2020 Official Lineup!
Singer, composer and producer, Cimafunk offers a subtle and bold mix of funk with Cuban music and African rhythms, a life-affirming sound, a UFO in the island's music scene.
His debut album "Terapia" (Independent Production, 2017) and especially his electric live shows are inexorably conquering a multitude of audiences from Havana to Paris. He broke attendance records in iconic venues such as the Fabrica de Arte Cubano, El Sauce and La Tropical.
Son premier album « Terapia » (production indépendante, 2017) et notamment ses concerts ramènent une multitude de spectateurs de la Havane à Paris. Il a battu des records de présence dans des salles iconiques comme la Fabrica de Arte Cubano, El sauce et La Tropical.
The band has cultivated a fast-growing following from gigs around the world, including Glastonbury Festival, Womad, Boomtown Fair, Bestival, Roskilde Festival, Esperanzah, Paleo Festival, MaMa, Womex, Reeperbahn, Visa for Music, The Great Escape, c/o Pop. Their distinctive hooks and powerful, political lyrics resonate with their fans, while their iconic YouTube music video for their debut single "Intro to Shamstep", has accumulated almost 11 Million views.
They also have a formidable reputation as a live act built on their energetic and intoxicatingly otherworldly live shows. Every single show ends in a relentless dance, and trance, both on stage and in the crowd.
Beyond their musical influence, 47SOUL are renowned for their voice on social and humanitarian issues – the band’s very name is an allusion to the year before the occupation of Palestine started in 1948. Their lyrics, mixing Arabic and English, call for celebration and freedom in the struggle for equality, not only in the “Sham” region (Palestine, Syria, Lebanon, Jordan) but around the world.
Their new album will be released in spring 2020. We invite you to join us and the band on this exciting journey!
Affirmant sa singularité, le groupe a créé son propre genre de musique, le « Shamstep » - un mélange puissant de musique traditionnelle de rue palestinienne combinée aux sonorités de l’électro, du funk, du hip-hop et du rock. Ils ont déjà joué dans de grands festivals européens comme Glastonbury, Womad, ou Roskilde et ont fait salle comble lors de plusieurs de leurs spectacles dans les meilleures salles de Londres. Chantant en arabe et en anglais, 47SOUL s’est rapidement constitué un public partout en Amérique du Nord, en Europe et au Moyen Orient. Leur single iconique Intro to Shamstep compte déjà presque 11 millions de vues sur YouTube.
In 2004, the collective made up of solo artists was created in Montreal in order to participate in a hip hop Festival in Havana, Cuba. After spending three weeks living together with music as the main focus and sharing strong moments with Cuban artists, the group came back to Montreal with the idea of putting together a mixtape and a show in order to showcase their experience. The night of the concert, the venue quickly packed up and the mixtapes rapidly sold-out. The next day, Nomadic Massive, surprised by the massive turn-out, decided to push the experience even further by participating in any community shows between Montreal and Toronto.
In 2005, the group launched its first EP, entitled Nomad’s Land. The record was critically acclaimed in the local and international scene, and thanks to their dynamic shows, Nomadic Massive started to create it’s very own niche. The first single from the EP, Nofy’s Peace, stood out not only because of its production quality, but also because of its naturally universal feel. To this day, more than 3000 copies have been sold, mostly at shows.
After this first record and these first shows, the group continued to perform at various events across Canada and even returned to Havana in 2006, to present their new material and their new live show. As contacts kept on multiplying, the group managed in 2008 to independently organize a tour in São Paulo, Brazil where their music and community workshops found a new fanbase and where they produced a new mixtape with local artists. These out of the ordinary moves caught the attention of Outside Music, who in 2009 offered Nomadic a national distribution deal for their second self-titled album, which sold more than 4500 copies.
In 2012, the group released a mixtape project entitled Supafam, which came out digitally but also on 300 exclusive cassette tapes that were rapidly sold at the launch party. During that time, the group continued to tour in new territories, such as French Guyana and the United States.
The arrival of a new EP in 2013 announced the beginning of an intense tour across Canada, the United States and France which got the attention of the various buyers in the concert industry.
In 2016, after three years of international touring, the Nomads have left their mark on the genre’s most avid fans as they launched a brand new album on the Coop Les Faux-Monnayeurs label entitled The Big Band Theory, probably the group’s most complete work to date.
Nomadic Massive proved itself to be contemporary and urban, both in style (hip hop) and content (intelligent, positive lyrics, sung in English, French, Creole, Spanish and Arabic). Today’s big cities and the cultural blend they generate, see in this group, an archetype band of the 21st century, representing a local reality but with its eyes on the rest of the world.
Nomadic is now at a crossroad, ready to hit the road with their new album TIMES that already earned lots of positives feedbacks.
Ce collectif composé d’artistes solo accomplis a été créé à Montréal en 2004, afin, au départ, d’orchestrer une participation à un festival hip hop à La Havane (Cuba). Puis, après avoir passé trois semaines ensemble à faire de la musique leur point d’assise, ainsi qu’à partager des moments forts et chargés d’émotion en compagnie d’artistes cubains, le groupe a décidé, à leur retour à Montréal, de présenter le résumé de leur expérience à l’aide d’un mixtape et d’un spectacle conceptuel. Le premier concert a magistralement bien fonctionné, alors que le groupe se produisait devant une salle compacte et que les mixtapes se sont évaporés en un claquement de doigts. Le lendemain, Nomadic Massive, surpris par le succès retentissant de la soirée, décide de pousser l’expérience plus loin, en prenant part à une série de concerts communautaires, de Montréal à Toronto.
En 2005, le groupe sort de façon indépendante un premier EP intitulé Nomad’s Land. Le disque est très bien accueilli dans la scène locale et internationale et, grâce à des performances enflammées, le groupe se taille une véritable place qui leur est propre. Le premier extrait Nofy’s Peace se démarque par sa qualité, aussi mais surtout grâce à sa sincère universalité.
Par la suite, le groupe multiplie les dates au Canada et retourne même à la Havane en 2006, pour y présenter sa nouvelle formation live, cumulant à ce moment quelques spectacles dans leur baluchon. En 2008, le groupe organise lui-même une tournée à São Paulo et au Brésil, où leur musique et leurs ateliers communautaires leur permettent d’acquérir de nouveaux fans. Ils en profiteront pour réaliser de nouvelles pièces musicales avec des artistes locaux. Ces initiatives hors du commun captent l’attention d’Outside Music, qui en 2009 leur propose une distribution nationale pour leur deuxième album homonyme.
En 2012, le groupe sort un nouvel album intitulé Supafam, sorti en format digital et en cassette(!), dont les 300 copies exclusives se sont vendues de manière fulgurante, lors du lancement. Pendant ce temps, le groupe continue de prendre de l’expansion, notamment en tournant dans de nouveaux territoires, tels la Guyane Française et les États-Unis.
La sortie du EP Any Sound en 2013 annonce le début d’une tournée intense, à travers le Canada, les États-Unis et la France. Cette épopée permettra à Nomadic Massive de laisser sa marque et de se faire remarquer par la grande l’industrie du spectacle.
Musicalement, les chansons sont transcendées par un esprit vibrant et sont largement inspirées par les événements politiques et sociaux qui affectent le monde, mais plus particulièrement les communautés dont les membres du groupe sont issus. La démarche artistique derrière le projet en est une poussée par l’urgence, le désir de faire avancer les discours et briser l’hermétisme culturel. Les thématiques abordées sont lourdes de sens et actuelles, notamment en évoquant des sujets tels que : la sociologie des comportements humain et de la politique, l’impact des guerres sur les communautés et les familles, l’itinérance, ainsi que les relations interculturelles, à travers un processus d’écriture poétique et introspectif qui proclame, ultimement, un message d’espoir.
En 2016, après trois ans de scène internationale, cette bande de nomades se fraye un chemin jusqu’aux oreilles des amateurs les plus pointus du genre et lance un tout nouvel album The Big Band Theory, sur l’étiquette La COOP Les Faux-Monnayeurs. Ce dernier, conceptualisé et composé durant trois années, est caractérisé par des moments scéniques flamboyants, d’exploration dense entre les rythmiques rebelles et suaves de la soul des seventies, le son métissé et cosmopolite des scènes contemporaines, et celui vif et transcendant du rap avant-gardiste.
À l’orée de l’année célébrant leur quinzième anniversaire d’existence, le collectif a fait paraître un mini MIWA EP qui s’est mérité une nomination à l’ADISQ pour le meilleur album de l’année en autre langue. En juin dernier, la sortie de leur dernier long jeu TIMES souligne leur anniversaire de carrière et récolte de nombreuses critiques positives.
They want you to sweat.
That’s been the idea since the first time drummer Tayo Branston, guitarist Gabe Boothroyd and the original Five Alarm bassist Neil Towers met at a Vancouver house party in 2003. Since that night, the temperature in their leafy green hometown began to rise. Other musicians started showing up to jam. The parties led to gigs locally, which led a few years later to grinding bus tours across Canada and into the States. The crowds grew. The grooves burned. A horn section jumped onboard to punch the beat harder. Percussion cranked it up even more. EPs and albums followed, as studios and gear melted down from the sheer intensity these guys unleashed.
No wonder they called their last album Sweat.
But believe it or not, Five Alarm Funk is just warming up.
To get the full picture, go back to when the future rhythm section first played together. Vancouver was definitely a musical town then, though among its grunge, alternative, indie and even jazz players one genre was conspicuous in its absence. A few young cats were aware of this but didn’t know how to correct the situation until some mysterious force pulled them into the same room at the same time.
“We all loved heavy funk like James Brown and Tower of Power” Branston explains. “But we were also inspired by everything from Tito Puente to Antibalas to Frank Zappa. Their fantastic musicianship and the amount of fun they had was incredible. We wanted that for ourselves too … but it just wasn’t going on in Vancouver at that time.”
From that point, Five Alarm Funk took shape organically. They kept jamming, welcoming like-minded colleagues to sit in, and didn’t really think about much more than having a great time through music. They didn’t even write songs in any traditional way; mostly, they picked up their instruments, kicked off a beat and winged it.
“It was never a structured thing,” Branston says. “There was no rehearsing, no writing. We were just improvising and having fun. If we ended up stumbling across something really cool, we’d maybe work it out to see if it might turn into a song. But we weren’t thinking about shows. We weren’t thinking about where this might lead us. We were just playing grooves.”
People did notice, though. They started nudging the band to try getting a set together for an actual gig. It took a while but eventually Five Alarm Funk officially debuted at a local place called The Fairview Pub. To nobody’s surprise but the guys in the band, more than 300 people showed up, hungry for funk. “It was a huge success,” Branston remembers. “That lit this fire in us, like, ‘Wow, people are interested in this! This is something Vancouver needs. Maybe we can make this happen!”
From the Fairview, they moved to Richards On Richards, a venerable venue with a bigger capacity of up to 800 people. Five Alarm packed it again and again until closing night. Word spread throughout British Columbia and after that throughout Alberta and Saskatchewan.
Now, keep in mind this isn’t at all like some outfit from Philly picking up work in nearby Baltimore or New York. “Canada is huge,” Branston points out. “From Vancouver the closest city is probably three and a half hours away — and those are smaller towns. The closest big city is Calgary, which is about an 11-hour drive.”
That didn’t even slow them down. Grueling van tours turned into even more grueling van tours that eventually grew into a 36-day, cross-continental trek involving some 30 shows from Vancouver to Fredericton. They crossed over to the States a few times too, initially to nearby markets including Seattle, Bellingham and a little later to Portland. They issued albums and EPs too; leading by 2010 to the affirmatively titled Anything is Possible.
That’s when things started exploding for real. They pumped their energy across the Pacific, with a performance in Taiwan that promises to be the first of many in years ahead. They also pushed deeper into the U.S., as far south as Chattanooga, where in 2017 they blew the roof off the Riverbend Festival — or would have, had there been a roof overhead.
And now Five Alarm Funk amps up the heat with an ambitious project that involves raiding their own catalog and inviting some of their heroes to join them. Long known for their percussive gang vocals, they’ve have amassed a library of largely instrumental, chant-punched performances. The first of these is a match they might only have dreamed of when they were just starting to rock those house parties.
“I’ve been a Bootsy Collins fan ever since I was 15,” Branston marvels. “That track we gave him, ‘Capital City,’ is one of the funkiest things we’ve ever cut. With that experience and our back catalog, you’ll see a lot more of this from us.”
Future releases and reissues with all-star rappers and funksters. Sights set on bringing their magic to festivals throughout the world. More sweat, more dancing … more Five Alarm Funk.
That’s global warming as it ought to be.
Ce groupe basé à Vancouver fait carrière depuis plus de 15 ans avec six albums acclamés par le public… Et il ne compte pas ralentir. En effet, Five Alarm Funk vient juste de prendre de la vitesse. Déterminé à sortir leur septième album intitulé Big Smoke en 2020, les 11 chansons qui le composent vont directement à l’essentiel : des arrangements épiques et intenses, un groove lourd, et plein de fun. C’est resté leur concept depuis que le batteur Tayo Branston, le guitariste Gabe Boothroyd et le bassiste original de Five Alarm, Neil Tower, se sont rencontrés à une soirée à Vancouver en 2003.
It's a question the much-loved Australian band has asked itself several times in the 21 years since Thorn, her sister Donna Simpson and guitarist Josh Cunningham set off on their incredible journey.
A trip that began in a van in 1992, with the three troubadours playing gigs anywhere in Australia that would have them, has led The Waifs to multiple ARIA awards, platinum albums and successful tours across the world. The hard yards in those early days paid off in terms of their career, but also bound the three of them together as friends.
Josh, Donna and Vikki have all moved on in their personal lives since those formative years, whether through relationships, having children or relocating to different parts of the world, yet The Waifs' journey continues.
The sisters left their home in Albany, Western Australia in 1992 as the duo Colours. They met Cunningham in Broome, WA and became The Waifs.
The group forged their way on the Australian live-music circuit for most the 1990s, releasing albums such as their self-titled debut in 1996 and Shelter Me in 1998, selling them mostly at shows. The third album, 2000's "Sink or Swim," raised their profile and allowed the band to perform in Canada and the United States, attracting rave reviews in the process.
The biggest turning point came with the EP "London Still" (2002), which gave the band its first Australian hit. Followed in 2003 by the "Lighthouse" EP and the album "Up All Night," which has gone double platinum in Australia and earned them four ARIA awards. That same year they toured Australia with Bob Dylan, who subsequently invited them to join him on his North American tour.
Further hits, such as Bridal Train and Stay, have followed, along with live albums, more awards and ecstatic reviews for their live performances.
The Waifs soared into 2017 celebrating their 25th Anniversary in style - releasing their eighth studio record "Ironbark," completing a sold-out national tour, gaining their first #1 album debut on the ARIA Charts and reminding fans that, like a bottle of fine wine, they only get better with time.
The original road warriors, the Waifs have built a career out of continually circling Australia and the globe. From bustling cities to the farthest regional and coastal towns, they have spent the past 25 years reuniting with old friends and gathering new fans, thanks to their enchanting live shows and affable natures.
After conquering the city (Cliché Hot), the sea (Belmundo Regal) and the stars (Havre de Grâce), and thus closing the first chapter of their story, the band wanted their next album to capture the energy of their live shows. The result is Ej feel zoo, released on March 2014. Having grown up in an environment where Anglophones rub shoulders with Francophones on a daily basis, the Acadian duo then offered their first album entirely in English, titled Light the Sky, in February 2016. The music on this latest album was produced by Shash’U, DJ Champion, J.u.D. and Alex McMahon.
Over the past few years, Radio Radio has become a must-see act, having performed at, amongst others, the FrancoFolies de Montréal, the Festival d'été de Québec, the Festival International de Louisiane, SXSW, and the CMJ Music Marathon, as well as numerous festivals in France and Belgium.
All playing together - live in concert - paying tribute to Allen Toussaint, Art Neville and Mac Rebbenack.
Accompanied by an all-star rhythm section, this is a must-see. Run, don't walk....
Marcia Ball - piano
Ivan Neville - piano, B3
John "Papa" Gros - piano
David Torkanowsky - piano
Raymond Weber, drms - (Dumpstaphunk, Dr John's Band)
Nick Daniels, bass - (Dumpstaphunk, Neville Bros.)
Shane Theriot - (Hall&Oates, Neville Bros.)
Soon, new members were added to the project to tread the scenes and record first demos. The multi-instrumentalists Anit Ghosh (violin, back vocals), Kattam Laraki-Côté (percussions, back vocals), Sylvain Plante (drums) and Gabriel Brochu-Lajoie (bass, keyboards, back vocals) came into the picture, with each bringing a different color. That is where the uniqueness of Ayrad lies. The cross-cultural music, combines Andalusian and Berber rhythms, reggae and Moroccan Chaabi grooves, and strains of pop and rock. The unique blend draws in adventurous listeners and excites passionate fans of World Music. Galvanized by the exceptional voice of Hamza, this group of experienced musicians is able to take their songs to the limit, infusing them with a contagious, quasi-magical energy that leaves no audience untouched. Their synergistic power in concert, and on disc, is absolutely extraordinary.
Natu is the former leader of West Africa’s first all-female hip-hop group, The Ideal Black Girls and is heralded by her adoring fans back home as the Tina Turner of Guinea.
“Dimedi” is a sublime blend of afro-rock, pop and soul, recorded in Mali with many of the musicians from the band of the legendary Salif Keita. “Dimedi” takes you on the path of discovery as she weaves a beautiful tapestry of musical stories and visions of her beloved home Guinea.
Natu has exploded on some big stages crossing the country from Montreal and Quebec to Albuquerque, Santa Fe, Berkeley and NY.
As a builder of bridges socially and culturally, CAMARA's musical compositions are powerfully constructed to bridge the global gap between our hemispheres and bring people together.
Natu has also created the Natu Foundation to support all organizations for Guinean children and girls and especially to mentor and empower young girls and support education for all children. She has raised money to start building a school in Tchaguil, and brought in very accomplished and powerful women in the country to help and become mentors for young girls at these schools – these young women will in turn mentor and train others. Follow Natu to help with the Foundation’s efforts.
Hassanatou Camara, Natu de son nom d’artiste, ex membre
du groupe de hip hop “Ideal Black Girls”, a surpris son monde
en lui servant une fusion de Soul, Afrorock, Folk et Pop
Musique contenant des riches lyriques basé sur ses
histoires vécues; utilisant son passé multiculturel et ses expériences
de voyages internationaux suivies par une présence
scénique puissante et unique qui donne le frisson.
Passionnée de Cinéma, de poésie et de danses, la Chanteuse,
auteur-compositrice, musicienne et productrice oriente sa
musique avec sa guitare, adapte une prestation scénique
incontournable accompagné d’une voix dynamique et
envoûtante. C’est surtout ce qui fait d’elle une star qui
maitrise son univers musical.
À son jeune âge à Conakry, elle se produisait souvent avec
des groupes locaux et de grands musiciens du pays.
Si certains observateurs, avertis, affirment que Natu, par sa
voix, a des accents de Miriam Makéba, Nina Simone, Tracey
Chapman, Tina Turner. D’autres soutiennent, simplement,
qu’une nouvelle Reine de la musique africaine arrive à pas
géants. Après avoir tragiquement perdu son mari à New York
d’où elle a élu domicile désormais. La chanteuse Guinéenne
commence à écrire et enregistrer de nouvelles chansons avec
sa guitar inspirés de ses racines et son entourage.
C’est le début d’une ‘’immersion’’ afin de réorienter son fichier
musical vers la Soul et Afro-rock. Loin de ses copines de
scènes vivant désormais en France et au Sénégal, Natu crée
un groupe live pour se produire localement dans la ville de
New York, elle écrit et enregistre de nouvelles chansons avec
des influences tradi-modernes.
M A R A
Finalement pour donner plus de couleurs à sa musique, Natu
se rendre à Bamako, dans le studio “Moffou” de la legende
Salif Keita, géré par Abou le genie, pour réaliser son premier
album avec l’assistance du grand guitariste arrangeur
Djessou Mory Kanté et Abou l’ingenieur d’où son projet vue
le jour. L’Album “Dimèdi’’ (“L’enfant” en langue Soussou)
interprété en 5 langues est dédie à la défense des femmes
abusées et des enfants du monde entier. Ses arrangements
vocaux inventifs donnent force et douceur aux histoires
significatives qu’elle partage tout au long de l’album.
Ses chansons vibrent de crochets mémorables et de rythmes
palpitants, abordant les grands problèmes sociaux et
politiques de notre époque. Chaleur et profondeur sont les
mots clefs de sa voix, car ses envolées vocales et la maitrise
dont elle montre ne laissent personne indifférent.
Ses arrangements vocaux inventifs donnent force et
douceur aux histoires significatives qu’elle partage tout au
long de l’album. De la narration intime et spirituelle au grand
public, Natu Camara connecte toujours avec son audience
de la manière la plus profonde. Son travail intègre des
questions sociales, humanitaires et politiques, responsabilise
les femmes et les enfants et encourage chacun à briser
le moule et à vivre librement.
Guitare à la main, Natu émerge sur la scène mondiale avec
une âme et un coeur dans sa musique, appelant à l’unité,
paix et l’amour.
H A N T E U S E / A U T E U R - C O M P O S I T R I C E
By the time they finished touring for their acclaimed Mean Love album in late 2015, Ahmed Gallab and the band had spread the gospel of Sinkane to the world, playing 166 shows in 20 countries. During the same period, he had also led The Atomic Bomb Band -- the highly celebrated 15-piece outfit that played the music of elusive Nigerian electro-funk maestro William Onyeabor. The band included David Byrne, Damon Albarn, members of Hot Chip, LCD Soundsystem, The Rapture, Jamie Lidell and legendary jazz musicians Pharoah Sanders and Charles Lloyd, and they played all over the planet, including making their TV debut on The Tonight Show with Jimmy Fallon. "Those 14 months really changed my life," Ahmed says. "Not only did I learn how to put on a bigger show, but all that touring brought Sinkane closer as a band."
As Ahmed got into the depths of writing for Life & Livin' It, he had a clear goal; to conjure the ups and downs of a universal experience, and have fun while doing it. "I would listen to my favorite records, like Funkadelic's America Eats Its Young, and realize how great they made me feel. That carefree, light and fun feeling I was getting while writing this record is what I want everyone to feel when they listen to it."
Ahmed soon brought the band in to help with the material, testing the songs at a four-show residency of sold-out shows at Union Pool in Brooklyn where the audience's reception fed the creative process. They toured throughout the summer before setting up shop at Sonic Ranch Studios in El Paso, Texas. Once again produced by Ahmed with lyrics and help from longtime collaborator Greg Lofaro, the album draws from the best elements of Sinkane's previous records: the slinky funk and soul grooves are there, so are the sparkling melodies with roots in sub-Saharan Africa. With basic tracking played together live, the fun and immediacy of Sinkane's live show is a central feeling of the recordings. Each one of the four members of Sinkane -- bassist Ish Montgomery, drummer Jason Trammell, guitarist Jonny Lam and Ahmed -- sing and contribute additional parts on the album, with Trammell contributing lyrics to "Theme from Life & Livin' It," and Lam helping with arrangements. Jas Walton and Jordan MacLean of Daptone recording artists Antibalas contributed horns.
In making a record that feels like this, Ahmed's primary intention was to make music that is joyous, but also socially conscious when you scratch beneath the surface. The songs "U'Huh" and "Theme from Life & Livin' It" conjure up the simple pleasures of hanging with friends, but there are heavier vibes in there. Ahmed says, "I remember listening to Bob Marley as a child. Dancing with my family in our living room and then my mother telling me what issues he was addressing, and that it was important to remember those things while listening. It made the music even better because it became about something more."
"Favorite Song" came about from Ahmed's experiences DJ'ing in New York. "As a DJ you're always paying attention to the collective energy in the club. When you play a song that everyone knows, everybody is connected, lost in the music." That song, along with "U'Huh," has lyrics sung in Arabic, Ahmed's native tongue. "Kulu shi tamaam!" means "everything is great!" while "ya zol ya zain!" is a Sudanese term of endearment meaning "my beautiful friend." "It's really easy to understand the tone of those words," Ahmed adds. "They just feel good, you don't have to know what they mean. It's kind of like listening to Caetano Veloso or Jorge Ben -- you don't have to know Portuguese to feel what they're saying."
True to its name, Life & Livin' It is an album about all kinds of experiences. When Ahmed Gallab sings, he sounds unafraid yet vulnerable. But while he once sang of feeling like he was on the planet Mars, Ahmed is now firmly grounded on Earth. He's no longer searching for his home -- he has created a home for himself. There's a party there, and Life & Livin' It is playing on the stereo. You are invited.
Jimmy Cliff, Sly and Robbie, Philip Smart, Willie Lindo and Gregory Isaac are a few of the legends who have also worked with the band. These contributions have sculpted the sound of Roots Rock Reggae over the years, making The Meditations a fundamental and essential part of reggae music.
Currently, they’ve released a new album titled “Can’t Stop The Flow Of Life “.
The star-studded set of musicians, who came together to make this album possible, did not disappoint at all. You have the legendary Sly Dunbar, whose melodies have set the pace for the culture time and time again. Sly plays the majority of drums on this album. On keys, you have the multi talented Sidney Mills, from the legendary Reggae band “ Steal Pulse”. Bass on this album is being played by so many legends , it’s crazy. Musicians like Lloyd Parks , who has an impressive resume, spanning over three decades, and Neville Morris, whose resume includes Lady Saw and Mr. Vegas, just to name a few. Legendary bass player Robert “ Robbie “ Shakespeare , who needs absolutely no introductions, and finally the legendary , multi talented, writer and producer Willie Lindo, who wrote and produced classics for Beres Hammond and Dennis Brown, play on the record. So The Meditations are still going strong, still putting in that work after all these years.
Over the past few years, Ansel (who has produced all of The Meditations’ albums excluding three) has been the only remaining original member of The Meditations to continue touring. Accompanying him for over 10 years now as background vocalist are Laury Webb (who is also featured on The Good Of Man album) and DaddyLion Chandell. Together, they’ve been touring the United States performing for fans at venues like the world famous Wild Hare and the Red Rock Amphitheater, of which they performed recently with Collie Buddz , Protoje , Morgan Heritage and Rebelution, during their 2019 summer tour.
Music is at the core of Haiti’s sense of identity, and musicians have always played an important role in society, both in documenting the country’s history and helping to shape its path forward. Today, a young generation of artists is keeping this tradition alive, narrating the world they live in through music that is made in their neighborhoods, villages and post-earthquake camps. Lakou Mizik brings together these musical generations in celebration of the cultural continuum while using Haiti’s deep well of creative strength to shine a positive light on this tragically misrepresented country.
The idea for the band was hatched in 2010 on a hot November night in Port-au-Prince. Haiti was still reeling from the earthquake, a cholera epidemic was raging, and a political crisis filled the streets with enough tire burning ferocity to close the international airport. Steeve Valcourt, a guitarist and singer whose father is one of the country's iconic musicians, singer Jonas Attis and American producer Zach Niles met in Valcourt's muggy basement studio and agreed that Haiti's music and culture could serve as an antidote to the flood of negativity.
Niles, who ten years previously was part of the documentary film and management team that introduced Sierra Leone's Refugee All Stars to the world, had traveled to Haiti to explore ways in which music could help play a role in recovery and empowering social change. According to Niles, "I always wanted to use music and story of musicians to create a deeper connection to the country than either the one-note negative press or the falsified hope-and-inspiration NGO stories that get pushed to the public." Niles, Valcourt and Attis assembled an exceptional lineup, creating their own musical A-Team, a powerhouse collective of singers, rara horn players, drummers, guitarists and even an accordionist.
Over the next few years, the band honed their electrifying live show, presenting hours long concerts that blended the soulful spirit of a church revival, the social engagement of a political rally and the trance-inducing intoxication of a vodou ritual. Finally, after building a devoted local fan base, the band headed to the Artists Institute in Jacmel, home to a beautiful new recording studio and music school built by the We Are the World Foundation to help develop Haiti's music industry.
Two veteran music producers joined the group to help create their debut album: Chris Velan, a Montreal singer-songwriter and producer responsible for producing two albums for Sierra Leone's Refugee All Stars, and British producer Iestyn Polson, famed for his work with David Gray, David Bowie, Patti Smith and others.
The resulting album, Wa Di Yo, reflected the African, French, Caribbean and U.S. influences that collide in Haiti. The spirit-stirring vodou rhythms and call-and-response vocals were supported by the French café lilt of the accordion. Intricate bass lines and interlocking guitar riffs mesh mesmerizingly with the joyful polyrhythmic hocketing of rara horns. These powerful layers were topped by sing-along melodies with inspiring, socially conscious lyrics. The end result was a soulful stew of deeply danceable grooves that feels strangely familiar yet intensely new -- and 100% Haitian.
Wa Di Yo was released by Cumbancha on April 1st, 2016 and both the album and the band’s live shows earned instant praise. After their appearance at the prestigious globalFest event that year, the New York Times wrote, “Lakou Mizik, formed after the devastating Haitian earthquakes of 2010, is a genial cross-generational coalition along the lines of the Buena Vista Social Club. Its songs, some of which are topical, draw on the rhythms and incantations of voodoo, the trumpeting of rara carnival music and hearty call-and-response vocal harmonies on their way to galloping, exultant dance grooves.” The band went on to perform at the Montreal International Jazz Festival, and other important venues. In 2019, influential UK magazine Songlines included Wa Di Yo in their list of the best world music releases of the past five years.
The seed for Lakou Mizik’s second album, HaitiaNola, was planted in 2017 when the band was invited to play the legendary New Orleans Jazz & Heritage Festival. It was an eye-opening pilgrimage to the mythical music city and the band members immediately felt a connection. The music, the food, the architecture all reminded them of home. To this day, Haitian influences can be felt in the music of New Orleans. From the rhythms of the Mardi Gras parades to the swampy grooves of funk, echoes of this Haitian connection can still be heard in the sounds of the city. It can also be felt in the food, language, spirituality and so much more. One sunny day, when the musicians of Lakou Mizik found themselves walking down Frenchmen Street, they hatched the idea for HaitiaNola (Haiti & NOLA & Hispaniola = HaitiaNola).
A year later Lakou Mizik was invited back to Jazz Fest for the second time (a rare honor) but this time the focus was on the album and musical collaborations. New Orleans producer Eric Heigle, fresh off a GRAMMY win with his band Lost Bayou Ramblers and a role in the production of indie rock supergroup Arcade Fire’s latest album, signed on to produce the project. Arcade Fire’s Win Butler and Régine Chassagne, longtime advocates of Haitian culture, offered to let the band use their private recording studio. Ben Jaffe, the director of Preservation Hall Jazz Band, a New Orleans institution, gave Lakou Mizik additional time at their recording studio.
Even amidst the bustle of Jazz Fest, many in the New Orleans music community embraced the project and graciously made time in their hectic schedules to come jam with Lakou Mizik. The legendary Preservation Hall Jazz Band added their timeless touch; master pianist Jon Cleary tickled New Orleans-style riffs over the band’s Haitian Vodou prayers; Lost Bayou Ramblers added heavy Cajun grit; Haitian-American singer songwriter Leyla McCalla brought spine-tingling cello playing; guitar maestro Raja Kassis (Antibalas)
sprinkled his six-string magic all over the tracks; and The Soul Rebels brass band blew the roof off the studio. Soon after the NOLA sessions, Eric Heigle and Jon Cleary traveled to Haiti to record with Lakou Mizik at the Artists Institute in Jacmel. Over the next few months additional sessions allowed for more guests to jump in. Iconic figures Cyril Neville, Trombone Shorty and Anders Osborne, rising star Tarriona “Tank” Ball (Tank and the Bangas), NOLA institution King James (from the Special Men), even Win & Régine from Arcade Fire helped create the unique, culture-melding sound of this album.
The result of this collaborative gumbo is the album HaitiaNola, a sweaty celebration that manages to connect not only the rhythms and sounds of the two places but also the gritty energy, the unmistakable mysticism and the carefree Mardi Gras incantation of laissez les bon temps roulez (let the good times roll) that persists in both countries. In Haitian Kreyòl the word lakou carries multiple meanings. It can mean the backyard, a gathering place where people come to sing and dance, to debate or share a meal. It also means “home” or “where you are from,” which in Haiti is a place filled by the ancestral spirits of all the others that were born there. With HaitiaNola, Lakou Mizik expands their lakou, to take in their cultural cousins and actual descendants in New Orleans. With music to lift them up, these two places have pushed through unimaginable tragedy in recent years. HaitiaNola celebrates this defiantly joyous spirit and the rhythmic roots that have connected them for more than two centuries.
7th album, “August 1791”, their second release in 3 years.
Ancient African and Haitian drums intertwine harmoniously with electric guitar riffs and
swinging Caribbean melodies, led by the entrancing singer, Lunise, all combine for a
truly magical experience.
RAM featured on the Double Platinum-selling soundtrack Philadelphia. The band has
consistently gigged at the famed Hotel Oloffson in Port-au-Prince, Haiti since 1990,
where the performances are known to take on another dimension. People frequently
describe a spiritual sensation when describing a RAM concert. You don’t simply go to a
RAM concert, you experience one.
RAM is proficient in delivering drumming, Haitian Folklore Dance, and Haitian history
workshops respectively, having conducted them at the university, high school, and
It takes its name from a drum, built from a goat skin stretched across a mortar and pestle. Like the environs, tende music is a testament to wealth in simplicity, with sparse compositions built from a few elements: vocals, handclaps, and percussion. Songs speak of the village, of love, and of praise for ancestors. It’s a music form dominated by women. Collective and communal, tende is tradition for all the young girls of the nomad camps – played during celebrations and to pass the time during the late nights of the rainy season.
In the past years, certain genres of Tuareg music have become popular in the West. International acts of “desert blues” like Tinariwen, Bombino, and Mdou Moctar are synonymous with the name “Tuareg.” But guitar music is a recent creation. In the 1970s young Tuareg men living in exile in Libya and Algeria discovered the guitar. Lacking any female vocalists to perform tende, they began to play the guitar to mimic this sound, replacing water drums with plastic jerrycans and substituting a guitar drone for the vocal call and response. The exiled eventually traveled home and brought the guitar music with them. In time, this new guitar sound came to eclipse the tende, especially in the urban centers. If tende is a music that for women, the Tuareg guitar was its gendered counterpart.
Fatou Seidi Ghali, lead vocalist and performer of Les Filles de Illighadad is one of the only Tuareg female guitarists in Niger. Sneaking away with her older brother’s guitar, she taught herself to play. While Fatou’s role as the first female Tuareg guitarist is groundbreaking, it is just as interesting for her musical direction. In a place where gender norms have created two divergent styles of music, Fatou and Les Filles de Illighadad are reasserting the role of tende in Tuareg guitar. In lieu of the djembe or the drum kit, Les Filles de Illighadad incorporate the traditional drum and the pounding calabash, half buried in water. The forgotten inspiration of Tuareg guitar, they are reclaiming its importance in the genre and reclaiming the music of tende
Around this time, he befriended fellow Abbeville musician Bobby Charles, and the two would travel to New Orleans to hear black rhythm-and-blues artists in the local nightclubs. These visits to New Orleans greatly influenced Storm's musical tastes and his own drumming style. Storm cites New Orleans rhythm and blues musician Charlie "Hungry" Williams as a major drumming influence.
In 1956 Storm founded his own rhythm and blues/early rock-and-roll group, and in 1958, he began recording for Crowley, Louisiana, record producer J. D. "Jay" Miller. Miller convinced Nasco records of Nashville to release a 45 RPM record of Storm's version of the old country composition "Prisoner's Song"; the flip side was "Mama Mama Mama (Look What Your Little Boy's Done)." The release broke into the Billboard Hot 100 and both songs became lifelong standards for Storm.
Over the following years Storm recorded swamp-pop music for numerous labels, including Rocko, Zynn, American Pla-Boy, Top Rank, and Dot. In the early 1960s he teamed up with fellow swamp pop musicians Rod Bernard and Skip Stewart to form The Shondells, performing with the group and cutting tracks on the La Louisianne label until The Shondells disbanded around 1970.
Meanwhile, Storm released songs on several more labels, including ATCO, Sincere, and Teardrop, and, later, Premier, Showtime, Starflite, and Jin, among others. It was during this period that Storm recorded two more regional favorites, "Lord I Need Somebody Bad Tonight" and "My House of Memories."
During the 1980s and '90s, Storm appeared as a regular house musician at several south Louisiana danceclubs, and in 1989 recorded the Cajun Born LP for La Louisianne with fellow south Louisiana musicians Rufus Thibodeaux, Johnnie Allan, and Clint West.
Louisiana Music Hall of Fame Inductee, 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, teaching American Sign Language and Song Writing at the University of Louisiana at Lafayette. She is also a private homes-chool teacher and has also taught bass, guitar, accordion and vocals at notable camps including 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.
Landry is a 2013 and 2019 State of Louisiana Music Ambassador, Governor to the Memphis Chapter of the Recording Academy, former Director of Louisiana Folk Roots Summer Cajun & Creole Music Kids Camp, and recently inducted into the Louisiana Music Hall of Fame. Landry strives to bring cultures and traditions together, ensuring they will be passed along.
Since her debut album in 2010, Landry has released four more CDs… “No Man’s Land” with a host of friends including Bill Kirchen, Cindy Cashdollar, Dirk Powell lending a helping hand, “Me & T-Coe’s Country,” “Oh What A Silent Night” with pedal steel ace, Richard Comeaux and “Louisiana Lovin’” featuring Roddie Romero, which was nominated for Offbeat Magazine’s “Best of the Beat Awards” in two categories (Best Roots Rock Artist and Best Roots Rock Album).
Her first children’s book, “The Ghost Tree,” was nominated for “Louisiana’s Young Reader’s Choice Award.” Her second, “Madame Grand Doigt,” along with “The Ghost Tree,” were formally accepted into the Library of Congress Collection for Children’s Literature.
Her latest project, “Taking the World, by Storm,” is two-fold. The book, “A Conversation with the Godfather of Swamp Pop,” covers the lifespan of this living legend Warren Storm, starting with his boyhood in rural Vermilion Parish. From meeting Elvis at Graceland, to shaking Hank Williams’s hand, to sharing the stage with Robert Plant and his idol, Fats Domino, Warren’s endless stories and anecdotes, as well as his incredible collection of photographs and memorabilia, open a window into the life of an important figure in American music. The record, produced by Yvette and titled, “A Regional Roots Journey with The Godfather of Swamp Pop,” is quickly becoming as legendary as the Godfather himself. A host of guests including John Fogerty, Sonny Landreth, and Marc Broussard, contributed their talents to the record.
Musician. Author. Producer. Educator. Stay tuned . . .
Membre du temple de la renommée en Louisiane /chanteur/auteur-compositeur/multi-instrumentiste/interprète/auteur/ ambassadeur culturel nominé aux Grammy Awards... beaucoup de chapeaux différents pour une seule personne, pourtant Yvette semble y parvenir. Son dernier projet, Taking the World, by Storm, est un double travail. Le livre, Une conversation avec le parrain de la Swamp Pop, couvre la durée de vie de cette légende vivante qu’est Warren Storm, à commencer par son enfance dans la paroisse rurale de Vermilion. Les histoires et anecdotes sans fin de Warren, ainsi que son incroyable collection de photographies et de souvenirs, ouvrent une fenêtre sur la vie d'une figure importante de la musique américaine. Le disque, produit par Yvette et intitulé A Regional Roots Journey with The Godfather of Swamp Pop, devient rapidement aussi légendaire que le parrain lui-même. Une foule d'invités, dont les talentueux John Fogerty, Sonny Landreth et Marc Broussard, ont contribué à ce disque.
Loves that work,
Loves that don't work,
Loves that leave,
And wait for one another,
Then come back.
Loves that love.
Keen musician and lyricist, her soaring folk blends with a subdued pop to play within the matters of the heart and of life that we have to sing about in order not to get lost. Because if songs don't help to cry less, they probably help to cry better. After many kilometres and stages, she parked her car at home, in the Acadian peninsula, in order to record a first album that still kind of sounds like a road trip: Love. In Fall 2020, she will be releasing a new CD produced by Benoit Morier.
Après pas mal de kilomètres et de scènes, elle a parké son char chez-elle, dans la Péninsule acadienne, le temps d’un premier mini album qui sonne quand même un peu comme un voyage : «Love».
Dans une formule trio où le pop et le folk font fusion, le spectacle de Chloé Breault vous fait visiter ses réflexions portant sur son vécu en tant que jeune acadienne. Elle fait briller ses histoires d'amour de façon novatrice en métissant ses chansons avec une sonorité frisant parfois le pop-rock. Chloé propose un spectacle intime où sa voix harmonisée à celle de ses musiciens transporte le public dans les méandres de l’Amour...
À l'automne 2020, elle sortira un nouveau disque réalisé par Benoit Morier.
• 2019 : Lauréate "Vidéo de l'année" avec le clip "Quand on y pense" + deux nominations aux Prix Musique NB
• 2019 : Nomination Découverte de l'Acadie - Prix Trille Or
• 2018 : Lauréate Enregistrement de l'année - Prix Musique NB
• 2018 : Quatre autres nominations - Prix Musique NB
• 2016 : Finaliste Auteure-compositrice-interprète - Gala de la chanson de Caraquet
• 2015 : Demi-finaliste - Festival international de la chanson de Granby
• 2015 : Lauréate Interprète et Chanson primée - Gala de la chanson de Caraquet
• 2014 : Lauréate Solo auteure-compositrice-interprète - Accros de la chanson
Their melodic kora duets are magically serene and relaxing, yet foot-tapping as each musician plucks and strums his kora's 21-strings at a dazzling pace. Their dancing fingers create a unique sound, a hybrid of harp, flamenco guitar, and sitar but with a delightful African twist. It is easy to hear why many musicians feel that kora melodies, playing techniques and polyrhythms gave birth to blues, gospel and jazz.
These musicians are “griots,” hereditary musician-oral historians, raised to preserve Mandinka culture with music and lore. From age 7, Jali Bakary Konteh and Pa Bobo Jobarteh learned kora music, songs, stories and culture. They learned from their world-touring fathers Dembo Konte and Malamini Jobarteh in Brikama, Gambia. This is their first duo tour since touring West Africa in 1990-1993.
The Great Gambian Griots WWW site is http://koramusic.net The site includes: deep background, back-stories, family history, videos about making the kora and a day in the life of grandfather Alhaji Bai Konte, 1973-1980 photos of Alhaji Bai Konte and their fathers as they introduced the kora to North American audiences.
Both musicians built and manage traditional Mandinka music schools, where students live while studying. This is the culturally immersive experience of a lifetime. Students can earn college credit by taking traditional classroom courses in Gambian history and culture at the University of Gambia. When they are not in the university classes, students learn kora, balafon, drums, dance, and more from masters, living at the music school in a Mandinka extended family life-style, with as much Mandinka language learning as desired from family members who know English.
JALI BAKARY KONTEH's career includes WOMAD (World of Music, Art and Dance), Festivals in England, BBC interviews, performances at London's School of Oriental and African Studies, SRO shows in venues including: Koko, The Jazz Cafe , Rich Mix, and Archspace in UK. He appeared both solo and with the fusion band Minyanta at the Bloomsbury Festival, and also Tropical Pressure and Africa Utopia festivals (UK), Amsterdam Roots Festival (Netherlands), Roskilde and Alive Festivals (Denmark), From Banana Republic (Cyprus), Meadows in the Mountains (Bulgaria), Stans (Switzerland), and Me You Zik Festival (Luxembourg) and Compose Festival (Germany). Jali Bakary Konteh lives in London, performs with a fusion band and teaches kora at The Kora Workshop in London. He returns to Gambia each year, performing and teaching, and is featured on Gambian Radio and Television Services.
PA BOBO JOBARTEH: At age 11 performed at WOMAD in UK plus a Buckingham Palace command performance for Queen Elizabeth. He performed at WOMAD Festivals in UK, Singapore, and Australia, at Libya's Pan African Trade Fair, and at the Bumbershoot Festival in Seattle, WA. On his CD Gambia, rock star Tom Toomey of England's ZOMBIES plays fabulous lead guitar around Pa Bobo's kora. A social activist, Pa Bobo's song New Gambia encouraged Gambians to peacefully remove a violent dictator. Pa Bobo fled for his life with a price on his head. After the dictator left, he returned a national hero. His song Peace, Love and Unity reaches Gambians daily as an unofficial national anthem on Radio Gambia. Pa Bobo Jobarteh lives in Brikama, Gambia, performs throughout Gambia and Senegal, including festivals at The Kora Workshop facilities in Senegal. He is often featured on Gambian Radio and Television Services.
Découvrez l'art de la harpe africaine dans ces duos captivants, authentiques et envoûtants de Mandinka kora, dont certains sont vieux de 800 ans de l'Empire Mandé, épicés de rythmes afro-pop et highlife. Vous vous souviendrez longtemps de cette gâterie spectaculaire et unique, des petits-fils du légendaire Alhaji Bai Konté, qui a présenté la kora au public nord-américain, en direct et par les médias, en 1973. Pour un fond plus profond et pour les vidéos de chaque musicien jouant seul, visitez http: / /koramusic.net; et pour des échantillons des deux musiciens jouant des duos de kora, visitez https://vimeo.com/379505391
Leurs duos mélodiques de kora sont magiquement sereins et relaxants, tout en tapant du pied, tandis que chaque musicien plonge et gratte les 21 cordes de sa kora à un rythme éblouissant. Leurs doigts dansants créent un son unique, un hybride de harpe, de guitare flamenco et de sitar mais avec une délicieuse touche africaine. On comprend facilement pourquoi de nombreux musiciens estiment que les mélodies kora, les techniques de jeu et les polyrythmies ont donné naissance au blues, au gospel et au jazz.
Ces musiciens sont des «griots», des musiciens héréditaires et des historiens de l'oral, élevés pour préserver la culture mandinka avec de la musique et des traditions. Dès l'âge de 7 ans, Jali Bakary Konteh et Pa Bobo Jobarteh ont appris la kora, les chansons, les histoires et la culture. Ils ont appris de leurs pères en tournée mondiale Dembo Konté et Malamini Jobarteh à Brikama, Gambie. Il s'agit de leur première tournée en duo depuis leur tournée en Afrique de l'Ouest en 1990-1993.
Le site WWW du Great Gambian Griots est http://koramusic.net Le site comprend: un fond profond, des histoires, des histoires de famille, des vidéos sur la fabrication de la kora et une journée dans la vie du grand-père Alhaji Bai Konté, 1973-1980 photos de Alhaji Bai Konté et leurs pères lors de leur présentation de la kora au public nord-américain.
Les deux musiciens ont construit et géré des écoles de musique traditionnelle mandinka, où les étudiants vivent pendant leurs études. C'est l'expérience culturellement immersive d'une vie. Les étudiants peuvent obtenir des crédits universitaires en suivant des cours traditionnels en classe sur l'histoire et la culture gambiennes à l'Université de La Gambie. Quand ils ne sont pas dans les classes universitaires, les étudiants apprennent la kora, le balafon, la batterie, la danse et plus encore, des maîtres, vivant à l'école de musique dans un style de vie familial mandinka, avec autant d'apprentissage de la langue mandinka que souhaité par les membres de la famille qui connaître l'anglais.
La carrière de JALI BAKARY KONTEH comprend WOMAD (monde de la musique, de l'art et de la danse) et des autres festivals en Angleterre, des interviews de la BBC, des performances à Lécole des études orientales et africaines (SOAS), des spectacles de SRO dans des lieux tels que: Koko, The Jazz Cafe, Rich Mix et Archspace au Royaume-Uni. Il est apparu en solo et avec le groupe de fusion Minyanta au Bloomsbury Festival, ainsi qu'aux festivals Tropical Pressure et Africa Utopia (Royaume-Uni), Amsterdam Roots Festival (Pays-Bas), Roskilde et Alive Festivals (Danemark), From Banana Republic (Chypre), Meadows dans les montagnes (Bulgarie), Stans (Suisse), et Me You Zik Festival (Luxembourg) et Compose Festival (Allemagne). Jali Bakary Konteh vit à Londres, se produit avec un groupe de fusion et enseigne la kora au Kora Workshop de Londres. Il revient en Gambie chaque année, jouant et enseignant, et est présenté sur les services de radio et de télévision gambiens.
PA BOBO JOBARTEH: À l'âge de 11 ans, il s'est produit au WOMAD au Royaume-Uni, plus une performance de commandement du palais de Buckingham pour la reine Elizabeth. Il s'est produit aux festivals WOMAD au Royaume-Uni, à Singapour, et en Australie, au salon panafricain de la Libye, et et au Bumbershoot Festival à Seattle, WA. Sur son CD Gambie, le rock star anglais, Tom Toomey du groupe ZOMBIES joue un solo de guitare fabuleux autour de la kora de Pa Bobo. Activiste sociale, Pa Bobo a encouragé les Gambiens à retirer pacifiquement un dictateur violent dans sa chanson New Gambia (Nouvelle Gambie). Pa Bobo s'est enfui pour sauver sa vie avec un prix sur la tête. Après le départ du dictateur, il est rentré chez lui, un héros national. Sa chanson Peace, Love and Unity (La paix, l'amour, et l'unité) atteint quotidiennement les oreilles des Gambiens comme un hymne national non officiel sur Radio Gambie. Pa Bobo Jobarteh vit à Brikama, Gambie, se produit à travers la Gambie et le Sénégal, y compris des festivals dans les installations de l'atelier de Kora au Sénégal. Il est souvent présenté sur les services de radio et de télévision gambiens. http://koramusic.net https://vimeo.com/user96914169
The Hip Abduction (THA) began through informal jam sessions and quickly coalesced into a sound that attracted national attention. For “Gold Under the Glow”, the band’s third full album released on March 11, 2016, THA engage an indie pop acumen alongside a highly emotive and roots driven sound. Recorded in Nashville, Gold Under the Glow was produced by Dabney Morris (Wild Cub) who is credited with incorporating synth-pop teeth into the band’s global foundation and summery vibe. It’s a smart blending of world pop and club aesthetics that appeals to both audiences. The Hip Abduction, featuring David New (lead vocals, guitar), Chris Powers (bass), Dave Johnson (baritone, tenor sax), Cody Moore (keyboards, sax), Matt Poynter (drums, vocals) and Justino Walker (guitar, vocals, sitar) have shared stages with the likes of Grace Potter, Galactic, The Revivalists, Ziggy Marley, Umphrey’s McGee, Thievery Corporation, Matisyahu, 311, Galactic, and Moon Taxi and has performed at Shaky Knees, FloydFest, Wanee Music Festival, Suwannee Hulaween, Deep Roots Mountain Revival, Sunfest, Orange Blossom Jamboree, Tropical Heatwave Music Festival, The BIG What? and more.
His second album "Dave Puhacz à la Grosse Rose" was recorded off the floor in 3 days in a studio in Dorchester, New Brunswick. In this world where everything is filtered, this album is the result of honest work. The album was produced by Thomé Young and Mico Roy (Les Hôtesses d'Hilaire).
– Will Schube, Bandcamp Daily
"If you dream of a better world, listen to Dos Santos' Boundless New Record ... Its genre-obliterating, question-inviting approach offers a way forward for the openminded"
– Colin Joyce, Noisey
"I've always been impressed with the members' dedication to exploring the sonic possibilities of the sounds they love. Logos is the band's finest work"
– Felix Contreras, NPR Music
"The most thrilling moments combine a full-pelt Cubano dazzlement with moments of avant-funk, moment where the guitar dubs out and fractures like prime Eddie Hazel or Big Chief, moments where you genuinely can't predict what's going to happen next, when you find youself hearing Pere Ubu and Chrone as much as Arthur Russell"
– Neil Kulkarni, The Wire Magazine
Dos Santos is a quintet based in Chicago hailed as one of the city’s most impactful marquee performers. The band prides itself on the power of its live shows, as well as its ability to seamlessly distill pan-Latin American and progressive musical sounds to yield a future-minded Alt-LatinX sonics that gestures forward into an idealized new progressive American music. From dissonant cumbia to prog-jazz vamps, Dos Santos has been at the forefront of ushering in a new era for Latinx alternative music in Chicago since their debut in 2013.
In March of 2015, they released their self-titled debut "Dos Santos" and subsequently toured the United States, making appearances at SXSW, the Pachanga Latino Music Festival, and the Ruido Fest Latin Alternative Music Festival along the way. In 2016, the band released their follow-up EP “Fonografic” on Electric Cowbell Records produced by Beto Martínez of Grammy Award-winning Grupo Fantasma. They subsequently teamed up with Money Chicha to release a 7" vinyl split entitled "Summit Sessions" on Sonorama Discos. Their highly-anticipated debut LP on International Anthem (2018) is now available worldwide.
The group’s five members (Peter Vale, Alex Chavez, Daniel Villarreal-Carrillo, Jaime Garza, Nathan Karagianis) have their own storied careers in a range of styles—including jazz, R&B/soul, traditional Mexican folk, punk, cumbia, salsa, and electronica—in addition to a history of critical involvement in arts education and social justice organizing.
Music industry professionals attending Festival 506 in October 2017, considered them to be the discovery of that edition. Since then, Spoutnique has been playing to rave reviews, in the Atlantic Provinces and also a serie of shows in Southern France in 2018.
Spoutnique, unique sound is a product of singer/songwriter Paul Bourgoin and his musical imaginings. “My Blue Sky Turns Teal, Vol. 1” is a project that evolved into a concept album, becoming too colossal for a single release, was ultimately split into two volumes. The album was recorded and produced by Bourgoin and longtime musical collaborator Daniel Bérubé.
Since language should not be a barrier to music, they produced a second album mostly in French as to explore the tonalities of their native tongue.
La Raíz Group (Mayagüezana pumping tradition)
"When it goes to the root it goes to the essence, to the place where everything comes from." If we talk about Bomba, without a doubt one of its roots is Mayagüez and the West of Puerto Rico. There is a group that brings the pumping essence of the sectors of Buena Vista, Sweet Lips and Sabalos through certain neighborhoods of tradition. Day by day they follow up on the investigations of Vázquez Báez, Héctor I. Polanco and others who have stood out in this area for knowing the interiors of our culture and the influence of Afro-descendants. They have put into practice what has been inherited from the Sepia Ballet of Mayagüez, from the 60s and 70s. Each one has separately become a teacher in their work area. This facet brings experiences for collective knowledge by educating the student in the pumping essence. The Root stands out because it is in continuous search of the history of each one of the songs of its repertoire, to protect and to leave in inheritance to the next generations of firemen and firemen.
The group La Raíz represents the cadence of the Sunday dance "Aristalco" Alfonso Bayrón and Epifanio "Fano" Bonilla, the buleo of Don Demetrio Francesiquini Nadal, the sharp voice of Doña Rosa Mangual and the vibrant voice of Raúl "Cambo" López Fortunet. That is why, in November 2011, Christian A. Galarza Boyrie and Ramon J. Muñiz Acevedo together with a group of Mayagüeño bomb teachers and interpreters decided to unify the effort of years and create an original concept using everyone's knowledge and experience its members In this way, it will be dedicated to spreading the Bomb seeking to maintain the heritage of our ancestors.
María Cristina Alfonso Mangual affectionately known as "Cristy", is undoubtedly a stellar member of the La Raíz Group and spokesperson for the heritage of our ancestors. Being one of the main figures of our Puerto Rican bomb. It is distinguished by its vibrant voice and classic Mayan dance "at the tip of the foot." Cristy is the daughter of the firefighter legend, Domingo "Aristalco" Alfonso Byron and the firefighter Marta Mangual. His voice carries the legacy of the famous firefighters of our land, is a link between yesterday's firefighters and the new generation that resurfaces in rescue of our Puerto Rican bomb.
Goal of the La Raíz Group Concept:
The goal of our group is to be able to bring the Bomb within reach of the population that enjoys such important music, not only locally but also internationally. Our approach is to spread the history of the Mayagüezana and Puerto Rican Bomba.
• La Raíz has performed at festivals, conferences, workshops and conversations on the Isla del Encanto.
• Tenth BomPlenazo Hostos Community College Biennial, New York (October 4-7, 2018)
• Casita de Chema-Ricón Criollo, Bronx, NY (2018)
• Four (4) drums (3 Buleadores and 1 Primo or Subidor drum)
• 1 Maraca
• 1 pair of Cúas
• Christian A. Galarza Boyrie, Director (Researcher, Subidor)
• Ramon Muñiz Acevedo, Director (Researcher, Buleador)
• Leró Martínez Roldán (Voice, Buleador)
• Eusebio “Chayan” Ramírez (Buleador)
• Erick Miguel “Kily” Vializ Montalvo (Voice, Qua)
• Sammy Morales López (Maraca, Showgirl)
• María Cristina “Cristy” Alfonso Mangual (Main Voice)
• Jamienette Pérez Mercado (Voice, Dancer)
• Ángela M. Vázquez Vázquez (Voice, Dancer)
• Liz Saira Díaz Nadal (Dancer)
• Alberto Galarza Ramos (Dancer)
• Alberto Galarza Boyrié (Dancer)
• Gregory Palos (Substitute Buleador)
Collaborators: (Mayagüez Bomb Research)
Edwin Albino (Sociologist), Alberto Galarza (Photographer, Historian), Dr. Yadira Vázquez (Stories), José Guillermo Malavé (Historian, Collector), Dr. Pablo Luis Rivera (Historian), Pedro “Unique” Noguet (Folklorist and Researcher ) and Anton Kociolek (Anthropologist).
La Raíz has a very valuable combination that ensures a quality show but based on the investigations of the origins of the Mayagüezana and Puerto Rican Bomba.
Repertoire: Puerto Rican songs and authors
The repertoire of the La Raíz Group is composed of traditional songs, rhythms and new music in search of interpretive variety and a concept that is rich and sticky. We seek to disseminate neighborhood anecdotes, stories related to the Bomba and its surroundings, characters and traditions in dances that have developed to the beat of our music.
Rhythms we interpret:
• Yubá and its variants - Cuembé and its variants - Gracimá - Sicá - Dutch and Dutch Mayagüez
Purpose of our project: Participate in activities such as Patron Festivities, Conventions, tourism activities, hotels, egidas, private and business activities, educational institutions and all kinds of activity that validates the participation of Puerto Rican artists and performers.
Christian Galarza Boyrie, Director
Tel. (787) 659-3360
Ramon Muñiz Acevedo, Director
Tel. (787) 241-6871
Cond. Ramirez de Arellano 2 calle F. Degetau apto. 210
Mayaguez, P.R. 00682
Dwayne Dopsie, grew up in Lafayette, Louisiana,teaching his self how to play accordion watching videos of his father and Clifton Chenier and recording his self with a video camera and going back and watch it and playing over and over for hours until it was right . The knowledge of Dwayne’s musical ability along with zydeco Hellraisers band members are Combined, to have over 100 years of experience playing Zydeco music and it shows in every performance. The energy, true talent, and exuberance that Dwayne Dopsie and the Zydeco Hellraisers emit from stage makes it obvious that there is no competition for this band.
Not only has Dwayne’s band mastered zydeco music but he’s a: 2 time Grammy nominee 2012-2018; 13 time offbeat winner best accordion, Best band and zydeco album; Big easy award winner and Dwayne Dopsie is on the 100 reason people come back to Louisiana [number 29], so there’s a a lot the Dwayne and the band can be proud of!
Their music reaches everyone and is for everyone, they also add a bit of rhythm and blues, funk, rock and roll, reggae and pop to their performances, making them a very versatile choice for any audience. This Indie artist was named “The Hottest Accordionist” in America for his ability to both work the crowd and pump out musical harmony in grandiose fashion. Dwayne doesn’t confine himself to the stage; he interacts with the crowd, blurring the barrier between performer and audience. Audiences jump to their feet energized by Dwayne’s musical innovation, charismatic performance and sheer, raw talent. His ability to capture the imagination, heart and soul of his audience makes Dwayne one of today’s most dynamic performers.
Adding this band to a festival or event line-up is a must and you, too, will be just as excited as your audience as Dwayne Dopsie and the Zydeco Hellraisers take you into the realm of their on-stage fury aka Dopsie Mania.
Media Highlights Include:
• Community Coffee television commercial
• The Dolly Parton Show
• CBS This Morning
• The Travel Channel
• Discovery Channel
• Good Morning America
• The Fox Television Network News
• Univision, Rio Das Ostras, Brasil
• Channel 3 Tampa, FL
• MTV Brazil
• Music for Nikki and Nora filmed in New Orleans to air on UPN Network.
• Programa JO in South America
• The Jamie Kennedy Show - Warner Network
• Block Magazine (Netherlands), Feature Story
• Rolling Stones Magazine, New Orleans Jazz Festival
• New Years Hurricane Katrina Benefit for Bear Necessities Cancer Fund
• Mardi Gras Cover Story: Orlando Sentinel, Orlando, FL
• Cover Story: Times-Picayune New Orleans Jazz Festival
• Jornal Do Brasil, Rio Das Ostras Jazz Festival Cover Story
• Cover Story: Standard Examiner for Harvest Moon Festival, Ogden, UT
• The Louisiana Music Directory cover Commercial for The Saints from New Orleans, LA
Louisiana Rising, Baton Rouge,LA Fundraising for flood victims
Dwayne Dopsie & The Zydeco Hellraisers have also been featured on Playboy's website and have numerous articles published in the New York Times, USA Today, and The Los Angeles Times. Dwayne has also graced the covers of Big City Blues Magazine, The Insiders Guide to Lovin' New Orleans: Visitor Magazine, and Offbeat Magazine.
Louisiana Rising ,Baton Rouge , LA
Like their band name, they can seem simple. However, with a closer look, they find themselves wrapped in complementing flavors and complex emotions. They combine their original tunes with folk-pop classics to create a charming set that's nostalgic, yet new.
Both born and raised in Louisiana, their music can be compared to the nature of the swamp. Sometimes, they calmly sway humming serene dreamscapes and reverent hymns, while other times they thrash their way through the mud with raspy harmonies and ratchet rhythms.
It's clear they are both Moon and Sun: an orbiting balance of dark and light; sorrow and joy. You’ll find as you experience their heart-filled connection that they’re likened to the Lucy & Ethel of the musical, dirty South, and you too, will feel drawn to the warmth and comfort of the Jelly Toast.
Comme le nom de leur groupe l’indique, elles peuvent paraître simples. Cependant, en y regardant de plus près, elles se retrouvent enveloppées d'émotions complexes, aux saveurs plus complètes. Elles combinent leurs compositions originales aux classiques folk-pop pour créer un set charmant à la fois nostalgique et moderne.
Nées et élevées en Louisiane, leur musique est comparable à la nature des marécages. Parfois elles peuvent fredonner des airs oniriques et des louanges. A d’autres moment, elles se livrent à des harmonies rauques et des rythmes de crécelles.
Il est clair qu'elles sont à la fois la Lune et le Soleil : un équilibre orbital d'obscurité et de lumière ; le chagrin et la joie. En découvrant leur connexion remplie d’amour, vous verrez qu'elles sont comparées aux Lucy & Ethel de la comédie musicale, Dirty South, et vous aussi, vous vous sentirez attirés par la chaleur et le confort de Jelly Toast.
The Norte has long been a crossroads of cultures, and centuries of intersecting histories, trade routes, migrations, and cultural movements have endowed the region with an expansive and rich musical heritage. After centuries of continuity, today the sounds of the old strands of New Mexican traditional music have become very scarce in their home territory: a casualty, in part, of the cultural disruption caused by New Mexico’s rapid and at times forced integration into the American economic and cultural environment. But testaments and bridges to this older world have remained in recordings and, most importantly, in the living memory of elders. The musicians of Lone Piñon learned from elder musicians who instilled in them a respect for continuity and an example of the radicalism, creativity, and cross-cultural solidarity that has always been necessary for musical traditions to adapt and thrive in each generation. In 2014, they started Lone Piñon as a way to explore and strengthen the oldest sounds of traditional New Mexico string music, sounds that had all but disappeared from daily life. Through relationship with elders, study of field recordings, connections to parallel traditional music and dance revitalization movements in the US and Mexico, and hundreds of performances, they have brought the language of New Mexico traditional music and related regional traditions back onto the modern stage, back onto dance floors, back into an aesthetic/artistic conversation, and back into the ears of a young generation.
Early on in the process, their involvement in New Mexican styles opened up connections to a network of related styles that cross state, national and generational borders. The group’s active repertoire reflects the complexity of this musical landscape and includes early conjunto duets, contemporary New Mexican rancheras, New Mexican swing, Hispanic Texan fiddle styles, Tohono O'odham fiddle tunes from Arizona, huapangos from the Mexican Huasteca region, and several styles of music from Michoacán: son calentano and son planeco from the southern lowlands and son abajeño from the P'urepecha highlands.
In the past years Lone Piñon has played extensively throughout the Southwest and the US and recorded four studio albums: "Trio Nuevomexicano” (2016), "Días Felices," (2017) and "Dále Vuelo,”(2019) and “Nuevas Acequias, Río Viejo: Traditional Music of Northern New Mexico” (2020).
In August 2018, they were invited by the Library of Congress and the American Folklife Center to Washington DC, where they recorded a concert and an oral history of their work with New Mexican and Mexican musical traditions. In 2019 they were honored to teach and perform Northern New Mexico fiddle and dance alongside traditional masters from across North America and Europe at Centrum’s Festival of American Fiddle Tunes in Port Townsend, WA. An award-winning documentary about their work with traditional music, “En Donde los Bailadores se Entregan los Corazones,” has premiered at select screenings in the US and is planned for film festivals in the US and Mexico starting this year. The band recently received the Parsons Award from the American Folklife Center, which will bring them back to the Library of Congress in Washington DC to study the Library’s collection of field recordings of Northern New Mexican musicians.
Le Norte a longtemps été un carrefour où s'entrecroisent des cultures et des siècles d’histoires. Les routes commerciales, les migrations et les mouvements culturels ont doté la région d'un patrimoine musical large et riche. Aujourd’hui, après des siècles, les vieux morceaux de cette musique traditionnelle néo-mexicaine sont devenus très rares sur leur territoire : victimes, en partie, des perturbations culturelles causées par l'intégration rapide et parfois forcée du Nouveau-Mexique dans l'économie américaine et son environnement culturel. Mais les témoignages et les ponts vers ce monde plus ancien sont restés dans les enregistrements et, surtout, dans la mémoire vivante des anciens. Les musiciens de Lone Piñon ont appris de leurs aînés, qui leur ont inculqué le respect de la continuité, l’exemple du radicalisme, la créativité et la solidarité interculturelle qui ont toujours été nécessaire pour que les traditions musicales s'adaptent et prospèrent à chaque génération. En 2014, ils forment Lone Piñon pour explorer et renforcer les sonorités les plus anciennes de la musique à cordes traditionnelle du Nouveau-Mexique, des sons qui avaient pratiquement disparu de la vie quotidienne. Grâce aux relations entretenues avec les aînés, l'étude des enregistrements sur le terrain, les liens avec les mouvements de revitalisation de la musique traditionnelle et de la danse aux États-Unis et au Mexique, et à des centaines de performances, ils ont ravivé la langue de la musique typique du Nouveau-Mexique et des coutumes régionales connexes sur la scène moderne. Ils sont également réapparu sur les pistes de danse, de retour dans les conversations esthétiques/artistiques, et de retour dans les oreilles de la jeune génération.
As a fourth-generation musician, Julian has been groomed from a young age to perform. His passion for playing guitar started when he was 8, and by age 12, Julian was performing live on a regular basis. Ever since, he has sang and played everywhere, from clubs in Louisiana to concert halls in Europe.
In 2009 he released his first solo album, "Flowers From My Bones." "Rock 'n Roll Boy" followed in 2011 and his third album, "This Guilded, Swaying Heart" was released in 2016. "Songs For The Heart Of Sister Flute" is his latest album released in 2020.
En tant que musicien de quatrième génération, Julian a été formé dès son plus jeune âge pour se produire sur scène. Sa passion pour le jeu a commencé quand il avait 8 ans, et à l'âge de 12 ans, Julian a commencé à se produire régulièrement. Depuis, il a chanté et joué partout, des clubs en Louisiane aux salles de concert européennes.
"Trois Rangs," slated for release on Oct 11, is the groups first single. Written by Ashlee Michot, honors the tradition of the number 3, or the Trinity, in Louisiana culture. The 3 sides of the triangle, the 3 instruments in Louisiana Creole music. Written by a woman, sung by a woman in French.
"Trois Rangs", dont la sortie est prévue pour le 11 octobre, est le premier single du groupe. Écrit par Ashlee Michot, il honore la tradition du numéro 3, ou la Trinité, dans la culture louisianaise. Les 3 côtés du triangle, les 3 instruments de la musique créole. Écrit par une femme, chanté par une femme, en français.
Touring Band: Brother Dege & The Brethren
Home: Lafayette/New Orleans, Louisiana, USA
Grammy-nominated Brother Dege Legg (Quentin Tarantino’s Django Unchained) is one of the best-kept secrets in Louisiana; a musician, writer (Louisiana Press Award 2004, 2008), outsider artist, and heir to a long line of enigmatic characters birthed in slaughterhouse of the Deep South. It’s been a wild ride for this boy. Like the mad love child of Son House and William Faulkner, Legg has burned a colorful trail through the Promised Land, working odd jobs (dishwasher, day laborer, cabdriver, embedded journalist, homeless shelter employee), hitchhiking, studying philosophy, and writing books while passionately championing the swampy quirks of Deep South.
Growing up, there were few promising opportunities for young man of Legg’s eccentric stripe in Cajun country and things eventually got difficult and strange: chronic bouts of depression, habitual drug use, clashes with local pecking orders and prejudices, and arrests soon became routine. During one gloomy episode - deflated and broke - Legg climbed the Mississippi River Bridge in Baton Rouge, determined to dive into the next life, but after a last minute change of heart, he humbly climbed back down and vowed to find a better way to exist. He immediately drove himself to rehab in a stolen Camaro and rededicated himself to creative pursuits, namely songwriting and writing. He soon formed the rock band Santeria who had a 10-year run of chaos and bedeviled kookiness (1994-2004). After four albums, they disbanded in an anarchic heap of bad luck, poverty, exhaustion, and voodoo curses they suspected were cast on the band to hasten their demise.
Legg spent the next year living in low-rent motels and trailer parks, writing new songs that tapped into the haunting style of the Delta Blues greats. With an odd ease, the songs poured out, spitting new life into the genre, not by hackneyed imitation, but by infusing original Delta-slide songs with his own experience of growing up in the Deep South—young, white, alienated, and lost. Legg’s Robert Johnson-on-Thorazine-style slide work paired with his droning-rural psychedelia brought the backwoods sounds of Louisiana (hurricanes, cows, cicadas) to life while remaining firmly rooted in the troubled and death-obsessed masters. This batch of songs became the first Brother Dege release, the now critically-acclaimed Folk Songs of the American Longhair (2010) - a record that Quentin Tarantino later referred to as “almost like a greatest hits album” of new Delta blues.
Home-recorded in Alan Lomax-like austerity, the album delivered postmodern tales of desperate southerners, apocalyptic prophecies, midnight angels, hippie drifters, burning barns, and the endless ghosts that haunt the history the Deep South. Quietly self-released with no distribution, no representation, and absolutely no hype, Folk Song of the American Longhair quickly earned 4-star reviews (UNCUT) and gained the attention of numerous tastemakers in film and TV, scoring sync placements on Discovery Channel’s After the Catch, Nat Geo’s Hard Riders, women’s cycling documentary Half the Road, Netflix’s The Afflicted, and most notably hand-picked by Quentin Tarantino for inclusion in the movie and soundtrack to Django Unchained.
Brother Dege quickly expanded his cinematic vision of the South with two follow-up albums: How to Kill a Horse (2013) and Scorched Earth Policy (2015). Teaming with otherworldly slide guitars, country psych, barn burning anthems, the tradition continues with his latest release Farmer’s Almanac (2018), a sprawling, southern concept album that further explores the unique mysteries of small towns.
Brother Dege’s latest album is the critically acclaimed Farmer’s Almanac, an 11-track, southern gothic journey that explores escapism, class structure, and the opiated dark side of America’s small town rural communities. Brother Dege’s fourth album swarms with otherworldly slide guitars, rustic psychedelia, possessed barn burners, and swamp-drenched cinematic songcraft. Farmer’s Almanac is a southern concept album that connects on an almost secretive, metaphysical level.
Sélectionné par Tarantino lui-même pour les inclure dans Django Unchained, Brother Dege évoque une vision hypnotique du Sud profond.
Dedicated to bringing feel-good music to the masses, Marina Orchestra has been operating since 2010, releasing albums “Take on the Silence” (2011), “Oceans” (2014) and EP “Wildlands” (2016). A recent series of singles has been their latest effort with "Mistake", “Where There’s Life” (2018) and "Before You Walk Away" (2017), which was named top 5 singles on the WWOZ New Orleans Music show in 2017.
Powers, a Chicago-area native, launched the project while residing in Knoxville, Tenn. In 2015, the act relocated to New Orleans, LA. Along the way, they have appeared at Bonnaroo Music and Arts Festival, Secret Stages Festival and have shared the stage with Sierra Leonne's Refugee All-Stars, Rusted Root, Future Islands, Peelander Z, Leo Nocentelli and Deacon John Moore.
The music of Nathan and the Zydeco Cha-Chas is the expression of a remarkable South Louisiana family. Dennis Paul Williams, Nathan’s brother, brings his jazz-influenced guitar chops to the band. He’s also a well-known painter whose work has been shown throughout the country, and has recently published a collection of his work. The eldest Williams brother, Sid ‘El Sid O’ Williams, is a Lafayette legend unto himself, and Zydeco would never have survived into the new millenium without him.
Nathan formed The Cha-Chas back in 1985, and since then has brought his unique take on this regional South Louisiana music to all corners of the globe. From Lincoln Center in New York to The Grand Ole Opry in Nashville, Nathan’s music has crossed all barriers to speak to the very heart of his audience.
Inducted into the Louisiana Music Hall of Fame in 2005, he was honored last year with the Zydeco Music Association’s Lifetime Achievement Award. The Cha-Chas have been voted the top Festival Band in the country, and have won the coveted Big Easy award for Best Zydeco Band for several years running.
Nathan and his band have been featured in the New York Times, Essence and People magazines, and on the cover of USA Today. They’ve appeared in films like In The Electric Mist and The Kingdom of Zydeco, and worked with artists as diverse as Cindy Lauper, Michael Doucet and Buddy Guy.
Keepers of the Zydeco Flame, they are committed to keeping their Creole Heritage alive . . .
La musique de Nathan et du Zydeco Cha-Chas est l'expression d'une remarquable famille du sud de la Louisiane. Dennis Paul Williams, le frère de Nathan, porte au groupe ses morceaux de guitare influencés par le jazz. Il est également un peintre de renommé, dont le travail est bien connu dans tout le pays, une de ses collections a d’ailleurs été récemment exposée. Le frère aîné de Williams, Sid ‘El Sid O’ Williams, est une légende de Lafayette, Zydeco n'aurait jamais survécu dans le nouveau millénaire sans lui.
Nathan a formé The Cha-Chas en 1985, et depuis lors, partage sa vision unique de cette musique régionale de la Louisiane du Sud aux quatre coins du monde. Du Lincoln Center à New York au Grand Ole Opry à Nashville, la musique de Nathan a franchi toutes les barrières, parlant au cœur de son public.
Intronisé au Louisiana Music Hall of Fame en 2005, il a reçu l’année dernière le prix Lifetime Achievement Award de la Zydeco Music Association. Les Cha-Chas ont été élus meilleur groupe de festival du pays et ont remporté le prix convoité Big Easy du meilleur groupe de Zydeco pendant plusieurs années consécutives.
Nathan et son groupe ont figuré dans les magazines New York Times, Essence et People et sur la couverture de USA Today. Ils sont apparus dans des films comme In The Electric Mist et The Kingdom of Zydeco, et ont travaillé avec des artistes aussi divers que Cindy Lauper, Michael Doucet et Buddy Guy.
Gardiens de la Flamme de Zydeco, ils se sont engagés à conserver leur héritage créole…
Following the celebrated releases Cow Island Hop (2008) and En Couleurs (2010), Two Universes is the product of long-steeping recording sessions and collaborative songwriting between bandleader Chris Stafford and singer and multi-instrumentalist Kelli Jones, whose contributions make this a breakout album, of sorts.
Raised on Appalachian fiddle traditions, Kelli adds old-time stomp to the band’s repertoire. Also new to the band, keyboardist Andrew Toups lends a new-wave gospel sound owed to his background playing in rock bands. Toups’s influence on shaping the record, combined with Feufollet’s usual fare—twin fiddles, French accordion, guitar twang, and barn-dance rhythms— give the record more than a passing resemblance to the Band’s Music From the Big Pink.
But above all else, the album’s signature sound comes from the vocal performances. Flipping from husky honky-tonk angel to French chanteuse, Kelli’s voice perfectly pairs with Stafford’s swamp-pop vocal stylings. As the two trade off lead and harmony parts, they hit upon some of the same magic as history’s greatest duet partners—Emmylou Harris and Gram Parsons, Gillian Welch and Dave Rawlings, and Stevie Nicks and Lindsey Buckingham. Theirs is the sound of two universes colliding and, no surprise, it reaches maximum effect on the album’s title track.
Cajun, country, and rock’n’roll all began as homespun enterprises, by musicians tinkering with inherited melodies until new sounds were struck. Feufollet keeps that experimental spirit alive and well with their diverse musical palette, edgy arrangements, and pop-song sensibilities. On their 11-track release—exquisitely packaged with the psychedelic-folk art of Louisiana painter Francis Pavy—the band accomplishes the unusual feat of creating a sound that is at once familiar and fresh, classic and yet unmistakably original.
Jacques is nominated in the category “Young artist of the year ” 2019 at the Canadian Folk Music Awards (Award ceremony is April 3-4 2020 – Charlottetown PEI)
Jacques won 2 important awards at the FrancoFete en Acadie (nov. 2019):
- Marc-Chouinard Award SUITZERLAND, a showcase at the Voix de Fete Festival in Geneve + a tour in Switzerland.
- The Festival international de la chanson de Granby Award (showcase/show) at the 2020 edition of the Festival.
Jacques est en nomination dans la catégorie “Jeune artiste de l’année” 2019 au Canadian Folk Music Awards / Prix de musique folk canadienne (remise des prix 3-4 avril 2020 – Charlottetown ÎPÉ)
Jacques remporte deux prix importants lors de la FrancoFête en Acadie (nov. 2019) :
- Le Prix Marc-Chouinard SUISSE qui lui donne une vitrine au Festival Voix de Fête à Genève + une tournée en Suisse.
- Le Prix du Festival international de la chanson de Granby (vitrine/spectacle au Festival d’août 2020).
The lyrics of Myles Migl (Frontman) bear the honesty of soul heroes like Sam Cooke and Otis Redding, and are sung to addictive melodies that encourage the listener to sing every line. Catchy guitar and horn leads from Brennan Frederick (Lead Guitar) and Ryan Vicknair (Trumpet), paired with the rock-solid rhythm section of Ben Richards (Drums) and Karl Songne (Bass), make the perfect support for the message Migl conveys in every line. The band is known for its electric live experience that makes you feel like you’re a part of the show and dance all night long.
Steeped in Louisiana music in all of its homegrown and glorious genres, as well as solidly acquainted with the originally American stuff like rock-and-roll and, of course, country, The Bucks will have you boot scootin' in the sawdust before you can say, “Well, I’ll be Merle Haggard with a healthy side of Buck Owens.”
California country music, as performed by this Louisiana staffed band, never sounded so complete.
Imprégné de musique louisianaise en tout genre, mais aussi solidement familiarisé avec les styles d’origines américaines comme le rock and roll et, bien sûr, la country, The Bucks vous fera danser dans la sciure de bois avant que vous ne puissiez dire : "Eh Bien, je serai Merle Haggard avec un accompagnent copieux de Buck Owens ".
of Archive Fire mine the depths of the Center for Louisiana Studies' vast trove of field recordings for undiscovered audio treasures.
The current line-up features Gracie Babineaux, Juliane Mahoney, Renée Reed, Chris Segura, Pudd Sharp and Josh Caffery.
Taking this same dedicated approach, they have vowed to take their “outright anthemic," “more-please music” through the trenches of new attitudes, concepts, and fresh ideas without sacrificing their noted “smiles-all-around good time” or “feisty” take on the sounds they labor [bring into existence?], creating — “chemical reactions that are a pleasure to behold.”
Taking their compositions to "idyllic places" that make you want to "paint your face, forget your age, and kiss a stranger" remains the goal. The “bare-knuckled nature" of their sound and command of the "intricate, melancholy and densely literate" themes in the songs they create invoke a "sense of riot" with their arm-swingin’, foot-stompin’, Appalachia-inspired sound that fuses “sheer pop catchiness” with “rootsier, grittier elements" remains the result.
The TUFO boys and girl are hard at work to bring new music into the new decade. However, their main objective—to create meaningful and thoughtful art— takes a soft-spoken backseat to their ultimate goal as the band “feels no pressure to exist within the imaginary confines of genre, and if the group wants to be defined by anything, it’s not their sound, but the culture they’ve been able to create: it’s the idea of community, the idea of family, which applies indiscriminately to everyone from frontman to newest fan.”
En adoptant cette même approche dévouée, ils ont juré de faire entendre leur « anthémique pure et simple », « une musique qui vous donne toujours envie de plus » aux travers de nouvelles attitudes, de nouveaux concepts et de nouvelles idées sans sacrifier leur notable « bon moment tout sourire » ou « fougueux » repris sur les morceaux qu’ils élaborent, créant « des réactions chimiques qui sont un plaisir à observer».
Fronted by guitarists Jamie Lynn Fontenot and Miriam McCracken, the Daiquiri Queens bring a fresh new take and style to traditional Louisiana French music. Their sibling-like harmonies, paired with the seasoned playing of accordionist John Dowden and fiddler Tysman Charpentier, infuse their music with a homespun and energizing feel. Chelsea Moosekian provides the drums in the rhythm section.
The sextet’s debut album, produced by Chris Stafford of Feufollet, is set for release in 2020. The record is a perfect representation of the Daiquiri Queens' sound -- fun and upbeat interpretations of dancehall era two-steps and heartbroken waltzes featuring the Queens’ signature flair.
Face aux guitaristes Jamie Lynn Fontenot et Miriam McCracken, les Daiquiri Queens apportent une nouvelle approche et un style frais à la musique française traditionnelle de Louisiane. Leurs harmonies fraternelles, jumelées au jeu chevronné de l'accordéoniste John Dowden et du violoniste Tysman Charpentier, imprègnent leur musique d'une sensation “fait maison” rempli d’énergie. Chelsea Moosekian s’installe à la batterie pour la section rythmique.
Le premier album du sextet, produit par Chris Stafford de Feufollet, devrait sortir en 2020. Le disque est une représentation parfaite du son des Daiquiri Queens - des interprétations amusantes et optimistes de l'ère des two-step et des valses au cœur brisé des salles de danse, mettant en vedette le propre style des Queens.
With their genre-spanning, debut LP, “Simple State,” The Debtors stamped their distinct sound on a music scene that features a “gumbo” of genres only the crossroads of Louisiana could cook up. From sultry to saccharine, to dark, deep velvety tones overlayed with pulsating, driving, and hypnotic rhythms, The Debtors take you along a musical journey that’s sure to deliver aural pleasure.
Avec leur premier album, Simple State, les Debtors présente un “gumbo de genres” que seul le carrefour louisianais pouvait concocter et prouve ainsi leur singularité sonore sur une scène musicale. Du sensuel à la saccharine, en passant par des tons sombres et profonds, au aspect de velours recouverts de rythmes pulsants, entraînants et hypnotiques, The Debtors vous emmène dans un voyage musical qui vous offrira pour sûr un plaisir auditif.
Amelia Powell (18), granddaughter of Cajun fiddler Dewey Balfa, plays guitar in Amis du Teche. She has been performing professionally at musical events, venues and festivals across the United States and Europe since age 12 with her father, Dirk Powell, and Joan Baez. She has recorded on multiple albums including Freedom Highway, and nominated for Americana Music Honors and Awards’ Album of the Year. She has also performed in multiple local and international feature films, radio shows, television programs, and documentaries, including Amis du Teche’s musical score on "In the Blind."
Adeline Miller (18) has been playing Fiddle for 13 years. She has performed Cajun music with her younger brother, Robert, as far as Portland, Maine in the USA and Nova Scotia, Canada. Adeline has attended the Sainte Anne University French Immersion Program in Nova Scotia as well. She plays fiddle and sings French vocals at many local venues such as Bayou Teche Brewery, Tante Marie Café, Buck & Johnny’s, Pont Breaux’s, and the Blue Moon Saloon. Adeline has also competed in many fiddle competitions such as the “Battle of the Bows” in Jennings, La., the Celtic Bayou Festival and the International Rice Festival competitions.
Robert Miller (14) has been playing Cajun music for 9 years with acoustic guitar, bass guitar and upright bass. He has performed with his sister, Adeline, as far as Portland, Maine, in the USA and Nova Scotia, Canada. He also plays at many local venues and festivals such as Festivals Acadians et Creoles, & Crawfish Festival to name a few.
Jace Goulas (13) plays drums and accordion. Jace has competed in many accordion contests including the Rayne Frog Festival, the International Rice Festival, and the Jennings squeeze box shoot-out. Jace is also a “New Dawn Award” winner for the Cajun French Music Association.
Lafayette's performing five-piece offers a full soul sound! Hailing from the heart of the Hub City, DG & the Freetown Sound bring their heavy influence of vintage and Southern soul together with high-energy blues rock-n-roll. 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 an organ beaming in the background, frontman and songwriter Dustin Gaspard, delivers sporadic Van Morrison-esque melodies and an undeniable energetic feeling. Through their music a lost conviction is displayed, and each performance encourages the thought for listeners to “dance like no one is watching.”
Debut single "Shoulders" is a RocknSoul anthem praising the sounds of the past and focusing on the community of song. While the choir sings “ I'LL BE THE SHOULDER YOU CAN LEAN ON!” this refrain offers a helping hand and a catchy reminder to celebrate, sing and to dance alongside the Freetown Sound. Debut album “Microphone Inheritance pt.1”out now.
Birthed from the rich culture and sounds of South Louisiana, Sailor Mouth is an R&B-soul trio who aim to push the boundaries of the genre, while preserving the essence of the greats who came before them. Fusing elements of R&B, sul, funk, blues, and rock, their sound is an eclectic melting pot that's constantly evolving. One thing is for sure, the delivery has been spot on from the start. Making their live debut in September of 2017, Sailor Mouth haven’t pulled their feet off the gas pedal -- winning over the hearts of audiences across the South and cementing themselves as one of Acadiana’s most sought after groups. While 2019 was another year of growth for the band, the work is far from over. The top of 2020 will signify the boys’ next big step, as they embark on a journey to pump out their Sophomore record, following the 2018 release of their debut EP, “Love Lost”. The stakes continue to grow, but so does the hunger. You can be sure to expect big things from the trio in the near future.
Né de la riche culture et des sonorités du Sud de la Louisiane, Sailor Mouth est un trio de R&B/soul qui vise à repousser les limites du genre, tout en préservant l'essence des grands qui les ont précédés. Fusionnant des éléments de R&B, soul, funk, blues et rock, leur musique est un melting pot éclectique en constante évolution. Une chose est sûre, la production était parfaite depuis le départ. Faisant ses débuts live en septembre 2017, Sailor Mouth n'a pas levé le pied - conquérant le cœur du public du Sud et se positionnant comme l'un des groupes les plus recherchés d'Acadiana. Alors que 2019 a été une autre année de croissance pour le groupe, le travail est loin d'être terminé. L’année 2020 marque la prochaine grande étape des garçons, alors qu'ils se lancent dans un voyage pour promouvoir leur nouvel opus Sophomore, après la sortie en 2018 de leur premier EP, "Love Lost". Les enjeux continuent de croître, mais l’envie aussi. Soyez certain d'assister à de grandes réalisations de la part du trio dans un avenir proche.
Boma Bango, takes musical cues from Congolese luminaries, such as Franco Luambo & le TPOK Jazz, L'Orchestra African Fiesta with Docteur Nico and Tabu Ley Rochereau, and Le Grand Kallé et l'African Jazz. The band has striven to create its own kind of improvisational music based upon the sounds from this golden age. The band was started by musical compatriots Daniel Coolik (electric guitar/electric mandolin), Trey Boudreaux (bass), Megan Constantin (vocals/percussion), Bill Smith (congas/marimba), and Glenn Fields (drums/percussion) - and is sometimes joined by Aurora Nealand (saxophones). They reinvent old songs and also have been writing new songs in the Rumba style in Louisiana French just as the Congelse wrote songs in Lingala (their predominant language) inspired from the Cuban and Caribbean sound they were so entranced by. So, in the same way jazz musicians took the Great American Songbook in the 1940s and '50s and now take from popular music, Boma Bango has reworked these beautiful and almost forgotten melodies to create an alluring, tropical and compelling new sound.
He started pounding skins at a mere 1 year of age. His dad would sit with him behind the drums in the living room of their small home at the time. In Steve’s words, “Our home, at the time was so small, that the only room big enough for a small drum set was the living room. I’m not sure how we tolerated it, but Burke had a precise, natural groove at a young age so we just encouraged his gift and dealt with the noise!”
By age 3, Burke was already onstage with the band Courtbouillon and the Mamou Playboys playing drums. His groove is solid and his natural talent is undeniable even at such an early age.
At age 5, he transferred his rhythm skills to acoustic guitar. It was a natural progression that led to his deepening knowledge of the importance of Cajun music’s groove.
He picked up accordion at the age of 6, excelling quickly, and tackling all of the most difficult and complex songs first. He continued to polish his skills by regularly sitting in with two of Cajun music’s powerhouse bands, the Mamou Playboys and High Performance. This year he placed first in his age category at the CFMA & Rice Festival accordion contests.
This kind-hearted, talented young man, will wow you with is incredible musical ability and command of whatever instrument he plays! He’s one of the new generation, quickly taking his place among the greats with whom he was raised playing!
Il a commencé à marteler les peaux à tout juste un an. Son père s'asseyait avec lui derrière les tambours dans le salon de leur petite maison de l'époque. Selon les mots de Steve, « notre maison, à cette période, était si petite, que seule la pièce du salon était assez grande pour installer un petit jeu de batterie. Je ne sais plus comment nous avons géré cette situation, mais Burke avait un groove si précis et naturel pour son jeune âge, alors nous avons simplement encouragé ce don et accepté le bruit !"
Ce jeune homme talentueux au grand coeur vous épatera avec ses aptitudes musicales incroyables et sa maîtrise quel que soit l'instrument qu'il joue ! Il compte parmi cette nouvelle génération d’artistes, capable de prendre rapidement sa place parmi les grands, les mêmes avec lesquels il a grandi en jouant !
The School of Rock Lafayette House Band performs throughout the year in various venues. This band is comprised of some of the best musicians and strongest leaders in the school. Be prepared to be blown away by how talented they are. They will be performing good-time rock-n-roll from the '70s through today.
All students in the Performance Program have the opportunity to audition for a spot in the House Band. Once selected, House Band members become leaders in their School of Rock community, and perform live shows at local rock venues throughout the year. As a member, students gain real music experience associated with gigging musicians, and become leaders and mentors inside the School of Rock community.
VOP’s exquisite harmonies and stirring gospel repertoire compelled them to record several albums, headline numerous concerts with gospel and secular artists, and exercise active involvement in events around the Tri-State Region. The spirit and energy VOP continues to emanate comes from a desire to let others know that the loving God we sing about is real, their faith has been increased and their hope has been renewed.
Les harmonies exquises du VOP et son répertoire gospel émouvant les ont poussé à enregistrer plusieurs albums, à faire de nombreux concerts avec des artistes gospel et laïques, et à participer activement à des événements dans la région des trois États. L'esprit et l'énergie que le VOP continue de dégager vient du désir de faire savoir aux autres que l’amour de Dieu que nous chantons est réel, leur foi ayant été augmentée et leur espoir renouvelé.