Serbian, Macedonian, Bulgarian tunes and the band's own compositions can be heard on this, their first album. The traditional and archatic ambience is interpreted using the Bulgarian bagpipe (gaida), the long flute (kaval), and the two-sided big drum (tapan), besides more well-known instruments. In English PRAVO means straight, true but also it is the name of a popular dance, which is featured on the first track.

01. Roupchenko pravo horo (Bulgaria)
02. Svadbarska ruchenitsa (Bulgaria)
03. Vranje (Serbia)
04. Odzacar (Serbia)
05. Várnai dallamok (Bulgaria)
06. "Podigni si bre neveste..." (Macedonia)
07. Kettős (Romania, Moldva-Bulgaria)
08. "Golubice..." (Bosnia)
09. "Katerino mome..." (Bulgaria)
10. Zetvarki (Macedonia)
11. Sop dallamok (Bulgaria)
12. Kopanitsa (Bulgaria)
13. Régen és ma (Serbia)

Csilla Boros - accordion
Attila Gera - clarinet, flute, kaval, gajda
Szilveszter Schafer - violin
Tamás Vandlik - guitar
Gábor Gera - accordion
Péter Pataj - double bass
Tamás Tömösi - tapan, darabuka
Tímea Majorosi - voice
Anikó Knyihár - voice
Anita Gera - voice
László Bakai - trumpet
Erhard Bende - prímtambura, basszprímtambura
Balázs Szokolay Dongó - bagpipe



This international band consists of musicians from Russia, Moldova and Lebanon and plays music inspired by traditions of these countries.
Founded in 1997 in Nantes (France) by some Russian musicians, Dobranotch moved down to Saint-Petersburg (Russia) to find the new line up. For the last few years toured extensively all over the Europe. Such a well-renowned klezmer musicians as Michael Alpert, Frank London and Merlyn Shepherd appeared on stage with Dobranotch as a guests. Dobranotch released 3 CD albums in 1999, 2001 and 2004 and recently the new CD single “Handmade”. The music of Dobranotch can be heard in the number of Russian films and documentaries. Dobranotch worked with Frank London for the Russian production of his “Green Violin”.

Mitia Khramtsov is a founder member of Dobranotch. He is a specialist in klezmer fiddling. Mitia appeared at Krakow Jewish Festival with Kharkov Klezmer Band and participated in “East meets west” program at KlezCanada in 2005. Worked with Merlyn Shepherd for his coming out solo album.

Jeka Lizin been introduced to a klezmer music as a kid while playing in Saint-Petersburg Jewish Community Center Youth Band. Jeka appeared at Krakow Jewish Festival with Kharkov Klezmer Band in 2005 and worked with Merlyn Shepherd for his coming out solo album.

Andrey Sapkevich is a Saint-Petersburg Conservatory trained classical musician. While his father is a traditional musician, plays fiddle and accordion and his main teacher is Bulgarian accordion player Fiodor Jekov, so Andrey grew up with Moldavian and Bulgarian traditional music.

Osama Shakhin grew up in family of musicians in Lebanon. He learned to play darboukka from his uncle Josef Mussa.

Alexey Stepanov use to play in Saint-Petersburg Jewish Community Center Youth Band us well us Jeka Lizin.

01. 740 A.M.
02. Yoshke (Tanz Tanz Yiddele)
03. Freylekh
04. Otz Totz Pervertotz
05. Dobranotch
06. Limontchiki
07. Hora
08. Kogda My Byli Na Voine
09. Scotchne
10. Troptyanka
11. 7'40 P.M.

Mitia Khramtsov (Russia) - violin, vocal.
Jeka Lizin (Russia) - cimbalom, percussion, vocal.
Andrey Sapkevich (Moldova) - accordion, vocal.
Osama Shakhin (Lebanon) - percussion, vocal.
Alexey Stepanov (Russia) - tuba.



"Habreira Hativeet, formed in 1977, plays music that has evolved from Sephardic, African and Eastern roots. It was the first group to play Israeli world fusion.

Shlomo Bar, the founder of Habreira Hativeet draws much of his musical inspiration from Biblical as well as modern Israeli themes. "For me," says Shlomo Bar, "music is something internal without beginning or end. In my music there are elements of prayers, wonder, yearning and messianism."

Shlomo Bar is the group's leader, composer, and multi-instrumentalist. Bar was born in Rabat, Morocco, in 1943. He draws much of his musical inspiration from Biblical and modern Israeli themes. On stage, Bar captivates his audience first by a steady beat on the drums, and then by drawing the other musicians into instrumental and vocal harmony. He arranges and composes most of the group's songs and plays drums and flute - all accompanied by a voice that comes from deep within his soul.
"With the oriental approach to art," says Bar, "there has to be continuity between past and present. In my music I try to create this bond to be a link in the chain connecting my parents to my children."

Menashe Sasson was born in Iran in 1945, where he studied classical Persian music with the famous Santur player Mr Kiu Hagigi. Later on, Menashe continued his studies in the Music Academy of Teheran and played with several orchestras. He plays the Zither type of string instrument, called the Santur, an ancient Persian classical instrument. Menashe emigrated to Israel in 1963 and since has been very active in the music field. He participated at various international festival across the world as a soloist or as member of musical ensemble. In 1980 he played the chant for Santur &Chamber Orchestra composed for Menashe by Tsvi Avni

Moshe Malienkar was born in India. He plays Dolki and Dholak.

Ilan Ben-Ami, the guitarist of Habreira Hativeet, was born in Israel in 1967. He plays the acoustic guitar and specializes in classical Spanish music. As a self taught musician, he has also a very wide theoretical knowledge in classical music. He is a graduate of "Rimon" school of Jazz and Modern Music in Israel. Ilan has been playing with Habreira Hativeet since 1990. Lately, dedicated to his individual musical search, and meeting with senior musicians, Ilan started using the ud and the Turkish Jumboosh.

Yael Offenbach was born in Israel in 1968. She studied tabla at the Indian music department in Dartington College of Arts, U.K. with Pandit Sharda Sahai, the head of the Benares gharana (style) of tabla playing. On her return to Israel in 1992, she joined Habreira Hativeet, adding a new rhythmic touch to the music of the group. Yael participated in the special multimedia program "Habria". She also accompanied several singers in Israel and participated in combinations of Indian classical music with local musicians of different styles.

Yaacob Segal was born in Jerusalem in 1963. His family has roots in Europe (Lita) and Asia (Urfu) on the Turkish border. He started to play piano and guitar at the age of 15. He graduated from the Rubin Music Academy, in the Jazz department on guitar and bass. In 1999 he started to get involved in Middle-Eastern music playing ud and tur. In 2000 he joined Habreira Hativeet."

01. A Prayer
02. Children Are Happiness
03. In The Village Of Todra
04. Dror Yikra
05. Thorns
06. A Moroccan Wedding



"17 Hippies meet Marc Ribot and Jakob Ilja - some experiment that went very right!
Listening to Marc play with Tom Waits, John Zorn and Elvis Costello, not to forget his own projects like the fabulous Cubano Postizios, we knew that he has this very sophisticated way of making unusual and even diverse ideas come together. His very distinguished sound made (and still makes) him our favourite guitarist. We were very happy, when he liked the idea to join us on stage.

Jakob on the other hand is a musician we’ve known for years. So when his main band Element of Crime doesn’t need his distinctive guitar playing, he has jumped in from time to time to throw in his beautiful tunes on mandolin. Asked whether he could picture himself playing along with Marc, and us his first reaction was to sit down and reach for breath. He sure wanted to!"

01. Leolos Blues
02. Frau Von Ungefähr
03. Ifni Ifni
04. Galerón
05. Karsilamas
06. Was Bleibt
07. Jovano Javanne
08. Truffles & French Philosophy Go Sirba
09. Marléne
10. Besho

Antje Henkel - clarinet, saxophon
Carsten Wegener - double-bass, musical saw, vocals
Christopher Blenkinsop - ukulele, irish bouzouki, vocals
Daniel Friedrichs - violins
Dirk Trageser - guitar, vocals
Elmar Gutmann - trumpet
Henry Notroff - clarinets
Kerstin Kaernbach - violins
Kiki Sauer - accordion, harmonium, flute, vocals
Kruisko - accordion
Lüül - banjo, guitar
Rike Lau - cello, vocals
Uwe Langer - trombone, trumpet, euphonium



This CD can be warmly recommended to all lovers of Tuvinian music. The music presented is a well performed collection of authentic vocal and instrumental pieces. Since all pieces are strictly traditional this CD cannot be compared to the performance by e.g., Sainkho. Track number 9, performed by the unusually young artist Schaktar Schulban, reveals the enormous talent of this promising singer. The CD is very interesting because next to the overview of singing styles the listener is also introduced to a representative spectrum of instrumental music.

The songs are performed by Schaktar Schulban, a 10 year old boy who has been a singer since the age of 5, the 18 years old Ondar Mongun-Ool and Bujan Dondak, the Tuva Ensemble founded in 1988 by Gennadi Tumat, German Kuular, Stas Danmaa and Alexander Saltschak.

Most of the songs are accompanied by the traditional instruments toschpulur (a lute with two strings - tracks no. 1, 2, 4, 8, 12), chomus ("jew's harp", tracks no. 3, 13 - the latter being a chomus solo performance), igil (a two-stringed instrument - tracks no. 5, 8, 14, 16), limbi (a metal flute- track no. 8), amyrga (a hunting horn, used to lure deer - track no. 8), tschansy (a lute with three strings - track no. 10) and even a shaman drum is used once (track no. 15).

Track no. 15 reminds of Shaman songs that are also sung among the Caatan living in the Mongolian region neighbouring Tuva.

01. Sygyt - Chöömej - Kargyraa - Gennadi Tumat
02. Ugbashkylar Ooldary - Tuva-Ensemble
03. Chomushgu Ayalgalar - German Kuular
04. Ogbeler - Tuva-Ensemble
05. Sygyt - Borbangnadyr - Oleg Kuular
06. Collection of Chöömej styles - Oleg Kuular
07. Chomus and Chöömej - Oleg Kuular
08. Ching S"oortukchulerining Yry - Tuva-Ensemble
09. Sygyt - Kargyraa - Schaktar Schulban
10. Sygyt - Ondar Mongun-Ool
11. Kargyraa - Bujan Dondak
12. Adym - Tuva-Ensemble
13. Chomushgu Ayalgalar - Idamchap Chomushgu
14. Tschasky-Chem Yry - Opej Andrej & Tschetschek
15. Cham Algyshy - Alexander Saltschak
16. Sygyt - Kargyraa - Opej Andrej

PERFORMERS: Gennadi Tumat, German Kuular, Oleg Kuular, Schaktar Schulban (10 years old), Ondar Mongun-Ool, Bujan Dondak, Idamchap Chomushgu, Opej Andrej, Alexander Saltschak.


"Multicolored whirlwind of Serbian and Romanian dances leaves nobody untouched, whether Drobinska plays in underground Lisboa cafe or suburban Gasprom castle. Wedding melodies from south Slavic villages bring a sense of an unforgettable celebration, open to everybody.

Oleg Drobinski (clarinet, bagpipes, flutes, bouzouki) founded the band in 2003 after traveling in Balkans, studying in Chishinau conservatory and living a while in France.
Dmitri Ignatov (bass, bouzouki, percussion), universal musician, whose range spreads from medieval music to rock`n`roll.
Maxim Karpychev (saxphone, clarinet), graduated in Odessa conservatory, comes from Krymea, Ucraine.
Alexander Romitsyn (drums and percussion) before moving to Moscow played with different bands in his hometown Kazan, capital of Tartar republic.
Basem Al-Ashkar (al oud, - Arabian luth) native of Palestine, came to Russia to study classical music on the violin, but kept link to his roots playing al oud."

This disk is representing the folk material of Serbian, Bulgarian, Moldavian origin, superbly played in traditional style.
The disk is one more work of Oleg Drobinskiy quartet, he plays traditional wood-wind instruments along with over group members: drummer and percussionist Mario, singer Inna Bondar and Dmitry Ignatov on a bass.

04-Mai badize pentru tine
05-Dolina hora sirba
07-Nani nani
08-Auzit me, auzit



Beirut's five-song EP LON GISLAND works as a nice stop-gap for those anxious for the next full-length from wunderkind songwriter Zach Condon. Condon's penchant for unique instrumentation and world-music accents (particularly klezmer and Balkan ... Full Descriptionbrass) is in full flourish on this brief 2007 release, as best revealed on the rousing instrumental "My Family's Role in the World Revolution" and the gorgeous reworking of GULAG ORKESTAR's "Scenic World"--which gets fleshed out with the requisite accordions, ukuleles, and mournful brass, recasting the song as a bittersweet death march. Condon, indisputably, has talent and vision; that he can pack as much of it into five songs as he does here is staggering.

01. Elephant Gun
02. My Family's Role in the World Revolution
03. Scenic World
04. The Long Island Sound
05. Carousels

Zach Condon - vocals, ukulele, trumpet, piano
Jon Natchez - ukulele, clarinet, baritone saxophone, glockenspiel
Paul Collins - ukulele, organ, percussion
Kelly Pratt - trumpet, flugelhorn, euphonium
Kristin Ferebee - violin
Jason Peranski - mandolin, ukulele
Nick Petree - percussion
Perrin Cloutier - cello, accordion



The two CD set is overflowing with compositions spanning twelve years of Robin’s recordings, pieced together from Gitans, Kali Gadji, Rakhi, Un Ciel de Cuivre and Le Regard Nu. To classify Robin’s music is to stray too far off the path and the intent of his music. To put it simply, there is no classification of genre that could do his work justice. French and Spanish Gypsy influences are woven around and together with musical traditions of the Middle Eastern and Indian. Tapestry is such an overused analogy in musical fusion but in Robin’s compositions it’s an apt analogy. It’s as if a shiny piece of sound caught Robin’s ear and he simply picked it up and put it in his repertoire. To incorporate all that’s wild and wonderful in other traditions, you have to come up with a remarkable group of musicians and singers. Robin has done just that with the likes of Gabriel Levasseur, Abdelkrim Sami, Paco el Lobo, Amar Saadna, Joseph Saadna, Farid Saadna, Gulabi Sapera and a whole host of other talented musicians and singers.

The compilation is divided into two CDs, Le Jour and La Nuit. Le Jour is charged with such pieces as La Petite Mer, Rumba Do Vesou II, Swing Wassoulou, Ma Gavali and Chirmi Mala. Rumba Do Vesou II features Abdelkrim Sami “Diabolo” on the darbuka; Titi Robin, Bruno el Gitano and Mambo Saadna on guitars but it is Paco el Lobo’s, Mambo Saadna’s and Bruno el Gitanos’s passion soaked vocals that set the piece on fire. Swing Wassoulou really does swing in the combination of driving percussion with accordion, brass and Titi Robin on the oud. Gulabi Sapera’s vocals on Chirmi Mala from Rakhi soar against the chunky percussion, Gabriel Levasseur on organ and Robin on guitar.

La Nuit as the name suggests takes a darker, more reflective, tone. Patchiv from Gitans infuses the French Gypsy sound of François Castiello on accordion with Indian-sounding guitar work by Françis-Alfred Moerman and Robin. Haçer Toruk’s enchanting prelude vocals in Petite-Mere Sultane, from Un Ciel de Cuivre open the way for the intricate musical patterns of bendir, accordion, clarinet, ud and bouzouki. Django a Bagdad and Marraine are two more gems on this CD. Kali Gadji is a solo piece featuring Robin on the ud, its spare loveliness is rich beyond words.

CD 1. Le Jour

01. La petite mer
02. Panolero (version II)
03. Rumba do vesou II
04. Bleu indigo
05. Swing wassoulou (version II)
06. Réveil a la caravane
07. Fandangos maures
08. Salutations
09. Neem
10. Ma gavali
11. Chirmi mala
12. Anita (version instrumentale)
13. Rumba choucarde

CD 2.La Nuit
01. Nuit de pleine lune
02. Patchiv (extrait)
03. Petite-mere sultane
04. Pundela
05. Theme a Lise II
06. Kicsi, Kicsi Kém
07. Lovari (extrait)
08. Rumba de la casa
09. Django a Bagdad
10. Improvisation a la guitare voilée
11. Chundri
12. Marraine
13. Ma gavali - boléro (extrait)
14. Le pere et la mere
15. Leito dje dje
16. Taqsim et danse au 'oud
17. La rose de Jaipur
18. Kali Gadji
19. Epilogue en maqâm rast



After playing as a group for 11 out of the past 16 years, with 7 albums under their belts, Kolinda is still relatively unknown in their native Hungary and virtually unheard of in North America.

"They're one of the most interesting European groups that I've heard," says Gary Cristall, organizer of the Vancouver Folkfestival, "but they do it in a different way. Even though they were doing traditional stuff, it had a different edge to it. They've never been looked on very favorably in Hungary. They were always a little too far outside."

Kolinda's reputation for being outside comes from the way they mix elements of Hungarian and Balkan folksongs with a large amount of jazz, a bit of classical, and even a few notes of rock. Their music manages to melt the passion and urgency of gypsy music with the cerebral with of cool jazz, an exciting combination that makes them one of the most successful hybrids of folk and contemporary music around today.

Kolinda first formed in 1974, and in the next four years they released three albums on the French Hexagone label. But in 1978 the group disbanded and the members went on to other projects.

In 1984, the group got together for a reunion tour. They've been playing together ever since, and have recorded four albums. But even with their diverse sources of inspiration , Kolinda never sounds contrived.

While other "ethnofusion" bands often seem like a patchwork of styles and cultures - contemporary instrumentation precariously and arbitrarily tacked on to ethnic folk music - Kolinda always sounds inevitable. They weave all their various influences together so seamlessly that it somehow seems as if it could be no other way. Their sounds is a solid, unified whole that blends fervor and freshness without a hint of artifice.

01 - Ilju haramia
02 - Szerelem
03 - Tánc
04 - Csodafiú szarvas
05 - Töredékek
06 - Cigány hallgató

Péter Dabasi: voice, guitar, tamboura, zither, gardon
Ferenc Kis: voice, violin, Turkish hautbois
lván Lantos: voice, bass, Turkish hautbois, pipes, percussions, gardon
Ágnes Zsigmondi: voice, flute



The Budapest Klezmer Band comes from the heart of Europe, from the very geographic location where Klezmer music originates. The Band's performance is an exciting musical experience in traditional Jewish folklore.'

The band is led by composer, arranger Ferenc Jávori, who was raised on Klezmer music in Munkács (Munkacevo, nowadays part of Ukraine). He learnt his trade from some of the last surviving musicians there, where music was an integral part of Jewish life. The BKB play Klezmer music that is seeped in traditional Jewish life and folklore.

Other members of the band are also exceptional musicians, being graduates of the Franz Liszt Academy of Music of Budapest.

"Now here's a different sort of crossover - Eastern European/Hungarian/gypsy music mixed with Yiddish klezmer. The seven-piece ensemble includes clarinet (of course), violin, doublebass, accordion, harmonica, trombone, drums and all sorts of ethnic percussion instruments. Pianist and leader Ferenc Javori does all the arrangements; there is the wedding dance from Fiddler on the Roof and Yiddish songs by a couple of other composers. The sadness as well as the joy and happiness is communicated in the Yiddish music, which can really swing sometimes. The title tune instrumental is a total gas. All involved seem to be having a great party. Never mind most won't understand the few vocals. This is fun stuff!"

01. Tartar dance
02. Jewish dance
03. Ferenc Jávori: Fantasie (Fiddler On The Roof - Wedding Dance)
04. Hora
05. Sirba
06. ABraham Ellstein: Jidl mit'n fiddl' (Dunai Tamás - clarinet)
07. Ferenc Jávori: Emancipated klezmer
08. Sholom Secunda: Donna-Donna
09. Ferenc Jávori: Yiddishe Blues
10. Sholom Secunda: Bei mir bist du schejn

Ferenc Jávori - leader, piano, voice
István Kohán - clarinet
Katica Illenyi - violin, voice
Anna Nagy - accordion
Gábor Tamás - trombone
Gábor Kiss - doublebass
Balázs Végh - drums, percussion

Tamas Dunai - voice, clarinet


Les Hurlements D'Leo is a human adventure which has travelled the world: Eastern Europe, Germany, Hungary, Russia, Japan, Australia, USA, Canada.
Their music is a mixture of Java, acoustic rock and Eastern European sounds and is played on various instruments. On stage the guitar, violin, accordion, double bass, trombone, drums, trumpet, saxophone and piano join together for a most enjoyable sound.

"Gypsy, jazz, chanson and more blend with punk energy in this disc...its hard to describe with French vocals over acoustic guitars, pianos, upright bass, brass, fiddle, accordian and more sound when combined...Fans of music in general will like this..."

01 - Lame Soueur
02 - La Chambre
03 - Harley Davidson
04 - La Racheteur D'ardoises
05 - La Laisse
06 - Kaleidoscope
07 - Mon Cul!
08 - Simon Simone
09 - Ethnique Ta Mere
10 - Le D'amelie
11 - La Laisskwing
12 - Ouest Terne
13 - Roi Des Villes Roi Des Champs
14 - La Piave

Les Hurlements d’Léo are:
Laulo: Singer, guitar
Remy: Drums, Derbouka
Pepito: trompet
Zeb: Violin, guitar
Jojo: accordeon, trombon
Benbziz: saxo
Dawed: contrabass
R1: Singer, guitar



"On Pandoukht, Yengibarjan teams with Frank London, whose experimentation with eastern European sounds are legion; they converge around the shared Armenian and Jewish experience of genocide, joined by guitarist Gábor Gadó, bassist Horváth and multi-percussionist András Dés. While trumpet is not typically associated with tango, London finds common sonic ground in a blend of their respective compositions with eastern European roots. On "Berd Par," an Armenian folk song, the duo set up a trumpet-accordion dialogue against a simple two-chord Latin figure, while "Hoy Noubar," "Ararat" and "D'le Yaman" mark out various Levantine traces, the latter with London's sighing trumpet engaged in a tete-a-tete with Yengibarjan's restrained exhalations. London's "Golem Khosidi" and the traditional Jewish tune "Meron Nign" confirm the shared wellsprings of Jewish and Armenian folk song. There's whimsy here too, as with "Liliputien," a fleeting waltz duet."

2.Berd Par
3.Hoy Noubar
5.D'le Yaman
6.Golem Khosidl 7.Pandoukht
9.Meron Nign

Gábor Gadó - Guitar
András Dés - Percussion
David Yengibarjan - Accordion, Main Performer
József Horváth Barcza - Bass
Frank London - Trumpet



"The ensemble BORAGO was established in spring of 2004. It is an acoustic trio that plays which they collected themselves traditional folk songs. They have a special instrumentation, that gives a unique sounding. They have been already friends for a while, when popped up the idea of setting an ensemble. We can say it has just happened by chance.
But choosing the traditional Hungarian songs as roots was not by chanche, because all tree of them knew, these songs transmit beautiful feelings, wisdom and colourful tunes. When Anita Hornai was a child she partook numerous competitions of singing inspired by the musical school where she studied. To make there repertoire more colourful she visited Hungarian people living in Transylvania, where she collected many forgotten folk songs. It became the base of their own style, then they added their own knowledge and experience of jazz, funky and classical music. During working together they noticed that their ideas build and create a totally new world. Zsuzsa Warnusz brought proper harmonies. Gábor Bizják utilizing his instrument for all it's worth, took on soloist or bass lead. It was completed by Anita Hornai's flute play."

The Borago Band recommend this record to those who enjoy the atmosphere of Hungarian folk music with an unknown twist, garnished with unique sound and orchestration.

”Songs from the past, in the present ... for the future. The water of the „pure spring” requires devotion and humbleness from those wanting to quench their thirst. Folk music, long preserved by it simplicity, should not lack either of these two, even when given a new garment, since this would lead to the loss of its essence. Borago would certainly not be able to be so stirring if the group was not honest, passionate and compelling while at the same time communicating innocence and naivity.”

Kornél Fekete-Kovács

1. Megállj, megállj / Wait, Wait
2. Megrakják a tüzet / Kerek erdő / Building The Fire / Round Forest
3. Ne csicseréssz / Don’t Twitter
4. Nem arról hajnallik / The Sun Doesen’t Rise From There
5. Sej, búra / Ne bánd, édes virágom / Woe Is Me / Don’t Regret It, My Sweetness
6. Citrusfa / Citrus Tree
7. Engem anyám úgy szeretett / My Mother Loved Me So Much
8. Röpülj páva / Béreslegény / A bolhási kertek alatt / Fly Peacock / Farm Hand / Beyond The Fields Of Bolhás
9. Kicsiny a hordócska / Apró murok / Fekete tyúk / Tiny Wee Barrel / Little Wee Carrots / Black Hen

Anita Hornai – vocal, flutes, doromb
Zsuzsi Warnusz – piano, keyboards, vocal
Gábor Bizják – french horn, vocal



"It's System of a Down finally consumed by their folkisms; it's a Romany campfire gathering where gypsies turn amps up to eleven. It's six languages spilling over rock, hip-hop, samba, balladry, and punk. But most of all, it will rock your world.
Seattle's adopted stepchildren Kultur Shock return true to form with their fourth release, We Have Come to Take Your Jobs, once again characterized by their unique brand of Balkan folk music denoted by heavy guitars, relentless rhythms, searing violins, and sometimes irreverent, always impressionable vocals. In the words of singer Gino Yevdjevich: "After ten years, we're naming our new album what we should have named our first one."

"The immigrant's story - America is built on these tales of hardship and hard work, of flights from persecution or poverty, of boot-strap pulling and success building. Buried beneath these American myths, however, are the uglier truths of discrimination and exploitation, racism and riots, and a generational struggle for rights and respect. Regardless of the all-embracing words on the Statue of Liberty, immigrants have never been particularly welcome on these shores, something most of Kultur Shock have discovered the hard way. But they're not taking America's abuse lying down. "We came to take away your jobs," singer Gino Yevdjevich sardonically taunts on "God Is Busy," and although He well may be, thankfully there's always an immigrant available to help out with life's more mundane tasks. We're grateful for their assistance, as long as they stay where they belong -- in the economic wilderness, a point driven home on "Poor Man's Tango." With a finely honed sense of black humor, an irreverence for all this country holds so hypocritically dear, and a view of the world few of us have seen, Kultur Shock are determined to rip the blinders from Americans' eyes. But it's not all class warfare and politics, there's "Duna"'s modern fairy tale, a Balkan- punk love song, and a wailing lament for Yevdjevich's home, "Sarajevo." That latter number, like a clutch of others, is not in English, but regardless, you can hear his pain, anger, confusion, and bitterness in every incomprehensible word. The emotions are unmistakable, regardless of the language they're delivered in, with the music speaking just as clearly. The band's dizzying blend of hardcore, post-punk and rock, with Balkan stylings, Middle-Eastern influences, and Spanish flavors splashed across the arrangements, make for a heady sound that's at once familiar yet teasingly exotic. Exuberant, angry, fun-loving, haunting, thought provoking and infectious, We Came to Take Your Jobs Away is a stunning album, the band's best to date, an exhilarating journey into a world inhabited by people too many Americans would like to just send back where they came from. How incredibly sad."

Jo-Ann Greene, All Music Guide

01.God Is Busy, May I Help You
02.Tango La Victoire
05.Gino Loves You
07.Poor Man's Tango
08.Nano Mi Hermano

Gino Yevdjevich (Sarajevo, BiH) – vocals, trumpet, tarabuka
Mario Butkovic (Brčko, BiH) – guitar, vocals
Val Kiossovski (Sofia, Bulgaria) – guitar, vocals
Masashi Kobayashi (Tokio, Japan) – bass, vocals
Matty Noble (Long Island, USA) – violin
Chris Stromquist (Seattle, USA) – drums


With his roots in the music of the desert nomads of Western Sudan, where he was born in the region of Kordofan, Abdel Gadir Salim pioneered a mix of urban and folk music in the early 1970's, coming up with this marvelous hybrid of African, Arabic, and jazz; it incorporates some Western instruments, like the saxophone and accordion, and the music he writes is melodic, rhythmic, and mellow. Anyone who likes reggae or African music will appreciate Salim's talent, and find in his songs a lovely and kindred spirit.

1. Rada Al-Qulayb - Give Me Back My Tender Little Heart
2. Bitzid Min 'Adhabi - She Increases My Pain
3. Ghannu Ya Ikhwani - Sing, O My Brothers
4. Jamil Al-Sourah - The Beautiful Face
5. Ghaba Nawmi - I Can No Longer Sleep
6. Qidrechinna - I Am Destined To Love
7. Ana Batraki - I Am Under Your Spell
8. Maktul Hawak - Tied By Your Love



Barbaro third album was ready: Barbaro III – with a fresh dynamism and taste breathing new life into the band’s characteristic “steppe sound”.

01 - Fényrepülés
02 - Kerek erdő
03 - Bárányos
04 - Fény világíts, szél csendesedj
05 - Zene szól
06 - Tűpárna a szívem
07 - Pszichiátert akarok!
08 - Álmomban
09 - Elegem van mindenből
10 - Madárének
11 - Őshaza

Miklós Both– vocal, guitar
Sándor Cziránku– guitar
Sándor Herpai– drums
Tamás Zsoldos - bassguitar


Original uploader: kecsej. Thanks!

"Erik Marchand has been travelling the colourful routes of world music for several decades now. The singer and clarinet player has done as much as anyone to popularise music from his native southern Brittany, in particular the gwerz. Born in Paris, Marchand settled in his parents’ province of origin in 1975 and plunged into the traditional gwerziou chanting and a repertory that was on the verge of extinction. The creation of his Gwerz band in the early 80s signalled a revival that has shown no sign of abating. Yet his passion for music from other horizons has also led to some of France’s most innovative exchanges with world music.

The collaboration between Erik Marchand and the Romanian Gypsy Taraf (Ensemble) de Caransebes is renewed in this cd of considerable invoice, where the vocality of Erik is united to the resonance of the east in really magical manner; without fear of to exaggerate, we would define this work like what much more door to completion the collaboration between these coming artists from distant reality geographically and culturally. Attractive also the preparation and the conception graphic that show the musicians advance with their tools in a landscape transformed."

01. Milin Turki
02. Ton Moldav
03. Tamm Kreix If Menez
04. Toniou Hir Da Filie Dragomir
05. Purtata Bretoneasca
06. Pardon Klegereg
07. Gwellan Amzer
08. Ar Verrbadenn
09. Hora De Saint Vincent
10. Doina Haiducilor
11. Vino Mindro Sa Te Joc
12. Galvadenn Bugel
13. Kanenn Ma Mestrezed
14. Ar Spilhou
15. Ar Doina Lui Gaby



"Ando Drom is a group of young Hungarian Gypsy musicians fusing pure Gypsy music (as opposed to the "cabaret" forms much scorned by Gypsies) with their current modern sensibilities. As such they run a precarious tightrope between the acceptance of their peers and that of the outside world, but such is the passion for their roots they succeed admirably on both accounts. Gypsy music is sung primarily for Gypsies by Gypsies, and the material on these 13 cuts reflects that tradition. Ando Drom will vary the content according to their mood at the time, also part of the spontaneity of the Gypsy tradition. Joined by members of Bratsch, the five-member band--fronted by the amazing singer Monika "Mitsou" Juhasz Miczura--romp through impassioned songs reflecting the hard life of the Gypsy fraternity, with plenty of exhilarating improvisation, both vocally and instrumentally. When violins, guitars, and accordion aren't enough they will manufacture the needed parts on milk pans, spoons, and vocal bass lines, creating a living, breathing music far removed from any cold ethnologic exercise. It is easy to understand why the music has tenaciously survived as an expressive force over centuries of hardship. With excellent liner notes, Phari Mamo is essential listening for anyone interested in Gypsy culture."

01 - Zsa Mo
02 - Na Kamel Ma
03 - Sza Tele Zsav
04 - Phergyi E Bar
05 - Matyilem
06 - Le Shavore
07 - Me Te Merav
08 - Kado Gyesz
09 - O Nanasi
10 - Rodel Ma Muri Dej
11 - Phari Mamo
12 - Csi Lav Tu
13 - Ho Bo Bo

Jenő Zsigó:
leader,arrangements, vocals, guitar, tambura, mandolin, kannaspoons, oral bass, udu, talking drum and other percussions

Mónika "Mitsou"Juhász Miczura:
vocals, oral bass, percussions

Antal "Goima" Kovács:
vocals,oral bass, percussions

Antal "Anti" Kovács ifj.:
guitar, vocals, oral bass, percussions

János "Gusti" Lakatos:
vocals, kanna (milk pan), oral bass percussions

Special Guests:
Mónika Horváth - vocals
Francois Castiello from Bratsch/Paris - accordion
Bruno Girard from Bratsch/Paris - violin
Lajos Kathy Horváth - violin



Bonga's first album, the politically charged Angola 72 recorded in European exile, was a landmark hit record that set the pace for acoustic African troubadours and set the tone for the successes of Waldemar Bastos and Henri Dikongue 25 years later. His follow up, Angola 74, was recorded on the run in Europe just as Angola's colonial government was being overthrown, and adds a more upbeat flavor to his trademark introspective style. Still using acoustic and traditional instrumentation, he is abetted by Guinean sax man Jo Maka and some of Cape Verde's finest musicians. Included is a version of "Sodade" (made famous by Cesaria Evora), a perfect vehicle for Bonga's raspy voice, replete with a thousand years of African soul in spiritual counterpoint to the "morna"-full arrangement. Elsewhere the inclusion of additional percussion, sax, and flutes provide a celebratory, if somewhat edgy, carnival feel that spins the compass between Africa, Brazil, and Portugal. Bonga later moved into a more cabaret mode of expression, so these are watershed recordings for Angolan music.

"An inimitable, essential voice in contemporary African music, recognisable among a thousand in its tender huskiness, which sounds as if it has been filtered through a light screen of nostalgia."

(Les Inrockuptibles)

"Bonga, a voice of Angola, a unique touch, a sobbing prayer and a sway of the hips that incites the listener to delicious abandon."

"Bonga has a husky voice and incomparable feeling - guaranteed melancholy."
(Le Monde)

"Beauty, harmony and a slightly cracked voice are, as always, the main qualities of his music, a music we decidedly never tire of."

CD 1
01. Mona Ki Noi Xica.mp3
02. Uengi Dia Ngola.mp3
03. Balumukeno.mp3
04. Ku Tando.mp3
05. Kilumba Dia Ngola.mp3
06. Muadikime.mp3
07. Luanda Nbolo.mp3
08. Mu Nhango.mp3
09. Paxi Ni Ngongo.mp3
10. Muimbo Ua Sabalu.mp3


CD 2

01. Sodade.mp3
02. Venda Poro.mp3
03. Kubangela.mp3
04. Makongo.mp3
05. Roots.mp3
06. Ghinawa.mp3
07. Marika.mp3
08. Ngana Ngonga.mp3
09. Ai-ue Mama.mp3
10. Kinga Kueta.mp3

part 1.
part 2.

Crossing the borders between jazz, classical, world music, bossa nova and more, "Joyosa" presents a new amalgamation of today's sounds - utterly elegant, full of joy and vibrating with vitality.

The critics wrote:

"A strike of luck. No shrill notes but full of suspense. This is chamber jazz of the highest level!"

Jazz thing

"A deepness and complexity that could not be more suspenseful. A dream of music, an album of quiet superlatives."

"Chamber jazz with soul."

"This music reaches the listeners' hearts without a detour."

"Give us more of these refined sounds!"
Jazz Podium

01. Gio
02. Basswave
03. Madhawi
04. Gomme
05. Joyosa
06. Mona
07. Freund
08. Our Father
09. Jasmin
10. The Waltz

Ferenc Snétberger - guitar
Markus Stockhausen - trumpet, fl-horn
Arild Andersen - double-bass
Patrice Héral percussion


"If you share our fascination with the vocal inventiveness of human beings, this is for you. The Tuvan people are said to be descendants of Ghengis Kahn. They live just north of Mongolia in the exact center of the Asia, surrounded by mountains which have helped to keep them isolated. As a nomadic herding culture a closeness with nature permeates their lives and is the mainstay of musical culture. It is said that the throat singing for which the Tuvan's have become so well known came from listening to the resonance of the empty steppe. The singing of multiple notes at the same time by one singer can be historically traced back to the eighth century and may well be much older. Shu-De is a troupe of five musician/singers with an arranger who share with us exquisite examples of the five varieties of throat singing in both accompanied and unaccompanied arrangements. The Tuvans are the best practitioners of singing harmonic overtones, and Shu-De is one of the best groups in Tuva. Explore your world!"

01. Sygyt, Khoomei, Kargyraa [Styles of Throat-Singing] Traditional
02. Aian Dudal [Songs of DeVotion and Praise] Traditional
03. Beezhinden [Coming Back from Beijing] Traditional
04. Buura Traditional
05. Durgen Chugaa [Tongue Twisters] Traditional
06. Throat-Singing and Igil [Untitled Track] Traditional
07. Yraazhy Kys [The Singing Girl] Traditional
08. Shyngyr-Shyngyr Traditional
09. Baian-Dudai Traditional
10. Khomus Solo [Jaw\'s Harp Solo] Traditional
11. Meen Khemchim [My Khemchik River] Traditional
12. Opei Yry (A Lullaby) Traditional
13. Tyva-Uriankhai Traditional
14. Chashpy-Khem [The River Chashpy] Traditional
15. Kadarchynyng Yry [The Nomad Song] Traditional
16. Kham [Shaman Ritual] Traditional


"Already a star in Canada and France, the gifted singer/songwriter Lhasa sets her sights on America with this remarkable multi-cultural effort. The Living Road, the follow-up to her 1998 debut, features her smoky vocals (in French, English, and Spanish) in front with wonderfully understated support that draws upon Mexican folk styles, French chansons, Spanish ballads, and modern-sounding songwriters like Joe Henry or Jim White. The accompaniment is exceptional, but it's Lhasa's voice and lyrics that set her apart. Whereas fellow Mexican-American singer Lila Downs dives into large cultural and political issues, this modern-day torch singer sings about intensely personal experiences and inner thoughts--much of the lyrics are sung in the first person or directed toward another, as if she's writing a letter to a lover. Her sensual phrasing perfectly fits the intimate subject matter, particularly when she sings in French, while her husky timbre exudes inner strength that beyond question. Six years is a long time between albums, but The Living Road was worth the wait. --Tad Hendrickson
If you haven't heard Lhasa, think of Leonard Cohen-like lyrics sung in French by a female with backup music that sounds like Tom Waits."

01. Con Toda Palabra
02. La Marne Huate
03. Anywhere On This Road
04. Abro La Ventana
05. J’arrive A La Ville
06. La Frontera
07. La Confession
08. Small Song
09. My Name
10. Pa’ Llegar A Tu Lado
11. Para el Fin Del Mundo O El Ano Nuevo
12. Soon This Space Will Be Too Small



In the 19th century Jewish musicians played two or three dance pieces often in a set order, without interruption at weddings and other feasts.
They called these ‘medleys’ standard among themselves. The first part of the standard is the Doina, a rubato, semi-improvised ballad, which was originally a Transylvanian shepherd tune and which - at the same time - is the intro of the Hora that follows. The Hora is a medium 3/4 time dance, where normally a break subtitles the mid quarter. The last piece of the set is a fast and ecstatic 4/4 time dance, the Bulgar (Freylach). These three kinds of dance pieces with different tempo constitute the basis of the instrumental Klezmer music.
Nigun’s Standard, which is the band’s second CD, revives this music tradition. The traditional variations of the pieces we play come from different regions so originally these three tunes could not be in the same repertoire.

1. Dror Yikra (trad.)
2. Máramarosszigeti tánc / Dance from Máramaros (trad. arr. Párániczky András)
3. Szászrégeni Zsidó Tánc / Jewish dance from Szászrégen - Belz-ként is ismert / Also known as Belz (trad.)
4. Chasn Ojf Schabess (trad. arr Nigun)
5. Re'ach Tapuach (trad. arr. Nigun)
6. Szól a kakas már - Kalever Nigun-ként is ismert / Also known az Kalever Nigun (trad. arr. Párniczky András, Nagy Péter)
7. Der Gasn Nign (trad. arr. Prániczky András)
8. Odessa Bulgaris (trad. arr. Párniczky András)
9. Hasar Hamemuneh (trad.)

András Párniczky - guitar
Kristóf Bacsó - alto, sopran sax
Péter Nagy - bass
Csaba Gavallér - drums, dumbuk


Original uploader: barvalo. Thanks!

This album contains folk music with cymbal from the Carpatian basin.
Balázs Unger - who also worked with famous Hungarian folk groups like Dresch Quartet, Galga, Kárpátia and Fonó Group – plays folk tunes of his own collection. Featuring: Galga group, Pravo group, Szlobodan Wertetics (Söndörgő, Wertetics Orkestar), Lajos Pál and Péter Molnár.

01.Verbunkok Szentiványól
02.Béres vagyok, béres
03.Sóvidéki csárdás és szöktetős
04.Moldvai dedoi és hora
05.Tulsó sor Sopron
06.Nem messze van ide Tura
07.Tendl frissei
08.Braul din Banat
09.Bolgár daychevo és serba
10.Jaj de szépen ragyognak a csillagok


Original uploader: flehel. Thanks!

"Roma-Bulgarian-Turkish wedding music at its highest quality, with a strong jazzy spice in it. Yuri Yukanov hails from Bulgaria, nearby the Turkish border, and has also family links to Turkey. His biography is rather exciting; Yuri became nationally famous as a box champion, and changed his former Muslim name Husein Huseinov to a Bulgarian name, as in communist Bulgaria you would have no success as a boxer with Muslim name.
Yuri himself is a master on the saxophone, and Yuri's ensemble is full of talent: Ivan Milev on the accordion, Catherine Foster on clarinet, Georgi Petrov on percussion and Lauren Brody on keyboards. The music is mostly wild and fast, with terrific and breathtaking duos on saxophone and accordion. Impressive musicianship, very lively inventive and improvising music. Still I have to say this is not a CD that I could listen to every day - which is not a question of quality but only of personal taste."

2.Ruchenista A La Paganini
3.Albanian Elegy / Macadonian Gaida
4.Suite Ivan
5.Improv Duet
7.Jazz Horo
8.Hot Dog
9.Kyuchek Arabesque

part 1.
part 2.

“Lo’Jo, led by a smoky-voiced chanteur named Denis Pean, sounds like an itinerant cabaret band that has wandered a long way from the boulevards, hearing griot tunes and tangos and Tom Waits but not forgetting its accordion”

The New York Times

"Guided by a man compared to a barefoot and be-hatted Serge Gainsbourg, and with a history colored by circus artists, actors, pyrotechnicians, street performers, painters, acrobats, festivals, and cabarets, Lo’Jo, the band of French global troubadours, releases their first live CD, Ce Soir Lá, on October 12, 2004 on World Village.

Read the reviews of French band Lo’Jo and you’ll hear descriptions of a veritable where’s-where of world music: Spanish, Hindi, Arabic, North African, West African, English, Gypsy, Caribbean, and of course French. These diverse origins are united seamlessly by the gravelly voice of lead singer Denis Péan, the genetically synchronized tones of singing sisters Nadia and Yamina, and the legacy of the band’s quirky origins of street performance. Operating communally from a house in Angers, France, Lo’Jo’s success has largely resulted from constant worldwide touring and a do-it-yourself mentality that is paying off twenty years after the band’s founding.

Ce Soir Lá was recorded on tour in France and features both well-loved favorites and as-yet unreleased material. The CD harnesses the dynamic stage presence of the group that has captivated audiences across the globe. The live compilation showcases the husky lyrics of founder Denis Péan mingled with instrumentation that ranges from the violin and piano to the bassoon, harmonium, Turkish clarinet, imzad (a one-stringed fiddle from the Sahara) and kamel n’goni (a West African lute similar to the kora). Selections hearken back to many of Lo’Jo’s previously released albums, including Fils de Amal (1993), Sin Acabar (1996), Mojo Radio (1998), Boheme de Cristal (2000), and Au Cabaret Sauvage (2002), the latter three released in the USA by World Village.

A highlight of the CD is a memorable performance with Benin’s Gangbé Brass Band on the cut “Senor Calice.” The journey also reflects some new material like the album’s opening track “Invitation” and the deeper “Cada Hombre” (“Every Man”), in which Niviera Tejera’s lyrics speak of “a window that opens never again.”

In homage to Lo’Jo’s origins in street theater, Ce Soir Lá includes an enhanced CD-ROM track, “Tangito ‘In Pictures,’” which offers film footage of the acrobatic rope duo Les Sélene swinging and twirling in mesmerizing arcs high above the concert stage. “Music makes you dance, and it’s music that makes us climb,” pronounce these lyrics by Berber sisters Nadia and Yamina Nid el Mourid, and Les Sélene’s dance on air takes us to those heights."

01 Invitation
02 Bra Me [Burned the Fuse]
03 Mon Amour [My Love]
04 Cinq Cauris Ocre [Five Ochre Cowrie Sells]
05 Piano [The Piano]
06 Magdalena ParlMagdalena Spoken]
07 l'Ar des Audacieux [In the Arena of the Bold]
08 Cada Hombre [Every Man]
09 Fils de Zamal [Son of Zamal]
10 Petit Homme [Small Man]
11 SeCalice
12 Chaque Humain [Each Human Being]
13 Tiene la Bandera [Take the Flag]
14 Dobosz
15 Sin Acabar [Without Stopping]
16 Bougnoule [Wog]
17 Tangito
18 Tangito In Pictures (Video)


Klezmatics mix jazz, folk, rock and Jewish music into a unique and powerful new sound. This album is one of the more challeging of their many works, leaping from genre to genre with seeming abandon. A core element of the record is the songwriting of playwright Tony Kushner, a self-described "half-baked, half-former, re-formed, dummermann kind of Jew." His lyrics for "Undoing World" are powerful phrases of love, loss and exile played against a traditional tune. Klezmatics can break into a frenzied dance here or a heart-rending fiddle tune there; the beauty of Possessed is its complete unpredictability. This is klezmer music of a high order.

01. Shprayz Ikh Mir
02. Kolomeyke
03. Moroccan Game
04. An Undoing World
05. Mizmor Shir Lehanef (Reefer Song)
06. Shvarts Un Vays (Black And White)
07. Lomir Heybn Dem Bekher
08. Sirba Matey Matey
09. Mipney Ma
10. Beggars' Dance
11. Shnaps-Nign
12. Interlude
13. Dybbuk Shers
14. Fradde's Song
15. Der Shvartser Mi Adir
16. Hinokh Yafo
17. Mipney Ma
18. Eyn Mol


Original uploader: josefK. Thanks!

VA: Hungry for Hungary? - Folk, World Music

The "Hungry for Hungary?" series promo publication.
He did not enter commerce.

01 - Muzsikás - Dunántúli friss csárdások
02 - Sebő Ferenc - Harmatocska
03 - Zurgó - Szeretőm e táncba
04 - Kerekes Band - Csángó Boogie (edit)
05 - Napra - Pici ház
06 - Pál István Szalonna és bandája - Mulatság Orkon
07 - Romano Drom - Mulatinas
08 - Karavan Familia - Shej baxtali
09 - Nomada - Pe bari luma
10 - Kiss Ferenc - Citruserdő
11 - Band of Igriczek - Kozári
12 - Palya Bea - Eggy lovász fihoz
13 - Szalóki Ági - Mici
14 - Lovász Irén - Fellegajtó
15 - Egy Kiss Erzsi Zene - No ked
16 - Ferenczi György - Ki vagyok én
17 - Herczku Ágnes & Nikola Parov - Tavasz után
18 - Söndörgő - Salino Oro
19 - Besh o droM - Ayelet Chen
20 - Mitsoura - Devat ku (edit)
21 - Gáyan Uttejak Orchestra & László Hortobágyi - Tablacid
22 - Ektar - II. Canzone Araba
23 - Ezter - Szól a kakas



VA: Hungry for Hungary? - Ethno Jazz

01 - Pop Ivan - Himnusz eladó - Anthem salesman
02 - Viktor Tóth & Hamid Drake & Mátyás Szandai - Március - March
03 - Akosh S. - Mivel mível 3
04 - Grencsó Bio Kollektív - Régi nóta - Old song
05 - Szilárd Mezei Quintet - Az a tánc - That Dance ((live, edit)
06 - Budapest Saxophone Quartet - Tűz - Fire
07 - Magony Strings - Legényes - Manly
08 - Mihály Dresch Quartet - Hajnal- Dawn
09 - Dél-Alföldi Saxophone Ensemble - Dr. B.B
10 - Csaba Tűzkő Septet - Ördögűzés - Exorcism
11 - Beli Buba - Szerelmes dal II. Változások I. - Love Song II. Changes I.
12 - Miklós Lukács & Béla Szakcsi Lakatos - Chase Away The Devil
13 - Szabó-Major Duo - Shamata
14 - Free Style Chamber Orchestra - Kanásztánc - Swineherd-dance
15 - Zoltán Lantos' Mirrorworld - Coffee Break (edit)



From the opening stabs of Boris Kovac's saxophone you know a journey awaits. Never mind the song is called "Intro Trip"; all this Yugoslavian bandleader's excursions are voyages beyond the expected. Nuanced in the subtle insanity of Balkan jazz, his records are more like mental battles. His ability to veer from heartbreakingly gorgeous melodies, fluttering wings of brass symphonies, into breakneck accordion-driven fury is incomprehensible. One can only imagine shifting drunkenly in a tanchez (dance house) in a state somewhere between paranoia and ecstasy. Worm After History, like its predecessors, is a soundtrack to the movie of Kovac's mind. It envisions a sacred space stretching past dualistic thinking; much in Eastern European arts reaches for such climax. Whether strolling gently through "Latina" or falling intoxicated to the Wonderland-ish "Crazy Love Waltz," Kovac creates sonic images of wintertime carousels bouncing to the high-pitched wails of tango-fueled jazz (his last record was, fittingly, titled The Last Balkan Tango). Given these cerebral titles, Kovac is as much philosopher as brassist--he seeks personal spaces which make sense through incoherence. Hence the melancholic opening of "Dukeland in Your Heart." The trio of saxophone, classical guitar and accordion emit a slow, startlingly sad portrait of a decimated planet past the confines of history. To put all this into perspective: the Zen koan, what is the sound of one hand clapping? Of course there's no answer--it's an inner realization that moves us past the realm of linear thought. After you've meditated for a bit, turn on Worm After History for the closest interpretation imaginable.

01. An Intro Trip
02. Latina
03. To Entertain You
04. Limping Waltz
05. Malena (Matic)
06. Crazy Love Waltz (Matic)
07. Dukeland in Your Heart
08. Beguine Again
09. Argentina
10. Dur AA
11. Triesta

Boris Kovac - alto & soprano sax, voice
Goran Penic - accordion
Vukasin Miskovic - classical guitar
Milos Matic - double bass, tamburitza
Istvan Cik - drums, percussion

Special Guests
String Quartet Tajj (3, 4, 5, 6, 8, 9, 11)
Bogdan Rankovic - bass clarinet (3, 4, 10)


"Despite the best efforts of Romania's Ceaucescu dictatorship to make Transylvanian folk culture disappear, it survived at least in part due to the very deprivations (e.g., the lack of electricity and education) that were intended to destroy it. This well-known Hungarian quintet began rooting around in the one-time Hungarian territory a decade ago, and their first collection of Transylvanian tunes is a deep and diverse treasure trove of nearly forgotten centuries-old acoustic history. A droning hurdy-gurdy introduces a song about the "damned misery of love"; a pair of fiddles rouse dancers to high-stepping wedding and Christmas dances; a sad string quartet accompanies a song describing "The Time of Autumn" when conscripted soldiers left their villages. And, as with all Muzsikas's albums, Marta Sebestyén's wise and clear and cold voice re-creates another world in your living room."

01. Betyárnóta
02. Istenem, Istenem
03. Kalotaszegi legényes
04. Szapora
05. Bodomkuti hajnali
06. Ősz az idő
07. Kati - Kata
08. Boncidai cimbalmos
09. Régi somogyi énekek
10. Régi lakodalmas
11. Ha felmegyek Kolozsvárra

Sándor Csoóri: viola, bagpipe, violin
Péter Éri: guitar, kaval, viola
Dániel Hamar: double bass, gardon
Mihály Sipos: violin
Márta Sebestyén: voice


Original uploader: gyöngy. Thanks!

Alexian's leader Santino Spinelli is an Italian Roma (Gypsy) accordionist, singer and composer well known all over Europe and in Japan thanks to his commitment in preserving and promoting the Roma culture. The band's musical map includes journeys through the different regions that have hosted the Roma during the centuries, from Indian Punjab to the French Camargue. All the band's song, which are composed by Spinelli, are sung in Romanthe Roma language of the Alexian ethnic group.

The musical group from years searches and values the musical gypsy culture. The concert not is other that a seminar concert through the gypsy musical styles, for an ideal travel through the history and the Romani culture interpreted in way absolutely original. The leader of the Group Alexian Santino Spinelli , accordionist and singer known to international level for his most numerous cultural activities, has already published five discs and was invited in several television transmissions -.He is appeared on important reviews. The Group is well-known to international level because it participates to all the more important festivals of ethnic music and of gypsy music contributing to introduce the secular culture of the Rom. The CD Gijem, Gijem " that in the language of the Rom Abruzzesi means "Walking, walking" is the version of the Rom Abruzzesi of the famous hymn gypsy "Gelem Gelem", and is not other that the synthesis of one long musical experience and life, one true and own fixed existential and cultural gypsy caravan and important moments of along interminable travel enclosed ideally in the title.

The Rom Abruzzesi are Italian gypsies and represent the first group arrived in Italy five centuries ago, coming from the Greek coasts. The CD has been published in France and distributed to international level by Mediaset. The celebre French review "Le Monde" has received the record with a most positive article: "... under the Alexian's fingers we discover all the unknown gipsy meanders."

01. La danze del Beng
02. Echi d'Oriente
03. So me te keras
04. Aria zingara
05. Suno' Romano'
06. La danza del fuoco
07. Jilo' bi nafel
08. A briglie sciolte
09. Murdevele
10. Kaggio'
11. Gijem Gijem

Alexian Santino Spinelli - accordion, vocals
Maurizio Rolli - double bass
Marco Malatesta - percussion
Francesco Ciancetta - guitar, lute, choir
Juditha Hamza - violin (1, 4, 6, 10)

part 1.
part 2.

Vents D'est is a collaboration between the ensembles Ghymes and Vujicsics and is led by French musician Michel Montanero. On this release they are also joined by Corou De Berra.
"So many excellent musicians on one recording! “Composer-musician M. Montanaro, with Vents d’Est, rewrites the geographical map of Europe with jazz and folk music, Czech, Slovak, Serb, Hungarian or French violins and harmonies are laced sometimes with swing sometimes with sacred music."

1. a) Maureasca
b) Tarasco
2. a) Lo Senher
b) Agamemnon
3. a) Quando L'Amore
b) Le Feu
4. a) Bravade
b) Lei Bofets
c) Caramentran
d) Adieu Paure Carneval
e) Farandola
5. Un Pont Sur La Mer' Khass'
6. a) Solo
b) Malinconica Rossa
7. a) Milena
b) Chanson De La Mer
c) Milena


Miqueu Montanaro - galube, tamburine, flutes

Szarka Tamás - violin
Buják Andor - clarinet, viola
Buják Krisztián - clarinet
Szarka Gyula - double bass
Pukkai Attila - cimbalom

Borbély Mihály - clarinet, saxophone
Horváth Zoltán - tambura
Béhr László - cimbalom
Eredics Gábor - accordion, tambura
Szendrodi Ferenc - tambura
Eredics Kálmán - double bass

Michel Bianco - direction
Françoise Marchetti, Alba Spéra, Nadine Giordano, Michel Bianco, Primo Francoia,Clovis Princivalle - choristes

Pedro Aledo - guitar, vocal
Fabrice Gaudé - percussions
Mathieu Luzi - zither, vocal
Serge Pesce - guitar
Carlo Rizzo - percussions, vocal
Christina Vodraska - piano
Sara Alexander, Gulseren Yildirim, Sonia Benchikh, Hayet Ayad, Carlo Rizzo, Georges Moustaki, Nena Venetsanou, Renat Sette, Samia & Hakima Benchikh - vocal



"La Minor is a Russian band which was founded in 2000. It brings Russian street ballads with influences from the folk and Klezmer influences. The group plays music from the Soviet era and especially the music of gangsters. They like to sing about swindlers, prostitutes, thieves etc. La Minor brings music from the Russian Underworld in a fresh and open minded way. The bayan (Russian accordion) plays a big role in the music and sounds really well. I love the way this instrument gives extra power to the saxophone in the song Death of a jeweller. In Forgive and Farewell Odessa mama, they play some traditional Odessa klezmer that sounds really ancient and brings back the atmosphere of an old Odessa nightclub. La Minor has created a nice cd with music that is Russian in any way. It is professionally played and this Death of a jeweller has a good overall sound."

01. Resnicy / The Eaves
02. Nadja / Nadia
03. Smert' juvelira / Death Of A Jeweler
04. Prosti-Proschaj, Odessa-Mama / Forgive And Farewell, Odessa-Mama
05. L'et dozhdem ijul' (pamjati Hvosta) / July Pours Whith Rain (Memory Of Hvost)
06. Byla vesna / Spring Passed
07. Nemeckaja / German Songs
08. Val'sok / Little Watz
09. O Leningradke / About Leningrad
10. Mal'chishki / The Guys
11. Storia d'amore / History Of Love
12. Madera / Madera

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



Cimbalom music from Hungary and the Balkan countries.

From label:
"In human’s heart generations of passion follow each other. If one disappears, another occupies its place. In Balázs Unger’s life this reappearing and this way steady change is present in the form of passionate love for music. It is rooted in his childhood when he got engaged with folk music playing in the band Fix-stimm. Further steps of his musical development were taking part in bands playing Hungarian folk music (Galga), jazz (Dresch Quartet) and Hungarian and Romanian csango music of Moldva (Zurgó). He got acquainted with the variegation of the Carpathian Basin’s folk music in Fonó Band and he played six years in Hungarian State Ensemble. The latter contributed to his becoming a professional musician.

The way from his first album ’Round’ to the present one: ’Second Round’ was long and filled with learning experience. His masters were some of the best Hungarian musicians, e.g. Kálmán Balogh, Árpád Toni, Gergely Agócs, Lajos Rónai, Csaba Blaskó, Beatrix Szőlős.

The care of his masters urged him to pass over his consolidated knowledge with as much love as he was taught. Beside his daily teaching work he founded a folk music group called ’Zagyva’ Band, which was formed by his pupils. In his birthplace he has been doing thorough collection of folk art traditions, for which he was rewarded with the title of ’Young Master of Folk Art’.
What is to be brought by next rounds? I do hope his keen work as a musician and teacher will make lots of people intake the endless love for music that determined his whole life.

Please accept ’Second Round’ with as much love as Balázs Unger and his friends provide it – to You."

1. Titkon nyílik... - Secret unfold (Székely land)
2. Lassú magyar és friss - Slow and fresh (Transdanubium)
3. Bulgáros - Bulgarian
4. Cigány keserves és mulató - Gypsy sad and jolly songs (South Romania)
5. Invirtita, Barbunc és magyar - Invirtita (Transylvanian Heath)
6. Kimenék ez útra... - I Went Out To This Road (Moldva)
7. Gabalygós - Enmeshing (Székely land)
8. A fentieknek (Oláh Dezső emlékére) - To The Ones In Heaven (in memoriam Oláh Dezső) (East Hungary)
9. Ezekkel a zenészekkel baj van... - Something Wrong With These Musicians (County Kolozs)

Balázs Unger - cimbalom, small cimbalom, voice

...and his friends:
Gergely Agócs - voice
Csaba Blaskó - violin
István 'Szalonna' Pál - violin, voice
Zoltan Rónai - violin, guitar
Peter Makó - saxophone
Endre Bohák - viola
Gyula Karacs - viola, 3-stringed viola, voice
Zolt Barcza - accordion, voice
Lajos Pál - accordion
Albert Mohácsy - double bass
András Pachert - double bass, cello

...from Parno Graszt:
József Oláh - voice, guitar
Sándor Horváth - voice

...from Zurgó Ensemble:

Andrea Navratil - voice
Lídia Draskóczy - fiddle
Csaba Sófalvi Kiss - flute, kaval
Bercel Nagy - flute, kaval
László Demeter - koboz (lute)
Félix Benke Ágoston - drum


Original Uploader: flehel. Thanks!

"Musicians from Bulgaria, Spain, Ireland and the UK formed the group. to provide an outlet for their shared love of the musical treasures of Eastern Europe. The band ’s repertoire includes sacred and profane music from the Gypsy and Jewish communities of Romania, Bulgaria and Poland. Their sound is an effervescent mix of cheery accordions, lilting violins and driving bass paired with Bulgarian gadulkas (lutes), clarinets and percussion. The band has been a sensation in Spain, where they are based, and with Transilvania Express, their debut album, they are set to wow American fans with Gypsy music.

This is a respectable debut from a cosmopolitan group of musicians. The four players who make up the core of. come from Bulgaria, Ireland, England, and Spain, and their approach to Balkan music reflects this multi-cultural make-up. Fiddler Colum Pettit from Cork could fool anyone into believing he grew up in the Balkans with his wild Gypsy flair. Londoner Jon Davison’s accordion playing has the pulsating swirl of a blender set on puree. Bulgarian Ivan Dimitrov easily handles the gadulka, a 13-stringed fiddle that was originally used to accompany dancing bears. Spaniard Manolo Lopez has a muscular sense of rhythm on double bass.

They mix horos, Irish reels, freylakhs, and love songs as if the genres have always gone together. The arrangements are competent and functional without being flashy. Though all the musicians and their guests are more than technically proficient, they do not let technique get in the way of the spirit of the music. The ensemble playing is just messy enough to remind you that this is, after all, party music. Mihail Bilnikov contributes some fine clarinet playing and Aziz Khodari’s percussion is crisp and driving.

The lengthy (over ten-minute) medley entitled simply “Mary” runs through a slow 3/8 klezmer wedding hora, a faster Rumanian hora with some improvisatory Belgian and Celtic stuff thrown into it, and then ends with a rousing 7/8 version of the reel “Fairheaded Mary.” It all flows organically, with nothing sounding pasted-on. “Sirba (Serb)” is a sly little Rumanian melody that builds to a fever pitch, threatens to fall apart in the middle, and then rallies for a big finish. Tension and interest are maintained through the tune’s nine-plus minutes by frequent key, meter, and tempo changes.

While there are no real surprises on this disc from the standpoints of instrumentation or arrangement, Transilvania Express has all the good-natured jamming that you would expect from a collection of traditional Balkan music. Throw in the Celtic element, and you’ve got something even more fun."

01. - Horo #1
02. - Manele
03. - Mary
04. - Momneele
05. - Horo #2
06. - Sirba
07. - Grancharsko Horo
08. - Galitzyaner Tanz
09. - Groovski Ritmi

part 1.
part 2.

"The 2005 release by the Flemish folk rock band features three great female vocalists, Kadril singer Mariken Boussemaere, English singer Heather Grabham and the wonderful Hungarian singer Szilvia Bognár. The songs include traditional Flemish, Hungarian and British emigration songs and tunes.

Flemish band Kadril gives us a history lesson on a disc with this multi-faceted release. The nineteen songs here loosely weave the story of emigration to America through the port of Antwerp during the late nineteenth and early twentieth centuries. They've invited a few friends along to help tell the story. English singer Heather Grabham, Flemish singer Mariken Boussemaere, and Hungarian singer Szilvia Bognar lend their voices to the tale. Adding touches such as clawhammer banjo, brass band, and spaghetti western guitars to the traditional buzzy, drony Flemish sound makes this one of the more variegated releases to come down the pike in a while."

01. A fényes nap
02. De gespeelkens
03. The New York trader
04. Túl a vizen - ördög söre
05. Treurig lied
06. The Dreadnought
07. Elment az én rózsám
08. Matty Groves
09. Mikor a szoroson
10. The Americans have stolen my true love away
11. De scheiding
12. De Lutine - Le canal en Octobre
13. De andere kust
14. American Tune
15. Ludasim, pajtásim...
16. Kecskés
17. Gone to America
18. Cluck old hen - Whiskey before breakfast
19. Amerika is een schoon land

Mariken Boussemaere, vocals;
Bart De Cock, bagpipes, nyckelharpa;
Erwin Libbrecht, accoustic guitar, Irish bouzouki, koboz, vocals;
Harlind Libbrecht, dulcimer, mandoline, vocals;
Peter Libbrecht, violin, vocals;
Hans Quaghebeur, hurdy gurdy, fife, accordion;
Dirk Verhegge, electric and accoustic guitar, 5 string banjo;
Koen Dewaele, electric bass;
Philippe Mobers, drums;

with guests
Szilvia Bognár, Heather Grabham, vocals;
Stéphan Pougin, tapan;
Didier Heggerick, tuba, trombone;
Henk De Loose, trumpet;
Filip Demeyer, sax;
Koninklijke Harmonie St. Cecilia Boezinge;
Koninklijke Fanfare St. Cecilia Elverdinge


Original Uploader: angkor. Thanks!

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