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It’s really pluralism which characterize best Urs Karpatz, group of polyphonies, polyrythms and polyinstruments.
This ensemble, with its extraordinary ethnomusical range, plays and sings in romanes, gypsy language, a high quality repertory, reflecting and echoing gypsy culture in Europe. The group members come from Ukraine, Hungary and Romania. VIOLINS, SMALL AND BIG, CYMBALLUM, DOUBLEBASS, DRUMS, ACCORDION, CYTHARE, FLUTE, CLARINET AND SAXO ARE JUDICIOUSLY MIXED WITH VOICES.
Urs Karpatz is far from an ordinary gypsy group.
Its story isn’t banal, and we could have discovered it through a Tony Gatlif movie...
At the beginning, there is a man, Dimitri, descendant of pirates and travellers. An eventful childhood for background... When he was 4 years old, he escaped to join the romanichel camp located near his home in order “to do waht I want”! Commotionned teenages, dreams of trips and music... Then starts his long road following gypsies through all the eastern europe countries.
One day, during one of his trip in Bosnia with nomad gyspsies bear breeders, Dimitri saves a child of the group from drowning. As a token of his gratitude, the child father gives him a trained baby bear. Gift impossible to refuse! That’s how Dimitri decided to rebirth the craft of showing bears...associated with gypsy music.
Started then the search for musicians, 8 singers from the best ones, the most originals and above all proud not to deny their Romani culture! Thus in 1993, the group Urs Karpatz were born. It’s in august 1993, during the Gypsy Nights of Saint-Raphaël that URS Karpatz performed for the firts time. It was a great success ! Very fast, the group filled out and performed about 30 times in France in 1993 associating concerts and bear shows.
At the beginning of 1995, a first album released in France, composed of extracts from concerts played in St Raphaël (1993) and in Saintes Maries de la Mer in may 1994. And here they are in december 1995 for 5 weeks in the Theater du Tourtour in Paris!
Since then, the group fills out each year with a new album : in december 1999, it’s with the releasing of "Chemins de Tsiganie" that they filled up the theatre Européen in Paris, for 3 weeks! The album "Routes et Racines" is presented during 3 exceptionnal concerts in the Bataclan hall in Paris in november 2000. The last night, they received ROMANES AWARD 2001.
"Urs Karpatz don’t care about fashions... their romani culture sweats through each one of their compositions or their interpretations. Full of vibes, lively music, gypsy music !"
Tony GATLIF, movie maker
"URS Karpatz won aver me immediately…
Indeed, what makes this group is that they really and greatly follow the work of disappeared gypsy masters. And I see that Urs Karpatz works with an unusual professionnalism for gypsies "on the road". To the antipodes of gypsy musics "for tourists", Urs Karpatz interpreters, without any concession to soppy, perfect virtuosos instrumentists, reach their aim with brio. And they join those who proove us that Nietzsche were right when saying "without music, life would be a mistake...." Long life to URS Karpatz !"
Marcel CELLIER Ethno-Musicologue
01. Katar Avas Ame
02. Droma Ai Vine
03. E Ritshini Skiliol Te Khelel
04. Shukar Romni
05. Iakha Tshorane
06. Ashunen Tume Romane
07. Rovel O Kast
08. Hal Peske Naia (Kolo)
09. O Manush
10. Khelipe Gajikano
11. Ai Ushti
12. Armaia
13. Leskoro Shero Mato
14. Ketri
15. Me Jav Korkoro Po Drom
16. Dane Nane, Telpitsha Tshinde
17. Andaluso Koncerto
DIMITRI: Leader - Chant - Percussion - Cithare
BÉBÉ: Chant - Guitare - Accordéon
GOASHE: Violon alto - Violon a pavillon
KANGOU: Contrebasse
KATSOFANE: Violon - Choeurs
KINEZO: Cymballums
LOLIK: Chant - Percussion
MATCHO: Saxophone - Clarinette - Flute
Link
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Daissa is a Gypsy word meaning ‘yesterday ’and ‘tomorrow ’and thus provides the perfect title for an album that harkens to the past yet sounds thoroughly contemporary. La Kumpania Zelwer combines elements of street theater and circus alongside vibrant music from the Gypsy tradition with references to Indian,Yiddish and Breton culture. Bandleader Jean-Marc Zelwer is a multi-talented musician who has even gone so far as to create his own instruments to get a specific sound he’s after. There are no limits to Zelwer ’s fertile imagination.
"Kumpania Zelwer is the brainchild of composer and multi-multi-instrumentalist Jean-Marc Zelwer. Zelwer plays everything from nyckelharpa to santur to glass xylophone. His eight-piece band plays everything from washboard to toy piano to singing saw. This eclectic assortment of household appliances would yields a colorful pastiche of sound. Zelwer and company use these and more conventional weapons of mass construction such as accordion, cello, trumpet, violin, and tuba to create a sound that mixes elements of klezmer, cabaret, and street theater, with touches of Gypsy and Breton music for good measure. Daissa is a wild ride and one well worth taking.
The album kicks off with the dramatic traditional Yiddish song "Birobidjan" (Listen!), about an autonomous Jewish region of the Soviet Union founded by Stalin. The optimistic lyrics belie the dire minor key of the melody. Vocalist Francesca Lattuada's powerful alto gives the piece the theatricality it deserves. Another highlight is the loopy instrumental "C'est pas tour les jours Shabbat," with its circus-like oom-pah tuba and clashing tonalities on piano, clarinet, and trumpet. The vaguely nightmarish "Balagan" (Listen!) features glass bottle xylophone and trumpet with a gouache of spooky organ and altered voices in the background. Particularly beautiful is the "Shir Hashirim (Song of Songs)," with its droning violin and santour accompaniment. "Polvere" a Corsican cante jondo (usually performed a cappella) gets a chamber music treatment with violin, cello, and nyckelharpa.
Zelwer has created street shows using dozens of musicians and has made a career of writing music for the stage. The theatre that is in his blood translates quite successfully to disc. He uses the sounds at his disposal as an impressionist painter might have used various brush strokes and combinations of color. The result is a richly textured canvas with all of the emotional impact of the best art."
Peggy Latkovich
01. Birobidjan
02. Daissa
03. Lekhayim! (A la Vie)
04. Opazdyvaia Na Messu
05. En Retard Pour la Messe
06. Trotz Alledem (Malgre Tout)
07. C'est Pas Tous Les Jours Shabbat
08. Balagan
09. Le Roi des Schnorrers
10. Shir Hashirim
11. Terra Incognita
12. Polvere (Poussiere)
13. Kiddush-Ha-Shem
14. Trois P'tits Tours et Puis Savon
Jean-Marc Zelwer - Accordion, Clarinet, Nyckelharpa, Glass Xylophone
Maryam Chemirani - Vocals
Dimitri Artemenko - Violin
Pierre Rigopoulos - Zarb Drum
Jean-François Ott - Cello
Michel Feugere - Trumpet
Sylvie Cohen - Keyboards, Toy-Piano, Water Drums
Sylvie Jérusalem - Tuba
Francesca Lattuada - Vocal
Link
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Kalyi Jag, Black Fire in English, play authentic Gypsy music and have been doing so for almost 20 years. They are recognised as one of the foremost Gypsy folk ensembles in Eastern Europe today. The instruments they use are guitar, jug, board and oral improvisations.
Traditional Gypsy music sung in Gypsy and Hungarian language.
Originally released in 1994.
01. Where I Come and Go - Slow song from Szatmár County
02. The Slim Woman is Clever - Rolled song from North-Eastern Hungary
03. Who Love Each Other - Rolled song
04. I am Told to Be - Slow song
05. Once I Saw a Beautiful Woman - Rolled song
06. Beds Made by Whole World - Oral bass improvisations with accompanying words
07. The Jilted Husband - Ballad
08. Ketri, Ketri - Dance song in Balcan Gypsy style
09. Luma Maj - Ballad in Russian Gypsy style
10. Flowery Ditch - Slow song from Lovár
11. The Heart - Whole Love - Dance song
12. Rolled Song of "Filtus" - Rolled song from Baks
13. Luck For You - Rolled song from North-Eastern Hungary
14. My Moustache Stands Out - Stick dance tune
15. The Merriness - Rolled song
16. The lads of Szatmár County - Selection of Gypsy dance tunes from Szatmár County
VARGA Gusztáv - whistle, voice, guitar, spoons, oral bass, water can
KÜNSTLER Ágnes - voice, snapping with fingers
BALOGH József - voice, guitar, tambura-mandolin
NAGY József - oral bass, water can, spoons
Link
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The band was formed of young people living in Szabolcs-Szatmár county and Budapest in 1989. The members of Ternipe are native gipsy young people who strive to make their folk music and folk songs become widely known. It was necessary for them to establish such band in order to popularize the authentic gipsy culture and overcome prejudice with fostering their mothertongue and rich culture. Their aim was to keep traditional communal and regional values. Their ambition now is to make people recognize the existing gipsy folk tradition including songs and instrumental folk muisc. The band’s sound system is unique since the fifth and thirds brings such interpretation of music that you can only meet in Far-Eastern or Balkan culture.
Ternipe can be characterized by songs in gipsy language, among the instruments they prefer accordion, violin, double bass, viola and instrument imitating things like the so-called ’rolling’ and ’mouth bass’, as well as the usage of cans or spoons to replace instruments. At the beginning, the band gave shows in camps, youth clubs and arts centres, then they got several foreign invitation as well. Gradually, they became popular.
01. Haj de Romania
02. Dukhal muro jilo
03. Tula
04. Na gindyin muri gazsi
05. Adyes me pijav
06. Suno san tu
07. Csak te kellesz nekem
08. Numa tusa
09. O barvalo shavo
10. Sikav lasho drom
11. Kalyi shej
12. Avri phenav e lumake
13. Ma este en mulatok
14. Sostar pusaves tut
Balogh Mária - Song
Balogh Tünde - Song
Farkas István - Song, Guitar, mandolin
Sztojka László - Doublebass
Lakatos Gyula - Keyboards
Lakatos Béla – Kettle
Bihari Zsolt - Guitar, Song
Link
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The group's repertoire can be divided into two main groups: firstly renditions of folk songs and further interpretations of folk music (mainly "Moldvai" and "Lóvári gipsy"), and then musical interpretation of verse for vocal performance.
The word Dutar means simply two strings, and is used to describe those two-stringed instruments which, when touched by a gifted hand, can play rich and beautiful melodies. The name also suits our group quite well, symbolising as it does the harmonious convergence of two committed musicians; the joining of two separate pasts on a shared musical path. The idea first came in 2004. It is the first time Renáta has been involved in a musical project since a recording in 1996 (Új élő népzene 1.), but music has been an ever-present part of her daily life since childhood. She has worked as a textile artist and as a teacher of art and history of art. Péter also works as a teacher, and music is an integral part of his life, just as it is for Reni. Forming Dutar has brought new opportunities to both musicians. The songs had been there for years, waiting for a voice to breathe life into them. Renáta's voice does that, and yet so much more: the special qualities of her voice and delivery have played a central role in shaping the group's evolving repertoire.
At first it was just the two of them, but it was not long before further musicians came on board. Nowadays their performances can feature up to six musicians, although they also continue to perform as a duo. Whatever the line-up, musical variety is guaranteed, with interpretations of folk songs and dances featuring in addition to their own original compositions. The songs acquired their finished shape only through a process of free collaboration between the musicians.
Reni's voice blows new life into old standards. Her unique voice lends a new layer of meaning to even the oldest songs. Given that folk music is concerned with modernity, the group embraces the opportunity to experiment with the music of a variety of folk cultures. The sources are inexhaustible. They hoped to find an aspect of themselves in these songs, and to add something of themselves to the music they create - music that their audience will enjoy.
The other important influence on the group's repertoire is the wonderful poetry of several outstanding poets, which they have set to their own music. Here the lyrics and melodies search freely for excitement, and truth.
"So far in our career we have seen that people have trouble fitting Dutar into one single category. Maybe that's for the best! Our music is too 'dirty' to be folk music, too 'clean' to be world music, too Hungarian to be Roma, too Roma to be Hungarian, too light to be literary, too complex to be easy listening. For want of a better term, perhaps it is the tag of 'world music' that suits us best. It is certainly the case that our music deals with the search for beauty and honesty, both in this world and the one that follows. We look for harmony in our interpretations as well as in our original compositions."
01. Desoduj
02. Fölszállott a páva
03. Recept
04. Gelem, gelem / Kis kece lányom
05. Gyöngyvirág
06. So rodes tu, phrala
07. A holdas hold románca
08. Tilinkós szeretőm
09. Phirav mange
10. Gyógyulj meg
11. Pörgetős
12. Rumeláj
13. Idegen vendég a kánai menyegzőn
14. Ki viszi át a Szerelmet
15. Phura romnyake rojipe
Renáta CSŐKE - voice
Péter KOPECZKY - flute, kaval, tilinkó, tapsur, dombra, chromatika, guitar
György RÉVÉSZ - guitar
Miklós SIPTÁR - bass guitar, cello, tambura
Mátyás KŐSZEGI - cajon, derbuka, tapan
Link
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Eccentric French ensemble play a mutant fusion of jewish, arabian and gypsy folk music with shed-loads of energy and humour. The musicianship is amazing, especially the relentless thumping piano, played as a percussive backdrop to the fiddles, the woodwind and the brass. Joyous, danceable, atmospheric - a highly addictive mix!
01. Yé ké ké
02. Qua les cerveaux croassent
03. Sugar Breizi love
04. Sova
05. Yddish roumain
06. Thé ő lek
07. Les eaux d' Armor
08. Franch Liche
09. La kajazazeu
10. Budala
11. Ne ké short
12. Gara tagül
Accordion, Vocals - Erik-Raoul Goellaén
Percussion - Dominque Molard
Piano, Keyboards, Vocals - J.P Le Cornoux
Saxophone - Jeanno Jory
Trumpet, Bugle, Vocals - Gabriel Kerdoncuff
Violin - Sylvain Larriere
Link
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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
Zsigó Jenő
Horváth Mónika
Bihari Imre
Dobi Matild
Balogh Rudolf
Link
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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
03. Speied
04. Lunca
05. Jaures
06. Marcel
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
12. Jaures
Link
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"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..."
01. Hallgatóim
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
11. Macskatangó
12. Szülésdal
13. Az én piros vérem
14. Rózsa
15. Úgy elmegyek rózsám
16. Szól a kakas már
17. Megmondók
18. Tata nótája
Link
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Erika Serre is a Gypsy singer who was noticed quite a while ago by two film-makers, Tony Gatlif and Emir Kusturica. This Parisian of Hungarian origin, knows how to surround herself with people : featured musicians on the Emigrante band include Gypsy and French musicians, a tabla player from Rajhastan, a jazzman, a bass player from Cameroon and some off-the-wall musicians like the drummer Buj or the Syrian-Sicilian guitar player Serge Leonardi who seals the wholeness of these brilliant compositions.
With this second album, the group starts to change its direction towards rock. The guitars of Sergio Leonardi are particularly put in the front, notably on the cover of "Kashmir" of Led Zeppelin. The result is one of indisputable originality.
01. Satore
02. Jaipur
03. Johnny Tu N'Es Pas Un Ange
04. L'Amor Senza Pace
05. Bismillah
06. Kashmir
07. L'Amour
08. Chalo
09. Yallah
10. Mando
11. Tzigane From Mars
12. Te Vas Sukarije
13. Morocharo
14. Sandala
15. Lélé
Erika Serre - chant
Sergio Leonardi - guitar
DD Bell - bass
Latif Ahmed khan - tabla
François Laizeau - drums
Link
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Authentic Gypsy Folk Music from Hungary and Romania: Transylvania, Szatmar, Serbia, and the Sub-Carpathian.
This second recording and the way this ensemble uses old and new, archaic and modern musical and mood elements so that they complement one another and form a lasting unity; has put them amongst the most prominent musicians from the younger generation of Gypsy musicians. Their repertoire is exclusively original, traditional material which forms a basis, the open and flexible receptive medium. The traditional northeastern Hungarian Gypsy music and melodies from Transylvanian Gypsy communities are paired with the Balkan pop influence, characteristic of the folk rooted Western European performers as well.
01. Korkore Zav Ande Kalyi Ratyi
Gypsy Dance From Serbia
02. Megyek, megyek hazafelé
Gypsy Rolled Song From Hungary
03. Trandatajduj Glazi
Sub Carpathian Gypsy Slow Song /Gypsy Slow Song And Rolled Song From Szatmar County
04. Akhardem Me Le Romen
Gypsy Dance Tune From Greece
05. Aven Mande Le Roma
Gypsy Dance Tunes From Romania
06. Diri, Diri, So Kerdjan
Gypsy Ballad From The Balkan
07. Ustyi Opre, Muri Gazi
Gypsy Dance Song From Transylvania
08. Lokhe Zav Me Pe Vulyica
Romanian Gypsy Dance Tunes
09. Kercimate Zav
Gypsy Love Song From Serbia
10. Álmos vagyok, mint a cica
Gypsy Rolled Songs From Hungary
11. Búzát szemel a vadgalamb
Gypsy Dance Songs From Hungary
12. Sasman Vurdon Taj Karuca
Slow Gypsy Song From Hungary
13. Corro Som Me, Laso Rom
Gypsy Dance Song From Transylvania
14. Phendjom Tuke, Muri Gazi
Gypsy folk Song From Transylvania
15. Phiravelamn Kalyi Phuv
Gypsy Dance Tune From Macedonia
16. Trusalo Taj Bokhalo Som
Gypsy folk Song From Romania
17. Akharenman Mure Phralora
Gypsy Rumba
18. Főbe vertek a cigányok
Gypsy Ballad From Hungary
19. T'avos Devla Barvalo
Gypsy folk Song From Romania
20. Aj Devlale Phen Mange, So Te
Gypsy Rolled Song From Hungary/Sub-Carpathian Gypsy Rolled Song
Ferenc Balogh - vocal, guitar, oral bass, spoons, derbouka
Ildikó Varga - vocal
István Pacal Balogh - oral bass, vocals, water can, spoons, guitar, derbouka
Ilona Farkas - vocal
István Nagy - vocals, tambouritza, bouzouki, mandolin, guitar, oral bass
Guests:
József Simon Balogh - vocal
Kálmán Balogh - cimbalom
Csaba Novák - double bass
Link
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"Fill your head with some culture, get this CD, see the film, and go visit some gypsy land. Hey, you only live once, right!
This CD is the antithesis of "oh, baby", "let's do it all nite", and the commercialized, controlled anger of the so-called "alternative" music(s). This is true rebellious music, as in uncompromizingly authentic. It's one human being conveying his/her inner feelings to other fellow beings via the medium of music. No middlemen required or allowed.
But this CD is also a celebration of life. There's the full-glass joy and enjoyment of life's little pleasures and twists of fate. But, since life as humans experience it, is hazardously strewn with half-empty situations, the CD has its share of wailing and regret about life's imperfections and the "local", i.e. personal, toll it exacts on our inner balances.
But even this sorrow is celebrated and showered away in a series of songs that can't be reviewed, only listened to. This is music that can't be studied and filed away. This is music as a means of human communication, the direct lineage of the one once enjoyed by cavemen and women as they recounted daily and seasonal encounters with success and failures."
01. Monika Juhasz Miczura & Gipsy Star - Nora Luca
02. Adrian Simionescu & Orchestre Marin Ioan - Tutti Frutti
03. Adrian Simionescu & Orchestre Marin Ioan - Copza Luca
04. Rona Hartner & Valentin Rotary & Petre Badea - Disparaitra
05. Adrian Simionescu & Orchestre Marin Ioan - Mama Me
06. Gipsy Star - L'amour En Liberte
07. Orchestre Marin Ioan - Cabaret
08. Rona Hartner & Valentin Rotary & Petre Badea - Dandaro
09. Ioan - Camera
10. Gipsy Star - Frissons
11. Vasile Serban & Isidor Serban & Ionescu Serban & Orchestre Marin Ioan - Mariage
12. Adrian Simionescu & Orchestre Marin Ioan - Adrian Simionescu + Orchestre M. Ioan - Camera
13. Monika Juhasz Miczura & Gipsy Star - Nora Luca (Reprise)
Accordion: Constantin Fugirica (tracks: 1, 6, 10, 13)
Nicolae Paun (tracks: 2, 3, 5, 7, 9, 11, 12)
Cimbalom: Leonard Iordache (tracks: 1, 6, 10, 13)
Mihai Iordache (tracks: 2, 3, 5, 7, 9, 11, 12)
Clarinet: George Udila (tracks: 1, 6, 10, 13)
Toni Lache (tracks: 2, 3, 5, 7, 9, 11, 12)
Double Bass: Florinel Dobrica (tracks: 2, 3, 5, 7, 9, 11, 12)
Ghita Coada (tracks: 1, 6, 10, 13)
Trumpet: Costel Vasilescu (tracks: 1, 6, 10, 13)
Violin: Marian Vasilescu (tracks: 1, 6, 10, 13)
Marius Banica (tracks: 2, 3, 5, 7, 9, 11, 12)
Vocals: Adrian Simionescu (tracks: 2, 3, 5, 11, 12)
Link
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"The idea of colliding Romany music with punk may at first seem bizarre, but there's more common ground to be found than one might first suspect, not the least of which involves the rejection of authority and dominant cultural norms. Musically, the Romanies' exuberant celebration of life may appear the antithesis of punk's original nihilism, but both are kindled by a sense of immediacy, a "no future, let's play for today" atmosphere that fires every song. And so Gogol Bordello, while certainly unique, is not as odd as it may seem. The group long ago left the concept of borders, musical or otherwise, behind. The members may have met in New York City, but bar one, all traveled far to get there, arriving from Israel and a variety of Eastern European nations. Singer/lyricist Eugene Hutz brought with him his rich Ukrainian heritage, a gift for storytelling, a twisted sense of humor, and a sharp sense of irony. The bandmembers brought their excellent musicianship, a love of their own cultural sounds, and a magpie's delight in plundering from others. The group's name pays tribute to Ukraine's most feted author, Nikolai Gogol, whose distinctive style and leitmotif provide inspiration for Hutz's lyrics. Skipping stealthily from the real world to the surreal, the pugnacious to the paranoid, the singer spins out his tales of wonder and woe, commonplace occurrences and counterintuitive events. Behind him, the band lets loose with an accompaniment that makes a nonsense of genres, a storming backing awash in melody that pushes toward pop, but cries out to the vast Eurasian steppes. Incredibly anthemic, Multi Kontra Culti will set your head spinning and your body with it, your blood racing to the rhythms, and your spirit soaring with the wildness of the untamed sounds within."
01. When The Trickster Starts A-Poking
02. Occurrence On The Border
03. Haltura
04. Let's Get Radical
05. Smarkatch
06. Future Kings
07. Punk Rock Parranda
08. Through The Roof'n'Underground
09. Baro Foro
10. Hats Off To Kolpakoff
11. Huliganjetta
Ori Kaplan: Saxophone, Vocals
Yuri Lemeshev: Accordion
Victoria Hana: Vocals (Background)
Oren Kaplan: Guitar, Vocals, Engineer
Eugene Hütz: Guitar (Acoustic), Vocals,
Sergey Rjabtzev: Violin, Vocals
Link
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Hop onto The Baghdaddies magic carpet for an amazing musical trip traversing many corners of the earth. The Baghdaddies have been astounding audiences throughout Europe for many years with their anarchic melange of traditional European and world musical styles of all eras, throwing them together to form an infectious unique brand of music that never fails to have audiences jumping around in a frenzy !!
The Baghdaddies play an eclectic mish-mash of musical merriment, an ideal accompaniment to dancing, drinking, partying and shopping. The band formed in 1996 and since then have released four albums. They have toured and gigged extensively throughout the UK and Europe. On stages far and wide, big and small, on the streets, in village halls, the music appeals to all.
Their sound is influenced by music from throughout the world. from the Roma wedding, brass band and gypsy music of Eastern Europe, through reggae, ska, calypso, jazz and punk rock. The Baghdaddies always maintain a truly happy and seriously danceable side to their music.
Fourth full-length from the Geordie Gypsies
"The riotous five-piece from Newcastle - firm favourites on the festival circuit - return with their fourth album of fun and frolics. The title is regional slang for 'See you later', and it's a collection of original songs and a couple of trad tunes sung in English and Welsh, ranging from pavement buskers' Gypsy-jazz to full throttle Balkan wedding-band frenzy.
There's an entertaining theatrical element of comedy and satire. Lyrics have a tongue-in-cheek humour as in 'Wonder Woman' ('you make me so domesticated, you just wash, I can dry'), and 'Not Drowning But Raving' ('forever bloody waiting for the rain to keep away... will we reach the stars or will we stay in bed?').
Influences are wide-ranging. While the Balkan brass is prevalent, there is also a fair share of klezmer, jazz, ska and punk - an anarchic fusion where Ivo Papasov meets The Clash meets The Beat. There are also shades of calypso as in 'Sweet Girl', tango ('Multibubble'), and the animated vocal style is sometimes reminiscent of Dr John.
The band have a particular flair for the Balkans and capture its frenetic energy and flamboyance wonderfully. 'Gream Parelli' is a highly playful trad Bulgarian tune and its rapid, winding melody is played here by the sax. 'Dongle' is typical of the Romanian doina, a freeform style also common in klezmer and Gypsy music. The Baghdaddies have given us another fresh and funky dose of their quirky concoction of party tomfoolery."
01. Ramiros Theme
02. We Try
03. Wonder Woman
04. Ramiros
05. Not Drowning but Raving
06. Multibubble
07. Cwch
08. Mudfight
09. Gream Pareli
10. Sweet Girl
11. Dongle
Ziad Jabero: guitar, vox
Paul Ruddick: sax, flute, vox
Martin Douglas: drums, vox
Nigel Kirkpatrick: trumpet, vox
Paul Susans: bass, vox
Link
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"Ida was born in the Czech Republic and is of Roma-Moravian origin. A musician by body and soul, everlasting rover in love with life, filled with both pain and joy, gains and losses but above all in love with vivacious and creative people. She sings and teaches gypsy songs to reveal and heal our deep emotions, because in each of us, as Ida says, is incredible power, which gets liberated by singing from the heart. She guides people to try and become a Gypsy for a while. Her singing and herwork not only give people shivers down the spine, but is also respected by professionals. It is a woman with soul, which she can uniquely share with others, spend herself completely. Her singing can be neither imitated nor learnt.
Ida's father, KOLOMAN BITTO, was one of the greatest personalities in the branch of music in our country. He had a beautiful pure Roma heart. Music was his life. He made a decision for Ida. Even though nowadays it is him and his music to have become Ida's chief source of inspiration, she started to study piano and violoncello at the age of 6 already. She studied with her first excellent teachers at the People's Music School in Opava and later at Janácek's Academy of Music in Brno. After completing her studies, she joined Divadlo na Provázku (The Theatre on the String), one of the most famous theaters of that time. In 1982 Ida moved to Wales, in 1985 to Denmark, in 1988 to Norway and then back to Wales. After the death of her father, she understood that her father's
blood runs in her veins so strongly, that at least through songs she can give back all the love she received from him and voice his legacy also to other people. She started to give concerts on her own, singing and playing the piano. In 1995 Ida returned home for good. She lives in a small town in Czech-Moravia Highlands. Ida is a founder of The International School for Human Voice. This school is a place where Ida wants to settle her unique work and thus provide a base for opportunities to meet other ethnic groups or cultures. The School is based on knowledge and experience of Ida's fifteen years of art work in Western Europe and the inspiration from her Eastern Gypsy culture roots.
Together with Desiderius Duzda they founded in 1998 a gypsy band : ROMANO RAT. With this band, they perform successfully all over the world. They also published an album together called Ida KELAROVA & ROMANO RAT (Gypsy Blood). In 1999, Ida also founded a chorus of Roma female singers CHAJA, which became attractive part of Romano Rat and Ida's concerts at international festivals. The chorus also enriches the concerts by female dynamics, which represents very important part of Roma culture.
Romano Rat and Chaja are a group of young talented artists, who give concerts together, compose and record... or teach all over the world and share a common journey: they sing and play for everyone, regardless of the color of skin."
01. Mamo na birinav/Mum, I Am Dying
02. Me mange/A Wedding Song
03. Imar tu chaje, ma uzar/Don't Expect Me Anymore
04. Chaje, chaje/Lassie, Lassie
05. Na birinav/I Can't Go On
06. Pal amaro calo svetos/All Around the World
07. Slugadzis/A Soldier
08. Dzas/Together We Go
09. Dzava mange, dzava/I Will Just Take a Road
10. Andro pani pejlom/In the Water I Fell
11. Le, more, e braca/Hey Man, Play
12. Ko kodoj/Who Is It
13. Nane cocha/I Have No Skirt
I.Kelarova: lead vocals, piano,
D.Duzda: lead vocals, guitar,
M.Dzudova: vocals,
M.Horvath: violin, vocals,
R.Horvath: accordion, vocals,
M.Kroka: guitar, vocals,
V.Dorda: bass, vocals
Link
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Kék Láng (Blue Flame) preserves the living musical legacy of its ancestors. The only instruments used to accompany its polyphonic singing style are spoons, metal milk jugs, pot lids and, occasionally, violin and guitar. The performers round out the rhythm by snapping their fingers, clapping their hands and stomping their feet.
The roots of Romany music and dance in their most authentic form – this is the fourteen-member ensemble Kek Lang from the village of Nyirvasvári in eastern Hungary. The 200 members of the Romany community there belong to the nomadic Olah clan, which settled in this area during the 1950s. The group first came to international attention by appearing at the "Gypsies of the World" Festival.
The gypsy families whose members make up the group Kék Láng were discovered when Tony Gatlif was making his film Latcho Drom. They all come from a little village near Nyírbátor in the eastern part of Hungary, where the songs still reek of mud, woodsmoke, bad vodka and loud swearwords. In typically Romany style this mixed group sings surprisingly complex folk music accompanied by accordion and guitar with jug or spoon used as percussion. It is essential to free oneself of all musical logic to enjoy these gypsy songs. The reward is there if one lets oneself go and be drawn into the music, with all its emotional turmoil, its chaotic undertones, both festive and naive, without any trace of bitterness. The music is a sort of challenge thrown out against the cold-heartedness of modern industrialized society and its technology.
01. Memeiga (First Version)
02. Bolond Asszony
03. Drago Szanasz Manghe
04. Ternyi Pomnyi Telo Podo
05. Telo Podo
06. Ando Ghio Ando Foro
07. Nani, Nani
08. Szigyarenke Tele Phidel
09. Csinta, Csinta Palacsinta
10. Bőgős
11. Kea Devla Soke Tera
12. Blowin In The Wind (D'apres Bob Dylan)
13. Sorpajipi Lulugyi
14. Memeiga (Second Version)
Link
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"Listening to “Gipsy Love” (i.e., “Cigányszerelem”) by Kalyi Jag ... one begins to understand how the Roma managed to survive for centuries without a country of their own: through passionate expression of their music. Transcending time and politics, music expressed the Roma way of life like nothing else could, since they traveled from place to place. Kalyi Jag brings to life the full Gipsy spirit: they sing of cruel fate, lost love, poverty, infidelity and jealousy. They sing about a simple way of life: selling horses at the fair and the thoughts and feelings of being a knife-grinder, who wanders from village to village plying his trade. They sing about a son who abandons the straight and narrow life, breaking his mother’s heart, and about the son who brings pleasure to his young wife by playing music on his guitar. The rhythms are universally Gipsy and Balkan-like, they do not resemble any of the Hungarian popular music know as “nota” which is often played by Gipsy bands in restaurants in Hungary. Although Kalyi Jag uses a few modern instruments, like the guitar, they provide traditional percussion using hollow milk cans and other common utensils, such as spoons or vocalization. The harmonies are typical Roma .. they are hauntingly familiar to anyone who enjoys Balkan music, because so many ”traditional” Balkan sounds incorporate them into their village music. This is understandable as the Gypsies have wandered into and out of all the countries in Eastern Europe ... some settled down into ghettos in the cities or segregated sections of villages, maintaining their unique identity and way of life for centuries.
Most gypsies today, can be categorized by where they live: either city-dwellers (urban gypsies) or rural dwellers (village gypsies). The time of wandering in caravans, over mountains and settling in the valley for an overnight stay, has for the most part been abandoned. For the past 100 years or so, the better known Gipsy bands have originated in the cities where their talents were utilized in restaurants and hotels, playing music for the clientele. The music which they played was usually the popular music of the day or national music of the country, with violin as the primary instrument In Hungary, the cimbalom (a type of hammered dulcimer, played with a mallet) has been almost universally identified with Gipsy music. Although segregation has occurred, most often due to discrimination and often has a
negative connotation, it helped foster and maintain the Gipsy way of life. On many levels, the gypsies were viewed as ‘outsiders’ yet this fostered their identify, cohesion, and community spirit in a way nothing else could. In the past, music was the only way to maintain the freedom of the Gipsy spirit and express universal sorrow and melancholy in the midst of harsh circumstances. Today, the younger Gipsy musicians, although remaining true to their roots, are often college-educated. Kalman Balogh, the world-renown young Gipsy cimbalom player and some members of Kalyi Jag, Jozsef Balogh and his wife, Agnes Balogh-Kunstler, have
studied music formally. They remain true to the rural Gipsy music. The rural gypsies were known for creating primarily sorrowful and melancholic songs. They also used vocalization, such as, repetitive made-up sounds or created rhythms, by slapping ones hand on the thighs, or stomping on the floor. Emotional extremes are the core basis of the origin of these sounds and the music itself. Gypsies can express, like nobody else on earth (except perhaps for African-Americans, i.e., Blacks, who sing the blues) the pure love of life despite pain and sorrow. Kalyi Jag expresses the eternal yin and yang cycles of life, love and hate, happiness and sadness, hope and frustration as no other Gipsy group has done before. In addition, they compose and create songs and music reflective of their roots. The compositions are original and new ... but the traditional sound they create is as old as the Gipsy culture itself. “Gipsy Szerelem“ will live up to your highest expectations of what good music should sound like. It is a treasure-chest of music whose roots go very deep ... the expression of the eternal opposites of life provides a universal appeal for people who have eclectic tastes in music."
01 - Black Lover
02 - Bring Me My God
03 - My Guitar
04 - My Little Girl
05 - This Boy Is Cunning
06 - The Knife Grinder
07 - The Mother Is Cry
08 - Let's Go Dancing
09 - My Little Worn Wagon
10 - The Girl Whit Golden Teeth
11 - Up Mother
12 - With My Wife
13 - I Am Not Happy
14 - Wake Up Girl
15 - I Remember Bulgaria
16 - You Are My Lover
17 - Good World
18 - In The Fair
Gusztáv Varga - voice, guitar
Ágnes Künstler - voice
József Balogh - voice, tambura, guitar, spoon
József Nagy - water can, oral bass
Link
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01. Eszterlánc - Elvész A Nyom
02. Csik Zenekar - Csillag Vagy Fecske
03. Vágtázó Csodaszarvas - Hunok Csatája
04. Cimbaliband - De Szépen Szól A Cimbalom
05. Dutar - Idegen Vendég A Kinai Menyegzőn
06. Fabatka - Nyáron Piros Télen Kék
07. Istvánfi Balázs - Duda Blues
08. Mydros - Pote Vudas Pote Kudas Anapse To Tsigaro
09. Khamoro - E Mery-Mari
10. Topán György - Két Csárdás Dallam
11. Fondor- Szerelmes A Muzsikás
12. Vágtázó Csodaszarvas - A Zene Lakodalma
13. Etnorom - Kotyka Tele Bassaven
14. Borbély Dresch Quartet - Erdély Blues
15. David Murray & Balogh Kálmán Gipsy Cimbalom Band - Ballada
16. Udrub - Parfume De Gitane
17. Morotva - Cifra Palota
18. Agocs Gergely - Három Árva
19. Herczku Ágnes - Arany És Kék-Kalotaszeg
20. Kallós Zoltán - Bonchidai Gyűjtés Ritka Csárdás
21. KMB - Volt Egyszer Egy Rózsa
22. Relax - Earthrise
23. Chagall Klezmer Band- - Shabechi Yerushalayim
24. The Transform Quintet - Sushi
25. Csik Zenekar - De Szeretnék
26. Hirős Zenekar - Menyasszonykisérő
27. Unger Balázs És Barátai - Bulgáros-Arges
28. Szerelmem Nagysajó - Tizet Ütött Az Óra
29. Fodor Sándor Neti - Legényes
30. Dresch Quartet - Tedd Rá
31. Szilvási Gipsy Folk Band - Phurdel Balval Duj Duj Deshuduj
32. Cimbaliband - Oppadirida
33. Fonó Zenekar - Három Éjjel Három Nap
34. Csillagok Palotája - Egy Lengyel Ének
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"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!"
01. Mariana
02. Loli Phabay (The Red Apple)
03. Shimdiggy
04. Tayna (A Secret)
05. La Circuma de la Drum (The Tavern on the Road)
06. Rostemul
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)
Link
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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.
01. Intro
02. Nara-Nannay
03. Gelem
04. Trans-Sylvania
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
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