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Sorry, this entry is only available in FR. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.Irene Amata révèlera "Sembianze", son nouvel album, à l'occasion de sa sortie le 05 septembre 2025 chez Prodastar / InOuïe Distribution. Cet opus sera présenté le lundi 29 septembre 2025 sur la scène du New Morning (Paris, 10e) lors d'un concert de lancement exceptionnel en quartet avec Fady Farah (piano), Maurizio Congiu (contrebasse) et JB Perraudin (batterie). ➡️ Le single "Confined", premier extrait de cet album, sera disponible le 02 mai 2025 sur toutes les plate-formes. ⬅️ " C’est l’histoire d’un nouveau départ et d’une affirmation de soi : Irene Amata, que l’on connaissait interprète d’un répertoire brésilien au sein du duo Sambuca (album Luz publié en 2020), se révèle leadeuse d’un quartet de jazz, compositrice, autrice. C’est l’histoire d’une mise à nu, aussi : en chantant dans sa langue maternelle, l’italien, Irene touche à l’intime et nous offre, d’une voix exempte de tout artifice, des chansons douces-amères qui sont autant de poèmes instinctifs. L’émotion au bord des lèvres et le cœur au bord des yeux, Irene a mûri pendant sept années l’écriture de Sembianze. D’abord chez elle à Paris devant son piano - Irene a une formation de pianiste classique - habitée par le plaisir ressenti lorsque les mélodies naissaient naturellement en italien. Ensuite sur scène, avec les musiciens parisiens qu’elle réunit autour d’elle et qui embrassent avec bonheur son univers musical. De la rigueur, de la constance, le goût du travail à la fois seule et en équipe : ce sont précisément les qualités qu’Irene a conservées de sa carrière de scientifique - entamée après son double doctorat en physique et biologie moléculaire - avant sa bascule dans la vie de musicienne professionnelle. Ses onze compositions originales aux couleurs douces-amères prennent vie en quartet acoustique, avec Fady Farah au piano, Maurizio Congiu à la contrebasse et JB Perraudin à la batterie. Soudé par l’expérience de la scène, le groupe a enregistré en trois jours, en novembre 2024, au Studio La Menuiserie à Noisy-le-Sec. Pour Irene, chanter dans sa langue maternelle relève de l’intime, d’une mise à nu. Un défi qui l’a amenée à repenser son jeu vocal. Si sa voix nous touche par son absence totale d’artifices, c’est qu’Irene a voulu se sentir « instrument parmi les instruments ». Offrir de la respiration à l’auditeur et beaucoup d’espace d’expression aux musiciens, constituait également un vrai choix : Fady Farah au piano se révèle comme la deuxième « voix » de l’album, sur des arrangements d’Irene qu’il a contribué à développer. " Alice Leclercq Line-up de l'album : - Irene Amata : composition, arrangement, auteure, voix - Fady Farah : piano - Maurizio Congiu : contrebasse - JB Perraudin : batterie

Spontus will unveil “Ar Lagad - Bleiz”, their 9th album, on its release, June 27, 2025, on Klam Records / L’Autre Distribution. The quartet is composed of : Alan Paranthoën: Violin, vocals Thomas Hurtel: Bass, vocals Erwan Bérenguer: Guitar, vocals Youen Paranthoën: Accordion, vocals With their feet in the round and their heads in the stars, the ''plijadur'' has been moving between stage and floor for thirty years. With La Ridée du petit René and La Pourlet de la valise volée, the rural groove of Spontus gives pride of place to the communicative energy of the song. With a repertoire of 2 hrs 30 mins, the musicians draw on their thirty years' experience as dance leaders to offer a wide variety of dances from Lower and Upper Brittany, both sung and instrumental. ‘’ Recreating the energy of singing in dance and bringing it back to instrumental music, that’s where we were when we decided to put down our instruments to renew the repertoire. And then memory kicked in, we remembered the “bedjon” of a capella singing on the parquet floor at the end of the evening, we remembered the power of singing back ... We started listening again to our primary sources of inspiration, traditional singers. We soon started tapping our feet and singing in response, then picked up our instruments again. After a few months of rehearsals, the decision was made. We had to start singing. Lyrics sung by the old-timers to new music and new lyrics. This was the new direction we were going to take to entertain the dancers, and bring them into the dance. So we sing. We sing as we talk to people, we tell them beautiful stories in French or Breton, and we set our songs to instruments that illustrate, complete and feed the imagination. We escape, we fly away with this man who captures the colors of the world and finally succeeds in making the rainbow dance. We leave the world of humans to join the insects’ revolt to claim their freedom, and find out why Baltazar and Barbara dance without discord. ‘’ Spontus

Currently on tour in North America, the Cesaria Evora Orchestra will kick off its French tour with a concert at La Marbrerie (Montreuil) on June 06, 2025. The current line-up features the very best of today's Cape Verdean scene: Ceuzany, Elida Almeida, Lucibela and Teofilo Chantre. Here are all the upcoming tour dates: 06/06/2025: Musiques Métisses festival, Angoulême (16) 12/05/2025: Africolor festival, Théâtre Sarah Bernard, Goussainville (95) 12/06/2025: Africolor festival, Théâtre des Bergeries, Noisy-le-Sec (93) 12/13/2025: Salle Jacques Brel, Fontenay-sous-Bois (94) 03/18/2026: Le Colisée, Lens (62) 03/19/2026: Rocher de Palmer, Cenon (33) 03/20/2026: Détours de Babel festival, L'Heure Bleue, Saint-Martin d'Hères (38) 03/21/2026: L'Arsenal, Metz (57) Cesaria Evora's sudden death on December 17, 2011 was a source of great emotion for her fans, who gathered in thousands in 2012 to honor her memory at memorable concerts in Toulouse, Lisbon, Amsterdam and Paris. Around the musicians who usually accompanied the singer, the greatest voices of world music came to pay a final tribute to the one nicknamed La Diva aux pieds nus (The Barefoot Diva) - among them Bonga, Angélique Kidjo, Lura, Ismaël Lô, Mayra Andrade, Bernard Lavilliers and Tito Paris, to name but a few. After these great masses, the musicians had only one desire: to keep Cesaria's repertoire alive, which had enchanted audiences on stages all over the world. That's how they came together under the name Cesaria Evora Orchestra for their first concert, in 2014 at the Kriol Jazz Festival in Praia (Cape Verde), in tribute to the world music icon and her work, notably as an Ambassador of Cape Verdean music. Since then, the Cesaria Evora Orchestra has performed regularly around the world to celebrate Cesaria Evora.

"C'est l'heure du bœuf" by Claire Luzi & Cristiano Nascimento Release on 25/04/2025 (La Roda / 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 / Cie La Roda). The opus will be presented on the same day for an exceptional launch concert in Aix-en-Provence, as part of the 2nd International Choro Festival. 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.).