Just as you can never see every single showcase at WOMEX, it is almost equally hard to take in every booth at the trade fair. Each one has something special to offer: new music to discover, friends to greet, connections to be made, and (yes) parties to attend, because there are lots of little celebrations going on throughout the day. This is the first time I tried to blog the fair, and I have to admit it is only a small sampling of what was going on. But hopefully it does give some feel for the event. It's lively, it's fun and you never know quite what to expect. I decided to give a "most cool booth" award only AFTER I encountered the winners (Country & Eastern)! I thought they were such interesting folks, and their offerings were heartfelt, diverse and original. I think you'll agree.

A symphony of crickets. Now THAT'S world music!

The World Music Expo, or WOMEX, is simply put, a great convention. Besides getting to hear some amazing acts from just about everywhere, it's also a very convivial gathering. And although there are numerous great musicians booked into the formal venues, sometimes the freshest experiences come from spontaneous performances at the stands in the trade fair.

So to kick off my WOMEX blog series, here's one such occurrence.

To set the scene: it was almost time for the trade fair to close. There I was, talking to someone in my booth, and suddenly I realized that a young man had sat down on the floor and started playing an instrument that looked like a cross between a steel drum and a flying saucer. I grabbed my Flip camera and caught the moment.

It turns out that the Hang was invented in Switzerland in 2000. So it's just a baby in the world of instruments. And that also means there's plenty of room for the instrument -- and ways of playing it -- to grow. Rafael has a group called The Art of Fusion, (their CD is called "Rhizomism") and I've put his contact info at the end of the vid.

As promised, here is more from the interview with Sertab Erener and Demir Demirkan. I was very interested in how Sertab had migrated from opera to pop singing, and in the process of explaining, Demir suggested she sing one song (Aşk) that demonstrated both techniques...which it certainly does!

I have to say that after listening to Sertab sing in our studio and in concert, there is a real difference between that and her formally recorded vocals.... and the same goes for the sound of the two of them unplugged. (Check out the previous blog post and interview video on Sertab and Demir here.)

Followers of this blog know that I try to spotlight some of the interesting musicians and world music projects that are working here in NYC. Sylvain Leroux is someone I'm going to focus on shortly, and you can see him in this clip by one of his bands, "Fula Flute." Link TV helped to make this clip a reality when we initiated a program with the Eyebeam Center for Art and Technology to put talented media students together with world music musicians to make videos. The song "Djandjou" is ceremonial, something that would be played to accompany the arrival of a dignitary.

The technique for playing the Fula flute, or "Tambin", is fascinating, using a combination of singing and overblowing to create overtones. More about this soon.

One of the most wonderful things that happens when you watch the documentary we are showing on the channel this week, "Intangible Asset No. 82", is how much you learn about a culture that is often hard for Westerners to understand. In particular, I have found much of Asian music to be difficult to enjoy. I am on record for maintaining that the phrase "music is the universal language" is glib nonsense. (In my opinion the universal language is food.) But "Intangible Asset No. 82" gave me a way to enter what has seemed an impenetrable genre; no small feat!

The film documents the journey of jazz drummer Simon Barker, as he seeks to find the shaman whose music has made a huge impact on him.  His guide is Kim Dong-Won, a master of Korean Pansori.

We were fortunate indeed that Dong-Won was in town performing with YoYo Ma's Silk Road Ensemble, and he spent some time with me answering my quesions about the movie, and about Korean music. Dong-Won apologized profusely for his English skills, but actually, although he hesitates a bit, he is really quite eloquent.  The interview has three sections, which concern themselves with the film, drumming and Pansori singing.

Feels like it's raining Magyars lately. I got an email from David Sasvari in Hungary the other day. He really likes the music programming on Link, but thinks we're light on the Hungarian videos. So he sent me a few links, and that's how I found this video.

Even though I think this video is visually incoherent, I think "Csináld csináld jól csináld" is a cool mashup of Hungarian and Balkan sounds. Balkan Fanatik is a find, for sure. Thanks, David!

Keeping a band together in NYC is TOUGH.  I know because I've done it -- or tried to do it -- myself. So I have to hand it to Scott Kettner for sheer tenacity, regarding his pet project "Nation Beat." You may remember Scott as one of my very first interviews for this blog, about his Forro Brass Band. He made me promise back then to blog something about Nation Beat, so I started collecting and shooting footage, and letting the story develop.

Scott does raise an interesting issue, regarding "world music." In the fledgling days of the term, it was assumed that Cajun, Zydeco, Tex-Mex, Bluegrass, etc. were all part of world music. (Just check out the landmark "Rough Guide to World Music" published in 1994.) Since then, the term has expanded to include all kinds of hybrids. So in my opinion it's a kind of daft political correctness to exclude the Country Music influences in the Nation Beat repertoire...after all they aren't getting up there and doing an all-Country set; it's American Country filtered through Brazilian Country.  And anyway, our Country Music derives from our Scots-Irish heritage, does it not?  Or does that not qualify as world music to some folks any more?