Appel Rec. 
Granuba : Transpiradansa! (B,2009)***'
In the most recent (150 years) history of change of musical costumes and tastes there’s something which seems not to be wiped out too easily out of our (Belgian/..) memory which is the ballroom orchestra (either brass band or orchestra). And what I saw more often is how local musicians were so easily able to adapt themselves pretty well to all the different styles and origins that passed their view while keeping a general encompassing vision and gift to play the arrangements and enjoy themselves with it. I have experienced Spanish nights (local brass band) and mambo orchestras (Tatoo del Tigre) played by local groups who were able to catch some sort of spirit that is recognisable for all. Wouter Vandenabeele in the meanwhile has played with many ethnic origins, was invited in different countries, saw colleagues enjoy themselves with Brazilians or Moroccan musicians (Think Of Fanfare), might have experienced his grandmother’s tastes, and met all sorts of individual talents on his way, and must have thought to establish a new orchestra that encompasses it all, like a meeting places of memories and experiences, from a nostalgic event, over the assimilation and assembling of experiences into a revival ready for the whole world, finished off by classical training ideas in composition, a leading guiding string arrangement, and the individual approaches in song and band format, united in grandeur for this occasion.
From fast melodies of humpapa boomfolk with a more serious string led orchestration (1), over Latin Jazz with more rhythm and brass arrangements, French folk with band and additional string/brass arrangements for the folk tunes, a slow melancholic tango-styled expressions like that of a translated into English Federico Garcia Lorca poem, orchestrated pabadapaa rumbas, the exotic “Mama Soweto” with 4 foreign guests from the South African/Belgian co-production ‘Zuiderwind’, old time swing jazzy elements, an adapted Rumenian folk song with occasional Balkan elements, singer-songwriter expressions in French or Dutch by individual members, accompanied by a small and the large band, and the adaptation of a track by Greek composer Nikis Kypourgos, ending with the serious and sad orchestrated “Oostland”. Grabuba is the imaginary destination, symbol for the soul who is able to fit in a global destiny while spontaneously adapting all the varied elements on its path.
