"Like Gogol Bordello and Flogging Molly, New Orleans quintet the Zydepunks draw from two divergent genres -- folk and punk -- to create music that pushes traditional boundaries without abandoning its roots. The group, known for its manic interpretations of European and Louisiana folk music and a multilingual repertoire (the group performs in English, German, French, Spanish, Yiddish, and Portuguese), formed in 2004, quickly gained a devoted following, and released its first album, 9th Ward Ramblers. The Zydepunks looked forward to more successes in 2005, but soon after releasing their second album, ...And the Streets Will Flow with Whiskey, disaster struck when Hurricane Katrina roared ashore. While the bandmembers were safe and three returned to homes that were still intact, their city was laid to waste. Despite the considerable setbacks, the group reunited for a performance at the New Orleans Voodoo Music Festival. In August 2007, they released their third album, Exile Waltz; a fourth release was scheduled for 2008."
1 Boudreaux Crosses the Danube
2 Big Man Walking in the Rain
4 Valse de Balfa
5 Andropov/Polka Félix
6 La Maraichine
7 Valse de creve de faim
8 Odessa Bulgar
9 Ma Tisére
10 Larideaux a six temps
11 Valse d'exil
12 Zydeco Cha Cha
Awards for World Music 2006
"It was the Neapolitan philosopher Giambattista Vico who once developed a circular theory of existence. We might travel as far as we can from our point of departure, but inevitably, we will always be drawn back to it in the end. Enzo Avitabile grew up listening to jazz and blues in the bars frequented by Yankee GIs stationed in Naples. He fell in love with American soul and R&B and mastered the sax, cementing his knowledge of the mechanics of music at the conservatory of San Pietro a Maiella. He then went on to release a string of successful solo albums, beginning with 'Avitabile' in 1982, and collaborated with a number of American musical heroes and heroines including James Brown, Tina Turner, Richie Havens, Randy Crawford and Afrika Bambaata.
In 1996 he began his return to the roots by writing songs about the poor and marginalised of his native city in a Neapolitan dialect. This fascination for the deeply religious and yet enticingly pagan and carnivalesque folklore of the Campania region eventually lead him to the bottari, or barrel-beaters of Portico di Caserta. In the early middle ages, the able-bodied men of this small village would gather to 'beat' out the demons from their fields and granaries, in order to ensure a good harvest. Their instruments were botti, tini e falci, or barrels, vats and sickles, and the noise they made was truly deafening...imagine a cross between the Drummers of Burundi and Ghostbusters.
As so often happens, this very practical exercise turned into a ritual and eventually into a distinct musical culture, centred around the feast day of San Antonio Abate in January. With devoted skill, Enzo Avitabile managed to blend the beats of the bottari with jazz, blues and the voices of the Brotherhood of the SS Crucifix. Word of this intriguing project soon got out and artists like Khaled, Amina, Hugh Massakela and Manu Dibango all begged Enzo to be allowed to contribute. The resulting CD 'Salvamm O Munno' ('Save The World') became one of the most unexpected and entrancing global music successes of recent years. Avitabile's work has given the tradtion a new lease of life, and made it famous throughout Italy and now the world. One of Naples' most dynamic and adventurous musical sons has come home. "
01. Abball' cu me - with Khaled
02. Tutt' egual song'e criature
03. Chest'e l'Africa - with Hugh Masekela
04. A peste
05. Salvamm'o munno - with Manu Dibango
06. Canta Palestina - with Amina
07. Vott'o sole arint'
08. Int' o viento
09. Tarantella bruna - with Baba Sissoko
10. Paisa - with Baba Sissoko
11. Puort aller
12. Votta votta
Original uploader: Balkanopithecus. Thanks!
"In recent times Zoltán Kallós is one of the most prominent and important figures in folk music research and collection in the Carpathian Basin.
Here Kallós sings songs from his own field work, accompanied by Ökrös Group. The selections represent nearly every area of Transylvania inhabited by Hungarians: Szilágyság, Kalotaszeg, Mezőség, Gyimes and Moldavia.
Born in Válaszút (Kolozs country, in Transylvania) in 1926, Zoltán Kallós follows in the tradition of Bartók and Kodály researching and collecting folk music from within the region known as the Carpathian Basin.
His interest in the folk music of this area started while still at school, and he has collected and researched the music since the late 1940s. Around the 1960s he started recording folk music in the various places he had previously studied, and it is these recordings that make up the Kallós Archive. In addition to these field recordings he has himself recorded the songs he collected with the ensembles Ökrös and Téka.
A forerunner to the Táncház (Dance House) folk revival of the 1970s in Hungary he was awarded the "Tree of Life" Prize in 1990, the Pro Hungarian Art Prize in 1993, and the Kossuth Award in 1996."
01 Moldvai bújdosódal (Gadár)
02 Keserves, hajnali és szapora (Kalotaszeg)
03 Szilágysági katonadalok (Varsolc)
04 Magyarszováti szerelmi dalok (Mezőség)
05 Mezőségi kontyoló dalok
06 Bonchidai-válaszúti menyasszony kísérő dalok (Mezőség)
07 Gyimesvölgyi szerelmi dalok
08 Válaszúti katonadalok (Mezőség)
09 Ördöngősfüzesi katonadalok (Mezőség)
10 Moldvai szerelmi dal (Klézse)
Zoltán Kallós - voice
Csaba Ökrös - fiddle
Miklós Molnár - fiddle
László Kelemen - viola
László Mester - viola
Róbert Doór - double bass
Zoltán Juhász - whistles
Kálmán Balogh - cimbalom
Croatian Music Association made this compilation to promote Croatian ethno music on World Music Expo (WOMEX) 2004. Croatia has always been at the crossroads of East and West, Christianity and Islam, Balkan and Mediterranean.... Part of the Croatian ethno experience has been collected on this compilation, which is not trying to be an anthology, but only an indentity card of a world music direction that has found fertile ground in Croatia as well.
01. Dunja Knebl - Lepe tvoje crne oci
02. Darko Rundek - Ista slika
03. Mojmir Novakovic i Kries - Iz oblaka rosa pada
04. Miroslav Evacic - Cardas Blues
05. Teta Liza - Protuletje se otpira
06. Tamara Obrovac - Ne placi Lucija
07. Cinkusi - Raca
08. Lado electro - 1 pura 2 pandura
09. Stjepan Veckovic - Praskozorje
10. Lidija Bajuk - V Kotoribi cug masina fucnula
11. Livio Morosin Band - Bura
12. Black Coffee - Kod lepanta
13. Dario Marusic - Za Zermane
14. Lado - Ladarke
"Think of Yat-Kha as the new wave of Tuvan throat singing, with its mystical, eerie overtones that seem unearthly. But to that sound, made popular by the likes of Huun-Huur Tu and traditional instruments like the tungur, they added electric guitar and, far more importantly, a sense of Western post-punk rock dynamics. The guitar features sparingly, used on "Solun Chaagai Sovet Churtum," "Karangailyg Kara Hovaa," and most effectively on "Kadarchy," where band leader Albert Kuvezin weaves a remarkably bluesy riff as the basis of the tune. But the sense that this band has listened to plenty of Western rock is there in their more traditional pieces -- which is most of the record. "Toorugutg Taiga," for example, has at least five things going on at once, with strings lines bowed and plucked, percussion, and voices working off each other in a stunning arrangement. For much of the time, the famed throat singing isn't really to the fore, concentrating more on the songs themselves, but on the epic closing "Kargyram," Kevezin unleashes an unaccompanied ten-minute tour de force of vocal overtone work that seems impossible, especially when the overtones take over, but it really, a display of rare virtuosity. Unlike most of their countrymen, Yat-Kha don't want to just keep the past alive; they want to integrate it into a musical future. That's their manifesto- laid out so eloquently here, and wonderful it is, too."
01-Solun Chaagai Sovet Churtum
02-Karangailyg Kara Hovaa (Dyngyldai)
04-Kuu-La Khashtyn Baaryndan
05-Kamgalanyr Kuzhu-Daa Bar
09-Chok-La Kizhi Yry
10-Een Kurug Kagban-Na Men
Mihály Dresch's Quartet is a determining band of the national jazz. A peculiar blend of folk music and jazz. As a result of its entirely individual sound and high artistic standard it is one of the most popular Hungarian band of its kind abroad. You can find a row of musical curiosities on the first Dresch album that appeared at the publisher: Dresch plays the cimbalom (this is a real surprise of our great wind player) and on the other solo instrument, the violin, we can enjoy the art of Félix Lajkó, who has since become popular with his own band as well.
1. Cimbalom zene / Cimbalom Music
2. Jókívánság / Best Wishes
3. Tedd - rá! / Put It On!
4. Napkelet / From East
5. Fecském - fecském... / My Swalow – My Swalow
6. Búcsúztató / Farewell
7. Friss / Quick Steps
Félix Lajkó – violin
Róbert Benkő – double bass
Tamás Geröly – percussion
Mihály Dresch “Dudás” – soprano and tenor sax, cimbalom, bass clarinet
01 - Zoborvidéki lakodalmas énekek
02 - Kőrispataki zene
03 - Székely furulyajáték
04 - Indulj el egy úton
05 - Dudanóták
06 - Cigány népdalok
07 - Héjsza
08 - Urálás
09 - Koldusének
10 - Tavaszi havajgatás tilinkán
11 - Édes Gergelem
12 - Elment az én rózsám
13 - Táncdallam furulyán
14 - Ugrós
15 - Siculicidium
Károly Cserepes: voice, bagpipe, Hungarian peasant flute, shepherd’s pipe, Turkish pipe, kaval, percussion
János Hasur: voice, violin, percussion
Ferenc Kiss: voice, violin, viola, gardon, hurdy-gurdy, guimbard, quinton guitar, kobsa, reed-pipe, percussion
Gyözö Zsákay: voice, double bass, percussion
Krisztina Simon: voice (01., 11.)
Ágnes Kamondy: voice (15.)
and The girls’ chorus of the Bihari János dance ensemble
Super-Slavs, Gogol Bordello have burst out of the New York underground with their third album and it is a corker. Eugene Hutz is the ringleader of they who have chosen to meld a Russian gypsy folk-punk megamix before your ears. This is beyond fusion; more than just a hybrid.
Los Angeles is the home of rock n roll. New York is the home of indie punks. System of a Down are the natural comparison to Gogol Bordello in the insane world of the perverted folk movements in the way that both make little sense but make so much of everything else, careening across every off-kilter theme one could find.
Hutz snarls and sneers at his microphone, while the backing of an energetically squeezed accordian and a vigorously violated violin sits sumptuously along the tastes of hobo-boho art types in search of the next ‘look’ and punkers looking for something a bit different.
On Gypsy Punks..., the crazy Ukrainian sounds like he’s drunk in charge of a record contract. And I like it.
02.I Would Never Wanna Be Young Again
03.Not a Crime
07.Dogs Were Barking
09.Start Wearing Purple
10.Think Locally f**k Globally
11.Underdog World Strike
Eliot Ferguson - drums, background vocals
Eugene Hutz - vocals, guitar, percussion
Oren Kaplan - guitar, background vocals
Sergey Ryabtzev - violin, background vocals
Yuri Lemeshev - accordion, background vocals
Elizabeth Sun - percussion, background vocals
Pamela Jintana Racine
Rea Mochiach - bass instrument, percussion, programming, electronics
1. She has a white dress on
Rolled song from Baks
02. I have still a long way to go
Slow song from Nyírvasvári
03. My trousers are buttoned all along
Rolled song from Békés county
Ballad from Mezõtúr
05. Oh, my God, who is there
Rolled dance song
06. There are five potatoes in the pot
Rolled song from Békés county
07. Get up, Gypsies
Ballad from Békés county
08. Shieve-makers do not drink wine
Rolled song in Rumanian style
09. My Heart Is Heavy
Slow song from Szatmár county
10. Give, woman, my stick to me
Gypsy dance song from Rumania
11. Oral bass improvisations
12. Like birds
Ballad in Balcan Gypsy style
13. The devil has hidden in my stick
Stick dance tune from Kántorjánosi
14. I would eat salten onions
Dance song of the trough-maker (Boyash) Gypsies
15. Over there under a little tree
Gypsy slow song from Transylvania
16. Poor Joska
Rolled song from Szatmár county
17. Song for Mercy
Based on a Gypsy folk legend of Boyash Gypsies from Zala county.
Ágnes Künstler - voice, snapping with fingers
József Nagy - oral bass, water can
József Balogh - oral bass, voice, guitar, spoons, tambura, whistle
Gusztáv Varga - voice, guitar, oral bass
Norbert Bangó - double-bass,
János Vass – viola
In 2003, Szomjas György the film introducing the Hungarian Táncház movement was making a film. The Budapest Táncház world's most popular bands are playing in the film, than Tatros, Vujicsics, the Kalamajka Band, Halmos Béla, and world-famous Muzsikás. The most distinguished singers of the genre appear, than Sebestyén Márta and Berecz András, and original peasant like that and gypsy musicians, than Pál István, Zerkula János, and Szászcsávási Zenekar. This album chooses from the musics being over in the film.
01. Széki magyar és sűrű tempó - Kalamajka együttes
02. "Engem anyám megátkozott..." (mezőségi dal) - táncházi közönség
03. Öves és serény magyaros (moldvai tánc) - Tatros Együttes, Somos együttes
04. Próba: "Te vagy a kutya..."
05. Jabipabi (szatmári cigány dallamok) - Dromara együttes
06. Juhajgatás kaválon (gyimesi dallam) - Kerényi Róbert
07. Macedon Ratevka tánc - Söndörgő együttes
08. Énektanítás: "Szerettelek..." (kutasfői dal ) Berecz András és a táncházi közönség
09. Keserves és jabipabi - Kerényi Róbert, Benke Gráci, Simon Péter
10. Gyimesi magyaros és csárdás - Zerkula János, Fikó Regina (Gyimesközéplok, Románia), Ábrahám Judit, Kerényi Róbert
11. Kalotaszegi hajnali - Szalonna és barátai
12. Csárdás, a "Bábáé" - "Juhait kereső...", Medvés - Dresch Mihály, Ábrahám Judit, Kerényi Róbert, Benke Gráci
13. Sűrű verbunk és szökő (szászcsávási muzsika) - Jámbor István és zenekara (Szászcsávás, Románia)
14. A Betyárok című táncjáték próbája - Zsuráfszki Zoltán és a Budapest Táncegyüttes
15. Jabipabi - Fláre Beás együttes
16. Magyarpalatkai táncdallamok - Berkó együttes
17. "Szépen veri az eső..."
18. Mezőségi táncok - Sebestyén Márta és a Muzsikás együttes
19. Vagabond Band - Horváti Kata, Szalonna és barátai, Söndörgő együttes, Szigony együttes
20. Jabipabi (főcímzene) - Kiss Ferenc, Ábrahám Judit, Kerényi Róbert
Original uploader: damiano. Thanks!
"This recording developed over a period of several years, during which Di Naye Kapelye have continued scrambling around East Europe looking for conrtexts and traces of Jewish music, a good half century after the Holocaust nearly destroyed Europe's Jewish population and culture.
There are still Jewish communities in East Europe and in the memories of this aging population lives a sense of Jewish culture - Yiddishkeit - that developed strong local expressions of faith and music. Furthermore, the memory of Jewish culture is often maintained by non-Jews, those who choose to cherish the legacy of neighbors lost but not forgotten.
Whether live or on recording, Di Naye Kapelye blow me away. This is roots klezmer in the best way, played in the style that would have had folks dancing madly all night a hundred years ago, just as it compels us to do the same, today.... It is hard to imagine anyone else playing such a diversity of music, not only authentically, but with such heart and skill.... This is a band that makes klezmer sexier than blues or jazz."
01. Drey dreydele
03. Oyvey rebbenyu
04. 999/Yom ha-shabbes
05. Spoken introduction
06. Platch evrei
07. Goldenshteyns bulgar
08. Jidancutsa and zsidó tánc
09. A mezeldiker yid
10. S´iz shoyn farfaln
11. Wedding processional
12. Goldblatt´s freylakhs
13. Yearning time
14. Borey olam
15. Borey olam be kinyan
16. Jewish hora
17. The Bosnian nign
18. The Bosnian nign
19. L´chaim jo testverek
20. Bride´s dance from Leud
Bob Cohen: violin, mandolin, vocals
Christina Crowder: accordion, vocals
Jack "Yankl" Falk: clarinet, vocals
Gyula Kozma: bass, cello
Ferenc Pribojszki: cimbalom, drums
Mihály Sipos: violin
Péter Éri: 3-string kontra, drum
Muzsikás in this, their 35th year. This is the group of artists who put Hungarian folk music on the international map. With their collaborations with Márta Sebestyén, and now in their superlative work since she departed, they have been the foremost ambassadors for music from Hungary, with a special emphasis on music from Transylvania. "Without Muzsikás, the Hungarian "táncház (dancehouse)" movement, the special Hungarian klezmer-revival and the bridge between Hungarian folk music and Béla Bartók's work would not exist," says Csaba Lokös, Promoter of the world music stage at the Sziget Festival and a long-term collaborator with the artists.
In an essay to be published in the WOMEX 08 Guide, Joe Boyd, whose Hannibal label released the artists internationally from 1987-2001, writes, "Exposure on the world stage certainly bestows pride and confidence on beleaguered traditional cultures, be it the Garifuna people of Central America, the Griots of West Africa or Occitan speakers of the Mediterranean coast of France. But it is not often that music places itself at the centre of the most important issues of the day, and even rarer that that music touches the hearts and minds of those both within the culture and those who have only the vaguest notions about it. The Hungarian group Muzsikás, recipients of this year’s Womex Award, has accomplished all of that and more.
"They began their careers at a time of political tension and conflict over culture far more intense than anything most of us have experienced," continues Boyd. Under Soviet control, "most urban residents' idea of their own folk music was shaped by the stodgy, choreographed, fake music performed by state, regional and local ensembles." The emphasis was on dance and, under the Soviets, they were stereotypically stylised. In Budapest, "the small 'Bela Bartok' dance ensemble came up with the radical idea to go into the villages and observe how people danced in the countryside. The resulting performances were so radical that an outraged state ensemble challenged them to a 'dance-off'. The audience booed the state ensemble off the stage, and the great Hungarian 'dance-house' movement was born."
From within the movement, the members of Muzsikás met, joined up, and made history. "One idea favoured at these early dances," says Boyd, "was that musicians must learn to dance and dancers must learn to play - it was impossible to do either with real feeling unless you understood both sides of the bandstand." With that pact came the birth of the new Hungarian folk music scene.
László Marton Távolodó, journalist and Artistic Director of The Sziget Festival world music stage, sees their contributions spread evenly over their many years of activity. In 1977 their first album launched the Living Hungarian Folk Music series, putting on vinyl the music that would influence generations to follow. At the beginning of the '90s, says László, "Muzsikás also helped strengthen the international klezmer-revival. Their "Máramaros - The Lost Jewish Music of Transylvania" album from 1992 contained not only touching and lively music, but it is also of great significance to music history." This was a remarkable project where the artists, still joined by Márta Sebestyén, went searching throughout Máramaros in Transylvania, finding aged Roma musicians who still remembered the tunes played by Hungarian-Jewish musicians 30-40 years before. "The album recalls these tunes," explains László, "witnessing the existence of a special Hungarian-Jewish instrumental music which had particular characteristics in comparison to the better-known Hungarian and Jewish folk music." And so a music that would have disappeared altogether in a matter of a few more years was brought back to life on the international stage. Then 1998 brought yet another major milestone, "The Bartók Album" that "reconstructed the experiences of Béla Bartók as folk music collector, recalling the particular music that so inspired Bartók" in some of his key compositions. The renown that came from the project, he says, "inspired Muzsikás to take further steps in exploring the meeting ground between classical and folk music." as well of the Finnish folk scene itself. Mission accomplished.
In recent years, says Joe Boyd, some members have gone and others joined, but the core remains intacts, as does the vision. "Whatever their line-up, they inspire, they communicate and they bring a sense of history, both ancient and modern."
"If you want to hear Hungarian traditional music at its best then start with Muzsikás," says Songlines editor Simon Broughton. "They can play with the authenticity and energy of a real village band, but also make sense of that music for an international audience in a big concert hall. Muzsikás know their music inside out - they have been to the Transylvanian villages where it is played and have worked with the master musicians who live the music. In Hungary, the band have brought traditional Hungarian music to thousands of school kids showing its beauty and relevance. Sadly, as the villages of Romania catch up with the rest of Europe, this music is disappearing. The international success of Muzsikás not only makes the music better known, but helps it survive at source as people realise that it has a value internationally."
"Muszikás didn't only bring this gift to the people of their land," says Mondomix Editor Benjamin MiNiMuM, "they shared it with the whole wide world. They not only presented us one of the most moving voices of our era, when they played with Márta Sebestyén, but introduced us to the roots of klezmer music as played in Transylvania, and so, too, the wonderful tradition of Táncház music and dance. Yes we are so blessed that Muzsikás exists."
"We take so much now for granted," says Boyd. "Listening to Muzsikás connects us to a time and a place when music was intrinsically a political statement and playing your instrument a certain way was a courageous act. The intensity of those times has never left Muzsikás and we remain lucky to be able to commemorate the spirit of those times and these wonderful musicians with this award."
Muzsikás will be performing live at WOMEX to close the Sunday Awards ceremony on the 2nd of November 2008.
The WOMEX Award is now ten years old. In the past we have alternated our honours between the extraordinary artists and professionals from our community. This year we have decided to present two WOMEX Awards, one to Muzsikás and the other to the folk music department of the Sibelius Academy in Helsinki, Finland."
Úzgin Üver was formed in 1991 in Kecskemet, Hungary. The name itself is the name of a Mongolian settlement, where an ancient sacred burial ground was discovered. It means something like ’dry desert area’, ’poor harvest’. Our aim from the beginning has been to create a unique blend of the folk music of different nations, using old and new instruments, sounds and tunes. From the Carpathian Basin to Mongolia, we are working with balkan, turkish, iranian and armenian melodies in our mind. But our songs are not transcriptions, we create our own music. Further influences are jazz and rock, breakbeat and dub, the contemporary and the ancient music equally. The music is almost entirely instrumental, even the human voice is used as an instrument. Some characteristic instruments are: sax, clarinet, different kinds of flute, zurna, kaval, duduk, jew’s harp, bagpipes, violin, drums, percussions, electric guitar, sampler, HD-recorder and Tuva-style vocal.
Marcsi Farkas (violin)
Péter Homoki (sampler, guitar, percussions, vocals)
Gyula Majoros (wind instruments)
Miklós Paizs (pipe, vocal - 10, 11)
István Somogyi (breathing - 7, 10)
It is more like tales-music than world-music. The Fringe-winner band mixes Gypsy, Hungarian, Celtic, Jewish and Balcanian motives in great harmony.
From the band:
"We formed our band in 2006 and made our first public appearance at the Budapest Fringe Festival where we were awarded a special prize for professionalism. We have since given concerts in several festivals, cultural institutions and clubs all over Hungary. Our first album, Csindratta, featuring our own compositions was published at the end of 2006. Our eclectic musical world is inspired by the exciting rhythms, many-coloured themes and the extreme emotional heatedness of the peoples of our neighbouring countries. All this is infused with contemporary musical studies and experiences, often seasoned with elements borrowed from modern electronic music."
Edina Szirtes „Mókus” - voice, violin, piano, pipe
Guszti Balogh – voice, tajt, oral bass
Balázs Cserta – wind instruments
Kornél Varga – guitar, tajt
Gábor Földes – bass, tajt, grooves, effects
Ákos Kertész – percussions
Wertetics Szlobodán – accordeon
Árpád Dennert – soprano saxophone
02. Semminek ágán / On Nothing's Branch
03. Furfangos dal / Tricky Song
04. Istenem, Istenem! / Oh My God!
05. Kis Mókustánc / Short Squirrel Dance
06. Macedon / Macedonian
07. „Tajt” From Kömpöc
09. Fóka és a finn kislány / Seal & The Finnish Little Girl
10. Almafa / Apple Tree
11. Sherlock Holmes
12. Álom, álom, szerelem / Dream, Dream, Love
13. Kendőm alá rejtelek / I Hide You Under My Scarf
14. Csindratta / Bal lyho
15. Istenem REMIX / REMIX, My God!
"There’s a melancholic beauty in the melodies of Zach Condon that conjure a cinematic romanticism—the kind you’d find in something contemporary like Rushmore or Amélie, but maybe more appropriately in something classically French, like Jules et Jim. And while Condon has devoted his second proper full-length release to French pop culture, there is no shortage of influence from the more eastern side of Europe. The waltz-time signatures, oompah rhythms, and torchy anthems imply something pre-Weimar Republic. It belongs to the Viennese, the Germans, and the Gypsies. Imagine a tiny village of gnomes, hell, Smurfs even, who understand the sadness of life yet join together in song because, if nothing else, they have the gift to do so, beautifully.
But just when you think it might get a little too cute or precocious—what with the accordions, brass horns, Oktoberfest organs, marching band drums, cymbal crashes, ukuleles, and even what seems to be a bouzouki—a melody rises above it all. Songs such as “A Sunday Smile” and “St. Apollonia” are sung in a high tenor that is so stunningly gorgeous and honest, it captures the sound of a brokenhearted man sitting in a café somewhere across the Atlantic, contemplating the fact that his lover has gone and won’t ever be back. “Fuck the gnomes and the Smurfs,” he may think, but it’s really time to go back to them—to stand in taverns with steins of pilsner and with voices united in self-pity, singing songs of brotherhood and understanding. And even though anyone would leave the bar in a second for another chance with the girl who just left, it’s still the sound of hearts mending…the sound of sadness and loss coupled with the knowledge that there was never any other choice but to sing it out loud."
01. A Call To Arms
03. A Sunday Smile
04. Guymas Sonora
05. La Banlieue
07. The Penalty
08. Forks & Knives (La Fete)
09. In The Mausoluem
10. Un Dernier Verre (Pour La Route)
12. St. Apollonia
13. The Flying Club Cup
Parno Graszt means "White Horse". White as the symbol of purity and Horse as the symbol of freedom.
'The issue of Parno Graszt band's second CD satisfies a long lasting expectation of the audience Europe wide as the debut recording of the Hungarian gipsy band (Hit the piano) gained reputation achieving the number 7. level on World Music Chart Europe in October 2002. The concert events of the band have always reached the highest level of success wherever they have performed on stage.
The gypsy band Parno Graszt were recently featured in a BBC 4 TV programme in the UK. The programme shows the vibrant village culture that still exists today in Paszab today, a community of gypsies in Szabolcs-Szatmár-Bereg. That this culture is still alive today is due, in no small way, to the fact that some 50 years earlier a village elder saw that external influences were eroding this way of live. Despite having no real education he set about ensuring that the subtleties of their gypsy way of life - music, dance etc, were preserved for the future.
Todays' generation now revere these traditions and keep them alive in Parno Graszt. The core members may only number 7 but this can swell up to over 20 - including ten dancers of three generations - aged from 10 to 71 years old, when the occasion demands it.
Transportation in the village is still a horse and cart. The importance of their horse being acknowledged in the name they call their gypsy band: White Horse = Parno Graszt.
When a guest visits their small village in time of wedding, christening, funeral, ball or any other kind of ceremony, they will see that the whole population joins the band - the instruments go from hand to hand and everybody is a dance master.
Maybe this spirit of living tradition makes their concerts such frenetic celebrations. They have not only performed, but have also created folklore during the recording of their current album too - some of the songs where written while staying in the studio.
01. Romano bijo - Cigány lagzi - Gipsy wedding
02. Ande rátyi - Az éjszakában - At night
03. Duj kámel mán - Két szerető - Two lovers
04. Phe kircsime ná phiro - A kocsmába... - At the pub..
05. Kerko jilo - Ne szomorítsd a szívemet - Don t make my heart sad
06. Lungo o drom - Hosszú út - Long road
07. Kánák gijom - Mikor mentem - I went
08. Khodi mánge - Nekem... - My
09. Demán zor szásztyipo - Erőt, egészséget - Strength, health
10. Sukár jákhá - Szép szemek - Beautiful eyes
11. Koro kino
12. Áj devla le de sukar - Jaj, de szép - Oh, how beautiful
13. Korkoro szom - Egyedül vagyok - I am alone
14. Khodi phe nen - Azt mondják - They say
15. Szijek cserhájá - Van egy csillag - There is a star
16. Khelen tumen - Táncoljatok - Dance!
17. Ále romnyi - Gyere asszony - Come woman
18. Phe mál - A határban - On the edge of...
19. Mure phrálá - Testvéreim - My brothers
József Oláh - tambura, guitar, voice
János Jakocska - guitar, voice
Mária Balogh - voice
Géza Balogh - guitar, voice
Sándor Horvath - voice
István Németh - can, oral bass
Mária Váradp - voice
János Oláh - double bass, voice
Kálmán Balogh - cimbalom
Ferenc Radics - violin
Zoltán Váradi - viola
Csaba Novák -double bass
The Armenian Navy Band are led by Arto Tunçboyaciyan : a percussionist, vocalist and composer of Armenian descent, who grew up in Turkey and is now based in the US. His music is founded on Armenian and Anatolian musical traditions and infused with jazz and contemporary culture to produce what Arto calls "avant-garde folk". The band have received international critical acclaim, have toured extensively and their 2002 “New Apricot” album was released on EmArcy through Universal in the UK. Arto has performed and recorded with an array of outstanding artists including : Joe Zawinul, Al Di Meola, Oregon, Joe Lovano, Wayne Shorter, Don Cherry, Arthur Blythe, Eleftheria Arvanitaki & Naná Vasconcelos.
The Armenian Navy Band is composed of 12 of the finest Armenian contemporary musicians, and the instruments include the traditional—duduk, zurna, kemanche, kanun—and the contemporary—trombone, alto sax, tenor, soprano sax, trumpet, bass, drums, keyboard and piano. The “Sound of Our Life - Part One: Natural Seed” is a nearly 50-minute-long composition in eleven parts, which is dedicated to nature.
Hypnotic jazz-tinged rhythms. Cleverly balanced between the contemplative and melancholic and bursts of the region's wild, break-neck dance music. Think if it as an Armenian equivalent of Aaron Copland's Appalachian Spring or Miles Davis' Sketches of Spain, for Tuncboyaciyan's vision really belongs in such inspired company.
01 - Agua
02 - Rio
03 - Mar
04 - Sol
05 - Aire
06 - Tierra
07 - Fuego
08 - Semilla
09 - Granada
10 - Albaricoque
11 - Life
MUZSIKÁS is the most popular and most renowned ensemble in Hungary and worldwide playing the traditional Hungarian folk music. Their performance is an exciting musical experience, the audience are transferred back to the remote Hungarian village atmosphere where the traditions survived the centuries.
MUZSIKÁS is the name given to musicians playing traditional folk music in Hungary in villages. The formation of the MUZSIKÁS Ensemble coincided with the European revivalist movement of the seventies whereby interest lied not only in the traditions, but also the roots of culture.
The members of the group play and improvise in the style of old traditional Hungarian folk bands in which the solo violin and the song typically were accompanied with the three-stringed viola and contrabass. The musicians also play other instruments which enables them to produce an extensive range of exciting and unusual colour tones. The music of MUZSIKÁS can be characterized as the traditional arrangements of authentic Hungarian folk music featuring a playing style typical of the best village musicians. It has nothing in common stylistically with the Gypsy-Hungarian style, but is rather the true folk music of Hungary, the most beautiful melodies of which were considered by Béla Bartók to be equal with the greatest works of music.
01 - Füzes lakodalmas
02 - Kerekes héjsza és sebes
03 - Baj baj baj
04 - Sűrű és ritka magyar
05 - Ej de széles
06 - Gyimesi verbunk
07 - Rákoczi mars
08 - Édesanyám rózsafája
09 - Gyimesi lassú magyaros
10 - Szállj el madár
Original Uploader: flehel. Thanks!
"Composer and guitarist Goran Bregović has been a household name in the Balkans for over three decades. Born in Sarajevo, Bosnia and Herzegovina (then Yugoslavia), Bregović has composed for such varied artists as Iggy Pop and Cesaria Evora. He earned his fame wielding a guitar with his rock band Bijelo dugme, a group that rose to stardom and set the groundwork for the Yugoslav rock scene. Known internationally for his scores for Emir Kusturica’s films (Time of the Gypsies, Arizona Dream, Underground), Bregović commands an ensemble that matches his larger-than-life persona. A rowdy brass band, bagpipes, a string ensemble, a tuxedo-clad all-male choir from Belgrade, and traditional Bulgarian and Roma singers make up his dynamic 40-piece band and orchestra. Bregović’s compositions, extending Balkan musical inspirations to innovative extremes, draw upon European classicism and Balkan rhythms, evoking rock’s searing power as well as the repose of sacred sounds–all fueled by the insistent drive of brass."
01. Hop hop hop (lead vocal: Saban Bajramovic)
02. Tale I (grave disperato - for wind orchestra and clock)
03. Aven Ivenda (lead vocal: Vaska Jankowska)
04. Sex (lead vocal: Saban Bajramovic)
05. Tale II (adagio poco febrile - For wine glases and strings)
06. Maki Maki (lead vocal: Saban Bajramovic)
07. Tale III (lento arabesco - for Zdravko Colic and the Georgian Male Choir)
08. So nevo si (lead vocal: Ljudmila Radkova, Danijela Radkova, Lidija Dakova, Dejan Pesic, Srdjan Pejic, Ogi Radivojevic, Goran Bregovic)
09. Tale IV (moderato melancolico - for violin, cow horn, harp and strings)
10. Coctail Molotov (lead vocal: Goran Demirovic)
11. Tale V (for Eb clarinet and orchestra)
12. Polizia molto arabbiata (lead vocal: Goran Demirovic)
13. Tale VI (adagio delicato - for wine glasses and strings)
14. Te Kuravle (lead vocal: Vaska Jankovska)
15. Tale VII (vivo con fuoco - Scherzo for Gypsy Orchestra)
"The rich collection of musical materials from Kálmán Balogh’s latest album is a living illustration of this endless motion of music. In the course of ten tracks Balogh references a dizzying array of styles and approaches, from the flamboyantly virtuosic to the introspective, and from Balkan wedding music to Latin jazz. Here traditional Gypsy fiddling meets soft jazz trumpet while Hungarian, Macedonian, and Romanian tunes join together in a round dance, with Brahms and Liszt and even Bach peering out here and there.
This album also demonstrates the tendency of leading musicians to make their own path. Kálmán Balogh has at least two astonishing gifts. The first is the most obvious, an uncanny control and power performing on his instrument. The subtlety of his touch is legendary, as are the different roles his instrument plays: now accompanist, now a wild soloist, here expressive, there percussive. This breadth is the key to his second gift, that of stretching his core repertoire in manifold directions and in doing so reinventing his instrument. The search for some notion of historic or stylistic authenticity would be here misplaced. The only authenticity one should demand from Balogh is the authenticity of his unerring musical instincts.
Kálmán Balogh’s background and training render him an ideal musical personality to achieve such synthetic goals. He was born in Miskolc in North-Eastern Hungary in 1959 and started to play the cimbalom at the age of 11. His first teacher was his uncle, Elemer Balogh, who is musically remembered in the first part of Track 6. While this rich training in the oral tradition shaped his flair and the excellence of his ear, he supplemented this approach with classical studies, graduating from The Liszt Ferenc Academy of Music in Budapest. Hungary is the only country in the world that has offered advanced music degrees in cimbalom study, and this combination of traditional and “classical” training marks Balogh’s free range, and also his remarkable control. He has become recognized as one of the world’s leading cimbalom players, and many is the aspiring young player who proudly identifies themselves as having studied with Kálmán Balogh. He has played with most of the leading traditional music groups in Hungary, and continues his career as a traveling virtuoso.
The instrument he plays traces its modern invention back to the last three decades of the 19th century, but it existed in many other forms for centuries. Today the instrument resembles nothing so much as a thick trapezoidal wooden table with sets of strings on its surface running at seemingly dizzying diagonals, the whole held aloft by trunklike legs. Today’s cimbalom has about 125 metal strings with 3 to 5 strings per note. But this powerful, tightly strung instrument was originaly a much smaller, portable one which the strolling player supported with a strap around their neck. Examples of this can be seen throughout the region, from Moravia to Bulgaria, and other variants of this genus are the hammered dulcimer of the Appalachians. Like pianos, accordions, and guitars, the cimbalom has always been a marvelously versatile creation and an essential part of a band. It can whisper like the wind, or carry the force of a musical machine gun. It plays gentle chords, and outlines the harmony, but can take a solo like no one’s business. It supports forward motion with bold basslines, but its rolled chords, its glorious arpeggios, are perhaps the hallmark of its identity. All of these sounds and styles, and more, can be heard on Kálmán Balogh’s innovative new album."
Kálmán Balogh – cimbalom
Ferenc Kovács – trumpet & violin
Péter Bede – saxophone
Frankie Látó – violin
Mihály György – guitar
Csaba Novák – bass
Original uploader: bobbyrobb. Thanks!
Klezmer music is traditionally played at Jewish weddings and holiday celebrations in Eastern Europe. New York-based klezmer band Golem (named after the legendary Jewish Frankenstein of Prague) has infused the World Music scene with a breath of fresh air by injecting Eastern European melodies and Old World songs with ferocious energy, sex, and humor.The album includes tracks in Yiddish, Russian, French, Serbian, and Ladino, each a different story of love and pain set to its own driving beat.
"Gathered from source material from all over Eastern Europe, and from other locations as diverse as Jewish nursing homes in the Bronx to gypsy taverns in Belgrade, Serbia. The six member group then transforms the material and creates something new and all its own.
The music gets increasingly interesting when you follow along with the lyric sheet, in which the lyrics have been translated. The topics of the songs are sometimes strange; for example, the lyrics from a Russian traditional called "Spitting Song": "An old man sits down to think about getting married again. He thinks and thinks and thinks... If I take an old wife, my equipment might not stand up to the job... But if I take a young wife, she might not love me... And even if she loved me, she might not kiss me... And if she kissed me, she'd turn and spit on the floor... He sits and thinks and thinks... and thinks... Maybe getting married again isn't such a good idea."
All in all, I think this CD serves as a good palette cleanser because personally, I don't own any other klezmer albums, so putting this on in between hardcore and punk CDs works very nicely - a danceable beat, melody, and topnotch musicality which everyone can appreciate. Its different enough that it transitions well to pretty much anything. Also, Golem is probably is available to play for your next wedding or bar mitzvah."
02. Spitting Song
03. Skrip Klezmerl
04. Balkan Espanol
05. Tire L'Aiguille
06. Dead Cossack, The
07. Madre Mia
10. Black Cat White Cat
Besh o droM was founded in 1999. The band plays Balkan and Romanian gypsy and Middle Eastern traditional music in their unique interpretation, mixing various styles and musical background. Most of the tunes they play are traditional ones and they take the liberty to use any tunes they really like and enjoy.
Their first concert in Budapest was a great success and they have become extremely popular in Hungary since than. They play at Hungary's best festivals, clubs and cultural venues, always to great audiences. Wherever Besh o droM plays, their audiences instantly get on their feet and dance.
Besh o droM in Gypsy language means "sit on the road" literally, but its real meaning is "follow your path, get on with it". It is also wordplay in Hungarian meaning "I am rolling?" (a cigarette). Besh o droM's first CD entitled "Macsó hímzés" (again a wordplay with a local folk connotation, 'Macho embroidery' in literal translation).
Balkan trance & gipsy madness on XXI century's way. Sax instead of trumpet, cimbalom instead of tambura, Besh o droM instead of Goran Bregovic. Dance and enjoy!
02. Space Maudi
03. 9 S
06. Román Swing
09. Sufi Light
Ági Szalóki - vocals
Ádám Pettik - percussion
Gergély Barcza - soprano and alto saxophone, ney, zurna, flute
Csába Bese - bass guitar
Attila Sidoo - guitar, tambura
József Csurkulya - cimbalom
Róbert Farkas - violin, accordion
Géza Orczy - percussion
Péter Tóth - trumpet
DJ Mango (Márk Jávor) - scratch
Original uploader: tuenek. Thanks!
"... In the process of doing folk music research there (Magyarszovat, Transylvania), we were told about a playful, erotic dance custom called the 'virgin's dance'. The last melody of track 11 on this recording, a "szokos" type dance tune ... is the music played for this dance."
Formed in 1976, they are one of the leading ensembles of the "New wave of folk music". One year after bring formed they gained the title "Young Masters of Folk Art."
Téka Ensemble plays authentic Hungarian peasant music. Their repertoire emphasizes the traditional style of playing and the original feeling of folk music. They play string instruments (violin, viola, double bass, cello) and other unique folk instruments (bagpipe-borduda, hurdy-gurdy-tekero, cimbalom, ütogardon). With these instruments they reproduce a colourful picture of village music from all Hungarian - speaking territories.
01. Kulcsár Ferenc pontozói (Magyarbece) / Ferenc Kulcsár's pontozó-s
02. Szemem a szemedbe kacag...öreges csárdások (Magyarbece) / My eyes are laughing in your eyes...
03. Láncot vetek szívemre... keserves, lassú és magyar (Szék) / I'll put my heart in chains...
04. Kanásztánc (Dél-Dunántúl) / Swineherder's dance
05. Szeretőm, a tavalyi... sebes forduló (Székelyföld) / Last year's lover...
06. Elindulék új szeretőt keresni... (Csík megye) / I'm going out to look for a new lover...
07. Feküdjünk le egy ágyba... (Mezőség) / Let's get in bed...
08. Édes kincs a más rózsája... négyes tánc (Magyarszovát) / Someone else's lower is a sweet treasure...
09. Régi tordai és vastaghúros kurázsi (Magyarszovát) / Kurazsi
10. Hagytunk volna békét a szerelemnek... (Magyarszovát) / If we'd only left love in peace...
11. A szüzeké... összerázás (Magyarszovát) / Dance of the virgins'...
12. A megunt szerelem nótája... lassú cigánytánc (Magyarszovát) / Tune for a bored love
Balázs Vizeli - fiddle
Zoltán Porteleki - fiddle, viola
György Lányi - bagpipe, viola, voice
Pál Havasréti - double bass, hurdy-gurdy, hit-cello, voice
Beatrix Tárnoki - voice
Tamas Gombai - fiddle
Erika Bakonyi - shouts
Judit Koczka - shouts
Original uploader: pisac. Thanks!
The comédie des sens of Paris meets the European spleen of Zagreb. Cosmopolitan influences of immigration clash with Balkan traditions. Join the Cargo Orkestar for a mysterious musical journey, rough and real, made of questioning, pain, joy and humour.
"Eastern European music has never really been my thing; generally speaking, I see the word "Balkan" and my eyes start to glaze over... But then there are always surprises, particularly discs like this odd, atmospheric offering by Darko Rundek, a Croatian actor and musician who was once in a band called Haustor, and now fronts the uber-eclectic Cargo Orkestar... The opening number is enough to put any open-eared world music fan on notice: this ain't your grandma's Balkan music. Mixing moody, murky jazz-pop with styles indigenous to his Yugoslavian homeland -- notably gypsy and Arabic melodic themes -- Rundek crafts a multilayered, multifaceted, artsy sound, equally challenging and compelling, music that may remind listeners of irony-drenched, postmodern troubadours such as Tom Waits and Paulo Conte, who have taken their creative efforts into a different stratosphere than the legions of rude rockers and rappers that drown the soundscape. Anyway, even though the Slavic culture remains alien and unappealing to me, I could still recognize the spark of brilliance and timelessness in this album... It's definitely worth checking out!"
01.Commedie de sens.
02. Ista slika.
04. Mlin tema.
07. Sjaj što izdaje.
09. Tigidigi rege.
10. Stojim i gledam kako postojim.
11. Ti i ja.
12. Mlin reggae.
13. Kuba (Technicolor RMX By Vedran Peternel.
14. Makedo (Balkan Version).
Isabel - violin, electric violin;
Darko Rundek - bass, guitar, synthesizer, percussion, lead vocals;
Đani Pervan - drums, bass, percussion, backing vocals;
Vedran Peternel - sound effects, processing;
Dušan Vranić - piano, bandoneon, harmonium, zither, melodica, organ, backing vocals;
Arnold Achard - cello;
René Aubry - guitar, quatro,
Philippe Botta - soprano sax;
Marc Buronfosse, Laurent Le Gall - double bass;
Nenad Grahovac - trombone;
Jakša Kriletić - clarinet, sax;
Jean Baptiste Laya - guitar;
Loma Gosa - string quartet,
Igor Pavlica - trumpet
The authentic gipsy folklore is more and more strong and colorful. One of its most excellent representatives is Amaro Suno. The Gypsy folk music ensemble Amaro Suno - Our Dream, started in 1994. All of the members of the ensemble had been involved in music for several years before the group was formed. There are four members of the group, three males and one female. The leader is Ernó Bihari. Activities over the last years have included many performances in festivals in Hungary, at cultural events, participation in the Dance House Festival in Budapest for the past two years, the III Festival of European Minorities in Veszprém and at the International Gypsy Folk Dance Festival in Sátoraljaújhely.
They perform material from Szabolcs and Zala Counties and from Romania, much of which was obtained through Katalin Kovalcsik at the Hungarian Academy of Music and partially through their own field work.
01 - Opre Pe Vulica
02 - Szijek Sej
03 - Sotolica Motolica
04 - Raja Devla
05 - Álom a szememen
06 - Hallgató
07 - Gelem Andi Kircsima
08 - Addig máma
09 - Na Mangav Me Ratyija Cini Sej
10 - Kutka Avel E Sej Bari
11 - Kannás
12 - Vasvari Pergető
13 - Aj Devlale Szo Kerdem
14 - Kutka Tele Pasa Paji
Dobi Matild - vocals
Bihari Zsolt - tambura, guitar, oral bass
Sztojka László - double bass
Balogh Mihály - tambura, vocals
Bihari Ernő - guitar, water can, oral bass, vocals
Our world grows smaller and smaller: 17 Hippies may be based in Berlin, but the band’s repertoire wanders from the Balkans to a Parisian cafe, not forgetting a quick sortie into the American borderlands. So much travelling could easily result in a collection of tourist kitsch, but their postmodern ramblings, with horns and strings mixed with unpretentious, multilingual vocals, are conducted in just the right inquisitive spirit. One minute revving up like a supercharged gypsy band, the next delivering a pastoral treatment of the old pop hit Apache, the German musicians (there are actually 13 of them) come across as a more genial version of that restless French collective Lo’Jo.
The press says: “ Musically, there´s everything in it which they could possibly get their hands on. They whirl you through Romanian Sirba, clarinets race through Klezmer melodies, a Cajun song is performed in a very strange local German dialect."
“The 17 Hippies are ridiculously underrated.
They should be in the front rank of European world music artists …”
02. Frau Von Ungefahr
03. Bourree Dite D'aurore Sand
04. Mad Bad Cat
06. Gator's Grin
07. Saragina Rumba
08. Saint Behind The Glass
10. Dansons La Valse
11. Jovano Jovanke
12. Hotel Cazane
13. Sirba All The Way
14. Der Zug Um 7.40 Uhr
15. Was Bleibt
17. Chassidic Song
20. Valser Nel Bosco
Antje Henkel – clarinet, saxophon
Carsten Wegener – double-bass, saw, vocals
Christopher Blenkinsop – ukulele, irish bouzouki, vocals
Daniel Friedrichs – violins
Dirk Trageser – guitar, vocals
Elmar Gutmann - trumpet
Henry Notroff – clarinets
Kerstin Kaernbach – violins
Kiki Sauer – accordion, harmonium, flute, vocals
Kruisko – accordion
Lüül - banjo, guitar
Rike Lau – cello, vocals
Uwe Langer – trombone, trumpet, euphonium
Paul Pena played blues with the greats T-Bone Walker, B.B. King, and Bonnie Raitt. In 1995, the blind bluesman became the first American ever to compete in an unusual contest of multi-harmonic "throatsinging" native to The Autonomous Republic of Tuva.
The Autonomous Republic of Tuva, wedged between Siberia and Mongolia, for centuries has been isolated from the rest of the world by jagged mountains and Soviet restrictions. Only recently have the Tuvan art form of throatsinging become known to outsiders.
Pena discovered Tuvan throatsinging on a shortwave program of Radio Moscow. For the next nine years he worked to produce similar overtones with his own voice and to incorporate throatsinging into his blues music.
Unexpectedly in 1993, Pena discovered that Tuvan throatsingers were on their first concert tour of the U.S. After their performance, the deep-voiced bluesman broke into his own self-taught style of throatsinging and serenaded the musicians with Tuvan traditional songs! The throatsingers were amazed by Pena's mastery of the Tuvan art form and likened his rich voice to the sounds of tremors in the earth. They insisted that "Chershemjer" (Earthquake) travel to Tuva for the next tri-ennial throatsinging contest which would be held in 1995.
Eleven years after he first heard throat singing, Paul Pena entered the National Theatre of Tuva to make history. The blind bluseman's performance was so well received, he became the 1995 throatsinging champion in the style of kargyraa. He also captured the "audience favorite" award for the week-long competition. The Tuvan people had never seen or heard anyone like him.
"More than just a record, this is also the story of the journey of Paul Pena, a fine blind American bluesman who learned Tuvan throat singing well enough to win a contest in Tuva. His solo tracks, especially his take on Robert Johnson's "Terraplane Blues," are the real blues deal, but this record truly takes off when Pena and Ondar duet. The blues and the eerie, often-guttural sounds of throat singing make a natural match, one that simply bewitches with the clear overtones and melodies, while the guitar and Tuvan banjo offer simple, but very plaintive, accompaniment. About the only misstep is the inclusion of the Cape Verdean "Tras d'Orizao," which sticks out like a sore thumb from everything else. Get that out of your system, and the rest is pure magic."
01 - What You Talkin About
02 - Alash Hem (The Alash River)
03 - Gonna Move
04 - Kaldak Hamar (The Other Side of the Mountain)
05 - Tras D'Orizao (Beyond the Horizon)
06 - Ondarnyng Ayany (Ondar's Medley)
07 - Kargyraa Moan
08 - Eshten Charlyyry Berge (It's Hard to Lose a Friend)
09 - Kongurey (Where Has My Country Gone)
10 - Durgen Chugaa (Fast Talk)
11 - Sunezin Yry (Soul's Song)
12 - Center of Asia
13 - You Gotta Move
14 - Tuva Farewell
15 - Genghis Blues Soundbites
16 - Kaldak Hamar (Live)
17 - Eki A'ttar (Good Horses) (Live)
01. Flótás: Libabőr
02. Söndörgő: Kocovo Oro
03. Szélkiáltó: Virág (Mártinak)
04. Berkesi Alex: 42. zsoltár
05. Kerekes Band: Pimasz
06. Ivánovics Tünde, Fábri Géza: Szőr szökött a szemembe
07. Kormorán: Pokolra mentek a dudások
08. Transylmania: Ha folyóvíz volnék / Jöttem is, mentem is
09. Szerényi Béla, Kóta Judit: Mely igen jó az Úr Istent dicsérni
10. Misztrál együttes: Adj már csendességet
11. Dongó együttes: A tél halála
12. Református kórusok: 138. zsoltár - Dicsér téged teljes szívem
This recording presents tunes played on the Jew’s harp – an instrument known in perhaps every corner of the earth. This is the first Hungarian CD of Jew’s harp playing mainly dances and songs from Hungarian villages in Moldavia, mostly in ’dance house’ performance. This instrument is still used by the Csángó Hungarians in Moldavia for playing music at spinning parties. Here are both authentic forms and arrangements of instrumental tunes played as solos, duets and ensemble pieces.
02. Piros, piros szegfű...
05. Csütörtökön este...
07. Rekecsini botosánka
08. Hol jártál báránykám...
10. Tűz lángja
11. Ördög útja
13. Gyere velem katotnának...
15. Kerek utca, kicsi ház...
16. Borozdában..., Hej csillag...
19. Vid öreges
20. Le az úton, le, le le...
21. Ó, Szent Istvn dicsértessél...
22. Sirítet tánc
Sándor Balogh - jew's harp, reed jew's harp, whistle, five holes whistle, electric bagpipe
Dániel Bolya - holeless whistle, whistle, five holes whistle
Mátyás Bolya - koboz
Szilárd Horváth - jew's harp, five holes whistle
Bea Palya - voice
The line-up is two Kiwis, two New Yorkers, and a Londoner . Between them they play accordion, mandolin, banjo, double bass, guitar, soprano and tenor saxes, melodica and zydeco washboard. The skilled interweaving of these instruments and daring five-part vocal harmonies are part and parcel of the groups undeniably fascinating chutzpah!
"It's wild hick ethnic roots music, it's a hand-clapping foot-stomping, frenzied Yiddish groove session..
It's a hoe-down in a Roumanian village square.
Klezmer as it might have sounded 500 years ago.
The Jews Brothers Band breaks the rules of klezmer, unashamedly and with chutzpah: no clarinets, violins or drums, these brothers (plus one sister) just get down to it with chonking gypsy style mandolin, pumping tea-chest bass, blasting brass horn, shakers and finger cymbals, and vibrant melodica and accordion, all aided and abetted by soulful 5-part vocals that sound as if they come straight out of a mediaeval synagogue.
If you can't dance to this album, you gotta problem!"
." this idiosyncratic band with its enormous drive, infectious beat and brilliant musicianship......all five members are compelling music-makers"
" their slick arrangements....also perfectly show-cased the tonal luster of Linn Lorkin's voice, the nuance of her interpretations and the buoyancy of her rhythms..."
"An impromptu collision of Sholom Secunda, Spike Jones and Django Reinhardt, their frenetic energy and irreverent attitude is a party from start to finish."
1. Yiddish Medley: Bublitchky / Die Greene Kaseene / Chosen Ka'le Mazeltov
2. Bei Mir Bist du Shein
4. Hebrew Medley: Artza Alinu / Sholom Alechem
5. Ochi Chorniya
6. Bashana Haba'a
7. Eastern Euro Medley: Mezinke / Ut Azoi / Kosatski /
8. Mein Yiddishe Meidele
9. Palestinian - Hebrew Medley: Mechal Ovadya / Tsena Tsena / Hava Nagila
Csík Zenekar: Ez a vonat elindult, hadd menjen...
Csík Band: If The Train Has Started, Let It Run...
"It is difficult to compile a new record that meets the expectations of music lovers following our previous album (awarded "The Wold Music Record of the Year' in 2007 in Hungary), which was so successful both among folk musicians and fans. We have tried to do our best, and we hope the variety of the tunes will be appreciated by the listener.
Many people wonder and discuss what kind of music has future in our ever accelerating and hectic lives. I think we all share those basic human feelings, trusths that can be discovered in folk music. So, if we play this music truthfully, independent of their age, lovers of all music genres will find it enjoyable.
Bands try to bring joy to music lovers in various ways and genres. I think in our constantly changing world, if we strive for the best quality, we can preserve the true values of old times, and delight our listeners, who are exposed to so many kinds of music theese days.
I hope as you listen to this music your heart will be lifted up as was minde when I played."
01. Az árgyélus kismadár... / The little bird that flies from branch to branch...
02. Madárka, madárka... / Little bird, little bird...
03. Kalocsai katonadal, csárdás, friss és mars / Soldier's song, csárdás, fast dance and march from Kalocsa
04. Gyimesi héjsza szívből, bár egy kicsit gátlástalanul / Héjsza from Gyimes whole-hearted, and somewhat unrestrained
05. Ez a vonat, ha elindult, hadd menjen... / If the train has started, let it run...
06. Vas megyei népdal, régi lakodalmi csárdás Szombathelyről / Folk song from Vas county, old wedding csárdás from Szombathely
07. Most múlik pontosan / It is just going by
08. Csillag vagy fecske / Star or swallow
09. Bánat, bánat / Sorrow, sorrow
10. Magyarpéterlaki asztali nóta, forduló és cigánycsárdás / Table song, turning couple dance and gypsy csárdás from Magyarpéterlaka
11. Szórakoztató pásztordal mulatozáskor / Shepherd's drinking song
12. Kiskunhalasi hallgató csárdás és friss / Music to listen to, slow and fast csárdás from Kiskunhalas
Zsolt Barcza junior - hungarian cimbalom, accordion, voice
József Bartók - double bass, hit gardon, voice
János Csík - fiddle, voice
Tamás Kunos - viola, voice
Marianna Majorosi - voice
Péter Makó - saxophone, clarinet
Attila Szabó - fiddle, guitar, voice
Mátyás Bolya - oriental fretted lute
Attila Csurai - first tambur
Mihály Dresch - saxophone, voice
István "Szalonna" Pál - fiddle
János Szabó - alt tambur
The group was founded in 1997 in Szczecin, Poland. Passion for the traditional music and hard work let them create their own style and original sound.
Their acoustic songs have been inspired wholly by Oriental culture, Balkan folklore – Macedonian and Romanian. Typical Dikanda’s style is creation of new words and meanings in composed songs.
Dikanda in one of the African’s dialects stands for family. This is directly connected with the group’s spirit – they live and work as if it was a small, loving family.
Dikanda's earlier work Muzyka czterech stron wschodu is more traditional (little or no rock influence), but is no less interesting: there's a real variety of sounds: haunting vocals, sparse instrumentation, and an almost eerie feeling. Sometimes the interplay between the accordion and the fiddle provides such feeling with so few notes - and then suddenly we're dancing.
Never a dull moment when listening to Dikanda!
03. Gajde Jano
05. Dila Dila
06. Folk Song
10. Ketrin Ketrin
11. Stoho Bohu
13. Jovano Jovanke
15. Melodia żydowska ( "Przebitki" )
16. Scha Still
17. Świeci miesiąc
Ania Witczak - accordion, vocal
Kasia Dziubak - violin, vocal
Violina Janiszewska - vocal
Daniel Kaczmarczyk - percussion
Piotr Rejdak - guitar
Grzegorz Kolbrecki - double bass
Paweł Baska - double bass
Tomasz Pikulski - double bass
Krzysztof Trebunia -Tutka - vocal