Nature, the cosmos and humanity are the inspirations for Joji Hirota's latest solo album, Prayer's Tale. Single-handedly playing 40 different Japanese and Asian instruments, combined with vocals, he weaves sounds of nature, emotions and colors of the universe into a beautiful soundscape. With Joji's circular instrument set up (various taiko drums, 13 different sizes of kin [prayer bells], six sizes of gongs, various bells and wind chimes) he can stand in the center and respond intuitively. "Everybody has their own personal circumstances... their own sense of 'universe'. Here, I try to express my own personal sense of Earth's history, human history, and my own outlook on the future through musical scenes, emotions, colors and nuances of sound." (Joji Hirota)

Custódio Castelo is the world’s leading player of the Portuguese fado guitar, the instrument that helped make fado music Portugal’s Intangible Cultural Heritage (UNESCO).Like Carlos Paredes, Custódio Castelo creates groundbreaking new sounds that have promoted the Portuguese Guitar to a concert instrument that can be played solo or as accompaniment. His unique Portuguese guitar, handmade from an oak root by master Oscar Cardoso, is capable of fine nuances of emotion, and he uses them well, especially for melancholy, but also for a sense of jubilation. This release is a selection of Portugal’s most famous fados, arranged for and performed on Portuguese guitar by Custódio Castelo, lovingly selected by the master himself.

A folksy take on traditional music straight out of the Argentinian songbook. Intertwining village roots, lively urban rhythms, traditional acoustic guitar, melodies of the pampas and Buenos Aires tangos, presented by Instituto El Cimarr�n. Argentina's folk music has a rich and varied tradition. Apart from the indigenous music of the Fuegians and Patagonians, Mapuche and Chaco Indians, the descendants of the Quechua and Aymara and the Calchaqui Valley Indians, there is a large mestizo and creole repertoire. The creole repertoire is of predominantly European origin. Three basic types emerge, differentiated by function: Carnival songs (performed collectively), entertainment songs (performed for an audience) and religious songs (performed solo or in chorus).Carnival songs, their lyrics in short stanzas, are accompanied by drums and guitars. Related dances are the chacarera, zamba and gato, the latter being one of the most important rural Argentinian dances. The cueca, a dance like the zamba, is found in western Argentina. The malambo is a dance in which solo dancers alternate in competitive performances. It is popular among the gauchos. The sung milonga may be a romance (traditional ballad) or a corrido (ballad, based on contemporary events). The milonga (dance) is an urban style developed primarily in Buenos Aires by known composers. It is usually accompanied by the accordion. Polkas are sung to guitar accompaniment in triple time or sung in duplets over a 6/8 accompaniment with much syncopation. The polquita (little polka) is sometimes played in processions for saints.

The melting pot of cultures in the islands and coastal areas surrounding the Caribbean Sea have made this region one of the most musically fruitful in the world. Every island and every stretch of coastline boasts at least one signature style of music - often more - each different from the rest, but all bearing an irresistible, dance-friendly rhythm. Enjoy digging your heels into the sand and listening to these sunny songs. Artists featured include ARC veterans, including Blind Blake, The Sons of Buena Vista, King Selewa & His Calypsonians, and more.

Black Umfolosi are Zimbabwe's greatest musical ambassadors. Founded in March 1982 by a group of school friends, the group has developed into a global outfit over nearly forty years together. With unrivalled beauty and enthusiasm, they perform music inspired by the traditional song and dance of their native southern Africa. As such they are true custodians of their culture. The name of the group is taken from the Umfolozi Omnyama River in the Natal Province of South Africa, to where their ancestors can be traced. Just as the river is a permanent feature of this stunning landscape, so the music of Black Umfolosi shall flow from generation to generation as their permanent legacy. Specializing in the 'Imbube' style traditional to the Nguni speaking people of Southern Africa, the band's performances are energy driven and completely engaging, mixing a great gentleness of spirit and song with an exuberance in dance. The group has become firm favorites around the world with people of all ages and cultures, due to their natural ability to communicate through song. WASHABALAL' UMHLABA is the fifteenth Black Umfolosi album to be released internationally. The six voices come together in crystalline harmonies laced with their usual brand of optimism for the world. Here, Black Umfolosi sings of the joys of life, with gentle underlying messages for us to count our blessings, to appreciate and protect what we have.

Cinuçen Tanrikorur's case is that of a genius who, revitalized by an ancestral heritage, crystallizes the transports of his imagination in traditional forms and intentions; the crystals are the creations, the forms are the modes and the various frameworks of composition (pesrev, semâï, beste etc.), and of improvisation (taksim) and the intention is that of traditional art in general and of Moslem art in particular: it must contribute to the most central function of the man who is to be an intermediary between heaven and earth, the khalifat (cf. Titus Burckhardt, “The Art of Islam”). Cinuçen Tanrikorur's style is a kind of paroxysm of Turkish savant art. The voice is characterized by the variety and the subtlety of intonations and timbres, and is placed under the sign of the symbolic conjunction of air and water: a fluidity which transcends both of these elements to the point of evoking the ether, and then the quintessence of sound. The Sufi doctrine of the alternation of light and veils is prolonged here in the domain of sound vibration: one sometimes finds oneself where the “when” and the “where” no longer exist, when “sound” and “silence” are one. The initial intention and the concomitant ambiance permitted the autodidact to invent a style of the ud which is completely traditional at its foundation and completely unusual in its form. The result is a different tuning of the lower strings (4th, 4th, 4th, 4th, 5th), and a right hand technique of playing without a rolling motion, and a fantastic dynamic of the left hand which explores to the utmost the intimacy of each string in order to elicit harmonic resonances which had not even been suspected before. Lyricism, fluidity, precision and hypersensitivity are the requirements of this style which has already begun to develop into a school.

Burna Boy is among contemporary African music's brightest stars and creator of an enigmatic new genre he simply dubs "Afrofusion." After a recent conversation with Burna Boy, The New York Times went on to declare him as "a leader amid a bounty of new African pop," before going on to make it clear that "Burna Boy hasn't diluted his African heritage to reach his global audience. Instead, he has placed an unmistakably African stamp on music drawn from all around Africa and from across the African diaspora." Throughout TWICE AS TALL, Burna Boy takes stock of his accomplishments, his vulnerabilities and at the same time encourages ambition and perseverance in the face of uncertainty and against all odds. While this album is a pure, unapologetic African body of work, it boasts of a global contemporary sound that is for everyone. For the "African Giant" this project is a product of a potpourri of emotions and he is now standing "twice as tall."

This new release is a beautiful album of traditional music from Eastern Polynesia that was taken from David Fanshawe's monumental Pacific Collection. The Pacific Collection was recorded over the course of fourteen years (1978-88), and focuses on the rich variety of authentic himene (hymns) indigenous to Tahiti, the Cook Islands, the Society Islands and others. David Fanshawe was a composer, ethnic sound recordist, guest speaker, photographer, TV personality, and a Churchill Fellow. He was born in 1942 in Devon, England and was educated at St. George's Choir School and Stowe, after which he joined a documentary film company. In 1965 he won a Foundation Scholarship to the Royal College of Music in London. His ambition to record indigenous folk music began in the Middle East in 1966, and was intensified on subsequent journeys through North and East Africa (1969-75) resulting in his unique and highly original blend of music and travel. His work has been the subject of BBC TV documentaries including African Sanctus, Arabian Fantasy, Musical Mariner, and Tropical Beat.

Hossam Ramzy, Egypt’s Ambassador of Rhythm, was born in Cairo. His musical career began early, when at the age of three he was given his first drum- an Egyptian table. His passion for percussion was noted by his family (many of whom were themselves involved in the arts), who encouraged him to master his craft by studying with the leading music teachers of Egypt. A move to Saudi Arabia introduced Hossam to many of the Bedouin tribes who gave the young Hossam a rich insight into the cultural origins of Middle Eastern music that became the inspiration for many of his later rhythmic directions. This album of beautiful Egyptian love songs for belly dancers and lovers of Egyptian music also features the incredible quarter tone accordion player Mohsen Allaam.

2018 release. Since it's debut, Grammy-nominated global musical sensation Celtic Woman's concerts continue to touch the hearts of a huge audience that spans the globe. Both an accomplished recording ensemble and a one-of-a-kind live act, Celtic Woman combines the country's finest musical talents with epic stage production to present a uniquely inspiring live experience. Filmed in Dublin, Ireland in September 2017, Homecoming: Live From Ireland represents the next chapter of their extraordinary musical journey

SOPRANO MEETS BASS is the latest from Ansonica Records. This album of traditional medieval Sephardic songs arranged by jazz bassist and music director Alan Lewine and classical soprano Ana Mar�a Ruimonte is an ethnomusicological celebration of the ancient Sephardic culture. These Spanish Jews were expelled from Spain in the 15th Century and resettled throughout the world, mingling their musical traditions with those of other peoples they encountered. The original arrangements meld medieval Moorish Iberia, jazz, flamenco, Middle Eastern music, and bel canto. They have set these songs in a sort of recombinant world fusion reflecting a vibrant embodiment of the Sephardic communities and their culture. As the album's title suggests, the female voice plays a starring role in SOPRANO MEETS BASS. This reflects the fact that the Sephardic tradition has, for centuries, been an oral one, passed down from mother to daughter across an expanse of generations. Only in the 20th Century were these songs transcribed by musicologists. The stories told in the Sephardic Romancero-the repertoire from which the album's program is drawn-conjure up portraits of life in medieval Spain and the universal truths that undergird them. Spanish soprano Ana Mar�a Ruimonte gives life to these ancient melodies and lyrics, radiating from the center of a constellation of renowned virtuosos. Flamenco guitar, Israeli flute, shofar, and a trove of other culturally significant musical instruments vitalize the music of SOPRANO MEETS BASS. The artists' arrangements of the songs on SOPRANO MEETS BASS have been performed throughout the world, from Spain to Cuba to Israel and the United States. This is fitting, since each of these nations has had a hand in forming the unique amalgam of cultural music we hear in this album.

Egyptian Bellydance: Afrah baladi

Viguela have been dedicated to traditional music from the center of the Iberian Peninsula for thirty years. In 2014 Viguela began reviewing their own approach to the interpretation of traditional music, taking a step further in recovering their archaic musical language- focusing on the person's interpretation and musicality rather than techniques taught at academies. They perform not only at renowned festivals such as WOMAD in 2017 but also on the streets of Spain. As a 100% acoustic band, Viguela can bring their street "ronda" to any place and sing to your public face to face. "... one of the greatest folk groups from the heart of Spain... " (World Music Central) "... Filled with creativity, optimism and joy." (Folkways) "... Full of reality, human presence, intensity- musically and technically perfect." (Mazurkas of the World Festival)

Situated in the world's highest mountain range, the Himalayas, Nepal is the home of Mount Everest. It is a Hindu kingdom with over 26 million inhabitants, of which approximately three quarters are Hindus, the rest Buddhists and some animists belonging to the aboriginal communities. The majority of the population are of two distinct racial stocks: the Mongolians from the north and the Aryans from the south. The blending of these two main races has produced a number of ethnic sub groups with unique habits. This album is made up entirely of field recordings, showing all that is unique and memorable about music in Nepal.

Spirit of Ecstasy has been out-of-print for more than two decades which makes this reissue highly important. The album consists of the works Spirit of Ecstasy (1977) and the Way to Nepal (1971). Spirit of Ecstasy is lively, being serious and humorous at the same time - ingeniously dramatized and well constructed, the history of the car is used to tell of the most important events in the history of the 20th century. The Way to Nepal (1971) is an exploration in sound, which confronts the listener with a dramatic process shifting between a meditative soundscape and disturbing motor noise.

CUSTÓDIO CASTELO is the world’s leading player of the Portuguese fado guitar, the instrument that helped make fado music Portugal’s Intangible Cultural Heritage (UNESCO). Like Carlos Paredes, Custódio Castelo creates groundbreaking new sounds that have promoted the Portuguese Guitar to a concert instrument that can be played solo or as accompaniment. His unique Portuguese guitar, handmade from an oak root by master Oscar Cardoso, is capable of fine nuances of emotion, and he uses them well, especially for melancholy, but also for a sense of jubilation. On this release Custódio Castelo plays fados made famous by the Queen of Fado, Amália Rodrigues. “Custódio Castelo is the world’s leading exponent of the Guitarra Portuguesa, the instrument that gives the country’s fado music its poignant song.” (Allmusic)

Forrester’s Cape Breton Scottish Dance Company is the performing group of the Forrester School of Celtic Dance established in 1965 under the direction of artistic director Eileen (Pottie) Forrester of Sydney, Cape Breton, Nova Scotia. The dance company has been invited to represent Canada and their province at many international festivals. They have performed all over the world including Canada, the United States, Europe and Asia. One of the highlights was their participation in the World Folklore & Folk Game Festival in Taiwan in 1997 with 300,000 spectators and twenty other countries represented. Another festival that ranks among their favorites was Rhythms of the World at Epcot Centre, Walt Disney World, Florida, in which they represented Canada and performed in twenty-one shows at the America Gardens Theatre by the Shore. Forrester’s musical ensemble consists of award-winning highland bagpipers, drummers, bodhrán players and fiddlers. They all work together to provide their audiences with a varied repertoire of Celtic music with a mix of both traditional and contemporary works of music and dance. Their mandate is to continue to share the Celtic culture of their ancestors with many diverse audiences locally, nationally and internationally. This is evident in the fact that the director has three daughters who perform Scottish dance, and Eileen herself was first introduced to this culture by her two older sisters.

Producer Joji Hirota writes: “The Italian taiko group KyoShinDo is very unique in their approach to taiko music. They are not only taiko drummers, but also karate experts. Their mentor, former karate champion Luciano Parisi, has influenced them enormously. I met the group in 2003 when they came to see my concert at Genoa’s Mediterranean Music Festival. They were fascinated by taiko music as an ensemble, both its sound and its movements. I have been teaching them for over ten years in the techniques of both traditional and contemporary Japanese taiko music. Their skills as karate experts adds a unique flavour to the technique I teach: taiko with a martial arts touch. I trust that their drive and ambition to develop further makes them one of the great and most unique taiko groups. I am proud to present KyoShinDo to the world.”

This release features newly composed Greek songs from the pen of Michalis Terzis, one of Greece's most prolific and distinguished composers. Sung by the prominent Cretan singer Vasilis Skoulas, the songs create a warm and pleasant atmosphere. Michalis Terzis studied piano and music theory at the Macedonian Conservatory in Thessaloniki and in Athens with A. Ainian and K. Chronopoulos. He started his music career in 1973, performing in music theatres in the historic part of Athens beneath the Acropolis. He recorded his first piece in 1976. His works have since been performed and recorded by the most famous Greek singers, and he has won awards at many Greek and international film festivals for his music. As Michalis Terzis continues his very successful music career, he maintains the strong belief that music is the most important, direct and creative way to communicate with people of different cultures and languages.

From the producers: "There's a lot of great Jewish holiday music out there, and we were listening to one of our favorite world music programs during the holidays. That's when it occurred to us that we could do our own Khanike album, one that reflects our interests and highlights Yale's extraordinary arrangements and compositions, with music that could be enjoyed by a wide range of listeners, from little kids to serious music appreciators. And it provided a perfect opportunity for an idea that we had been discussing for some time- an entire album arranged for vocals and strings. It also gave us a perfect opportunity to join forces with Sara and David, whom we met through the Mark O'Conner Strings Camps; Amos; and Alex from the Hausmann Quartet. We wanted the repertoire to present a sense of how Khanike was and is celebrated by different cultures around the world. The Ladino songs were traditionally sung by women in the kitchen as they prepared for the holiday. There is a particular feeling of intimacy, comfort and family that was true of how we musicians felt about each other, both musically and personally, and that is really satisfying. When you listen to these songs, you'll hear the musicians thinking out loud and sharing inspiring thoughts and ideas with each other. Each of us has our own personal references, ranging from classical to jazz and blues, to Middle Eastern, klezmer, bluegrass, and Texas Swing. You'll hear all of this as we fuse seamlessly with each other."

On Mexico's west coast, inland from the tourist zone of Acapulco and Huatulco, the Costa Chica is an isolated region of towns and villages in the foothills of the Sierra Madre. It is a region known, from the outside, for violence and poverty, but, as the boleros in this album reveal, has a deep feeling for poetry, a love of music and constant parties where it all comes together far from the recording studios and the concert halls of Mexico City. In 2016, after several journeys to the area, these five remarkable bands were recorded. The groups, each in their own way, are masters of the bolero tradition, inherited from the local musician and composer Alvaro Carrillo. This collection includes very well known boleros like 'Sabor a mi' and 'Luz de luna' as well as contemporary boleros from the Costa Chica, recorded for the very first time.

'Daa Dee' is the first groove a baby learns in Ethiopia as it takes it's first steps. It is the sound the mother makes to help her baby in it's first attempt into independence. Minyeshu explores her own upbringing and the resulting positive changes in this uplifting album of strength, vulnerability, faith and doubts overcome. Daa Dee is Minyeshu's fourth album, a collection of dance songs exalting love, spiritualism, and what it means to be a woman- especially a mother and daughter- in today's times. Drawing from her cultural life experiences in Africa and Europe, Minyeshu has sculpted her signature tone- a hypnotic and modern hybrid of Ethiopian grooves and melodies, delicately mixed with Western instruments and styles. "Minyeshu manages to sound both accessible to a wider audience yet still authentically and proudly Ethiopian at the same time." (Songlines) "... brave and new musically stimulating and exciting experience." (NetRhythms UK)

This new release features fifteen rousing and very danceable Cuban songs in the best tradition of ‘Buena Vista’ with some of the old guard as well as the younger generation of ‘post Buena Vista’ Cuba. Artists include Luis Frank, Soneros de Verdad, Mayito Rivera, Rudy Calzado, Cesar Pedroso, and more. The Buena Vista Social Club was a members’ only club in Havana, Cuba that operated until the 1940s. The club was so widely known, that it inspired a 1990s band, a popular album, a late-nineties film, and a brand name. The spirit of the club is evident in this release as well. These songs have been handpicked and remastered by celebrated sound engineer Diz Heller.

Also available on Blu-ray

“I‘m a pukka Indian. Mumbai is my home,“ says Zubin Mehta about his birthplace. The Music Director for Life of the Israel Philharmonic Orchestra traveled to India in 2016 with his inspiring 110-member orchestra where together they celebrated Maestro Mehta‘s 80th birthday with two fantastic concerts at the National Center for Performing Arts in Mumbai. The concert programs featured works of some of Mehta‘s favorite composers, performed together with three of his closest musical friends: Pinchas Zukerman, Amanda Forsyth, and Denis Matsuev. This live recording features those April 2016 concerts in all their glory, featuring works from Strauss, Brahms, Tchaikovsky, Dvorak, Beethoven, and Ravel, all in stunning high definition.

This new release features Russian music in all its wide variety, representing the many different peoples living in that continent-wide country. From fiery Gypsy music, early Orthodox choral music, tinkling balalaikas, Cossack songs, a cappella choirs (including the renowned Red Army Choir) as well as modern renditions of traditional music.Other ensembles include the St. Petersburg Instrumental Ensemble ‘Carousel’, Balalaika Ensemble ‘Wolga’, Talisman, Valentina Ponomareva, The Stars of St. Petersburg, Yale Strom, Arinushka, and more. All talented groups are skilled in their adaptations of this music of their mother country.