Lágrimas Mexicana is a completely unique collection of songs that draws heavily from traditional Latin and Brazilian rhythms, and weds them to 21st century jazz improvisation and sonic effects in a luxuriant braid of colours, textures, styles, and languages. Having known one another for 25 years, Brazilian guitarist, songwriter, and percussionist Vinicius Cantuaria and American guitarist Bill Frisell have occasionally played on one another’s albums. They have long sought the opportunity to collaborate on an album-length project. After Cantuaria moved to Brooklyn from Brazil, it presented itself. Arriving in New York, Cantuaria was deeply taken with the sheer diversity of the Spanish-speaking people and sounds he encountered on the streets, from Cubans, Dominicans, Puerto Ricans, Colombians, Venezuelans, and Mexicans; they drew him in, and his songwriter’s instincts began to address what he’d heard. Here he plays acoustic guitar, percussion, and sings in his beautiful airy baritone. Frisell, who understood and orchestrated Cantuaria’s vision, plays electric guitar and employs loops and effects that meld provocatively yet seamlessly with these songs. The various languages – Spanish, Portuguese, and English – concern themselves with the various manifestations of love, from spiritual to carnal to platonic.

Brazilian rhythms rein over the spice of title track “Lágrimas Mexicanas” but it’s the vocals and heady guitar lines that make this track a stunner. Afro-Colombian rhythms meet samba in the lilting ballad “Lágrimas de Amor,” where Frisell’s guitar loops itself to create a counter rhythm and elongate the elegant textural elements at work in the structure. The lyric is tender, the melody is heartbreakingly beautiful. “El Camino” is another gem with bright guitar lines that somehow evoke an open road sound. Equally good is “Aquela Mulher” which brings together a nuevo cancion melody with Afro-Brazilian rhythms. “Calle 7,” inspired by a walk down Seventh Avenue, manages to be both meditative and to capture the urgent street life.

Lágrimas Mexicanas presents two different yet very complementary artists in a collaboration that borders on brilliant. Fresh, innovative and downright delightful, Lágrimas Mexicanas is excellent listening.

Federico Aubele returns to a smoky realm of acoustic guitar licks, heavy rhythms and sinister dub atmospherics for his fourth studio album, Berlin 13. The record pulls from the personal transformation Aubele experienced in his time living in Berlin and the vibe of a city strongly associated with electronic music.

Berlin 13 features collaborations with Natalia Clavier, Ka, Mauro Refosco and Jesse Harris. To set the tone for this album, Aubele revisited his deepest musical influences, focusing on those he believed essential in his formation as an artist. From the backing beats to the musique-concrete samples, and the nylon string guitar layered with his baritone voice, the result is a blending of the elements in his unique style.

Over the last decade, Latin American protest songs have undergone a revolution (changed dramatically), going from poetic ode to explicit, raw rap and hip-hop, tackling social ills and injustice.

The first protest songs sung in Central and South America were corridos, ballads that were sung during the revolution that started in Mexico in 1910. The protest songs of the 1960s and 70s were modern variations on the corrido: earnest, passionate, poetic ballads. They were known as La Nueva Canción, or The New Song.

Indictment

La Nueve Canción of the 1960s was the lifework of the young Argentine singer and writer Víctor Heredia: “In the beginning, this movement was a sort of rediscovery of the written word. Beauty and aesthetic principles were the central, and essential, foundations that a song was based on. That was new. Until then, people sang about other things, not about the human condition and society.”

Uruguay’s Daniel Viglietti also dedicated himself to the new genre. His song A desalambrar or Tear Down the Fences was an indictment of the methods and practices of the major landowners. The song addresses the gulf between a piece of land and people. Daniel Viglietti: “The songs were written because of the huge need to address the injustices and oppression in Latin America.”

Victor Jara

After the Cuban revolution which started in 1959, La Nueve Canción gained popularity in Chile. After the democratically-elected government of President Salvador Allende was deposed by a military coup headed by General Augusto Pinochet in 1973, the new dictatorship attempted to silence the protest singers.

One of the most important victims of the Pinochet regime was Víctor Jara. Shortly after the coup he was arrested, tortured and murdered in Santiago’s national stadium. The sports centre has now been renamed Víctor Jara Stadium. Jara became an international symbol and the embodiment of the struggle for human rights and justice throughout Latin America.

The cruel and oppressive Latin American dictatorships forced many protest singers into exile, including Argentina’s Mercedes Sosa. She became famous throughout the world for her songs that coupled poetry and social criticism. Her fellow countrymen Facundo Cabral was another major artist in exile. He was murdered earlier this month in Guatemala.

Revolutionary songs

The main singers of social protest songs in Cuba in the 1960s and 70s, were Pablo Milanés, Silvio Rodríguez and Noel Nicola. They wrote and sang two types of songs, one praised the Cuban communist revolution while the other criticised Latin American dictatorships, the war in Vietnam and the killing fields in Cambodia. They protested against events outside Cuba, never against their own government.

Socially critical songs

In later years, a new generation of singers emerged in Latin America that, in contrast to the previous generation, was more critical of society and social mores. One of the most important interpreters of the new genre was Carlos Varela, known as the ‘Cuban Bob Dylan’.

He likes telling stories. The song Como los peches is an indictment of the rigid, uncompromising nature of Cuba’s revolutionary counsel and describes the widespread disillusionment among the island’s youth. In an interview with RNW, Carlos Varela said: “I don’t want to give an exact, photographically accurate image of what’s happening in Cuba, I want to think about what’s happening and about our reality.”

His comments raised a storm of criticism in Cuba and he is now heavily censored by the Cuban media.

Rap and hip-hop

Over the last ten years, rappers and hip-hop artists have become the major proponents of socially critical music. Many of the young rappers draw on their own experience of growing up in the poor slums surrounding many of Latin America’s major cities. They use the genre to criticise society and the ruling elites and their songs frequently get them into trouble.

The Dominican Republic has banned some songs by Puerto Rico’s Calle 13. Just as in the past, government censorship continues to try and smother the voices of protest singers.

An old saying in Spanish states that ‘segundas partes nunca fueron buenas’ (second parts are never good) and you could be forgiven for thinking that the recent collaboration between Cuban pianist Chucho Valdés and flamenco singer Concha Buika is nothing but a copycat of the 2003 similar musical partnership between Bebo Valdés, Chucho’s father, and Diego ‘El Cigala’, another flamenco stalwart. However, this conclusion would be misleading because ‘El Último Trago’ is an excellent album in its own right that celebrates the nonagenarian Costa Rican-born Mexican singer Chavela Vargas’s oeuvre.

The record’s twelve songs feature Buika’s powerful, heartfelt voice against the backdrop of Chucho’s solid and melodious piano. Concha is what they call in flamenco a ‘cantante larga’ (long singer), which means she can tackle any genre and still remain unique and poignant in her delivery. This is obvious in songs such as the album’s opener ‘Soledad’, the renowned ‘Cruz de Olvido’ and the title track ‘En el Último Trago’, a classic from Chavela’s repertoire. Chucho’s contribution, on the other hand, sometimes remains in the background and sometimes takes centre stage in pieces such as ‘Las Ciudades’ and ‘Se Me Hizo Fácil’. The result of this combination is a mesmerising album, which will delight jazz and flamenco enthusiasts alike.

The story about how this Mali-Cuba concept album finally came to light – 14 years after the original idea – has been much documented since its release last autumn.

The failed attempt to gather together Malian musicians with their Cuban compatriots in 1996 resulted in the musical gem – and world music’s biggest success story – Buena Vista Social Club.

AfroCubism, thanks to label boss Nick Gold’s perseverance and unstinting belief in the idea, the album was finally recorded in Madrid in 2009.

Since then, the collective of stellar musicians from Mali – Toumani Diabaté, Bassekou Kouyaté, Djelimady Tounkara, Lassana Diabaté and Kasse

Mady Diabaté, plus their Cuban counterparts Eliades Ochoa and Grupo Patria – have been delighting audiences around the world with a joyous set of Caribbean and West African songs.

The mutual respect between these masterful musicians is palpable on stage and their individual virtuosity comes through with solo moments from the key members of the group.

The Cuban singer-guitarist Ochoa, the undisputed leader of the group, stands centre-stage and keeps in check the mischievous, musical sparring between Toumani on his kora and the ngoni-wielding Bassekou.

If cross-cultural collaboration sounds like some music marketing concept, then rest assured, this album is far more classy and organic than many other hybrids.

The best description comes from Ochoa: ‘AfroCubism is more than a fusion… it’s the merging of two such strong powers. It’s the musical big bang.’

The Buenos Aires music scene seems to be full of exciting new acts that are renewing tango, taking it into new directions. Narcotango is one of the participants in this explosion of talent known as neotango. The band’s latest album, Limanueva, presents some of the best bandoneon work you’ll hear this year. The superb solos take the bandoneon in multiple directions, including traditional, electronica, blues, and jazz.

Narcotango is part of tango electronico movement that emerged around 7 or 8 years ago in the Argentine capital. This movement included Bajofondo Tango Club, Tanghetto, Ultratango, Otros Aires and San Telmo Lounge. Despite the electronic tag, Narcotango is characterized by the acoustic sound of the bandoneon, drum kit, electric guitar and keyboards. The electronics enhance the overall sound and make it more edgy.

The band’s musical director is an excellent bandoneon player named Carlos Libedinsky, who also contributes electronic programming, samplers and effects. The rest of the band includes a powerful rock band-style rhythm section and keyboards: Fernando del Castillo on drums, percussion, electronic programming, samplers and effects; Marcelo Toth on guitar, bass, electronic programming, samplers and effects; and Mariano Castro on piano, keyboards, bass electronic programming, samplers and effects.

Narcotango released its first recording in 2003, self titled Narcotango. The second album, Narcotango 2, came out in 2006 and Narcotango Live (DVD + CD) was produced in 2008. This recording was nominated to both Latin Grammy 2009 (best tango album) and Carlos Gardel 2009 awards (best electronic album), after a series of performances that included 16 international tours playing in the main cities of Europe, the Americas and Argentina.

Limanueva is a superb album that reveals the versatility of the bandoneon in a context of well crafted tango innovation.

The original version of Tanto Tempo is now a fully-fledged international bestseller, making it one of the most globally successful albums of Brazilian music ever.

As is increasingly becoming the norm, the original opus has been repackaged as a Special Edition featuring a bonus disc of alternative reworkings. The assortment of remixers plying their post-production skills including Derrick Carter, 4hero, Rae & Christian, Layo & Bushwacka and King Britt. The net result is still a fluent collection of blissed-out Balearic sunset moments and lounge beats for the ever expanding bar culture.

In the former catalogue comes Peter Kruders’ languid shuffling title track, and 4hero’s soul-drenched reading of the 60s bossa nova flavoured ‘Samba da Benção.’ While Rae & Christian add a rolling Soul II Soul-inspired loop to Bebel’s rendition of Gilberto Gil’s ‘Bananeira’ featuring the legendary João Donato on keyboards.

The tempo rises on ‘Close Your Eyes’ as Gallic funksters Buffalo Bunch add the prerequisite spice to create a delicious Samba party. Faze Action deliver an equally palatable percussive mix too.

‘So Nice,’ a former Cool Cuts chart topper, appears in a trio of versions each uniquely different and far from just fillers. Layo & Bushwacka go deep-house, DJ Marky pins his interpretation to a drum ‘n’ bass backdrop, and Derrick Carter applies his trademarked tripped-out beats.

If you’re not already familiar with the original album, now’s the chance to see what all the fuss is about. You never know, you too might fall in love with this beautiful marriage of bossa nova rhythms and soulfully delivered lyrics.

The irresistible combination of smoky bossa nova textures and velvety electronic beats has already been successfully mined by Brazilian divas such as Bebel Gilberto and Cibelle. But in the hands of Italian DJ Nicola Conte, the electro-bossa recipe continues to surprise with its wide-eyed innocence, lounge undertones and instantly hummable melodies. Conte has an ear for the melancholy feeling of pop culture nostalgia associated with the 1960s – the Antonio Carlos Jobim records, the Michel Legrand soundtracks, the Stan Getz sessions. De Souza’s sweet vocals and tender delivery are ideal for the task of resurrecting venerable samba nuggets such as Baden Powell’s and Vinicius de Moraes’ exuberant “Canto De Ossanha” and Caetano Veloso’s wistful “Saudosismo.” Equally intriguing are the handful of original tunes by Conte and De Souza – a seamless recreation of the summery vibe and enviable lightness of touch that lies at the essence of the bossa aesthetic. Highly recommended.

Havana Cultura – the global arts initiative by Havana Club that champions the work of some of Havana’s most exciting yet unseen creative talent – is presenting the latest chapter in Havana Cultura music releases. Under the creative directorship of Gilles Peterson, the first in a series of Havana Cultura Sessions highlights the vocal talents of Danay Suarez, backed by the masterful Roberto Fonseca and the elite Havana Cultura band.

Taking up residence once more in Havana’s legendary EGREM studios for five days in May 2010 Gilles Peterson, Roberto Fonseca and their handpicked Havana Cultura band came together to practice for their European tour. The rehearsals were intense leading an excited Gilles to spontaneously book an extra day in the studio to record a handful of songs with Danay.

Danay possesses one of those rare voices which can shift – glide – through many vocal identities: as a soul and R&B singer and a cocktail jazz expressionist as well as a skilful improviser that makes her an effortless, articulate rapper. Her words flow fast, rhythmic and unpredictable and always finding or creating spaces that emphasize the emotional elements.

Danay Suarez – Havana Cultura Sessions is the latest album in a series of cultural projects from Havana Cultura celebrating fresh talent across all artistic disciplines. Since its inception in 2007, the initiative has provided an important platform for creative expression to aspiring film producers, visual artists, dancers and musicians. Havana-cultura.com showcases the remarkable profiles and work of such artists whose creativity would otherwise remain indefinitely obscured.

The music on this compilation is as mysterious, romantic, and fashionable as the continent from which it comes, a roadmap through Ziriguiboom’s exotic Brazilian jungle overgrown with cross-pollinated classic and contemporary music; as the packaging says, ‘from electronic to bossa to samba soul.’

Brazil 2 traverses three more or less equal, colorful territories: traditional acoustic instrument-based vocal ballads presented by Bebel Gilberto, Cibelle, and Celco Fonseca; modern, electronic-based club music by DJ Dolores and the fun-loving Bossacucanova; plus other contemporary Brazilian sounds.

Bebel Gilberto strikes the set’s most compelling figure with her haunting voice. Remix producer Tom Middleton’s new electronic sounds in ‘Simplesmente’ truly complement her exquisite vocal, electric keyboards tempering her warm voice with cool chill. The remix of ‘Cada Beijo’ by production wizards Thievery Corporation works the same, as new electronics and rhythms luxuriate underneath the cover of her voice. So strongly has Gilberto established her own star presence that one feels almost apologetic for wishing to mention her lineage; she is daughter of bossa nova founding father João Gilberto and stepdaughter to Astrud Gilberto, who breathed that timeless voice into ‘The Girl From Ipanema.’

In the deceptively casual ‘Por acaso pela tarde,’ balladeer Celso Fonseca strums his acoustic guitar in a manner so relaxed – so Brazilian – in its ringing rhythm and tones.

From the clubs, Bossacucanova team up with Zuco 103 for ‘Samba da minha terra,’ and with samba preservationist/reconstructionist Simoninha for ‘Essa moca tá diferente,’ two irresistible rhythms that simply couldn’t groove more tight and funky, the Samba bass line in particular resembling one long flirtatious wink tossed from a beautiful young woman in passing.

Other good tracks include Apollo Nove’s ballad ‘Inexplicata,’ which opens with African percussion, slides down Hawaiian and Spanish guitars, even whistles the hook to The Good, the Bad and the Ugly, all at a quite leisurely pace; and Zuco 103′s ‘Love is Queen Omega,’ where dub forefather Lee Scratch Perry blends into Brazilia the sound of the Caribbean isles and throaty exhortations to ‘Shake, shake shake!’