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.
The bassist and vocalist Esperanza Spalding conceived of Chamber Music Society as an intimate experience, a close musical exchange between a small group of friends. If it was intimacy she wanted, she got her wish: Performing three songs in the constraints of Bob Boilen’s workspace ensures that all of her supporting players were nice and cozy.
Preservation Hall Jazz Band is a hot and historic outfit from New Orleans, and its members brought us a tuba-wielding Santa and some original holiday cheer and praise — what they call a Cajun Christmas from the French Quarter.
We lit some lights and decorated my desk and shelves as best we could, but it’s this amazing band — complete with saxophone, trombone, trumpet, drums and a couple of tubas — that lit this place up. We’ve never had so much dancing from the NPR crew at a Tiny Desk Concert. So enjoy the show, and happy holidays to all from NPR Music. –BOB BOILEN
“I Think I Love You”
Sinkane opened its Tiny Desk Concert with a song that has been a bit of an anthem for me lately. “U’Huh” contains the Arabic phrase “kulu shi tamaam,” which translates to “everything’s great — it’s all going to be all right.”
Sinkane is the music of Ahmed Gallab — and such hopeful music it is. He grew up in London and has lived in Sudan and in Ohio and, these days, New York City. His band reflects his own love for music from around the world; you can hear a great New York jazz band in the rhythms of Sinkane, but you can also hear the influence of Bob Marley and the hypnotic repetition of Sudanese desert sounds.
ADHD is an Icelandic band formed in 2007 known for their instrumental music, influenced by jazz and rock.
The band was formed to perform at the Höfn í Hornafirði blues-festival in 2007 and as the collaboration was successful the band decided to keep on performing. Their first album, ADHD was recorded and published in 2009 and won the title Icelandic Jazz Album of the Year at the Icelandic Music Awards. The albums ADHD2, ADHD3 and ADHD4 all have received nominations for the Nordic music prize.
ADHD’s albums are recorded live, to reflect the live performances of the band.
July 27, 2016 by PATRICK JARENWATTANANON • The Colorado River — better known for running through majestic National Parks and powering hydroelectric dams — forms an unlikely backdrop for the creation of a jazz song. But René Marie was answering phones at Denver’s jazz radio station KUVO when she sat down across from a fellow volunteer fundraiser. He would soon invite her on a canoeing trip and, without yet having seen the eponymous river, she wrote the giddy “Colorado River Song” on the way there.
René Marie’s is the sort of voice which first comes to mind when someone asks for a jazz singer — big and expressive, at home in classic swinging settings and comfortable in crowds. There’s plenty to set her apart, though. She made her first recording in her early 40s, so she’s a late bloomer by any standard. Her tastes admit many influences, and she’s got a penchant for original songwriting, especially where social justice intersects with personal biography. Her folky story-song “This Is (Not) A Protest Song” addresses homelessness and mental illness even in her own family.
Joined by her Experiment In Truth band (John Chin on piano, Elias Bailey on bass, Quentin Baxter on drums), Marie visited NPR headquarters to play songs from her new album Sound Of Red. She never specified the exact nature of that synesthetic idea, though the title track would seem to indicate that it’s about the addictive and lusty blood-rush of performing — of seeing red while singing the blues. In the audience was the bold KUVO volunteer from that day 10 years ago. His name is Jesse, and they’re now married and live in her home state of Virginia; they drove up together for this Tiny Desk concert.
“Colorado River Song”
“This Is (Not) A Protest Song”
“Sound Of Red”
The Giants of Jazz is a live album of an English concert by Art Blakey, Dizzy Gillespie, Al McKibbon, Thelonious Monk, Sonny Stitt and Kai Winding, who were collectively billed as The Giants of Jazz, which was released on the Atlantic label.
Art Blakey – drums
Dizzy Gillespie – trumpet
Al McKibbon – double bass
Thelonious Monk – piano
Sonny Stitt – alto and tenor saxophone
Kai Winding – trombone
October 27, 2015 by BOB BOILEN
At first, I couldn’t pull my attention away from irrepressible singer Kam Franklin, whose down-to-earth but uplifting presence put a huge smile on my face. But as The Suffers’ set progressed, I became increasingly enchanted with the band, which was part Archie Bell & The Drells and part James Brown, with a touch of New Orleans and even Jamaican reggae.
It was a perfect mix of power and delicacy, as the band held back at moments only to steamroll me when my guard was down. The group has only two EPs, with an album on the way, and trust me: 2016 will be The Suffers’ year. Look for the band on far bigger stages soon enough.
Sarah’s accompanied by Ronnell Bright (piano), Richard Davis (bass), and Art Morgan (drums)