Ojos de Brujo return with their most original, experimental, yet listenable album yet. Its hard to believe how many different styles are seamlessly blended with flamenco in this album. On their third album they add flirtations with Bhangra, Jazz, and Persian sounds to the already potent mix of flamenco, hip-hop, funk, south american, and electronic music so ably flaunted on their first two recordings.

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Tunisian oud (middle eastern lute) player and composer who is widely regarded as an innovator in his field. Performing for primarilly a jazz audience, he fuses Arabic classical music, folk music and jazz and has been recording since at least 1991 after becoming prominent in his own country in the late 1980s.

Brahem began studying the oud at age 10 under the tutelage of Ali Sitri at the National Conservatory of Music in Tunis. In 1987, after six years in Paris, he spent two years as the director of the Ensemble Musical De In Ville De Tunis. ECM released his first album (not counting a cassette self-release in his youth) in 1991, called Barzakh.

In playing style, Anouar Brahem is often compared to Rabih Abou-Khalil, though his compositions tend to be more mellow and spare. Most often he utilizes an ensemble of three or four musicians. He has collaborated throughout his career and on several albums with other musicians: Tunisian percussionist Lassad Hosni and violinist Bechir Selmi and Turkish clarinetist Barbaros Erkose. He has also performed live concerts with these same ensembles. In addition to these, he worked together with many jazz musicians such as Jan Garbarek, Dave Holland and John Surman. Brahem also played with Paola Damiani’s Orchestre National de Jazz. In his last album, Le Voyage De Sahar (2006), he has come together again with pianist Francois Couturier and accordionist Jean Louis Matinier. Couturier and Matinier - two very talented musicians- played before in Brahem’s Le Pas Du Chat Noir (2002).


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Buena Vista Social Club is a studio album by Cuban bandleader and musician Juan de Marcos González and American guitarist Ry Cooder with traditional Cuban musicians, released September 16, 1997 on World Circuit Records. The album was produced by Cooder who travelled to Cuba to record sessions with the musicians, many of whom were previously largely unknown outside Cuba. The musicians and the songs were later also featured in a documentary film of the same name. The music featured on the album was inspired by the Buena Vista Social Club, a membership club that was at its height during the 1940s and 1950s. Many of the musicians performing on the record were either former performers at the club or were prominent Cuban musicians during the era of the club's existence. Other younger musicians on the record trace their musical roots back to pre-revolutionary Cuban music, mainly the famous Havana musical scene of the 1950s.

Buena Vista Social Club started a craze in the Western World for Latin American music, particularly Cuban music, while it also earned a considerable amount of critical praise and has received numerous accolades from several music writers and publications. In 2003, the album was ranked number 260 on Rolling Stone magazine's list of the 500 greatest albums of all time, one of only two albums on the list to be produced in a non-English speaking country.


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