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Funky and fiery family brass band from Ukraine, playing the wild and sweet wedding music of Podolia, singing some heart-rending a capella songs. Fresh, deeply rooted, breathtaking.
Ukrainian musicians Konsonans Retro’s acclaimed debut CD A Podolian Affair brings back to life the Jewish Brass Band music of the area through the collaboration between the musicians of the local Baranovsky family and Berlin-based clarinettist Christian Dawid.
Odessa was the only city in which Jews were not governed by a rabbinical council, which meant that they were free to evolve into a secular, civil society which meant tavern-going and music-making. The Ukraine’s large Jewish population influenced the brass band music of that area. The Baranovsky brothers and their cousins play trumpets, accordion, trombone and barabon in the band, having been trained by their elders, Moise and Maria Baranovsky. Vasyl Baranovsky started playing in his father’s orchestra at the age of four, so he remembers many old pieces which are now perhaps only known to him. Christian Dawid, who arranged all the pieces, and London-based drummer Guy Schalom, successfully meld a Western sensibility on to the Baranovskys’ traditionalism.
"On this recording, Dawid sits in on woodwinds, and Britain's Guy Schalom joins in on drums, complementing the band's usual baraban. The result is a Podolian Dirty Dozen Brass Band—lively, exciting, wonderful harmonies, even wonderful vocal harmonies on slipped-in Ukrainian tunes like "limonchiki" (part of the "Freylekh No. 5 medley") and "Oy u hayu pri Danuy. The album closes with a single voice singing a Ukrainian love song, accompanied only by accordion, and then breaking into two voices and what sounds like an entirely different song—a bonus celebration of human voice transcending even the exuberance of the full Konsonans Retro.
The cross-fusion is still happily in progress. Gennadiy Fomin, from Kharkov klezmer, joins with Dawid band in a local "Podilska". Some of the tunes are strikingly unfamiliar. The Moldavskiy Dans (the liner notes say that "dans" is the local term for what Jewish musicians would traditionally call a "zhok" or "hora") is a lovely waltz-ish number. The "Niviy Sher" would seem more familiar to denizens of a balkan dance night than an American Jewish wedding, and the "Khasitsky Freylekhs" is a sweet-sounding Hasidic (?) Freylekhs. Their brassy Hasidic "Shabes Nign" is very different from the arrangements with which I am familiar, but is still unmistakably "Shabes Nign." As noted by the reviewer on the Blog in Dm, Podolia is the birthplace of Hasidism, so it is wonderful to hear local versions of these songs, as well as to reconnect with the source, so to speak.
This is the most exciting brass band with a Jewish repertoire since, well, probably since Frank London's Klezmer Brass All-Stars or the Panorama Jazz Band. It's also a funny reminder. Here in the States, we think it interesting and a bit normal that our friends play here in a bluegrass band, there in a Celtic band, and over there in a klezmer ensemble, cleverly keeping the repertoire's mostly separate. In Konsonans Retro we see one band with a repertoire spanning all of Eastern Europe's cultures, playing one or the other as appropriate, and all as smoothly and perfectly as the other. What a wonderful discovery."
Ari Davidow
01. Moldavskaya Polka
02. Freylekhs No 5
03. Bulgaryas
04. Kurka Chubaturka
05. Khusidl & Bulgaryas
06. Sher No 2 & Sher No 7
07. Podliska
08. Doina & Sher No 13
09. Moldavskiy Dans & Sirba
10. Noviy Sher & Hora
11. Oy U Hayu Pri Dunayu
12. Zagnitkiver Sher
13. Moldavskaya Hora
14. Shabes Nign
15. Khasitsky Freylekhs
16. Trombon Hora
17. Moldovenyaska
18. Khasitsky Tanets & Horo
19. Akh Ty Dushechka
Christian Dawid: clarinet, alto sax
Vasyl Baranovsky: trumpet, bayan (4, 11, 19)
Volodymyr Voronyuk: trumpet
Volodymyr Baranovsky: accordion
Vitaly Baranovsky: trombone
Oleksandr Voronyuk: tuba
Vyacheslav Baranovsky: baraban
Guy Schalom: drums
Guest:
Gennadiy Fomin: clarinet (7)
Link
pass: bluesmen-worldmusic.blogspot.com
"Well, it had to happen sooner or later. It was only a matter of time before the world would experience its first Japanese klezmer big band, and what a joy it is. Saxophonist Kazutoki Umezu, in some ways the John Zorn of Japanese avant-garde jazz (he's worked with many of the downtown New York crowd), assembled Betsuni Nanmo Klezmer, a 19-piece ensemble, and delivered Ahiru, a joyous explosion of klezmer tunes as seen from afar. "Odessa Bulgarish," a ripsnorting dance number, leads off the disc, a wonderful basis for strong solos and extremely tight arrangements. The next two pieces are both fantastic in and of themselves and display awesome chutzpah: "Tum Balalayke" and "Bay Mir Bistu Sheyn." The sheer nerve in trotting out these warhorses, replete with Yiddish and English vocals, would be enough to make one bow one's head in admiration, but Umezu pulls them off with such aplomb, good humor, and imagination that the listener just shakes his head in amazement. The compositions combine a solid conviction in the music with freewheeling imagination in such a way that a klezmer fan presented with them in a blindfold test would arguably be very hard-pressed to identify them as being of Asian origin. Ahiru is a very fine argument for the idea of klezmer music being transcendent over national and cultural boundaries. When they close with "Dos Geshrey Fun der Vilder Katshke," a ridiculously fantastic arrangement of Mickey Katz' parodied Western song "The Cry of the Wild Goose," one has -- almost -- become inured to the shock, the gall. Then one collapses into helpless, overjoyed laughter. An amazing album."
Brian Olewnick, All Music Guide
01. Odessa Bulgarish (traditional)
02. Tum Balalayke (traditional)
03. Bay Mir Bistu Sheyn
04. Kandel's Hora (traditional)
05. A Nakht in Gan Eydn
06. Dos Geshrey Fun der Vilder Katshke
Kazutoki Umezu: clarinet, bass clarinet (4), alto saxophone (3, 6)
Wataru Okuma: clarinet, bass clarinet (3, 4)
Kazuhiro Nomoto: baritone saxophone bass clarinet (4)
Kanji Nakao: soprano saxophone
Takero Sekijima: tuba, alto horn (4)
Hiroshi Itaya: trombone
Yoko Tada: alto saxophone
Ayumi Matsui: violin
Yuriko Mukojima: violin
Hidehiko Urayama: banjo
Chan Koyo: accordion
Jyoji Sawada: double bass
Yasuhiko Tachibana: double bass
Yasuo Sano: kit drums
Yasuhiro Yoshigaki: kit drums
Sachiko Nagata: marimba, percussion
Yoko Ishizaki: marimba, percussion
Koichi Makigami: vocal
Nammy Tokyo: vocal
Link
pass: bluesmen-worldmusic.blogspot.com
"Klezmer bands with 18 members are not exactly common anywhere in the world, but it's safe to say this is the only one of Japanese provenance. Reed giant Kazutoki Umezu formed Betsuni Nanmo Klezmer in 1992 and the sprawling ensemble left the world with three public recordings, the 1994 debut Omedeto I shall be celebrating below, and two 1996 releases, Waruzu and Ahiru. Surely a monumental challenge to organize and sustain, the orchestra project was supplemented and eventually supplanted by Komatcha Klezmer, a small group vehicle for Umezu's klez urges that formed in 1995 and continues to be active, with releases in 2001 (Komatcha Kle) and 2003 (Gekkoishi no Shippo). With the exception of drumkitter Kozo Nida, the members of Komatcha Klezmer are BNK alumni: alto saxist Yoko Tada, violinist Ayumi Matsui, accordionist Koyo Chan, and tubist Takero Sekijima, and the two stars (in my mind) of BNK, wunderkind vocalists Tokyo Nammy and Koichi Makigami, have joined the group as occasional guests.
Omedeto is one of the strangest and most cherished items in my music collection. For starters, it's a positively ass-kicking, burning klezmer disc with inspired solos and a rare and devastating orchestral punch. Even more distinctively, the vocal performances by Makigami and Nammy are astonishing triumphs of creativity and virtuosity. More than anything, though, the group stands alone in the annals of klezmer for its alternately sublime and zany postmodernism. The musicians were clearly chosen for their freewheeling embrace of humor and playful antics as much as their instrumental chops. The lineup is something of an abridged who's who of Tokyo's bohemian prankster avant-garde. The total package unfolds as a seamless, ambitious, far-ranging album that doesn't falter for a single moment.
The playing is flawless and bursting with the invigorating spirit of the timeless rhythms and melodies. I could listen to music like this for hours on end.
For a guy who doesn't speak the language, Koichi Makigami's Yiddhish vocals on "Ale Brider" and throughout the album are unbelievably compelling. He rips through each line with utter clarity and verve, and there are few singers in the world who can rival his booming tone and precise, hovering vibrato."
Michael Anton Parker
01. Ale Brider
02. Dona Dona (Shalom Secunda)
03. Der Shtiler Bulgar (tradition)
04. Terk in Amerika (tradional)
05. Mahotsukai Sally
06. Doina
07. Der Gasn Nigun (traditional)
Kazutoki Umezu: clarinet, bass clarinet, alto saxophone, bass drum
Wataru Okuma: clarinet, bass clarinet
Kazuhiro Nomoto: baritone saxophone, bass clarinet
Kanji Nakao: soprano saxophone
Takero Sekijima: tuba
Hiroshi Itaya: trombone
Yoko Tada: alto saxophone
Ayumi Matsui: violin
Yuriko Mukojima: violin
Hidehiko Urayama: banjo
Chan Koyo: piano, accordion
Jyoji Sawada: double bass
Yasuhiko Tachibana: double bass
Yasuo Sano: kit drums, snare drum
Yasuhiro Yoshigaki: kit drums, cymbals, bass drum
Sachiko Nagata: xylophone, percussion
Koichi Makigami: vocal
Nammy Tokyo: vocal
Link
pass: bluesmen-worldmusic.blogspot.com
Oy Division is one of the only bands in Israel which perform the old style folk music of eastern- European Jews, generally known as Klezmer. The members of Oy Division do not adhere to the modern Klezmer style nor do they try to make it contemporary in any way, but rather try to recreate and bring back to life the nearly extinct pre-war jewish music the way it had been originally performed. Their repertoire is a mix of instrumental wedding dance music, folk songs and songs originating in the Yiddish theatre, Old music played again with the zeal and exuberance of punks. The members of the band come from different musical backgrounds: Eyal Talmudi is a leading Israeli and international reed player, who regularly tours the world with the Balkan Beat Box; Noam Enbar is the bass player and lead singer of the exceptional Israeli experimental punk band H'Billuyim; Assaf Talmudi is an established record producer and composer and a lecturer in the Haifa University department of music; Gershon Leizersohn is a graduate student in the Tel Aviv University music department who regularly plays with classical music orchestras, and Avichai Tuchman is an independent musician and producer active both in the secular and the religious music scene in Israel.
01.Josh's Mantra
02.Fin der Shtib
03.Freylechs
04.Wedding song and Freylechs
05.Di Nakht
06.Gas Nign
07.Freylechs
08.Vos du Vilst, dos Vil Ikh Oykh
09.Old Greek Tune
10.Tuchman's Mating Call #2
11.Lyuba Bratzi Lyuba and Moldover Freylechs
12.Oy Gewald a Ganef
13.March of the Morons
14.Lubavitsher Redl
15.Za Rekayu
Assaf Talmudi - Accordion, Badchen
Avichay Tuchman - Upright Bass
Eyal Talmudi - Clarinet
Gershon Lezerson - Vocals, violin
Noam Enbar - Vocals, Accordion, Percussion
Link
pass: bluesmen-worldmusic.blogspot.com
Trumpeter Frank London and vocalist/accordionist Lorin Sklamberg have always attempted to introduce a fresh perspective when redefining traditional Jewish music. As founders of the Grammy award-winning alt-klezmer band The Klezmatics, they adapt ancient and traditional holiday songs of the Jewish diaspora into a modern, surprising sphere.
Tsuker-zis, (sugar-sweet), their third installment of Hasidic religious songs and melodies, nigunim—after Nigunim (Tzadik, 1998) and The Zmiros Project (Traditional Crossroads, 2001)—are all exemplary for their vision. They dress the beautiful and touching melodies in an all-compassing, genre-crossing, unique blend of aesthetics.
On Tsuker-zis, London and Sklamberg are joined by three colleagues from New York's Downtown music scene—Night Ark's American-Armenian oud master Ara Dinkjian, Psychedelic Furs' guitarist/electronics wizard Knox Chandler and North-Indian virtuoso percussionist Deep Singh. The three are known for their abilities to transcend genre and style. Here, they move freely between simple folk melodies and abstract, atmospheric electronica. They aid in spicing the sugar-sweet Jewish imagery that often serves as a metaphor for the divine sweetness of life, with surprising new tastes.
The fourteen songs consist mostly of Hasidic holiday songs—Succos, Pesach (Passover), Rosh Hashana (New Year), Yom Kippur (Day of Atonement), Purim, Simkhes Toyre and the fast days—and are imbued with reverential textures and a sense of communal joy and gratitude. Sklamberg's warm and beautiful tenor voice, combined with London's restrained and airy trumpet sound, introduce the original essence of these songs and melodies, while keeping their deep emotional expressiveness intact. At the same time, innovative arrangements manage to broaden and update messages that not only signify the nomadic diaspora, but also suggest a new and hopeful vision of a peaceful world where ancient cultures—Jewish, Christian, Islamic and Indian—can co-exist, blend and flourish together.
London and Sklamberg have been working for over twenty years and know that more often the strength of these songs lies in careful and simple execution rather than in challenging and turbulent arrangements. Such is the case in "Our Parent, Our Sovereign," a prayer that is recited during Rosh Hashana and Yom Kippur. Sklamberg's straight-forward delivery retains its emotional power, but the arrangement, and mainly the distant distorted guitar, adds a doubting dimension to the religious text. On "The Lord Sent His Servant," Sklamberg and Dinkjian present the Ashkenazi song as a duet, but relocate it from its East-European origin to an imaginary Middle-Eastern territory.
This beautiful project is the most successful in London and Sklamberg's nigunim series; a delight in the sweeping authenticity of its songs and the imaginative creativity of its arrangements.
01. A Sukkah of Branches
02. Blessings Without End
03. Our Life Is Sugarsweet
04. Our Parent, Our Sovereign
05. Increase Our Joy
06. The Days Between #1
07. The Lord Sent His Servant
08. The Days Between #2
09. Heed Not the Accuser!
10. Elijah the Prophet Bought a Red Cow
11. Greeks Gathered Against Me (Intro)
12. Greeks Gathered Against Me
13. Mighty, Blessed, Great, Prominent, Glorious, Ancient, Meritorious, Rig
Frank London: trumpet, alto horn, flugelhorn, harmonium;
Lorin Sklamberg: vocals, accordion;
Knox Chandler: guitar, electronics;
Ara Dinkjian: oud, saz;
Deep Singh: tabla, dholki.
Link
pass: bluesmen-worldmusic.blogspot.com
Psoy Galaktionovich Korolenko (born April 26, 1967) is a pseudonym of a Russian Jewish song writer and performer by the name of Pavel Eduardovich Lion. At the same time Pavel Lion is a slavist with a Ph.D. in Russian literature.
His pseudonym comes from Vladimir Korolenko, Russian writer (1853—1921), whose works are subject of Pavel's research. Psoy performs his own and others’ songs, accompanying himself to keyboard instruments, mainly a Casio sequencer in accordion timbre. Experimenting with quite various song traditions he sings in about 6 or 7 languages, most frequently in Russian, Yiddish, English and French.
Korolenko's perhaps most known song is Buratino, which is just a repetition of the same phrase many times, aimed to poke fun at modern rap and trance music. The 'song' has been done several times, and a multitude of remixes have been made out of it.
Psoy has toured many places. He has had concerts in many states, Berlin, London, and more. His music is popular both with adults, and Russian teenagers. He rewrites many songs, and also has translated some songs from Russian to Yiddish.
01. Sympathy for whom?
02. Oh you foolish little zionists
03. Sher
04. Ekh lyuli lyuli
05. I raise my hand up and I swear... + The hope
06. Beneath the salt sea
07. Think!
08. Nye zhuritye khloptsy
09. The Tinternationale
10. The Number
Daniel Kahn - vocals, accordion, ukulele, piano, music box
Psoy Korolenko - vocals and piano
OY DIVISION:
Gershon Leizersohn - violin and vocals
Noam Inbar - vocals and percussion
Eyal Talmudi - clarinet and percussion
Avichai Tuchman - double bass
Assaf Talmudi - accordion
pass: bluesmen-worldmusic.blogspot.com
Melech Mechaya is a festive journey through klezmer music, with a contagious sound of arabian flavours, gypsy rythms and the yiddish tradition. From Hungary to Israel, from the Balcans to New York, those are parties and celebrations with standing audiences and empty chairs. Between laughter and dancing, this is great party not recommended to those with heart problems!
Considered nowadays as an independent style – yiddish music – klezmer music was born on the musical tradition of the Jewish culture, and was developed as from the fiftheenth century. Its repertoire comprehend many dance and celebration themes, as well as delicate and moving songs.
If “klezmer” referred only to musical instruments, its meaning was widened to the instrumentalists themselves (the “klezmorim”), and nowadays it means an almost universal music: from Hungary to Israel, from the Balcans to New York.
The klezmer music that is played by Melech Mechaya is characterized by contagious joy and rythm, with energetic and festive dances and celebrations. With roots in
ancient jewish traditions from the peoples of the East Europe, Melech Mechaya's klezmer includes the energy of the balcan music, the cadenza of the gypsy rythms, and the elegance of the arabian melodies.
01. Dodi Li
02. Fanfarra
03. Bulgar De Almada (Com Tucanas)
04. Nigun 7
05. Dança Do Desprazer
06. Sweet Father
07. Rad Halaila
08. Budja Ba
09. Fado Tantz
10. Na Festa Do Rabi
11. Freylach 6.8
12. Hava Nagila
13. Melodia Da Rua
14. Cravineiro
15. Sabituar
16. Harmónica
André Santos – Guitar;
Francisco Caiado – Percussion;
Joao Graça – Violin;
Joao Sovina – Double-bass;
Miguel Veríssimo – Clarinet.
Link
pass: bluesmen-worldmusic.blogspot.com
"Di Grine Kuzine is a Berlin-based, klezmer-rooted, Balkan brass band. The connection between klezmer and Balkan brass band music is a natural one as the original Eastern European Jewish musical repertoire owed much to Romanian, Gypsy and Ottoman influences. Since klezmer musicians were expected to be able to play Romanian horas and Serbian kolos as well as freylekhs and bulgars it is likely that a well traveled Eastern European Jewish band had an extensive repertoire.
It is less likely that there were many klezmer brass bands until around the beginning of the 20th century. Law in many areas of Russia and Poland limited the musical instruments that Jews were allowed to play. In general, Jews could play quiet string instruments but could not play loud brass instruments. It wasn't until large numbers of Jews were drafted into the Czar's army that you had the conditions where Jews had access to horns, trombones and tubas. Draftees were allowed to keep their instruments when they mustered out of military service.
On Di Grine Kuzine's earlier albums, their repertoire was largely klezmer-based. On this new release, the songs are mostly Serbian, Hungarian and Bulgarian village dance pieces. The band's vocals are a strong suit. Alexandra Dimitroff has mastered the constricted throat sound that is often associated with Bulgarian vocal music. Listen to her vocal lead on cuts like "Esik Esö" and "Gigetanje." There's simply no other klezmer brass band that has a vocalist as strong as her.
Another strong suit is Steve Lukanky's excellent tuba playing. The newest member of the group, Lukanky shines on tracks like "Gustavs Son Tumbao." Compared to the string bass found in most other dance bands, the tuba adds a vibrant color to Di Grine Kuzine's music.
Raucous and unruly, Feribot is not traditional music. It's more like very hip village music played by urban post modernists. As the band says in the album's liner notes"On this ship there is room for you all."
01.Galizianer Tants (Traditionell)
02.Rumelaj (Traditionell)
03.Esik esö (Traditionell)
04.Auf Zeydns Tish (Traditionell)
05.Gigetanje (Traditionell)
06.Zabkowice Walc
07.Gustavs Son Tumbao
08.Papa Call
09.Zonka (Traditionell)
10.Zemer Atik (Traditionell)
11.Bavarski Cocek
12.Weseli Sebori (Traditionell)
13.Leggerezza
14.Spil Es Nokh Amol, Karel
Alexandra Dimitroff, accordion & vocals
Johannes Kevenhörster, clarinet & soprano sax
Karel Komnatoff, trumpet & fluegelhorn & vocals
Mr. Steve R. Lukanky, tuba
Snorre Schwarz, drums & vocals
Link
pass: bluesmen-worldmusic.blogspot.com
A Detroit area native, Daniel Kahn attended the University of Michigan where he studied acting, directing, playwriting and poetry. After finishing his studies he lived, played music, recorded, acted, directed plays and composed theatre music in New Orleans, Detroit, New York and Ann Arbor.
In summer 2005 Daniel moved to Berlin, and, within a very short space of time, became an integral part of the city’s folk and klezmer scene, playing in different groups and musical projects. As a corollary, he soon formed his own band, featuring a rotating roster of some of Berlin and New Yorks best young Klezmer and Balkan players.
"The Painted Bird" concocts a mixture of Klezmer, radical Yiddish song, political cabaret and punk folk, kept together by Kahn's amazing abilities both as a songwriter and a performer; telling stories of outrageous incidents, poetically dark, tragically humorous and politically incorrect.
"Dan Kahn and The Painted Bird’s new album, Partisans and Parasites is an addictive collection by outstanding, creative musicians. Together, the fast-paced, high energy klezmer, and sharp, evocative lyrics - sung in Yiddish, English, German and Russian - are a necessary compass for navigating the endless moral riddles and inescapable paradoxes in which we live.
Some songs are old Yiddish songs that Kahn & co. gift to new audiences with Kahn’s English translations, including the defiant “Yosl Ber/ A Patriot.” Others are brand-new, written and arranged by Kahn, including “Six Million Germans/Nakam” a true story about revenge after the Holocaust, and “Dumai,” “a song of exile & statelessness,” (in his words) and Kahn’s first composition in Yiddish, which he sets against a traditional Chassidic nigun (melody). Anyone who loves music or politics should own this album, which brings them together with delicious precision.
Kahn, raised in Detroit and living in Berlin, says of the new album, “We wanted to make a rock album that was using klezmer and Yiddish, German and Russian. A multi-lingual, multi-national rock album. There’s something about rock and roll that naturally subverts borders that otherwise tend to get reinforced, like ideas of authenticity and entitlement. We wanted to dispense with any kind of nostalgic preciousness. We just wanted to make a punk-rock klezmer record that you can dance to.”
01. Yosl Ber / A Patriot
02. Parasites
03. Borsht Revisited
04. Rats
05. Rosen Auf Den Weg Gestreut / Embrace The Fascists
06. Six Million Germans / Nakam
07. A Rothschild In Your House
08. Vampirn
09. Dumai / "Think"
10. Khurbn Katrina
11. The Destruction of New Orleans
12. Mayn Rue Plats / Where I rest
THE PAINTED BIRD:
Daniel Kahn: vocals, accordion, piano, ukulele, harmonica, shruti box
Michael Tuttle: contrabass, electric bass, back vocals
Hampus Melin: drums, percussion, back vocals
Michael Winograd: Bb clarinet, horn arrangements
Bert Hildebrandt: bass blarinet
Dan Blacksberg: trombone
Guests:
Vanya Zhuk: 5-, 6-, & 7-string electric guitars, vocals: Borsht & Yosl Ber
Johannes Paul Gräßer: violin
Frank London: trumpet on Yosl Ber, Six Million Germans, & New Orleans
Paul Brody: trumpet on Parasites & Rosen Auf Den Weg Gestreut
Geoff Berner: back vocals on Parasites
Psoy Korolenko: vocals on Vampirn, Rothschild, Dumai
Link
pass: bluesmen-worldmusic.blogspot.com
The Band says:
"We got acquainted studying the repertoire of traditional Jewish musicians - klezmers, in the kitchen of the rented apartment of one familiar guitarist on Prospekt Mira. In the process of creative mess and disorder we spent several months and played several open and closed gigs, among them one real Jewish wedding.
Concert in the synagogue of shtetl Saltykovka in Moscow region in November 2004 finally confirmed people in their desire to play Jewish music. Mess and disorder ended by that time, the group has got constant staff and name - "Der partizaner kish" ("The kiss of partisan girl").
The style of our group unites the desire to give to everybody, who hears us, the possibility to cry and at the same time - possibility to make merry and to have a dance. Therefore we sing shrill lyrical Jewish songs in Yiddish, and also play traditional rollicking wedding music."
01. Shvester Khaye
02. Yam-lid
03. Der Terk in Amerike
04. Borsht
05. Vilne
06. Moldovian Hora
07. Lid fun Titanik
08. Gas nign
09. Tepl
10. A nign
11. Dzhankoe
12. Oylem Habo
Anna Smirnitskaya - vocal, guitar
Alexandra Skvortsova - violin, back-vocal
Vladimir Zaslavsky - mandolin
Dmitriy Shamshin - percussion
Matvey Gaidukov - bass-guitar
Link
pass: bluesmen-worldmusic.blogspot.com
A Detroit area native, Daniel Kahn attended the University of Michigan where he studied acting, directing, playwriting and poetry. After finishing his studies he lived, played music, recorded, acted, directed plays and composed theatre music in New Orleans, Detroit, New York and Ann Arbor.
In summer 2005 Daniel moved to Berlin, and, within a very short space of time, became an integral part of the city’s folk and klezmer scene, playing in different groups and musical projects. As a corollary, he soon formed his own band, featuring a rotating roster of some of Berlin and New Yorks best young Klezmer and Balkan players.
"The Painted Bird" concocts a mixture of Klezmer, radical Yiddish song, political cabaret and punk folk, kept together by Kahn's amazing abilities both as a songwriter and a performer; telling stories of outrageous incidents, poetically dark, tragically humorous and politically incorrect.
Fronted by Jewish-Detroiter singer-songwriter Daniel Kahn on vocals, accordion, piano and guitar with East German Johannes Paul Graesser on fiddle, US expat composer Michael Tuttle on upright bass and a rotating roster of some of Berlin and New Yorks best young Klezmer and Balkan players, the band was formed in Berlin in fall of 2005. Guest artists on the CD include NY downtown Tsadik players Brandon Seabrook & Eric Rosenthal (Naftule's Dream), Holland's rising yiddish folk diva Niki Jacobs (Nikitov), and members of Berlin's "Grinstein's Mishpoche" and "Shikker Vi Lot." Like the grotesque Jerzy Kosinski novel from which they take their name, The Painted Bird reminds us that even if man is only an animal, he can still sing.
"Dan Kahn is the hottest damn songwriter you've never heard of. Kahn is not only an amazing multi-instrumentalist/playwright/poet, he also typifies the youthful ethos that reminds us that music without heart is just a bunch of noise."
01. Beyze Vintn
02. The Broken Tongue
03. Yesterday is Buried
04. Nakht un Regn
05. Migrant Chorale
06. Die Ballade von der 'Judenhure' Marie Sanders
07. Birkenau
08. Unter di Khurves fun Polyn
09. Son of Plenty
10. Edward the Young
11. Man of Plenty
12. The Silver Window
Daniel Kahn – vocals, accordion, piano, guitars, ukulele, etc.
Johannes Paul Gräßer – violin
Michael Tuttle – contrabass
Detlef Pegelow – drums, horns, mandolin, etc.
Bert Hildebrandt – clarinet
Guests:
Niki Jacobs – guest vocals
Sabine Ostermann – backing vocals on "Edward The Young"
Fabian Schnedler – backing vocals on "The Broken Tongue"
Brandon Seabrook – lead electric guitar & banjo on "Yesterday Is Buried"
Eric Rosenthal – drums on "Yesterday Is Buried"
Link
pass: bluesmen-worldmusic.blogspot.com
"Di Naye Kapelye is the band formed by American-of-Hungarian-ancestry Bob Cohen who headed off to visit the land whence came his parents many years ago, and never left.
The band consists of Bob, fellow American Yankl Falk to represent the Left Coast, and the best local musicians he can find. Given that Bob has been traveling through the wilds of Eastern Europe for decades, jamming and collecting songs, this makes for quite a wild, skilled ensemble. The repertoire, of course, is of the region—songs from all over Eastern Europe from folk tunes to Hasidic nigunim to Communist-era propaganda (hence the title and wonderful Soviet-style graphic on the front cover). This may be the only klezmer album ever recorded that includes Hasidic nign and 1950s Romanian communist ode to the Yiddish tractor—the title track.
Even as I try to put this music into some type of box to describe it, the boxes keep breaking. Listen to Michael Alpert wailing on "A briv fun Yisroel", another 1950s-era Yiddish communist ode, and then a few minutes later the kaval-like vioră cu goarnă. You got your wild hutsul music. You got your token 1915 Americanish klezmer tune (later a hit from Naftule Brandwein). You got cantor Yankl Falk's wonderful voice perfect on an Arkady Gendler tune, "Pirim." You have the gang—even 13-year-old Aron Cohen takes a solo— on "Az nisht keyn emine (one of the aforementioned hasidic nigunim). You have some of the most divine string ensemble playing, featuring an orchestra of instruments from tsimbl to viola, that you'll hear anywhere. Heck, one village band wasn't enough. They pull in whole village band of Tjaciv to supplement the regulars.
The repertoire leave no part of Eastern Europe unscathed. There is even yet another recording of "Mashke," one of the band's signature tunes, even better than the previous recordings—Meyshke and Yankl are in top form here. Then they return the favor and close the album with Alpert's "Chernobyl," one of my favorite contrafactas (a melody applied to new words; this one many of us know better by the chorus, "hu tsa tsa"), an absolutely brilliant bit of writing by Alpert first recorded on the first Brave Old World album (an album that I still travel with). In Yiddish, the lyrics equate the Chernobyl hasidim, and their radiance-based mysticism, with the radiance of the local nuclear power plant disaster of not so long ago.
I fear I slight the instrumentals, but only because I don't know where to begin. It's the band and their friends and amazing people they meet along the way. Especially notable is the "Hutsul Medley," which was, unfortunately, the last recording session for tsimbl player Misu Csernavec, who passed away only a few months later. And, as I mentioned caval earlier, there is a wonderful dance tune titled simply, "Modavian Caval," part of a medley attached to a doina-ish folk tune, "Pastekhl." The piece also features the cimpoi (Moldavian bagpipe).
Bob, Yankl, and the band create magic. There are other great bands playing music from this region, but Cohen has a sense of breadth and balance that make Di Naye Kapelye concerts and recordings always exciting, always breathtaking. This isn't just this week's amazing batch of hutsul music; it's this week's amazing batch of hutsul music in context … a wonderous melange of music that best represents the mixed up world in which we live and makes it better. If I call this a "must have" CD I am being redundant, but I'll do it anyway."
01. Nit Bay Motyen
02. Traktorist
03. Pastekhl Moldavian Caval
04. Schwartz's Sirba A Briv Fun Yisroel
05. Baj Van Medley
06. Az Nisht Keyn Emine
07. Hamanul From Dragomiresti
08. Uncle Arpi's Nokh A Bisl
09. Hoaderes
10. Sadegurer Hosid
11. Hutsul Medley
12. Mashke
13. Pirim
14. Moldvai Zhok
15. “7.40”
16. Chernobyl
Bob Cohen: violin, vocals, koboz, mandolin, Carpathian drum, vioră cu goarnă (Stroh fiddle), cimpoi (Moldavian bagpipe)
Yankl Falk: vocals, clarinet
Antal (Puma) Fekete: kontra, Carpathian drum
Gyula (Kosztya) Kozma: bass
Ferenc Pribojszki: cimbalom, caval, Carpathian drum
with special guests:
Michael (Meyshke) Alpert: vocals, violin, percussion (3, 4, 6, 12)
Aron Cohen: vocals (6)
Josh Dolgin: accordion, piano (4, 10)
Tom Popper & Imre "Kutyuli" Keszthelyi: chorus vocals (12)
The village band from Técső (Tjaciv), Carpatho-Ukraine:
Joska Csernavec: bayan accordion
Misu Csernavec: tsymbaly
Jura Csernavec: drum, plonka, voice
Ivan Popovics: violin
(5, 11, 15, 16)
Link
pass: bluesmen-worldmusic.blogspot.com
"Few people know that the first Jews in North America came to New York on a boat from Recife, Brazil 350 years ago. Marking the Semiseptcentennial of this momentous occasion, Frank London's Klezmer Brass All Stars' Carnival Conspiracy: In the Marketplace All is Subterfuge (released by PIRANHA Musik/Harmonia Mundi) brings the spirit and aesthetic of Brazilian carnival together with the street sounds of Brass Band and Klezmer in the celebration of what London calls "the original New York Jewish music." Forty artists from eight countries and four continents meet in this 'band that's not a band.' The group will be kicking off New York's globalFEST in January.
Carnival is intended to subvert. Mikhail Bakhtin, the Russian granddaddy theorist of the "carnivalesque" (both the description of a historical phenomenon of carnival and the name he gave to a certain literary tendency), proclaimed that the purpose of carnival is to liberate the masses. During the great carnivals of Medieval Europe, and their later manifestations in Latin America and the Caribbean, the period of carnival served to temporarily reverse the social order, shake things up, and shock people into new ways of experiencing the world. This philosophy was not lost on Frank London. References abound in Carnival Conspiracy: Bakhtin, Rabelais (the French patron saint of carnivalesque literature), and George Clinton are invoked in the liner notes, laying out a feast for the intellectual, for the tongue-in-cheek cultural critic, as much as for the layman, the booty shaker and the Hasid. Ever the trickster, London and his merry band take listeners on a wild ride.
Carnival Conspiracy is indeed a kind of musical travelogue. Just when you think you are hearing a traditional Klezmer song on "Midnight Banda Judía," in come the sounds of Bavarian beer hall and a Mexican banda, and a song that starts with Brave Old World's Michael Alpert singing in Yiddish ends in Spanish. Then, when you think you have gotten a handle on the traditional beats of Eastern European wedding songs mixed with the Brazilian beats of New York Maracatú, suddenly you are lost in the echoing loops of a dubby version of "A Time of Desire," a traditional tune arranged by Frank London and remixed by Brooklyn-based Curha ("a multi-instrumental electronic music creator who thrives on deconstructions and reconstructions of everyday noise"). Once you stop trying to locate yourself in the origins and philosophy of the album and its references, you throw up your hands, dance a samba-hora jig, and find yourself lost in the transnational frenzy of joy and ecstasy that is the essence of carnival.
Get ready˜the cover art should prepare you for the ride inside. Deliciously carnival inspired drawings by Belgium-based artist and klezmer violinist Richard Kenigsman pick up the same themes close to Frank London's heart: traditional Jewish culture seen both on its own terms and through a radical-feminist-populist-revolutionary-sacred-as-profane-and-vice-versa lens.
Humorously rumored to be a troupe of drunkards that invented Klezmer, the "Inebriated Orchestra" is busted on this album as a sober group who are serious about shaking things up with wit and wisdom. But when the bubble of hype bursts, you are left with the fact that this music intoxicates. Carnival Conspiracy invites transcendence on all levels; it will make you dance past your critical mind, laugh yourself into liberation, and reconsider the meaning of Jewish music. Of all the CDs recorded by Frank London's Klezmer Brass Allstars, this is by far the third."
01. In Your Garden Twenty Fecund Fruit Trees
02. Oh Agony, You Are So Sweet Like Sugar I Must To Eat You Up
03. Another Glass Of Wine To Give Succor To My Ailing Existence
04. Midnight Banda Judía
05. In The Marketplace All Is Subterfurge
06. Who Knows One
07. Pantagruel, Shiker Hindert Prozent
08. A Time Of Desire - Curha Mix
09. Our Ancestors Forty Thousand Years Wide
10. Out Of What
11. Mi Yamalay
12. Borracho #1 The Cobbles In The Street Moan For You
Frank London, trumpet, peck horn
Susan Hoffman Watts, trumpet
Merlin Shepherd, clarinet
Matt Darriau, clarinet, saxophone
Alex Kontorovich, clarinet, saxophone
Curtis Hasselbring, trombone, skronk guitar
Jacob Garchik, baritone horn, trombone
Ron Caswell, tuba
Mark Rubin, tuba, baritone horn, tex-mex guitar
Aaron Alexander, drums)
various featured performers with assisting musicians.
Link
pass: bluesmen-worldmusic.blogspot.com
America, what a country! The assimilated young New Yorkers in this Gypsy-punk sextet sure think so, jury duty and ESL classes notwithstanding. Previous Golem discs rewired traditional klezmer (raucous Jewish wedding jazz), mainly with vocals in Yiddish. Their fifth disc’s originals, based loosely on Ukrainian immigrant songs collected by singer Annette Ezekiel-Kogan, are in English and just about every tongue spoken East of the Danube, with rock and reggae underpinning whirling dervishes and Old World lover’s laments. The universality comes from carefree comic irony: Ezekiel-Kogan brassily nails a mock citizenship exam (Q: “Can you name the 49th state in the Union?” A: “Al-aaaaa-ska!”) and cosinger Aaron Diskin rhymes kosher and fo’ sure in a song about how much he loves tuches. Pretty soon, the space between exile and arrival starts sounding like a hot spot."
"This 6 piece Gypsy Punk Gem is renowned for electrifying dance floors with their globetrotting goulash of Jewish, Slavic, and Gypsy songs. Mixing old world and new without compromising either, the album is a startling portrait of an ideal world where there is no need only to ghettoize or assimilate. Citizen Boris winds through the struggles and triumphs of immigrant life in America, with the wild energy and panache that characterizes Golem's Gypsy-punk sound."
"Instantly accessible!"
01. Train Across Ukraine
02. Mirror Mirror
03. Tucheses and Nenes
04. Come to Me
05. Meat Street
06. Zingarella
07. Tell Her You Love Her
08. Citizen Boris
09. Lullaby
10. Chervona Ruta
11. Balkan Espanol
Annette Ezekiel Kogan, Aaron Diskin (vocals)
Alicia Jo Rabins (violin)
Curtis Hasselbring (trombone)
Taylor Bergren-Chrisman (bass instrument)
Tom Monaghan (drums)
Emery Dobyns (percussion)
Link
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"The Klezmatics have always chosen the path less traveled in its 20 years as a band. And with a variety of lefty political messages injected into traditional klezmer music, there's no disputing its reputation as radical. This live effort is a collaboration with guest singers Joshua Nelson and Kathryn Farmer joining in on the fun. The Newark, New Jersey-based Nelson brings (believe it or not) a serious gospel music flair to four songs, turning the klezmer band into a fire-and-brimstone gospel group as he exhorts both the players and the crowd on songs like gospel standard "Walk Into Jerusalem." The remarkable pairing is more balanced on the rest of the album, but never better than on "Shnirele, Perele," a duet featuring Nelson and Klezmatics singer Lorin Sklamberg that has an ecstatic drama that bridges these seemingly contradictory religious cultures. The album's eight new songs and two hits is as good a collection yet produced by this band, and one of the most remarkable examples of genre-bending heard in years.
To the question of what this all means in terms of Frank London's sense of new American Jewish music, he responded: "Links in the chain, Ari." Which takes me back to where I began: the dialogue about what it means to be Jewish is alive and well. Judaism and Jewish culture are no longer frozen in time as they seemed to be during my growing up in the shadow of WWII. The Holocaust didn't succeed. Bands like the Klezmatics—especially the Klezmatics, are playing amazing music linked directly to the chain of Jewish tradition, and more. It's perfectly okay to purchase this album because it contains great live music. What makes this album great is that there is so much more here than mere great live music. Enjoy."
"The entire band pitches in vocally on several cuts to great effect, particularly on a cheerful a capella 'Moses Smote the Water´, and the instrumental contributions from the 'Matics are superb as usual, with particular garlands due Matt Darriau´s reeds. A pure delight from start to finish."
"One spiritual transformation after another... makes being black and Jewish seem as obvious and natural as matzo."
"A moving summit of African-American, Jewish worker's, spiritual and festive songs."
01. Eyliyohu hanovi (trad., arr. London)
02. Elijah rock (trad., arr. Klezmatics and Joshua Nelson)
03. Ki loy nue (trad., arr. Klezmatics)
04. Shnirele, perele (trad., arr. Klezmatics)
05. Walk in Jerusalem (trad., arr. Klezmatics and Joshua Nelson)
06. Go down Moses (trad., arr. Klezmatics and Kathryn Farmer)
07. Moses smote the water (trad., arr. Klezmatics)
08. Oh Mary don't you weep (Sam Cooke / Leroy Crume)
09. Didn't it rain (trad., arr. Klezmatics, Joshua Nelson)
10. Ale brider (trad., arr. Klezmatics)
Lorin Sklamberg: lead vocals, accordion
Frank London: trumpet, keyboard, organ, vocals
Matt Darriau: alto sax, clarinet, bass clarinet, vocals
Lisa Gutkin: violin, vocals
Paul Morrissett: bass, tsimbl, vocals
David Licht: drums, vocals
with
Joshua Nelson: lead vocals, piano, organ
Kathryn Farmer: lead vocals, piano, organ
Link
pass: bluesmen-worldmusic.blogspot.com
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
Link 1.
Link 2.
Link 3.
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"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
02. Lodzh-overtur
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
14. Kuyavyak
15. Amerike Hot Erklert/Kemfn!
16. Berlin 1990
17. Lodzh-coda
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
Link
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
Link
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"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)
Link
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A young Hungarian band whose name Vodku v Glotku is Russian for "Vodka to my throat!" Vodku play European Jewish music mixed with other Balkan genres.
From record label:
"Musical group Vodku v glotku was founded in the year 2000, in Budapest, Hungary. The goal of the band is to introduce the folk music of the nations throughout Central and Eastern Europe, mixed with its own musical concepts. The dominant elements in the music of the band are Hungarian, Jewish, Russian, Ukrainian, Bulgarian, as well as other folk motives from Central and Eastern Europe and the Balkans. This is mixed with the elements of rock, jazz and other progressive musical styles. As a result, a musical world is created on the stage, which makes feel home the many nations inhabiting the Central and Eastern European region.
Since 2001, the band Vodku v glotku had hundreds of successful concerts throughout Hungary, they also visited Serbia nd Montenegro, Slovakia and Austria, and they had two tours in Mexico in 2001 and 2005."
01. Haszid / Chasid
02. Moldvai / Moldavian
03. Albán / Albanian
04. Mit akar az eső... / What The Rain Tels...
05. Óbolgár / Old Bulgarian
06. Újbolgár / New Bulgarian
07. Szól a kakas már... / The Rooster Is Crowing...
08. Népdal / Folk Song
09. Gépzsír / Converse Pink
10. Galíciai / Galytzianer
11. Ballada / Ballad
12. Viszockij / About Volodya Vysotzky
13. Nyakak a jégen / Necks On Ice
14. Paploma
15. Gitsenbass
István Bata - guitar, vocal, trumpet
Éva Gadanecz - vocal
Attila Kiss - drums
Júlia Nedeczky - clarinet, saxophone, vocal
Gábor Ruthner Jero - bass, electric guitar
Árpád Szabó - violin, vocal
Special guest:
Adél Kováts - vocal
Link
pass: bluesmen-worldmusic.blogspot.com
