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"C'est l'heure du bœuf" by Claire Luzi & Cristiano Nascimento Release on 25/04/2025 (InOuïe Distribution) A story of beef, music, Brazilian folklore and a Parisian bistro: ‘C'est l'heure du Boeuf’ is the story of a child who looks at all this and asks himself questions to better grasp the words and understand what they tell us. Written by Dominique Dreyfus, illustrated by Sylvain Barré, the tracks were recorded by Claire Luzi and Cristiano Nascimento, under the musical direction of Patrick Vaillant (and with his special participation on the fife and pétadou).

"Portraits" by Cristiano Nascimento & Wim Welker Release on 04/18/2025 (Noa Music / InOuïe Distribution) Landscapes of Choro, a tribute to the great composers of Brazilian Choro. Exploring the codes of popular Brazilian music, Cristiano Nascimento & Wim Welker deliver a personal and intimate repertoire based around their favourite instrument: the guitar, a complete instrument in itself, with its sonic possibilities and emotional range, ‘an orchestra in itself’. Compositions and arrangements for 7-string guitar, viola nordestine and electric jazz guitar, studded with multi-influenced improvisations.

The Ensemble Marani will unveil "Sharatin", their third album, upon its release on March 21st, 2025, under Buda Musique / Socadisc, following the release of "Soupra, le banquet géorgien" (Musidisc, ARB in 1998) and "Ertad" (Buda Musique in 2016). The artists will perform at the Église du Val de Grâce (Paris 5th) on April 6th, 2025, at 5:30 PM, accompanied by Nino Barkalaya (piano). Furthermore, here are the dates of their upcoming performances: 05/03/2025: Église Saint-André de l’Europe (Paris 8th) 08/08/2025: Festival Internazionale Musiche della Terra, Ceriana (Italy) 08/09/2025: Festival Appennino Futuro e Remoto, Vegni (Italy) 08/10/2025: Genova Palazzo Tursi (Italy) Registered on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity in 2008 (originally declared in 2001), Georgian polyphonic singing is one of the masterpieces of Georgian culture. In Georgia, polyphonic singing accompanies the community at all stages of life, including wedding and funeral ceremonies, healing rites, liturgy, work, children's lullabies, dances and banquets (supra). These polyphonic songs have different characteristics depending on their regional origins. Polyphonic singing is practised by both men and women, but the male repertoire is far more extensive. The practice has traditionally been transmitted orally, within families and communities. Today, many singers are trying to get as close as possible to this method of transmission by learning directly from the singing masters (lotbari). This is the case in the greater Paris region with the Marani Ensemble, which has made several study trips to Georgia and invited Georgian singing masters as guests. Over the years, the Marani Ensemble has performed on many stages, presenting traditional songs from all regions of Georgia, as well as Orthodox liturgical chants. Its repertoire has grown out of its roots in the Georgian community, as well as through the links it has forged with a number of outstanding singers who are experts in the traditions, skills and customs associated with singing in Georgia.

"John Wright (1939-2013): The man who made the jew's harp sing The jew's harp is an idiophone whose vibrating element is a reed operated by pinching, using the musician's mouth cavity as a resonator. This was the little musical instrument, often regarded as a toy or gadget, that became a favourite of, and admirably played by, an Englishman living in France: John Wright. “Tradition is a permanent revolution.” This phrase, which John Wright was fond of uttering in his splendid accent, sums up a musical career that overturned the world of popular music in France by encouraging a generation to discover and play traditional instruments and songs. In December 1969, together with Catherine Perrier and a few friends, he set up “Le Bourdon”, a now-legendary association which organised a folk club every Monday in different venues in Paris, enabling musicians to come and present their music, as well as giving “folkies” the chance to take their first steps. It was there that he met, among others, the Vietnamese musician Tran Quang Hai, a master of the jew's harp, spoons, and diphonic singing. For John, music meant singing, crwth, violin... But always with a special fondness and wonder for the jew's harp. “It works like this: you select an initial sound while listening to what's going on in the background. When another, distant sound appeals to you, you go and find it and bring it to the foreground in place of the first, and so on, which, with the successive sounds and their combination, gives the impression of ‘walking’ the sound of the jew's harp through your mouth and down your throat. That's how it's been through the years I have played the jew's harp, or rather lived with the couple it forms with the oral cavity.” Throughout his life he and his partner, Catherine Perrier, travelled to many countries, meeting traditional musicians and demonstrating the technique, complexity and richness of the jew's harp. In 1984, he took part in the first International Jew's Harp Congress organised in the USA. For many musicians, meeting John Wright was a revelation, transforming their approach to the music of the people of the world and the playing of the jew's harp.Today, we can rediscover the power and acoustic technicality of the jew's harp thanks to John Wright's recordings, such as the CD Promenade: 11 pieces recorded in 1989 by Patrick Georges, with illuminating commentary by numerous specialists and friends of John (Buda Musique - 860399). His followers are numerous and grateful for the work and open-mindedness of this musician who, during long evenings, would quickly sweep you away on another of his many passions: steam locomotives! Breath, as they said, was his life.". Philippe Krumm

With a population of just under one million inhabitants in 1980, Dar es Salaam was still the "haven of peace" to which its name refers, despite two decades of Ujamaa austerity policies (President Nyerere’s "African socialism"), the collapse of the East African Community, the closure of the border with Kenya, and the costs of the 1979 war against Idi Amin in Uganda. By nightfall, Dar es Salaam was ablaze with its highly dynamic live music scene, featuring more than 20 professional bands performing in the city’s nightclubs, playing what is known in Swahili as muziki wa dansi. The 1960s and 1970s saw an influx of numerous bands from neighboring Congo-Zaire. Often hired by high-end clubs and hotels in Dar es Salaam and Arusha for fixed-term contracts, some musicians and bands stayed, including those who would later form the orchestras Maquis and Safari Sound. Like other private bands, the Congolese soon struggled to sustain their performances by playing for local bar owners. While Maquis enjoyed massive success with its Kamanyola Bila Jasho dance style ("dancing Kamanyola without sweating") in the late 1970s, their expatriate status and the changing economy led them to turn necessity into a virtue. They had to adhere to the socialist Ujamaa ethos by acquiring land on the outskirts of Dar es Salaam, selling agricultural products at the Kariakoo market, and forming OMACO (Orchestre Maquis Company). Around the same period, Ndala Kasheba and other members of Safaris Nkoy merged to create the new Orchestra Safari Sound (OSS), founded by Hugo Kisima, a local entrepreneur and owner of the Safari Resort in Kimara, located outside Dar es Salaam. Among the public or semi-public bands mentioned earlier, these two private groups were the only ones that could claim the top spot in Dar es Salaam’s nightclub circuit at the time.

Xanthoula Dakovanou will unveil Rizituals, her third album, on its release, February 21, 2025, on MOUSA / UVM. This opus will be presented on Thursday, March 20, 2025, on the stage of Le Triton (Paris) during an exceptional launch concert. Xanthoula Dakovanou is a special singer-composer, whose work is inspired by musical traditions of Greece and the wider Mediterranean and creates music that concerns modern societies. Her musical works have been distinguished in the World Music Charts and have been presented to important international festivals such as the Avignon Festival, the Athens-Epidaurus Festival, Théâtre du Châtelet, Théâtre de la Villette, les Suds à Arles, All of Greece one Culture Festival etc. Her works have received the Auspices of the Greek Ministry of Culture three times until today. Album line-up : - Xanthoula Dakovanou: artistic direction, arrangements, vocals - Eugenia Toli Damavoliti: vocals - Dimitris Sideris: Cretan lute, arrangements, vocals - Sophia Efkleidou: cello, vocals - Giorgos Zacharioudakis: flutes, Cretan bagpipes - Solis Barki: percussion - Christina Kouki: santur - Argiro Reppa: vocals - Anemi Vocal Ensemble: vocals Rizituals is inspired by cretan vocal traditions, particularly by the cretan songs of Rizitika, creating an ecstatic, female musical ceremony. Rizitiko is an ancient vocal tradition of Western Crete, which begins in the byzantine era. A jewel of the greek immaterial cultural patrimony, this tradition is mainly unknown to the rest of the world up to date. Traditionally, it is sung by men, a cappella. In this album we listen to rizitika songs about women in their different traditional roles: mother, daughter, sister, wife, mistress – but also an active search of the modern woman who seeks for her own identity, combining elements of the tradition with urban modernity, creating new patterns into the globalized world that surrounds her. The dramaturgy of the album captures this search, using traditional Rizitika melodies which are combined with modern orchestrations, incorporating female polyphonies with byzantine and medieval elements, traditional and western instruments but also experimental elements and improvisations. Renown greek musicians participate in the album Rizituals, starting with the beautiful cretan voice of the singer Eugenia Toli Damavoliti, who sings with Xanthoula. Dimitris Sideris participates in the creative orchestrations and plays skillfully the cretan lute and e-bow, in a traditional but also experimental style. The talented violoncellist Sofia Eleidou interprets the oriental traditions with a unique style and improvises on her instrument. Giorgos Zacharioudakis plays multiple wind instruments and Solis Barki colors the ensemble with his percussive soundscapes. Finally, in the album we also listen to the following guest musicians: Argiro Reppa (voice), Christina Kouki (santouri) and the feminine vocal ensemble Anemi. Xanthoula Dakovanou assures the conception, artistic direction and orchestrations of the project and sings, as well.

Charneux - Leleux - Puma Trio will unveil “Cinquième saison”, their new album, on its release, March 07, 2025, on homerecords.be / L’Autre Distribution. This opus will be presented on Thursday, April 10 2025, on the stage of 360 Paris Music Factory during an exceptional launch concert. ➡ The single “Juin en novembre” will be released soon on all platforms.⬅ Aurélie Charneux is a clarinettist. Classically trained, she is as much a creator as a performer, and soon turns her attention to improvisation and composition. Oriental music and swing have had a major influence on her career. She explores and mixes different languages. She founded the group Klezmic Zirkus (with whom she played for ten years in Belgium, France, Germany and Switzerland) and the quintet Mamaliga Orkestar. The trio Charneux - Leleux - Puma is her latest project. Cinquième saison, his sixth album for homerecords.be, is undoubtedly his most personal. The trio is composed of: Aurélie Charneux: compositions, clarinets Simon Leleux: percussion Nicolas Puma: double bass Guest musicians: Quatuor Prisma (tracks 2, 5, 7, 9) : Allison Trésor (first violin), Julien Gillain (second violin), Maxime Devynck (viola) and Eugénie Defraigne (cello). There exists an intercontinental music from a country that doesn’t exist, a place where sounds can cross paths and converse freely, without baggage or passport. As warm as the snowdrifts of the Taiga, and cooler than the torpor of the sub-Saharan heat... Climate change, the drifting of continents, forced migrations—today's world is shaking up our reference points... The work presented here explores and reclaims various musical traditions, whether close or distant, and aims to create a sound with a fluid identity. Here, an aboriginal rhythm evokes classical chamber music; there, modes from both sides of the Mediterranean meet for the first time... It’s the joy and risk of erasing boundaries. "There are no more seasons," or perhaps a fifth season, one that defies conventions. Moments of improvisation, sometimes bordering on trance, bring us with elegance to both vigor and intimacy. An equilateral trio where Simon Leleux (a specialist of the doholla and darbuka), double bassist Nicolas Puma, a versatile and chameleon-like musician, and the generous breath of clarinetist Aurélie Charneux, who also composes most of the material, engage in a dynamic dialogue. The Prisma Quartet adds a string color to several tracks on the album.

Rémi Geffroy will unveil “Carrefour des anges”, his new album, on its release, February 07, 2025, on CVE Prod / Modulor Music. This opus will be presented on Thursday, March 06, 2025, on the stage of Point Éphémère during an exceptional launch concert. ➡ The single “Rosa Alba” was released on all platforms on November 15, 2024. ⬅ Accordionist and composer, Rémi Geffroy is a curious musician with many facets. Rich in diverse influences, he creates his own style by blending traditional music, classical, and jazz. The ‘Carrefour des anges’ team is made up of: Rémi Geffroy: compositions, accordion Estelle Besingrand: cello Mélanie Brelaud: violin Julien Casanovas: violin Alix Habert: alto violin Julien Lameiras: drums Antoine Petit: guitar Laure Yates Nuzzi : bodhran (guest on tracks 4, 6 and 12) Bert Yates: guitar, voice (guest on track 12) Rémi Geffroy loves blending genres. With each album, he offers a new path to explore. His music, full of emotions, takes us on a journey where genres cross paths. His multiple influences and unique songwriting transform his compositions into true stories, with universes that are both epic and poetic. Carrefour des Anges can be seen as a special place, but also one of meetings, perhaps even reunions... The album is experienced as a journey in search of this place, whether distant or simply buried deep within us. This sixth album presents a musical direction and a distinctive sound, where the diatonic accordion shines, supported by a string quartet, drums, and guitar, all woven together in arrangements that are both surprising and powerful. Carrefour des Anges invites us on an introspective journey, both intimate and universal, where the music becomes the mirror of our soul, reflecting our joys and sorrows, our hopes and disillusions. Listening to this album is an immersive experience, where we allow ourselves to be carried away by melodic currents, navigating between reverie and reality, in search of that crossroads where angels meet and where, perhaps, we will find a part of ourselves.

PulciPerla will unveil “Tatekieto”, their new album, on its release, January 04, 2025, on Prado Records / Cie Pulcinella / The Pusher (CD, vinyls, digital). This opus will be presented on Wednesday, February 05, 2025, on the stage of FGO - Barbara, Paris (France) during an exceptional launch concert. ➡ The eponymous single “Tatekieto” will be released on all plateforms. on November 22, 2024. ⬅   Take an iconoclastic and energetic quartet from Toulouse, combine it with a female power trio from Bogotá, shake it up, and you will get Pulciperla! After an explosive encounter in Colombia in 2019, the fiery trio La Perla and the unclassifiable Pulcinella decided to create an original repertoire: a hybrid, swaying, and sensual music where vocals, saxophone, keyboards, double bass, and percussion blend generously, driving a powerful trance-like pulse. A quirky and striking repertoire infused with bullerengue, reggaeton, funk, and champeta influences, which stirs the fire and gets you moving. The tribal music of La Perla’s percussionist singers merges with Pulcinella’s explosive groove to electrify the audience and awaken their primal instincts! PulciPerla is composed of : La Perla: Diana Sanmiguel: vocals, maracas, guacharaca; Giovanna Mogollón ‘’Roberta Leono’’: vocals, tambor alegre; Karen Forero:vocals, gaïta, tambora Pulcinella: Ferdinand Doumerc : saxophones, flutes, keyboards; Jean-Marc Serpin: double bass; Bastien Andrieu: keyboards ; Pierre Pollet: drums   Pulcinella : For almost 20 years, this mischievous group from Toulouse has never tired of doing as it pleases. Armed with drums, double bass, accordion and saxophone, they mix funk, jazz, Balkan music, electro, musette and progressive rock to create a polymorphous music that knows no boundaries. With 6 albums to its name and over 700 concerts to its credit, Pulcinella is a real live band. They have performed at such prestigious festivals as Jazz in Marciac, the Radio France Festival, Rio Loco, Jazz sous les Pommiers, the London Jazz Festival and the Odessa Festival. They have toured some twenty countries, including Honduras, Guatemala, Bulgaria, Tajikistan, Moldavia and even Vietnam, where they celebrated the 1,000th anniversary of the capital Hanoi! The quartet loves to meet new people and collaborate with other artists. As well as working with musicians (Émile Parisien, Leïla Martial, Andreas Schaerer, Hervé Suhubiette...), the quartet likes to rub shoulders with other artistic fields. After meeting Italian singer Maria Mazzotta in 2018, with whom the group signed the album Grifone in 2021, and while developing its Guerre des boutons, a borderless ball repertoire, Pulcinella met the Colombian musicians of La Perla in 2019...   La Perla : La Perla was created in 2014 by Karen Forero, Giovanna Mogollón and Diana Sanmiguel. These three women artists, explorers and bearers of Colombian-Caribbean culture, set the stages on fire in Colombia, and well beyond the South American continent. Their unique musical identity is underpinned by an undeniable charisma on stage that pays tribute to their cultural roots. A call to trance and rhythm, based on ancestral instrumentation, with their feet firmly planted in the pavement of Bogotá. In 2017, La Perla travelled to Mexico for their first international tour... That same year, the group released its first EP on Mambo Negro Records. Two international tours of Europe and Chile followed. In February 2019, La Perla went on tour in the United States and took part in the Ground Up festival in Miami, sharing the stage with major artists such as Susana Baca, Snarky Puppy, Richard Bona and Carlos Malta. In 2022, they released their first album, Callejera, and toured Europe for three months, performing at numerous festivals (Jazz sous les pommiers, Les Vieilles Charrues, Musicalarue, Sziget, Fusion, Womex Porto, etc.).

Ninon Valder will unveil "En mi corazón", her new album, on its release, January 10, 2025, on Flying Penguins / InOuïe Distribution. This opus will be presented on Tuesday, February 11, 2025, on the stage of Studio de L'Ermitage during an exceptional launch concert. The single "Viento del sol" was released on all platforms on November 8, 2024. "…it feels like being at the window of a train traveling at just the right speed to immerse yourself in the changing colors of a sonic landscape, which is nothing less than a love letter to life, to music, and to Argentina…" — Laurent Valero, France Musique "En mi corazón" includes: Ninon Valder: bandoneon, flutes, vocals, compositions Sebastián Cordero: guitar Kevin Seddiki: guitar Carine Bonnefoy: piano Raúl Barboza: accordion Rémi Bourcereau: sound engineering and mixing Ninon Valder is a musician with an exceptional and unconventional career, capable of combining worlds while maintaining her integrity and unique perspective. She describes herself as a “wind amazon” or “air shaman,” seeking to create connections between our deepest identities, our lands, and our skies, illuminating those moments when we feel truly alive. With her flutes, bandoneon, and voice, Ninon Valder expresses her passion for Argentine music and original compositions. In "En mi corazón," she shares her music through intimate and powerful duets with exceptional collaborators: Kevin Seddiki on guitar (ECM, Al di Meola, Jean-Louis Matinier), Sebastián Cordero on guitar (Daniele Sepe, Liat Cohen, Veronica Kadlubkiewicz), Carine Bonnefoy on piano (Vince Mendoza, Latin Grammy Award, Prix Sacem, Djangodor), and the legendary Raúl Barboza on accordion (a cornerstone of Argentine music and chamamé). Ninon tells us about a shared life along the path of the free world. In her voice, we hear echoes of Mercedes Sosa; in her bandoneon, the influence of Dino Saluzzi; and through her flute, a journey beyond all borders. We’ve seen her perform in a duo with Colacho Brizuela (historic guitarist, arranger, and musical director for Mercedes Sosa) in the album Cuscaias (2013 - Acqua Record) and as the director of the instrumental trio Las Famatinas in live performances and on the album Así seguimos andando (2020 - Les Belles Écouteuses).

Les Mécanos will unveil their new album ‘’Usures’’ on its release November 22, 2024, on L-EMA / InOuïe Distribution. This opus will be presented on Wednesday, January 22, 2025, on the stage of the Studio de L'Ermitage during an exceptional launch concert. The singles "Deman matin" and "Les Piafs" are already available on all platforms. Three years after their eponymous ep and over a hundred shows across France, Europe, and Canada, Les Mécanos release their first album: Usures. While continuing their exploration of occitan polyphony, the ten musicians affirm their belonging to this new generation emerging from the so-called «traditional» music (Barrut, Cocanha...). Based in Saint-Étienne, France, and its surroundings, the collective reinvents popular music which is rooted in the history of this former industrial region.  Vocals and percussion: Rémi BACHER Gaël BERNAUD Martin BUB Antoine CHILLET Sylvère DECOT Jonathan DURAJ BENOIT FEUGÈRE Jérémie PLASSON Simon POURRAT Guillaume SBAÏZ   Driven by the desire to shape an original repertoire and give voice to the working-class memory of Saint-Étienne, the group draws freely from the local repertoire, regional archives, in its beliefs and its imagination to write its own lyrics and create exciting music, enriched by the many influences of its members.  Usures unveils a captivating musical tapestry, at times frantic, delicate, festive, and committed. The group’s maturity shines through the freedom taken in its arrangements. The generosity of their early days is still present, and one can feel the striking synergy of the ten voices, delivering a powerful polyphony or infusing melodies with a surprising sweetness.  Like their grandparents who would switch from French to their regional dialect within the same conversation, Les Mécanos sing in both languages, sometimes mixing them, and showcase rugged, frenetic percussions to convey a decidedly contemporary message and embrace a certain vision of the world and our social history.  The camaraderie of these ten friends is faithfully captured by Thomas Masson, who has collaborated with them on stage for 4 years. Les Mécanos have benefited from the experienced support of Titouan Billon (Barrut, Du Bartas) for co-artistic direction and Bruno Preynat (Mickey 3D, Barrio Populo...) for mastering.  

Lucibela will unveil "Moda Antiga", her third album, on November 8, 2024, through Lusafrica / Sony. This opus will be presented on Friday, November 15, 2024, at the Café de la Danse stage during a special launch concert. The single "Lembra Tempo" will be available starting November 4, 2024, on all platforms. This track, written and composed by the singer, describes the festive gatherings of yesteryear, the lively street dances of São Vicente held every weekend, the "rabecada," where the mornas, coladeiras, and other mazurkas were danced until dawn. Moda Antiga through Lucibela’s eyes: "Moda Antiga" celebrates Cape Verde's musical heritage. It’s my third album and, as its name suggests, it’s a traditional album. It includes many old compositions but also some original songs that stay true to our tradition. My inspiration comes from various artists (singers, composers, musicians…) that I’ve always listened to, those who have been part of my journey so far, and those I interact with daily, helping me better understand our traditions. — Lucibela Lucibela’s biography: After releasing Amdjer in 2022, her last opus in tribute to Cape Verdean women, the delightful Lucibela embarks on a new journey, a new mission… In this third album, Moda Antiga ("In the Old Fashioned Way"), she, often seen as a worthy heir to Cesaria Evora, aims to bring back to the forefront the vibrant traditions of her small country, played here with the faithful accents and rhythms of her predecessors. Like many young women of her generation in Cape Verde, 38-year-old Lucibela listens to hip-hop, electro, kizomba, the rich soundtracks that fill the daily life of the youth in the archipelago, from collective taxis to nightclubs and festivals. However, she believes it’s crucial, even urgent, to preserve the island's roots — mornas, coladeiras — an intangible heritage "more valued abroad than on our own soil," she laments, before emphasizing: “We don’t have conservatories or music schools to ensure the protection and transmission of these traditions to the next generations… I feel it's my duty to do so.” Thus, this album stands as a festive and generous declaration of love to this national treasure, taking the form of a beautiful collection of popular and traditional songs, Cape Verdean myths, and stories, often composed by iconic figures (Anu Nobu, Manuel de Novas, Mario Lucio, Zézé di nha Reinalda...). To bring them to life, she gathered, before finalizing the project in Holland and France, a group of legendary musicians at the Lusafrica studio in Mindelo, all guardians of these musical styles, led and arranged by the excellent Toy Vieira. This includes the essential Bau (guitar) and Hernani Almeida (guitar/sound engineer), as well as Totinho, the aptly named "saxophonist of the morna" and longtime collaborator of Cesaria Evora, who tragically passed away last July. So, what can be expected from this album of “classics,” carried by Lucibela’s enchanting voice, both smooth and powerful? (...)