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Download Ancestors high quality 320 kbps album
Length: 49:31:00 Price: $11.98
01. Bonicha Kuala - 0:34 - Price: $1.29
02. El Canto A Los Angeles - De Tierra Y Cielo - 5:42 - Price: $1.29
03. Breathe - 4:30 - Price: $1.29
04. Eshu La Roye - 3:56 - Price: $1.29
05. Asokere - 3:33 - Price: $1.29
06. Chen Che - 6:02 - Price: $1.29
07. Odie - 2:55 - Price: $1.29
08. Baba Fururu - 7:02 - Price: $1.29
09. Afrekete - 1:44 - Price: $1.29
10. Novidadi - 3:52 - Price: $1.29
11. Orisha Iyesa - 5:02 - Price: $1.29
12. Ochimini - 4:35 - Price: $1.29
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Bata Ire is one of my favorite Afro Cuban bands.
After seeing Bata Ire live I had to purchased Ancestors. I love this album which is also played a lot by my teenagers girls! Thank you so much for your beautiful vocals and music.
Reviewer: Katy Spratt
BATA IRE is easily one of the very best groups we’ve worked with at Desert Botanical Garden. They are amazing performers! The energy and sound they brought was perfect and our audience left excited about their experience!
Afrocuba - Brazilian - Funk
The title Ancestors is not to be thought of in its usual sense of past familial relationships but rather the musical ancestry of the masters of Cuban folkloric and religious musics which have inspired this album and Bata Ire.
With this in mind Bata Ire has embarked on their debut album taking Afro-Cuban rhythms and re-introducing them to the American musical idioms of Jazz, Blues, Rock, and Funk. There is also a further blending, as in the cut Ochimini where African religious tradition is blended with a Chicago Blues element and with rhythm highly suggestive of New Orleans street drumming. The cut Baba Fururu (an Orisha song for Obatala) is effortlessly re-imagined for Jazz combo. Music on this album ranges from the first cut, Bonicha Kuala, performed by the most elemental instrument - the human voice - to the more complex El Canto A Los Angeles De Tierra Y Cielo.
There are also more traditional cuts like Odie and the bata rumba style of Afrekete. Chen Che Kuru-ru / See Line Woman is a special case in point. This cut exemplifies a cultural synthesis between the African Orisha Oshun and the sexually alluring yet powerful and independent See Line Woman. Iyesa, a rhythm of the Lukumi in Cuba, is the inspiration behind two cuts on the album, Asokere and Orisha Iyesa , each of which treats it quite differently. Asokere has instances of call and response between the guitar and bass, and voice; and at the beginning the quinto, bass, and guitar take the role of bataleros. Orisha Iyesa uses elements of African pop, iyesa drumming, and funk.
The narration on Eshu La Roye is a prayer to Eshu asking for good health, a cool or peaceful mind and much more. It is spoken over rhythms sacred to Eshu and Elegua. The cuts Novidadi and Breathe are frankly inspiringly beautiful and lyrical. Novidadi is an expression of the Afro-Portuguese synthesis found on the Cape Verde islands and Breathe is Bata Ire’s offering of enlightened awareness of ones situation in life and how others effect the truly positive nature of the human condition.
Bata Ire consists of some of the finest musicians the Phoenix area has to offer.
The members are: Emilio Caruso
Music Director, Repenique, Congas, Bata, Percussion, Vocals
Emilio is a graduate of San Diego State University with a Bachelor of Music in Applied Arts and Sciences. Since moving to Arizona, he has been awarded a 2000 Artist Project Grant from the National Endowment For The Arts through the Arizona Commission On The Arts, for independent study of Afro-Cuban/Brazilian folkloric musical forms and continued research of the similarities of language, rhythm, song and dance of those musical idioms. He has also been awarded a Glendale Performance Arts Grant for a series of concerts and lectures on Afro-Cuban/Brazilian musics and culture.
Lauren Winston-McPherson has had a life infused with music and musical performance. She has been singing consistently for over 18 years. She completed her Bachelor of Music in Vocal Performance from Arizona State University in 2008, studying classical Western music. She specialized in French Art Song and experimental music of late-20th century American composers. Along with her study of Western Classical repertoire, she has been singing contemporary folk, rhythm & blues, and funk music for most of her life. As a vocalist she has performed a wide range of musical styles in numerous languages. In addition to performing with the Bata Ire, she also is currently working with a funk group called, Hot Birds and the Chili Sauce, which specializes in rare groove American funk.
Jesse Joaquin Parker
Vibraphone, Congas, Bata, Percussion
Mr. Parker has extensive experience in both percussion performance and education. Having studied under the likes of Fred Bugbee, Michael Burrit, Blake Tyson, Emilio Caruso, J.B. Smith. Mark Sunkett, Bill Wanser, Dom Moio, Michael Kocour, Taumbu, Dick Sisto, Rufus Reed, Ernie Chavarilla, and Louis Daniel Rivera, Jesse Parker has acquired a vast array of styles, techniques, and musical experiences. At the Percussive Arts Society International Marimba Competition, Mr. Parker placed fourth in a field of hundreds from all over the world. On the concert stage, Mr. Parker has been a member of the Las Cruces Symphony, El Paso Symphony, El Paso Wind Symphony, Star City Percussion Ensemble, Mesa Symphony, Salt River Brass Band, Arizona State Symphony Orchestra and the Contemporary music ensemble, Crossing 32nd Street.
Drumset, Percussion, Bata
Erik, a Phoenix native, has been involved in music since a young age. Starting on clarinet and then switching to percussion in high school, he went on to study clarinet and percussion at Northern Arizona University briefly, but decided to pursue a degree in jazz performance on drumset at Arizona State University. Erik has studied jazz drumset and percussion with Dom Moio, J.B. Smith, Mark Sunkett, Emilio Caruso and Joel Spencer. He currently plays in genres spanning from jazz to indie-rock. Erik has performed with Mike Kocour, Chris Vidala, Chris Champion, Justin Brottman, Jeff Libman, Ionnis Goudalis, Andrew Gross and has toured and recorded with the acclaimed indie-pop band, The Yellow Minute.
Rich "The Factor" Kniss
Electric Guitar, Percussion, Vocals
Mr. Kniss, originally from Chicago, has emerged as one of the most exciting and unique jazz guitar voices in the Phoenix Valley. Rich completed a degree in jazz performance from Arizona State University, having studied extensively with Chris Champion and Mike Kocour. Mr. Kniss has a deep love of bebop in combination with a passion for the newer styles of jazz guitar. Rich currently runs a private lesson studio.
Marcus Weeden is a bassist/multi-instrumentalist who originally hails from the "The Last Frontier"of Anchorage, Alaska, also known as the "Land of the Midnight Sun". His classical pianist/church organist mother and R&B/jazz guitarist father encouraged him to explore all genres of music early on. His diverse musical background it has enabled him to be a chameleonic backdrop sideman in live/studio sessions ranging from rock, jazz, funk, folk, alternative rock and even country! Some of his accomplishments include: Composing and conducting a 3- part symphonic suite for high school orchestra, brass, and percussion; showcasing for Columbia Records with alternative rock band Twig; having album compositions receive rave reviews from overseas in Europe via internet radio with the funk and soul group Calumet; having the chance to play and share the stage with the GREAT George Benson!
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