2005/12/31

Another Happy Ending

Here we are, shaking our heads at how another year has passed by so quickly. I guess it's radio tradition to take a look back at the year in music, but I already covered that on my last episode of TerraSonic (big ups to Mark, by the way, for covering for me on Xmas Eve). Instead, I'm feeling more in a party mood, it being New Year's Eve 'n' all.

We're starting out with Dub Gabriel, whom you'll find at the epicenter of the Brooklyn Dub Massive. His credentials are impressive, as is his talent. His debut release, Bass Jihad (Azra Records) meshes some very outernational sounds with a deep bass vibe. Check today's opener, "The Saaz Remains the Same" to hear what I'm talking about. I met Dub Gabriel briefly a few years back. He was putting together a show at the Polish National Home in Greenpoint, a very cool venue. In the lineup were Umar Bin Hassan (of Last Poets fame), backed by Dub Gabriel's band, and Musafir, a Rajasthani group whose album, Dhola Maru, I helped put out several years ago. We'll be hearing from that a little later in today's show.

After Dub Gabriel comes one of my favorite voices in Arabic music: Natacha Atlas. The funky reggae stylee "Eye of the Duck" comes from Something Dangerous, a 2004 release representing a new step from an already demonstrably versatile artist. Of Egyptian descent, born in Brussels, raised in Northampton, Natacha Atlas (her real name) was first noticed for her work with Transglobal Underground. I saw her at this year's WOMEX, with Fidget Feet, an aerial acrobatic troop from Ireland. Her voice was in top form, harkening back to the legendary Oum Kalthoum (please check her out if you're not familiar with her; it's an incredible story). I interviewed Natacha when she came to Boulder several years ago with Transglobal and mentioned the Oum Kalthoum connection. She told me that, as much of an influence as Oum Kalthoum was, she considered herself a singer more in the style of Asmahan, a lesser known songstress of mid-century Egpyt. The sister of the legendary Farid El Atrache, Asmahan met an early death that, for some conspiracy theorists, is surrounded by a bit of intrigue.

From the Egyptian reggae stylings of Natacha Atlas, we move on to something new from Marcelo D2, an emerging artist from Brasil. His new release, Looking for the Perfect Beat (Mr. Bongo) produced by Mario Caldato of Beastie Boys fame, is a fresh blast of Brasilian rap-rock. I think "Qual E" fits nicely between the Natacha track and the next one, by Ndithethelele.

The Mothers--Township Sessions, also from the Mr. Bongo label, has really been growing on me lately. It's music from Philani, a South African foundation dedicated to supporting and educating children in the townhips and squatter communities around Cape Town. Philani Mothers formed a choir in 1986 and began releasing cassettes of songs promoting nutrition, hygiene and all around good health for children. On this record, Faze Action, Nitin Sawhney, Zero 7, Kid Loco and others contribute remixes of these educational songs. It's an interesting concept that will no doubt expose a wider audience to some already gorgeous songs. We're closing out today's first set with the Soul Savers' remix of "Speak for Me."

There's your p/review of today's first music set on TerraSonic. There's plenty more to follow that, but you'll have to listen to catch the rest. As a reminder, you can subscribe to the TerraSonic podcast from the iTunes Music Store or the very cool Underheard website.

Thanks, as always, for listening to TerraSonic. Have a safe and raucous celebration tonight. We'll see you next year. Cheers!

2005/12/08

Cher Chebiji

iTunes just posted the La Kahena Remixed EP, exclusive remixes from Cheb i Sabbah's latest, La Kahena (Six Degrees). The original full-length is a gem of a record, destined to be at or near TerraSonic's 2005 top list (coming soon, probably). Given the strength of the source material, it would be easy to disappoint with the remixes. But the scientists behind these three new tracks have done Chebiji right.

"Sadats", remixed by Marrakechi hip hoppers Fnaire, is furthest from its original form, but still pulses from the start, percussion driving the new urban sound of the medina.

West Coast-based producer/DJ Sandeep Kumar spices "Toura Toura" with a talking tabla line and bhangra samples that take this track to the next level. It's not so much an improvement over the original as a logical extension. As the ideal remix should, it shines a new light to reveal the lustre of what's already there.

The UK's Temple of Sound's take on "Esh Dani, Alash M'Shit" is the obvious dancefloor track. The thought that some wise DJ is going to drop Chaba Zahouania's gravelly delivery on unsuspecting clubbers is strangely thrilling--as much as the track itself. Hers is one of the greatest voices that most people will never hear.

Chebiji, who began his career spinning American soul 45s in 1960s Paris, is perhaps the Original DJ. The loving care he pours into all of his releases is reflected in the fine work displayed by the artists behind these new remixes. And this, apparently, is only the beginning. A full-album remix of La Kahena is due out in Spring 2006. Hamdulillah!

2005/12/07

Toes In the Water

Welcome to TerraSonic blog.

This is a place for serious academic discussion and consideration of ethnomusicology, geoanthroplogy and otber matters pertaining to this incredibly underappreciated discipline upon which the future of humankind undeniably depends.

Kidding.

We're nearing TerraSonic's fourth anniversary at Radio 1190, 3.5 of it in the current Saturday morning slot. Finally assembled some theme music a few months ago. Figure it's time to get the blog going too.

There's plenty of world music to talk about (though let's please skip the "what is world music?" question and agree that we know what we're referring to). And since world music is very closely related to, well, the world, maybe we'll talk about that too. Seems it's a popular topic these days.

Now that I've said hello, I can see what this thing looks like and then get on with the music itself.

Thanks for reading. I hope you'll stop back by from time to time. It'll get better. I promise.