01 Blue violet (folk-song from Fábiánsebestyén)
02 Transdanubian jumping dances
03 Duet for hurdy-gurdy and clarinet
04 Two red peonies (3'08)
05 Duet for bagpipe and hurdy-gurdy
06 The moon is shining
Bulgarian folk music
Polish folk music
Ukrainian folk music
09 Beggars' song
Rumanian folk music
10 Three dances
Róbert Mandel: hurdy-gurdy
Márta Sebestyén: voice (04, 06; 07a)
Gábor Kállay: voice (09)
Mihály Sipos: first violin (02, 06)
Sándor Csoóri Jr: second violin (02, 06), bagpipe (05)
Dániel Hamar: double bass (02, 06), zither (04)
Péter Éri: Turkish pipe (02, 04), tambur (02), double bass (04)
Mihály Borbély: clarinet (03)
Nikola Parov: kaval (07), tambur (07)
Jorgosz Dzodzoglu: darabukka (07)
Gábor Kiss: double bass (07, 08)
Károly Györi: violin (08)
István Mártha: tambourine (08)
László Jakobi: bass drum (08)
Oszkár Ökrös: cimbalom (08, 10)
Original uploader: cianfulli. Thanks!
Kalyi Jag, Black Fire in English, play authentic Gypsy music and have been doing so for over 20 years. They are recognised as one of the foremost Gypsy folk ensembles in Eastern Europe today. The instruments they use are guitar, jug, board and oral improvisations. Traditional Gypsy music sung in Gypsy and Hungarian language.
01. Jaj istenem, az életem - Ay, God, my life
02. Szomorú szerelmes - Sad lover
03. A boszorkány - The witch
04. De megvert az Isten - Ay, God how scourged me
05. Leányom, Szabina -My daughter, Sabina
06. Ne vágd magad, kisleány - Don't make me angry, girl
07. Táncos Jani - Prancing Jani
08. Csak egyedül járok - I live alone
09. Az álom - The dream
10. A szép lány -The nice girl
11. Kéretés - Proposal
12. Bolond anyám - Foolish mother
13. Éjszemű lányom, Ági - My daughter, Ági with nightblack eyes
14. Táncos fiú - Dancing lad
15 Az éjszakai lányok - The night girls
Gusztáv Varga - voice, guitar
Ágnes Künstler - voice
József Balogh - voice, tambura, guitar, spoon
József Nagy - water can, oral bass
Mária Balogh, Tünde Balogh, Anikó Balogh - voices
Ternipe Group on tracks 5 and 10
Pál Havasréti - double-bass
Yiddish culture in east Europe today is but a dim shadow of its history and legacy, but it is not dead. Jewish communities exist - in diminished numbers - and Jewish life continues, not the least in the memories of an older generation who remember a world which spoke Yiddish. Di Naye Kapelye means The New Band in Yiddish. Di Naye Kapelye play old time Yiddish music from not so long ago. The klezmer music which defines modern Ashkenazic Jewish existence is the klezmer of America - especially New York. Old gramophone recordings document changes in instrumentation and repertoire as immigrant Jewish musicians adapted to new lives in the new world. In east Europe, however, folk traditions are strong, and Jewish music thrived as long as Jews had weddings. Di Naye Kapelye's music takes its character from east European kapelyes (yiddish for a small band) like the Bughici family band in Iasi, Romania, the Markus family band in Hungary, the Lantos Orchestra in Maramures, Romania, and other Jewish village bands who played in distinctively non-commercial, local styles. In many cases the Jewish musicians played alongside local Roma (Gypsies), and today in Hungary and Romania Gypsies are the main source for living practitioners of Jewish music. Some, like the Transylvanian fiddlers Samu Cilika Boross and Ferenc Arus, played for Jewish weddings when no Jewish band was available. Some, like Andras Horvath of Tiszakorod, Hungary, and Gheorghe and Vassile Covaci in Maramures, Romania, worked in Jewish bands before the war and learned the musical nuance of the local Hasidic courts (hoyfn). Hungary, is Di Naye Kapelye's home, and they come together through a surprising set of circumstances, many of them soaked in palinka - Hungarian plum brandy.
01. Dem Rebns Tants (trad., from Art Shryer's Orch., 1929)
02. Ani Maamin/Wedding March from Transylvania (trad.)
03. Hangu and Freylachs from Podoly (trad., Bughici family, Moldavia)
04. Kotsk/Dem Trisker Rebns Nigun (trad., Dave Tarras
05. Shloimke's Russian Dance (Shloimke Beckerman)
06. Naftule's doina (Naftule Brandwein)
07. Moldav-O-Rama (trad.)
08. Bet Zikh ibert un Geyt a Tentsl (Tarras, in Greek style)
09. Ono B'Choach - Slow Hora/The Odessa Bulgar (trad., Mishka Tsiganoff)
10. Jewish Tunes from Szatmár (trad.)
11. Yismekhu/in Ades/Áron's Chosid Tants (Belf Orchestra/trad./J.Frankel)
12. Bobover wedding march (trad.)
Bob Cohen: vocals, violin, mandolin
Christina Crowder: accordion, drum
Géza Pénzes: bass, cello, koboz, drum, background vocals
Janos Barta: clarinet, background vocals
Jack "Yankl" Falk: metal and wood clarinets, vocals
Róbert Kerényi: Moldavian caval and flutes, drum
The Udrub Ensemble was formed in 2004 through the natural fusion of six exceptional professional musicians. The secret to the ensemble’s exotic and unique sound is a type of multicultural harmony that is ultimately a projection of each member’s Hungarian identity. Their love of eastern sounds is brought about by the kinship that is prevalent is the feeling world of Hungarian and eastern people, that inevitable define a new and fresh world music creation. Historically, the art world is just realizng its flowering through impressionism. The age of the Internet in our modern contemporary wold enables us to experience both our culture and the broader world around us, to ultimately promote the idea of peaceful coexistence. The Udrub ensemble’s composition’s artistic worth lies in the harmony of its authentic traditions and personal musical expressions, in which the strength of folk music, the refinement of classical music and the freedom of jazz unite.
1. Al Baab "Sarqi"
2. Parfum de Gitane
3. Ash Devlesa
4. Xelef/ Nawroz (kurd. trad)
6. A bűn
7. Balakan express
János Gerzson – oud, saz
Tibi Golan – ney, flute, kaval
Dávid Troják – bass guitar
Géza Orczy – daf, derbuka, tapan
Kálmán Balogh – cimbalom
Frankie Látó - violin
"Innovators, renegades, survivors - within a few years, the Zydepunks have grown from underground heroes into one of New Orleans' most talked about bands. Yiddish riddles, Irish ballads, Cajun punk, and original songs in Spanish and German are a small demonstration of why they astound new audiences. Wild folk dances fronted by accordion and fiddle and backed by relentless drums and bass are a testament to the high-energy folk-punk dance craze that is a Zydepunks show.
The Zydepunks began in 2004 and quickly took the New Orleans music scene by storm with their speedy and amped-up versions of European and Louisiana folk music. Vocal stylings in six languages (German, French, Spanish, Yiddish, English, Portuguese) immediately set the band apart. Their own original work has given the band a more cohesive feel while staying true to their sound.
Sadly, no story about any contemporary New Orleans band is complete without mentioning the hurricane season of 2005. What was looking to be a breakout year for five young musicians coming off a national tour turned into a matter of pure survival. Three founding members ended up returning to New Orleans to houses that were miraculously untouched but a city that was forever mangled. With their lineup and future in doubt, the band managed to reunite for a performance at the New Orleans Voodoo Music Festival. A memorable nighttime show at the legendary Café Brazil gave notice that the old New Orleans might come back after all."
"Everyone jumped for joy to the speed-core melange of klezmer tornadoes, Balkan dances, Celtic reels and bayou-squeezbox war"
"World music never sounded like so much frantic, frenetic and sweat-soaked fun."
"The Zydepunks are one of New Orleans' most rousing live performers... they surprise with sublime accordion-fiddle fueled playing."
02. Satan/Dance you Fukr
03. Lowlands of Baghdad
04. A Fistful of Oysters
05. Bwamba's Rambles
08. Reel & Jig Set
09. Con ti se va mi corazon
10. Romanian Hora & Bulgar
11. Johnny Can't Dance
12. Die Schwimmbadpiraten
13. Mabel's Got the Blues
Róbert Lakatos approaches the works of Béla Bartók with as much respect as Barók himself once approached the treasure of Hungarian folk songs - by abstracting the stylistic characteristics of the folk melodies he had collected and classified, Bartók created one of the most significant life-works of 20th century classical music.
The most interesting pieces on this album are those in which Róbert Lakatos has returned Bartók's musical works to their supposedly original, traditional rural musical enviroment. When he surprises us now and again with a well-formed improvisation or variation he shows us that folk music could not have developed, could not have reached the refined form which Barók became acquainted with if the individual achievements and ingenuity of various generations of village musicians had not contributed to a greater or lesser extent to the common musical treasure of the people.
The musicians partnering Róbert Lakatos, apart from the outstandingly accomplished viola player László Mester, are all from the Uplands. (The Uplands of old Hungary, now in southern Slovaika.) We can enjoy the violin playing of Tamás Cseh, who is currently pursuing his studies in classical music, while his brother, Sándor Cseh, plays the cimbalom, which, together with the voice of Éva Korpás, is one of the leading contributors to the album's harmonious atmosphere. The carefully attentive accompaniment and lively dynamism provided by the double bass and accordion of Tibor Lelkes and the guitar and viola of Zoltán Hanusz give all this a solid foundation.
01. Kalamajkó (Bartók - arr. Pimroes)
02. Brácsa tánc / Dance Of The Viola (trad. - arr.: Lakatos)
03. Máramarosi tánc / Dance From Máramaros (Bartók - arr.: Primrose)
04. Csárdások / Csárdás Sequence (trad.)
05. Szól a kakas... / The Cock Is Crowing... /trad. - arr.: Rév)
06. Édesanyám Rózsafája... / My Dear Mother's Rambling Rose-tree... (trad. - arr.: Cseh S.)
07. Malmos / Mill Dance (trad. - arr.: Rév)
08. Röpülj páva... / Fly Up, Peacock... (trad. - arr.: Lakatos)
09. Buzai tánczene / Dance Music From Buza (trad.)
10. Párnás tánc / Cushion Dance (Bartók)
11. Csak azért szeretek... / That's Why I Like To Live (trad. - arr.: Lakatos)
12. Hajnalodik / Day Is Dawning (trad. - arr.: Lakatos)
Róbert Lakatos - viola, violin
Éva Korpás - voice
Attila Oláh - voice, drum
Tamás Cseh - viola, violin
Sándor Cseh -cimbalom
László Mester - 3-stringed viola, viola
Zoltán Hanusz Zoltán - 3-stringed viola, guitar, double bass, viola
Tibor Lelkes - double bass, accordeon
Marianna Majorosi - voice
Miklós Molnár - violin
Róbert Farkas -double bass
Original uploader: botlika. Thanks!
The Huun Huur Tu band from Tuva, Russia, practice the ancient technique of "xöömei" or throat-singing. Each vocalist simultaneously produced two distinct pitches: a lower drone and a high pitched flute-like sound. This is one of the world’s oldest forms of music making. We heard their ancient instruments and experienced the mellow beautiful tones that were exciting and yet very calming to the spirit. Instruments they use in their music include the igil, khomus, doshpuluur, tungur (shaman drum), and others.
The xöömei quartet Kungurtuk was founded in 1992 by Kaigal-ool Khovalyg, brothers Alexander and Sayan Bapa, and Albert Kuvezin. Not long afterwards, the group changed its name to Huun-Huur-Tu, meaning "sunbeams" (lit. sun propeller). The focus of their music was traditional Tuvan folk songs, frequently featuring imagery of the Tuvan steppe or of horses.
The ensemble released its first album, 60 Horses In My Herd, the following year. The album was recorded at studios in London and Mill Valley, California.
01. Sygyt (Lament of the Igil)
03. Öske Cherde (Foreign Land)
04. Eshten Charlyyry Berge (It´s Hard to Be Parted From a Friend)
06. Khöömei (Khovalyg solo)
08. Fantasy on the Igil
09. Bayan Dugai
10. Tuvan Internationale
11. Kargyraa (Khovalyg solo)
12. Ching Söörtukchülerining Yryzy (Song of the Caravan Drivers)
Kaigal-ool Khovalyg: vocal, igil, doshpuluur, chanzy;
Sayan Bapa: vocal, igil, Tuvan percussion;
Albert Kuvezin: vocal, guitar;
Alexander Bapa: Tuvan percussion.