Silvana DeLuigi | Yo! | American Clavé

When Kip Hanrahan asked me a couple of years ago whether I was interested in doing a record with him, I immediately said yes. But when the moment came to decide on a title, I did not know what to propose. What kind of name could describe something which sounds different from everything I’ve done – and heard – before. I spontaneously pronounced the word “Yo.” It was the simplest expression for me, having given everything I had, including my very own musical and emotional self, into the hands of a musician and producer whom I trust blindly. For me, Kip is the only person capable of recognizing, understand, and transforming into a record my ages old desire to trespass the musical conventions of a music which is mine: which I grew up with, which I love – but which I had to leave behind in order to confront it from a new angle – and make it mine: the tango. So therefore “Yo” stands for a record whose songs may sound familiar, but are completely personal to me. Most of them have been with me since my early youth. Some I had inherited from Argentine popular culture, some came to me from Brazil. Some were offered by Kip and his friends, who all helped me to realize this dream: to look back on my town, my country, my culture, my life – and my music. — Silvana Deluigi Continue reading

Conjure | Cab Calloway stands in for the moon | American Clavé

See, at the heart of Conjure is this rhythm section (yeah, it includes legends and horns) that swings so strongly and intelligently that you can hear the joy the players have working with and writing for each other and you can’t escape the living respect they have for the magic of the tradition. And at its sharp ({enter are the words and stories of Ishmael Reed (genuine American Magical Realism?) reintegrating themselves into the verbal, griot tradition from which they come. Most magic is vertical as well as horizontal, isn’t it? — KIP HANRAHAN Continue reading