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Welcome to the highlights of WOMEX 2013 - a chance to see | 0:00:09 | 0:00:12 | |
some of the bands that performed here, | 0:00:12 | 0:00:15 | |
not only in front of the Welsh audiences, but agencies, | 0:00:15 | 0:00:18 | |
record companies and concert promoters from all over the world. | 0:00:18 | 0:00:21 | |
This festival brought the best of world music to Cardiff in October | 0:00:24 | 0:00:27 | |
from all corners of the globe and also provided a stage for some | 0:00:27 | 0:00:32 | |
of the rising stars of the Welsh music scene, | 0:00:32 | 0:00:34 | |
including Georgia Ruth... | 0:00:34 | 0:00:36 | |
# Week of pines...# | 0:00:36 | 0:00:40 | |
..the innovative group 9Bach, led by Bethesda's Lisa Jen. | 0:00:40 | 0:00:45 | |
# Caru chdi mwy na'r byd...# | 0:00:45 | 0:00:47 | |
# Seren syw...# | 0:00:47 | 0:00:49 | |
A new fusion of Welsh and Indian traditions, with Ghazalaw. | 0:00:49 | 0:00:54 | |
# Clyw di'r claf...# | 0:00:54 | 0:00:57 | |
And the award-winning collaboration of Seckou Keita from Senegal | 0:00:57 | 0:01:02 | |
and Catrin Finch from Wales. | 0:01:02 | 0:01:04 | |
More from the Welsh performers later. | 0:01:10 | 0:01:13 | |
There were six stages in all, | 0:01:16 | 0:01:18 | |
including a striking marquee on the Roald Dahl Plass, | 0:01:18 | 0:01:21 | |
which rocked to the sound of the African group, Debademba. | 0:01:21 | 0:01:26 | |
HE SINGS IN BAMBARI | 0:01:31 | 0:01:33 | |
Bonjour, Abdoulaye, from Debademba. | 0:01:51 | 0:01:55 | |
Debademba means big family. | 0:01:56 | 0:01:59 | |
You know, it's a family of different musicians, | 0:01:59 | 0:02:02 | |
coming from different countries. | 0:02:02 | 0:02:04 | |
A big family from all the world. | 0:02:04 | 0:02:07 | |
HE SINGS IN BAMBARI | 0:02:09 | 0:02:12 | |
The music of Debademba is African, but with a lot of influences - | 0:02:38 | 0:02:43 | |
Afrobeat, blues, flamenco, | 0:02:45 | 0:02:49 | |
African guitars. Basically, that's it, Debademba. | 0:02:49 | 0:02:53 | |
Well, thank you very much. Merci beaucoup. | 0:02:53 | 0:02:55 | |
Merci, merci, thank you very much. | 0:02:55 | 0:02:57 | |
Merci. | 0:02:59 | 0:03:00 | |
HE SINGS IN BAMBARI | 0:03:02 | 0:03:04 | |
APPLAUSE | 0:04:07 | 0:04:09 | |
John Rostron, give us a little picture of where Wales is at, | 0:04:09 | 0:04:12 | |
in terms of the international music scene. | 0:04:12 | 0:04:14 | |
Well, we're in a great position at the moment, because we're | 0:04:14 | 0:04:17 | |
here in Wales and the whole of the world music scene is here with us. | 0:04:17 | 0:04:21 | |
So, we're in a great position. | 0:04:21 | 0:04:23 | |
We are talking to all of the world right here, right now, in Wales. | 0:04:23 | 0:04:25 | |
It's a very exciting opportunity for the Welsh music industry. | 0:04:25 | 0:04:29 | |
-There's a big news announcement this week, as well? -Yes, there is. | 0:04:29 | 0:04:34 | |
The band 9Bach have signed to Peter Gabriel's label at Real World. | 0:04:34 | 0:04:38 | |
So, they'll be releasing their next record with him in 2014. | 0:04:38 | 0:04:41 | |
It's incredibly exciting for them. | 0:04:41 | 0:04:43 | |
They'll reach a whole new market across the world. | 0:04:43 | 0:04:46 | |
SHE SINGS IN WELSH | 0:04:46 | 0:04:49 | |
CHEERING AND APPLAUSE | 0:05:47 | 0:05:51 | |
LIVELY BANJO FOLK MUSIC PLAYS | 0:05:51 | 0:05:56 | |
We Banjo 3 here at the Motorpoint Arena. Thank you very much, lads. | 0:05:59 | 0:06:03 | |
Fantastic. Tell me a little bit about the band. | 0:06:03 | 0:06:05 | |
How did you all get together? | 0:06:05 | 0:06:07 | |
We're from Galway in the west of Ireland. We're two sets of brothers, | 0:06:07 | 0:06:11 | |
so we started out as a three-piece, with myself, | 0:06:11 | 0:06:13 | |
Martin and David, who are brothers. What happened was, we realised | 0:06:13 | 0:06:17 | |
we were three banjos, we needed a real musician in the band | 0:06:17 | 0:06:19 | |
and my mum rang me up and said, | 0:06:19 | 0:06:20 | |
"Will you give Fergal a gig? He's a bit lonely." | 0:06:20 | 0:06:23 | |
So we got Fergal in. | 0:06:23 | 0:06:24 | |
LIVELY FIDDLE MUSIC PLAYS | 0:06:24 | 0:06:27 | |
I've heard it's a very, very difficult instrument to play. | 0:07:00 | 0:07:03 | |
How many years did it take you? | 0:07:03 | 0:07:05 | |
I still don't know how to play it, so that's part of the problem! | 0:07:05 | 0:07:08 | |
I've been playing it for about 15 years. | 0:07:08 | 0:07:09 | |
Enda taught me when I was a young lad. I used to look up to him | 0:07:09 | 0:07:12 | |
and now I look down on him, because I'm slightly taller! | 0:07:12 | 0:07:15 | |
CHEERING AND APPLAUSE | 0:07:27 | 0:07:30 | |
Well, we've conquered the New World, in that we've played in America. | 0:07:30 | 0:07:33 | |
We want to bring the banjo love back to Europe. | 0:07:33 | 0:07:35 | |
We're interested in this idea of the banjo takeover. | 0:07:35 | 0:07:37 | |
Once people hear the banjo, they're addicted. | 0:07:37 | 0:07:39 | |
So we're hoping to have that effect in Europe. | 0:07:39 | 0:07:41 | |
Let's hear you. | 0:07:41 | 0:07:43 | |
# We all need more banjos in this world... # | 0:07:43 | 0:07:45 | |
Hey! | 0:07:45 | 0:07:46 | |
# We all need more banjos in this world | 0:07:46 | 0:07:50 | |
# You can look high or low But there's no place else to go | 0:07:50 | 0:07:53 | |
# We all need more banjos in this world... # | 0:07:53 | 0:07:56 | |
Hey! | 0:07:56 | 0:07:58 | |
FAST BANJO PLAYING | 0:07:58 | 0:08:00 | |
CHEERING AND APPLAUSE | 0:08:13 | 0:08:17 | |
A group that made quite a noise was this wind band from Algeria, | 0:08:17 | 0:08:21 | |
Fanfarai. | 0:08:21 | 0:08:22 | |
RHYTHMIC CLAPPING AND BRASS MUSIC PLAYS | 0:08:24 | 0:08:26 | |
I'm here with Gael, Ourida, Samir and Yvan from Fanfarai. | 0:09:15 | 0:09:21 | |
Gael, tell me a little bit about the name and your style of music. | 0:09:21 | 0:09:25 | |
Fanfarai in French, | 0:09:25 | 0:09:26 | |
it means something like the brass band who plays the right music. | 0:09:26 | 0:09:31 | |
It's based on the brass band, so we take out all the electric stuff | 0:09:31 | 0:09:36 | |
and we make a band who can play in the street, who can play walking | 0:09:36 | 0:09:40 | |
and after, we try to make connection with the Northern African music, | 0:09:40 | 0:09:44 | |
just like to make a kind of bridge between them. | 0:09:44 | 0:09:47 | |
# Oh, yereba al heraba heraba | 0:09:47 | 0:09:50 | |
# Yay, yereba al heraba heraba Heeeyyy | 0:09:52 | 0:09:56 | |
# Yereba al heraba | 0:09:59 | 0:10:01 | |
# Oh, yereba al heraba heraba | 0:10:11 | 0:10:14 | |
# Yera, yereba al heraba heraba Hoooo-ooooh | 0:10:17 | 0:10:21 | |
# Oh, yereba al heraba hey, hey! # | 0:10:24 | 0:10:27 | |
And you play a wonderful instrument, tell me about that. | 0:10:28 | 0:10:31 | |
It's called the sousaphone, it does the bass and it's very, very heavy. | 0:10:31 | 0:10:35 | |
It's just like a huge trumpet, actually. | 0:10:35 | 0:10:37 | |
SINGING IN NATIVE LANGUAGE | 0:10:37 | 0:10:39 | |
CHEERING AND APPLAUSE | 0:11:05 | 0:11:07 | |
Quoted recently by the press as | 0:11:07 | 0:11:09 | |
"an intriguing collaboration that really works", | 0:11:09 | 0:11:12 | |
Catrin Finch and Seckou Keita's new album Clychau Dibon | 0:11:12 | 0:11:15 | |
has also been described as ethereal and entrancing. | 0:11:15 | 0:11:19 | |
SOFT HARP MUSIC PLAYS | 0:11:19 | 0:11:23 | |
The harp and the kora really work together, | 0:11:59 | 0:12:01 | |
because we, kind of, complement each other. | 0:12:01 | 0:12:04 | |
The kora's got this basic time signature that I'll play with | 0:12:04 | 0:12:07 | |
rhythmically and then what Catrin brings with the harp, | 0:12:07 | 0:12:10 | |
the melody that's tapped into it | 0:12:10 | 0:12:12 | |
and also we, kind of, switch between supporting each other. | 0:12:12 | 0:12:16 | |
Obviously, I'm a Welsh musicianm but primarily classical | 0:12:16 | 0:12:21 | |
and Seckou, with Mandinka music from Senegal. | 0:12:21 | 0:12:26 | |
So if you think in a way, that's a strange collaboration, right? | 0:12:26 | 0:12:29 | |
It's like the opposite spectrum of music | 0:12:29 | 0:12:32 | |
but I think that's what makes it quite fresh | 0:12:32 | 0:12:34 | |
and what makes it quite unusual, is that we've both come from | 0:12:34 | 0:12:38 | |
such different worlds and we can try and put them together somehow. | 0:12:38 | 0:12:41 | |
Clychau Dibon's had some amazing reviews in the papers. | 0:13:13 | 0:13:15 | |
Clychau Dibon is a beautiful album. | 0:13:15 | 0:13:18 | |
Dibon Dibon is the name of a bird, | 0:13:18 | 0:13:20 | |
a couple that spend all day together, but in the evening, | 0:13:20 | 0:13:24 | |
they never sleep in the same branch, they sleep separate. | 0:13:24 | 0:13:27 | |
In the morning, they call each other with a high note, the female is, | 0:13:27 | 0:13:31 | |
and the low note with the male, just to find each other, | 0:13:31 | 0:13:33 | |
to spend the day together again. | 0:13:33 | 0:13:35 | |
CHEERING AND APPLAUSE | 0:14:46 | 0:14:49 | |
Les Tambours de Brazza with their hypnotic Congan drums | 0:14:49 | 0:14:53 | |
made a striking impact in the Roald Dahl Plas Marquee. | 0:14:53 | 0:14:57 | |
UPBEAT WEST AFRICAN GUITAR MUSIC PLAYS | 0:15:01 | 0:15:05 | |
Come on! | 0:15:44 | 0:15:45 | |
-Les Tambours de Brazza, bienvenue au Pays de Galles. -Merci! | 0:15:48 | 0:15:53 | |
Tell me a little bit about your music. | 0:15:53 | 0:15:55 | |
HE SPEAKS IN FRENCH | 0:15:55 | 0:15:57 | |
TRANSLATION: Our music is a mixture of traditional | 0:16:01 | 0:16:04 | |
and contemporary music. | 0:16:04 | 0:16:06 | |
We work musics from our culture from Congo and around this music, | 0:16:06 | 0:16:12 | |
we add other instruments, such as drums, guitar, bass and the song. | 0:16:12 | 0:16:18 | |
There are lots of influences in our music. | 0:16:18 | 0:16:21 | |
Soul music, reggae, funky, and rock. | 0:16:21 | 0:16:26 | |
It's not fusion, but it's contemporary music. | 0:16:26 | 0:16:30 | |
FAST SINGING IN NATIVE LANGUAGE | 0:16:32 | 0:16:35 | |
Tambours de Brazza! CHEERING AND APPLAUSE | 0:17:29 | 0:17:31 | |
Thank you. | 0:17:31 | 0:17:33 | |
The Donald Gordon Theatre showcased some fascinating violin sounds | 0:17:33 | 0:17:36 | |
from India with Ganesh Kumaresh. | 0:17:36 | 0:17:39 | |
INDIAN VIOLIN AND DRUM MUSIC PLAYS | 0:17:40 | 0:17:45 | |
Music is mainly based on improvisations, | 0:18:16 | 0:18:19 | |
even the compositions are just there for us to improvise on. | 0:18:19 | 0:18:24 | |
So that helps us to create something on the spot - | 0:18:24 | 0:18:27 | |
at the same time, rehearse something and play together. | 0:18:27 | 0:18:30 | |
So we make it as interesting for ourselves as for the audience. | 0:18:30 | 0:18:34 | |
So it was like action and reaction most of the time | 0:18:34 | 0:18:37 | |
so that's how we enjoy ourselves. | 0:18:37 | 0:18:39 | |
I play the mridagam, it's a barrelled-shaped two-sided drum | 0:18:59 | 0:19:04 | |
and one side is tuned to an actual pitch | 0:19:04 | 0:19:06 | |
that's constantly played in D and then the other side is a bass side | 0:19:06 | 0:19:11 | |
and you can modulate to get pitches | 0:19:11 | 0:19:13 | |
and so they work in tandem together to create a multitude of sounds. | 0:19:13 | 0:19:18 | |
CHEERING AND APPLAUSE | 0:19:33 | 0:19:34 | |
Well, right now, I'm here with the Cumbia All Stars. | 0:19:34 | 0:19:37 | |
THEY CHEER | 0:19:37 | 0:19:39 | |
Lucho, tell me what kind of Welsh welcome you've had so far. | 0:19:39 | 0:19:43 | |
Oh, muy feliz, muy feliz. | 0:19:43 | 0:19:45 | |
TRANSLATION: We have been very happy since arriving here in Cardiff. | 0:19:45 | 0:19:49 | |
Wales is a beautiful country and for us to have the opportunity | 0:19:49 | 0:19:54 | |
to perform here is a culmination of hard work over the last few years | 0:19:54 | 0:19:58 | |
promoting the music of Peru. | 0:19:58 | 0:20:00 | |
HE SINGS IN SPANISH | 0:20:03 | 0:20:06 | |
HE SPEAKS IN SPANISH | 0:20:36 | 0:20:38 | |
TRANSLATION: We've been playing Cumbian music for 40 years | 0:20:41 | 0:20:44 | |
and so we're delighted to be performing here for you. | 0:20:44 | 0:20:47 | |
Muchos gracias, Cumbia All Stars. | 0:20:47 | 0:20:50 | |
THEY CHEER | 0:20:50 | 0:20:51 | |
HE SINGS IN SPANISH | 0:20:54 | 0:20:57 | |
CHEERING AND APPLAUSE | 0:21:39 | 0:21:41 | |
There was one additional stage at the Motorpoint Arena | 0:21:41 | 0:21:44 | |
in the centre of Cardiff and among the day performers, | 0:21:44 | 0:21:48 | |
there was the April Verch Band, from Canada. | 0:21:48 | 0:21:52 | |
LIVELY FIDDLE MUSIC PLAYS | 0:21:52 | 0:21:56 | |
CHEERING AND APPLAUSE | 0:22:45 | 0:22:48 | |
It's been an amazing year for the Welsh artist Georgia Ruth since | 0:22:48 | 0:22:52 | |
winning the Welsh Music Prize for her debut album, Week Of Pines. | 0:22:52 | 0:22:57 | |
# Hwylia, gariad, hwyl fawr | 0:22:57 | 0:23:02 | |
# Hwylia'n bellach na llinell | 0:23:06 | 0:23:10 | |
# Drwy ganol pob map | 0:23:10 | 0:23:13 | |
# Does na ddim byd ar hap | 0:23:13 | 0:23:17 | |
# Ti ar ganol y mor | 0:23:17 | 0:23:21 | |
# Does na ddim byd ar hap | 0:23:21 | 0:23:27 | |
# Gariad, hwyl fawr | 0:23:27 | 0:23:31 | |
# Mmm... # | 0:23:31 | 0:23:34 | |
'After the showcase at WOMEX, it all felt like a bit of a blur.' | 0:23:34 | 0:23:39 | |
I think it helped me to reach some new audiences that | 0:23:39 | 0:23:44 | |
I wouldn't have found otherwise. | 0:23:44 | 0:23:46 | |
'I've had quite a bit of interest from bookers who were at WOMEX.' | 0:23:49 | 0:23:53 | |
Lots of things planned for next year, | 0:23:53 | 0:23:55 | |
so, sort of, summer festivals in the UK, but I've also heard | 0:23:55 | 0:23:59 | |
from a few festivals in Europe, as well, which is exciting. | 0:23:59 | 0:24:02 | |
# Is it me? Is this all your love had? | 0:24:02 | 0:24:05 | |
# Maybe nothing binds The distances between us | 0:24:05 | 0:24:10 | |
# The shifts and changing minds Oh, baby | 0:24:10 | 0:24:15 | |
# We're travellers and maybe we can find our way back | 0:24:15 | 0:24:21 | |
# To the week of pines | 0:24:21 | 0:24:28 | |
# To the week of | 0:24:31 | 0:24:36 | |
# Ay-da-da-da-da da-bum-ba-da | 0:24:36 | 0:24:42 | |
# Ay-da-da-da-da da-bum-ba-da | 0:24:42 | 0:24:49 | |
# Oh. # | 0:24:49 | 0:24:51 | |
CHEERING AND APPLAUSE | 0:24:58 | 0:25:00 | |
Dy kyair, bwah! | 0:25:00 | 0:25:04 | |
The unique sound of the Maori next. | 0:25:04 | 0:25:06 | |
Here is Horomona Horo from New Zealand. | 0:25:06 | 0:25:10 | |
HAUNTING PIPE MUSIC PLAYS | 0:25:12 | 0:25:17 | |
'Traditional Maori musical instruments were made from varying' | 0:25:42 | 0:25:47 | |
elements of the forest, ocean and they're made out of wood, | 0:25:47 | 0:25:52 | |
bone, stone and other natural elements. Erm... | 0:25:52 | 0:25:54 | |
As an example, this is a koauau. It's made from a dog bone | 0:25:57 | 0:26:01 | |
but koauaus were made out of bone - especially human bone - | 0:26:01 | 0:26:06 | |
wood and stone. | 0:26:06 | 0:26:08 | |
A koauau was one of the instruments that our people use for expressing | 0:26:08 | 0:26:13 | |
the many facets of love. | 0:26:13 | 0:26:15 | |
HIGH-PITCHED PIPE MUSIC PLAYS | 0:26:15 | 0:26:19 | |
Haunting Gypsy influences can be heard in this next performance | 0:26:53 | 0:26:58 | |
from the Hungarian group, Vojasa. | 0:26:58 | 0:27:01 | |
HE SINGS IN HUNGARIAN | 0:27:01 | 0:27:04 | |
# Oi, hey la-la-la-lay | 0:27:10 | 0:27:15 | |
# Ai-la-la-la-la-la | 0:27:15 | 0:27:19 | |
# Oi, hey la-la-la-lay | 0:27:19 | 0:27:23 | |
# Ai-lai-la-la-la-la | 0:27:23 | 0:27:27 | |
# Oi, lai-la-la-la-lay | 0:27:27 | 0:27:32 | |
# Ai-lai-la-la-la-la | 0:27:32 | 0:27:36 | |
# Oi, lai-la-la-la-lay | 0:27:36 | 0:27:40 | |
# Ai-lai-la-la-la-la, hey! # | 0:27:40 | 0:27:45 | |
This is Gypsy music, it's based on the singing and on the dance | 0:27:45 | 0:27:48 | |
and on the rhythm and here, it's music which is urban | 0:27:48 | 0:27:51 | |
so this is music for everybody. | 0:27:51 | 0:27:53 | |
All the different musicians come from different backgrounds - | 0:27:53 | 0:27:56 | |
three of the musicians come from a very traditional background | 0:27:56 | 0:28:00 | |
and they know this music by heart, it's in their blood. | 0:28:00 | 0:28:03 | |
And the others come from more pop and more hard rock or jazz, also | 0:28:03 | 0:28:08 | |
so it's a very good contemporary mix of this music coming from Hungary. | 0:28:08 | 0:28:14 | |
HE SINGS IN HUNGARIAN | 0:28:14 | 0:28:18 | |
CHEERING AND APPLAUSE | 0:28:57 | 0:28:59 | |
One group that has stood out for me at this World Music Festival | 0:28:59 | 0:29:03 | |
was a specially-commissioned cultural exchange | 0:29:03 | 0:29:05 | |
between Welsh artist Gwyneth Glyn and Mumbai artist Tauseef Akhtar. | 0:29:05 | 0:29:10 | |
This resulted in a new project called Ghazalaw. | 0:29:10 | 0:29:13 | |
SOFT STRING AND TABLA MUSIC | 0:29:13 | 0:29:15 | |
# Yn dy lygaid caf | 0:29:15 | 0:29:18 | |
# Wirionedd | 0:29:18 | 0:29:19 | |
# Yn serennu gras a rhinwedd | 0:29:19 | 0:29:25 | |
# Mae dy weld i mi'n orfoledd | 0:29:25 | 0:29:31 | |
# Seren syw | 0:29:31 | 0:29:36 | |
# Clyw di'r claf | 0:29:36 | 0:29:42 | |
# Seren syw | 0:29:42 | 0:29:48 | |
# Clyw di'r claf. # | 0:29:48 | 0:29:51 | |
I personally sing a genre called ghazals, | 0:29:53 | 0:29:57 | |
which is very poetry-based and with simple, expressive tunes | 0:29:57 | 0:30:01 | |
and as you know, Gwyneth does the Welsh folk | 0:30:01 | 0:30:06 | |
along with me in ghazals, with ghazals. | 0:30:06 | 0:30:09 | |
Apparently, when we started the project, we thought it would be some | 0:30:09 | 0:30:13 | |
kind of fusion or something, but it ended up being a new genre in itself. | 0:30:13 | 0:30:18 | |
HE SINGS IN URDU | 0:30:18 | 0:30:23 | |
SHE ACCOMPANIES IN URDU | 0:30:36 | 0:30:41 | |
'As you know, Welsh language and the language Urdu which I sing in,' | 0:30:49 | 0:30:53 | |
they go back to Sanskrit, which is an Indian language. | 0:30:53 | 0:30:57 | |
So when we started jamming together, it was no more a fusion, | 0:30:57 | 0:31:02 | |
it was just like separated cousins meeting each other once again. | 0:31:02 | 0:31:06 | |
SHE SINGS IN WELSH | 0:31:06 | 0:31:09 | |
HE ACCOMPANIES MELODICALLY | 0:31:22 | 0:31:24 | |
# Ahhhhh-ahhh | 0:31:28 | 0:31:33 | |
# Ahhhhh-ahhh | 0:31:33 | 0:31:39 | |
# Ahhhhh-ahhh | 0:31:39 | 0:31:44 | |
# Ahhhhh-ahhh. # | 0:31:44 | 0:31:49 | |
CHEERING AND APPLAUSE | 0:31:49 | 0:31:53 | |
BURST OF LIVELY MANDOLIN MUSIC | 0:31:53 | 0:31:58 | |
-A little flavour of Mandolinman. Hello, everyone. -Hello. | 0:31:58 | 0:32:02 | |
Andries, how did this band come together? | 0:32:02 | 0:32:04 | |
Well, it's a very easy story. | 0:32:04 | 0:32:09 | |
My father was coming, celebrating his 70th birthday | 0:32:09 | 0:32:13 | |
and he was collector of ancient melodies. | 0:32:13 | 0:32:17 | |
As a surprise for his birthday, | 0:32:17 | 0:32:19 | |
I always wanted to do something with four mandolins. | 0:32:19 | 0:32:22 | |
I was looking for three other folk mandolin players, | 0:32:22 | 0:32:26 | |
and...here they are. | 0:32:26 | 0:32:30 | |
LIVELY MANDOLIN MUSIC PLAYS | 0:32:30 | 0:32:32 | |
'We now exist about three years' | 0:33:16 | 0:33:19 | |
and we just went this summer to Brazil, | 0:33:19 | 0:33:23 | |
so our first disc was a disc with traditional Belgian music, | 0:33:23 | 0:33:27 | |
from the region of Brabant. It's in the centre of the country. | 0:33:27 | 0:33:31 | |
And then we wanted to do something else and we made a bossa nova disc. | 0:33:31 | 0:33:34 | |
BOSSA NOVA STYLE MANDOLIN MUSIC PLAYS | 0:33:34 | 0:33:36 | |
APPLAUSE | 0:34:13 | 0:34:15 | |
One of my favourite performances was given by the group, Kan. | 0:34:15 | 0:34:19 | |
Its members come from Northern Ireland, Scotland and England. | 0:34:19 | 0:34:24 | |
UPBEAT FIDDLE AND FLUTE MUSIC PLAYS | 0:34:24 | 0:34:26 | |
We always meet a day early and rehearse before a tour | 0:35:11 | 0:35:14 | |
and that's when we make new music because we're based in Newcastle, | 0:35:14 | 0:35:18 | |
Edinburgh, Manchester and Armagh, so quite far apart! | 0:35:18 | 0:35:21 | |
People have described it as sort of contemporary traditional music | 0:35:26 | 0:35:29 | |
with kind of jazz and world influences | 0:35:29 | 0:35:32 | |
so we take our influences from all over the place, really. | 0:35:32 | 0:35:36 | |
SOFT LILTING FOLK MUSIC PLAYS | 0:35:36 | 0:35:40 | |
We're quite a young band in that we've only been playing | 0:36:18 | 0:36:20 | |
together for three years so this is a brilliant, | 0:36:20 | 0:36:22 | |
brilliant place to come and the great city to visit. | 0:36:22 | 0:36:24 | |
-And not your first visit to Cardiff? -No, that's right. | 0:36:24 | 0:36:27 | |
Last time I came, I got a speeding ticket and a summons to court | 0:36:27 | 0:36:30 | |
because of the speeding fine! | 0:36:30 | 0:36:32 | |
Better luck this time! | 0:36:32 | 0:36:34 | |
CHEERING AND APPLAUSE | 0:37:04 | 0:37:07 | |
That's it from Cardiff. | 0:37:07 | 0:37:08 | |
Next year, WOMEX goes to Santiago de Compostela in Spain, | 0:37:08 | 0:37:11 | |
so for a taste of the music from there, our final group, | 0:37:11 | 0:37:15 | |
Budino establishes traditional Galician music | 0:37:15 | 0:37:19 | |
with edgy electronics and percussion. | 0:37:19 | 0:37:22 | |
LIVELY FOLK MUSIC PLAYS | 0:37:22 | 0:37:26 | |
I think it's strong connections between musicians | 0:37:48 | 0:37:52 | |
and music from Wales and from Galicia. | 0:37:52 | 0:37:55 | |
I know musicians from the last 20 years | 0:37:55 | 0:38:00 | |
and because it's the same language, | 0:38:00 | 0:38:03 | |
I think it's very easy to play with them. | 0:38:03 | 0:38:06 | |
I love...I love the Wales music. | 0:38:06 | 0:38:10 |