La Llorona is a figure from Aztec mythology who is known to lure men with Siren songs, then turn them to stone as punishment for their evil ways. While Lhasa de Sela’s delivery is not quite that powerful, this stunning debut album did win her the 1998 Juno Award as Best World Music artist. For good reason. Tags applied to Lhasa, like the often-repeated ‘chanteuse’ don’t really capture her moody, ethereal voice. While comparisons to the likes of Edith Piaf are inevitable, they describe neither the texture of her vocals, the poetic sweep of her lyrics, nor the music she and collaborator Yves Desrosiers created for the album.

The songs on La Llorona are all in Spanish, which adds to the veil of mystery that is woven into every song, as Lhasa mines the rhythms and melodies of Latin folklore, poetry in the Andalusian tradition of Federico Garcia-Lorca, European gypsy and klezmer music, and norteño canciones along with more conventional French (and French-Canadian) café styles.

The opening cut, the smoky, desolate ‘De Cara la Pared’ (Face to the Wall) makes the most of Desrosiers’ musical saw and the violin of Mara Tremblay as Lhasa delivers a haiku-like plea of lost love. (In fact, all of de Sela’s lyrics could stand alone on the printed page with the kind of poetic effect usually attributed to the likes of Bob Dylan, Leonard Cohen, and few others). ‘La Celestina’ moves to the rhythm of a campfire dance and the more prominent cry of the musical saw in addressing a wandering soul. ‘Desierto’ (The Desert) and ‘El Payande’ are laments, romantically hypnotic. Almost too much so; de Sela verges here on a wallow. She pulls back from the brink with ‘Por Eso Me Quedo’ (That’s Why I’m Staying) and ‘Los Peces’ (The Fish), two of the albums best cuts. The first is a sweet melodrama over a melody that flows like a minor-key norteño folk song. ‘Los Peces’ is a folk song of Mexican origin, but de Sela makes it her own, turning a ballad about the Virgin Mary and the fish in the sea into a dervish dance. ‘Floricanto’ (or Flower Song) is a dreamy lament with hurdy-gurdy echoes. ‘Desdenosa’ (Disdainful) is a whispery, dramatic, flamenco-tinged confessional, while both ‘Pajaro’ (The Bird) and ‘Mi Vanidad’ (My Vanity) are rolling-sea ruminations with gypsy accordion and klezmer clarinet.

The final selection, ‘El Arbol de Olvido’ (The Tree of Forgetfulness), a somber dreamscape from Argentina, brings the album full circle.

The whole of La Llorona has a intensely mythic feel, rising and falling dramatic and exotic breaths – an invitation to darker mysteries, like the Siren songs of the album’s namesake.

Sadly, Lhasa de Sela passed away in her Montreal home on the 1st January 2010. She succumbed to breast cancer after a twenty-one month long struggle, which she faced with courage and determination. Her music will continue to touch the lives of many.

The Roots of Chicha 2, Psychedelic Cumbias From Peru (1968-1981), showcases 11 bands and 16 tracks recorded from 1968 to 1981. This is music at once familiar and exotic – rooted in the changing sounds fostered by the worldwide musical revolution that took place in the late 1960’s.

The new collection is not a sequel. It’s an attempt to rectify some of the biases and inaccuracies of the first volume. Here, the selections focus more on the urban aspect of the music and less on the Amazonian side.

It highlights some lesser-known bands, and broadens its scope to include some of the early Cuban-influenced groups that would play such a crucial role in the elaboration of the chicha sound. And it introduces some of the later bands, such as Los Shapis, who played in the more Andean style that would eventually define chicha.

This collection includes such crucial chicha outfits as Grupo Celeste, which had a huge influence on the emergence of Mexican cumbia; Chacalon, the legendary ‘bad boy’ of chicha; Ranil, the doggedly independent folk hero from Iquito; Manzanita, unheralded yet dazzling; and Los Destellos, whose seminal role in the evolution of chicha is further documented here.

The first volume of The Roots of Chicha, Roots of Chicha: Psychedelic Cumbias From Peru, came out in 2007.

The Ziriguiboom label is a leading source of modern Brazilian music. The Now Sound of Brazil brings together some great tracks from this label, providing a satisfying introduction to some artists you may not be familiar with, and Brazilian electronica.

The CD is a Six Degrees release that features music of the Ziriguiboom label. Ziriguiboom is best known for its Brazilian electronica artists, including Suba, Bebel Gilberto and Bossacucanova. The Now Sound of Brazil has tracks from these artists, along with Zuco 103, Cibelle, Celso Fonseca, Erlon Chaves, and Trio Mocotó. The CD showcases some of the best-known modern Brazilian musicians, but also some great tracks from less familiar artists.

Suba, a producer that made his mark with his work with Brazilian artists, contributes the first track, Tantos Desejos. This dreamy track is a great starter. It mixes danceable beats with languid vocals and instrumental work. Suba’s style has been a significant influence on other artists, too, so it provides a great introduction to the music that follows.

The CD is full of great cuts from bands that offer a variety of views of Brazilian music. Bossacucanova has a unique sound that combines breakbeat and remix techniques with Brazilian jazz artistry. Bebel Gilberto’s music combines electronica and the jazzy sound of her father, Joao Gilberto, a pioneer of Brazilian samba. Zuco 103 mixes in some modern dance sound, with a heavy soul influence. Erlon Chaves Cosa Nostra is infectious and shows a house influence, and featuring great Latin percussion work.

The CD ends with Trio Mocoto’s Os Orixas, an upbeat carnival-type track that removes any doubt that Brazilian music is some of the sexiest and most danceable in the world.

All the tracks are strong, and they make up a good collection. With beats strong enough for dancing, and melodies lyrical enough for just chilling, the CD will provides a tantalizing taste of modern Brazilian music.

São Paulo-based singer Luísa Maita has been hailed by the media as ‘The New Voice of Brazil’ and her debut album Lero-Lero was dubbed ‘a bold, melodic, post-samba joyride’ by allmusic.com. Maita Remixed is a scorching set of exclusive remixes by a collection of DJs and producers from Brazil, Europe and the United States that offer a fresh perspective on one of Brazil’s most exciting young talents. The 7 track EP includes remixes by DJ Tudo, Maga Bo, Popular Beat Combo, DJ /rupture, Tejo, Seiji, and Da Lata.

The EP will be released by Cumbancha Discovery on the 9th November 2010 and coincides with Luísa’s first tour outside of Brazil.

Luísa Maita’s debut tour begins on 3rd November 2010 and brings the acclaimed singer to major venues across the United States, marking the first time the São Paulo native has toured outside of Brazil. Full tour dates and updates are available at www.cumbancha.com/luisa/tour.

Brazilian pop singer Bebel Gilberto is the daughter of legendary bossa nova singer and guitarist, João Gilberto – known as the ‘Father of Bossa Nova’ – and Brazilian singer and composer Miúcha. Gilberto was destined for a life in the musical limelight, beginning with her Carnegie Hall performance at the age of nine, singing with her mother and legendary jazz saxophonist Stan Getz. She has released five solo albums, and worked in collaboration with numerous other artists, most notably fellow Brazilian singer Cazuza, David Byrne, Caetano Veloso, and Mike Patton on his Peeping Tom project.

Since Gilberto’s silky, billowing voice lends itself not only to the seductive strains of bossa nova, but to the insistent beats and layered sonics of digitally tinged, contemporary production, it makes sense that she would be the perfect candidate for remix albums. As the title implies, Bebel Gilberto Remixed contains all the cuts from her eponymous sophomore release filtered through the imaginations of a host of international dance, hip-hop, and electronica producers. These include Tom Middleton, DJ Spinna, the Thievery Corporation, NuSpirit Helsinki and Steve Hillier from Dubstar. No matter the mix-master, the 13 tracks here are captivating and quite beautiful, both in their rhythmic and sonic reinvention (by the guests) and the strength of the songs and performances (from Gilberto herself). This will please not only electronica, dance, and Latin jazz fans, but anyone with an ear for fresh, captivating music.

On the edge of the Amazon in the 1960s, a sound emerged that united Peru’s indigenous melodies with Colombia’s highly-danceable cumbia rhythm, surf rock wah-wah pedals, and rock and roll’s organ-playing. These cumbias amazonicas migrated to Lima and became chicha, the soundtrack of empowerment for the era’s newly urbanized indigenous population. The Roots of Chicha: Psychedelic Cumbias from Peru on Barbès Records features six of the most compelling bands from the scene, before the sound became watered down with pop aesthetics and cheesy synthesizers.

Chicha emerged around the time of Peru’s big oil boom and the associated rural-urban migration (and dislocation) of the time period. This happened to be the same period that guitar effects and compact electric organs became available, and worldwide local styles became electrified. Rural populations moved into the city, often living in poor conditions while adopting Western and urban musical elements to create new hybrids. As the music gained popularity, it became a great source of cultural (and even class) pride. In Peru this emerging style assumed the label chicha, the name of a fermented corn drink associated with pre-Columbian indigenous people in the region.

Chicha is further characterized by the rich guitar tradition of Peru (some say more virtuosic than any other Latin American nation) which was translated to electric guitars. While other styles of music – like Andean folkloric and Afro-Peruvian music – became accepted by the powers that be in Peru, chicha was looked down upon by many as only for the poor and working class.

Oliver Conan, owner of the Barbés nightclub and record label, discovered the music on a trip to Peru. He also discovered that the label that put out a lot of the music had gone bankrupt and many of the master recordings were lost. He finally tracked down six Chicha combos – los Mirlos, Juaneco y Su Combo, los Hijos del Sola, los Destellos, los Diablos Rojos and Eusebio y Su Banjo – and put together this 17-track compilation. The results were unique, recalling the cultural history of other regional working-class music like ska and bachata.

Sérgio and Odair Assad’s Nonesuch album Jardim Abandonado (Abandoned Garden) was apparently in the pipeline for some time; part of it was recorded in 2002 and the rest in 2006. This mixed programme of works ranging from Debussy to music written by Sergio Assad’s daughter Clarice was certainly worth the wait. This beautifully recorded album, with a breathtaking photograph by French master Eugène Atget gracing its front cover, is eminently listenable and seamlessly moves through works of Jobim, Milhaud, Debussy, and Sérgio Assad’s arrangement of Gershwin’s ‘Rhapsody in Blue’ without missing a beat. Among the most striking aspects of Jardim Abandonado is the selection of contemporary pieces included, which are sunk in among the more familiar stuff – three radiant duets by Clarice Assad, a bracing and rhythmically palpitating long form piece by Sérgio Assad himself, and an instrumental work entitled ‘Octet’ written by Broadway composer Adam Guettel.

There is not one word of notes in Nonesuch’s package, so we are inclined to guess as to how the Assad brothers came up with this ingenious program and what the conceptual thrust of it is; Nonesuch doesn’t even provide track numbers to go with the track titles. However, this should not be a hindrance to enjoying the great music and terrific playing of the Assads here – such oversight just seems a little cheesy, as everything else about Jardim Abandonado is deluxe in a big way.

Proving that no challenge is beyond the incredible crate-diggers at Far Out, in time for the World Cup they’ve put together a selection of songs celebrating the beautiful game, all from a Brazilian perspective. Kicking off with Grupo Batuque’s “Umbabaraumba,” a song previously made famous by Jorge Ben in the 1970s, a swinging bossa-nova underpinned by a bluesy guitar riff and stuffed full of breezy funk.

Sabrina Malheiros’ 2009 single “Connexao” follows and is almost a hybrid of bossa and disco, with vocals taking the lead and joined by big silky strings and brass on the chorus. While “Connexao” is a peach, the footie connection is fairly tenuous. “Brasileiros E Ingleses” however features samples from Brazilian football commentary, and even lays out a long trademark “gooaaall!” at one point. “Na Cadencia do Samba” is even the theme tune to the Brazilian version of Match Of The Day, and a rollicking tune to boot.

Elsewhere, Far Out use some excellent remixes of Brazil’s finest to evoke the passion Brazilian’s feel for the game – Spirtual South’s mix of Azymuth’s mighty “Roda Piao” for example, or ZeroDb’s crazed electro-samba mix of “E Ruim.”

Sultry, seductive and infused with that inimitable samba swing, the music of Luísa Maita embodies the modern spirit of Brazil. Inspired by the bustling urban life found in her native city of São Paulo, Lero-Lero has a contemporary vibe with influences from alternative pop and downtempo electronic music melded with an acoustic foundation deeply rooted in samba, bossa nova and MPB. Fans of Bebel Gilberto, Céu and Seu Jorge will find much to love in Luísa Maitas tropical, forward-looking sound, and her sensual yet soulful voice begs comparisons with everyone from Billie Holiday and Sade to Feist, St. Vincent and Cat Power. Hailing from a country overflowing with musical talent, Luísa Maita rises above the fray as one of the most promising young singers of her generation. Cumbancha Discovery will release Lero-Lero on 21 June 2010 in the United Kingdom. This should be your soundtrack to the summer.

Lágrimas Negras (Black Tears) is a collaborative effort between the octogenarian Cuban piano master Bebo Valdés and the reigning Spanish flamenco cantador, Dieguito El Cigala. Recorded for Fernando Trueba and Nat Chediak’s Calle 54 label, the sessions took place in Madrid between September and December 2002. Maestro Valdés (born in 1918), the father of the jazz pianist Chucho, has a long history as an innovator in Cuban music. He recorded the first Afro-Cuban jazz session in 1952, and was a tutor to the great bandleader Beny Moré, writing early charts for him. Valdés is also a world-class arranger. Dieguito El Cigala was born in 1960, and has become the undisputed king of Spain’s flamenco singers. This recording features nine tracks that meld together cooking son, jazz, Afro-Caribbean, and flamenco rhythms, in tunes by composers such as Lolita de la Colina, Virgilio and Homero Expósito, Ramón Perelló, the grand team of Tom Jobim and Vinícius de Moraes, Caetano Veloso (who makes a guest appearance), Maria Teresa Vera, Miguel Matamoros (who composed the title track), and others. Most are Cuban ballads. Guests such as Veloso, Paquito D’Rivera, Pancho Terry, Tata Güines, and El Niño Josele fall by on different tracks. And while the tunes are top-shelf and the guests make this a very special and historic occasion, it is the unusual dynamic and the integrity with which it is employed that makes this set so unique. Valdés’ style is an elegant one; his rhythmic left hand accents rhythms and shifts them effortlessly, adding street and nuance here, space and tension there. Always his notes are sure, precise, and solid. El Cigala’s voice is a true cantador’s; he wavers, lilts, growls, and gutturally moans; he slips between rhythms and melodies, underscoring first one and then another, using the rhythms to sing counterpoint to the piano’s stridency and sheer graceful approach in the ballads, shouting assent and further challenges on the up-tempo songs. Together, the combination is its own moving poetry, meeting in the middle of a tradition as old as flamenco’s “cante jondo” and as integrated as Cuba’s. The sacred and profane dine and drink together and no one will say which is which. All nine songs offer differing emphases on lyric and rhythm, all offer variant harmonic concerns, but they all contain the spirit of the “duende.” While there isn’t a mediocre second on this album and all of the performances are breathtaking, “Lágrimas Negras” and “Corazón Loco” are clear standouts. Highly recommended.