On previous collections, Putumayo has explored upbeat Arabic pop and dance music (Arabic Groove and North African Groove) and laid-back Arabic electronica (Sahara Lounge). With Acoustic Arabia, we turn our attention to the subtler, more organic music of the Arabic world which has been inspired by the region’s traditional music.

With their stripped-down arrangements and softer, more introspective quality, the songs on Acoustic Arabia highlight the fundamental beauty of the music of the Arabic world. This collection features an intriguing roster of artists, including several international stars and exciting new discoveries. Each musician has a fascinating life story that brings added depth to their music.

One of the best-known featured artists is Algerian singer-songwriter Souad Massi, whose contemplative songs address social and political issues and were banned by the conservative government. Maurice El Medioni, a world-renowned Jewish piano legend from Oran, Algeria first began performing alongside Arab musicians during the golden age of the Algerian music halls of the 1940s and 50s, and is still tickling the ivories as an octogenarian. The band Tiris hails from Western Sahara and is made up of refugees who have been part of the struggle to reclaim their homeland from Morocco which now controls the region.

Les Orientales, fronted by three divas - Mouna Boutchebak, Saléha and Sylvie Aniorte-Paz, revisits Algerian music hall songs of the post-World War II era. For more than 20 years, musicians from all over the world have met in the RAS, a magical oasis in the Sinai desert by the Red Sea. Sudanese singer Jamal Porto’s “Gamar Badawi” was written and recorded at the RAS oasis. Zein Al-Jundi was born and raised in Damascus, Syria and moved to Austin, Texas where she performs, teaches belly-dance and owns a store selling Middle Eastern arts and crafts. She not only provided a song, “Wijjak Ma’ii,” but also wrote the album’s liner notes.

The gentle emotion and entrancing melodies of the songs featured on Acoustic Arabia will help listeners deepen their appreciation for the rich music of this part of the world.
Women of Jazz - Women of Jazz showcases the originality and artistry of 10 exceptional female vocalists from North America. This collection offers extraordinary artists from several eras – legends who have inspired today’s generation, stars of the contemporary jazz world and young women just now starting to make their mark on jazz history. Women of Jazz captures the depth and diversity of the female jazz experience.

Women of Jazz includes original songs alongside classic 1920s ballads and Broadway show tunes. A true reflection of the creativity of today’s female jazz artists, their songs often combine jazz with unexpected influences such as rhythm and blues and country ballads.

Melody Gardot’s song “Goodnite” showcases her subtly hip and swinging style. Madeleine Peyroux, whose sultry voice resembles that of Billie Holiday, turns Leonard Cohen’s folk song into a jazz classic. Sophie Milman, winner of Canada’s 2007 Juno award for best jazz vocal album, gives an inspired performance that incorporates gypsy violin and klezmer.

Several songs add a contemporary twist to well known tunes. Cassandra Wilson, a world-renowned jazz innovator, provides a modern take on the classic “Lover Come Back to Me”. Hope Waits’ rendition of “I’ll be Satisfied,” a 1950s rhythm and blues hit for crooner Jackie Wilson, sounds as if it had been written today by a contemporary singer-songwriter. Kate Paradise, part of the new generation of jazz musicians, provides her vocal improvisation of the classic tune “Mean to Me.” Jennifer Hartswick, who was a guest vocalist on several of the band Phish’s recordings, offers a new version of Billie Holiday’s “Lover Man.” Also on the collection, rising star Stacy Kent sings “Shall We Dance?” from The King and I.

Della Griffin, who sang with doo-wop and jazz groups in New York in the 1950s and spent most of the 1970s and 1980s as the featured artist at Harlem’s Blue Book Club, offers her interpretation of the jazz standard “It Could Happen to You.” Etta Jones, a jazz and blues legend, closes the album with the classic “Since I Fell for You.”