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.

In Honor of B.B. King’s 90th Birthday: Live at The Regal

By Ernest Barteldes

On what would have been the late B.B. King’s 90th birthday, I tuned into Brazilian radio station Educadora FM (from Salvador, Bahia), which was doing a special broadcast in honor of  King, who passed away last May at the age of 89.

The record that the station chose to mark the date was Live at The Regal, an album recorded in Chicago in November 1964 and released the following year and became not only one of King’s most revered discs but also one of the most influential blues albums ever, cited by guitarists such as Eric Clapton and John Mayer, to name a few.

I was only able to hear part of the broadcast (I was on the Staten Island Ferry, which has a spotty WI-FI at times), but was immediately intrigued by it. I had certainly heard it before, but somehow it was not part of my personal collection – which I remedied as soon as I got a chance.

What we hear on Live at the Regal is B.B. King at top form playing songs that have since become classics. After a brief introduction, the album kicks off with “Every Day I Have the Blues” and going right into “Sweet Little Angel.”  The band behind him (rounded out by Leo Lauchie on bass,  Duke Jethro on piano,  Sonny Freeman on drums plus Bobby Forte and Johnny Board  on tenor saxophone) is sharp as ever, giving him the perfect backdrop for his unmistakable playing style. Songs like “Please Love Me”  and “Woke Up This Morning” have a fiery quality to them, and tunes like “How Blue Can You Get?”  have great response from the audience.

This was King’s first live album, which introduced him to larger audiences – he was already called “King of The Blues” back then, but the legend would grow as young folks discovered American blues across the pond via the likes of The Yardbirds and The Rolling Stones, who revered American blues even as many white Americans mostly ignored the genre.

The only thing that bothered me a bit was the sound editing – the ending of “Worry, Worry” is cut abruptly to give way to “Woke up This Morning,”  and the second introduction (which I assume to be the beginning of side B on the vinyl edition) jumps into “You Upset Me Baby”  – you can almost hear the click on the tape recorder.

I am hoping someone finds the source tapes to this recording (not at the Regal – the theater was demolished in 1973) and do a real nice remaster of this album – it certainly deserves it

Disc Review: Discover World Music/Various Artists

By Ernest Barteldes

When it comes to music, I am a bit of an omnivore – I listen to almost everything with the possible exception of gangsta rap or death metal (then there’s the music played at the gym, but my earphones have solved that). As far as I can remember, I have always listened to music from all over the world. In school, I remember being the only weirdo who not only knew who Harry Belafonte and Elizete Cardoso were (I’ll let you Google that one) but also knew a great part of their catalogues.

Lila Downs

Attending concerts at Summerstage and Celebrate Brooklyn deeply broadened my scope – it was there that I first heard groups like Babasonics (Argentina), Amadou & Mariam (Mali) and Lila Downs (Mexico), and I was also blessed to have been present for what turned out to be the final performance by Celia Cruz.

My time as a contributing writer for the now-defunct Global Rhythm magazine was also an eye-opener. I recall that every month the editors (some of whom I am still in touch with) would send the writers a list of records to review, and I would always pick stuff I was not really familiar with so I could learn a bit more about them – during those years, so much music reached me that it is almost overwhelming to think about it. After some time, I started reviewing live performances – one of the most funs was The Pogues, who played a St. Patrick’s Day Concert at Roseland Ballroom back in 2007. I recall that I was probably one of very few sober people in the room (I don’t drink much while covering shows, maybe a beer and that’s it – you can’t really rely on just your notes if you have too much to drink).

World Music is, however, a hard sell in America. Just a few months back I remember talking about Lila Downs to some co-workers and getting blank stares in return – even if some of them HAD watched Frida. Never mind that her shows are completely sold out in New York, and that is also true about stars like Bebel Gilberto, Malian blues guitarist Vieux Farka Touré, Mexico’s Maná and Colombia’s Aterciopelados. From my experience, American audiences in general do not get ‘foreign’ music unless it is sung in English (one of the reasons why Shakira is big in the US and other Latin artists are not).

It’s not like folks don’t try –  World Music organizations and labels frequently bring artists stateside, but those shows are limited to centers like New York, Chicago (which hosts an annual festival every year during the summer), Los Angeles and Miami – some acts do make it as far as Phoenix but it’s not like they are filling halls in Topeka, KS.  I once had an argument with an editor who told me to stop pitching him African musicians – his readers (or he) were not interested – never mind that some of the acts were performing in one of the most popular concert venues in his town.

What would it take mainstream audiences who are not fans of NPR to pay attention? Maybe bringing everything together in a package would be a good start for World Music neophytes would be a good start – which brings us to Arc Music’s Discover World Music, a double CD that showcases different musicians from around the globe. Some are old favorites like Portugal’s fantastic guitarist Custódio Castelo, one of the most sought-out musicians in his country. He appears on “Inquietude,” a gorgeous instrumental piece that highlights his technique on the Portuguese guitar – the most important instrument in fado.  Brazilian music is also very present via Ceumar’s “Gotas do Norte,” a fine example of xaxado, a near-forgotten rhythm from the northeastern part of the country that has been pretty much dwarfed by more commercial fare I’d rather stay away from.

Other highlights include Egypt’s Hossam Ramzy, one of the most creative composers of his generation, and also Noel McLoughlin’s gorgeous “Song for Ireland,” a tune sung with so much passion that it gives you goose bumps even if you don’t have an Irish bone in your body.

Arc Music is one of these labels that always bring you something new – discovering their releases led me to learn about artists like Marta Gomez, Klezmer Juice and so many more. I really recommend you to get this one as your personal introduction to many other things out there.

Discover World Music

Various Artists

Arc Music