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Daiqing Tana was born in Taijnar. She belongs to a tribe of Mongolia.
Serene heavenly sounds from the grass steppe Soulful songs that request for nothing in return
“With the majestic and boundless music, the sky, the grass steppe, the snow mountain, the lake... all begin to unfold, and the ear becomes the sole passageway for communication between the soul and the universe. At last, the physical body, time and space have all disappeared, and a pure lucid realm of pristine sounds begin to take into shape. This has to be music coming down from up above, and no one should miss it.”
1. Silent Sky
* lyrics/Bayin & Daiqing Tana
* Tuwa folk song
The rise of the sun and the fall of the moon
The eternal world
In the distance resides eternity
When everything returns to being still and serene I ask for nothing more
2. Snow Mountain
* lyrics/Bayin * composer/Quansheng
Gazing upon the timeless magnificence
The serene heavenly sounds
I yearn for the freedom of solitude
Long for the ultimate love
Yet afloat I am in the wind
3. Ongmanibamai
* folk song
The heart is infinite
It can contain the entire universe
A dust particle in the cosmos
Would vanish in a mere second
4. Qinghai Lake
* lyrics/Bayin * composers/Quansheng & Daiqing Tana
I stand still next to you
Never once thought of touching you
I touch the earth beneath your feet with my forehead Wishing that upon my next journey
My heart will be bestowed with a piece of your azure blue
5. Passed Time
* lyrics/Keming * composer/Wulan-tuoga
The most beautiful treasures in life
Are in the time passed by
We were once great companions
Shared our joys and sorrows
Only if we could return to the passed time
Even if just for one night
6. Dancer in the Darkness
* lyrics & composer/ Daiqing Tana
Standing in the embrace of the darkness
I am exposed in the deep stilled silence
I could hear the remote unfamiliar laughter still echoing
I bury myself
To be sacrificed to the unmanned wilderness
7. Missing You
* lyrics & composer/ Daiqing Tana
Nostalgia is blissfully sentimental
I am in the far distance from you
How could I sing without restraint
If only dream has liberating wings
Let the wind accompany it on its voyage in the sky
8. Golden Bracelet
* Qinghai & Mongolian Folksong
9. Reborn
* lyrics/Daiqing Tana * composer/Quansheng
What’s there to cry about
The sky has never lost its luster
Unless you lose the gleam in your eye
Love will be reborn from disparity
Daiqing Tana: Voice
Quansheng & Xibo: Percussion
Quansheng & Arai Soichiro: Horse-head fiddle
Quansheng:Guitar
Xibo & Tuerxun:Piano
Liu Xiaoguang: Cello
Liu Man:Accordion
Zhang Xinhua: Harmonica
Link
pass: bluesmen-worldmusic.blogspot.com
The group Talyn-Duulal brings together top-level Mongolian professional artists who have already been awarded great national and international distinctions. These artists live for the most part in the capital Oulan Bator, but have emerged from extremely diverse regions. Their repertory consists essentially of chants and popular music taken from all across the country, as well as personalized adaptations and compositions, in the traditional style, by contemporary composers. The music that they propose for our listening pleasure is representative of a movement that could be called "new traditional music". This music ushers forth a revival of the already extremely ancient musical tradition. Through this music the soul of the Mongolian people is reflected: nomadic pastors who live in perfect symbiosis with nature and domestics animals. The different gaits of the horses and camels offer a source of rhythmic musical inspiration, while the contemplation of the magnificent landscapes releases profound internal emotions, images of a simple and pastoral life.
The Mongolian Voices
All throughout its evolution, Mongolian music has conceded a large place to the voice, as testify the countless number of songs, the diversity of vocal types and the particularity of the vocal techniques employed. The songs are often, but not necessarily, accompanied by one of several musical instruments.
Diaphonic Chants - Khoomi
This vocal acrobatics consists in the emitting of a hum from which a harmonic line will rise to constitute the melody of the piece. Few Mongolians know how to do this, but one finds examples in their neighbours of Touva. Depending on the vocal or facial resonators selected, different aspects of diaphonic chants are brought out : that of “the throat”, “the nose”, “The chest” ... The position of the tongue plays an important role in the selection of the harmonies.
The Khailaka Emission
Close to the diaphonic chants, this vocal technique employs a husky tone, coming from the back of the throat, in a low‑pitched register. It is exclusively reserved for epic songs and the song of praise to the Altai. Often, the singers combine the diaphonic chants starting from this emission that uses few degrees in a recitative mode.
Urtyn Duu - Long Chant
This kind of singing offers long ornamental and vocal developments with large intervals. A large range is absolutely necessary to perform the long chant, which can extend into more than three octaves, with frequent passages into the head voice. The songs' texts serve in a way as a pretext for the long vocal ornamentations that develop from a few syllables of words.
Bogino Duu - Short Chant
In contrast to the long chant, the short chant is syllabic: this means that each syllable corresponds to a degree (or note); this does not exclude embellishments in places. The rhythm plays an important part and the text becomes primordial.
01. Altain Magtaal
02. Setgeld Shingesen Gov
03. Uyakhan Zambativiin Nar
04. Temeen Teshee
05. Tomor Khuur, Xoomii
06. Yantaivan Googoo
07. Tsagaan Sar, Khokh Torgom Tsamts
08. Khoomii
09. Morin Tovorgoon
10. Gandii Mod, Khotgoidyn Unaga
11. Sartai Khurnii Khatiraa
12. Sunjiidmaa
13. Jalam Khar
14. Kherlengiin Bariyaa
15. Khuren Mor'
16. Jiijuu Khot
17. Ardyn Duuny Nairuulga
18. Khavryn Shuvuud Irlee
Taravjavyn Ganbold: Diaphonic chant
He was a student of the great master Sundui.
Batchulunii Sarantuya: Long chant and short chant
She was a student of the diva Norovbanzad.
Dashjaviin Tsogbadrakh: Horse-Viol
Former student of the virtuoso Jamyan.
Tserendondoviin Tserenkhorloo: Oblong Cithara
One of the best citharists of the moment.
Gombliin Nansalmaa: Trapezoid Cithara
Recently received the high distinction of Best Musician of “1994” from the Mongolian Ministry of culture.
Link
pass: bluesmen-worldmusic.blogspot.com
Formed in 1991, the Egschliglen (translating loosely as "Beautiful Melody") project aims to take the traditional rhythms and instrumentation of Mongolian folk music and adapt them for contemporary listening - adding innovation, experimentation and playfulness to the mix, rather than simply playing their way note-for-note through the ancient standards.
Central to this is the art of "koommii", traditional Mongolian "throat-singing", which evolved as a way of imitating the sounds of nature, such as the mountains, the rivers and the wind. So far, so romantic. However, to Western ears, this deep, resonating overtone growl can be somewhat hard work, and rather than evoking the wide, open plains of Mongolia, instead conjures up images of Hanna Barbera's Captain Caveman creation in the throes of a heavy bout of food-poisoning, or something from a Reeves and Mortimer sketch.
The album often works best when the koomii is given a bit of respite. The epic, cinematic "Nutgiin Zamd" builds beautifully, ending up where Chinese and Russian folk-music meets a Sergio Leone Western soundtrack. On slower pieces such as "Huurhun Haliun", the slightly discordant soundscape even draws parallels with the violin-heavy sounds of the first Velvet Underground album. Final track "Bau'rin" even re-works a childlike Bavarian peasant-song in the Mongolian-style, and it works like a dream.
Gereg is a genuinely intriguing and overall rewarding release - just figure out your stance on Mongolian throat-singing in advance.
01. Hunnu
02. Govin Magtaal
03. Duuren Zaan
04. Aisui Hulgiin Tuvurguun
05. Jaran Zagaan Aduu
06. Meeneg
07. Nutgiin Zamd
08. Huurhun Haliun
09. Uran Has Baletiin Adagio
10. Byan Hishig Daa Tam
11. Udelt
12. Shigshergiin ai
13. Chamaigaa Gelgui Yahav
14. Zezegtei Harmai
15. Bäu’rin (hat die Katz verlor’n)
Migdorj Tumenbayar - 1st moriin khuur, vocals, 2nd moriin khuur, vocals
Amartuwshin Baasandorj - khöömii solo vocals, tobshuur, percussion
Uuganbaatar Tsend-Ochir - ih khuur
Sarangerel Tserevsamba - joochin, percussion, vocals
Ariunaa Tserendavaa - dance
Taivan Chimeddoo - presenter
Link
pass: bluesmen-worldmusic.blogspot.com
Formed at the beginning of the 90s at the Ulan Bator conservatory in Mongolia by four young instrumentalists, Egschiglen (Beautiful melody) with their new album Zazal once again propose a wide repertory that embraces both the tradition and modernity of their country, for which they have become renowned musical ambassadors. Over the years the group has learned how to harness their cultural heritage (especially shamanic, lamaic and epic chants) and fuse it with more modern instrumental trends creating musical structures that are aesthetically up to date without having to rely on hybridization with foreign elements. The music on Zazal (a propitiatory rite practised when a member of the family leaves on a long journey) is extremely luminous and free, achieving a perfect balance between tradition and modernity, stasis and movement. The traditional instruments used are the main force behind the shaping of the groups sound...however, what will probably be the biggest surprise to the listener is the originality of the khmi chant. This is a highly peculiar technique that requires complete mastery of the voice which is subjected to various acrobatics to hold together both a drone and different harmonics with the result that miraculous sounds both deep and vertiginously acute are simultaneously emitted from the singers throat.
"From Mongolia comes a new fantastic cd by the group Egschiglen. Although they are not as known as Huun Huur tu and Yat-kha, this group is at least as good as both of these bands. Their last cd was released five years ago and for me that cd was my first meeting with the Mongolian traditional music. Their new cd Zazal is a masterpiece and a big leap forward comparing with their last cd. Fresh arrangements and a strong mixture between tradition and modern acoustic music. Besides their famous singing techniques they use traditional instruments such as the Morin khuur, a horse-headed violin which is played like a cello, the Yoochin which relates to the dulcimer and the Thobshuur which is a two-string lute. Their music is sometimes hypnotising like in the song Yamaanii boodog which consists of the Khoomi chant sounding like they swallowed a few flutes, and intriguing rhythms. Egschiglen also has a female singer which is rather unique, at least I hardly ever heard a female singer in traditional Mongolian music before. The album is very friendly for the ear and can also be enjoyed by people who would like to be introduced to the intriguing music of Mongolia. I had to wait five years for their new album but it's more than worth waiting for. Egschiglen delivered the best album of 2002 so far."
01. Hartai Sarlag
02. Uils Dundaa Sain
03. Yamaanii Boodog
04. Han Huhiin Uuland
05. Talin Salhi
06. Manduhai
07. Herlengiin Barya
08. Haramgui
09. Setgeliin Egshig
10. Moriin Khuur Konzert
11. Elstiin Ganga
12. Yan Tai Wan Göögöö
13. Builgan Shar
Tumenbayar Migdorj (moriin khuur, vocals)
Tumursaihan Yanlav (morrin khuur, aman khuur, vocals)
Uuganbaatar Tsend-Ochir (ih khuur)
Batbold Wandansenge (percussion, denshig, vocals)
Amartuwshin Baasandorj (khoomii vocals)
Sarangerel Tserevsamba (yoochin, vocals)
Link
pass: bluesmen-worldmusic.blogspot.com
"Centuries ago our ancestors had conquered half the globe and amazed the world with our culture and tradition. Now we the young generation will conquer once more with our music that is Folk Rock. We hail from Mongolia , Central Asia and we are the “ Алтан Ураг ”. “ALTAN URAG” can be translated or referred to as the Khan's kin.
We play folk rock music and our band was formed in May, 2002. That same year we performed our first time gig at the “Roaring Hooves” international ethnic, contemporary music festival in Mongolia .
In 2004 the first album of the band was released under the name “Foal's Been Born”. The album had various traditional music influences and came out as a folk, contemporary album. Second album “Made in Altan Urag” has 11 tracks of folk rock music and songs and it was released from Sonor records in December 2006. Band members are professional musicians who graduated music colleges and actual same class colleagues."
01 - Intro
02 - Requiem
03 - Ijii Mongol (Mother Mongolia)
04 - Khukh Tolboton (Blue Mark)
05 - Davalgaa (Waves)
06 - Khiliin Chandad (Abroad)
07 - Shiree Nuur (Shiree Lake)
08 - Raakh Ii
09 - Araatan (Beast)
10 - Ikh Mongol (Great Mongolia)
11 - Outro
Link
pass: bluesmen-worldmusic.blogspot.com
