempo feel, and features fellow Fourplay member Nathan East on electric bass and Brian Culbertson on piano. It’s the kind of track that makes you appreciate light jazz – accomplished, beautifully written and accessible.

“Si Se Puede” – which he dedicated to Barack Obama – has more of a bossa feel, with a more subtle arrangement that gives guest trumpeter Till Brönner plenty of space to stretch.  Way Up High (written by his daughter, Lizzy Cuesta) also has a bossa feel, featuring gentle vocals by his wife Carmen Cuesta, who also appears on the samba-driven “Voramar” and the trippy  “Via Verde,” which also includes daughter Christina Loeb on vocals and ukulele (the only appearance of the instrument on the album).

Unspoken is a great offering from Loeb – a concise and yet intriguing album that feels fresh after multiple plays – which this writer recommends to any fan of smooth jazz guitar.


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

By Ernest Barteldes

The Rolling Stones

Blue and Lonesome



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.


Putumayo Presents: African Rumba

Various Artists



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.

Preview: Mariza At Town Hall and NJPAC


Saturday, October 15 at Town Hall

Sunday, October 16 at NJPAC (featuring Bebel Gilberto)

For more information visit

By Ernest Barteldes


Back in 2009 I was fortunate to be in the audience at Carnegie Hall to hear Mariza sing in support of Terra, (2008) an album that was a bit of a crossover for her – in addition to the traditional fados that caused her to be called “the next Amalia Rodrigues,” she included songs like Charlie Chaplin’s “Smile” (backed by Gonzalo Rubalcaba) and The Beatles’ “Yesterday” with a jazz-inflected treatment that was quite different from what you hear on the streets of Alfama.

At the time I was not aware that she was about to embark into a half-decade hiatus to dedicate herself to starting a family . I was glad that to hear she was ready to go back on the road when I was assigned to write a preview of her Krakow debut earlier this year, and was eager to hear her in the US again.

I guess I am getting my wish.

Mariza returns with “Mundo” (Nonesuch, 2016), a disc that  takes her music to yet a further direction, embracing pop, jazz and other genres with a little help of several guest artists who sometimes take the spotlight entirely away from her.

Produced by Javier Limon, the album blends more traditional fados with more modern grooves – the first example being “Paixao,” a ballad that begins with a more classical feel then incorporates electric bass and percussion – something not very commonly heard In an album of this genre – the impression I had was as if Queen’s Brian May had decided to produce the tune then decided not to multi-track his legendary Red Special guitar into it. Another great moment is “Padoce de Ceu Azul,” a ballad with a laid-back feel that gives a chance to hear Mariza outside of the usual dramatic sound of fado.

Fans of Lisbon’s signature sound should not worry – most of the tunes keep into the format, but I agree that Mariza should go beyond their comfort zone as Cristina Branco, Ivete Sangalo and others have done before her. But she is not just expanding, but bringing fado to the 21st Century – “Sem Ti” is clearly inside the genre but cleverly brings other elements to it – without completely breaking away.

I am not sure how Mariza is going to bring all the music together on a live format, but am certainly curious. She always has the ability to surprise audiences with unexpected surprises – at Carnegie Hall she had all the mikes turned off and did a few songs acapella the way it is done back home.

I can assure everyone in the audience – wherever they were – heard every note.