Las Cafeteras Live on KEXP
Las Cafeteras will be part of a free Community Celebration at Farnsley Middle School on Tuesday, September 23rd at 6:00.
They will be joined by local favorites, Appalatin, for their concert performance, which will take place Wednesday, the 24th at 7:30 p.m. at the Clifton Center.
Las Cafeteras’ smart party fuses tradition and 21st century street sounds
Every 15 years or so, a rowdy bunch of Chicano musicians rises up on the east side of Los Angeles with a game-changing sound, a must-see live show and a political message embedded inside everything they do. In the early ‘80s, it was Los Lobos. In the late ‘90s, Ozomatli took the crown. Now, it’s Las Cafeteras’ turn.
“Even in L.A., where we’re from, man, our music is so different,” says Hector Flores, who sings, plays the guitar-like jarana and provides zapateado percussion. “So I can only imagine how people are going to take it once we hit these different markets,” he laughs. “Our take on it: we remix roots music, we do hip-hop and cumbia and ska, we do this mélange, man, this great buffet of sounds. It’s stuff you heard before you were born mixed in with melodies that you hear today.”
Their current tour – their longest to date, 31 shows in 13 states in 51 days – is taking the seven-piece band across the middle of the U.S., moving beyond the biggest cities into the heartland, south and northeast, expanding their worldview as they also take time out to teach others. In addition to their Clifton Center concert on Wednesday, September 24th at 7:30 p.m., the septet – which includes several community organizers – will also lead a gathering at Farnsley Middle School at 6 p.m. Tuesday evening.
“Many of us grew up doing community and social justice work,” Flores says. “Youth development, anti-racism work … and so the music became a way for us to really talk about different cultures, different communities and peoples in a really empowering way.”
Formed in 2005, Las Cafeteras’ name was inspired by the Eastside Café, a community space where they first learned about the Zapatista movement in southern Mexico and the Son Jarocho music from Veracruz that fuels their sound today (they use the feminine “Cafeteras” to honor the struggles women have faced). But while such a venerable style – best known in America as the backbeat behind “La Bamba” – is where they begin, they update it to the current day with a fusion of acoustic and electric instruments, rapping and poetry, and percussion instruments like … well, their own feet. In addition to string instruments like a donkey jawbone, Las Cafeteras also utilizes the tap dance-like zapateado tradition to add percussion to their mix of Mexican, Spanish, African, Arabic, indigenous and American music.
Speaking of “La Bamba,” their 21st century update of that internationally beloved tune has helped them build a bridge to people otherwise unfamiliar with their cultural roots. “Everybody in the world knows ‘La Bamba,’ Flores says, noting friends’ encounters with the song as far away as Vietnam. “It’s such a universal song … but people don’t know it’s a 400-year-old Afro-Mexican song.”
He says Las Cafeteras are storytellers, and part of their message is that it’s important for all people to share their unique stories. It’s the best way for a melting pot nation to overcome their fears, work together and, sounding like a more swingin’ version of Howard Zinn, Flores says we need to “create a new history of the United States… one that’s much more inclusive.”
Their first full-length studio album, It’s Time, was released in 2012. “While the studio album is a great representation, this is definitely a band you have to experience live… and if you have a jarana or jawbone lying around, bring it,” wrote Jose Galvan of Los Angeles’ trendsetting public radio station KCRW.
“Our album is a history book,” says Flores. “Hopefully, 50 years from now people will listen to it and be, like, ‘This is what L.A. sounded like 50 years ago.’”
The band is working on their second album and hopes to see its release in 2015. “I think it’s going to take us to the next level,” Flores says. “The new sounds, I think, will be moving more from traditional to more who we are as L.A. immigrant kids. We’re creating this new immigrant sound in the United States – it wouldn’t happen anywhere else but here.”
– Peter Berkowitz
Additional support for this program is provided by Louisville Metro Government and Republic Bank.
“One of the top oud players in the world”
- San Francisco Chronicle
Rahim AlHaj is considered by many to be the greatest oud player in the world. A two-time Grammy nominee, he has recorded traditional music for Smithsonian Masterworks and reached across genres to record and perform with the likes of jazz legend Bill Frisell and Peter Buck of the band R.E.M., among many others.
The Clifton Center is proud to partner with Kentucky Refugee Ministries and the Iroquois Branch of the Louisville Public Library to present a weeklong series of events celebrating the art and culture of Iraq, with AlHaj as its centerpiece. In addition to his culminating concert, AlHaj will participate in a free community gathering October 9th featuring Middle Eastern food, hands-on art activities for kids, dance and percussion workshops, and culminating in a cross-cultural jam session featuring Rahim with local Iraqi and bluegrass musicians. And, in the preceding days, we’ll feature a wide variety of activities, including a dinner prepared by local Iraqi cooks, a film screening by the Palestinian comedian and filmmaker, Amer Zahr, a panel discussion on race relations, and much more.
Clifton Center Iraqi Cultural Series – Schedule of Events
James Beard said, “Food is our common ground, a universal experience.” What better way to connect with and learn about others, than over a meal? Join us for a unique opportunity to meet on common ground and celebrate the richness of the diversity of Iraqi culture here in Louisville through the breaking of bread and the sharing of stories.
Louisville native Aimee Zaring will read from her forthcoming book Flavors From Home: Refugees in Kentucky Share Their Stories and Comfort Foods. An Iraqi refugee from the book as well as other local Iraqis from diverse ethnic groups will be present to share tantalizing foods. Attendees will experience the diversity of Iraqi cuisine and culture and participate in a unique, communal sharing and exchange experience.
Pre-dinner reception (6:15pm- 6:30pm) features Iraqi tea and music by special guest Sipan Mzorie. Dinner, book reading and conversations from 6:30-8:00. While the main event is for adults, special children’s activities will be offered in an adjacent room so that families can come together.
Panel Discussion: The Social Construct of Race: Immigrants and the “Box”
Tuesday, October 7th, 6:30pm – 8:30 pm – Free
*Location: Louisville Public Library, Iroquois Branch
601 W Woodlawn Ave, Louisville, KY, (502) 574-1720
Special Guest: Amer Zahr: Palestinian American scholar/comedian/filmmaker
Join visiting filmmaker, Amer Zahr, and local scholars and community leaders on a lively discussion of the social construct of race, its relationship with access to rights and resources, with particular mention of omission of the box for “Arab” from the U.S. Census.
Iraqi Dance and Percussion Workshops
Tuesday, October 7, and Thursday, October 9 – Free
Ruric-Amari Dance Studio at the Clifton Center
All levels are welcome to these free Arabic dance and percussion classes, concentrating on Iraqi styles, hosted by Ruric Amari Dance, with second percussion class taught by a tabla (Arabic drum) virtuoso performing concert with Rahim AlHaj.
Sounds of the Oud (dance class)
October 7, 6:00pm-7:00pm
Ruric-Amari Dance Studio at the Clifton Center
This workshop will bring the haunting vibrations of the Arabic oud (lute), the instrument of Rahim AlHaj to life as a physical interpretation of music. Learn to move to the Arabic beautiful “Taqsim” including shimmies, undulations and beautiful arms. All levels welcome, including beginners.
The Sounds of the Tabla (percussion class)
October 7, 7:00pm-8:00pm
Location: Ruric-Amari Dance Studio at the Clifton Center
The hand held Arabic drum has many voices and can play some of the most amazing drum solos in the world. It is not only rhythmic but also produces dozens of sounds that can be woven together to create complex and ornate composition that stands on it’s own or with an orchestra. Come learn the base sounds of the Tablah or Doumbek and several rhythms unique to Arabic music including Maqsoum and Saiidi. Instruments provided, but if you have a table/doumbek/darabuka or tar drum, please bring! All levels welcome, including beginners.
The Heart That Settles in Bagdad (dance class)
Thursday, October 9, 6:00-7:00pm
Location: The Clifton Center, Eifler Theater
An introduction to the movements of Kawleeya including hairwork, head shimmies, and floorwork. Arabic dance encompasses many different styles under one umbrella but this workshop will focus on a form of dance from Iraq and what makes it unique. Usually a form of entertainment, this beautiful style is often mixed with Raks Sharqi (or Belly Dance) and is delightful and vibrant. Come to class then to community gathering! All levels welcome, including beginners.
Final Percussion Workshop lead by drumming virtuoso (percussion class)
Thursday, October 9th, 7:00-8:00pm
Location: The Clifton Center, Eifler Theater
Experienced percussionists and beginners alike will have a once in a lifetime opportunity to learn from virtuoso tabla player who is in concert with Rahim AlHaj the following evening. Program and instruction will be selected by the visiting artist, based on ability of attendees. Come to class then to community gathering! All levels welcome, including beginners.
Tuesday October 7th classes:
Ruric-Amari Dance (at The Clifton Center)
2117 Payne St. Suite #305
Louisville, KY 40206
Thursday October 9th classes:
The Clifton Center, Eifler Theater
Film Screening: “We’re Not White” with filmmaker Amer Zahr
Wednesday, October 8, 7:00, pay what you will
The Clifton Center Eifler Theatre
“We’re Not White.” That’s the name and thesis of Palestinian American comedian Amer Zahr’s new movie which premiered at the Arab American National Museum this year. However, the federal government disagrees with both the premise and the title of the film. “We’re not White” examines the absence of an Arab option on the U.S. Census. Every 10 years, the U.S. government polls the nation to gather data about the size and demographics of the population. There are 11 choices for ethnicity on the census, and “Arab” is not one of them. Join the filmmaker for a lively discussion and Q and A after the film.
A Community Celebration of Iraqi Art and Culture
Thursday, October 9, 6:00, free
The Clifton Center
This community gathering is the result of a partnership between the Clifton Center, Kentucky Refugee Ministries, the Iroquois Branch of the Louisville Public Library, our Iraqi refugee friends, and many more. Join us to share Iraqi food, hands-on art activities for children, dance and percussion demonstrations and workshops, all culminating in a jam session featuring Rahim AlHaj and some of Louisville’s finest Iraqi and bluegrass musicians.
Rahim AlHaj in Concert
Friday, October 10 at 8:00, $10
The Clifton Center Eifler Theatre
“He is an inspiration” – Bill Frisell
Works by Vian Sora, Baghdad artist
The Clifton Center is honored to display two paintings by Iraqi-American artist, Vian Sora, available for viewing during the week of the Clifton Center Iraqi Cultural Series, October 6-10.
About the artist: Contemporary Iraqi artist, Vian Sora is internationally recognized for her exceptional talent of combing the rich, esoteric aesthetic of her homeland with profound social commentary. Her most recent work reflects her journey of self-discovery and transition that emerged while relocating to the United States. – Read more at: http://www.viansora.com
Additional support for this program is provided by Louisville Metro Government and Republic Bank.
In early 2012, Grammy award-winning Carolina Chocolate Drops released their studio album Leaving Eden (Nonesuch Records) produced by Buddy Miller. The traditional African-American string band’s album was recorded in Nashville and featured founding members Rhiannon Giddens and Dom Flemons, along with multi-instrumentalist Hubby Jenkins and cellist Leyla McCalla, already a familiar presence at the group’s live shows. With Flemons and McCalla now concentrating on solo work, the group’s 2014 lineup will feature two more virtuosic players alongside Giddens and Jenkins – cellist Malcolm Parson and multi-instrumentalist Rowan Corbett — illustrating the expansive, continually exploratory nature of the Chocolate Drops’ music. Expect a new disc from this quartet in 2015.
The Chocolate Drops got their start in 2005 with Giddens, Flemons and fiddle player Justin Robinson, who amicably left the group in 2011. The Durham, North Carolina-based trio would travel every Thursday night to the home of old-time fiddler and songster Joe Thompson to learn tunes, listen to stories and, most importantly, to jam. Joe was in his 80s, a black fiddler with a short bowing style that he inherited from generations of family musicians. Now he was passing those same lessons onto a new generation. When the three students decided to form a band, they didn’t have big plans. It was mostly a tribute to Joe, a chance to bring his music back out of the house again and into dancehalls and public places.
With their 2010 Nonesuch debut, Genuine Negro Jig—which garnered a Best Traditional Folk Album Grammy—the Carolina Chocolate Drops proved that the old-time, fiddle and banjo-based music they’d so scrupulously researched and passionately performed could be a living, breathing, ever-evolving sound. Starting with material culled from the Piedmont region of the Carolinas, they sought to freshly interpret this work, not merely recreate it, highlighting the central role African-Americans played in shaping our nation’s popular music from its beginnings more than a century ago. The virtuosic trio’s approach was provocative and revelatory. Their concerts, The New York Times declared, were “an end-to-end display of excellence… They dip into styles of southern black music from the 1920s and ’30s—string- band music, jug-band music, fife and drum, early jazz—and beam their curiosity outward. They make short work of their instructive mission and spend their energy on things that require it: flatfoot dancing, jug playing, shouting.”
Rolling Stone Magazine described the Carolina Chocolate Drops’ style as “dirt-floor-dance electricity.” If you ask the band, that is what matters most. Yes, banjos and black string musicians first got here on slave ships, but now this is everyone’s music. It’s okay to mix it up and go where the spirit moves.
“An appealing grab-bag of antique country, blues, jug band hits and gospel hollers, all given an agreeably downhome production. The Carolina Chocolate Drops are still the most electrifying acoustic act around.” -The Guardian
“The Carolina Chocolate Drops are…revisiting, with a joyful vengeance, black string-band and jug-band music of the Twenties and Thirties—the dirt-floor dance electricity of the Mississippi Sheiks and Cannon’s Jug Stompers.” —Rolling Stone
Acoustic guitarist Leo Kottke was born in Athens, Georgia, but left town after a year and a half. Raised in 12 different states, he absorbed a variety of musical influences as a child, flirting with both violin and trombone, before abandoning Stravinsky for the guitar at age 11.
After adding a love for the country-blues of Mississippi John Hurt to the music of John Phillip Sousa and Preston Epps, Kottke joined the Navy underage, to be underwater, and eventually lost some hearing shooting at lightbulbs in the Atlantic while serving on the USS Halfbeak, a diesel submarine.
Kottke had previously entered college at the U of Missouri, dropping out after a year to hitchhike across the country to South Carolina, then to New London and into the Navy, with his twelve string. “The trip was not something I enjoyed,” he has said, “I was broke and met too many interesting people.”
Discharged in 1964, he settled in the Twin Cities area and became a fixture at Minneapolis’ Scholar Coffeehouse, which had been home to Bob Dylan and John Koerner. He issued his 1968 recording debut LP Twelve String Blues, recorded on a Viking quarter-inch tape recorder, for the Scholar’s tiny Oblivion label. (The label released one other LP by The Langston Hughes Memorial Eclectic Jazz Band.)
After sending tapes to guitarist John Fahey, Kottke was signed to Fahey’s Takoma label, releasing what has come to be called the Armadillo record. Fahey and his manager Denny Bruce soon secured a production deal for Kottke with Capitol Records.
Kottke’s 1971 major-label debut, “Mudlark,” positioned him somewhat uneasily in the singer/songwriter vein, despite his own wishes to remain an instrumental performer. Still, despite arguments with label heads as well as with Bruce, Kottke flourished during his tenure on Capitol, as records like 1972′s “Greenhouse” and 1973′s live “My Feet Are Smiling” and “Ice Water” found him branching out with guest musicians and honing his guitar technique.
With 1975′s Chewing Pine, Kottke reached the U.S. Top 30 for the second time; he also gained an international following thanks to his continuing tours in Europe and Australia.
His collaboration with Phish bassist Mike Gordon, “Clone,” caught audiences’ attention in 2002. Kottke and Gordon followed with a recording in the Bahamas called “Sixty Six Steps,” produced by Leo’s old friend and Prince producer David Z.
Kottke has been awarded two Grammy nominations; a Doctorate in Music Performance by the Peck School of Music at the U of Wisconsin, Milwaukee; and a Certificate of Significant Achievement in Not Playing the Trombone from the U of Texas at Brownsville with Texas Southmost College.
In addition to our regularly priced tickets, we’re offering a special dinner package! Enjoy a pre-concert dinner at Varanese, one of Louisville’s finest restaurants and just a short stroll from the Clifton Center. Click here for more information.
“This young musician and composer is at once reestablishing the artistic, cultural, and social tradition of jazz while creating an entirely new jazz language for the 21st century.”
– MacArthur Foundation,2008.
Multiple Grammy Nominee and Guggenheim and MacArthur Fellow Miguel Zenón represents a select group of musicians who have masterfully balanced and blended the often-contradictory poles of innovation and tradition. Widely considered as one of the most groundbreaking and influential saxophonists of his generation, he has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American Folkloric Music and Jazz.
Born and raised in San Juan, Puerto Rico, Zenón studied classical saxophone at the Escuela Libre de Música in Puerto Rico before receiving a bachelor’s degree in Jazz Studies from Berklee College of Music, and a master’s degree in Jazz Performance at Manhattan School of Music. Zenón’s more formal studies, however, are supplemented and enhanced by his vast and diverse experience as a sideman and collaborator. Throughout his career he has divided his time equally between working with older jazz masters and working with the music’s younger innovators –irrespective of styles and genres. The list of musicians Zenón has toured and/or recorded with includes: The SFJAZZ Collective, Charlie Haden, Fred Hersh, Kenny Werner, David Sánchez, The Village Vanguard Orchestra, The Mingus Big Band, Bobby Hutcherson and Steve Coleman.
His latest release Oye!!! Live in Puerto Rico (Miel Music, 2013) features the debut recording of The Rhythm Collective, an ensemble first put together in 2003 for a month long tour of West Africa. The group includes Aldemar Valentín on Electric Bass, Tony Escapa on Drums and Reinaldo de Jesus on percussion; all native Puerto Ricans and some of the most coveted musicians in their respective fields. Fed by the energy of the full capacity audience in attendance, the group delivers a high intensity performance which includes originals by Zenon and covers of Tito Puente’s “Oye Como Va” and Silvio Rodriguez’ ”El Necio”.
He is a founding member of the groundbreaking SFJAZZ Collective, a group whose past and current members include Bobby Hutcherson, Joe Lovano, Joshua Redman, Brian Blade, Nicholas Payton, Dave Douglas, and Eric Harland. In 2012, Zenón’s association with SFJAZZ will further expand to include his new role as resident artistic director along with Bill Frisell, Jason Moran, Regina Carter and John Santos.
Dick Sisto and the outstanding Bloomington-based bassist, Jeremy Allen, join forces for “Two For The Road.” Half of the Dick Sisto – Steve Allee Quartet, the duo are the perfect fit for the intimate on-stage experience in the Eifler Theater, in which the audience will be seated on stage with the musicians.
Dirk Powell combines deep-running roots in rural American tradition with an overarching artistic vision that speaks poignantly to the audiences of today. From learning banjo and fiddle at the feet of his grandfather in Kentucky, through founding the Louisiana Cajun group Balfa Toujours, to extensive recording and film work with such artists as Jack White, Joan Baez, T-Bone Burnett, Anthony Minghella, Loretta Lynn, and Spike Lee, Dirk has arrived at a place all his own – one where tradition, inspiration, and innovation meet without borders.
“Dirk Powell is a badass. To the bone. He is, in addition to being the greatest old-time banjo player alive, a graduate student of both mountain and Cajun fiddle styles and diatonic button accordion, an instrument that fights you back, take it from me, I’ve tried. He is a singer, songwriter, producer, recording engineer, and all in all an artist of unique vision and unbending integrity. As far as I can tell there is no genre of American roots music that Dirk doesn’t understand, no primordial mode he can’t master, no polyrhythmic code he can’t crack. He also cooks the best sauce piquante I have ever tasted. Be forewarned: Dirk Powell and I WILL make a record together someday.”–Steve Earle
Riley Baugus represents the best of old time American banjo and song. His powerful singing voice and his expert musicianship place him squarely in the next generation of the quality American roots tradition. Riley first came to music through his family. His father had left his roots in the mountains of North Carolina in the search for work, settling near Winston-Salem and bringing with him a love of old time music and a record collection that included, amongst others, the works of fellow North Carolinian Doc Watson, which touched the young Riley on a molecular level.
One fateful day, Riley got a call from longtime friend and collaborator Dirk Powell. Dirk was involved in the music direction for the Academy Award-winning film “Cold Mountain” and had convinced the producers that they needed Civil War era banjos made in the Carolina hills, specifically Riley’s handmade banjos. They also needed an authentic acapella ballad singer for the voice of Pangle, played by Ethan Suplee. Riley put the hammer down on the anvil and didn’t look back. A whirlwind Hollywood experience ensued, culminating in a place on the star studded “Great High Mountain” tour.
From there, Riley has made his own path, building in-demand instruments and performing at festivals all over the world. He made musical contributions to the Appalshop film, “Thoughts In The Presence of Fear”, and to a film by Erika Yeomans; “Grand Gorge: No God But Me”. He has worked with the Lonesome Sisters as producer and performer on their recording “Going Home Shoes“. Riley collaborated with Laurelyn Dossett and Preston Lane of Triad Stage on theatrical presentations featuring original and traditional southern Appalachian music.
This appearance by Brooklyn Rider is being presented in partnership with the Louisville Chamber Music Society.
Johnny Gandelsman, violin
Colin Jacobsen, violin
Nicholas Cords, viola
Eric Jacobsen, cello
Hailed as “the future of chamber music” (Strings), the game-changing string quartet Brooklyn Rider offers eclectic repertoire in gripping performances that continue to attract legions of fans and draw rave reviews from classical, world, and rock critics alike. NPR credits Brooklyn Rider with “recreating the 300-year-old form of string quartet as a vital and creative 21st-century ensemble”; the Los Angeles Times dubs the group “one of the wonders of contemporary music”; and Vice likens its members to “motocross daredevils who never screw up a stunt.” Equally at home in clubs and concert halls, the quartet has played venues as varied as Carnegie’s Zankel Hall, the San Francisco Jazz Festival, Le Poisson Rouge, Japan’s Todai-ji, Lincoln Center, Brooklyn’s Littlefield, the Library of Congress, and the South by Southwest Festival. Through visionary programming and global collaborations, Brooklyn Rider’s “down-to-earth demeanor…demystifies contemporary classical music and invites everyone into the tent” (Time Out New York).
In the 2013-14 season, following the release of The Impostor on Deutsche Grammophon/Mercury Classics on which the quartet collaborates with banjo legend Béla Fleck, Brooklyn Rider reunites with the 14-time Grammy Award-winner for a 20-city North American tour. Making stops in Washington DC, Philadelphia, Seattle, Las Vegas, Indianapolis, Birmingham, Toronto, and more, the “banjo quintet” takes to the road this winter with a program of original music by Fleck and other Brooklyn Rider favorites, showcasing repertoire from its recent Mercury Classics album A Walking Fire. In March, the music of A Walking Fire is also featured in the first of a pair of contrasting programs at the University of Texas at Austin. There, during a weeklong residency, Brooklyn Rider is joined by superstar soprano Dawn Upshaw on a program that will then travel to the University of North Carolina at Chapel Hill.
In recent seasons, the quartet made its UK debut at London’s Barbican Centre with Iranian kamancheh virtuoso Kayhan Kalhor, and performed at the U.S. Open tennis tournament, the Cologne Philharmonie, American Academy in Rome, Malmö Festival in Sweden, the Lincoln Center Festival, the Kimmel Center in Philadelphia, and Texas’s South by Southwest Festival, where it was the only classical group with an official invitation to play. In 2013, the ensemble released A Walking Fire, praised by the Huffington Post as an “intriguing program” on the way to pointing out how Brooklyn Rider has “emerged triumphantly as a headliner.” The quartet also embarked on a second Asian tour and launched its ongoing, cross-disciplinary commissioning project, “The Brooklyn Rider Almanac.”
Brooklyn Rider is as committed to the creation of new works as it is to its dynamic interpretations of the existing quartet literature. The four musicians have worked with such composers as Derek Bermel, Lisa Bielawa, Ljova, Philip Glass, Osvaldo Golijov, Shara Worden, Vijay Iyer, John Zorn, Nik Bärtsch, Padma Newsome, Greg Saunier, Ethan Iverson, Bill Frisell, Jenny Scheinman, Dmitri Yanov-Yanovsky and Evan Ziporyn, besides regularly performing pieces written or arranged by members of the group. Equally integral to the quartet’s projects are creative collaborations with other artists including Chinese pipa virtuoso Wu Man, Syrian/Armenian visual artist Kevork Mourad, traditional and technology-based Japanese shakuhachi player Kojiro Umezaki, Irish fiddle player Martin Hayes, the trio 2 Foot Yard, singer/songwriters Christina Courtin and Suzanne Vega, and choreographers/dancers Lil Buck, Damian Woetzel, Dance Heginbotham, Brian Brooks, Wendy Whelan and Matthew Neenan. A long-standing relationship between Brooklyn Rider and Kayhan Kalhor resulted in the renowned 2008 recording Silent City, on the World Village/Harmonia Mundi label, which was selected by Rhapsody.com as one of World Music’s Best Albums of the Decade.