Oud Dog, New Tricks: DuOud and "Nude for Death"

The great master oud player Rahim AlHaj once told us (Megan and me) about the relationship he developed with his oud. To him, the oud was like a living person, like a friend or parent or even a lover. When he first got one, he couldn't be separated from it and even slept with it. That to me encapsulates the kind of passion that the oud inspires in its players and adherents. As I've gotten to know some of the music and history of the oud, it seems to me that it is analogous to western classical guitar. I've heard a lot of oud in Arabic classical music, and it always came across to me as a stately, refined instrument. Then comes DuOud, which incorporates the oud into modern music, and yet does not diminish the elegance of the oud at all.

Now that might seem strange given today's song. Nude for Death is by the Paris-based DuOud. DuOud is made up of Algerian Mehdi Haddad and Tunisian Jean-Pierre "Smadj" Smadja, who specialize in Arabic fusion and a desire to reinvent the image of the oud, one of the traditional instruments of Arabic music. What DuOud do is mix oud with all kinds of stuff - jazz saxophone, guitar, samples, beats, and even African vocals. And yet still, at the base of it all, sits the majestic oud. Nude for Death appears on their 2009 CD http://www.theguardian.com/music/2009/mar/19/worldmusic. (Not sure why on this video, but even though the video is over 7 minutes long, the song ends at about 4:50 in and then it's just silent)

Occupied by Brazilian Music: Bixiga 70 and "Kalimba"

I have waxed rhapsodic about how much I have enjoyed discovering Brazilian music, in its many styles and rhythms. While I have yet to go to South America, I feel like it is a bucket list destination for me, even if I just went for the music alone. In one country Brazil has an astounding variety of music. Of course, early in my musical education I thought Brazil was all bossa nova and samba. However, I didn't take into account the variety of African influences in Brazilian music, even though the clues are plain for anyone who scans a Brazilian crowd and sees the various hues of skin pigmentation. The Brazilian music that I most often heard was of the type that was heavily jazz influenced (jazz itself is very influenced by African music as well). Growing up in the 70s, it was certain types of Brazilian music that made it to the radio waves - types that would appeal to the American listening palate.

Groups like Bixiga 70 have opened my eyes in the way that they have consciously drawn on African roots of Brazilian music and made its rhythms front and center along with other genres. An example is today's tune Kalimba. Using an African guitar backing melody with African drums and a Latin style melody driven by horns, but also allowing for a modern rock style guitar solo, the song is a melange of styles. And in fact, that's what Bixiga 70 does - they combine African, Brazilian, Latin and jazz rhythms and music into a comprehensive worldbeat. The name of the band is taken from the neighborhood and street number where the band was born in Sao Paolo in 2010. The band has a wide range of influences, from Brazilian musicians such as Gilberto Gil, Pedro Santos and Luiz Gonzaga, among others, but also African musicians such as Fela Kuti and Mulatu Astatke. The band released its first album in 2011, which was listed by Rolling Stone as one of the best of that year. Kalimba is from their newest album, Ocupai, released in 2014. The video is a live version of the song.

DakhaBrakha in Albuquerque Video 2

Here is the second video of DakhaBrakha's performance in Albuquerque on December 1, 2012 at the Dirty Bourbon Dancehall and Saloon. This song is Sho z-pod duba, one of my favorites by them. I hope you enjoy it too! Shot on my Samsung Galaxy phone and edited on YouTube - it has good sound!

Dawn Glory: Värttinä and "Aamu"

Dawn, when I actually am awake or paying attention, is a glorious time. It is a time of discovery, or rediscovery of things that we may have noticed before, but when we see it in a different light or at the beginning of the day it takes on a whole new significance. In a way, exploration of global music has been like that for me, and even as I listen to a song again that I may have heard before, I can also hear something new in the song. Värttinä is one of those groups - a group that I was listening to in the 1990s but when I go back to that initial album, I still love it and still hear new things.

Värttinä is a Finnish folk group founded in 1983 by sisters Sari and Mari Kaasinen, who had performed together reading poetry in the 1970s. In 1983, the sisters formed Värttinä and entered a youth arts contest with their poetry reading. They made it into the finals that first year, and the next year changed the group to focus on singing and won the event. They brought on some male members in 1985 and entered the Kaustinen Folk Music Festival, becoming known as the group that sings high and loud. In 1987, at the Kaustinen Folk Music Festival, they were chosen "Ensemble of the Year," and in 1988 they released their first album. In the early 1990s, they moved to Helsinki and began training at the Sibelius Academy and perfecting their skills. At first, the band stuck to traditional Finnish folk songs, but in the mid-1990s began playing its own original compositions. Over the years the band has had many forms and lineup changes, and is currently made up of three female vocalists and three acoustic musicians. They have performed worldwide to international acclaim and have released 14 albums, including 3 compilation albums and one live CD. This song, Aamu, is from their 1998 album Vihma.

DakhaBrakha in Albuquerque Video 1

The Ukrainian group DakhaBrakha performed in Albuquerque on Monday, December 1 at the Dirty Bourbon Dancehall and Saloon and I was glad to see them for a second time. The performance was arranged by AMP Concerts and Avokado Artists. I first saw them at Globalquerque two years ago. They seemed to be in a playful mood as they wowed the crowd with a variety of genres, often in the same songs. This video is of their opening number, and was filmed on my little Samsung phone and edited with YouTube. The sound is very good quality.

Sooner or Later: Beausoleil and "Carencro"

At some point, when you work with Cajun/Creole music involving Louisiana artists, you will run into Beausoleil. And you should. This group is one of the preeminent groups in music of this genre. I think that possibly the first Cajun/Creole/Zydeco album I owned was by Wayne Toups and Zydecajun because I had seen them perform in concert. But I'm sure the second album of that genre that I owned was a Beausoleil album. They are a bit more low key than some of the more animated zydeco bands, though they draw on that tradition. This probably comes from the fact that they tend to be a bit more rooted in traditional folk. However, the music they present is exciting and fun, and because of their efforts, they are one of the few bands in this genre that have won a Grammy award.

Beausoleil was founded in 1975, released its first album in 1977 and became one of the most well-known groups from playing traditional and original music in the Creole tradition of Louisiana. They have also gone beyond the traditional, incorporating rock and roll, jazz, blues, calypso and other genres. They are an extensive touring band, and they sing in both English and Colonial Louisiana French. The band takes its name from Joseph Broussard dit Beausoleil, who led the Acadian resistance to British deportation from Canada and led 193 exiles to safety in Louisiana. The band almost didn't come to be - Michael Doucet, one of the founders, was going to New Mexico to study Romantic Poets, but he won a Folk Arts Apprenticeship sponsored by the National Endowment for the Arts. As he puts it: "I traded William Blake for Dewey Balfa," and he sought out every living Cajun/Creole performer to learn what he could about Cajun music and their techniques. He even encouraged some to resume performing. They are one of the few Creole/Cajun groups to win a Grammy. This song, Carencro, is from their 2013 CD From Bamako to Carencro.

Two of the Top 100: Ali Farka Touré and Ry Cooder with "Diaraby"

When two of the top 100 of anything show up at a party, it immediately goes from run of the mill gathering to gala event. Just like an awards show advertised on television, where some second tier stars are scheduled to perform or read the award winners and then someone like Scarlett Johansson or Bruce Springsteen commits to appearing and the awards show suddenly becomes "star-studded" and "a very special night." Well, today's random music selection has all of that, because we have Ali Farka Touré and Ry Cooder. In case you wonder why that makes it so special, well, let's just forget for a moment that these two musicians are world renowned. Let's put aside that Touré helped define "world music" and that Cooder has made significant contributions of his own through his explorations of roots music and his collaborations with international artists such as Touré and the Buena Vista Social Club. Let's also not consider, for the moment, the huge international appeal that these two musicians had and continue to have.

No, let's rest it on this. In 2003, David Fricke proposed a list of the top 100 guitarists of all time. Ry Cooder is #8, and Ali Farka Touré is #76 on his list. In 2011, Rolling Stone came out with a list made up of the opinions of a number of music critics, and Ry Cooder made #31 on that list. Touré was not on that 2011 list, probably (in my opinion) because many people hadn't heard him or heard of him and didn't appreciate his contributions not only to African and world music but also our understanding of the blues. Of Cooder, Rolling Stone said:

As a sideman, Cooder has brought true grit and emotional nuance to classic albums by Randy Newman, the Rolling Stones and Eric Clapton. Cooder is also a soulful preservationist, keeping vital pasts alive and dynamic in the modern world. A good example: the night Bob Dylan showed up at Cooder's house asking for a lesson on how to play guitar like the bluesman Sleepy John Estes.

Of Touré, Fricke wrote:

The Malian singer and guitarist is often compared to John Lee Hooker, though that's too easy. He has clearly been influenced by rural blues, but Toure is a technical marvel, and his delicately plucked clusters and blindingly fast runs gather influences from African hymns to folk songs.

Ali Farka Touré was a Malian singer, multi-instrumentalist and one of the most renowned African musicians. His music fits right into the intersection of traditional Malian music and North American blues. Known as the "African John Lee Hooker," he sang in several African languages. In 2004, he became mayor of a small town and spent his own money on improving infrastructure. He died in 2006 of bone cancer. Ry Cooder is an American producer and guitarist known for his slide guitar and his interest in roots music. He has collaborated with many musicians both from the US and abroad, and his albums have covered many different genres, including folk, blues, Tex-Mex, soul, gospel and rock among others. He also produced the worldwide hit album Buena Vista Social Club.

This song, Diaraby, is from their Grammy-award winning collaboration Talking Timbuktu (1994). Enjoy your star-studded, very special daily tune!