{"id":14546,"date":"2018-01-17T17:29:00","date_gmt":"2018-01-17T17:29:00","guid":{"rendered":"http:\/\/associatednews.us\/content\/2018\/01\/17\/our-top-discoveries-from-globalfest-2018\/"},"modified":"2018-01-17T17:29:00","modified_gmt":"2018-01-17T17:29:00","slug":"our-top-discoveries-from-globalfest-2018","status":"publish","type":"post","link":"https:\/\/associatednews.us\/content\/our-top-discoveries-from-globalfest-2018\/","title":{"rendered":"Our Top Discoveries From globalFEST 2018"},"content":{"rendered":"<p><span style=\"font-style:italic;font-size:16px\">By  <a class=\"colorbox\" href=\"https:\/\/www.npr.org\/sections\/allsongs\/2018\/01\/17\/578398012\/our-top-discoveries-from-globalfest-2018?utm_medium=RSS&amp;utm_campaign=world\">Bob Boilen<\/a><\/span>  <\/p>\n<div class=\"ftpimagefix\" style=\"float:left\"><a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/www.npr.org\/sections\/allsongs\/2018\/01\/17\/578398012\/our-top-discoveries-from-globalfest-2018?utm_medium=RSS&amp;utm_campaign=world\"><img decoding=\"async\" width=\"150\" src=\"https:\/\/media.npr.org\/assets\/img\/2018\/01\/16\/collage20180117-b3e47d77235d79ecd48794709d5d2fecfda787af-s1100-c15.jpg\" alt><\/div>\n<div>\n<div>\n<div><\/a><\/div>\n<div>\n<div>\n<div><\/div>\n<div>\n<div>\n<div>\n<p>\n                Clockwise from upper left: Jupiter &amp; Okwess, Iberi Choir, Mariachi Flor De Toloache, Ava Rocha<\/p>\n<p>                <b><\/p>\n<p>                    Courtesy of the artists<\/p>\n<p>                <\/b><b><b>hide caption<\/b><\/b><\/p>\n<\/div>\n<p><b><b>toggle caption<\/b><\/b><\/div>\n<p><span><\/p>\n<p>        Courtesy of the artists<\/p>\n<p>    <\/span><\/div>\n<\/div>\n<p>Not matter how much of a music geek you may be, <a class=\"colorbox\" rel=\"nofollow\" href=\"http:\/\/globalfest.org\/fest\" target=\"_blank\">globalFEST<\/a> is a music festival of discovery for everyone. Now in its 15th year, it&#8217;s a celebration of music from around the world.<\/p>\n<p>This year&#8217;s festival featured extraordinary Congolese music from <a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/jupiterokwess.bandcamp.com\/\" target=\"_blank\">Jupiter &amp; Okwess<\/a>, Brazilian avant-pop from <a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/www.npr.org\/sections\/allsongs\/2018\/01\/17\/578398012\/Ava%20Rocha\" target=\"_blank\">Ava Rocha<\/a>, a twist on traditional Irish music from <a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/www.npr.org\/sections\/allsongs\/2018\/01\/17\/578398012\/Jarlath%20Henderson\" target=\"_blank\">Jarlath Henderson<\/a>, modern Iranian songs and poetry from <a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/www.mohsennamjoo.com\/\" target=\"_blank\">Mohsen Namjoo<\/a>, and so much more.<\/p>\n<p>The gathering happens in just one evening. This year, a dozen bands performed on three stages in midtown Manhattan at B.B. King Blues Club, its smaller sister-venue in the same building called Lucille&#8217;s and at the Liberty Theater directly across 42nd Street.<\/p>\n<p>I was there globalFEST this past Sunday, along with around 1,500 people, including NPR Music&#8217;s Anastasia Tsioulcas, <a class=\"colorbox\" rel=\"nofollow\" href=\"http:\/\/afropop.org\/\" target=\"_blank\"><em>Afropop Worldwide<\/em><\/a>&#8216;s Banning Eyre and WFMU&#8217;s Rob Weisburg, home of his show <a class=\"colorbox\" rel=\"nofollow\" href=\"http:\/\/wfmu.org\/playlists\/TP\" target=\"_blank\">&#8220;Transpacific Sound Paradise.&#8221;<\/a> On this edition of <em>All Songs Considered<\/em>, we share our favorite discoveries from globalFEST 2018.<\/p>\n<aside>\n<div><\/div>\n<\/aside>\n<aside>\n<div><\/div>\n<\/aside>\n<\/div>\n<div>\n<div>\n<div>\n<div>\n<div>\n<h3>Artists And Songs Featured On This Episode<\/h3>\n<p><b><\/b><\/div>\n<p><!-- END CLASS=\"LIST-HEADER__REST\" --><\/div>\n<p><!-- END CLASS=\"LIST-HEADER\" --><\/p>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/jupitercover-d0abf2bad0eb4a40c68575dfd228c44efeeebdec-s200-c15.jpg\" alt=\"Cover for Kin Sonic\"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>Jupiter &amp; Okwess<\/h4>\n<ul>\n<li><b>Song:<\/b> Musonsu<\/li>\n<\/ul>\n<p>A hands-down favorite for all of us, this band from Kinshasa, fronted by veteran vocalist Jupiter Bokondji, made its U.S. debut at globalFEST with a joyous, super-high energy set that matched the charming lilt of Congolese <em>soukous<\/em> with propulsive, exhilarating speed.<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/mohsencover-f4e30d444b2533a86b82544d9569350c07861336-s200-c15.jpg\" alt=\"Cover for Axis Of Solitude\"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>Mohsen Namjoo<\/h4>\n<ul>\n<li><b>Song:<\/b> Ghashghaee<\/li>\n<\/ul>\n<p>He&#8217;s long been called the &#8220;Bob Dylan of Iran,&#8221; but there&#8217;s no one who does quite what singer, songwriter, and <em>setar <\/em>lute player Mohsen Namjoo does: a clever melange of Persian classical singing and instrumental music with theatrical, rock-inflected bays and yowls.<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/delgrescover-bd4a9f963dd93fe7b01eb9e6f120829e075f4b15-s200-c15.jpg\" alt=\"Cover for Delgres \"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>Delgres<\/h4>\n<ul>\n<li><b>Song:<\/b> Mo Jodi <\/li>\n<\/ul>\n<p>This trio connects the dots between the musical styles \u2014 and often-tragic histories \u2014 of three points in the French-speaking world: Guadeloupe in the Caribbean (an overseas region of France), New Orleans and Paris. But the music is buoyant, in a raucous, rollicking setup of guitar, voice, sousaphone and drums.<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/ladameblanchecover-364c4aa27b5c4e8561245c83c36d86376d804a9e-s200-c15.jpg\" alt=\"Cover for La Dame Blanche\"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>La Dame Blanche<\/h4>\n<ul>\n<li><b>Song:<\/b> Yo Quiero Trabarjar<\/li>\n<\/ul>\n<p>On paper, this shouldn&#8217;t really work: Afro-Cuban music, hip-hop, dancehall, <em>cumbia<\/em> and classical flute. But thanks to La Dame Blanche&#8217;s serious musical chops, the &#8220;Woman in White&#8221; from Havana (by way of Paris) pulls off this stylistic hat-trick with outsized swagger and style.<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/avarochacover-bcff7f67772cc1501ef6c568cac670b72ea42c07-s200-c15.jpg\" alt=\"Cover for Patrya Yndia Yracema\"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>Ava Rocha<\/h4>\n<ul>\n<li><b>Song:<\/b> Boca do C\u00e9u<\/li>\n<\/ul>\n<p>The smokey-voiced Brazilian singer, songwriter and filmmaker Ava Rocha brews up an intriguing blend of <em>tropicalia<\/em>, rock and performance art \u2014 it almost seems as if she&#8217;s channeling both Diamanda Galas and David Bowie.<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/img\/2018\/01\/17\/jarlathcover_sq-dc63a054aee69cd2482004bd95f1e266474da071-s200-c15.jpg\" alt=\"Cover art for Jarlath Henderson\"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<p><span><\/p>\n<p>        Courtesy of the artist<\/p>\n<p>    <\/span><\/div>\n<\/div>\n<div>\n<h4>Jarlath Henderson<\/h4>\n<ul>\n<li><b>Song:<\/b> Fare Thee Well Lovely Nancy<\/li>\n<\/ul>\n<p>Making his U.S. debut, the vocalist and uilleann pipes pipes player from Northern Ireland (but now based in Glasgow) frames his beguiling voice with an array of electronics, keyboards, bass, guitar and fiddle. His intimate, affecting set was another big All Songs Considered favorite from this year&#8217;s edition of globalFEST.<\/p>\n<p><a class=\"colorbox\" rel=\"nofollow\" href=\"http:\/\/jarlathhenderson.bandcamp.com\/album\/hearts-broken-heads-turned\">Hearts Broken, Heads Turned by Jarlath Henderson<\/a><\/p>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/ibericover-6ff74da72e6d1a774d534ccae3b5b6ff3cfcae75-s200-c15.jpg\" alt=\"Cover for (Single)\"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>Iberi Choir<\/h4>\n<ul>\n<li><b>Song:<\/b> Odoia<\/li>\n<\/ul>\n<p>The Iberi Choir brings to wider audiences the glorious, ancient tradition of polyphonic choral singing from Georgia \u2014 the one in the Caucasus, not the one in the southern U.S. Dressed in long leather boots topped with imposing, long black <em>chokha <\/em>coats, the group&#8217;s six singers (who also whip out instruments like flutes and lutes at various points in their performance) are powerful musicians, but their music is achingly sweet.<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>VPRO Vrije Geluiden<\/b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/grandtapestrycover-6f6646db4e6591e3315b716ece5b223de231b8ca-s200-c15.jpg\" alt=\"Cover for Grand Tapestry \"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>Grand Tapestry<\/h4>\n<ul>\n<li><b>Song:<\/b> Atma<\/li>\n<\/ul>\n<p>An intriguing new trio from California marry the centuries-old traditions of Hindustani (North Indian) classical music with \u2014 of all things \u2014 rap. But they back up this foray with huge virtuosity: vocalist Eligh&#8217;s partners in this venture are <em>sarod <\/em>player Alam Khan (son of the master musician <a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/www.npr.org\/templates\/story\/story.php?storyId=105798864\">Ali Akbar Khan<\/a>) and Salar Nader (a disciple of percussion virtuoso <a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/www.npr.org\/2015\/01\/08\/375637915\/the-tabla-master-who-jammed-with-the-grateful-dead\" target=\"_blank\">Zakir Hussain<\/a>) on tabla.<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/mariachicover-a08d23d57ff33816b0c7bdea199646d8f0aeb040-s200-c15.jpg\" alt=\"Cover for Mariachi Flor De Toloache\"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>Mariachi Flor De Toloache<\/h4>\n<ul>\n<li><b>Song:<\/b> Let Down<\/li>\n<\/ul>\n<p>The winners of a Latin Grammy for Best Ranchero\/Mariachi album just a few weeks ago, the all-female, brilliant Flor de Toalache mix mariachi with World War II-era close harmonies and original songs. In their globalFEST set, they even threw in a cover of Nirvana&#8217;s &#8220;Come As You Are.&#8221;<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"CONTAINER PLAYLIST\" ID=\"CON578580606\" PREVIEWTITLE=\"PLAYLIST\" --><\/div>\n<p><strong><a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/blockads.fivefilters.org\/\">Let&#8217;s block ads!<\/a><\/strong> <a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/blockads.fivefilters.org\/acceptable.html\">(Why?)<\/a><\/p>\n<p>Source:: <a href=\"https:\/\/www.npr.org\/sections\/allsongs\/2018\/01\/17\/578398012\/our-top-discoveries-from-globalfest-2018?utm_medium=RSS&amp;utm_campaign=world\" class=\"colorbox\" title=\"Our Top Discoveries From globalFEST 2018\" rel=\"nofollow\">https:\/\/www.npr.org\/sections\/allsongs\/2018\/01\/17\/578398012\/our-top-discoveries-from-globalfest-2018?utm_medium=RSS&amp;utm_campaign=world<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<div class=\"ftpimagefix\" style=\"float:left\"><a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/www.npr.org\/sections\/allsongs\/2018\/01\/17\/578398012\/our-top-discoveries-from-globalfest-2018?utm_medium=RSS&amp;utm_campaign=world\"><img decoding=\"async\" width=\"150\" src=\"https:\/\/media.npr.org\/assets\/img\/2018\/01\/16\/collage20180117-b3e47d77235d79ecd48794709d5d2fecfda787af-s1100-c15.jpg\" alt><\/div>\n<div>\n<div>\n<div><\/a><\/div>\n<div>\n<div>\n<div><\/div>\n<div>\n<div>\n<div>\n<p>\n                Clockwise from upper left: Jupiter &amp; Okwess, Iberi Choir, Mariachi Flor De Toloache, Ava Rocha<\/p>\n<p>                <b><\/p>\n<p>                    Courtesy of the artists<\/p>\n<p>                <\/b><b><b>hide caption<\/b><\/b><\/p>\n<\/div>\n<p><b><b>toggle caption<\/b><\/b><\/div>\n<p><span><\/p>\n<p>        Courtesy of the artists<\/p>\n<p>    <\/span><\/div>\n<\/div>\n<p>Not matter how much of a music geek you may be, <a class=\"colorbox\" rel=\"nofollow\" href=\"http:\/\/globalfest.org\/fest\" target=\"_blank\">globalFEST<\/a> is a music festival of discovery for everyone. Now in its 15th year, it&#8217;s a celebration of music from around the world.<\/p>\n<p>This year&#8217;s festival featured extraordinary Congolese music from <a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/jupiterokwess.bandcamp.com\/\" target=\"_blank\">Jupiter &amp; Okwess<\/a>, Brazilian avant-pop from <a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/www.npr.org\/sections\/allsongs\/2018\/01\/17\/578398012\/Ava%20Rocha\" target=\"_blank\">Ava Rocha<\/a>, a twist on traditional Irish music from <a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/www.npr.org\/sections\/allsongs\/2018\/01\/17\/578398012\/Jarlath%20Henderson\" target=\"_blank\">Jarlath Henderson<\/a>, modern Iranian songs and poetry from <a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/www.mohsennamjoo.com\/\" target=\"_blank\">Mohsen Namjoo<\/a>, and so much more.<\/p>\n<p>The gathering happens in just one evening. This year, a dozen bands performed on three stages in midtown Manhattan at B.B. King Blues Club, its smaller sister-venue in the same building called Lucille&#8217;s and at the Liberty Theater directly across 42nd Street.<\/p>\n<p>I was there globalFEST this past Sunday, along with around 1,500 people, including NPR Music&#8217;s Anastasia Tsioulcas, <a class=\"colorbox\" rel=\"nofollow\" href=\"http:\/\/afropop.org\/\" target=\"_blank\"><em>Afropop Worldwide<\/em><\/a>&#8216;s Banning Eyre and WFMU&#8217;s Rob Weisburg, home of his show <a class=\"colorbox\" rel=\"nofollow\" href=\"http:\/\/wfmu.org\/playlists\/TP\" target=\"_blank\">&#8220;Transpacific Sound Paradise.&#8221;<\/a> On this edition of <em>All Songs Considered<\/em>, we share our favorite discoveries from globalFEST 2018.<\/p>\n<aside>\n<div><\/div>\n<\/aside>\n<aside>\n<div><\/div>\n<\/aside>\n<\/div>\n<div>\n<div>\n<div>\n<div>\n<div>\n<h3>Artists And Songs Featured On This Episode<\/h3>\n<p><b><\/b><\/div>\n<p><!-- END CLASS=\"LIST-HEADER__REST\" --><\/div>\n<p><!-- END CLASS=\"LIST-HEADER\" --><\/p>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/jupitercover-d0abf2bad0eb4a40c68575dfd228c44efeeebdec-s200-c15.jpg\" alt=\"Cover for Kin Sonic\"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>Jupiter &amp; Okwess<\/h4>\n<ul>\n<li><b>Song:<\/b> Musonsu<\/li>\n<\/ul>\n<p>A hands-down favorite for all of us, this band from Kinshasa, fronted by veteran vocalist Jupiter Bokondji, made its U.S. debut at globalFEST with a joyous, super-high energy set that matched the charming lilt of Congolese <em>soukous<\/em> with propulsive, exhilarating speed.<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/mohsencover-f4e30d444b2533a86b82544d9569350c07861336-s200-c15.jpg\" alt=\"Cover for Axis Of Solitude\"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>Mohsen Namjoo<\/h4>\n<ul>\n<li><b>Song:<\/b> Ghashghaee<\/li>\n<\/ul>\n<p>He&#8217;s long been called the &#8220;Bob Dylan of Iran,&#8221; but there&#8217;s no one who does quite what singer, songwriter, and <em>setar <\/em>lute player Mohsen Namjoo does: a clever melange of Persian classical singing and instrumental music with theatrical, rock-inflected bays and yowls.<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/delgrescover-bd4a9f963dd93fe7b01eb9e6f120829e075f4b15-s200-c15.jpg\" alt=\"Cover for Delgres \"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>Delgres<\/h4>\n<ul>\n<li><b>Song:<\/b> Mo Jodi <\/li>\n<\/ul>\n<p>This trio connects the dots between the musical styles \u2014 and often-tragic histories \u2014 of three points in the French-speaking world: Guadeloupe in the Caribbean (an overseas region of France), New Orleans and Paris. But the music is buoyant, in a raucous, rollicking setup of guitar, voice, sousaphone and drums.<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/ladameblanchecover-364c4aa27b5c4e8561245c83c36d86376d804a9e-s200-c15.jpg\" alt=\"Cover for La Dame Blanche\"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>La Dame Blanche<\/h4>\n<ul>\n<li><b>Song:<\/b> Yo Quiero Trabarjar<\/li>\n<\/ul>\n<p>On paper, this shouldn&#8217;t really work: Afro-Cuban music, hip-hop, dancehall, <em>cumbia<\/em> and classical flute. But thanks to La Dame Blanche&#8217;s serious musical chops, the &#8220;Woman in White&#8221; from Havana (by way of Paris) pulls off this stylistic hat-trick with outsized swagger and style.<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/avarochacover-bcff7f67772cc1501ef6c568cac670b72ea42c07-s200-c15.jpg\" alt=\"Cover for Patrya Yndia Yracema\"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>Ava Rocha<\/h4>\n<ul>\n<li><b>Song:<\/b> Boca do C\u00e9u<\/li>\n<\/ul>\n<p>The smokey-voiced Brazilian singer, songwriter and filmmaker Ava Rocha brews up an intriguing blend of <em>tropicalia<\/em>, rock and performance art \u2014 it almost seems as if she&#8217;s channeling both Diamanda Galas and David Bowie.<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/img\/2018\/01\/17\/jarlathcover_sq-dc63a054aee69cd2482004bd95f1e266474da071-s200-c15.jpg\" alt=\"Cover art for Jarlath Henderson\"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<p><span><\/p>\n<p>        Courtesy of the artist<\/p>\n<p>    <\/span><\/div>\n<\/div>\n<div>\n<h4>Jarlath Henderson<\/h4>\n<ul>\n<li><b>Song:<\/b> Fare Thee Well Lovely Nancy<\/li>\n<\/ul>\n<p>Making his U.S. debut, the vocalist and uilleann pipes pipes player from Northern Ireland (but now based in Glasgow) frames his beguiling voice with an array of electronics, keyboards, bass, guitar and fiddle. His intimate, affecting set was another big All Songs Considered favorite from this year&#8217;s edition of globalFEST.<\/p>\n<p><a class=\"colorbox\" rel=\"nofollow\" href=\"http:\/\/jarlathhenderson.bandcamp.com\/album\/hearts-broken-heads-turned\">Hearts Broken, Heads Turned by Jarlath Henderson<\/a><\/p>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/ibericover-6ff74da72e6d1a774d534ccae3b5b6ff3cfcae75-s200-c15.jpg\" alt=\"Cover for (Single)\"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>Iberi Choir<\/h4>\n<ul>\n<li><b>Song:<\/b> Odoia<\/li>\n<\/ul>\n<p>The Iberi Choir brings to wider audiences the glorious, ancient tradition of polyphonic choral singing from Georgia \u2014 the one in the Caucasus, not the one in the southern U.S. Dressed in long leather boots topped with imposing, long black <em>chokha <\/em>coats, the group&#8217;s six singers (who also whip out instruments like flutes and lutes at various points in their performance) are powerful musicians, but their music is achingly sweet.<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>VPRO Vrije Geluiden<\/b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/grandtapestrycover-6f6646db4e6591e3315b716ece5b223de231b8ca-s200-c15.jpg\" alt=\"Cover for Grand Tapestry \"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>Grand Tapestry<\/h4>\n<ul>\n<li><b>Song:<\/b> Atma<\/li>\n<\/ul>\n<p>An intriguing new trio from California marry the centuries-old traditions of Hindustani (North Indian) classical music with \u2014 of all things \u2014 rap. But they back up this foray with huge virtuosity: vocalist Eligh&#8217;s partners in this venture are <em>sarod <\/em>player Alam Khan (son of the master musician <a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/www.npr.org\/templates\/story\/story.php?storyId=105798864\">Ali Akbar Khan<\/a>) and Salar Nader (a disciple of percussion virtuoso <a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/www.npr.org\/2015\/01\/08\/375637915\/the-tabla-master-who-jammed-with-the-grateful-dead\" target=\"_blank\">Zakir Hussain<\/a>) on tabla.<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<article>\n<div>\n<div><img decoding=\"async\" src=\"https:\/\/media.npr.org\/assets\/music\/programs\/asc\/2018\/jan\/mariachicover-a08d23d57ff33816b0c7bdea199646d8f0aeb040-s200-c15.jpg\" alt=\"Cover for Mariachi Flor De Toloache\"><\/div>\n<div>\n<div>\n<div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<h4>Mariachi Flor De Toloache<\/h4>\n<ul>\n<li><b>Song:<\/b> Let Down<\/li>\n<\/ul>\n<p>The winners of a Latin Grammy for Best Ranchero\/Mariachi album just a few weeks ago, the all-female, brilliant Flor de Toalache mix mariachi with World War II-era close harmonies and original songs. In their globalFEST set, they even threw in a cover of Nirvana&#8217;s &#8220;Come As You Are.&#8221;<\/p>\n<div>\n<div>[embedded content]<\/div>\n<div><b><b>YouTube<\/b><\/b><\/div>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"BUCKETBLOCK\" --><\/article>\n<\/div>\n<\/div>\n<p><!-- END CLASS=\"CONTAINER PLAYLIST\" ID=\"CON578580606\" PREVIEWTITLE=\"PLAYLIST\" --><\/div>\n<p><strong><a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/blockads.fivefilters.org\/\">Let&#8217;s block ads!<\/a><\/strong> <a class=\"colorbox\" rel=\"nofollow\" href=\"https:\/\/blockads.fivefilters.org\/acceptable.html\">(Why?)<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41],"tags":[],"class_list":["post-14546","post","type-post","status-publish","format-standard","hentry","category-entertainment"],"_links":{"self":[{"href":"https:\/\/associatednews.us\/content\/wp-json\/wp\/v2\/posts\/14546","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/associatednews.us\/content\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/associatednews.us\/content\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/associatednews.us\/content\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/associatednews.us\/content\/wp-json\/wp\/v2\/comments?post=14546"}],"version-history":[{"count":0,"href":"https:\/\/associatednews.us\/content\/wp-json\/wp\/v2\/posts\/14546\/revisions"}],"wp:attachment":[{"href":"https:\/\/associatednews.us\/content\/wp-json\/wp\/v2\/media?parent=14546"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/associatednews.us\/content\/wp-json\/wp\/v2\/categories?post=14546"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/associatednews.us\/content\/wp-json\/wp\/v2\/tags?post=14546"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}