Basya Schechter - Queen's Dominion

Pharaoh's Daughter is an American Jewish world music band from New York City. Their music is a mix of American folk, Jewish klezmer, and Middle Eastern sounds. The bandleader is Basya Schechter (lead vocals, oud, guitar, saz). Other band members have included Daphna Mor (recorders, zurna, ney, melodica, backup vocals), Meg Okura (violin), Yuval Lion (drums), Shanir Ezra Blumenkranz (bass, oud), Noah Hoffeld (cello), Daniel Freedman (drums), and Jason Lindner (keyboards), Alan Kashan (santur).

http://en.wikipedia.org/wiki/Pharaoh%27s_Daughter

Basya Schechter, normally heard as the voice of New Jewish Movement group Pharoah's Daughter, makes a bit of a departure and delivers Queen's Dominion , a more-or-less stripped down instrumental affair that blends music from across the Middle East with, not so surprisingly, a sound that also demonstrates how the music of Persia ultimately travelled north to inform music as far away as Ireland.

Schechter's oud playing is not in the virtuoso realm of players like Anouar Brahem and Rabih Abou-Khalil, nor does it attempt to be. Instead, her rooted playing is the foundation around which everything else is based. While she may establish the melody, as she does on "Midian," she is more likely to be found ranging around the low end of the instrument, fleshing out the bottom end when the group isn't augmented by guest bassist Shanir Ezra Blumenkranz, who appears on the opening track, the lively "Dead Sea." More often than not the lead is taken by Alan Kushan's attractive santir (hammered dulcimer) or Meg Okura's soaring violin.

The core group explores the juncture between traditional Arabian music and influences from the Jewish tradition, but arguably the most interesting piece is "By Way of Haran," which, with fellow Pharoah's Daughter member Daphna Mor on recorders, has a distinctly Celtic flavour, even though its circuitous 15/8 pattern is clearly more focused in the Persian tradition.

The pieces are more focused on composition but that doesn't mean that there isn't room for improvisation. "Under the Moes Tree" and "Wherewolf" are both, in fact, completely free improvisation, albeit brought into focus by Kushan. Both pieces place ambience and atmosphere ahead of flair and technical wizardry, but are richly evocative pieces that demonstrate how, with a strong set of ears, magic can indeed be made.

The textures created by the largely string-based group are all the more forceful for their diversity. With strings being plucked, hammered and bowed there is plenty of room for breadth. And when the group is supplemented with melodica and trumpet, as it is on the moody and shifting title track, the sonics become very rich indeed, especially as these additional instruments are used for timbre more than melodic convention.

With Tzadik also reissuing a remastered and slightly altered version of Pharoah's Daughter's out of print '00 Knitting Factory release, Out of the Reeds , it is clear that the label is putting some weight behind Schechter and her personal vision of the varied musical traditions of the Middle East. Queen's Dominion establishes her as an artist who is as compelling an instrumental composer as she is a songwriter, and it bodes well for things to come.

Personnel: Basya Schechter (oud, percussion), Alan Kushan (santir, voice), Jarrod Cagwin (percussion), Meg Okura (violin) Special Guests: Daphna Mor (recorders), Noah Hoffeld (cello), Shanir Ezra Blumenkranz (bass), Jason Lindner (melodica), Albert Leusink (trumpet), Chiara Civello (breathing, vocals)

http://www.allaboutjazz.com/php/article.php?id=14565#.UsElKrSkfTo

1. Dead Sea 
2. By Way of Haran
3. Burning Bush
4. Pashmina
5. Midian
6. Under the Moes Tree
7. Bedouin Tea Party
8. Dancing Georgina
9. Queen’s Dominion
10. Wherewolf

Chanda Rule - Surrender

Soul stirring. Powerful. Sacred. Goose-bump inducing! These are just some of the words used to describe vocalist and interfaith minister Chanda Rule. With feet rooted in the gospel traditions of the South, a heart filled with soul, and a voice touched with jazz, Chanda has been weaving stories through song, humming melodies, and bending words since her childhood. Mesmerizing audiences around the world with her “liquid clear” song “bound to fill your spirit to its rim with musical serenity” and her uncanny ability to lead audiences of all backgrounds in harmonious song, Chanda loves to proclaim that music is a healing balm for the human spirit and uses music to honor the downright sacred wholeness of every being.

Chanda's songs have been noted for their colorful poetics that embrace personal and spiritual depth and her unforgettably powerful approach. She infuses her melodies with her love of soulful blues, sacred teachings, and jazz -- blossoming unforgettable performances that touch the hearts of listeners all over the world.

Chanda began her career in musical theater, appearing in a variety of productions, from Shakespeare in the Park in New Jersey, to Hair, The Musical in Europe. She has since opened for Regina Belle & The Whispers, Angela Bofill, India.Arie, and Amel Larrieux; performs internationally at festivals and concert halls such as BAMCafé, Brucknerhaus, Tchaikovsky Hall, and Dizzy's Coca Cola; leads congregational music at Saint Peters Church, Unity, and Centers for Spiritual Living across the country; and has written music for and performed in concert to increase social, spiritual, and cultural awareness at The Apollo, Symphony Space, Harlem Stage, Lincoln Center, and The New York Open Center. Her genre-defying voice has graced a variety of musical projects: from her Langston Hughes inspired concert "I Too Speak of a River" and "Feelin' Good: A Tribute to Nina Simone", to performing with jazz trumpeter Franz Hackl's Outreach Orchestra, Denis Matsuev's Crescendo Festival, and New Music concerts with film composer Gene Pritsker.

After touring Western Europe singing and leading workshops on the African roots of Gospel music with the Golden Gospel Singers and attending One Spirit Interfaith Seminary in New York, Chanda was inspired to harness her passion for religious harmony into "RiseUpNation" a series of workshops, concerts, singing flash mobs, and pop-up choirs that use congregational music as an agent for interfaith dialogue and unity. Chanda was recently awarded one of seven Hough Scholarships from Union Theological Seminary at Columbia University to study Interfaith Dialogue through the Arts. Her music has been broadcast throughout the US, Eastern and Western Europe via radio, internet, and television.


http://www.chandarule.com/

1. Let Freedom Reign
2. All Life Is One
3. Tomorrow
4. Slow Down
5. Beauty
6. Home
7. Here's to Life
8. Surrender
9. Amazing Grace
10. Outro/I Knew It Was Love

Koby Israelite - Blues from Elsewhere

American folk meets the East.
It is true to say that nothing comes from nothing and something always comes from something. With this as a working philosophy, Koby has skillfully made connections between the american folk music of Blues, Bluegrass and country'n'western and then balanced them with the other immigrant sounds of eastern european and balkan melodies. Bringing out the Eastern European and Balkan elements and raising them upon the saddle of american rock, blues and folk.

As a multi-instrumentalist his skill and virtuosity expresses itself throughout. At times effervescent, at other times reflective but always expressive. What remains is his signature style, where the accordion (dubbed as the new guitar) swings and sways with all the bewilderment of the circus, taking the listener through a gypsy fair set in the mid-west, travelling from town to town, city to state. The mix of styles conjure up a motley crew of blues musicians, Klezmoriim and balkaneers on a road trip across America. This wave of delirium, staggers and sways the listener, keeping them on the edge of their seat and the very borders of the genres, where one style meets another.

Whether as an ode to Johnny Cash, a nod to the skiffle bands, the vocal trios and quartets of 1950's or the hazy dreaminess of Led Zeppelin in his tribute to Kashmir, Koby brings these diverse elements together and balances them in this, his latest release. The composition's in the “blues from elsewhere” suite are connected through modern american rock but given an eastern slavic temperament. From the italian mandolin's of “Crayfish Hora” to slide guitar of “Subterranean Homesick Blues”. It is the powerful and adept voice of Annique that steps in to add a sweet, smoky tinged powerful rock edged soul and bring the American element up to date with a vocal power, versatility and range worthy of the rock and roll halls of fame.

Whereas his previous releases on Tzadik records had more of an emphasis on announcing his Jewish heritage. In this release the itinerant Israelite has brought his guiding musical passions to life. On the whole, the move from Tzadik to Asphalt Tango sees a departure from this Hebraic emphasis, except for the track “Lemi evke”. Here in this essentially Jewish blues track, Mor Karbasi brings to the album her graceful voice with it's beating Sephardic heart.

Koby Israelite is a perfectionist, even if he isn't a purist. To that end he plays practically every instrument on the whole album except the bass, which is provided by the legendary jazz musician Yaron Stavi and the woodwind, which comes from the soulful reeds of Tigran Aleksanyan. This all-star cast of musicians support the, at times, crazy genius of Israelite as he cross-layers the genres and styles to produce this heady cocktail. Like a Long Island Ice tea with a sunken slivovitz and an extra shot of vodka, Koby acts like a musical barman. Mixing up the strange proportions of styles and then with a shake and a stir, serves them up to you like they are the very thing you asked for.

Despite his self-evident musical ability, Koby is defiantly modest and insists that.

“I never try to impress, I try to connect.”

It is this spirit of connections, cross-threading, layering and weaving that has been in the making of this album and as you will hear, the skill on show isn't just in the delivery. Composition is also about balance and it is this that Koby Israelite excels at. We feel those connections and want you to hear this album, so that you can hear them too.

Gil Karpas

Musicians:

Koby Israelite - Accordion, Drums, Percussion, Guitars, Electric Bass, Banjo, Mandolin, Bouzouki, Clarinet, Soprano & Sopranino sax, Piano, Keyboards, Flute, Vocals

Special guests: 

Yaron Stavi - Electric and Acoustic Bass except title 7, 10, 16
Annique - Vocals on title 2 & 7
Mor Karbasi -Vocals on title 12
Tigran Aleksanyan - Duduk, Clarinet on title 12 & 16
Ofir Gal -Electric Guitar on title 12
John Telfer - Tenor Sax on title 15
Bamba - Vocals on title 15


Tracks

1.Johnny has no cash no more 1:48
2.Why don't you take my brain and sell it to the night? (feat. Annique) 2:16
3.Blues from elsewhere (suite part 1) 3:50 
4.Accordion is the new guitar (suite part 2) 2:42
5.The dreams thief (suite part 3) 3:35
6.Crayfish Hora (suite part 4) 3:02 
7.Subterranean Homesick Blues (feat.Annique) 3:07
8.East of Nashville 3:08
9.Bulgarian Boogie 4:10 
10.Rural Ghost 2:18 
11.My way the right way 4:08
12.Lemi Evke (feat. Mor Karbasi) 4:51
13.Peckham Rai 3:20 
14.Two Colonels 4:16 
15.Just Cliches 2:39 
16.Kashmir (Bonus track) 5:22

Total playing time 54:34

All compositions & arrangements by Koby Israelite, except title 7, composed by Bob Dylan, title 12 composed by Mor Karbasi and Koby Israelite, title 16 composed by John Bonham, James Patrick Page, Robert Plant, title 2 lyrics by Annique

Joe Driscoll & Sekou Kouyate - Faya [FLAC]

African sounds fused with rock, hip hop and reggae on this occasionally great album
Faya is the enthralling album borne from a meeting of two distinctly different yet equally imaginative musicians, a pair of artists despite a language barrier who found a creative and organic understanding. Their inspired collaboration has brought forth a release which captivates and lights up the air, quite simply a vibrant and refreshing breath to uplift any heart.

Joe Driscoll first met Sekou Kouyate in the port city of Marseilles, the two men pairing up to collaborate at the French festival ‘Nuit Metis’ (Nights of Mixed Race) and though neither spoke the other’s language, the hurdle was easily overwhelmed through their music. New Yorker Driscoll has already drawn great acclaim for his stylish blending of rap, folk, and blues into unique results, whilst Guinea artist Kouyate, a member of the world renowned band Ba Cissoko, has been declared the ‘Jimi Hendrix of kora’ in France for his mesmeric skill of the West Africa 21-string bridge-harp
.
After just a week of jamming together, a bond, musically and personally, developed which led to the creation of Faya, a collection of songs which unites warm winds of afrobeat, hip-hop, folk, reggae and more into an invigorating and energising delight.

Released through Localization Records, the album immediately has a hold through Tanama and its quickly engaging rhythms and sizzling guitar teases. The track then emerges as a fluid almost improv like piece of adventure with Driscoll leaving steamy guitar spicery across the skies of the track whilst Kouyate provides warm caresses with his instinctive enterprise. The track is the canvas for the skills of both men to play with ease and with their openly different styles and approaches complimenting and countering each other, it is a magnetic encounter.

The following Passport lifts already satisfied emotions higher with its impacting and heated elegance. Dealing with immigration and border control issues, the song approaches its theme head on whilst offering a summer stroll of sounds which put you in the holiday mood. It is a clever placing of contrasts which like the music just envelopes and thrills the ear. The vocals are the same, both men offering unique vocals for a delicious combination and utilising French and English like duelling yet firmly aligned companions.

As the album progresses the sensational treats and pleasures continue; the title track with its blues seeping breath is a majestic fusion of expansive styles and stirring textures, the best track on the album, whilst Lady is a sultry jazz funk lined party with a swagger as irresistible as the kora and expressive vocals. Both are wholly contagious and alone make the album an essential investigation for anyone with adventure in their musical hearts.
The album is glorious from start to finish with songs like the poverty and inequality dealing Ghetto Many, the gently stomping Wonamati, and the closing Zion, with its reggae coaxing and energising passion, just some of the other impressive and imaginative wonder.

Faya is an exceptional album, fuses multiple genres and styles as if they were meant to be together. Harmonies, melodies, and invention fuel a release which leaves one basking in a sunset of pleasure by its end. One can only hope the album is just the first of many to come from the sparking union of Joe Driscoll & Sekou Kouyate.



http://hangout.altsounds.com/reviews/154471-review-joe-driscoll-sekou-kouyate-faya-album.html

1 Tanama 
2 Passport 
3 Faya 
4 Lady 
5 Ghetto Many 
6 Birinakely 
7 Wonamati 
8 New York 
9 Zion

Dezarie- Gracious Mama Africa (2003) [Virgin Islands USA]

subido por Camilo.leon8


Dezarie es una cantante femenina de reggae nacida en la isla de St. Coix (Islas Vírgenes USA). Recibiò el premio a la mejor cantante de reggae n Atlanta, USA. Al momenti tiene 4 discos editados, en su mayorìa son trabajos en conjunto de la badna Midnite: Fya (I Grade Records), Gracious Mama Africa, Eaze The Pain and her most recent is entitled The Fourth Book.

01. Gone Down
02. Poverty
03. Not one penny
04. Strengthen your mind
05. Law Fe de Outlaw
06. Justice
07. Gracious Mama Africa
08. Exhalt
09. Mother and Child
10. Travelers
11. Slew dem an done
12. Judgment come

Aportado desde Altas Musicas Blog

Megan Wyler - Through the Noise

The first you will probably heard of Megan Wyler is on our very own telly boxes. ‘I’m Not Invisible’ is a track by Tease ft. Megan Wyler for a Ford KA advert, sadly but productively the making of all good modern folk newbies it seems is advert sync. Gladly, her own album ‘Through The Noise’ is gaining its own momentum pretty rapidly. As well as Huey Morgan playing Megan’s debut single ‘Through The Noise’ on his Friday night show on BBC Radio 2, she has also had folkgeek fame in the form of Track of the Day and is due to play a show at The Troubadour on the 9th of October.
Theres a slight 90’s grunge vibe to ‘The Fool’ with its chugging power chords, almost like Alisha’s Attic on Valium if anyone remembers them at all? Just me? Ok…
Megan’s voice can be compared to the cranberries at times, subtle and breathy. There are tinkling pretty touches to the tracks with strings and xylophones and tambourines which really girly this up to the point of no return. Although men will probably listen in a secret candlelit bath for the modern Enya vibe the album carries. There is also an interesting mix of piano and synth on ‘Through the Noise’ which showcases this perfectly.



MySpace

Web Oficial

01. The Fool (4:08)
02. Through The Noise (3:43)
03. Can't Sleep (4:14)
04. Everyman (5:48)
05. Know You Know (3:42)
06. I'm Sorry (4:09)
07. The Fraying (3:59)
08. Drown (3:14)
09. Kelebek (3:26)
10. Zither (3:14)

Gaelic Storm - The Boathouse

Gaelic Storm steps back into the ring with the dazzling #1 Billboard World Album Chicken Boxer, a heavyweight record that comes out swinging with a mix of empowering anthems and traditional ballads. With catalog sales of more than 1 million, the group has now had three albums debut at #1 on the Billboard World Albums Chart, 2008's What's the Rumpus?, 2010's Cabbage, which remained parked in the top slot for three consecutive weeks, and 2012's Chicken Boxer. Chicken Boxer is the fifth album to be released on the band's own label, Lost Again Records, and showcases the incomparable songwriting and accomplished musicianship of a band that has made their mark bringing fans to their feet two hundred days per year. The group's ability to deftly incorporate a rock sensibility into their sound affords them rare crossover appeal. In recent years, they've performed on the same bill with acts ranging from Zac Brown Band and the Goo Goo Dolls to Emmylou Harris and Lyle Lovett, at events as varied as the Telluride Bluegrass Festival and Milwaukee's Summerfest. With their signature acoustic production, Gaelic Storm blends indie-folk and world grooves with Celtic tradition to serve up a ringside seat for fifteen rounds of pugilistic poultry pounding sound. In other words, Chicken Boxer will knock you out.

• Gaelic Storm Homepage
• Gaelic Storm on MySpace.com
• WIKI

01 – Yarmouth Town 
02 – Girls of Dublin Town 
03 – Liverpool Judies 
04 – My Son John 
05 – Down to Old Maui 
06 – Mingulay Boat Song
07 – Cape Cod Girls 
08 – Weary Whaling Grounds 
09 – Essequibo River 
10 – Watery Grave 
11 – Whiskey Johnny 
12 – William Hollander

Ry Cooder & Corridos Famosos – Live at The Great American Music Hall

Ry Cooder’s first official live album in over 30 years returns him to San Francisco’s Great American Music Hall, the scene of, among so many other musical triumphs, Cooder’s previous live album, Show Time.
Returning also – longstanding musical chum Flaco Jimenez (accordion maestro) and vocalist Terry Evans. The rest of the band – Corridos Famosos – features Cooder’s son Joachim on drums, his daughter-in-law Juliette Commagere on vocals (she takes the lead here on Volver Volver), wonderful backing vocalist Arnold McCuller and the ten-piece Mexican brass band La Banda Juvenil.
Live in San Francisco includes original songs and interpretations of other material ranging across Cooder’s entire career, from classics like “Boomer’s Story” and “Dark End of the Street” to more recent originals such as “Lord Tell Me Why” and “El Corrido de Jesse James,” with a detour for Sam the Sham and the Pharaohs’ “Wooly Bully” and Lead Belly’s “Goodnight Irene." Cooder’s only previous live album was the 1977 release Show Time, on which Evans and Jimenez were also featured. Show Time was also recorded at San Francisco’s Great American Music Hall.
Recorded with a full band over two nights in 2011, this Ry Cooder & Corridos Famosos concert offering marks the guitarist's first live recording under his own name since 1988. His band is, as one would expect, full of killer musicians, many of them old friends. The vocalists include Juliette Commagere, Terry Evans, and Arnold McCuller. Son Joachim holds down the drum chair while Robert Francis plays bass and Flaco Jim?nez appears intermittently on accordion. In addition, Cooder recruited the ten-piece brass ensemble La Banda Juvenil from Mexico. The program consists of 12 tunes. While only two are originals -- live readings of tunes from Pull Up Some Dust and Sit Down -- many of these selections are Cooder heritage favorites.
The opener is a snarling, soul-blues read of "Crazy 'Bout an Automobile," with a mean slide solo and Arturo Gallardo's bass sax burping in tandem. It's followed by a fine, gospelized reading of "Why Dont You Try Me?" (from 1980's Borderline) that gets not only all three vocalists in on the action, but the entire horn section as well. The big surprises are the inclusion of "Boomer's Story" -- with excellent martial shuffling by Joachim -- and the "The Dark End of the Street," with Evans and McCuller in duet, and Jim?nez's accordion adding a lonesome sweetness to the proceedings. Cooder's stage banter is in fine form as well, as evidenced by his introduction to the smoking "El Corrido de Jesse James." The other original, "Lord Tell Me Why," with Evans singing the ironic "racial" lyric, underscores its intentional absurdity. Cooder remains a master of traditional and cover material.
There are two Woody Guthrie tunes here and both are radically reworked. "Do Re Mi" is a polka in which Pablo Molina's Sousaphone and Jim?nez's accordion duel for dominance, and "Vigilante Man" is nasty, moaning, grimy blues driven by the slide guitar.
Sam "The Sham" Samudio's "Wooly Bully" is given a full-on boogie treatment by the whole band, and there is a reprise of Gene Barge's "School Is Out," that first appeared on the live album Show Time in 1976. Commagere takes center stage on the Fernando Maldonado classic "Volver Volver," with Le Banda Juvenil in full mariachi mode. She delivers the tune with stirring, soulful commitment. The set closes with a loose, beautifully performed "Goodnight Irene," with Jim?nez coloring in the edges with his deft squeeze box, and Cooder's guitar answering with one of his most tender solos on record. For those who've longed for the return of his immediate, loose, warm, live recordings, Live at the Great American Music Hall is where it's at. ~ Thom Jurek

http://www.offthetracks.co.nz/ry-cooder-corridos-famosos-live-in-san-francisco/
 




1.Crazy 'Bout an Automobile (Every Woman I Know) 
2.Why Don't You Try Me 
3.Boomer's Story 
4.Lord Tell Me Why 
5.Do Re Mi 
6.School is Out 
7.The Dark End of the Street 
8.Corrido de Jesse James, El 
9.Wooly Bully 
10.Volver Volver 
11.Vigilante Man 
12.Goodnight Irene 

Hot 8 Brass Band - Tombstone [FLAC]

The Hot 8 Brass Band is a New Orleans based brass band that blends hip-hop, jazz and funk styles with traditional New Orleans brass sounds. It was formed by Bennie Pete, Jerome Jones, and Harry Cook in 1995, the merging of two earlier bands, the Looney Tunes Brass Band and the High Steppers Brass Band.
Since June 2007 the band has been signed to the UK's Tru Thoughts label,that label's first U.S. act.The Hot 8 Brass Band plays in second line parades hosted Sunday afternoons by Social Aid and Pleasure Clubs; in the New Orleans metropolitan area they also play at traditional jazz funerals and at local jazz nightclubs.
They play regularly at the New Orleans Jazz & Heritage Festival and have played in the Zulu Parade, San Antonio Zulu Association Festival, the City of New Orleans New Year's Celebration and Mo' Fest, the Tom Joyner Morning Show, and the Master P music video "Hootie Hoo". The Hot 8 Brass Band has also toured in Japan, Italy, France, Spain, Finland and England.
In the wake of Hurricane Katrina, the Hot 8 Brass Band was propelled to wider prominence by an appearance in Spike Lee's 2006 documentary When the Levees Broke: A Requiem in Four Acts. Because of this appearance, according to National Public Radio, "A new legion of fans caught onto the band's mix of traditional marching music, hip hop, and R&B."
In 2009, the band add its New Orleans style to an "Iko Iko" cover song of the Swiss band Schtärneföifi, who re-recorded their Swiss German version from 1995's Heicho - Ohni Znacht is Bed together with The Dixie Cups in New Orleans. The song was released on the new album, Wältberüemt.
http://en.wikipedia.org/wiki/Hot_8_Brass_Band



Músicos;

• Bennie "Big Peter" Pete (sousaphone and band leader)
• Terrell "Burger" Batiste (trumpet)
• Harry "Swamp Thang" Cook (bass drum) Jerome "Baybay" Jones (trombone)
• Alvarez "B.I.G. AL" Huntley (trumpet)
• Dinerral "Dick" Shavers (snare drum)
• Raymond "Dr. Rackle" Williams (trumpet)
• Keith "Wolf" Anderson (trombone)
• Jereau "Cousin" Fournett (trombone)
• Wendell "Cliff" Stewart (saxophone)
• Demond "Bart" Dorsey (trombone)
• Jacob Johnson (trumpet)
• Joseph "Shotgun Joe" Williams (trombone)
• Gregory "Koon" Veals (trombone)

01. Tombstone Intro (03:34)
02. Wolf Burger (05:00)
03. Homies (06:00)
04. Shot Gun Joe (05:35)
05. Milwaukee Fat (06:08)
06. Eldridge (07:16)
07. We Goin' Make It (05:32)
08. Hot 8 Shit (04:29)
09. Big Girl (05:44)
10. Take It To The House (06:25)
11. Tombstone Outro (01:50)

• Hot 8 official site
• Hot 8 Brass Band on Myspace

Kate Price: DEEP HEART’S CORE – 1995 [EUA]

Subido por Guayacas

Kate Price is a hammered dulcimer player and vocalist born in Salt Lake City, Utah. She has made recordings on several labels, including Priceless Productions, Access Music, Higher Octave / Om Town, Narada Productions, and LunaVerse Music. She creates contemporary international Folk fusion of Classical, Jazz and ethnic music using instruments from many cultures in the world.  Fuente

Deep heart's core

This recording allowed Kate a fuller expression of her fire. With compositions that navigated between the Balkans, the British lsles, and Latin flavors, this recording is a passionate, playful and intimate portrait of Kate’s internal world. Co-Produced by Teja Bell, Deep Hearts Core exploded into the music scene and garnished international acclaim and distribution in 28 countries. It was from Deep Hearts Core that CBS chose a track to score a 1998 Olympic coverage documentary in Nagana, Japan. 

Performers

• Kate Price – hummell, vocals, hammer dulcimer, piano, djembe
• Teja Bell – bass, sitar, electric autoharp, classical guitar, synthesizer, fretless bass, 12 string guitar, keyboards
• Ian Dogole – udu, dumbek, conga, kashishi
• Charl Ann Gastineau – violin, viola
• David West – steel string guitar
• Doug Harman – cello
• Ethan James – hurdy gurdy
• Paul McCandless – wooden & penny whistles, oboe, English horn, selje flute
• Dierdre McCarthy – tabla saidi, finger symbals, percussion, bodhran
• Mark Jeffrey – percussion
• Kim Atkinson – additional percussion
• Patrick Swyney –cittern

 Fuente

Tracks

01. Labyrinth

02. Rio del corazón

03. Sonatina Montenegro

04. Place of spirit

05. Rest sweet nymphs

06. The journey on

07. Temple of the wind

08. Siu'il a ru'in

09. Eliz iza - Jump at the sun

10. So ghostly then the girl came in