Bluesmen's World(Music)

It’s really pluralism which characterize best Urs Karpatz, group of polyphonies, polyrythms and polyinstruments.
This ensemble, with its extraordinary ethnomusical range, plays and sings in romanes, gypsy language, a high quality repertory, reflecting and echoing gypsy culture in Europe. The group members come from Ukraine, Hungary and Romania. VIOLINS, SMALL AND BIG, CYMBALLUM, DOUBLEBASS, DRUMS, ACCORDION, CYTHARE, FLUTE, CLARINET AND SAXO ARE JUDICIOUSLY MIXED WITH VOICES.

Urs Karpatz is far from an ordinary gypsy group.
Its story isn’t banal, and we could have discovered it through a Tony Gatlif movie...
At the beginning, there is a man, Dimitri, descendant of pirates and travellers. An eventful childhood for background... When he was 4 years old, he escaped to join the romanichel camp located near his home in order “to do waht I want”! Commotionned teenages, dreams of trips and music... Then starts his long road following gypsies through all the eastern europe countries.
One day, during one of his trip in Bosnia with nomad gyspsies bear breeders, Dimitri saves a child of the group from drowning. As a token of his gratitude, the child father gives him a trained baby bear. Gift impossible to refuse! That’s how Dimitri decided to rebirth the craft of showing bears...associated with gypsy music.
Started then the search for musicians, 8 singers from the best ones, the most originals and above all proud not to deny their Romani culture! Thus in 1993, the group Urs Karpatz were born. It’s in august 1993, during the Gypsy Nights of Saint-Raphaël that URS Karpatz performed for the firts time. It was a great success ! Very fast, the group filled out and performed about 30 times in France in 1993 associating concerts and bear shows.
At the beginning of 1995, a first album released in France, composed of extracts from concerts played in St Raphaël (1993) and in Saintes Maries de la Mer in may 1994. And here they are in december 1995 for 5 weeks in the Theater du Tourtour in Paris!
Since then, the group fills out each year with a new album : in december 1999, it’s with the releasing of "Chemins de Tsiganie" that they filled up the theatre Européen in Paris, for 3 weeks! The album "Routes et Racines" is presented during 3 exceptionnal concerts in the Bataclan hall in Paris in november 2000. The last night, they received ROMANES AWARD 2001.

"Urs Karpatz don’t care about fashions... their romani culture sweats through each one of their compositions or their interpretations. Full of vibes, lively music, gypsy music !"

Tony GATLIF, movie maker

"URS Karpatz won aver me immediately…
Indeed, what makes this group is that they really and greatly follow the work of disappeared gypsy masters. And I see that Urs Karpatz works with an unusual professionnalism for gypsies "on the road". To the antipodes of gypsy musics "for tourists", Urs Karpatz interpreters, without any concession to soppy, perfect virtuosos instrumentists, reach their aim with brio. And they join those who proove us that Nietzsche were right when saying "without music, life would be a mistake...." Long life to URS Karpatz !"

Marcel CELLIER Ethno-Musicologue

01. Katar Avas Ame
02. Droma Ai Vine
03. E Ritshini Skiliol Te Khelel
04. Shukar Romni
05. Iakha Tshorane
06. Ashunen Tume Romane
07. Rovel O Kast
08. Hal Peske Naia (Kolo)
09. O Manush
10. Khelipe Gajikano
11. Ai Ushti
12. Armaia
13. Leskoro Shero Mato
14. Ketri
15. Me Jav Korkoro Po Drom
16. Dane Nane, Telpitsha Tshinde
17. Andaluso Koncerto

DIMITRI: Leader - Chant - Percussion - Cithare
BÉBÉ: Chant - Guitare - Accordéon
GOASHE: Violon alto - Violon a pavillon
KANGOU: Contrebasse
KATSOFANE: Violon - Choeurs
KINEZO: Cymballums
LOLIK: Chant - Percussion
MATCHO: Saxophone - Clarinette - Flute

Link

pass: bluesmen-worldmusic.blogspot.com

Formed in 1995, Söndörgő play Yugoslav (Croatian, Serbian, Macedonian) Bulgarian and Greek folk music. The members of the band are young people, being the sons of members of the Vujicsics ensemble.
Typically, much of this music is played on the 'tambura', which is a musical relative of the lute. The tambura comes in various sizes and is usually played at a ferocious pace.
After playing small but regular gigs, it wasn’t long before they were playing in more serious venues, and have performed together with the Vujicsics Ensemble and Márta Sebestyén.

Their musical interest turned towards southern Slavic folk music and the archaic tradition strata of the Balkans. Their repertiore consists mainly of Serb and Croat tunes played in Hungary.Relationship between the members of the ensemble dates back to the elementary and secondary school years. Among others, it was the example of the Vujicsics Ensemble that contributed to the development of their approach of music. Members of the Söndörgő Ensemble study the collections of great folk music researchers like Béla Bartók or Tihamér Vujicsics, as well as whatever still exists of Serb and Croat folk music. Their style is built on that of tambure bands. On occasions, there appear the accordion , the flut, the clarinet as well as the characteristic musical instruments of the folk music of the Balkans, such as the kaval, the gajade, the tarabuka, the tapan, the litárka. Apart from performing in Hungary as well as abroad, their (folk) dance house programmes are also very popular.

01. Toncikino Kolo
02. Vrapcevo Kolo
03. Veliko Backo Kolo
04. Malo Kolo
05. Makedonsko Oro
06. Krnjevacko Kolo
07. Cacak
08. Cucuk
09. Sirok Dunav
10. Skripi Deram
11. Oj Stari Starce
12. Jeftanovicevo Kolo
13. Kukunjesce
14. Stari Rokoko
15. Banatsko Kolo
16. Ratevka

Szlobodan WERTETICS - tenor tambura, accordeon, voice
György BOKROS - litarka, double bass, voice
Áron EREDICS - tambura, tenor tambura, drum, voice
Dávid EREDICS - tambura, clarinet, bagpipe, flute, voice
Attila BÚZÁS - tambura, alt tambura, drum, voice

Guest:
Jovan BELOS - voice

Link

pass: bluesmen-worldmusic.blogspot.com

The songs on Voices on The Eastern Wind were gathered from a wide variety of sources including ethnographic recordings collected by KITKA members while doing field research in Eastern Europe, transcriptions of recordings made by Eastern European folk artists and ensembles, modern Balkan composers' interpretations of folk melodies and original compositions and arrangements by Director Bon Brown.

These "Angels of the Steppes" bring to life rich and beautiful songs of Bulgaria, Macedonia, Russia, and the Ukraine. The women of Kitka (Keet-kuh) are based in the San Francisco Bay Area, yet come from varied ethnic backgrounds. The spirit and beauty with which they sing transports you to the villages of older cultures and traditions with a feeling of the immediacy and drama of life uncomplicated by faxes and cellular phones. They sing of rivers and enchanted forests; of rushing to meet your sweetheart at the village working-bee; of helping a woman decide between the marriage proposals of a swineherd and an ox-cart driver. The ten singers use vocals almost exclusively; a gaida (Bulgarian bagpipe) is used on one cut; cello and cymbalom on another, and a third track has the accent of dumbek. Excellent in arrangement and harmony, Voices on the Eastern Wind will delight fans of all vocal traditions.

Backroads Music/Heartbeats

Rapturous and subtle--the layered singing varies from earthly harmonies to pristine heavenly sonorities."

Dirty Linen Magazine

Sends listeners into a trance with free-form fantasias of lush, sinuous, and dissonant contrapuntal lines."

Sing Out! Magazine

01. The Eastern Wind
02. Tikho Nad Richkoyu (Ukraine)
03. Duynel Idi Ut Oftcetya (Bulgaria)
04. Moma Bega Prez Livade (Bulgaria)
05. Bratets Kosi (Croatia)
06. Haydutin Stuyan (Bulgaria)
07. Predite Prelye (Croatia)
08. Dimyaninka (Bulgaria)
09. Son Mi Doyde (Bulgaria)
10. V Serykh Sumerkakh (Russia)
11. Zaspala Li Si Yagodo (Bulgaria)
12. Na Pat Yodam (Bulgaria)
13. Pustono Ludo I Mlado (Bulgaria)
14. Ya Ti Postilam (Bulgaria)
15. Ay Mori Milke (Macedonia)
16. Yofcharche Mlado (Bulgaria)
17. Vetar Vee (USA)


Kitka:
Bon Brown, Shira-Devra Cion, Catherine Rose Crowther, Anastacia Metcalf-Cuzzillo, Deborah Dietrich, Julie Graffagna, Janet Kutalas, Ann Moorhead, Michele Simon, Sonia Wyman (vocals)

Link

pass: bluesmen-worldmusic.blogspot.com

Bulgarian folk music contains a special mixture of the musical traditions of Europe and Asia. In the folk music of Bulgarian Illyrian, Greek, Byzantie, Turkish, and Thracian element can be found. The balkan is a bridge between Europe and Asia, thus it is normal that both cultures had and still have had their effects on it.

The 500 years Turkish rule over Bulgarian inspired and stimulated the folk music in the country. Music, singing and dancing were the way of expression and th artistic connection among people in those hard days. All of them had their important role in the everyday life.
Some of the songs were sung on religous feasts, social events, while others helped the monotonous work in the fields and in the spining room. There were also dance tunes, for which people could dance for even an hour. The "table song" were sung at convival evenings, engagements and christening feasts - a good singer was always a welcome guests at these events. Charasteristic music instruments are: goatskin bagpipe, kaval, tambura, duduk, gadulka (violin from the balkan), zuma (Turkish flute), tapan (double-bottomed drum) and tarambuka (side drum).

On album we would like to illustrate a part of the folk music from the Balkan featuring mostly the part-songs of South-West Bulgaria.

01. Ogrejala Meszecsinka - Feljött a Hold
02. Peter i Penka - Péter és Penka
03. Podje Jane - Elment Jane
04. Pcselice - Méhecske
05. Sznosti e Dobra - Este Dobra...
06. Taja Gora Bogdanova - Bogdán erdejében
07. Zalibi Szi Edno Libe - Szerelmes vagyok
08. Prela Baba Tri Godini - Három évig...
09. A Bre Babo - Jaj jóasszony
10. Gine Gine - Ej Gine
11. Sto e Ogrejela - Feljött a hold
12. Veter Pro - Nagy vihar
13. Georgina
14. Tragal Mi Jane - Elindul Jane
15. Szadila Moma - A lányka
16. Jermelija
17. Szokol - Sólyom
18. Raszti Bore - Nőjj fenyőfa
19. Odesi Moma Pavlina - Megy Pavlina

Bognár Szilvia - vocal
Farkas Tünde - vocal
Izsák Katalin - vocal
Szluka Judit - vocal

Búzás Attila - tambura
Németh György - kaval, bagpipe
Orczy Géza - tambura, tapan, darabuka

Link

pass: bluesmen-worldmusic.blogspot.com

Boundary-hopping can be dangerous in world music, where the merging of two or more traditions can spell crossover nightmare. But cultural synthesis works wonders in the case of the rapturous meeting of Tuvan group Huun Huur-Tu and the Bulgarian Voices-Angelite (formerly with the French name Le Mystere de Voix Bulgares), on the album Fly, Fly My Sadness. The meeting is more logical than you might expect, both cultures having originated in the Asian Altai Mountain area and migrating to their respective homelands. On music composed or arranged by Mikhail Alperin, the two celebrated groups find a common ground, especially in terms of their vocal techniques-the Tuvan throat singing and the beguiling harmonic sense of the Bulgarians, for instance-at once non-western and similar to folk traditions in the west.

01. Fly, Fly My Sadness
02. Legend
03. Wave
04. Lonely Bird
05. Mountain Story

THE BULGARIAN VOICES ANGELITE
Tzetza Bekova, Ekaterina Bogdanova, Kera Bogdanova, Tatiana Douparinova, Tonia Iankova, Nadejda Illieva, Kostadinka Inkova, Sonia Iovkova, Nadejda Karporova, Krastina Krasteva, StaimenkaOutchikova-Nedialkova, Youlia Peneva, Nekla Petkova, Kostadinka Ratzova, Elka Simeonova, Tania Tzambova, Petia Tzvetanova, Tania Velitchkova, Nadia Vladimirova

HUUN-HUUR-TU
Kaigal-ool Khovalyg (Vocal, Igil, Toschpulur, Tschansy)
Anatoly Kuular ( Vocal, byzaanchi, khomuz, amarga)
Sayan Bapa ( Vocsl, doshpuluur, marinhuur, guitar)
Alexey Saryglar (Vocal,tungur(drum), dazhaaning khavy (rattle)

Link

pass: bluesmen-worldmusic.blogspot.com

Rembetika was the Music of the Urban Greek Underground of the 1930's. It is Often Known as 'the Greek Blues' and Its Singers Inhabited the World of the Tekedhes Or Cafes around Piraeus, Athens and Thessaloniki. Café Rembetika features Four of the Greatest Stars of the Piraeus Scene who Later Fromed the First Rembetika Supergroup, Markos Vamvakaris, Stratos, Batis and Artemis. Also Featured Are Leading Singers from the Café Aman Tradition, Rosa Eskenazi, Rita Abatsi and Marika Papagika. Here Then, is a Collection of Some of the Greatest Songs from the Golden Age of Rembetika.

01. Anestos Delias (Artemis) - The Harem in the Turkish Baths
02. Yiorgos Batis - The Record Producers
03. Kostas Dousas - The Trawler
04. Rosa Eskenazi - In The Taverna With The Laterna
05. Stratos Payoumtzis - Warm-Hearted Dina
06. Yeoryia Mattaki - Mother, I Want A Man Who...
07. Antonis Diamantidis (Dalgas) - Criminal Mother-In-Law
08. A. Kostis - I Wasted Away
09. Marika Papagika - Dervish
10. Yiorgos Batis - Gypsy Girl
11. Anestos Delias (Artemis) - The Jacket
12. Rosa Eskenazi - That'll Teach You
13. Marika Kanaropoulou - The Widow of Kokkinia
14. A. Kostis - Toumbeleki
15. Marika Frantzeskopoulou (Politissa) - You Won't Win Me Over, Chat Me Up
16. Markos Vamvakaris - Markos The Minister
17. Rita Abatsi - Yiannis' Cup
18. Rosa Eskenazi - Don't Swear To Me, You Liar
19. Stratos Payoumtzis & Stelios Kiromitis - Baglamades
20. Ioannis Halkias (Jack Gregory) - Minore Tou Tekke

Link

pass: bluesmen-worldmusic.blogspot.com

Folk music of the Balkan Peoples, and of the Southern Slavic Nationalities living in Hungary.

A selection of folk songs and dance tunes from many parts of the Balkans. Illustrates the wide diversity in folk music from the Balkans. Dances and melodies from Serbia, Hungary, Moldavia, Crete, Thrace, Romania etc.

The Rece-Fice Ensemble was founded in 1992. Their aim is to get acquainted with the folk music and dances of the peoples from the Balkans (Bulgaria, Greece, Macedonia, Thrace) and of South-Slavs (Serbs and Croats) living in Hungary. Some members of the band are from these backgrounds themselves, and others combine their music careers with studying Bulgarian or ethnography. When forming the ensemble, its members were partly beginners, partly musicians gaining experience in other music styles and groups. In recent years they have successfully performed on numerous occasions, from folk music festivals to balls, university clubs to folk pubs.

While extending their repertoire continuously they strive for a more authentic performing style by discovering the specific features of different regions. To achieve this they try to seek out original folk musicians still alive and existing archive material. They also acquire original musical instruments or make them according to authentic designs. (One of their members is an instrument-maker and holder of the "Young Master of Folk Arts" award.

01 - Bánáti táncok
02 - Ćape
03 - Starinsko kolo
04 - Baranyai sokác táncok
05 - Baranyai dallamok samicán
06 - Rokoko
07 - Krétai dallamok
08 - Vino pije moj dragan
09 - Čumičanka
10 - Zelen orah
11 - Moldvai román táncok
12 - Šarena račenica
13 - Trák énekek
14 - Sop vidéki táncok
15 - Širok Dunav

Szabolcs Árkosi - bassprim tambura, accordion, voice
Panni Avar - prima tambura, tambura-viola, bulgarian tambura, samica
Piroska Deli - voice, caval, double bass, tambura-viola, baglama, tambourine
Judit Jablonkay - shepherd's pipe, kaval. voice
Tünde Mag - voice
Edit Szick - violin, double bass, gadulka, bouzouki
Ágnes Tiszavári - voice, tapan, darbouka
Iván Vitányi - accordion, prim-tambura, bassprim, double bass, tapan, voice

Guests:
Roza Bancseva - voice (14)
János Krucsay - bagpipe, derbouka, tapan
Géza Orczi (from Zsarátnok) - bassprim tambura
László Perger (from Zsarátnok)- cello tambura

Link

pass: bluesmen-worldmusic.blogspot.com

Unu = one in Rumanian, daou = two in Breton, tri = three in Serbian and Breton, chtar = four in Rom.
1 2 3 4 is the whispered beginning of many tunes, and represents four of the languages used by the musicians of this quartet : Erik Marchand, from Poullaouen, is a singer. Costica Olan, is a taragot and soprano sax player, his native language is Rom, he also use Romanian in his daily life. Viorel Tajkuna is Serbian and belongs to the Rom minority of the Serbian Banat, as a result he is trilingual. He is an accordionist and organist for weddings. Jacky Molard from Saint Malo, has been living in Spezet, central Brittany, for many years. He’s a composer, arranger and violin player, using a large range of musical languages.

Erik Marchand is a leading figure of Breton song. He has adopted a very strong Breton identity while remaining completely open to other cultures in which he immerses himself, then he searches deep in the popular music of Brittany for the resources to establish or recreate a dialogue with them.

01. Kened Eros Kened Eros
02. Kened Eros Olani
03. Speied
04. Lunca
05. Jaures
06. Marcel
07. Suita Moldovaneasca Stefaneti 1
08. Suita Moldovaneasca Stefaneti 2
09. Draghicesca Umblu Noapte Ca-Si Un Lotru Prin Padure Si Prin Codru
10. Draghicesca Draghicesca
11. Sopsteveni Raspored
12. Jaures

Link

pass: bluesmen-worldmusic.blogspot.com

The Bulgarian-Hungarian musician Nikola Parov who has been playing in several groups, this time went into studio with the finest ethno and world musicians to make his brand new album Balkan Syndicate. A kind of music was born which is up-to-date and modern, but at the same time it involves elements of world music as well. Hearing these temperamental rythms the amusement and fun is guaranteed. Thanks to Nikola Parov and the contributing artists, the audience can hear a world-standard album which holds its ground wherever in the global musical life, from an artists who has obtained his professionalism playing for several years on the Broadway and as a soloist of the Riverdance Orchestra.

01. Este jő/ Evening Comes
02. Kurva lesz a babám /My Darling is a Misstress
03. Flash & Crash /Flash & Crash
04. Fúdd el fúdd / Blow it Blow Away
05. Mi zörög / Crush in the Bush
06. Prela Baba / Prela Baba
07. Walter búcsúja /Walter’s Farawell
08. Szerelem betegje / Sick of Love
09. Anyám édes anyám / Mother Dear Mother
10. Mikor lesz már nyár / Wish for Summer
11. Repülj madár repülj / Fly Birdy Fly

Gyenge Lajos
Bantsheva, Roza
Dorozsmai Péter
Csonka Walter
Herczku Ági
Pain
Szalóki Ági
Rostás Károly
Varga György
Bognár Szilvia
Todorova, Elitza
Yordanova, Borislava
Parov, Nikola
Georgieva, Velitshka

Link

pass: bluesmen-worldmusic.blogspot.com

"Di Grine Kuzine is a Berlin-based, klezmer-rooted, Balkan brass band. The connection between klezmer and Balkan brass band music is a natural one as the original Eastern European Jewish musical repertoire owed much to Romanian, Gypsy and Ottoman influences. Since klezmer musicians were expected to be able to play Romanian horas and Serbian kolos as well as freylekhs and bulgars it is likely that a well traveled Eastern European Jewish band had an extensive repertoire.

It is less likely that there were many klezmer brass bands until around the beginning of the 20th century. Law in many areas of Russia and Poland limited the musical instruments that Jews were allowed to play. In general, Jews could play quiet string instruments but could not play loud brass instruments. It wasn't until large numbers of Jews were drafted into the Czar's army that you had the conditions where Jews had access to horns, trombones and tubas. Draftees were allowed to keep their instruments when they mustered out of military service.

On Di Grine Kuzine's earlier albums, their repertoire was largely klezmer-based. On this new release, the songs are mostly Serbian, Hungarian and Bulgarian village dance pieces. The band's vocals are a strong suit. Alexandra Dimitroff has mastered the constricted throat sound that is often associated with Bulgarian vocal music. Listen to her vocal lead on cuts like "Esik Esö" and "Gigetanje." There's simply no other klezmer brass band that has a vocalist as strong as her.

Another strong suit is Steve Lukanky's excellent tuba playing. The newest member of the group, Lukanky shines on tracks like "Gustavs Son Tumbao." Compared to the string bass found in most other dance bands, the tuba adds a vibrant color to Di Grine Kuzine's music.

Raucous and unruly, Feribot is not traditional music. It's more like very hip village music played by urban post modernists. As the band says in the album's liner notes"On this ship there is room for you all."

01.Galizianer Tants (Traditionell)
02.Rumelaj (Traditionell)
03.Esik esö (Traditionell)
04.Auf Zeydns Tish (Traditionell)
05.Gigetanje (Traditionell)
06.Zabkowice Walc
07.Gustavs Son Tumbao
08.Papa Call
09.Zonka (Traditionell)
10.Zemer Atik (Traditionell)
11.Bavarski Cocek
12.Weseli Sebori (Traditionell)
13.Leggerezza
14.Spil Es Nokh Amol, Karel

Alexandra Dimitroff, accordion & vocals
Johannes Kevenhörster, clarinet & soprano sax
Karel Komnatoff, trumpet & fluegelhorn & vocals
Mr. Steve R. Lukanky, tuba
Snorre Schwarz, drums & vocals

Link

pass: bluesmen-worldmusic.blogspot.com

The Band says:
"The Söndörgő Ensemble was established in Szentendre, Hungary, in 1995. It was on the basis of our family tradition and due to our attraction to Southern Slav folk music that we set the objective of cultivating this particularly rich and valuable tradition. It was during our secondary education years that we got to know each other and began playing music together. We strive to perform archaic folk music in a concert setup and to instrumentalise it in a way that is true to both reality and tradition. We are currently studying the folk music collected by great Hungarian researchers of music such as Béla Bartók and Tihamér Vujicsics, as well as the extant Southern Slav folk music tradition.
Our ensemble is classified as a tambur band occasionally complemented with accordeon and flute.
To perform melodies from the Balkans, we sound various wind instruments such as clarinet, kaval and saxophone, a variety of drums like tarabuka and tapan, as well as a wealth of string instruments, e.g. litarka.

Southern Slav folk music has developed an extraordinary treasure of melodies as a result of an interaction with various music traditions.

This applies to Serbian and Croatian folk music in Hungary more than it does to folk music in the Balkans.

All along, the Southern Slav ethnicities living in Hungary have been particularly isolated from each other. Consequently, the traditions that they treasure and maintain display a wide variety of differences, which is demonstrated by the use of a wealth of musical instrument types and forms.

The first written record of the Southern Slav tambur dates from 1551, this instrument being of Iranian and Turkish origin, used in a variety of forms in the Balkan peninsula. Originally, the tambur was a solo instrument with a small resonance volume and a long neck.

It began to be updated in the 1800s with a long neck and a diatonic succession of sounds.

It was by the middle of the 1800s that the tambur family used today had evolved. They have four strings, a shorter neck and represent the so-called cromatic succession of sounds, classified as the Szerémség type of instruments.
The first tambur band of amateur artists was set up by Pajo Kolaric, in Eszék, in 1847."

01. Kisacko kolo
02. Tikino
03. Meten
04. Makedonska Gajda
05. Dada Sali
07. Arabis
08. Staro Cunovo oro
09. K4
10. Lilino oro
11. Ferus Solo

Buzás Attila - bass tambura
Eredics Áron - tarabuka, alt tambura
Eredics Benjamin - tambura
Eredics Dávid - clarinet, sax, alt tambura
Eredics Salamon - accordion, alt tambura

With:
Ferus Mustafov - clarinet, sax, bagpipe
Herczku Ágnes - voice

Link

pass: bluesmen-worldmusic.blogspot.com

Big thanks Frankie for the CD!

"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

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

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

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

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

"This steamy little disc of Russian and Romanian gypsy music is a case of musicus interruptus. Over in less than a half-hour, it leaves the listener panting for more. Though packaged as a nicely finished product, it is really more of a polished demo than anything else. But this New York based octet has a lot to offer. Every track is crisp and danceable, with sassy, jazzy horns, crashing percussion, and throbbing accordion. Vocalist Inna Barmash warbles as slinkily as a Balkan Edith Piaf.

Her work on "Tanya (A Secret)" is smoldering. On "Rustemul," guitarist Joey Weisenberg and violinist Jake Shulman-Ment set up a down-and-dirty near-rock groove that is picked up by the horns, but alas, at less than two minutes, it's over too soon. Winner of the best subtitle award is "Zaznobila & Baro Foro (She messed with my head in the great city)." It's a fun party song that lives up to the promise of its name. The bonus track is a scratchy, retrofied version of "Tanya." Then, just when the dancers are getting warmed up, it's over. More, more, more!"

01. Mariana
02. Loli Phabay (The Red Apple)
03. Shimdiggy
04. Tayna (A Secret)
05. La Circuma de la Drum (The Tavern on the Road)
06. Rostemul
07. Zaznobila & Baro Foro (Shes Messed With My Head in the Great City)
08. Moldovan Batuta

Inna Barmash (vocals),
Jake Shulman-Ment (violin),
Lev 'Ljova' Zhurbin (viola),
Jeff Perlman (clarinet & saxophone),
Ben Holmes (trumpet),
Patrick Farrell (accordion),
Joey Weisenberg (guitar),
Ron Caswell (tuba),
Timothy Quigley (drums & percussion)

Link

pass: bluesmen-worldmusic.blogspot.com

"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."

01. Atojska Rachenitsa (Bulgarian Dance)
02. Nani Nani (Moldavian Lullaby)
03. Injevska Gaida (Macedonian Bagpipe Tune)
04. Slobozine A Gazde-N Casa (Romanian Christmas Carol)
05. Nouae Optimi (Macedonian)
06. Cozacul Batrinilor (Romanian Dance From Bukovina)
07. Duni Mi, Duni (Serbian Love Song)
08. Velikdensko Oro (Bulgarian Easter Dance)
09. Imam Sluzhba (Bulgarian Song About Going To The Army)
10. Kopenitsa (Bulgarian Dance)
11. Mi Badita (Moldavian Love Song)
12. Pravo Lesnoto Oro (Makedonian)

Link

pass: bluesmen-worldmusic.blogspot.com

A young Hungarian band whose name Vodku v Glotku is Russian for "Vodka to my throat!" Vodku play European Jewish music mixed with other Balkan genres.

From record label:
"Musical group Vodku v glotku was founded in the year 2000, in Budapest, Hungary. The goal of the band is to introduce the folk music of the nations throughout Central and Eastern Europe, mixed with its own musical concepts. The dominant elements in the music of the band are Hungarian, Jewish, Russian, Ukrainian, Bulgarian, as well as other folk motives from Central and Eastern Europe and the Balkans. This is mixed with the elements of rock, jazz and other progressive musical styles. As a result, a musical world is created on the stage, which makes feel home the many nations inhabiting the Central and Eastern European region.
Since 2001, the band Vodku v glotku had hundreds of successful concerts throughout Hungary, they also visited Serbia nd Montenegro, Slovakia and Austria, and they had two tours in Mexico in 2001 and 2005."

01. Haszid / Chasid
02. Moldvai / Moldavian
03. Albán / Albanian
04. Mit akar az eső... / What The Rain Tels...
05. Óbolgár / Old Bulgarian
06. Újbolgár / New Bulgarian
07. Szól a kakas már... / The Rooster Is Crowing...
08. Népdal / Folk Song
09. Gépzsír / Converse Pink
10. Galíciai / Galytzianer
11. Ballada / Ballad
12. Viszockij / About Volodya Vysotzky
13. Nyakak a jégen / Necks On Ice
14. Paploma
15. Gitsenbass

István Bata - guitar, vocal, trumpet
Éva Gadanecz - vocal
Attila Kiss - drums
Júlia Nedeczky - clarinet, saxophone, vocal
Gábor Ruthner Jero - bass, electric guitar
Árpád Szabó - violin, vocal

Special guest:
Adél Kováts - vocal

Link

pass: bluesmen-worldmusic.blogspot.com