Reviews
The Stolen Cello
When Redi Hasa arrived in Italy as a refugee from Albania, the only possession he took with him was his...
Reviewed by Nigel Williamson in issue: December/2020
The InCider Sessions
Whatever fiddler Adam Summerhayes is on, I want some. He’s known for his formidable talent in classtcal and tolk traditions,...
Reviewed by Nathaniel Handy in issue: December/2020
Play at Night
Play at Night is a remarkable release that questions roots, routine and reality. Artist Devi Mambouka grew up in Gabon,...
Reviewed by Alex De Lacey in issue: December/2020
Sam Amidon
Sam Amidon, the radical recombinator of traditional folk music, has concocted a delightfully diabolical set of experiments, unleashing a Frankenstein’s...
Reviewed by Doug Deloach in issue: December/2020
Beats Vol 2
With over 20 years’ experience of recording and performing both traditional and contemporary Pacific music, Te Vaka have always been...
Reviewed by Seth Jordan in issue: December/2020
Across the Western Ocean
The second album of shanties and songs of the sea from Pressgang Mutiny since they came together in 2013 in...
Reviewed by Kevin Bourke in issue: December/2020
J’ai Traversé La Mer
Apparently involved in the avant-garde scene, Edmony Krater brings none of that malarkey here, as he subjects his Guadeloupean heritage...
Reviewed by Martin Longley in issue: December/2020
The Harry Smith B-Sides
Harry Smith’s legendary six-LP series, Anthology of American Folk Music, surely stands as the most influential collection of early 20th...
Reviewed by Nigel Williamson in issue: December/2020
Azymuth JID004
Revered Brazilian jazz-funk trio Azymuth continue to amaze, as much for their longevity (they came together in 1972) and productivity...
Reviewed by Jane Cornwell in issue: December/2020
