Musical group Vodku v Glotku was founded in the year 2000, in Budapest, Hungary. The goal of the band is to introduce the folk music of the nations throughout Central and Eastern Europe, mixed with its own musical concepts. The dominant elements in the music of the band are Hungarian, Jewish, Russian, Ukrainian, Bulgarian, as well as other folk motives from Central and Eastern Europe and the Balkanes. This is mixed with the elements of rock, jazz and other progressive musical styles. As a result, a musical world is created on the stage, which makes feel home the many nations inhabiting the Central and Eastern European region.
This CD appeared in only some hundred copies.
01 - I'm from Odessa
02 - Sailor's Wedding
03 - Gipsy dance
04 - Jewish dance
05 - Vodka
06 - Jaim
07 - Odessa
08 - Grandma from Odessa
09 - Madam
10 - Gop-stop
11 - Cherries have ripened
Seriously lubricated gypsy punk from the last bastion of true exiled Balkan spirit: New York City's Bulgarian Bar MEHANATA, somewhere near Canal Street and Broadway NYC. Famous for its cheap wood panelling upstairs.
Compilation based around a restaurant, bar, club in New York. Featuring these finest New York bands:
Balkan Beat Box, Dolomites, Gogol Bordello, Guignol, Hungry March Band, J.U.F., Luminescent Orchestrii, Romashka, Shaat’nez, Slavic Soul Party!, Yuri Yunakov, Zagnut Cirkus Orkestar.
"If your heart and your libido are still connected, these artists will electrify that wire. Some of this music was written personally by Orpheus, the Thracian song god who made the people dance and the mountains purr (and howl). The intelligence of soul and the moan of beasts are made one here, with orgasmic consequences."
"Answer arguments with tapan. Balkanize Manhattan's grid. Cocek against architecture. Decriminalize sacrilege. Empty your ears from the structures of everyday life. Fly in the face of orthodoxy (musical or political). GitanoAmerica. Headbang phenomenology of phobias. Is tomato soup really thicker than blood? "Just What Is It That Makes Today's Homes So Different, So Appealing?" Knock on wood (9/8). Liquefy rhythm, lubricate hierarchy, listen to noise. Mythologize your mama's stories with a brass section. Never follow (follow Tcherniya Ram to the smooth space above the colored ribbons and clouds of the Chrysler building). Opre Roma, Sastipe Gadje. Proto-Babylon, Canal-&-Broadway style. Qu'est-ce que c'est qu'un pizdetz? Revolutions are not broadcast by speakers. Speak in tongues (Albanian, Aramaic, English, Hebrew, Romani, Russian, Ukranian), stick a feather in you ass. Translate, recycle, mix-and-match. Underground could mean the second floor? Viva la vida. Water with wine. Xenomorphosis in a dj set. Yatta gaidjin. Zingari Mesh Mundial."
01. Gogol Bordello - When The Trickster Starts A-Poking
02. Hungry March Band – Bubamara
03. Romashka - La Curcuma De La Drum
04. Balkan Beat Box & Eugene Hutz - Tromba De Zingari/Yek, Dui, Trei/New Yorkskiri
05. Slavic Soul Party - Cacak Nirvana
06. J.U.F. - Gogol Bordello vs. Tamir Muskat: Last Wish of The Bride
07. Guignol - All or Nothing Machine
08. The Dolomites - Medecine Show
09. Luminiscent Orchestrii - Taraf Hijacked
10. Zagnut Cirkus Orkestar - Doli Goca
11. Yuri Yunakov Ensemble – Balkanalia
01. Yuri Yunakod - Arabski Kjuchek
02. Romashka - Shimdiggy
03. Slavic Soul Party - Missy Sa-sa
04. Zagnut Cirkus Orkestar - Ani More Nuse
05. Guignol - Agada
06. Balkan Beat Box - Adir Adirim
07. J.U.F. Gogol Bordello vs. Tamir Muskat - Gypsy Part of town
08. Hungry March Band - Choli Ke Peechhe
09. Shaatnez - Samiao's Day
10. Luminescent Orchestrii - She's a Brick
11. Dolomites - Lizzie Borden
12. Gogol Bordello - Baro Foro
Cd 2. part 1.
Cd 2. part 2.
"Ry Cooder might have been tempted to bill this as the Chavez Ravine Social Club. After generating such popular and critical interest in Cuban music of decades past with the Buena Vista Social Club, Cooder applied a similar approach closer to home, extending his fascination with the Mexican-American culture that flourished in 1940s and '50s Los Angeles. The result is an CD that sounds like it's aspiring to be something far more ambitious: a DVD, a theatrical production, even a time machine. Cooder and a cast of seminal Chicano artists present a song cycle that conjures an era of UFOs, the Red Scare, and political machinations that leveled the Chavez Ravine barrio to lure the Brooklyn Dodgers to Los Angeles. In his celebration of a vibrant community that doesn't know it's on the verge of displacement, Cooder enlists Thee Midnighters vocalist Little Willie G. (whose songwriting collaboration with Los Lobos's David Hidalgo on "Onda Callejara" highlights the album). and Pachuco patriarchs Don Tosti and Lalo Guerrero, with the latter reviving his dancefloor favorite "Los Chucos Suaves." The accordion of Flaco Jimenez adds conjunto flavor to "Barrio Viejo." Throughout the album, Cooder plays a typically tasteful, understatedly virtuosic guitar, assumes a variety of vocal roles--including a cool Chet Baker homage in duet with pianist Jacky Terrason on "In My Town"--and provides the provocative social context."
01 - Poor Man's Shangri-La
02 - Onda Callejera
03 - Don’t Call Me Red
04 - Corrido de Boxeo
05 - Muy Fifí
06 - Los Chucos Suaves
07 - Chinito Chinito
08 - 3 Cool Cats
09 - El UFO Cayó
10 - It’s Just Work for Me
11 - In My Town
12 - Ejercito Militar
13 - Barrio Viejo
14 - 3rd Base, Dodger Stadium
15 - Soy Luz y Sombra
"Just imagine: The morning after the apocalypse. Are we still alive? We wonder. It would appear so. There´s no end to this world. There´s no rest for the soul. There´s no past. There´s no future. Now is eternal. LaDaABa Orchest offers you the ideal entertainment at the end of time: La Danza Apocalypsá Balcanica."
"It's the morning after the apocalypse and (assuming you've survived) where are you? How are you feeling? That's the idea behind this disc. Boris Kovac is one of the most creative musicians to come out of Serbia, and his music breaks out of the gypsy/village ghetto to which most Balkan sounds are consigned. The second part of his "La Danza Apocalypsa Balcanica Project" shows the quieter, reflective, more rustic and impressionistic side of Kovac. The music on Boris Kovac & Ladaaba Orchestra's Ballads at the End of Time is slow and lovely. It isn't so much about devastation as new hope, although something like the gorgeously wistful "Colour Of Remembrance" looks back, not forward. However, is there anything to look forward to? Possibly not, if the closing track, "At The End Of Time," is to be believed. But if that is the end, we all go out gracefully, on a wave of music. Don't try and categorize this music; it simply won't fit into any pigeonhole. Traces of classical, jazz, gypsy, and more meld in the sonorities as the dogs bark. A wonderful record to make you think about life -- and what could be in our future."
01. Danza Transilvanica
02. I. Interlude
03. Damar Of Istanbul
04. Early Morning Waltz
05. Beguine At The End
06. Interlude At The Gang
07. Midnight Memories
08. Waltz From Careless Street
09. Cha Cha
10. Colour Of Remembrance
11. Broken Waltz
12. The Last Interlude: Doina / In Bukovac
13. At The End Of Time
Bogdan Rankovic - clarinet, bass clarinet
Goran Penic - accordion
Milos Matic - double bass, tamburitza
István Cik - drums, percussion
Oláh Vince - guitar
Boris Kovac - alto, soprano saxes, sampler
Special guests: Nenad Vrbaški - violin (1, 4, 5, 6, 7, 8, 12, 13)
Vanja Jakovljevic - guitar (1, 2, 4, 6, 7, 9, 11)
Ramiz - darabuka (3)
Coyote (a dog) - voice (1, 6, 12)
"Sitting on the Buffalo, Kampec Dolores' second CD for the label ReR Megacorp, followed their breakthrough album, the highly experimental Zúgó/Rapid, and their first North American tour. The lineup has changed considerably. Singer/violinist Gabi Kenderesi and guitarist Csaba Hajnóczy (who were both involved in the project the Danubians) are the only two musicians playing on both albums. The band has lost a very inventive drummer (András Halmos cannot match the mastery of Péter Hárságyi), but gained a strong bassist in Árpád Vajdovich. This album is more song-oriented, with shorter tracks and more lyrics instead of random syllables (still featured on "Small Cloud 1" and "Small Cloud 2"). Kenderesi sings in Hungarian (with English translations supplied in the booklet), Tamil, and Turkish. Rai and Tzigane influences permeate the group's rock songs. "Tan Naa Ne" is a traditional South Indian folk song, while "Yürüyorum" was adapted from a ceremonial song of the Bektashi dervishes. The basslines recall some of the best avant-rock Czech outfits, such as Pavel Fajt's Pluto and Uz Jsme Doma. More accessible than the band's previous album, Sitting on the Buffalo makes a good point of entry into Kampec Dolores' exotic world."
01. A Bivaly hátán - Sitting On The Buffalo
02. Tan Naa Ne
03. Tizenöt - Fifteen
05. Testet öltött - Incarnated
06. Séta (Su es Si) - Walk (Shu And Shi)
07. Felhőcske 1. - Small Cloud 1.
08. Felhőcske 2. - Small Cloud 2.
09. A bivaly hátán - Sitting On The Buffalo - (Short Versions)
Bass Guitar - Árpád Vajdovich
Drums - András Halmos
Guitar,sampler - Csaba Hajnóczy
Soprano Sax - Dongó Balázs Szokolay
Voice, Violin - Gabi Kenderesi
Original uploader: MikeVaghur. Thanks!
The Warsaw Village Band's debut international release, People's Spring, has echoes of the familiar in its heady modern interpretations of ancient Polish Folk music: klezmer, Scandinavian-sounding melodies, singing that sometimes recalls the Bulgarian Women's Choir in its otherworldly harmony, and some trance-inducing backbeats. But it's ultimately unclassifiable, skipping genres and seamlessly melding tradition and experimentation in music that upholds its folk roots while not being bound by them. Using ancient and little-heard traditional Polish instruments like the suka--a Polish fiddle from the 16th century--and the Polish dulcimer, the Warsaw Village Band crafts their own soundscapes, infusing folk tradition with a thoroughly modern attitude. "Chassidic Dance," with its Jewish melodies and trip-hop slanted drumming, and the dirges "At My Mother's" and "Clear Water" achieve an organic fusion tinged with the psychedelic. Meanwhile, the group's lyrics amplify its contemporary leanings: "Who Is Getting Married" takes a feminist stance on marriage and "Cranes" sets an anarchistic protest song to bombastic rhythm. The group's mix of old and new styles is so complete in fact, that the last two songs on the album--dance floor-ready remixes by two Polish DJ's--are almost redundant, mixing electronic beats with Polish folk melodies in a manner not all that different from the organic remixing the Warsaw Village Band realizes throughout the whole album.
01. To You Kasiunia
02. Chassidic Dance
03. At My Mother's
04. I Had A Lover
05. Red Apple
06. Traditional Rural Polka
07. Who Is Getting Married
08. Clear Water
09. What Have You Been Doing Kasia
10. Polka Folkisdead
11. Rain Is Falling
14. Matecka (At My Mother's) [Remix]
15. Joint Venture In The Village (I Had A Lover) [Remix]
Original Uploader: wysylacz. Thanks!
A portrait of a musician. An unconventional folk music album. These recordings introduce Géza Potta and his music, a rural Gypsy violinist (prímás) from a village in Abaúj (the region straddling the Hungarian-Slovakian border south of Košice). He is the kind of musician who could have been found by the hundred in the olden days of Hungary. They spent their whole lives serving and entertaining their village audiences and were esteemed members of the community when there was a constant demand for them and their music. However, after this demand diminished their musical knowledge was no longer handed down and now only a few of them are left – among them one of the most accomplished and versatile of musicians, who can be heard on this album.
Professional Gypsy musicians depended on their musical activities to earn their livelihood, the bulk of their income: the better they could satisfy the demands of their customers, the more invitations they received. This is the reason that these musicians are not strictly “traditional”, since they adjusted their repertoire to fit the prevailing expectations. The wider the range of music a musician could present to his audiences and the greater the number of melodies he knew, the more he could earn – regardless of the age or the intrinsic value of the tunes. This “musical multilingualism” also characterizes the repertoire of Géza Potta. At a wedding party authentic folk songs and “composed songs” (songs composed in folk style) sat together perfectly well, side by side, and completely different music accompanied the merry-making of, for example, the Gypsy and the Slovakian populations. In this respect, this album endeavors to paint a complete picture, presenting something from each musical world. After all, musician, a village “informant”, is not a nameless individual who only “provides” information, but a creative artist who produces something new and unique fro the musical tools at his disposal, weaving his own personality and musicianship into his performance. This is especially true of Géza Potta and his violin playing.
01. Csárdások simán (lassú és gyors csárdás)
02. Sipljakate, sipljakate... (cigány nóta)
03. Potta Géza zenekara 1986-ban (lassú és gyors csárdás)
04. Motoris, motoris... (cigány nóta)
05. Ciriklóri, miriknori... (cigány hallgató, lassú és gyors csárdás)
06. Cigány foxok
07. Áji nóták (lassú és gyors csárdás)
08. Hallgató és györkei verbunk
09. Libás nóták (lassú és gyors csárdás)
10. Bakanóták (lassú és gyors csárdás)
11. Duvás nóták (szlovák krucena)
12. Cardas a szlovákoknak (lassú és gyors csárdás)
13. Bolyongok a város közepén
14. Kincses Kolozsvár
15. Ó, mano, mano
17. Balogás emlékére (cigány hallgató,lassú és gyors csárdás)
18. Pimasz vagyok mostanáig
19. Pimasz emlékére (magyarbődi csárdások)
Potta Géza - voice, violin
Ádám Béla - voice, cimbalom
Dzsuga Géza - viola, contra violin
Jano Ferenc - viola
Badó János - double bass
Badó Elemér - double bass
he name Rományi Rota means Cartwheels (Cigánykerék). The band was established in 1985 in Nagyecsed (Szatmár county) by young, talented Oláh Gipsy musicions. In the early years - from 1987 to 1988 - Rományi Rota worked as a traditional county dance group, but in 1989 some members of the group moved to Budapest in order to continue their activity in the capital.
This was a decisive period for the development of the band and contributed significantly to their present style. They say their music represents the city Gipsy folk music.
The Rományi Rota's repertoire is based on the Oláh Gipsy songs from Nagyecsed (from Cerhár) and the northerneast Hungarian Gipsy songs complemented by the Transylvanian Gipsy community's folk music. After all their songs are colorful and varied with strong and powerful rhythm. However the Rományi Rota insist on the elemental feature of the vocal music.
They have already worked abroad, in 1998 contributed to a record of the world-famous Transglobal Underground from London, which clearly reflects their musical standards and values.
01. It suits her well
02. Who's that girl
03. There is nothing good for me
04. Listen to me, my beautiful wife
05. I've just been to the fair
06. Flows the water under the bridge
07. The boy goes on the street
08. Long Haired girl
09. She made me ill, she made me mad
10. I am a poor boy
11. Songs from Nagyecsed
12. The Tzserhar Gypsy boy
13. This boy is a Gypsy
14. My Heart is so sad now
15. Open woman, your gate
16. The gang plays over there
17. Uncle Joe
Ildikó Varga - voice
Béla Lakatos - voice, water can, vocal bass
Zsolt Karikás - voice, spoons, vocal bass, drum
Zsolt Kürtösi - viola
Ferenc Kiss - viola
Zsigmond Lázár - violin, viola
"This", says Hal Willner, "was the original punk music." The maverick American producer, best known for his tribute to Kurt Weill and his reworking of Disney film music, had been set an unusual task: to provide a contemporary reinterpretation of seafaring songs. The idea came from Johnny Depp and director Gore Verbinski (credited here as executive producers) while they were filming Pirates of the Caribbean, and the result is a 43-track epic that actually works. The cast list is extraordinary: Nick Cave, Bono, Lou Reed, Bryan Ferry and Sting appearing alongside British and American folk stars (Richard and Teddy Thompson, Martin and Eliza Carthy, Loudon and Rufus Wainwright).
But what's more impressive is how Willner matches a sense of danger, even mania, against laments, with distorted, experimental passages balanced with the delicate guitar work of Bill Frisell or sturdy traditional themes. The mood changes from bawdy and obscene work songs to ballads. Highlights include David Thomas's crazed version of What Shall We Do With the Drunken Sailor, a moody, pounding guitar ballad from Jarvis Cocker and Richard Thompson's exquisite Mingulay Boat Song."
01. Cape Cod Girls – Baby Gramps
02. Mingulay Boat Song – Richard Thompson
03. My Son John – John C. Reilly
04. Fire Down Below – Nick Cave
05. Turkish Revelry – Loudon Wainwright III
06. Bully In The Alley – The Old Prunes
07. The Cruel Ship's Captain – Bryan Ferry
08. Dead Horse – Robin Holcomb
09. Spansih Ladies – Bill Frisell
10. High Barbary – Joseph Arthur
11. Haul Away Joe – Mark Anthony Thompson
12. Dan Dan – David Thomas
13. Blood Red Roses – Sting
14. Sally Brown – Teddy Thompson
15. Lowlands Away – Rufus Wainwright & Kate McGarrigle
16. Baltimore Whores – Gavin Friday
17. Rolling Sea – Eliza McCarthy
18. Haul On The Bowline – Bob Neuwirth
19. Dying Sailor to His Shipmates – Bono
20. Bonnie Portmore – Lucinda Williams
21. The Mermaid – Martin Carthy & the UK Group
22. Shenandoah – Richard Greene & Jack Shit
23. The Cry Of Man – Mary Margaret O'Hara
01. Boney – Jack Shit
02. Good Ship Venus – Loudon Wainwright III
03. Long Time Ago –White Magic
04. Pinery Boy – Nick Cave
05. Lowlands Low – Bryan Ferry & Antony
06. One Spring Morning – Akron/Family
07. Hog Eye Man – Martin Carthy & Family
08. The Fiddler/A Drop Of Nelson's Blood – Ricky Jay & Richard Greene
09. Caroline and Her Young Sailor Bold – Andrea Corr
10. Fathom The Bowl – John C. Reilly
11. Drunken Sailor – Dave Thomas
12. Farewell Nancy – Ed Harcourt
13. Hanging Johnny – Stan Ridgway
14. Old Man of The Sea – Baby Gramps
15. Greenland Whale Fisheries – Van Dyke Parks
16. Shallow Brown – Sting
17. The Grey Funnel Line – Jolie Holland
18. A Drop of Nelson's Blood – Jarvis Cocker
19. Leave Her Johnny – Lou Reed
20. Little Boy Billy – Ralph Steadman
"Recorded amidst the live event, this CD shows the harsh truthfulness of our first few years.
Live recordings (partly done using a walkman!)and a few days at the Beatstudio (with the legendary Gerd Blum!) managed to recreate the swinging atmosphere aboard the motor boat Pik-As in Berlin´s Urbanhafen. Or else the tiny stage at the Café Bellevue. Or the concert on 14th July at the former Franz-Club in Prenzlauer Berg, which took place on the same day as the Love Parade (“everyone on platforms?”)."
02. Der Zug um 7:40 Uhr
03. Bourrée dite d'aurore sand
04. Valse a cadet
05. A scuttiscia
06. Le waltz
07. Folk song
08. Der Freund von Lüül
09. Shalom Alechem
10. Who stole the keeshka
11. Arriba muchacho
13. King Arthur's liver
14. Jovane Jovanke
15. Chassidic song
16. Die Ungarn Nummer
"Everybody knows klezmer music, but what we can hear on this exceptional album is the ancestor of klezmer - the forgotten old Jewish music of the Carpathian Basin.
Muzsikás has recoded these songs after years of research, which produced interesting results - for example collecting music from gypsies, authentic players of klezmer, or finding instruments such as the guitar-like 'zongura' or drum with cymbal. The results of this research are all here on this wonderful album.
The beautiful trustworthy voice of Márta Sebestyén brings a special breath to this recording."
01. Khosid Wedding Dances
02. The Rooster Is Crowing
03. Dance From Máramaros
04. Lamenting Song
05. Ane Maamin
06. I Have Just Come From Gyula
07. Farewell To Shabbat
08. Jewish Dance From Szászrégen
09. Hat A Jid A Wejbele
10. Jewish Csárdás Series From Szék
11. Khosid Dance
12. The Greeting Of The Bride
13. Haneros Halelu
14. FareWell To The Guests
Sándor Csoori - violin, viola, guitar
Péter Éri - Guitar, Kaval, Viola
Dániel Hamar - Double Bass, Gardon
Mihály Sipos - Violin
Márta Sebestyén - voice
Csaba Ökrös - violin
Gheorghe Covaci - violin
Arpaf Toni - cimbalom
Gheorghe Florea - 'zongura'
Ioan Florea - drums
"Farmers Market has become one of Norway's most popular live bands, playing at all kinds of venues and festivals: jazz, folk and rock. Farmers Market has been releasing music in Norway sporadically over the past decade but their releases have been generally hard to find on U.S. shores. Those who have been lucky enough to hear the outfit have been instantly won over by the unbelievable musicianship and oddball mixture of styles. The groups last release came in 2000 and according to the band the title was never release, a secret amongst them and the label. Jazziz said of the outfit and the secretly-titled release, Balkan-jazz crossover may be well-established by now, especially on this side of the Atlantic. But seemingly from out of nowhere comes the Norwegian/Bulgarian quintet Farmers Market with a self-titled album that kicks the burgeoning genre sideways a notch or three.
The band Farmers Market was formed by students of the jazz department at the Conservatory of Trondheim. At first, Farmers Market started out as an “ordinary” free-jazz group, but soon found itself leaning towards Bulgarian folk music, which would change everything. The boys were fascinated by this music’s Oriental scales and possibilities for improvisation. Since then the main ingredients of Farmers Market have been a mixture of Bulgarian folk music, jazz standards, pop music and humor."
01. Surfin' Ussr
02. Surfin' Ussr Pt. 2
03. Lodtschitze Mini Maritza (Ferry Cross the Mersey)
04. Anyone Who Remembers Vladiwoodstock Wasn't There!
05. Dissident Harmony Sisters Camel Call
06. To Hell And Baku
07. Traktor Tracks Across The Tundra
08. From Prussia With Love
09. Red Square Dance
10. The Dismantling Of The Soviet Onion Made Us Cry
11. Kalshnikov Wedding
12. Steroid Train Trip
13. Meanwhile Back At The Agricultural Workers Collective
14. Ladyboy's Night At The Cultural Relativism Saloon
15. One Day, Son, All I Own Will Still Belong To The State
Stian Carstensen - accordian
Nils-Olav Johansen - guitars, vocals, & banjo
Jarle Vespestad - drums
Trifon Trifonov - saxophone & clarinet
Fin Guttormsen - bass
Ay-Kherel, meaning “ray of moonlight”, was founded in 1994 by master throat-singer Vladimir Serenovich Soyan. Hailing from Tuva, Ay-Kherel performs five different throat-singing styles accompanied by a plethora of traditional instruments. Instruments used include kengirge (drum), limbi (flute), synyi (rattle), shyngyrash (bells), khomus (Jew’s harp), byzaanchy (violin), doshpulur (lute), chanzy (lute), duyug (horse hooves) and igil (violin).
"Perhaps the Tuvan craze in world music is dying down a bit now, more removed from the flurry stirred up by Genghis Blues. There's still a fair bit out there to be heard nonetheless, with groups beyond the well-known Huun Huur Tu and Kongar-ol Ondar. Case in point is this album from Ay-Kherel, a troupe headed by Vladimir Soyan. The album progresses through the obvious khoomei to instrumental pieces and various folk songs, both in solo and ensemble formats. Much of the music is similar to what would be heard on other Tuvan albums, with some exceptions in execution. No one in this troupe is up to the same standards in throat singing as ol-Ondar, but they aren't bad. They don't have the vocal range of some of the old long-song specialists, but they aren't bad (especially Vladimir's daughter Lilya Soyan). They aren't the most virtuosic on the igil or khomuz, but they aren't bad. They're a perfectly good troupe overall, very good generalists as opposed to virtuosic specialists. As such, it makes for a nice primer to the music of Tuva, and a good lead-in for further exploration in the rich music of the locale."
01 - Morgul (Prayer)
02 - Baezhin
03 - Tool (The Story)
04 - Kadarchynyn Yry (Shepherd's Song)
05 - Dyngylday
06 - Eki Attar (The Best Steeds)
07 - Chylgychynyn Yry
08 - Tarlaashkyn
09 - Aldan Maadyr
10 - Igil Solo
11 - Kuda Yry
12 - Khoomei Solov
13 - Khomus Improvisation
14 - Ches-Bulun
15 - Hoyzhu Sugga Baryksaar Men
16 - AA-Shuu, Dekei-Oo
17 - Ezir-Kara
18 - Tyvam Hemneri (The Rivers of Tuva)
19 - Durgen Chugaa
20 - Ugbashkylar
21 - Dagyn Katap Darlatpas Bis
22 - Kozhamyktar
Puerto Muerto's "Your Bloated Corpse Has Washed Ashore!", a nineteen song epic about swashbuckling and harlotry, is niche indie at its best. With a Spanish-folk-guitar-meets-German cabaret sound, the husband and wife duo have enough quasi-historical referances to make arcana-craving hipsters beam. What if Kurt Weill wrote songs for Shane MacGowan? What if Maria Callas covered David Bowie and Brian Wilson produced? What if Leonard Cohen hooked up with the Bulgarian Women's Choir? What if Edith Piaf sang on an Ennio Morricone soundtrack? What if Lydia Mendoza made a record with Tom Waits? What If?
"They dart from near alt-country sounds to sea-faring jigs that'd get heavy play on a jukebox at the bottom of the deep, dark sea, and they laugh out loud at other's grim misfortune. We love that."
"Uniquely smarmy and intelligent acoustic rock that covers everything from alternative country to German cabaret to Spanish folk...Captain Beefheart meets Kurt Weill via Tom Waits"
01. Silver Shoes
02. Jean Lafitte
03. Go Home
04. Blood Red Wine
05. San Pedro
07. Streets of Marseilles
09. Crazy Worms
10. Orphans of Stockton
12. When I'm Alone
14. Grinding Bones
15. Old Man Song
18. So Long
Winning the BBC World Music Audience Award in 2003.
"Slovenia isn't well a known country, but the growing reputation of this entertaining young band has at least put it on the world music map. They've achieved that largely through tireless gigging since their virtually spontaneous formation at a music festival in 1999.
'I think that the basis of our success is our concerts,' says violinist Bojan Cvetrežnik, who joined clarinet/whistle player Boštjan Gombac and guitarist Danijel Cerne at that fateful gig. 'We are still much better on the stage than on the recordings, and that's why we have always full clubs where we play. They really love our concerts.'
No surprise then that both the albums they've released to date have been recorded at live performances. The line-up is extended on their most recent CD Pulover Ljubezni (Jumper Of Love) by the addition of double bass player Žiga Golob. The players' diverse backgrounds in jazz, classical and even alternative rock is reflected in an eccentric repertoire which they tear through with the virtuosity of seasoned musicians, spiced with a bawdy sense of humour. And the proximity of such varied musical neighbours as Austria, Italy, Romania, Hungary and the Balkan states is not lost on them: 'We have very very different influences here in Slovenia. Maybe that's one reason why we play so different music,' Bojan explains, while also admitting: 'We just play the music we like.'
What they like to play is a mind bogglingly eclectic assortment that includes folk styles as diverse as Klezmer, Gypsy, Irish, Slovenian and even Mexican music, but also extends to pop, rock and classical. One medley manages to include Bach, Led Zeppelin and a Donegal reel.
Purists may baulk at idea of so many roots musics being played by musicians born outside the traditions they are interpreting, but Terra Folk's sincerity and affection for the styles they present is beyond question: 'You don't have to be Jewish to play Klezmer music. You don't have to be a Gypsy to play Gypsy music. Maybe we can't play in the same authentic way, I don't know, but this music is so interesting that it can be played also with other knowledge than just from the real roots. We all love music which is real, authentic, but we don't want to copy the authentic way. We play always with our education, with our knowledge, and what we know about music."
01 Caro Papa
02 Yoshke, Yoshke
04 Jovano Jovane
05 Hava Nagila
06 Rumenisher Tants
07 Copza Luca
09 Der Gassn Nigun
10 Stairway Uberall
11 Stairway Uber Ireland
12 Are We Going To The Moon-
13 Pop medley
14 Ay Chabella
15 Djemper Ljubavi
16 Pub Medley
A unique project from Fonó Records in Hungary featuring Ágnes Herczku, members of Hegedős, Vándor Vokál and others.
Singer Agnes Herczku and band with an enthralling collection of folk songs from the diverse Hungarian repertory: traditional folk songs, gipsy dances, shepherd's songs, wedding marches and even some drinking songs. Intelligent and inspired music which is articulated around some splendid elaborate vocal harmonies with a significant number of guests. Song topics range from The Wheat Must Ripen to The Tears of Women all of which are eloquently rendered. The instrumentation is precise and effective (violins, percussions, flute, accordion and dulcimer). A complex heritage organized around a talented and impressive group of musicians.
01. Oh, secret love (Folk song from Magyarbőd)
02. It begins secretly (Csárdás from Magyarbőd )
03. So that I don't need paint on my cheeks (Lament and „Hungarian” from Magyarszovát)
04. On the corner of her rosemary pillow (Dawn song and lads' dance from Kalotaszeg)
05. Three nights, three days (Csárdás and swift from Kalotaszeg)
06. Memory of Josko Kura (Bagpipe songs form Zoborvidék)
07. The wheat must grow ripe (Gypsy dance and „orphan song” from Nyirvasvári)
08. I lost my horse (Shepherds' songs for stick dance from Gömör)
09. When I go out to the hill in Daróc (“Hallgató” and melodies from Nagydaróc)
10. „Whose soul is wine” (Drinking songs from Bodrogköz)
11. My sweetheart, you took my sense away (“Oláhos”, csárdás and „fogás” from Bodrogköz)
12. Tears of women (Ruthenian chorovods from Sáros)
13. Huculka (Ruthenian music from Técső)
14. In memoriam Bohumil Hrabal (Wedding march from Jóka)
Fonó Folk Band:
Ágnes Herczku – vocals
Gergely Agócs – vocals, flute, bagpipe, tárogató
Tamás Gombai – vocals, violin
Gábor Szabó – vocals, violin
Sándor D. Tóth – vocals, second violin, viola, guitar, drum
Zsolt Kürtösi – vocals, double-bass, accordion
With the contribution of:
Balázs Unger – dulcimer, little dulcimer
Vándor Vokál band:
Katalin Bakó – vocals
Szilvia Bognár – vocals
Tünde Farkaš – vocals
Katalin Izsák – vocals
Ágnes Szalóki – vocals
Adrienn Buzássy – vocals
Júlia Zsákay – volcals
Ádám Pettik – water can, oral bass
"The story begins in the Esquilino neighborhood in Rome. An area that revolves around a square with a Roman heart and a multitude of colors: Piazza Vittorio. It is a thoroughfare and hub for various cultures and its atmosphere inspired Mario Tronco to create what many would have liked to accomplish but only he, with the help and tenacity of Agostino Ferrente, had the courage to see to the end, L’Orchestra di Piazza Vittorio.
Many musicians, each one unique in origin, instrument, and musical experience. Together they form an orchestra that plays and reinvents music from all over the world with a visceral energy that audiences take away with them after each concert.
Now, the Orchestra is well-known in Italy and abroad, but in 2002, the year it was created, everything was much more difficult and finding its place in the world of music as well as financial support in order to play was a true undertaking. The only thing that has not changed is the desire to make music and have fun with those who listen to and know how to listen for great new sounds in music."
2. Ena fintidaah’k
4. Helo rama per
6. Balesh Tebsni
7. Ena andi
9. Vagabondo Soy
Houcine Ataa – Tunisia - vocals
Peppe D’Argenzio – Italy – sax – bass clarinet
Evandro Cesar Dos Reis – Brazil – vocals - classical guitar, cavaquinho
Omar Lopez Valle – Cuba - trumpet, flugelhorn
Awalys Ernesto “El Kiri” Lopez Maturell – Cuba - drums, congas, hands, feet, background vocals
John Maida - United States - violin
Eszter Nagypál – Hungary - cello
Gaia Orsoni – Italy - viola
Carlos Paz – Ecuador - vocals, Andean flutes
Pino Pecorelli – Italy - double bass, electric bass
Raul “Cuervo” Scebba – Argentina - marimba, glockenspiel, congas, percussions, background vocals
El Hadji “Pap” Yeri Samb – Senegal - vocals, djembe, dumdum, sabar, shaker
“Kaw” Dialy Mady Sissoko – Senegal - vocals, kora, feet
Giuseppe Smaldino - Italy - French horn
Ziad Trabelsi – Tunisia - vocals, oud
Mario Tronco – Italy – Artistic Director - Fender Rhodes
"One of New York’s most original bands, HAZMAT MODINE delivers a rustic, deliriously Dionysian blend of whorehouse Blues, Reggae, Klezmer, Country and Gypsy-tinged music. The band features the dueling harmonicas of front-man Wade Schuman and his sparring partner Randy Weinstein, funky tuba powerhouse Joseph Daley, guitarists Michael Gomez and Pete Smith, trumpeter Pam Fleming and drummer Rich Huntley. HAZMAT holds down a smoldering groove behind Schuman’s raspy, bluesy voice and passionately energetic stage presence. (Schuman is one of the most dynamic performers on the New York scene). Their playful blend of genres also extends to their use of instrumentation, including the sheng (the ancient Chinese mouth organ), the unique and odd claviola, and sometimes the cimbalom (the Romanian hammered dulcimer). While they play mostly originals, their cover versions are choice and eclectic, including songs by Slim Gaillard, Jimmy Rogers, Jaybird Coleman, and Irving Berlin. Their live show frequently features guest artists from the creme de la creme of the New York music scene, including cult-favorite singer/accordionist Rachelle Garniez, Moonlighters steel guitarist extraordinaire Henry Bogdan and the great cimbalom player Alex Federiouk. With their sly musical wit, expert musicianship and completely unique sound, HAZMAT MODINE has built a wide and devoted following, drawing crowds to shows at venues as diverse as the Knitting Factory, Terra Blues, the Fez and Galapagos Art Space.
The fifteen-track CD presents an ensemble with a Sybil complex of multiple musical personalities. "Yesterday Morning" resembles a New Orleans funeral dirge with a reggae beat. "It Calls Me" melds the Mississippi Delta with Huun-Huur-Tu's Asian-born Tuvan throat singing. The exotic array of instruments includes the Romanian cimbalon, zamponia, Hawaiian steel guitar, electric banjitar, contrabass sax, claviola, and bass marimba. In the hands of lesser musicians this stuff would sound like a mess, but these guys make it work, with dancing diplomacy that would put the U.N. to shame. If this isn't world music, I don't know what is."
01- Yesterday morning
02- It calls me
04- Fred of Bellaroy
05- Broke my baby´s heart
06- Almost gone
07- Steadly roll
08- Everybody loves you
09- Lost fox train
10- Dry spell
11- Ugly rug
12- Who walks in hen I walk out!
13- Grade-a Gray day
14- Man trouble
One of the best folk rooted ethno rock albums from Hungary. While using the tradition of folk music they are using modern technics and rock instruments with beautiful clear singing and choir.
"We don’t have to follow that, what our forefathers did, but we do have to follow what our forefathers followed."
The Band of Debrecen playing Folk Rock.
01 - Hej, igazitsad jól a lábod
02 - Reverinda
03 - Túl a vízen egy kosár
04 - Zőld az erdő
05 - Recés a szölő levele
06 - Hopp ide tisztán
07 - Összegyultek az izsapi lányok
08 - Harci tánc - Héjsza
09 - Csendes patak partján
10 - Hejgetés
11 - Átokdal
12 - Még azt mondják nem illik a tánc a magyarnak
Loneliness, loss, displacement, and death loom large among the topics covered in the 15 Yiddish poems set to melodies by popular Israeli folk singer Chava Alberstein, and arranged by New York's exploratory Klezmatics, on this deeply sad and beautiful album. Anyone familiar with the Klezmatics' more rambunctious side will be impressed by the inventive delicacy and subtlety they bring to these elegant vestiges of fading Yiddish culture, virtually reanimating it with tangos, Hasidic melodies, polkas, and festive freylekhs that recall its vibrant past. Alberstein's low voice meshes beautifully with Lorin Sklamberg's high tenor, adding extra emotional resonance to a series of poems in the middle of the album that evoke the genocide twilight that enveloped the writers' world half a century ago. Their tragedy is redeemed in The Well.
"The Well is an extraordinary collaboration between two extraordinary artists. Renowned Jewish roots sextet The Klezmatics and legendary diva Chava Alberstein, called "the first lady of Israeli song," have joined forces in creating a rapturous modern Jewish music. Set to words from this century's finest Yiddish poets,The Well draws from the vibrant musical traditions of klezmer, Middle Eastern, French chanson, German cabaret and American folk in a gorgeous original score. Chava's lush, golden vocals describe experiences of love and loss both profoundly Jewish and universal, while The Klezmatics' radiant virtuosity is suffused with "the Eastern European accents, unfettered joy and instrumental brilliance that define klezmer."
01. Di krenitse
02. Ikh shtey unter a bokserboym
03. Ergets shtil Baym taykh
04. Ver es hot
05. Ovnt lid
06. A malekh veynt
07. Bay nakht
08. Vek nisht
09. Kh'vel oyston di shikh
10. Mayn shvester Khaye
12. Di elter
13. Velkhes meydl s'nemt a bokher
14. Di goldene pave
15. Zayt gezunt
Chava Alberstein: vocals, classical guitar
Lorin Sklamberg: vocals, accordion, piano, bass accordion, harmonium
Alicia Svigals: violin
Frank London: trumpet, flugelhorn, alto horn, piano, harmonium, bass accordion, synthesizer
David Licht: drums & percussion
Matt Darriau: clarinet, bass clarinet, alto sax, kaval, harmonium
Paul Morrissett: electric bass, double bass, tsimbl, hardanger fiddle
Ben Mink: guitar, mandocello, mandolin
John Friesen: cello (6)
Born in 1957 to a poor gypsy family in Hungary, Ferenc Snétberger was inspired by his father's music since his childhood years. "My father was the best guitar player around. He had a style that was very much his own." French tourists who listened to him playing in bars occasionally compared his music to Django Reinhardt's. When Ferenc was 13 years old, his father allowed him to attend a music school where he learned to play the classical guitar. He soon fell in love with the music of J.S. Bach and won several awards at classical competitions.
At the same time, Ferenc played at weddings and in night bars and was familiar with jazz, bossa nova, gypsy style and other popular musics. So in addition to his classical training, he decided to study the jazz guitar at the Budapest Conservatory. "You couldn't develop your own style at the conservatory," Ferenc says. "So when I heard Egberto Gismonti at a festival one day, it was a tremendous experience. This was just the direction I wanted to go myself." Besides Gismonti, it was the music of jazz guitarists Wes Montgomery and Jim Hall that inspired Snétberger not to aim at a classical career. Instead, classical technique and esthetics became an integral part of his individual stylistic mix that includes jazz improvisation, Brazilian rhythms and gypsy roots on the highest level of virtuosity and soulfulness.
On his album, "Obsession," Snétberger presents a beautiful jazz/bossa-oriented trio music that comes out of the tradition of Brazilian guitarist Laurindo Almeida and American samba pioneer Charlie Byrd while touching new dimensions of artistic shaping. Says German weekly Die Welt: "Ferenc Snétberger proves to be a cosmopolitan musician, a mediator of multi-cultural values. High art of guitar playing!"
01. Wanton Spirit
03. Szivárvány (for Attila Zoller)
04. FS Five
06. Hanging Out
08. I Remember
09. Song To The East
Ferenc Snétberger - acoustic and electric guitars
János Egri - bass
Elemér Balázs - drums
Irén Lovász - vocal on "Páva"
Szőke is a well known artist from Tin-Tin, Makám and Kolinda. Besides playing on oriental instruments he is also known for directing theatre pieces. This is the first time, that these three works: Omáar Khayyám, The Arabian Nights and Jayadeva are blended into one single unit. There verses are set to music mainly for original instruments. Their melodic and rhythmic structure is built on Indian, Persian, North African, Balkan and East-Central-European elements.
01. Beggar's song
02. Empty your goblet
03. Carnal fray
04. I am a flower, sweet-smelling
05. Sindbad's soliloquy No. 1
06. The curl on her snowy brow
07. Winged horsey
08. It is dawn
09. Sea monsters
10. Sindbad's soliloquy No. 2
11. Go, save your soul
12. Let your strong teeth bite me nice
13. The world is spinning
14. Sindbad's soliloquy No. 3
15. I drink not for lust, not for delirium
16. One thing is certain
17. The one who opens the gate to love
18. Sindbad's farewell soliloquy
Bea Palya - vocals, mouth organ, kalimba, snklung, bells, rhythmic speech, clapping
András Monori - kaval, sithar, bamboo flute, double recorder, trumpet, mouth organ, kalinba, guitgar, bells
Péter Szalai - tabla, kalimba, ocean drum, rain stick, bells, rhythmic speech
Szabolcs Szőke - gadulka, sarangi, gusla, kalimba, bamboo zither, bells
Lajos Spilák - tapan, gongs, bells, prose
Éva Enyedi - anklung, mouth organ, mbira, rhythmic speech, clapping
Katalin Homonnai - anklung, mouth organ, mbira, rhythmic speech, clapping
Domokos Szabó - anklung, bamboo sansa
"This is Gypsy music. Boyash Gypsy music, which until now was only performed within this small (30k) minority of Hungarians. Originally from Transylvania, the Boyash Gypsies mainly live in 4 districts of the southwest. Their melodies are more Romanian than usual Gypsy/Hungarian music, with a sense of group fun about it. When one vocal is singing solo, do the rest of the players shut up? No, they keep on with constant, consistent asides that fill up the odd gaps or pauses, if anyone dares to let a second go without a shout, a dabadado, or a group sing-along. It’s one of the aboriginal delights of the album.
Kanizsa Csillagai (literally translated as Stars of Kanizsa). Formed in 1993 by 5 young Boyash and Wallachian Gypsies from Nagykanizsa, the leader of the group is singer/guitarist/dancer Zoltán Horváth. This is their 2. cd, and is indicative of a family recording (Zoltán’s wife and brothers are on here too) as ever I’ve heard. If only all groups were this collaborative and confident with weaving themselves together."
01. Foku drákuluj - Az ördög tüze - Devil's Fire
02. Járá jésty tu, jar á me - Megint az enyém vagy - You are mine again
03. S-o mérsz giszká - Ement a liba a jégre - The Goose have gone to the ice
04. lhuz, mámá - Hallod, anyám... - Hear, mother
05. ljoj, urtásjé... - Jaj, barátom.. - Oh, my friend
06. Náj láso mángé - Nem jó nekem... - Not good for me
07. Si tisjunyé si kárbunyé - Parázs és korom - Live coal and soot
08. Sjé szá fák - Mit csináljak? - What shall I do?
09. Tu Jésty fátá... - Te vagy az a lány - You are that girl...
10. Fá nyém mámá...- Fôzzél anyám... - Cook, Mother...
11. lj, Julá me - Jaj Juliskám - Oh, my Juliska
12. Tatá naptye ám kintát jo - Egész este - All evening
13. Szi ámen jék séjorri - Van nekunk egy kislányunk - We have a little girl
Zoltánné (Ibi) Horváth - voice, dance, csörgó
Zoltán Horváth - voice, guitar, tambura, bass, dance
Sándor Horváth - voice, tambura, dance
Attila Havasi - jug, dance
Vendel Orsós - voice
"Huun-Huur-Tu is making the inevitable move toward globalization that comes with worldwide touring and collaboration with foreign musicians, but so far they have managed to retain their own unique identity and remain firmly rooted in Tuvan traditional sounds. By now the novel aspects of multi-tonal throat singing do not need to be featured to help sell their work. Compared to their previous albums there is a richer harmonic (in the traditional Western sense) texture, and such Tuvan anomalies as the harp, Scottish pipes, and synthesizer make their appearance. However, they remain unobtrusively in the background (the synthesizer is used to generate a virtual wind storm), and one gets the sense that the quartet has a mature, rooted sense of where they want to go with their music. The highlight for me, though, are the excerpts of field recordings made by ethnomusicologist Ted Levin (Smithsonian Folkways's Tuva, Among The Spirits, reviewed below) of throat-singing while on horseback. The music, restored to its physical context, suddenly makes so much more sense."
02. Anatoli on Horseback, singing
04. Xöömeyimny Kagbas-la Men (I Will Not Abandon My Xöömei)
05. Avam Churtu Dugayimny (Dugai, The Land of My Mother)
07. Highland Tune
08. Hayang (name of a hunter)
09. Barlyk River
11. Interlude: Sayan playing xomuz with water in his mouth
13. Sagly Khadyn Turu-la Boor (It's Probably Windy on Sagly Steppe)
14. Ezertep-le Bereyin Be (Do You Want Me to Saddle You?)
15. Live recording: Anatoli and Kaigal-ool riding horses in Eleges while singing
Sayan Bapa (vocals, doshpuluur, igil, guitar)
Kaigal-ool Khovalyg (vocals, igil, doshpuluur)
Andrey Mongush (vocals, byzaanchi, khomuz, amarga)
Alexei Saryglar (vocals, percussion)
"Gianmaria Testa is an Italian singer/songwriter treasure, and for this release he's put together a loose concept album about migrants and those who move (or refuse to move) for work and war. He's backed by his usual acoustic roots band, but adds American guitarist Bill Frisell to the proceedings (and another American, Greg Cohen, gives a crystalline production). Testa's trademark gravelly, world-weary vocals speak of separation, loneliness and often resignation, but there's also hope, as in the beautiful "3/4," a simple elegiac song and finally a sense of place and possible belonging, albeit on a small scale. A superb lyricist with a marvelous eye for image, Testa picks up on the minutiae that make up a life, the small but still important things. What he's really created here is nothing less than a work of art."
01. Seminatori Di Grano
03. Forse Qualcuno Domani
04. Una Barca Scura
05. Tela Di Ragno
06. Il Passo E L'Incanto
08. Al Mercato Di Porta Palazzo
11. La Nostra Citta
Enzo Pietropaoli-Double Bass
Gianmaria Testa-Guitar, Vocals, Pre-Production, Lyricist
Philippe Garcia-Percussion, Drums
Davide Roveri-Assistant Engineer
Claudio Dadoneű-Guitar, Pre-Production
Greg Cohen-Guitar, Vocals, Artistic Producer
Bill Frisell-Guitar (Electric)
"Simply put, Kalamona is Eastern European jazz at its best: exuberant, emotional, visceral, and modern. Dél-Alföldi Szaxofonegyüttes (The Southern Plain Saxophone Ensemble) blend Hungarian folk songs and avant-garde jazz licks to create the most festive music since John Zorn's Masada. Béla Burány, Balázs Dongó, and Béla Ágoston are accomplished saxophone players propelled by a level of energy that equals a whole big band. They rival in solo virtuosity, but also come together to form nice contrapuntal motifs. They are backed by a strong rhythm section made of bassist Róbert Benkö, sadly a bit lost in the mix, and drummer Tamás Geröly, a dynamo. Kalamona is beautifully sequenced. It begins with two short saxophone trios that emphasize a nostalgic mood. Then comes the traditional festive tune "Kerekes" (Wheel Song), which introduces the rhythm section. That's when Dél-Alföldi hit hard with "Molnár Hol a Pénzed" (The Miller's Ballad) and "Kalamona." The first piece pairs a swinging jazz theme with a softer middle section, the ballad, sung by Ágoston. A series of saxophone solos follow, dancing on the fine line between jazz and experimental, blowing ferocious split tones and highly lyrical phrases. The title track is another one of those irresistible East-European party tunes ("Doodle" and "Reindeer" will also get the feet going). The 20-minute suite "Jelek/Sámánének" (Signals/Shaman Song) is the most raucous track, one powerful highlight. Fans of Masada, Yuri Yukanov, and klezmer/gypsy music with an avant-garde twist in general will love this. This is music to get excited about. And as usual with November releases, the CD comes packaged with stunning artwork. Strongly recommended."
1. The Shepherd's Dream
2. Song from Moldva
3. Wheel Song
4. The Miller's Ballad
6. Signals / Shaman Song
9. A Question for the Evening
Béla Burány (Baritone and Soprano Saxes)
Balázs Dongó Szokolai (Soprano Saxophone, Bass Clarinet, Kaval, Overtone Singing and Whistle)
Béla Ágoston (Alto and Tenors Saxophone, Bass Clarinet, Vocals and Overtone Singing)
Róbert Benkő (Double Bass)
Tamás Sándor Geröly (Drums and Percussion, Vocal)
"The Terem-Quartet is a unique group which has improved the performance of traditional Russian folk music and which is now has a national endowment. The group does not belong to any of the existing musical trends or genres. Musical experts call it a “terem-style”, which has added fresh sound and new aesthetics to traditional genres.
20 years ago the Terem-Quartet opened up traditional ideas of professional musicians and common listeners about the performing abilities of folk instruments. However, the exotic “flavor” of Russian folk music is not the key ingredient in what the Terem-Quartet does. They are not traditional “folk musicians”. First, the very structure of the band – two domras, an accordion and bass balalaika – make the “folk company” a true acoustic band. Second, their sound and manner of performance are very special. They play with the energy and passion of an English rock-band and have little in common with a trivial folk instrument company.
The Terem-Quartet has gained a number of Russian and international awards and took part in a number of theatre performances and film projects. Over 20 years, the musicians have given 2000 concerts, wrote over 200 original musical pieces, performed in 55 countries, and released 15 records.
Today the Terem-Quartet represents Russia in the world. Almost all the world concert halls have risen in applause to them. Pope John Paul II, Mother Theresa and Prince Charles greeted them. The Terem-Quartet played before the leaders of the G8 at the summit 2006 in St. Petersburg. There is a fan-club of the contrabassist Mikhail Dzyudze in America. On the eve of St. Petersburg’s 300th anniversary, English director Robert Stern shot the film Globe Walker St. Petersburg Special (ordered by the Japanese TV channel NHK) with Andrei Konstantinov the Terem-Quartet starring as a cultural symbol of the city."
01. Lyrical Dance
03. The Legend of the Old Mountain Man
04. Cossack's Farewell
06. Variations on Swan Lake
07. Simfonia Lubova
08. Old Carousel
09. Two-Step Nadya
11. Letnie Kanikuli
12. Country Improvisation
Original uploader: UKRuss. Thanks!
„In the early 1970’s, young urban Hungarians began to rediscover folk music and traditions. It was the time to the „folk music new wave”, and we ourselves, who had grown up in families that loved and respected folk music, song and dance, were among the first to attempt to master the techniques of instrumental Hungarian folk music.
We regularly visited village musicians in Transylvania and other Hungarian speaking areas. These „muzsikás” people tried to pass on their knowledge to us, which they did with great affection and patience. We can never be bored by this music. We listen to it at home, in our cars, on aeroplanes and we give it to our friends for Christmas. The music on this CD derives from Gyimes, Ördöngősfüzes and Kalotaszeg, and derives from some of our earliest folk music experiences. Transylvanian instrumental music embodies centureies of aesthetic values. In our concerts, we have repetadly had the experience that these melodies, reflecting essentially pure feelings and irresistible impetus are able to powerfully communicate to people, no matter where in the world they are from.
On this alum, we amimed to play and sing as our village masters did: all together, breathing as one, watching each other as we play, in order to express this music’s inner life.”
1. Füzesi lakodalmas / Wedding in Füzes village
2. Madocsai szőlőőrző / A song from Madocsa
3. Kerekes héja és sebes / Round dance of Gyimes
4. Édesanyám rózsafája / My mother's rosebush
5. Ej, de széles / Oh, the road is long
6. Ha én rózsa volnék / If I were a rose
7. Baj, baj, baj / Trouble, trouble
8. Gyimesi dallamok / Cry only on Sundays
9. Ej, csillag, csillag / Oh, Morning Star
Mihály Sipos - violin
Sándor Csoóri Jr. - violin
Péter Éri - violin, viola, mandolin, double bass, lute, bell
Dániel Hamar - double bass, hit-gardon, hammer dulcimer
Márta Sebestyén - voice
László Porteleki - violin
Anna Helbich - vocals
Katalin Gyenis - vocals
Eszter Eredics - vocals
Ildikó Tóth (Fecske) - vocals
Zoltán Farkas (Batyu) - hit-gardon, drum, dance-noise
Márton Éri - viola, cello
András Berecz - khoomei, thorat singing
Antal Rácz - zither