Ditties. About lovers, happy and unhappy brides, parting and letting go, courage, love and predestination... All this is put into words and melody with the help of Hungarian folksongs, completed by a poetical song of the Chuvash in which they praise their relatives, also by a fine, elegantly dancing short Cheremis song, and a Bulgarian mountain song that sounds sharply from afar.
01. Az én szemem / My Eyes
02. Te kisleány / Little Girl
03. Hegyen s földön / Mountains and Valleys
04. De jó együtt / How Fine It Is Together
05. Este van / Evening Has Come
06. Ága-boga / The Flowers of the Wreath
07. Zaljubih / Mother, I Fell in Love
08. Kék szivárvány / Blue Rainbow
09. A szeretet próbája / A Test of True Love
10. Szemünk-lelkünk / Our Eyes and Souls
11. Ádil hullám / The Waves of Volga
12. El vagyon rendelve / Our Destiny Has Already Been Settled
Szilvia Bognár - voice
Péter Bede - saxophone, shepherd's flute
János Gerzson - oud
Krisztián Rácz - acoustic and electric guitar
Csaba Gyulai - percussion, gadulka
Zoltán Kovács - double bass, bass guitar, violin, vocal
István Pál "Szalonna" - violin
Balázs Thurnay - kaval, shepherd's flute, marimba, vocal
Ágnes Herczku - voice
Ági szalóki - voice
For the CD big thanks for Frankie!
The aim of this CD is to make the rich and diverse music of the Hungarian War of Independence in 1848-49 more well-known. The selection is based on period manuscripts, collections and on compilations by prominenent Hungarian historians, and also on the bands' own collections.
The songs on the album try to illustrate the most different strata of vocal and instrumental music from that age, ranging from the most archaic tunes and perfoming, up to the freshest, partly folklorised songs dating from that period.
"The history of a nation can most precisely be known form the existing writings of chroniclers and form the results of historical science. Neverthless, the hisorical consciousness of the masses and also the collective memory (which is a particular projection of the former) bear considerable significance. A retrospective view on the outstanding events and figures of history will show that the richest material in folklore is associated with revolution and the war of independence. This is partly due to the fact that the collective memory, which is able to span some generations has not forgotten them. On the other hand the time distance is big enough for the period words of art or earlier words recomposed by the people, as well as pieces of well-known poets and composers to polish to more perfection in the process of bequest. This selection is based on period manuscripts, collections, compilations, on the national collection from 1948-49, special bibliography on folk music and ethnography and also our own collections. The program attempts to illustrate the most different strata of vocal and instrumental music from the period of the independence war, form the pieces of most archaic melody and performance, yet actualised lyrics to the most fresh, partly folklorised songs belonging to that period."
01. Bécs várostól nyugatról keletre
02. Ütik a rézdobot
03. Jön Kossuth, jön
05. Kossuth Lajos azt izente
06. Kossuth Lajos a vezér
07. Este későn megpendítik a dobot
08. Azt beszélik oda föl
09. Megtanultam tótul, svábul
10. Kossuth izenete eljött
11. Erdély körül van kerítve
12. Rákóczi induló, féloláhos és verbunk
13. Gábor Áron rézágyúja
14. Krakowiak (A lengyel légió táncnótája)
15. Garibaldi nóták
16. Kun verbunk
17. Áldja meg az Isten azt az édesanyát
18. Kispejlovam megérdemli a zabot
Zoltán Juhász - duct flute, long duct flute, flute, badpipe
Kálmán Sáringer - duct flute, long duct flute
Éva Fábián - gardon, voice
András Berecz - voice
(1, 5, 6, 8, 9, 10, 11, 12, 17)
Béla Halmos - violin
Tamás Petrovits - cimbalom
Péter Dövényi - viola
András Nagymarosy - bass, tamburica, ádurica
Éva Fábián - voice
(1, 4, 7, 13, 14, 15, 16, 18, 19)
Katalin Juhász - voice
Gergely Agócs - shawn, clarinet, voice
Réka Juhász, Dénes Juhász, Lilla Juhász, Anna Sáringer, Gergely Dövényi, Katica Szabó - voice
"This steamy little disc of Russian and Romanian gypsy music is a case of musicus interruptus. Over in less than a half-hour, it leaves the listener panting for more. Though packaged as a nicely finished product, it is really more of a polished demo than anything else. But this New York based octet has a lot to offer. Every track is crisp and danceable, with sassy, jazzy horns, crashing percussion, and throbbing accordion. Vocalist Inna Barmash warbles as slinkily as a Balkan Edith Piaf.
Her work on "Tanya (A Secret)" is smoldering. On "Rustemul," guitarist Joey Weisenberg and violinist Jake Shulman-Ment set up a down-and-dirty near-rock groove that is picked up by the horns, but alas, at less than two minutes, it's over too soon. Winner of the best subtitle award is "Zaznobila & Baro Foro (She messed with my head in the great city)." It's a fun party song that lives up to the promise of its name. The bonus track is a scratchy, retrofied version of "Tanya." Then, just when the dancers are getting warmed up, it's over. More, more, more!"
02. Loli Phabay (The Red Apple)
04. Tayna (A Secret)
05. La Circuma de la Drum (The Tavern on the Road)
07. Zaznobila & Baro Foro (Shes Messed With My Head in the Great City)
08. Moldovan Batuta
Inna Barmash (vocals),
Jake Shulman-Ment (violin),
Lev 'Ljova' Zhurbin (viola),
Jeff Perlman (clarinet & saxophone),
Ben Holmes (trumpet),
Patrick Farrell (accordion),
Joey Weisenberg (guitar),
Ron Caswell (tuba),
Timothy Quigley (drums & percussion)
Originally released in Europe, Willard Grant Conspiracy’s sixth album, Let It Roll finally finds a domestic release for leader Robert Fisher’s weary baritone and frightening tales of probity.
Fisher’s relative anonymity stateside probably has a lot to do with the fact that he can be a challenging listen, and with ten songs clocking in at over an hour, Let It Roll is one tortuous record.
With somber visions and a voice that echoes late-period Nick Cave, Willard Grant Conspiracy is very much a thinking man’s Americana, providing listeners who don’t possess a modicum of patience little incentive to explore. But like some of those big-ass books still sitting on your shelf that appear too intimidating to start, Let It Roll can be an enjoyable read if you manage to find the time to sit down with it.
Starting with “From A Distant Shore”, a first-person account of a soldier preparing for battle overseas, Fisher wisely chooses to accompany the tale with a metaphoric trumpet and haunting violin. The subject matter is far from a pleasant one and it foreshadows some of the weighty themes that W.G.C. examines throughout the rest of the album.
The title track, one of the lengthiest songs on the disc, starts with three minutes of passionate guitar and violin turbulence before Fisher sets foot behind the mic with an equally intense murder ballad. By seven minutes, he’s defiantly yelling on his way to the gallows “There’s nothing to dying more than a ropes last whisper,” to the point where his voice has grown hoarse. Powerful stuff.
“Breach,” the second track to clock in at over nine minutes, strolls along like a last-call conversation, which can be either a provocation or pleasure depending on your own state of inebriation.
The liquor seems to flow again with W.G.C.’s cover of Dylan’s “Ballad Of A Thin Man.” Fisher gradually builds up Bobby’s ominous verses until he’s rasping the lyrics while guitarist Jason Victor creates some gruff six string verbalization of his own.
There are parts of Let It Roll which recall Dream Syndicate’s stunning The Medicine Show for good reason: Steve Wynn joins W.G.C.’s collective approach as a co-songwriter for the song “Flying Low” and backing vocalist. I’m sure the collaboration came from a feeling of mutual respect for one another and Fisher has found a great frame of reference in his own attempt at creating a commanding record.
As imposing as it strives to be, the unfastened quality of the performances oftentimes makes it seem too convoluted to receive the attention it deserves. But for those that can find the time to embrace it, Let It Roll turns out to be one helluva read.
"Boston-based music group Willard Grant Conspiracy sure knows how to make a music critic's job tough. Whereas most bands can be blithely described with a few words, WGC practically requires a new genre tag. Stylistically, it's got strong folk-rock and rootsy overtones but isn't exactly Americana. Instead, WGC couches the disquieting angst of Nick Cave and Leonard Cohen in the baroque-like elegance of Belle & Sebastian at their most melancholic. Lead singer Robert Fisher's smooth, contemplative baritone has a winning straightforwardness mingled with world-weariness and suspicion. On the ditty "Flying Low," he croons, "And I dreamed I saw the angels flying low/They encompass all that's good, or so I'm told." The album is lent orchestral savor by the regal-sounding violin/viola of Josh Hillman and the yearning trumpet of guest Dennis Cronin. Rendering Roll more cathartic than depressing is WGC's occasional forays into wrenching rockin' dissonance a la Roxy Music and John Cale-era Velvet Underground. Dylan fans may not like the droll, thundering rendition of his "Ballad of a Thin Man." With WGC, it appears that glum is good."
01. From A Distant Shore
02. Let It Roll
03. Dance With Me
05. Flying Low
08. Mary Of The Angels
09. Ballad Of A Thin Man
10. Lady Of The Snowline
"Since the first volume of this Network Medien series came out in 1995, the whole notion of "Desert Blues" has become more familiar, even to the point where not every song on a double CD like this has to necessarily fit the description (a description that, since first coined, has been open to varied interpretation anyway). All that's really needed are great songs from the Saharan regions, and there are loads of them here. Not a lot of the featured artists were on the first two volumes, so there's a healthy amount of freshness here.
You can start just about anywhere with blow-by-blow descriptions: rootsy rai from Khaled, elegant kora work by Toumani Diabate, rockish excursions courtesy of Tinariwen, etc. If you want a quick summation, the back cover offers one: "Recently discovered finest ballads from Mali, Senegal, Mauritania, Guinea, Niger, Western Sahara, Morocco, Algeria, Tunisia, Ethiopia." I suppose "finest ballads" does at least as well as "desert blues" in describing the music here, which represents everything from griot tradition to jazz and classical fusion. Actually, as more Saharan artists and countries increase their presence on the global music scene, collections like this will continue to be necessary in keeping up with the work of established stars (Gigi, Oumou Sangare, Habib Koite), newer or lesser-known names (Bako Dagnon, Idrissa Soumaoro) and even non-Africans who successfully get in on the action (Markus James, Kronos Quartet). There's over two hours of superb sounds on this set, the illustrated liner notes are informative and thoughtful, and it's essential listening even if you missed the first two installments."
01. Djelimandy Tounkara - Fanta
02. Idrissa Soumaoro - M´ba Den
03. Souad Massi - Raoui
04. Khaled - Wahrane, Wahrane
05. Tiris - El Nabi
06. Booubacar Traore & Regis Gizavo - Kanou
07. Markus James - Dream After
08. Bako Dagnon - Lassidan
09. Fula Flute - Keme Bourema
10. Gigi - Bati Bati
11. Cherif M´baw - Baayo
12. Abdouolaye Alhassane Toure
13. Rokia Traore & Kronos Quartett - Bownboï
14. Toumani Diabate & Ali Farka Touri - Ai Ga Bani
01. Dhafer Youssef - A Kind Of Love
02. Seckou Keita Quartet - Tounga
03. Ali Farka Toure - Penda Yoro
04. Boubacar Traore - Kar Kar
05. Malouma - Yarab
06. Bassekou Kouyate & Lobi - Traore Banani
07. Abdallah Ag Oumbadougou - Imidiwan
08. N´gou Bagayoko - Kulu
09. Tinariwen - Izarharh Tenere
10. Oumou Sangare - Djorolen
11. Habib Koite - Mali Ba
12. Amadou & Mariam - Ce N´est Pas Bon
13. Getatchew Mekurya - Eywat Sstenfegagn
14. Gigi - Ethiopia
Guitarist, composer, arranger, and professor at the Ferenc Liszt Academy of Music, Gyula Babos is one of the best known personalities of jazz life in Hungary. He was hardly 17 when he won the Jazz Competition of the Hungarian Radio in 1966, and since that time his goal has been to make his mark on the international music scene with compositions rooted in Hungarian folk and Gypsy music. After joining and founding several groups (the Aladár Pege Quintet, Kex, Rákfogó, Kőszegi Rhythm and Brass, Saturnus, BDSZ Collection, the Babos Trio and Quartet) and participating in European jazz festivals, in 1989 he produced his first solo album, called In 'n Out, which contains his own compositions – just like Blue Victory, his second release, recorded in 1994, with Victor Bailey, Terri Lyne Carrington, Béla Szakcsi Lakatos, and the late George Jinda. The album was released in twelve European countries. He made his third solo album for Sony Columbia in 1998, entitled Once Upon a Time..., which is the realization of his intention to fuse jazz with Hungarian and Gypsy folk traditions in his own way. The material was recorded with the Babos Project Romani. Babos introduced the group not only in Europe, but also in England and in Israel at the Red Sea Festival. Seventy-five Minutes Live, his latest release features the celebrated percussionist Trilok Gurtu. On this album, East-, West- and Middle-Eastern Europe meet in Babos’ music. Besides recording and composing (film and cartoon scores included), he is also a producer for pop and contemporary artists. One of his greatest dreams was fulfilled when in 1991 he played with Frank Zappa in front of an audience of thirty thousand people in Budapest.
05. Csillagok - Stars
06. Három nap - Three Days
07. Romantic Gipsy Heart
08. True Colors
09. Mathild Song
10. Mese feketén fehéren - Tale Black and White
Babos Gyula - guitar, synthesiser
Oláh "Chumo" Árpád - piano
Hárs Viktor - double bass
Lattman Béla - bass guitar
Borlay Gergő - drums
Kunovics Katalin - voice
Dobi Matild - voice
Bihari "Imi" Ernő - voice, can
Daróci "Choli" József - voice
Original Uploader: gerzoli. Thanks!
"For the first time in over two decades, Steeleye Span sounds like a bona fide band again. While their string of sporadic comeback albums from the past 20 years were generally decent (although not spectacular), they seemed to lack the intangibles that distinguish a true and cohesive group effort from a reformed assemblage that only half-heartedly recaptures their past glory. While only fiddler Peter Knight and guitarist Bob Johnson remain from that period, Bedlam Born is the closest Steeleye Span has come to recreating their '70s heyday. Bassist Tim Harries, who has been with them since 1989's Tempted and Tried, provides the most out-and-out rock & roll moment on this album with his electric guitar debut on "John Ditchford." At least three other tracks ("Well Done Liar," "The Beggar," and "We Poor Labouring Men") also display a noticeable rock angle that hearkens back to albums like Rocket Cottage and Parcel of Rogues. But this album is equally divided between the raucous and the reflective, the traditional and the contemporary; "Who Told the Butcher" and "Poor Old Soldier" with their electric piano accompaniment and Peter Knight lead vocals sounds like Sails of Silver-period Steeleye. Lead singer Gay Woods adds a maturity and firmness of voice not necessarily found in Maddy Prior, the legendary vocalist whom she eventually replaced. They are different types of singers but both are equally suited for Steeleye Span. Woods provides captivating vocals on "Beyond the Dreaming Place," "The Connemara Cradle Song," and the chilling "The White Cliffs of Dover." After appearing on just three tracks on Horkstow Grange, longtime Fairport Convention drummer Dave Mattacks returns to make a full-time contribution on Bedlam Born, thus significantly solidifying the foundation of this band."
01.Well Done Liar
02.Who Told The Butcher
03.John Of Ditchford
04.I See His Blood Upon The Rose
07.Poor Old Soldier
09.There Was A Wealthy Merchant
10.Beyond The Dreaming Place
11.We Poor Labouring Men
12.Connemara Cradle Song
14.White Cliffs Of Dover
Gay Woods, vocals, bodhrán;
Bob Johnson, vocals, acoustic & electric guitar;
Peter Knight, vocals, keyboards and violin;
Tim Harries, bass & electric guitars, keyboards, vocals;
with Dave Mattacks, drums and percussion
Ando Drom (On the Road) Gypsy folklore group was founded in Budapest 1984.The songs are sung in Gypsy Language, accompanied by guitar, mandolin and tambura; for percussion they use spoons, jugs, wooden through and oral bass.
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 present the traditional music and dances of the Gypsy people in an authentic and, at the same time, modern way.
In addition to their concert tours abroad, they often perform in Hungary, where Ando Drom is considered to be one of the most renowned Gypsy folklore groups. They were honoured twice with "Nívó-díj", a high Hungarian musical award.
01. Iszik a kocsmán / Drinking In The Pub
02. Te szan mange piramnyi / You Are My Lover
03. Xanamiko / Brother-in-law
04. Könyörgés / Prayer
05. Na mangav me ratyija / I Don’t Need Brandy
06. Ahaj Devlam szote kerav / My God, What Shall I Do
07. Pujari szomasz - Kanak tu ternyi szanasz / I Was Child – When I Was Young
08. Naj man sella / I Have No Money
09. Bare gindura / Big Trouble
10. Raja Devla / My Lord, God
11. Csi Zsanav / I Do Not Know
12. Lasi ratyi – Kövecselik az utakat / Good Evening – They Are Making Roads
13. Pergyij e bar lulugyenca / The Garden Is Full of Flowers
14. Muro nav / My Name
15. Sza tele zsav / I Go Around The World
Jenő Zsigó - voice, guitar, mandolin, can, spoons, udu,oral bass
Imre Bihari - voice, guitar, can, oral bass
Matild Dobi - voice, dance, spoons
Gyula Bódi – accordion
István Samu - guitar
"Recorded live in Bordeaux.
Developed over the last 15 years, Song of the Lodz Ghetto is a unique musical work, a song cycle in which memory and imagination freely interact to create a Proustian journey between present and past. At the center are Brave Old World's arrangements of the rare Jewish street and cabaret songs from the Nazi ghetto of Lodz, Poland, 1940-44. Leading through the Lodz repertoire like stepping-stones through the river of memory are Brave Old World's own original compositions, reflections on 17 years of performing Jewish music. Michael Alpert's moving Berlin 1990 forms the emotional and musical counterpoint to the passionate and ironic street songs of the bard of the Lodz ghetto, Yankele Herszkowicz. A musical and spiritual journey of resistance, love, and reconciliation."
"...this collection illustrates the power of the creative consciousness to survive, even thrive, in the most harrowing of circumstances."
01. Rumkovski Kayim/Lodzh-fidl
03. A gants fayn mazltov
04. Nisht nor simkhe/Veynendiks
05. Vayl ikh bin a yidele
06. S'Iz Kaydankes, kaytn
07. Kimts in herts/Rumkovski Khayim
08. Yikhes/Vinter 1942
09. Makh tsi di eygelekh
10. Berlin 1990 (Refren)
11. Es Geyt a Yeke
12. Ver Klapt du Azoy?/Geto varyant
13. Geto, getunya
15. Amerike Hot Erklert/Kemfn!
16. Berlin 1990
18. Bobover Khupe-Marsh/Rumkovski Khayim
Alan Bern: musical director, accordion, piano
Michael Alpert: vocals, fiddle, percussion, guitar
Kurt Bjorling: clarinet, bass clarinet
Stuart Brotman: bass, cello, cymbalom, trombone, fiddle
Recorded in 2001, Golem's debut album features tunes sung in Ladino, Ukrainian, Spanish, and of course, Yiddish... not bad for a 5 song EP!
01. Skrip Klezmer!
02. Balkan Espanol
03. Kopav Kopav
04. Madre Mia
05. Az der Rebbe Elimelekh
Aaron Diskin: vocals, tambourine
Alicia Jo Rabins: violin
Curtis Hasselbring: trombone
Taylor Bergren-Chrisman: contrabass
Laura Cromwell: drums
"Once upon a time in Hungary a group of young and talented people – who had otherwise not much common points – agreed that they will show their compatriots and to the whole world that the saying “the Hungarian rejoices crying” is absolutely false. In the music of Yava Folcore Punk Brigade the folk songs are not artefacts of museums or worldmusic-like commercial products but pulsating energy which is not only intertwined with the musical traditions of the Middle East or Indonesia but also with hardcore punk music. After long waiting the debut album of the band will be coming out in November 2008 and the band that already had several international gigs is ready to conquer the world.
Yava was established by the bassist of the legendary band “Galloping Coroners” (VHK), Adam Mestyan and Polett Dus in 2001 and their very different characters define the main features of the band. Polett today is the editor in chief of a radio station but before she played as an actor in a travelling company, was a folk-musician and then lived for a long time in Indonesia where she studied the ancient arts of “wayang” and the “gamelan” music. Adam was graduated as an Arabist and lived in North Africa and later one year in Kuwait. In 2002, the folk musician Szabolcs Roka joined the band who is the master of the Hungarian “koboz” and the Arabic-Turkish oud. From 2004 the also legendary VHK-member guitarist Fritz Laszlo Nemeth joined the band while the progressive metal-drummer Kristof Szabo is the youngest member.
In the inimitable music of the YAVA FOLCOR PUNK BRIGADE it can happen that the bass will answer to the themes of the bagpipe. Who does not believe this, listen to this magic how the different musical traditions of different nations are united, how the medieval songs and instruments are joined to punk and hardcore melodies."
03. Ó, Castília
05. Mire vársz
06. Gen 36
07. Rejtsetek el engem
08. Kezemet homokba
09. Üsküdari mese
11. Izzott nyögött
"Winter Chasing draws from the music of the peoples of our country in the widest sense of the word: I could almost say, it embraces nearly all the peoples with a common fate during its thousand: year: old disastrous, bloody history who have influenced each other musically: Katalin Szvorák, who gives expression to this common tone, is a highly competent, artistic interpreter of the music of the Hungarians and all the peoples living with them.
May you regard the music you hear as a bunch of flowers made of the music of thousand years and love it both as a whole and each of its precious flowers separately.
And accept it with proper love from from Katalin Szvorák who has gathered the bunch and presents it to you now."
Sung in Hungarian, Slovak, German, Moravian, Armenian, Czech, Gypsy and Croatian.
01. Ma vagyon Farsang híres napja
02. Ez ki háza, ki háza
03. Za nuno baluśo
04. Hipp, hopp farsang
05. Kura Jóska, dudáljon kend
06. Pod šable
07. Elmúlott a hosszú farsang
08. Dúsgazdag siralma
09. Sokác kóló
10. Talalaj, talalaj
11. Haj ki kiszi, haj ki
12. Keď si videl, že nemožem
13. Jaj, de szennyes a kendője
16. A macskának kesely lába
18. Ezek a szép szász leányok
19. Illik a tánc a rongyosnak
20. Hopp csillárom
Kati Szvorák - voice
and The Monarchia Orchestra:
MULATSCHAG GRUPPE (Bécs, Vienna, Austria):
Evelyn FINK - violin, voice
Ernst FRITZ "Blizzfrizz" - violin, accordion
Andrea HOFFMANN - harp, voice
Rudolf PIETSCH - violin, voice
Margit WERNER-ANDERL - voice
PONITRAN (Nitra, Slovakia):
Bernard GARAJ - Slovak bagpipe, cimbalom, voice
Peter HUJER - violin, ozembuch, voice
Marián JÁREK - violin, voice
Ján VÁCLAVEK - viola, voice
Pavol VAKOŠ - double bass, voice
Béla ÁGOSTON - clarinet, bagpipe
Joszif Jurijevič ČERNAVEC (Técső, Ukraine) - Jew's harp
Tamás GOMBAI - violin
Mihály HUSZÁR - double bass, accordion, voice
Ferenc KISS - voice, kobsa, zither, Jew's harp, tambur, percussions, violin, hurdy-gurdy, water can
Zsolt KÜRTÖSI - double bass
Péter PÉTERDI - keyboards
Zoltán SZABÓ - Croatian bagpipe, tambur, ocarina
Sándor D. TÓTH - viola
Pupils of the folk-song class of Szentendre Vujicsics Tihamér Music School:
Flóra KISS, Berci SASVÁRI, Borcsa SASVÁRI, Marci SASVÁRI, Csenge SZEBENY, Rebeka TAMÁSI, Sára TÍMÁR, Réka ZETELAKI - voices
"In both Polish and Hebrew, the word "balagane" means either "big mess" or more colloquially, "whorehouse." It is also the name of the second album from Montreal-based group Jeszcze Raz (pronounced YES-chay Raz), led by the irreverent poet/songwriter Paul Kunigis. Balagane is a playful collection of rollicking songs driven by elements of Jewish, Gypsy, and Arabic folk, with hints of French chanson, jazz and blues in the mix.
This array of influences is skillfully woven by polyglot pianist and songwriter Paul Kunigis. Polish-born of a Catholic mother and Jewish father, Kunigis was raised in Israel where he went to a school run by French Jesuits and took Hebrew studies on the side. He plays his upbringing like a trump card, laughing, "I had a first communion AND a bar mitzvah!" with self-conscious irony. In his music, Kunigis acknowledges the myriad of sometimes opposing cultural forces that created him. Most of all he identifies as an outsider.
Songs in Polish, Hebrew, Arabic and French lambaste bar-stool philosophers, celebrate the lives of rag-pickers and prostitutes, and dream improbable dreams of a lasting peace in the Middle East. The impassioned lyrics are bittersweet and gutsy: Kunigis pulls no punches. In concert, he likes to say with a twinkle in his eye, "My music is not politically correct. It's just correct."
Balagane was produced by Yves Desrosiers of Lhasa de Sela fame, and features Desrosiers on guitars. The elements that made Lhasa's La Llorona sound great (including a careful attention paid to arranging and dynamics) make this album a success, too. A song that starts with bare-bones percussion and bass might evolve into a raucous burlesque sing-along with swirling violin, snaky accordion and sleazy bass clarinet blats. Percussion lines laid down by the rock-steady Rémi LeClerc are played over in such a way that individual songs integrate klezmer, Latin and Arabic influences effortlessly.
If there is one shortcoming to the album, it is that you may recognise some concepts from earlier tracks returning in some of the latter songs. But Kunigis and Jeszcze Raz can hardly be classified as one-trick ponies. No, they are the whole crazy circus. Balagane, indeed."
In March of 2003, Jeszcze Raz won the 2002 Juno Award (the Canadian equivalent of the Grammies) for World Music Album of the Year.
01 - Balagane (Bordel)
02 - Czarna kawa (Café Noir)
03 - Alte zachen (Vieilles Guenilles)
04 - Yahayouni (Mes Yeux)
05 - Bamidbar (Dans le Désert)
06 - Zimbergaya (Tzimbergaya)
07 - 3 pajaci (3 clowns)
08 - Swetlana (Chviétlana)
09 - Tiberiade (Tibériade)
10 - Ostatni dzien (La Derninre Valse)
11 - Mamaleh (Petite Maman)
12 - J'aimerai te dire
13 - Shequette (Silence)
"After years of research, a dream has at last come true: the world’s first major anthology of Rembetiko – the "Greek Blues". Presenting 31 ensembles from 13 countries, the album showcases the leading representatives of Rembetiko in its many forms throughout the world and traces its development over the years. Rembetiko emerged in the early 1920s in the port cities of Piraeus and Thessaloniki where hundreds of thousands of Greek refugees arrived from Asia Minor. They brought with them their own lifestyle and their oriental music. In the taverns, or tekes, they smoked hash, made music, and dressed in a distinctive way. It was a subculture that went against the grain. Banned under various dictatorships and later ideologically rejected, Rembetiko still survived in various forms, eventually becoming an integral part of Greek identity. From Greece, Rembetiko spread among the immigrant communities of North America, Australia and Western Europe. This musical journey through the world of Rembetiko presents the best groups, including Apodimi Compania from Australia, Prosechos, Salto Orientale and Zotos Kompania from Germany, Kudsi Ergüner and Melihat Gülses from Turkey, Diamanda Galas and the Projekt Café Aman Amerika from the USA, Taximi from Sweden, Palio-Paréa from Holland, The Rembetika Hipsters from Canada and such icons of recent Greek musical history as Mikis Theodorakis, Dionyssis Savopoulos, Nikos Xydakis, Niki Tramba and Ross Daly at the Café Aman and Stavros Xarchakos with music from the legendary film „Rembetiko".
01. Stavros Xarchakos - Prologos-Mana Mou Ellas
02. Cafe Aman America Orchestra - O Pinoklis
03. Taximi - Rosenbuskens Blad
04. Kudsi Erguner Ensemble - Yedikule
05. Kegome - Salto Orientale
06. Bayat - Irinaki(Traditional Arr.)- Bratsch
07. Talking To Charos - San Pethano Sto Karavi
08. Christos Pantelis - Bouzouki Mou Diplochordo
09. Miquel Gil - I Giren
10. Ross Daly & Labyrinth - Afou Chis Allon Stin Kardia
11. Ankala - Cafe Izmir
12. The Rembetika Hipsters - Mes Tis Polis To Hammam-
13. Evening Take-Abaji - For Rita
14. Pavlos Sidiropoulos - To Blues Tou Paliokaravou
15. Grigoris Bithikotsis - Mikis Theodorakis Sta Pervolia
01. Apodimi Compania - Doctor
02. Martha Frintzila - Thalassa Lipisou
03. Zotos Kompania - Ego Mangas Phenomouna
04. Diamanda Galas - Anoixe
05. Christos Pantelis - Pali Kiapopse Skeftikos
06. Salto Orientale - Diki Mou Ine I Ellas
07. Michalis Jenitsaris - I Ladades
08. Fotia - Psila Ta Parathyria Sou
09. Palio-Parea - Tou Votanikou O Mangas
10. Prosechos - Plimyra
11. Stelios Vamvakaris & Louisiana Red - I Fantasia Stin Exousia
12. Solon Lekkas - San Pothano Paragelno
13. Vosporos - Zeybekiko
14. Niki Tramba, Ross Daly & Labyrinth - Emai Orfanos Apo Paidhi
15. Melihat Gulses - Barba Yannakakis(Kurban)
16. Roberto Zanisi - Stin Ipoga
17. Nikos Xydakis, Manolis Rasoulis & Nikos Papazoglou - I Manges Den Iparchoun Pia
18. Dionyssis Savopoulos - Zeybekiko
"Inner Voice is a meditative inner journey meant to awaken the primeval powers slumbering at the very depth of the "Self". It is a bringing up to the surface the energies of the ancient elements of earth, water, fire and air with the natural means of music and harmony.
We can only reach the very depth of our selves by the help of growing silent completely, a turning inward in meditation. The touching of the primeval powers slumbering in the depths of our "Self" happens when we use the most ancient of string instruments, that is, the human voice, archaic Hungarian folksongs, Gregorian chants and special instruments that awaken the four archetypical elements."
1. Föld / Earth
2. Víz / Water
3. Tűz / Fire
4. Levegő / Air
5. Belső hang / Inner Voice
Irén Lovász - voice
János Kerekes - didgeridoo
Ágnes Pintér - harp
Gergely Balázs - violin
Judit Gesztelyi Nagy - shakuhachi
Zoltán Mizsei - voice
"On first thought, the idea of the Man in Black recording such covers as "Bridge over Troubled Water," "Danny Boy," and "The First Time Ever I Saw Your Face" might seem odd, even for an artist who's been able to put his personal stamp on just about everything. But American IV: The Man Comes Around, which also draws on Cash's original songs as well as those by Nine Inch Nails ("Hurt"), Sting ("I Hung My Head"), and Depeche Mode ("Personal Jesus"), may be one of the most autobiographical albums of the 70-year-old singer-songwriter's career. Nearly every tune seems chosen to afford the ailing giant of popular music a chance to reflect on his life, and look ahead to what's around the corner. From the opening track--Cash's own "The Man Comes Around," filled with frightening images of Armageddon--the album, produced by Rick Rubin, advances a quiet power and pathos, built around spare arrangements and unflinching honesty in performance and subject. In 15 songs, Cash moves through dark, haunted meditations on death and destruction, poignant farewells, testaments to everlasting love, and hopeful salutes to redemption. He sounds as if he means every word, his baritone-bass, frequently frayed and ravaged, taking on a weary beauty. By the time he gets to the Beatles' "In My Life," you'll very nearly cry. Go ahead. He sounds as if he's about to, too. Unforgettable."
01. The Man Comes Around (by Johnny Cash)
02. Hurt (written by Trent Reznor of Nine Inch Nails)
03. Give My Love to Rose (by Johnny Cash)
04. Bridge over troubled Water (by Paul Simon)
05. I Hung My Head (Sting)
06. The First Time I Saw Your Face (Ewan MacColl)
07. Personal Jesus (Martin L. Gore)
08. In My Life (John Lennon/Paul McCartney)
09. Sam Hall (Arranged by Johnny Cash)
10. Danny Boy (Arranged by Johnny Cash
11. Desperado (Glenn Frey/Don Henley)
12. I'm so Lonesome I Could Cry (Hank Williams)
13. Tear Stained Letter (Johnny Cash)
14. Streets of Laredo (Arranged and Adapted by Johnny Cash)
15. We'll Meet Again (Ross Parker/Hugh Charles)
Bugotak plays Siberian music in a traditional folk basis, but their musical references are so diverse to be classified by genre (let’s call it Siberian Contemporary music). They even dare to cover rock classics, in their 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. Therefore, the project declares itself to play in any style, keeping native Siberian spirit. Lovers of ‘pure folk’ should stay away, to avoid stagnation of native folk’s culture.
01. Kon' Togethy (The Beatles's Come Together)
02. Altai Kys (Uriah Heep's Gypsy)
03. Kaar Mege (Nirvana's Rape Me)
04. Hododoo (Metallica's Nothing Else Matters)
05. Maadai-Kara (Mission Impossible)
06. Kozhung Of The Rising Sun (The Animals House Of The Rising Sun)
07. Ajylham Djiktite
08. The Crow And The Crucian
09. Aduushanai Duun (The Cowboy's Song)
10. Men Sanaarym (Queensryche's I Will Remember)
11. The Arctic Fox (It Happens)
"Fado (translated as destiny or fate) is a music genre which can be traced from the 1820s in Portugal, but probably with much earlier origins. In popular belief, Fado is a form of music characterized by mournful tunes and lyrics, often about the sea or the life of the poor. However, in reality Fado is simply a form of song which can be about anything, but must follow a certain structure.
The music is usually linked to the Portuguese word saudade (that has no match in English but it could be understood as nostalgia felt while missing someone), a word describing a sentiment. The word "pine", sharing the same root as the portuguese word "pena" (which has evolved to express the feeling of being sorry for someone) seems to describe the meaning of the word saudade only in very crude terms as a feeling of nostalgia, or longing, which is agreed by translators to not be an accurate description.Furthermore, because the word pine is actually a verb in English whilst saudade is simply a noun, any translation using these two words would be inaccurate.
Some enthusiasts claim that Fado's origins are a mixture of African slave rhythms with the traditional music of Portuguese sailors and Arabic influence.
There are two main varieties of Fado, namely those of the cities of Lisbon and Coimbra. The Lisbon style is the most popular, while Coimbra's is the more refined style. Modern fado is popular in Portugal, and has produced many renowned musicians. According to tradition, to applaud fado in Lisbon you clap your hands, while in Coimbra one coughs like if clearing one's throat.
Mainstream fado performances during the 20th century included only a singer, a Portuguese guitar player and a classical guitar player but more recent settings range from singer and string quartet to full orchestra."
01. Alfredo Marceneiro - A Casa Da Mariquinhas
02. Carlos Ramos - Nao Venhas Tarde
03. Berta Cardosa - Tia Macheta
04. Hermina Silva - A Tendinha
05. Max - A Rosinha Dos Limoes
06. Maria Teresa De Noronha - Rosa Enjeitada
07. Antonio Dos Santos - Partir E Morrer Um Pouco
08. Lucilic Do Carmo - Foi Na Travessa Da Palha
09. Amalia Rodrigues - Foi Deus
10. Tony De Matos - Lisboa A Noite
11. Tristao Da Silva - Aquela Janela Virada Pro Mar
12. Vicente Da Camara - Fado Das Caldas
13. Fernando Farinha - Belos Tempos
14. Hermano Da Camara - Colchetes De Oiro
15. Antonio Mourao - Fadista Louco
16. Te-Embora - Fernanda Maria - Saudade Vai
17. Joao Ferreira Rosa - Embucado
18. Teresa Silva Carvalho - Amar
19. Carlos Do Carmo - Saudade Mal Do Fado
20. Joao Braga - Arraial
21. Maria Da Fe - Ate Que A Voz Me Doa
22. Nuno Da Camara Pereira - Carvalo Ruco
Djelem is a Gypsy group based in Montréal, Québec, lead by Anatoli Iakovencho, a Ukrainian Gypsy. What differentiate Gypsy musicians from any other musicians is that a Gypsy is at home everywhere they go. And this is exactly the case with Iakovencho. As he says it himself, "Gypsies take the colors of the new surroundings." In Souvenirs, their second CD, this is what we find. On the one hand, unable to deny his Ukrainian roots, his music keeps an East European flavor, but as the same time, you can feel the Canadian influence, especially with a folk-type acoustic guitar playing similar to the one found among Quebecois singers. Moreover, he wrote a song titled "Montréal-Québec" to celebrate his new home and he also rearranged a well-known French Canadian song. The word "djelem" means let's go, meaning what it is to be a Gypsy, open to new experiences. The group includes as well Moldavian violinist Sergei Trofanov, Claude Simard on double bass and keyboards, and Sonya Sanscartier on vocals. Romantic, nostalgic, serene, from the heart, open to the world! Gypsy music with a new flavor!
01. Montreal Quebec
02. Souvenir Bulgare (Bulgari)
03. Tiha Voda
04. Plene Lune (Full Moon)
06. Hors De Roumanie (Romania)
07. L'aube (The Dawn)
12. Bozo (instrumental)
13. Pour Une Derniere Fois
Sergei Trofanov: violin
Anatoli Iakovenko: voice, guitar
Nikolai Makar: pan flute
Claude Simard: double-bass, percussion
Ladysmith Black Mambazo was founded by Joseph Shabalala in 1974. They've cut well over 30 albums since, but the group did not become well known outside of South Africa until Paul Simon asked them to perform on Graceland. Shabalala was born into a poor family that lived on a white man's farm near the town of Ladysmith. There were eight children in the Shabalala family, and, as the oldest boy, it was Joseph's duty to take care of the family after his father died.
Shabalala's first musical experience, save for a bit of fooling around on the guitar, came with a choral group called the Blacks. Shabalala eventually took over leadership of the group and became its main composer. The Blacks won most of the local vocal competitions and became the most popular Zulu vocal group, but Shabalala felt that something was missing. "I had been hearing a voice inside me," Shabalala said. "I didn't know it, but it was the voice of God." When the voice told him to fast, Shabalala obeyed, and on his fast, he had a vision of a new kind of vocal music. Shortly thereafter he became a Christian. Taking the choral music he heard in the Christian church, he combined it with the Zulu tradition to create his own style.
When the Blacks refused to take part in Shabalala's experiments, he formed Ladysmith Black Mambazo. The group consists of seven bass voices, an alto, a tenor, and Shabalala singing lead. The combo immediately began releasing albums at a staggering rate, offering a massive catalog of vocal music. Even if you don't speak Zulu, when they hit a low rumbling note, you can literally feel the power of their voices in your body.
"In Zulu singing there are three major sounds," Shabalala explains. "A high keening ululation; a grunting, puffing sound that we make when we stomp our feet; and a certain way of singing melody. Before Black Mambazo you didn't hear these three sounds in the same songs. So it is new to combine them, although it is still done in a traditional style. We are just asking God to allow us to polish it, to help keep our voices in order so we can praise Him and uplift the people."
02. Hello My Baby
03. Kangivumanga (I Disagreed)
04. Lelilungelo Elakho
06. Nkosi Yamakhosi
08. Zithi Nqonqonqo
09. Liph’ Iqiniso
11. Nansi Imali
12. Izinto Ziyavuma
13. Uthando Olungaka
15. Awu Wemadoda
16. Vulani Amasango
17. Yanda Yabeletha
18. Akehlulek’ubaba (With God Everything Is Possible)
"This family band from Flagstaff, Arizona, pump up their politically driven punk with some serious medicine - a unique Native American worldview that informs their music as it sets them apart from other message rockers. Navajo (Diné) siblings Klee, Clayson, and Jeneda Benally are joined by elders both spiritual and geneological on One Nation Under, which features Joey Ramone on two tracks as well as proud papa Jones Benally, a champion hoop dancer and pow-wow singer. There's no starker depiction of the Blackfire dichotomy, and the band make the tensions between hallowed tradition and the urgencies of modern rock work for them again and again on this CD, which handily netted a Native American Music Award in 2002. Blackfire drive home their reservation blues with traditional percussion and vocals deployed over a taut rhythm section recalling the predatory post-punk of Fugazi. There's plenty worth shouting about, as the scandalous situation of America's first people is rich with enough bad faith, cynicism, and exploitation for a hundred Minor Threat albums. But while the social injustices may be specific to the Diné and their kin, there's resonance with the struggles of oppressed folk everywhere. And it's to them that Blackfire offer their hard truth, promising survival to those strong enough to maintain their culture, with all the incongruities, rage, and humor that this modern age demands. May they long practice what they preach."
01. No Control
03. Stand Strong
04. One Nation Under
05. Prove Them Wrong
06. Is This Justice
07. Dine' Gourd Dance Song
08. Many Farms
09. What Do You See
10. It Ain't Over
11. Lying To Myself
12. Someone Else's Nightmare
Clayson Benally - Drums, Vocals
Jeneda Benally - Bass, Vocals
Klee Benally - Vocals, Guitar
Vándor Vokál (Wanderer Vocal) has been a regular performer in various Hungarian clubs and dance-houses: Falkafolk, Csik, Ghymes, Méz, Rila, Méta, Tatros, Zurgó, Martenica, Fonó, House of Traditions, Muzsikás.
As the name itself suggests - the old Hungarian word 'vándor' means wanderer - the group stages East European and Balkan vocal polyphony, using the authentic and original attributes mixed with the members' own style and ideas.
Vándor Vokál was established from pupils of Klára Bodza, folk singer and music teacher of the "Nádasdy Kálmán" Music School in Budapest. Musical education, coupled with regular participation in field - recording trips have helped the members to master the versatility of melodies and styles characteristic of East European and Balkan folk music.
The group has been actively involved in the music life of Hungary, performing in various folk music clubs, dance-houses and festivals, including the annual Dance-house Festival in Budapest, the Kaláka Festival in Diósgyőr, the Ost-West Festival in Kőszeg and the Vujicsics Festival in Szentendre.
In addition to this CD release they are featured on several folk music albums and CD's like the 'Táncháztalálkozó'-Dance House Festival; 'Élő Népzene'-Living Village Music- (Evening Song).
Band members - history
Tünde Farkas, Kata Izsák, Judit Szluka, Szilvia Bognár have worked together since November 1998. In 2000 Bea Palya joined the group. Meanwhile Bea left. Her place was taken by Katalin Bakó. Szilvia Bognár and Navi, also former members of the band, have left.
It was formed in 1990 in Budapest from Hungarian folk singers. After several field recording trips to East-European countries the repertoire has been enlarged with Bulgarian, Macedonian, Croatian, Serbian, Greek, Slovakian, Ruthenian and Corsican songs in addition to the Hungarian ones. In our performance we try to be as close to the original as possible while adding our own ideas to the songs.
In the future we would like to go on discovering and presenting more peoples' folk tunes.
The present lineup is:
Szilvia Bognár: ethnographer, folk dancer, sings with several folk an world-music groups.
Tünde Farkas: majored in aesthetics and Romanian at ELTE, flarnenco dancer and singer.
Kata Izsák: majored in English and history at ELTE, the mother of two, dancer, the contact persen of the group.
Andrea Navratil: Biologist, wolfmother, the singer of Zurgó folk-music group, song and step master of dancehouses for children.
01. Magyarbődi dalok zene nélkül
02, Magyarbődi dalok zenével
03. Szlovák dalok
04. Szerb, horvát, bolgár dalok
05. Mama si
06. Magyar dalok Moldvából
Izsák Kata (voice)
Farkas Tünde (voice)
Bognár Szilvia (voice)
Bakó Katalin (voice)