The seven album itch - what's valid for married life, isn't necessarily for music. Kroke didn't get lost in the dark grounds of a midlife crisis, and their seventh album is more than an itch of desire. The dynamic range of his recording hasn't been diminuished by data compression. This decision is more than a technical detail - it's reference to the basic understanding of Kroke's music: virtuosity and passion, pleasure and deep emotion. Therefore Kroke consider themselves as Klezmorim, although their music has developed from what is regarded as traditional Klezmer music. The direction of this movement is decisive, and this direction is forward. Avant-Garde. Seventh Trip is an album that may not open up at first hearing. So play it twice, and play it loud.
The subject of Jordi Savall's latest historical exploration is the life of the 16th-century missionary Francisco Javier, better known outside the Spanish-speaking world as St Francis Xavier. He was one of the founders of the Jesuits, and travelled widely through the east, eventually reaching Japan and the islands of China, where he died. Savall's compilation uses the historical staging posts of Javier's life and times, from his birth in Navarre to the start of his missionary travels as the scaffolding for a typically imaginative and exotic sequence of musics, which begins in the Spain of Ferdinand and Isabella and ends with the traditions of Japan and China. Like its predecessors, which were centred upon Christopher Columbus and Don Quixote, the musical performances by Savall's ensemble Hesperion XXI and his usual lineup of soloists, complemented here by Japanese performers, is packaged lavishly within the covers of a glossily illustrated 264-page book with texts in five languages. The multilingual presentation doesn't make it easy to find one's way around, but the discs themselves are vividly performed, and their variety is beguiling.
Founded in Santiago de Cuba on November 7, 1939, Cuarteto Patria since its beginning decided as its main objective to cover the region’s rich troubadour song book. Later on in 1978 they experimented a second period when Eliades Ochoa took over the direction, who, without abandoning the trova reoriented the repertoire to a style much more sonero, as is shown in Son de Oriente, an album that recreates anthological themes from our traditional music in versions imbued with great Cuban spirituality, in which Eliades, besides his charisma as a singer, demonstrates his great skill as a guitarist.