Posts
Winning the BBC World Music Audience Award in 2003.
"Slovenia isn't well a known country, but the growing reputation of this entertaining young band has at least put it on the world music map. They've achieved that largely through tireless gigging since their virtually spontaneous formation at a music festival in 1999.
'I think that the basis of our success is our concerts,' says violinist Bojan Cvetrežnik, who joined clarinet/whistle player Boštjan Gombac and guitarist Danijel Cerne at that fateful gig. 'We are still much better on the stage than on the recordings, and that's why we have always full clubs where we play. They really love our concerts.'
No surprise then that both the albums they've released to date have been recorded at live performances. The line-up is extended on their most recent CD Pulover Ljubezni (Jumper Of Love) by the addition of double bass player Žiga Golob. The players' diverse backgrounds in jazz, classical and even alternative rock is reflected in an eccentric repertoire which they tear through with the virtuosity of seasoned musicians, spiced with a bawdy sense of humour. And the proximity of such varied musical neighbours as Austria, Italy, Romania, Hungary and the Balkan states is not lost on them: 'We have very very different influences here in Slovenia. Maybe that's one reason why we play so different music,' Bojan explains, while also admitting: 'We just play the music we like.'
What they like to play is a mind bogglingly eclectic assortment that includes folk styles as diverse as Klezmer, Gypsy, Irish, Slovenian and even Mexican music, but also extends to pop, rock and classical. One medley manages to include Bach, Led Zeppelin and a Donegal reel.
Purists may baulk at idea of so many roots musics being played by musicians born outside the traditions they are interpreting, but Terra Folk's sincerity and affection for the styles they present is beyond question: 'You don't have to be Jewish to play Klezmer music. You don't have to be a Gypsy to play Gypsy music. Maybe we can't play in the same authentic way, I don't know, but this music is so interesting that it can be played also with other knowledge than just from the real roots. We all love music which is real, authentic, but we don't want to copy the authentic way. We play always with our education, with our knowledge, and what we know about music."
01 Caro Papa
02 Yoshke, Yoshke
03 Kolo
04 Jovano Jovane
05 Hava Nagila
06 Rumenisher Tants
07 Copza Luca
08 Hopkele
09 Der Gassn Nigun
10 Stairway Uberall
11 Stairway Uber Ireland
12 Are We Going To The Moon-
13 Pop medley
14 Ay Chabella
15 Djemper Ljubavi
16 Pub Medley
Link
pass: bluesmen-worldmusic.blogspot.com
A unique project from Fonó Records in Hungary featuring Ágnes Herczku, members of Hegedős, Vándor Vokál and others.
Singer Agnes Herczku and band with an enthralling collection of folk songs from the diverse Hungarian repertory: traditional folk songs, gipsy dances, shepherd's songs, wedding marches and even some drinking songs. Intelligent and inspired music which is articulated around some splendid elaborate vocal harmonies with a significant number of guests. Song topics range from The Wheat Must Ripen to The Tears of Women all of which are eloquently rendered. The instrumentation is precise and effective (violins, percussions, flute, accordion and dulcimer). A complex heritage organized around a talented and impressive group of musicians.
01. Oh, secret love (Folk song from Magyarbőd)
02. It begins secretly (Csárdás from Magyarbőd )
03. So that I don't need paint on my cheeks (Lament and „Hungarian” from Magyarszovát)
04. On the corner of her rosemary pillow (Dawn song and lads' dance from Kalotaszeg)
05. Three nights, three days (Csárdás and swift from Kalotaszeg)
06. Memory of Josko Kura (Bagpipe songs form Zoborvidék)
07. The wheat must grow ripe (Gypsy dance and „orphan song” from Nyirvasvári)
08. I lost my horse (Shepherds' songs for stick dance from Gömör)
09. When I go out to the hill in Daróc (“Hallgató” and melodies from Nagydaróc)
10. „Whose soul is wine” (Drinking songs from Bodrogköz)
11. My sweetheart, you took my sense away (“Oláhos”, csárdás and „fogás” from Bodrogköz)
12. Tears of women (Ruthenian chorovods from Sáros)
13. Huculka (Ruthenian music from Técső)
14. In memoriam Bohumil Hrabal (Wedding march from Jóka)
Fonó Folk Band:
Ágnes Herczku – vocals
Gergely Agócs – vocals, flute, bagpipe, tárogató
Tamás Gombai – vocals, violin
Gábor Szabó – vocals, violin
Sándor D. Tóth – vocals, second violin, viola, guitar, drum
Zsolt Kürtösi – vocals, double-bass, accordion
With the contribution of:
Balázs Unger – dulcimer, little dulcimer
Vándor Vokál band:
Katalin Bakó – vocals
Szilvia Bognár – vocals
Tünde Farkaš – vocals
Katalin Izsák – vocals
Ágnes Szalóki – vocals
Adrienn Buzássy – vocals
Júlia Zsákay – volcals
Ádám Pettik – water can, oral bass
Link
pass: bluesmen-worldmusic.blogspot.com
"The story begins in the Esquilino neighborhood in Rome. An area that revolves around a square with a Roman heart and a multitude of colors: Piazza Vittorio. It is a thoroughfare and hub for various cultures and its atmosphere inspired Mario Tronco to create what many would have liked to accomplish but only he, with the help and tenacity of Agostino Ferrente, had the courage to see to the end, L’Orchestra di Piazza Vittorio.
Many musicians, each one unique in origin, instrument, and musical experience. Together they form an orchestra that plays and reinvents music from all over the world with a visceral energy that audiences take away with them after each concert.
Now, the Orchestra is well-known in Italy and abroad, but in 2002, the year it was created, everything was much more difficult and finding its place in the world of music as well as financial support in order to play was a true undertaking. The only thing that has not changed is the desire to make music and have fun with those who listen to and know how to listen for great new sounds in music."
1. Sona
2. Ena fintidaah’k
3. Fela
4. Helo rama per
5. Laila
6. Balesh Tebsni
7. Ena andi
8. Sandina
9. Vagabondo Soy
Musicians
Houcine Ataa – Tunisia - vocals
Peppe D’Argenzio – Italy – sax – bass clarinet
Evandro Cesar Dos Reis – Brazil – vocals - classical guitar, cavaquinho
Omar Lopez Valle – Cuba - trumpet, flugelhorn
Awalys Ernesto “El Kiri” Lopez Maturell – Cuba - drums, congas, hands, feet, background vocals
John Maida - United States - violin
Eszter Nagypál – Hungary - cello
Gaia Orsoni – Italy - viola
Carlos Paz – Ecuador - vocals, Andean flutes
Pino Pecorelli – Italy - double bass, electric bass
Raul “Cuervo” Scebba – Argentina - marimba, glockenspiel, congas, percussions, background vocals
El Hadji “Pap” Yeri Samb – Senegal - vocals, djembe, dumdum, sabar, shaker
“Kaw” Dialy Mady Sissoko – Senegal - vocals, kora, feet
Giuseppe Smaldino - Italy - French horn
Ziad Trabelsi – Tunisia - vocals, oud
Mario Tronco – Italy – Artistic Director - Fender Rhodes
Link
"One of New York’s most original bands, HAZMAT MODINE delivers a rustic, deliriously Dionysian blend of whorehouse Blues, Reggae, Klezmer, Country and Gypsy-tinged music. The band features the dueling harmonicas of front-man Wade Schuman and his sparring partner Randy Weinstein, funky tuba powerhouse Joseph Daley, guitarists Michael Gomez and Pete Smith, trumpeter Pam Fleming and drummer Rich Huntley. HAZMAT holds down a smoldering groove behind Schuman’s raspy, bluesy voice and passionately energetic stage presence. (Schuman is one of the most dynamic performers on the New York scene). Their playful blend of genres also extends to their use of instrumentation, including the sheng (the ancient Chinese mouth organ), the unique and odd claviola, and sometimes the cimbalom (the Romanian hammered dulcimer). While they play mostly originals, their cover versions are choice and eclectic, including songs by Slim Gaillard, Jimmy Rogers, Jaybird Coleman, and Irving Berlin. Their live show frequently features guest artists from the creme de la creme of the New York music scene, including cult-favorite singer/accordionist Rachelle Garniez, Moonlighters steel guitarist extraordinaire Henry Bogdan and the great cimbalom player Alex Federiouk. With their sly musical wit, expert musicianship and completely unique sound, HAZMAT MODINE has built a wide and devoted following, drawing crowds to shows at venues as diverse as the Knitting Factory, Terra Blues, the Fez and Galapagos Art Space.
The fifteen-track CD presents an ensemble with a Sybil complex of multiple musical personalities. "Yesterday Morning" resembles a New Orleans funeral dirge with a reggae beat. "It Calls Me" melds the Mississippi Delta with Huun-Huur-Tu's Asian-born Tuvan throat singing. The exotic array of instruments includes the Romanian cimbalon, zamponia, Hawaiian steel guitar, electric banjitar, contrabass sax, claviola, and bass marimba. In the hands of lesser musicians this stuff would sound like a mess, but these guys make it work, with dancing diplomacy that would put the U.N. to shame. If this isn't world music, I don't know what is."
01- Yesterday morning
02- It calls me
03- Bahamut
04- Fred of Bellaroy
05- Broke my baby´s heart
06- Almost gone
07- Steadly roll
08- Everybody loves you
09- Lost fox train
10- Dry spell
11- Ugly rug
12- Who walks in hen I walk out!
13- Grade-a Gray day
14- Man trouble
15- Outro
Link
pass: bluesmen-worldmusic.blogspot.com
One of the best folk rooted ethno rock albums from Hungary. While using the tradition of folk music they are using modern technics and rock instruments with beautiful clear singing and choir.
"We don’t have to follow that, what our forefathers did, but we do have to follow what our forefathers followed."
The Band of Debrecen playing Folk Rock.
01 - Hej, igazitsad jól a lábod
02 - Reverinda
03 - Túl a vízen egy kosár
04 - Zőld az erdő
05 - Recés a szölő levele
06 - Hopp ide tisztán
07 - Összegyultek az izsapi lányok
08 - Harci tánc - Héjsza
09 - Csendes patak partján
10 - Hejgetés
11 - Átokdal
12 - Még azt mondják nem illik a tánc a magyarnak
Link
pass: bluesmen-worldmusic.blogspot.com
Loneliness, loss, displacement, and death loom large among the topics covered in the 15 Yiddish poems set to melodies by popular Israeli folk singer Chava Alberstein, and arranged by New York's exploratory Klezmatics, on this deeply sad and beautiful album. Anyone familiar with the Klezmatics' more rambunctious side will be impressed by the inventive delicacy and subtlety they bring to these elegant vestiges of fading Yiddish culture, virtually reanimating it with tangos, Hasidic melodies, polkas, and festive freylekhs that recall its vibrant past. Alberstein's low voice meshes beautifully with Lorin Sklamberg's high tenor, adding extra emotional resonance to a series of poems in the middle of the album that evoke the genocide twilight that enveloped the writers' world half a century ago. Their tragedy is redeemed in The Well.
"The Well is an extraordinary collaboration between two extraordinary artists. Renowned Jewish roots sextet The Klezmatics and legendary diva Chava Alberstein, called "the first lady of Israeli song," have joined forces in creating a rapturous modern Jewish music. Set to words from this century's finest Yiddish poets,The Well draws from the vibrant musical traditions of klezmer, Middle Eastern, French chanson, German cabaret and American folk in a gorgeous original score. Chava's lush, golden vocals describe experiences of love and loss both profoundly Jewish and universal, while The Klezmatics' radiant virtuosity is suffused with "the Eastern European accents, unfettered joy and instrumental brilliance that define klezmer."
01. Di krenitse
02. Ikh shtey unter a bokserboym
03. Ergets shtil Baym taykh
04. Ver es hot
05. Ovnt lid
06. A malekh veynt
07. Bay nakht
08. Vek nisht
09. Kh'vel oyston di shikh
10. Mayn shvester Khaye
11. Umetik
12. Di elter
13. Velkhes meydl s'nemt a bokher
14. Di goldene pave
15. Zayt gezunt
Chava Alberstein: vocals, classical guitar
Lorin Sklamberg: vocals, accordion, piano, bass accordion, harmonium
Alicia Svigals: violin
Frank London: trumpet, flugelhorn, alto horn, piano, harmonium, bass accordion, synthesizer
David Licht: drums & percussion
Matt Darriau: clarinet, bass clarinet, alto sax, kaval, harmonium
Paul Morrissett: electric bass, double bass, tsimbl, hardanger fiddle
with
Ben Mink: guitar, mandocello, mandolin
John Friesen: cello (6)
Link
pass: bluesmen-worldmusic.blogspot.com
Born in 1957 to a poor gypsy family in Hungary, Ferenc Snétberger was inspired by his father's music since his childhood years. "My father was the best guitar player around. He had a style that was very much his own." French tourists who listened to him playing in bars occasionally compared his music to Django Reinhardt's. When Ferenc was 13 years old, his father allowed him to attend a music school where he learned to play the classical guitar. He soon fell in love with the music of J.S. Bach and won several awards at classical competitions.
At the same time, Ferenc played at weddings and in night bars and was familiar with jazz, bossa nova, gypsy style and other popular musics. So in addition to his classical training, he decided to study the jazz guitar at the Budapest Conservatory. "You couldn't develop your own style at the conservatory," Ferenc says. "So when I heard Egberto Gismonti at a festival one day, it was a tremendous experience. This was just the direction I wanted to go myself." Besides Gismonti, it was the music of jazz guitarists Wes Montgomery and Jim Hall that inspired Snétberger not to aim at a classical career. Instead, classical technique and esthetics became an integral part of his individual stylistic mix that includes jazz improvisation, Brazilian rhythms and gypsy roots on the highest level of virtuosity and soulfulness.
On his album, "Obsession," Snétberger presents a beautiful jazz/bossa-oriented trio music that comes out of the tradition of Brazilian guitarist Laurindo Almeida and American samba pioneer Charlie Byrd while touching new dimensions of artistic shaping. Says German weekly Die Welt: "Ferenc Snétberger proves to be a cosmopolitan musician, a mediator of multi-cultural values. High art of guitar playing!"
01. Wanton Spirit
02. E-Bossa
03. Szivárvány (for Attila Zoller)
04. FS Five
05. Gypsy
06. Hanging Out
07. Obsession
08. I Remember
09. Song To The East
10. Páva
Ferenc Snétberger - acoustic and electric guitars
János Egri - bass
Elemér Balázs - drums
Guest:
Irén Lovász - vocal on "Páva"
Link
Szőke is a well known artist from Tin-Tin, Makám and Kolinda. Besides playing on oriental instruments he is also known for directing theatre pieces. This is the first time, that these three works: Omáar Khayyám, The Arabian Nights and Jayadeva are blended into one single unit. There verses are set to music mainly for original instruments. Their melodic and rhythmic structure is built on Indian, Persian, North African, Balkan and East-Central-European elements.
01. Beggar's song
02. Empty your goblet
03. Carnal fray
04. I am a flower, sweet-smelling
05. Sindbad's soliloquy No. 1
06. The curl on her snowy brow
07. Winged horsey
08. It is dawn
09. Sea monsters
10. Sindbad's soliloquy No. 2
11. Go, save your soul
12. Let your strong teeth bite me nice
13. The world is spinning
14. Sindbad's soliloquy No. 3
15. I drink not for lust, not for delirium
16. One thing is certain
17. The one who opens the gate to love
18. Sindbad's farewell soliloquy
Bea Palya - vocals, mouth organ, kalimba, snklung, bells, rhythmic speech, clapping
András Monori - kaval, sithar, bamboo flute, double recorder, trumpet, mouth organ, kalinba, guitgar, bells
Péter Szalai - tabla, kalimba, ocean drum, rain stick, bells, rhythmic speech
Szabolcs Szőke - gadulka, sarangi, gusla, kalimba, bamboo zither, bells
Lajos Spilák - tapan, gongs, bells, prose
Éva Enyedi - anklung, mouth organ, mbira, rhythmic speech, clapping
Katalin Homonnai - anklung, mouth organ, mbira, rhythmic speech, clapping
Domokos Szabó - anklung, bamboo sansa
Link
pass: bluesmen-worldmusic.blogspot.com
"This is Gypsy music. Boyash Gypsy music, which until now was only performed within this small (30k) minority of Hungarians. Originally from Transylvania, the Boyash Gypsies mainly live in 4 districts of the southwest. Their melodies are more Romanian than usual Gypsy/Hungarian music, with a sense of group fun about it. When one vocal is singing solo, do the rest of the players shut up? No, they keep on with constant, consistent asides that fill up the odd gaps or pauses, if anyone dares to let a second go without a shout, a dabadado, or a group sing-along. It’s one of the aboriginal delights of the album.
Kanizsa Csillagai (literally translated as Stars of Kanizsa). Formed in 1993 by 5 young Boyash and Wallachian Gypsies from Nagykanizsa, the leader of the group is singer/guitarist/dancer Zoltán Horváth. This is their 2. cd, and is indicative of a family recording (Zoltán’s wife and brothers are on here too) as ever I’ve heard. If only all groups were this collaborative and confident with weaving themselves together."
01. Foku drákuluj - Az ördög tüze - Devil's Fire
02. Járá jésty tu, jar á me - Megint az enyém vagy - You are mine again
03. S-o mérsz giszká - Ement a liba a jégre - The Goose have gone to the ice
04. lhuz, mámá - Hallod, anyám... - Hear, mother
05. ljoj, urtásjé... - Jaj, barátom.. - Oh, my friend
06. Náj láso mángé - Nem jó nekem... - Not good for me
07. Si tisjunyé si kárbunyé - Parázs és korom - Live coal and soot
08. Sjé szá fák - Mit csináljak? - What shall I do?
09. Tu Jésty fátá... - Te vagy az a lány - You are that girl...
10. Fá nyém mámá...- Fôzzél anyám... - Cook, Mother...
11. lj, Julá me - Jaj Juliskám - Oh, my Juliska
12. Tatá naptye ám kintát jo - Egész este - All evening
13. Szi ámen jék séjorri - Van nekunk egy kislányunk - We have a little girl
Zoltánné (Ibi) Horváth - voice, dance, csörgó
Zoltán Horváth - voice, guitar, tambura, bass, dance
Sándor Horváth - voice, tambura, dance
Attila Havasi - jug, dance
Vendel Orsós - voice
Link
pass: bluesmen-worldmusic.blogspot.com
"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
"Gianmaria Testa is an Italian singer/songwriter treasure, and for this release he's put together a loose concept album about migrants and those who move (or refuse to move) for work and war. He's backed by his usual acoustic roots band, but adds American guitarist Bill Frisell to the proceedings (and another American, Greg Cohen, gives a crystalline production). Testa's trademark gravelly, world-weary vocals speak of separation, loneliness and often resignation, but there's also hope, as in the beautiful "3/4," a simple elegiac song and finally a sense of place and possible belonging, albeit on a small scale. A superb lyricist with a marvelous eye for image, Testa picks up on the minutiae that make up a life, the small but still important things. What he's really created here is nothing less than a work of art."
01. Seminatori Di Grano
02. Rrock
03. Forse Qualcuno Domani
04. Una Barca Scura
05. Tela Di Ragno
06. Il Passo E L'Incanto
07. 3/4
08. Al Mercato Di Porta Palazzo
09. Ritals
10. Miniera
11. La Nostra Citta
Enzo Pietropaoli-Double Bass
Gianmaria Testa-Guitar, Vocals, Pre-Production, Lyricist
Gabriele Mirabassi-Clarinet
Philippe Garcia-Percussion, Drums
Piero Ponzo-Saxophone
Luciano Biondini-Accordion
Davide Roveri-Assistant Engineer
Piero Salvatori-Cello
Claudio Dadoneű-Guitar, Pre-Production
Sebastiano Severi-Cello
Greg Cohen-Guitar, Vocals, Artistic Producer
Bill Frisell-Guitar (Electric)
Paolo Fresu-Trumpet
Link
"Simply put, Kalamona is Eastern European jazz at its best: exuberant, emotional, visceral, and modern. Dél-Alföldi Szaxofonegyüttes (The Southern Plain Saxophone Ensemble) blend Hungarian folk songs and avant-garde jazz licks to create the most festive music since John Zorn's Masada. Béla Burány, Balázs Dongó, and Béla Ágoston are accomplished saxophone players propelled by a level of energy that equals a whole big band. They rival in solo virtuosity, but also come together to form nice contrapuntal motifs. They are backed by a strong rhythm section made of bassist Róbert Benkö, sadly a bit lost in the mix, and drummer Tamás Geröly, a dynamo. Kalamona is beautifully sequenced. It begins with two short saxophone trios that emphasize a nostalgic mood. Then comes the traditional festive tune "Kerekes" (Wheel Song), which introduces the rhythm section. That's when Dél-Alföldi hit hard with "Molnár Hol a Pénzed" (The Miller's Ballad) and "Kalamona." The first piece pairs a swinging jazz theme with a softer middle section, the ballad, sung by Ágoston. A series of saxophone solos follow, dancing on the fine line between jazz and experimental, blowing ferocious split tones and highly lyrical phrases. The title track is another one of those irresistible East-European party tunes ("Doodle" and "Reindeer" will also get the feet going). The 20-minute suite "Jelek/Sámánének" (Signals/Shaman Song) is the most raucous track, one powerful highlight. Fans of Masada, Yuri Yukanov, and klezmer/gypsy music with an avant-garde twist in general will love this. This is music to get excited about. And as usual with November releases, the CD comes packaged with stunning artwork. Strongly recommended."
1. The Shepherd's Dream
2. Song from Moldva
3. Wheel Song
4. The Miller's Ballad
5. Kalamona
6. Signals / Shaman Song
7. Doodle
8. Reindeer
9. A Question for the Evening
Béla Burány (Baritone and Soprano Saxes)
Balázs Dongó Szokolai (Soprano Saxophone, Bass Clarinet, Kaval, Overtone Singing and Whistle)
Béla Ágoston (Alto and Tenors Saxophone, Bass Clarinet, Vocals and Overtone Singing)
Róbert Benkő (Double Bass)
Tamás Sándor Geröly (Drums and Percussion, Vocal)
Link
"The Terem-Quartet is a unique group which has improved the performance of traditional Russian folk music and which is now has a national endowment. The group does not belong to any of the existing musical trends or genres. Musical experts call it a “terem-style”, which has added fresh sound and new aesthetics to traditional genres.
20 years ago the Terem-Quartet opened up traditional ideas of professional musicians and common listeners about the performing abilities of folk instruments. However, the exotic “flavor” of Russian folk music is not the key ingredient in what the Terem-Quartet does. They are not traditional “folk musicians”. First, the very structure of the band – two domras, an accordion and bass balalaika – make the “folk company” a true acoustic band. Second, their sound and manner of performance are very special. They play with the energy and passion of an English rock-band and have little in common with a trivial folk instrument company.
The Terem-Quartet has gained a number of Russian and international awards and took part in a number of theatre performances and film projects. Over 20 years, the musicians have given 2000 concerts, wrote over 200 original musical pieces, performed in 55 countries, and released 15 records.
Today the Terem-Quartet represents Russia in the world. Almost all the world concert halls have risen in applause to them. Pope John Paul II, Mother Theresa and Prince Charles greeted them. The Terem-Quartet played before the leaders of the G8 at the summit 2006 in St. Petersburg. There is a fan-club of the contrabassist Mikhail Dzyudze in America. On the eve of St. Petersburg’s 300th anniversary, English director Robert Stern shot the film Globe Walker St. Petersburg Special (ordered by the Japanese TV channel NHK) with Andrei Konstantinov the Terem-Quartet starring as a cultural symbol of the city."
01. Lyrical Dance
02. Fantasy
03. The Legend of the Old Mountain Man
04. Cossack's Farewell
05. Toccata
06. Variations on Swan Lake
07. Simfonia Lubova
08. Old Carousel
09. Two-Step Nadya
10. Tsiganka
11. Letnie Kanikuli
12. Country Improvisation
13. Valenki
14. Barnynia
Link
Pass: music2007
Original uploader: UKRuss. Thanks!
„In the early 1970’s, young urban Hungarians began to rediscover folk music and traditions. It was the time to the „folk music new wave”, and we ourselves, who had grown up in families that loved and respected folk music, song and dance, were among the first to attempt to master the techniques of instrumental Hungarian folk music.
We regularly visited village musicians in Transylvania and other Hungarian speaking areas. These „muzsikás” people tried to pass on their knowledge to us, which they did with great affection and patience. We can never be bored by this music. We listen to it at home, in our cars, on aeroplanes and we give it to our friends for Christmas. The music on this CD derives from Gyimes, Ördöngősfüzes and Kalotaszeg, and derives from some of our earliest folk music experiences. Transylvanian instrumental music embodies centureies of aesthetic values. In our concerts, we have repetadly had the experience that these melodies, reflecting essentially pure feelings and irresistible impetus are able to powerfully communicate to people, no matter where in the world they are from.
On this alum, we amimed to play and sing as our village masters did: all together, breathing as one, watching each other as we play, in order to express this music’s inner life.”
1. Füzesi lakodalmas / Wedding in Füzes village
2. Madocsai szőlőőrző / A song from Madocsa
3. Kerekes héja és sebes / Round dance of Gyimes
4. Édesanyám rózsafája / My mother's rosebush
5. Ej, de széles / Oh, the road is long
6. Ha én rózsa volnék / If I were a rose
7. Baj, baj, baj / Trouble, trouble
8. Gyimesi dallamok / Cry only on Sundays
9. Ej, csillag, csillag / Oh, Morning Star
Mihály Sipos - violin
Sándor Csoóri Jr. - violin
Péter Éri - violin, viola, mandolin, double bass, lute, bell
Dániel Hamar - double bass, hit-gardon, hammer dulcimer
Guest:
Márta Sebestyén - voice
with:
László Porteleki - violin
Anna Helbich - vocals
Katalin Gyenis - vocals
Eszter Eredics - vocals
Ildikó Tóth (Fecske) - vocals
Zoltán Farkas (Batyu) - hit-gardon, drum, dance-noise
Márton Éri - viola, cello
András Berecz - khoomei, thorat singing
Antal Rácz - zither
Link
"Like Gogol Bordello and Flogging Molly, New Orleans quintet the Zydepunks draw from two divergent genres -- folk and punk -- to create music that pushes traditional boundaries without abandoning its roots. The group, known for its manic interpretations of European and Louisiana folk music and a multilingual repertoire (the group performs in English, German, French, Spanish, Yiddish, and Portuguese), formed in 2004, quickly gained a devoted following, and released its first album, 9th Ward Ramblers. The Zydepunks looked forward to more successes in 2005, but soon after releasing their second album, ...And the Streets Will Flow with Whiskey, disaster struck when Hurricane Katrina roared ashore. While the bandmembers were safe and three returned to homes that were still intact, their city was laid to waste. Despite the considerable setbacks, the group reunited for a performance at the New Orleans Voodoo Music Festival. In August 2007, they released their third album, Exile Waltz; a fourth release was scheduled for 2008."
1 Boudreaux Crosses the Danube
2 Big Man Walking in the Rain
3 Josette
4 Valse de Balfa
5 Andropov/Polka Félix
6 La Maraichine
7 Valse de creve de faim
8 Odessa Bulgar
9 Ma Tisére
10 Larideaux a six temps
11 Valse d'exil
12 Zydeco Cha Cha
Link
pass: bluesmen-worldmusic.blogspot.com
Awards for World Music 2006
"It was the Neapolitan philosopher Giambattista Vico who once developed a circular theory of existence. We might travel as far as we can from our point of departure, but inevitably, we will always be drawn back to it in the end. Enzo Avitabile grew up listening to jazz and blues in the bars frequented by Yankee GIs stationed in Naples. He fell in love with American soul and R&B and mastered the sax, cementing his knowledge of the mechanics of music at the conservatory of San Pietro a Maiella. He then went on to release a string of successful solo albums, beginning with 'Avitabile' in 1982, and collaborated with a number of American musical heroes and heroines including James Brown, Tina Turner, Richie Havens, Randy Crawford and Afrika Bambaata.
In 1996 he began his return to the roots by writing songs about the poor and marginalised of his native city in a Neapolitan dialect. This fascination for the deeply religious and yet enticingly pagan and carnivalesque folklore of the Campania region eventually lead him to the bottari, or barrel-beaters of Portico di Caserta. In the early middle ages, the able-bodied men of this small village would gather to 'beat' out the demons from their fields and granaries, in order to ensure a good harvest. Their instruments were botti, tini e falci, or barrels, vats and sickles, and the noise they made was truly deafening...imagine a cross between the Drummers of Burundi and Ghostbusters.
As so often happens, this very practical exercise turned into a ritual and eventually into a distinct musical culture, centred around the feast day of San Antonio Abate in January. With devoted skill, Enzo Avitabile managed to blend the beats of the bottari with jazz, blues and the voices of the Brotherhood of the SS Crucifix. Word of this intriguing project soon got out and artists like Khaled, Amina, Hugh Massakela and Manu Dibango all begged Enzo to be allowed to contribute. The resulting CD 'Salvamm O Munno' ('Save The World') became one of the most unexpected and entrancing global music successes of recent years. Avitabile's work has given the tradtion a new lease of life, and made it famous throughout Italy and now the world. One of Naples' most dynamic and adventurous musical sons has come home. "
01. Abball' cu me - with Khaled
02. Tutt' egual song'e criature
03. Chest'e l'Africa - with Hugh Masekela
04. A peste
05. Salvamm'o munno - with Manu Dibango
06. Canta Palestina - with Amina
07. Vott'o sole arint'
08. Int' o viento
09. Tarantella bruna - with Baba Sissoko
10. Paisa - with Baba Sissoko
11. Puort aller
12. Votta votta
Part 1.
Part 2.
Pass:worldmusic.nnm.ru
Original uploader: Balkanopithecus. Thanks!
"In recent times Zoltán Kallós is one of the most prominent and important figures in folk music research and collection in the Carpathian Basin.
Here Kallós sings songs from his own field work, accompanied by Ökrös Group. The selections represent nearly every area of Transylvania inhabited by Hungarians: Szilágyság, Kalotaszeg, Mezőség, Gyimes and Moldavia.
Born in Válaszút (Kolozs country, in Transylvania) in 1926, Zoltán Kallós follows in the tradition of Bartók and Kodály researching and collecting folk music from within the region known as the Carpathian Basin.
His interest in the folk music of this area started while still at school, and he has collected and researched the music since the late 1940s. Around the 1960s he started recording folk music in the various places he had previously studied, and it is these recordings that make up the Kallós Archive. In addition to these field recordings he has himself recorded the songs he collected with the ensembles Ökrös and Téka.
A forerunner to the Táncház (Dance House) folk revival of the 1970s in Hungary he was awarded the "Tree of Life" Prize in 1990, the Pro Hungarian Art Prize in 1993, and the Kossuth Award in 1996."
01 Moldvai bújdosódal (Gadár)
02 Keserves, hajnali és szapora (Kalotaszeg)
03 Szilágysági katonadalok (Varsolc)
04 Magyarszováti szerelmi dalok (Mezőség)
05 Mezőségi kontyoló dalok
06 Bonchidai-válaszúti menyasszony kísérő dalok (Mezőség)
07 Gyimesvölgyi szerelmi dalok
08 Válaszúti katonadalok (Mezőség)
09 Ördöngősfüzesi katonadalok (Mezőség)
10 Moldvai szerelmi dal (Klézse)
Musicians::
Zoltán Kallós - voice
Ökrös Ensemble:
Csaba Ökrös - fiddle
Miklós Molnár - fiddle
László Kelemen - viola
László Mester - viola
Róbert Doór - double bass
Guests:
Zoltán Juhász - whistles
Kálmán Balogh - cimbalom
Link
Croatian Music Association made this compilation to promote Croatian ethno music on World Music Expo (WOMEX) 2004. Croatia has always been at the crossroads of East and West, Christianity and Islam, Balkan and Mediterranean.... Part of the Croatian ethno experience has been collected on this compilation, which is not trying to be an anthology, but only an indentity card of a world music direction that has found fertile ground in Croatia as well.
01. Dunja Knebl - Lepe tvoje crne oci
02. Darko Rundek - Ista slika
03. Mojmir Novakovic i Kries - Iz oblaka rosa pada
04. Miroslav Evacic - Cardas Blues
05. Teta Liza - Protuletje se otpira
06. Tamara Obrovac - Ne placi Lucija
07. Cinkusi - Raca
08. Lado electro - 1 pura 2 pandura
09. Stjepan Veckovic - Praskozorje
10. Lidija Bajuk - V Kotoribi cug masina fucnula
11. Livio Morosin Band - Bura
12. Black Coffee - Kod lepanta
13. Dario Marusic - Za Zermane
14. Lado - Ladarke
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
Mihály Dresch's Quartet is a determining band of the national jazz. A peculiar blend of folk music and jazz. As a result of its entirely individual sound and high artistic standard it is one of the most popular Hungarian band of its kind abroad. You can find a row of musical curiosities on the first Dresch album that appeared at the publisher: Dresch plays the cimbalom (this is a real surprise of our great wind player) and on the other solo instrument, the violin, we can enjoy the art of Félix Lajkó, who has since become popular with his own band as well.
1. Cimbalom zene / Cimbalom Music
2. Jókívánság / Best Wishes
3. Tedd - rá! / Put It On!
4. Napkelet / From East
5. Fecském - fecském... / My Swalow – My Swalow
6. Búcsúztató / Farewell
7. Friss / Quick Steps
Félix Lajkó – violin
Róbert Benkő – double bass
Tamás Geröly – percussion
Mihály Dresch “Dudás” – soprano and tenor sax, cimbalom, bass clarinet
Link
pass: bluesmen-worldmusic.blogspot.com
01 - Zoborvidéki lakodalmas énekek
02 - Kőrispataki zene
03 - Székely furulyajáték
04 - Indulj el egy úton
05 - Dudanóták
06 - Cigány népdalok
07 - Héjsza
08 - Urálás
09 - Koldusének
10 - Tavaszi havajgatás tilinkán
11 - Édes Gergelem
12 - Elment az én rózsám
13 - Táncdallam furulyán
14 - Ugrós
15 - Siculicidium
Károly Cserepes: voice, bagpipe, Hungarian peasant flute, shepherd’s pipe, Turkish pipe, kaval, percussion
János Hasur: voice, violin, percussion
Ferenc Kiss: voice, violin, viola, gardon, hurdy-gurdy, guimbard, quinton guitar, kobsa, reed-pipe, percussion
Gyözö Zsákay: voice, double bass, percussion
with
Krisztina Simon: voice (01., 11.)
Ágnes Kamondy: voice (15.)
and The girls’ chorus of the Bihari János dance ensemble
Link
Super-Slavs, Gogol Bordello have burst out of the New York underground with their third album and it is a corker. Eugene Hutz is the ringleader of they who have chosen to meld a Russian gypsy folk-punk megamix before your ears. This is beyond fusion; more than just a hybrid.
Los Angeles is the home of rock n roll. New York is the home of indie punks. System of a Down are the natural comparison to Gogol Bordello in the insane world of the perverted folk movements in the way that both make little sense but make so much of everything else, careening across every off-kilter theme one could find.
Hutz snarls and sneers at his microphone, while the backing of an energetically squeezed accordian and a vigorously violated violin sits sumptuously along the tastes of hobo-boho art types in search of the next ‘look’ and punkers looking for something a bit different.
On Gypsy Punks..., the crazy Ukrainian sounds like he’s drunk in charge of a record contract. And I like it.
01.Sally
02.I Would Never Wanna Be Young Again
03.Not a Crime
04.Immigrant Punk
05.60 Revolutions
06.Avenue B
07.Dogs Were Barking
08.Oh No
09.Start Wearing Purple
10.Think Locally f**k Globally
11.Underdog World Strike
12.Illumination
13.Santa Marinella
14.Undestructable
15.Mishto!
Eliot Ferguson - drums, background vocals
Eugene Hutz - vocals, guitar, percussion
Oren Kaplan - guitar, background vocals
Sergey Ryabtzev - violin, background vocals
Yuri Lemeshev - accordion, background vocals
Elizabeth Sun - percussion, background vocals
Pamela Jintana Racine
Rea Mochiach - bass instrument, percussion, programming, electronics
Part 1.
Part 2.
1. She has a white dress on
Rolled song from Baks
02. I have still a long way to go
Slow song from Nyírvasvári
03. My trousers are buttoned all along
Rolled song from Békés county
04. Lina
Ballad from Mezõtúr
05. Oh, my God, who is there
Rolled dance song
06. There are five potatoes in the pot
Rolled song from Békés county
07. Get up, Gypsies
Ballad from Békés county
08. Shieve-makers do not drink wine
Rolled song in Rumanian style
09. My Heart Is Heavy
Slow song from Szatmár county
10. Give, woman, my stick to me
Gypsy dance song from Rumania
11. Oral bass improvisations
12. Like birds
Ballad in Balcan Gypsy style
13. The devil has hidden in my stick
Stick dance tune from Kántorjánosi
14. I would eat salten onions
Dance song of the trough-maker (Boyash) Gypsies
15. Over there under a little tree
Gypsy slow song from Transylvania
16. Poor Joska
Rolled song from Szatmár county
17. Song for Mercy
Based on a Gypsy folk legend of Boyash Gypsies from Zala county.
Ágnes Künstler - voice, snapping with fingers
József Nagy - oral bass, water can
József Balogh - oral bass, voice, guitar, spoons, tambura, whistle
Gusztáv Varga - voice, guitar, oral bass
With:
Norbert Bangó - double-bass,
János Vass – viola
Link
In 2003, Szomjas György the film introducing the Hungarian Táncház movement was making a film. The Budapest Táncház world's most popular bands are playing in the film, than Tatros, Vujicsics, the Kalamajka Band, Halmos Béla, and world-famous Muzsikás. The most distinguished singers of the genre appear, than Sebestyén Márta and Berecz András, and original peasant like that and gypsy musicians, than Pál István, Zerkula János, and Szászcsávási Zenekar. This album chooses from the musics being over in the film.
01. Széki magyar és sűrű tempó - Kalamajka együttes
02. "Engem anyám megátkozott..." (mezőségi dal) - táncházi közönség
03. Öves és serény magyaros (moldvai tánc) - Tatros Együttes, Somos együttes
04. Próba: "Te vagy a kutya..."
05. Jabipabi (szatmári cigány dallamok) - Dromara együttes
06. Juhajgatás kaválon (gyimesi dallam) - Kerényi Róbert
07. Macedon Ratevka tánc - Söndörgő együttes
08. Énektanítás: "Szerettelek..." (kutasfői dal ) Berecz András és a táncházi közönség
09. Keserves és jabipabi - Kerényi Róbert, Benke Gráci, Simon Péter
10. Gyimesi magyaros és csárdás - Zerkula János, Fikó Regina (Gyimesközéplok, Románia), Ábrahám Judit, Kerényi Róbert
11. Kalotaszegi hajnali - Szalonna és barátai
12. Csárdás, a "Bábáé" - "Juhait kereső...", Medvés - Dresch Mihály, Ábrahám Judit, Kerényi Róbert, Benke Gráci
13. Sűrű verbunk és szökő (szászcsávási muzsika) - Jámbor István és zenekara (Szászcsávás, Románia)
14. A Betyárok című táncjáték próbája - Zsuráfszki Zoltán és a Budapest Táncegyüttes
15. Jabipabi - Fláre Beás együttes
16. Magyarpalatkai táncdallamok - Berkó együttes
17. "Szépen veri az eső..."
18. Mezőségi táncok - Sebestyén Márta és a Muzsikás együttes
19. Vagabond Band - Horváti Kata, Szalonna és barátai, Söndörgő együttes, Szigony együttes
20. Jabipabi (főcímzene) - Kiss Ferenc, Ábrahám Judit, Kerényi Róbert
Link
Original uploader: damiano. Thanks!
"This recording developed over a period of several years, during which Di Naye Kapelye have continued scrambling around East Europe looking for conrtexts and traces of Jewish music, a good half century after the Holocaust nearly destroyed Europe's Jewish population and culture.
There are still Jewish communities in East Europe and in the memories of this aging population lives a sense of Jewish culture - Yiddishkeit - that developed strong local expressions of faith and music. Furthermore, the memory of Jewish culture is often maintained by non-Jews, those who choose to cherish the legacy of neighbors lost but not forgotten.
Whether live or on recording, Di Naye Kapelye blow me away. This is roots klezmer in the best way, played in the style that would have had folks dancing madly all night a hundred years ago, just as it compels us to do the same, today.... It is hard to imagine anyone else playing such a diversity of music, not only authentically, but with such heart and skill.... This is a band that makes klezmer sexier than blues or jazz."
01. Drey dreydele
02.Meron tune
03. Oyvey rebbenyu
04. 999/Yom ha-shabbes
05. Spoken introduction
06. Platch evrei
07. Goldenshteyns bulgar
08. Jidancutsa and zsidó tánc
09. A mezeldiker yid
10. S´iz shoyn farfaln
11. Wedding processional
12. Goldblatt´s freylakhs
13. Yearning time
14. Borey olam
15. Borey olam be kinyan
16. Jewish hora
17. The Bosnian nign
18. The Bosnian nign
19. L´chaim jo testverek
20. Bride´s dance from Leud
Bob Cohen: violin, mandolin, vocals
Christina Crowder: accordion, vocals
Jack "Yankl" Falk: clarinet, vocals
Gyula Kozma: bass, cello
Ferenc Pribojszki: cimbalom, drums
With
Mihály Sipos: violin
Péter Éri: 3-string kontra, drum
Link
Muzsikás
Muzsikás in this, their 35th year. This is the group of artists who put Hungarian folk music on the international map. With their collaborations with Márta Sebestyén, and now in their superlative work since she departed, they have been the foremost ambassadors for music from Hungary, with a special emphasis on music from Transylvania. "Without Muzsikás, the Hungarian "táncház (dancehouse)" movement, the special Hungarian klezmer-revival and the bridge between Hungarian folk music and Béla Bartók's work would not exist," says Csaba Lokös, Promoter of the world music stage at the Sziget Festival and a long-term collaborator with the artists.
In an essay to be published in the WOMEX 08 Guide, Joe Boyd, whose Hannibal label released the artists internationally from 1987-2001, writes, "Exposure on the world stage certainly bestows pride and confidence on beleaguered traditional cultures, be it the Garifuna people of Central America, the Griots of West Africa or Occitan speakers of the Mediterranean coast of France. But it is not often that music places itself at the centre of the most important issues of the day, and even rarer that that music touches the hearts and minds of those both within the culture and those who have only the vaguest notions about it. The Hungarian group Muzsikás, recipients of this year’s Womex Award, has accomplished all of that and more.
"They began their careers at a time of political tension and conflict over culture far more intense than anything most of us have experienced," continues Boyd. Under Soviet control, "most urban residents' idea of their own folk music was shaped by the stodgy, choreographed, fake music performed by state, regional and local ensembles." The emphasis was on dance and, under the Soviets, they were stereotypically stylised. In Budapest, "the small 'Bela Bartok' dance ensemble came up with the radical idea to go into the villages and observe how people danced in the countryside. The resulting performances were so radical that an outraged state ensemble challenged them to a 'dance-off'. The audience booed the state ensemble off the stage, and the great Hungarian 'dance-house' movement was born."
From within the movement, the members of Muzsikás met, joined up, and made history. "One idea favoured at these early dances," says Boyd, "was that musicians must learn to dance and dancers must learn to play - it was impossible to do either with real feeling unless you understood both sides of the bandstand." With that pact came the birth of the new Hungarian folk music scene.
László Marton Távolodó, journalist and Artistic Director of The Sziget Festival world music stage, sees their contributions spread evenly over their many years of activity. In 1977 their first album launched the Living Hungarian Folk Music series, putting on vinyl the music that would influence generations to follow. At the beginning of the '90s, says László, "Muzsikás also helped strengthen the international klezmer-revival. Their "Máramaros - The Lost Jewish Music of Transylvania" album from 1992 contained not only touching and lively music, but it is also of great significance to music history." This was a remarkable project where the artists, still joined by Márta Sebestyén, went searching throughout Máramaros in Transylvania, finding aged Roma musicians who still remembered the tunes played by Hungarian-Jewish musicians 30-40 years before. "The album recalls these tunes," explains László, "witnessing the existence of a special Hungarian-Jewish instrumental music which had particular characteristics in comparison to the better-known Hungarian and Jewish folk music." And so a music that would have disappeared altogether in a matter of a few more years was brought back to life on the international stage. Then 1998 brought yet another major milestone, "The Bartók Album" that "reconstructed the experiences of Béla Bartók as folk music collector, recalling the particular music that so inspired Bartók" in some of his key compositions. The renown that came from the project, he says, "inspired Muzsikás to take further steps in exploring the meeting ground between classical and folk music." as well of the Finnish folk scene itself. Mission accomplished.
In recent years, says Joe Boyd, some members have gone and others joined, but the core remains intacts, as does the vision. "Whatever their line-up, they inspire, they communicate and they bring a sense of history, both ancient and modern."
"If you want to hear Hungarian traditional music at its best then start with Muzsikás," says Songlines editor Simon Broughton. "They can play with the authenticity and energy of a real village band, but also make sense of that music for an international audience in a big concert hall. Muzsikás know their music inside out - they have been to the Transylvanian villages where it is played and have worked with the master musicians who live the music. In Hungary, the band have brought traditional Hungarian music to thousands of school kids showing its beauty and relevance. Sadly, as the villages of Romania catch up with the rest of Europe, this music is disappearing. The international success of Muzsikás not only makes the music better known, but helps it survive at source as people realise that it has a value internationally."
"Muszikás didn't only bring this gift to the people of their land," says Mondomix Editor Benjamin MiNiMuM, "they shared it with the whole wide world. They not only presented us one of the most moving voices of our era, when they played with Márta Sebestyén, but introduced us to the roots of klezmer music as played in Transylvania, and so, too, the wonderful tradition of Táncház music and dance. Yes we are so blessed that Muzsikás exists."
"We take so much now for granted," says Boyd. "Listening to Muzsikás connects us to a time and a place when music was intrinsically a political statement and playing your instrument a certain way was a courageous act. The intensity of those times has never left Muzsikás and we remain lucky to be able to commemorate the spirit of those times and these wonderful musicians with this award."
Muzsikás will be performing live at WOMEX to close the Sunday Awards ceremony on the 2nd of November 2008.
The WOMEX Award is now ten years old. In the past we have alternated our honours between the extraordinary artists and professionals from our community. This year we have decided to present two WOMEX Awards, one to Muzsikás and the other to the folk music department of the Sibelius Academy in Helsinki, Finland."
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
It is more like tales-music than world-music. The Fringe-winner band mixes Gypsy, Hungarian, Celtic, Jewish and Balcanian motives in great harmony.
From the band:
"We formed our band in 2006 and made our first public appearance at the Budapest Fringe Festival where we were awarded a special prize for professionalism. We have since given concerts in several festivals, cultural institutions and clubs all over Hungary. Our first album, Csindratta, featuring our own compositions was published at the end of 2006. Our eclectic musical world is inspired by the exciting rhythms, many-coloured themes and the extreme emotional heatedness of the peoples of our neighbouring countries. All this is infused with contemporary musical studies and experiences, often seasoned with elements borrowed from modern electronic music."
Edina Szirtes „Mókus” - voice, violin, piano, pipe
Guszti Balogh – voice, tajt, oral bass
Balázs Cserta – wind instruments
Kornél Varga – guitar, tajt
Gábor Földes – bass, tajt, grooves, effects
Ákos Kertész – percussions
Special Guest:
Wertetics Szlobodán – accordeon
Árpád Dennert – soprano saxophone
01. Intro
02. Semminek ágán / On Nothing's Branch
03. Furfangos dal / Tricky Song
04. Istenem, Istenem! / Oh My God!
05. Kis Mókustánc / Short Squirrel Dance
06. Macedon / Macedonian
07. „Tajt” From Kömpöc
08. Fado
09. Fóka és a finn kislány / Seal & The Finnish Little Girl
10. Almafa / Apple Tree
11. Sherlock Holmes
12. Álom, álom, szerelem / Dream, Dream, Love
13. Kendőm alá rejtelek / I Hide You Under My Scarf
14. Csindratta / Bal lyho
15. Istenem REMIX / REMIX, My God!
Link
pass: bluesmen-worldmusic.blogspot.com
"There’s a melancholic beauty in the melodies of Zach Condon that conjure a cinematic romanticism—the kind you’d find in something contemporary like Rushmore or Amélie, but maybe more appropriately in something classically French, like Jules et Jim. And while Condon has devoted his second proper full-length release to French pop culture, there is no shortage of influence from the more eastern side of Europe. The waltz-time signatures, oompah rhythms, and torchy anthems imply something pre-Weimar Republic. It belongs to the Viennese, the Germans, and the Gypsies. Imagine a tiny village of gnomes, hell, Smurfs even, who understand the sadness of life yet join together in song because, if nothing else, they have the gift to do so, beautifully.
But just when you think it might get a little too cute or precocious—what with the accordions, brass horns, Oktoberfest organs, marching band drums, cymbal crashes, ukuleles, and even what seems to be a bouzouki—a melody rises above it all. Songs such as “A Sunday Smile” and “St. Apollonia” are sung in a high tenor that is so stunningly gorgeous and honest, it captures the sound of a brokenhearted man sitting in a café somewhere across the Atlantic, contemplating the fact that his lover has gone and won’t ever be back. “Fuck the gnomes and the Smurfs,” he may think, but it’s really time to go back to them—to stand in taverns with steins of pilsner and with voices united in self-pity, singing songs of brotherhood and understanding. And even though anyone would leave the bar in a second for another chance with the girl who just left, it’s still the sound of hearts mending…the sound of sadness and loss coupled with the knowledge that there was never any other choice but to sing it out loud."
01. A Call To Arms
02. Nantes
03. A Sunday Smile
04. Guymas Sonora
05. La Banlieue
06. Cliquot
07. The Penalty
08. Forks & Knives (La Fete)
09. In The Mausoluem
10. Un Dernier Verre (Pour La Route)
11. Cherbourg
12. St. Apollonia
13. The Flying Club Cup
Link
Parno Graszt means "White Horse". White as the symbol of purity and Horse as the symbol of freedom.
'The issue of Parno Graszt band's second CD satisfies a long lasting expectation of the audience Europe wide as the debut recording of the Hungarian gipsy band (Hit the piano) gained reputation achieving the number 7. level on World Music Chart Europe in October 2002. The concert events of the band have always reached the highest level of success wherever they have performed on stage.
The gypsy band Parno Graszt were recently featured in a BBC 4 TV programme in the UK. The programme shows the vibrant village culture that still exists today in Paszab today, a community of gypsies in Szabolcs-Szatmár-Bereg. That this culture is still alive today is due, in no small way, to the fact that some 50 years earlier a village elder saw that external influences were eroding this way of live. Despite having no real education he set about ensuring that the subtleties of their gypsy way of life - music, dance etc, were preserved for the future.
Todays' generation now revere these traditions and keep them alive in Parno Graszt. The core members may only number 7 but this can swell up to over 20 - including ten dancers of three generations - aged from 10 to 71 years old, when the occasion demands it.
Transportation in the village is still a horse and cart. The importance of their horse being acknowledged in the name they call their gypsy band: White Horse = Parno Graszt.
When a guest visits their small village in time of wedding, christening, funeral, ball or any other kind of ceremony, they will see that the whole population joins the band - the instruments go from hand to hand and everybody is a dance master.
Maybe this spirit of living tradition makes their concerts such frenetic celebrations. They have not only performed, but have also created folklore during the recording of their current album too - some of the songs where written while staying in the studio.
01. Romano bijo - Cigány lagzi - Gipsy wedding
02. Ande rátyi - Az éjszakában - At night
03. Duj kámel mán - Két szerető - Two lovers
04. Phe kircsime ná phiro - A kocsmába... - At the pub..
05. Kerko jilo - Ne szomorítsd a szívemet - Don t make my heart sad
06. Lungo o drom - Hosszú út - Long road
07. Kánák gijom - Mikor mentem - I went
08. Khodi mánge - Nekem... - My
09. Demán zor szásztyipo - Erőt, egészséget - Strength, health
10. Sukár jákhá - Szép szemek - Beautiful eyes
11. Koro kino
12. Áj devla le de sukar - Jaj, de szép - Oh, how beautiful
13. Korkoro szom - Egyedül vagyok - I am alone
14. Khodi phe nen - Azt mondják - They say
15. Szijek cserhájá - Van egy csillag - There is a star
16. Khelen tumen - Táncoljatok - Dance!
17. Ále romnyi - Gyere asszony - Come woman
18. Phe mál - A határban - On the edge of...
19. Mure phrálá - Testvéreim - My brothers
Musicians:
József Oláh - tambura, guitar, voice
János Jakocska - guitar, voice
Mária Balogh - voice
Géza Balogh - guitar, voice
Sándor Horvath - voice
István Németh - can, oral bass
Mária Váradp - voice
János Oláh - double bass, voice
Guests:
Kálmán Balogh - cimbalom
Ferenc Radics - violin
Zoltán Váradi - viola
Csaba Novák -double bass
Link
pass: bluesmen-worldmusic.blogspot.com
