Bluesmen's World(Music)

The accordion is booming! At every corner, both geographically and musically, the longneglected allround instrument is surfacing.

Since its first tour as Accordion Tribe in 1996, this great band has guaranteed musical verve, blissful melodies and both gloomy melancholy and inquiring, searching sounds.

While their first release was – with great success – still heavily tailored to the live material of their tour at that time, the eagerly awaited current album “Sea of Reeds“ is a downright studio album (recorded in Lars Hollmer’s famous “Chicken House“ in Uppsala, Sweden). This environment allowed The Tribe to fathom out and apply the entire range of their compositional ideas and their virtuoso realization. The result is an arc of sounds (with varying instrumentation) comprising folkloristic pieces (“Silvia’s Tongue“), tango variations (“Tan-gocide“), waltz minnesongs, nordic (“Pas du valse“).
Despite the deliberate stylistic differences the band has created a remarkably homogenous and very rich album, opening up the whole cosmos of the accordion.

01. Tangocide
02. Unikko
03. Lilla Pas du Valse
04. Swither
05. Portaletyde
06. Gras
07. Goldhorn
08. Silvia's Tongue
09. Südaf
10. Tuttuni
11. Chalk Dust
12. Thursday Night's Fridays
13. Spinning Jennie

Bratko Bibic: piano accordion
Lars Hollmer: piano accordion, melodica
Maria Kalaniemi: button accordion
Guy Klucevsek: piano keyboard, convertor bass
Otto Lechner: piano accordion

Link

Popular music has been having the kind of rebirth that classical music had at the beginning of the last century. Composers who are searching for new paths have found a flood of inspiration in the basic foundations of musical resources, most of all in folk music. In this amazing record by Katan you can find adaptations of Transylvannian-Moldavian-Hungarian folk themes and motifs.
Kata Horvati and Ancsa Papp sing these songs in such a pure, strong and powerfully expressive way that is a characteristic of performers who have truly mastered the forms of Hungarian Folk songs. And the musical "accompaniment" is an equally important companion to the new and well formed structures. It's one of the peculiarities and strengths of this album that different great artists who represent different genres of music play together. For example Mihály Borbély, a prominent figure in Hungarian Jazz culture, Ferenc Kisvári, who has played the drums on records that count as milestones in the history of Hungarian popular music, András Hajós, the singer songwriter of the band Emil.Rulez!, or Kit Walker, the American Jazz pianist, who played on Jai Juttal's record that has been nominated for the Grammies: they all gave to this record their own uniqueness and the atmospheres of the genres they play in, creating an interesting fusion with folk music.

There is a great variety of what is on offer in the markets of so called "World Music". Many "musicians" use melodies from folksongs and they just insert them into popular material without any imagination, in a shallow way, without making much mental effort.

The producers of Katan, Csaba Faltay and Ferenc Kisvári didn't just use the foundations of folk music, but they enriched the songs with their own special contributions and with incredible musical arrangements and unique musical structures.

The musical heritage the great Hungarian composers, Béla Bartók and Zoltán Kodály, the world famous adaptors of Hungarian folk music, was the inspiration for this album. The world of these great composers can be felt in the harmonisation and in the motifs of these songs, which is a kind of respectful bow from the creators of this album to those great musicians of the past.

01 Gyűrű Dal
02 Szováti
03 Déva
04 Rózsa
05 Árva Madár
06 Elmenek
07 Koszorú
08 Gergely Dub
09 Bánat

The band Katan:
Kata Horváti - vocals
Ancsa Papp - vocals

Musicians:
Kit Walker - piano
Mihály Borbély - wind instruments
András Hajós - vocals
Ferenc Kisvári- drums
Viktor Dudás - drums
Gábor Bruzsa - bass
Arnold Antoni- guitars
Zsófia Tallér - keyboards
Zoltán Istvánffy - electric guitar
Csaba Gyulai - gadulka
Csaba Faltay - keyboards

Link

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"Three masters of their art have joined to form the new Ferenc Snétberger Trio. With natural ease they bring together choice compositions, technical skills, improvisational drive and musical fantasy of the highest order.

Hungarian-born Ferenc Snétberger is among today's outstanding players on his instrument, one "who can display intensity and passion even at a quiet volume" (Cadence). Going for a synthesis of flamenco, classical, jazz and samba, he melts all these influences into a very personal style full of surprise, warmth, wonder and emotion. One of the leading jazz bassists of today, Norwegian Arild Andersen is famous for his full-bodied tone and his elegant playing. He has recorded dozens of great albums with the likes of Jan Garbarek, Bill Frisell, Stan Getz, Pat Metheny and Don Cherry. Italian-born Paolo Vinaccia has been living in Norway for 25 years and is a household name on the most creative Scandinavian improvisers' scene. His imaginative and colorful playing could be heard with Nils Petter Molvaer, Bugge Wesseltoft, Terje Rypdal, Palle Mikkelborg and others.

The trio's debut album "Nomad" hypnotizes the listener with breadth and clearness.
When Snétberger, Andersen and Vinaccia start to play, it is like pure magic. Charming melodies, thrilling grooves, fiery improvisations, sudden turns and fragile moments evoke sceneries right out of dreamland. Founded in 2004, this unusual trio has quickly grown into a highly celebrated live act. Critics have called them "a triangle of pan-European inspirations, an amalgam of mysticism and joy of life, dream paths and clear laughs, trance and dance". The trio's music -- ranging from modern jazz drive and world beats to decent electronic sounds and vibrant lyricism -- catches the audiences by its sheer emotional power."

01. Empathy
02. Childhood
03. Yellow
04. Nomad
05. Song To The East
06. The Fifth Frame
07. Outhouse
08. Waterkiss
09. Move
10. Air

Ferenc Snétberger: acoustic guitar
Arild Andersen: double bass, electronics
Paolo Vinaccia: drums, percussion, electronics

Link

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"17 Hippies is a prolific outfit ... their polyglot style has evolved to take in
dozens of genres, and here they've chosen to mix an Eastern European odd-metered rhythm, played on bass and accordion, with a plaintive, gentle reading of the `Apache' melody on the clarinet. It's very simple, and effectively makes an old classic new again."

"17 Hippies sounds like someone used a warped blender to mix an accordion, ukulele, banjo, saw, clarinet, violin, trumpet, trombone, flute, a Jew's harp, an Indian tampura, an Irish bouzouki, an assortment of other string and wind instruments, a Zydeco band, Luminescent Orchestrii, and a circus sideshow from somewhere in Eastern Europe. In other words, their sound is quite bizarre and absolutely fantastic."

"17 Hippies are one of the most exiting bands that exist in Germany today. And if you miss them, it's your own fault."

"17 Hippies are ridiculously underrated. They should be in the front rank of European world music artists."

"The musical idioms are ... disparate, yet the mix is never incoherent. 17 Hippies have learned how to fuse sundry musics into one."

"The renegade sound of 17 Hippies--captured on the new disc Heimlich-- is an engaging blend of pop sounds and traditional eastern European folk melodies."

For the past 12 years, Berlin's very own "special orchestra" 17 Hippies has been playing a whirling, crashing, diving, bobbing, weaving mixture of music from around the world. Imagine a mix of Eastern melodies, Balkan rhythms, French chanson, Anglo songwriting, and Cajun tunes, all perfectly blended together to create a unique pop style.

Starting in Spring 1995 as a trio playing mainly instrumental music, the band mutated into an ensemble--now numbering 13 musicians--that displays a vast range of musical creativity, ranging from their French radio hit "Marlène"" to the soundtrack for Andreas Dresen's award-winning film Halbe Treppe(Silver Bear, Berlin Film Festival).

With their new CD Heimlich, 17 Hippies have set a milestone. On this intoxicating album, most of the tunes are vocal--sung in German, French, and English. From a wild dance inspired by a Romanian melody to a Zydecogoes- Bollywood tune, 17 Hippies have created another masterpiece.

01. Schattenmann
02. Son Myst
03. Wann War Das
04. Deine Trn
05. Teschko
06. Tick Tack
07. The Moving Song
08. Apache
09. Heimlich
10. Just Like You
11. Madame
12. Rustemul
13. Wann Denn Dann Wann Dann (Prolog)
14. Le Son Mystere
15. Papadam
16. Jacques Balzac
17. Wann Denn Dann Wann Dann

Link

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Alongside the spectacular style of the virtuoso gypsy violinist there also exists a style of music that the Rom perform only within the family circle or encampment. Here the human voice reigns supreme, stirring up violent emotions that range from poignant malaise to unbounded joy.

A specialsed, but excelent survey of authentic Gypsy songs from six towns and villages in central and eastern Hungary - vocals, in Hungarian and Romani, with accompanying spoons and strucks pots and tables. Gypsy music for Gypsies.

01. JÁSZKISÉR:
Baj van baj van babám... * Jaj de luludja... * Babi lovam kopogása
02. Ne báncsatok... (Gajdolás)
03. Kedves bábam... * Taj kirola
04. SZOLNOK: Ke soha te na meren, * Ke lóli phábály...
05. Ke le luludja barol... * Gajdolás
06. TISZAKARÁD: Én istenem... * Gajdolás
07. De farotokat... * Kerék az...
08. Ma lesz kedvem... * Phengyom tukha...
09. Szállogat a pályva madár...
10. NAGYKÁLLÓ: Laso djes te del o del... * Pergetés
11. Aj ke sostar mange, * Oj O curara...
12. Felszállott a páva
13. HODÁSZ: Rudas csillag hajnal hasad
14. Ando kukurizo...
15. ÖCSÖD: Babám, babám, de babám...
16. Avel o postasi, * Szájbőgőzés * Gajdolás
17. Esik az eső * Gajdolás

Link

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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

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A unique and cathartic musical experience, Psyché takes you on an 80 minute long journey to a very particular Hungary.

Psyché couples the voice and music of Beáta Palya and her Quintet with the poetry of the celebrated Hungarian poet Weöres Sandor.
An epic story, Psyché tells of the life and times of a half gypsy woman named Psyché whose passionate gypsy blood is at odds with her education in the noble courts and the conventions of early 19th Century Hungarian society - these contradictions lay the foundations for her life adventures, and for her suffering. As the story unfolds the listener encounters playful, erotic and bloody poems set to original compositions, folk melodies and gypsy tunes, there are even some strong jazz influences as with the track Ius ultimate noctis, which uses the melody from the Billy Holiday song Strange Fruits.

Weöres first published the poems claiming to have discovered them gathering dust in an achieve: he attributed them to an imaginary creator, an impassioned 19th century poetess named Lónyai Erzsébet, who – Weöres claimed - had sent her poetry to another poet because she was in love with him. By the time Weöres admitted to being the true author of the poems, the imaginary Lónyai Erzsébet had already become one of Hungary’s best-loved literary characters. A real woman in the hearts and minds of many - it was even believed that the passionate and troubled life story of Psyche mirrored Erzsébet’s own life, and theories about the woman developed in abundance.

The strength of the musical compositions on this disc is such that even non-Hungarian speakers will find themselves entranced by the world of Psyché and her imaginary creator.

Bea uses her impressive and accomplished voice to sing the poetry as close as possible to the spoken rhythm of the poems: “I want – as Lónyai Erzsébet said in one of her poems about her poetry - someone to feel the warmth of my breath…”

Az utóbbi évek egyik legsikeresebb énekese saját válogatásában, a Palya Bea Quintet közreműködésével szólaltatja meg a 19. századi „költőnő” gyakorta frivol, de mindig őszinte verseit. A könyv a sorozatnál már megszokott igényes kivitelben jelent meg. Az illusztrációkat Gyulai Líviusz készítette. A zeneszerző Gryllus Sámuel.

„...Még nem tudom, mennyi nekem, még hallgat bennem a Lélek.. „ – írtam két évvel ezelőtt a Psychéről, Weörestől vett szavakkal. Most, két év elteltével többet tudok már, Lónyai Erzsébet új életre kel bennem. Megéneklem hát a Költőnőt és vele a Költőt. S persze magamat is. Most lett itt az ideje, ezt a lemezt nem lehetett előbb bemutatni.

01. Gabónak, kisebb édes Ötsémnek
02. Frantzúz leçon közepett
03. Nina néném
04. A késértet
05. A boszorkány
06. Fragmentum
07. Patak parttyán
08. A habozó türelmetlen
09. Dall
10. Denisenek és Josónak
11. Akrostichon
12. Az oktalan
13. Az Ideal
14. Josó neviben Christinának
15. Christinánkhoz
16. Klavier Studium
17. Sáros-Pataki polgár leány
18. Szózat Katitzához a férfiak ügyiben
19. Katitzához keserűségemben
20. Emlék
21. Bútsú Denisetűl, férjezett Lady Kenneth-tűl
22. Ninon testvér néném Souvenir albumába
23. Die taube Priorissa
24. Tarantella
25. Levél cousinomnak Ujhelre
26. Minutes volantes III.
27. Minutes volantes IV.
28. Epistola ennen magamhoz
29. Sírfeliratom 20-dik születés napomra
30. Ius ultimae noctis
31. Egy lovász fihoz
32. Venus és Mars
33. Kéretlen tanácsok I.
34. Tzigán dallok magyarittva I.
35. Tzigán dallok magyarittva IV.
36. Strahlensplitter
37. Tükör előtt

All the songs are performed by the Palya Bea Quintet:
Bea Palya – voice
Miklós Lukács – cimbalom
Balázs Szokolay – szaxophon, bagpipe, taragotte, flutes, Jews‘harp
Csaba Novák – acoustic bass
András Dés – derbuka, riq, milk-can, voice
Featuring: Zoltán Lantos and Balázs Bujtor – violin

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Evenly split between instrumentals and vocal tunes, this debut album is a compelling blend of originals and new arrangements for pieces pulled from various Eastern European songbooks. The band aims to expand the definition of Jewish diasporic music, by learning and reinterpreting songs and rhythms from all over Slavic and Balkan Europe. Lyrics are in Yiddish and aim to speak forcefully to the bloody history and intractable contradictions of Jewish diaspora and 'return'. With backgrounds in punk-rock, free-jazz, and other liberation musics, the all-acoustic playing on this record benefits from a genuinely spirited delivery and intensely original approaches to arrangements that never feel forced. This is modern folk music from Eastern European sources played strong, unburdened by antiseptic production and/or cheap sentimentality.

Songs range from the propulsive to the sublimely restrained. "Fishelakh in Vaser" explodes with a pumping free-music rhythm section, "Cretan Song" is a staccato Balkan dance, and "Ver Tantz?" is an angry, politically-charged klezmer-punk original. Instrumentals "Shvartze Flamen..." and "Nign", along with the brilliant original "Toyte Goyes" (lyrics taken from a poem by Yiddish writer Itzik Fefer) are meditative and heartrending.

01 Shvartze flamen, vayser fayer
02 Papir iz dokh vays
03 Fishelakh in vaser
04 Cretan song
05 Ver tanzt?
06 Stav ya pitu
07 Nign
08 Toyte goyes in shineln
09 Kalarash
10 Forn forstu
11 Skocne
12 Moscowitz terkisher
13 Di khasene


Thierry Amar: contrabass
Scott Levine Gilmore: mandolin, cymbalom, guitar, drums, violin, harmonium, voice
Gabe Levine: clarinet, guitar, bass clarinet
Jessica Moss: violin, bass clarinet
with
Jesse Levine: piano on 05; accordion on 09
Nadia Moss: piano on 12

Link

"Every piece originates from authentic performers, the tunes have been arranged by the members of the group. We attempt to interpret the original sound authentically."

Dűvő plays Hungarian folk-music first and foremost in a traditional style. It has been playing in concert since 1981 as an independent orchestra. In its repertoire all kinds of music of the ethnic groups in the Carpathian-basin can be found. The members of the ensemble also deal with the collecting and teaching folk music.

They have taken part in several Hungarian festivals and have performed in other countries: Belgium, Netherlands, Spain, France, Turkey, Finland, Greece, Austria, Israel, Poland, Germany, Portugal, Sweden, and Luxembourg. They won one of the most coveted prizes in 1983, "Young Master of Musical Art" and in 1989 they were awarded the order "Excellent Ensemble."

01. Bagpipe Songs From Somogy County
02. Recruiting Music and Csardas
03. No more honour
04. Purtata - Pacalka
05. Hungarian Slow And Fast
06. Forgotten tunes
07. The Sun Has Risen
08. a, March b, Everlasting Peace
09. Chanting At Christmas
10. The Musicians
11. Csango tunes from Moldavia

Ferenc Andrássy - Cimbalom, Double Bass, Drum
Dénes Hruz - Violin, Bagpipe, Voice, Drum
Szabolcs Hruz - Viola, Violin, Kobsa, Voice
István Nagy - Double Bass, Flute, Kaval, Saxaphone

Link

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A suprisingly fresh Hungarian Folk-rock album with some balkan influences, lots of instruments, virtuoso solos and always a tight sound with well-crafted songs taking Folk music as a base and turning it into a spacey Progressive sound with heavy Guitar. You get Gypsy Violin, Zither, Bagpipes and Flute layered with Space drum, scorching Guitar and Bass. Though it’s from 1984, this is excellent all the way and comes highly recommended!

01. Zöld szemű rózsa / Rose of Green Eyes
02. Védelmezz! / Protect Me!
03. Egy ágyon egy kenyéren / Common Bed, Common Bread
04. Trák attak / Thracian Attack
05. Alig volt zöld / It Hardly Was Green
06. Ne sírj / Don't Cry
07. Ilju Haramia / Ilyu Highwayman
08. Ha meghalok / If I Die
09. Gyere ki te gyöngyvirág / Lily-of-the Valley
10. Adjon az Isten / May the Lord Provide
11. Macedon Expressz / Macedonian Express (Instrumental)
12. Jöjj be szobámba / Come in My Bower

Link

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The ensemble LA MINOR was founded in summer 2000.
The ensemble performs in the style of street chanson with Russian folk, ska, jazz and Klezmer (Odessa style) influence. Once the style of LA MINOR was named as “Odessa beats”. It s the most precise determination in which LA MINOR live, create and perform.

The music of LA MINOR enriched by bayan (Russian accordion), saxophone, balalayka and tuba brings you back to the atmosphere of 20-40-es Soviet years and reminds the soundtrack to good old films about gangsters, tragic love and great swindlers of that time. Happy and nostalgic in the same time their music will not leave you untouched. Teeming with thieves and policemen, prostitutes and undercover agents, La Minor's Soviet-era street songs about the urban underworld strike an all-too-familiar chord with local art-house fans. But as the St. Petersburg band has learned on its frequent trips abroad, foreign audiences bring their own life experiences to the music.The collective consists of professional musicians.

Right from the outset, the voclaist Slava Shalygin set out to emulate urban folk guru Arkady Severny. Severny's genre, now euphemistically known as Russian chanson, surfaced from the music underground after the Soviet Union's collapse, and has since become ubiquitous in popularized renditions on radio stations, at cafes and in taxicabs. But La Minor returns to the music's roots, with the sophisticated arrangements and deadpan delivery that originally marked the gangster sound.
La Minor is known for its careful choice of material, and for ignoring the standards in place of obscure gems of folk poetry.

01. Aleshka zharil na bajane
02. Kokain
03. Devushka v Plat'e iz Sitca
04. Postoj, Parovo
05. A Ja Hozhu Pohodkoju Pochtennoju
06. Val's
07. Nikolaevskij Tramvaj
08. Murka
09. EvrejSKA
10. Istorija Studenta
11. Bros', Zhalet' ne Stanu
12. Gorod Anapa
13. U Son'ki Imeniny
14. Kakim Ty Menja Jadom Napoila
15. Mama, Mama
16. Konfetki-Prjanichki

Slava Shalygin – vocal
Igor Boytsov – saxophone
Sanja Ezhov – bayan (Russische accordion ), back-vocal
Lyonya Agafonov – double bass
Vova Uspensky - gitara, banjo
Zhenja Bobrov – drums

Link

The band was founded 1995 in Berlin by Christopher Blenkinsop (bouzouki, ukulele & vocals), Carsten Wegener (bass), Lutz “Lüül” Ulbrich (banjo & guitar), Kristin “Kiki” Sauer (accordion & vocals) and Reinhard "Koma" Lüderitz (bagpipes). They first used the name 17 Hippies in the fall of that year.

In 1996 they began to organize their own series of free concerts called Hippie Haus Tanz (Hippie House Dance). At this time Antje Henkel (clarinet), Elmar Gutmann (trumpet), and Ulrike “Rike” Lau (cello) joined the band. In 1997 Henry Notroff (clarinet) and Dirk Trageser (guitar & vocals) also were added, and live recordings of different concerts and rehearsal room sessions were compiled into their first CD Rock'n'Roll 13. In 1998 they played at the SXSW Festival in Austin, Texas and then toured in Texas and Louisiana. Later that year Uwe Langer (trombone) joined the band and they played in Paris for the first time.

They established their own record label and in 1999 released their second CD Wer ist das? (Who is that?). The French label Buda Musique released a compilation of both CD’s called Berlin Style, which was then also released in Italy. Volker "Kruisko" Rettmann (accordion) joined the band.

In 2001 the band wrote the score for the German movie Grill Point (Halbe Treppe) by Andreas Dresen and they performed in a cameo role in the film. A tour of Budapest, Prague, Vienna and France took place, and the second French album Sirba was released, featuring their first radio hit "Marlène". Kerstin Kaernbach (violin) also was added to the band lineup. Their first studio album Ifni was released in 2004. An extensive tour of Germany, Switzerland, the Netherlands, Belgium, Hungary, the Czech Republic, Morocco and France ensued. Daniel Friederichs (violin) became the last member to join the current lineup. In 2006 the band made a tour of Japan and Spain and composed the music for the play Kasimir and Karoline, staged at the Deutsches Theater in Berlin.

Their style is a unique mix of Eastern European melodies and rhythms, with French chanson and American folk music. They sing mainly in German, English and French. In France their music is known as Berlin Style.

01. Die Oros
02. Mad Bad Cat
03. Isa Auf Der Brucke
04. Ershter Tants
05. Eine Sirba
06. Marlene
07. Elf-Achtel
08. Gelb Zwo Drei
09. Tanz Des Bauem
10. Saragina Rumba
11. Chassidic Song
12. Sandgate
13. Fahrstuhimusik
14. Vallee De Sira
15. Freilachs - (live)
16. Gator's Grin
17. Kilomeyke
18. E Major

Link

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Babos Gyula is the most representative guitar player of the Hungarian jazz life, the driving force of the modern Hungarian improvisative music. “…If you do not know his play, you simply lose colours from the palette of existence and revelation, and they will never get back to you after the moment when the magic fades away…” His band, the Babos Project Special represents a peculiar synthesis of electronic jazz and roma music. Babos, as typical to him, selected the most talented young musicians for the band.

01. Chacho Rom
02. Chacho Rom II
03. Paradicsom (Paradise)
04. EastWes
05. Tango Hungaro
06. Botoló (Staffing)
07. Bolondház (Madhouse)
08. Variáció (Variation)
09. Kígyó Ballada (Daróczi Choli József meséje)
(Ballad Of The Snake - Tale By József Daróczi Choli)
10. Himnusz (Hymn)

Babos Gyula - guitar
Szakcsi Lakatos Róbert - piano
Patai Öcsi - violin
Hárs Viktor - double bass
Balogh László - drums
Veress Mónika - vocal

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"Márta Sebestyén's first solo album features Muzsikás as her backing group and, indeed, largely follows in the mould of earlier Muzsikás albums. "Dúdoltam én" contains tracks with various approaches to Hungarian folk songs - the majority are performed with authentic traditional musical accompaniment, some have a modern musical arrangement and some are pure vocal performances with no music at all. The highlights of the album are the first and last tracks - both are among the finest of Sebestyén's career."

01. Vetettem Violát (A Violet I Planted) Moldva
02. Széki Magyar, A ‘Misié (Misi's Dance From Szék) Mezöség
03. Fúvom az énekem (I Sing My Song) Gyimes
04. Fehér galamb szállt a házra
(A White Dove Has Come) Mezöség
05. Hajnali nóta (Morning Song) Kalotaszeg
06. Egy pár tánc Mezöségröl
(A Couple’s Dances From Mezöség)
07. Szeress egyet, s legyen szép (Love Just One)
08. Három árva (Three Orphans)
09. Fújnak a fellegek (Dark Winds Come) Somogy
10. Teremtés (Genesis)

Musicians:
Márta Sebestyén - voice, recorder
Sándor Csoóri - guitar, hurdy-gurdy, viola, kobsa.
Péter Éri - double bass, buzuki, cello, viola, tambura, folk shawm,
Dániel Hamar - double bass
Mihály Sipos - violin, zither.

Guests:
Zoltán Juhász - recorder
Béla Halmos - violin
László Porteleki - violin
Csaba Ökrös - violin
Antal Fekete - viola
Katalin Gyenis - voice
András Berecz - voice

Link

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The group "Kulin Ban" was formed at the beginning of 2005. It tried to make a unique connection between old and modern sound led by the expression "from Kulin Ban's period up to nowadays" and on that way it popularized the name of a very specific medieval sovereign.
The greatest challenges of the project were different affections in music and aspirations of the people involved. It wasn't easy to connect different music traditions and colour them with ambient hues. The very challenge was the greatest incentive as well. As the result, their first album of the same name was published in 2006 by PGP RTS.
Since then "Kulin ban" has had many concerts and promotions. Conceptually, "Kulin ban" was trying to avoid the model of "the western" band system which behaves as a group of individual musicians that express themselves. The accent is on the community with its focus on the archetype in which musicians surpass themselves and become indeed one mind and one soul …they become one.
So, "Kulin ban" has never restricted itself to a determined number of "group members" or inflexible type of music concept on the stage. Freedom as a precondition of any movement, freedom of the artistic expression was, is and will be the priority for Kulin ban.

1.Januske beluske
2.Kad ja podjoh na bentbasu
3.Zali Zare da zalimo
4.Ja urani jutros rano
5.Stojna moma brazdu kopa
6.Od kako sam ja devojce
7.Sobinka
8.Ban brdo

Part 1.
Part 2.

Contrary to popular belief, Golem is neither a towering Jewish Frankenstein who defended the Jews of 17th Century Prague, nor a creature from “Lord of the Rings.” Golem is a 6 piece Eastern European folk-punk band.

Fronted by Annette Ezekiel - singer, accordionist, and 5-foot powerhouse; and vocalist, tambourine player, crazy-man Aaron Diskin; violin virtuoso Alicia Jo Rabins; trombonist extraordinaire Curtis Hasselbring; elegant upright bassist Taylor Bergren-Chrisman, and unstoppable drummer Tim Monaghan, Golem’s sound evokes wisps of old-world elegance filtered through the successes and disappointments of new-world dreams. Spending nights in Lower East Side immigrant-owned bagel shops and summers in Eastern Europe, Annette collects Jewish, Gypsy, and Slavic folk songs, and, with Golem, rewrites, adds, edits, and rearranges them along the way. These are the songs to which Eastern European grandparents danced over a century ago, and now Golem has its unwrinkled fans moshing to the same pulsing beats.

"The word on "Fresh Off Boat":
Love stories? Check. Dances? Check. Warnings to future son-in-laws? Check. Dysfunctional families forcing kids to sell bagels on the street? That’s here too.

After 2004’s Homesick Songs, GOLEM has paired with not-for-profit label JDub (Matisyahu, Balkan Beat Box) and producer Emery Dobyns (Patti Smith, Antony and the Johnsons, the Battles) for their latest release, Fresh Off Boat (a reference to new immigrants who call each other F.O.B.s). Thirteen tracks in five languages, the album hits stores August 8th, 2006, and features Phish bassist Mike Gordon, and legendary Patti Smith guitarist Lenny Kaye and more."

01. Ushti Baba
02. Mazel
03. Bublichki
04. Klezmerke
05. Warsaw In Khelm - (featuring Amanda Palmer)
06. School Of Dance
07. Charlatan-Ka
08. Rent, The
09. Mazurka
10. Golem Hora - (featuring Mike Gordon/Lenny Kaye)
11. Stick It!
12. Czardas
13. Le Mariage

Link

EtnoRom ensemble was founded in 2005 by József Balog and Ágnes Künstler, the world-famous soloists of the Hungarian Gypsy group, "Kalyi Jag". Their new formation, Etnorom presents a unique range of fiery Gypsy music and dances from the Balkan Peninsula to Andalusia. The songs appear in exciting, new scoring by outstanding Romany musicians, who grew up singing and playing music and worked as members of Middle Eastern Europe's most famous Gypsy and folk groups. Etnorom's incredibly colorful repertoire includes; Gypsy music from Hungary, the Balkans, Serbia, Romania, Russia, Greece, Turkey, Spain, and - which is a real delicacy - the Arab world! The concerts are enriched with belly dance performed by Alexandra, and various Gypsy dances from the region. An "audience dance participation section" is often added to the show that gives the audience the possibility to learn belly dance moves and traditional Romany dances.'

From band:
"EtnoRom has an alternative approach towards Gypsy music by merging the authentic tunes with contemporary world music, swing and jazz elements. Why is this approach new today, when world music is the main trend? Because EtnoRom managed to create a musical balance so that the music saves the extreme power of real traditional tunes and rhythms.
EtnoRom's mission is to build contact between Romany tribes who wandered from Northern India and settled down in various parts of the world: In Northern Africa, Andalusia, Turkey, The Balkan Peninsula, Serbia, Russia, Romania and Hungary. In most of the cases the Gypsy people themselves don't know the music and dances of their brothers and sisters. EtnoRom aims to make Gypsy and non-Gypsy people know about the incredible diversity of Gypsy music. This mission, combined with the musical approach of the group has created a new, brave form of Gypsy music that roots in the authentic Gypsy basics and harmonically integrates other musical trends, as well."

01. Kanak Devla me pijav, When I drink...
02. Zsanezs Sukar Te Khelesz
03. Phirdem me ande luma, I walk all alone...
04. Aven, aven Romale!, Come, Gypsies, let's dance!
05. Romanos
06. Soha senkit nem szerettem, I never loved anyone
07. Jek fogasi me kerav, My style
08. Kotyka tele bassaven, They are making music down there...
09. Muro cino kalorro, My little black son
10. Rogyom me Tut Ande Luma
11. Phirdem me ande luma, I was wandering through the whole world
12. Miert Sir Az En Tulipanom
13. Ajaj Devla de margyan man!, My God, how you’ve treated me bad!
14. Tu Szan Muro Pirano
15. Romale aven ke mande!, Gypsy people, come with me!

Musicians:
Jozsef Balog - guitar, vocals
Ágnes Künstler - vocals
Sándor Kuti - cimbalom
László Major - violin
István Balogh - percussion, oral bass, dance
Miklós Balogh - keyboard

Guests:
Tamás Smuk - darbuka, cajon
Zoltán Balogh - solo guitar, bass guitar, buzuki
Zoltán Lakatos - solo guitar, accord guitar
Rudolf Balogh - Spanish rhythmic guitar

Link

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There can be little doubt that Felix Lajko is an incredible violinist with an exceptional talent.

"I had heard that Lajkó is regarded with awe in the Balkans, but was still unprepared for the impact of hearing and seeing him at such close quarters.... he attacks his violin with such ferocity that broken threads cascade from his bow during each number. There is a tendency for Balkan musicians to fit into one of several generic categories – gypsy, folk, Klezmer, etc – but Lajko seems to have invented a style of his own, and any reference to existing genres would be misleading. Each of his instrumental songs had a clear structure, and yet each seemed open to the spirit of the moment."

"My music is based on the delicacy and colourfulness of my instrument. I do not play any new types of musical genre, I only follow my own path and improvise and write music. I cannot see differences between musical styles and ways, so I play folk-, classical-, rock-, blues-, and improvisational music. I have written music to several theatre plays and films for Yugoslavian and Hungarian directors. I wrote a musical piece for the festival commemorating the Sarajevo Cultural Olympics."

1. Play 1
2. Single
3. Play 2
4. String Quartet
5. Solo
6. Finale

Musicians:
Félix Lajkó - violin
Zsolt Kelemen - viola
Michael Babinchak - cello
Ferenc Kurina - double bass
Tibor Takács - drum

Link

Zoltán Krulik, the composer-guitarist of Makám every year surprises his audience with better and better albums. The latest consists of soldier songs but song not from the point of view of the soldiers but their lovers, wives. The meeting of three wonderful female (Szilvia Bognár, Bea Palya, Ágnes Szalóki) and one male (Ádám Dévényi) voice furthermore the traditionalist but contemporary sound will fully satisfy the listener.
These beautiful Balkan songs, mostly Bulgarian and Macedonian which have become well-known in Hungary through the poetic translations of László Nagy – have also been covered by the former bands Kolinda and Gépfolklór, possibly others as well. The arrangements and compositions of Zoltán Krulik show the unequivocal marks of an unfaltering stylistic sense and an accomplished craftsmanship without the slightest suggestion of cliché or tried and tested routine. That is to say, underlying these compositions we can find genuine human sensitivity, experience and values: faith in the power of song and of melody, refined taste and temperance manifested in unmanipulated, acoustic sound, and trust in the possibility of conveying poetic metaphors and delicately shaded thoughts to the audience.

01. Van-e tenéked...?
02. Jaj, sötétben
03. Keselyű
04. Ilju
05. Fúdogál
06. Kilences
07. Katona sirató
08. Ébredj fel
09. Édesanya, kedvesem
10. Eleven
11. Gyere vélem
12. A Don-kanyar felől

Composed by Zoltán Krulik, except tracks 3, 4, 5 and 9 which are traditional.

Musicians:
Zoltán Krulik - guitar
Balázs Szokolay - sax, furulya, duda
Balázs Thurnay - kaval, voice
Eszter Krulik - violin
Zoltán Mizsei - keyboard, voice
Zoltán Kovács - double bass
Géza Orczy - derbuka, tapán, buzuki, saz

Guests:
Ádám Dévényi - voice
Szilvia Bognár - voice
Bea Palya - voice
Ági Szalóki - voice

Link

"Antwerp city, with its harbor, has always been a melting pot of different cultures. The Antwerp Gipsy-Ska Orkestra reflects that openness in an intriguing way; seven musicians from all over the world - each with a very diverse musical background - have teamed up to combine the pure, raw energy of authentic Roma Gipsy melodies with the ultra-danceable ska groove.

This band has it all! A charismatic front man, street credibility, incredible energy on stage, a vast variety of styles and rhythms that stretch the boundaries of what we know as ska music, striking melodies that soar with joy and dive with melancholy, improvisational skills to match a jazz combo and best of all… their own sound that is so rich and natural that one can’t help but wonder why nobody came up with this idea before.

You can see that classifying AGSO as just another ska band would be a mistake that one is not likely to make after seeing them at work.

Based solely on their live reputation they played the Melkweg (Amsterdam) with Balkan Beat Box and left the audience screaming for more. A few months later they performed at the prestigious Eurosonic festival in the ‘Stadsschouwburg’ (after the Magic Numbers) which confirmed their popularity status and has them headlining many festivals in the Netherlands and Belgium.

The debut CD which was released in June 2007, was unanimously applauded by the Belgian Press as a masterpiece, terms like all hits, no misses got the band many interviews and frequent airplay on Belgium’s Radio 1. Since the last of the band’s illegal immigrants received his permit to stay just before the release, “Tuttilegal” seemed an appropriate title.

The Musicians

Gregor - Vocals & trumpet
Kike - Alto Saxophone
Vincent - Soprano/Tenor Saxophone
Mukt i- Guitar
Suki - Keyboard
Filip - Double Bass
Alfredo - Drums

Gregor and Mukti are old friends, they played together in Moss, a hardcore punk band with Mukti on drums. At the same time Mukti played in Tachyon, at that time also a punk band (he also joined Belgian Asociality later on)... one thing led to another and Gregor became the singer of Tachyon. As this group gradually became a ska band, Kike (Argentina) was asked to join them on sax. After Tachyon split up in 2003 these three friends found each other again in AGSO.

Kosovo born Suki plays in numerous gipsy-projects.

Gregor, Vincent (France) and Kike are part of the Ambrassband, a fanfare that grew out of the Antifare.
Gregor and Kike also form the horn section of Donkey Diesel.

Filip played bass with Le Trio Perdu. After their breakup, he formed the klezmer formation On Fidldikn Mamzer with the accordeonist. He's active in the gipsy scene apart from AGSO and you also can hear him perform with Bobby's Evil, Bacalhou (Fado), Tagsim (Arabo-Andalusisch) en Delicatessen (Free). He's also recording with Lais.

Alfredo was born in Chili and also plays jazz sessions and other side projects."

01.Erkilet güzeli
02.Artik Sevmeyecegim
03.Pussinality
04.Tuttilegal
05.Djelem Djelem
06.Duy Beren
07.Suki's theme
08.Tutti Frutti
09.Duj Sandala
10.Agsong

Link

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"The songs revolve around the theme of marriage, expressing the joys and sorrows, the reflections and celebrations of a young lass at the turning point of her life."

Extract from sleeve notes:
"Think it over young lass!" sings Marianna Majorosi, for whom - unlike the majority of her modern contemporaries - it is not the spoken word but the song that seems to be the meet authentic language through which she can fully express her thoughts and dings. She sings of the destiny of women, young and old, of their experiences and sagacity in connection with pair selection and marriage, the most significant turning point in their lives. She employs precise, sublime form, citing from the masterpieces of Hungarian folk-poetry, which convey a wide range of deep emotions and rich ideas.

Choosing one of the fundamental rites of passages of human life she presents not only the customs (The Wedding) or merry aspects (The Feast) of marriage, but also the way a girl becomes acquainted with young men at large or small scale revels. She shows us that a girl might sometimes suffer disappointment, even in her fiance, and lays the importance of the marriage decision before us in The Ceremony....

While Marianna describes the joy, merriment, sorrow and grief of women's destiny, she also offers a stylish and tasteful glimpse of the rich variety of Hungarian folk wedding customs. However, it cannot simply be stated that the listener is holding only a collection of folk customs. This disc, besides giving an overall picture of Hungarian tradition, creates an atmosphere whereby we can easily put ourselves in the position of a girl when she sets out for the church or when she is swirling in the bride's dance.

The music which accompanies the girls' singing from beginning to end is not only an excellent complement to the songs, but also demonstrates some of the wealth of regional variation to be found in the folk tunes of the Hungarian minorities across the Carpathian Basin, and adds further colour to the spirit that pervades these songs.

MÁTKASÁG / BETROTHAL
1. Mezőség / Transylvanian Heath: Búza

VÉNLÁNY NÓTÁJA / SPINSTER'S SONG
2. Dunántúl / Transdanubia: Somogy

MENNYEGZŐ / THE WEDDING
3. Menyasszonykikérő / Requesting Of The Bride
4. Menyasszonybúcsúztató / Farewell To The Bride
- Felvidék / Uplands: Ipolyvartó
5-8. Menyasszonybúcsú / The Bride's Farewell
- Felvidék / Uplands: Magyarbőd
9. Esküvő / The Ceremony - Mezőség / Transylvanian Heath: Szék

HALOTTMENYASSZONY BÚCSÚZTATÓ / FAREWELL TO THE DEAD BRIDE
10. Mezőség / Transylvanian Heath: Magyarszovát

LAKODALOM / THE FEAST
11. Borköszöntő / Wine Toast
12. Eger környéki boros nóták / Wine Songs From The Vicinity Of Eger
13. Nászköszöntő / Wedding Party Toast
14. Bodrogközi hejehuja és elköszönő / Merry-making
From Bodrogköz and Leave-taking

Link

BBC Awards for World Music 2006 Winner.

Armenia is a nation that invokes many descriptions: landlocked, ancient, nestled in the foothills of the Caucasus mountains and bearer of many tragic events. Yet Armenia is also celebrated for its music, especially the duduk, a flute carved from apricot wood with a cane reed whose range is barely one octave. When played by a master such as Djivan Gasparyan the duduk creates one of the loneliest, most moving sounds ever heard.
Yet Armenia is not land locked in the past; instead, it has maintained a connection with Western thought and culture - this has been helped by a huge Armenian diaspora, many of whom live in the USA - and The Armenian Navy Band are the most brilliant example yet of how an ancient culture can comfortably blend with a contemporary one.

The Armenian Navy Band was founded by the percussionist/vocalist of Armenian descent, Arto Tunçboyaciyan. Arto likes to describe The Armenian Navy Band as 'avant garde music from Armenia' which suggests something of the band but is a little limiting. The band have a strong jazz influence and to this they bring in all manner of folkloric instrumentation so building an organic creation that, well, swings.
Along with others of the Armenian diaspora, Arto Tuncboyaciyan grew up on the outskirts of Istanbul. Arto turned to music to celebrate his culture and here he managed to keep alive the spirit of Armenia. The sorrow and loneliness, also to be found in African-American jazz and blues, are mixed here with the melancholy Armenian spirit. Yet there is also joy, love and solace.

The Navy Band is composed of twelve Armenian musicians and the compositions are all Arto originals which - using his words - 'have the sound of my life'. The instruments vary from traditional: duduk, zurna, kemanche, kanun to contemporary: trombone, alto sax, tenor, soprano sax, trumpet, bass, drums, keyboard and piano.

"I don't give direction to anybody," says Arto. "I let you imagine for yourself but what I try to give you is Love, Respect, Truth. I believe this is the path for trust. Trust is one of the simplest forms of wealth in this world. This is what we need."

01. Let Factories Open
02. Let' Not Become A Copy From A Copy
03. Let's Try A New Road
04. I Dont Forget My Faith
05. Here's To You Ararat
06. My Door Is Open For Everybody
07. Broken Waltz
08. Red Bird
09. Kef Kef ( Celebration )
10. Kitchen Song
11. Every Person Is One Life
12. Oleaman
13. Look At Your Forehead
14. For The Souls Of Those Who Passe

Part I.
Part II.

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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

"When you come from a country whose musical tradition has already been covered so well by the huge talent of Márta Sebestyén, you certainly need a very good reason to find the courage to put out a similar record.

Ágnes Herczku has every right to feel vindicated by her decision to do just that. In Gold and Blue is reminiscent of Sebestyén but is different enough and personal enough to allow Herczku to claim a part of that tradition as her own.

So, this album which is: "...not only about love, though it is mainly about that" and which speaks of: "...love's pleasures and miseries - things we would rather just sing to ourselves", as she says in the introduction, is venturing into familiar territory, albeit discovering in the process unfathomable levels of sorrow and passion in those traditional songs. Sorrow so heart-wrenching that even reading the translated lyrics asks for nerves of steel and passion so strong that it leads one into questioning the open-mindedness of our so-called 'progressive' times.

Passion and sorrow, however, are often the two sides of the same coin, a low-valued one that speaks of crushing poverty and soul-wrenching fatigue. Of women forced to marry just to combine the cattle of the two families into a substantive flock, of resilient mothers who cannot support their children's emotional needs, of young boys and girls who break every rule in order to make do in an inhospitable environment. And although on a surface level those stories seem like tales from a vicious past, soon you realize how many people face the same kind of problems today. The Brazilian girls looking for a sugar daddy abroad over the Internet, the Eastern European girls following their consumerist dreams to sexual slavery in the Liberal West, the Albanian, Mexican and Nigerian men crossing the frozen Mediterranean and the punishing desert to the American Dream or to the European Welfare State.

You think of those things while the "gypsy" violins play out their usual tales of "Hungarianess." We all know what to expect: Bartók has already showed the way and Márta Sebestyén has sung about it. Yet the fire that burns inside this music transcends all stereotypes and melts all our expectations. The recording is of such detail that small musical structures fill the room. The stories leap out of the speakers. And Ágnes Herczku sings beautifully, in a way that is both full of feeling with just a touch emotional detachment. These stories are meaningful to her, but are not her own and she points out the difference, lest we are misled into believing we know how it is to feel like that.

This is a demanding, difficult record that points the way to the greater mysteries of life, and particularly love; a journey more than a recording."

1. Prológus / Prologue
2. Hazám, hazám... / My Home, My Home…
3. Költözik a vándormadár... / The Wandering Bird Moves On…
4. Mikorjára menyecske lesz... / When Will A Bride Be Of This Girl…
5. Egy menyasszonyé / A Bride’s
6. Felvidéki párosítók / Match Making Songs
7. Volt nékem szeretőm... / I Had a Lover…
8. Verd meg, Isten... / God Strike Down…
9. Bánjad, asszony, bánjad... / Deplore It, Woman…
10. Arany és kék / Blue And Gold
11. Epilógus / Epilogue

Ágnes Herczku – voice
Gergely Agócs – wooden flute
Kálmán Balogh – cimbalom
Róbert Doór – double bass
Pál Dsupin – wooden flute
Sándor D. Tóth “Satya” – viola
Géza Fábri – Moldavian lute
Tamás Gombai – violin
Zsolt Kürtösi – double bass
László Mester – viola
Miklós Molnár – violin
Csaba Ökrös – violin
Gábor Szabó “Suvi” - violin

Part I.
Part II.

pass: bluesmen-worldmusic.blogspot.com

Probably the first alum release by an authentic Gypsy band!
Sung in Gypsy and Hungarian.
Kalyi Jag, Black Fire in English, play authentic Gypsy music and have been doing so for over 20 years. They are recognised as one of the foremost Gypsy folk ensembles in Eastern Europe today. The instruments they use are guitar, jug, board and oral improvisations.
Originally released in 1987.

01. Slow song from Szatmár
What're you looking for, brother
02. Rolled song from Szatmár
Make way, children
03. Slow rolled song from Szatmár
Our daughter-in-law was fair
04. Slow song from Szekszárd
May God be lucky
05. Rolled songs from Szekszárd
a) Follow me, girl
b) I've had a new cart made
06. Cavity (oral bass) improvisations
07. Rolled song from Szabolcs
The band played till the morning
08. Transdanubian slow song
What do I need that much money for
09. Rumanian Gypsy dance from the Balkans
"Rumelaj"
10. Dance song from Nagyecsed
For forty-two nights
11. Fanny
12. Slow song from Szatmár
What's my young life
13. Rolled song from Nyírbátor
14. Stick dance tune from Szatmár
As many girls there were
15. Rolled song from Nagyecsed (1'37")
The duck goes in the water
16. Transdanubian slow song
Mother, mother
17. Rolled song from Nyírvasvári
Her soul is
18. Slow song from Nyírvasvári
Why should my mother die
19. Rolled dance song
I have a pipe and a hat

Musicians:
Ágnes Künstler - voice, snapping with fingers
József Balogh - oral bass, voice, guitar, spoons, tambura, whistle
Gusztáv Varga - whistle, voice, guitar, spoons, oral bass, dance
Béla Balogh - voice, water can, oral bass, dance

Link

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"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)

Link

Complementing the Duda (Hungarian Bagpipe) playing on this CD release is some fine singing and other traditional folk music instruments.
Boosting members such as Sándor Csoóri (ex-Muzsikás, now with Ifjú Muzsikás) and György Lányi (Téka Ensemble) this bag-pipe project was always going to produce something interesting. Formed in 1989 they have learnt their folk music from the undisputed masters of the Hungarian Duda: Imre Seres (Közeptúr, Hont region ,Transylvania), János Szikora (Palást, Hont region, Transylvania), and István Pál (Tereske, Nógrád region, Transylvania). The work of these master live on in the recording by the Hungarian Bagpipe Band.
On their concerts they show the leather bagpipe and the bagpipers tunes and make the public aquainted with the traditions and legends which connected with this mistycal instrument. Their first album compilated 15’th years performances.

01. Aki dudás akar lenni
02. Táncolj kecske
03. Betyár nóta
04. Hopp Sári
05. Vörös bíró
06. Palásti dallamok
07. Megütik a dobot
08. Pál István nótái
09. Karácsonyi dallamok
10. Jankovics Imre nótái
11. Aranyalma
12. Dudásom, dudásom
13. Vékony János nótái
14. Dudahimnusz

István Adorján - bagpipe, chained staff
Botond Bese - bagpipe, voice
Sándor Csoóri Jr. - bagpipe
Balázs Istvánfi - bagpipe, koboz
Zoltán Karakas - kanásztülök, voice
József Kozák - bagpipe, flute, drum, bass bagpipe
György Lányi - bagpipe, voice, drum, bzugony
Dongó Szokolay - bagpipe
Végh Andor - bagpipe, turkish whistle
Károly Vladár - bagpipe, voice
Szilvia Bognár - voice
Boglárka Csonka - voice
Orsolya Strack - voice

Link

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Gogol Bordello is a multi-ethnic Gypsy punk band from the Lower East Side of New York City that formed in 1999 and is known for its theatrical stage shows. Much of the band's sound is inspired by Gypsy music, as its core members are immigrants from Eastern Europe. The band incorporates minor-key accordion and fiddle (and on some albums, saxophone) mixed with cabaret, punk, and dub as well as multiple languages. Phill Jupitus has described the band as "a bit like The Clash and The Pogues having a fight... in Eastern Europe."

01. Sacred Darling
02. Voi-la intruder
03. Greencard husband
04. Passport
05. Start wearing purple
06. Shy kind of guy
07. Mussolini vs. Stalin
08. Letter to mother
09. God-like
10. Nomadic chronicle
11. Letter to castro (costumes for tonight)
12. Unvisible zedd
13. Sex spider
14. No threat
15. Against the nature

Part I.
Part II.

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The band Leningrad was set up by Sergey Shnurov (a.k.a. Shnur) in St. Petersburg in 1997.
Leningrad's line up has changed quite a few times, although their backbone has always remained guitars, drums and a strong brass section. Sometimes keyboards were added, an accordion, double bass, xylophone, balalaikas or even a singing saw. Their last massive line up changes occurred in 2002. Shnur recorded the album 'Piraty XI veka' together with the musicians of St. Petersburg ska band Spitfire. Soon the whole Spitfire gang became part of Leningrad, which again significantly raised the musical level.

01. WWW
02. Bljadi
03. Pidarasy
04. Komon evribadi
05. Sobaka Baskervilej
06. Rezinovyj muzhik
07. Mne by v nebo
08. Ljudi ne letajut
09. U menja est' vse
10. Novyj god
11. Banany
12. Bez tebja
13. Privet, Dzhimmi Hendriks

Link

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Zurgó was formed in 1993, in Budapest, in Hungary.
The members' aim is to collect the music of the "csángó" - a Hungarian minority living in Romania - to present it in concerts and thus preserve it for the coming generations.
In 2004 the Zurgó became the first Hungarian folk group to be given the Bezeredj Award of Ministry of Cultural Heritage, and in 2007 the Zurgó was awarded the title Béla Bartók Prize by the Advisory Board of Hungarian Arts Award.

"On the present album we invoke Gregorian melodies, ballads, laments and love songs, dance melodies of medieval, renaissance and modern origin, recalling the festivities, joy and sorrow of generations that have passed. All this is music of the Hungarian speaking minority in Moldva (Moldavia), Romania, the Csángó people, that we have been collecting from their elders and their grandsons and granddaughters. The past has a message for the present in all these wonderful melodies, the heart of time is beating in them."

The Zurgo Ensemble on this CD release present the music and traditions of the ‘Csango’ Hungarians living in Moldavia. Since 1992 they have collected dance music and songs from the Moldavian Csangos and play them on traditional instruments such as the violin, kaval, kobza, whistle and drum etc. In their native Hungary they are regular performers of their art and have appeared on many radio and television programmes.

The "Csángó"-s
Moldavia is the territory, beyond the East Carpathian mountains, belonging to Romania today, where there were Hungarians arrived in several waves. From the 13th to the 18th centuries there were several migrations of Hungarian settlers to Moldavia. Their descendants are the people we call 'Csango' today.
They established their own settlements in Moldavia and have preserved their independence from the Orthodox Moldavian Romanians. Thus their culture has medieval European and Asian elements as well as Romanian, Balkanian, Slav and Turkish ones due to living close to those peoples. This is true for the music, as well as the dances, that are diverse even in their forms: beside round and pair dances, the so - called chain or line dances are also characteristic. Gregorian melodies, laments, ballads and new-style folk songs can be found in their culture as well as chain and line dances of ancient origin, the renaissance 'kettős'- a walking and fast couple dance-and the 19th-century Hungarian csardas.
On 23rd May 2001, the Permanent Committee of the General Assembly of the European Council accepted the Finnish Tytti Isohookana Asunmaa's report which stated that the Csangos of Moldavia speak a former version of Hungarian and have archaic traditions, colourful folk art and culture which are of special importance for Europe.


01. Magyaros - Old Hungarian dances
02. Antaloké - Two Antals' melodies
03. Györgyi Ilonával - At the end of the garden...
04. Nunta - Wedding (5'48")
05. Vőlegénysirató - Mourning song
06. "Fenn a csillag, fenn az ég..." - Stars and the sky above
07. "Szeretőm e táncba..." - My lover in the dance...
08. Márton víg Gergele - Gergely's song
09. Juhajgatás - Shepherd's song
10. "Ha folyóvíz volnék..." - If I were a river...
11. Kyrie eleison
12. Havajgatás - Consolation
13. Szép asszonyok éneke - Song of the witches

Musicians:
Lídia Draskóczy - fiddle
Andrea Navratil - voice
Félix Benke Ágoston - drum, jew's harp, leaf whistle
László Demeter - koboz (lute)
Bercel Nagy - wooden whistles, tale-teller
Csaba Sófalvi Kiss - wooden whistles, kaval

Guests:
Mária Petrás - voice
Géza Fábri - koboz, voice

Link

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