Skip to main content

Al compas del mundo - programa #70 - international “semi-classical”, experimental, and other musics

Mother Falcon

Not sure exactly how to label all of the music in this week’s program. I tried out international “semi-classical” and that sort of, kind of, works for some cuts. The London Symphony Orchestra, Philip Glass, the Kronos Quartet, Lou Harrison are/were all unabashed classical musicians in the Western sense, yet are found here participating in the creation of worldly strains unrestrained by European precedents. Lambarena at the start, a tribute to Dr. Albert Schweitzer’s work in West Africa, crunches the boundaries of what you might hear in Bach’s home in Germany or back home in Gabon. Two stirring repertoires are better than one! Put Ravi Shankar and Philip Glass together (in their album “Passages”) and dueling cultures turn into a sweet embrace. Javad Maroufi plays classical music as well, Iranian classical. He does it all alone here with a piano and a noble strut. Play it at double-time and it might just recall a little ragtime…I wonder. Mother Falcon defines a sound all their own. Labeled as a symphonic rock band, and recruiting university-level music students, the band consisted of anywhere between a dozen and 18 performers when most active. In a live music-filled career, I have rarely witnessed a more unforgettable concert than Mother Falcon circa 2013 at a divey bar in San Francisco. Literally jammed together on a tiny stage their setting up was a riot all its own. But when that small army exploded into Dirty Summer, it was a wondrous, and thrilling moment. You weren’t there, you can’t feel it, but it sends chills down my spine still, so you’ll just have to believe me. Or look up one of their concerts from that time online. Funny how certain musical expressions can overpower and take us away. Must be magic!

MUSIC LIST  - international “semi-classical”, experimental, and other musics

First Broadcst 3-20-2023

01 Lambarena - Pepa Nzac Gnon Ma + Bach Prelude from Partita for Violin No.3 (Gabon and Europe)

02 Kronos Quartet with Hassan Hakmoun - Saade (I'm Happy) (USA and Marroco)

03 Toumani Diabate and the London Symphony Orchestra - Mamadou Kanda Keita (Mali and England)

04 Ravi Shankar and Philip Glass - Sadhanipa (India and USA)

05 Javad Maroufi - Jila (Iran)

06 Lou Harrison - Music for Violin & Various Instruments - III. Alegro moderato (USA)

07 Kepa Junkera & Cobla Sant Jordi - Bok Espok (Basque, Spain)

08 Mother Falcon - Dirty Summer (USA)

09 Joe Jackson – Passacaglia - A Bud and a Slice (Sloth) (England)

10 Charles Lloyd and Maria Farantouri - Greek Suite I Cactus  (USA and Greece)

11 Alasdair Fraser and Natalie Haas - Farewell to Nigg (Scotland and USA)

12 Kafka Ensamble - Mediu Xiga (Mexico)

 

Lou Harrison's version of a jug band seems to make him feel just fine



Comments

Popular posts from this blog

British Invasion - 1960s

I wanted to declare “Kick out the jams, mo’fos!” as a signpost towards the message in this week’s Al compás del mundo radio show, but that actually came about a little later. As humanity descended ever deeper into the Cro-Magnon state, Iggy Pop and the punks claimed that honor. What we have here instead, is a post-WWII let’s shake up the political order a bit, and no, not everyone has signed up to be an unconscious consumer attitude. There’s something afoot with these lads. Not exactly revolutionary fervor, but most certainly promoting a change in the general way of things. Recalling Che Guevara’s famous quote “Do Wah Diddy Diddy”, the Animals, Yardbirds, Rolling Stones et. al. pouted and preened – some more than others – in a way that hadn’t quite been done before. Youthful vigor ensued. These groups pushed the evolutionary chain of popular music a step further and we’re all better off for it.  Set list Al compás del mundo programa #183, 6-5-25 - The British Invasion, 1960s 01 Yar...

India y Nepal y Tibet

W here a human voice is heard in today’s program it’s often starkly different from what most Westerners might find pleasing and melodic.  But I must remind my listeners that the West probably did not invent the concept of vocalizing as accompaniment to plucked/blown/percussed musical instruments. Why do we sing in the style that we do? I imagine there are knowledgeable tomes wrestling with that idea. I ’ve read that vocals were meant to imitate the sounds made by instruments...or vice versa? The chicken or the egg? I’m not here to answer that question, in spite of the college course I had taken of “Music Cultures of the World” decades ago. What I offer is the opportunity to pay attention to and digest musical expressions performed by people steeped in the traditional ways of their culture.  T here is a geographic component to lumping together India, Nepal and Tibet as the Himalayas served to isolate and circumscribe the peoples of those northern regions. But here’s where I fud...

Guitarras del mundo

  Choosing music and writing about “the guitar” opens many doors. I could have gone off in any number of directions and with a singular narrow focus - but I didn’t. Instead, I threw a whole bunch of varied tunes against a wall to see which ones stuck. Sometimes there’s a continuity and other times none: just two aesthetically pleasing pieces that worked well in tandem and, hopefully, were preceded and followed with similar morsels. Usually, that is how these programs come together. I receive a divinely inspired revelation for a certain theme, region, or style of music and build it from there. Baden Powell, Brazilian beatnik poet and guitar master, seemed to me an obvious choice to begin the program. From there (as you can well see) we stick around Latin America a bit; segue into Spain, notorious as a guitar hotbed; head South to North Africa for the venerable Bombino (yes, again!) and more of that desert blues ilk; logically morph into a short blues set and settle at the bottom sid...