2019 Official Lineup!
a true music art form scene where you can just be who you are,” Randolph says. “We fit in that category in some sense but the jam band scene itself has changed a lot since that time. I’ve grown to like songs and I like to jam within the song.”On Got Soul—which features guest artists Anthony Hamilton, Darius Rucker, Cory Henry—Robert Randolph and the Family Band walk that line deftly, displaying their virtuosity within the context of a dozen smartly crafted tunes. “I like both playing live and recording,” says Randolph. “The thing about a record is you get a chance to rehearse parts and fine-tune things. But if you look at most great music artists—people like Stevie Wonder—the song is totally different from the show. When you’re in the studio, it’s hard to improvise without an audience. But for us, well,we’ve been playing in front of audiences our whole lives.”
Si le pedal steel guitar n'avait pas été joué à l'église House of God d’Orange, dans le New Jersey - assez souvent par Robert et des membres de sa famille, qui ont maintenu une longue, mais peu connue, tradition de musique gospel appelée Sacred Steel - Randolph n’en aurait simplement jamais connu l’existence. Ce qui est d'autant plus remarquable puisque le leader de Robert Randolph and the Family Band – qui, avec Got Soul, sorti le 17 février 2017, fait ses débuts sous le label Sony Masterworks - est aujourd'hui une source d'inspiration pour Eric Clapton, Carlos Santana et Derek Trucks, qui ont tous joué avec lui et étudié sa technique.
Ce n'est qu'à l'adolescence que Randolph, nommé l'un des 100 plus grands guitaristes de tous les temps par Rolling Stone, sort de son conditionnement social et musical et découvre le rock, le funk, la soul, le jazz et la scène jam band, forgeant ainsi son propre son en fusionnant des éléments de ces genres.
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Songwriter, composer and performer, Dobet entrusted the production of “MIZIKI” to Nicolas Repac (Arthur H, Mamani Keita, Republica Ideal de Acapulco). This album is the result of the fusion of their two identities: Dobet loves the music of Africa (Yemi Alade, Miriam Makeba, Brenda Fassie) but is equally enthusiastic about Björk or Christine and the Queens… a fact which Nicolas Repac clearly took on board. Faithful to the languages of Africa – Côte d’Ivoire has 72 dialects – for this album – possibly her best yet - she concentrates on Bété, her mother tongue. Dobet Gnahoré has definitely reached a turning point and has left labels behind to express her frankest and most sincere emotion more precisely. “I want to make people dream while remaining a free artist”. Mission accomplished, enchantment and melody in the lead. She was born far from the city and at the age of six in Abidjan she once again met her father, a recognised master percussionist who had helped set up the village of Ki Yi M’bock where he then lived. Place of a Utopian experiment, we work from five in the morning, studying music, dance and theatre, everything needed to become a complete artist. People of all nationalities meet there and African stars come to breathe and emulate its atmosphere: Ray Lema, Youssou N’Dour, and Lokua Kanza are frequent visitors. Dobet soon realised that here was where she would learn about life. She attended school in that unique place and learned through working and watching. Her meeting with the guitarist Colin Laroche de Féline did the rest, leading her to singing and taking her to France in 1999.
Inspired by exceptional encounters such as Angélique Kidjo and Lokua Kanza, Dobet started modelling and fashioning her voice, described as “rather special, very strong, capable of expressing the highs and lows ...” and came to the attention of the Belgian label Contre-Jour for which she made four albums. After several tours in the United States (where she performed at Old Town School of Folk Music and University of Washington) and performing all over the world, she confesses “When I’m not travelling, I get depressed”. In 2010, through the voice of India Arie who changed her song “Palea” to “Pearls”, she won a Grammy Award. In the same year, the Guardian newspaper described her performance as “the WOMAD festival’s best act”. The girl from Ki Yi M’bock continued her ascent with “MIZIKI”, for the first time affirming her role as a composer. Starting with the melody, she delivered little musical phrases which went straight to the heart. “I compose alone because I want to marry my creation so as to give it to the public”. Not descending into dance music and not forgetting tradition, but with Nicolas Repac’s support, she issued an album which is more electronic with its samples and sonorities. The roots of “MIZIKI” lie in the “ball of fire” which burns within her. Her words are simple, direct and therefore universal. “Akissi“ speaks of the rebel she will always be, “Miziki“ of her love for music, “La clé“ [“The key”] of a lost love (and a new one found), while “Education” is essential for emancipation.
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“It’s music that can’t really be put in a box,” says singer and poet Tarriona “Tank” Ball. She fronts the band with vivid charisma that helped Tank and the Bangas win NPR’s 2017 Tiny Desk Concert Contest by unanimous acclaim, standing out among 6,000 entrants because of what Bob Boilen called “the depth of their lyricism and the versatility of their players.” Those same qualities also attracted the attention of Verve Records, which has signed the band.
Ball’s lyrical depth has been years in the making. She came up in the strong local slam poetry scene before meeting her bandmates: Merell Burkett on keyboards, Joshua Johnson on drums, Norman Spence on bass and synth keys and, eventually, Albert Allenback on alto sax and flute. “Growing up, I always could sing, but I wrote better than I sang, so I focused on writing,” she says. After her team won the National Poetry Slam Championship two years in a row, Ball turned her full attention to Tank and the Bangas.
What started as a loose collaboration at an open-mic night in 2011 has grown into a mesmerizing musical force that’s only picking up speed. After a featured set at the New Orleans Jazz & Heritage Festival early in the band’s career, the musicians built a reputation outside their hometown by grinding it out on the road, honing their live show and releasing the 2013 album Think Tank, all the while converting audiences into passionate fans and garnering critical acclaim, from the New Orleans Advocate to The New York Times. “It made us work hard,” Ball says of playing Jazz Fest. “It made us want to feel deserving of it.”
Their hard work is paying off: The Huffington Post says Tank and the Bangas defy description onstage, adding, “It’s music that you have to experience.” The experience is subject to change from one night to the next.
“One show will feel very electronic, or hip-hop, and another show will feel slow and vibe-y and jazzy, and then another show will just be poetry and off-the-cuff riffs,” says Johnson. “As a band, we don’t like to hear ourselves do the same thing for too long, so we might change a small thing here or there, and if we change enough small things, it seems like a big change.”
Tank and the Bangas won the Tiny Desk contest with “Quick,” a riotous single they released in 2017 (and soon accompanied with a cheeky, not entirely safe-for-work video). There’s more new music where that came from as the group works on the follow-up to Think Tank. “It’s going to be awesome,” Ball says. “It’s going to be fun, and a little vulnerable at the same time.”
The band’s ongoing evolution involves more than just music: Ball continues to grow and develop as a performer and writer. Even back in the open-mic days, she was a force of nature. “I don’t know if there’s such a thing as too free, but it was totally uninhibited. She was inspired,” Spence says, laughing at the memory. More recently, Ball has become less of a dervish onstage—“I was running around so much I didn’t have time to sing at all,” she say—while finding new ways of expressing herself as a writer.
“I don’t just think about myself when I write now,” she says. “Just being with my bandmates taught me to think more about other people. And when you have an audience of people ready to listen to you, you’re excited to connect with them, you really are.”
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Equal parts exhilarating precision and reckless abandon, LBO’s live shows are a truly immersive experience - ranging from the ecstatic to the cathartic and all points in between - and they have expertly captured that unique blend of energy and emotion on their new album If I Had The Strength. Released in Canada through Outside Music in late 2017, it’s set for worldwide release via a new deal with Six Degrees Records in September 2018, and includes guest appearances from famed soprano Measha Brueggergosman, rising Latino rapper Boogát, sing-a-long phenoms Choir!Choir!Choir! and more.
The band will be busy touring the Canadian festival circuit this summer, and are heading out on a 12 date US tour in support of the Six Degrees release this fall, with shows in Chicago, New York, Milwaukee, Minneapolis, Pittsburgh and more. Along with the worldwide release of the new album, LBO will also be premiering a new live video for the song Freedom. Filmed with multiple cameras at Toronto’s legendary Opera House earlier this year, it captures the band doing what they do best - taking the audience on a joyful, impassioned ride through the Balkans and beyond. Don’t miss your chance to see this dozen strong juggernaut if you can. To quote the Winnipeg Free Press, the experience will be: "Amazing, frenetic, gloriously anarchic and ultimately joyous!”
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"The new priest of voodoo rock"
"Some haitian voodoo inspired by The Black Keys, The White Stripes or Dr John ... "
"Guitar guns and Caribbean fever"
"Diamond-hard voodoo blues-rock"
The powerful and original fusion between the Caribbean voodoo melodies and rhythms, and the 70's US blues rock; the shock between Moonlight's powerful and rebellious voice and the tension of saturated guitars ... the voodoo trance in a new and explosive style !
In 2018, 12 years after she began her music career and after 2 albums, Moonlight Benjamin releases a new personal project and a third album, "Siltane".
Moonlight Benjamin (real name [pronounce her family like the male first name Benjamin]), is born in 1971 in Haiti and grew up in an protestant orphanage, learning how to sing at church. But quickly she left Church songs and gospel to a more personal musical frame.
She says : "I had a desire for music and after a few years in a Protestant orphanage, I felt the need to go to meet my original culture. The practice of singing in church was not enough for me anymore. I felt away from my culture and I had to confront myself, meet the strength of the earth, the strength of my country, this age-old strength that makes Haiti."
She sung then with many Haitian artists before leaving to Europe.
Welcomed in France in 2002 to perfect her musical training, Moonlight Benjamin's first projects merged when she encountered with musicians from Toulouse. Real voodoo priestess (initiated in 2009), she first became known with the band named Dyaoulé Pemba (with which she's been world music artists selection on the famous Printemps de Bourges Festival) then under her own name, under her own project, following her will to make Haiti and its story and culture to be better known in France and Europe.
Since 2013 she performs with major jazz artists like saxophonist Jacques Schwarz-Bart and pianist Omar Sosa (projects : "Jazz Racine Haiti", "Voodoo Jazz Trio", "Creole Spirit") who where impressed by her vocal skills.
in 2018, 12 years after she began her world music artist career and after 2 albums, and in parallel with jazz and world music collaborations she started with Omar Sosa and Jacques Schwarz-Bart, Moonlight Benjamin releases a new personal project and a third album, "Siltane", focused on a more electric music, supported by jazz-rock guitarist and arranger Matthis Pascaud.
Not afraid to experiment and not shackled by what is considered mainstream, she holds soul and fire of all Haitian people. She represents her country with imaginable style by putting her voice on her own concerned lyrics or lyrics from famous haitien writers. Moonlight Benjamin is a culmination of all of your favourites from the heart of a woman who shares his culture with the rest of the world with her voice.
She offers with her new album "Siltane" a journey along a revisited blues rock version of an authentic Creole culture which has a history of struggle for its recognition although it was the first "Black Republic" ever established in the world.
Moonlight talks about Haiti ...
Haiti began its modern wandering as a colony of France, at the time it was called Santo Domingo.
We remember Louis XIV and the prestigious Enlightenment, but who remembers the source of the economic wealth of the time, who remembers the enslavement and beatings. A great wealth of the Haitian people is the knowledge of human dignity in its most essential dimension. To have lost it and to have had to fight like a beast to find it, the Haitian people know the value. Paradoxically it is from France that came the egalitarian ideals of France's human rights which was reluctant to apply to his wallet. In 1804, Haiti was the first black republic in the world and its pride is immense. Santo Domingo was renamed Haiti the name given to the island by its first occupants, the Indians Arawaks Tainos, meaning "high land" or "mountainous island".
Even today, Haiti needs help to get rid of vampirizing and corrupt power. Even today, Haiti is poor and its children are hungry. The misery, the economic and political corruption that they come from Haiti or the rich countries are permanent dangers for the culture and the social peace of the country; yet nothing will change in the South without the citizens of the North and their clarity.
Moonlight talks the Voodoo ...
« At the beginning of everything, is the rhythm. The rhythm, the first power in the world, awakens and passes through when the drums roar, turn the dancers. The rhythm by which men and gods communicate is the sense, the rhythm, through which spirits descend into humans, take possession of them, liberate them, and protect them. In the rumble of the drums, the loas (the spirits) awake, which by the dance and the rhythm overlap the men, because they are above all gods dancers ... »
In front of the vacuum left by the wrenching of the original earth, slaves had to find a common language, to redefine itself as a homogeneous group; and that is why in Haiti there was the only successful slave revolt in the world: All the rituals merged into one religion, which remains for the Haitian people the most powerful unit, facing the common misfortune: voodoo.
Voodoo rhythms and songs are like the umbilical cord that connects the western part of the island of Haiti to the womb of its people, Africa. Before the Creole language, it is the artistic and ritual expression that will become the cement of this new nation ...
En 2018, 12 ans après avoir commencé sa carrière musicale et après 2 albums, Moonlight Benjamin sort un nouveau projet personnel et un troisième album, "Siltane".
Moonlight Benjamin (de son vrai nom), est née en 1971 à Haïti et a grandi dans un orphelinat protestant, apprenant à chanter à l'église. Mais rapidement, elle a laissé les chants de l'église et le gospel à un cadre musical plus personnel.
Elle chante avec de nombreux artistes haïtiens avant de partir en Europe.
N'ayant pas peur d'expérimenter et n'étant pas enchaînée par ce qui est considéré mainstream, elle est l'âme et le feu de tout le peuple haïtien. Elle représente son pays avec un certain style en posant sa voix sur ses propres textes ou sur des textes d'auteurs haïtiens célèbres. Moonlight Benjamin est l'aboutissement de tous vos favoris au cœur d'une femme qui partage sa culture avec le reste du monde grâce à sa voix.
Avec son nouvel album "Siltane", elle propose un voyage dans une version blues rock revisitée d'une authentique culture créole, avec son histoire de lutte pour sa reconnaissance alors qu'elle fut la première République noire jamais établie dans le monde.
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With her main outfit, Alsarah & the Nubatones, she has released 2 full-length albums titled Silt , followed by Manara (Wonderwheel Recordings, 2014 and 2016). She has also released 1 full-length album with French electronic producer Débruit titled Aljawal (Soundways Recordings, 2013). And she was featured on the Nile Project‘s debut CD, Aswan (named in the top 5 must hear international albums by NPR, 2014).
Always trying to connect the musical dots both her full length albums with the Nubatones saw themselves reimagined and remixed by various acclaimed electronic producers in 2015’s Silt Remixed and 2017’s Manara Remixed (both via Wonderwheel Recordings). In between albums Alsarah also works with the Sudanese artist collective Refugee Club Productions on a variety of projects including the critically acclaimed documentary “Beats of the Antonov”.
Alsarah & the Nubatones were born out of many dinner conversations between Alsarah and Rami el Aasser about Nubian ‘songs of return’, modern migration patterns and the cultural exchanges between Sudan and Egypt. A common love for the richness of pentatonic sounds, and shared migration experiences, expanded the conversation to include Armenian – American oud player Haig Manouki- an a french born Togo raised bass player Mawuena Kodjovi. Under the leadership of Alsarah, the Brooklyn based group’s sound grew into what they have dubbed as ‘East – African retro-pop’.
In march of 2014 the group released their debut album “Silt / طمي “ via wonderwheel recordings to in- ternational acclaim and great reviews, with the single Soukura (it’s late) debuting on spin magazine’s blog. October of the same year saw the release of “silt remixed” featuring remixes by Bodhisattva, Nickodemus, captain planet, Chancha via Circuito, and many others. It also went on to be selected by the prestigious Fact magazine as one of the best remix albums of 2014.
Unfortunately that year also marked the passing of founding member Haig Manoukian from this world into the next. Taking his place is the brilliant oudist, and former student of Hiag, Brandon Terzic. In addition we have also grown to include the charismatic and talented vocalist Nahid as a full time member of the band now.
Since their first show in october of 2011, the group has performed nationally and internationally at many prestigious festivals and venues. With audiences varying in age and ethnicity, the Nubatones has proven over and over that soul crosses all cultural and linguistic barriers.
Charismatique et indépendante, auteure, compositrice et ethnomusicologue, considérée comme la nouvelle porte-drapeau de la musique rétro-pop d’Afrique de l’Est, Alsarah appartient à cette génération d'artistes qui poursuit un parcours atypique et qui puise dans ses origines des influences précieuses qu'elle fond avec celles du quotidien.
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In the spirit of helping others help others, Baton Rouge area musicians such as Smokehouse Porter, Mamie Porter, Henry Gray, Ian Smith, and Jason Parfait will join the Blue Monday All Stars (Lee Allen Zeno, Steve Adams, Ron Eades, Tony Goulas, Kent August, Lance Dubroc, Sara Russo, Sharon Thomas, Jill Merkl, Jaycee Guerin) and our special guests (Gerald Gruenig, Lil Buck Sinegal, Sir Reginal Dural, Marc Broussard, Carol Fran, Julie Williams, and Tiffany Lamson) in order to showcase the love and support our Blue Monday Mission dedicates to our aging creatives.
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From an early age, his love for music was obvious, influenced by his father, Cuban musician Arturito Martinez. Juan soaked up everything, from Cuban son to guaguanco, Mozambique, salsa, and many more rhythms of Cuban and Guatemalan popular music. In the 90s, he was an active participant in the "Rock Chapin" movement in his hometown of Xela, Guatemala. Together with a group of young artists, musicians, painters, and poets, he experimented with different rock bands and made his first national tours playing in bazaars, parks, and local dance saloons.
Eager to see the world, Nativo began travelling at age 15, going to Europe for the first time. That journey continued to the distant lands of India, where backpackers introduced him to reggae, which now is part of his essence. Upon his return at the age of 18,, he started recording music with his sister Adriana. Then, inspired to further explore his fascination with Cuban music, he moved to Havana where he was able to study with the master Palillo.
In 2006, Doctor Nativo moved to Barcelona, Spain, where he became a popular street artist performing to huge crowds. These experiences opened doors to performing at festivals in Spain, France, Switzerland, Holland and Germany, where he was able to share the stage with artists such as Manu Chao, Ojos de Brujo, Macaco, as well as appear in numerous TV, radio, newspapers articles.
In 2012 on the eve of December 21 (OXALUJUJ BAKTUN) Doctor Nativo made his return to "Guatemaya" where he now once again resides and began a thorough study of ancient Mayan wisdom, meeting his "Ajpop" (great leader and spiritual guide TATA PEDRO CRUZ) and its "Ajqij" (tata MARTIN) that lead to a profound change in his personal, artistic and spiritual life.
In 2013, Doctor Nativo formed a new band "Los Warrior Kandela" under the musical direction of Danilo Rodrigues (marimba and trombone). It included Mayan rappers M'Che and Tzutu , bass player "el Jose" and Guatemala City drummer Eduardo Santella. They worked on the spiritual project “Balam Ajpu: Tributo a los 20 Nawales.”
In 2014 he met the Belizean music producer Ivan Duran, and they began working on a new album, Guatemaya, that will bring his Mayan reggae cumbia sound to the world. It was released on September 15, 2018, Guatemalan independence day.
Après des années de reggae et de hip hop, il a eu une révélation lorsqu'il a commencé à explorer la spiritualité maya sous la direction de l'aînée Tata Pedro. Doctor Nativo sortira son premier album Guatemaya le 15 septembre 2018 sur Stonetree Records. Avec un son contagieux qui rappelle Manu Chao et Los Gaiteros de San Jacinto, il séduira les fans de cumbia, de musique du monde, de reggae, ceux qui s'intéressent à la culture autochtone et les danseurs !
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Both songs belong to Raíz, until now the last record of Septeto, which was nominated in 2017 for the Latin Grammy for Best Traditional Tropical Album. Before that, in 2015, No quiero llanto-Tributo a Los Compadres won the award in the same category and was nominated for the 2016 Grammy Award as Best Tropical Latin Album. Vamos pa´ la fiesta, in 2013, and Oye mi son santiaguero, in 2011 were nominated in this category, which is already a great act of recognition. Both won the CUBADISCO award.
Their records have featured the likes of José Alberto El Canario, Cheo Feliciano, Rubén Blades, Oscar D´León, Eliades Ochoa, Andy Montañez, Ismael Miranda, Aymee Nuviola, Reinaldo Creagh, Tiburón Morales, Edwin Bonilla, Jimmy Bosch, Edwin Colón Zayas, Alejandro Almenares, Luisito Quintero. Their repertoire is a journey through different aspects of Cuban popular music, with emphasis on the traditional, from a contemporary perspective. They work with classical authors’ pieces, in perfect harmony with works by contemporary Cuban authors, including several members of the group itself. Since their foundation, El Septeto Santiaguero have performed in more than 30 countries, in a wide range of venues and festivals, in a good part of the world, in different circuits: salsa, jazz and world music. The City Council of Santiago de Cuba gave them the Key to the City in 2014 and the Flag of the City in 2015. According to specialized critics, they are the ones destined to replace the Buena Vista Social Club on the world scene.
Après 23 ans consacrés à la musique traditionnelle cubaine, le groupe vit l'un des moments les plus importants de sa carrière, et a une présence notable sur la scène internationale et dans les média nationaux et internationaux. Son répertoire est un voyage à travers les différents aspects de la musique populaire cubaine, avec un accent sur la tradition, dans une perspective contemporaine. Il travaille avec des œuvres d'auteurs classiques, en parfaite harmonie avec des œuvres d'auteurs cubains contemporains, dont plusieurs membres du groupe lui-même. Depuis sa création, il s’est produit dans plus de 30 pays, dans des lieux et festivals divers, dans une bonne partie des plus importants au monde, sur différents circuits : salsa, jazz, world music.…
Selon les critiques spécialisées, le groupe est destiné à remplacer le Buena Vista Social Club sur la scène internationale.
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Mdou Moctar hails from a small village in the Azawagh desert of Niger, a remote region steeped in religious tradition. As a child, he taught himself to play the a homemade guitars, cobbled together out of planks of wood. It was years later before he found a “real” guitar, teaching himself in secret. In an area where guitar music was all but prohibited, he quickly rose to the status of local celebrity amongst the village youth.
In 2008 he traveled to Nigeria to record his first album “Anar.” A psychedelic reworking of the Tuareg sound, the electronic tracks featured innovative pitch bending synths, drum machines, and autotune. In 2010, he teamed up with the label and collective Sahel Sounds, releasing his first international album, “Afelan.” In 2015, he co-wrote and starred in the first ever Tuareg language film, “Rain the Color Blue with a Little Red In It,” a Saharan remake of Prince’s “Purple Rain.” In 2017, he again shifted gears to another sound with “Sousoume Tamachek,” a mellow blissed out recording evoking the calm desert soundscape, tackling religion, spirituality, and matters of the heart.
In the past years, Tuareg rock music has gotten faster. There is a preference for this new style, both in the raucous weddings of Agadez and in Berlin rock clubs. The wavering guitar solos, rapid fire drums and heavy distortion has become characteristic of the contemporary sound. Mdou takes on this challenge, but with an ear towards tradition. Rooted in traditional, with borrowed polyrhythms of traditional « takamba » and lyrics sung in the style of old nomadic poets, his guitar playing is wild and unrelenting, equal parts nomadic bard and Eddie Van Halen. Mdou Moctar and his band have toured Europe and North America, playing sold out shows from small DIY rock clubs in Portland to New York City’s Lincoln Center. His music has been featured in the BBC, The Guardian, Pitchfork, New Yorker, L.A. Weekly, NPR, Rolling Stone, Les Inrocks, and his film continues to be screened at film festivals around the world. From underground star of Niger to international film star, Mdou Moctar has undoubtedly one of the quickest rises to success.
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Native to New Brunswick, Les Hôtesses d'Hilaire are heavely influenced by the 1970's rock scene.Though most of the lyrics are in French or in Chiac (New Brunswick's regional slang), they are able to jump over the limits set by language, by their own brand of music, the excellence of the musicians and their strong stage performance.
Created in 1972 (Yeah! Sure!), this lovely quintet – with Serge Brideau (vocal, guitar and frontman), Mico Roy (guitars), Michel Vienneau (bass), Leandre Bourgeois (keys) and Maxence Cormier (drums), emerged from Hilaire Brideau’s basement soon after the Millenium Bug to fully live till the end of the world. Driven by a military rock, this fourth album has been in the works, probably since their first jam, many years ago.
Les Hôtesses d'Hilaire received many awards for Rock artist of the year, Recording of the year, Group recording of the year, and seven times Public's choice of the year, frome the East Coast Music Association, from Music New Brunswick, and nominations at l’Adisq and at GAMIQ, two major events for the music industry in Québec. They have showcased and toured all over Canada, in France, in Belgium and in Switzerland. With about 700 shows under the belt, 9 Europeen tours, a little hop in Louisiana, an Australian tour, they are ready to bring their own brand of music and fun all over.
Une sonorité rock psychotonique, fortement influencée par le mouvement musical des années ’70, des textes percutants et une présence scénique impressionnante, permet à ce groupe originaire du Nouveau-Brunswick d’abattre les frontières de la langue, peu importe où ils se retrouvent.
Les Hôtesses d’Hilaire ont fait, depuis leur début, plus de 700 spectacles et ont foulé la scène de plusieurs festivals majeurs du Canada. Avec 9 tournées européennes à leur actif, une tournée en Australie, des spectacles en Louisiane, ils répandent leur fougue et leur plaisir de jouer peu importe où ils se trouvent.
Récipiendaires de plusieurs prix de l’industrie musicale en tant que Groupe de l’année, Enregistrement rock de l’année, et plus, ou encore sept prix remis par le public (East Coast Music Awards et Musique Nouveau-Brunswick, et encore plus de nominations, dont à l’Adisq et aux Prix Gamiq, Les Hôtesses d’Hilaire sont reconnus tant par la critique que le grand public.
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“Fiery anthems and tumultuous confessional songs punctuated with raw, inspired guitar.“ -- USA TODAY
“Rich and glorious…Osborne possesses a voice that rises out of the darkness to the light of a soulful, tremulous wail. He is a consummate showman and shaman, bending successive moments to suit his majestic purposes. Osborne seeks an epic quality to much of his music, crafting layer upon layer of hugely scaled soundscapes.…never lazily derivative…every slashing guitar figure, every cry of a lyric, seems to come from an authentic place.” -- New Orleans Times-Picayune
Between the potency of his richly detailed songwriting, his intensely emotional, soulful vocals and his piercing, expert guitar work, New Orleans’ Anders Osborne is a true musical treasure. He is among the most original and visionary musicians writing and performing today. Guitar Player calls him “the poet laureate of Louisiana’s fertile roots music scene.” New Orleans' Gambit Weekly has honored Osborne as the Entertainer Of The Year. OffBeat named him the Crescent City’s Best Guitarist for the third year in a row, and the Best Songwriter for the second straight year. Osborne also won Song Of The Year for his composition, Louisiana Gold.
Osborne’s latest released Flower Box, his second full-length album of 2016, recorded in his hometown of New Orleans late last year, Flowerbox is a heavier, guitar-driven follow-up to the acclaimed Spacedust & Ocean Views.
"I love the way this record comes out stout and determined right out the gate, a four-piece rock & roll band making beautiful and conquering noise," says Osborne. "The producer, Mark Howard, has a way of making you play in the moment and being confident. His sounds and engineering style is that of classic records, with his own special sauce of 'haunting' on top of it. The musicians on here are undoubtedly some of my absolute favorites in the world, both as players and as people. Their contributions are invaluable. Scott Metzger, Brady Blade, Carl Dufrene, Chad Cromwell, Marc Broussard, David LaBruyere, Rob McNelley & Justin Tocket. Bad boys! I've been wanting to make this record for several years and I am stoked it's finally here."
A powerful live performer, the musician has won over fans through non-stop touring as well as a heralded collaboration with the North Mississippi Allstars & Southern Soul Assembly.
Jambands.com said, "Osborne finds a striking balance of muscle and grace that allows for the smaller moments of quiet to be just as resounding as the sonic booms." And USA Today has praised his music, saying "The relentless approach amplifies the anguished lyrics, which appear to be about the death of a loved one or a relationship torn asunder or perhaps a spiritual crisis." In a review of Spacedust & Ocean Views, Boulder Weekly said the album "finds the guitarist in a (largely) reflective mood, an extended meditation on place and moments in time, memory, passages through and exits from paragraphs in the non-fiction docudrama of life. Through languid, gently formed figures, Osborne coaxes odes of gratitude and compelling imagery in what seems a little like a travelogue — like watching his kid chasing seabirds on the beach..."
Osborne has earned hordes of new fans. He has toured virtually non-stop, either with his own band, as a solo artist, or as a guest with his countless musical admirers, including Toots and The Maytals, Stanton Moore, Derek Trucks, Warren Haynes, Keb Mo, The Grateful Dead’s Phil Lesh, Jackie Greene and Karl Denson’s Tiny Universe. He’s produced and played on critically acclaimed albums by Tab Benoit, Johnny Sansone and Mike Zito.
Since his recording debut in 1989, Osborne has written virtually all of his own material and contributed memorable songs to a wide variety of artists. Two tunes co-written by Osborne appear on Keb Mo’s Grammy-winning 1999 release Slow Down. Country superstar Tim McGraw scored a #1 hit with Anders’ song Watch The Wind Blow By. Osborne’s compositions have been covered by artists as diverse as Brad Paisley, Tab Benoit, Jonny Lang, Edwin McCain, Sam Bush, Trombone Shorty and Aaron Neville and Kim Carnes. His songs have appeared in multiple feature films. He can also be seen performing in an episode of HBO’s New Orleans-based drama, Treme.
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Gato Misteriosa grandi à Lisbonne. Au début des années 2000, encore adolescente, elle danse déjà le Kuduro sur les dancefloors issus de la scène de Buraka avec ses amis, en banlieue de Lisbonne. Ses deux parents sont originaires du Mozambique, une des raisons pour lesquelles elle lie des liens très étroits avec la scène lusophone africaine. Elle déménage en Allemagne pour ses études et fait la connaissances du producteur de Breakbeats Lee Bass à Dusseldorf. À travers les bacs de disque de son père ghanéen, ce dernier est lui aussi influencé très jeune par les sonorités Funk, Soul et Highlight du continent africain. En 2013, leur collaboration donne naissance au projet electro Gato Preto qui depuis ne cesse de surprendre les dancefloors des quatre coins du globe. Dans les boites branchées de Paris, à domicile au Zakk de Düsseldorf ou encore sur la scène internationale du „Nyege Nyege“ Festival à la source du Nil en Ouganda, les “chats noirs” (traduction française de Gato Preto) ne font preuve d’aucune pitié. L’utilisation qu’ils font de leurs synthétiseurs et processeurs d’effets, accompagnés de percussionnistes et danseurs africains, garantit aux Gato Preto de tenir leur public en transe, jusqu’à faire comprendre aux derniers des plus sceptiques que rien ne pourra freiner ce savant cocktail de groove cosmopolite et basses supersoniques. Au-delà de l’énergie que le groupe apporte sur scène, Gato Preto a déjà publié plusieurs clips devenus viraux dans la communauté Global Bass. Dans leur vidéo pour le morceau “Barulho” ils rassemblent avec beaucoup d’amour des éléments du steampunk des années 80 avec l’univers de pionniers de l’afrofuturisme comme le funk-master Monsieur George Clinton ou le prince de la Dub Lee Scratch Perry. Deux personnalités qui sont les pères spirituels de l’album.
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Featuring button accordion, guitar and fiddle, the band’s sound is defined by the hurdy-gurdy, which adds an earthy, rough-hewn flavor to even the most buoyant dance tunes.”— Boston Herald
Since its inception in August 2002, Le Vent du Nord has enjoyed meteoric success, performing well over 1,600 concerts over 5 continents and racking up several prestigious awards, including a Grand Prix du Disque Charles Cros, two Junos (Canada’s Grammys), a Félix at ADISQ, a Canadian Folk Music Award, and “Artist of the Year” at the North American Folk Alliance Annual Gala.
The group exhibits great finesse and flexibility, appearing regularly on Canadian, American, French, and UK television and radio, and participating in a wide variety of special musical projects. They’ve collaborated and performed with a diverse range of artists including: Harry Manx, Väsen, Dervish, The Chieftains, Breton musical pioneer Yann-Fañch Kemener, Québecois roots legend and master storyteller Michel Faubert, the Scottish folk band Breabach, singer Julie Fowlis, and the trans-Mediterranean ensemble Constantinople.
Not content with standard approaches to tradition, Le Vent du Nord has also created a symphonic concert that, according to Voir Montreal, “puts all traditional folk naysayers to shame.”
On stage these 5 friends create intense, joyful and dynamic live performances that expand the bounds of tradition in striking global directions. This is the modern sound of tradition, a music of the here and now.
One of the Top Ten Folk Albums of 2009 — Boston Globe
One of the Top Ten International Albums of 2009 — Los Angeles Times
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The group was founded in 1995 in Szentendre, a small Hungarian town near Budapest, with long-established Serbian tradition. The Eredics brothers got acquainted, and started to play music together with bass player Attila Buzás during their high-school years. Partly because of family reasons (Kálmán Eredics, the father of the Eredics brothers, was a founder member of the Vujicsics ensemble), all the group members are profoundly touched by, and drawn towards Southern Slavic folk music – and whatever can be accomplished from that starting point. The current members of the group are: Áron Eredics, Benjamin Eredics, Dávid Eredics, Salamon Eredics and Attila Buzás.
In contrast to most groups playing Balkan music, Söndörgő isn’t playing brass band music, it is a tamburitza band. The tambura is a small and agile plucked instrument similar to the mandolin which is occasionally supplemented by wind instruments and accordion.
Söndörgő’s traditional repertoire is made up of material gathered by Béla Bartók and Tihamér Vujicsics as well as learned from old masters of the tradition.
Nowadays Söndörgő is a constant performer of festivals around the globe. They have played at many of the most prestigious world music festivals and venues in Europe, such as WOMEX, WOMAD, Roskilde, the Barbican and many others. Their most recent album, Tamburocket topped the European World Music Chart for four consecutive months. They have worked together with the famous Macedonian saxophonist, Ferus Mustafov (fruit of this collaboration is their joint 2009 album). Currently they work on a joint concert series in Europe with the legendary Amsterdam Klezmer Band.
Discover with them the delicate beauty and fizzing power of a different Balkan sound. Come and dance the čoček, drink a palinka and get dizzy on Söndörgő’s extraordinary rhythms.
Le groupe a été fondé en 1995 à Szentendre, une petite ville hongroise près de Budapest, avec une longue tradition serbe. Les frères Eredics ont fait connaissance et commencé à jouer avec la bassiste Attila Buzás pendant leurs années lycée. En partie pour des raisons familiales (Kálmán Eredics, le père des frères Eredics, était membre fondateur de l'ensemble Vujics), tous les membres du groupe sont profondément touchés et attirés par la musique folklorique slave du Sud. Les membres actuels du groupe sont : Áron Eredics, Benjamin Eredics, Dávid Eredics, Salamon Eredics et Attila Buzás.
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From the day they started, they have gone from strength to strength. Never before in Cajun music has a comparable wealth of skills been brought to the same table.
When all that heart and all that skill focus on the revelry of a hot two-step, then turn on a dime and deliver an a cappella ballad, then play something that sounds like Howlin’ Wolf fell in lust with a Creole girl, you’ve found the most Cajun music you can find in any one spot. You’ve found Steve Riley and the Mamou Playboys.
Depuis leurs débuts, ils n'ont cessé de prendre de l'ampleur. Jamais auparavant dans la musique cadienne une telle richesse de compétences n'avait été réunie.
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In 2003 he became the first and only Irish solo artist to win the prestigious BBC Young Folk Musician of the Year Award, which led to him being invited to play at some of the most prestigious festivals in Europe. Jarlath is a three times ‘All-Ireland Champion’ Uilleann Piper, a teacher both in Ireland and Scotland and has featured in numerous BBC television programmes on piping and music. In 2008 he released his first album, 'Partners in Crime' (Vertical Records) with fellow border piper Ross Ainslie, followed by their second release 'Air-Fix' in 2013. Both albums received outstanding critical acclaim from the general folk world, with the debut release being voted '6th Best Folk Album' of 2008 by Mojo Magazine.
It took 10 years for Ulster-born piper Jarlath Henderson to convert his Young Folk Award into a solo album, so busy has he been with collaborations (two records with Ross Ainslie), and with qualifying as a doctor. Now 29, he has delivered a handsome traditional album in 'Hearts Broken, Heads Turned', eight antique songs given modern treatments. Guardian Jarlath's hotly-anticipated solo debut was launched at Celtic Connections 2016. An assemblage of traditional folk songs from across Ireland and the UK, it comprises bold yet sensitive arrangements of traditional songs, also featuring Henderson on guitar and cittern, together with his hand-picked accompanying line-up of Hamish Napier (keyboards, flute), Innes Watson (fiddle, guitar) and Duncan Lyall (double bass). In 2018 he will be performing at the Royal Albert Hall in London as part of the BBC Proms and embarking on his first US tours.
Renowned primarily for his extraordinary prowess on uilleann pipes and whistles, while fast emerging as an equally gifted vocalist, Jarlath has performed and recorded in such illustrious company as The Transatlantic Sessions, Jack Bruce, Lau, Capercaillie, Paddy Keenan, Salsa Celtica, Phil Cunningham and Michael McGoldrick.
When not performing with his band, solo or alongside Ross Ainslie, Jarlath regularly guests with Scottish folk legends Capercaillie, Salsa Celtica and in Phil Cunningham's annual Hogmanay house band. This year in Ireland he will be playing with his sister Alana Henderson, the Cara Dillon Band, Atlantic Arc Orchestra and Cathy Jordan and Mick Daly.
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Yvette Landry & Roddie Romero's rendition of "I'm Leaving It Up To You," became a local hit…not only with area fans, but with them as well. The two knew that they needed to record more together. Landry made a call to Dockside Studio, a 12- time Grammy Winning gem in Maurice, Louisiana. “I knew who I wanted to record this project. Back in 2010, I walked into the Blue Moon Saloon in Lafayette. As soon as I entered the front gate, I heard drums…a drummer…and I thought it was the most amazing rhythm I’ve ever heard. I hurried around the back to find this guy, laying down a groove like I’ve never heard. I told myself in that moment, that before I die, I wanted to record with him. Who is this? Jermaine Prejean. Next, I knew that Roddie Romero and Eric Adcock were a must. But I wanted sax as well, since the vibe I wanted to achieve was 1950’s Louisiana Jukebox. I met Derek Huston at a festival in Rhode Island. He plays often with Roddie Romero & The Hub City All-Stars, and I just liked his style. While in a van, on day 17 of a 21-day tour, I typed a group text, said a little prayer, and pressed send. Almost immediately, everyone responded with a 'Yes, I’m free and would love to be a part of this project.' -- Once we laid down the tracks, I decided to give this new collaboration a name. Rather than just releasing the album as ‘Yvette Landry,”’ I felt this group was special. They had an old school feel… Louisiana Swamp Pop at it’s finest. I decided on, ‘The Jukes.’ “
On the afternoon of January 12th, Yvette Landry, Roddie Romero, Eric Adcock, Josef Butts, Jermaine Prejean and Derek Huston went into Dockside with recording engineer Justin Tocket -- Richard Comeaux (pedal steel) and Beau Thomas (fiddle) lend a hand on a couple of tunes, as well. “Rather than write songs for this album, I chose songs that I felt reflected ‘the feel’ I wanted to achieve. I chose songs that I wanted to dance to, and that had some kind of tie to Louisiana and to me. Bobby Charles, a native of Abbeville, Louisiana and a staple at Dockside studios, wrote several songs I selected. Some believe that Bobby’s spirit still hangs out at the studio. As a matter of fact, if you look at the bottle cap that’s on the inside cover of the CD package…there’s a Bobby Charles story that goes with it. The session itself was magic. That’s the only way I can describe it. There were no rehearsals. This collaboration of musicians had never played together before, yet pretty much the first take of each song was a keeper! I’ve never experienced anything quite like it. My brother came to visit for a short while when we were recording Bobby Charles’ Homesick Blues, and it literally moved him to tears. When we finished, we went to listen to the track and he looked at me with tears in his eyes and said, “Yvette…what just happened?” I responded, “Magic.”
"Romero chose a song written by our dear friend, David Egan, who has since passed. The majority of the songs are Louisiana songs, but I also wanted to do what was in my heart. Sara Evan’s song, 'Three Chords and the Truth', is not a Louisiana song, but it was something that I felt I needed to record. My husband and I found it by accident. We were having a discussion about country music and he remembered someone saying that country music should be three chords and the truth. We googled the saying and Sara’s song came up. I immediately fell in love with it. Although musically, it leans more towards 'vintage country', the feel is a Louisiana old-school, belly-rubbing slow drag. Also, along the country side of things is Floyd Cramer & Skeeter Davis’, 'My Last Date With You'. The rest of the songs are just straight up Swamp Pop, released by some of the Louisiana greats: Bobby Charles, David Egan, Warren Storm, Cookie and the Cupcakes, and G. G. Shinn.”
YVETTE LANDRY grew up in Breaux Bridge, Louisiana, not far from the levees of the Atchafalaya Basin, North America’s largest swampland. It was in and around that swamp where she learned an appreciation for the music, dance, stories and language of her Cajun culture. After earning a master’s degree in education and developing a successful teaching career, she began telling stories through song. Playing a variety of instruments in several Cajun bands, Landry also fronts her own band, The Yvette Landry Band. Her debut award-winning album titled “Should Have Known” was released in 2010. (The album was named Offbeat Magazine's "Best Country/Folk Album" and Landry "Best Country/Folk Artist"). Over the past several years, Landry has traveled the world and played countless cultural festivals and venues – from the New Orleans Jazz and Heritage Festival to the Bluebird Café in Nashville. She toured Russia and served as a Cultural Ambassador on behalf of the Library of Congress to perform at the Festival of Traditional American Music and graced the stage at both the Library of Congress and John F. Kennedy Center of Performing Arts in Washington, DC. By day, Landry is an educator, who has taught both American Sign Language and Song Writing at the University of Louisiana at Lafayette. She is also a private homeschool teacher and has also taught bass, guitar, accordion and vocals at camps such as Festival of American Fiddle Tunes, Voice Works @ Centrum, Ashoken Fiddle and Dance Camp, Cajun/Creole Week @ Augusta Heritage Center and Louisiana Folk Roots Camp. By night, Yvette Landry is a musician/singer/songwriter who continues to tour worldwide as a multi-instrumentalist, gracing the stage with greats such as Vince Gill & The Time Jumpers, Darrell Scott, Rhonda Vincent, and many more. The State of Louisiana 2013 Music Ambassador, Governor to the Memphis Chapter of the Recording Academy, Board Member of Louisiana Folk Roots and Director of their summer Cajun & Creole Music Kids Camp, Landry strives to bring cultures and traditions together, ensuring that they will be passed along.
Since her debut album in 2010, Landry has released three more CDs…First was No Man’s Land with a host of friends including Bill Kirchen, Cindy Cashdollar, Dirk Powell lending a helping hand. Later she released, Me & T-Coe’s Country and Oh What A Silent Night with pedal steel ace, Richard Comeaux. Her first children’s book, “The Ghost Tree,” was nominated for “Louisiana’s Young Reader’s Choice Award.” And more recently, her new book, “Madame Grand Doigt,” along with “The Ghost Tree,” were formally accepted into the Library of Congress Collection for Children’s Literature.
RODDIE ROMERO was born, raised, and currently residing in Lafayette, LA. Romero lives and breathes South Louisiana culture. His passion for authenticity shows in multiple aspects of his life, from his music with The Hub City All Stars (the band he started with keyboardist Eric Adcock 28 years ago) to what’s cooking in his cast-iron black pot. But before the celebrated front man had a Grammy nomination and multiple world tours under his belt, he witnessed the magic of Cajun and Zydeco music in his own backyard. Romero’s grandfather played the accordion at the family’s weekly Sunday gathering. When he was finished, he would pass the accordion off to Romero, who would spend the rest of the day teaching himself how to play the sounds he had previously heard. Soon after, his father purchased an accordion for Romero and his brother. Although underage, Romero sought out Cajun and Zydeco performances at clubs and was enamored with local legends like Buckwheat Zydeco. His dedication paid off and Romero quickly became a local legend himself as a professional touring musician while still attending high school -- his musical influences including Clifton Chenier, Fats Domino and Otis Redding. As a teenager, Romero built up a name for himself as an internationally touring musician. Today, Roddie Romero has a unique take on traditional Louisiana roots music and tailors each performance to energy of the crowd—and nothing is off limits.
"I’m proud of this record and this group. We play the music that I grew up listening to and dancing to. It is music from my home…my people. It is inside of me and it is something that I want to keep alive. It is good music, good friends, and good time—a little 'Louisiana Lovin’.”
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Crocodiles style of dancing became so unique because of the influence of Scathamiya, Xhosa dance, Baca dance, Zulu dance and
Ingoma (Traditional Hymns).
They also introduced instruments a violin and a guitar with the influence of maskandi and French music.
Le style de danse des Crocodiles est devenu si unique grâce à l'influence du Scathamiya, de la danse Xhosa, de la danse Baca, de la danse Zulu, et de l’Ingoma (Hymnes traditionnels).
Ils ont également introduit des instruments comme le violon et la guitare avec l'influence du maskandi et de la musique française.
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The members of Sweet Crude all hail from South Louisiana, a region which still holds onto its unique culture and way of life stronger than anywhere else in the United States. That said, many of those elements are fading with time as American culture gradually becomes more homogenized. This trend can be seen most directly in the gradual fade of the Louisiana French language. The members of Sweet Crude grew up with grandparents and great grandparents that spoke the region’s native dialect as their first language, yet with each successive generation, that language gets lost to time. Instead of singing the language in its usual music genres, zydeco and cajun, Sweet Crude draws on their own influences coming mainly from New Orleans music, pop, and indie rock to produce a sound that is accessible to today’s generation. In essence, they are taking the language out the museum, weaving it in with English, and giving it fresh legs and relevancy for years to come.
Sweet Crude released their debut LP Créatures in April of 2017 on Rhyme and Reason Records and followed the release with performances at major US festivals such as Bonnaroo, New Orleans Jazz and Heritage Festival, and High Sierra. In addition to headlining their own US tour in April and May of 2017, they hit the road with their dear friends, Tank and the Bangas, on a sold-out nationwide club tour that lasted through the summer and fall. The band also won the Big Easy Award for “Best Rock Band” in New Orleans in 2017.
In 2018, Sweet Crude is scheduled to record their major label debut album (to be announced in Spring 2019), tour Europe, and return to the US festival circuit.
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Since the creation of the Bagad, the Breton pipe-band has never forgotten its roots by always promoting proudly its traditional musical heritage, while also combining it with a variety of different popular world music, allowing it to broaden its creative horizons. The music that our pipe-band plays is above all grounded in the energetic Breton identity and culture.
This lively and modern music hails from the extraordinary Breton traditional music repertoire and inspires our numerous creations as well as each of our musicians.
The Bagad Plougastell is made up of four main different instrumental groups directed by the orchestra conductor, the “Penn Soner” which is translated in Breton as the “head-player”.
The Bagad was founded in 1973 and has proudly represented the Plougastell peninsula, situated near the town of Brest, in maintaining and promoting its vibrant and unique identity.
Since 1987, the Bagad Plougastell has participated in numerous musical championships and has distinguished itself by winning many titles and ranking amongst the most famous Breton pipe bands.
There are more than 120 musicians within the organisation which is divided into 3 main pipe bands, the Bagad, the Bagadig and the Skolaj. The latter pipe-bands allow the Bagad to give the opportunity to younger musicians to familiarise themselves with Breton traditional pipe band music.
Thanks to its numerous artistic collaborations, energy and vitality the Bagad has travelled throughout Brittany, France and the world
These four instrumental groups are: Bag-pipes / Snare drums / Bombardes (traditional Breton instrument) / Percussions
The Bagad Plougastell enjoys as much playing on stage as well as parading through the streets. The Breton pipe-band has offered entertainment and shows in various places by frequently traveling across Brittany and the world.
The Bagad Plougastell has also produced numerous shows including:
2005 Lusk ha Lamm
The Bagad released a CD in 2010 called Kant Bro, Kant Giz.
The pipe-band has also played across a number of town: New York / Montreal / Ottawa / Guadalajara / Sharjah / Casablanca / Bruxelles / Paris / Gijon / Strakonice...
Cercle Celtique (Traditional Breton dancers):
The Bagad has a long-lasting history of co-working with various Breton traditional dance groups allowing us to showcase our music with the help of the dancers.
For over 20 years we have collaborated with the French street arts sector, notably the remarkable Compagnie Oposito. As a result of these two decades of various artistic collaborations, street art performances now play a significant and integral role in demonstrating our uniqueness as a Bagad.
The Bagad is endlessly enthusiastic in widening its musical repertoire and opening its musical horizons to other genres.
C’est à travers le dynamisme et l’énergie de ses musiciens que le Bagad Plougastell puise sa force et sa vitalité musicale depuis 45 ans.
Depuis toujours ancré dans son terroir et fier de son patrimoine musical, le Bagad a su mêler tradition populaire à d’autres formes artistiques lui permettant d’élargir ses horizons musicaux.
La musique que nous jouons est avant tout celle d’une identité culturelle forte, celle de la Bretagne. Plus que jamais, cette musique vivante et contemporaine, prenant ses sources dans l’extraordinaire répertoire musical breton, est l’inspiratrice de chaque sonneur du Bagad et de nos créations.
Participant depuis 1987 aux concours du Championnat National des bagadoù, le Bagad Plougastell a remporté de nombreux titres et se classe aujourd'hui dans l'élite des bagadoù.
Le Bagad Plougastell, à l'aise sur scène comme dans la rue, propose au public tout au long de l'année de nombreuses prestations et spectacles, en parcourant la Bretagne et le reste du monde.
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Cha Wa’s debut, “Funk N Feathers,” explored contemporary riffs on the traditional music Boudreaux grew up singing alongside his grandfather, Big Chief Monk Boudreaux, in the Golden Eagles Mardi Gras Indian tribe. Now “Spyboy” ups the ante by digging deeper into the sound of New Orleans culture and giving it a modern twist. The disc’s largely original material takes advantage of the band’s new horn section to highlight the musicians’ personal ties to the street music of their hometown. “We wanted to take the roots of what we love about New Orleans brass band music and Mardi Gras Indian music and then voice it in our own way,” says the group’s drummer and founder, Joe Gelini.
Dating back to the late 1800s, the Mardi Gras Indian tradition began when African-American men first marched in Native American dress through the streets of New Orleans on Mardi Gras day. The tradition, which includes a host of songs shared among the various tribes, has been kept alive for over a century and today is as vital as ever. Mardi Gras Indians have influenced the biggest names in New Orleans music: The Meters, Dr. John, the Marsalis family, the Neville Brothers, Trombone Shorty and others. The most prominent Mardi Gras Indian today is Monk Boudreaux, the Big Chief of the Golden Eagles tribe, and his grandson J’Wan Boudreaux (who holds the position of Spyboy in the tribe) is stepping up with Cha Wa to propel their culture forward.
J’Wan joined the group when he was still in high school. At the time, Gelini, then a recent Berklee School of Music grad, had been playing drums for Boudreaux’s grandfather, having learned the traditional Mardi Gras Indian beats from original Wild Magnolias bass drummer Norwood “Geechie” Johnson at Sunday night Indian practices in Uptown New Orleans. As the band evolved, J’Wan emerged as the front man. On “Spyboy,” Boudreaux’s vocals (with support from Thaddeus “Peanut” Ramsey’s smooth-voiced Indian style), the booming, funked-up sound of the band’s new four-part horn section, and Gelini’s mix of second line grooves and soulful Indian rhythms have all combined to kindle a new fire in Cha Wa’s ever-developing sound.
Although “cha wa” means “we’re comin’ for ya” in Indian vernacular, Boudreaux says the album “Spyboy” is “Cha Wa all around” for a different reason. With songwriting contributions to “Spyboy” from band members Joe Maize, Thaddeus ‘Peanut’ Ramsey, Ari Teitel and Clifton ‘Spug’ Smith, along with J’Wan and Gelini, Cha Wa ignites an entire new generation with contemporary anthems set ablaze by its high-flying ensemble. Says Boudreaux, “Everyone put their minds together to make this music. Everyone had input on at least one song. And the whole band has a different type of connection these days. Everybody’s bonded now. Everybody’s just having fun”.
The track “Get On Out the Way” -- with its loose, ‘70s funk rhythm, tight horn parts and deep, bouncing sousaphone -- brings that celebratory vibe to life by spiking a traditional Indian phrase with a fast-moving brass band twist.
There’s also a more serious, social message at work in Cha Wa’s music. Gelini and Monk wrote “Visible Means Of Support” about Monk’s experience with the ‘50s-era Jim Crow vagrancy law used primarily to arrest African-American men. On the J’Wan-penned, big beat-centric “Chapters,” the singer tackles more contemporary issues, in this case, the internal struggles he faced while being raised by a single mom.
The mellow, piano and vocals-only “J’Wan’s story” sees him taking a different approach to bridging the gap between beauty and harsh reality in New Orleans when he explains, spoken word-style, the basics about how and why Mardi Gras Indian culture developed.
“We dress up in the Indian suits to pay homage to the Native American Indians, because around the time of slavery, they were the first ones to take us in,” he says, elaborating on the song. “Everything on our suits is handmade -- the beads, the patterns, we sew together pieces of fabric and make the panels, we make the boots -- everything.”
Not that you need a firm understanding of Indian or brass band culture to feel the dance-ready vibrations of Cha Wa’s new music. “It’s dance music so I think people are attracted to it. Even if people have no idea what the history is, it’s automatically infectious,” Gelini explains. “J’wan’s the next generation,” the drummer adds. “He’s keeping this flame lit.”
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Early writing and recording culminated in the summer of 2015 with the band’s independently released EP “Days and Nights”. The EP earned them supporting slots for national acts such as Drive-By Truckers and Kurt Vile in addition to festival performances at Firefly, New Orleans Jazz and Heritage Festival, and SXSW among others. The band was named “Best Emerging Artist” at the 2016 Big Easy Awards in their home town of New Orleans.
Motel Radio’s atmospheric, harmony-driven sound and unique dual frontman arrangement garnered the attention of Roll Call Records, who released their EP ‘Desert Surf Films’ in September 2016.
Les résultats des premières sessions d’écriture et d’enregistrement ont été obtenus à l'été 2015 avec la sortie indépendante de l'EP "Days and Nights". Cet EP leur a permis d’accompagner des groupes nationaux tels que Drive-By Truckers et Kurt Vile en plus de leurs prestations au festival Firefly, au New Orleans Jazz and Heritage Festival, et au SXSW entre autres. Le groupe a été nommé "Best Emerging Artist" aux Big Easy Awards 2016 dans leur ville natale de la Nouvelle-Orléans.
Le son d’ambiance et harmonieux de Motel Radio et l'arrangement unique de deux chanteurs principaux ont attiré l'attention de Roll Call Records, qui a sorti leur EP 'Desert Surf Films' en septembre 2016.
|04/27/2019 8:45 pm||LUS LA Craft Biergarten|
Sergey Vashchenko earned a bachelor’s degree in conducting and balalaika from Lysenko State Music College in Poltava, Ukraine, in 1980 and a master’s in orchestral conducting, teaching and balalaika performance from the Mussorgsky Ural State Conservatory in Sverdlovsk, Russia, in 1985. Vaschenko’s experience includes: Dean of the Faculty of Arts for Perm State Institute of Culture in Perm, Russia; soloist for the Latvian Chamber Orchestra “Lira”; music educator in Russia, Latvia, Spain, Dallas and Austin; and guest conductor for the Houston Balalaika Society. He won an international award at the music festival in Segovia, Spain, and was a contender for a 2003 and 2008 Grammy Award in the World Music category."
The post went on to elaborate on the group's outreach efforts in area schools:
"In addition to touring and performing, they began successfully presenting educational programs in three languages (English, Spanish and Russian) to students of Texas public and private schools, celebrating the arts in all its diversity by providing a unique approach to studying both the profound similarities and distinctive differences of people throughout history and around the world."
Mr. Kolykhanov and Mr. Vashchenko have formed a non-profit organization called Musical Connections in order to fund and facilitate educational opportunities for young people. Musical Connections and The Flying Balalaika Brothers have a symbiotic relationship in that the non-profit provides an administrative foundation for the band's artistic objectives, while the band personifies the non-profit. The non-profit's official website articulates its mission:
Musical Connections is a Texas domestic nonprofit corporation, organized to promote a greater understanding of the music of the world through performances, cultural exchanges, musical history and heritage, and by educating the public about the multitude of music produced by cultures around the world. The founders believe that many people in this country fail to appreciate the great variety of music produced in the world today principally because they have not been educated about that music, or have not had chance to hear it performed.
Aujourd'hui, Balalaika Brothers est un groupe de 4 musiciens basé à Austin, Texas. Il présente généralement 4 programmes différents, du folk au rock électrique, pour différents publics selon l'événement, des festivals à haute énergie aux spectacles acoustiques assis, en passant par des spectacles pour des occasions privées et des mariages.
Flying Balalaika Brothers
Flying Balalaika Brothers - Gypsy Alien
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Mack s'est classé en tête des hit-parades Blues d'iTunes avec de multiples sorties d'EP qui explorent la puissance brute du swamp rock, un genre que peu d'artistes ont été capables de capturer. Il explore maintenant le territoire de la musique sur laquelle il a grandi, la country classique. Avec un groupe composé de quelques-uns des musiciens les plus passionnés du sud de la Louisiane, Lane Mack & The Balladeers sont sûrs de vous offrir un spectacle mémorable ! Il ne fait aucun doute qu’étant un endroit qui aime la musique country, le sud de la Louisiane adoptera les nouvelles ondes de Mack, et, avec un peu de chance, l’accueillera avec une bière bien fraîche !
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Dans un monde où la musique est consommée passivement via des plateformes numériques, le groupe Oscar Soul Experience veut faire le voyage "à l'ancienne" avec des tournées intenses autour de l'amour pour la musique.
La philosophie d'Oscar Soul Experience est d'utiliser la musique pour transmettre des émotions à tout moment, et de créer une communauté de gens autour de la musique et de la Soul.
Et ceci ne peut se faire qu’en jouant live. Une expérience magique et inoubliable qui redonne espoir et joie de vivre.
|04/26/2019 8:45 pm||LUS LA Craft Biergarten|
Lyrically, +Aziz is a Kuwaiti songwriter who works to explore dysfunctions found in the cultures he knows so well. Blurring the lines between personal and imagined experiences, his metaphor-rich lyrics sustain a tension between conversational and a more evocative, poetic perspective. Kuwaisiana is taking their first steps at a time when the Arabic language faces serious challenges. On the one hand, America’s xenophobia has kicked into high gear. On the other side of the world, a new generation of kids growing up in the Middle East struggles to speak its mother tongue.
Drawing fitfully from their surrounds, the septet’s sonics are bolstered by bursts of brass and the lilt of (apparently synthesized) accordion, conjuring a rootsy, Cajun vibe around +Aziz’s raw, DIY-rock approach... the lyrics on “Chapter 1” carry subtle weight as a reflection on the modern Arab experience, and potentially have an ambassadorial role to the band’s primarily American market... And this will prove +Aziz’s greatest gift — the ability to channel his concerns into big, hooky choruses which feel instantly familiar, presenting the modern Arab-American experience with the inclusive theatrics of Middle American stadium rock." Martin Wigham, Arab News (2018)
“Part of the fun of Chapter 1 is seeing someone take on a bold project. During a presidency that treats every brown-skinned foreign national as inherently suspicious, it’s exciting to hear one of Trump’s others literalize the American ideal. +Aziz has found a way to be himself in America without giving up who he is/was in Kuwait. It helps that the driving force in the music is a desire to make good songs and not to manifest of a concept.” Alex Rawls, My Spilt Milk (2018)
"At its core, the band is first and foremost a funk, rock, reggae band with the emphasis on spirit and personal authenticity. The band folds Arabic lyrics and musical touches into the arrangements, but they’re the seasoning not the Sauce." Alex Rawls, My Spilt Milk (2017)
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Around 2007, I first witnessed the Nuns, in Baton Rouge. Mid-song, guitarist/keyboardist Philippe Billeaudeaux — also a key member of Feufollet — changed a broken guitar string in a matter of seconds, so it seemed, then started playing with the band, not missing a beat. It was witchcraft. I’ve been entranced ever since with the band’s ridiculously catchy, unclassifiable tunes.
By musical reputation, you’d expected band founder Justin Robinson to be ornery and distant; think Neil Young in his Ragged Glory days. Discussing the band’s album release party Friday night at The Pearl, the hush-voiced multi-instrumentalist gracefully shrugged off his band’s local stature as a band set apart.
“Everybody in Lafayette has always treated us well,” Robinson says. “Everybody’s been nice and helped us out as much as they could. I’m always flattered by it.”
Robinson says he did draw upon some bitterness when coming up with the band’s latest album title, Chicken Little Was Right, an allusion to the old Disney animated short where the character is unreasonably afraid that the sky is falling.
“If you’ve ever seen that original short, you’ll see Foxy Loxy telling lies to everybody, and you can take it from there if you want,” he says with a short laugh.
Still, Chicken Little Was Right is hardly an aggressive or angry record. “Go Away” features a saloon-style shuffle. “The Ghost” feels like something out of a spy flick with its vibraphones and jazz brushes. Then, there’s “Raindrops,” Robinson’s seven-and-a-half minute ode to the niche music genre, vaporwave.
Sample tracks from Chicken Little Was Right here.
“I was reading a list on the Internet, and it had listed the worst possible music genres,” Robinson says. “Vaporwave was one of them. People were taking music from the early ’80s and slowing it down, editing it. I thought it was really cool. I thought I would give it a shot.”
“We always want to do something new. We’re always looking for a new challenge,” he adds.
That restless creativity has been a constant for The Amazing Nuns, specifically Robinson, a punk rocker from Thibodaux who grew up on Black Flag, Dead Kennedys then Zappa, and The Residents. When he and his wife/bassist Paula decided to start a band, the challenge was just finding other band members.
“We auditioned people for two years,” Robinson says. “I wanted the band to be a seven-piece. I wanted big vocals and lots of instruments, a small horn section, maybe. I guess I was naive in a way, back then. I thought, ‘Oh, I’ll just get these people to play with us,’ and I had this list of the best musicians at the time in Lafayette. I’d ask them, ‘Oh, you wanna join my little band?’ Then, they’d look at me and say, ‘Who are you?’”
During the Halloween season of 2002, the Robinsons finally had a trio. They decided if anyone came to the shows and was interested in the music, maybe they would also find a musician or two to help fill out the band’s sound. Over the next four years, the band added Billeaudeaux and the husband-and-wife team of Matt and Rachel Perry.
Robinson says The Amazing Nuns were fully formed by 2006. This last decade and change has seen the band release six albums and countless shows, even as the Perrys and Robinsons started their respective families and raised children. But now, as the kiddos get a little older, and with the release of Chicken Little Was Right, Robinson says the band has picked up again, playing more shows. He’s still surprised that his group has been around for this long.
“Lafayette has always had great bands, but they come and go, and we’ve just always stuck around,” Robinson says. When asked why he thinks that is, Robinson jokes that it’s been luck. “Another half-joke answer would be because we’ve never had success or money.”
The Amazing Nuns are not quite as Robinson imagined it would be, the seven-piece with horn solos and big vocals. To him, it’s better.
“I don’t want a seven-piece anymore, you know?” he says. “What we have now is exactly what I want. It’s perfect. I don’t want any change.”
|04/27/2019 2:45 pm||LUS LA Craft Biergarten|
He soon found himself in Lafayette, Louisiana where he became part of the musical community and began contributing to the continuity of Creole music, quickly immersing himself in French music and language. Over the next several years, Cedric performed French music in 17 countries and on 7 full-length albums with various groups, including the Pine Leaf Boys, Corey Ledet, Les Amis Creole with Ed Poullard and J.B. Adams, and with his own group, Bijou Creole.
He has played with some of the great names in Creole music, such as Dexter Ardoin and the Creole Ramblers and Jeffrey Broussard and the Creole Cowboys. With the Pine Leaf Boys, Cedric added a Creole and Zydeco foundation to the group's roots Southwest Louisiana sound. Cedric continues to explore the roots of Louisiana's Creole music with his own band, Bijou Creole.
He has performed in places across the United States as well as in Frech Canada, various parts of Europe, the Caribbean, South America, Africa and Asia. He has said he wants "to present the Creole Nation of Louisiana to the Creole Nations in other parts of the world, to make these Creole cultures aware of the existence of each other."
In 2010 Watson appeared in season 1 episode 7 of the HBO series Treme with Wilson Savoy. Watson left the band to form Bijou Creole in 2007. Cedric Watson plays a variety of old-school Zydeco styles, original material, and Creole traditionals. The polyrhythmic and syncopated sounds of Africa and the Caribbean echo in his ensemble. He plays accordion, fiddle and gourd banjo. His greatest mentor who Cedric considers his musical Godfather is Edward Poullard. He also recognizes James Adams as a great mentor.
Cedric's creative style and obvious joy in playing make him an engaging and exciting performer. Moving with ease between fiddle and accordion, his natural playfulness on stage makes him just plain fun to watch. More recently with Bijou Creole, he is developing an expansive modern take on his adopted state's already hybridized Creole sounds, flavoring it with a mixture of soul, stringband and Afro-Caribbean influences, an approach that reached its fullest expression yet on 2013's Le Troubadour Creole. One of the brightest contemporary talents to emerge in Cajun, Creole and Zydeco (Louisiana French) music over the last decade, Cedric Watson is a four-time Grammy-nominated fiddler, singer, accordionist & songwriter with seemingly unlimited potential.
Possédant visiblement un répertoire sans fin, Cedric joue de tout : des mélodies créoles oubliées et des reels obscurs de Dennis McGee, en passant par des musiques cadiennes et zarico plus modernes, intégrant parfois de la musique bluegrass au violon ou encore des sons de vieux groupes. Contrairement à la majorité de ses pairs, c’est un compositeur hors normes puisqu’il écrit toutes ses chansons sur son accordéon Hohner à deux rangs. À travers ses chansons, Cedric canalise la diversité de ses ancêtres (Africains, Français, Amérindiens et Espagnols) pour créer sa propre identité musicale.
|04/25/2019 10:15 pm||LUS LA Craft Biergarten|
The Danish-born Fontaine, who lived in New Orleans from 2000-2002, returned to Louisiana in 2015. He was determined to record in Louisiana ever since his close friend Rockie Charles passed away in 2010. Louie felt the urgency to make a musical statement so he booked time at the Dockside studios and cut basic tracks. With co-producer & engineer Tony Daigle, Fontaine knew he was closing in on his goal as the album took shape. “The songs were fresh,” says Fontaine, who penned all the songs excepting the one Charles penned for him, “That’s Rocking.”
Fontaine then brought his band, The Starlight Searchers over from Europe to record with him. The recording line-up included Louie on guitar, baritone guitar and bass, Rick Heart on the Hammond organ, steel guitar and piano, lead guitarist Egon Kronberg and bassist Martin Burke. Singing back-up were Charlene Howard, Teka Briscoe and Sharon Colette. Russell Batiste (Funky Meters) then completed the line-up by joining the band as the touring drummer.
The centerpiece of the album consists of dramatic songs in the great Fontaine theatrical tradition. The title track, “the Hambiltons” and “The Pill,” were both made into videos. “The Pill” is a concept song with an intricate, Bowie-like vocal arrangement, and “The Hambiltons” an elaborate murder ballad. “One of the first records I made back in the ’90s was a rock musical called Murder Before Justice,” Fontaine explains. “So there was always a theatrical element. Performing live I like to change costumes, I like to be a little more than just a man with a guitar.”
Why New Orleans?
“People understand my kind of music and they understand me over here better,” he explains. “I can do a lot more here. I can take greater chances here. The door is open for me to do a lot of things. I may have been born in Denmark, but I dream in English now.”
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music lovers who crossed multiple borders to find each other in the heart of Cajun
The story began in 2017 when Thanh-Mai united these global musicians for a sort
of freestyle Latin jam session on the terrace of the Cuban restaurant Pepin's. For
the first time in Lafayette, sounds of montunos filled the air. Word of mouth
followed, and the requests started pouring in. The group, which initially included
six musicians, grew in 2018 when the addition of a horn section only enriched their
salsa sound, a style of music like no other.
Under the musical direction of Guillermo Rojas, Latino Pulse is the first salsa group
in Lafayette. Their musical style centers on two premises: discovering and
celebrating the heritage of big names in salsa dura and developing a repertory of
original works composed by Jimmy Louis-Marie and Guillermo Rojas, which echo
traditional salsa while integrating multiple contemporary influences including jazz,
Antillean beats, reggae, electronica and rap, among others.
Latino Pulse emerged through Louisiana's festivals and lively music scene. The
image and spirit of Latino Pulse, at the same time local and international, is above
all celebratory, in its generosity, soul and joie de vivre. On stage, the group's 12
musicians and singers devote all their energy and passion to captivate and move
you with their exhilarating sounds. As they say, salsa is the perfect mix of flavors
Le groupe s’est formé autour de la salsa, musique festive par excellence, afin de partager avec vous des danses endiablées avec joie de vivre et générosité.
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Being a perfectionist with eager to learn, she followed an intensive and regular training, in Brussels, with Gudrun Malhberg, and internationally, having the opportunity of meeting as much as she could all the Middle Eastern Dance Master teachers. Searching to further enrich her dancing skills, she learned new dances and techniques such as the Twirling Dervishes, Gipsy and Indian dances, classic ballet, yoga, American Tribal Style (ATS), Tribal Fusion Dance
Following her rich experience, she has developped her own Middle Eastern Dance style. This unique original style, will quickly be noticed and appreciated. She's regularly invited to dance and teach in prestigious events such as International Middle Eastern dance festivals, or privates events in Belgium and abroad (Spain, Portugal, France, The Netherlands, Luxembourg, Germany, Italy, Kenya, Thailand, Israel, Congo RDC, etc.). She cover all levels from beginners to master class during the workshops.
Her diversity and experience allows her creating shows presenting a delicious mixture and fusion of diverse dance styles and art forms. The last creation, « Plume et Poil », a family show was presented a dozen of time in Belgium, Holland and Morocco.
She was asked to perform as soloist for the last Nancy Ajram’ Concert in Belgium in 2008 in one of the biggest stage of Belgium “ Foret National”.
In 2006, she was invited to an international highly selective casting for the prestigious Canadian troop “Cirque du Soleil”, in the end of which she joined the troop’s dance squad in order to integrate a show of the next creations. She was invited by Miles Copland to perform on the Bellydance Superstar show in European tour in 2005
She was cast in many video clips, and many tv shows here in Belgium in the national Channel RTBF and VTM. In may 2012,she was cast by Jillina for her European Tour of her show “Bellydance Evolution” and was semi finalist on both Belgium National TV VTM and RTL-TVI for the show “ Belgium’s got Talent”.
She started her own dance company "the Salwa troop" in 2013 in witch she is the choreographer, artistic director and main dancer of the company. The company and her members won many awards in in the international contest "Bellydancer of the World" in Duisbourg, Germany in december 2013 and 2014, Benelux championship in all category in 2015.
The Salwa troop travelled in europe to perfom since 2013 in many Bellydance and fusion festivals. The troop was put at rest in 2017 as Salwa gave birth to an adorable little baby boy.
Salwa, grâce à l’influence des nombreux types de danse qu’elle pratique, a développé son propre style en danse orientale. Elle est régulièrement invitée à danser pour des événements prestigieux tels que festivals et galas internationaux de danse orientale mais également de festivals connus tels que le festival Couleur Café où elle a animé la scène Danse de 2004 à 2014. Elle est souvent invitée à danser et à donner des stages de danse orientale, de danse tribale, de fusion orientale et des shows partout en Belgique et à l’étranger (Espagne, France, Portugal, Hollande, Luxembourg, Allemagne, Turquie, Italie, Kenya, Thaïlande, Israël, Congo RDC …). Elle enseigne aussi bien à des débutants qu'à des danseurs professionnels qui veulent se perfectionner.
Elle crée le spectacle "Plume et Poil" , où elle partage la scène avec GregLox un danseur de Hip Hop, rappeur et Enaïd, chanteuse et danseuse contemporaine. Ce spectacle jeune public sera présenté en Belgique, au Pays-Bas et au Maroc.
Elle danse en solo pour la chanteuse Libanaise Nancy Ajram dans l'une des plus prestigieuse salle de Belgique : Forest Nationale.
En 2006, Salwa est également sélectionnée par le prestigieux Cirque du Soleil pour faire partie de données « danse » pour leurs créations futures. Elle est invitée la même année à danser aux cotés de Bellydances Super Stars lors de leur tournée européenne en 2005. En 2012, elle fait partie de la tournée européenne de Bellydance Evolution, le show de Jillina et sera demi finaliste Sur VTM et RTL-TVI des émissions « Belgium’s got talent ».
Elle a tourné des clips vidéos pour Axel Red et Mohamed Lamine notamment.
Elle organise également ses propres cours et stages via son Asbl Art & Sens. Salwa a formé plusieurs danseuses qui sont devenues aujourd'hui des professionnelles à leur tour.
En 2013, Salwa monte sa propre troupe de danse "La salwa troop" dont elle est la principale chorégraphe,et danseuse, et directrice artistique. Cette troupe a gagné plusieurs premiers prix dont celui du concours international "Bellydancer of the World" en catégorie Fusion en décembre 2013 et décembre 2014 et au championnat du Benelux en classique orientale et Fusion en 2014 et 2015.
Salwa et la "Salwa troop" sont souvent invitées dans toute l'Europe pour des festivals de danse orientale et de Fusion pour des prestations. La Salwa troop a fait un break en 2017 lorsque Salwa est tombée enceinte et est devenue maman d'un adorable petit garçon.
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Zydeco music has been passed down from generation to generation. I learned so much from watching my uncle Herbert Broussard, who was the singer/song writer from Zydeco Force and my cousin Jeffery Broussard with Jeffrey Broussard & the Creole Cowboys. In the attempt to keep zydeco music alive, I decided to start my own band in 2017. My band and I play a mix of traditional zydeco music from artists such as: Buck Wheat Zydeco, Clifton Chenier and Rockin Dopsie and new age zydeco. I strive to keep the old school zydeco feel along with the new age zydeco sound each time I step on stage. The band and I recently won the “New Artist on the Rise” award from ZBT Awards hosted in Houston, TX.
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The Soul Express Brass Band was started in 2008 by Reginald Jackson and David Smith. Born out of a deep love for brass music, the band expanded to include six additional brass music lovers. The current band includes the following members: David Smith and Edward Rideaux on trombones, Chris Gill on saxaphone, Alonza King and Brandon Richardson on trumpets, Freddie Ford on tuba, Nathaniel Sonnier on bass drum and Reginald Jackson on snare drum.
The Soul Express Brass Band has played for many festivals and is proud to be in its' tenth consecutive year with Festival International. Additional festivals the group has played at include the Creole & Heritage Festival, Spice and Music Festival and Festival Acadiana. Soul Express Brass Band's greatest achievement was when the band played for the Ambassador of Liberia.
Currently, the Soul Express Brass Band performs in local venues and continues to inspire both locals and tourists to delight in the magic of brass!
Soul Express Brass Band a été fondé en 2008 par Reginald Jackson et David Smith. Né d'un amour profond pour la musique de fanfare, le groupe s'est élargi pour inclure six autres amateurs de cuivres. Le groupe actuel se compose de David Smith et Edward Rideaux au trombone, Chris Gill au saxaphone, Alonza King et Brandon Richardson à la trompette, Freddie Ford au tuba, Nathaniel Sonnier à la grosse caisse et Reginald Jackson à la caisse claire.
Actuellement, le Soul Express Brass Band se produit dans des salles locales et continue de pousser les habitants et les touristes à se délecter de la magie des cuivres !
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This five-member student and community group was created through the W.A. and Dorothy Hanna Department of Performing Arts to preserve the rich Creole culture and keep the zydeco music traditions going strong.
The Zyde-Pokes also provide current and future students an avenue to perform in an ensemble relative to this region, while at the same time exposing the community to the future stars of this genre.
Members are Joshua Hebert, drums, Dayton January, bass, Ryan Miller, guitar, Efron Simon, keyboards, and Kaleb LeDay, accordion.
Ce groupe de cinq étudiants et membres de la communauté a été créé par le Département des Arts de la Scène W.A. et Dorothy Hanna pour préserver la riche culture créole et maintenir les traditions musicales zarico en vigueur.
Les Zyde-Pokes offrent également aux étudiants actuels et futurs l’opportunité de se produire dans un ensemble relatif à cette région, tout en exposant la communauté aux futures stars de ce genre.
|04/28/2019 4:30 pm||JD Bank Pavillon de Cuisine|
Avec son épouse Shannon Comeaux Aucoin, de Milton en Louisiane, il a joué aux cotés de Lisa Trahan pendant près de 10 ans.
À 5 ans, Ashton Aucoin a pris ses premiers cours de violon à la Brazos Huval Music School. À presque 3 ans, Ivan Aucoin a eu sa première batterie et depuis, il n’a cessé de jouer. Ivan joue aussi de la guitare rythmique et a accompagné son frère lors plusieurs événements musicaux. Durant l'été 2018, les garçons ont remporté la première place de la compétition Louisiana Farm Bureau State Talent en interprétant une mélodie à l'aide d’archets de violon.
À l'automne 2018, Ashton a remporté la première place dans la division jeunesse de la compétition de violon Battle of the Bows à Jennings, LA. Ashton et Ivan se produisent lors d'événements musicaux avec la Brazos Huval Music School. Ils ont également joué avec plusieurs groupes cadiens dont Leroy Thomas et les Zydeco Roadrunners et Jamie Bergeron et les Kickin' Cajuns.
Aucoin Family Band a fait ses débuts lors de la fête de la Louisiane dans leur école de Lake Charles, LA, suivie de la célébration du 14 Juillet à Lafayette, LA, à l'été 2018. Ils ont également été invités au National Farm Bureau Convention et au New Orleans Jazz Fest 2019. La famille partage son amour pour la musique cadienne en jouant des airs traditionnels cadiens dans un style convivial et familial.
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Sequoia est né et a grandi à Rapid City, SD. Il est un membre inscrit de la tribu des Sioux de Cheyenne River et un représentant de la riche histoire et culture de ses tribus. Sa musique a fait l'objet d'émissions de télévision nationales telles que Raw Travel, Born To Explore, Great Big Story et Transparent. Son album Wagnuka Olowan (Woodpecker Song) a servi de bande originale pour le film indépendant Lakota Girls. La musique de Sequoia n'a pas été approuvée par la Food and Drug Admnistration mais est reconnue pour réduire la pression artérielle !
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It's dancing that fuels the music of the Huval Family Band. Band members got their start dancing with their parents, Doc and Irma, at family gatherings. Eventually instruments were acquired and mastered by several siblings, who then provided the music for these family dances where friends were always welcome to join in. All of the members of the band are multi-instrumentalists and perform regularly in Louisiana and throughout the country, with other bands (including Grammy award nominated and winning bands) as well. But their coming together as the Huval Family Band always results in an entertaining banter and unique performance with a special groove that comes only from living and fully appreciating their Southwest Louisiana culture.
Huval Family Band members are:
Brazos Huval, fiddle (Steve Riley and the Mamou Playboys; High Performance; founder and instructor at Brazos Huval School of Music; instructor ULL Traditional Music Program)
Zach Huval, accordion
Jebb Huval, guitar (Robert Jardell and Pure Cajun)
Chad Huval, bass (Beausoleil avec Michael Doucet, Jambalaya Cajun Band, Acadien Cajun Band, instructor at Brazos Huval School of Music; instructor ULL Traditional Music Program)
Kevin Dugas, drums (Steve Riley and the Mamou Playboys; High Performance; instructor at Brazos Huval School of Music)
C'est la danse qui nourrit la musique du Huval Family Band. Les membres du groupe ont commencé à danser avec leurs parents, Doc et Irma, lors de réunions de famille. Des instruments ont finalement été acquis et maîtrisés par plusieurs frères et sœurs, qui ont ensuite fourni la musique de ces danses familiales, où les amis étaient toujours les bienvenus. Tous les membres du groupe sont multi-instrumentistes et se produisent régulièrement en Louisiane et dans tout le pays, avec d’autres groupes (y compris les groupes nominés et lauréats aux Grammy Awards). Mais leur association en tant que Huval Family Band a toujours pour résultat une plaisanterie amusante et une performance unique avec un groove spécial qui ne provient que de la vie et de la pleine appréciation de leur culture du sud-ouest de la Louisiane.
Les membres du Huval Family Band sont:
Brazos Huval, violon (Steve Riley et les Mamou Playboys; High Performance; fondateur et instructeur à l'école de musique Brazos Huval; instructeur ULL Programme de musique traditionnelle)
Zach Huval, accordéon
Jebb Huval, guitare (Robert Jardell et Pure Cajun)
Chad Huval, basse (Beausoleil avec Michael Doucet, orchestre cambun Jambalaya, orchestre acadien cajun, instructeur à l'école de musique Brazos Huval; instructeur Programme de musique traditionnelle ULL)
Kevin Dugas, batterie (Steve Riley et les Mamou Playboys; High Performance; instructeur à l'école de musique Brazos Huval)
|04/26/2019 8:30 pm||KATC / LA Folk Roots Chat Room|
in 2018 les Etoiles de l'immersion did their first choir exchange in Newfoundland (Canada).
From this initial collaboration, Jimmy had a vision to start a francophone children’s choir made up from French Immersion students in Lafayette.
En 2018, les Etoiles de l'immersion ont eu leur premier échange de chorale à la Terre-Neuve (Canada).
Depuis cette première collaboration, Jimmy Louis-Marie a eu la vision de fonder une chorale d’enfants francophones composée d’étudiants en immersion française à Lafayette.
|04/25/2019 7:15 pm||LUS Scène Internationale|
David Greely takes the swampy syncopations of Cajun music and its renaissance French dialect to new level of artistry. In solo acoustic performance, he sounds like two fiddles, weaving accompaniment to his vocals as if it’s someone else singing. His concerts embrace all the aspects of his heritage that a fiddle and voice can reach- ancient ballads, cane field blues, yearning waltzes and fiery two steps. He melds his ancestral legacy with his own adroit compositions and weaves it all into the story of how these people and their music came to be.
Born in Baton Rouge of Cajun and Irish ancestry, David learned Cajun music on dance hall stages throughout South Louisiana, in the archives of Cajun and Creole music at the University of Louisiana, and from his apprenticeship to Cajun fiddle master and National Heritage Fellow Dewey Balfa. As a founding member of Steve Riley and the Mamou Playboys, David toured folk festivals worldwide for 23 years and was nominated for four Grammy Awards. He received the Louisiana Artist Fellowship Award for Folklife Performance, and for six years was an adjunct instructor of Cajun fiddle and vocals at the University of Louisiana.
Ses concerts embrassent tous les aspects de cet héritage qu'un violon et une voix peuvent atteindre : ballades anciennes, blues des champs de canne à sucre, valses ardentes et two-step enflammés. Il fusionne cet héritage ancestral et ses propres compositions adroites, et intègre le tout à l’histoire de la genèse de cette communauté et cette musique.
|04/27/2019 3:30 pm||KATC / LA Folk Roots Chat Room|
|04/27/2019 4:45 pm||LUS LA Craft Biergarten|
Their original songs are stacked with big horn hits and dancing electric guitars. The upbeat rhythms meld punching drum grooves and thumping bass, keeping audiences on their feet. With organ beaming in the background, front man and songwriter Dustin Gaspard, delivers sporadic Van Morrison-eque melodies and an undeniable energetic feeling. Through their music a lost conviction is displayed, and for each performance the encouraging thought for listeners to “dance like no one is watching.”
2018 saw horn composer/ keyboardist and former New Yorker Joshua Lazo added to the band, aiding in the leg work of arranging the soulful horn textures and organ layers reminiscent of the Vintage blues soul sound.
Debut single "Shoulders" is a RocknSoul anthem praising the sounds of the past and focusing on the community of song. While a choir sings “ I'LL BE THE SHOULDER YOU CAN LEAN ON!” the refrain offers a helping hand and a catchy reminder to celebrate, to sing and to dance alongside the Freetown Sound. Look forward to hearing their debut album “Microphone Inheritance” set to release at the beginning of 2019!
|04/27/2019 6:45 pm||LUS LA Craft Biergarten|
Every year, Pipirit participates in the large gathering of choirs from all the middle schools in Martinique with more than eight hundred pupils on stage.
It was created to allow children to get to know the traditional songs and rhythms that are the basis of Martinican dances.
The "Pipirit" choir is working this year on a varied repertoire where you will discover the rhythm of:
- the traditional biguine with "Gato sisson" which is a composition of the group Fall Fret
- the traditional biguine with "Amelia"
- mazurka with "Mazouk Souvenir" by Marius Cultier
As part of the academic and cultural exchange project "Let's cultivate our similarities and enrich ourselves with our differences" with Myrtle Place Elementary School of Lafayette, some pupils from the choir Pipirit, taught by Mr. Bernard Nicole and Mr. Paulin Emmanuel (head of the choir), will perform at Festival International de Louisiane.
There will be a mixture of 6th graders from Place d'Armes 2 Middle School and of 5th graders from Sarrault Elementary School.
They will also make a reference to America with a Gospel song "Praise him", and sing a French song "Couleur café" by Serge Gainsbourg that will be performed with pupils from Louisiana.
The Martinicans of the Sarrault Elementary School and the Place d'Armes 2 Middle School will be in Louisiana from April 20 to April 30. Pupils from Myrtle Place Elementary School will go to Martinique from May 25 to June 1, 2019.
*Pipirit in Martinique is a bird that often sings early in the morning.
- la biguine traditionnelle avec « Gato sisson » qui est une composition du groupe Fall Fret
- la biguine traditionnelle avec « Amélia »
- La mazurka avec « Mazouk Souvenir » composition de Marius Cultier.
C’est dans le cadre d’un projet d'échange académique et culturel « Cultivons nos ressemblances et enrichissons nous de nos différences » avec l'école primaire Myrtle Place que les élèves de M. Bernard Nicole et M. Paulin Emmanuel (chef de la chorale Pipirit) se produiront au Festival International de Louisiane. La chorale sera composée d’élèves de 9 à 11 ans du collège Place d'Armes 2 et de l'école primaire Sarrault. Elle fera également un clin d’œil à l'Amérique avec un chant Gospel « Praise him », et une chanson française « Couleur café » de Serge Gainsbourg qui sera interprétée avec les élèves de Louisiane. Les martiniquais de l’École Primaire Publique de Sarrault et du Collège Place d'Armes 2 seront en Louisiane du 20 Avril au 30 Avril.Les élèves de Myrtle Place iront en Martinique du 25 Mai au 1 Juin 2019.
*En Martinique, le Pipirit est un oiseau qui chante souvent tôt le matin.
|04/28/2019 1:45 pm||Scène des Jeunes|
|04/26/2019 6:00 pm||KATC / LA Folk Roots Chat Room|
|04/28/2019 3:30 pm||KATC / LA Folk Roots Chat Room|
|04/25/2019 6:45 pm||LUS Scène Internationale|
|04/28/2019 2:00 pm||LUS LA Craft Biergarten|
|04/27/2019 8:00 pm||LUS LA Craft Biergarten|
|04/26/2019 6:00 pm||LUS LA Craft Biergarten|
|04/27/2019 2:00 pm||LUS LA Craft Biergarten|
|04/27/2019 6:00 pm||LUS LA Craft Biergarten|