Bluesmen's World(Music)

"Fill your head with some culture, get this CD, see the film, and go visit some gypsy land. Hey, you only live once, right!

This CD is the antithesis of "oh, baby", "let's do it all nite", and the commercialized, controlled anger of the so-called "alternative" music(s). This is true rebellious music, as in uncompromizingly authentic. It's one human being conveying his/her inner feelings to other fellow beings via the medium of music. No middlemen required or allowed.

But this CD is also a celebration of life. There's the full-glass joy and enjoyment of life's little pleasures and twists of fate. But, since life as humans experience it, is hazardously strewn with half-empty situations, the CD has its share of wailing and regret about life's imperfections and the "local", i.e. personal, toll it exacts on our inner balances.

But even this sorrow is celebrated and showered away in a series of songs that can't be reviewed, only listened to. This is music that can't be studied and filed away. This is music as a means of human communication, the direct lineage of the one once enjoyed by cavemen and women as they recounted daily and seasonal encounters with success and failures."

01. Monika Juhasz Miczura & Gipsy Star - Nora Luca
02. Adrian Simionescu & Orchestre Marin Ioan - Tutti Frutti
03. Adrian Simionescu & Orchestre Marin Ioan - Copza Luca
04. Rona Hartner & Valentin Rotary & Petre Badea - Disparaitra
05. Adrian Simionescu & Orchestre Marin Ioan - Mama Me
06. Gipsy Star - L'amour En Liberte
07. Orchestre Marin Ioan - Cabaret
08. Rona Hartner & Valentin Rotary & Petre Badea - Dandaro
09. Ioan - Camera
10. Gipsy Star - Frissons
11. Vasile Serban & Isidor Serban & Ionescu Serban & Orchestre Marin Ioan - Mariage
12. Adrian Simionescu & Orchestre Marin Ioan - Adrian Simionescu + Orchestre M. Ioan - Camera
13. Monika Juhasz Miczura & Gipsy Star - Nora Luca (Reprise)

Accordion: Constantin Fugirica (tracks: 1, 6, 10, 13)
Nicolae Paun (tracks: 2, 3, 5, 7, 9, 11, 12)
Cimbalom: Leonard Iordache (tracks: 1, 6, 10, 13)
Mihai Iordache (tracks: 2, 3, 5, 7, 9, 11, 12)
Clarinet: George Udila (tracks: 1, 6, 10, 13)
Toni Lache (tracks: 2, 3, 5, 7, 9, 11, 12)
Double Bass: Florinel Dobrica (tracks: 2, 3, 5, 7, 9, 11, 12)
Ghita Coada (tracks: 1, 6, 10, 13)
Trumpet: Costel Vasilescu (tracks: 1, 6, 10, 13)
Violin: Marian Vasilescu (tracks: 1, 6, 10, 13)
Marius Banica (tracks: 2, 3, 5, 7, 9, 11, 12)
Vocals: Adrian Simionescu (tracks: 2, 3, 5, 11, 12)

Link

pass: bluesmen-worldmusic.blogspot.com

The Ukrainians continue to mix up our winning concoction of Western punk-pop and traditional Ukrainian sounds, a blend that's always best served live. As 'Q' magazine says "Going to a Ukrainians gig is like being at the mother of all parties".
The band has become established as the world's major exponent of a hybrid of traditional Ukrainian folk and Western rock music.
The group was discovered and pioneered by the legendary BBC Radio DJ John Peel. One of our sessions for the programme was included in MOJO magazine's '20 Landmark Peel Sessions'.

The group's eponymous debut album. Released the year Ukraine won its independence from the Soviet Union.

Hot rockin' original songs in the Ukrainian language written by band members Peter Solowka, Len Liggins, and Roman Remeynes, and backed by members of English indie guitar-pop band The Wedding Present on some tracks.

Mandolin, accordion and violin meet guitar, bass, drums: the result is loud, fast, and enjoyable. Jump on your horse!

"A new musical form might just have been born -- Cossack Thrash!"

"This is the sort of music you see people dancing to in restaurants totally pissed out of their brains and contemplating brutal but caring sex with waiters with massive moustaches and furry boots. I ended up taking it to bed with me and now I'm going to have its children."

01. Oi Divchino
02. Hopak
03. Ti Moyi Radoshchi
04. Zavtra
05. Slava Kobzarya
06. Dity Plachut
07. Cherez Richku, Cherez Hai
08. Pereyidu
09. Tebe Zhdu
10. Son

"The Legendary Len" - Lead Vocal, Violin
Mick - Guitars, Vocal
Woody - Drums
Jim - Bass
Stef - Accordion
Paul - Mandolin, Vocal
Peter - Guitar, Mandolin, Vocal

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

"The idea of colliding Romany music with punk may at first seem bizarre, but there's more common ground to be found than one might first suspect, not the least of which involves the rejection of authority and dominant cultural norms. Musically, the Romanies' exuberant celebration of life may appear the antithesis of punk's original nihilism, but both are kindled by a sense of immediacy, a "no future, let's play for today" atmosphere that fires every song. And so Gogol Bordello, while certainly unique, is not as odd as it may seem. The group long ago left the concept of borders, musical or otherwise, behind. The members may have met in New York City, but bar one, all traveled far to get there, arriving from Israel and a variety of Eastern European nations. Singer/lyricist Eugene Hutz brought with him his rich Ukrainian heritage, a gift for storytelling, a twisted sense of humor, and a sharp sense of irony. The bandmembers brought their excellent musicianship, a love of their own cultural sounds, and a magpie's delight in plundering from others. The group's name pays tribute to Ukraine's most feted author, Nikolai Gogol, whose distinctive style and leitmotif provide inspiration for Hutz's lyrics. Skipping stealthily from the real world to the surreal, the pugnacious to the paranoid, the singer spins out his tales of wonder and woe, commonplace occurrences and counterintuitive events. Behind him, the band lets loose with an accompaniment that makes a nonsense of genres, a storming backing awash in melody that pushes toward pop, but cries out to the vast Eurasian steppes. Incredibly anthemic, Multi Kontra Culti will set your head spinning and your body with it, your blood racing to the rhythms, and your spirit soaring with the wildness of the untamed sounds within."

01. When The Trickster Starts A-Poking
02. Occurrence On The Border
03. Haltura
04. Let's Get Radical
05. Smarkatch
06. Future Kings
07. Punk Rock Parranda
08. Through The Roof'n'Underground
09. Baro Foro
10. Hats Off To Kolpakoff
11. Huliganjetta

Ori Kaplan: Saxophone, Vocals
Yuri Lemeshev: Accordion
Victoria Hana: Vocals (Background)
Oren Kaplan: Guitar, Vocals, Engineer
Eugene Hütz: Guitar (Acoustic), Vocals,
Sergey Rjabtzev: Violin, Vocals

Link

pass: bluesmen-worldmusic.blogspot.com

The debut album of Rozsdamaró Ensemble mostly contains music from Transylvania, the western part of present-day Romania, where Romanians, Hungarians, and many other ethnic groups live together. Where not stated otherwise, the tunes they play are Hungarian ones, although quite often one cannot clearly separate the Hungarian and Romanian music of the region. Rozsdamaró Ensemble is a band of young musicians, who collect tunes from over the Hungarian border, they learn the music and the way of performance from known and unknown authentic folk musicians. The aim of their work is to keep the dance-houses alive for a long time, and to show this music of our ancestors to today’s people, and to the next generations. In their words: „What follows is called Táncház – a Hungarian word which has become known in many parts of the world as referring to a new attitude to traditional folk culture. But then, it’s all so simple – you could as well call it a dance, a party, a joc (in Romanian). It is a primal form of amusement, forgotten by many, and rediscovered by some. A celebration of a community. Villagers of old had no other choice than spend every day and every hour of their lives in a particular community. Amusement would mean something quite different from consuming the products of an entertainment industry. (…) And it is such communities that created and formed our favourite songs and tunes, which we are trying to convey by means of this disc. Just like each Táncház, this is another attempt to revive tradition – to continue the thoughts of those who are now dead.”

01. Verbunk (men's dance)
Verbunk tunes from the village of Mera (Méra) in the Kalotaszeg region of Transylvania.
02. Ţiganeşte, învîrtita, bărbunc
Romanian dances from Bonţida (Bonchida), Transylvania.
03. Jewish and Gipsy dance from Ördöngősfüzes
A set of couple dances and songs from Fizeşu Gherlii (Ördöngösfüzes), Transylvania.
04. Lament, men's dance and couple dance
from Petrilaca de Mureş (Magyarpéterlaka), Transylvania.
05. Laments to see off the recruits
from Mera.
06. "Slow and Fast Hungarian"
men's dances from Bonţida.
07. Two dances and a Hungarian song from Moldavia, Eastern Romania
This track demonstrates the unique culture of Moldavia's Hungarian minority group, the Csángó, which, along with medieval Hungarian traditions, contains many Romanian elements.
08. Csárdás (Jerry dance) with fleet
a set of couple dances from Mera.
09. Lunga, mînînţaua, ţigăneasca, lunga
a set of Romanian dances from Elek, a small town just inside the south-eastern border of present-day Hungary. (Framing the old tunes, there are some recordings made with a modern band at the annual Romanian ball in 2001.)
10. "Jár a kislány ..."
Dances and songs from Sic (Szék), Transylvania.

LIPTÁK Dániel - fiddle
NAGY Gábor - three-stringed and four-stringed viola
HORVÁTH Ádám - double bass, cello

With:
BARCZA Zsolt - accordeon (8)
FÁBRI Géza - koboz (7)
PRIBOJSZKI Ferenc - cimbalom (2, 4, 6)
POLGÁR Lilla - voice (3, 7, 10)

Link

pass: bluesmen-worldmusic.blogspot.com

Transsylvanians are a phenomena of today's roots-music scene. Based in Berlin, the four musicians create with their Hungarian Speed-Folk a mixture of rap, rock, Bartok, ska, punk and gypsy-techno. Their live appearances invariably turn into ecstatic dance orgies but Trannsylvanians can also seduce the audience with the ballads and love songs in their repertoire. The songs tell of their homeland: The earth and the stars, war and peace, love and jealousy and, above all, the lust for life that characterizes their live shows. Through their constant touring they have become one of Germany's favourite live acts on the worldmusic scene.

The name "Transsylvanians" is often with the Dracula myth and when that conjures up visions of a mysterious underworld where, in the night, bats go hunting and dark forces awake uncontrollable passions which drive people to madness, then this is not in the least inappropriate. Transsylvania, the musical source of the band, is a strip of land that belonged to Hungary until the First World War and is now part of Romania. Many people from different cultures live there: Hungarians, Romanians, Siebenbürgersachsens and Gypsies.

"Who or what are the Transsylvanians? The question is easier to ask than to answer. A band, of course, but a many faceted one. It all started in 1996, on the street. Since then the Transsylvanians have stayed true to their inimitable style.

The devilish violinist András Tiborcz, responsible for arranging and composing, whom the public love to carry on their hands, comes from Hungary and Hungarian is the language of the band’s songs. How fortunate that singer and contra-bassist Isabel Nagy is half Hungarian and speaks the language perfectly.

But whoever is now thinking of folklore and jolly violin solos is not getting the full picture, because the Transsylvanians rock as if they invented Rock’n’Roll themselves. Although they know and love to perform all the clichés of the genre – the stage-diving of the soloing violinist is just one example – they come across in their concerts as always authentic and so sympathetic that you feel as if they’ve been personal friends of yours for years.

In more than 1000 concerts throughout Europe they have excited audiences of all kinds including housewifes, punks, senior citizens, children, hardcore bikers and executive businessmen, whose only apparent common denominator is the music of the Transsylvanians.

Rousing and powerful, within a few seconds the ice between the stage and the audience is broken and it seldom lasts more than half a song before the whole room is dancing. The dedicated team of guitarist Hendrik Maaß, keyboardist Andreas Hirche and drummer Thomas Leisner bring the whole thing together.
A five-piece party band with depth; a band between ska and Béla Bartók; a band who give new life to the old traditions, turning then to now. That’s the Transsylvanians."

01. Transdanubian
02. Tulipán
03. Halálos Szerelem
04. Adjon Isten Ami Nincs
05. Evening In Transsylvania
06. Kenderesi
07. Sok Születés Napokat
08. Repülö
09. Lakodalmas
10. Akasztós
11. Allegro Barbaro
12. Amari Szi
13. Csillagok

Szilvana: Vocals, Double Bass
András Tiborcz: Vocals, Violin
Sabine Schein: Accordion, Vocals
Hendrik Maaß: Guitar, Vocals
Thomas Leisner: Drums

Guest:
Andrej Soudnitsyn: Violin (Tracks 5, 8, 11)

Link

pass: bluesmen-worldmusic.blogspot.com

The Band says:
"We got acquainted studying the repertoire of traditional Jewish musicians - klezmers, in the kitchen of the rented apartment of one familiar guitarist on Prospekt Mira. In the process of creative mess and disorder we spent several months and played several open and closed gigs, among them one real Jewish wedding.

Concert in the synagogue of shtetl Saltykovka in Moscow region in November 2004 finally confirmed people in their desire to play Jewish music. Mess and disorder ended by that time, the group has got constant staff and name - "Der partizaner kish" ("The kiss of partisan girl").

The style of our group unites the desire to give to everybody, who hears us, the possibility to cry and at the same time - possibility to make merry and to have a dance. Therefore we sing shrill lyrical Jewish songs in Yiddish, and also play traditional rollicking wedding music."

01. Shvester Khaye
02. Yam-lid
03. Der Terk in Amerike
04. Borsht
05. Vilne
06. Moldovian Hora
07. Lid fun Titanik
08. Gas nign
09. Tepl
10. A nign
11. Dzhankoe
12. Oylem Habo

Anna Smirnitskaya - vocal, guitar
Alexandra Skvortsova - violin, back-vocal
Vladimir Zaslavsky - mandolin
Dmitriy Shamshin - percussion
Matvey Gaidukov - bass-guitar

Link

pass: bluesmen-worldmusic.blogspot.com

"Eastern Europe. The Block. Where dissident rockers overthrew the system, elected poets to government, and vanished into freedom… A bloody revolution. Balkanization… Eastern Europe. A thin man, furrow-browed, in white suit, girates about with saxophone, ghost with a rhythmic tic… Thin Man smiles, accosts the fiddler, hangs greasy burek [Balkan fried bread] for all to behold. Accordion soars, clarinet reeds out melodic tango, rhumba, samba. Thin Man bellows into radio mic: "Budapest, Novi Sad, Beograd, Istanbul," beckoning journey on the Orient Express: ball in Vienna via Yugoslavia's exiles depressed at Oktoberfest, over Novi Sad's underwater bridges precision-bombed by NATO, through Belgrade's dictatorship, and onto Istanbul. Welcome to the last night on Earth. You are dancing seductively on an apocalyptic border with Boris Kovac and LaDaABa Orchest. It's music that captures the complicated paradox of polarizations; dancing gleefully with God in a suitcase, standing in a crack among multiple precipices, it's a joyously tearful cacophony headed for the End, no fixed address, yet anchored to a multiethnic region of Serbia perched between historic worlds. It's The Last Balkan Tango, conceived during the NATO bombing, completed in Milosevic's dying days, and Serbia's first ever release on a major world music label (Piranha, 2001)… Boris Kova's drive for a universally accessible new ritual, a third way that allows the individual not to take sides. Kovac clearly throws categorization wide open. A sax player with an experimental background, he doesn't necessarily consider himself world music fare, which might be why The Last Balkan Tango is one of the most captivating world music releases of late. "I do not belong to that genre any more than to another. I do not represent Balkan culture at all. I represent just myself using my life experience related to Balkan political destiny." On what attracted him to Kovac Piranha Records director Borkowsky Akbar says, "We didn't release the album because it is from Serbia, but because we love the music and we were looking for an additional artist to add to our Gipsy & Balkans focus. Boris is perfect because he is a great visionary, composer, musician and producer…"

pass: bluesmen-worldmusic.blogspot.com

These 6 Berlin-based musicians spent a large proportion of their lives in the USSR - that mythical and legendary place beyond the iron stage curtain where Gypsies sing of woollen boots, worshippers of Mammon decry broken hearts and glasses sing paeans to lost love. And where, what's more, the troubadour is an outlaw. Several band members have already caused a sensation in the Moscow underground scene. They immigrated to Berlin at the beginning of the nineties and have been enriching the Russian diaspora with various musical projects ever since. The multifaceted artist Irina Doubrovskaja founded ErsatzMusika in 2006, also writing the songs and lyrics for their debut album. Despite the remove from dub, urban folk, world, minimalism and balladeering at which ErsatzMusika stays, the group's music proves strangely familiar to audiences of these musical strains. Yet their music is not an eclectic lucky dip, but rather a collection of acoustic letters in a strange vernacular, a human-made-for-human ersatz for the sounds of information-age intercourse. It goes out with love...

"A very subtle yet striking album, wintry in colour yet warm and human in affection."

"Berlin based but Russian in soul, Ersatzmusika's Voice Letter is one of the most remarkable debut albums of recent years. The six piece band are fronted by Irina Dubrovskaja, a Ukrainian singer-composer-conceptual artist, and it is her warm, weary vocal that sets the tone for an album which reflects on life in the Soviet Union. Not that this is a nostalgia trip – anything but! – instead Ersatzmusika (named after the ersatz coffee they had to drink under communism) look at a fractured empire and its secret history: Considering they sing of the Gulags this is a history that Putin and co. are now trying to bury.

Ersatzmusika's distinctive, droning sound recalls Francoise Hardy’s finest 60s recordings. If Hardy had grown up on the Black Sea . . . The band operate on an off kilter tempo, often conjuring a Felliniesque fairground waltz tempo, never rushing songs, instead aiming for atmosphere while letting the lyrically beautiful songs drift past. Although all songs are sung in Russian the album’s sleeve carries translations of a few lyrics and as several appear to be adapted from poems they are quite mesmerizing.

Opening track, "Beside Myself To You I Came" finds Irina singing to friends who have left the former Soviet Union and resettled across the world (thus the Voice Letter of the album's title) while "Cranes" is based on a poem written by an anonymous Gulag prisoner who looks at the cranes flying past and attempts to send them mental messages.

Voice Letter is a very subtle yet striking album, wintry in colour yet warm and human in affection. It is also beautiful and haunting – and I don't speak a word of Russian."

01. Beside myself to you I came
02. He4y, Gngway!
03. The gold prospector
04. Still waters
05. Antediluvian
06. Bevelled glasses
07. And why
08. Cranes
09. Upon the earth
10. Tsaritsino station
11. The mushroom hunter
12. Eh, Kalina
13. Went and drank
14. How here's how

Irina Doubrovskaja - Keyboards, Accordion, Vocal
Leonid Soybelman - Guitar
Mikhail Zhukov - Percussion
Sergey Vorontsov - Bass, Guitar, Vocal
Igor Vdovchenko - Bass, Harmonica
Roman Bushuev - Drums

Link

pass: bluesmen-worldmusic.blogspot.com

Bakos Árpád is a prominent musician from Vojvodina, former Yugoslavia.
He’s got a beautiful voice. The album contains Hungarian folk songs, which is played by Macedonian musicians with traditional balkan instruments. The Eastern Wind’s speciality: they keep the tradtitions and keep their personality, knowledge and the musical roots. The final result: a glowing and lively album.

01. Körbe/Round
02. Tánc/Dance
03. Keleti szél/East Wind
04. Búcsú/Farewell
05. Úton/On The Road
06. Ő/He
07. Bujdosódal/Exile Song
08. Kavalok
09. A parton/On The Coast
10. Jano mori (Macedon folksong)

Bakos Árpád - voice, koboz, Moldavian kaval
Szoluncsev Riszto - Macedonian kaval, voice
Szoluncsev Vele - tapan, def, jug
Szpaszovity Dejan - kemene, voice
Klincsarov Gyorgyi - tambura
Szilárd Mezei - oud
Kinga Mezei, Andor Nemes Kovács, Attila Mess, Zoltán Puskás - voices

Link

pass: bluesmen-worldmusic.blogspot.com

Hop onto The Baghdaddies magic carpet for an amazing musical trip traversing many corners of the earth. The Baghdaddies have been astounding audiences throughout Europe for many years with their anarchic melange of traditional European and world musical styles of all eras, throwing them together to form an infectious unique brand of music that never fails to have audiences jumping around in a frenzy !!

The Baghdaddies play an eclectic mish-mash of musical merriment, an ideal accompaniment to dancing, drinking, partying and shopping. The band formed in 1996 and since then have released four albums. They have toured and gigged extensively throughout the UK and Europe. On stages far and wide, big and small, on the streets, in village halls, the music appeals to all.

Their sound is influenced by music from throughout the world. from the Roma wedding, brass band and gypsy music of Eastern Europe, through reggae, ska, calypso, jazz and punk rock. The Baghdaddies always maintain a truly happy and seriously danceable side to their music.


Fourth full-length from the Geordie Gypsies

"The riotous five-piece from Newcastle - firm favourites on the festival circuit - return with their fourth album of fun and frolics. The title is regional slang for 'See you later', and it's a collection of original songs and a couple of trad tunes sung in English and Welsh, ranging from pavement buskers' Gypsy-jazz to full throttle Balkan wedding-band frenzy.

There's an entertaining theatrical element of comedy and satire. Lyrics have a tongue-in-cheek humour as in 'Wonder Woman' ('you make me so domesticated, you just wash, I can dry'), and 'Not Drowning But Raving' ('forever bloody waiting for the rain to keep away... will we reach the stars or will we stay in bed?').

Influences are wide-ranging. While the Balkan brass is prevalent, there is also a fair share of klezmer, jazz, ska and punk - an anarchic fusion where Ivo Papasov meets The Clash meets The Beat. There are also shades of calypso as in 'Sweet Girl', tango ('Multibubble'), and the animated vocal style is sometimes reminiscent of Dr John.

The band have a particular flair for the Balkans and capture its frenetic energy and flamboyance wonderfully. 'Gream Parelli' is a highly playful trad Bulgarian tune and its rapid, winding melody is played here by the sax. 'Dongle' is typical of the Romanian doina, a freeform style also common in klezmer and Gypsy music. The Baghdaddies have given us another fresh and funky dose of their quirky concoction of party tomfoolery."

01. Ramiros Theme
02. We Try
03. Wonder Woman
04. Ramiros
05. Not Drowning but Raving
06. Multibubble
07. Cwch
08. Mudfight
09. Gream Pareli
10. Sweet Girl
11. Dongle

Ziad Jabero: guitar, vox
Paul Ruddick: sax, flute, vox
Martin Douglas: drums, vox
Nigel Kirkpatrick: trumpet, vox
Paul Susans: bass, vox

Link

pass: bluesmen-worldmusic.blogspot.com

"Ida was born in the Czech Republic and is of Roma-Moravian origin. A musician by body and soul, everlasting rover in love with life, filled with both pain and joy, gains and losses but above all in love with vivacious and creative people. She sings and teaches gypsy songs to reveal and heal our deep emotions, because in each of us, as Ida says, is incredible power, which gets liberated by singing from the heart. She guides people to try and become a Gypsy for a while. Her singing and herwork not only give people shivers down the spine, but is also respected by professionals. It is a woman with soul, which she can uniquely share with others, spend herself completely. Her singing can be neither imitated nor learnt.

Ida's father, KOLOMAN BITTO, was one of the greatest personalities in the branch of music in our country. He had a beautiful pure Roma heart. Music was his life. He made a decision for Ida. Even though nowadays it is him and his music to have become Ida's chief source of inspiration, she started to study piano and violoncello at the age of 6 already. She studied with her first excellent teachers at the People's Music School in Opava and later at Janácek's Academy of Music in Brno. After completing her studies, she joined Divadlo na Provázku (The Theatre on the String), one of the most famous theaters of that time. In 1982 Ida moved to Wales, in 1985 to Denmark, in 1988 to Norway and then back to Wales. After the death of her father, she understood that her father's
blood runs in her veins so strongly, that at least through songs she can give back all the love she received from him and voice his legacy also to other people. She started to give concerts on her own, singing and playing the piano. In 1995 Ida returned home for good. She lives in a small town in Czech-Moravia Highlands. Ida is a founder of The International School for Human Voice. This school is a place where Ida wants to settle her unique work and thus provide a base for opportunities to meet other ethnic groups or cultures. The School is based on knowledge and experience of Ida's fifteen years of art work in Western Europe and the inspiration from her Eastern Gypsy culture roots.

Together with Desiderius Duzda they founded in 1998 a gypsy band : ROMANO RAT. With this band, they perform successfully all over the world. They also published an album together called Ida KELAROVA & ROMANO RAT (Gypsy Blood). In 1999, Ida also founded a chorus of Roma female singers CHAJA, which became attractive part of Romano Rat and Ida's concerts at international festivals. The chorus also enriches the concerts by female dynamics, which represents very important part of Roma culture.
Romano Rat and Chaja are a group of young talented artists, who give concerts together, compose and record... or teach all over the world and share a common journey: they sing and play for everyone, regardless of the color of skin."

01. Mamo na birinav/Mum, I Am Dying
02. Me mange/A Wedding Song
03. Imar tu chaje, ma uzar/Don't Expect Me Anymore
04. Chaje, chaje/Lassie, Lassie
05. Na birinav/I Can't Go On
06. Pal amaro calo svetos/All Around the World
07. Slugadzis/A Soldier
08. Dzas/Together We Go
09. Dzava mange, dzava/I Will Just Take a Road
10. Andro pani pejlom/In the Water I Fell
11. Le, more, e braca/Hey Man, Play
12. Ko kodoj/Who Is It
13. Nane cocha/I Have No Skirt

I.Kelarova: lead vocals, piano,
D.Duzda: lead vocals, guitar,
M.Dzudova: vocals,
M.Horvath: violin, vocals,
R.Horvath: accordion, vocals,
M.Kroka: guitar, vocals,
V.Dorda: bass, vocals

Link

pass: bluesmen-worldmusic.blogspot.com

This is the first recording by a band that has been both popular and successful in Hungary for several years now. It offers a cross-section of current Bulgarian folk music culture, revealing the variety, the special rhythms, the exotic melodies and the lyricism of the folk songs. Their singer, the Bulgarian Róza Bancseva’s extraordinary singing style, characteristic voice quality and the unmatchable strength of her personality provide an amazing experience.

As an added bonus guesting on the recording are the three singers from Vándor Vokál.

01.Krivo Horo (North Bulgaria)
02.Chekuryankino Horo (North Bulgaria)
03.Pravo Horo (Shope)
04.Dei Gidi (Pirini)
05.Kraidounavska Ruchenista (North Bulgaria)
06.Momino Horo (North Bulgaria)
07.Stoina (Shope)
08.Stoyana (Shope)
09.Dospatsko Horo (Rhodophes)
10.Gankino Horo (North Bulgaria)
11.Bavno Horo (Macedonia)
12.Daicsevo Horo (Shope)
13.Bouchimish (Thrace)
14.Sokol Mi (Pirin)
15.Na Purt (North Bulgaria)

Róza Bancseva - vocal
Pál Kaibinger - double bass
László Garamvölgyi - tambura
Sándor Bertalan - clarinet, flute
Szlobodán Wertetics - accordion
Géza Orczi - drums, tambura

Guests:
Jannisz Szertaridisz - derbouka

VÁNDOR VOKÁL:
Kata Izsák - vocal
Szilvia Bognár - vocal
Tünde Farkas - vocal

Link

pass: bluesmen-worldmusic.blogspot.com

The group Talyn-Duulal brings together top-level Mongolian professional artists who have already been awarded great national and international distinctions. These artists live for the most part in the capital Oulan Bator, but have emerged from extremely diverse regions. Their repertory consists essentially of chants and popular music taken from all across the country, as well as personalized adaptations and compositions, in the traditional style, by contemporary composers. The music that they propose for our listening pleasure is representative of a movement that could be called "new traditional music". This music ushers forth a revival of the already extremely ancient musical tradition. Through this music the soul of the Mongolian people is reflected: nomadic pastors who live in perfect symbiosis with nature and domestics animals. The different gaits of the horses and camels offer a source of rhythmic musical inspiration, while the contemplation of the magnificent landscapes releases profound internal emotions, images of a simple and pastoral life.

The Mongolian Voices
All throughout its evolution, Mongolian music has conceded a large place to the voice, as testify the countless number of songs, the diversity of vocal types and the particularity of the vocal techniques employed. The songs are often, but not necessarily, accompanied by one of several musical instruments.

Diaphonic Chants - Khoomi
This vocal acrobatics consists in the emitting of a hum from which a harmonic line will rise to constitute the melody of the piece. Few Mongolians know how to do this, but one finds examples in their neighbours of Touva. Depending on the vocal or facial resonators selected, different aspects of diaphonic chants are brought out : that of “the throat”, “the nose”, “The chest” ... The position of the tongue plays an important role in the selection of the harmonies.

The Khailaka Emission
Close to the diaphonic chants, this vocal technique employs a husky tone, coming from the back of the throat, in a low‑pitched register. It is exclusively reserved for epic songs and the song of praise to the Altai. Often, the singers combine the diaphonic chants starting from this emission that uses few degrees in a recitative mode.

Urtyn Duu - Long Chant
This kind of singing offers long ornamental and vocal developments with large intervals. A large range is absolutely necessary to perform the long chant, which can extend into more than three octaves, with frequent passages into the head voice. The songs' texts serve in a way as a pretext for the long vocal ornamentations that develop from a few syllables of words.

Bogino Duu - Short Chant
In contrast to the long chant, the short chant is syllabic: this means that each syllable corresponds to a degree (or note); this does not exclude embellishments in places. The rhythm plays an important part and the text becomes primordial.

01. Altain Magtaal
02. Setgeld Shingesen Gov
03. Uyakhan Zambativiin Nar
04. Temeen Teshee
05. Tomor Khuur, Xoomii
06. Yantaivan Googoo
07. Tsagaan Sar, Khokh Torgom Tsamts
08. Khoomii
09. Morin Tovorgoon
10. Gandii Mod, Khotgoidyn Unaga
11. Sartai Khurnii Khatiraa
12. Sunjiidmaa
13. Jalam Khar
14. Kherlengiin Bariyaa
15. Khuren Mor'
16. Jiijuu Khot
17. Ardyn Duuny Nairuulga
18. Khavryn Shuvuud Irlee

Taravjavyn Ganbold: Diaphonic chant
He was a student of the great master Sundui.
Batchulunii Sarantuya: Long chant and short chant
She was a student of the diva Norovbanzad.
Dashjaviin Tsogbadrakh: Horse-Viol
Former student of the virtuoso Jamyan.
Tserendondoviin Tserenkhorloo: Oblong Cithara
One of the best citharists of the moment.
Gombliin Nansalmaa: Trapezoid Cithara
Recently received the high distinction of Best Musician of “1994” from the Mongolian Ministry of culture.

Link

pass: bluesmen-worldmusic.blogspot.com

A Detroit area native, Daniel Kahn attended the University of Michigan where he studied acting, directing, playwriting and poetry. After finishing his studies he lived, played music, recorded, acted, directed plays and composed theatre music in New Orleans, Detroit, New York and Ann Arbor.
In summer 2005 Daniel moved to Berlin, and, within a very short space of time, became an integral part of the city’s folk and klezmer scene, playing in different groups and musical projects. As a corollary, he soon formed his own band, featuring a rotating roster of some of Berlin and New Yorks best young Klezmer and Balkan players.
"The Painted Bird" concocts a mixture of Klezmer, radical Yiddish song, political cabaret and punk folk, kept together by Kahn's amazing abilities both as a songwriter and a performer; telling stories of outrageous incidents, poetically dark, tragically humorous and politically incorrect.

Fronted by Jewish-Detroiter singer-songwriter Daniel Kahn on vocals, accordion, piano and guitar with East German Johannes Paul Graesser on fiddle, US expat composer Michael Tuttle on upright bass and a rotating roster of some of Berlin and New Yorks best young Klezmer and Balkan players, the band was formed in Berlin in fall of 2005. Guest artists on the CD include NY downtown Tsadik players Brandon Seabrook & Eric Rosenthal (Naftule's Dream), Holland's rising yiddish folk diva Niki Jacobs (Nikitov), and members of Berlin's "Grinstein's Mishpoche" and "Shikker Vi Lot." Like the grotesque Jerzy Kosinski novel from which they take their name, The Painted Bird reminds us that even if man is only an animal, he can still sing.

"Dan Kahn is the hottest damn songwriter you've never heard of. Kahn is not only an amazing multi-instrumentalist/playwright/poet, he also typifies the youthful ethos that reminds us that music without heart is just a bunch of noise."

01. Beyze Vintn
02. The Broken Tongue
03. Yesterday is Buried
04. Nakht un Regn
05. Migrant Chorale
06. Die Ballade von der 'Judenhure' Marie Sanders
07. Birkenau
08. Unter di Khurves fun Polyn
09. Son of Plenty
10. Edward the Young
11. Man of Plenty
12. The Silver Window

Daniel Kahn – vocals, accordion, piano, guitars, ukulele, etc.
Johannes Paul Gräßer – violin
Michael Tuttle – contrabass
Detlef Pegelow – drums, horns, mandolin, etc.
Bert Hildebrandt – clarinet

Guests:
Niki Jacobs – guest vocals
Sabine Ostermann – backing vocals on "Edward The Young"
Fabian Schnedler – backing vocals on "The Broken Tongue"
Brandon Seabrook – lead electric guitar & banjo on "Yesterday Is Buried"
Eric Rosenthal – drums on "Yesterday Is Buried"

Link

pass: bluesmen-worldmusic.blogspot.com

Hétrét is a group from south-western Hungary, a part of the country that has always been the melting pot of different cultures and traditions. Three countries meet here: Hungary, Austria and Slovenia, and this region gives home to several minorities, thus it is exceptionally rich in musical traditions. Hétrét originally played traditional Irish music and later made its repertoire more colorful with Transylvanian, Balkan, Moldavian and Finnish musical elements.

Hétrét was born in the summer of 1998. The five Hungarian musicians coming from western and southern Hungary were completed with two American violinists in the autumn of 1999 which made up the ensemble for the first album.

The title of the first album is Hetric Free Folk, which suggests that though their music is traditional, it is typically "Hetric" at the same time

The music is basically acoustic and one can hear a variety of instruments from the Celtic harp and tin whistles to the South-American charango.

In 2004 there has been considerable changes in the group. Besides the original members (Boa Veronika Setanta - lead vocal; Hochrein Judit - whistles, accordion, vocals; Kardos Endre Bozi - flute, whistle, bagpipe, vocals; Tóth István - guitar, charango, bodhran, vocals) you can see Kása Ilka (violin, vocals), Óvári Miklós (guitar), Szantner László (bass guitar), Radics Igor (drum and percussion), Lőrincz Tamás (drum and percussion) on stage whose presence make the music of Hetret even more exciting and complete. From time to time, former members, Kim Coleman and Jon Hanson ride into town from America and join Hétrét for a special concert or two.

01. Merrily
02. Sinisia
03. Basa Pista balladája
04. Pinokkió tánca
05. Duda-rida
06. Lábipapi
07. A Kertben
08. Zsoltár
09. Fhear a bheata
10. Sír a hajnal
11. Templomi népének

Boa Veronika Setanta - voice
Kimberly Coleman - fiddle, voice
Jon Hanson - fiddle, voice
Hochrein Judit - tin whistles, voice
Ityko - guitars, banjo, double bass, mandolin, keyboards, voice, percussion
Kardos Endre Bozi - flute, tin whistls, bagpipes, voice
Tóth István - guitars, charango, bodhran, drums, double bass, voice

Guests:
Soós Tamás Attila - soprano sax
Szarka Gyula - voice
Szervátiusz Lilla - voice
Morvay Krisztina - voice
Szabó Perpetua - voice
Tóth Anita - voice

Link

pass: bluesmen-worldmusic.blogspot.com

Born in Sofia, Bulgaria, Nikola Parov first played the mandolin at six. His grandfather, a professional musician, immersed him in the musical traditions of the Balkans at a very early age. Nikola began formal instruction in piano and cello at ten, shortly after he moved to Budapest where he lives with his family.

Nikola studied regional folklore and at twenty became a full time musician, forming the group Zsarátnok which gained wide recognition on the European scene. He collected instruments and performed the musical heritage of the Balkans, releasing several succesful albums including

Now a key figure in the folk music world, Nikola Parov"s commitment to culture and music studies was acknowledged by the George Soros Foundation and the Academmy of Science in Budapest. With their support he spent several years meticulously researching and documenting the history, culture and instruments of Balkan music.

Nikola Parov is a featured artist in the Riverdance Orchestra, playing a wide variety of instruments: kaval, gadulka, bouzuki and gaida. As well as recording with Bill Whelan, Andy Irvine, Zsaratnok, and Marta Sebestyen and composing dance music for the Hungarian State Folk Ensemble, Nikola"s talent is in demand in films: School of Senses, Some Mother"s Son, television ducumentaries: Before Your Eyes- CBS News, commercials and the awared winning animated project Tales of Vases. Nikola continues his search for excellence as he pursues his multi-faceted music career.

01. Hasapiko & Sirto - Greece
02. Rchenitsa - Bulgaria
03. Maqam - Of Arabian Origin
04. Bavno Pomashko - Macedonia
05. Karsilama - Of Turkish Origin
06. Pravo Sareshko - Macedonia
07. Tsifteteli - Of Arabian Origin
08. Rebetiko - Greece
09. Bavno Makedonsko - Macedonia
10. Danse Thrace - Bulgaria
11. Danse Lente Du Banat - of Rumanian origin
12. Maqam Du Strandzhia - Bulgaria

Nikola Parov: gadulka, keman, ud, bouzouki, tambour, contrebasse, cornemuse, kaval, clarinette, saxophone, duduk, nay, qanoun, baglama, tapan, percussion
Ivan Barvich: viola-tambour
László Major: vièle
Vladimir Krunity: accordéon
Almassalma Ahmed Kheir: derbuka

Link
The missing track

pass: bluesmen-worldmusic.blogspot.com

Kék Láng (Blue Flame) preserves the living musical legacy of its ancestors. The only instruments used to accompany its polyphonic singing style are spoons, metal milk jugs, pot lids and, occasionally, violin and guitar. The performers round out the rhythm by snapping their fingers, clapping their hands and stomping their feet.

The roots of Romany music and dance in their most authentic form – this is the fourteen-member ensemble Kek Lang from the village of Nyirvasvári in eastern Hungary. The 200 members of the Romany community there belong to the nomadic Olah clan, which settled in this area during the 1950s. The group first came to international attention by appearing at the "Gypsies of the World" Festival.

The gypsy families whose members make up the group Kék Láng were discovered when Tony Gatlif was making his film Latcho Drom. They all come from a little village near Nyírbátor in the eastern part of Hungary, where the songs still reek of mud, woodsmoke, bad vodka and loud swearwords. In typically Romany style this mixed group sings surprisingly complex folk music accompanied by accordion and guitar with jug or spoon used as percussion. It is essential to free oneself of all musical logic to enjoy these gypsy songs. The reward is there if one lets oneself go and be drawn into the music, with all its emotional turmoil, its chaotic undertones, both festive and naive, without any trace of bitterness. The music is a sort of challenge thrown out against the cold-heartedness of modern industrialized society and its technology.

01. Memeiga (First Version)
02. Bolond Asszony
03. Drago Szanasz Manghe
04. Ternyi Pomnyi Telo Podo
05. Telo Podo
06. Ando Ghio Ando Foro
07. Nani, Nani
08. Szigyarenke Tele Phidel
09. Csinta, Csinta Palacsinta
10. Bőgős
11. Kea Devla Soke Tera
12. Blowin In The Wind (D'apres Bob Dylan)
13. Sorpajipi Lulugyi
14. Memeiga (Second Version)

Link

pass: bluesmen-worldmusic.blogspot.com

Malicorne was founded by Gabriel Yacoub and Marie Yacoub in 1974. It is also the name of a French town, famous for its porcelain and faience. Since several of their albums are called simply Malicorne it had become the custom to refer to them by number, even though no number appears on the cover. Malicorne 1 consisted of the Yacoubs, Laurent Vercambre and Hughes de Courson. The combination of electric guitar, violin, dulcimer, bouzouki and female vocalist immediately brings to mind Steeleye Span, their English equivalent, thus placing them squarely in the electric folk genre. The four of them were masters of twelve instruments. Their first four albums consisted of mostly traditional French folk songs, with one or two songs by Gabriel Yacoub and one or two instrumentals per album. Again like Steeleye Span, they occasionally sang group harmonies a cappella.

Malicorne's second album was and might even be the best in a series of powerful studio albums. Stylistically similar to the first album but infinitely more mature, the quartet was already moving in a more compositionally interesting direction by infusing the traditionals with multi-instrumental arrangements of great thought. The use of the crumhorn in the classic "Le Mariage Anglais" brings the music closer to what Gryphon was creating across the channel, a similarity solidified when Brian Gulland later joined the group. The diversity here is exquisite, including a somber ballad ("La Fille aux Chansons"), an a capella piece ("Marion les Roses"), a lively instrumental ("J'ai Vu le Loup, le Renard et la Belette") and much more. Already, Malicorne were starting to incorporate electric instruments into the mix to good effect, pushing this, their second album, even closer to progressive areas. The arrangements, tracking choice and sheer musical quality makes this one of the best folk albums of the 70s.

"Simply put, this is one of the best recordings of French medieval music. If you like medieval music get this disk without delay! It is obvious that Gabriel Yacoub and company love this music and play it with such tender passion it is almost as if they were making love to their instruments.
For those not familiar with Malicorne, they are a bit like Pentangle without the jazz and blues influence. Traditional instruments, along with guitar and tasteful percussion transport the listener to a magical sanctuary where one may meet the Ancestors of the Foretime. The singing of Gabriel and his wife are perfect beyond description. This is timeless stuff and sings directly to the human soul whether or not one speaks French.
Get this cd and Colin, which are Malicornes' firt two recordings and their most traditional. You really cannot go wrong with this disk. Vive Malicorne!"

01. Le Mariage Anglais
02. Le Garçon Jardinierme Lombarde
03. La Fille Aux Chansons ( Marion S'y Promène )
04. J'ai Vu Le Loup, Le Renard Et La Belette
05. Cortège De Noce
06. Branle La Peronelle
07. Le Galant Indiscret
08. Marions Les Roses
09. Suite Bourrée, Scottish-Valse
10. Le Bouvier

Gabriel Yacoub (acoustic and electric guitar, epinette de Vosges, vocals)
Marie Yacoub (electric dulcimer, bouzouki, hurdy-gurdy, vocals)
Laurent Vercambre (violin, bouzouki, psaltery, harmonium, mandolin, vocals)
Hughes de Courson (electric guitar, bass, crumhorn, percussion, vocals)

Link

pass: bluesmen-worldmusic.blogspot.com

North America’s Preeminent Hungarian Folk Music Ensemble.
The Életfa Hungarian Folk Band is from the New Jersey/New York area. The Ensemble treats its audiences to a high-energy, entertaining tour of Hungary’s folk music, song and dance culture, guided throughout by engaging narrative and demonstrations. The group’s members specialize in and present the authentic, archaic folklore from the villages of present-day Hungary, Transylvania, Romania, Slovakia and beyond, delivered in a style suitable for Western audiences. The members of Életfa are all driven by their love and respect for Hungarian folk music and dance, the importance in preserving Hungarian dance, music and culture in North America, and the dedication to performing and spreading the joy of music, song and dance.

Életfa played at Lincoln Center with the New York Philharmonic in a "Behind the Music" program featuring the music of Brahms, hosted by actor Alec Baldwin. Életfa has also performed as part of the Detroit Symphony Orchestra's community-oriented program.

The band has appeared in cities throughout North America, including Austin, New Orleans, Sarasota, Toronto, San Francisco, Columbus, Ottawa, Pittsburgh, Chicago, Montreal, Houston, Washington, D.C., Miami, Boston, Calgary and Cleveland.

The group has appeared with several well-known Hungarian artists, including Kálmán Balogh, János Csik, András Berecz, Dénes Hruz, Zsuráfszky Zoltán, and Ferenc Tobak. Életfa has accompanied top dance groups of the United States and Canada and has played for audiences at countless festivals, camps, workshops, and solo performances. The ensemble has played live on WFMU (91.1 FM) in New Jersey and has received considerable airplay on U.S. and Hungarian radio, including on WNYC (93.9 FM).

“For over thirteen years Életfa has enjoyed success throughout America, and the CD Gyökereink shows why: from the authentic violin-based group sound to classic Hungarian folk stylings, Életfa has traditional Hungary down pat. Some players are born in the US and some in Hungary, but no matter where their source, the sound is authentic and lively, packed with folk spirit….The band plays for Hungarian enclaves around the U.S. – catch them if you can, Életfa spends a lot of time on the road, touring the country.”

“The Hungarian-Americans in Életfa perform traditional music and dance from Hungary and Transylvania. Playing centuries-old music that retains a celebratory immediacy, the group….sounds ageless and in the moment all at once.”

“An absolutely compelling and zesty album featuring the village music from Hungary and Transylvania by this New Jersey-based group. Being the most recognized Hungarian folk band in North America, 'who have kept people klicking their heels and slapping their feet for nearly two decades,’ the Életfa Hungarian Folk Band delivers with pure, shining musicianship.”


01. Lőrincrévi emlékek
02. Magyarnemegyei muzsika
03. Diőfa
04. Széki ballada
05. Marosszéki dalok
06. Mérai cigánycsárdás
07. Gyimesi kerekes es magyaros
08. Cserkeszcsokor
09. Erdő
10. Calusari
11. Árpádhoni szüreti mulatság
12. Mezőkölpényi dalok
13. Nem úgy van most mint volt régen
14. Mahala
15. Kalotaszegi búcsúzás

Katalin Harsáczki (“Kata”) - vocals
Ildikó Hajdu-Németh (“Ildi”) - violin, vocals
László Hajdu-Németh (“Laci”) - kontra (3-string viola)
József Gartai (“Heki”)- cimbalom and kontra (3-string viola)
Raul Rothblatt (“Raci”) - 3-string bass, string cello, percussive cello
Attila Papp (“Acsi”) - 3-string bass, percussive cello
Kalman Magyar (“Öcsi”) - violin, viola, trumpet-violin, various folk instruments

Link

pass: bluesmen-worldmusic.blogspot.com

This release represents the diverse roster of artists on the Hungarian label Periferic Records. Folk, World, Ethno-World, whatever you want to call it, it is all great music and a great introduction to what is happening both in the folk and more contemporary field of music in Hungary today. Some familiar names and some new ones, all however exploring the rich heritage of Hungarian Folk Music.

"While editing this CD I thought a label needs to have a compilation CD like this, because this is a simple and good way to represent the activity of Periferic Records. Compiling one song after the other it became more and more clear for me that this CD will not provide only promotional purposes. Simply it is good to listen to the compositions. I hope many music lovers feel as I feel: these songs are all fantastic pieces of the last one or two years. I hope you are going to listen to the music with such appriciations as I have felt pleasure for compiling and releasing this CD."

01. Lux – Túl a vizen egy kosár
02. Karikás – Hová mész?
03. Kormorán – Magyar rapszódia
04. Hungarian World Music Orchestra – Come Danube
05. Attacca – Addig babám
06. Ágoston Trió – Iafia
07. Bokros – Pista bácsi
08. Dűvő - Tánczene
09. Vasmalom – Gergelytánc
10. Khanci Dos – Na Dara Chajorrije
11. Vujicsics – Nile Sala
12. Binder Károly – Pünkösdi rózsa
13. Om Art Formation – Bulgaristan
14. Dobos Gyula – New Pangea

Link

pass: bluesmen-worldmusic.blogspot.com

"Di Naye Kapelye is the band formed by American-of-Hungarian-ancestry Bob Cohen who headed off to visit the land whence came his parents many years ago, and never left.

The band consists of Bob, fellow American Yankl Falk to represent the Left Coast, and the best local musicians he can find. Given that Bob has been traveling through the wilds of Eastern Europe for decades, jamming and collecting songs, this makes for quite a wild, skilled ensemble. The repertoire, of course, is of the region—songs from all over Eastern Europe from folk tunes to Hasidic nigunim to Communist-era propaganda (hence the title and wonderful Soviet-style graphic on the front cover). This may be the only klezmer album ever recorded that includes Hasidic nign and 1950s Romanian communist ode to the Yiddish tractor—the title track.

Even as I try to put this music into some type of box to describe it, the boxes keep breaking. Listen to Michael Alpert wailing on "A briv fun Yisroel", another 1950s-era Yiddish communist ode, and then a few minutes later the kaval-like vioră cu goarnă. You got your wild hutsul music. You got your token 1915 Americanish klezmer tune (later a hit from Naftule Brandwein). You got cantor Yankl Falk's wonderful voice perfect on an Arkady Gendler tune, "Pirim." You have the gang—even 13-year-old Aron Cohen takes a solo— on "Az nisht keyn emine (one of the aforementioned hasidic nigunim). You have some of the most divine string ensemble playing, featuring an orchestra of instruments from tsimbl to viola, that you'll hear anywhere. Heck, one village band wasn't enough. They pull in whole village band of Tjaciv to supplement the regulars.

The repertoire leave no part of Eastern Europe unscathed. There is even yet another recording of "Mashke," one of the band's signature tunes, even better than the previous recordings—Meyshke and Yankl are in top form here. Then they return the favor and close the album with Alpert's "Chernobyl," one of my favorite contrafactas (a melody applied to new words; this one many of us know better by the chorus, "hu tsa tsa"), an absolutely brilliant bit of writing by Alpert first recorded on the first Brave Old World album (an album that I still travel with). In Yiddish, the lyrics equate the Chernobyl hasidim, and their radiance-based mysticism, with the radiance of the local nuclear power plant disaster of not so long ago.

I fear I slight the instrumentals, but only because I don't know where to begin. It's the band and their friends and amazing people they meet along the way. Especially notable is the "Hutsul Medley," which was, unfortunately, the last recording session for tsimbl player Misu Csernavec, who passed away only a few months later. And, as I mentioned caval earlier, there is a wonderful dance tune titled simply, "Modavian Caval," part of a medley attached to a doina-ish folk tune, "Pastekhl." The piece also features the cimpoi (Moldavian bagpipe).

Bob, Yankl, and the band create magic. There are other great bands playing music from this region, but Cohen has a sense of breadth and balance that make Di Naye Kapelye concerts and recordings always exciting, always breathtaking. This isn't just this week's amazing batch of hutsul music; it's this week's amazing batch of hutsul music in context … a wonderous melange of music that best represents the mixed up world in which we live and makes it better. If I call this a "must have" CD I am being redundant, but I'll do it anyway."

01. Nit Bay Motyen
02. Traktorist
03. Pastekhl Moldavian Caval
04. Schwartz's Sirba A Briv Fun Yisroel
05. Baj Van Medley
06. Az Nisht Keyn Emine
07. Hamanul From Dragomiresti
08. Uncle Arpi's Nokh A Bisl
09. Hoaderes
10. Sadegurer Hosid
11. Hutsul Medley
12. Mashke
13. Pirim
14. Moldvai Zhok
15. “7.40”
16. Chernobyl

Bob Cohen: violin, vocals, koboz, mandolin, Carpathian drum, vioră cu goarnă (Stroh fiddle), cimpoi (Moldavian bagpipe)
Yankl Falk: vocals, clarinet
Antal (Puma) Fekete: kontra, Carpathian drum
Gyula (Kosztya) Kozma: bass
Ferenc Pribojszki: cimbalom, caval, Carpathian drum

with special guests:
Michael (Meyshke) Alpert: vocals, violin, percussion (3, 4, 6, 12)
Aron Cohen: vocals (6)
Josh Dolgin: accordion, piano (4, 10)
Tom Popper & Imre "Kutyuli" Keszthelyi: chorus vocals (12)

The village band from Técső (Tjaciv), Carpatho-Ukraine:
Joska Csernavec: bayan accordion
Misu Csernavec: tsymbaly
Jura Csernavec: drum, plonka, voice
Ivan Popovics: violin
(5, 11, 15, 16)

Link

pass: bluesmen-worldmusic.blogspot.com

Synthesis combines the roots of Macedonian folk music heritage with contemporary arrangements, using full range of original Macedonian instruments, like kaval, gaida, zurla, tapan, tarabuka and tambura.
Powerful and explosive, Synthesis is the most exported Macedonian world music project.

The band was established in 1995. for the purpose of carrying out an in-depth pursuit of the outstanding folk music treasures of Macedonia. The name "Synthesis" was chosen to express the concept of the group, which is to combine traditional sounds with contemporary arrangements to create a musical Synthesis. Digging deeply into the roots of Macedonian folk heritage, with a serious concern for the basics of traditional compositions, the group has received high praise for breathing new life in this milieu.

The melancholic voyages of Synthesis, with the full emotional power of the heritage and the typical complexity of Macedonian rhythms should not be missed by any Balkan music fan. Macedonia has finally uncovered a contemporary world music project! The group uses the full range of original Macedonian instruments: kaval, gaida, zurla, tapan, tarabuka and tambura. The line-up consists of three young lady singers, skillfully handling the local vocal tradition, of a keyboard player, two percussionists, tambura player and, of course, kaval, gaida or zurla on the front. Special mention has to be made here of the fact that while the majority of the traditional groups in Macedonia are amateurs, this band is made up of professional musicians.

In recognition of the great contribution Synthesis has made for the affirmation of Macedonian music and culture through its numerous concerts all over the world (Japan, Israel, the United States, Italy, France, and many others), in 2006 the Macedonian Chamber of Commerce pronounced the band its Honorary Ambassador of Macedonian Culture.

Synthesis carries on with the treatment of old, forgotten, and sometimes almost never heard songs, which are part of the rich Macedonian musical heritage, which, like Macedonian culture, has a long and enduring tradition.

01. Goceva 3
02. Sam legnuvam
03. Blazena goro zelena
04. Gajdarska igra
05. Vargida
06. Dva vermana
07. Bela Petkana
08. Jana Malesevka
09. Dumardija
10. Malinka

Goce Dimovski: kaval, gaida, zurla
Vane Jovchev: piano
Marjan Jovanovski: tambura
Goce Uzunski: tapan, tarabuka
Radoslav Shutevski: drums, percusión
Aneta Shulankovska: vocals
Biljana Ristovska: vocals
Mirjana Josheska: vocals

Link

pass: bluesmen-worldmusic.blogspot.com

Like Billie Holiday, the Cape Verdean queen of morna - a slow, rhythmically balladic blend of African blues and the Portuguese fado - asked heartache to come in and set a spell. In fact, trouble and Cesaria Evora are longtime soulmates. This 1992 album (released in the U.S. in 1998) about nostalgia, longing, hit-and-run lovers, and the sea features titles like "Barbincour" ("The Conman") and "Torura" ("Torture". It went gold in France, transforming the plump grandma diva of her West African island's beachside canteens into a world-music icon. Not the least of Evora's magical appeal is that those smooth, honey-rich vocals suggest a universe of passion and pain, with nary a spasm of self-pity to break the spell.

"Ravishing is the word that springs to the lips: one of those tiresome British understatements, but it'll have to do. Evora has the most glorious voice, the melodies are heartrendingly Portuguese, the guitar-runs have escaped from a fado recording. The classic piano and string group of Miss Perfumada help explain its near-bestselling status, the near-Brazilian rhythms add the zip that tops the whole thing off."

01. Sodade
02. Bia
03. Cumpade Ciznone
04. Direito Di Nasca
05. Luz Dum Estrela
06. Angola
07. Miss Perfumado
08. Vida Tem Un So Vida
09. Morabeza
10. Recordai
11. Lua Nha Testemunha
12. Barbincor
13. Tortura

Césaria Évora: Vocals, Main Performer
Teofilo Chantre: Vocals (Background), Translation, Choir, Chorus
Celina Pereira: Vocals (Background), Choir, Chorus
Titina: Vocals (Background), Choir, Chorus
Paulino Vieira: Guitar (Acoustic), Arranger, Percussion, Piano, Vocals (Background), Harmonica, Cavaquinho, Producer, Choir, Chorus
Toy Vieira: Guitar (Acoustic), Choir, Chorus, Piano, Cavaquinho, Vocals

Link

pass: bluesmen-worldmusic.blogspot.com

"For over two decades, Howe Gelb has worked doggedly and double-time to make it all but impossible to get a good bead on him. In fact, while any number of prominent musicians and artists have joined his orbit, it's still unclear what musical planet Gelb lives on. So goes life in the Arizona desert, where Gelb, both solo and with his ongoing band Giant Sand, has endeavored to make the dust you blow off an LP every bit as important as the music itself.

The ongoing success and evolution of Giant Sand spin-off Calexico may do Gelb no favors in comparison, but the guy clearly doesn't need any. For something as seemingly unfocused as Giant Sand, the band's been remarkably consistent, and proVISIONS is no exception, its array of peyote rock, twilight ballads, space cowboy soundtracks, and spooky sidetracks off the beaten path on par with the band's best work. Still, Gelb doesn't hedge his bets, studding the start of the disc with a string of conspicuous ringers, including appearances by Neko Case ("Without a Word"), Isobel Campbell ("Stranded Pearl"), and M. Ward, whose debut Duet for Guitars #2 was released by Gelb on his OW OM label ("Can Do"). Another track, "The Desperate Kingdom of Love", was written by pal Polly Jean Harvey.

Gelb's no dummy. He knows these famous names will help newcomers pierce his self-adorned cloak of mystery. At the same time, Giant Sand's always been such an informal affair that he also knows that none of these friends will overshadow the music, which is comfortable hanging back in the shadows, anyway. It's there that you'll hear such touches as the return of the Voices of Praise Choir, veterans of 'Sno Angel Like You on "Spiral", or the occasional presence of singer Henriette Sennenvaldt of the somewhat obscure Danish band Under Byen.

Gelb has called Giant Sand "a mood," and that's sure true on cinematic songs such as "Increment of Love" and "Pitch & Sway". Later the loose funk of "Muck Machine", "Saturated Beyond Repair", and the stumbling, obliquely soulful "Belly Full of Fire" find Gelb more forceful and groove-oriented. The latter in particular showcases his unwavering gift for subverting his own strengths, disarming the hooky chorus with an off-kilter arrangement that doesn't sound like it could ever be replicated exactly as is.

It's there in the words, too, where Gelb's lyrics hint at (or overtly reference) Bob Dylan at his most surreal or Tom Waits at his most perplexing, offering wisdom through weirdness and winking wordplay. "Molecule, Molly is nobody's fool/ Comes from an excellent gene pool/ Happy little cells flippin' from her lip and/ Spend the night here screaming for the mother ship/ I ride along surfing on the waves of a lava hip," sings Gelb in "Increment of Love". Such inscrutability can be a real chore in the wrong hands, but with Gelb, getting lost has always been part of the fun. It's not about the destination. It's about the trip."

01. Stranded Pearl
02. Without A Word
03. Can Do
04. Out There
05. Desperate Kingdom Of Love
06. Increment Of Love
07. Spiral
08. Pitch & Sway
09. Muck Machine
10. Belly Full Of Fire
11. Saturated Beyond Repair
12. World's End State Park [Wordless]
13. Well Enough Alone

Thøger T. Lund - Bass
Anders Pederson - Guitar/Slide
Howe Gelb - Guitar/Vocals/Keyboards/Shovel
Peter Dombernowsky - Drums/Percussion

Link

pass: bluesmen-worldmusic.blogspot.com

In this recording we have tried to demonstrate the variety and beauty of Hungarian folk music through our choices of Hungarian, Romanian and Transylvanian pieces.”

Specialty of the record is that we can discover a new side of Mihály Dresch, a giant of home jazz as member of the Csík Group. We can see that he is just as excellent in playing authentic folkmusic as he is in improvising when there is space for it.

1. "Boldog szomorú dal" / Happy Sad Song - Music for escorting the bride.
2. Magyarszováti furulya muzsika / Flute Music From Magyarszovát
3. Összerázás és négyes / Shaking And Dance For Two Couples From Magyarszovát
4. Román népzene Erdélybõl / Romanian Folk Music From Transylvania
5. Alföldi nóták / Tunes From The Great Plain
6. Hallgató és magyar csárdás / Listening Tune And Hungarian Csárdás From Heves County, Hungary
7. Szórakoztató muzsika / "Light music" From Erdõszombattelke, Northern Mezõség
8. Bogártelki hajnali csárdás és sebescsárdás / Lament (music played at dawn), Csárdás And Fast Csárdás From Bogártelke
9. Halotti mars / Funeral March From Gyimesközéplok

János Csík - violin, voice
Tibor Mészáros - violin
Mariann Majorosi - voice
Mihály Dresch Dudás - flute, saxophone
Zoltán Nagy - cimbalom
Lóránt Vass - viola, kontra
Tibor Csente - double bass

Guests:
Tamás Kunos - kontra, viola
Róbert Liber - viola
Ferencz Németh - voice

Link

pass: bluesmen-worldmusic.blogspot.com

"Sometime I'd like to have a band with double bass, cimbalom, saxophone, drum. We wouldn't play folk music, we'd play Hungarian Jazz."

One year after making the above statement, Mihály Dresch's idea materialized and he has made perhaps his best recording yet. Like Coltrane... This is Hungarian ethno-jazz!

1. Gyimesi Impressziók / Gyimes Impressions
2. Bánat, bánat... / Sorrow, Sorrow…
3. Remény / Hope
4. Rákóczi révészem... / Rákóczi My Ferryman…
5. Hungarian Be-Pop
6. Elballagok / I’ll Saunte

Mihály Dresch “Dudás” – saxophones, flutes, cimbalom, vocal
András Berecz – voice
Róbert Benkő – double bass
Tamás Geröly – drums, percussions
Ferenc Kovács - violin

Link

pass: bluesmen-worldmusic.blogspot.com

"While the term "Southern gothic" has become a shorthand description for the Sixteen Horsepower sound, Folklore suggests that the group has embraced the tag. They've redefined their brooding tone by constructing a ruined sonic landscape populated with sullen figures searching not for redemption but catharsis. Filled with murder ballads and tales of sin and redemption, Folklore is the sound of a sinner chasing away both the demons that torment him and the loved ones who fail to see that he has been haunted and changed. That stressful balance is embodied by David Eugene Edwards' wailing vocals, which remain a stunning hybrid of Gram Parsons' white-collar cowboy and Tom Waits' avant-garde crooner. Folklore is the dark side of Americana, almost completely devoid of the hopeful inflections that render so much of that musical tradition life-affirming.

Nearly half of the songs on Folklore are traditional compositions re-arranged and given new life by Edwards and company, which is a testament to 16HP's ability to craft such unique and absorbing atmospheres and textures from tunes that have been available for generations. The propulsive dirge of "Blessed Persistence" is a ghastly torch song, combining elements as diverse as the Violator-era atmospherics of Depeche Mode, the minimalist string arrangements of Rachel's and the stylized guitar sounds of Ennio Morricone's most famous spaghetti-western soundtracks. Imagine an exhausted Robert Plant fronting a vocal interpretation of Labradford's Mi Media Naranja and you'll begin to understand the depth and complexity of the track. Similarly, "Outlaw Song" recalls the dynamism of Zeppelin III, sprite acoustic instrumentation colliding with swelling bass sounds and galloping rhythms. Meanwhile, the raucous, foot-stomping sing-along "Single Girl" (a Carter Family composition) and the album-closing "La Robe a Parasol" are uptempo, uplifting numbers that stand in relief from Folklore's otherwise dark lyrics and sombre instrumentation. The dissonant interplay of violin and banjo on many of the tracks evokes contemporaries like Dirty Three and Palace, their decidedly modern perspective on loss and loneliness informing the timeless aura of the tunes. Each track is strong enough to stand on its own, yet fits with precision into the overall structure of the this Old Testament-fashioned epic.

Revealing itself slowly, like the mythic tales acknowledged by the album's title, Folklore is certainly Sixteen Horsepower's most stunning and accomplished work yet, and an easy nominee for one of 2002's best."

01. Hutterite Mile
02. Outlaw Song
03. Blessed Persistence
04. Alone and Forsaken
05. Single Girl
06. Beyond the Pale
07. Horse Head Fiddle
08. Sinnerman
09. Flutter
10. La Robe a Parasol

David Eugene Edwards: vocals, banjo, mandolin, bazuki, saz, nylon guitar
Jean-Yves Tola: percussion
Pascal Humbert: vocals and double bass

Link

pass: bluesmen-worldmusic.blogspot.com