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Boundary-hopping can be dangerous in world music, where the merging of two or more traditions can spell crossover nightmare. But cultural synthesis works wonders in the case of the rapturous meeting of Tuvan group Huun Huur-Tu and the Bulgarian Voices-Angelite (formerly with the French name Le Mystere de Voix Bulgares), on the album Fly, Fly My Sadness. The meeting is more logical than you might expect, both cultures having originated in the Asian Altai Mountain area and migrating to their respective homelands. On music composed or arranged by Mikhail Alperin, the two celebrated groups find a common ground, especially in terms of their vocal techniques-the Tuvan throat singing and the beguiling harmonic sense of the Bulgarians, for instance-at once non-western and similar to folk traditions in the west.
01. Fly, Fly My Sadness
02. Legend
03. Wave
04. Lonely Bird
05. Mountain Story
THE BULGARIAN VOICES ANGELITE
Tzetza Bekova, Ekaterina Bogdanova, Kera Bogdanova, Tatiana Douparinova, Tonia Iankova, Nadejda Illieva, Kostadinka Inkova, Sonia Iovkova, Nadejda Karporova, Krastina Krasteva, StaimenkaOutchikova-Nedialkova, Youlia Peneva, Nekla Petkova, Kostadinka Ratzova, Elka Simeonova, Tania Tzambova, Petia Tzvetanova, Tania Velitchkova, Nadia Vladimirova
HUUN-HUUR-TU
Kaigal-ool Khovalyg (Vocal, Igil, Toschpulur, Tschansy)
Anatoly Kuular ( Vocal, byzaanchi, khomuz, amarga)
Sayan Bapa ( Vocsl, doshpuluur, marinhuur, guitar)
Alexey Saryglar (Vocal,tungur(drum), dazhaaning khavy (rattle)
Link
pass: bluesmen-worldmusic.blogspot.com
Nikolay Oorzhak was born in December 1949, in the small village Khorum-Dag in western Tuva. After graduating from high school in 1964, he worked for four years as a shepherd, herding horses, sheep, and cows. There on the steppes, alone with his herds, he started producing sounds like his father and grandfather used to sing. This was Khoomei, or throat-singing. At that time, his only audiences were the horses, sheep, and cows.
In 1982, Nikolay caught the attention of the local authorities, who supported his bid for a professional education. So, in 1983 Nikolay began attending the Ulan-Ude cultural institute in Buryatia, where he also became Director for Public Theaters. This was also an opportunity to finally open his hidden talent of throat-singing.
In 1989 the First International Festival of Throat-Singing was held in the Tuvan capital of Kyzyl. Nikolay was awarded First Prize for Kargyraa style. At that time he already brilliantly performs in all the overtone singing (xorekteer) styles: khoomei, kargyraa, sygyt, borbangnadyr, ezengileer and became a Khoomeiji (Recognized Master of Khoomei) in his country. The same year he and fellow throat-singer Boris Kherly and scientist Zoya Kyrgys founded Ensemble Tuva. Meeting with great success, they toured internationally, including Norway, Sweden, Turkey and Mongolia.
In those days, it was common for such ensembles to include a dramatization of a shamanic ritual, and in addition to singing and playing with Ensemble Tuva, Nikolay portrayed the shaman. Elders often commented that he appeared authentic and suited for this role, and that perhaps he was meant to be a real shaman. Sometimes, after these performances, he felt dizzy and suffered headaches. He sought help from Oleg Toiduk, a well-known shaman. Oleg told him that Nikolay was destined to be a shaman, and was suffering the effects of energies sand talents that he needed to share with others for healing.
In Tuva, shamans often inherit their abilities, and Nikolay was no exception. There were shamans on his mother's side, and her father was a famous shaman in the Sut-Khol region of Tuva. On this basis, Nikolay started his healing way. Observing his progress, in 1998 the pre-eminent Tuvan shamanism scholar Prof. Mongush Kenin-Lopsan invited Nikolay to work for his shamanic society Dungur.
In 1995 Nikolay was invited to India to celebrate His Holiness the Dalai Lama's 60 birthday. He got the Dalai Lama's blessing, which enables him to increase his healing singing abilities.
In 1999 Nikolay was elected Chairman of Tuvan shaman society Tos-Deer, and that same year visited Vienna, Austria, with Prof. Mongush for the Shamanic Congress. He also toured Italy and Switzerland. Back in Tuva in December 1999 German television filmed a documentary on his outstanding technique of shamanism and throat singing. In 2000 he was invited to return to Germany for that year's Shamanic Congress.
In 2002 he made a successful three-month tour in Canada and USA on invitation of Mr. Steeve Sklar (International Association for Harmonic Singing) and Canadian Shaman's Society. During the tour, he had a meeting with Dr. Michael Harner, a famous founder of Foundation for Shamanic Studies, who has highly evaluated Nikolay's abilities.
Nikolay regularly gives a seminars in different towns of Russia, Ukraine and Europe, teaching the shamanism, throat singing and using the overtones in healing practice and self-development. He also is a welcomed and honorary guest at local and international music festivals.
01. Appeals
02. Kargyraa
03. Khomus And Sygyt Together
04. Khomus Solo
05. Sygyt
06. Shamans Song
07. Bowling
08. Trio 1
09. Trio 2
10. Moscow Mix (With Mikhail Zukov, 2000)
11. Improvising (With Vladimir Solyanik)
Link
pass: bluesmen-worldmusic.blogspot.com
"While Huun-Huur-Tu are folkloric pioneers, bringing the traditional music of Tuva to a worldwide audience, the goal of throat-singing rock band Yat-Kha is decidedly more aggressive and revolutionary. Albert Kuvezin, the band's founder and leader, and a former member of Huun-Huur-Tu, sees the folk music of Tuva as a stepping-off point for his band, a point of contact with the heritage but also a point of contention with the power of static culture. Yat-Kha feature electric guitar (often fuzzy and distorted, to mimic the gruff, basso kargiraa vocals), in addition to local string and percussion instruments that offer a rooted sound to an often chaotic musical web. A few of the songs on Dalai Beldiri come off as just repolished folk-pop, imitation blues that rely too heavily on standard times and melodic structures. But most of the album shines, using the shamanic roots of the group's Siberian predecessors to forge ahead with new, innovative, and often disconcerting music that emphasizes the power of the human voice as much as the power of the electric guitar. This is a groundbreaking album for Tuva, one that pushes the boundaries without just making it accessible. In fact, this music is anything but easy. It's challenging and unusual."
"Why can Tuvan people not be long out of Tuva? Why do strangers who visit this land want to come back again? What does this ancient place have so attracting and so luring? Maybe from here, far from civilization and large noisy cities and main roads, it is possible to sense the breath of nature and history - to stop time and motion, looking on ancient mounds and majestic rocks to track the development of Earth and Human culture. Fathomless skies and endless valleys, sharp mountains and swift rivers, black-eyed beauties and frisky racehorses. Life and fight, love and death, freedom and independence... So is the world-outlooking subconscious of the Tuvan person and our songs on the new disk are about that. I hope it will help you understand the soul of the people, their music and to accomplish a journey through time and space.
Peace and Harmony to everybody."
01. Kaldak-Khamar
02. Khemchim
03. Dyngyldai
04. Opei Khoomei
05. Kazhan Toren Karam Bolur
06. Keergentchig
07. Charash Karaa
08. Ydyk Buura
09. Hondergei
10. Sodom i Gomora
Albert Kuvezin - yat-kha, guitars, bass, shanzi, khomuz and low kargiraa vocal
Aldyn-ool Sevek - morin-huur, igil and sygyt, khoomei, kargiraa vocal
Zhenya Tkachëv - tüngür, percussion, gongs and stikhi vocal
Special Guests:
Steve Goulding - drum-kit
Martyn Barker - kat-drum
Martijn Fernig - little bell
Lu Edmonds (aka Akym) - extra bass, cümbüsh, saz
Link
pass: bluesmen-worldmusic.blogspot.com
"Chirgilchin is from the republic of Tuva in Russia, west of Mongolia. It was created in 1996 when the three musicians were still 18 (the girl) and 20 years old (the two boys). This is their first CD and a remarkable one at that. The particularity of Tuvan music is throat singing (also called sometimes diphonic singing), found in many Asian countries, but in ways that are found solely in Tuva. Throat singing is a way of using the throat to produce two sounds or notes at the same time with the voice (these notes being harmonics produced by the throat). Tuvans developed five different ways of producing these sounds. Ondar Mongun-ool, the throat singer, shows at his young age an incredible mastery of this so particular and amazing way of singing. These three young musicians are simply mesmerizing. What they offer on this CD are not only songs and beautiful music, but a part of themselves, of who they are through their music."
01. Homudal - Man's Sad Song
02. Darlaashkyn - Freedom Song
03. Borannadyr Solo
04. Konturei
05. Chirgilchin - Mirage
06. Kozhai - Aidysmaa Kandans Native Land
07. Kara Duruya - Black Crane
08. Majalykta Chylgymmy - Lyric Song
09. Kyrgan Boru - The Wolf And The Kid
10. Kolkhozchu Maen - Collective Farmer
11. Khaian - Girls From Ulug - Khema
12. Erge Chokka Choranymny - Woman Without Rights
13. Bai-Taiga
14. Ak-La Bashtyg Avaiymny - Whitehaired Mother
15. Teve - Khaya - Camel - Rock
16. Oshku Dotpeleer
Ondar Mongun-ool (vocals, morin-khuur, chantzy, doshpulur, sygyt, sygyt khomei kargyraa, sygyt khomei bell, igil)
Aidysmaa Kandan (vocals, tungur)
Tamdyn Aldar (igil)
Additional personnel: Alexander Bapa (guitar)
Link
pass: bluesmen-worldmusic.blogspot.com
This CD can be warmly recommended to all lovers of Tuvinian music. The music presented is a well performed collection of authentic vocal and instrumental pieces. Since all pieces are strictly traditional this CD cannot be compared to the performance by e.g., Sainkho. Track number 9, performed by the unusually young artist Schaktar Schulban, reveals the enormous talent of this promising singer. The CD is very interesting because next to the overview of singing styles the listener is also introduced to a representative spectrum of instrumental music.
The songs are performed by Schaktar Schulban, a 10 year old boy who has been a singer since the age of 5, the 18 years old Ondar Mongun-Ool and Bujan Dondak, the Tuva Ensemble founded in 1988 by Gennadi Tumat, German Kuular, Stas Danmaa and Alexander Saltschak.
Most of the songs are accompanied by the traditional instruments toschpulur (a lute with two strings - tracks no. 1, 2, 4, 8, 12), chomus ("jew's harp", tracks no. 3, 13 - the latter being a chomus solo performance), igil (a two-stringed instrument - tracks no. 5, 8, 14, 16), limbi (a metal flute- track no. 8), amyrga (a hunting horn, used to lure deer - track no. 8), tschansy (a lute with three strings - track no. 10) and even a shaman drum is used once (track no. 15).
Track no. 15 reminds of Shaman songs that are also sung among the Caatan living in the Mongolian region neighbouring Tuva.
01. Sygyt - Chöömej - Kargyraa - Gennadi Tumat
02. Ugbashkylar Ooldary - Tuva-Ensemble
03. Chomushgu Ayalgalar - German Kuular
04. Ogbeler - Tuva-Ensemble
05. Sygyt - Borbangnadyr - Oleg Kuular
06. Collection of Chöömej styles - Oleg Kuular
07. Chomus and Chöömej - Oleg Kuular
08. Ching S"oortukchulerining Yry - Tuva-Ensemble
09. Sygyt - Kargyraa - Schaktar Schulban
10. Sygyt - Ondar Mongun-Ool
11. Kargyraa - Bujan Dondak
12. Adym - Tuva-Ensemble
13. Chomushgu Ayalgalar - Idamchap Chomushgu
14. Tschasky-Chem Yry - Opej Andrej & Tschetschek
15. Cham Algyshy - Alexander Saltschak
16. Sygyt - Kargyraa - Opej Andrej
PERFORMERS: Gennadi Tumat, German Kuular, Oleg Kuular, Schaktar Schulban (10 years old), Ondar Mongun-Ool, Bujan Dondak, Idamchap Chomushgu, Opej Andrej, Alexander Saltschak.
Link
"Sons of the Ancient Tribes that rode with Genghis Khan, they sing of a way of life that makes your average rock n roll hellraiser look like a wuss. The sound is feral and all the more mind-boggling for the addition of surf-guitar licks, a conglomeration of ancient bowed string instruments and Fender Strat an otherworldly meeting of folk song and punk thrash that exhilarates, intrigues and makes just about every other music sound like so much product."
01. Intro
02. Ahoi
03. Radik’s Khoomei
04. Chorumal Bodum
05. Takh-Pakh
06. Dorug Daiym
07. Amby Baryp
08. Teve Khaya
09. Karangailyg Kara Khovaa
10. Khozamyk (Owaje-Ditty)
11. Kadarchy
Tracks 1,2,5,9 Recorded live in Abbeville, France at Espace Culture Saint Andre on the 10th of May 2001.
Track 3 recorded live in Viljandi, Estonia on the 27th of July 2001.
Track 4,7,11 recorded live ion Huy, Belgium on the 23rd of August 2001.
Track 6, 10 recorded live in Sete, france at La Passerelle on the 17th of May 2001.
Track 8 recorded live in Budapest at Sziget festival on the 7th of August 2001.
Link
pass: blog.beringisland.ru
Original uploader: blog.beringisland.ru. Thanks!
Ay-Kherel, meaning “ray of moonlight”, was founded in 1994 by master throat-singer Vladimir Serenovich Soyan. Hailing from Tuva, Ay-Kherel performs five different throat-singing styles accompanied by a plethora of traditional instruments. Instruments used include kengirge (drum), limbi (flute), synyi (rattle), shyngyrash (bells), khomus (Jew’s harp), byzaanchy (violin), doshpulur (lute), chanzy (lute), duyug (horse hooves) and igil (violin).
"Perhaps the Tuvan craze in world music is dying down a bit now, more removed from the flurry stirred up by Genghis Blues. There's still a fair bit out there to be heard nonetheless, with groups beyond the well-known Huun Huur Tu and Kongar-ol Ondar. Case in point is this album from Ay-Kherel, a troupe headed by Vladimir Soyan. The album progresses through the obvious khoomei to instrumental pieces and various folk songs, both in solo and ensemble formats. Much of the music is similar to what would be heard on other Tuvan albums, with some exceptions in execution. No one in this troupe is up to the same standards in throat singing as ol-Ondar, but they aren't bad. They don't have the vocal range of some of the old long-song specialists, but they aren't bad (especially Vladimir's daughter Lilya Soyan). They aren't the most virtuosic on the igil or khomuz, but they aren't bad. They're a perfectly good troupe overall, very good generalists as opposed to virtuosic specialists. As such, it makes for a nice primer to the music of Tuva, and a good lead-in for further exploration in the rich music of the locale."
01 - Morgul (Prayer)
02 - Baezhin
03 - Tool (The Story)
04 - Kadarchynyn Yry (Shepherd's Song)
05 - Dyngylday
06 - Eki Attar (The Best Steeds)
07 - Chylgychynyn Yry
08 - Tarlaashkyn
09 - Aldan Maadyr
10 - Igil Solo
11 - Kuda Yry
12 - Khoomei Solov
13 - Khomus Improvisation
14 - Ches-Bulun
15 - Hoyzhu Sugga Baryksaar Men
16 - AA-Shuu, Dekei-Oo
17 - Ezir-Kara
18 - Tyvam Hemneri (The Rivers of Tuva)
19 - Durgen Chugaa
20 - Ugbashkylar
21 - Dagyn Katap Darlatpas Bis
22 - Kozhamyktar
part 1.
part 2.
"Huun-Huur-Tu is making the inevitable move toward globalization that comes with worldwide touring and collaboration with foreign musicians, but so far they have managed to retain their own unique identity and remain firmly rooted in Tuvan traditional sounds. By now the novel aspects of multi-tonal throat singing do not need to be featured to help sell their work. Compared to their previous albums there is a richer harmonic (in the traditional Western sense) texture, and such Tuvan anomalies as the harp, Scottish pipes, and synthesizer make their appearance. However, they remain unobtrusively in the background (the synthesizer is used to generate a virtual wind storm), and one gets the sense that the quartet has a mature, rooted sense of where they want to go with their music. The highlight for me, though, are the excerpts of field recordings made by ethnomusicologist Ted Levin (Smithsonian Folkways's Tuva, Among The Spirits, reviewed below) of throat-singing while on horseback. The music, restored to its physical context, suddenly makes so much more sense."
01. Ezir-Kara
02. Anatoli on Horseback, singing
03. Deke-Jo
04. Xöömeyimny Kagbas-la Men (I Will Not Abandon My Xöömei)
05. Avam Churtu Dugayimny (Dugai, The Land of My Mother)
06. Dyngyldai
07. Highland Tune
08. Hayang (name of a hunter)
09. Barlyk River
10. Tarlaashkyn
11. Interlude: Sayan playing xomuz with water in his mouth
12. Sarala
13. Sagly Khadyn Turu-la Boor (It's Probably Windy on Sagly Steppe)
14. Ezertep-le Bereyin Be (Do You Want Me to Saddle You?)
15. Live recording: Anatoli and Kaigal-ool riding horses in Eleges while singing
Sayan Bapa (vocals, doshpuluur, igil, guitar)
Kaigal-ool Khovalyg (vocals, igil, doshpuluur)
Andrey Mongush (vocals, byzaanchi, khomuz, amarga)
Alexei Saryglar (vocals, percussion)
Link
Paul Pena played blues with the greats T-Bone Walker, B.B. King, and Bonnie Raitt. In 1995, the blind bluesman became the first American ever to compete in an unusual contest of multi-harmonic "throatsinging" native to The Autonomous Republic of Tuva.
The Autonomous Republic of Tuva, wedged between Siberia and Mongolia, for centuries has been isolated from the rest of the world by jagged mountains and Soviet restrictions. Only recently have the Tuvan art form of throatsinging become known to outsiders.
Pena discovered Tuvan throatsinging on a shortwave program of Radio Moscow. For the next nine years he worked to produce similar overtones with his own voice and to incorporate throatsinging into his blues music.
Unexpectedly in 1993, Pena discovered that Tuvan throatsingers were on their first concert tour of the U.S. After their performance, the deep-voiced bluesman broke into his own self-taught style of throatsinging and serenaded the musicians with Tuvan traditional songs! The throatsingers were amazed by Pena's mastery of the Tuvan art form and likened his rich voice to the sounds of tremors in the earth. They insisted that "Chershemjer" (Earthquake) travel to Tuva for the next tri-ennial throatsinging contest which would be held in 1995.
Eleven years after he first heard throat singing, Paul Pena entered the National Theatre of Tuva to make history. The blind bluseman's performance was so well received, he became the 1995 throatsinging champion in the style of kargyraa. He also captured the "audience favorite" award for the week-long competition. The Tuvan people had never seen or heard anyone like him.
"More than just a record, this is also the story of the journey of Paul Pena, a fine blind American bluesman who learned Tuvan throat singing well enough to win a contest in Tuva. His solo tracks, especially his take on Robert Johnson's "Terraplane Blues," are the real blues deal, but this record truly takes off when Pena and Ondar duet. The blues and the eerie, often-guttural sounds of throat singing make a natural match, one that simply bewitches with the clear overtones and melodies, while the guitar and Tuvan banjo offer simple, but very plaintive, accompaniment. About the only misstep is the inclusion of the Cape Verdean "Tras d'Orizao," which sticks out like a sore thumb from everything else. Get that out of your system, and the rest is pure magic."
01 - What You Talkin About
02 - Alash Hem (The Alash River)
03 - Gonna Move
04 - Kaldak Hamar (The Other Side of the Mountain)
05 - Tras D'Orizao (Beyond the Horizon)
06 - Ondarnyng Ayany (Ondar's Medley)
07 - Kargyraa Moan
08 - Eshten Charlyyry Berge (It's Hard to Lose a Friend)
09 - Kongurey (Where Has My Country Gone)
10 - Durgen Chugaa (Fast Talk)
11 - Sunezin Yry (Soul's Song)
12 - Center of Asia
13 - You Gotta Move
14 - Tuva Farewell
15 - Genghis Blues Soundbites
16 - Kaldak Hamar (Live)
17 - Eki A'ttar (Good Horses) (Live)
Link
pass: bluesmen-worldmusic.blogspot.com
The Huun Huur Tu band from Tuva, Russia, practice the ancient technique of "xöömei" or throat-singing. Each vocalist simultaneously produced two distinct pitches: a lower drone and a high pitched flute-like sound. This is one of the world’s oldest forms of music making. We heard their ancient instruments and experienced the mellow beautiful tones that were exciting and yet very calming to the spirit. Instruments they use in their music include the igil, khomus, doshpuluur, tungur (shaman drum), and others.
The xöömei quartet Kungurtuk was founded in 1992 by Kaigal-ool Khovalyg, brothers Alexander and Sayan Bapa, and Albert Kuvezin. Not long afterwards, the group changed its name to Huun-Huur-Tu, meaning "sunbeams" (lit. sun propeller). The focus of their music was traditional Tuvan folk songs, frequently featuring imagery of the Tuvan steppe or of horses.
The ensemble released its first album, 60 Horses In My Herd, the following year. The album was recorded at studios in London and Mill Valley, California.
01. Sygyt (Lament of the Igil)
02. Mezhegei
03. Öske Cherde (Foreign Land)
04. Eshten Charlyyry Berge (It´s Hard to Be Parted From a Friend)
05. Kombu
06. Khöömei (Khovalyg solo)
07. Kongurei
08. Fantasy on the Igil
09. Bayan Dugai
10. Tuvan Internationale
11. Kargyraa (Khovalyg solo)
12. Ching Söörtukchülerining Yryzy (Song of the Caravan Drivers)
Kaigal-ool Khovalyg: vocal, igil, doshpuluur, chanzy;
Sayan Bapa: vocal, igil, Tuvan percussion;
Albert Kuvezin: vocal, guitar;
Alexander Bapa: Tuvan percussion.
Part 1.
Part 2.
pass: bluesmen-worldmusic.blogspot.com
As the 10th of 17 children of a farmer’s family Bolot grew up in the Altai mountains.
He was taught to play the Jew’s harp by his grandmother who used to play by the fire in the evening and by his uncle who was a famous ”khomus”-player. In 1992 his international career began when he won in the competition ”The Voice of Asia”. Later he played with Joe Zawinul and with various musicians from Jamaica and the USA. After some painful experiences with the Western market economy he has been working as an independent musician since 1994.
1. Alas
2. Kai Song
3. Ukok
4. Rainbow
5. Song of Mountains
6. Kurgan's Sygyt
7. Song of Heaven
8. Praying
9. Altin-Tuu
Link
They're not likely to be found singing "Tumbling Tumbleweeds," even though that plant hails from their country, but the Tuvans are having an impact on the rest of the world when it comes to their music. Tuvan throat-singing, a fascinating style in which a single vocalist can produce a haunting four-part harmony, has turned up on Ry Cooder's film soundtracks and as part of the style of bluesman Paul "Earthquake" Pena, while concerts by groups such as Huun-Huur-Tu continue to be extremely popular. This compilation, produced and annotated by Ralph Leighton, brings together traditional and contemporary Tuvan music, opening with a demonstrative medley from Kongar-Ool Ondar and closing with a duet between Ondar and Pena.
01. Kongar-Ool Ondar - Medley Of Throat Singing Styles Accompanied By Doshpuulur
02. Aldyn-Ool Sevek - Demonstration Of Kargyraa
03. Oleg Kuular - Collection Of Hoomei Styles
04. Oorzhak Khunashtaar-Ool - Bolur-Daa-Bol, Bolbas-Daa-Bol
05. Oorzhak Khunashtaar-Ool - Eder-Daa-Bol, Etpes-Daa-Bol
06. Bilchi-Maa Davaa - Hoomei Lullaby
07. Shaktar Shulban - Demonstration Of Sygyt And Kargyraa
08. Kongar-Ool Ondar - Dymzhuktaar
09. Kaigal-Ool Khovalyg - Fantasy On The Igil
10. Kongar-Ool Ondar - Fast Words
11. Kongar-Ool Ondar - Shamanic Prayer For Richard Feynman
12. Nadezhda Kuular And The Tuvan State Ensemble Sayani - Teve Haia (Camel Rock)
13. Sainkho Nahchylak - Bai-Laa Taigam
14. Mikhail Alperin, Et Al. - Prayer I
15. Huun-Huur-Tu, Bulgarian Women's Choir Angelite - Fly, Fly My Sadness
16. Oleg Kuular, Michail Alperin, Et Al. - In The Cathedral
17. Oleg Kuular, Michail Alperin, Et Al. - Tuvan Industrial
18. Albert Kubezin And Yat-Kha - Yenisei-Punk
19. Paul 'earthquake' Pena - Kargyraa Moan
20. Kongar-Ool Ondar And Paul 'earthquake' Pena - What You Talkin' About
Part 1.
Part 2.
Virtuosos of throat singing AltaiKai from Altai Republic (Russia)
(Kai is the name of throat singing in Altai.)
Musicians of the AltaiKai ensemble are virtuosos of Altai throat singing – kai. They skilfully sing all styles and variety of kai and play traditional musical instruments of Altai people. Velvety, low sounds of karkyraa, fascinating hoomey and melodious sygyt – sybysky, lively imitations of nature sounds (birds singing, purling of brook, animals voices) - also delicacy women’s singing and woman’s throat singing, melodies of khomus (jew’s harp), topshuur and accordion – all of that is AltaiKai. Traditional Altai songs about Motherland and its beauty, about bogatyrs and their past Power, about Altai people combined with joking tunes, dances and shaman mysteries. Narrators kaichy sing traditional, sacred in Altai heroic legends and eposes. All of that is AltaiKai.
01. Song About Kai
02. Warriors Words
03. Spring Water
04. Summer
05. My Land
06. My People
07. Three Peaks
08. Khan Altai
09. Play, Play Khomus
10. My Altai
11. Shamans Blessing
12. Oyim, Oy-Oyim
13. Shunu Warrior
14. I am an Altaian
15. Ancient Kai Song and Tunur Drum
16. Play, Play Altai
17. Joes Song
Part 1.
Part 2.
The ethnic project "Bugotak" aims to play true Siberian folklore combining traditional instruments and modern technique.Bug Otak means "Wheat Father." Bugotak plays native siberian music in these variations: Mostly - northern turkic (Altai, Tuva, inc. throat singing), but also Tungus-manchurian, and music of the Deep Northern folks (Eveny, Negidaltsy, Orci etc) Mostly - traditional folklore, but also ethnic turkic rock and hard ambient.
Mostly - its own songs, but also original folk songs and tributes to rock classics, played in traditional siberian instruments.
The main idea of Bugotak's art is that only those traditions come alive, which develop itselves; stark traditions are subject to nobody. Therefore, the project declares itself to play in any style, keeping native Siberian spirit. Lovers of 'pure folk' should stay away, to avoid stagnation of native folks culture.
Bugotak was found by George Andriyanov, a multi-instrument player and throat singing performer in 2004. Year 2006 cast: George Andriyanov, Tanya Romanova, Dmitry Shvetsov.
Awards in 2006: - 'The best folklore band' within professional performers on The Baykal Necklace international festival (Ulan-Ude, Russia).
01 Ijus
02 Thunder Dance
03 My Name Is Agdam Ynal
04 The Isle
05 Fish Bowhunting
06 The Taiga Man
07 Ak Bur-Khan
08 Tumke
09 Manchora
10 Holy And One
11 Winter
12 Attack To The South
13 Bahat'dzarin
14 Kozhung Of The Rising Sun
Artists:
George 'Father Gorry' Adriano - PC, vocals, throat singing (kargyraa, khoomei, sygyt), guitar, chinese flute, fiddles.
George 'Eskape' Kolesnikov - guitars, khomus.
Link
"Yat-Kha’s unique sound revolves around the marriage of the traditional - 'khoomei' throat-singing, endemic to the group's native Tuva (the smallest and most remote republic in the Russian Federation), which allows the singer to hold more than one note simultaneously - to the modern - the (then-underground) rock and punk which inspired Albert to pick up his first electric guitar. Albert’s bone-shaking double-bass growl, coupled with his high harmonics, provide the foundation while the music is driven along by a mix of traditional instruments which contrast with Albert’s beloved electric guitar. 'Recovers' recorded late last year after the band suffered a number of disasters including stolen musical equipment, stolen passports and a car crash, Albert Kuvezin took time out to reflect on what started him on this journey in the first place, which led to the recording of this album paying tribute to the music which influenced the band. Here you can hear Joy Division, ! Led Zepplin, Captain Beefheart, Chieftains and others as you never have heard before, as Yat-Kha bring a new element to these songs."
01. When The Levee Breaks (Led Zeppelin)
02. Man Machine (Kraftwerk)
03. Ramblin’ Man (Hank Williams)
04. In-A-Gadda-Da-Vida (Iron Butterfly)
05. Love Will Tear Us Apart (Joy Division)
06. Her Eyes Are A Blue Million Miles (Captain Beefheart)
07. Song About A Giraffe (Vladimir Vysotskiy)
08. Orgasmatron (Motorhead)
09. Will You Go, Lassie, Go? (trad., from the McPeake Family)
10. Toccata (Paul Mauriat)
11. Black Magic Woman (Carlos Santana Version)
12. Exodus (Bob Marley)
13. Play With Fire (Rolling Stones)
14. Song Of Mergen (Alexei Tchyrgal-Ool)
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Yat-Kha come from Tuva, out on the borders of Siberia and western Mongolia. They dress like throw-backs to the hippy psychedelic era, and create some of the most extraordinary noises on the planet. Albert Kuvezin is an exponent of the local style of throat-singing, which allows the performer to hold more than one note at once while producing surely the deepest growls on record. He is also a guitarist who likes to switch between gentle acoustic passages and frantic electric solos, and he leads a band that also includes such traditional Tuvan stringed instruments as the Igil. The resulting songs are gloriously exhilarating, being at their best treating Tuva's gutsy traditional songs to the trademark blend of wild rhythm and growls. These range from exuberant growled rockers like Come Along to slow growled ballads, all with lyrics in English and sounding as if he is desperate to join the western pop mainstream.
01. Come Along / A.Kuvezin
02. Amby Baryp / trad.arr.A.Kuvezin-K.Mongush
03. Langchyy Boom / trad.arr. YAT-KHA
04. Carry Me Through / A.Kuvezin
05. Dorug Daiym / trad.arr. YAT-KHA
06. Coming Buddha / A.Kuvezin
07. Eki Attar / trad.arr. YAT-KHA
08. The Steppe, The City, The Sea / A.Kuvezin
09. Uzhur-La Bar / A.Kuvezin
10. Khandagaity / trad.arr. YAT-KHA
11. Voyager / A.Kuvezin
12. Teve-Khaia / trad.arr.A.Kuvezin
13. Tuva.Rock / A.Kuvezin
14. Amby Baryp (remix) / trad.arr.A.Kuvezin-K.Mongush
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ALTAI THROAT SINGING
Back in ancient times Altai was populated by a spiritual civilization. At present the civilization is gradually fading away, but its glow still remains in the form of Altaikai throat singing. Altai kai nowadays is the bridge between the ancient spiritual world of Altai and modern civilization.
A throat singing band "AltaiKai" was founded in 1997. Its goal is conservation and development of the Altai traditional culture and customs. "AltaiKai" is:
- a prize-winner of All-Russia and international festivals and competitions;
- a member of the Russian Federation's folk-lore union.
- a member of the international organization of folk art of UNESCO.
- a winner of the UNESCO prize. Samarkand. 2001.
- a record-holder of the Guinness' "Book of the Achievements and Records" for the longest performance of throat singing in 2003.
- a gold medal winner of the Moscow "Delfiyski Plays" in 2000.
- a gold medal winner at the international festival of throat singing "Dyhanie Zemli" ("the Ground's Breath"). Ulan-Ude. 2005.
- a winner of the G.I. Choros-Gurkin's prize of the Republic of Altai.
The band performed in Russia, Kazakhstan, Kirgizia, Ukraine, Uzbekistan, Mongolia, Czech, Austria, Norway, Switzerland, Finland, Turkey and the USA.
The members of the group organized three throat singing festivals "Altyn Taiga", where representatives from the Republics of Tyva and Khakasia and such foreign countries as Japan, England and the USA participated.
Despite the fact that Altai throat singing is a tradition with centuries-long history, nowadays it is still a well-established and demanded part of contemporary world music.
01. Baatyrdyng Soozi (Warrior's Words)
02. Altaiym (My Altai)
03. Alkyshtar (Prayers)
04. Kara-suu (Spring Water)
05. Ulaganym jaanyr (Janger Style Song from Ulagan)
06. Shunu Baatyr (Shunu Warrior)
07. Komuzym, oino, oino (Play, Play, My Khomus)
08. Jebren kai la tunur (Ancient Kai Song amd Tunur-Drum)
09. Oyim, oyim
10. Jai (Summer)
11. Kaan Altai (Khan-Altai)
12. Juuchyldar (Hero-Warriors)
13. +Bonus Jai. Slush (Al Korchagin) feat. AltaiKai "Bathing birds remix".
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Tuvan throat singing meets the electric guitar on the steppes and rocks!
"The voices are extraordinary, ranging from a melodic ox bellow called kargyraa to the "whistling" sygyt style that suggests a flying saucer revving its hyperdrive. But Aldyn Dashka improves on its predecessor, Dalai Beldiri, with songs as memorable as the throat singing within. When Albert Kuvezin croaks the tender nature tune "Chorumal Bodum" in a rock-bottom bass timbre that might make Bigfoot quake, he's handsomely framed by a two-stringed igil fiddle, throbbing electric guitar, and trotting bass. "Kozhamyk" contrasts Kuvezin's gravelly tones with Aldyn-ool Sevek's heroic operatic tenor that's as clear as a Siberian stream. Both are lifted by a vowel-packed chorus and wah-wah guitar figures that somehow fit right into a folkie song about the attributes of local womenfolk. Just a hint of dub piano complements the brew.
The third album from Yat-Kha finds them very much refining the process begun on their first two albums. The throat singing remains the central focus, but their way of framing it in a wondrous mix of modern and ancient instruments has become very subtle indeed, whether it's the reverse cymbals behind "Oy Adym" or the programming and textures of "Chedi Tei" and "Takh-Pakh Chaskhy Tan." As before, the guitar plays a very important part, played by bandleader Albert Kuvezin, giving a real jolt (along with Alexei Saaia's bass) to the acoustic lineup, and hurling it into another dimension, even though he doesn't use distortion or power chords.
01. Oy Adym (My Gray Horse)
02. Tozhu Kyzy (Tozhu Girl)
03. Chorumal Bodum (I am a Traveler)
04. Kozhamyk (Ditty)
05. Chedi Tei (Seven Hills)
06. Tyva Kyztar (Tuvan Girls)
07. Takh-Pakh Chaskhy Tan (Spring Breeze)
08. Bai-La Mongun (Rich Silver Mountain)
09. Oi Moroz (O Frost)
10. Sambazhyktyn-Yry (Song of Sambazhyk)
11. Khary Kyigy (The Call)
12. Aldyn Dashka (The Golden Cup)
Yat-Kha from Tuva:
Albert KUVEZIN – voice, guitar, yat-kha
Aldyn-ool SEVEK – voice, igil, morinhuur
Alexei SAAIA – morinhuur, bass, bvoice
Zhenya TKACHOV – kengyrgy, percussion, voice
Mikhail "Mahmoud" SKRIPALTSCHCHIKOV – bass
Sailyk OMMUN – yat-kha, voice
Radik TIULIUSH – vox, igil
Aias-ool DANZYRYN – voice, shanzi
Guests from London:
Martyn BARKER – snare-drum on "Kyigy"
Steve GOULDING – drum-kit on "Oy Adym"
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