About four years ago, when I was rooting around for Chinese music videos, I was sent a charming animation from a band called Shanren. The song “30 Years” was about the trials and tribulations of moving from the country to the big city to look for work. This is a motif that resonates with all working folks, and I won’t even go into the hundreds of great songs dealing with this from the West’s Industrial Revolution right through to today. “30 Years” describes what is going on in China currently, as its rapid industrialization is causing a vast shift in population from rural to urban centers. I was therefor already interested when I was contacted by the band’s publicist, informing me that they would be playing on the Lower East Side of Manhattan, at Pianos.

The band comes from Yunnan and Guizhou provinces, with members from the Wa and Buyi minorities. The name Shanren means “mountain men.” During a chat with James Pang, the band’s Chinese manager, he mentioned that the people of these minorities live up in the mountains, are kind of wild living, like to brew their own liquor, and dance. Being a lover of country music and bluegrass, I could not help but start drawing parallels between some of the characteristics of our own folk heritage and what I was about to see and hear. I was not let down. Listen to this music and tell me that you don’t hear something that sounds remarkably like our own “Old Timey” music, with its trance-like repetitions. People like banjoist Abigail Washburn have been mining these parallels for years, and you can hear why. (The band even uses something that looks mighty like a banjo!)

The song is called “Left Foot Dance of the Yi”
The Yi people, as I mentioned before, are one of the ethnic minorities of southwestern China. There’s a family of songs called left foot dance songs (“kind of Yi party music” their manager Sam Debell writes). This is the band’s own arrangement of a very well known left foot dance song. It’s usually a circle dance, but the band adapted it, so they do it in a line (in a circle it must look positively Balkan….but I’m not going to get into that, at least not here).

A sample of the lyrics (xianzi is a stringed instrument)–

-Brother play the xianzi.
-Sister sing the song.
-The moon is already risen.
-And we’re waiting to dance.

And something from our own repertoire:

“Late in the evening about sundown
High on a hill and above the town
Uncle Pen played the fiddle, lordy how it would ring,
You could hear it talk, you could hear it sing.”

To contact the band:
Sam Debell (Asia) at unitysam@gmail.com and +86 152-1027-0868.

Douglas Lora and Dudu Maia (whom I have covered previously) were in town, this time at the Caffe Vivaldi and with Douglas’ brother Alexandre playing tambourine. The room was packed, so I only got this one good take out of it. But it’s a sweet one!
Choro is a kind of urban folk music that grew out of a merging of European and Brazilian sensibilities, and it calls on the player to be agile, inventive and swinging. The emphasis on improvisation makes people compare it to jazz, but if one is going to do that, let’s specify that it’s a lot more Django than Miles. It’s accessible music in every way.
Lora is a classically trained and plays a seven string guitar, and Maia also plays an altered instrument, a mandolin (called bandolim, in Brazil) with 10 strings, as opposed to the usual 8. Both are well respected musicians back home, and part of their tours generally consist of choro workshops. They are also part of a full-out band called Caraivana, so look out for that aggregate as well.

Performance during APAP week at Scandinavia House.
The Swedes continue to impress me with their superb musicianship, taking their heritage into uncharted territory.
This trio made so much music, and in particular the cellist knocked me out. He held down the rhythm and played absolutely arousing melodic lines. Okay, call me crazy….I find that sort of thing to be arousing.