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Bolot and Nohon are remarkable singers from the Altai Autonomous Republic, Russia.
For many years, this area was under the control of the Soviet Union, but with the breakup of the USSR, it became an independent republic within the Russian Federation. Altai's near neighbors include Kazakhstan, Mongolia and Tuva, the latter probably being most famous among world music aficionados for its throat-singing.
Uch Sumer is an album of songs from Altai, and throat-singing is front and center here. The liner notes define no fewer than four different styles of throat-singing, from the deep growl of karkiraa to the high whistling tone of sikit. When not throat-singing, the vocalists sing in a declamatory style.
The singers are Bolot Bayrishev and Nohon Shumarov, who accompany themselves on a variety of traditional instruments. These instruments include two lute-like instruments, a mouth-harp and a variety of wind instruments, some intended to lure wild deer.
Uch Sumer maybe is a lot of Altai music for the casual listener; it lasts over an hour and some individual tracks are almost 10 minutes long. For someone interested in the music of central Asia, however, this is a feast. The variety of sounds the singers produce is staggering, and what is perhaps more impressive is that a vocal technique that seems like a novelty to many westerners can produce such listenable songs.
The whole album is beautiful. Highly recommended.
01. Oh, Kosyjm
02. Blessing to Altai
03. Beard
05. Alatay
06. Altin Kel
07. Ak-Burkhan
08. When Will Baatyrs Rise
09. World Axis
10. Snake's Lullaby
11. Bear's Lullaby
12. Call of the Forefathers
13. Morning in the Mountains
14. Dance of Cranes
15. Kadyn
16. Parting
17. Chu Chu Chu
18. Blessing to the Peak of the Üch-Sumer (Ak-Sümer)
Link
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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
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Nikolay Oorzhak was born in December 1949, in the small village Khorum-Dag in western Tuva. After graduating from high school in 1964, he worked for four years as a shepherd, herding horses, sheep, and cows. There on the steppes, alone with his herds, he started producing sounds like his father and grandfather used to sing. This was Khoomei, or throat-singing. At that time, his only audiences were the horses, sheep, and cows.
In 1982, Nikolay caught the attention of the local authorities, who supported his bid for a professional education. So, in 1983 Nikolay began attending the Ulan-Ude cultural institute in Buryatia, where he also became Director for Public Theaters. This was also an opportunity to finally open his hidden talent of throat-singing.
In 1989 the First International Festival of Throat-Singing was held in the Tuvan capital of Kyzyl. Nikolay was awarded First Prize for Kargyraa style. At that time he already brilliantly performs in all the overtone singing (xorekteer) styles: khoomei, kargyraa, sygyt, borbangnadyr, ezengileer and became a Khoomeiji (Recognized Master of Khoomei) in his country. The same year he and fellow throat-singer Boris Kherly and scientist Zoya Kyrgys founded Ensemble Tuva. Meeting with great success, they toured internationally, including Norway, Sweden, Turkey and Mongolia.
In those days, it was common for such ensembles to include a dramatization of a shamanic ritual, and in addition to singing and playing with Ensemble Tuva, Nikolay portrayed the shaman. Elders often commented that he appeared authentic and suited for this role, and that perhaps he was meant to be a real shaman. Sometimes, after these performances, he felt dizzy and suffered headaches. He sought help from Oleg Toiduk, a well-known shaman. Oleg told him that Nikolay was destined to be a shaman, and was suffering the effects of energies sand talents that he needed to share with others for healing.
In Tuva, shamans often inherit their abilities, and Nikolay was no exception. There were shamans on his mother's side, and her father was a famous shaman in the Sut-Khol region of Tuva. On this basis, Nikolay started his healing way. Observing his progress, in 1998 the pre-eminent Tuvan shamanism scholar Prof. Mongush Kenin-Lopsan invited Nikolay to work for his shamanic society Dungur.
In 1995 Nikolay was invited to India to celebrate His Holiness the Dalai Lama's 60 birthday. He got the Dalai Lama's blessing, which enables him to increase his healing singing abilities.
In 1999 Nikolay was elected Chairman of Tuvan shaman society Tos-Deer, and that same year visited Vienna, Austria, with Prof. Mongush for the Shamanic Congress. He also toured Italy and Switzerland. Back in Tuva in December 1999 German television filmed a documentary on his outstanding technique of shamanism and throat singing. In 2000 he was invited to return to Germany for that year's Shamanic Congress.
In 2002 he made a successful three-month tour in Canada and USA on invitation of Mr. Steeve Sklar (International Association for Harmonic Singing) and Canadian Shaman's Society. During the tour, he had a meeting with Dr. Michael Harner, a famous founder of Foundation for Shamanic Studies, who has highly evaluated Nikolay's abilities.
Nikolay regularly gives a seminars in different towns of Russia, Ukraine and Europe, teaching the shamanism, throat singing and using the overtones in healing practice and self-development. He also is a welcomed and honorary guest at local and international music festivals.
01. Appeals
02. Kargyraa
03. Khomus And Sygyt Together
04. Khomus Solo
05. Sygyt
06. Shamans Song
07. Bowling
08. Trio 1
09. Trio 2
10. Moscow Mix (With Mikhail Zukov, 2000)
11. Improvising (With Vladimir Solyanik)
Link
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The ethnic project 'Bugotak' was found in 2004 in Novosibirsk, Russia, and currently located in the same region.
Bugotak plays native siberian music in these variations: Mostly - northern turkic (Altai, Tuva), but also Tungus-manchurian, and music of the Deep Northern folks (Eveny, Negidaltsy, Orci etc) Mostly - traditional folklore, but also ethnic turkic rock and hard ambient. Mostly - its own songs, but also original folk songs and tributes to rock classics, played in traditional siberian instruments.
The main idea of Bugotak's art is that only those traditions come alive, which develop itselves; stark traditions are subject to nobody. Mean both creativity and traditions.
Bugotak was found by George Andriyanov, a multi-instrument player and throat singing performer.
Awards in 2006: - 'The best folklore band' within professional performers on The Baykal Necklace international festival (Ulan-Ude, Russia)
01. Bass Barchyzy
02. All You Want
03. We Siberians
04. Young Shaman Returns Home After Medical Institute
05. The Wheels Must Rotate (Bermuda From Askat)
06. Makary Lykov
07. Assigning Heritage
08. Shaktar-Baatyr (Folk)
09. Kezitke Sening Söstöring
10. The Valley Is Covered With Ice Of Dead People's Tears
11. Of Course, The Word
12. What I See That I Sing (Parody Of Linkin Park's Breaking The Habit)
13. There Is No Fate (Dedicated To Yanka Dyagilevaya)
14. To Live Up To The Winter (Dedicated To People Who Weren't Able To Reach The Foot Of Their Own Mountain)
Sayan Andrianov
Taras Ablamsky
Barbara Sapozhnikov
Eugene Zhukovsky
Vladimir Glushko
Sayan Andriyanov
Nicholas Roerich, Irina Smirnova and Pavel Shaikin
Link
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"While Huun-Huur-Tu are folkloric pioneers, bringing the traditional music of Tuva to a worldwide audience, the goal of throat-singing rock band Yat-Kha is decidedly more aggressive and revolutionary. Albert Kuvezin, the band's founder and leader, and a former member of Huun-Huur-Tu, sees the folk music of Tuva as a stepping-off point for his band, a point of contact with the heritage but also a point of contention with the power of static culture. Yat-Kha feature electric guitar (often fuzzy and distorted, to mimic the gruff, basso kargiraa vocals), in addition to local string and percussion instruments that offer a rooted sound to an often chaotic musical web. A few of the songs on Dalai Beldiri come off as just repolished folk-pop, imitation blues that rely too heavily on standard times and melodic structures. But most of the album shines, using the shamanic roots of the group's Siberian predecessors to forge ahead with new, innovative, and often disconcerting music that emphasizes the power of the human voice as much as the power of the electric guitar. This is a groundbreaking album for Tuva, one that pushes the boundaries without just making it accessible. In fact, this music is anything but easy. It's challenging and unusual."
"Why can Tuvan people not be long out of Tuva? Why do strangers who visit this land want to come back again? What does this ancient place have so attracting and so luring? Maybe from here, far from civilization and large noisy cities and main roads, it is possible to sense the breath of nature and history - to stop time and motion, looking on ancient mounds and majestic rocks to track the development of Earth and Human culture. Fathomless skies and endless valleys, sharp mountains and swift rivers, black-eyed beauties and frisky racehorses. Life and fight, love and death, freedom and independence... So is the world-outlooking subconscious of the Tuvan person and our songs on the new disk are about that. I hope it will help you understand the soul of the people, their music and to accomplish a journey through time and space.
Peace and Harmony to everybody."
01. Kaldak-Khamar
02. Khemchim
03. Dyngyldai
04. Opei Khoomei
05. Kazhan Toren Karam Bolur
06. Keergentchig
07. Charash Karaa
08. Ydyk Buura
09. Hondergei
10. Sodom i Gomora
Albert Kuvezin - yat-kha, guitars, bass, shanzi, khomuz and low kargiraa vocal
Aldyn-ool Sevek - morin-huur, igil and sygyt, khoomei, kargiraa vocal
Zhenya Tkachëv - tüngür, percussion, gongs and stikhi vocal
Special Guests:
Steve Goulding - drum-kit
Martyn Barker - kat-drum
Martijn Fernig - little bell
Lu Edmonds (aka Akym) - extra bass, cümbüsh, saz
Link
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The group Talyn-Duulal brings together top-level Mongolian professional artists who have already been awarded great national and international distinctions. These artists live for the most part in the capital Oulan Bator, but have emerged from extremely diverse regions. Their repertory consists essentially of chants and popular music taken from all across the country, as well as personalized adaptations and compositions, in the traditional style, by contemporary composers. The music that they propose for our listening pleasure is representative of a movement that could be called "new traditional music". This music ushers forth a revival of the already extremely ancient musical tradition. Through this music the soul of the Mongolian people is reflected: nomadic pastors who live in perfect symbiosis with nature and domestics animals. The different gaits of the horses and camels offer a source of rhythmic musical inspiration, while the contemplation of the magnificent landscapes releases profound internal emotions, images of a simple and pastoral life.
The Mongolian Voices
All throughout its evolution, Mongolian music has conceded a large place to the voice, as testify the countless number of songs, the diversity of vocal types and the particularity of the vocal techniques employed. The songs are often, but not necessarily, accompanied by one of several musical instruments.
Diaphonic Chants - Khoomi
This vocal acrobatics consists in the emitting of a hum from which a harmonic line will rise to constitute the melody of the piece. Few Mongolians know how to do this, but one finds examples in their neighbours of Touva. Depending on the vocal or facial resonators selected, different aspects of diaphonic chants are brought out : that of “the throat”, “the nose”, “The chest” ... The position of the tongue plays an important role in the selection of the harmonies.
The Khailaka Emission
Close to the diaphonic chants, this vocal technique employs a husky tone, coming from the back of the throat, in a low‑pitched register. It is exclusively reserved for epic songs and the song of praise to the Altai. Often, the singers combine the diaphonic chants starting from this emission that uses few degrees in a recitative mode.
Urtyn Duu - Long Chant
This kind of singing offers long ornamental and vocal developments with large intervals. A large range is absolutely necessary to perform the long chant, which can extend into more than three octaves, with frequent passages into the head voice. The songs' texts serve in a way as a pretext for the long vocal ornamentations that develop from a few syllables of words.
Bogino Duu - Short Chant
In contrast to the long chant, the short chant is syllabic: this means that each syllable corresponds to a degree (or note); this does not exclude embellishments in places. The rhythm plays an important part and the text becomes primordial.
01. Altain Magtaal
02. Setgeld Shingesen Gov
03. Uyakhan Zambativiin Nar
04. Temeen Teshee
05. Tomor Khuur, Xoomii
06. Yantaivan Googoo
07. Tsagaan Sar, Khokh Torgom Tsamts
08. Khoomii
09. Morin Tovorgoon
10. Gandii Mod, Khotgoidyn Unaga
11. Sartai Khurnii Khatiraa
12. Sunjiidmaa
13. Jalam Khar
14. Kherlengiin Bariyaa
15. Khuren Mor'
16. Jiijuu Khot
17. Ardyn Duuny Nairuulga
18. Khavryn Shuvuud Irlee
Taravjavyn Ganbold: Diaphonic chant
He was a student of the great master Sundui.
Batchulunii Sarantuya: Long chant and short chant
She was a student of the diva Norovbanzad.
Dashjaviin Tsogbadrakh: Horse-Viol
Former student of the virtuoso Jamyan.
Tserendondoviin Tserenkhorloo: Oblong Cithara
One of the best citharists of the moment.
Gombliin Nansalmaa: Trapezoid Cithara
Recently received the high distinction of Best Musician of “1994” from the Mongolian Ministry of culture.
Link
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"Chirgilchin is from the republic of Tuva in Russia, west of Mongolia. It was created in 1996 when the three musicians were still 18 (the girl) and 20 years old (the two boys). This is their first CD and a remarkable one at that. The particularity of Tuvan music is throat singing (also called sometimes diphonic singing), found in many Asian countries, but in ways that are found solely in Tuva. Throat singing is a way of using the throat to produce two sounds or notes at the same time with the voice (these notes being harmonics produced by the throat). Tuvans developed five different ways of producing these sounds. Ondar Mongun-ool, the throat singer, shows at his young age an incredible mastery of this so particular and amazing way of singing. These three young musicians are simply mesmerizing. What they offer on this CD are not only songs and beautiful music, but a part of themselves, of who they are through their music."
01. Homudal - Man's Sad Song
02. Darlaashkyn - Freedom Song
03. Borannadyr Solo
04. Konturei
05. Chirgilchin - Mirage
06. Kozhai - Aidysmaa Kandans Native Land
07. Kara Duruya - Black Crane
08. Majalykta Chylgymmy - Lyric Song
09. Kyrgan Boru - The Wolf And The Kid
10. Kolkhozchu Maen - Collective Farmer
11. Khaian - Girls From Ulug - Khema
12. Erge Chokka Choranymny - Woman Without Rights
13. Bai-Taiga
14. Ak-La Bashtyg Avaiymny - Whitehaired Mother
15. Teve - Khaya - Camel - Rock
16. Oshku Dotpeleer
Ondar Mongun-ool (vocals, morin-khuur, chantzy, doshpulur, sygyt, sygyt khomei kargyraa, sygyt khomei bell, igil)
Aidysmaa Kandan (vocals, tungur)
Tamdyn Aldar (igil)
Additional personnel: Alexander Bapa (guitar)
Link
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If only for the ethnic composition of the group, Vershki Da Koreshki is one of the most radical ensembles in the world. Composed of a Tuvan singer and musician (Huun-Huur Tu's lead singer, Kaigal-ool Khovalyg), two Russian avant-garde jazz instrumentalists (Vladimir Volkov and pianist/accordionist Alexi Levin), and a Senegalese singer and percussionist (Mola Sylla), Vershki Da Koreshki truly brings the world under one musical umbrella.
The group's multi-weave of East and West is dazzling. The wiry Asian inflections of Khovalyg's awe-inspiring throat singing abut complex tribal polyrhythms and Sylla's warm West African melodies. These disparate elements are spliced with progressive jazz accompaniment and wild improvisational soloing, creating a shifting, seething whole that is at once dark, evocative, propulsively rhythmic, and celebratory. As the band's name indicates ("Vershki" is Russian for 'leaves,' while "Koreshki" means 'roots'), these international experimentalists are simultaneously anchored in fundamental world rhythms and dedicated to exploration in the more ethereal realms. They meld the two approaches to create an organic whole. THE REAL LIFE OF PLANTS, the band's debut, is more than a musical document. It is a beautiful articulation of a singular global musical vision.
01. Real Life Of Plants
02. Chimtchak Salghin
03. Vershki Da Koreshki
04. Pitchendebin
05. Ana
06. Khomouz-Bas
07. Borbannaadyr
08. Doudobas
09. Toumkoumani
10. Khoomei-Bas
11. Choro Baye Samba
12. Koreshki Da Vershki
13. Berioza
Mola Sylla (Senegal) - vocal, kongoma, xalam, kalimba
Kaigal-ool Khovalyg (Tuva) - vocal, khoomei, ighil, khomyss, khomouz, amyrga
Alexei Levin (Holland) - accordion, prepared accordion, piano, khomuss, doudka, chen
Vladimir Volkov (Russia) - double bass
Link
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Bugotak plays Siberian music in a traditional folk basis, but their musical references are so diverse to be classified by genre (let’s call it Siberian Contemporary music). They even dare to cover rock classics, in their traditional Siberian instruments. The main idea of Bugotak’s art is that only those traditions come alive, which develop itselves; stark traditions are subject to nobody. Therefore, the project declares itself to play in any style, keeping native Siberian spirit. Lovers of ‘pure folk’ should stay away, to avoid stagnation of native folk’s culture.
01. Kon' Togethy (The Beatles's Come Together)
02. Altai Kys (Uriah Heep's Gypsy)
03. Kaar Mege (Nirvana's Rape Me)
04. Hododoo (Metallica's Nothing Else Matters)
05. Maadai-Kara (Mission Impossible)
06. Kozhung Of The Rising Sun (The Animals House Of The Rising Sun)
07. Ajylham Djiktite
08. The Crow And The Crucian
09. Aduushanai Duun (The Cowboy's Song)
10. Men Sanaarym (Queensryche's I Will Remember)
11. The Arctic Fox (It Happens)
Link
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Formed in 1991, the Egschliglen (translating loosely as "Beautiful Melody") project aims to take the traditional rhythms and instrumentation of Mongolian folk music and adapt them for contemporary listening - adding innovation, experimentation and playfulness to the mix, rather than simply playing their way note-for-note through the ancient standards.
Central to this is the art of "koommii", traditional Mongolian "throat-singing", which evolved as a way of imitating the sounds of nature, such as the mountains, the rivers and the wind. So far, so romantic. However, to Western ears, this deep, resonating overtone growl can be somewhat hard work, and rather than evoking the wide, open plains of Mongolia, instead conjures up images of Hanna Barbera's Captain Caveman creation in the throes of a heavy bout of food-poisoning, or something from a Reeves and Mortimer sketch.
The album often works best when the koomii is given a bit of respite. The epic, cinematic "Nutgiin Zamd" builds beautifully, ending up where Chinese and Russian folk-music meets a Sergio Leone Western soundtrack. On slower pieces such as "Huurhun Haliun", the slightly discordant soundscape even draws parallels with the violin-heavy sounds of the first Velvet Underground album. Final track "Bau'rin" even re-works a childlike Bavarian peasant-song in the Mongolian-style, and it works like a dream.
Gereg is a genuinely intriguing and overall rewarding release - just figure out your stance on Mongolian throat-singing in advance.
01. Hunnu
02. Govin Magtaal
03. Duuren Zaan
04. Aisui Hulgiin Tuvurguun
05. Jaran Zagaan Aduu
06. Meeneg
07. Nutgiin Zamd
08. Huurhun Haliun
09. Uran Has Baletiin Adagio
10. Byan Hishig Daa Tam
11. Udelt
12. Shigshergiin ai
13. Chamaigaa Gelgui Yahav
14. Zezegtei Harmai
15. Bäu’rin (hat die Katz verlor’n)
Migdorj Tumenbayar - 1st moriin khuur, vocals, 2nd moriin khuur, vocals
Amartuwshin Baasandorj - khöömii solo vocals, tobshuur, percussion
Uuganbaatar Tsend-Ochir - ih khuur
Sarangerel Tserevsamba - joochin, percussion, vocals
Ariunaa Tserendavaa - dance
Taivan Chimeddoo - presenter
Link
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Formed at the beginning of the 90s at the Ulan Bator conservatory in Mongolia by four young instrumentalists, Egschiglen (Beautiful melody) with their new album Zazal once again propose a wide repertory that embraces both the tradition and modernity of their country, for which they have become renowned musical ambassadors. Over the years the group has learned how to harness their cultural heritage (especially shamanic, lamaic and epic chants) and fuse it with more modern instrumental trends creating musical structures that are aesthetically up to date without having to rely on hybridization with foreign elements. The music on Zazal (a propitiatory rite practised when a member of the family leaves on a long journey) is extremely luminous and free, achieving a perfect balance between tradition and modernity, stasis and movement. The traditional instruments used are the main force behind the shaping of the groups sound...however, what will probably be the biggest surprise to the listener is the originality of the khmi chant. This is a highly peculiar technique that requires complete mastery of the voice which is subjected to various acrobatics to hold together both a drone and different harmonics with the result that miraculous sounds both deep and vertiginously acute are simultaneously emitted from the singers throat.
"From Mongolia comes a new fantastic cd by the group Egschiglen. Although they are not as known as Huun Huur tu and Yat-kha, this group is at least as good as both of these bands. Their last cd was released five years ago and for me that cd was my first meeting with the Mongolian traditional music. Their new cd Zazal is a masterpiece and a big leap forward comparing with their last cd. Fresh arrangements and a strong mixture between tradition and modern acoustic music. Besides their famous singing techniques they use traditional instruments such as the Morin khuur, a horse-headed violin which is played like a cello, the Yoochin which relates to the dulcimer and the Thobshuur which is a two-string lute. Their music is sometimes hypnotising like in the song Yamaanii boodog which consists of the Khoomi chant sounding like they swallowed a few flutes, and intriguing rhythms. Egschiglen also has a female singer which is rather unique, at least I hardly ever heard a female singer in traditional Mongolian music before. The album is very friendly for the ear and can also be enjoyed by people who would like to be introduced to the intriguing music of Mongolia. I had to wait five years for their new album but it's more than worth waiting for. Egschiglen delivered the best album of 2002 so far."
01. Hartai Sarlag
02. Uils Dundaa Sain
03. Yamaanii Boodog
04. Han Huhiin Uuland
05. Talin Salhi
06. Manduhai
07. Herlengiin Barya
08. Haramgui
09. Setgeliin Egshig
10. Moriin Khuur Konzert
11. Elstiin Ganga
12. Yan Tai Wan Göögöö
13. Builgan Shar
Tumenbayar Migdorj (moriin khuur, vocals)
Tumursaihan Yanlav (morrin khuur, aman khuur, vocals)
Uuganbaatar Tsend-Ochir (ih khuur)
Batbold Wandansenge (percussion, denshig, vocals)
Amartuwshin Baasandorj (khoomii vocals)
Sarangerel Tserevsamba (yoochin, vocals)
Link
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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.
Link
"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
Link
"Sons of the Ancient Tribes that rode with Genghis Khan, they sing of a way of life that makes your average rock n roll hellraiser look like a wuss. The sound is feral and all the more mind-boggling for the addition of surf-guitar licks, a conglomeration of ancient bowed string instruments and Fender Strat an otherworldly meeting of folk song and punk thrash that exhilarates, intrigues and makes just about every other music sound like so much product."
01. Intro
02. Ahoi
03. Radik’s Khoomei
04. Chorumal Bodum
05. Takh-Pakh
06. Dorug Daiym
07. Amby Baryp
08. Teve Khaya
09. Karangailyg Kara Khovaa
10. Khozamyk (Owaje-Ditty)
11. Kadarchy
Tracks 1,2,5,9 Recorded live in Abbeville, France at Espace Culture Saint Andre on the 10th of May 2001.
Track 3 recorded live in Viljandi, Estonia on the 27th of July 2001.
Track 4,7,11 recorded live ion Huy, Belgium on the 23rd of August 2001.
Track 6, 10 recorded live in Sete, france at La Passerelle on the 17th of May 2001.
Track 8 recorded live in Budapest at Sziget festival on the 7th of August 2001.
Link
pass: blog.beringisland.ru
Original uploader: blog.beringisland.ru. Thanks!
Ay-Kherel, meaning “ray of moonlight”, was founded in 1994 by master throat-singer Vladimir Serenovich Soyan. Hailing from Tuva, Ay-Kherel performs five different throat-singing styles accompanied by a plethora of traditional instruments. Instruments used include kengirge (drum), limbi (flute), synyi (rattle), shyngyrash (bells), khomus (Jew’s harp), byzaanchy (violin), doshpulur (lute), chanzy (lute), duyug (horse hooves) and igil (violin).
"Perhaps the Tuvan craze in world music is dying down a bit now, more removed from the flurry stirred up by Genghis Blues. There's still a fair bit out there to be heard nonetheless, with groups beyond the well-known Huun Huur Tu and Kongar-ol Ondar. Case in point is this album from Ay-Kherel, a troupe headed by Vladimir Soyan. The album progresses through the obvious khoomei to instrumental pieces and various folk songs, both in solo and ensemble formats. Much of the music is similar to what would be heard on other Tuvan albums, with some exceptions in execution. No one in this troupe is up to the same standards in throat singing as ol-Ondar, but they aren't bad. They don't have the vocal range of some of the old long-song specialists, but they aren't bad (especially Vladimir's daughter Lilya Soyan). They aren't the most virtuosic on the igil or khomuz, but they aren't bad. They're a perfectly good troupe overall, very good generalists as opposed to virtuosic specialists. As such, it makes for a nice primer to the music of Tuva, and a good lead-in for further exploration in the rich music of the locale."
01 - Morgul (Prayer)
02 - Baezhin
03 - Tool (The Story)
04 - Kadarchynyn Yry (Shepherd's Song)
05 - Dyngylday
06 - Eki Attar (The Best Steeds)
07 - Chylgychynyn Yry
08 - Tarlaashkyn
09 - Aldan Maadyr
10 - Igil Solo
11 - Kuda Yry
12 - Khoomei Solov
13 - Khomus Improvisation
14 - Ches-Bulun
15 - Hoyzhu Sugga Baryksaar Men
16 - AA-Shuu, Dekei-Oo
17 - Ezir-Kara
18 - Tyvam Hemneri (The Rivers of Tuva)
19 - Durgen Chugaa
20 - Ugbashkylar
21 - Dagyn Katap Darlatpas Bis
22 - Kozhamyktar
part 1.
part 2.
"Huun-Huur-Tu is making the inevitable move toward globalization that comes with worldwide touring and collaboration with foreign musicians, but so far they have managed to retain their own unique identity and remain firmly rooted in Tuvan traditional sounds. By now the novel aspects of multi-tonal throat singing do not need to be featured to help sell their work. Compared to their previous albums there is a richer harmonic (in the traditional Western sense) texture, and such Tuvan anomalies as the harp, Scottish pipes, and synthesizer make their appearance. However, they remain unobtrusively in the background (the synthesizer is used to generate a virtual wind storm), and one gets the sense that the quartet has a mature, rooted sense of where they want to go with their music. The highlight for me, though, are the excerpts of field recordings made by ethnomusicologist Ted Levin (Smithsonian Folkways's Tuva, Among The Spirits, reviewed below) of throat-singing while on horseback. The music, restored to its physical context, suddenly makes so much more sense."
01. Ezir-Kara
02. Anatoli on Horseback, singing
03. Deke-Jo
04. Xöömeyimny Kagbas-la Men (I Will Not Abandon My Xöömei)
05. Avam Churtu Dugayimny (Dugai, The Land of My Mother)
06. Dyngyldai
07. Highland Tune
08. Hayang (name of a hunter)
09. Barlyk River
10. Tarlaashkyn
11. Interlude: Sayan playing xomuz with water in his mouth
12. Sarala
13. Sagly Khadyn Turu-la Boor (It's Probably Windy on Sagly Steppe)
14. Ezertep-le Bereyin Be (Do You Want Me to Saddle You?)
15. Live recording: Anatoli and Kaigal-ool riding horses in Eleges while singing
Sayan Bapa (vocals, doshpuluur, igil, guitar)
Kaigal-ool Khovalyg (vocals, igil, doshpuluur)
Andrey Mongush (vocals, byzaanchi, khomuz, amarga)
Alexei Saryglar (vocals, percussion)
Link
"Think of Yat-Kha as the new wave of Tuvan throat singing, with its mystical, eerie overtones that seem unearthly. But to that sound, made popular by the likes of Huun-Huur Tu and traditional instruments like the tungur, they added electric guitar and, far more importantly, a sense of Western post-punk rock dynamics. The guitar features sparingly, used on "Solun Chaagai Sovet Churtum," "Karangailyg Kara Hovaa," and most effectively on "Kadarchy," where band leader Albert Kuvezin weaves a remarkably bluesy riff as the basis of the tune. But the sense that this band has listened to plenty of Western rock is there in their more traditional pieces -- which is most of the record. "Toorugutg Taiga," for example, has at least five things going on at once, with strings lines bowed and plucked, percussion, and voices working off each other in a stunning arrangement. For much of the time, the famed throat singing isn't really to the fore, concentrating more on the songs themselves, but on the epic closing "Kargyram," Kevezin unleashes an unaccompanied ten-minute tour de force of vocal overtone work that seems impossible, especially when the overtones take over, but it really, a display of rare virtuosity. Unlike most of their countrymen, Yat-Kha don't want to just keep the past alive; they want to integrate it into a musical future. That's their manifesto- laid out so eloquently here, and wonderful it is, too."
01-Solun Chaagai Sovet Churtum
02-Karangailyg Kara Hovaa (Dyngyldai)
03-Kaa-Khem
04-Kuu-La Khashtyn Baaryndan
05-Kamgalanyr Kuzhu-Daa Bar
06-Irik Chuduk
07-Chashpy-Khem
08-Kadarchy
09-Chok-La Kizhi Yry
10-Een Kurug Kagban-Na Men
11-Toorugtug Taiga
12-Kargyram
Link
Úzgin Üver was formed in 1991 in Kecskemet, Hungary. The name itself is the name of a Mongolian settlement, where an ancient sacred burial ground was discovered. It means something like ’dry desert area’, ’poor harvest’. Our aim from the beginning has been to create a unique blend of the folk music of different nations, using old and new instruments, sounds and tunes. From the Carpathian Basin to Mongolia, we are working with balkan, turkish, iranian and armenian melodies in our mind. But our songs are not transcriptions, we create our own music. Further influences are jazz and rock, breakbeat and dub, the contemporary and the ancient music equally. The music is almost entirely instrumental, even the human voice is used as an instrument. Some characteristic instruments are: sax, clarinet, different kinds of flute, zurna, kaval, duduk, jew’s harp, bagpipes, violin, drums, percussions, electric guitar, sampler, HD-recorder and Tuva-style vocal.
01.Crow I.
02.Riverbank
03.Plank
04.Amusement
05.Temptation
06.Crow III.
07.Hammer
08.Shepherd
09.Filter
10.Albatros
11.Fourth
12.Crow II.
Musicians:
Marcsi Farkas (violin)
Péter Homoki (sampler, guitar, percussions, vocals)
Gyula Majoros (wind instruments)
Guest:
Miklós Paizs (pipe, vocal - 10, 11)
István Somogyi (breathing - 7, 10)
Link
pass: bluesmen-worldmusic.blogspot.com
Paul Pena played blues with the greats T-Bone Walker, B.B. King, and Bonnie Raitt. In 1995, the blind bluesman became the first American ever to compete in an unusual contest of multi-harmonic "throatsinging" native to The Autonomous Republic of Tuva.
The Autonomous Republic of Tuva, wedged between Siberia and Mongolia, for centuries has been isolated from the rest of the world by jagged mountains and Soviet restrictions. Only recently have the Tuvan art form of throatsinging become known to outsiders.
Pena discovered Tuvan throatsinging on a shortwave program of Radio Moscow. For the next nine years he worked to produce similar overtones with his own voice and to incorporate throatsinging into his blues music.
Unexpectedly in 1993, Pena discovered that Tuvan throatsingers were on their first concert tour of the U.S. After their performance, the deep-voiced bluesman broke into his own self-taught style of throatsinging and serenaded the musicians with Tuvan traditional songs! The throatsingers were amazed by Pena's mastery of the Tuvan art form and likened his rich voice to the sounds of tremors in the earth. They insisted that "Chershemjer" (Earthquake) travel to Tuva for the next tri-ennial throatsinging contest which would be held in 1995.
Eleven years after he first heard throat singing, Paul Pena entered the National Theatre of Tuva to make history. The blind bluseman's performance was so well received, he became the 1995 throatsinging champion in the style of kargyraa. He also captured the "audience favorite" award for the week-long competition. The Tuvan people had never seen or heard anyone like him.
"More than just a record, this is also the story of the journey of Paul Pena, a fine blind American bluesman who learned Tuvan throat singing well enough to win a contest in Tuva. His solo tracks, especially his take on Robert Johnson's "Terraplane Blues," are the real blues deal, but this record truly takes off when Pena and Ondar duet. The blues and the eerie, often-guttural sounds of throat singing make a natural match, one that simply bewitches with the clear overtones and melodies, while the guitar and Tuvan banjo offer simple, but very plaintive, accompaniment. About the only misstep is the inclusion of the Cape Verdean "Tras d'Orizao," which sticks out like a sore thumb from everything else. Get that out of your system, and the rest is pure magic."
01 - What You Talkin About
02 - Alash Hem (The Alash River)
03 - Gonna Move
04 - Kaldak Hamar (The Other Side of the Mountain)
05 - Tras D'Orizao (Beyond the Horizon)
06 - Ondarnyng Ayany (Ondar's Medley)
07 - Kargyraa Moan
08 - Eshten Charlyyry Berge (It's Hard to Lose a Friend)
09 - Kongurey (Where Has My Country Gone)
10 - Durgen Chugaa (Fast Talk)
11 - Sunezin Yry (Soul's Song)
12 - Center of Asia
13 - You Gotta Move
14 - Tuva Farewell
15 - Genghis Blues Soundbites
16 - Kaldak Hamar (Live)
17 - Eki A'ttar (Good Horses) (Live)
Link
pass: bluesmen-worldmusic.blogspot.com
The Huun Huur Tu band from Tuva, Russia, practice the ancient technique of "xöömei" or throat-singing. Each vocalist simultaneously produced two distinct pitches: a lower drone and a high pitched flute-like sound. This is one of the world’s oldest forms of music making. We heard their ancient instruments and experienced the mellow beautiful tones that were exciting and yet very calming to the spirit. Instruments they use in their music include the igil, khomus, doshpuluur, tungur (shaman drum), and others.
The xöömei quartet Kungurtuk was founded in 1992 by Kaigal-ool Khovalyg, brothers Alexander and Sayan Bapa, and Albert Kuvezin. Not long afterwards, the group changed its name to Huun-Huur-Tu, meaning "sunbeams" (lit. sun propeller). The focus of their music was traditional Tuvan folk songs, frequently featuring imagery of the Tuvan steppe or of horses.
The ensemble released its first album, 60 Horses In My Herd, the following year. The album was recorded at studios in London and Mill Valley, California.
01. Sygyt (Lament of the Igil)
02. Mezhegei
03. Öske Cherde (Foreign Land)
04. Eshten Charlyyry Berge (It´s Hard to Be Parted From a Friend)
05. Kombu
06. Khöömei (Khovalyg solo)
07. Kongurei
08. Fantasy on the Igil
09. Bayan Dugai
10. Tuvan Internationale
11. Kargyraa (Khovalyg solo)
12. Ching Söörtukchülerining Yryzy (Song of the Caravan Drivers)
Kaigal-ool Khovalyg: vocal, igil, doshpuluur, chanzy;
Sayan Bapa: vocal, igil, Tuvan percussion;
Albert Kuvezin: vocal, guitar;
Alexander Bapa: Tuvan percussion.
Part 1.
Part 2.
pass: bluesmen-worldmusic.blogspot.com
