Reviews
Ayú
Making music with their bodies is ‘what really matters,’ assert this mixed-gender 15-strong collective from São Paulo. While there are...
Reviewed by Mark Sampson in issue: Jan/Feb/2017
Join Forces
The rousing harmonies are spot-on, the melodies are gorgeous, the bluesy banjo playing is nifty and there's some excellent old-time...
Reviewed by Matt Milton in issue: Jan/Feb/2017
Widdershins
Sarah-Jane Summers & Juhani Silvola
Sarah-Jane Summers and Juhani Silvola have an instinctive, magical musical relationship. Summers’ Scottish heritage (manifest in her work with the...
Reviewed by Fiona Talkington in issue: Jan/Feb/2017
CantöRiöndö
The spirit of Genoa resounds through this celebration of the singing circle of trallalero – a form of urban traditional...
Reviewed by Ciro De Rosa in issue: Jan/Feb/2017
Melting Pot
If you think of steel pan music as nothing but boring standards by a bored-looking busker, then Melting Pot will...
Reviewed by Chris Moss in issue: Jan/Feb/2017
Transitional Times
Bai Konté, the grandfather of Dawda Jobarteh, was responsible for some of the classical kora repertoire still played today and...
Reviewed by Nigel Williamson in issue: Jan/Feb/2017
Cuba in America 1939-1962
We tend to think of the pre-revolutionary period in terms of Americans in Cuba, and the associated clichés: gangsters, gambling,...
Reviewed by Chris Moss in issue: Jan/Feb/2017
Karkadé
Egyptian-born Mohamed Abozekry is the latest in an illustrious line of oud players from the Arab world who have graced...
Reviewed by Daniel Brown in issue: Jan/Feb/2017
Prince of the Violin
Sami al-Shawwa (1885-1965) introduced the Western violin to Cairo, devising new techniques for it and reinvigorating the art of modal...
Reviewed by Martin Stokes in issue: Jan/Feb/2017
Canta Cartola
Cartola was perhaps the most exhilarating of all samba songwriters. Not the kind of samba like the frantic dance...
Reviewed by GonÇalo Frota in issue: Jan/Feb/2017
