Nestor Amaral And His Continentals – Holiday In Italy (1957)

FrontCover1Back from my holidays in Italy:

Nestor Amaral (São Paulo, 16 September 1913 – Los Angeles, 26 February 1962) was a Brazilian musician, composer and singer.

An accomplished Brazilian musician, Nestor Amaral had a career in Argentina and was part of the Bando da Lua – replacing Aníbal Augusto Sardinha – accompanying Carmen Miranda to the United States in the early 1940s. Alongside Carmen and the Moon Gang, Amaral appeared in films such as It Happened in Havana (1941), My Brazilian Secretary (1942), Between the Blonde and the Brunette (The Gang’s All Here) (1943), and Copacabana (1947). Besides having participated in the soundtrack of the film Você Já Foi a Bahia? where he sings the English lyrics of the song Na Baixa do Sapateiro by Ary Barroso. Other participations include: The Promised Song alongside Danny Kaye and Virginia Mayo, and in Romance on the High Seas (1948) where she sings with Doris Day the song It’s Magic, nominated for an Academy Award for Best Original Song.

In 1957, he released the album Holiday in Brazil already as Nestor Amaral And His Continentals.

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He died of a heart attack on 26 February 1962, and was buried in Los Angeles, California.[3]
Personal life

Nestor Amaral was the brother of São Paulo singer Roberto Amaral, and settled permanently in the United States, where his son, designer producer Roy Alan Amaral was born on 25 September 1950. (wikipedia)

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And here´s a nice “holiday” album with beautiful melodies from the old Italy … sweet memories …


Nestor Amaral (violin, guitar, mandolin)
his Continentals

Nestor Amaral03Tracklist:
01. O Sole Mio! (My Sun) 2.24
02. Funiculi Funicula 2.17
03. Oh, Marie 2.48
04. Anema E Core (With All My Heart And Soul) 2.37
05. Vieni, Vieni 2.10
06. Torna A Surriento (Come Back To Sorrento) 2.52
07. Ciribiribin 2.23
08. Chitarra Romana (Roman Guitar) 2.54
09. Vieni Sul Mar (Come To The Sea) 2.13
10. Tango Delle Rose (Tango Of Roses) 3.00
11. Reginella Campagnola (Woodpecker Song) 2.15
12. Te Voglio Bene (I Love You So) 2.42
13. Mattinata (I’m Always The One) 2.52
14. La Spagnola 1.54



Michael Patrick Kelly – Ruah (2016)

FrontCover1Best known as the third youngest member of the eccentric, award-winning, traditional German/Irish band the Kelly Family (also known as “the Kellys”), Michael Patrick Kelly (* December 5, 1977 in Dublin), who also goes by the name Paddy Kelly, was born in Dublin, Ireland on December, 5, 1977 to American teacher Daniel Jerome Kelly and American dancer Barbara Ann Kelly.

Kelly spent his formative years busking and performing with his multi-generational family troupe throughout Europe and the United States.

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By the time the mid-’90s rolled around, the Kelly Family had become an international tour de force, and the multi-talented “Paddy” had become a bit of a teen idol. Overwhelmed by the media attention and overall stresses of public life, Kelly quit the family business in 2004 (after issuing his debut solo album In Exile the year prior) and spent six years in a monastery in France, where he sought to gain some personal perspective after a largely nomadic early life. In 2010 he decided to return to writing and recording music, and in 2015 he issued his second solo outing, Human, via Sony Music. Ruah, Kelly’s third album, appeared in September 2016, followed quickly in June 2017 by iD. (James Christopher Monger)

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And here´s  very special album by Michael Patrick Kelly:

Last year, Michael Patrick Kelly finally stepped out of his family’s shadow. “Human” was well received and showed the artist as a mature songwriter. Only one year later, the Irishman presents the spiritual album “Ruah” (Hebrew for ‘spirit’). Kelly lived in seclusion for six years in a Catholic monastery in the north of France. The longplayer offers insights into this religiously influenced time.

The title track with the accompanying “Prologue” is well chosen as an introduction: With mythical sounds and flowing rhythms, Kelly sings to the Holy Spirit to take him to higher things. The following single, “I Have Called You”, drips with restraint and tenderness, telling of the Lord’s unconditional love.


Almost every song title is about religion and spirituality. The touching ballad “Don’t Judas Me” is of course about betrayal. In “Abba! Father!” Kelly loudly calls on the Lord, ‘Abba’ being from Aramaic and meaning Jesus’ personal address to his Father and Creator. “Agape” is a Christian term and stands for divine love – in this song Michael Patrick thanks God and pledges his allegiance to Him. In the chorus, however, the campfire atmosphere of the Kelly Family sparkles through a little.

Nevertheless: So far, Michael’s religion lesson is not particularly rousing, rather bland: Kelly never breaks out of his soft singer/songwriterism. Fortunately, the fellow believer has three more interesting pieces in his luggage.


For example, “Seinn Aililiú”, sung entirely in Gaelic. Kelly’s echoing vocals, an Italo-Western guitar and spherical synths create an Elysian atmosphere. When the drums and choir start in the chorus, goose bumps are the order of the day. Even associations with the theme of the Fanatasy video game “ICO” come to mind.

Then the eulogy “Ô Prends Mon Âme”, performed in French, which means something like ‘Oh, take my soul’. Kelly sings velvety soft and unagitated, guitar and glockenspiel sound gently in the background, his breathed vocals captivate the listener for almost four minutes.


Kelly even sings the closing track “Salve Regina” in Latin. A conciliatory, dreamy arrangement with guitar and piano as well as the singer’s good voice end his very personal religion lesson.

You have to give Kelly credit for the fact that with “Ruah” he has recorded neither an overcandid nor a ‘children’s Bible weekend tralala’ album. The record spreads intimacy and melodiousness – as far as one can get involved with the religious theme. (Johannes Jimeno)


Lars Ehrhardt (guitar on 02.)

Christian Heidenbauer (guitar on 02., 04., 05., 06., 07., 08.)

Michael Patrick Kelly (vocals, guitar, keyboards, percussion)
Niels Lorenz (bass)
Tim Lorenz (drums)
Leo Pearson (pedal steel-guitar on 02., 06. percussion 0n 04.)
Nils Ruzicka (piano on 03., 05.)
Christoph Van Hal (flugelhorn on 04, 08., 09. vibraphone on 04., trombone on 08, )
Dondieu Divin (piano on 11.)
Jack Gourlay (guitar on 05., 07., 10.)
Simon Kluth (violin on 08. + 10., viola on 10.)
Dirk Schulz (guitar on 11.)
Richard Rainey – Nils Ruzicka
background vocals:
Lars Peter – Laura Bellon – Sebastian Cuthbert – Paul Habsburg
Cois Cladaigh Chamber Choir (on 06. + 10.)
Emmanuel School Of Mission Altötting, Gebetshaus Augsburg (background vocals on 07.)
The Polish Chamber Philharmonic Orchestra conducted by Martin Pospieszalski & Prof. Wojciech Rajski (on 08.)


01. Prologue (Kelly) 1.02
02. Ruah (Kelly) 3.49
03. I Have Called You (Kelly) 3.52
04. Walk The Line (Kelly) 4.05
05. Don’t Judas Me (Kelly) 3.42
06. Seinn Aililiú (Traditional) 4.39
07. Abba! Father! (Kelly) 5.20
08. Holy (Kelly) 6.38
09. Ô Prends Mon Âme (Cohen/Arnera) 3.42
10. Agape (Kelly) 4.42
11. Salve Regina (Latin) (Kelly/v.Reichenau) 4.09




The official website:

Ibrahim Ferrer – Buena Vista Social Club Presents Ibrahim Ferrer (1999)

FrontCover1Ibrahim Ferrer (February 20, 1927 – August 6, 2005) was a Cuban singer who played with Los Bocucos for nearly forty years. He also performed with Conjunto Sorpresa, Chepín y su Orquesta Oriental and Mario Patterson. After his retirement in 1991, he was brought back in the studio to record with the Afro-Cuban All Stars and Buena Vista Social Club in March 1996. He then toured internationally with these revival groups and recorded several solo albums for World Circuit before his death in 2005.

Ferrer was born at a dance club in San Luis, near the city of Santiago de Cuba. His mother died when he was 12, leaving him orphaned and forcing him to sing on the streets (busk) to earn money.

The following year, Ferrer joined his first ever musical group—a duet with his cousin—called Jovenes del Son (Spanish: Youths of Rhythm). They performed at private functions and the two youths managed to scrape together enough money to live.

Over the next few years, Ferrer would perform with many musical groups, including Conjunto Sorpresa and Chepín y su Orquesta Oriental. As lead singer of the latter, Ferrer recorded in 1956 his biggest hit: “El platanal de Bartolo”. In 1961, he also sang lead for Mario Patterson y su Orquesta Oriental on “Cariño falso”, a standard of the guaracha repertoire.

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In 1953, Ferrer began performing with Pacho Alonso’s group in Santiago, Cuba. In 1959, the group moved permanently to Havana, renaming themselves Los Bocucos, after a type of drum widely used in Santiago, the bocú. With Alonso, Ferrer primarily performed sones, guarachas and other up-tempo songs. However, he yearned to sing boleros.

Ferrer remained a member of Los Bocucos until his retirement in 1991. Starting in 1967, Los Bocucos became an independent group, since Pacho Alonso started a new band, Los Pachucos. Since then, Ferrer began to sing lead more often, instead of performing as a backing singer. The group released several LPs in the 1970s and 1980s. In 1998, Cuban label EGREM released on CD Tierra caliente, a compilation of tracks recorded by Los Bocucos between 1970 and 1988, featuring Ferrer as lead singer. The songs were directed and arranged by Roberto Correra, the group’s lead trumpeter.

In 1996, Ferrer took part in Nick Gold’s World Circuit sessions, when it was announced that an old-style bolero singer would be required. He first participated in the recording of the album A Toda Cuba le Gusta with the Afro-Cuban All Stars, which was nominated for a Grammy Award. This project was immediately followed by the recording of Ry Cooder’s Grammy Award winning Buena Vista Social Club album, which showcased Ferrer’s talent as a bolero singer and made him widely known outside Cuba.

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In 1999, Ry Cooder recorded Ferrer’s first solo album. In 2000, Ferrer, at the age of 72, received a Latin Grammy for Best New Artist.

In 2001, he appeared on the track “Latin Simone (¿Qué Pasa Contigo?)” on the self-titled debut album of virtual band Gorillaz. Following Ferrer’s death, Gorillaz played the song live as a tribute to him at concerts in 2005 and 2006, and again in 2018.

In 2004, Ferrer won a Grammy, but was denied permission by the U.S. government to enter the U.S. to receive his award” as a result of extremely restrictive visa laws enacted in the wake of 9/11.

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Ferrer released his second solo recording, Buenos Hermanos, in 2003 and continued touring in Europe into 2005. Ferrer’s contributed in 2005 to the APE Vision Artists Project Earth album Rhythms Del Mundo: Cuba, a collaboration with artists Coldplay, U2, Sting, Dido, Faithless, Jack Johnson, Maroon 5 and others. Ferrer’s last recording was Mi sueño, an album devoted to the bolero. It was released posthumously in 2006.

Ferrer was posthumously featured in the Gorillaz documentary films Bananaz and Reject False Icons in 2008 and 2019, respectively.

Ibrahim Ferrer died at age 78 of multiple organ failure on August 6, 2005, at CIMEQ hospital in Havana, Cuba after returning from a European tour.[6] He was buried in the Colón Cemetery, Havana.

Ferrer was an adherent of the Santería faith, a blending of traditional African religions and Catholicism (wikipedia)

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And here´s his first solo-album:

When the Buena Vista Social Club album was released to great acclaim in 1997, it revived the careers of quite a few incredibly talented aging Cuban musicians. Like Ibrahim Ferrer, most of those musicians (who had been legendary in the ’40s through the ’70s) hadn’t been performing professionally in decades. With the success of the Buena Vista Social Club, everything changed; they toured the globe, and plans for follow-up albums followed. Ibrahim Ferrer’s was the second of what became a line of Buena Vista releases, all hoping to cash in on the success of the first.


Ferrer’s album is pleasant, the kind of album you could put on during brunch on a sunny morning. The album features many classic Cuban compositions. Original arrangers, musicians, and bandleaders were involved whenever possible. One standout is “Mami Me Gusto,” a rolling upbeat tune by the legendary Cuban composer/bandleader Arsenio Rodriguez. On that tune Ferrer is lively and loose, and he is joined by Rodriguez’s original pianist, the masterful Ruben Gonzales. The rest of the album is nice, but rarely as inspired or joyous as the original Buena Vista release. This is a much more romantic sounding album and on the right tunes, like “Aquellos Ojos Verdes,” they really hit the mark; Ferrer shines and Gonzales sends glistening piano lines cascading down the keys. At age 63-plus, Ferrer was long overdue for a debut album, and as a result the disc communicates a feel of easy satisfaction. If you’re looking for classy cocktail party music that will hold the attention of music fans, and won’t bother the uninterested, look no further.  (by David Lavin)


Joachim Cooder (udu drum, dumbek, drums)
Ry Cooder (guitar)
Ibrahim Ferrer (vocals)
Ibrahim Ferrer Jr. (clave)
Manuel Galbán (guitar)
Rubén González (piano)
Eliades Ochoa (guitar)
Papi Oviedo (tres)
Barbarito Torres (laúd)
Alberto “Virgilio” Valdés (maracas)
Amadito Valdés (timbales)
Ángel Terry Domech – Roberto García – Carlos González
Manuel “Guajiro” Mirabal – Octavio Calderón – Carmelo González – Yanko Pisaco Pichardo –  Alejandro Pichardo Pérez – Daniel Ramos
Carlos Montenegro Ruíz – José Ramírez Nurque – Antonio Francisco Jiménez Sánchez – Braulio Hernández Rodríguez – Adrian Corzo González – Gil Bernal
Jesús “Aguaje” Ramos – Jorge Leal – Alberto Muñoz
Lázaro Ordóñez Enríquez – Julián Corrales Subidá – Alyoth Marichal Castillo – Pedro Depestre González – José Conyedo Román – José Pérez Fuentes – Ariel Sarduy Méndez –Rogelio Martínez Muguercia – Humberto Legat Yera
Rafael Cutiño Diequez – Angél Zaldívar Copello – Lenor Bermúdez Bermúdez
Angél Zaldívar Copello – Roy Ávila Serrano
Andrés Escalona Graña – Aleida Espinosa – Orlando “Cachaíto”
José Antonio “Maceo” Rodríguez – Michelle Alderete Espigul – Estela Guzmán Vega – Laura Flores Hernández – Odette Tellería Orduña
background vocals:
Pío Leyva – Manuel “Puntillita” Licea – Lázaro Villa – Teresa García Caturla – Omara Portuondo – José Antonio “Maceo” Rodríguez


01. Bruca Maniguá (Rodríguez) 4.43
02. Herido De Sombras (Francia) 4.11
03. Marieta (Oramas) 5.55
04. Guateque Campesino (Romero) 5.09
05. Mami Me Gustó (Rodríguez) 5.04
06. Nuestra Ultima Cita (Medina) 3.57
07. Cienfuegos Tiene Su Guaguanco (Lay) 5.22
08. Silencio (Hernández) 4.38
09. Aquellos Ojos Verdes (Menendez/Utrera) 4.54
10. Qué Bueno Baila Usted (Moré) 4.39
11. Como Fue (Duarte) 3.33





Ibrahim Ferrer06

Ry Cooder – Chicken Skin Music (1976)

FrontCover1Yesterday he celebrated his 75th birthday !

Ryland Peter “Ry” Cooder (born March 15, 1947) is an American musician, songwriter, film score composer, record producer, and writer. He is a multi-instrumentalist but is best known for his slide guitar work, his interest in traditional music, and his collaborations with traditional musicians from many countries.

Cooder’s solo work draws upon many genres. He has played with John Lee Hooker, Captain Beefheart, Gordon Lightfoot, Ali Farka Touré, Eric Clapton, The Rolling Stones, Van Morrison, Neil Young, Randy Newman, Linda Ronstadt, Vishwa Mohan Bhatt, David Lindley, The Chieftains, The Doobie Brothers, and Carla Olson and The Textones (on record and film). He formed the band Little Village, and produced the album Buena Vista Social Club (1997), which became a worldwide hit; Wim Wenders directed the documentary film of the same name (1999), which was nominated for an Academy Award in 2000.

Rc Cooder

Cooder was ranked at No. 8 on Rolling Stone magazine’s 2003 list of “The 100 Greatest Guitarists of All Time”, while a 2010 list by Gibson Guitar Corporation placed him at No. 32. In 2011, he published a collection of short stories called Los Angeles Stories.

Ry Cooder

Chicken Skin Music is Ry Cooder’s fifth studio album, released in 1976, on the Reprise label. (wikipedia)

Ry Cooder has always believed in the “mutuality in music,” and this may be no more evident in his career than with his fifth album, Chicken Skin Music (a Hawaiian colloquialism, synonymous with goosebumps). Even more than usual, Cooder refuses to recognize borders — geographical or musical — presenting “Stand By Me” as a gospel song with a norteño arrangement, or giving the Jim Reeves country-pop classic, “He’ll Have to Go,” a bolero rhythm, featuring the interplay of Flaco Jimenez’s accordion and Pat Rizzo’s alto sax. Elsewhere, he teams with a pair of Hawaiian greats — steel guitarist and singer Gabby Pahinui and slack key guitar master Atta Isaacs — on the Hank Snow hit “Yellow Roses” and the beautiful instrumental “Chloe.”


If Cooder’s approach to the music is stylistically diverse, his choice of material certainly follows suit. Bookended by a couple of Leadbelly compositions, Chicken Skin Music sports a collection of songs ranging from the aforementioned tracks to the charming old minstrel/medicine show number “I Got Mine” and the syncopated R&B of “Smack Dab in the Middle.” Also included is Appalachian songwriter Blind Alfred Reed’s “Always Lift Him Up,” complete with a Hawaiian gospel tune, “Kanaka Wai Wai,” woven into the instrumental section. As he explains in the album’s liner notes, Cooder understands the connection between these seemingly disparate styles. This is not merely eclecticism for its own sake. Chicken Skin Music is probably Ry Cooder’s most eccentric record since his first, but it’s also one of his most entertaining. (by Brett Hartenbach)


Red Callender (bass)
Ry Cooder – bajo sexto, mandola, bottleneck guitar, french accordion, electric guitar, slack-key guitar, tiple, hawaiian guitar, vocals)
Chris Ethridge (bass)
Milt Holland (drums, percussion)
Jim Keltner (drums)
George Bohanon (baritone horn on 02.)
Oscar Brashear (cornet on 02.)
Isaac Garcia (drums on 09.)
Hugo Gonzales (bajo sexto on 09.)
Atta Isaacs (slack-key, guitar on 08.)
Fred Jackson Jr. (saxophone on 02.)
Flaco Jiménez (accordion on 04., 06. + 09.)
Henry Ojeda (bass on 09.)
Gabby Pahinui (steel guitar on 08.)
Benny Powell – trombone on 02.)
Pat Rizzo (saxophone on 04.)
Russ Titelman (bajo sexto on 06.)
Frank Villarreal (saxophone on 09.)
background vocals:
Jimmy Adams -Terry Evans – Cliff Givens – Laurence Fishburne – Bobby King – Herman E. Johnson

01. The Bourgeois Blues (Leadbelly) 3.25
02. “I Got Mine” Traditional; based on Pink Anderson’s version 4:28
03. “Always Lift Him Up/Kanaka Wai Wai” Blind Alfred Reed/Traditional 6:01
04. “He’ll Have to Go” Joe Allison, Audrey Allison 5:07
Side twoNo. Title Writer(s) Length
05. “Smack Dab in the Middle” Charles E. Calhoun 3:18
06. “Stand by Me” Ben E. King, Jerry Leiber, Mike Stoller 3:38
07. “Yellow Roses” Ken Devine, Sam Nichols 6:11
08. “Chlo-e” (instrumental) Gus Kahn, Neil Moret 3:00
09. “Goodnight, Irene” Lead Belly, John Lomax 4:32




More from Ry Cooder:

The official website:

Ladysmith Black Mambazo – Journey Of Dreams (1988)

FrontCover1Founded by Joseph Shabalala during the 1960s, Ladysmith Black Mambazo is a Grammy-winning choral group from South Africa. Specializing in isicathamiya, a harmony-focused Zulu style of a cappella and offshoot of mbube, they became known to pop audiences around the world when Paul Simon featured them on his 1986 album Graceland. After joining Simon on his 1987 Graceland tour, they became regular headliners on the international touring circuit.

Born in 1941, Shabalala was one of eight children in a family that lived on a farm near the town of Ladysmith, South Africa. As the oldest boy, it was Joseph’s duty to take care of the family after his father died, and he eventually took up factory work.

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His first musical experience, save for a bit of fooling around on the guitar, came with a choral group called the Blacks. Shabalala eventually took over leadership of the group and became its main composer. The Blacks won the majority of the local vocal competitions and became the most popular Zulu vocal group, but Shabalala felt that something was missing. “I had been hearing a voice inside me,” he said. “I didn’t know it, but it was the voice of God.” Shortly thereafter he became a Christian. Blending the choral music he heard in the Christian church with multiple elements of the Zulu tradition not typically combined, he forged his own style.

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When the Blacks refused to take part in Shabalala’s experiments, he formed Ladysmith Black Mambazo. The group consisted of seven bass voices, an alto, a tenor, and Shabalala singing lead. After signing with Gallo Record Company, their recording debut, Amabutho, arrived in 1973. The combo began releasing albums at a staggering rate, creating a massive catalog of vocal music.

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After Ladysmith Black Mambazo contributed to the eclectic mix of styles on Simon’s international hit Graceland and joined him on the subsequent tour, Simon produced a trilogy of Warner Bros. releases for the group. Shaka Zulu, released in 1987, won a Grammy for Best Traditional Folk Recording. It was followed by 1988’s Journey of Dreams and 1990’s Two Worlds One Heart. Among continued releases for other labels, including Gallo, a pair of best-of samplers appeared on Shanachie, including 1992’s Best of Ladysmith Black Mambazo. The 2000 compilation In Harmony was issued by Wrasse. The group won another Grammy for 2004’s Raise Your Spirit Higher, this time for Best Traditional World Music Album, and No Boundaries, which featured the English Chamber Orchestra, arrived on Headsup Records in 2005. In 2007, Ilembe: Honoring Shaka Zulu was released in South Africa with an American edition following in 2008. It took home the Grammy for Best Traditional World Music Album, and Live: Singing for Peace Around the World won the Best World Music Album Grammy in 2013.

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With a lineup featuring four of Joseph Shabalala’s sons, who by that point had sung with the group for over 20 years, Ladysmith Black Mambazo released Songs of Peace & Love for Kids & Parents Around the World in 2017. Joseph Shabalala died in Pretoria, South Africa on February 11, 2020. (by by Marcy Donelson)

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Amazing sounds of Africa, melodies that one has heard allover the world at one point or another, melodies that have touched your heart.
Their ability to sing these traditional songs in an expressive manner, even if you don’t understand the lyrics, you will feel the emotions.
It makes me very melancholic to think of the love expressed, for a country so beautiful yet dangerous. A country so rich yet robbed misused and exploited.
It touches my heart to listen to the songs and feel the love for their beloved south Africa. (Carmelina)

The labels from South Africa:
Labels(South Africa)

I love the complex harmonies of this a capella ensemble …  They blend their voices so well.

A great additon to ever World Music collection !


Jockey Shabalala – Jabulani Dubazana – Inos Phungula – Ben Shabalala – Geophrey Mdletshe – Headman Shabalala – Milton Mazibuko – Funokwakhe Mazibuko – Joseph Shabalala Walter Malinga – Russel Mthembu


01. Umusa Kankulunkulu 3.26
02. Lindelani 3.55
03. Ukhalangami 3.15
04. Bavimb’indlela 3.18
05. Bhasobha 3.18
06. Nomakanjani 3.23
07. Hamba Dompasi 3.39
08. Ungayoni into Enhle 4.11
09. Amaphiko Okundiza 5.06
10. Wayibambezela 5.37
11. Ungakhohlwa 3.23
12. Ibhubesi 3.35
13. Amazing Grace 3.09

All songs written by Joseph Shabalala
except 13.: Traditional




Jockey Shabalala

The official website:

Charlie Mariano & The Karnataka College Of Percussion (feat. R.A. Ramamani) – Jyothi (1983)

LPFrontCover1Carmine Ugo “Charlie” Mariano (November 12, 1923 – June 16, 2009) was an American jazz alto saxophonist and soprano saxophonist.

Mariano was born in Boston, Massachusetts, United States, the son of Italian immigrants, John (Giovanni) Mariano and Mary (Maria) Di Gironimo of Fallo, Italy. He grew up in the Hyde Park neighborhood of Boston, enlisting in the Army Air Corps after high school, during World War II. After his service in the Army, Mariano attended what was then known as Schillinger House of Music, now Berklee College of Music. He was among the faculty at Berklee from 1965 to 1971. Mariano moved to Europe in 1971, settling eventually in Köln (Cologne), Germany, with his third wife, the painter Dorothee Zippel Mariano.

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He played with one of the Stan Kenton big bands, Toshiko Akiyoshi (his then wife), Charles Mingus, Eberhard Weber, the United Jazz and Rock Ensemble, Embryo and numerous other notable bands and musicians.

He was known for his use of the nadaswaram, a classical wind instrument from Tamil Nadu.

Mariano had six daughters, including four with his first wife, Glenna Gregory Mariano: Sherry, Cynthia, Melanie, and Celeste, and was step-father to Glenna’s son, Paris Mariano. Mariano is father to musician Monday Michiru with his second wife, Toshiko Akiyoshi. He had his youngest daughter, Zana Mariano, with partner, Charlotte Bulathsinghla. Mariano had six grandchildren and two great-granddaughters. Mariano died of cancer on June 16, 2009, at the age of 85. (wikipedia)

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R. A. Ramamani (* c. 1956) is an Indian singer, composer and teacher.
Table of Contentsni studied music at Bangalore University (Master 1977). She is a virtuoso of classical Carnatic music, which is cultivated in South India. In 1978, together with her husband, percussionist T. A. S. Mani, Ramesh Shotham and jazz pianist Louis Banks, she founded the Indo-Jazz combo Sangam, which later became her band Jazz Yatra. She toured Europe with the Dissidents and the Karnataka College of Percussion in 1980. In 1983 she performed at the Berlin Jazz Festival together with saxophonist Charlie Mariano. In the same year ECM released the joint album Jyothi.

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Mike Herting organised a first meeting of Ramamani, the percussionists and the WDR Big Band Cologne in 2000, which was documented on CD (Sketches of Bangalore). She toured Europe with Lennart Åberg and Oriental Wind in 1987. Ramamani then formed the ensemble KCP 5 with Herting, Mariano, T. A. S. Mani and Ramesh Shotham, which also performed at the Moers Festival in 1999 and the Leverkusener Jazztage in 2003. She has also recorded with Okay Temiz and with David Rothenberg. At the RuhrTriennale she was a guest with Century of Song in 2007.

Ramamani co-directs the Karnataka College of Percussion with T. A. S. Mani and also teaches at other institutions such as the Choreographic Institute in Bangalore. (wikipedia)

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Karnataka College Of Percussion
A percussion academy from Bangalore, in the Indian province of Karnataka. The touring music project was directed by T. A. S. Mani, and was originally documented as a large ensemble, later more often as a duo or trio, with Ramesh Shotham, and also usually featuring vocal soloist Smt. R. A. Ramamani. (

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And here´s a real thrilling alum:

Since 1964 the Karnataka College of Percussion has been committed to its mission of expanding awareness of Indian Classical (especially Carnatic) music. Part of this outreach has involved a number of jazz-oriented and fusion projects through which the institution has spread its affirmative message. Thus do we come to this intriguing, if seemingly forgotten, collaboration with American saxophonist Charlie Mariano, who left us in 2009 at the age of 86. The result is a fluid and respectable blend of cultural signatures that transcends any ties to genre in favor of a purely emotive experience. The voice of R. A. Ramamani figures prominently, as in the ruminative opening track, titled simply “Voice Solo.” She traces long stretches of landscape, one hill at a time, where the dry rolling plains offer up their secrets for the reward of rain. Her prayers are bifurcated through overdubbing, lending both a smile and a promise to the title.


In this diffusely lit portal we find only further portals. In “Vandanam” we are regaled with tales of old by Mariano’s rolling flute, gilded by the pleasant jangle of the kanjira and mridangam. Ramamani’s ululations walk hand in hand with flute for a unified sound. “Varshini” and “Saptarshi” are smooth and graceful spaces in which voice is both cause and effect. Mariano’s soprano is a voice in and of itself, caught in flurries of percussion and passionate resolutions. These lively stops give way to the interweaving lines of reed and voice in “Kartik,” which closes on some transportive drumming from T. A. S. Mani on mridangam. Lastly is “Bhajan,” featuring doubled voice and a palpable communication with the beyond. As the drums anchor us, so too do they spring forth to those less definable stretches of land, where only the human voice can wander in its ephemeral laudation, threaded by the twang of the morsing (Indian jaw harp) and dancing a slow and careful surrender.

Without neither pretension nor ulterior motive, Jyothi is a delicacy in the ECM catalogue and a careful coming together of thought and performance to be taken as it comes…and goes.

Recorded February 1983 at Tonstudio Bauer, Ludwigsburg/Germany

T. A. S. Mani (mridangam)
Charlie Mariano (saxophone, flute)
R. A. Rajagopal (ghatam, morsing, konakkol)
R. A. Ramamani (vocals, tamboura)
T. N. Shashikumar (kanjira, konakkol)

01. Voice Solo 5.08
02. Vandanam 7.52
03. Varshini 8.33
04. Saptarshi 6.50
05. Kartik 11.12
06. Bhajan 6.27

Music: R. A. Ramamani



More from Charlie Mariano:

Stephen Edmundson – Silver Apples Of The Moon (1989)

FrontCover1Stephan Edmundson revives with his music the now rare Hamered Dulcimer dulcimer, a form of the dulcimer.
Traditional music from Ireland from Ireland, England, Scotland, Wales and Brittany. In addition, there are pieces from the from the Renaissance, classical music and an international folk repertoire.
Acoustically and visually striking is the
Hammered Dulcimer. It was made by British and
Irish emigrants to America in the past centuries. The instrument gets its special character from its brilliant bell-like sound gives the instrument its intensity.

This sound has not left Stephen Edmundson since he first heard it as a child.

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The study of music, of composition and other musical traditions deepened this. Stephan Edmundson plays in this formation besides the classical flute, an old wooden flute, the “timber flute” and the Irish whistle.
Numerous arrangements as well as own compositions with the lively and harmonious music
on the hammered dulcimer, the Irish harp and other are on his CD’s . “Silver Apples of the Moon” and “Journey beyond the Isles”.

Both have enjoyed great popularity for years with their and their relaxing character have been popularity for years (press release).

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And here´s his first solo album, recorded at the Bear Creek Studios, Los Gatos, California/USA.

Such a beautful album … close your eyes and start dreaming !


Stephan Edmundson (harp. dulcimer, flute, vocals, penny-whistle)
Hannah Beckham (violoncello)
Jeb Hogan (guitar)
Todd Hicks (guitar)


01. Fanny Poer (O´Carolan) 3.21
02. Winter Has Come (Traditional) 2.30
03 Jenny Plucked The Pear (Traditional) 1.17
04. An Hani a Garan (Traditional) 2.13
05. Molly MacAlpin (Connellan) 3.05
06. Lark On The Strand (Traditional) 1.40
07. The Kid On The Mountain (Traditional) 1.59
08. Gaelic Waltz (Traditional) 3.14
09. White Hart (Traditional) 1.41
10. Greensleeves (Traditional) 1.19
11. La Guabina (Ortiz) 2.12
12. Voices Of The Rain Forest (Edmundson) 3.31
13. Bird Of Paradise (Edmundson) 0.54
14. Bailecito (Traditional) 2.32
15. Enchanted Valley (Edmundson) 4.16
16. Lyenda (Albeniz) 4.07
17. Charm Danse (Traditional) 3.30
18. Yedid Nefesh (Traditional) 3.56



The offical website:

Joan Armatrading – Classics, Vol. 21 (1987)

FrontCover1Joan Anita Barbara Armatrading is a Kittitian-English singer-songwriter and guitarist.

A three-time Grammy Award nominee, Armatrading has also been nominated twice for BRIT Awards as Best Female Artist. She received an Ivor Novello Award for Outstanding Contemporary Song Collection in 1996.

In a recording career spanning nearly 50 years, Armatrading has released 20 studio albums, as well as several live albums and compilations.

She’s a little long-winded, but that’s mostly because she puts so much thought into her relationships, which in turn is because she puts so much feeling into them; this is one of those rare pop stars who’s invariably serious but never pompous, which is why she isn’t a bigger star. (Christgau’s Record Guide: The ’80s (1990))Armatrading possesses the vocal range of a contralto. Her music draws on a wide range of influences including rock, folk, jazz, blues, soul, and reggae.

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Her songs have been described as “some of the most deeply personal and emotionally naked … of our times”. In a 2003 interview, she said: “My songs aren’t about me at all. They’re always about love, the pain and anguish of it. But the way I’ve always written is from observation. They’re about what I see other people going through. If the songs were about me I’d be so embarrassed I don’t think I’d be able to walk out the front door.” She went on to say: “the optimistic songs reveal a bit more of me because that’s how I feel. I’m definitely a ‘glass is half full’ kind of a person.” Many of her lyrics do not specify the gender of their subjects and she frequently uses the word “you” rather than a gender pronoun. (wikipedia)

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And here´s a low-budget sampler, but a real nice and good sampler.

If you like to discover a real fine and wonderful musician … listen and enjoy … more will come !

But this album really deserved a better cover !


Joan Armatradin (vocals, guitar)
many, many studio musicians


01. Show Some Emotion (1977) 3.33
02. Cool Blue Stole My Heart (1975) 5.31
03. Love And Affection (1976)  4.28
04. The Weakness In Me (1981) 3.34
05. Rosie (1979) 3.15
06. I’m Lucky (1981) 3.07
07. Drop The Pilot (1983) 3.42
08. Down To Zero (1976) 3.52
09. Kind Words (And A Real Good Heart) (1986) 3.50
10. Whatever’s For Us, For Us (1973) 2.14
11. Willow (1977) 4.06
12. Me Myself I (1980) 3.21
13. (I Love It When You) Call Me Names (1983) 3.28
14. All The Way From America (1980) 4.53
15. Back To The Night (1975) 4.06
16. When I Get It Right(1981) 2.52
17. Heaven (1983) 4.44
18. Temptation (1985) 3.58

All songs written by Joan Armatrading



The official website:

Les 4 Guaranis – 2ème Récital (Chants Et Danses D’Amerique Latine) (1954)

FrontCover1The first recordings of the “Guaranis” with BAM and Barclay are those of the ensemble that arrived in France in 1951 with the Ballets de l’Amérique Latine of Joaquin Perez Fernandez: Cristóbal Cáceres (1917-1995), Angel Sanabria (-1985), Gerardo Servin (harp; 1921-2011) and Francisco Marin (1919-2008). Before their arrival in France, the artists were in Buenos Aires, where they had been members of Felix Pérez Cardozo’s ensemble in 1947. It is Mauricio Cardozo Ocampo who proposes to Joaquin Perez Fernandez these artists for his ballet and the tour in Europe. In France, the “Trovadores Guaranies” of the Ballets show change their name to “les 4 Guaranis” and record their first albums with BAM. The “4 Guaranis” are soon 5 with the French dancer Florence Darband, wife of Francisco Marin. They then recorded with Barclay and the name “Les Guaranis”.

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In 1955, the artists split up and created different ensembles. He lent the discography of Cristóbal Cáceres’ ensemble here. Francisco Marin is left alone with his wife Florence and the dancer Paco Sanchez, and Barclay asks him to change the name of the group to “Les Guaranis de Francisco Marin”. The other members of this group changed in the following years (Lorenzo Leguizamon, Nenequita Cáceres, Armando Rivero, Pedro Leguizamon, Ignacio Alderete, Virgilio Rojas, Romano Zanotti, Milton A. Zapata,…). Ramon Romero,…). Listing the artists on the discs is a difficult thing to do: those who appear on the covers are not always those who sing on the disc. The same record can include different artists. So we find songs of the 4 Guaranies on later albums. For this reason, I have grouped together all the Barclay records of the “Guaranis” and “Guaranis de Francisco Marin”.

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And here´s their second album with traditional folksongs from Argentinia.

A real nice addition to every World Music collection … Unadulterated music from a distant continent.

Enjoy it !


Cristóbal Cáceres – Angel Sanabria – Gerardo Servin – Francisco Marin

Alternate edition:
Alternate Edition

01. Che Lucero Aguai’y (Traditional) 2,24
02. Hasta Otro Dia (Thormo) 2.08
03. Llegada (Cardozo) 2.25
04. Ay Para Navidad (Villar) 2.00
05. Burrerita Mayans (Cardozo) 3.31
06. Zamba De Mi Pago (Avalos) 3.24
07. Que Bonito Es El Carmelo (Herrero/Parada) 2.44
08. India (Flores) 4.17
09. La Tropilla (Chazarreta) 1.56
10. Virginia (Mongolez/Chase) 2.31
11. Vidala Del Culampaja (Acosta/Villafane) 4.13



Paolo Conte – 900 (1992)

LPFrontCover1Paolo Conte (born 6 January 1937) is an Italian singer, pianist, composer, and lawyer notable for his grainy, resonant voice. His compositions are evocative of Italian and Mediterranean sounds, as well as of jazz music and South American atmospheres.

Paolo Conte was born in Asti, Piedmont. His parents were avid jazz fans and Conte and his younger brother Giorgio spent their formative years listening to a lot of early jazz and blues recordings. After obtaining a law degree at the University of Parma, Conte started working as an assistant solicitor with his father, simultaneously pursuing his musical studies. He learned to play the trombone, the vibraphone and the piano,[1] and formed a jazz band with his brother on guitar. Conte’s skill for composing music and original arrangements was noted by music producer Lilli Greco, who paired Conte with lyricist Vito Pallavicini. They wrote songs for Adriano Celentano (“Azzurro”, 1968), Caterina Caselli (“Insieme a te non ci sto più”, 1968), Fausto Leali (“Deborah”, 1968) and Enzo Jannacci (“Messico e nuvole”, 1970). In 1974 Conte recorded his first album, Paolo Conte. The following year, he released another eponymous album. Following a series of well-received shows at Club Tenco in Sanremo in 1976 and the commercial success of his third album, ‘Un gelato al limon’, Conte concentrated almost exclusively on his solo career.


Some of Conte’s most popular songs have been used as film soundtracks, including “Come Di” in I Am David (2003) and Mickey Blue Eyes (1999), “Via con me” in French Kiss (1995), Mostly Martha (2001) and Welcome to Collinwood (2002). In addition, Conte’s song “L’orchestrina” is featured during the end credits for episodes 3 and 4 of the television series The New Pope (2020). In 1997 Conte won the Nastro d’Argento for Best Score for the film La freccia azzurra.


On 24 March 1999, Paolo Conte was awarded with the Knight Grand Cross of the Order of Merit of the Italian Republic, by President Giorgio Napolitano for his “outstanding cultural achievements”. On 15 May 2001, France ordered Paolo Conte Chevalier dans l’Ordre des Arts et des Lettres. In 2015, Conte was awarded a Premio Galileo for contemporary music.

Has also received several honorary doctorates, including one from the University of Macerata (1990) (wikipedia)

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And here´s his 14th album:

The musical lawyer from Asti goes on another nostalgic journey of discovery. His destination is the “900” (“Novecento”), the “Twentieth Century”, more precisely: the time of elegant entertainment in the European metropolises. The gentleman from the Mediterranean Piedmont has absorbed tango fever, swing and French chanson like an elixir of life since childhood – and he passes this inspiration on to his audience in fascinating performances. After Paolo Conte wrote love letters on the typewriter for his last work (“Parole D’Amoure Scritte A Macchina”), this time he reached for the fountain pen again. The accompaniment of the 13 new chansons obeys the acoustic purity rule. Only a synthesiser is occasionally allowed to intersperse flat harmonies, otherwise double bass, bandoneon, saxophone, vibraphone, guitars and violin create an ideal framework for the rhetoric of this fabulous man in his mid-fifties, who embellishes his wild dreams with imaginative linguistic images. 900″ does not contain compositional masterpieces like “Aquaplano” or “Azzurro”. But that does not detract from the enigmatic magic of this music. From the Dixie arrangement for “Gong-Oh” to the contemplative finale with the double bass-supported “Do Do”, there is a wide stylistic arc. Conte whispers and scratches his way through the lines of verse in his inimitable manner, miming the grief-stricken senior as well as the risk-taking airhead. Here is an original at work that has become rare in the European music scene. (Stereoplay Magazine)


If you like, you can breathe the air of a circus or a fairground, cuddle with your cuddly beloved or tango in a jazz bar at blue hour, brood over your umpteenth whisky alone and forlorn at dawn or ponder on a park bench in the sunshine. Italian chansonnier Paolo Conte conveys such and similar moods with a smoky voice and this time again without any synthetics. So double bass, piano, sax or accordion can swing all the more sensual and relaxed. (Audio Magazine)


Paolo Conte (vocals, piano, kazoo)
Daniele Di Gregorio (drums, percussion, vibraphone)
Davide Di Gregorio (saxophone)
Leo Martina (synthesizer)
Eleonora Nervi (bass tuba)
Daniele “Pirri” Dall’ Omo (guitar, ukulele, trumpet on 01.)
Massimo “Max Pitz” Pitzianti (bandoneon, accordeon, saxophone, clarinet)
Jino Touche (bass)
Massimo Barbierato (violin)
Roberto Caviglione (viola)
Claudio “Dado” Dadone (guitar on 07.)
Sergio Gavioli (violin)
Luciano Girardengo (violoncello)
Marc Laferrière (saxophone on 08.)
Renzo Marino (guitar on 07.)
Massimo Dall’Omo (drums on 10.)
James Thompson (saxophone on 11.)
Jino Touche (vocals on 13.)


01. Novecento 3.35
02. Il Treno Va 3.43
03. Una Di Queste Notti 3.16
04. Pesce Veloce Del Baltico 3.49
05. La Donna Della Tua Vita 3.35
06. Per Quel Che Vale 3.48
07. Inno In Re Bemolle 3.14
08. Gong-Oh 3.17
09. I Giardini Pensili Hanno Fatto Il Loro Tempo 3.30
10. Schiava Del Politeama 3.21
Chiamami Adesso 2.56
12. Brillantina Bengalese 3.14
13. Do-Do 3.13

All songs written by Paolo Conte



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More from Paolo Conte: