Roots revival, surf rock, classical ouds, Brazilian and Afro-Portuguese songs. Expect these and many more styles on three diverse stages of the fourth annual globalFEST 2007, which takes place Sunday, January 21, 2007, starting at 7 pm. This year the event moves to Webster Hall (125 East 11th Street, NYC) to better accommodate crowds that packed previous venues. The event, which has sold out three years in a row, has become one of America’s leading showcases of global sounds, demonstrating the multiplicity of sounds and performance contexts that fall under the ‘world music’ label. Tickets are available from TicketWeb.com, 1-866-468-7619.
“globalFEST proved it's possible to respect the past without being forced to preserve it forever unchanged,” reported the Village Voice in globalFEST’s debut year. “In terms of programming, fans can expect the same mix of established names and new revelations as in past years, that all address the unanswerable question of ‘what is world music?’ in their own way,” says Bill Bragin of The Public Theater, who along with Maure Aronson of Boston’s World Music, Inc., and Isabel Soffer of World Music Institute, founded the festival. “We launched the event in the wake of 9/11 when international artists were struggling to tour because of the increasingly restrictive American visa process, yet American audiences were expressing more interest in global culture,” says Soffer. Bowery Presents joins as a producer in this fourth year as the event expands to a larger venue.
Year after year, the globalFEST producers spotlight underexposed hybrids, roots revivalists, and virtuosic performers from all corners and this year will continue that tradition. Compelling patterns emerge from the festival roster each year.
Two themes recurring from years past are remarkable vocalists and “stars back home.” Lenine, though deeply rooted in regional Brazilian forms, weaves together both threads while embodying the Brazilian tendency to reconstitute and fuse popular forms from rock to bossa nova, from hip hop to MPB. Sara Tavares unites her Cape Verdean and Portuguese roots into a more modern songwriter aesthetic accessible to newcomers of world music and with touches of folk and R&B.
This year fans might ponder the Lebanese roots of surf guitarist Dick Dale, whose music influenced two festival performers: Boom Pam, an Israeli guitar, tuba, and drums outfit which reclaims surf rock’s Mediterranean roots, and Los Angeles’s Dengue Fever, which is as equally influenced by a Cambodian garage rock and psychedelia craze of the 1960s. Spain’s Chambao fast-forwards the festival to an emerging hybrid of downtempo club-culture-meets-flamenco.
The French connection continues as in previous years spotlighting France as a gateway of musical immigrants. Senegalese songstress Julia Sarr and French guitarist Patrice Larose team up to offer an internationalist and modern approach to the singer-songwriter and guitar conventions. Paris-based Le Trio Joubran, three young oud-toting Palestinian brothers, reminds us that world music encompasses classical styles, and classical music can include thrilling improvisation. Babylon Circus plays a Gallic/Mediterranean ska that inherits much from the global punk and new wave movements of the ’80s. Early twentieth century music gets a boost from Les Primitifs du Futur, which blends world-musette and Django-style guitar into old-fashion originals (and whose founders include legendary cartoonist R. Crumb).
Roots music is also represented by the African-American string band Carolina Chocolate Drops, which plays an American traditional style that historically created a bridge across between African and European Americans. Meanwhile, Central American cultural ambassadors Andy Palacio and the Garifuna Collective reignite the traditions of a culture that emerged from escaped slaves and whose modern-day descendants are disp