The Whole Music Experience

Marina Rossell Clàssics Catalans… Gran Teatre del Liceu de Barcelona World Village Only an accomplished vocalist/folkloric interpreter could open a concert with a fragile love song sung a cappella ( Touch Me ) and nearly bring the house down. However, Mariana Rossell, a Catalan folkloric specialist delivers a commanding performance ripe with heartfelt emotions. On her CD,  Gran Teatre Del Liceu  from the concert released in 2009 on World Village, I could already hear Rossell’s immaculate phrasing, and felt amazed at the life she breathed into 100 year old songs. The DVD concert offers an hour and half of sheer pleasure as the collection of songs reflecting about love, death, patriotism for Catalonia, and defiance. And if that’s not enough, Rossell treats each story as if they’re her own and she’s a consummate storyteller too. The DVD, Clàssics Catalans provides the entire sold-out concert along with a 30 minute documentary about a handful of the songs Rossell performed. In

Randall Paskemin Good Night Sweet Dreams to You, I Love You Native American Lullabies and Songs for Children Canyon Records Talibah Navajo Songs for Children Canyon Records Plains Cree Indian and a loving father of several children, Randall Paskemin brings us a collection of gentle songs which can be sung to children at bedtime or anytime. Sung in a round dance style with the calm pulse of the mother earth heartbeat drum, Paskemin sings mainly in English and has provided lyrics to the songs on his album Good Night Sweet Dreams to You, I Love You. While these songs feel sweet and simple enough for a young child to grasp and even sing along, I believe that the tranquility presented in each song could also assist adults in relaxing after a challenging day. Use these songs as de-stressors for the entire family (provided you don’t have teens that rebel against the idea). Therapists of all stripes could also apply this love-felt music to healing the inner child. While the s

Huun Huur Tu Ancestors Call World Village There are few musical cultures left on the planet that take us to a deeply primal place and even some of those cultures, mainly hailing from indigenous people have been swallowed up by electronic music or turned into popular culture in the form of world music. But for any of you who have listened to an a cappella Saami yoik, a traditional Navajo chant, Aboriginal didgeridoo, Tibetan nomadic music, or Tuvan throat-singing have experienced that deep primal place. Your root chakra opens. Shamanism and music were wedded to each other hundreds of thousands of years ago. The first flutes, drums, harps, etc were put to shamanic use, as were many of the early singing traditions. These shamans knew about the power and intent of sound and put it to good use either healing others in some way or put it to bad use through sorcery to trip up an adversary. But even without any prior knowledge of shamanism or ancient musical practices, a music list

Mike Marshall An Adventure 1999-2009 Adventure Music I’m not sure that a prolific musician such as master mandolin player Mike Marshall needs a retrospective. The musician’s output is already on this side of incredible and he’s teamed up with just about every kind of musician out there from early music to bluegrass players and Brazilian legends. His album with the Swedish trio Vasen made sense too because similar to the musicians that comprise Vasen, Marshall also knows his way around winding musical roads. On the other hand, to take in the wide scope and breadth of Marshall’s work on the Adventure Music label, lasting over a decade now, a retrospective places this musician’s work in perspective. His musical output has been phenomenal --not just in the number of albums released, but in his versatility and adaptability to varying musical genres. This guy performs virtuoso mandolin in so many musical languages that it must cause listeners’ heads to spin. I’m not talking Linda Bl

Septeto Nacional Iganacio Piñeiro ¡Sin Rumba no hay Son! World Village Fans of old-style Cuban son unite. Get ready to dance. In its 9th decade Septeto Nacional Iganacio Piñeiro sizzles and the 14 tracks that appear on ¡Sin Rumba no hay Son! run the gamut from soulful ballads to sole-burning son habaneros and rumba-tinged sons. The crisp, clear production on the recording brings out the sparkling horns, lush clave-lead rhythms, and shimmering très. The musicians run a tight ship performing one punchy song after another to the point where it’s almost impossible not to leap out of this chair and dance. Seductive, oh, yes! This is Cuban son at its finest, and well, this national treasure had 90 years to perfect their craft. Similar to wine vintage, Cuban son also grows better with age. Now featuring its 4th generation of players, Eugenio Rodrìguez in his perfectly modulated voice leads the way. He’s equally at home on a fast number like the opener Embale tiene la llave as h

Jovino Santos Neto (and friends) Veja O Som (See the Sound) 2 CDs Adventure Music The music that Brazilian multi-instrumentalist Jovino Santos Neto performs and composes possesses a sunny vibration. This warm vibration won’t toast you, but leave you feeling warm and slightly tingly when listening to his new recording, See the Sound . Certainly I find Jovino’s music falling on the healthier side of things as I find much of Brazilian jazz and traditional music. On See the Sound (title derived from a quote at a recording session), involves some world travel, 20 fabulous duets with North and South American musicians, and performances not soon to be forgotten any time soon. Let’s start with the list of musical duo partners which includes: David Sanchez (tenor sax), Mike Marshall (mandocello and mandolin), Gretchen Parlato (voice), Paquito d’Rivera (C clarinet), Bill Frisell (electric guitar), Airto Moreira (voice, percussion), Tom Lellis (voice, shaker), Anat Cohen (soprano sax

A Romance on Three Legs Glenn Gould’s Obsessive Quest for the Perfect Piano Katie Hafner Bloomsbury USA In 1982 or 1983 I experienced a supernatural encounter in a department store in north Bellingham. My mother and I both recall me walking up to one of those electronic keyboards in fashion at the time, turning it on, and then playing something virtuosic. I only remember turning the keyboard on and then waking from a trance and seeing a small crowd of people standing around applauding. My mother recalls the actual impromptu performance. Prior to this “episode” I had never taken piano lessons, thought I sucked as a musician based on a personal tragedy I experienced when I auditioned for the high school band and I had nearly flunked music theory at Western Washington University. I had given up the notion of ever pursuing my dream career as a musician or composer until a boost of confidence from the department store incident changed the course of my life. That was my firs