This exciting collection contains tracks from Brazil. Covering all the bases, this release features samba, bossa, MPB, gaucho music, and folk music. The included booklet contains information about each of the pieces.

This new release contains well-known and much loved steeldrum hits, such as Jamaica Farewell, Guantanamera, Yellow Bird, El Cumbanchero, Island in the Sun and many others, presented by two of London’s champion steel bands, the Southside Harmonics Steel Orchestra and the London All Stars Steel Orchestra, both multiple winners of many steel band competitions. The Southside Harmonics Steel Orchestra (formerly the ‘Lambeth Community Youth Steel Orchestra,’ re-named in 1998) was formed in the summer of 1979. Since then the band has gone on to become one of London’s finest steel orchestras. They have participated in the National Panorama Steel Band competition every year. In 1998 they were placed second, which proves the capabilities of the group. Since 1987 the band has also taken part in Europe’s largest street festival, the Notting Hill Carnival in London. They made first place four times in the “Best Steel Band on the Road” competition, entertaining carnival audiences with performances to remember. The London All Stars were the initial winners of the Lambert Steelband Festival Championship and the Jamorama Competition. Between 1980 and 1989 they won the Mangrove Trophy twice, the Panorama Championships three times and the first and second British National Steelband Festival Championship. They made history by being the first steelband to be invited to play at the 1990 BBC Proms and to represent Britain at the 1990 World Steelband Music Festival in Trinidad and Tobago.

The first mention of calypso comes from a dance described by Abbe Masse in 1882. Otherwise, most scholars who have tried to trace the story of calypso agree that the word itself is not connected with the deity who lured Homer’s Odysseus to her island. The origins of the word are unclear and scholars debate this with no definitive answer. Quick wit, knowing observation of human behavior and comment on its absurd aspects are the bill of fare offered in calypso, which probably prompted the American periodical Time to label calypso “The Living Newspaper” in 1944. For eloquence and topical diversity, no other genre can approach the calypso of Trinidad and Tobago, for the calypsonian assumes a stance between reporter, editorialist, moralist and satirist as scandal, disaster, politics, self-praise, sexual indiscretion and everything from local to international events all prove as grist for the mill. The Mighty Duke asked in a song, “What is Calypso?” Well to start to get an idea, one has to merely listen to a song on this compilation. Let your schooling start here.

Best of Latin America, Vol. 2

Salsa, of Cuban origin, is one of the most popular and adaptable of musical styles, reaching well beyond the Americas to include Africa, Europe and even, more recently, Japan. The Los Latinos play a jumping, rhythmical, hot salsa. The group “Mandingo” plays mainly dance music (salsa, merengue). The Latin Sextet aims to create music that combines the Latin American tradition with European and American styles, the exciting result of which they call “Latin Jazz”.

Hugo Díaz counts as one of the greatest bandoneon players of his or any generation. On this album he plays tangos as well as baroque classics by the likes of Bach and Frescobaldi, all with the brilliance and flair that became his hallmark. Díaz was an outstanding technician and through determination and discipline, together with profound feelings, he was able to feel and convey all the facets of the tango in all it's multicolored nuances. He played the music with an extraordinary depth of expression and temperament - even the softest notes and the silences. The bandoneon is the soul of the tango. In Hugo Diaz's hands it lends itself to expressing a rainbow of feelings and emotions in a brilliant variety of styles.

Tango Argentina is a beautiful collection of intimate, elegant and sensuous tangos, waltzes and milongas by some of the most glittering names in tango. All are played with style and swagger by Trio Pan tango.

The songs on this album could be described as fiery, sensual, gripping, as well as graceful and elegant. The album features tangos, waltzes and milongas, both instrumental and sung, from the pens of the old masters as well as new contemporary composers. The tango is an almost universal music and dance style. It is an authentic and lively expression of everyday experiences and feelings. The famous tango composer Enrique Santos Discepolo described the authentic, graceful and expressive tango as “a sad thought, which can be danced;” another author described it as “two serious faces and four funny legs.” The tango was born on the outskirts of Buenos Aires, in poor neighborhoods where the families of European immigrants settled down in the latter part of the nineteenth century. Since the 1980s, a renewed interest in the national Argentine musical tradition has triggered a revival of the genre.

After their successful first album ‘Old Tunes, Dusted Down’ – a concept album devoted to the impressive fieldwork of folklorist Hubert Boone – MANdolinMAN dug even deeper into Flemish folk music with the album ‘Unfolding the Roots’. Played on four mandolins, the music took on new forms and the historic melodies were injected with a modern and contemporary vigor. Instrumental Flemish Folk music had never sounded so exotic! For their next project, they decided to again breathe new life into tradition, but this time looking a little further afield than Flemish Brabant and Flanders. With this new album – ‘MANdolinMAN plays Bossa Nova’ - the foursome explores the bossa style of Brazil and gives the sound of South America a new original touch.

A gorgeous album with a brilliant collection of passionate Tango. 18 elegant Tangos, Milongas and Valses, almost a full hour of stylish music, from the very traditional to today's modern renditions, presented by some of the finest exponents in the genre.

• A collection of Brazilian samba tunes offering a welcome crosscurrent of stimulating and relaxing music. • Varied in style and instrumentation.

Mariachi is the name of a traditional Mexican street music with a style that has developed continuously throughout its history. While in earlier times only the vihuela and the gitarron were used, and sometimes also the harp, one finds today that many different instruments are involved. The trumpet, which gives Mariachi its characteristic sound, is a relatively new addition, coming along at the end of the 1950s. Mariachi music is lively, full of joy and can be very romantic. It is therefore very well suited to public festivals and weddings, and to the serenading of young women by potential suitors. This is a great introductory album to the genre, presented by the well-established Mariachi band, Mariachi Sol.

This album features lively and soulful songs from Costa Rica, presented by Grupo Quelite. Founded in 2008, Grupo Quelite is a traditional Costa Rican music group from San Carlos, in the northern part of Costa Rica. They have performed countless concerts in many communities in Costa Rica and abroad. Their repertoire consists of songs in various traditional musical genres of Costa Rica, such as the tambito, considered a national rhythm, the calypso of the Caribbean area of the country, as well as boleros, corridos and others. Quelite's songs tell stories, and express thoughts and feelings of the peasant and rural life of the Costa Rican people. They play instruments common to traditional Costa Rican music, such as guitar, accordion, flute and clarinet, as well as more contemporary instruments such as electric bass, keyboards and drums.

The tango originated circa 1890 in the harbor area of Buenos Aires where musicians performed “a la parrilla” (improvised). Now the tango is a nostalgic, exciting music that has developed into a sound and dance passionately reminiscent of Argentina. Guillermo Destaillats was born in Buenos Aires, Argentina in 1970. At the age of sixteen he began to study music, starting off with piano at the Conservatorio Nacional. Although born in Buenos Aires, it was Germany that Guillermo heard tango for the first time in his life. It was the orchestra of Leopoldo Federico with Julio Sosa as a singer. He was eleven years old then, and it took eleven more years before he started learning the bandoneon, which he took up in 1992, studying with Enrique Fasuolo. In 1993, Guillermo formed Pantango together with Fernando Rubin Saglia. Saglia was born in Buenos Aires in 1968. He began studying music at the age of 20 at the Conservatorio Nacional and the Escuela de Musica Popular de Avellaneda. Michael Elvermann was born in Germany. He played clarinet in the local brass band, both self-taught and with some tuition. In 1983 he studied with Geza Komjathy at the music school in Dorsten. He joined Pantango in May 1993.

Classical Music

Gypsy Rumba Flamenco, played by Manuel el Chachi and Spanish Gypsy, is an album of Gipsy Kings-inspired contemporary Flamenco. This is exhilarating, fast Flamenco guitars, palmas (clapping), zapateados (‘feet’), bass, bongos, drums and cante (singing). The late Manuel Lopez-Ruiz, ‘El Chachi’ was born into a very musical family, in Granada. He became a professional musician under the name ‘El Chachi’ at the age of twenty and began touring. Juan Plazuelo (el Gitanillo) founded Spanish Gypsy in 1990. Plazuelo is an excellent singer and guitarist and the author of many Canciones (Spanish songs).

Originating from Afro-American rhythms of the Caribbean and Latin America, salsa has become one of the world's most popular dance forms. This 'sauce' is hot and spicy, a mixture of ingredients which gives it great versatility. Salsa is an ever-changing sound that adapts to, but also creates, new fashionable styles. Elements of jazz, funk, rap, as well as further Caribbean influences such as soca and merengue, have recently been included, forming a newly distinctive and further adaptively resilient salsa. This collection highlights salsa music in some of it's most popular forms.

Calypso is a form of folk music and dance from the Caribbean. Historically, Calypso can be traced back to the arrival of African slaves in the Caribbean islands in the seventeenth century. It has its roots on the island of Trinidad. The words of calypso songs are witty and humorous, usually involving social or political commentary in satirical form. The lyrics are characterized by arbitrary shifts in the accentuation of everyday English words. The infectious Calypso music is set in duple meter. It is a vital component of any carnival celebration in the Caribbean, and there are annual calypso competitions which are themselves a premier aspect of the carnivals. Born in Africa in 1968, King Selewa got into music through Jamaican 70s calypso, ska, rock-steady and early reggae music which he and his elder brother, Lord Skalipsoul, then performed live all over Europe in 1995. King Selewa and Chico, his guitar player, soon formed their own band of experienced musicians- their “Calypsonians,” in order to go deeper into the roots of Caribbean music, that is to say, Calypso. As Lord Invader said: “Calypso is folklore of Trinidad, a style of poetry recounting current events in song.”

Classical Music

The Hugo Diaz Trio consisted of the late Hugo Diaz on bandoneon, Miguel Angel Ledesma on piano and Horacio Cabarcos on bass. This is a minimum ensemble, but their sound is full, largely due to the full and rich sound production of Diaz and the robust playing of Ledesma. Most of the pieces are fairly short and never outstay their welcome and are mostly from the 1920s - 1940s, although every piece sounds up to date in Diaz's hands. (As a special treat is a jazzy version of 'Por una Cabeza', the tango made famous in America by the movie Scent of a Woman.) Many tunes on this album are dramatic, musically interesting and just plain danceable fun. 'A Orillas del Plata' betrays a deep jazz influence that is very pleasant to listen to. 'La Racha' is a bit slower than most of the other numbers, but it swoops and pounces with the best of them. One slight caveat: The last three tracks on the disc are for solo bandoneon and that will not charm everyone. Still, this album will appeal to lovers of traditional tango as well as followers of tango outcast Astor Piazzolla.

Classical Music

Great Cuban music; captures the magic of the golden era of 1950s Cuba. Acoustic guitars, bass and lots of percussion and multi-part vocals. Includes favourites such as Yolanda (Pablo Milanes), the famous Chan Chan (Compay Segundo[Buena Vista Social Club]) and more.

Classical Music

An exciting and vibrant cross-section of Brazilian classics presented in today's arrangements. Excellent new and modern versions of songs that most will recognize.

An elegant selection of Tango masterpieces, from Piazzolla to the fiery fiddles of Gypsy tango, from Argentinean Milongas and Waltzes to modern Finnish Tango - some of the world's finest!

Capoeira is a Brazilian cultural expression that mixes martial art, sport, music and popular culture. Developed in Brazil, mainly by descendants of African slaves with some Indian influence, it is characterized by agile, complex movements. One feature that distinguishes the Capoeira from most other martial arts is it's musicality. Practitioners of this Brazilian martial art not only learn to fight and play, but also to play the typical instruments and sing. An experienced capoeirista who ignores the musicianship is considered incomplete. The present release is filled with the best Capoeira songs and rhythms for both the experienced and novice Capoeirista, or just to listen to and enjoy.

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This release contains lively and romantic Mariachi songs sung with pride and passion, telling stories of love, won and lost, about patriotic pride, about various customs at festivals and about singing beneath the balcony of the beloved. Fer Gonzalez is a singer of Mexican boleros, rancheras, hupangos, and more. His dream has always been to take Mexican music all over the world. Through his voice, music, and songs, he takes a message of joy from Mexico to the world, and presents his culture, tradition, and roots proving that music is a universal language of humankind that can break down barriers always and anywhere. Fer was born in Aguascalientes, Mexico. He inherited his love of music from his parents, especially his mother who loved Mexican music and had an extraordinary voice. His career as a professional singer did not begin until his adult life, but took off right away with radio and television appearances, stellar reviews, and appearances at international festivals.

Salsa III

HOVHANESS Lousadzak. 1 Symphony No. 2, “Mysterious Mountain.” HARRISON Symphony No. 2, “Elegiac” • Dennis Russell Davies, cond; Keith Jarrett (pn); 1 American Composers O • NIMBUS 2512 (67:00)


This is a reissue of a recording originally released on the Music Masters label in 1989. It brings together the music of two composers who, as Tim Page’s program notes point out, first came to public attention as kindred spirits, linked together with John Cage, interestingly enough. Readers may be aware that Lou Harrison was one of the composer-critics whom Virgil Thomson ushered in as associates to the New York Herald Tribune during the mid 1940s. This was the period when Alan Hovhaness, until then an impoverished eccentric struggling to gain attention in the Boston area, attempted to cast his lot in the broader arena of New York City, after having essentially been ridiculed out of Tanglewood by Aaron Copland and his coterie. Both Thomson and Harrison were among the first with access to an influential forum of opinion to champion Hovhaness’s music, and their enthusiastic advocacy contributed significantly to establishing his early reputation. Of course, as the years passed, each of these figures—stubborn individualists themselves—proceeded in his own personal direction, and each ended his career at quite a different point from the others on the American compositional matrix.


Lousadzak , composed in 1944, is certainly one of the most unusual piano concertos ever written (neither a single chord nor sequence of octaves appears in the piano part). The music assigned to the solo instrument imitates a number of Armenian folk instruments, especially those in the dulcimer family, while the string ensemble plays the role of a folk orchestra, providing an accompaniment of primitive polyphony. Both Harrison and Cage were present at the work’s New York premiere, and evidently it really took the audience by surprise. Harrison later recalled that it “was the closest I’ve ever been to one of those renowned artistic riots.” From the standpoint of some six decades later, when Hovhaness is no longer alive, having left behind a legacy of hundreds upon hundreds more compositions, Lousadzak stands as one of his indisputable masterpieces. Somehow the work evokes—as its name, meaning “the coming of light,” implies—a haunting and mysterious sense of the beginning of time. It also has a real sense of drama—not drama in the romantic, climactic sense, but a gradual accumulation of passion and intensity as the work unfolds. No one who has written off Hovhaness after having heard only the over-inflated, endlessly soporific compositions of his later years should fail to acquaint himself with this important representation of one of the composer’s most fertile periods. One is hard-pressed to name another work of his that is as consistently compelling and inspired.


That a pianist with the varied interests and talents—not to mention the distinguished reputation—of Keith Jarrett turned his attention to Lousadzak has served to attract the notice of listeners unlikely otherwise to have encountered such a work. And Jarrett’s performance has much to recommend it. But there are also aspects of his reading that I find wrong-headed. The ethnomusical context from which this work derives is one of individual improvisation alternating with passages in which the ensemble comes to the fore. The improvisational passages tend to be rhythmically free and rhapsodic (an approach of which Jarrett—in other contexts—is a consummate master). Though thoroughly notated, Lousadzak emulates this style, and should be performed in a manner that is in keeping with it. But for some reason Jarrett approaches this profoundly non-virtuosic music as if trying to press it into service as some sort of technical showpiece, with overly driven, frenetically rushed tempos. Conductor Davies seems of the same mind as Jarrett, constantly pressing the piece forward, squaring off its phrase rhythms, and sacrificing much of its depth and subtlety. A performance that better captures the work’s spirit was released in 2005 on the Black Box label (see Fanfare 29:3), featuring pianist Martin Berkofsky. Although the Russian Globalis Symphony Orchestra lacks the precision and refinement of the American Composers Orchestra, pianist Berkofsky evinces a deeper understanding of the mode of expression represented by Hovhaness’s work.


“Mysterious Mountain” has loomed as Hovhaness’s best-known and most popular composition ever since it first appeared on recording during the late 1950s. (The fact that this work is identified as Symphony No. 2 should not be taken to mean that it was the second symphony Hovhaness composed. In fact, it was not given this appellation until a number of years after it was composed. To summarize briefly, toward the middle of his career, Hovhaness revised, retitled, destroyed, or partially or completely recast many of his compositions, leaving “holes” in his opus number listings and, in some cases, his numbering of symphonies. He would often “plug up” these “holes” with works composed either earlier or later than the numberings would suggest.) The great success of “Mysterious Mountain,” composed in its final form in 1955 (although portions date back to the 1930s), can be attributed to two factors: (1) Just two or three years after its completion, Fritz Reiner and the Chicago Symphony Orchestra recorded it for RCA Victor; (2) It is a beautifully tranquil and euphonious work in a neo-ecclesiastical vein almost entirely devoid of harmonic dissonance. Readers may be interested to learn that in a letter written in May 1961, the composer wrote, “As to my ‘Mysterious Mountain’ my feelings are mixed—I am happy it is popular but I have written much better music and it is a very impersonal work, in which I omit my deeper searching.”


The Reiner/Chicago recording set a performance standard for “Mysterious Mountain” that is hard to surpass, although even that performance is marred by a blemish or two. But its overall pacing and phrasing seem little short of ideal. By now there have been at least half a dozen recorded performances of this work. Most tend to take the first movement, Andante con moto, at tempos much faster than Reiner’s 7:25. Of them, Davies’s 5:09 may be the fastest. Andante con moto is a very vague tempo indication, leaving much room for interpretation, even more than most such designations. The expressive content of the music must be the determinant, and at Davies’s tempo, this quintessentially tranquil movement sounds brusque and rushed—clearly against the grain of the music. The more actively polyphonic second movement, which happens to be my favorite, is done magnificently. The mysterious opening of the third movement is again disconcertingly hasty, while the remainder of the movement proceeds lovingly, the pure, consonant harmony exquisitely in tune.


It is perhaps not too much of a stretch to observe that the “Elegiac” Symphony plays a similar role within Lou Harrison’s œuvre that “Mysterious Mountain” plays in Hovhaness’s: that is, they both attempt to integrate the spirit, as well as some of the exotic usages, of Eastern music within a Western symphonic context. This makes Harrison’s piece, in particular, especially unusual. A large work (longer than both Hovhaness pieces together), the “Elegiac” Symphony comprises five movements, and reportedly occupied Harrison intermittently from 1942 until 1975. Perhaps its dedication to the memory of Serge and Natalie Koussevitzky accounts for the symphonic approach. Harrison’s familiar fingerprints—modal melodies of somewhat Balinese cast presented in unison or with a heterophonic or simple polyphonic treatment—are clearly evident (especially in movements 1, 3, and 5), but are here expanded to symphonic proportions—not solely a matter of duration, but also of a certain grandeur of both gesture and sonority. This very aspect of the work may alienate some of the composer’s more extreme admirers, while others are likely to find it all the more appealing for the same reason. The symphony is scored for a large orchestra, which is approached with considerable subtlety and delicacy—especially the use of the tack piano, a specialty of the composer, somewhat related to Cage’s “prepared piano.” The three odd-numbered movements—entitled “Tears of the Angel Israfel,” “Tears of the Angel Israfel II,” and “The Sweetness of Epicurus” respectively—are indeed “elegiac,” but not in the highly personal, Samuel Barber-like sense, but rather, in a more abstract, cosmic, contemplative sense, conveying a feeling of serene acceptance. The last movement is especially warm and poignant, concluding the work with deep, heartfelt beauty. The second movement, Allegro, poco presto, is scherzo-like and more Western in style, with some chromaticism, although gamelan-like effects clearly identify the composer. The fourth movement, “Praises for Michael the Archangel,” presents a stark contrast. Its harsh, aggressive harmonic dissonance and 12-tone material remind us that at one point Harrison studied with Arnold Schoenberg. Altogether, Harrison’s Symphony No. 2 serves as an excellent introduction to, and consolidation of, the many facets of this unique composer, presented in a fashion accessible to the more traditionally oriented listener.


FANFARE: Walter Simmons