Author Archive


The group Canbombe proposes to take you on a hypothetical trip through Cuba, Brazil until Buenos Aires to rediscover the traditional latin-american culture.
The music, which is composed and arranged by Silvio Zalambani, is inspired by many characteristic styles of these countries, of which it underlines their european and above all common african origin.

The “Grupo Candombe” started in 2000 as a research project about the traditional latin-american music, after being inspired by a presentation of Ernesto Cardenal’s book “Quetzalcòatl”, ex Minister of Nicaragua.
The group has performed in different theatres, clubs and festivals. In 2002 the project was proposed in Brazil.

The group has just released two recordings: the first CD “Grupo Candombe” was released in 2001 (and reprinted in 2004) and presented at the Alighieri Theatre of Ravenna and then the live concert was broadcasted by RAI Radio3-Suite directed from Rome; the second CD “Grupo Candombe 2″ was released in 2005 and it was presented on RAI Radio1, during the program ” Brasil”.

For 2010 they’re working on a new albun with the argentine singer Sandra Rehder; many collaborations are also planned with other international artists like brazilian Mario Féres (pianist and singer), Lulla Oliveira(multi-instrumental composer and “Pae de Santo” of afrobrazilian Candomblé), Diana Horta Popoff (singer, flutist-pianist and composer), and argentine Lucas Guinot (pianist and composer) and Lucrecia Longarini (singer).


The soft Slow Slide by The Secret Acoustic Project featuring various shots of street art taken around Dublin.



The Accoustic Secret Project is a band based in Ireland – as they said, just playing acoustic guitars. Formed late 2009. Currently in pre-production stages of first EP and gigging around Dublin. Their names: Louie Trussell, Rybo, John McCausland. There is no more infomation, except the phrase “I’m the richest homeless man in town”. Nothing else.
But to maintain a secret project isn’t easy just publishing a profile at MySpace. I’ve found them commenting at samba ensemble’s page, and I was curious about them and their mistery and their poetry, but unfortunately I couldn’t embed their video. Guys, let us know more about your music!!!


One of the consequences of the flooding of New Orleans in 2005, was the exodus of its population, including musicians who lived in the most affected. The city was in crisis and its reconstruction would take a long time, not only by the pace of construction, but the return of investors in local show business. One of the artists who then left the city was Evan Chirstopher who moved to Paris in search of job opportunities.
Clarinetist Californian had been living and performing in the city since 1984. and adopted the style of Creloe, quite characteristic of the city, assuming for itself the role of ambassador of this style, Which the most expressive name is Sidney Bechet,
In fact, in his discography, which contains only three titles, one can see its impeccable virtuosity and precision of execution of the music.
In the latest project, now back to New Orleans, Evan pays tribute to the gypsy guitarist Django Heinherdt.
The latter, fusing Gypsy Swing with New Orleans grooves and rhythms of “le monde Créole” released their debut CD, Django à la Créole (Fremeaux & Associates) at the 2008 French Quarter Festival in New Orleans.


Sidi Touré (born 1959, Gao, Northern Mali) is a singer/songwriter from Bamako, Mali. His music is a type of songhaï blues. He started his carrier in the Sonhaï Stars, a regional orchestra. In 1984 he won the Award of best singer with a song of his own hand at a Mali National Bienale. He won the same price again in 1986.In 1992 he collaborated with Kassemady Diabaté.
Sidi Touré is outside Mali mainly known for his appearance in the Take-Away Shows serie of Vincent Moon. Moon filmed the Malian musician during his trip in Mali.
Ten years after his first album, Sidi Touré has just recorded his next album “Koïma”. For this album, Sidi played with great musicians as one master of the so kou (violin) Zumana Tereta, Oumar Konaté a twenty years old guitar virtuoso, Charles Oldman, bassist and more in M.A.N, The Floating Roots Orchestra,….
Through this 10 songs, this 10 pearls, Sidi Touré revisit Songhaï Folklore and give us a masterly album in which you can hear blues, folk, pop, jazz, holley (songhaï “voodoo”),…
To take patience before the release, two songs on line.


PAS (Post Abortion Stress) is a group out to create musical collages through the form of abstract sound. Our name refers metaphorically to those who have been aborted by society, because their point of view doesn’t fit in the constraints of “normal” society. The short name refers to the negative in French, metaphorically negating everything that is established to start from a new beginning. The viewpoint fuels our creativity to create our own world of beauty. Since our inception the band has been interested in making music from the fringes of perception, creating soundscapes that aren’t defined by any particular conventions or viewpoints. The aesthetic underpinnings are defined by the notion that music can be whatever the ear perceives. It’s a conception fueled by the love of life and art. It’s a desire for honest artistic self-expression. The compositions themselves are more akin to soundscapes than “songs” in the traditional sense. There are no clearly defined melodies, no structural landmarks that give you any sense of traditional anchor. This is not music making with any sense of or desire for commercial viability, but sonic sculptures in the mode of pure art.

At first, PAS was a solo project but over the years has developed into a collective. Video has also been introduced to make experimental filmwork with sound collage. Film has been included at the live shows complementing the live soundcsapes.

The above blurb was modified from a review by Paul Paradis

PAS are: Robert L. Pepper , Jon “Vomit” Worthley , Amber Brien , Naga , Will “Seesar” Connor, Michael Durek


Both improvisation and rhythm have always been major components of the unmistakable Masters of Reality sound. But on their fifth release for Mascot Records, ‘Pine/Cross Dover’ (which was released August 24, 2009), the group pits the finer elements of the Mahavishnu Orchestra and Public Image Limited against each other. The end result? A Masters of Reality album that rocks, rolls, and grooves like one devilish son of a gun.

“I did a rock n’ roll record this time – I was able to exorcise a lot of different styles of music that are really important in my life,” explains longtime Masters leader Chris Goss. “And not just Led Zeppelin, Cream, the Beatles, or Black Sabbath. It’s a lot of everything on this record. But proud to say, not one acoustic guitar – it’s all electric and very rhythm oriented.” And the album’s origins can be pinpointed to a simple question. “It was in 2008 that Ed van Zijl, who is the head of the label, wrote and said, ‘Do you feel like doing another record?’ So after a long period of recording it finally is done and I’m proud of it.”

Joining Goss (who supplies vocals, guitar, and keyboards) was long-time band mate John Leamy on drums, as well as a host of special guests, including Eagles of Death Metal bassist Brian O’Connor and guitarist Dave Catching, Merle Jagger guitarist Mark Christian, background singers Shawnee Smith and Missi Pile, as well as former Queens of the Stone Age guitarist Brendon McNichol.

The outcome is the first-ever Masters of Reality album to feature long-and-winding free-form instrumentals. “The first one is called ‘Johnny’s Dream,’ which is a little nod to John McLaughlin,” explains Goss. “Because I’ve been listening to a lot of Mahavishnu in the last year. It’s music that’s been doing it for me lately. Pretty much improvised except for a melody figure that gets repeated. The last song on the record is called ‘Alfalfa,’ and it’s a twelve-minute improvisation. It was the four of us – Mark, Brendon, myself, and John. We’d never been in the same room before, and the twelve minutes that’s ‘Alfalfa,’ you’ll hear it. Honestly, it’s been a dream of my whole life to play music like that, the way it came out. There was no sketchbook, no plan whatsoever – we just plugged in and played, and what happens in that twelve minutes is a dream come true for me.”

However, not all of ‘Pine/Cross Dover’ is instrumental according to Goss, who picks two of his favorite rhythm-heavy tracks. “There’s a song called ‘Worm in the Silk,’ it’s kind of a dub-bass piece. There’s a nod to Public Image on this record – some of the ways the songs flow are bass and drum oriented like that. That song has a really long psychedelic chant on the end of it. There’s also this song called ‘Rosie’s Presence,’ that swings like ‘Presence’-era Zeppelin.”