"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


pass: bluesmen-worldmusic.blogspot.com

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!

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