Bevinda offers a fresh look at Portugal's fado

Bévinda
Outubro
Felmay-Dunya (www.felmay.it)

Fado interpreters can range from the more traditional to the experimental. In the latter realm is Portuguese-born, French-raised Bévinda (Bévinda Ferreire). Outubro, her tenth release, presents the singer in a live set from the January 2006 Suoni Migranti Festival (hosted by the Comune di Riccione, Assessorato alla Cultura, which collaborated in this CD's production). Bévinda's tight, fluid combo includes Philippe de Sousa (Portuguese guitar), Mathias Duplessy (classical guitar, vocals), Côme Aguiar (bass), Philippe Foch (tabla, percussion), and Nicolas Gorge (drum kit).

For a live set (with due thanks to the sound technician), the subtleties are many here, testament to the singer's considerable gift, her vocal intensity, and the easy rapport she has with her splendid ensemble. De Sousa, who co-wrote several numbers with Bévinda, is superb on the Portuguese guitar (with its teardrop shape and six double-course steel strings over a moveable bone bridge, actually closer to a cittern), both in fado's traditional accompaniment mode and, more unusually for the genre, as a soloist (hear his lightly ringing "Pedras da madrugada," a contemplative solo instrumental break). Duplessy swings on guitar, and he too is a master of vocal nuance (e.g., "Jarkot" and "Dorme amorzinho," the latter with his keening, muezzin-like vocals on a striking Bévinda-Kamilya Jubran composition). The rhythm section lays down the groove, and altogether, this ensemble recording gives everyone plenty of room to work their individual spells.

At the fore, of course, is Bévinda herself, who blends a sultry French café sensibility with a feeling for the Orient, shot through with the fatalistic saudade so characteristic of fado. Her balmy contralto ranges from a restrained interpretation of "O grito" (an Amalia Rodrigues-Carlos Gonçalves composition, the only cover here, and a singular reading of a classic) to the pulsing "Mulher Passaro," all with an arresting gravity. A live video of the latter song (a different version than on this CD) is worth seeing on the artist's website, complete with a close-fitting blues harmonica solo by an unidentified harpist, one more example of the disregard this singer has for musical boundaries. Working against the tabla, Duplessy interjects some neo-classical Indian vocals with his rhythmic scatting, while Bévinda chants, moans, hisses, and snarls with primordial glee and a palpable aura of being born for the stage. The clip also gives a hint of the controlled mania the singer weaves through the relaxed overall musical temper so easily conjured and sustained by the ensemble. - Michael Stone

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Gabriele Coen offers Italian world music with jazz

Gabriele Coen and Atlante Sonoro
Alhambra
CNI Music (www.cnimusic.it)

A household name in Italian jazz, Gabriele Coen (clarinet, soprano and tenor sax)is the founder of the noted ensemble Klezroym. On this 2007 recording he reunites Atlante Sonoro (Sound Atlas), with Pietro Lussu (piano), Marco Loddo (double bass) and Luca Caponi (drums) and guest guitarist Lutte Berg. Alhambra continues in the vein of Atlante Sonoro’s Duende, a contemporary, improvisatory renovation of traditions from Eastern Europe, the Mediterranean, and the Levant.

The ensemble allows each player room to develop their individual voices, creating a shifting sonic blend in which no one player stands apart. The title track’s driving pace and wailing clarinet owe more to jazz and klezmer than to the Iberian Peninsula, while "Belz" takes a nod to John Coltrane’s soaring lines and the pulsing modalities of McCoy Tyner, Jimmy Garrison, and Elvin Jones, a mood that echoes throughout this recording. More contemplative is Lussu’s "Lake Song," an expressive conversation between keyboard and soprano sax. In turns, Wayne Shorter’s "Ana Maria," Loddo’s "Auteyrac," and Coen’s "Roma Ad Agosto" and "Piccolo Tango" essay the quiet intensity and tonal range with which the quartet invests its collective conception. Coen’s "Maldafrica" looks south for its rhythmic thrust, while an idiosyncratic reframing of the Sephardic classic "Los Bilbilicos" takes the quartet through the lyrical intonations to which the album title alludes. - Michael Stone

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Gabriele Coen offers Italian world music with jazz

Abyssinians' Satta Massagana revisted

Abyssinians
Satta Massagana
Heartbeat/Rounder

Composed in 1968, "Satta Massagana" featured the vocal trio that helped to define the most devout strains of Jamaica's then-emergent reggae sound. Producer Clement "Coxsone" Dodd brought the Abyssinians (Bernard Collins and the Manning brothers, Donald and Lynford) into the studio to record the song, whose Old Testament inspiration and Ethiopian linguistic sampling spoke to roots reggae's Rastafari foundations. But the somber, slowed-down groove and the obscure spiritual references made Dodd think the results would leave Jamaican audiences cold. Undeterred, the Abyssinians bought the master, released it on their own, and proved Dodd wrong; indeed, "Satta Massagana" entered the devotional canon of Rastafari congregations around Jamaica.

Taping at Studio One and Federal Records, the Abyssinians followed in short order with Collins' equally successful "Declaration of Rights," "Leggo Beast," and "Black Man's Strain"-along with Lynford's "Abendigo," "I and I," "Reason Time," and "Y Mas Gan," and Donald's "African Race," "Jerusalem," and "Peculiar Number." All are heard here, with informative notes by Chris Wilson. Satta Massagana is nothing less than a reggae classic, and-backed by noted Kingston studio musicians including Robbie Shakespeare, Sly Dunbar, and Earl "Chinna" Smith-after nearly four decades the album's fourteen original tracks (plus four additional previously released tracks on this 2006 CD reissue) reveal the trio's lovely harmonies, loping percussive groove, and spare instrumentation, as fresh and sublime as ever. - Michael Stone

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Lee "Scratch" Perry: news from post-apocalyptic Jamaica

Lee "Scratch" Perry
The End of an American Dream
Megawave

Comes off as Karaoke night in a futuristic post-apocalyptic Jamaican rest home, where some guy on stage babbles endlessly about poo poo and doo doo, interspersed with animal impressions, and an occasional shout out to Haile Selassie and Marcus Garvey, while machine gunfire and riots go on in the background. Maybe it's the CD buyers trying to get a refund. - Louis "Itch" Gibson

KlezRoym - Italy's klezmer connection

KlezRoym
Vinticinqueaprile: Live in Fossoli
LaFrontiera (www.cnimusic.it)

The Italian band KlezRoym must be recognized as one of the top Jewish music ensembles in the world. This live CD captures them at Fossoli, near Modena, at a commemorative concert for the 60th Anniversary of the Liberation from Nazi-Fascism. Fossoli served the Nazis as a concentration camp, through which thousands of Jews and political opponents of Nazism would be deported on their way to the German and Polish camps. Primo Levi was one of those individuals kept at Fossoli, before being sent to Auschwitz.

KlezRoym's concert performance here reflects the gravitas of the locale, as the band journeys through their extensive repertoire. The group does not really launch into the kind of exuberant klezmer that one might expect; rather, there is something of a chamber-jazz elegance about their approach that would not be out-of-place on the European art-jazz label ECM. Even so, I hate to utilize the adjective 'sparing' to describe the arrangements of songs such as "Ershter Vals," which sweeps along as if following a painter's brush. This is the approach that KlezRoym utilizes so well: the brass instruments swell with emotion (as on the short "Cerimonia nuziale"), and each silence and blast speaks volumes. Further, one of the most beautiful aspects of KlezRoym's music is the voice of Eva Coen, which seems to swallow and encapsulate the whole of KlezRoym's endeavors. Coen is inside these songs, as is Riccardo Manzi, whose voice acts as the perfect counterpart to Eva Coen's. Manzi's turn on "Papir Is Doch Weiss" shows how his own sweet voice can be tinged with just the right kind of roughness, veering into sadness.

KlezRoym do quicken the pace of the concert, as on the swinging "Yankele nel ghetto" which serves as a prelude here to the truly wild "Danza immobile," where Eva Coen's voice and Andrea Pandolfo's trumpet follow each other around before Coen drops away, wordlessly vocalizing as the band sensuously stretches themselves out. The tune "Oi Tate" is also more aggressive, while "New York Sirba" evinces more of the careful KlezRoym arranging, building to its ecstatic climax. The Fossoli concert ends with the Italian partisan song "Bella ciao," where KlezRoym are joined by the horns of la Filarmonica della Citta di Carpi and an enthusiastic audience clapping in time; a clear statement of the continued resistance to the madness of fascism. KlezRoym have produced a wonderful documentation of their career thus far, but by any estimation this is an essential live recording of an important band at the height of their powers. - Lee Blackstone

Listen to "Ershter Vals"


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