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29 juin 2008

Le mondomix de : Hadouk Trio

Sur Mondomix : Ce trio est à l’image de son nom : un collage d’univers et d’idées, créateur d’une ambiance doucement lunaire.

Le Hadouk, c’est le « Ha » de hajouj (basse africaine appelée aussi gumbri), et de le « douk » de doudouk (sorte de hautbois arménien). Loy Ehrlich joue le hajouj. Ce musicien au multiples talents a rôdé ses claviers auprès de Peter Gabriel ou de Jon Hassell tout en poursuivant de fructueuses aventures africaines avec Youssou N'Dour, Touré Kunda, Geoffrey Oryema ou encore Wasis Diop. Il est également l’un des programmateurs du festival de musiques Gnaoua d’Essaouira.

Didier Malherbe s’occupe quant à lui du Doudouk. Le saxophoniste de Gong n’a jamais arrêté d’avancer sur des chemins non balisés auprès d’artistes de caractère comme Steve Hillage, Higelin, Brigitte Fontaine, Robert Wyatt ou Pierre Bensusan.

Le dernier larron, Steve Shehan, percussionniste de haut vol, a travaillé avec Brian Eno, John Mc Laughlin, Vangelis ou Herbie Hancock. Ensemble, ils ont créé un univers où les influences gnaoua, les rythmes d’Afrique Noire et un certain feeling jazz fusionnent dans une douce atmosphère de création. Ils ont sorti en huit ans d’existence quatre albums : « Hadouk », « Shamanimal », « Now » et un concert à Radio France.

Video Filmé au Sunside (Paris).

06 décembre 2007

Daniel Lanois New Album Due Digitally Dec. 15

Daniel Lanois made himself known in the 1980s by producing artists such as Bob Dylan, Peter Gabriel and U2. But now, several solo albums later, Lanois plans to make waves with Here Is What Is, his sixth solo work, which will be available for download exclusively via his Red Floor Records label site in December.

In a refreshing move (for folks who actually own a pair of ears and don’t believe that iTunes and other digital distribution services deliver a quality-sounding product), Here Is What Is is the first digital download release in high-resolution, CD-quality WAV format for $9.99, as opposed to lower-quality MP3 resolution, which usually costs the same price. The album will also be available in stores March 18, but online pre-orders will be delivered digitally Dec. 15.

The album was recorded in a variety of locations – Toronto, Los Angeles and Louisiana – and showcases a variety of Lanois’ musical abilities and sensibilities. The album also includes interludes from Brian Eno, taken from the film version of Here Is What Is, which debuted at this year’s Toronto Film Festival and will be available on DVD in March.(Fitting, as Lanois started his career decades ago as an apprentice of Eno.) It was directed by Adam Vollick, Adam Samuels and Lanois.

For more information on Daniel Lanois, visit his official website, and you can also see his entire catalog of solo records at the Red Floor site.

TRACK LISTING:
1. Chest Of Drawers
2. Where Will I Be
3. Here Is What Is
4. Not Fighting Anymore
5. Beauty
6. Blue Bus
7. Lovechild
8. Harry
9. Bells
10. This May Be The Last Time
11. Smoke #6
12. I Like That
13. Duo Glide
14. Bladesteel
15. Moondog
16. Sacred And Secular
17. Joy
18. Luna Samba

Roxana Hadadi, December 3, 2007
(Photo Credit: Adam Samuels)

05 avril 2007

Loreena McKennitt, bardée de celtitude

La discrète Canadienne Loreena McKennitt est l'une des principales forces de vente de la catégorie fourre-tout des "musiques du monde", rayon celte. Selon son distributeur français, le label quimpérois Keltia Musique, elle aurait écoulé plus de 50 000 exemplaires de son septième album studio, An Ancient Muse, depuis sa publication en novembre 2006. Les concerts de sa présente tournée affichent généralement complet.

Chez elle, au Canada, Loreena McKennitt vend jusqu'à 500 000 exemplaires de ses disques et elle a conquis le marché des Etats-Unis, où elle a vendu 2 millions de copies de The Book of Secrets (1997). Son site Internet est consultable en quatorze langues. Mais ni en gaélique ni en brittonique.

La musicienne a bâti son succès en repoussant toujours plus loin les frontières de l'imaginaire celte. Enregistré dans le saint des saints de la world music, les studios Real World de Peter Gabriel, An Ancient Muse transporte dans la Grèce antique, l'Orient des croisades ou sur la Route de la soie.

Le 15 mars à Paris, dans un Grand Rex comble, elle a pleinement justifié son surnom de "celtique éclectique", changeant sans cesse d'instrument : harpe, accordéon, piano. Sa voix oscille entre l'incantation folk et la joliesse de la variété pour les ballades. Dans un décor mauresque, ses neuf musiciens mêlent instruments électriques, violon, luth, oud, vièle à roue... Une même chanson peut avoir une assise pop-rock, une mélodie celte et une ornementation orientale.

Le propos aussi est hybride, un mysticisme new age qui se nourrit de poésie. En plus futuriste, il a fait le succès de l'Irlandaise Enya et de l'Australienne Lisa Gerrard, du duo Dead Can Dance, qui chantera le 15 avril dans ce même Grand Rex et devant une partie des mêmes auditeurs.

Le 5 avril à Roubaix (Colisée), le 6 à Anvers (Queen Elizabeth Hall).

An Ancient Muse, 1 CD Quinland Road/Keltia Musique.

LE MONDE | 05.04.07

06 février 2007

With album, tour, Paula Cole reignites career

New music due for June release

By Jason Simpson, GLOUCESTER DAILY TIMES (GLOUCESTER, Mass.)

ROCKPORT, Mass. — After a seven-year hiatus, Paula Cole says her music career has come full circle.

Cole, who grew up in Rockport before becoming a hit singer-songwriter in the 1990s, will embark on her first concert tour in seven years, “Lessons in Life 07/08,” later this year.

Cole’s fifth album, “Courage,” tentatively will be released in June. Cole said the music is more gentle than her earlier albums, recorded prior to her hiatus from the public spotlight.

Before her cross-country tour, Cole will perform at her alma mater, the Berklee School of Music in Boston, on Feb. 16. Cole said she views this show as a “thank you” to her college, her family, her hometown and others who have supported her career throughout the years.

“I want to thank the Rockport community for their support, and this show will be for them, my hometown,” Cole, the daughter of Stephanie and Jim Cole of King Street, said.

Cole said she’s preparing for the upcoming show by singing a little bit each day and trying to not get sick. Cole is also thinking about the overall arch of the show, which will include songs the audience knows as well as songs from her upcoming album.

Cole will also feature her new band at the concert, which she said is “breathtakingly great.” Rehearsals with the band have given Cole goose bumps, she said, because of their talent and energy.

Cole’s ‘Courage’

“Courage” has been Cole’s mantra over the past seven years, the 38-year-old said. She knew for years that her next album would have this title — the word is sung in numerous instances throughout the album, Cole said.

It took courage to get out of an unhappy marriage in her time off, she said, and to start working again in an industry in which her former record label said she would never get a second chance.

Cole said she took the time off after spending seven years of constant touring and recording, which she said was a long time to work nonstop. It began in 1993 when she joined Peter Gabriel’s world tour as a backup singer. During that time she recorded three albums: “Harbinger” in 1994, “This Fire” in 1996 and “Amen” in 1999. She toured as an opening act for Melissa Etheridge and Sarah McLachlan. She had hits with “Where Have All the Cowboys Gone?” and “I Don’t Want to Wait,” both from her second album. She won the Grammy for Best New Artist in 1998, along with a number of Boston Music Awards.

“My personal life atrophied, and I needed to step off the hamster wheel,” she said. “I wanted motherhood. I wanted a child. It felt increasingly inauthentic to be living the young dream (of a life of touring).”

When under the radar of the public’s sight, Cole moved to Los Angeles, severed her ties with Warner Brothers, her recording label, and had her first child, Sky, who is now 5.

But more recently, she moved back East and became reacquainted with Bobby Colomby, who managed a deal with Universal/Decca Records for Cole’s next album.

“Now I’m working on resurrecting everything,” Cole said. “It’s exciting not to know (what the future holds) and to be in the moment. ... (With a music career and being a mother) I’m not going to have a cookie-cutter life, that’s for sure.”

Cole said her “wonderful little girl” is her first priority, and her “Lessons in Life 07/08” tour will be scheduled around Sky’s school schedule. She adds that singing keeps her happy, and it was weird to be a singer every day, then all of a sudden not to be.

Cole said she’s looking forward to the second chapter in her life, which she will appreciate more after reflecting on her life in her time off.

A new sound

“Courage” will offer a new sound from Cole, which she said is not as angry as her earlier work.

The album has a greater stylistic range, she said, with an eclectic mix of songs for the radio, and others — including one that features Herbie Hancock — that sound as though they could be from the 1940s.

“‘Courage’ is about love and picking up the pieces,” Cole said. “All my albums are honest and autobiographical.”

Cole attempted to compose her fourth album with her former record label during her hiatus, but it never came out. After composing 20 songs, she “had to walk away” from the songs as part of her contract, she said. Cole said this was a positive thing, however, because it released her from the baggage she felt she was carrying with her at the time.

The new album is a “completely new body of work,” she said, in which she co-wrote her lyrics, rather than writing them by herself.

Unlike her earlier albums, Cole didn’t produce the new album. She was solely a singer-songwriter on the project, making the project more fun. Colomby also helped bring the fun back into music writing, she said.

Coming full circle

Moving to Los Angeles was a “delusional attempt to find happiness,” Cole said, because your life will follow you wherever you go.

In her time there, she said, she found herself missing her East Coast roots. And having a child made her want to go “full circle.”

“I’m so lucky that I grew up in Rockport; I know that now,” Cole said. “When I was younger, I was antsy and wanted to move to the big city. I might have taken for granted the delicious salt air, the small, caring community and the natural beauty (of Rockport).”

Cole said Rockport’s small-town charm created her work ethic and her inclination to be naive at times.

“East Oceanside,” the fictional location of her greatest hits album, “Postcards from East Oceanside,” which was released last summer, is Rockport, she said, a town she tries to go back to as much as possible. Cole said her best friends to date are the ones she met in kindergarten and third grade.

Cole said returning to her old stomping grounds of Rockport and Boston recharges her heart and soul. When looking to her upcoming concert at Berklee and beyond, Cole said there are “a lot of good things” to come.

Jason Simpson writes for the Gloucester (Mass.) Daily Times.

25 janvier 2007

Michael Brook, Ready to get out of the house

Michael Brook, who's recovered from an injury, is all set to go play the world again.

Michael Brook is in every way the globe-trotter.

The Toronto-born musician-producer has performed in India, Moscow and the Canary Islands. Brook's new album, titled "RockPaperScissors," has a border-crossing tone in music and geography, having been recorded in locales including Bulgaria and England. He's collaborated with late Pakistani star Nusrat Fateh Ali Khan, a group of singers from Sardinia and Mexican rock group Maldita Vecindad — not to mention having an association with a little Irish ensemble known as U2. And among his many soundtrack projects, he did the (pardon the expression) chilling score for last year's Al Gore global-warming documentary "An Inconvenient Truth" and is finishing up work on music for "Passion of the Game," looking at the international love of soccer by English director Michael Apted.

Against that history, his working habits of late may sound a little odd.

"I actually didn't set foot outside the door for five days at the beginning of the year," says the wiry, mild-mannered musician, sitting amid a clutter of guitars, computers, pedals, wires and chords in the studio at his Hollywood Hills home.

Rather than go out into the world, he was busy creating musical worlds here, not just with the intense work to finish the Apted score, but assembling the equipment and sonic elements that will allow him to re-create the vast span of his music in a series of concerts, including one tonight at Largo. And in what spare time he has, he has been supervising an ambient remix version of "RockPaperScissors," titled "BellCurve," by producer James Hood. That, like the original album and the "Truth" soundtrack, is being released on the bigHelium/Canadian Rational label that Brooks runs in partnership with manager Hugo Veriker.

Intense as all that has been, this is not a bad place to be stuck for a while, as is clear during a rehearsal a few days later. The guitar-and-electronics maestro is joined in the cozy quarters by his wife, violinist Julie Rogers, and multi-instrumentalist-singer Lisa Germano to run through the tricky pieces the three of them are to present during a 2 1/2-week jaunt that started with showcases at the Sundance Film Festival last weekend. With white whippet Buck slinking in to say hello, the trio irons out intricacies of distinctive compositions ranging from the densely layered, pulsating "Doges" to the fragile rustic ambience of the Germano-sung "Want."

Clearly, after the sedentary time, Brook is keyed up about hitting the road for his first real tour since the early 1990s — even more so because this tour was originally scheduled for the fall, but had to be put on hold because of his own little inconvenient truth. Just before he was scheduled to go out, he broke his collarbone in a bicycling accident. The timing was terrible, as the canceled shows were meant to capitalize on both the release of "RockPaperScissors" and the cultural-consciousness crest of "An Inconvenient Truth."
"We definitely lost some momentum," Brook says.

It might have been for the best, though. He says the extra time to prepare the complexities of realizing this music live is a positive for him. And a few extra months for fans to live with the complexities of the music may not have been bad as well. With his guitar-based textures mixing with recordings he made with various Bulgarian ensembles and Armenian duduk player Djivan Gasparyan, archival tapes of Nusrat and Sir Richard Burton (the latter reading a Dylan Thomas poem) and new vocals by Germano and the Blue Nile's Paul Buchanan, among many other puzzle pieces, "RockPaperScissors" is a lot to take in.

"One thing I've found with the album is a lot of people won't like it the first or second time," he says. "But after multiple listenings, they get it. I guess at first you don't know where to focus your attention. Maybe there are too many layers or something. I've been involved in world music and hybrids so long that I don't notice things like that. Certainly, that's been a lot of the feedback I've gotten. But then I remember the first time I heard Jimi Hendrix. It seemed like a lot of noise. Now it's psychedelic blues, but at first to me it seemed random and chaotic. I can't imagine that now."

The notion of disparate and even jarring elements working together comes naturally to Brook now, having been mentored by musician-producer-theorist Brian Eno. The two got to know each other in 1980 when Englishman Eno was doing some work in a Toronto video production facility that Brook ran.

"I convinced him to trade video services with musical ones for my first album," Brooks says.

The relationship expanded, with Brook contributing his ethereal guitar sounds to Eno's ambient experiments, including some with another Canadian, Daniel Lanois. And when Eno and Lanois began producing U2 in the early '80s, Brook introduced the Edge to his "infinite guitar," a system that allows for endless note sustain and which quickly became one of the band's sonic trademarks. Around this time, Brook's work also came to the attention of Peter Gabriel, who, spurred by the incorporation of some Indian inspirations, recruited Brook to produce albums for Pakistani qawwali king Nusrat — works that would introduce that remarkable talent to the western world.

Since then, he's been a go-to guy for a wide range of productions, soundtracks, sessions and collaborations, along with sporadically releasing solo albums. But to him it doesn't matter on what — or where — he's working. It's all part of the same world.

"Maybe it's a little like that TV show 'Mission Impossible,' " he says. "The mission changes, but what they do is roughly the same. I'm roughly doing the same job all the time. And I'm amazingly lucky that I have a range of things that come in."

By Steve Hochman, Special to The Times

Pour la suite du World

Michael Brook: "J'aime bien travailler en cinéma, mais j'aime aussi ne pas le faire, parce que j'ai la chance de produire d'autres artistes, Jorane par exemple."

photo: Kevin Yatarola

Michael Brook transporte ses atmosphères teintées de musiques du monde sur la scène de La Tulipe. Invitation au voyage.

Avec son plus récent disque solo, le producteur, guitariste et compositeur Michael Brook s'est offert un album-souvenir dans lequel il salut discrètement quelques-uns des artistes dont il a croisé la route. On y trouve un zeste de Brian Eno (époque Taking Tiger Mountain by Strategy), une référence à King Crimson (il faisait partie du groupe de tournée de David Sylvian et Robert Fripp, avec Trey Gunn et Pat Mastelotto) et la voix du regretté Nusrat Fateh Ali Khan, que Peter Gabriel lui a demandé de produire pour son étiquette Real World. D'ailleurs, la pièce-titre pourrait fort bien être chantée par ce dernier.

Ça fait quand même une belle collection d'amis pour un p'tit gars de Toronto! "Je suis heureux de vous surprendre", réplique-t-il lorsque je le rejoins à Los Angeles, où il vit depuis qu'a décollé sa nouvelle carrière de compositeur de musique de film (An Inconvenient Truth [AIT] est le plus récent). "Je n'ai pas vraiment inscrit ces filiations consciemment, explique-t-il, mais ces différentes collaborations font maintenant partie de moi, de ce que je fais." On trouve aussi sur ce disque à la production très soignée un orchestre symphonique et un choeur enregistrés en Bulgarie; "Oui, je me suis payé la traite! C'est un projet qui a pris du temps, mais je suis heureux de l'avoir pris. C'était peut-être imprudent de mettre autant de temps et d'argent dans un projet, mais je me suis dit que je n'aurais peut-être pas si souvent l'occasion de faire vraiment le disque qui me tente."

Il n'est pas sûr, en effet, qu'il aura autant de latitude pour remplir les prochains contrats de musique de film que sa collaboration à AIT ne manquera pas de lui amener... "Je pense que personne ne s'imaginait que ce film aurait autant de succès! Mais pour la suite, on verra. J'aime bien travailler en cinéma, mais j'aime aussi ne pas le faire, parce que j'ai la chance de produire d'autres artistes, Jorane par exemple (ou The Pogues, Youssou N'Dour, Cheb Khaled..., la liste est longue). Et puis, quand tu te fatigues de ça, tu retournes au film, ou tu pars sur la route, comme je le fais maintenant!" Et la tournée d'une douzaine de villes qui l'emporte ces jours-ci depuis la Californie passe heureusement par Montréal.

Ce ne sera pas facile de reproduire en concert la qualité sonore de son dernier opus, Rock Paper Scissors... " En effet... et nous ne le ferons sans doute pas! Il faudrait 70 personnes, et on ne sera que trois. En fait, nous en ferons une interprétation, sans chercher à ce que ce soit identique. On fera aussi des pièces de mon album précédent, Cobalt Blue, et de AIT." Brook, qui sera à la guitare et aux électroniques, sera accompagné de la violoniste et chanteuse Lisa Germano (qui donne aussi la première partie) et par son épouse, Julie Rogers, une violoniste elle-même très en demande. À découvrir.

Réjean Beaucage

Le 31 janvier
À La Tulipe
Voir calendrier World/Reggae

À voir/écouter si vous aimez
Hector Zazou
Nusrat Fateh Ali Khan
Brian Eno (ambient)

10 janvier 2007

McKennitt’s worldly tapestry

Imagine the music that might emanate from an Arabian harem tent. Seductive, silky and hypnotic. Now imagine that tent is somewhere in the north moors of Glasgow, Scotland. Now imagine Peter Gabriel is the DJ for this otherworldly affair. At this point, you’d have a pretty good taste of Loreena McKennitt’s beautiful new CD titled “An Ancient Muse.”

McKennitt is a champion for the world music set in the much the same way as Enigma or Enya, but what separates her from the pack is the unique instrumentation that’s employed on every track. There’s no synth patches or keyboard trickery with McKennitt’s music. Everything is played on an eclectic assembly of instruments that’s as diverse as the worlds they come from. Tabla, bouzouki, nyckelharpa, and hurdy gurdy all make appearances somewhere in the mix. Even if the names are unfamiliar, the soundscape is still thoroughly enjoyable.

The CD begins in the normal fashion for McKennitt, with a wordless voice that stretches out across the audio spectrum. Through the album’s centerpiece, “Beneath a Phrygian Sky,” the Canadian songstress delivers the swirling stories that sound as if they were thousands of years old. And they probably are.

Loreena McKennitt’s greatest achievement remains 1997’s hugely successful “Book of Secrets” with its inescapable “Mummer’s Dance,” and nothing here rises quite to that level. But “An Ancient Muse” takes a similar journey with the choral effects of “The English Lady and the Knight” and Celtic ballads like “Penelope’s Song.”

Listening to this CD is like circling the globe without leaving your front door. From the cultures of the Himalayas to the romantic mysticism of old England, there’s no new roads to be traveled for Loreena McKennitt on “An Ancient Muse.” But the world is a big place and there’s no shortage of influences for this unique talent. http://www.quinlanroad.com