FESTIVALS

Arts Presenters conference
Friday 1/7 – Tues. 1/11
Over 5,000 arts professionals will be in New York City for the annual Association of Performing Arts Presenters (APAP) conference from January 7-11. This marketplace for the performing arts is the largest in the world and the destination for experiencing first-hand what’s next in the performing arts.
www.apapnyc.org/

Here Comes Trouble
Friday 1/7; 7PM; $15
92Y Tribeca, 200 Hudson St.
Six acts in one evening. Tradition can make plenty of trouble, as this year’s artists prove. Forward-thinking San Francisco agency Trouble Worldwide and the worldly New York label Barbès Records have teamed up for the third annual Here Comes Trouble showcase to present six groups that leap borders and continents with a single musical bound at 92YTribeca. A Bhangra dance party closes the night.

Winter jazzfest
Friday 1/7 – Sat. 1/8; Various venues
Jazz invades the West Village when the NYC Winter Jazzfest stages more than 60 performances showcasing the most ground breaking jazz and experimental music. Five venues will host events: Poisson Rouge, Zinc Bar, Kenny’s Castaway, The Bitter End and Sullivan Hall.
winterjazzfest.com/

globalFEST 2011
Sunday 1/9; 7PM; $40
Webster Hall, 125 E 11th St.
globalFEST throws one of the year’s best international music parties while expanding the horizons of musicians and audiences alike. 13 Artists from around the world converge on Webster Hall for this global sampler.  Artists performing include Bogotá’s La-33, Senegal’s Yoro Ndiaye and the string duo of Ballaké Sissoko and Vincent Segal.

Hindi Zahra

If you’ve been hoping, wondering and waiting for a new female voice to sweep in, seduce and tantalize at the dawn of the new year, your wishes has been granted in Moroccan-born, Paris-based Hindi Zahra. This multi-talented and multi-cultural siren of Berber-soul writes infectious and hip songs that perfect spark of intimacy.

Hindi’s spontaneous yet well-honed debut, Handmade is jazzy and soulful with Arabic sounds and a gritty, bluesy Berber pulse. “I wanted a space where I could break all the barriers, where I could put all the music I knew and loved together. Where I could mix it all,” Hindi explains.

Hindi grew up in southwest Morocco improvising melodies at her relatives’ urging; singing along with Egyptian hits on the radio; and drawing inspiration from her hardworking father and the rugged ranges and verdant valleys surrounding her village. For the young Hindi, natural beauty was part of her daily existence. The places around her were filled with spirits, and the mountains reminded her of “plump and generous old ladies,” she recalls fondly. They became her first audience, as she sang to them.

With a singer and actress for a mother and uncles who loved to jam on guitars and percussion, Hindi found her own voice early. “I had to go to my room, close the door, and practice making up melodies on my own,” Hindi explains. “I had to be alone, with only my voice.”

2010 has proven to be a special year for Randy Weston for many reasons. It marks the 50th anniversary of the recording of his landmark LP, Uhuru Afrika—a spectacular four-part suite composed by Weston, arranged by Melba Liston with lyrics by the great poet, Langston Hughes.

The Uhuru session not only brought together musicians from Africa and the African Diaspora, but the LP lead the way in reconnecting jazz to the African continent and charting a new path for modern music—a path which Weston has pioneered with devotion his whole life.

This year is further distinguished by the debut of African Rhythms: The Autobiography of Randy Weston, a highly anticipated memoir composed by Randy Weston, arranged by Willard Jenkins, and published by Duke University Press. In this moving account, Weston breaks new ground by giving a powerful, honest self-portrait of his musical and spiritual journey in the world in a volume thankfully devoid of the sensationalist fare of sex, drugs, and drama typically included in such works.

FREE RANDY WESTON SONG AT THE END OF ARTICLE

New York, November 3, 2011 – Brice Rosenbloom of BOOM Collective (formerly boomBOOM Presents) is proud to announce the 2011 NYC WINTER JAZZFEST lineup.  The festival is to be held on January 7th & 8th, 2011 in New York City.  The NYC Winter Jazzfest will take over threeWest Village venues, (le) Poisson Rouge, Kenny’s Castaways and Zinc Bar on Friday January 7th, and five venues, (le) Poisson Rouge, Kenny’s Castaways, Zinc Bar, Sullivan Hall, and Bitter End on Saturday January 8th.  This marks the seventh year of the annual NYC WINTER JAZZFEST, and our continued mission to showcase top quality jazz and experimental music.

Abacus, LAL, and Ivana Santilli. In the process, Moonstarr has gained worldwide acclaim for his music from veteran DJs such as Gilles Peterson, Rainer Truby, Laurent Garnier, Marc Mac, Derrick May, and DJ Spinna and from various publications like Straight No Chaser, XLR8R, Montreal Gazette and Exclaim, and has scored for the cult hit film Next: A Primer On Urban Painting.

Digging through dusty boxes of old cassette tapes, floppies and DATs, Moonstarr decided to compile some unreleased and classic joints from The Archive. This nostalgic look back reveals signature vinyl-only dancefloor jams praised by DJs and tastemakers the world over, as well as unreleased joints that are just now escaping Moonstarr’s studio walls.

As a poet and performance artist, Ursula Rucker has enchanted critics and fans across the globe with her diverse repertoire, captivating vocals and accessible poetic verse.

Born and raised in Philadelphia, she began documenting her observations of the world when she was just a girl. A graduate of Temple University’s journalism program, Ursula kept her creative writing as a prized, personal possession until she was prepared to share with the world. In 1994, she introduced an open-mic night audience at Philadelphia’s Zanzibar Blue to the beauty and urgency of her poetry.

Word quickly spread throughout the city of Ursula’s poetry and stage performance, which has been described as “strong, vulnerable, wounded and raging.” Producer King Britt invited her to create her first recording, the 1994 single, “Supernatural” (Ovum/Slip N Slide UK).

Fort Knox Recordings is proud to present Sabor Tropical, (out January 11, 2011) the debut album from the Empresarios. The band was originally introduced on the 2009 label compilation The New Gold Standard 2, with infectious tunes that just begged to be remixed and reworked. The Empresarios are the first new artist to release their own full length album on the ever-growing Fort Knox roster.

With Sabor Tropical, they have set the bar very high for the new generation of artists to follow. From the opening track on Sabor Tropical, you already know you’re in for a diverse ride of styles. The album smoothly combines latin funk, cumbia, dub and reggaeton on a grooveoriented tip, perfectly balancing beats for both the headphones and dancefloor.


By John C. Tripp

As Ocote Soul Sounds, Adrian Quesada and Martin Perna, respective bandleaders of famed ensembles Grupo Fantasma and Antibalas create desert- and sun-soaked psychedelic funk that entwines the grit and funk of the gridlocked NYC streets, with the voices and rhythms of the dusty streets of Latin America.

On “Coconut Rock” their third album, the slipped effortlessly into their trademark psychedelic afro-latin funk groove. From the Latin breakbeat rhythms of album lead-off ‘The Revolt of the Cockroach People’ to the cumbia bounce of ‘Tu Fin, Mi Comienzo’ to the easy guitar soundscapes of ‘Vendendo Saude e Fe’ featuring Brazilian songstress Tita Lima, ‘Coconut Rock’ is the third chapter in Ocote Soul Sounds’ unparalleled journey through sonic realms beyond.

The duo of Perna and Quesada developed their musical paths in eerily similar parallel universes. Though Quesada grew up in the Texas border-town of Laredo, and Perna came up in Philadelphia (later New York), both musicians straddled borders literally and artistically. Growing up on hip hop and the jazz and funk it was built on; both taught themselves to play multiple instruments; both had founded game-changing, booty-shaking big bands; and both were deeply moved by a powerful spirit of social and political activism, the spirit that was to become Ocote.

A chance biodiesel breakdown, which left Martin stranded in Austin, led to the two playing around with some song ideas together, hitting the studio and ultimately resulted in their 2005 debut ‘El Nino Y El Sol’. Four years and three albums down the line, they have evolved into a seven-piece live outfit.