2018 Official Lineup!
The story of the group reminds us of the script of Hollywood melodrama with sweet happy end. The band members met on a summer music camp. Then, around 15 years old, they were immediately connected by common passion for music.
In the centre of new formation next to Nèro Scartch, sax player Mikulas and bass player Johny D stands charismatic singer Zofie Darbujanova. Thanks to her characteristic voice and charisma overall in combination with playful connection of electronics and swing music themes, they became the leading name of electroswing wave.
The band transitioned the atmosphere of elegant dance fever to their debut album Let Your Body Move in 2013. Two years later they confirmed that genre box of electroswing does not fit them anymore as they expanded their musical expression. On their second album the band introduces us to their own new music genre, the combination of electronic sounds and extravaganza looks - Glamtronic. The album baring the same name of Glamtronic earned the band status of hopeful electronic band that aimes at much bigger stages in near future.
In last two years Mydy Rabycad introduced themselves at major European festivals leading by British Glastonbury. The band enjoyed their dreamed-of tour in United States of America as a pivotal moment in their career.
Even after this Mydy Rabycad aim at new milestones and pivotal moments. The band members talk about another US and European tours or another visit of Asia as in the first Asian tour the band felt what it is like to experience total fan mania.
The start of something new yet again comes with actual album M.Y.D.Y. recorded in Berlin’s Red Bull Studios. Mydy Rabycad continues to follow their own path without any sham nor genre-boxes. With on-point vision and belief in theirselves.
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Del Naja’s input comes in the form of a unique and powerful album cover, the fee for which he decided to donate to an NGO called La Fondation Etoile du Congo de Madame Princesse Kibinda Mariam Rita , based in Lemba, the neighbourhood in Kinshasa where Jupiter lives. Rita, who is the daughter of a traditional chieftain, is very attached to her roots, and she’s given herself the mission to help homeless children who live on the streets, especially those of Lemba. Jupiter is the Foundation’s ambassador.
Jean-Pierre Bokondji, aka ‘Jupiter’ (the nickname has since become his official first name), was born in Kinshasa on the 16th December 1963, three years after the Congo was given its independence. He spent a large part of his childhood and adolescence living in Dar-es-Salam in Tanzania and East Berlin, where his father worked as an attaché at the Congolese embassy. But in 1979, at the age of 17, he left East Germany, returned to Kinshasa and threw himself into another dimension, the antithesis of the life he’d known until then.
Growing up in Germany, Jupiter listened to the best American soul: James Brown, The Jackson 5, The Temptations and Kool and the Gang. Then, back in the Congo, he discovered the ultra-dominant Congolese rumba style, but also a multitude of other rhythms and styles that vegetate in the shadows of rumba, all strangely reminiscent of funk, soul and rock. With the spark provided by this apparent complicity between Congolese traditions and Western music, Jupiter decided to create his own mode of musical expression.
He set about writing his first songs, full of lyrics that question the accepted history of his country and the motives of the people who rule over it. It was a time when the Congo was teetering constantly between tyranny and anarchy. Barely 18 years old, he set his sights on a career in music, to the great disappointment of his father who was opposed to anything that might distract him from his studies. When the latter declared his intention to send his son back to Europe, Jupiter left the family home and began to live on the streets, sleeping in abandoned houses and earning a few coins as a tam-tam drum player at funerals. That’s how he earned the status of a grade one rebel, as well as his nickname, ‘Jupiter’, which has stuck to him ever since.
It was around this time, at the beginning of the 1980s, that he joined the band Famous Black, which later became Bongo Folk before finally settling on the name Okwess. Since then, Okwess has had many line-up changes but always kept the same captain at the helm.
In 2006, a documentary called Jupiter’s Dance directed by Florent de la Tullaye and Renaud Barret revealed this extraordinary personality to the world, this lanky wading bird dressed in a general’s uniform, a sort of ghetto Don Quixote who, in a dilapidated and abandoned environment, has fought stubbornly against the odds to keep his band alive, using all the arts of tenacity and débrouillardise .
In 2013, the release of the album Hotel ‘Univers’ gave Jupiter a certain international legitimacy as well as the opportunity to tour the world several times over.
A few years ago, the French actress and film director Sandrine Bonnaire came to Kinshasa and met Jupiter. She was already a total fan. It felt logical to invite her to read an extract from the book Bandoki (‘The Sorcerers’) by Zamenga Batukezanga, an African philosopher and author with a vivid writing style who though little known outside the Congo, was a familiar face in the neighbourhood of Lemba, where he lived and died in 2000. Accompanying the song ‘Le Temps Passé’ (‘Time Passed’), which was written by Okwess’ drummer Montana during his hours of romance and nostalgia, the extract implores the ancestors for help with the arduous task of educating children in the harsh reality of Congo’s challenging environment. In some ways, by delivering this message, Sandrine took on the role of Princess Rita, helper of the children of Lemba. “When you’ve travelled down many roads, you inevitably make plenty of false steps. What’s important is to never give up.”
To never give up…in this country where life expectancy hovers around 50 years. Thanks to the Congo’s immense natural resources, half a century of independence dedicated to the enrichment of a small handful of people and the impoverishment of everyone else followed on from a colonial era in which the seizure of natural wealth was the only rule. Just like the writing of Zamenga Batukezanga, Jupiter’s lyrics focus on this painful past, and how to overcome it. It’s a discourse in which the truth advances prudently, on tiptoe, thanks in no small part to the dangers that lie in wait for those who talk too much. That’s why Jupiter uses stories and parables to denounce injustice in the song ‘Bengai Yo’, or to mock a ‘king’ who’s extravagant with other people’s money in the song ‘Benanga’. This kind of prudence could also be called ‘diplomacy’, a concept with which the Bokondji family are only too familiar.
Gathered around Jupiter are the Okwess faithful: Montana (of Staff Benda Bilili) on drums and Yendé on bass, guitarists Eric and Richard and the singer Blaise.
Every song on Kin Sonic presents its own slice of life, its own bundle of thoughts and reflections, its own singularity. But also its own slice of universality, augmented by the violin of Warren Ellis and the keyboards of Damon Albarn.
Produced by Marc-Antoine Moreau (Amadou & Mariam, Songhoy Blues) and François Gouverneur, Kin Sonic finds its voice in the exploration of a heritage that has remained totally hidden until now, and comes to take its place in a contemporary landscape where walls and borders are exploding in the face of men’s yearning to share moments of beauty and pure madness, all mixed up together.
Pour Kin Sonic, Robert Del Naja a tenu à faire don de son cachet pour cette pochette a une association de Lemba, le quartier où vit Jupiter : La Fondation Etoile du Congo de Madame Princesse Kibinda Mariam Rita, dont elle est Présidente et la promotrice.
Rita est très attachée à ses racines. Fille d'un chef coutumier, elle s'est donnée pour mission d'aider les enfants des rues et plus particulièrement, ceux de Lemba. Jupiter est l'ambassadeur de cette fondation.
Jean-Pierre Bokondji (“Jupiter” est un surnom devenu depuis lors prénom officiel) naît à Kinshasa le 16 Décembre 1963, trois ans après l’indépendance du Congo. Il passe une grande partie de son enfance et de son adolescence entre Dar es Salam en Tanzanie et Berlin Est, où son père travaille comme attaché d’ambassade. Mais en 1979, à 17 ans, il quitte l’Allemagne de l’est, rentre à Kinshasa et bascule dans une autre dimension, antithèse absolue de ce qu’il a connu.
Alors qu’il grandit en Allemagne, il écoute le meilleur de la soul américaine : James Brown, les Jackson 5, les Temptations ou encore Kool and The Gang. Au Congo, il découvre la rumba, genre ultra dominant, mais aussi une multitude de rythmes et de styles musicaux qui végètent dans l’ombre de la rumba et qui lui rappellent le funk, la soul et le rock.
Il décide alors de façonner son propre mode d’expression. C’est la connivence entre musique traditionnelle et occidentale qui produit l’étincelle : Jupiter se met à écrire ses premières chansons avec des textes où il interroge l’histoire de son pays et les motivations de ceux qui le dirigent, alors que le Congo tangue entre tyrannie et anarchie.
Il a 18 ans et se destine à une carrière artistique, au grand dam de son père qui s’oppose à tout ce qui peut le détourner de ses études. Lorsque ce dernier veut le renvoyer en Europe, il quitte la maison et vit dans la rue, dort dans des maisons inhabitées, tire un peu d’argent de son office de joueur de tam-tam lors des cérémonies funèbres. Son premier grade de rebelle, il l’obtient dans ces circonstances. Ainsi que son surnom de Jupiter, qui ne le quittera plus.
C’est vers cette époque, le début des années 80, qu’il rejoint Famous Black qui plus tard deviendra Bongo Folk avant de prendre pour nom définitif Okwess. Depuis lors, Okwess a souvent changé d’équipage mais a toujours conservé à sa barre le même capitaine.
En 2006 un documentaire réalisé par Florent de La Tullaye et Renaud Barret intitulé “Jupiter’s Dance” révélait au monde entier ce personnage hors du commun, grand échassier en tenue de général, sorte de Don Quichotte du ghetto qui dans un environnement délabré s’entêtait contre vents et marées à maintenir son groupe en activité à force de ténacité et de débrouillardise.
En 2013, la sortie de l’album Hôtel “Univers” lui apporte une certaine légitimité internationale et la chance de faire plusieurs fois le tour du monde.
Il ya quelques années, Sandrine Bonnaire est venue a Kinshasa et a eu l'occasion de rencontrer Jupiter dont elle est une fan absolue.
Un écrivain, un philosophe africain à la parole très imagée, peu connu hors du Congo du nom de Zamenga Batukezanga, vivait et s'est éteint à Lemba en 2000. Figure du quartier, il est l'auteur d'un livre en 1973, qui fait maintenant référence : Bandoki (les sorciers).
« Le Temps Passé » est une chanson de Montana le batteur, dans ses heures nostalgiques et romantiques. Il sembla logique à Jupiter d'inviter Sandrine a lire un extrait de ce livre « Les Sorciers », implorant les ancêtres face à la dure mission de l'éducation dans la réalité congolaise Sandrine a prit en quelque sorte le rôle de la princesse Rita qui aide les enfants de Lemba, pour nous faire passer son message. « Quand on parcourt un bout de chemin, les faux pas ne manquent pas. L'essentiel est qu'on ne se laisse pas croupir" .
Ne pas croupir dans ce pays où l’espérance de vie se situe autour de 50 ans. Alors que le Congo dispose d’immenses ressources naturelles, un demi-siècle d’une indépendance entièrement consacrée à la prospérité d’une poignée et à l’appauvrissement de tous les autres a fait suite à une ère coloniale où la captation des richesses a été la seule règle. C’est à cette douloureuse histoire, mais aussi à son dépassement, que s’attache également Jupiter dans des textes comme en son temps Zamenga Batukezanga, où la vérité avance prudemment, à pas feutrés, et ce compte tenu du danger encouru par ceux dont la langue se trouverait trop bien pendue. C’est sur le mode de la fable et de la parabole qu’il dénonce l’injustice dans le titre « Bengai Yo » ou qu’il raille le « roi » dispendieux de l’argent des autres dans le morceau « Benanga ». Cette prudence peut s’appeler aussi « diplomatie ». Une notion propre à la famille Bokondji.
Autour de Jupiter se rassemblent aujourd’hui les fidèles Montana (du Staff Benda Bilili) à la batterie et Yendé à la basse, les guitaristes Eric et Richard ainsi que le percussionniste et choriste Blaise.
A chaque titre de “Kin Sonic”, sa tranche de vie, son lot de réflexions, sa singularité. Mais aussi sa part d’universalité à laquelle contribue le violon de Warren Ellis et les claviers de Damon Albarn.
“Kin Sonic”, produit par Marc Antoine Moreau (“Amadou et Mariam”, "Songhoy Blues" ) et François Gouverneur, s’exprime à travers l’exploration d’un patrimoine totalement occulté et vient s’intégrer dans un paysage contemporain où les murs et les frontières explosent face au désir des hommes de partager un instant de beauté et de pure folie mêlées.
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Please join the extended family of Dockside musicians (read: very special, special guests!!) led by Lafayette’s own GIVERS as we pay tribute to the songs, stories, and legacy of Dockside Studio and the beautiful family who graciously own and operate it.
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The majority of Lisa LeBlanc's first album was written from Rosaireville, her native village in New Brunswick, in Granby during her studies at l'École nationale de la chanson as well as in Montréal, where she now resides.
In 2013, Lisa LeBlanc hit the road and followed the path of the Beat Generation across Nashville, Memphis, New Orleans, Las Vegas, Austin and San Francisco. It was during this trip that she found the inspiration for Highways, Heartaches and Time Well Wasted, a 6 track EP available since November 2014. Recorded at Mountain City Studios and Mixart Studio in Montréal, Why You Wanna Leave, Runaway Queen? came together over the spring of 2016. Joseph Donovan took the reigns as producer.
C'est à Rosaireville, son village natal au Nouveau-Brunswick, à Granby, lors de sa formation à l'École nationale de la chanson, ainsi qu'à Montréal, où elle réside maintenant, que Lisa LeBlanc a écrit l'ensemble des chansons qui composent son premier album homonyme réalisé par Louis-Jean Cormier.
L’arrivée de son mini-album Highways, Heartaches and Time Well Wasted le 4 novembre 2014 a confirmé l’étonnante créativité de la jeune artiste. Celui-ci réunit cinq titres originaux et une reprise de la chanson folk traditionnelle américaine Katie Cruel popularisée par Karen Dalton, dont Lisa signe les arrangements. La musique retrouvée sur Highways, Heartaches and Time Well Wasted est inspirée du poignant road trip qu’a fait Lisa aux États-Unis, dans la lignée des voyages de la Beat Generation: Nashville, Memphis, New Orleans, Las Vegas, Austin, San Francisco. Enregistré tout de go à Charlo au Nouveau-Brunswick avec ses musiciens Maxime Gosselin (batterie) et Jean-Philippe Hébert (guitare), cet album est imbibé de l’âme des Maritimes. Brad Barr, Émilie Bernard, Pierre-Guy Blanchard et François-Régis Pagé ont également collaboré à cet opus mixé par Pierre Girard et Joseph Donovan.
À la réalisation, Emmanuel Ethier a su exploiter à merveille les forces de l’Acadienne, tout en l’invitant à transgresser les frontières, sinon à sortir de sa zone de confort.
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The Kora (a 21-stringed African harp) is one of the most important instruments belonging to the Manding peoples of West Africa (Gambia, Senegal, Mali, Guinea and Guinea-Bissau). It belongs exclusively to griot families (hereditary musical families), and only those who are born into one of these families have the right to take up the instrument professionally. Sona, who was born into one of the five principal Griot families, has become the first female to take up this instrument professionally in a male tradition that dates back over seven centuries.
Sona's family carries a heavy reputation for renowned Kora masters, notably her grandfather Amadu Bansang Jobarteh who was an icon in Gambia’s cultural and musical history, and her cousin Toumani Diabaté who is renowned for his mastery of the Kora.
In recent years Sona has quickly been rising to international success, headlining major festivals around the world in Brazil, India, South Korea, Ghana, Mexico, Tanzania, Cote D’Ivoire, Lithuania, Poland and Malaysia just to name a few. Sona and her music has the unique ability to touch audiences from all backgrounds and cultures.
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Album Recordings: Bayou des Mystères, 1976 RZ Records-1017; Mardi Gras, 1977, RZ Records-1005; Migration, 1978, RZ Records-2001; Allons Danser, 1979,RZ Records-1009; Live in Montreal, 1980, RZ Records-1003; Vent d’Eté, 1981,RZ Records-1019; Zack Attack, 1984, RZ Records-1007; Looking Back (compilation) 1995, RZ Records 1011; Zack’s Bon Ton, 1987, Rounder Records 6027; Mardi Gras Mambo, 1989, Rounder Records 6037; Women in the Room, 1990, A&M Records; Snake Bite Love, 1992, A&M Records; Cap Enragé, 1996, Disques Audiogram; Travailler c’est trop dur (double CD anthology) 1999, Disques Audiogram. Silver Jubilee, Rhino Records, 2000. Coeur Fidèle, Audiogram Records, 2000, High Time, Rhino Hand Made, 2001. Lumière dans le noir, 2007. Last Kiss, 2009. Le Fou, 2012. J’aime la vie, 2013. Gombo 2017.
Major Honors and Musical Prizes: “L’Arbre est dans ses feuilles” certified gold RIAA Canada, 1978. “Migration” certified gold RIAA Canada, 1978. Prix de la Jeune Chanson Française, Ministre de Culture Français, 1980. Prix Miroir, Festival d’Eté de Québec, 1996. Decorated Officier de l’Ordre des Arts et Lettres de la République Française, 1997. Le Félix pour l’Artiste Francophone s’étant le plus illustré au Québec, l’ADISC, 1997, 1998, 1999, 2001, 2007. “Cap Enragé” certified double platinum RIAA Canada, 2001. “Coeur Fidèle” certified gold RIAA Canada, 2001. Ordre des Francophones d’Amérique, 1997. Prix Champlain Littéraire, 1998. International Achievement Award, Centre International de Louisiane, 1999. Prix du Publique, Salon du Livre de la Côte Nord, 2000. Acadiana Arts Council, Distinguished Artist 2000. Meritas Acadien, Fédération Acadienne du Québec, 2000. Chanson de l’année, 2002, Cajun French Music Association. Chanson populaire de l’année, SOCAN 2002. Prix Historia L’institut d’Histoire de l’Amérique Française. 2003. PhD Musique, Honoris Causa , University of Moncton, New Brunswick, 2005. Chevalier de L’Ordre de la Pléiade, 2007. PhD Fine arts, Honoris Causa University of Louisiana at Lafayette, 2008. PhD Literature,Honoris Causa Université de Sainte Anne, Nouvelle-Écosse 2009. Member, Order of Canada 2009. PhD, Honoris Causa, Université d’Ottawa, 2011. Lifetime Achievement Award, Société Professionnelle des Auteurs-Compositeurs du Québec (SPACQ). Humanist of the Year, Louisiana Endowment for the Humanities, 2016. Decorated Officier des Palmes Académiques de la République Française, 2016. Commandeur de l’Ordre des Arts et Lettres, 2016.
Major Productions: Against the Tide, The Story of the Cajun People of Louisiana. One hour television documentary in conjunction with Louisiana Public Broadcasting. Producer, narrator and musical supervisor. Co-producer, narrator and musical supervisor Contre vents, contre marées, portrait du peuple Cadien, French language version. Against the Tide is recognized Best Historical documentary by the National Educational Television Association, 2002. The French version is awarded the Prix Historia (L’institut d’Histoire de l’Amérique Française) in 2003. Zachary Richard is narrator and music director of Migration which examines avain migration in North America. The film is awarded Le Lirou d’Or (first prize) at the Festival Intervational d’Ornothologie de Menigoute (France). In 2007, Zachary is narrator and musical director of Kouchibouguac, l’histoire de Jackie Vautour et des Expropriés, which deals with the upheaval associated with the expropriation of 215 families for the creation of the Canadian national park at Kouchibouguac. Toujours Batailleur, an exploration of the persistance of Acadian identiy. Narrator and composer, 2016.
Major Publications: Voyage de Nuit, poetry, 1980. Editions Louise Courteau, Montréal; Faire Récolte, poetry, 1997, Editions Perce Neige, Moncton; Conte Cajun, l’histoire de Télésphore et ‘Tit Edvard, 1999, Editions les Intouchables, Montréal. Feu, poetry, 2001, Editions les Intouchables, Montréal. Télésphore et ‘Tit Edvard dans le Nord, 2007, Editions les Intouchables, Montréal. Télésphore et ‘tit Edvard au Vieux pays 2010, Editions les Intouchables, Montréal. L’Histoire des Acadiennes et Acadiens de la Louisiane, UL Press, 2013. History of the Acadians of Louisiana, UL Press, 2014. Outre le Mont, UL Press, 2015. The Legend of L’il Red, English translation of Conte Cajun. UL Press, 2015.
Zachary Richard lives in Southwestern Louisiana, but travels a lot.
En 1996, Zachary Richard fonde Action Cadienne, organisme bénévole dédié à la promotion de la langue française et de la culture cadienne en Louisiane. En mars 1997, il est décoré officier de l’Ordre des Arts et Lettres de la République Française. Cette même année, il est initié à l’Ordre des Francophones d’Amérique par le gouvernement du Québec. En 2000, il est décoré Chevalier de l’Ordre de la Pléiade. Au fil des années Zachary Richard reçoit quatre doctorats honoris causa: l’Université de Moncton (Nouveau-Brunswick), l’Université de Louisiane à Lafayette, l’Université de Sainte Anne (Nouvelle-Écosse) et l’Université d’Ottawa. Activiste engagé, Zachary Richard fonde Solidarité Louisiane pour venir en aide aux musiciens de la Louisiane affectés par les ouragans de 2005. En 2009, il reçoit l’Ordre du Canada. Suite à la marée noire de 2010, il fonde Gulf Aid Acadiana pour aider à la restauration du littoral louisianais et des communautés qui y vivent. Le Cercle Richelieu Senghor lui décerne son Prix Richelieu Senghor lors d’une cérémonie au Senat de France en 2013. En 2015, Zachary Richard est nommé Humanist of the Year par le Louisiana Endowment of the Arts. L’année suivante il est décerné Officier des Palmes Académiques de la République Francaise, et promu Commandeur de l’Ordre des Arts et Lettres.
Zachary Richard est producteur, compositeur et narrateur de plusieurs documentaires télévisés. En 2000 Against the Tide, the story of the Cajun people of Louisiana obtient le prix Best Historical Documentary décerné par le NETA (USA) en 2000. La version française, Contre vents, contre marées, reçoit le Prix Historia décerné par L’insitut d’Histoire de l’Amérique Française en 2003. D’autres documentaires suivront, Coeurs Batailleurs, une série de 26 épisodes qui traite de la diaspora acadienne, et Migrations qui traite de la migration aviaire en Amérique du Nord. Migrations reçoit le Liriot d’Or (premier prix) au Festival International du Film Ornithologique en France en 2008. Plus récemment, Zachary a participé au tournage de Kouchibouguac, documentaire qui traite du bouleversement social pendant l’expropriation de 250 familles acadiennes pour la création d’un parc canadien en 1978. En 2016, dans le documentaire télévisé Cœur Batailleur, Zachary Richard explore la persistance d’identité acadienne en Louisiane à travers son expérience personnelle. En 2017, la télévision publique Louisianaise (LPB) diffuse Attakapas, the Cajun Story, un concert multimédia qui raconte l’histoire des Acadiens de Louisiane en chanson.
Figure incontournable de la francophonie, Zachary Richard est l’auteur de quatre contes, quatre collections de poésie (dont un, Faire Récolte reçoit le Prix Champlain) et une histoire des Acadiennes et Acadiens de Louisiane. Il ne cesse d’exprimer son attachement à la culture française d’Amérique.
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The band's political idea is straightforward enough that they can express it in four words: “We are all immigrants.” In supporting that cause, a portion of all proceeds from I Am Another You goes to the National Immigration Law Center. The band has shared the stage with Arcade Fire, Los Lobos, Galactic, Ozomatli, Tennis, Thievery Corporation, Rodrigo y Gabriela, and Hurray for the Riff Raff.
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Based in Montreal, NIYAZ was founded in 2004 by captivating vocalist/ composer and two-time JUNO Award nominee Azam Ali, and multi-instrumentalist/ composer and JUNO Award nominee Loga Ramin Torkian. Today with three best selling and critically acclaimed albums released on Six Degrees Records, all of which have debuted at #1 on iTunes and garnered the band an incredible amount of media attention including features on NPR and PRI, Niyaz continues to tour internationally and build on its impressive and loyal fan base worldwide. Since 2005 Niyaz has performed in the United States, Canada, France, Germany, Japan, Singapore, Spain, Turkey, India, Russia, Poland, Dubai, Mexico, Finland, Slovenia, Italy, Portugal, Croatia, Morocco, Tunisia, and Austria. Their music has also been featured in several major film and television scores, which include, True Blood, Nip Tuck and Crossing Over.
In March 2015, Niyaz released their fourth full-length studio album entitled “The Fourth Light,” a tribute to the first female Sufi mystic and poet Rabia Al Basri who was born in the 8th century in Iraq. She is recognized as a saint as she was the one who set forth the doctrine of Divine Love and non-duality, which today lie at the heart of Sufi mysticism. Though her role continues to be diminished in value because she was a woman, it bears great significance in today’s modern world where women are still relentlessly striving in every aspect of life, to rise above the status of inferiority placed on them by patriarchal societies and laws. “The Fourth Light” has received rave reviews and features on The BBC World Service, Huffington Post, NPR, PRI’s The World and MTV Iggy. Niyaz is currently touring the new album internationally.
Niyaz is committed to creating music with a deep social message aimed at uniting people from different cultural and religious backgrounds through our shared humanity. Guided by the mystical poetry of legendary Sufi poets and the ancient wisdom of traditional folk songs that impart the beauty of ethnic and religious minority groups in Iran and its surrounding regions in Middle East, Niyaz steps into a future that is ancient, inviting listeners to embark upon a philosophical quest into the human depths with a message of hope against injustice and oppression, a universal tribute to beauty, cultural and spiritual diversity, freedom and dignity for all.
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Facebook Azam Ali
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Touré led Gao’s regional orchestra, The Songhaï Stars, prior to going out on his own. In 2011, he released Sahel
Folk, his debut album for Thrill Jockey, touring North America and Europe for the first time. For his fourth release,
Toubalbero (a big traditional drum used to call and gather people in Gao) Touré has created a danceable, dynamic,
and joyous album played with some of the most exiting new faces on the Mailian music scene. A revered leader who
has his feet deep in the Northern Mali music tradition has created an album, despite the region’s significant political
challenges, that brims with optimism.
For his first Electro Acoustic album Sidi Touré (vocals, guitar and calabash) is joined by bassist Baba Traoré,
drummer Mamadou “Mandou” Kone (who also plays with Vieux Farka Touré), electric guitarist Djadjé
Traoré, N’Goni (traditional Malian guitar) Ousmane “Papou” Dagnon, and vocalist Babou Diallo. This is a
reflection of his performance style of the last three years throughout Mali. The music is a celebration driven by the
energy and groove of the rhythms. Toubalbero is exhilarating trance music overflowing with joy and carried by the
beauty of Sidi’s voice.
Previous Sidi Touré albums were recorded in a modest tin-roofed studio in Bamako. The recording sessions had
to be timed around Mali’s rainy season in order to avoid the noise created by the rain pelting the roof. Toubalbero
was recorded over the course of four days at Studio Bogolan, one of the best in Mali where artists that include Ali
Farka Touré, Rokia Traoré, Toumani Diabate and Björk have recorded. The album was recorded by Yaya
Cissé and produced by Nicolas “Covalesky” Richard. The songs were recorded live to tape in order to capture
the energy of the performance. The album was also mixed entirely live by Jason Meagher at Black Dirt Studio
(Steve Gunn, Jack Rose). The approach mirrored the live mix of a performance, an approach to mixing in part
inspired by the great King Tubby, whose results retain all the joy and energy of the performance.
The songs are steeped in Malian culture and traditions. “Hendjero Moulaye” (the slippery fish) is a cautionary tale not
unlike the western folksy idiom “don’t count your chickens before they’ve hatched.” In this, we hear of the perils of a
man who bragged about his very big fish while on the way to catch it. The song is a warning to not sell your fish before
you get it from the river. “BK” is an homage to Baba Belkatras, a legend of Songhai music. “Tchirey” is about the kings
of the Holleys, the djinn of thunder. For Sidi the song is a call for help from Marou Tchirey for the Songhai people.
Sidi wrote this song in 1984 and it won the Bamako Biennale. It was the first time that a Vaudou (possession) Songhai
song was played with non-traditional instruments. There are songs of love: “DJiribi Mardjie,” and “Handaraïzo” (the
small star), and of family: “Hannah” (the vigil for a newborn) and “Sitiali Boubou” (honoring the ancestor). Perhaps
the song that captures the spirit of the album most clearly is Heyyeya, an expression to describe a shout of joy. It is
based on a Songhai folklore song about the joy of a new marriage. It is a celebration of the beauty of this moment of
Sidi Touré Toubalbero is an exuberant and irresistible call out for unity and peace for Malians and Africans. Much
like the drum that gathers folks in Goa, this album’s aim is to unite through joyous expression for the greater good of
all. Unity is strength and joy is unstoppable.
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After launching her recording career in 2009, Samantha Fish quickly established herself as a rising star in the contemporary blues world. Since then, the charismatic young singer-guitarist-songwriter has earned a reputation as a rising guitar hero and powerful live performer, while releasing a series of acclaimed albums that have shown her restless creative spirit consistently taking her in new and exciting musical directions.
The New York Times called Fish "an impressive blues guitarist who sings with sweet power" and "one of the genre's most promising young talents." Her hometown paper The Kansas City Star noted, "Samantha Fish has kicked down the door of the patriarchal blues club" and observed that the young artist "displays more imagination and creativity than some blues veterans exhibit over the course of their careers."
Having already made it clear that she's more interested in following her heart than she is in repeating past triumphs, Samantha Fish delivers some of her most compelling music to date with Belle of the West, her fifth studio album. The deeply soulful, personally charged 11-song set showcases Fish's sublime acoustic guitar skills as well as her rootsy, emotionally resonant songwriting.
Such memorable new originals as "American Dream," "Blood in the Water," "Need You More" and "Don't Say You Love Me" demonstrate the artist's knack for organic Americana songcraft, while a trio of cover tunes—R.L. Burnside's "Poor Black Mattie," Lillie Mae's "Nearing Home" and the Jimbo Mathus-penned title track—attest to her substantial interpretive skills as well as her varied musical interests.
"To me, this is a natural progression," Fish notes. "It's a storytelling record by a girl who grew up in the Midwest. It's very personal. I really focused on the songwriting and vocals, the melodies and emotion, and on bringing another dimension to what I do. I wasn't interested in shredding on guitar, although we ended up with a few heavier tracks. I love Mississippi blues; there's something very soulful and very real about that style of music, so this was a chance to immerse myself in that."
Fish recorded Belle of the West in the relaxed, rural creative atmosphere of the legendary Zebra Ranch Studios in the North Hills of Mississippi with producer Luther Dickinson (of North Mississippi Allstars fame), with whom she worked previously on her 2015 album Wild Heart. The studio team included some of the region's most iconoclastic musicians, including Dickinson, solo artist and Jack White associate Lillie Mae (whose distinctive vocals are featured on "Nearing Home"), much-traveled juke- joint blues artist Lightnin' Malcolm (whose featured on "Poor Black Mattie"), Squirrel Nut Zippers founder Jimbo Mathus, upright bassist and beloved solo artist Amy LaVere, Tikyra Jackson, Trina Raimey and Shardé Thomas, granddaughter of the legendary Southern bluesman Otha Turner.
"I wanted to do this acoustic-electric record, and tap into the style and swagger of Mississippi," Fish states, adding, "Any time you dive into another place, another vibe and a new group of people, you're challenging yourself to grow musically. I felt very at home a Zebra Ranch, and I've known Luther and Malcolm for years, so it was a very comfortable situation. When you're making a record like this, it has to feel natural if you want people to respond to it.
Belle of the West follows on the heels of Fish's March 2017 release Chills & Fever, which achieved top 10 status in the Billboard Blues charts. Here she expanded her stylistic arsenal to take on a set of lesser-known vintage R&B gems, with help from members of garage-soul stalwarts the Detroit Cobras. "Having these two very different records come out back to back this year has been really liberating," says Samantha.
The creative drive that fuels Belle of the West and Chills & Fever has been a crucial element of Samantha Fish's approach from the beginning. Growing up in a musical family in Kansas City, Missouri, she became obsessed with music early life, taking up drums before switching to guitar at the age of 15. By the time she was 20, she had formed her own trio and self-released her first album. She soon caught the ear of the renowned blues label Ruf Records, which in 2011 released Girls with Guitars, which teamed her with fellow axewomen Cassie Taylor and Dani Wilde. The same year saw Ruf release Fish's solo studio debut Runaway. The album was named Best Artist Debut at the 2012 Blues Music Awards in Memphis.
Black Wind Howlin' (2013) and Wild Heart (2015) followed, winning considerable critical acclaim and further establishing Fish as a prominent presence in the blues community. Wild Heart reached the top slot on Billboard's blues chart. She also collaborated with blues-rock veterans Jimmy Hall and Reese Wynans on the 2013 project The Healers. The same year, she jammed onstage with blues icon Buddy Guy, and guested on Devon Allman's album Turquoise.
Fish continues to maintain the same hardworking, prolific approach that's carried her this far. "I think I've always had that," she says. "Music is my life, so what other choice do I have but to go out and make music? We do tour quite a bit, and maybe it's kind of crazy to put out two dramatically different albums in one year. But I like to work hard. This is who I am and this is what I do, and when I'm writing and recording and touring is when I feel the most like myself. And now we have a moment where people are paying attention, so I have to make the most of it. I feel like I have a lot to say right now, so why not say it?"
As far as Samantha Fish is concerned, her musical future is an open road. "I'm never gonna be a traditional blues artist, because that's not who I am," she asserts. "But it's all the blues for me. When Muddy Waters and Howlin' Wolf came out, what they were doing didn't sound like anything that had been done in blues before. You've gotta keep that kind of fire and spirit. I'm never gonna do Muddy Waters better than Muddy Waters, so I have to be who I am and find my best voice.
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Innu author, composer and singer Florent Vollant was born in Labrador in 1959 and grew up on a reserve named Maliotenam, east of Sept-Îles. He began his musical career in the middle of the 80s and helped to create the Festival Innu Nikamu, which, since its founding, has brought together many musicians and singers from various Amerindian nations.
When Florent Vollant joined forces with Claude McKenzie, another young Innu, the duo Kashtin was born. From 1989 to 1995, the group recorded Kashtin, Innu and Akua Tuta, three albums which earned them four Félix awards and the chance to perform not only in Québec and across Canada, but in France, Belgium, South Korean, the United States, Bolivia and the list goes on. The duo wrote and recorded the sound track for Arthur Lamothe’s film Le Silence des fusils/Silencing the Guns and were the first indigenous group from Québec to be recognized internationally.
Ardent defender of Québec’s nature and rivers, Florent Vollant received the title of Artiste pour la Paix in 1994. Spokesperson for the First Nations Garden (Jardin botanique de Montréal), he took part in La Grande Paix, the grandiose closing concert of the 2001 FrancoFolies de Montréal. As well as collaborating on the albums of Richard Séguin, Robbie Robertson, Marc Déry and Zachary Richard, Florent Vollant remains a constant presence in his community in Maliotenam. He initiated a project close to his heart: the Studio Makusham, both a professional recording studio and a training centre for young native musicians.
In 1999, he recorded a Christmas album in the Innu language with his good friends Richard Séguin, Zachary Richard, Luce Dufault, Ray Bonneville and Lucien Gabriel Jourdain. Entitled Nipaiamianan, the album won a JUNO at the JUNO Canada’s Music Awards. Katak, his second solo album put together with friends and colleagues, was released in October 2003. In April 2009, after participating in many musical projects, Florent then released his third album Eku Mamu.
Since 2011, Florent Vollant has been highly visible on the Québec artistic scene. In addition to his remarkable participation in the series of performances Les Monumentales alongside Chloé Sainte-Marie and Alexandre Belliard, he also took part in the musical tale of the late Gilles Carle. He also performed an intimate concert during the First Nations exposition at the Marché Bonsecours and acted as spokesperson for the Gala de musique Teweikan dedicated to aboriginal music. In 2013, Florent Vollant left for the Déferlantes in Portes-les-Valences, France, and then brought his songs all the way to Pully and everywhere across Québec and Canada.
From 2010 to 2013, Florent Vollant also enjoyed a wonderful experience hosting four seasons of the variety show Makusham, shown on the APTN network, which brings together artists from different backgrounds such as Aboriginals, Acadians, Québecers to celebrate their cultural diversity. As well, as artistic director, he will appear in a program called La clé du studio, which will be broadcast beginning January 2016.
At the end of 2014, his new Montréal management and production house Instinct Musique (Éric Lapointe, Hugo Lapointe, Valérie Lahaie) rereleased Nipaiamiananon on CD and in digital format since it has often been named as one of the best Christmas records.
Spring 2015 marks the release of his fourth solo album, entirely created at the Studio Makusham in Maliotenam: Puamuna. Meaning “dream” in the Innu langue, Florent Vollant returns to the very source of traditional Innu singing, where everything is born, that is to say in dreams.
Auteur, compositeur et interprète d’origine innue, né au Labrador en 1959, Florent Vollant grandit sur une réserve nommée Maliotenam, à l’est de Sept-Îles. Il amorce sa carrière musicale dans le milieu des années quatre-vingt et contribue alors à la création du Festival Innu Nikamu qui, depuis, réunit chaque année de nombreux musiciens et chanteurs des diverses nations amérindiennes.
Avec un autre jeune Innu, Claude McKenzie, il forme le duo Kashtin. De 1989 à 1995, le groupe enregistre Kashtin, Innu et Akua Tuta, trois albums qui leur permettent de remporter quatre Félix et de monter sur scène non seulement au Québec et à travers le Canada, mais aussi en France, en Belgique, en Corée du Sud, aux États-Unis, en Bolivie… Kashtin, qui signe la bande sonore du film Le Silence des fusils du cinéaste Arthur Lamothe, sera le premier groupe autochtone du Québec à être reconnu à l’échelle internationale.
Ardent défenseur de la nature et des rivières québécoises, Florent Vollant reçoit le titre d’Artiste pour la Paix en 1994. Porte-parole du Jardin des Premières-Nations (Jardin botanique de Montréal), il participe au grandiose concert La Grande Paix qui clôture l’édition 2001 des FrancoFolies de Montréal. En plus de collaborer aux albums de Richard Séguin, Robbie Robertson, Marc Déry et Zachary Richard, Florent est toujours très présent dans sa communauté à Maliotenam. Il y met sur pied un projet qui lui tient à cœur : le studio Makusham, à la fois studio professionnel et centre de formation pour les jeunes musiciens autochtones.
En 1999, il enregistre un disque de Noël en langue innue avec de vieux copains tels que Richard Séguin, Zachary Richard, Luce Dufault, Ray Bonneville et Lucien Gabriel Jourdain. Intitulé Nipaiamianan, l’album remporte un prix Juno au Canada’s Music Awards. Deuxième album solo concocté avec amis et collaborateurs, Katak paraît en octobre 2003. Florent présente ensuite, en avril 2009, après de nombreuses contributions à différents projets musicaux, son troisième disque : Eku Mamu.
Depuis 2011, Florent Vollant est très présent sur la scène artistique québécoise. En plus de sa participation remarquée à la série de spectacles Les Monumentales aux côtés de Chloé Sainte-Marie et Alexandre Belliard, il a aussi pris part au conte musical du défunt Gilles Carle. Il a également présenté un concert intime lors de l’exposition des Premières Nations au Marché Bonsecours et s’est illustré comme porte-parole d’un gala consacré à la musique autochtone, le gala Teweikan. En 2013, il part pour les Déferlantes à Portes-les-Valences et voyage ensuite avec ses chansons jusqu’à Pully puis partout à travers le Québec et le Canada.
De 2010 à 2013, Florent vit parallèlement une très belle expérience. Il anime les quatre saisons de l’émission de variétés télévisuelle Makusham, présentée sur les ondes du réseau APTN et qui rassemble des artistes de différents horizons. Autochtones, Acadiens, Québécois y célèbrent la diversité culturelle. Aussi, à titre de directeur artistique, on le retrouvera dans une émission intitulée La clé du studio, qui sera diffusée à compter de janvier 2016.
Fin 2014, sa nouvelle maison de gérance et de production montréalaise Instinct Musique (Éric Lapointe, Hugo Lapointe, Valérie Lahaie) réédite, en version CD et numérique, le disque Nipaiamianan, souvent cité parmi les meilleurs de Noël.
Le printemps 2015 marque la sortie d’un quatrième album solo, entièrement créé au Studio Makusham à Maliotenam : Puamuna. Signifiant « rêve » en langue innue, Florent Vollant retourne ici à la source même du chant traditionnel innu, là où tout prend naissance, c’est-à-dire dans le rêve.
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“The Grammy-nominated group plays a revved-up version of Cajun music, shot through with punk energy and psychedelic fuzz”
-David Dye, World Café
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Près de quatre ans après la sortie de « Bourrasque » en 2008, elle lance en juillet 2012 un album éponyme. Pour ce retour en studio, Dominique avait envie de revenir aux sources avec des arrangements plus rock. On pourra entendre la maturité de l’artiste dans cet enregistrement de pièces traditionnelles, bien sûr, mais aussi de créations originales.
En 2012 Durant la Semaine de Musique Nouveau-Brunswick, elle a reçu le prix « Artiste féminine de l’année » et son dernier opus a récolté le prix « Enregistrement instrumental de l’année ». Par ailleurs, celui-ci est en nomination lors du gala de l’Association de musique de la Côte Est, dans la catégorie « Enregistrement instrumental traditionnel de l’année ». Elle est la première lauréate, du prix Éloi Leblanc (grand violoneux acadien). Cet honneur lui a été offert par les Sociétés historique et culturelle de la Vallée de Memramcook.
Le bonheur des coups d’archet – 2000
Sans relâche – 2002
Bourrasque – 2008
Dominique Dupuis – 2012
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For Michael Trotter Jr., the journey began in 2004, when he arrived in Iraq, an untested soldier stricken by fear and self-doubt. His captain made it his personal mission to see to Trotter’s survival. The unit was encamped in one of Saddam Hussein’s private palaces, and in a forgotten corner in its basement, they found a black upright piano that once belonged to the dictator himself. When Trotter shared the fact he could sing, he was encouraged to teach himself to play piano on that confiscated keyboard. “I wrote my first song after that captain was killed,” Trotter recalls. “I sang it for his memorial in Iraq.” Soon after it became his mission to sing at the memorial services for those that had fallen. For the next three years, he sang songs that brought solace and comfort to the members of his unit. His efforts eventually garnered wider recognition as well. He came in first place in “Military Idol,” the army’s version of “American Idol,” during a competition held in Baumholder, Germany. Following his discharge, he was featured on the Hope Channel program “My Story, My Song.”
Then he met Tanya Blount. Blount, a seasoned performer whose musical influences include Mahalia Jackson, Dolly Parton, Sister Odette and Aretha Franklin, was amazed by Michael. "His personality drew me in initial and then the sparks started to fly. I knew that I was hooked," recalls Tanya. The two fell in love, got married and used the experiences they had gained to create a new musical collaboration.
The couple then secured the services of musicians whose skills add a distinctive sound to The War and Treaty’s blend of roots music, bluegrass, folk, gospel and soul. Recorded in Albion, Michigan, Down to the River boasts a sound that’s both stirring and sensual, driven by joy, determination and an unceasing upward gaze. The music is visceral but never morose, flush with emotion but void of despair… a style that touches on a variety of genres, but never finds itself confined to any one. The arrangements are uncluttered– harmonies, bass lines, guitar and mandolin licks, settle drum patterns and keyboards create an immensely moving soundscape — but the sentiments and emotions are fully realized and soar with a steady, chilling assurance. “The recording process wasn’t like anything I ever experienced,” Tanya recalls. “This EP has allowed me to breathe musically. I feel like all I have wanted to express for the past ten years has come forth with what we’ve done. The combination of heart, soul and the overwhelming amount of love that Michael and I have for one another comes across in this record. “
"I was sitting on the banks of the Euphrates River in Baghdad dreaming about one day being able to play and sing professionally for people all around the world,” Michael reflects. “As we recorded our music, I constantly had flashbacks of those desert dreams. I thought to myself that this is actually the perfect ending to usher in a new beginning in my life.”
That beginning can be heard in the album’s first single “Hi Ho,” a WMNF hit that is now being heard on radio stations throughout the country. Still, for all their optimism and initial intent, The War and Treaty, knows that as their name suggests, perseverance is key to success. They continue to tour, their son in tow, hoping to share songs of reconciliation and humanity.
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Culture's level of energy and creativity are consistently superlative. They have performed brilliantly to spellbound audiences at countless festivals, concerts and clubs around the US and throughout the world.
Kenyatta Hill's career began the day his father's ended. Joseph Hill, singer and songwriter for the legendary Jamaican vocal trio , collapsed and died while on a 2006 tour of Europe. To the amazement of promoters, fans and critics alike, Kenyatta stepped onstage and delivered electrifying performances time and again – nineteen shows in all – until the tour was complete. This was unheard of in any genre of music at any time. Kenyatta gave of himself so totally – as his father had for so many years – that the two seemed to become one, the eerily similar voices and the vibes igniting the critics and yielding a new reggae mantra "magic, not tragic!"
While pursuing an active solo career Kenyatta Hill keeps the Culture Legacy alive by thrilling old and new Culture fans with the classic sounds of this legendary harmony group. On this 10th anniversary year of the passing of the torch from father to son, Kenyatta continues as lead vocalist of Culture along with original founding member Albert Walker and long time harmony singer Telford Nelson.
ABOUT "TWO SEVENS CLASH"
2017 saw Culture's "Two Sevens Clash "40th Anniversary Tour on Global Stages! The tour featured Kenyatta Hill on lead vocals with original backing vocals and long-time backing band, and gave everyone an opportunity to go back in time to the beginnings of The Golden Era of Reggae and see how relevant the albums still is today.
Culture's legendary "Two Sevens Clash" (Shanachie) was Reggae Album of the Year in 1977 and is acknowledged today by Rolling Stone Magazine (April 11, 2002) as #25 of the 50 all time coolest records (the only reggae album to make the list).
"Arguably the best reggae record ever made and the only reggae record to appear in Rolling Stones Top 100 coolest records ever made. Culture made only strong albums for 30 years. "
The vibe is strong as ever since Kenyatta Hill has taken the place of Joseph Hill on his passing while on European tour in 2006. Kenyatta Hill, Joseph's son who had been tour engineer stepped away from the sound board and finished the tour in his father's place as lead vocalist of this iconic band.. and it was magical.
"Likewise, the band's signature tune Two Sevens Clash, conceived by Joseph Hill as an apocalyptic prophecy to mark the ominous arrival of 1977, is still infectious dance floor filler four decades later.
Kenyatta channels the energy, the passion, the voice and mannerisms to a tee and must be seen live to get the full experience
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Weaving the music of the Irish, Acadian, Francophone and Maritime cultures and their original creations with modern and world rhythms, Ten Strings And A Goat Skin have created a fiery, contagious and unique sound that has them in demand and touring extensively throughout Canada, the United States and Europe. Industry heavyweights have referenced the group’s rare musicality that belies the musicians young ages. With Caleb Gallant, 18 years, as percussionist, Rowen, violinist, and Jesse, guitarist, at aged 20, the lads are pushing boundaries and reinvigorating timeless traditional music for the 21st century. The group’s creativity and unique style has not gone unnoticed. In a recent review of the group, London England’s “Kreol International Magazine” made the following observation: “One of the greatest features of the music industry is the ability for any band from any corner of the globe to achieve widespread notoriety and success. No matter where a band comes from or what kind of music it performs, it is possible for the band to garner attention and gain fans from across the globe. What makes music even more special is the ability for particular groups to succeed while defining their own genre. In a way Ten Strings And A Goat Skin is the perfect example.” A recent Trad Magazine France feature article (issue 157 Sept/Oct 2014) on the group called them “Une Vent Frais et Novateur de Ille de Prince Eduard”. [ A Fresh And Innovative Wind From Prince Edward Island] Jesse, Rowen and Caleb highly respect the traditions of the music they play but are riding the wave that is redefining the roots of that music.
Their original material maintains solid traditional elements but explores rich world flavours and textures. The results have been described as intoxicating and refreshing and recently, a music industry professional, directed to see the group, stated the sentiment, “I don't like Trad but I love this!” By both French and English audiences, the trio is humbled by the huge reaction they have received towards their music. They just as easily connect with the indie music crowd as they do with the traditionalist and notably, their fan base carries no age barrier so including children to seniors and those in between. A recent article in Marque Wire Magazine from Milwaukee, Wisconsin reviewed the boys performance at Summerfest (the biggest music festival in the world) saying that while groups like Bruno Mars and Motley Crue were amazing, other smaller acts like Ten Strings And A Goat Skin (referred to as “a gem”) were every bit as good.
All three band members are proudly Canadian by birth but their roots stretch across the globe. Rowan and Caleb are natives of Prince Edward Island on Canada’s eastern coastline. Their root’s encompass Acadian, Irish, Scottish, and English heritage and were fortunate to grow up at time of French/Acadien cultural/language resurgence. Jesse grew up on Prince Edward Island but was born in Canada’s only remaining French province, Quebec, and so grew up in a bilingual home with French education. The members of Ten Strings And A Goat Skin believe their cultural backgrounds has allowed them to appeal to a wider range of music lovers. From humble beginnings came the music of Ten Strings And A Goat Skin with a first performance at a community fundraiser to paint the local parish church in Rustico, PEI. Not having a band name to introduce the boys, a family friend took stock of the instruments and suggested the name that has served them well. They’ve never looked back and the church got painted. The year of 2014 has seen the group perform at major Canadian and International festivals and theatres as well as many wonderful smaller venues.
They have had the privilege, in a very short music career, to perform in some of the worlds premiere festivals including Festival Interceltique de L’orient (France), which included stadium shows to over 75,000 people, the Philadelphia Folk Festival, considered the Granddaddy of folk festivals , Festival International de Lafayette, Rythym and Roots Festival, Winterlude (Ottawa), Artsplosure, Raleigh, and Summerfest (Milwaukee.) In addition to live shows, the group has recently performed in television and radio productions. In September 2014 a new Canadian national television production “Balade a Toronto”, which highlights rising stars in Canadian Music, featured its premier show with Ten Strings And A Goat Skin, they were presented on TV5 France to an audience of 4 million as part of the Festival Interceltique de L’orient and In addition, they were featured on the Canadian Broadcasting Corporation (CBC) nationally televised Canada Day show. The trio has enjoyed numerous interviews on radio, locally, nationally and internationally.
With it’s latest album, “Corbeau”, Ten Strings And A Goat Skin has received wonderful reviews and multiple award nominations. A UK FolkWorld music review states, “Corbeau is one of the top trad albums of 2013. Fetch a copy”, and suggest that the group relates to the British Group Lau or the Irish American Group Solas. Trad Magazine (France) has been hugely complimentary. In addition, the groups album has been listed on numerous top ten folk album list at year end 2013. The opportunities presented to the trio have been tremendous. They have been fortunate and their hard work and commitment to the music is being noted all over. Playing such prestigious festivals as the Philadelphia Folk Festival is very exciting and the venues have been very generous . A comment from a senior industry player serves as a testament to what the group has been able to achieve in short order. “Several of our programming committee saw Ten Strings And A Goat Skin at various Canadian events in the last year. We agreed, unanimously, that they represented the best of the contemporary/traditional Celtic music, and booked them for our 2014 Festival.” Jesse Lundy – Point Entertainment, co-artistic director Philadelphia Folk Festival The group Ten Strings And A Goat Skin, who are as happy at a local irish session or fiddle camp as they are on a main stage, are very excited about the future and their music. The spirit of the tradition is in good hands with Ten Strings And A Goat Skin.
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The trio comprises multi-instrumentalists Emmanuelle and Pastelle LeBlanc from the Evangeline Region of Prince Edward Island, and Magdalen Islands’ native, Pascal Miousse. Cradled in the Gulf of Saint Lawrence, in the North Atlantic Ocean, Prince Edward Island is home to a small but thriving a Francophone Acadian community with a rich tradition of song and instrumental music. Nearby, the even smaller archipelago of the Magdalen Islands (les Îles de la Madeleine) is predominantly Francophone, recognized for its distinctive French dialect, songs and unique fiddling style. All three members of Vishtèn were raised in homes in which traditional music, percussive dance and kitchen parties were part of everyday life. Together, they pay homage to their traditions and to the historic and strong musical connections between their two island Acadian communities.
From their traditional roots, these three “high voltage musicians” (Le Guéret, France) have crafted a unique brand of neo-traditional music that combines extensive archival research, original compositions, traditional French Acadian songs and virtuosic instrumentals. The infectious rhythms of tapping feet and lilting mouth music blend seamlessly with the fiddle, guitar, accordion, octave mandolin, whistles, piano, bodhrán and jaw harp to offer a musical experience that illustrates their wide sense of the world and breathes new energy and beauty into traditional sounds. Vishtèn’s energetic shows have been described as “Buckwheat Zydeco meets the Irish” (Pittsburgh News) and their innovative blend of old and new has been acclaimed as “[wrapping] up those musical traditions in a bright wrapper that has the heft of tradition but the exuberance of pop” (SingOut!).
In addition to their work with Vishtèn, Pastelle, Emmanuelle and Pascal are prolific composers and accomplished solo artists. Their original tunes and musical contributions can be heard on numerous releases by fellow trad and folk musicians. The band has received four East Coast Music Awards, including “Roots/Traditional Group Recording of the Year” for Terre Rouge (2016), four MusicPEI Awards and Québec’s Édith Butler Award in recognition of their contributions to la Francophonie Canadienne.
One of the most respected bands in the international folk music scene, Vishtèn tours extensively throughout North America, Europe and Australia. The band has performed thousands of shows at international events and venues, including the 2010 Vancouver Winter Olympics (CA), Philadelphia Folk Festival (US), New Orleans Jazz Festival (US), Festival Interceltique de Lorient (FR), Woodford Folk Festival (AUS), Shetland Folk Festival (SCO) and Temple Bar Trad Festival (IRE), among others. As they travel, members of Vishtèn share their pride in their Acadian heritage and deep knowledge of their respective traditions. Known as inspirational teachers, they offer workshops around the world and are regular instructors at several fiddle camps in North America.
Ce trio est composé des multi-instrumentistes Emmanuelle et Pastelle LeBlanc de la Région Évangéline de l’Île-du-Prince-Édouard et de Pascal Miousse des Îles de la Madeleine. Bercée dans le golfe du Saint-Laurent, dans l’océan Atlantique, l’Île-du-Prince-Édouard est un coin de pays où se trouve une petite mais vibrante communauté francophone acadienne riche en tradition musical.
Juste à côté, on retrouve un archipel encore plus petit, les Îles de la Madeleine qui sont principalement francophones et reconnues pour ses dialectes français particuliers, ses chansons et son style de violon distinctif. Les trois membres de Vishtèn ont grandis dans des milieux où la musique traditionnelle, la danse, les soirées de cuisine font partie du quotidien. Ensemble, ils rendent hommage à leur héritage et aux liens musicaux et historiques de leurs communautés insulaires acadiennes respectives.
En puisant dans leurs traditions, ces trois « musiciens de haute tension » (Le Guéret, France) ont créé une signature musicale nouvelle et unique, fruit de nombreuses recherches d’archives, de compositions originales, de chansons patrimoniales acadiennes et d’instrumentales virtuoses.
Les rythmes contagieux de l’accord du pied (podorythmie), le tounage de chanson (reel à bouche) se fusionnent sans effort avec le violon, la guitare, l’accordéon, la mandoline octave, les flûtes, le piano, le bodhrán et la guimbarde pour offrir une expérience musicale qui illustre leur vision du monde et insuffle une nouvelle énergie en démontrant la richesse des sons traditionnels. On décrit les spectacles énergétiques de Vishtèn comme « la rencontre de Buckwheat Zydeco et l’Irlande » (Pittsburgh Nouvelles) et le mélange novateur de l’ancien et du nouveau a été claironné comme « l’emballage inusité mais époustouflant de ces traditions musicales dans un cadeau avec une énorme boucle flamboyante qui a la densité de la tradition et l’exubérance du pop » (Sing out)
En plus de leur travail avec Vishtèn, Pastelle, Emmanuelle et Pascal sont des compositeurs prolifiques et des artistes solo accomplis. Leurs chansons originales et leurs contributions musicales peuvent être entendues et interprétées par de nombreux amis et artistes « trad ». Le groupe a reçu quatre prix de l’Association de la musique de la côte est (ECMA) y compris « Roots, Enregistrement du groupe traditionnel de l’année » pour leur album Terre rouge (2016), quatre prix de l’association « Music PEI » et le Prix Édith Butler du Québec, en reconnaissance de leur contribution à la francophonie canadienne.
L’un des groupes les plus respectés de la scène musicale « folk » internationale, Vishtèn fait de la tournée partout en Amérique du Nord, en Europe et en Australie. Le groupe a donné des milliers de spectacle en salle et à participer à des évènements internationaux incluant Les Jeux olympiques d’hiver de 2010 à Vancouver (CA), Philadelphia Folk Festival (États-Unis), New Orleans Jazz Festival de (US), Festival Interceltique de Lorient (FR), Woodford Folk Festival de (AUS), Shetland Folk Festival (SCO) et Temple Bar Trad Festival (IRE), pour n’en nommer que quelques uns. En voyageant, les membres de Vishtèn partagent leur fienté dans leur patrimoine acadien et leur connaissance approfondie de leurs traditions respectives. Enseignants reconnus comme source d’inspiration, ils offrent des ateliers dans le monde entier et sont des formateurs réguliers à de nombreux camps de violon en Amérique du Nord.
|04/26/2018 8:45 pm||LUS LA Craft Biergarten|
Trained in traditional Tuvan music since childhood, the Alash musicians studied at Kyzyl Arts College just as Tuva was beginning to open up to the West. They formed a traditional ensemble and won multiple awards for traditional throat singing in international xöömei competitions, both as an ensemble and as individuals. At the same time, they paid close attention to new trends coming out of the West. They have borrowed new ideas that mesh well with the sound and feel of traditional Tuvan music, but they have never sacrificed the integrity of their own heritage in an effort to make their music more hip.
Alash first toured the U.S. under the sponsorship of the Open World Leadership program of the Library of Congress and the National Endowment for the Arts. Since then they have returned many times, to the delight of American audiences. The Washington Post described their music as “utterly stunning,” quipping that after the performance “audience members picked their jaws up off the floor.”
Alash enjoys collaborating with musicians of all stripes. They appear as guest artists on Béla Fleck & the Flecktones’ holiday CD Jingle All the Way (2008), which won a Grammy. The Denver Post remarked, “As electrifying as the Flecktones’ performance was, the band were nearly upstaged by Alash Ensemble.” Since Alash’s first partnership with the legendary Sun Ra Arkestra, they have collaborated with musicians across the spectrum, from country to classical to jazz to beatboxing. Most recently, the jazz CD The Viridian Trio (2017) features Alash in a musical remembrance of the late Kongar-ool Ondar.
Beyond performing, Alash has a passion for teaching and promoting understanding between cultures. Their tours often include workshops where they introduce Tuvan music to students from primary, middle and high schools, colleges, universities, and music conservatories. Children as young as 8 and 9 have learned to throat-sing. As one student exclaimed, “Alash opened my eyes to a whole new world!”
Alash has released four CDs of its own: Alash Live at the Enchanted Garden (2006), Alash (2007), Buura (2011), and Achai (2015, re-released on Smithsonian Folkways in 2017). The members of Alash are:
Bady-Dorzhu Ondar: vocals, igil, guitar. Kyzyl Arts College, East Siberia State Academy of Culture and Art. Best soloist, 2005 All-Russian Festival of traditional ensembles and orchestras. Best in Maxim Dakpai xöömei competition, 2006. Named People’s Xöömeizhi, 2007. Grand prize, International Xöömei Symposium, 2008.
Ayan-ool Sam: vocals, doshpuluur, igil, guitar. Republic School of the Arts, Kyzyl Arts College, Moscow State Pedagogical University. First prize, International Xöömei Symposium, 2008. Named People’s Xöömeizhi, 2015.
Ayan Shirizhik: vocals, kengirge, shyngyrash, shoor, murgu, xomus. Kyzyl Arts College, East Siberia State Academy of Culture and Art. Second prize, International Xöömei Symposium, 2008. Named Distinguished Artist of Tuva, 2009.
Sean Quirk: interpreter and manager. Studied music in Tuva on a Fulbright fellowship. Named Distinguished Artist of Tuva, 2008.
|04/28/2018 5:15 pm||Scène Laborde Earles Law Firm Fais Do Do|
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This Valcour Records release features their takes on the recordings of classic and archaic Cajun and Creole tunes as they were recorded in the early part of the 20th century as well as a few stellar original compositions. The recording was recorded, mixed and mastered by Joel Savoy at Studio SavoyFaire in Eunice, LA.
“I never left my Cajun roots. I took them around the world with me and we have reached unbelievable heights. After seventy eight years I brought them home,” said Kershaw. “Steve Riley and Joel Savoy, I thank you from the bottom of my heart for welcoming us back home.”
“It was a delight to bring these fabulous old songs to life on these instruments so rich with Cajun music history and to do it with one of Cajun music’s most legendary musicians,” said Riley. “Doug Kershaw has taken his Cajun roots farther than just about anyone I know. It was good to bring him home!”
Though they are from opposite ends of the Cajun music spectrum, both artists have contributed significantly to the music, having styles that are undoubtedly the most recognizable, innovative, and popular to ever come out of south LA’s Cajun country. Neither Doug or Steve had recorded in such a paired down, bare bones setting before, but the result is raw, real, and packed with Ragin’ Cajun attitude and energy from start to finish!
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The songs in this collection emit an electric pulse and energy that are truly global in concept and vision. A song like Porro Maracatu is a vibrant and provocative marriage of two traditional rhythms from Afro-Colombian and Afro-Brazilian culture. Confesión is a tender love letter to self-actualization and womanhood. Traditional instruments combine with electric arrangements to produce a vibrant, melodious experiment in allowing oneself to feel, speak and reimagine the currents that connect us all across the Americas. In its deepest essence, LADAMA’s inaugural album is a reflection of what it means to communicate across the Americas. Written, composed, arranged and produced by the dynamic foursome, the album is an organic yet modern expression of authenticity across cultures.
LADAMA met on the road in 2014 while touring Los Angeles, Arizona, and New Mexico as part of the prestigious OneBeat Program. Between individual performances, leading youth workshops and public music-making events,
Lara, Daniela, Mafer and Sara uncovered a common dream of building communities through sound and empowering women and youth through music. Reimagining South American and Caribbean styles like cumbia, maracatu, onda nueva and joropo and blending them with soul, R&B and pop, LADAMA creates a new sound all their own. Together, the four shred on the Bandola Llanera from Venezuela, the Tambor Alegre from Colombia, and the Pandeiro from Northeastern Brazil.
With powerful vocals, often accompanied by Pat Swoboda on the bass, LADAMA delivers an utterly unique musical experience. LADAMA flows from the electric to the acoustic, from Spanish to English and Portuguese, and from the high plains of Venezuela to the Colombian coast. Their art proves that borders are meaningless, transporting us to a future where the world communicates across continents and cultures, through sound and story.
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By the age of 25, Curley had played drums with some of Louisiana's musical legends, including: CC Adcock, Steve Riley, John Hart, "L'il" Bob and the Lollipops, and his uncles, "L'il" Buck Senegal and Wayne "Blue" Burns. He toured with CJ Chenier, son of the "King of Zydeco" Clifton Chenier, and a Zydeco legend in his own right.
While traveling with CJ Chenier's band, he became interested in playing the accordion and found he really enjoyed it. Curley purchased his first accordion and, within six months, had learned to play. He was told that he "played the accordion and the drums with great emotion and natural feeling."
Curley's friends and fellow musicians Keith Clements (keyboards) and Eric Minx (drums) encouraged him to start his own band. Around this same time, he received a job offer to play drums for one of the most popular zydeco bands in Louisiana - Geno Delafose and French Rockin Boogie. Curley put his ambitions for his own band on hold to play and tour internationally with French Rockin Boogie for several years. During this time, he continued to practice the accordion and write music in preparation for his first CD.
In 2003 Curley was ready to make the move and launch his own band - Curley Taylor and Zydeco Trouble. His debut CD "Country Boy" was released to rave reviews. Artists familiar with Zydeco compared Curley's music to that of the late, great Beau Jocque. "It's a high compliment," Curley replied, "but Country Boy is only the start." Curley has been playing, touring and recording ever since.
Since his debut CD, Curley has produced five more CDs of original music, making him one of the most prolific composers in Zydeco. In 2012, he released a compilation of his hits, "The #1's," followed by "Zydeco Confessions" in 2014. His latest project “Rise Up” was released in the fall of 2017, which includes a zydeco cover of Bob Marley’s 1978 hit, “Is This Love?” and title track, “Rise Up.”
His bluesy, soulful vocals and the band's hard driving Zydeco beat blend to create high-energy dance music for all audiences. Curley's music is true to its roots in Zydeco and Blues, but contemporary enough to appeal to a broad range of music lovers. Curley Taylor and Zydeco Trouble tour extensively throughout the US, playing festivals and clubs from New York to San Diego and from Florida to Seattle. Often playing to audiences who have never heard Zydeco music before, they make fans wherever they go. They've played major festivals including Rhythm and Roots in Ninigret RI, the Waterfront Blues Festival in Portland OR and Jazz Fest in New Orleans. When at home in Louisiana, you can find Curley in the studio working on his latest CD, or playing in one of the local clubs around the Lafayette/Opelousas area to the delight of his hometown fans.
|04/25/2018 8:15 pm||Scène Laborde Earles Law Firm Fais Do Do|
The 7-piece group have brought their fast and furious fiddles to close to 500 gigs. Tours in North America, Australia, Japan, Europe and the UK, appearances on major festivals such as Chicago World Music Festival, Celtic Connections, Glatt & Verkehrt, WOMADelaide, Rudolstadt Festival, and Rainforest World Music Festival, to name just a few.
Also the global world music media have featured Frigg extensively. Articles and reviews on FRoots and Sing Out, live performance on BBC Radio 3, and Top of the World selections on the Songlines magazine have paved the way. Frigg’s latest studio album ”Polka V” (2014) was selected as the Folk Album of the Year in Finland and nominated for the prestigious Teosto Prize, awarded annually by Finnish composers – underlining the fact that Frigg performs mostly original material written by the band members. Their latest and 8th album "Frost on Fiddles" released in June 2017 has been praised in the world music media and beyond: five star reviews, continuous radio play in e.g. BBC stations all over UK, high rankings in global music charts, nominations in Finnish Ethno Gala 2017, and offers to play at prestigious events.
The living tradition aside, the second cornerstone of Frigg's music is innovation. Frigg has absorbed melodies and rhythms from various world music styles such as bluegrass, Celtic and Balkan, among others. All the musicians of the septet have studied in top-notch music universities like the Sibelius Academy in Helsinki, quaranteing virtuoso and effortless mastering of their instruments.
‘Embracing everything from Nashville to Nordkapp, Salzburg to Stornoway, this Helsinki septet manages to sound like a polka band, a rock group, or a Riverdance ensemble, while remaining purely acoustic and firmly string-powered. Four fiddles, an upright bass, guitars and mandos: that's all there is, but Frigg fill the air, live or on CD.’ - Alex Monaghan, Folkworld
‘This is Blazin’ Fiddles on steroids!’ - Jim Byrne, The Living Tradition
Tommi Asplund, fiddle
Tero Hyväluoma, fiddle
Alina Järvelä, fiddle
Esko Järvelä, fiddle, viola
Juho Kivivuori, double bass
Anssi Salminen, guitar
Petri Prauda, cittern, mandolin, bagpipes
|04/27/2018 5:45 pm||Scène TV5 MONDE Lafayette|
|04/28/2018 9:00 am||Scène Laborde Earles Law Firm Fais Do Do|
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Nearly 50 years ago, Sister Lorette Gallant formed a choir of young voices that would carry the Acadian flag to the four corners of the world.
Founded in 1969 as the Aberdeen Choir and renamed Jeunes chanteurs d'Acadie in 1972, this choir has built an international reputation. Over the years, the choir distinguished themselves in many competitions and high-profile events. Among others, in 1974, the choir won three first prizes at an international music festival in England. Two years later, the choir sang in front of Queen Elizabeth II in Fredericton and represented New Brunswick at the Olympic Games in Montreal. Then, in 1977, the Jeunes chanteurs d'Acadie won the George S. Mathieson Trophy, awarded to the best choir in Canada.
During the next decade, the choir sang in Wales, England and France. They also toured Canada, performing in Quebec City, Montreal, Ottawa, Calgary and Vancouver.
Her great dedication to this internationally renowned choir and the French-Acadian community was recognized in 1996 when Sister Lorette Gallant received the Order of Canada.
In 2005, Sister Lorette Gallant retired and passed on her torch to her niece, Nadine Hébert. This young lady, adorned with extensive musical experience and sharing the love of choral singing, took on this challenge with open arms. The Jeunes chanteurs d'Acadie took new heights, participating in the Niagara International Music Festival in St. Catherine, Ontario (2006). In the summer of 2008, the Jeunes chanteurs d'Acadie participated in the Mondial Loto-Québec de Laval and then represented New Brunswick at the UNISONG festival in Ottawa. In 2010, the choir participated in the Kathaumixw International Choral Festival in Powell River, British Columbia and in 2012 took part in an exchange with a youth choir from Guelph, Ontario, and participated in the Senior Treble Festival in Toronto.
The following year, the choir attended the Festival 500, an international choir festival held in Newfoundland. During the spring of 2015, they had the opportunity to partake in a cultural exchange with Canada-Cuba Sports & Cultural Festivals in Havana, Cuba. Then, in 2016, the choir participated in an exchange with the choristers of Costal Sound Children's Choir from Vancouver through the Experience Canada program.
Further, for the past 10 years, the Jeunes chanteurs d’Acadie choir has participated in the Christmas concert “Noël with les Muses, les frères Bélivo and Roland Gauvin” at the Moncton Capitol Theatre. In more recent years, the choir has also partnered with Tutta Musica, a local orchestra, to create musical masterpieces.
In 2017, the Jeunes chanteurs d'Acadie were featured as one of the choir who appeared on the Chœurs d’ici, chansons d’ici project, a pan-Canadian production to commemorate Canada 150. Further to this, they were chosen as part of the 150 music builders of New Brunswick, where Music NB turned to the community and to the music industry to create a list of 150 New Brunswick Builders.
To this day, the choir continues to get recognition everywhere they go. In fact, Zachary Richard, a French-Cajun singer-songwriter was so impressed when he heard the Jeunes Chanteurs d'Acadie choir perform during the televised production Constellation francophone that he invited them to share the stage with him during the Festival International de Louisiane opening ceremonies in April 2018 in Lafayette, Louisiana. This project is in line with Sister Lorette Gallant’s initial vision of the choir which was to have a chorus of young voices share their love of the French-Acadian history through their love of singing with others.
Sister Lorette Gallant’s recognition continues this year when she will be receiving the order of Moncton in December. Further, next year, the choir will celebrate its 50th anniversary of existence with many activities planned to commemorate this achievement.
The Jeunes chanteurs d’Acadie choir is a non-profit organization whose mission is to provide children in our community with a unique and enriched cultural experience through the study and performance of choral music that remains accessible to all children regardless of their socio-economic status.
THE CHOIR TODAY
As you can see, throughout the years, the Jeunes Chanteurs d'Acadie choir has played an important role in the cultural and musical development of youths. The choir is also an ambassador for l’Acadie, New Brunswick and Canada, having performed throughout its own country, the United States, Cuba and many European capitals.
Currently, the choir consists of 51choristers between the ages of 11 to 18 and is under the direction of Nadine Hébert. the Jeunes Chanteurs d’Acadie choir has a multilingual repertoire that includes religious, classical, traditional and modern compositions. Singing in different languages and learning the history of these musical compositions, gives the choristers’ knowledge that is unique and that will enrich their soul for a lifetime.
Fondée en 1969 sous le nom de Chorale d’Aberdeen et renommée Jeunes chanteurs d’Acadie en 1972, la chorale a joué un rôle important dans le développement culturel et musical de plusieurs jeunes. Au cours des 49 dernières années, la chorale s’est bâti une renommée internationale en se distinguant dans un grand nombre de compétitions et d’événements de grandes envergures. Les choristes ont eu de nombreuses aventures inoubliables et ont partagé leur amour de leur héritage acadien en chantant au travers le Canada, les États-Unis, le Cuba et dans de nombreux pays européens.
Depuis 2005, la chorale est sous la direction de Nadine Hébert, qui possède une vaste expérience musicale et une passion pour le chant choral. Les Jeunes chanteurs d'Acadie comptent aujourd’hui 51 choristes âgés entre 11 à 18 ans. La chorale possède un répertoire multilingue et varié comprenant des compositions religieuses, classiques, traditionnelles et modernes. Chanter dans différentes langues et apprendre l'histoire de ces compositions musicales donne aux choristes des connaissances uniques et enrichissantes.
Les voyages culturels permettent aussi à ces jeunes d’apprendre davantage sur leur monde à travers la loupe du chant choral. Ils ont récemment fait des échanges avec des chorales de Guelph en Ontario et de Vancouver en Colombie-Britannique. Ils ont également pris part au Festival 500 à Terre-Neuve et à un échange culturel à La Havane, Cuba ... et maintenant ils sont ravis de visiter la région de Lafayette en Louisiane afin de partager leurs racines acadiennes françaises!
Suivez les Jeunes chanteurs d'Acadie sur leur page Facebook.
|04/29/2018 11:00 am||French Mass|
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“In delivering her own mature, carefully-structured songs, Amythyst displayed the confidence to exploit her impressive vocal range without inhibition, assuming an almost spiritual presence. The tenor of her delivery held the room, with a welcome absence of audience chatter which blights so many gigs, her well-judged rhythmic percussive guitar picking the ideal accompaniment for her set.” ~ David Innes, Bluesandmoreagain
A professed Southern Gothic, alt-country blues singer/songwriter based in Johnson City, TN, Amythyst Kiah’s commanding stage presence is only matched by her raw and powerful vocals—a deeply moving, hypnotic sound that stirs echoes of a distant and restless past.
Accoutered interchangeably with banjo, acoustic guitar, or a full band (Her Chest of Glass), Amythyst’s toolbox is augmented by her scholarship of African-American roots music. Her eclectic influences span decades, drawing heavily on old time music (Mississippi Sheiks, Son House, Jimmie Rodgers, Olla Belle Reed, Carter Family), inspired by strong R&B and country music vocalists from the ’50s-’70s (Big Mama Thornton, Sister Rosetta Tharpe, Mahalia Jackson, Dolly Parton, Patsy Cline, Loretta Lynn) and influenced by contemporary artists with powerful vocal integrity (Adele, Florence and the Machine, Megan Jean and the KFB, Janelle Monae).
Recent tours in Scotland and the U.K. have seen Amythyst performing for audiences at the Americana Music Association UK Showcase, the Southern Fried Festival, Cambridge Folk Festival, the Edinburgh Jazz Festival, and SummerTyne Americana Festival. She is a crowd favorite at Bristol Rhythm & Roots Reunion in the U.S., has performed at the John F. Kennedy Center for Performing Arts, and the Smithsonian Folk Life Festival.
Provocative and coolly fierce, Amythyst Kiah’s ability to cross the boundaries of blues and old-time through reinterpretation is groundbreaking and simply unforgettable.
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|04/28/2018 3:30 pm||Scène Laborde Earles Law Firm Fais Do Do|
Following the celebrated releases Cow Island Hop (2008) and En Couleurs (2010), Two Universes is the product of long-steeping recording sessions and collaborative songwriting between bandleader Chris Stafford and singer and multi-instrumentalist Kelli Jones, whose contributions make this a breakout album, of sorts.
Raised on Appalachian fiddle traditions, Kelli adds old-time stomp to the band’s repertoire. Also new to the band, keyboardist Andrew Toups lends a new-wave gospel sound owed to his background playing in rock bands. Toups’s influence on shaping the record, combined with Feufollet’s usual fare—twin fiddles, French accordion, guitar twang, and barn-dance rhythms— give the record more than a passing resemblance to the Band’s Music From the Big Pink.
But above all else, the album’s signature sound comes from the vocal performances. Flipping from husky honky-tonk angel to French chanteuse, Kelli’s voice perfectly pairs with Stafford’s swamp-pop vocal stylings. As the two trade off lead and harmony parts, they hit upon some of the same magic as history’s greatest duet partners—Emmylou Harris and Gram Parsons, Gillian Welch and Dave Rawlings, and Stevie Nicks and Lindsey Buckingham. Theirs is the sound of two universes colliding and, no surprise, it reaches maximum effect on the album’s title track.
Cajun, country, and rock’n’roll all began as homespun enterprises, by musicians tinkering with inherited melodies until new sounds were struck. Feufollet keeps that experimental spirit alive and well with their diverse musical palette, edgy arrangements, and pop-song sensibilities. On their 11-track release—exquisitely packaged with the psychedelic-folk art of Louisiana painter Francis Pavy—the band accomplishes the unusual feat of creating a sound that is at once familiar and fresh, classic and yet unmistakably original.
|04/28/2018 4:15 pm||Scène TV5 MONDE Lafayette|
Glen David Andrews is on a mission. The trombonist, singer and showman, who hails from an extended family of musicians in New Orleans’ culturally rich Treme neighborhood, introduced himself to a national, and international, audience with the acclaimed 2014 album “Redemption.” Always eager to be more than a hometown hero, he is ready to fully realize that ambition, to build on the platform/pulpit that “Redemption” gave him. “The last few years of investing in myself, I’ve seen the benefits,” he says. “Now it’s time to work to that next level.”
Andrews grew up steps away from the fabled Treme nightspot Joe’s Cozy Corner. From an early age, he reveled in the sounds of second-line parades and church choirs; his cousins populated several New Orleans brass bands. Trouble occasionally found him, and vice versa.
His young cousin Troy “Trombone Shorty” Andrews, now one of the Crescent City’s breakout stars, suggested he pick up a horn. Armed with a trombone, Glen soon found himself gigging with the New Birth and Lil’ Rascals brass bands. His first trip outside Louisiana was to perform with his cousin James Andrews in Zurich, Switzerland. Mentor Anthony “Tuba Fats” Lacen taught him how to entertain tourists outside the St. Louis Cathedral in New Orleans’ Jackson Square. Along the way, Andrews developed a singing voice that was equal parts Louis Armstrong, Big Joe Turner and Bourbon Street favorite “Big” Al Carson.
In 2008, after he’d appeared at the New Orleans Jazz & Heritage Festival with other acts for years, the festival finally booked Andrews under his own name. He’s never looked back. His headlining sets at the festival’s Gospel Tent and Blues Tent have been consensus Jazz Fest highlights – energized, sweaty affairs invigorated by the musical traditions of New Orleans and Andrews’ preacher-caught-up-in-the-spirit charisma.
Recorded in a former church, his “Redemption” album avoided New Orleans standards in favor of original funk, soul, gospel and rock. Andrews’ voice ranged from rugged, Howlin’ Wolf-style blues growls to a soul singer’s sweet falsetto to straight-up gospel testimonials. Reviews heralded the arrival of this major new – and authentic – voice from New Orleans.
“What made that record a success was that everybody on it, including the backing band, had had some kind of trials and tribulations, and had overcome it. I was being real vulnerable by putting myself out there for the public like that. But if you humble yourself to life, if you surrender, karma is going to take care of you in a good way.”
With “Redemption,” Andrews also made clear that he does not consider himself strictly a New Orleans artist. “I don’t want to define myself, or pigeonhole myself in New Orleans, because I do too many different styles. New Orleans is in me. I don’t need to play ‘Hey Pocky Way’ every night to prove I’m New Orleans. People want to hear what I’ve got to say – that’s what made ‘Redemption’ work. So I’ve got to play my songs.”
His repertoire now focuses on original material, including big band blues in the style of Solomon Burke. The rare cover songs that may turn up in sets are “different, all the way out the box, really unique. Like Led Zeppelin or Donald Fagen.”
Andrews credits the late Allen Toussaint, one of New Orleans’ most renowned and revered songwriters, producers and piano players, with providing a key piece of advice. While in Brazil for a series of shows with Toussaint, Andrews would often eat breakfast with the legend. One morning, Andrews asked how Toussaint stayed inspired to continually reinvent himself. “He said, ‘Right now I’m inspired by my microwave. It’s just amazing what technology can do.’ When he said that, a light went off in my head. This man is 70 years old, and he’s inspired by something as simple as a microwave. It was a humbling answer.”
The birth of Andrews’ first child, a daughter, has provided additional focus and motivation. “I need to provide for my daughter. I’m only able to do that by putting out better records, working with a better band, and upgrading across the board.”
His revamped band includes sousaphonist Julius McKee of the Dirty Dozen Brass Band. Backed by such top-tier musicians, Andrews intends to uplift, inspire and move audiences every time he steps on a stage. “One night I play for 4,000 people, the next night for 20 people. But I give them all a show for 20,000 people.”
During his increasingly rare breaks at home, he often headlines the Frenchmen Street nightclub d.b.a. for what is considered the must-see show in New Orleans on Monday nights. But he’s also conquered fresh terrain far from home, broadening his perspective with varied musical experiences. He’s showcased up and down the East Coast backed by only a guitarist and a percussionist. He’s made multiple trips to Germany to record with the Sazerac Swingers, and toured France for the first time with his own band. He’s sat in with New York-based soul-rock band Sister Sparrow & the Dirty Birds on Doobie Brothers and Allman Brothers songs. “I never would have thought that was right for me. But sometimes you’ve got to trust people. All the people I’m working with, they love me, and they believe in my talent. I’ve got to trust them, and let this process play out.”
With a new team behind him, he’s ready to reach the next level of his increasingly worldwide career. “I know where I want to go. It starts with me making the sacrifice to hit the road, instead of staying in my comfort zone. I’m hungry. So I’ve got to go for it.”
|04/29/2018 3:15 pm||Scène Laborde Earles Law Firm Fais Do Do|
|04/27/2018 8:30 pm||KATC / LA Folk Roots Chat Room|
Blue Monday All-Star Band members are: Steve Adams, Lil Buck Sinegal, Reggie Dural, and Mr. Lee Allen Zeno & more
One word best describes New Orleans native and soul man Steve Adams... Mojo! Steve Adams has built quite the network over the years. Both a supreme vocalist and drummer, Steve Adams musical path spans several decades performing and sharing the stage and studio with several of Louisiana's greatest artists. Steve Adams has fronted for several legendary Louisiana bands including TK Hulin and The Boogie Kings. Adding to his impressive list, he has also played alongside Ernie K-Doe, Jessie Hill, Erma Thomas, Tommy Ridgley, Oliver Morgan, and Alan Toussaint. These days it's hard to mention Steve Adams without mentioning bass player and partner in crime Bill "Wild Bucky Brown" LeBlanc. Having been steeped in a lifetime of muddy water along with their prodigious musical knowledge, these two gentlemen have undoubtedly developed one of the strongest rhythm sections the south has ever seen. It's hard to play this many years with afore mentioned talent and not conjure up a lifetime of mojo and soul. Speaking of mojo, strange enough these two have eluded the limelight of recording fame somehow... However, if you are lucky enough to live in Southwest Louisiana or be visiting the Acadiana area, Steve Adams and his Network play upwards of 150 shows a year. All locally! The Steve Adams Network knows how to keep it real, whether it's a full 8- piece band featuring his brass section "The Hurricane Horns" complete with piano and percussion (Featured on his 2008 release "Playing With My Friends") or his configuration of the Steve Adams Trio which features "Wild Bucky Brown” on bass and the incomparable Don Hebert on guitar. Did we say Steve Adams "Network"??? Well no surprise that the Steve Adams Trio not only hosts a number of talented guitar players such as veteran Ronnie Vice and fresh blood Jerome Vasquez, but they are also the backbone for the "Leroy Stank Revue" which boasts local blues favorite Keith Blair. A soul shaker is what you are gonna get with Louisiana's best kept secret, the Steve Adams Network.
With his deep Creole accent, boundless energy, and enough talent to play just about any instrument he can get his hands on, Major Handy’s music is always fun and full of surprises! His guitar playing is clean and bluesy and he uses the accordion to punch up his sound. Handy’s voice reflects his South Louisiana heritage, with Creole liberally present. Otis Redding originally tried to get Major’s mom to let him join his band when Major was 15; however, his mom said no. Not long after, zydeco legends Rockin’ Dopsie and Stanley “Buckwheat” Dural both asked Major to play guitar in their bands. Major said yes and ended up working with Rockin’ Dopsie for 12 years and with Buckwheat for about a year. Major has toured much of the world and fronted a number of his own bands throughout his 40 years in music. Even with his big reputation among other musicians, his experience on the road, and his records, he has remained an obscure figure for many blues and zydeco fans. Major has become a master of the piano accordion and developed a warm, evocative vocal style. He prefers to play where and when he wants to.
Lil’ Buck Sinegal became a session musician at Excello Records, working with Slim Harpo, Lazy Lester and others while also recording with Rockin' Dopsie, Katie Webster, and Lil' Bob. In the late 1960s, he recorded his own instrumentals, including "Cat Scream" and "Monkey in a Sack", for the La Louisiane record label. He joined Clifton Chenier's band in 1969, and toured regularly with him in Europe and elsewhere over the next decade. Later, in the 1980s and 1990s, he also toured internationally with Buckwheat Zydeco and with Rockin' Dopsie. He founded the Cowboy Stew Blues Revue with C. C. Adcock. In 1999, he released the album The Buck Starts Here, featuring songs predominantly written with, and produced by, Allen Toussaint. Critic Richie Unterberger described the record as "a fairly straight blues album with faint or nonexistent traces of zydeco", and Sinegal has commented: "I am probably more known as a zydeco guitarist... [but] I've always been a bluesman... Zydeco is the blues. It's basically blues played with accordion. Clifton Chenier's music was blues throughout”. He appears in the 2015 documentary film, I Am the Blues.
Reggie “Sir Reg” Dural, who played with his father for more than 20 years, now leads “Buckwheat Zydeco Tribute: Ils Sont Partis Band featuring Sir Reg”. The Ils Sont Partis Band, the name of Buckwheat’s original group, features longtime members of Buckwheat Zydeco — Lee Allen Zeno, Paul “Lil Buck” Sinegal, Curtis Watson Jr., Kevin Menard and Mike Melchione. C. J. Chenier, Jeffery Broussard, and Major Handy will perform as special guests. Buckwheat Zydeco fans will recognize Sir Reg as the rubboard player in his father’s band. But in recent years, when cancer began to take its toll on his father, Sir Reg stepped out as the band’s accordionist, organist and lead singer. “When my dad really fell sick the first time, I was doing the shows in Hawaii with our band,” said Sir Reg. “My good friend, C. J. Chenier, would do different places in Hawaii too. When he fell sick on the road last year, I took over the band and started playing. I told him, 'Don’t worry about anything. It’s going to be okay.' We’d keep his legacy going, if anything happened. There was nothing to worry about. Out of the kids, I was the only one who took the music thing out on the road with him”. Thirty years later, Sir Reg feels no pressure following in his father’s footsteps. “I’m like my dad; I’m just down to earth and it doesn’t faze me. It’s really special what my dad’s been through and what he achieved. But when it comes to being on stage, I just love to play the music. It’s a blessing that we won a Grammy and an Emmy. But I really love the feeling of being on stage, playing and looking at the people dance and smile. To me, that weighs way over the Grammy and everything.”
Lee Allen Zeno grew up immersed in the Louisiana music scene. Having demonstrated a natural ability to cross the genres of blues, zydeco, gospel, country and soul music, Lee Allen became an in-demand bass player while still in his teens. Perhaps best known for his long tenure as the bass player for the Buckwheat Zydeco band, Zeno has also worked extensively as a session player, having recorded with Dalton Reed, Charlie Rich, Guitar Shorty, Lil’ Brian Terry, Clarence “Frogman” Henry, Jean Knight, Major Handy, Archie Bell, Barbara Lynn, Bobby Allen, Willie Cobbs, Leon Sam, Henry Gray, Lazy Lester, Chick Willis and many others. Lee can be found at various clubs from Lafayette to New Orleans, laying down grooves with Roddie Romero, Rockin’ Dopsie Jr., Major Handy, Zydeco Ray & the Creole Knight Riders, Lil’ Buck Sinegal, Henry Gray & Carol Fran, as well as the Rue Boogaloo band, with Marty Christian.
|04/28/2018 12:45 pm||Scène TV5 MONDE Lafayette|
Over the past decade, Mike Dillon has released a number of acclaimed albums, intertwining a range of influences from Zappa-esque eccentricity to Fishbone punk funk, D.C. Go-Go to Milt Jackson-influenced vibraphone majesty. Never before, however, has he recorded music so personal and committed to a sustained mood as his latest album, Functioning Broke. The recording finds Dillon solo on vibraphone and various percussion, building each track into its own minimalist, but multi-dimensional auditory landscape.
The current version of the Mike Dillon Band features guitarist Cliff Hines, Bassist Nathan Lambertson and a rotating cast of drummers including Claude Coleman Jr. (Ween), Brendan Bull, G. Maxwell, Doug Belote and Paul Thibodeaux. With this line up, Dillon has continued exploring the connection between New Orleans street beats, Ska, funk, Hardcore and jazz. The band will release a new record in February 2017 titled, “Life is not a Football." Produced in New Orleans by Richard Maloney and Dillon with engineers Rick Nelson and Robert Mercurio, this album sounds like a Spotted Cat trad band that grew up playing Dead Kennedys and invited Captain Beefheart over for a dinner cooked by Thelonious Monk. The Mike Dillon Band has supported acts like Galactic, The Revivalists, Clutch, Primus, and Fishbone, while continuing to play music festivals and in cities across the U.S.
In 2016 and 2017, the Gambit's Big Easy Awards named Mike Dillon "Performer of the Year" and the Mike Dillon Band "Best Punk/Metal Band" in New Orleans.
Mike's latest release, Life Is Not A Football, released April, 2017 (Royal Potato Family) is "A recording with the Big Easy coursing through its veins and equal parts Frank Zappa and The Butthole Surfers in its DNA. Life Is Not A Football, is a no-holds-barred affair, complete with rallying cries for justice, truth-to-power political and existential rants and plenty of inside jokes.
|04/29/2018 1:30 pm||Scène Laborde Earles Law Firm Fais Do Do|
His latest mask, Grand Nathaniel & The Ghosts, reincarnates the sound of virginity lost in the Reagan era — the dour dance beat of sexual ambivalence, the phony sweep of synth strings and organs, misfired drum machines, the raw edge of jaded guitars.
Backed by long time collaborators Brycen Gaddis, Ian Guidroz and Jim Kolacek, Burton’s turn as Grand Nathaniel & The Ghosts revisits the landscape of his misspent youth on the early frontiers of alternative rock.
Burton cribbed his artistic cues from years living in the fallout era of post-R.E.M. Athens, Ga., picking through the ashes of the southern American underground to find the scribblings of obscured legends like Pylon and The dB’s. Grand Nathaniel begins in the 1990s and works backwards, traveling from Athens up the East Coast on a reverse musical timeline, taking in the post-hardcore, prog positivity of DIY Washington D.C. (Trans Am) and the chipped-tooth chic of disco punk New York City (ESG, Liquid Liquid).
Grand Nathaniel’s No Wave revivalism shoots out the lights, blacks out the ball, and hands the party over to the punks. There’s a cloud hanging over the disco floor, and that’s the way they like it.
|04/29/2018 4:45 pm||LUS LA Craft Biergarten|
|04/27/2018 9:00 pm||LUS LA Craft Biergarten|
|04/28/2018 1:00 pm||JD Bank Pavillon de Cuisine|
Harmonouche’s repertoire includes a variety of melodious ballads and fast tempo numbers with fiery themes and improvisations through a mélange of original and re-arranged songs from jazz manouche, swing, Parisian waltzes, French musette, blues and traditional jazz. Musical boundaries are pushed to explore innovative grounds – mixing the old and the new – inviting the audience to enjoy and be inspired by the journey.
Harmonouche has performed at French Quarter Festival, Lafayette Festival International, Jazz and Heritage Festival, Satchmo Festival, Saint Louis Cathedral’s Christmas New Orleans Style, WWL-TV morning show, as well as established weekly shows around town such as Three Muses on Frenchmen Street and Bacchanal in the Bywater.
Harmonouche’s first CD Harmonouche was released in early 2011 and was partially funded by the Louisiana Economy and Cultural Foundation. Described by OffBeat Magazine as “an enjoyable bit of ensemble jazz from some fine New Orleans musicians,“ this album received frequent radio play and caught the interest of the renowned record label Putumayo, who included the song ‘Confessin’ on their 2013 compilation release Vintage France.
Harmonouche's second CD Joli Songe was released in Fall 2013. A mix of original (including Jolie Mademoiselle, Crawfish Blues) and a few re-arranged cover songs ("L' immense Sahara" the 1920s French version of "The Sheik Of Araby"). The album received acclaim from audiences and reviewers alike.
The band’s third album, NolAmour, was released in late 2016. A collection of original, French gypsy swing and early American traditional jazz songs. Positively reviewed by Brett Milano of Offbeat: “…what grabs me most about this CD is the way Raphael Bas sings: Voicing in heavily accented French, he sounds like a likeably roguish character, and evinces a joie de vivre that’s the perfect fit for the band’s music”.
Harmonouche was originated by Raphaël Bas in 2011, a French guitarist, harmonica player and vocalist who migrated to the U.S. in 1992 and moved to New Orleans permanently in 2005. Raphaël has developed unique techniques, combining guitar and diatonic harmonica on the rack, giving this popular instrument its full entity amongst more traditional instruments in jazz ensembles.
Growing up in France, Raphaël was largely exposed and influenced by master guitarist Django Reinhardt and jazz manouche in general. Raphaël’s own interpretations performed on guitar and harmonica, in tandem, transcend the genre creating a singularly unique sound.
Chris Kohl (clarinet) is known for his virtuosity, his trademark sound and passionate solos. His creative aptitude and sensitive musical approach brings the band a surprising lift. A well-established and respected musician, Chris is also co-founder of the Hot Club of New Orleans.
Pascal Valcasara, also from France, is a talented multi instrumentalist playing saxophone, piano, melodica and cajon. Pascal is an accomplished musician with an explosive energy and drive to push the music always further.
Other musicians who have shared their contributions and talents:
Bart Ramsey (piano, accordion)
Norbert Slama (accordion)
Tim Paco (stand up bass)
Nathan Lambertson (stand up bass)
Gwendolyn Coleman (percussions)
Jon Gross (sousaphone)
Kirk Joseph (sousaphone)
Belinda Moody (stand up bass)
Barnaby Gold (drums)
Claude Arthur (bass)
Matt Schreiber (accordion)
Le groupe, qui prend ses racines autour du swing gitan et du jazz traditionnel, est originaire de la Nouvelle Orléans et associe savoir faire et expérience de musicien de classe mondiale avec une bonne dose d’humour, pour le plaisir de jouer et de partager.
Harmonouche est orchestré à la base d’une guitare, accompagnée tour à tour d’un harmonica, de mélodies sifflées ou chantées, soutenu par une clarinette envoutante, un saxophone soyeux, ou d’un cajon aux rythmes enfiévrés.
Evoquant les petites rues pavées parisiennes ou les bars de quartier de la Cité Croissant, les interprétations musicales fluides et captivantes qu’offre Harmonouche, revigorent les audiences et les transportent en d’autres espaces-temps.
Harmonouche a été conçu par Raphaël Bas en 2011, un guitariste français installé aux U.S.A depuis 1992 et qui réside à la Nouvelle Orléans depuis 2005.
Raphaël innove en faisant “chanter” son harmonica à dix trous, marié simultanément à un jeu de guitare élaboré.
Le groupe compte deux associés de longue date, le clarinettiste Chris Kohl, aussi connu pour sa virtuosité et le très talentueux saxophoniste et multi-instrumentiste Pascal Valcasara.
Le répertoire et la musique d’Harmonouche s’inspire d’une vaste diversité et d’héritages musicaux variant de récitals de ballades mélancoliques, aux morceaux rapides, aux thèmes enflammés et aux improvisations fougueuses.
De par ses propres compositions ou des titres classiques revus et ré-arrangés, tirés du jazz gitan, des valses musettes ou du blues, Harmonouche étonne et inspire, en repoussant inexorablement les limites musicales, joignant l’ancien au moderne, et en invitant l’audience à un périple mélomane.
|04/28/2018 3:00 pm||JD Bank Pavillon de Cuisine|
|04/26/2018 6:45 pm||LUS LA Craft Biergarten|
In 2015, they released Rivière Rouge, their first full-length studio album, under the label Le Grenier musique. Co-directed by Dany Placard and recorded at Studio Tracadièche in Carleton-sur-mer, Rivière Rouge was listed by Ici musique as one of the top 50 best albums of 2015. After the album’s release, the duo toured throughout Québec, Ontario, Manitoba, Alberta, New Brunswick, France, Belgium and Switzerland. In May 2017, the band received the Export Québec prize at the Trille Or gala in Ottawa. This distinction is awarded every year to the group from Québec that is judged to have had the most impact throughout French Canada.
In October 2017, Dans l’Shed released their second studio album, Gaspéricana (Le Grenier musique). Co-produced by Guillaume Arsenault, this album paints a portrait of modern rural life, all while revisiting the striped down sounds of their previous work.
In their new show, Dans l’Shed presents songs from both their most recent album and their previous recordings. On stage, their complicity is palpable and their sense of humour contagious. They deliver folk-country-blues styles with lyrics that remain true to their folk roots. They tell stories with which their audience can easily relate. True to the spirit of the blues, they also improvise throughout their performance.
Members of the group
Éric Dion: guitar, dobro, banjo, mandoline, percussions, voice
André Lavergne: guitar, lapsteel, dobro, percussions, voice
Awards and distinctions
• 2017: Part of Ici musique’s list of top 50 best albums of 2017 for Gaspéricana.
• 2017: Recipient of the Export Québec prize, awarded to the group from Québec that is judged to have had the most impact throughout French Canada, Trille Or gala organized by the Association des professionnels de la chanson et de la musique (APCM).
• 2015: Part of Ici musique’s list of top 50 best albums of 2015 for Rivière Rouge.
• 2014: Official selection, Festival en chanson de Petite-Vallée (QC), and recipient of two prizes: the SOCAN song of the year for Dans l’bois and a showcase at the ROSEQ.
En 2015, ils lancent Rivière Rouge, leur premier album complet sur l'étiquette Le Grenier musique. Co-réalisé avec Dany Placard et enregistré au Studio Tracadièche de Carleton-sur-mer, Rivière Rouge se retrouve dans la liste des 50 meilleurs albums de l'année 2015 de Radio-Canada. La sortie de l'album est suivie de plusieurs spectacles au Québec, en Ontario, au Manitoba, en Alberta, au Nouveau-Brunswick, en France, en Belgique et en Suisse. D'ailleurs, en mai 2017, lors du Gala des prix Trille Or organisé par l'Association des professionnels de la chanson et de la musique (APCM), ils reçoivent le trophée Export Québec remis à l'artiste ou le groupe québécois s'étant le plus illustré dans la francophonie canadienne.
À l'automne 2017, Dans l'Shed lance Gaspericana (Le Grenier musique). Sur ce 2e album, co-réalisé avec Guillaume Arsenault, le duo, par l'entremise des personnages de ces chansons, fait un portrait de la ruralité moderne. Ce nouvel album se veut aussi un retour à des arrangements centrés autour du jeu en duo suite aux chansons plus orchestrées de Rivière Rouge.
Pour son nouveau spectacle, Dans l'Shed propose les chansons de son nouvel album, Gaspericana. Le duo revisite également les chansons de ses enregistrements précédents. Sur scène, la complicité amicale et musicale des deux amis est palpable et leur sens de l'humour est contagieux. Ils livrent des chansons folk-country-blues dont les textes demeurent fidèles à la tradition folk. Ils racontent des histoires dans lesquelles le public peut se reconnaître. Fidèles à l'esprit du blues, ils ponctuent leurs performances de sections improvisées.
Membres du groupe :
Éric Dion : guitares, dobro, banjo, mandoline, percussions, voix
André Lavergne : guitares, lapsteel, percussions, voix
Prix et distinctions
2017 : Gaspericana dans la liste des 50 meilleurs albums de l'année selon Ici musique.
2017 : Lauréat du trophée Export Québec remis à l'artiste ou le groupe québécois s'étant le plus illustré dans la francophonie canadienne, Gala des prix Trille Or organisé par l'Association des professionnels de la chanson et de la musique (APCM).
2015 : Rivière Rouge (premier album), dans la liste des 50 meilleurs albums de l'année selon Ici musique.
2014 : Sélection officielle du Festival en chanson de Petite-Vallée et lauréat de deux prix : le prix de la chanson primée SOCAN pour la chanson Dans l'bois ainsi que le prix de la vitrine ROSEQ.
|04/28/2018 5:00 pm||JD Bank Pavillon de Cuisine|
|04/29/2018 12:00 pm||KATC / LA Folk Roots Chat Room|
|04/29/2018 3:30 pm||LUS Scène Internationale|
The music of Sylvain is fresh and attractive. But, it is also familiar. This is because the compositions, all original, draw from many diverse styles. This is kind of "world music", all tied together by lyrically crafted melodies, choice harmonies and Sylvain's French vocals. He has been a jazz guitarist and a composer for TV for over 25 years for national and international TV ads, TV series and put together this solid quartet featuring his skillful guitar playing and an in-the-pocket rhythm section of acoustic bass and hand percussion. All in all, masterful, soulful and very satisfying music.
Rob Allgeyer on Accordion and piano and Hammond B3 organ comes from a long line of professional musicians. At age 6, he started his musical journey first as an organist, then drummer, then pianist. Trained at the University of Cincinnati-College Conservatory of Music (CCM), Rob was part of the Jazz Ensemble and top Jazz Combo, as well as the featured pianist in many student recitals and on several CDs.
For the past twenty years, Rob has performed extensively as a sideman and leading his own trio and quartet. He has performed with the late David “Fathead” Newman, Nashville-based jazz vocalist Annie Sellick, saxophonist/composer Gordon Brisker, Brazilian guitarist Bruno Mangueira, as well as many of the top musicians in the Greater Cincinnati region.
Rob is also currently playing with the Ron Jones Quartet of Louisville. Rob also performed with Jones when he served as artist-in-residence at Purdue University in 2010.
Eric Sayer on Upright Bass & Electric Bass has played the bass professionally for 32 yrs. He's performed throughout the States, Canada, Brazil, France, and the Caribbean
Mark Milliron on Drums & Hand Percussion began playing the drums at age 7.
He is a graduate of the School for Creative & Performing Arts,
studied at the Cincinnati College-Conservatory of Music, has played in orchestras, jazz ensembles, musicals, also travels and performs around the US with an Irish
|04/28/2018 2:45 pm||LUS LA Craft Biergarten|
|04/29/2018 4:30 pm||JD Bank Pavillon de Cuisine|
|04/28/2018 6:00 pm||KATC / LA Folk Roots Chat Room|
|04/28/2018 11:30 am||Scène TV5 MONDE Lafayette|
Casa Samba's performances combine traditional music, vocals, theater, dance and drumming to capture the spirit of Carnival in Brasil, Afro- Brasilian traditions and history. We showcase our performances at major hotels, festivals, conventions and special events and through our annual participation in several Mardi Gras parades and coronations (such as Endymion and Zulu balls) and at the New Orleans Jazz And Heritage Festival. Appropriately enough, Casa Samba first emerged in 1986 during Mardi Gras.
Our Mission - Our mission is to present audiences with an authentic Brasilian Carnival and folk arts experience. Casa Samba does this through weekly open rehearsals and frequent school and university workshops.
Additionally, we maintain a center that works to educate the New Orleans community and the Gulf South region of the rich cultural traditions of Brasil and the similarities which bridge Carnival in Brasil with Mardi Gras in New Orleans emphasizing that importance of their African tradition and influences.
Vision - Casa Samba's vision is to train children and adults in New Orleans and throughout the Gulf South into aspiring practitioners of Brasilian traditional music, dance and cultural arts. Curtis Pierre, has studied over the past 25 years, to gain the knowledge and expertise on Brasilian music and dance. Now with the aid of Casa Samba, he would like to give back to the community through offering classes and workshops on the Brasilian music, dance and culture. For the past 25 years he has with hands on work within his community with hundreds children. Not only as a performer but, he is roll model, mentor, big brother and as a farther figure to many of his neighborhood children. Casa Samba and Curtis has performed for over 800,000 children the metropolitan New Orleans school systems and surrounding parish schools, exposing children to Brasilian culture, music and traditions.
Being a native of New Orleans and knowing the problems that kids face today, Curtis has adopted the same philosophy of the samba schools in Brasil in taking a social responsibility for safeguarding our children and providing them with creative and challenging opportunities and experiences other than what is found in the streets. It is our desire to provide a venue for getting the community, specifically children and young adults interested in music and dance and providing them with a place to participate in supervised and structured activities like Residences, after school, and during the summer months.
|04/28/2018 12:00 pm||Scène des Jeunes|
|04/28/2018 1:00 pm||Street Animation|
|04/29/2018 1:00 pm||Street Animation|
"Sing Me A Story", their latest release, was produced by Sweet Cecilia and six-time Grammy winner, Tony Daigle. The album features all original songs with guest musicians Sonny Landreth, Eric Adcock, Gary Usie, Lane Mack, Jordy Guidry, Caleb Elliot, Adrian Huval, Brazos Huval, 504 Horns, and Tony Daigle. OffBEAT magazine's review of "Sing Me A Story" said it best; "French-sung “Les Frѐres Guidry” is practically epic. Based on a catchy, pencil-tapping rhythm, Sweet Cecilia chants the names of its ancestors, then sings about how they fought, smoked and drank. But if you’re driving while listening to this, do grab the wheel tight when the chorus hits. It’s explosive, powerful and scary with the spooky guitar tones and bombastic beats making you as if you’re passing through the eye of Armageddon".
Sweet Cecilia is making their presence known in the Americana and Regional Roots world. Their debut album "Sweet Cecilia" was named one of the top 50 in OffBEAT Magazine. Their passion and fierce love for each other and family are the driving force in their music and songwriting . Sweet Cecilia has performed at Festival International de Louisiane in Lafayette, Louisiana; the world famous Breaux Bridge Crawfish Festival in Breaux Bridge, Louisiana; French Quarter Festival; the New Orleans Jazz and Heritage Festival in Louisiana, Best of the Bayou Festvial (Houma, LA), and many more venues across the gulf coast.
|04/29/2018 2:30 pm||JD Bank Pavillon de Cuisine|
|04/29/2018 12:30 pm||JD Bank Pavillon de Cuisine|
|04/28/2018 1:00 pm||KATC / LA Folk Roots Chat Room|
|04/28/2018 6:45 pm||LUS LA Craft Biergarten|
(roots rock, blues)
Michael Juan Nunez is a singer, guitarist, songwriter, from South Louisiana whose music taps into the heart of American southern culture. It’s fresh, and urgent, yet unmistakably sprouting from very deep roots. His music paints pictures of life, as seen through the eyes of southern Louisiana. His guitar playing is raw and passionate…moaning, screaming, singing, and driving modern day melodies, with echoes of long lost dancehalls.
Michael has recorded and toured with a number of Louisiana music icons, including Zachary Richard, Doug Kershaw, Harry ‘Big Daddy’ Hypolite, Henry Gray, Sonny Landreth, Brother Dege, C.C. Adcock, Ani Difranco, Jamie Commons, Dr. John, and many others.
He recorded tracks on the Grammy Nominated album “The La Louisianne Sessions” while guitarist for ‘Roddie Romero and The HubCity AllStars’. As well as being the co-writer of “My Jolie” on Roddie’s recent Grammy Nominated “Gulf Stream”.
In the late 90’s Michael was the guitarist/ vocalist for the Lafayette, LA based blues/rock band “RiverBabys”. In 2001 they represented the Acadiana Blues Society at the IBC in Memphis, TN where they were finalists. However, due to an ‘error in judgment’ (their set went to long…despite the fact that they knew they would be disqualified) they did not win. They did however make new fans, and friends, and it expanded their notoriety.
MJN is currently with ParishLine Records with whom he has released 5 records to date. While not a house hold name, Michael Juan Nunez has gained a loyal and rabid following among the blues, and roots rock community.
Michael’s own music has been featured in HBO’s hit series “True Blood”, as well as co-writing the theme song for the Amazon series ‘Cocked’.
He was also featured in a documentary about Angola State Penitentiary, loosely based on the concept of how the great Louisiana singer/songwriter/guitarist ‘Lead Belly’ reportedly “sang his way out of prison twice”, called “Songs of the Soul”.
In 2001 Michael Juan was voted ‘Best Emerging Blues Artist’ by OffBeat Magazine, and has played his music to people all around the country and Canada, at venues and festivals such as The Harvest Jazz and Blues Festival in Fredericton, New Brunswick, New Orleans’ Jazz Festival, King Biscuit Blues Festival in Helena, Arkansas, Festival International in Lafayette, LA, The Harvest Moon Blues Festival in Atlanta, GA…and many other events, venues, and BBQs along the way.
2016 saw the release of “RISE” which was co-produced with long time producer/collaborator A.J. Dauphin and engineered by multi Grammy award winning engineer Tony Daigle. Featuring performances by Chad Willis and Clint Redwing (of MJN’s band The American Electric) as well as the incredible talents of Mike Burch, Lee Allen Zeno, Eric Adcock, Charlene Howard, Dudley ‘Cruz’ Fruge, and Mitchell Simon…all helping to make the MJN penned songs jump from the speakers and come to life. The album is a 3deminsional journey from heavy groove rock, to sultry soul, to raw electric blues…there’s even a Caribbean flavored anthem. Each song takes a twist and turn from the previous one, and each song has it’s own colors that flow, and sometimes clobber the listener. It’s a fresh sounding mix of old and new schools. If you are a lover of blues, roots, rock, or just music…“RISE” has something for you, and the rest will sneak up on you like fog crawling across the bayou, and before you know it, it’ll be under your skin.
|04/28/2018 4:45 pm||LUS LA Craft Biergarten|
Adeline Miller (16) has been playing Fiddle for 11 years. Adeline has performed Cajun music with her younger brother, Robert, as far as Portland, Maine in the USA and Nova Scotia, Canada. Adeline has attended the Sainte Anne University French Immersion Program in Nova Scotia as well. She plays fiddle and sings French vocals at many local venues such as Bayou Teche Brewery, Joie de Vivre Café, Buck & Johnny’s, Pont Breaux’s, and the Blue Moon Saloon. Adeline has also competed in many fiddle competitions such as the “Battle of the Bows” in Jennings, LA, the Celtic Bayou Festival, and the International Rice Festival competitions.
Gabby LeBlanc (16) takes guitar lessons with Sam Broussard and has participated in the Louisiana French Immersion Program. Gabby is a background vocalist on Steve Riley & the Mamou playboys Christmas album as well as the opening performer for their Christmas show this past year. Gabby performs solo as well at many local Louisiana venues.
Robert Miller (11) has been playing Cajun music since he was 5 with acoustic guitar and he also plays bass guitar for a number of other youth bands. He has performed with his sister, Adeline, as far as Portland, Maine in the USA and Nova Scotia, Canada. He also plays at many local venues and festivals such as Festival Acadian, & Crawfish Festival to name a few.
Jace Goulas (10) plays drums and accordion. This past year Jace competed in many accordion contests including the Rayne Frog Festival, the International Rice Festival, and the Jennings squeeze box shoot-out. Jace is also a “New Dawn Award” winner for the Cajun French Music Association.
|04/28/2018 3:30 pm||KATC / LA Folk Roots Chat Room|
|04/29/2018 2:45 pm||LUS LA Craft Biergarten|
It comes as a surprise that in south Louisiana, where Cajun and zydeco dominate the music scene, Vermilion Express (the University of Louisiana at Lafayette’s bluegrass ensemble) has become one of the state’s hottest young bluegrass bands. Reviewers describe the quintet’s sound as full, energetic, and, above all else, authentic.
Banjo player Benjamin Richey brings progressive influences such as Chris Thile and Béla Fleck to the group’s sound while fiddler Luke Huval and mandolinist Celebrindal offer balance with their traditional sensibilities, honoring Bill Monroe and Flatt & Scruggs. This gap leaves enough room in the middle for guitarist Emily Ortego and bassist Devin Sonnier to showcase their contemporary styles, weaving a unique tapestry of sound that appeals to a large variety of audiences.
These five young musicians have set their sights on revitalizing bluegrass in the deep South by performing at concert halls and other venues in Louisiana and beyond. “It’s a wonderful kind of music,” states Celebrindal. “And it makes people feel good.” “Exactly,” agrees Emily. “And we’ve met so many people who’ve asked, ‘Why isn’t there more of this?’ that it really inspires us to want to share this music with as many people as possible.”
|04/29/2018 1:00 pm||KATC / LA Folk Roots Chat Room|
|04/29/2018 3:30 pm||KATC / LA Folk Roots Chat Room|
|04/29/2018 5:00 pm||KATC / LA Folk Roots Chat Room|
|04/27/2018 6:00 pm||KATC / LA Folk Roots Chat Room|
Molly Goforth is a performer and teacher based in Lafayette, Louisiana. She is an active chamber and orchestral musician, performing in over 50 events annually. Ms. Goforth is the principal cellist of the Baton Rouge Symphony and is a frequent performer of chamber music with the Baton Rouge-based group Magnolia Strings. Molly also performs with the Acadiana Symphony Orchestra and the Lake Charles Symphony. She has worked as a recording artist for various groups, including the Grammy nominated artist Marc Broussard and the Grammy nominated group Bonsoir Catin.
Ms. Goforth maintains an active private studio in addition to teaching high school string orchestra at O. Comeaux High School and as an adjunct cello professor at McNeese State University and UL-Lafayette. Her private students are regularly accepted into the Louisiana All-State Orchestra, the LPSS Gifted & Talented program, participate in the Acadiana Symphony Youth Orchestra, UL-Lafayette Orchestra, and are employed by various churches and other organizations as gigging musicians.
|04/28/2018 2:30 pm||Scène des Jeunes|
The band is also known for its busy schedule - they perform almost every week (over 52 times a year). New Natives Brass Band's mission is to bring a good time, while preserving Louisiana's culture and serving the community. The band has been involved in the Lafayette March for Science, Lafayette Pride, the Progressive Partner's Celebration and most recently, the Big Brothers and Big Sisters of SWLA Lundi Gras Fundraiser.
Playing traditional tunes such as "Mercy, Mercy, Mercy" and more modern tunes such as "Redbone", the band keeps things exciting and does not miss a step. If you really want a musical experience that will get your mind, body, and soul movin' and groovin', experience the sound of New Natives Brass Band.
After performing anonymously on the street for FIL for two years, New Natives Brass Band is very proud to officially be a part of FIL 2018 and will continue to bring exciting performances to all of Louisiana.
|04/26/2018 7:00 pm||Street Animation|
|04/27/2018 7:00 pm||Street Animation|
|04/28/2018 1:00 pm||Street Animation|
|04/29/2018 1:00 pm||Street Animation|
|04/26/2018 7:15 pm||LUS Scène Internationale|
|04/29/2018 5:30 pm||LUS Scène Internationale|
|04/29/2018 5:30 pm||LUS Scène Internationale|
|04/26/2018 6:45 pm||LUS Scène Internationale|
When Susan, the younger one, was adopted by a large, wealthy family in America, Vicki, the blonder one, escaped the orphanage and stowed away on a schooner (the Sloop John B) bound for New York. The girls reunited and soon began writing the songs which would eventually bring them international fame and inconsequential fortune.
Their first recording, “Timberline” b/w “This Painting,” was originally released on wax disc, then 78 and 45 rpm vinyl records. Those songs and hundreds of others are included on their first long-playing recording, Up On the Chair, Beatrice, available now on the Interwebs.
|04/29/2018 5:30 pm||LUS Scène Internationale|
|04/27/2018 7:30 pm||KATC / LA Folk Roots Chat Room|