World Music + ... 2015

This Rough Guide concocts a collection of laid-back music you can hear pumped out from street-side coffee-houses across North Africa and the Middle East. Sip the historic infusion with musical masters Maurice El Medioni, Akim El Sikameya, Ali Hassan Kuban, Salamat and Abdel Gadir Salim.

For more information: www.worldmusic.net/arabiccafe

The Rough Guide To Arabic Café

Nowadays in the West coffee chains are endemic on every high street. Pounding the streets anywhere from Croydon to Chicago, you can be sure to find a slick, stainless-steel-clad Starbucks or a clinical, corporate Costa crowded on to every other corner. In these capitalist climes, multi-national chains jostle for space with holistically hip independent joints where media consultants tip-tap on MacBooks whilst sipping their double-shot decaf doppios. Looking back at the richly roasted history of the potent brew reveals a fascinating story and its deep connection to the musical culture of Eastern Africa and the Middle East, where the drink originated. 

There are hundreds of contesting accounts of coffee’s legendary first uses. A popular theory surmises that in the tenth century, nomads wandering through Ethiopia’s mountains ate the coffee plants red fruits and first discovered its stimulating properties. Next, members of the Shadhiliyya Sufi order are said to have spread coffee-drinking across Southern Arabia and the Islamic world from the thirteenth century onwards. Today coffee’s enveloping aroma still scents the streets of the Arab world’s beating cities and village outposts. Touchdown in Beirut, Ramallah, Cairo, Casablanca or Riyadh and you are sure to soon have your hands wrapped around a steaming strong amalgam. This Rough Guide concocts a collection of laid-back music likely to be pumped out from street-side Arabic coffee-houses where the clinking of glasses, gentle ripple of conversation and misty shisha smoke mingles amongst the guests in percussive interplay.

We sip our first Arabian infusion in a Franco-Algerian establishment in the company of Maurice El-Medioni. Born in Oran, El Medioni first learned to play the piano by mimicking popular 1930s French songs he heard on the old family radio. During the 1940s he learned to boogie-woogie and jazz along with the US troops stationed in Oran. In 1962 escaping his country’s bitter civil war El Medioni relocated to France and set himself upon the cosmopolitan cabaret scene. Joining us in Algeria, Akim El Sikameya’s unique high-range vocal is heard on ‘Ya Waadi’. Both artists blend Arab-Andalucian tradition with swinging jazz trumpets and syncopated swagger.

Ali Hassan Kuban’s music greets us in Egypt with a steaming cup of his Nubian blend. Known for his wide gap-toothed smile and jazz-inflected wedding music, Kuban transformed the complex rural rhythms and trance-like chants of his homeland by adding Western instrumentation and danceable beats. Sudanese musician Abdel Gadir-Salim also draws on wedding repertoire as heard on his strident 6/8 tune ‘Gamearina’. The band Salamat was formed by Mahmoud Fadl, another musician with a strong rooting in the Nubian and Arabic wedding scene in Egypt. Fadl’s love of percussion is resonant in the playful patterns underpinning tracks ‘Elleya Misafir’ and ‘Wainek’.

Within the course of this travelogue album we go on to glide from Ihsan Al-Mounzer’s Lebanese light roast to Groupe Mazagan’s Moroccan rock mix, Daramad’s relaxed-pace Persian delights, and Ramzi Aburedwan’s punctuated Palestinian grooves. Uncover the history of coffee culture on this carefully-blended compilation.

Ramzi Aburedwan: Tahrir (taken from The Rough Guide To Arabic Cafe

A few tracks from Duo Jansen/Jüssi album "Mängleik" which is to be released in March 2014

SAGVALS

Mali is a fabled land of musical giants and this Rough Guide features the towering figures of Oumou Sangare, Ali Farka Touré and Basekou Kouyate. However the music of Mali is now under threat as never before. In the words of singer Fatoumata Diawara, ‘music has always brought hope in Mali. Music has always been strong and spiritual.’

For more information, visit http://www.worldmusic.net/store/item/RGNET1311

Before the March 2012 coup d’etat of President Amadou Toumani Touré, very few outside of West Africa knew much about Mali (except for perhaps a group of historians and world music devotees). Much of Mali is encompassed by the Sahara desert, which, despite its often scorching temperatures, has been aptly described as an ‘inland sea’, connecting the Arab and Berber cultures of the north, with the Fulani, Bambara, Mandinka and others in the south. After Muammar Gaddafi fell in the Libyan civil war, huge caches of heavy weapons were left unguarded – many ended up crossing that ‘desert sea’ and arrived in Mali. Fueled by outside groups, Al Qaeda gained a stronghold in northern Mali, installing Sharia law, closing schools, and banning so-called ‘Satan’s music’. Tragically, the region that had long been known for its ancient manuscripts, magnificent mud-architectural mosques, and captivating folk music was engulfed in conflict.

Mali’s musicians have never shied away from mixing politics and song. Vocalist Oumou Sangare (who is also a United Nations Goodwill Ambassador) has been outspoken on issues including women’s rights and polygamy since the 1990s. In 2013, when the conflict made it impossible for Mali to host its renowned Festival in the Desert, Sangare helped to take the show on the road, headlining the Caravan For Peace, performing in Tuareg refugee camps in Burkina Faso. Similarly, Khaira Arby (cousin of legendary guitarist Ali Farka Touré) has taken on issues such as female circumcision in her music. So, it shouldn’t come as a surprise that when war threatened to engulf Mali, its leading musicians banded together. Fatoumata Diawara gathered the nation’s leading musicians together to produce a video calling for a peaceful end to the conflict, most of whom are featured on this compilation, including Oumou Sangare, Toumani Diabate, Vieux Farka Touré, Nahawa Doumbia and Khaira Arby.

The role of these musicians cannot be underestimated, as it both galvanized the Malian public, and the international community into action, leading to military involvement by France as well as United Nations peacekeepers that quickly restored calm to most of Mali. Musically and ethnically, Mali is an incredibly diverse country. This album reflects that diversity, featuring driving Tuareg grooves rooted in a nomadic Saharan past, generations-old ‘social advice’ songs, Wassoulou music from the south, and of course there are a host of songs from Mali’s next generation of stars.

Samba Touré: Koye Ma (taken from the Rough Guide To Mali)

In the twenty years since Malian guitar legend Ali Farka Touré won his first Grammy, a whole spectrum of African Blues has become hugely popular with a global audience. The shades of Blues on this Rough Guide range from the deep indigo of the Saharan nomads to a vivid Madagascan cobalt.

For more information, visit www.worldmusic.net/africanblues

Africa is considered by many to be the home of the Blues, both musically and spiritually. Musically the connection is particularly evident in the music of Ali Farka Touré and other artists from Mali and Saharan West Africa. Elsewhere, the link to the Blues can be described as more spiritual – the intensity of the emotion comes across in the passion of the voices and the rawness of the music.

West Africa provides the first few songs on this Rough Guide. Ali Farka Touré himself said that he was ‘an absolute fool for the guitar’ in the 1970s when ‘Yer Mali Gakoyoyo’ was recorded for Mali’s national radio station, while ‘Dani Dou’ by his acolyte Samba Touré hints at the loping gait of a camel-train.  Tamikrest and Bombino represent further variations of the blues of the Sahara.

Senegalese artists Nuru Kane and Amadou Diagne are joined by musicians from their adopted communities in France and the UK and it’s English guitarist Ramon Goose who provides the springy electric riff to accompany Modou Touré’s vocals in the West African Blues Project.  Meanwhile, Zambian-born Dominic Kakolobango is joined by American Elijah Wald on the dual finger-picking guitars of ‘Gueza Tabiya’ (Change Your Habits) and an international band, including oud and piano, provides a lush backing for Amira Kheir’s jazzy exploration of her Sudanese heritage.

The complex traditional music of their native Madagascar influences the blues of both Nogabe Randriaharimalala and Lala Njava, while Menelik Wesnatchew’s ‘Teteza’ is a beautifully swaying version of ‘Ethiopia’s majestic hymn to the blues’. 

Dilon Djindji, from Mozambique, made his first guitar from an oil can when he was twelve years old, 63 years before his first solo album was released. The final track on the album is a unique unaccompanied vocal piece by La Reunion’s greatest maloya artist, Danyèl Waro.

Nuru Kane: Niang Balo (taken from The Rough Guide To African Blues)

A comerrrrrr........
De todos los placeres de la vida
uno de los mas importantes es el comer
y es que el comer es tan sabroso
aceptarían ustedes que yo los invitara a comer
algo divino, algo como
El platanito con arrocito
una arepita con su quesito
una ensalada con aguacate
el picantico para el remate
las caraotas que estén refritas
y una sabrosa carne mechada
Y cocíname así,
que quiero comer
yo sé que puedes hacerlo mujer
no hay dieta pa' mi
que puedo yo hacer
si solo lo que me gusta es comer
COMER
es lo que quiero yo hacer
(CORO) COMER
toda mi vida será
(CORO) COMER
es tan sabroso vivir y comer
comer....
(CORO) ES LO QUE QUIERO YO HACER
comer....
(CORO) TODA MI VIDA SERÁ
comer....
(CORO) ES TAN SABROSO VIVIR Y COMER
No se te olviden los espaguetis
un mondonguito bien calientito
ponme en la sartén esas dos chuletas
que sean de pollo esas croquetas
traje costillas para el sancocho
después de pegármelo hasta las ocho
Y cocíname así,
que quiero comer
yo sé que puedes hacerlo mujer
no hay dieta pa' mi
que puedo yo hacer
si solo lo que me gusta es comer
(CORO) COMER
es lo que quiero yo hacer
(CORO) COMER
toda mi vida será
(CORO) COMER
es tan sabroso vivir y comer
comer....
(CORO) ES LO QUE QUIERO YO HACER
comer....
(CORO) TODA MI VIDA SERÁ
comer....
(CORO) ES TAN SABROSO VIVIR Y COMER
(CORO) COMER
es el comer
un gran placer
llena de gula mi ser
(CORO) COMER
esa comida
que tu preparas
que me cocinas mujer
(CORO) COMER
dámela ya
pero que da... da...
dámela ya
(CORO) COMER
ponme un cartón, papa
y bien grandote el bistec
(CORO) COMER
de postre traigan ya
huevos chimbos y limonsón
(CORO) COMER
sangría bien fría para acompañar
la bomba que empiece a estallar
uhi.......
(CORO) COMER
yo te invito chica
a comer salchichas
(CORO) COMER
unas ricas donas
de esas sabrosonas
(CORO) COMER
la dieta volví a romper
solo me resta
(CORO) COMER
cocina bien, comiendo así, yo soy feliz, cerca de ti, mi linda girl
(CORO) COMER
(CORO) COMER
vamos a trabajar
pa' la comida poder comprar
(CORO) COMER
ensalada de palmito
cebolla bien frita
pimentón también
(CORO) COMER
lomito negro, chivito en coco
.....meeeeeee
(CORO) COMER
tu no ves
amor con hambre no dura
..comida de beber
(CORO) COMER
una sopita de chipi-chipi... siii.....
es lo que quiero solo.....
(CORO) COMER
es lo que quiero yo hacer
(CORO) COMER
toda mi vida será
(CORO) COMER
es tan sabroso vivir y comer
comer....
(CORO) ES LO QUE QUIERO YO HACER
papear....
(CORO) TODA MI VIDA SERÁ
comer....
(CORO) ES TAN SABROSO VIVIR Y COMER 

A Comer    Intérprete: Guaco

Si quieres hacé un sancocho, un sancocho a lo oriental,
un sancocho bien sabroso,
pon cuidado a mi explicar (bis)

Si el sancocho es pescao fresco,
pon primero a calentar
Ocumo, yuca y auyama, con su poquito de sal.
Y la bananita verde que no debe de faltar (bis)

Cuando esto esté en la candela,
no te olvides de agregar
ají, cebollín y ajo, que es su sabor peculiar. (bis)
Y al ver amigo mío, a la verdura ablandar…

echa ese pescao fresco…!!
y limón sin reparar!!
Y la botellita'e ron que no debe de faltar (bis)

El Sancocho    Intérprete: Gualberto Ibarreto

Llegando a Ciudad Bolívar 
me dijo una guayanesa 
que si comía la sapoara 
le cortara la cabeza 

me la comí que atrocidad 
puse la torta por mi terquedad 
me la comí que atrocidad 
puse la torta por mi terquedad 

me lo aconsejo mamita 
me lo recordó Teresa 
que si comía la sapoara 
le cortara la cabeza 

me la comí que atrocidad 
puse la torta por mi terquedad 
me la comí que atrocidad 
puse la torta por mi terquedad 

no importa si me eh comido 
la bicha con toó y cabeza 
siempre q reciba un beso 
de una linda guayanesa 

llegando a bolívar me hicieron 
la penosa advertencia 
me comí la cabeza 
por terco loco y bruto no escuche lo consejos de esa 
linda guayanesa 
me desconcentro y me mareo 
con su cuerpo giro sonriente miro y sapoara me ofreció 
bien desconcentrado con esa morena al lado q dijo 
wuo no, no, no 
no te comas la cabeza mira 
wuo no, no, no 
porque yo no soy de esas así que 
wuo no, no, no 
que por allí no se empieza dijo 
wuo no, no, no (bis) 

me la comí que atrocidad 
puse la torta por mi terquedad 
me la comí que atrocidad 
puse la torta por mi terquedad

La Sapoara   Intérprete: Quinteto Cantaclaro

El Alfondoque, dulce de lechosa,
El alfeñique, Carato e’maiz
Conserva e’coco, dulce de toronja,

La naiboa sabrosa y el cambur pasao
Los pregonaban por todito el pueblo
Y en azafates iban a vender
En plazas cines, de acuerdo a su gusto
Y de un gran surtido podía usted escoger

Eran muy populares, siempre solían cantar
Cómase su dulcito, no sea pichirre, venga a comprar
tortas sólo un realito, un buen paquete doy
Vengan muchachos, viejos
Vengan temprano porque me voy.


Golosinas Criollas     Intérprete: Jesús Sevillano

Cuando la tarde languidece
Renacen las sombras
Y en su quietud los cafetales
vuelven a sentir
Esa triste canción de amor
De la vieja molienda
Que en el letargo de la noche
parece gemir
(bis)

Una pena de amor, una tristeza
Lleva el sambo Manuel en su amargura
Pasa incansable la noche
Moliendo café.

Cuando la tarde languidece
Renacen las sombras
Y en su quietud los cafetales
vuelven a sentir
Esa triste canción de amor
De la vieja molienda
Que en el letargo de la noche
parece gemir.

Una pena de amor, una tristeza
Lleva el sambo Manuel en su amargura
Pasa incansable la noche
Moliendo café.(bis)

Cuando la tarde languidece
Renacen las sombras
Y en su quietud los cafetales vuelven a sentir
Esa triste canción de amor
De la vieja molienda
Que en el letargo de la noche
parece gemir


Moliendo Café    Intérprete:  Nelson Villalba / Hugo Blanco

India's classical music is deeply bound to the country's ancient mystical traditions. This unique Rough Guide brings together the greatest names in Indian Classical music, performing some of the most beautiful ragas of India’s classical legacy. Enjoy the musical artistry of legendary performers such as Shivkumar Sharma, Hari Prasad Chaurasia, Zakir Hussain and Ravi Shankar.

For more information, visit www.worldmusic.net/indianclassical

THE ROUGH GUIDE TO INDIAN CLASSICAL MUSIC

India's classical music is deeply bound to the country's mystical ancient traditions. Stretching back  through time to the Vedic period musical historians encounter the Rigveda, an ancient collection of Sanskrit hymns, and the Sama Veda, a text which begins to discuss the origin of seven shruti (notes) from the sounds of nature. The practice of combining tones in certain sequences and the notation system that was developed during this era is connected to the development of the Indian classical raga form. 'Raga' literally translates as a 'hue' of colour and is a musical method of constructing melody through prescribed conventions. Ragas are linked to different moods and times of the day. Amjad Ali Khan's ‘Raga Chhaya Nat’ is in the Hindustani (North Indian) chhayanat mode and illuminates his crystalline prowess on the sarod, a stringed lute that is played with a plectrum. Uppalapu Srinivas' song 'Sankari Sankuru' is played on his mandolin in saveri raga, which is said to bring about the mood of pity and was originally composed by one of Carnatic (South Indian) music’s greatest figures Syama Sastri (1762-1827). 

Indian Classical Legends Shivkumar Sharma, Hari Prasad Chaurasia and Brij Bhushan Kabra are heard delicately delivering a Hindustani bhairav raga on ‘Ahir Bhairav’. This raga is related to Sikh tradition from northern India and appears in the Guru Granth Sahib (the central religious text of Sikhism). Ravi Shankar’s radiant sitar shines bright on the fast-paced track ‘Devgiri Bilawal Dhun’. Shankar’s name and ascendant international career is now synonymous with Indian classical music. Widely regarded as a musical sage or pandit, his definition of raga touched upon its vast and complex nature, describing it as a ‘scientific, precise, subtle and aesthetic melodic form’. Another sitar scholar, Vilayat Khan is heard on ‘Dhun Punjabi Ang’. The Khan musical lineage traces all the way back to the court musicians of the Mughal Empire.

Father and son duo Allah Rakha and Zakir Hussain enter into percussive playoff on the live track ‘Ek Taal’. Tabla virtuouso Zakir Hussain remains grounded by the musical discipline and natural flair he inherited from his father who he regarded as ‘a spirit who was created to work for music by God’. Carnatic vocalist Dr M. Balamuralikrishna’s marvellously melodic instrument sparkles on ‘Sadhathava Pada’. His formidable range and versatile tone mark him out as a legendary singer. He is also credited with popularising the jugulbandi concept in Indian classical music – when two soloists of equal skill perform together. Riverboat Records artist Jyotsna Srikanth contributes ‘Annapoorne’, a work crafted by the famous Carnatic composer, Muttuswami Dikshitar. The subject matter concerns Annapoorne, the Hindu goddess of nourishment. The raga used is sama, one that denotes peace.

Uncover the mystery and beauty of India’s verdant classical tradition on this excellent introduction to one of the world’s most valuable musical repertoires. 

Jyotsna Srikanth: Annapoorne (taken from The Rough Guide To Indian Classical Music)

A young girl cries as she's taken to her new husband's house because she was forced to marry someone she doesn't love. 
on the new album by Oumar Konate www.clermontmusic.com/OumarKonate

Oumar Konate - Addoh (Tears)

Meridian Brothers are back with a new studio album, the bizarre and wonderful ‘Salvadora Robot’. Heading deeper into the tropical rhythms of Latin America and the Caribbean each song on the album focuses on a different style and playfully twists it into Meridian Brothers’s surreal landscape. Released on Soundway Records on 16th June the album was recorded at Eblis Álvarez’s appropriately named Isaac Newton Studios in Bogota, Colombia.

Originally formed in 1998 it was the previous album ‘Deseperanza’ that brought Álvarez’s Meridian Brothers to the attention of the wider world. Released worldwide in 2012, the album’s unique aesthetic and freaked-out blend of Latin rhythms and psychedelic grooves won him new fans the world over. DJ and tastemaker Gilles Peterson selected ‘Guaracha U.F.O (No Estamos Solos...)’ as his favourite track of 2012.

‘Deseperanza’ focussed heavily on salsa rhythms but on his new release Álvarez based each track in a different Latin American style. For example ‘Somos los Residentes’ finds it inspiration in Dominican Republic merengue while ‘Baile ultimo….’ is a slow and sad reggaeton. The lyrics talk of a man who has been sent to the electric chair because he was dancing too much reggaeton, a style that isn’t accepted as “good taste” within Colombia.

The release of ‘Deseperanza’ brought them to Europe for the first time, making appearances across Europe and at some of the prestigious festival including Roskilde and Transmusicales. The band will be returning to Europe this summer. 

Pre-order

Meridian Brothers - El gran pájaro de los Andes (Instrumental)

Fast and furious, fingers flying with a fiery panache, Söndörgő are one of the most exciting bands in Europe. With their signature instrument, the tambura, the band brilliantly combines respect for tradition with a desire to innovate and a fizzing virtuosity. 

For further information, visit www.worldmusic.net/sondorgo

Listening to the band play, you soon hear it’s nothing like traditional violin-led Hungarian music. Söndörgő’s sound is light, springy and delicately plucked. Their signature instrument is the tambura, a mandolin-like instrument, probably of Turkish origin, used by the South Slav (Serbian and Croatian) communities in Hungary.  

The band is made up of three brothers, Áron, Benjamin and Salamon Eredics, plus cousin Dávid Eredics and Attila Buzás, the only non-family member, on bass tambura. Áron Eredics is also part of the band Vujicsics, winners of Hungary’s most prestigious state-sponsored cultural award, the Kossuth Prize, in 2014.
Tamburocket is Söndörgő’s second international release and features revived tunes drawn from the rich Hungarian archives and annals of the countries esteemed song-collectors and musicologists of yore. 

Tracks featured here that were first collected by national hero Béla Bartók include the dance tune ‘Drago Kolo’, played as a duet by Áron and Salamon; ‘Srpski Madjarik’, arranged for the basszprímtambura (alto tambura) and cello tambura and ‘Majka Kceru’, a rather sedate wedding song in its original version but reworked by Söndörgő in a more ferocious rhythm. 

The two melodies from ethnographer Tihamér Vujicsics were both collected by the Drava river, a tributary of the Danube, which marks much of the border between Hungary and Croatia. The opening ‘Jozo’ is a nonsensical love song, with the original Croatian bagpipe part transferred onto the samica, a small, home-made tambura. The closing ‘Kolovoda’ is a dance song for a kolo ring dance, the most popular folkdance of the South Slavs. 
‘Marice’ is a popular Croatian song named after a girl that all the guys lust after, but can’t get. ‘Evo Srcu’ features two slower Serbian melodies from Vojvodina, the northern region of Serbia. ‘Hulusination’ is based on a Macedonian čoček dance tune, but Söndörgő have brought in a sort of Chinese snake-charmer’s pipe called the hulusi (hence the punning title), plus other wind and percussion to create a powerful trance-like track.  

What Söndörgő combine brilliantly is a respect for the traditions, a desire to innovate and a fizzing unstoppable virtuosity. 


Buy Now

Söndörgő: Jozo (taken from the album Tamburocket Hungarian Fireworks)

A remix of Lala Njava's track 'Voatse' for the WorldMusic.net competition.

Voatse (Daroph Remix)

Out July 29, 2014 on Knitting Factory Records

Available on iTunes: www.smarturl.it/findingfelaitunes
Available on Amazon: www.smarturl.it/findingfelaamazon
Available at KFR: shop.knittingfactoryrecords.com/products/…oundtrack

The soundtrack to the film ‘Finding Fela’ which tells the story of Fela Kuti’s life, his music, and his social and political importance. This in-depth look at the man who created Afrobeat (the fusion of Jazz, traditional West African rhythms, Funk, Highlife, and psychedelic rock) includes 17 of Fela's classic tracks plus a never-before released live version of “Colonial Mentality” recorded at the New Afrika Shine in Fela’s hometown of Lagos and features Femi Kuti on saxophone.

www.findingfela.com

Finding Fela - Colonial Mentality

Mostafa Mahfooz Ma3letsh.Fe.7agaa

TERANGA BEAT proudly presents DEXTER JOHNSON & Le SUPER STAR de DAKAR in their last performance before their departure to Abidjan in 1969. Mastered from the original tape this recording captures the energy and quality of these most spectacular performers. The group was led by the inimitable Dexter Johnson, a saxophonist whose unique timbre influenced generations of horn players in Senegal and who can stand with pride next to the great jazz musicians.

Nigerian born he came to Dakar through Bamako & left his mark from the first night he arrived in the city with the GUINEAN JAZZ, in 1957. Later he played with the STAR BAND de DAKAR & finally with the SUPER STAR de DAKAR where he made a great duo with the singer LABA SOSSEH in the club “À l’Étoile”.

“Live à l’Étoile” features many great Afro-Cuban classics, two killer boogaloos and a cover of Wilson Pickett’s “Something You Got”. The recording also shows for the very first time the capacity of Dexter after the departure of LABA SOSSEH. This gave him the opportunity to become the absolute frontman & to have the singers JOHN GOMIS, WILLIAM & MAĪSSA NGOM accompany his tenor saxophone.

The 2LP comes out in a deluxe ‘60s style cover with a bonus track & MP3 download code. Both LP & CD booklet includes photos & linear notes outlining Dexter’s musical career. We hope you will enjoy.


Dexter Johnson & Le Super Star de Dakar - Something You Got

Poland’s Chłopcy Kontra Basia spin original folk-tale lyrics and weave them with voice, double-bass and percussion. Oj Tak! leads you along a cake-crumb trail to an irresistibly surreal world.

For further information, please visit www.worldmusic.net/chlopcykontrabasia

Chłopcy Kontra Basia: Mam Ja Męża (I Have A Husband)

Grounded in gypsy traditions, flamenco guitar has evolved to become a high art form and a potent symbol of Spanish culture. Arguably the most beautiful and technically demanding of all guitar styles, today’s greatest masters weave complex rhythms with breathtaking technical skill.

For more information, visit http://www.worldmusic.net/store/item/RGNET1326

Moraito: Sor Bulería (taken from The Rough Guide To Flamenco Guitar)

New album "Amid the Noise and Haste" is out now!

iTunes: http://smarturl.it/SOJAAmid_itunes

SOJA web store: http://smarturl.it/SOJA-ANH 

Amazon CD: http://smarturl.it/SOJAAmid_AMZCD 

Amazon Gold Vinyl: http://smarturl.it/SOJAAmid_AMZLP

World Music + ... 2015

Akka Ruohomaki