They transform traditional Polish songs into Kujawski swing, and they mix folk songs, whispers, and shouts with sounds of…a grater, a knife being sharpened or a bathtub being filled with water. An original trio, Sutari, is gaining popularity on the folk scene with their modern interpretations of old songs.
Sutari is based on the strength of three female talents, temperaments, and voices. Zofia Barańska, Katarzyna Kapela, and Barbara Songin are vocalists, instrumentalists, actresses, and performers who have been active on the Polish artistic scene for many years now in various fields: from music to theatre through dance and film. Kasia collaborates with the Wrocław Song of the Goat Theatre, Basia deals with physical theatre, choreography and produces her own original shows along with the artistic collective FURU, and Zosia collaborates with the Adam Mickiewicz Institute on musical projects. They met a few years ago at the “Gardzienice” Centre for Theatre Practices and that is how their musical collaboration began: on violins, drums, wine glasses, bottles, knifes, graters and even using water. As Zosia Barańska explains:
We feel good on stage together. Playing together and giving concerts gives us great joy. We experiment with sound a lot. It’s enough to change the tempo, slow down, or speed up in order to find jazz, swing or blues in old songs. The idea of using unusual instruments helps us tell the stories of our great grandmothers, it reminds us all of the musical tradition of singing together while peeling potatoes or working in the fields, because singing was a part of everyday life. That is why we incorporated the rhythmization of sounds produced by kitchenware.
Tricky returns with his 13th album, ununiform. It’s a delicate, storming, intricate album that sees him further work with new, up and coming singers as well as collaborators of the past. ‘When We Die’ features Martina Topley-Bird, who first made an appearance on Tricky’s debut 1995 album, Maxinquaye – released a month before the pair’s daughter was born. They haven’t collaborated on one another’s output in almost fifteen years.
Eerie, haunting yet enveloped by a sense of peace and acceptance, ‘When We Die’ sees Tricky take hold of a new zest for life he has come to possess: “If you don’t accept death you don’t really accept life” says Tricky.
Armenter Chatmon (June 30, 1893 – September 21, 1964), known as Bo Carter, was an early American blues musician. He was a member of the Mississippi Sheiks in concerts and on a few of their recordings. He also managed that group, which included his brothers Lonnie Chatmon on fiddle and, occasionally, Sam Chatmon on bass and their friend Walter Vinson on guitar and lead vocals.
Since the 1960s, Carter has become best known for his bawdy songs, such as “Let Me Roll Your Lemon”, “Banana in Your Fruit Basket”, “Pin in Your Cushion”, “Your Biscuits Are Big Enough for Me”, “Please Warm My Wiener” and “My Pencil Won’t Write No More”. However, his output was not limited to dirty blues. In 1928, he recorded the original version of “Corrine, Corrina”, which later became a hit for Big Joe Turner and has become a standard in various musical genres.
Carter and his brothers (including the pianist Harry Chatmon, who also made recordings) first learned music from their father, the fiddler Henderson Chatmon, a former slave, at their home on a plantation between Bolton and Edwards, Mississippi. Their mother, Eliza, also sang and played the guitar.
Carter made his recording debut in 1928, backing Alec Johnson, and was soon was recording as a solo musician. He became one of the dominant blues recording acts of the 1930s, recording 110 sides. He also played with and managed the family group, the Mississippi Sheiks, and several other acts in the area. He and the Sheiks often performed for whites, playing the pop hits of the day and white-oriented dance music, as well as for blacks, playing a bluesier repertoire.
Carter went partly blind during the 1930s. He settled in Glen Allan, Mississippi, and despite his vision problems did some farming but also continued to play music and perform, sometimes with his brothers. He moved to Memphis, Tennessee, and worked outside the music industry in the 1940s.
Carter suffered strokes and died of a cerebral hemorrhage at Shelby County Hospital, in Memphis, on September 21, 1964.