Okay, it’s coming on Cinco de Mayo, so it’s only logical to do a blog post about something Mexican. But the truth is, I really like the music of Rana Santacruz on its own terms, which are solidly Pan-American. As you will see and hear, Rana is a man who loves loud acoustic instruments like the banjo and the accordion. His tastes are eclectic and he wants his mostly USA-born band members to contribute their ideas as well as their chops. The result is something that is a hybrid in the best sense, cohesive and all-embracing—a marriage of the USA’s and Mexico’s musical traditions with healthy injections of contemporary songwriting. The songs are ear candy too. They feel like classics although they have been recently written, and I am a sucker for brass lines that soar like wind currents against a sail. (“Cajita de Barro,” featured here, makes me glaze over. In a good way.) 

With all the brouhaha stirred up by the recent Arizona immigration law, resentments are flaring on all sides. But when I caught Rana at Joe’s Pub a few months ago, where he was joined by two members of a New York-based mariachi band in full regalia, I felt good about people, optimistic about the immigrant values this country was built on and I felt a warm link to Mexico. (Me, a non Spanish-speaking New Yorker!) How many musicians, whether intentionally or not, can make us feel that way? So take a break from the politics, and just enjoy the music. And another thing—when you listen to “Cajita de Barro” invite your sweetheart to join you in a waltz. It may not be “hot” or “edgy” but it’s romantic as hell without ever being maudlin.

....If you don't have a sweetheart, this song might just get you one.

Here are the translated lyrics to "Cajita de Barro" (Little Clay Box)

In a little clay box you left a piece of your heart
In a little clay box tied up with cloth and thread
And every now and then I tie it close to my soul and it takes away my pain
And every now and then I grab it and say “I’m sorry”
“I’m sorry”

And when the clouds turn off the lights of the sky
and rain starts falling down
In that little clay box I want to take shelter
And I can’t hide it any longer, and I must accept
That without that little clay box I don’t know what to do
I don’t know what to do

And when my eyes shrink and shrink for crying so much
In that little clay box I start looking for something
And when I miss you and think of you in the middle of the night
In that little clay box I find you again
I find you again

Just had a great visit with bandura virtuoso Julian Kytasty.  Ever since I heard him play this celestial instrument I've been wanting to spread the word, so on this particular installment of the blog I kept my mouth shut and just let Julian do his thing.

I hope you enjoy it; it's gonna be in two parts because it ran rather long, and I couldn't bear to cut it all down. The first post here is just one composed piece, and the second part is to come; it'll be more about the traditional repertoire. The meeting was also fun because he lives in what used to be the predominantly Slavic section of Manhattan, has lived there for 30 years and so knows where you can still get the best potato pirogy. (Which turns out to be a weekend church kitchen run by some sprightly elderly ladies.) And yes, we went there and had some mighty FINE home-made borscht and pirogy!

UPDATE on the Lost Fingers:  for those of you who got hooked on the band from my last post, Sony will be bringing them back to the US for an official PUSH in July. They're up for a Juno award, the Canadian equivalent of a Grammy.

UPDATE on the NY Gypsy Festival, the next event will be taking place at Le Poisson Rouge with Slavic Soul Party and Scott Kettner's Forro Brass band. Scott Kettner is a true Brazil Nut, who fronts  his own Nation Beat band, fusing the music of Northeastern Brazil with -gulp- Country classics.

Don't laugh, Willie Nelson loves them! Hmmmmm...Maybe it's time to vlog the guy. (Scott, not Willie.)

On April 21, 2009 I went to see "The Lost Fingers", a trio from Canada who do Django-esque covers of 80's hits. The guys were amiable as you'll see in my hyper interview... they took my needling in good stride.

I confess I have a low tolerance for an evening's worth of even a master like Birelli LaGrene, but these guys put on a good show. Tight tight tight, and great arrangements. Plus they all sing, the backup harmonies are excellent (accurate falsettos) and they don't take themselves all that seriously. Highlights were a fabulous cover of "Belleville Rendez-vous," and Kool and the Gang's "Fresh, Exciting."

But of course, I still have to ask (since I think it is open to debate) is Gypsy Jazz really world music?  I know, I know, he's got his own chapter in the "Rough Guide to World Music," but we'll never know how Django's being a gypsy influenced the music he made. And yes, by now there are thousands of Roma out there who claim the music as their own. But there are equally as many gadjé who play le jazz hot.  Feel free to weigh in on this one, folks.