Sebő együttes - Játék karácsonykor (Christmas Play)
Sebestyén Márta, Bognár Szilvia, Palya Bea
Buone Feste Natalizie!
Tchestito Rojdestvo Hristovo!
Wesolych Swiat Bozego Narodzenia!
Ruumsaid juulup hi!
Nollaig Shona Dhuit!
Wesolych Swiat Bozego Narodzenia!
Nollaig chridheil huibh!
Hristos se rodi!
Shub Naya Baras!
Noeliniz Ve Yeni Yiliniz!
Nedeleg laouen na bloavezh mat!
Cestit Bozic i Sretna Nova godina!
Sheng Tan Kuai Loh!
Sung Tan Chuk Ha!
Veseloho Vam Rizdva!
I was born anno Domini 1964. My father who died at a young age considered very important that my sister and me learned music, so we started the violin in the music school. Thank God the Csík Enseble has become more and more popular, thus besides Hungary I was invited to play music abroad as well. Hence I could see almost all the world.
It is a great honour for me that with the album: Karácsonynak éjszakáján (Christmas Eve) I might be a part of families’ holiday dinners.
Let this music be my Christmas present for you, as I compiled it not only from the thoughts of poets and musicians, but also from old ritual songs.
1. Hóban, fényben
2. Lassan elfogynak az ünnepek
3. Bárcsak régen felébredtem volna...
4. Mostan kinyílt egy szép rózsa virág...
5. Karácsonynak éjszakáján...
6. Karácsonyi köszöntő
Zsolt Barcza jr. - cimbalom, organ
József Bartók - double bass
János Csík - voice, violin
Tamás Kunos - viola
Péter Makó - clarinet
Attila Szabó - violin
Balázs Szokolai "Dongó" - bagpipe
Ádám Apáti - outhpiano
György Ferenczi - violin, harmonica, vocal
Miklós Jankó - drum
Levente Kormos - guitar, vocal
Zsolt Pintér - mandolin, vocal
World music songs for Christmas.
Hungarian vocal folklore as a student of ethnology at the ELTE University in Budapest, while touring Europe with the vocalist band Vándor Vokál, performing polyphonic songs of the nations in the Balkan and Carpathian- Basin region. The work with the famous Makám band has brought her a wider popularity on world-musical stages. She has also been invited to sing on popular Flemish band Kadril’s album De Andere Kust, and after the recording also numerous successful concerts have followed. At present she is featured as a solo vocalist of innumerable albums and bands; be it folk music, poems set to music, old music or world music. She is a guest performer at the Hungarian State Folk Ensemble in Budapest, concerts with luthier Kónya István, appears in the renown Sebô Ensemble, appears as a solo vocalist of the Etnofon Zenei Társulás and the Szájról szájra production, and her own world music band established in 2006. Szilvia was invited to appear on one of Sebestyén Márta’s albums, and Márta has in a way become the ’musical mother’ of Szilvia during the recording of her own solo album Song Preserves the Heartbeat of Time. She was awarded the Artisjus performer’s prize in 2004 and the eMeRTon prize of the Hungarian Radio in the category of Folk Singer of the Year, and she received the Kodály Zoltán Memorial Award in 2007.
2. Szeretetből jöttél
3. Szüzesség rózsája
4. Karácsony - Harang csendül...
Szilvia Bognár - voice
Péter Bede - saxophone, kaval, flute
János Gerzson - oud
Csaba Gyulai - percussion
Zoltán Kovács - double bass, buzuki, vocal
István Pál "Szalonna" - violin
Krisztián Rácz - acoustic and electric guitar
Balázs Thurnay - flute, vocal
Big thanks Frankie for the CD!
Fodor Sándor "Neti" was an acknowledged master in Transylvanian folk music.
Here you can listen to one of the last concerts held in Fonó Music Hall by Fodor Sándor "Neti" , the famous first violin from Kalotaszeg.
The sound recording preserve the atmosphere of this evening on this record. No information can be found on the cover, the music and photos themselves commemorate this grand master of violin.
Fodor Sándor "Neti" (1922 - 2004) was a representative of the lost generation of great Transylvanian Traditional Fiddlers. These musicians which for the most part are Gypsies, have entertained the people of Transylvania for centuries. They transformed the style of Transylvanian instrumental music, a style which from the eighteenth century onward could already be considered as specific to the Carpathian Basin.
On this re-issued recording, Hungarian, Romanian and Gypsy music intermingle, echoing the general, but at the same time distinctive ring of the Transylvanian spirit. This common language beyond spoken language is dying out, as it is swept away by the consumer society, which largely appeared after the changes in 1989.
Fodor Sándor "Neti"is well-known and respected in folk music circles. Whenever he appears amongst us (always with his violin), we celebrate him, and can't wait till meet him again."
02. Keserves és szapora
04. Legényes II.
05. Legényes III.
08. Csárdás és szapora
10. Hajnali, invirtita és szapora
11. Legényes és szapora
12. Keserves és hajnali
Los Angeles, CA- Called “one of the hottest emerging acts” by Time Out, Rupa & The April Fishes are specialists in crossing borders and building bridges musically, and that is exactly what they do on their new album este mundo. The messages on este mundo come from the real life experiences and travels of the band and lead singer Rupa, who is a practicing physician by day in a San Francisco hospital.
The record addresses many issues including life, love, art, death and the real and artificial divisions that keep us apart. By mixing musical elements of Gypsy swing, Colombian cumbia, French chanson and Indian ragas the band achieves a sound that effortlessly blurs the boundaries of genre and geography. According to lead singer Rupa, “este mundo is a collection of sounds and songs highlighting life’s accidental beauty and surging joy as well as their inexorable partner: human suffering.”
“French, Latin and any number of Gypsy-adjacent influences course through their mix with a pleasantly ‘San Franciscan’ kind of flourish. A little like riding with the top down in a double-decker bus, careening through seven or eight crowded ethnic neighborhoods, each one in the middle of a massive street party.”
“If their debut reflected the Bush regime, Este Mundo seems to reflect the optimism of a new era.”
“at the cutting edge of world music… an ingenious mix.”
“What drives this whip-smart artist and her five mixed race band mates is a need to engage and stimulate in ways that get people hoping and thinking.”
01. (La Frontera)
02. C'est Moi
03. Por La Frontera
06. Culpa De La Luna
09. (El Camino Del Diablo
10. Este Mundo
11. Soy Payaso
14. Estrella Caida
15. Espero La Luna
Marcus "The Tone" Cohen: trumpet
Isabel "Iz" Douglass: accordion, voice
Aaron "Rhone-Ditty-Rhone" Kierbel: percussion, contraptions, fish
Safa "Jazz Spy" Shokrai: upright bass
Ara Anderson: trumpet, bass trumpet
Rupa: songstress, voice, guitar
"Whenever I listened to vocal performances of Bartók's folk adaptations, I was always disturbed by the manner of the performance. I had the sense that I have to overcome the obstacle of convention in order not to be separated from the genuine Bartókean message. (...) Therefore I made up my mind to re-publish these adaptations in such a way that they retain both their etnologic and artistic authenticity. (...)
In the course of rehersals for tis CD, I became increasingly convinced that the musical world - the exploration of which Bartók called the happiest time of his life - entirely dwelled not only in his soul but also in his mind and in his music from note to note, though much of it has not been recorded in his scores. (...) He simply knew that he has no opportunity to have these tunes performed on stage the very same way he had collected them and how they echoed in his mind and in the imaginary ideal performances of his compositions. I am almost certain that if he could, Bartók would have followed the style and ornamentation of the collected folk tunes in the most faithful way, paying careful attention to even the slightest minutiae. By assembling this CD, we pursued this Bartokean dream. This very same dream was what had previously motivated the foundres of the dance house movement, I consider it fairly appropriate to fulfill Bartók's dreams through the publication of his adapations also. Beside Bartók's sheet music, the present record is based on the contemporaneous vocal performances of the original folksongs he had collected and composed adaptations of. Except from the emphatic first and last pieces, the pieces on the present record have been grouped according to the three already published cycles, with special attention to the order Bartók himself had assembled for his concerts. The spelling of the Hungarian lyrics is based on the spelling of the sheet music."
01. Juhászcsúfoló / Shepherd's mocking song
02. Elindultam szép hazámbul / Far behind I left my country
03. Általmennék én a Tiszán ladikon / By the river I will take a little boat
04. Nem messze van ide kis Margitta / Lies a village hidden in this valley
05. Végigmentem a tárkányi sej, haj, nagy uccán / Brisk and early, long before the noise of day began
06. Fehér László lovat lopott / László Fehér stole a stallion
07. A gyulai kert alatt, kert alatt / In the summer fields a fine harvest groves
08. Fekete főd, fehér az én zsebkendőm / Snow-white kerchief, dark both field and furrow show
09. Istenem, istenem, áraszd meg a vizet / Coldly runs the river, reedy banks o'erflowing
10. Töltik a nagy erdő útját / All the lads to war they've taken
11. Ha kimegyek arr'a magos tetőre / If I climb the rocky mountains all day through
12. Asszonoyk, asszonyok, had' legyek társatok / Women, women, listen, let me share your labour
13. Eddig való dolgom a tavaszi szántás / Spring begins with labour; then's the time for sowing
14. Annyi bánat a szűvemen / Skies above are heavy with rain
15. Olvad a hó, csárdás kis angyalom, tavasz akar lenni / Snow is melting, oh; my dear, my darling...
16. Pár-ének / Pair-song
17. Régi keserves / Old Lament
18. Bujdosó-ének / Wandering Song
19. Panasz / Complaint
20. "Hatforintos" nóta / "Six-forints" Song
21. Pásztornóta / Sheperd's Song
22. Székely "lassú" / Székely "Slow"
23. Székely "friss" / Székely " Fast"
24. A tömlöcben / In Prison
Herczku Ágnes - voice
Djerdj Tímea - piano
Kincses Margit - piano
Big thanks Frankie for the CD!
Oy Division is one of the only bands in Israel which perform the old style folk music of eastern- European Jews, generally known as Klezmer. The members of Oy Division do not adhere to the modern Klezmer style nor do they try to make it contemporary in any way, but rather try to recreate and bring back to life the nearly extinct pre-war jewish music the way it had been originally performed. Their repertoire is a mix of instrumental wedding dance music, folk songs and songs originating in the Yiddish theatre, Old music played again with the zeal and exuberance of punks. The members of the band come from different musical backgrounds: Eyal Talmudi is a leading Israeli and international reed player, who regularly tours the world with the Balkan Beat Box; Noam Enbar is the bass player and lead singer of the exceptional Israeli experimental punk band H'Billuyim; Assaf Talmudi is an established record producer and composer and a lecturer in the Haifa University department of music; Gershon Leizersohn is a graduate student in the Tel Aviv University music department who regularly plays with classical music orchestras, and Avichai Tuchman is an independent musician and producer active both in the secular and the religious music scene in Israel.
02.Fin der Shtib
04.Wedding song and Freylechs
08.Vos du Vilst, dos Vil Ikh Oykh
09.Old Greek Tune
10.Tuchman's Mating Call #2
11.Lyuba Bratzi Lyuba and Moldover Freylechs
12.Oy Gewald a Ganef
13.March of the Morons
Assaf Talmudi - Accordion, Badchen
Avichay Tuchman - Upright Bass
Eyal Talmudi - Clarinet
Gershon Lezerson - Vocals, violin
Noam Enbar - Vocals, Accordion, Percussion
Israel’s Asaf Avidan and The Mojos are rapidly gaining recognition as one of indie music’s most interesting and original acts.
The group, centered on the talents of singer/guitarist Asaf Avidan creates a unique concoction of 70’s influenced folk-rock, blues and Americana with Avidan’s soulful vocals, eerily reminiscent of Janis Joplin’s, serving as the main driving force. Moving from acoustic, bluesy passages accompanied by some swaggering piano playing, to over-drive laden bursts of energy, the band’s latest album – released under two different titles, seamlessly combines 70’s American folk-rock, Garage and psychedia with a current indie-rock attitude and post-punk aesthetics. Anyone who enjoys such varied artists such as Bob Dylan, Led Zeppelin, The Beatles, Janis Joplin, Neil Young, The Rolling Stones, Fiona Apple, James Brown, Arctic Monkeys and Jeff Buckley should take heed, because Avidan’s music combines the best of these into one unique package.
29 year old Asaf Avidan is a Jerusalem born & bred singer-songwriter.
He released his acclaimed debut EP, Now That You’re Leaving, in 2006.
Since then, he has continued to write and mold his experiences with broken love into personal, yet universally relatable songs.
Touring Israel solo, with just a guitar and harmonica, Asaf gathered a strong and devoted following across Israel, and in the process gathered also the musicians who would become The Mojos.
“Asaf Avidan is a genius… you might think you’re listening to Janis Joplin… but Asaf is a new messiah”
Rolling Stone magazine
“The birth of a legend”
Ha’aretz (Leading Israeli newspaper)
02. Poor Boy Lucky Man
03. Got It Right
04. My Favorite Clown
05. Small Change Girl
06. The Ghost Of A Thousand Little Lies
07. Wasting My Time
08. Jet Plane
09. Little Stallion
10. Your Anchor
11. Losing Hand
12. Painting On The Past
13. Out In The Cold
14. My Latest Sin
Asaf Avidan – vocals, guitar, harmonica
Roi Peled – guitars
Ran Nir – bass
Joni Snow – drums
Hadas Kleinman – cello
Ando Drom (On the Road) Gypsy folklore group was founded in Budapest in 1984. Since the members come from different segments of the Hungarian Gypsy population, the group presents a wide range of styles and variations within gypsy music and culture. They perform on a high artistic level and present the traditional music and dances of the Gypsy people in an authentic, at the same time modern way. They also make arrangements and new compositions in order to introduce the feelings and life of today's Gypsies, representing therefore a living and original folklore. The songs are sung in Gypsy language, accompanied by guitar, mandolin and tambura: for percussion they use spoons, jugs, wooden through and oral bass.
The individual gypsy musical sound of Ando Drom, the successful arrangements and the independent compositions that became famous , he redrafting of gypsy music are connected with Jenő Zsigó. As the leader of Ando Drom his work has always been tending to give opportunity to the development of talented gypsy musicians the beginning on in an always widening circle from. Along more than 15 years prepared many dancers and singers for acting on the stage and let them set off alone to proclaim, deserve and renew the heritage of the gypsy music. From the school of Ando Drom was set in emotion the careers of Mitsou, the members of Romano Drom, Romano Glaso, Lindri , Rom Som, and The Szilvási Gypsy Folk Band, etc.
Ando Drom founded and leaded By Jeno Zsigó is a musical-pedagogical workshop, where the singing and dancing is not only stunning but a continuous creation and the solution of artistic and human development. That is why it has got penetrative strong. The new sound of the group with 3 voiced singing and the extraordinary rhythm is the boldest and the most deepened musical sound in the history of Ando Drom.
"One must love and suffer to be able to sing: one must lose home and country, take the road to arrive anywhere. Once you have found the lonliness of communities, you can take unheard-of musical instruments into your hands, create heavenly sonds from wood, ivory and air. And then your blood pulses in four-eightht rhythm, your muscles move uncontrollably, and from somewhere very deep, streams of words appear with thousand-year-old tunes.
The profane prayers of Ando drom are such songs of pain and longing. Spiritual moments for people, of people. Because the world has turned two-faced, and everything we feel is painful. But never mind, once we will also be forgiven, and curly black haired fellows follow girls with sparkling eyes, and the money deliverer brings loveletters full of true emotions to everyone.
The music of Ando drom is a harmony full of true emotions, and it belongs to everyone who is longing for love in this world without music."
01. Karing Szo Me Phirav - Zöld Az Erdő
02. Szállj Fekete Szárnyú Madár
03. Pergyij E Bar Lulugyenca - Bátori Pergető
04. Téglaporos A Kalapom & Nem tudjátok, Hogy Ki Vagyok
05. Opre Phirdem
06. Diófának Három Ága
07. Sza Tele Zsav
08. Iszik A Kocsmán Három Cigány & Szode Seja & Vasvári Pergető & Addig Máma Nem Eszek
09. Lingraji Szi
10. Ahaj Devla Szo Te Kerav
11. Le Shavore
12. Nincsen Apám (József A.) & Mikor Kicsi Gyerek Voltam & Azt Hittem Az Eső Esik & Szode Seja
13. Phari Mamo
14. De Ta Devla
Trumpeter Frank London and vocalist/accordionist Lorin Sklamberg have always attempted to introduce a fresh perspective when redefining traditional Jewish music. As founders of the Grammy award-winning alt-klezmer band The Klezmatics, they adapt ancient and traditional holiday songs of the Jewish diaspora into a modern, surprising sphere.
Tsuker-zis, (sugar-sweet), their third installment of Hasidic religious songs and melodies, nigunim—after Nigunim (Tzadik, 1998) and The Zmiros Project (Traditional Crossroads, 2001)—are all exemplary for their vision. They dress the beautiful and touching melodies in an all-compassing, genre-crossing, unique blend of aesthetics.
On Tsuker-zis, London and Sklamberg are joined by three colleagues from New York's Downtown music scene—Night Ark's American-Armenian oud master Ara Dinkjian, Psychedelic Furs' guitarist/electronics wizard Knox Chandler and North-Indian virtuoso percussionist Deep Singh. The three are known for their abilities to transcend genre and style. Here, they move freely between simple folk melodies and abstract, atmospheric electronica. They aid in spicing the sugar-sweet Jewish imagery that often serves as a metaphor for the divine sweetness of life, with surprising new tastes.
The fourteen songs consist mostly of Hasidic holiday songs—Succos, Pesach (Passover), Rosh Hashana (New Year), Yom Kippur (Day of Atonement), Purim, Simkhes Toyre and the fast days—and are imbued with reverential textures and a sense of communal joy and gratitude. Sklamberg's warm and beautiful tenor voice, combined with London's restrained and airy trumpet sound, introduce the original essence of these songs and melodies, while keeping their deep emotional expressiveness intact. At the same time, innovative arrangements manage to broaden and update messages that not only signify the nomadic diaspora, but also suggest a new and hopeful vision of a peaceful world where ancient cultures—Jewish, Christian, Islamic and Indian—can co-exist, blend and flourish together.
London and Sklamberg have been working for over twenty years and know that more often the strength of these songs lies in careful and simple execution rather than in challenging and turbulent arrangements. Such is the case in "Our Parent, Our Sovereign," a prayer that is recited during Rosh Hashana and Yom Kippur. Sklamberg's straight-forward delivery retains its emotional power, but the arrangement, and mainly the distant distorted guitar, adds a doubting dimension to the religious text. On "The Lord Sent His Servant," Sklamberg and Dinkjian present the Ashkenazi song as a duet, but relocate it from its East-European origin to an imaginary Middle-Eastern territory.
This beautiful project is the most successful in London and Sklamberg's nigunim series; a delight in the sweeping authenticity of its songs and the imaginative creativity of its arrangements.
01. A Sukkah of Branches
02. Blessings Without End
03. Our Life Is Sugarsweet
04. Our Parent, Our Sovereign
05. Increase Our Joy
06. The Days Between #1
07. The Lord Sent His Servant
08. The Days Between #2
09. Heed Not the Accuser!
10. Elijah the Prophet Bought a Red Cow
11. Greeks Gathered Against Me (Intro)
12. Greeks Gathered Against Me
13. Mighty, Blessed, Great, Prominent, Glorious, Ancient, Meritorious, Rig
Frank London: trumpet, alto horn, flugelhorn, harmonium;
Lorin Sklamberg: vocals, accordion;
Knox Chandler: guitar, electronics;
Ara Dinkjian: oud, saz;
Deep Singh: tabla, dholki.
Recording artist David Vidal’s fourth solo CD, Americana Blues, has just been released on Los Angeles-based WilMac Records. The eleven song compilation, which highlights Vidal’s outstanding songwriting skills and acoustic slide guitar work, also includes two instrumentals featuring violinist Dorian Cheah.
Vidal is the former lead singer for Village of Odd Waters and a musical contributor to numerous films, including the classic My Cousin Vinny. His latest audio adventure explores the psyche of America in an understated, poignant and sometimes humorous fashion.
The album starts off with the lines “Here in America, we sit on the floor / We drink from the bottle till there ain’t any more. In the infectious I Own Peru, Vidal sings “I rent the airport to American thieves / They smoke the ganja, chew the coca leaves / I shoot them all when the party is through / It doesn’t matter, I own Peru.” In the last song on the CD, he states plaintively, “The devil’s in the details, he lives between the lines / He keeps the big wheels turning, he’s been workin’ overtime.”
Producer Jaime Fandango has kept the tracks sparse, sometimes featuring acoustic guitar and harmonica, sometimes slide guitar, and at other times a full band, including bassist Bubba MacNealy, drummers Rob Jacobs and Skip Phils, Detroit singing phenom Laura Creamer and Grammy nominated guitarist Larry Treadwell. Strong songwriting defines the production throughout, with occasional forays into the vast musical interior.
The long awaited follow-up to the critically acclaimed 2006 release Nasty Habit, David Vidal’s Americana Blues is an impressive outing by the New Mexico born tunesmith.
01. Here in America
02. I own Peru
03. If i hadn't loved you
04. Coast highway
05. Porch funk
06. The Baseball song
07. Wrecking ball
08. Big hearted woman
09. My favorite mistake
10. Audrey's theme
11. The Devil's in the details
Daiqing Tana was born in Taijnar. She belongs to a tribe of Mongolia.
Serene heavenly sounds from the grass steppe Soulful songs that request for nothing in return
“With the majestic and boundless music, the sky, the grass steppe, the snow mountain, the lake... all begin to unfold, and the ear becomes the sole passageway for communication between the soul and the universe. At last, the physical body, time and space have all disappeared, and a pure lucid realm of pristine sounds begin to take into shape. This has to be music coming down from up above, and no one should miss it.”
1. Silent Sky
* lyrics/Bayin & Daiqing Tana
* Tuwa folk song
The rise of the sun and the fall of the moon
The eternal world
In the distance resides eternity
When everything returns to being still and serene I ask for nothing more
2. Snow Mountain
* lyrics/Bayin * composer/Quansheng
Gazing upon the timeless magnificence
The serene heavenly sounds
I yearn for the freedom of solitude
Long for the ultimate love
Yet afloat I am in the wind
* folk song
The heart is infinite
It can contain the entire universe
A dust particle in the cosmos
Would vanish in a mere second
4. Qinghai Lake
* lyrics/Bayin * composers/Quansheng & Daiqing Tana
I stand still next to you
Never once thought of touching you
I touch the earth beneath your feet with my forehead Wishing that upon my next journey
My heart will be bestowed with a piece of your azure blue
5. Passed Time
* lyrics/Keming * composer/Wulan-tuoga
The most beautiful treasures in life
Are in the time passed by
We were once great companions
Shared our joys and sorrows
Only if we could return to the passed time
Even if just for one night
6. Dancer in the Darkness
* lyrics & composer/ Daiqing Tana
Standing in the embrace of the darkness
I am exposed in the deep stilled silence
I could hear the remote unfamiliar laughter still echoing
I bury myself
To be sacrificed to the unmanned wilderness
7. Missing You
* lyrics & composer/ Daiqing Tana
Nostalgia is blissfully sentimental
I am in the far distance from you
How could I sing without restraint
If only dream has liberating wings
Let the wind accompany it on its voyage in the sky
8. Golden Bracelet
* Qinghai & Mongolian Folksong
* lyrics/Daiqing Tana * composer/Quansheng
What’s there to cry about
The sky has never lost its luster
Unless you lose the gleam in your eye
Love will be reborn from disparity
Daiqing Tana: Voice
Quansheng & Xibo: Percussion
Quansheng & Arai Soichiro: Horse-head fiddle
Xibo & Tuerxun:Piano
Liu Xiaoguang: Cello
Zhang Xinhua: Harmonica
Live Recording May. 6. 2009, NPR Brodcast from Jordan Hall, Boston.
“Having always felt intimate with Bartók's as well as gypsy music of the roma, I've thoroughly enjoyed playing this recording, loud. It helps to have recently read "Bury Me Standing"- comes from the saying, "Bury me standing, I've been on my knees all my life".”
"The acclaimed Takács String Quartet joins the Hungarian folk ensemble Muzsikás (with singer Márta Sebestyén, whose inimitable voice you may recall haunting the soundtrack to "The English Patient") to celebrate Hungarian composer Béla Bartók...
When the members of the Takács Quartet and Muzsikás combine for a concert, they delight in making clear the connections between Bartók's own music and his folk-music obsessions. For example, they alternate movements from some of Bartók's best-known pieces (Romanian Folk Dances, String Quartet No. 4) with the real village dances he collected in the field — both the actual old scratchy records and their own live versions thereof..."
Tracklist / Concert program
Bartók: Violin Duos
- Torontal Dances (Muzsikás)
- "Ardeleana" (historic Bartók field recording)
- Duo No. 44
- "Shoe of My Horse" (Márta Sebestyén)
- Duo No. 28
- Duo No. 32
- "Jocul Barbatesc" (Márta Sebestyén)
Bartók: Sonatina (with traditional tunes)
- Bagpipes (Takács Qt.)
- Bear Dance (Takács Qt.)
- Bear Dance from Gyimes (Muzsikás)
Traditional: Ballad of the Murdered Shepherd
Bartók: Romanian Folk Dances (with source tunes)
- Bota es Invertita (Muzsikás)
- Stick Dance (Takács Qt.)
- Waistband Dance (Takács Qt.)
- "Pe Loc" (Muzsikás)
- Hornpipe Dance (Takács Qt.)
- Romanian Polka (Takács Qt.)
Takács String Quartet (Takács Vonósnégyes)
Muzsikás with Márta Sebestyén (Muzsikás együttes és Sebestyén Márta)
Right from their first record this group has been outstanding in their presentation of French and Breton shanties and sea songs. The group, formed from a co-operative known as Chasse-Maree, consisted at the time of Arnaud Maissonneuve, Benoit Chantran, Bernard Subert, Christian Desnos and the group's leader and driving force, Michel Colleu, who has collected the majority of the material used. songs and tunes from the rich maritime heritage extant around the coast of Britanny. Fiddle, flute, concertina and guitar along with a melodeon (in this case, Christian uses an almost straight tuning to great effect) are often used as accompaniment, and all are excellent musicians as well as fine singers. Bombardes and hurdy-gurdies are unlikely instruments to hear
backing sea songs, but in the hands of the French they blend perfectly with their style of singing. and what a style! Whatever Cabestan do, the maxim seems to be that effort and a feeling for the material are essential. Their precision and spirited renderings make them a joyful listening experience, even if you can’t understand French, because you can feel the 'working power' of the songs.
The French, unlike the English, do not have as great a store of shanties, but they make up for this with a fine collection of shore based songs.
01. Faut avoir du courage
02. Tempete pour sortir
03. Reels quebecois
04. Le 15 avril
05. Le capitaine de Saint-Malo
06. Le Pont de Morlaix
07. A Baton Rouge sont arrives
08. La Danae
09. Le depart de Ti-Louis
10. Les filles a cinq deniers
11. Naviguant dans le port de Nantes
12. Trois matelots de Port St-Jacques
13. Mond da bellvro
Christian Desnos : accordéon diatonique, mélodéon, harmonica, chant
Jean-Luc Creac'h : guitare, guitare basse, chant
Thierry Moreau : Veuze, violon, violoncelle, chant
Bernard Subert : clarinette, flute, chant
Thierry Decloux : guitare, bouzouki, chant
Cicala-Mvta is One of Japanese Most Exciting and Original Groups. Both Traditional Chindon and the Retro-futuristic Sound of Cicala-Mvta is an Entirely Natural Combination of the Old and New, the East with the West.
Cicala Mvta is a group described by some UK music critics as the most impressive exponents of contemporary Japanese grass roots music. The music presents old-fashioned and brass band music. Featuring chindon, a kind of Japanese drum, saxophones, clarinets and tubas, Cicala Mvta's music is a kind of street music originally played at funerals or the openings of local shops. But the band blends the cheesy music with social critique, thus creating a sarcastic outlook, in both its musical style and in its stage performance.
Before TV commercials, drum and woodwind bands would march through the streets of Japan carrying banners advertising products or stores. Bandleader WATARU OKHUMA modelled his band after these Chindon groups and named it CICALA-MVTA .(Pronounced Shi-ka-la Moo-ta, it means Mute cicada after the epitaph of a great Japanese street singer songwriter) All in all, it is a wild ride, as Cicala Mvta views klezmer, Balkan, Turkish, early jazz and free jazz music through their Japanese street band lens, which has something to do with topology and physics and their bent view of musical reality.
"Sounds close to the ground. Cicala-Mvta's music sometimes sounds like that. The band starts to play slowly and begins to stride on the ground powerfully. Sometimes they lash about the ground, and and run fast forward. They are not an underground group. Yet, they don't ascend nor float. They just go forward close to the ground.
A question is asked whether music is something to progress. Listening to Cicala-Mvta, I can believe that there lies much ground to go forward. They go forward on the surface of the globe, a sphere. It may not be progress. Terms such as experiment and evolution do not fit Cicala-Mvta. Their ceaseless march has a texture that has a much more hard-core nature.
Ten years ago, Wataru Okuma, the clarinet player, initiated this group. The Ghost Circus published in 2004 is their third album. It seems that by now they have become a one solid mass. They consist of very idiosyncratic players, and they make up a fairly unique instrumental ensemble. Yet, they move forward as a mass. As though they were a three-piece hard-core punk band.
With circus and street band music as their signature, Cicala-Mvta tries amalgamation of various music on the globe, and their music is almost impossible to analyze. The diverse musical elements each musician has absorbed physically in their bodies merge in an instant, and a spark of unique and allomorph music appears. As the album title shows, any academic scrutiny would be absurd-a sonic circus! It supercedes the speed of our thinking.
Their wordless music has become all the more eloquent and carries a message. Full of love, humor and rebellious spirit, their music is a tribute to people on earth who has but to survive. Sometimes it sounds like a requiem. In
01. Ghost Hymn Introduction
02. Pillow Walk
03. The United People Will Never Be Defeated
04. Stara Planina
05. The Sleep-Walker's Escape
06. Dr. Caligari's Side Show
08. Song Of The Birds
09. The Beam And The Bellows
10. The Right To Live In Peace
11. Ghost Requiem
Wataru Okuma (clarinet, bass clarinet, vocals),
Yoshiyuki Kawaguchi (saxophone),
Yoshiki Sakurai (guitar),
Takero Sakijima (tuba, recorder),
Tatsuya Yoshida (drums, vocals),
Keisuke Ota (violin, vocals),
Yoshiaki Sato (accordion),
Yoichiro Kita (trumpet),
Akiko Watanabe (trombone),
Miwazo Kogure (ching-dong, gorosu)
13 alte Lieder aus Deutschland. Songs of love and bygone ages
Tine Kindermann sings German folk songs accompanied by American rock musicians and arranged by Frank London, best known for combining klezmer and jazz. The result is astonishingly natural. German folk songs - along with the epic ballad of the Nibelungen, the word “Heimat” (“homeland”), and the joy and pleasure of the woods and forest - have been tainted by the hand of the Nazis. Too many sang along and marched in step. Later, the poor German folk song was reduced to little more than oom-pah beer-hall entertainment. But there was something in these five centuries old songs that resisted. Mothers preserved them in secret; grandmothers and kindergarten teachers sang and sing to their children the songs of their own childhoods.
As in most countries, German folk songs were passed down, changed, and varied from generation to generation. Tine Kindermann offers us her interpretation. She sings these songs with complete sincerity; songs of desperate lovers, of royal children, of the passing nature of the little flower and the hard dreams of dying. Spaces open therein like the ones we entered as children, when we listened, entranced, to the fairy tales woven from the same cloth.
The songs’ themes are universal, belonging to the secret guarded chambers of many souls of many lands. Tine Kindermann has unburied the discarded key and leads us into these mysterious worlds with their seductive sadness. She unlocks a veritable archive of feelings. Age-old stories belonging to world culture, unknowingly stored in the collective unconscious. Tine Kindermann has blown the dust off these songs and made them alive, fresh, good as new. With her musicians, she has put them in an unusual contemporary intercultural context. She offers them to us, tenderly and unabashedly, songs of love and – in the words of Heine’s “Loreley” – bygone ages.
Tine Kindermann, a visual artist born 1962 in West-Berlin, has been living in New York since 1993. Since 2001 she has been working increasingly with themes of German folklore, including a concert program with German Folk songs. The recording’s set up looks like a “Who is Who” of the New York downtown music scene: Marc Ribot und Greg Cohen (Tom Waits Band) on guitar and double bass, Glenn Patscha (Ollabelle) on keyboards and Frank London (Klezmatics), who also acts as producer.
01. Frau Wirtin
02. Sterben ist ein schwere Buß
03. Der Winter ist vergangen
04. Es waren zwei Königskinder
06. Es ist ein Schnitter
07. Maria durch ein Dornwald ging
08. Wach auf meins Herzens Schöne
09. Klage & Trost
10. Es geht eine dunkle Wolk herein
11. Es freit ein wilder Wassermann
12. Ich hab die Nacht geträumet
13. Frau Haselin
Tine Kindermann - voice
Marc Ribot - electric and acoustic guitar, dobro, efx
Greg Cohen - double bass
Glenn Patscha - piano, harmonium, organ, harpsichord, Wurlitzer, efx
Frank London - harmonium & miscellaneous instruments
Mathias Kunzli - drums & amp; percussion (track 1, 5)
Lorin Sklamberg - voice (track 5, 10)
Julian Kytasti - Bandura (track 3, 10)
Mari Boine Persen has brought the contemporary music traditions of northern Norway's Sami people, more commonly known as the Lapps, to the international stage. Forsaking traditional music for the modern sounds of "joik," Persen has incorporated influences of jazz, rock, and other ethnic music. Persen's success has been a source of pride for the Sami people. As the Norwegian newspaper VG pointed out, "ethnic music has a rather large audience outside Norway. You should be aware of the fact that perhaps the most interesting artist in this wide field of music is from the Sami people and living in Norway."
Despite early resistance based on her Sami heritage and womanhood, Persen continues to build a loyal following in her homeland. Her first two albums -- Gula Gula in 1989 and Jaskatvouda Mann in 1992 -- hinted at her skills, while, her third album, Goaskinviellja, released in 1993, received a Norwegian Grammy and marked her as one of Norway's greatest stars. Her fourth album, Leahkastin, was commissioned for the Vassajazz Festival and premiered in March 1994.
A native of the small village of Gamehhisniarga, Persen grew up singing the black spiritual-like psalms of the Christian-oriented Laestadian movement.
01. Gumppet Holvot (The Wolves Howl)
02. Ale Sat (No More)
03. Cuovgi Liekkas (Radiant Warmth)
04. Ahccai (To My Father)
05. Maid Aiggot Muinna Eallin (What Do You Want Life?)
06. Mielahisvuohta (Lunacy Lunacy)
07. Gilvve Gollat (Sow Your Gold)
08. Gullan Du (Hearing You)
09. Vuolgge Mu Mielde Bassivarrai (Come With Me to the Scared Mountain)
10. Mun Da' Han Lean Oaivamus (Just When I Had...)
11. Da Lean Mun (Here I Am)
Mari Boine: voice, djembe
Gjermund Silset: bass, percussion
Hege Rimestad: violin
Helge A. Norbakken: percussion
Roger Ludvigsen: guitars
Carlos Zamata Quispe: flute, charango
RotFront is the brainchild of two Berlin emigrantskis. One half of the RussenDisko is Yuriy Gurzhy, who joined forces with Hungarian musician Simon Wahorn, initiator of the HungaroGroover Soundsystem, to create the Emigrantski Raggamuffin Kollektiv RotFront. Founded in 2003, it played its way almost overnight to ranking as Berlin’s ultimate party band. Whether there are seven, twelve or fifteen musicians on stage at any one time – nobody is going to be alone on the dancefloor for long. Right from the start, with the opening songs, the boundary between stage and dancefloor dissolves into nothingness. Rolling back boundaries is RotFront’s mission – and in that sense they are a political band. They may not talk the talk, but they certainly walk the walk: instead of singing about politics, they actually live the easy-going, harmonious interaction of nationalities, ethnicities, musical genres and cultures. And it works. A Ukrainian, two Hungarians, an American, an Australian and five Germans mix Ska, Reggae, Dancehall and Cumbia sounds with Klezmer, Berlin’s own in-your-face brand of Hiphop, Eastern European Turbopolka, Mediterranean melodies and rock riffs. Russian, Hungarian, German and English lyrics tell of life in Berlin and the adventures of immigrants in the city.
05. Kemények a fények
07. Red Mercedes
08. Ya Piv
10. Sohase mondd
11. Gypsy Eyes (Feat. Miss Flint)
12. Rotfront Fm
15. Emigrantski Raggamuffin (Feat. Smo)
17. Youtube Song
Yuriy Gurzhy - Vocals, Guitar, Bass;
Simon Wahorn - Vocals, Bass, Guitar;
Dorka Gryllus - Vocals;
Mad Milian - MC;
Dan Freeman - Sax;
Max Bakshish - Clarinette, Sax;
Anke Lucks - Trombone;
Daniel Kahn - Accordeon;
Jan Pfennig - Drums
Transylvanyan and moldavian folk music.
"Disgrace is the word if it's not of comfort,
Disgrace is the verse if it's false."
"This notion is true in case of folk songs, too. They spread the truth spontaneously, and moreover they play an important role in our lives, they clean and give relief.
The desire for inner purification makes the songs sound/be heard in me, and this is why I collected some of them from my homeland's treasures. I have tried to rise to the cleared greatness of them, because "disgrace is the word if it's not of comfort" but disgrace is the song if it's not true".
1. Anyám, édesanyám - Mother Dear Mother (Moldva)
2. Édesanyám karján nevelt - Mother Raised Me In Her Arms (Gyimes)
3. Én Istenem miért vertél meg - Why Have Punished Me My God (Gipsy songs from Örkő)
4. Húzzad Cigány - Make Me Music, Gipsy (Szék)
5. Anyám, édesanyám - Mother Dear Mother (Moldva)
6. Gyere rózsám, egyere már - Can't Wait For You, Dearest (Mezőség)
7. Esik eső, zúg a malom - Whirring Mill In the Rain (Mezőség)
8. Anyám, édesanyám - Mother Dear Mother (Moldva)
9. Széles a Szamosnak vize - Wide Is The Water Of Szamos (Kalotaszeg) Szerettelek, szerettél - I Loved You, You Loved Me (Mezőség)
Csávás Attila – kaval, furulya, saxophone
Ökrös Csaba – violin
Szabó Gábor – koboz
D. Tóth Sándor – koboz, drums, gardon, viola
Nagy Zoltán – dulcimer
Kürtösi Zsolt – cello, contrabass
Papp István Gázsa – violin
Wertetics Szlobodán - accordion
Psoy Galaktionovich Korolenko (born April 26, 1967) is a pseudonym of a Russian Jewish song writer and performer by the name of Pavel Eduardovich Lion. At the same time Pavel Lion is a slavist with a Ph.D. in Russian literature.
His pseudonym comes from Vladimir Korolenko, Russian writer (1853—1921), whose works are subject of Pavel's research. Psoy performs his own and others’ songs, accompanying himself to keyboard instruments, mainly a Casio sequencer in accordion timbre. Experimenting with quite various song traditions he sings in about 6 or 7 languages, most frequently in Russian, Yiddish, English and French.
Korolenko's perhaps most known song is Buratino, which is just a repetition of the same phrase many times, aimed to poke fun at modern rap and trance music. The 'song' has been done several times, and a multitude of remixes have been made out of it.
Psoy has toured many places. He has had concerts in many states, Berlin, London, and more. His music is popular both with adults, and Russian teenagers. He rewrites many songs, and also has translated some songs from Russian to Yiddish.
01. Sympathy for whom?
02. Oh you foolish little zionists
04. Ekh lyuli lyuli
05. I raise my hand up and I swear... + The hope
06. Beneath the salt sea
08. Nye zhuritye khloptsy
09. The Tinternationale
10. The Number
Daniel Kahn - vocals, accordion, ukulele, piano, music box
Psoy Korolenko - vocals and piano
Gershon Leizersohn - violin and vocals
Noam Inbar - vocals and percussion
Eyal Talmudi - clarinet and percussion
Avichai Tuchman - double bass
Assaf Talmudi - accordion
Elizabeth Nicholson & Stringed Migration is a Portland, OR, based quartet that performs a lush synthesis of Celtic and international roots music with a twist of jazz. Comprised of four multi-instrumentalists whose individual careers have garnered regional, national and international recognition, the band is enjoying a rapidly growing reputation in the Northwest folk world.
The band features a cast of musicians whose diverse backgrounds touch upon Latin music, Balkan music, Americana, rock, Mediaval music, classical Indian music, Western classical music, and jazz, yet all have deep roots in traditional Irish and Scottish fare. "The idea," says founder Elizabeth Nicholson, "is to allow everyone in the band to draw from the full spectrum of their experience, rather than conforming to a rigidly defined idiom." The resulting sound pays true homage to the American melting pot, revealing technical mastery, nuance, spontaneity and heart.
On Fly Not Yet, the band crafts arrangements that seamlessly blend cultural influences to stunning effect:"Unquiet Grave" -- the album’s opening track – merges a traditional Scottish ballad with a Lebanese dance tune, highlighting the complementary harmonic structure of each melody and giving the song’s dark story an added layer of depth. In the second track, a reel from Cape Breton is uplifted by a merengue backbeat and treated with a dazzling jazz improvisation, courtesy of violinist Eddie Parente. The third, title track, reveals an elegantly straightforward treatment of an Irish song, centered around Elizabeth Nicholson’s lithe vocals. Subsequent tracks showcase the band’s range, from the driving medieval dance "La Rotta," to Bob Soper’s plaintive singing on the Appalachian ballad "Lord Thomas," to a whimsical treatment of the Irish hornpipe "Galway Bay," which sets a harp solo to a rock rhythm. The final track on the album is also the darkest: "And Am I Born to Die?" places an American shape-note song within a mournful, chamber-inflected string arrangement.
01. Lebanese Melody / The Unquiet Grave
02. Paddy Fahey's / Cape Breton Reel
03. Fly Not Yet
04. La Rotta / Waltz from Orsa
05. Paddy's Rambles / Funky Reel
06. Lord Thomas
07. St. John's Jig /. The Barn Swallow / Mt. Tabor Reel
08. The Dewey Dens of Yarrow
09. Romanian Hora / Galway Bay
10. And Am I Born to Die
Stringed Migration is: Elizabeth Nicholson on vocals, harps, and guitar; Eddie Parente on violin and viola; Bob Soper on bouzouki, fiddle, vocals and guitar; and Rob Barrick on double bass and Scottish smallpipes. Jim Chapman, a Stringed Migration alumni, still performs with the band on bouzouki from time to time.
Folk music of the Balkan Peoples, and of the Southern Slavic Nationalities living in Hungary.
A selection of folk songs and dance tunes from many parts of the Balkans. Illustrates the wide diversity in folk music from the Balkans. Dances and melodies from Serbia, Hungary, Moldavia, Crete, Thrace, Romania etc.
The Rece-Fice Ensemble was founded in 1992. Their aim is to get acquainted with the folk music and dances of the peoples from the Balkans (Bulgaria, Greece, Macedonia, Thrace) and of South-Slavs (Serbs and Croats) living in Hungary. Some members of the band are from these backgrounds themselves, and others combine their music careers with studying Bulgarian or ethnography. When forming the ensemble, its members were partly beginners, partly musicians gaining experience in other music styles and groups. In recent years they have successfully performed on numerous occasions, from folk music festivals to balls, university clubs to folk pubs.
While extending their repertoire continuously they strive for a more authentic performing style by discovering the specific features of different regions. To achieve this they try to seek out original folk musicians still alive and existing archive material. They also acquire original musical instruments or make them according to authentic designs. (One of their members is an instrument-maker and holder of the "Young Master of Folk Arts" award.
01 - Bánáti táncok
02 - Ćape
03 - Starinsko kolo
04 - Baranyai sokác táncok
05 - Baranyai dallamok samicán
06 - Rokoko
07 - Krétai dallamok
08 - Vino pije moj dragan
09 - Čumičanka
10 - Zelen orah
11 - Moldvai román táncok
12 - Šarena račenica
13 - Trák énekek
14 - Sop vidéki táncok
15 - Širok Dunav
Szabolcs Árkosi - bassprim tambura, accordion, voice
Panni Avar - prima tambura, tambura-viola, bulgarian tambura, samica
Piroska Deli - voice, caval, double bass, tambura-viola, baglama, tambourine
Judit Jablonkay - shepherd's pipe, kaval. voice
Tünde Mag - voice
Edit Szick - violin, double bass, gadulka, bouzouki
Ágnes Tiszavári - voice, tapan, darbouka
Iván Vitányi - accordion, prim-tambura, bassprim, double bass, tapan, voice
Roza Bancseva - voice (14)
János Krucsay - bagpipe, derbouka, tapan
Géza Orczi (from Zsarátnok) - bassprim tambura
László Perger (from Zsarátnok)- cello tambura
Unu = one in Rumanian, daou = two in Breton, tri = three in Serbian and Breton, chtar = four in Rom.
1 2 3 4 is the whispered beginning of many tunes, and represents four of the languages used by the musicians of this quartet : Erik Marchand, from Poullaouen, is a singer. Costica Olan, is a taragot and soprano sax player, his native language is Rom, he also use Romanian in his daily life. Viorel Tajkuna is Serbian and belongs to the Rom minority of the Serbian Banat, as a result he is trilingual. He is an accordionist and organist for weddings. Jacky Molard from Saint Malo, has been living in Spezet, central Brittany, for many years. He’s a composer, arranger and violin player, using a large range of musical languages.
Erik Marchand is a leading figure of Breton song. He has adopted a very strong Breton identity while remaining completely open to other cultures in which he immerses himself, then he searches deep in the popular music of Brittany for the resources to establish or recreate a dialogue with them.
01. Kened Eros Kened Eros
02. Kened Eros Olani
07. Suita Moldovaneasca Stefaneti 1
08. Suita Moldovaneasca Stefaneti 2
09. Draghicesca Umblu Noapte Ca-Si Un Lotru Prin Padure Si Prin Codru
10. Draghicesca Draghicesca
11. Sopsteveni Raspored
With a history of bizarre and dramatic destiny, Tales Forest been a long and unpredictable way - from rabid hooligan punk, a hardcore, psychedelic with a touch of shamanism and Irish folk, before these disparate components formed her own very unique style.
1. So far at Ladoga
3. Hey, the spirit
6. How nice
7. Jolta Ku
Andrei Figa – vocal, accordion (music composer)
Pavlik Vlasov “Egypt” – shaman-drummer (poet)
Roma Tentler – contrabass
Petya Sergeev “Jaguar” – percussion
Volodya Molodcov “Professor” – flutes and bagpipes
Sergey Kirianov “Korotishka” – guitar
Dimarik Shihardin – fiddle
"Deolinda combines Portuguese fado and Brazilian music brilliantly.
Without a doubt, one of the freshest, most charming and beguiling releases I've heard in quite some time comes from the Portuguese group Deolinda, named for the fictitious female created by guitarist/songwriter Pedro da Silva Martins.
Within 22 weeks of its release, the disc went platinum in Portugal. Fronted by Lisbon singer Ana Bacalhau, a jazz singer by trade, the acoustic quartet takes a cue from traditional Portuguese fado and Brazilian music. It also trades on the stunning success of Portuguese singer Mariza although Deolinda is decidedly more folk. .
While you won't necessarily know it from listening unless you're fluent in Portuguese. , Deolinda's lyrics tell stories that are incisive slices of everyday life. In "Mal Por Mal," Deolinda explains to her lover that "I'm the person you've always wanted me to be/I have a job and a normal life/but when I get up and don't know who I am who I've become/I start going crazy/Your good is my bad."
01. Mal Por Mal
02. Fado Toninho
03. Nao Sei Falar De Amor
04. Contado Ninguém Acredita
05. Eu Tenho Um Melro
06. Movimento Perpétuo Associativo
07. O Fado Nao É Mau
08. Lisboa Nao É A Cidade Perfeita
10. Fado Castigo
11. Ai Rapaz
12. Cançao Ao Lado
13. Garçonete Da Casa De Fado
Ana Bacalhau: vocals
Luís José Martins: classical guitar, ukulele, cavaquinho, guitalele, viola braguesa and vocals
Pedro da Silva Martins: composition, lyrics, classical guitar and vocals
Zé Pedro Leitao: double bass and vocals
Well known Hungarian folk and jazz musicians play sophisticated, intelligent world music. One can realise that the musicians are well trained and have solid roots in jazz music. World famous singer Irén LOVÁSZ is also featured on the album. (Her most famous release is called: WORLD TREE.) She and her music-mates can be found on albums of MAKÁM too.
2. Én felkelék - I Get Up
3. Iniciálé - Initial
4. Pókháló - Cobweb
5. Lélekbál - Ball of Soul
6. Szeszélyes - Caprice
7. Szárnyak - Wings
8. Időcsepp - Drop of Time
9. Szemek - Eyes
Bárány Péter - acoustic guitar, bass
Gavodi Zoltán - clarinet
Gyulai Csaba - violin, viola, viola da gamba, percussion
Koós László - guitar
Mizsei Zoltán - keyboards, piano, psalterium, percussion
Lovász Irén - vocal
Váczi Dániel - sax
Kőszegi Péter - bass
Dés András - percussion
Big thanks Frankie for the CD!
Nikolay Oorzhak was born in December 1949, in the small village Khorum-Dag in western Tuva. After graduating from high school in 1964, he worked for four years as a shepherd, herding horses, sheep, and cows. There on the steppes, alone with his herds, he started producing sounds like his father and grandfather used to sing. This was Khoomei, or throat-singing. At that time, his only audiences were the horses, sheep, and cows.
In 1982, Nikolay caught the attention of the local authorities, who supported his bid for a professional education. So, in 1983 Nikolay began attending the Ulan-Ude cultural institute in Buryatia, where he also became Director for Public Theaters. This was also an opportunity to finally open his hidden talent of throat-singing.
In 1989 the First International Festival of Throat-Singing was held in the Tuvan capital of Kyzyl. Nikolay was awarded First Prize for Kargyraa style. At that time he already brilliantly performs in all the overtone singing (xorekteer) styles: khoomei, kargyraa, sygyt, borbangnadyr, ezengileer and became a Khoomeiji (Recognized Master of Khoomei) in his country. The same year he and fellow throat-singer Boris Kherly and scientist Zoya Kyrgys founded Ensemble Tuva. Meeting with great success, they toured internationally, including Norway, Sweden, Turkey and Mongolia.
In those days, it was common for such ensembles to include a dramatization of a shamanic ritual, and in addition to singing and playing with Ensemble Tuva, Nikolay portrayed the shaman. Elders often commented that he appeared authentic and suited for this role, and that perhaps he was meant to be a real shaman. Sometimes, after these performances, he felt dizzy and suffered headaches. He sought help from Oleg Toiduk, a well-known shaman. Oleg told him that Nikolay was destined to be a shaman, and was suffering the effects of energies sand talents that he needed to share with others for healing.
In Tuva, shamans often inherit their abilities, and Nikolay was no exception. There were shamans on his mother's side, and her father was a famous shaman in the Sut-Khol region of Tuva. On this basis, Nikolay started his healing way. Observing his progress, in 1998 the pre-eminent Tuvan shamanism scholar Prof. Mongush Kenin-Lopsan invited Nikolay to work for his shamanic society Dungur.
In 1995 Nikolay was invited to India to celebrate His Holiness the Dalai Lama's 60 birthday. He got the Dalai Lama's blessing, which enables him to increase his healing singing abilities.
In 1999 Nikolay was elected Chairman of Tuvan shaman society Tos-Deer, and that same year visited Vienna, Austria, with Prof. Mongush for the Shamanic Congress. He also toured Italy and Switzerland. Back in Tuva in December 1999 German television filmed a documentary on his outstanding technique of shamanism and throat singing. In 2000 he was invited to return to Germany for that year's Shamanic Congress.
In 2002 he made a successful three-month tour in Canada and USA on invitation of Mr. Steeve Sklar (International Association for Harmonic Singing) and Canadian Shaman's Society. During the tour, he had a meeting with Dr. Michael Harner, a famous founder of Foundation for Shamanic Studies, who has highly evaluated Nikolay's abilities.
Nikolay regularly gives a seminars in different towns of Russia, Ukraine and Europe, teaching the shamanism, throat singing and using the overtones in healing practice and self-development. He also is a welcomed and honorary guest at local and international music festivals.
03. Khomus And Sygyt Together
04. Khomus Solo
06. Shamans Song
08. Trio 1
09. Trio 2
10. Moscow Mix (With Mikhail Zukov, 2000)
11. Improvising (With Vladimir Solyanik)
Majid Bekkas, oud and guembri virtuoso, guitar professor and singer, has long been a star in his home country Morocco. Over the last few years, he has found his way into the European jazz scene through his collaborations with Archie Shepp, Louis Sclavis, Flavio Boltro or Klaus Doldinger. Abdelmajid Bekkas was born and still lives in Salé, Morocco. He studied classical guitar and oud at the National Conservatory of Music and Dance in Rabat and learnt Gnawa music through the teachings of the master Ba Houmane. Gnawa appeared in the 16th century. During the conquest of Sudan, Ahmed El Mansour Dahbi set up the first trading and cultural links between Timbuktu, near Zagora where Bekkas comes from, and Marrakech.
The secular music is still considered the "healer of souls" from Essaouira to Marrakech, easily
understandable when you listen to the spellbinding sound of Bekkas´ voice, guembri and guitar.
Like a watermark, the mystery of Africa can be felt in the backround, alongside the blues. Gnawa´s intact purity is the essence of the authenticity. By claiming to be part of Africa, the mother of the blues and ist numerous offspring such as funk, Bekkas is placing Gnawa in its primary dimension. By opening the spectrum (including elements of contemporary western music), Bekkas attains a universal status that is nurtured by the path he travelled. These include: jazz, alongside pioneers such as Peter Brötzmann, Archie Shepp, Flavio Boltro, Louis Sclavis.
Bekkas´ openness and ability to balance modernism and memory with a rare talent that knews no compromise, frees the music from the stamp of time. The memory is that of pain and wisdom, of songs that come from the slaves of Africa.
Melech Mechaya is a festive journey through klezmer music, with a contagious sound of arabian flavours, gypsy rythms and the yiddish tradition. From Hungary to Israel, from the Balcans to New York, those are parties and celebrations with standing audiences and empty chairs. Between laughter and dancing, this is great party not recommended to those with heart problems!
Considered nowadays as an independent style – yiddish music – klezmer music was born on the musical tradition of the Jewish culture, and was developed as from the fiftheenth century. Its repertoire comprehend many dance and celebration themes, as well as delicate and moving songs.
If “klezmer” referred only to musical instruments, its meaning was widened to the instrumentalists themselves (the “klezmorim”), and nowadays it means an almost universal music: from Hungary to Israel, from the Balcans to New York.
The klezmer music that is played by Melech Mechaya is characterized by contagious joy and rythm, with energetic and festive dances and celebrations. With roots in
ancient jewish traditions from the peoples of the East Europe, Melech Mechaya's klezmer includes the energy of the balcan music, the cadenza of the gypsy rythms, and the elegance of the arabian melodies.
01. Dodi Li
03. Bulgar De Almada (Com Tucanas)
04. Nigun 7
05. Dança Do Desprazer
06. Sweet Father
07. Rad Halaila
08. Budja Ba
09. Fado Tantz
10. Na Festa Do Rabi
11. Freylach 6.8
12. Hava Nagila
13. Melodia Da Rua
André Santos – Guitar;
Francisco Caiado – Percussion;
Joao Graça – Violin;
Joao Sovina – Double-bass;
Miguel Veríssimo – Clarinet.
The ethnic project 'Bugotak' was found in 2004 in Novosibirsk, Russia, and currently located in the same region.
Bugotak plays native siberian music in these variations: Mostly - northern turkic (Altai, Tuva), but also Tungus-manchurian, and music of the Deep Northern folks (Eveny, Negidaltsy, Orci etc) Mostly - traditional folklore, but also ethnic turkic rock and hard ambient. Mostly - its own songs, but also original folk songs and tributes to rock classics, played in traditional siberian instruments.
The main idea of Bugotak's art is that only those traditions come alive, which develop itselves; stark traditions are subject to nobody. Mean both creativity and traditions.
Bugotak was found by George Andriyanov, a multi-instrument player and throat singing performer.
Awards in 2006: - 'The best folklore band' within professional performers on The Baykal Necklace international festival (Ulan-Ude, Russia)
01. Bass Barchyzy
02. All You Want
03. We Siberians
04. Young Shaman Returns Home After Medical Institute
05. The Wheels Must Rotate (Bermuda From Askat)
06. Makary Lykov
07. Assigning Heritage
08. Shaktar-Baatyr (Folk)
09. Kezitke Sening Söstöring
10. The Valley Is Covered With Ice Of Dead People's Tears
11. Of Course, The Word
12. What I See That I Sing (Parody Of Linkin Park's Breaking The Habit)
13. There Is No Fate (Dedicated To Yanka Dyagilevaya)
14. To Live Up To The Winter (Dedicated To People Who Weren't Able To Reach The Foot Of Their Own Mountain)
Nicholas Roerich, Irina Smirnova and Pavel Shaikin
The Bulgarian-Hungarian musician Nikola Parov who has been playing in several groups, this time went into studio with the finest ethno and world musicians to make his brand new album Balkan Syndicate. A kind of music was born which is up-to-date and modern, but at the same time it involves elements of world music as well. Hearing these temperamental rythms the amusement and fun is guaranteed. Thanks to Nikola Parov and the contributing artists, the audience can hear a world-standard album which holds its ground wherever in the global musical life, from an artists who has obtained his professionalism playing for several years on the Broadway and as a soloist of the Riverdance Orchestra.
01. Este jő/ Evening Comes
02. Kurva lesz a babám /My Darling is a Misstress
03. Flash & Crash /Flash & Crash
04. Fúdd el fúdd / Blow it Blow Away
05. Mi zörög / Crush in the Bush
06. Prela Baba / Prela Baba
07. Walter búcsúja /Walter’s Farawell
08. Szerelem betegje / Sick of Love
09. Anyám édes anyám / Mother Dear Mother
10. Mikor lesz már nyár / Wish for Summer
11. Repülj madár repülj / Fly Birdy Fly
Jon Boden is a busy man. One half of a superb duo with John Spiers; the singer and fiddler for Bellowhead, and a solo artist whose acclaimed debut, Painted Lady, was a dramatic work darkened by the hues of romantic obsession. Songs from the Floodplain is set on a larger, more epic canvas. It’s an apocalyptic vision of a world gone to hell in a handcart, a ravaged near-future where memory rasps like a collapsed lung over an open fire and whose inhabitants grapple with what has been lost, where they are now, and what they’ve got coming. He’s certainly got his timing right. Recession, depression, ruination, collapse – the four horsemen of the financial apocalypse could be the rhythm section here. Set against a rousing and deeply uplifting musical backdrop that draws on rock textures as well as folk and atmospheric chamber music. Boden plays all the instruments himself – guitars, fiddle, concertina, bass, percussion, bagpipes, banjo, harmonium. His voice is superb: it can carry heavy emotional freight – all the weighty, dark materials of his vision – but it can also rise above it with a declamatory ring of defiance, remembrance and confession.
This ambitious album captures the current zeitgeist of collapse, uncertainty and dread. Lyrically and musically it’s a tour de force, deeply atmospheric and resonant of common fears and escalating anxieties, but with an imaginative force that makes it an uplifting and deeply satisfying experience. Yes, things could turn out this bad. But there’s no doubt that Boden has turned out a consoling, classic album for troubling times.
01. We Do What We Can
02. Going Down To The Wasteland
03. Days Gone By
04. Penny For The Preacher
05. Dancing By The Factory
06. Beating The Bounds
07. The Pilgrim's Way
08. April Queen
09. When The Walls Come Tumbling Down
10. Don't Wake Me Up 'Til Tomorrow
11. Under Their Breath
12. Has Been Cavalry
01. Snimbe - Tama (Mali - Guinee Bussau)
02. Sinama Denw - Habib Koite & Bamada (Mali)
03. Awa Y’Okeyi - Papa Wemba (Republique Democratique du Congo
04. N’Dolo - Henri Dikongue (Cameroun)
05. Ancient Voices - Chiwoniso (Zimbabwe)
06. Kounka - Lulendo (Angola)
07. Mariama - Pape et Cheikh (Senegal)
08. Olhos Molhados - Bonga (Angola)
09. Malaso - Regis Gizavo (Madagascar)
10. Dimama - Sally Nyolo (Cameroun)
11. Wanita - Rokia Traore (Mali)
12. Mamy Kha - Rajery (Madagascar)
13. Mame - Senegal Acoustic (Senegal - France)
14. Kothbiro - Ayub Ogada (Kenya)
15. Tapera - Oliver Mtukudzi (Zimbabwe)
Erik Marchand, formerly of the group Gwerz, is a powerful singer of Breton songs. His trio came into being when accompanist Thierry Robin discovered that the oud, or Middle Eastern lute, could reproduce the unusual intervals of traditional Breton vocal music. Soon, the duo had recruited Hameed Khan, a tabla player, to round out their Breton-Arabic fusion.
01. Az Zoudar Maleurus
02. Ar C'hont Gwilhou
03. Eur Suivezh A Viz Mae
04. Jean-Louis Ha Marivon
05. Heuliad Fised (Trad.)
06. Bolom Kozh
07. Iwan Gamus
08. Son Ar Vot
09. Heuliad Plinn
10. Ar Graouenn Muskades
Hetric Free Folk - world music. A fusion of different Celtic music traditions: Irish, Scottish, and Manx with Balkan music: Moldavian, Transylvanian, Hungarian!
The group Hétrét is based in South-western Hungary. This corner of the country has always been a melting pot of different cultures and traditions. A meeting point of three countries: Hungary, Austria and Slovenia, the region is home to various nationalities and thus to a unique variety of musical traditions.
Originally a traditional Irish music group, Hétrét expanded their repertoire to combine folk traditions from the local regions: Hungary, the Balkans as well as Transylvania and Moldavia. The music is basically acoustic and one can hear a variety of instruments from the Celtic harp and tin whistles to the South-American charango.
01. Harvest Home (Traditional Irish and Hungarian)
02. Se kertembe (Traditional Moldavian)
03. Come by the Hills (Traditional Irish)
05. Banks of Claudy (Traditional Irish)
07. Tha Mi Sgith (Traditional Scottish)
08. I'm a Man (Traditional Irish)
09. Az ördög tánca
10. Ushag Veg Ruy (Traditional Manx and Transylvanian)
11. Bajdal (Traditional Moldavian and Irish)
12. Oidipusz bolyongása (Traditional Irish)
Boa Veronika Setanta - voice
Kimberly Coleman - fiddle, voice
Jon Hanson - fiddle, voice
Hochrein Judit - tin whistles, voice
Ityko - guitars, banjo, double bass, mandolin, keyboards, voice, percussion
Kardos Endre Bozi - flute, tin whistls, bagpipes, voice
Toth Istvan - guitars, charngo, bodhran, drums, double bass, voice
Soós Tamas Attila - soprano sax
Szarka Gyula - voice
Szervatiusz Lilla - voice
Morvay Krisztina - voice
Szabó Perpetua - voice
Tóth Anita - voice
"Listening to Bea Palya’s new album, called JustOneVoice, you realize that just one voice is enough, when it’s Bea Palya’s. It’s powerful and subtle, playful and profound. Its effects are haunting and calming, uplifting and sensual. The songs have their roots in folk music, from Bea’s childhood, but she has always reached beyond the traditional, adding the passion and emotion from the music of Persia, Bulgaria, India. She plays with the melodies, and with all that the human voice can do, making cat sounds and scat sounds, with accompaniments from the real world – the sound of the ocean on a Mexican beach, the heartbeat of the bodhran, the sound of children playing or clapping and stomping. Bea bursts with energy and emotion – even when she’s talking...
Interview with Bea:
- You say the music on this album comes from within. How hard is it to express what’s within you?
- It’s easy and hard at the same time. I went back to my roots, musically, to Hungarian folk song collections of peasant women and men who sang alone, with just one voice. That’s where I got the idea to make an album with just my voice. I realized that that’s the first way I ever performed – I sang alone.
I also went back to my roots, spiritually, with songs for my mom, my dad, to express a new deeper relationship with them. I also sing with my grandfather, who was a Gypsy and a farmer and a bass player. I found an old tape of him singing that stopped in the middle, so I finished the song. Kind of like Natalie Cole with Nat King Cole.
- How have your travels influenced you recently?
- Every January I spend the whole month by the ocean, this time in Mexico. When you walk every day on the beach, you start taking a walk inside yourself, discovering yourself. I even wrote and recorded songs on the beach. What I do is from the very center of me. I have a new level of self-knowledge and self-confidence now.
- Which of the songs say the most about you?
- Well, the song From Branch to Branch used to be my ars poetica, because I felt like a bird flitting from branch to branch, singing to make brothers and sisters happy. Nowadays, I enjoy the notes and the sounds, so I sing it still. But I made a new song, The Browbeaters, that shows my feelings now. I like people to like me, but I don’t want everybody to like me. I don’t need that.
- What do you hope that people will get from your album?
- The album has sadness and anger, pleasure and laughter. The songs, half folk songs and half my own new compositions, are about love and loss, friendship and passion… But the final result is that I can laugh at myself if I need to. This helps me in life. I hope that people who listen can also hear their own stories in the songs.
Pick up JustOneVoice at a music store near you, or at Bea’s next concert..."
02. Elment a madárka
03. Szép szemű szeretőm
04. Szépen veri az eső a virágot
05. Az ördög meg a vén dög
06. Lábam alá hosszú utat
07. Csillagtalan setét éjjel
08. Anyám, anyám, édesanyám
09. Az elérhetetlen férfi
10. Mindenkinek kurv'anyja
13. Az én piros vérem
15. Úgy elmegyek rózsám
16. Szól a kakas már
18. Tata nótája
Russia-based world/jazz fusion collective Vershki Da Koreshki (a.k.a. VeDaKi) is a meeting of different cultures, rhythms, languages, energies, forces of the world (Africa, India, Russia, Tuva, Europe), and joining them together in search of natural understanding and communication, link between traditional and modern, roots and improvisation (not without humour and hope).
Plants hide their roots (koreshki) to protect them from bad weather while their leaves (vershki) are directly affected by the constant changes in the weather. These two vital parts develop simultaneouly but in opposite direction thus maintaining the balance of the overall organism.
The group Vershki da Koreshki grew in the same way: the roots are formed by two descendants of ancient cultures of Africa (Senegal) and Central Asia (Tuva). The leaves are two compatriots from Saint Petersburg who are nourished by jazz, classical and contemporary music and improvisation.
The synthesis of these seemingly contradictory elements results in the band's great freedom of style and concept.
6. Vershki da Koreshki
8. Chimtchak Salghin
9. Pitchendebin / Khoomeyim Algap Tour Men
Kaigal-Ool Khovalyg: voix, khoomei, ighil, khomyss
Mola Sylla: voix, kongoma, xalam, kalimba
Alexei Levin: accordeon chromatique, piano, khomouz, kongoma
Vladimir Volkov: contrebasse
Paco Diedhion: sauruba