You take a trio of the finest traditional griot musicians from Mali and put them in the studio with a revolutionary Western string quartet - and the outcome is one of the most unusual and rewarding musical collaborations you are ever likely to encounter. 

Ladilikan, the new album by Trio da Kali and Kronos Quartet represents a landmark in cultural cross-fertilisation which both parties rank among the most satisfying musical experiences in their diverse careers. David Harrington, who founded the Kronos Quartet in 1973, enthuses that the album is “one of the most beautiful Kronos has done in forty years.” On first hearing their griot grooves being played by two violins, viola and cello, Trio da Kali’s Lassana Diabate announced, “This is going to be the best collaboration of my life.” Da Kali means ‘to give a pledge’ – in this case to a musical heritage that dates back to the time of Sunjata Keita, founder of the great Mali empire in the early 13th century. The line-up of balafon (xylophone) bass ngoni (lute) and female singer is also based on ancient tradition, although the trio format and its repertoire is now an endangered species in contemporary Malian music. 

All three Da Kali members come from hereditary musical families, and were brought together as a griot super group by Dr Lucy Duran. Balafon player and musical director Lassana Diabaté was a long-time member of Toumani Diabate’s Symmetric Orchestra and has recorded with Salif Keita, Taj Mahal and many others. A musician of great subtlety and invention he has honed a virtuoso two-balafon technique to perfection. Bass ngoni player Mamadou Kouyaté is the eldest son of the instrument’s greatest exponent, Bassekou Kouyaté and he holds down the groove in his father’s band ‘Ngoni ba’. He is also involved in the thriving Bamako hip-hop scene. Singer Hawa ‘Kassé Mady’ Diabate is the daughter of Mali’s greatest traditional singer, Kassé Mady Diabate, and the power, range and phrasing of her voice led David Harrington to compare her to the late queen of American gospel, Mahalia Jackson. 

The Kronos Quartet – David Harrington and John Sherba on violins, Hank Dutt on viola, and cellist Sunny Yang - have built an enviable reputation as the world’s most adventurous string quartet. Known for their commitment to continually re-imagining the string quartet experience Kronos have released over 50 records of extraordinary breadth and creativity and they are no strangers to collaborations with some of the world’s foremost composers and artists. Combining the spirit of fearless exploration with expert craftsmanship and skill, Trio Da Kali’s original repertoire has been taken on a fascinating journey, giving a new voice to timeless sounds. 

Tita

Kanimba

Eh Ya Ye

Garaba Mama

God Shall Wipe All Tears Away

Samuel

Lila Bambo

Kene Bo

Ladilikan

Sunjata

After his sublime album Clychau Dibon, with Welsh harpist Catrin Finch (who won the "Cross-Cultural Collaboration" award at the 2014 Songlines Music Awards), Seckou Keita presents his new solo album: 22 Strings (2015), the of his ancestral instrument, the kora, meditation grace and consummate elegance.

Seckou shows us the kora in its purity, a wonderful instrument that can take the human spirit to a place of deep meditation, stillness and beauty. As a sample button, the album's closing theme ("Future Strings in E", also featured on Clychau Dibon), an impressive showcase of Seckou's inventiveness on these twenty-two strings. 

01. The Path From Gabou

02. N' Doké (Little Bro)

03. Mikhi Nathan Mu-Toma (The Invisible Man)

04. If Only I Knew

05. Alpha Yaya

06. Kana-Sila

07. Tatono

08. Mandé

09. Abdou N' Diaye

10. Future Strings in E

01. Pobres Niños

02. De puerto en puerto

03. Solo siempre solo

04. El perico tuerto

05. Que nos entierren juntos

06. Hoy te vas

07. Oaxaca

08. Así es la vida

09. Mi alegre Veracruz

10. Ya es tarde

01. UH-AH-CHAVEZ NO SE VA

02. COMPAÑEROS

03. NO LO TUMBA NADIE

04. ESPERA

05. VENEZUELA CANTA

06. POR LA VERDAD

07. FUERZA Y UNIÓN

08. SANTIAGO

09. SUN SUN BABAE

10. QUE QUIERES QUE TE DEN

11. LA COSECHA

12. EL BARRIO DEL PILAR

13. COCO CACAO

14. MADERA VINO A ZANGEAR

The opening track of ‘Avant Folk’ is like a dream of what contemporary experimental folk-meets-jazz-meets-chamber-music might be. Composed by Frode Haltli, ‘Hug’ begins with a galumphing off-centre rhythm that could be an accompaniment to elephants waltzing before the wheezing bellows-breath of Haltli’s accordion creates delightfully airy whispers of noise that drift across the other instruments like wisps of cloud across the sky.

Then we get the entry of the theme, a compulsive Nordic ear-worm folk melody led by Hardanger fiddle and violin that’s half woozy sea-shanty and half universal pan-African groove, backed up by shuffle-beat drumming like Ed Blackwell with Ornette Coleman. As if that wasn’t enough for one tune already, the music continues to evolve, with a beautifully poised improvised solo on trumpet by Hildegunn Øiseth that sounds so perfect it should really win some kind of award on its own. The groove slows down, the elephant waltz returns to form a satisfyingly symmetrical conclusion and the music gradually resolves into silence, bringing to an end what has been seven and a half minutes of continuous invention. It’s quite a performance, and quite a band, the dectet of expert players covering enough instruments between them to simulate the tonal breadth of a full orchestra while retaining the humble, home-made aesthetic of a traditional folk ensemble, matching compositional sophistication and individual virtuosity with collective empathy and hard-won grace.

Elsewhere, as the album develops, the folk references expand to include echoes of west African desert blues, east European gypsy swing, Armenian double-reed laments and lugubrious Nordic village knees-ups on a range of material partly adapted from traditional hymn-tunes and songs from Norway and the Faroe islands to form a kind of north Atlantic gumbo. But ‘Avant Folk’ never feels like a slapdash fusion of different elements mashed together without regard for the integrity of the whole. Importantly, the band always sounds like a proper band, as fleet-footed as any improvisational jazz ensemble, and able to hurdle with ease the normal generic divides separating one type of music from another. By the time the listener reaches the end of the album’s final track, ’Neid’ – another Frode Haltli composition, like the opening ‘Hug’ – ‘Avant Folk’ has effectively created its own genre, a pleasingly congruent collection of stylistic traits that sounds like nothing so much as itself. All the music, whether composed by Frode Haltli or adapted from antique sources, is arranged jointly by Haltli and the band members.

So where did ‘Avant Folk’ come from and why does it sound so good? For a start, Frode Haltli (born 1975, Norway) is, like many of the ensemble’s star players, a classically-trained virtuoso who from an early age (he began the accordion at seven) has been well used to working between different forms of music, from traditional folk to the avant-garde, and to collaborating with players from all sorts of backgrounds. Haltli also composes, both on his own and with Maja S.K.Ratkje (his co-producer on ‘Avant Folk’, who is responsible for the album’s editing and mixing), and has developed very strong links with fellow musicians and composers both within Norway and internationally, once again working across the normal boundaries demarcating one musical form from another, recording the complete accordion works of Arne Nordheim, for example, but also appearing with the various groups of jazz saxophonist Trygve Seim. His debut recording for ECM, ‘Looking On Darkness’ was released in 2002, followed by ‘Passing Images’ from 2007, (with trumpeter Arve Henriksen, violist Garth Knox and Maja S.K. Ratkje on vocals), and ‘Air’ (2016), a recording of music for accordion and strings by Hans Abrahamsen and Bent Sorensen with the Arditti Quartet and the Trondheim Soloists. His debut release for Hubro, ‘Vagabonde Blu’ (2014), is a live solo recording featuring works by Salvatore Sciarrino, Aldo Clementi and Arne Nordheim. As if any further exemplars of Frode Haltli’s customary melding of the classical repertoire with folk, jazz and beyond were needed, we can also note his current duo with the Norwegian violinist Gjermund Larsen; The Snowflake Trio (with Irish flautist Nulala Kennedy and Norwegian fiddler Vegar Vardal); and a trio with another fiddler, Ragnhild Furebotten, and the Swedish nyckelharpist Emilia Amper.

The breadth of Frode Haltli’s interests is not unusual in Norwegian music and this is paralleled by a number of his collaborators on ‘Avant Folk’, many of whom – like the inspirational fiddler Erlend Apneseth (a regular Hubro artist in a number of settings) or the keyboardist Stale Storlokken (of Supersilent and Motorpsycho, among others) enjoy similarly wide-ranging careers that weave in and out of numerous musical styles and settings. But the last word on ‘Avant Folk’ has to be the music. The album ends on the suitably epic note of Haltli’s ‘Neid

1 Hug 07:22

2 Trio 04:22

3 Kingo 10:44

4 Gråtar'n 05:30

5 Neid 13:29

Since Ba Cissoko's group became known on the World Music festival network in the early 2000s, their sound has been mixing traditional Guinean rhythms with reggae, rock and blues. The peculiar way of using the wah-wah pedal with the electrified kora gave them the nickname "African Jimmy Hendrix", supported by a spectacular and fun stage game.

In Nimissa the group, already in quintet format completed by guitarist Abdoulaye Kouyaté and drummer Alhassane Camara "D’artagnan", opens up to the brass of the AvaSaty Marching Band fanfare and to the percussions of Laurent Rigaud "Samba".

Tracks list:

01. Ako

02. Politiki

03. Loumo

04. Naboran

05. N´Tenlebidjé

06. Djoulo Diata

07. Kéléfaba

08. N´Gnoni Ba

09. Djéli Fatouma

10. Kora Rocks

ZvuloonDubSystem is Israel's leading reggae band. Taking its name from one of the twelve tribes of Israel, the band was formed in 2006 by the Smilan brothers. They shared the same passion for reggae and roots dub, influenced by varied musical styles, such as Ethiopian jazz from the 70s, soul, funk and jazz from the United States, along with Israeli Mizrahi music.

Group:

Gili Yalo - lead vocals

Inon Peretz - trumpet

IlanAdiri - tenor sax

Ilan Smilan - lead guitar

Simon Nahum - rhythm guitar

Lior Romano - piano and organ

Mal Marcus - bass

Asaf Smilan - drums and percussion

Guest artists :

Mahmoud Ahmed - voice (5)

Zemene Melesse - voice (8)

Yaacov Lilay - voices (7)

Krar (1,7,10)

Leave Manchelot - masinko (10)

Roei Hermon - trumpet (6, 9)

Yonatan Voltzok - trombone (1-5, 7)

Maayan Milo - trombone (6,8,9)

Omri Abramov - Alto Sax (1-3, 5-7,9)

Elad Gellert - baritone sax (1)

Shay SattamanJacovi - backing vocals (8) 

1.Alemitu 03:52

2.Tenesh Kelbe Lay 03:47

3.Sab Sam 03:55

4.Man Begelagelgni 03:30

5.Ney Denun Tieshe - feat. Mahmoud Ahmed 04:25

6.Yehoden Aweteche Lengeresh 03:52

7.Tsbukti Fetret – feat. Yaacov Lilay 04:06

8.Endemenesh - feat. Zemene Melesse 03:58

9.Zelel Zelel 04:09

10.Yene Almaz 03:39 

In my opinion, one of the best bands when it comes to interpreting reggae fused with soul music. This is a great album, the creation of different climates is an achievement that should not go unnoticed. Excellent bass lines and vocal compositions on tracks like Rejoice, Cool Meditation, and Fret Not Theyself to name a few. Going a little deeper in the coming years to the album we have the cover we found, Now That We Found Love by O'Jays, making it to the Top Ten of the American R&B in 1979 as well as the Britisth pop Top Ten in that same anus. The simple 'Cool Meditation' made it to the British Top 20. 

Tracks

One Cold Vibe (Couldn't Stop Dis Ya Boogie)

Cold Sweat

Cool Meditation

African Woman

Now That We Found Love

Journey To Addis

Fret Not Thyself

Rejoice 

Landing on the Windham Hill label, Samite (having dropped the "Of Uganda" from his name several years back) offers a collection of songs inspired by his return to the African continent after approximately a decade of residence in the U.S. as a political refugee. The music is largely in keeping with his introspective folk style, but this time, several prominent Windham Hill artists make appearances, including Will Ackerman, Michael Manring, and Tuck & Patti's Patti Cathcart. The results are an intriguing fusion of African pop and new age whose sound actually leans more toward the latter.

Samite Mulondo is at once a refugee and a pilgrim, a wanderer with as many homes as his music leads him to enter. He sings in a bright, sweet tenor; accompanied by his extended family of thumb pianos and percussion instruments that have come to him at different points during his travels. His demeanor is austere and remote when he is confronted with strangers one-on-one and he is unclear about their motives. Yet, he is relaxed, open, and lovable when facing huge crowds from the stage, safe within his art and protected by his beloved instruments. Up close, the latter impression turns out to be by far the more accurate one, as he tells his difficult and inspiring tale with grace, warmth and wit.

1 Tindiba 4:19

2 Esawayo 5:52

3 Bring Back The Music 3:52

4 Old Man's Wisdom 4:00

5 Sala Endongo 3:47

6 Stars To Share 6:12

7 Cradle With Love 3:42

8 Having A Good Time 6:05

9 Siwa 4:53

10 I'll Be Strong 3:27

11 Mountains Of The Moon 3:40

12 Night Stories 5:41

Fromthe Hearts of the Masters is the meeting between two undisputed masters of their instruments, Foday Musa Suso (innovator and master griot of the kora), and Jack De Johnette, one of the best drummers today, creating a sublime game and an exciting experience for the ears thanks to the inspired improvised dialogue between drums and kora.

As a conductor, songwriter and drummer, Jack De Johnette has collaborated with some of the most recognizable and innovative musicians of our time, including the likes of Miles Davis, John Coltrane, Sonny Rollins, Carlos Santana, Keith Jarrett, Herbie Hancock and Path Metheny.

Regarded as one of the greatest jazz drummers, De Johnette, originally influenced by such masters as Miles Davis and John Coltrane, has delved into sources beyond jazz. A restless artist, never willing to stay established in a line to be labeled, he has described his work as "multi-directional music" for more than thirty years.

Foday Musa Suso is an internationally recognized musician and griotmandingo (musician / oral historian of the Mandingo people), born in Gambia. Suso grew up in a society where griots function as "walking libraries," singing his stories for the community while providing history, wisdom, and entertainment.

Besides his virtuosity with the kora and singing, Suso is also a percussionist and composer. After years of rigorous study in his homeland, he settled in Chicago in the 1970s. Since then he has performed throughout Africa, Asia, Europe, and North America. Interested in traditional and innovative languages, Suso has traveled and recorded with a variety of prominent musicians, including Herbie Hancock, Philip Glass, Pharoah Sanders, Ginger Baker, and Medeski, Martin and Wood. Suso is considered a musical pioneer, giving a new dimension to the traditional and spiritual aspect of the kora with the use of new technologies.

The first meeting between De Johnette and Susofué behind the scenes of a Philip Glass concert at London's Festival Hall, where they decided to work together, with Suso arriving in New York in January 2002. As De Johnette points out, "there was an immediate chemistry" . The duo spent four days in the studio, including two days of rehearsals and tests. In these short but intense sessions, Fromthe Hearts of the Masters was created, being the first edition (in 2006) of Jack De Johnette's new record label, Golden Beams. In Suso's own words, "everything we play together is like we've been doing it for thirty years or more ... whatever song Jack performs he gives rhythms that work like magic."

From the Hearts of the Masters contains deep sounds and hypnotic passages of inspired improvisation through the dialogue of the instruments. Once the melodies are established, the artists rise above them, providing a totally different dimension to this unconventional pairing of kora and drums, transcending labels. Two masters who create a sublime game, De Johnette's drums as the perfect complement to Suso's virtuous performance on the kora. 

Tracks list:

01. ocean wave

02. ancient techno

03. rose garden

04. worldwide funk

05. kaira

06. mountain love dance

07. party

08. voice of the kudrus

09. sunjattakeita

Strut presents the brand new album from cosmic jazz travellers The

Pyramids, led by saxophonist Idris Ackamoor, ’An Angel Fell’. “I wanted to use folklore, fantasy and drama as a warning bell,” explains Ackamoor.

“The songs explore global themes that are important to me and to us all: the rise of catastrophic climate change and our lack of concern for our planet, loss of innocence and separation... but positive themes too, the healing power of music, collective action and the simple beauty of nature.”

Produced by Malcolm Catto of The Heliocentrics, the album was recorded during an intense week at Quatermass studios in London and is one of the deepest, richest works yet from a band reaching their highest creative peak since the early ’70s. Some of the many highlights include the poignant title track depicting a fallen angel in purgatory, outrage and grief on the powerful, hard hitting ‘Soliloquy For Michael Brown’ and the lilting, beautiful album closer, ‘Sunset’.

The Pyramids originally came together in 1972 at Antioch College, Yellow Springs, Ohio where teachers included renowned pianist, Cecil Taylor.

After forming in Paris and embarking on a “cultural odyssey” across Africa, the group recorded three independent albums, ‘Lalibela’ (1973), ‘King Of Kings’ (1974) and ‘Birth / Speed / Merging’ (1976) and became renowned for their striking live shows, mixing percussive, spiritual and space-age jazz with performance theatre and dance. After migrating to San Francisco, they disbanded in 1977. 35 years later, the band reunited in 2012 following growing demand for their music from vinyl collectors.

German label Disko B released the freeform album ‘Otherwordly’ and in 2016, they released their first album for Strut, the acclaimed ‘We Be All Africans’.

Musicians:

Idris Ackamoor: Tenor Saxophone, Keytar, Lead Vocals

Sandra Poindexter: Violins, Lead Vocals


David Molina: Guitar, Effect pedals, Vocals


Skyler Stover: Double Bass, Vocals


Bradie Speller: Congas, Handsonic, Vocals


Johann Polzer: Drums

Album cover - top right

Artwork by Lewis Heriz.

1. Tinoge 06:59

2. An Angel Fell 08:37

3. Land Of Ra 09:25

4. Papyrus 07:41

5. Soliloquy For Michael Brown 09:21

6. Message To My People 07:48

7. Warrior Dance 11:10

8. Sunset 06:32

ÁFRICA, HAVABA, PARIS. Ricardo lemvo y Makina Loca

RAMPA RUMBA. Salsamania

FATAL MAMBO. Problema

CAMPANERO. Orquesta del Sol

TI DJO’ . Malavoi

SI (OH OH). Beethova Obas

EL CUALQUIER CLAVE. Nueva Manteca

PAQUITA. African fiesta

OYE MI ISRAEL. Jerusalem Salsa Band

NO VOLVERÉ. Bago

MI RUMBA ESTA BUENA. Hot Salsa

Hadouk is a play on words composed of hajhouj, African bass and Doudouk, Armenian oboe Hadouk Trio is a band like no other, founded by three adventurous poets and musicians, they show us charming nomad music, the spiritual and joyful light of Didier Malherbe (ex-Gong) master of the winds, Clarinettes, sax, flutes, ocarinas and the hajhouj, of course with the talent and grace of Steve Shehan the drum master plays both sticks and bare hands, as if he could talk to his team, lots of exotic percussion too. LoyEhrlich plays strings and keyboards, but also hajhouj, kora. the band has been 10 years without ever losing their faith in melodic experimentation of all kinds. Adding ethnic instruments to your sound (khen, Lao mouth organ, gumbass) mixes just the necessary amount of electronic sounds to your ethno-jazz. This album shows a serene and relaxed side of the band that on their previous recordings, it was also the perfect opportunity to invite a fourth man, pioneer in experimentation, Mr. John Hassel (trumpet), whom we heard on all three tracks. closing of this album, adding a bit more to the already exciting eclectic music of The Hadouk Trio. 

Recorded live at Les Cabaret Sauvages on 22 and 23 May 2007.

Loy Ehrlich - Bass [Gumbass, Hajouj], Kora, Keyboards

Steve Shehan - Djembe, Congas, Tom Tom, Goblet Drum [Derbouka], Shaker, Percussion [Calebasse], Waterphone, Drums [Daf, Hang], Electronic Drums [Handsonic], Cymbal, Bells, Musical Bow

Didier Malherbe - Duduk, Flute, Khene, Performer [Toupies], Ocarina 

Gardens of Eden, edited by Putumayo in 2001, is a collection of music whose common theme revolves around places considered "earthly paradises" and the sounds of acoustic guitar, ukulele, African kora, Polynesian rhythms, tabla india and the sitar. An idyllic journey through the rhythms of the lands of Eden. 

Tracks list:

01. Telek - Midal [Papua New Guinea]

02. Eric Manana - Tsara NY Miran'ny Taniko [Madagascar]

03. Ana Rita Simonka - Mais Filhos de Gandhi [Brazil]

04. Baba Djan - Makola [Guinea]

05. Shweta Jhaveri - To a Beloved [India]

06. Barefoot - Arica [Big Sur]

07. Regional Vermelho E Branco - Conori [Brazil]

08. Guadalupe Urbina - País Azul [Costa Rica]

09. Te Vaka - Tautai E [New Zealand]

10. Keola Beamer - Elepaio Slack Key [Hawaii]

11. Yungchen Lhamo - Happiness Is... [Tibet]

Candeal's miracle has its origin in a true story: that of Carlinhos Brown, who was born and raised in a neighborhood of Salvador de Bahia, and who today is an international music star. The artist has invested his time and money in trying to eradicate poverty and violence in Candeal. With the help of music he has made extraordinary advances in these aspects, developing community projects to improve the quality of life in the community, among others, the Pracatum Popular Music School (which provides young people in the neighborhood with a professional outlet) . Carlinhos and the Pracatum Association have made Candeal the most developed and peaceful community in Brazil.

Twenty years of efforts have been necessary to make Candeal a human and habitable place, calm and without weapons. Two decades to rehabilitate the neighborhood, put sewers, paint houses, minimize disease and eliminate infant mortality. For this work, Carlinhos Brown was awarded by UNESCO in 2002.

On his side, the film director Fernando Trueba shot a film inspired by the story of Carlinhos Brown and the Candeal community entitled El milagro de Candeal. Along with Carlinhos Brown, the singer and composer Gilberto Gil, CaetanoVeloso (creator with Gil of the tropicalista movement that revolutionized Brazilian music), Marisa Monte (from Tribalistas) and the great Bebo Valdés, who meets his sister music, participate in the film. from Salvador de Bahía and that is where he believes that the music, culture and religion of his African ancestors has been preserved in a purest way.

Today, Candeal is an active cell of creativity and musical agitation. The relationship of educational centers, musicians, groups and auditoriums that meet today in Candeal is extremely intense.

According to Carlinhos Brown, "Revolution destroys, evolution builds. Candeal is the construction of meaning, of gentleness, of goodness. We do not want paternalism, we want social emergency. Food or learning to plant? Learn and pass the knowledge so that all take advantage of them. Humanity needs to dance together, dance forever. " Fernando Trueba states that Carlinhos has a highly developed sense of responsibility towards his community. He knows that he is an example for many boys and tries to distribute that responsibility so that Candeal is not just him. Children are also essential protagonists of El milagro de Candeal, always present in the music classrooms, in the streets playing percussion, in the talks in which Carlinhos Brown teaches them that percussion is at the origin of life and that even the smallest, the most insignificant is used to make and live music.

Trueba believes that when you see Candeal's childhood, there is something inside you that changes you. The Spanish filmmaker believes that "the people of Candeal are richer than those of many other places. I would like El milagro de Candeal to contribute to publicizing a community that seems exemplary to me. that they have already achieved. Because it teaches us by example that the world can be improved. "

Also the neighborhood of Candeal teaches us that perfect coexistence between ancestral traditions and modernity that occurs in the favela of Bahia. Candeal's miracle is the visual demonstration that through music violence and poverty can be overcome. Candeal is the living and current example of this possibility. But, above all, it is a hymn to hope and to music as a possibility to improve people's lives. To creation, generosity and illusion as an alternative to destruction, selfishness and disenchantment. The miracle of Candeal reveals to us that it is still possible to trust in a more supportive and better world. That there are people fighting for their paradise now. 

Tracks list:

01. SilêncioD´Allah (Bilú do Paraíso)

02. Aldeia (Carlinhos Brown)

03. Blenblenblen (Carlinhos Brown y la Banda del Camarote Andante / Bebo Valdés)

04. Carlito marrón (Carlinhos Brown)

05. Zambiemameto (Carlinhos Brown / Mateus)

06. Candeal de Santo Antônio (Carlinhos Brown)

07. Músico (Carlinhos Brown / Marisa Monte / Bebo Valdés)

08. Faixa de cetim (CaetanoVeloso)

09. Agogô Valdés (Carlinhos Brown y Bebo Valdés)

10. Serenata aoLuar (Carlinhos Brown y la Banda del Camarote Andante)

11. Misericórdia (Mateus)

12. Ashansu (Carlinhos Brown y Banda Timbalada)

13. Pintado e sua gente (Carlinhos Brown)

14. Sal de Yemanjá (Hip Hop Roots)

15. Carnaval medley: Blenblenblen / Carnavália / Faraó / Toda paz / Serpente e serpentina (Carlinhos Brown y la Banda del Camarote Andante)