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.

Qawwali literally means ‘utterance’ and qawwali is the mouthpiece of Divine Power. This art form is the devotional music of the Sufis- the mystical sect of Islam, intended to elevate the spirit and bring both performer and listener closer to God. Qawwali originated with the foundation of the Chishti order of the Sufis in Khorasan (Persia) in the early 10th century and was brought to the Indian subcontinent in the 12th century. At the heart of Sufism is the heart itself: devotional love of God (Allah), his prophet (Mohammed) and his friend (Ali). Music is the vehicle to reach the heart and attain a state of grace or enlightenment, a ‘stateless state’ or ‘Ma’rifat’- the inner knowledge. Traditionally a qawwali performance is heard at the shrine of a saint or a gathering of the brotherhoods. Today the qawwal, as the qawwali singer is called, will sing at all the major events such as marriages and religious festivals, and, increasingly, in a number of secular contexts. It still remains one of the most popular forms of musical expression in the subcontinent. Ustad Nusrat Fateh Ali Khan was born in 1948 shortly after the independence of India and Pakistan. He comes from a distinguished family of musicians steeped in classical and mystical Islamic tradition. His ancestors were great practitioners of qawwali. Today Nusrat is considered the greatest exponent of qawwali. His art has transcended all boundaries of language and religion and has popularized this beautiful and inspirational music to audiences worldwide.

Noa’s new musical project is entitled “Letters to Bach,” executively produced by Quincy Jones. It is comprised of 12 pieces of instrumental music written by Johann Sebastian Bach for which Noa has written English and Hebrew lyrics, inspired by subjects as diverse as technology and religion, global warming and feminism, euthanasia, the Palestinian-Israeli conflict, and relationships in the age of social media. The arrangements for guitar were done by Noa’s long-standing musical collaborator Gil Dor, guitarist, composer, arranger and educator. The duo’s performances are surprising and brilliant, with Noa’s voice both soaring majestically and skipping playfully between the notes, intertwining perfectly with Gil’s guitar, illuminating Bach’s brilliant polyphony. In this project, Noa and Gil strive to break the binding walls of language, religion, genre, generation, and stigma to build a bridge of musical excellence, respect and joy, a place of curiosity, courage and hope… all under the auspices of the great super-connector, Johann Sebastian Bach.

Noa, Israeli Born, NY raised singer/songwriter of Yemenite origins, is an internationally renowned artist, who has performed on the world’s most prestigious stages, including numerous performances in the Vatican for three Popes, the White House, Carnegie Hall, Lincoln Center, and the most important theaters of Europe. She has been produced and endorsed by Pat Metheny and Quincy Jones and shared the stage with Stevie Wonder, Sting, Andrea Bocelli and many others. She is Commander of the order of Merit of the Italian Republic, Good Will Ambassador to the UN, Global Leader of Tomorrow and has received endless awards for her artistry and commitment to peace between Israelis and Palestinians.

A posthumous record? "Nothing to declare!" as Rachid would have said, leaning on the bar counter, with messy hair, bright eyes, and a raspy voice. He's there, you can't miss him. He may be laid to rest in Algeria, but he hasn't left us. He knew that those who are allegedly missing are well and alive: "Do you really know the others?" the master of rock-Cha�bi once asked, quoting the greats Johnny Cash, Oum Kalthoum, and Andy Warhol in a prophetic song titled Andy Walhoo. He wrote this arabic-punk-electro piece with guitars, balafon, and mouth harp before succumbing to a heart attack on September 12, 2018. With boundless energy, Taha wrote eleven songs together with Toma Feterman for his eleventh solo album, diving deep into his roots as usual. First, Algerian Cha�bi, so subtle, yet so complex. Then rock, which took the world by storm during the postwar period, and punk, it's offshoot, in the style of The Clash. Finally, electronica, the musical revolution of the late twentieth century, as hypnotic as the Gnawas guembris or Sufi trance sounds.

This delightful documentary takes you an amazing ride as it celebrates the wonderful variety of French Louisiana's treasured musical heritage. In the intimacy of their homes as well as in rollicking honky-tonks.

Originating in the villages and ghettos of Eastern Europe, klezmer has been played from the early middle ages. The Jews who emigrated to America in the 1880s to early 1900s brought klezmer with them. In the New World, klezmer was heavily influenced by early jazz and swing, and the style continues to evolve. Klezmer’s distinctive sound blends artistic virtuosity with numerous tempo changes, irregular rhythms, dissonance, and an element of improvisation. Eclectic and diversified, klezmer is unique, easily recognizable, and widely appreciated. KLEZTORY is a rich mosaic of cultures (Russian, Canadian, Quebecois, and Moldavian), musical training (academic and self-taught), and musical tastes (classical, contemporary, jazz, blues, country, and folk). Combining their talents, these musicians perform with an emotion and a virtuosity that is the true spirit of klezmer. Momentum is Kleztory’s 6th album, and celebrates the band’s 20th anniversary. Combining traditional tunes and new compositions, the album juxtaposes music which the band has played since it started with completely new material.

The Art Of The Chinese Lute MIAO XIAOTYUN Ms Miao Xiaoyun is a virtuoso player of various Chinese lutes. Here she presents a fascinating array of Chinese traditional and ancient pieces. On some of the pieces she is accompanied by her husband, the internationally acclaimed Chinese dulcimer player Professor Xu Pingxin. The Art of the Chinese Flute

Afrika Mamas return with their fifth release Ilanga (The Sun). A stunning album of a cappella music. Their take on John Lennon's Imagine, rearranged with Zulu vocal accompaniment, is something to behold. The album also includes songs written with the sons of the late Joseph Shabalala – the founder of Ladysmith Black Mambazo. As ever, the ladies deliver a powerful album addressing community issues in South Africa and a hopeful message for the future. “Astounding Zulu singers” (Songlines magazine) Afrika Mamas are a folk-tale group with a vision to promote African culture through music and theatre. They further aim to develop an ‘edutainment‘ approach, in which they educate while entertaining their audiences on various African tales, breaking stereotypes that are held on some African cultural traits. They are all single mothers with eleven children between them. They have a solid friendship and deep trust in each other, which elevates the bond they have maintained over the years. They were founded by their band leader, Ntombifuthi Lushaba, in 1998, while the other group members were working as backing singers for various artists including Tu Nokwe, Brenda Fassie and Steve Kekana. Since their formation as Afrika Mamas they have collaborated with an array of South African and Afrikaans musicians including Janni Moolman, Amanda Strydom and Dozi,to name a few.

Del Canto Gitano portrays the unique, historic blend of Greek, Roman, Arabic, Sephardic, Indian and Castilian traditions, that create the mystical symbiosis of Ancient Andalusia. Arranged for flamenco guitar, with baroque guitar, Greek violin and original Iberian rhythmic interactions, combined with the vocals of Victoria Couper and Hindustani tenor Rupesh Gawas. This is music of great resonance and feeling. Born and raised in Buenos Aires, into an Argentinian/Italian family, Ignacio started playing the guitar aged six. Inspired by his cultural surroundings, he played with his siblings as a family pastime, learning Argentinian folk songs and tango music. His passion for flamenco started, aged 9, when he discovered the works of the Spanish flamenco guitarist Paco de Lucia. His desire to pursue the flamenco genre eventually took him to London in 2013, where he became musically connected with Spain and the rest of the world. Ignacio is now an acclaimed London-based flamenco guitarist, producer and recording engineer. He graduated as a choir master at Buenos Aires Conservatoire in 2013, and has since collaborated with a number of performers including Ahmed Mukhtar, Baluji Shrivastav OBE and Eduardo Niebla.

Wang Weiping belongs to the generation of pipa lute performers that has taken over brilliantly from the historical masters, and is by no means inferior to them, as far as both virtuosity and musicality are concerned: traditional pieces and compositions under the emblematic patronage of the princess Wang Zhaojun. The pipa, an instrument with a rich repertoire and advanced playing technique, has long been in the hands of the professionals, and occupies an important place at the Conservatory as well as concerts. The generation born after the Cultural Revolution (1966-1976) has taken over brilliantly from its historical masters, Li Tingsong (Suzhou 1906-1976), Lin Shicheng (born in 1922 in Shanghai), and even Liu Dehai (born in 1937 in the Hebei), and is by no means inferior to them, as far as both virtuosity and musicality are concerned. Wang Weiping is one of the most remarkable representative of this new generation. Incidentally, it should be noted that Chinese culture is one of the few cultures in the world to grant women the rank they deserve as instrumentalists. She is a specialist in the thousand year old repertoire of Dunhuang scores transcribed by Ye Dong, which she has played in Hong Kong, Macao and Japan. She is pursuing her international career as a soloist and within the ensemble “Fleur de Prunus”, and is working with modern Chinese contemporary composers.

CELTIC THUNDER Greatest Hits showcases decades of wonderful Irish music! Irish favorites include "Heartland," "Galway Girl" and "Whiskey in the Jar." On the spiritual side, the globally touring group sings "Hallelujah" and "Amazing Grace." Garnering hundreds of millions of streams and tickets sold, Celtic Thunder has been hailed as Billboard's Top World Music Artist.

The three masters Dariush Talâ'i, Mohammad Musavi and Majid Kiâni, present the refinement and creativity of Persian music: from theradif (canonical ensemble of melodic forms for each modal structure), they are free to improvise, find melodies and create according to their own taste… Nothing being more ephemeral than an oral tradition’s music, in the mid-19th century, great musicians decided to preserve what they had salvaged of their ancient heritage for posterity. Collating musical material from the four corners of Iran, they formulated a model repertoire, theradif, designed to lead through methodical study to the very core of the art and its musical inspiration. The aim of creating the radif was to preserve not only melodies, but also modal structures which, in time, would have become hermetic and eventually extinct, without models at one’s disposal to refer to.

TOUR D'AFRIQUE

When Kent Tritle and Nina Stern first devised this recording project of music from the Four Quarters of the Old City their aim was to create a soundscape that reflected Jerusalem's reality as well as it's role in the dreams and ideals of the great Abrahamic religions. Our program offers music one might hear in walking through Jerusalem today, but it also interposes visionary works from other times and places. Both remind us of what Jerusalem has meant to generation after generation of believers. Some gritty historical truths reveal themselves at once, while others may be glimpsed as through a haze of memory and desire. The Choir of the Cathedral Church of St. John the Divine, Kent Tritle, director, and the ensemble Rose of the Compass, Nina Stern, director, combine musical talents to present a program that speaks of common ground and unity among the various faiths found in the four quarters of the city of Jerusalem. This album is modeled after a concert performance given by the ensembles at the New York City Cathedral of St. John the Divine in 2015.

This album begins its journey in Egypt, where the music has a distinctly Middle Eastern and Arabic influence, being at the crossroads of Africa and Asia. These influences stretch across much of the Sahara, through Libya, Algeria, Tunisia and Morocco. The call-and-response style, as is found in much of the gnawa music of Morocco, begins to introduce to the listener something more familiar to Western ears. As the album approaches Western Africa we uncover the ancestry of blues music, which became the foundation of most Western popular music. The Western African influences in blues music are unmistakable and are explored enthusiastically by these West African artists. Along the southern coast of Western Africa, and heading into central Africa, a noticeable percussive style takes over. Drumming in these parts of Africa is an ancient, often tribal, tradition that continues to this day. We travel next to Eastern Africa and Sudan, a country with a long and turbulent history that has seen its religion and politics influence its music in many ways. Sudanese music went through something of a renaissance in the early-mid 20th century and the song included here is from that period. Lastly, moving south, we hear guitar music, percussion, and above all vocals taking center stage.

With Summer around the corner, ARC Music has taken one of their strongest selling genres and compiled an album especially designed to appeal to summer lovers with music sourced from the most popular vacation destination on Earth- The Caribbean. This release features music from Trinidad, Martinique, Costa Rica, and more. The islands that make up the Caribbean archipelago are among the most beautiful in the world, sharing many similarities between them, but each with a character and charm all of their own. Much like the islands themselves, there is a familiar uniqueness about the music of the Caribbean. Many Afro-Caribbean styles are instantly distinguishable from each other but share a rhythmic palette and boast a style that is undeniably Caribbean. Authentic Caribbean performers are featured, including Rafael & Energia Dominicana, Mandigo y su Son, King Selewa & His Calypsonians Calypso Invasion, Pablo Carcamo, and many more. In the words of a reviewer, "If you've been there, it takes you back. If you've never been, you'll want to go."

This new Musical Explorers series from ARC Music makes available, often for the first time, a valuable range of historical films and audio recordings gathered from all over the world. During the 20th century more people started travelling and became more aware and interested in the world’s musical traditions. And technological advances meant that the equipment necessary to record those musical traditions in their natural environment become more portable and of higher quality. In Songcatchers, his excellent book about music collectors, Grateful Dead drummer Mickey Hart writes: “I’ve learned what it takes to be a field recordist: how you have to fight the rain, the insects, the sand, the sun. You have to drink with and eat the food of the musicians you’re recording and observe their traditions, no matter what they are. To understand the heart and soul of a music, to earn the right to hear it, you must respect and honor the culture that creates it.” All the musical explorers in this series did exactly that. The recordings on this album were made in Taiwan in 1973 when mainland China was undergoing the destruction and upheaval of the Cultural Revolution. Musical Explorer Deben Bhattacharya was fascinated by the traditional Chinese culture he found in Taiwan. The accompanying film includes not just music, but other traditional arts and crafts.

The male choir of the Optina Pustyn Monastery Department in St. Petersburg was established in 1996 with the blessing of its Father Superior, Hieromonach Rostislav. The choir consists of between six and nine professional singers, who are all graduates of the St. Petersburg Conservatoire. The main goal for the formation of the choir was the cultivation of the heritage of the old Russian Church singing, its sources, and different styles. The repertoire of the choir, however, reaches beyond the purely ancient repertoire and represents the great riches and variety of the Russian clerical as well as secular choral art. After two decades of creative activity, the choir has become a permanent participant in many Russian and international festivals, playing up to a hundred concerts a year.

This very infectious, upbeat and danceable rhythm from Brazil evolved out of Forro, a unique Brazilian dance rhythm, will not let you sit still. An irresistible invitation to move your body and dance. With Enrique Ugarte, Mauricio Calquin, Jonas Mo, Beatriz Schmidt and Pablo Carcamo.

She’Koyokh, award-winning klezmer and Balkan music ensemble, present vibrant and exhilarating music, straight from London’s melting pot: soulful Eastern European Jewish, Balkan, Turkish and Gypsy music. Performing “the best klezmer & Balkan music in Britain” (Evening Standard), She’Koyokh have spent fifteen years absorbing the rich folk music traditions of Eastern & Southern Europe and Turkey. The band’s evolution spans the origins of busking at East London’s Columbia Rd Flower Market to performing at WOMAD and Sziget festivals, recording live for BBC radio, and playing venues from the Southbank Centre to Amsterdam’s Concertgebouw. Masters of the genre, She’Koyokh’s repertoire includes Bulgarian oros, Serbian kolos, Bosnian love songs, ballads from the mountains of southwest Turkey, as well as rip-roaring klezmer music.

After their very successful album release, Zukva, on ARC Music in January 2016, Divanhana are back with a live album featuring their sold-out show in their homeland, Mostar, Bosnia & Herzegovina. Divanhana performs traditional music in new arrangements created with influences from jazz, pop and twentieth century classical music. Divanhana’s intention is to present the urban traditional music, not only from Bosnia and Herzegovina, but from the whole Balkan region, with a particular accent on Sevdalinka. “Supple sevdah from young, gifted Sarajevans… Divanhana are a young band but a very confident one… They can play sevdah with the right mix of dynamic pace and epic melancholy…” (Songlines UK) “…Divanhana’s sound is simultaneously rooted in the tradition and outward looking, their music dancing with breathtaking inventiveness. By turns romantic and upbeat, the sevdah music of Bosnia and Herzegovina is beautifully showcased from these hugely talented and inventive musicians.” (R2, UK)

ECHO celebrates the tenth anniversary of an extraordinary partnership between two virtuosos whose previous releases include 2018’s album SOAR and their 2013 debut Clychau Dibon. ECHO marks the third part of this remarkable trilogy. The harp and kora share centuries of history, and Catrin and Seckou create a unique dialogue in a musical alliance of rare empathy, inspired by differences and similarities. Their atmospheric magic crosses genre boundaries, from folk and world music to classical and contemporary as their fingers flow like opposing tributaries into a single river of sound. ECHO is the tender triumph of an extraordinary musical partnership that combines harp and kora, the modern and traditional, different cultures and common humanity.

Something magical can happen when two rivers meet, two traditions collaborate, or two talented friends work hard on a joint creation. Paul Livingstone on sitar and Pete Jacobson on cello take inspiration from the Hindustani musical tradition, and from Paul’s teacher and mentor Ravi Shankar who collaborated so eloquently with Yehudi Menuhin on violin and helped to popularize Hindustani music in the West. Pete and Paul also draw inspiration from American jazz improvisation. Sangam, in Hindi, means many things, including “confluence,” or the blending of two people, ideas or traditions into something fresh and new. Paul and Pete focus on the Hindustani tradition in this recording. Hindustani music centered in Northern India after diverging from Carnatic music in the 12th Century. The most basic elements in South Asian classical music are the raga and tala. A raga is traditionally a monophonic melody, though Paul and Peter take liberties, incorporating occasional counterpoint and harmony (often in thirds). Each raga adheres to a strict musical structure, which can be executed vocally or on instruments in their individual styles. The tala is the cyclic rhythmic framework which outlines a beat cycle and provides the glue to bring the instruments together in polyrhythmic play. I love what Pete and Paul do within this classical tradition, blended from time to time on this album with their inspired incorporations of new music and jazz. This is not as far-fetched or radical as it may at first seem; both Indian classical musicians and modern jazz cats focus on improvisation on the main melody or idea, just as European players did in the Renaissance. (Bob Attiyeh, producer)

Les Arrivants is an ensemble composed of Amijai Ben Shalev (bandoneon), Abdul-Wahab Kayyali (oud) and Hamin Honari (tombak, daf, frame drums), three musicians who moved to Montreal during the COVID-19 pandemic. The repertoire developed by "Les Arrivants'' therefore reflects their experience of adaptation, which has had a lasting impact on their artistic and social lives. It is steeped in the traditional styles that the instrumentalists have mastered over the course of their careers: Argentinean tango, classical Arabic music, traditional Persian rhythms. This album is part of the Collection du Centre des musiciens du monde, a place where professional artists from an array of musical traditions, exchange ideas and share experiences.

Iberi invite you to a supra feast full of gorgeous Georgian polyphonic singing! With sacred songs, historical ballads, lullabies, work songs and ‘table songs’ for feasting, they celebrate the age-old tradition of supra and its popular toasting themes. This traditional style of polyphonic singing is inscribed in UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. Iberi have released an accompanying cookbook to provide the full Georgian experience – the holy trinity of food, wine and song! “They look like warriors and sing like angels!” (Nick Hobbs, Charmenco Music Agency)