Bluesmen's World(Music)

"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

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

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

Link

pass: bluesmen-worldmusic.blogspot.com

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

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

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

Link

Original uploader: barvalo. Thanks!

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

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

Link

Original uploader: flehel. Thanks!

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

1.Balkanalia
2.Ruchenista A La Paganini
3.Albanian Elegy / Macadonian Gaida
4.Suite Ivan
5.Improv Duet
6.9/8
7.Jazz Horo
8.Hot Dog
9.Kyuchek Arabesque

part 1.
part 2.

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

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

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

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

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

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

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

Link

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

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

Link

Original uploader: josefK. Thanks!

VA: Hungry for Hungary? - Folk, World Music

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

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

Link

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VA: Hungry for Hungary? - Ethno Jazz

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

Link

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

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

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

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

Link

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

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

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

Link

Original uploader: gyöngy. Thanks!

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

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

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

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

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

part 1.
part 2.

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

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

Musicians:
Miqueu Montanaro - galube, tamburine, flutes

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

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

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

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

Link

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

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

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

Link

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Cimbalom music from Hungary and the Balkan countries.

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

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

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

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

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

Musicians:
Balázs Unger - cimbalom, small cimbalom, voice

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

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

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

Link

Original Uploader: flehel. Thanks!

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

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

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

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

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

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

part 1.
part 2.

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

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

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

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

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

Link

Original Uploader: angkor. Thanks!

Besh o droM's serve up that mix of differing styles and genres so loved by the fans of East European music: hot Balkan rhythms and gypsy tunes spiced with a sense of humour and modernity. They are frequent guests of the main festivals around Europe and America. This album follows the path of the previous two, but is more diverse and more up-to-date.
On the release Besh o droM are joined by two popular female singers: Ági Szalóki and Mónika Mitsoura.
Besh o droM = Wild Gypsy music plundered from the folk music of the Hungarian, Rumanian, Bulgarian, Southern Slav, Greek people - with a distinct Gypsy, Turkish and Middle Eastern flavour.

01. Újcsocsek
02. Tortapapír
03. Makedón
04. Lei Toi
05. Fidóé
06. Meggyújtom a pipám
07. Kavalos
08. Lake Jakha
09. Mániás depresszió
10. Úgy elmennék

Gergő Barcza - alto saxophone, kaval, vocal
Ádám Pettik - derbuka, water can, percussion, lead vocal
József Csurkulya - cimbalom, vocal
Attila Sidoo - guitar, vocal
Tamás Zsoldos - bass guitar
László Békési - tenor saxophone, clarinet, vocal
Péter Tóth - trumpet, vocal
Csaba Talabos - tapan drum

Guests:
Laci Molnár - double bass
Mónika Miczura Juhász - voice
Ági Szalóki - voice

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!

Named after a popular Hungarian musicologist, Vujicsics is a group of schooled and professional musicial folklorists who concentrate on preserving the traditions of Serbia and Croatia (southern Hungary and Yugoslavia). They are highly regarded for their broad repertoire of collected songs and spirited performances with a variety of singers, including Márta Sebestyén.

01 - Dere
02 - Seljancica
03 - Da Je Visjna, Tanac-Rance, Vranjanka
04 - Malo Kolo
05 - Zbogom Selo
06 - Svatovac Iz Pomaza
07 - Madarac
08 - Selom Ide, Ovo Kolo
09 - Sviraj Zlato!
10 - Sokacko Kolo
11 - Banatsko Kolo, Oj Savice, Mimikino Kolo
12 - Aj..., Sviralka

Mihály Borbély - shepherd's pipe, zurna, tamboura
Miroszláv Brczán - tenortambur, tamboura
Kálmán Eredics - double-bass, drum
Gábor Eredics - accordeon, tamboura, alt tamboura, voice
Károly Győri - first tamboura, violin
Ferenc Szendrődi - first tamboura, tambur samica, alt tamboura

Guests:
Márta Sebestyén - voice
Katalin Gyenis - voice
Marica Greges - voice
Ferenc Dervár - voice
Erika Frei - voice
Zoltán Juhász - bagpipe

Link

Traditional folks songs arranged by Nikola Parov and Márta Sebestyén.
Music of the Balkans married with Irish and Greek, Indian lullabies combine to make this a unique and beautifully delicate recording. As always though it is Marta"s singing that tugs the heart-strings.

"4 Stars - Excellent - ...one more global experiment that works quite beautifully..."

"...KISMET spans the globe, lovingly and with a loving spirit....There is a cohesion within exploration here..."

"...the gifted Hungarian singer zigzags from Ireland to India, bring[ing] us closer to a 21st-century inevitability --one big worldwide music culture, into which regional sounds are absorbed..."

"...an effort to be highly praised..."

"...Nobody else has a voice like this: low but sharp as a knife, with a wide, easy vibrato, perfect diction and lazy, looping, Byzantine ornaments..."

1. Devoiko Mome
2. Sino Moi
3. Leaving Derry Quay / Eleni
4. Gold, Silver Or Love
5. Hindi Lullabye
6. The Shores Of Loch Brann / Hazafelé
7. If I Were A Rose /Ha én rózsa Volnék
8. Imam Sluzhba / The Conscript


Musicians:
Márta Sebestyén - voice
Nikola Parov - guitar, koboz, flute, tambourine, keyboards, bouzouki, kaval, gadulka, clarinet, tambura, gardon, whistles, bass, drum , sequencer programming
Zoltán Lantos - violin
Kornél Horváth - percussion
Péter Éri - mandola
András Berecz - voice

Link

pass: bluesmen-worldmusic.blogspot.com

The Odessa Klezmer Band was formed in 1998 by well-known figures of Hungarian folk-, world-, jazz and rock music. They discovered the folk music of Eastern-European Jews in the course of their work, - partly while collecting folk music in the Carpathian Basin, and partly while composing music for films, theatre and dance performances. As musicians, they were stunned by the beauty of the tunes, the uniqueness of performance, and by the peculiar instrumental ornamentation, which has a characteristic atmosphere - sometimes bitter, sometimes humorous and joking, or, at times, even ironic. They were also impressed by the ability with which the Jewish village performers could transform the music motifs of the people living beside them into their world of musical images, and last but not least by the playful and sometimes meditative improvisational skill which is manifest in their performance.

It would be impossible to list all those people who the Odessa Klezmer Band consider to be their masters. These musicians include H. Steiner, Max Liebovitz, Joseph Solinski, Abe Schwartz, Oscar Zehngut, Dave Tarras, Alex Fiedel, Art Shryer, Mishka Tsiganoff, Vasile . Rajna. Covaci from Maramures, and Avram Bughici from Moldavia, and, among those Hungarian folk musicians who preserved traces of this music, Iván Mádi from the Trans-Carpathian Ukraine, Béla Gáspár, Ferenc Árus, and Árpád Toni, from Transylvania.

The OKB reaches back to the old layer of Eastern European Jewish melodies, and strives for the most precise acquisition of the archaic style. It blends, however, tradition with new and modern music elements characteristic of all living folk music. This makes its style unique and authentic, while remaining faithful to the sound of the Jewish band from Toponár, as remembered in the poem by Csokonai Vitéz Mihály.

01 A rabbi tánca / The Rabbi's dance
02 A klezmer sóhaja / The sigh of Klezmer
03 A fidulás zsidó / Yidl with the fiddle
04 Hajnali dojna / Doina at dawn
05 Nagyapa tánca / Granddad's dance
06 Ifjak tánca / Youth's dance
07 Kárpáti menyasszony / Fiancée form the Carpathians
08 Kárpáti vőlegény / Fiancé from the Carpathian
09 Hora
10 Fáj a szívem, vigadj velem! / My heart aches, rejoice with me
11 Belz
12 Lassú és gyors / Slow and fast
13 Alkonyi dojna / Doina at dusk
14 Bölcsödal / Lullaby
15 D.J. Hasid

Béla Ágoston - clarinets, saxophones
Károly Babos - percussions
Mihály Huszár - double bass, accordion, bass guitar
Ferenc Kiss - koboz, viola, tambura, kaval, harmonica
Zsigmond Lázár - fiddle

With:
Kati Szvorák - voice
László Fekete - The leading cantor of the Dohány street Synagogue - voice
Bence Huszár- trombone
János Mazura - tuba
Miklós Mákó - trumpet
Miklós Lukács - cymbal
Zoltán Szabó- bagpipe
D.J. Mango - scratch

Link

Original uploader: barvalo. Thanks!

"Americans who are finally getting used to the idea of their own country as multicultural are often surprised to find that France is undergoing the same stresses and gaining the same musical benefits. Les Negresses Vertes is a magnificent example of the latter. This group's cultural roots are partly in Paris, partly in Algeria and Spain, with healthy amounts of influence from Nashville and urban America. To all these should be added the theatricality of circus music three of the original members had worked in the Zingaro Horse Circus in Southern France, while a fourth was a professional clown. The combination of all these influences is jazzy, street-smart, and very danceable. While some members of the band were less than virtuosos on their instruments, they made up for this deficiency by laying down a boisterous party groove backed by a propulsive brass section. The alternation between Noel Rota's fast and furious solo vocals and the ragged choruses provided by the rest of the band adds to the complex dynamic of the group. Add to this the fact that Rota had a real gift as a songwriter and arranger, and you have a hit machine in the making. Mlah got an excellent reception from critics in Britain and the U.S., and several tracks even managed to get airplay despite the American tendency to ignore anything not sung in English. It was a great start for the band, though it is arguable that they never again approached this level of entertainment."

"Les Negresses Vertes' frantic swirling melange of European and African musical traditions provides as good a place as any to enter the swing doors accessing the cross-connecting corridors of World Music, the enjoyment of which need not be the preserve of balding ethnomusicologists with metaphorical butterfly nets. Their first album, from 1989, is a shuffling alphabet soup of sound which bulldozes across musical barriers with feckless abandon - serving up the overlapping sounds of rai, flamenco, ska and the crooning chansons to a divertingly dizzy effect."

01. La Valse
02. Zobi La Mouche
03. C'est Pas La Mer A Boire
04. Voila I'ete
05. Orane
06. La Faim Des Haricots
07. Les Yeux De Ton Pere
08. Il
09. L'homme Des Marais
10. Les Rablablas Les Roubliblis
11. Marcelle Ratafia
12. La Danse Des Negresses Vertes
13. Hey Maria
14. Les Pere Magloire

Helno (vocals); Mellino (vocals, guitar); Mathieu Canavese (guitar, accordion, background vocals); Paulo (guitar, bass, background vocals); Abraham Sirinix (harmonica, trombone, percussion, background vocals); Twist (trumpet, percussion); L'Ami Ro (piano, percussion, background vocals); Gaby (drums, percussion); Iza, Juanita, Julo, Nono (background vocals)

Link

"This CD is a further milestone in the band's passion for experimentation. The music of Gipsy Cimbalom Band is a 'great meeting' of different musical genres. The ensemble search for those association points, through which it is possible to interpret what might seem from many other points of view diverse music. Due to the high level of their technical ability with their instruments their imaginative ideas are effortlessly realised on these selections. The compositions are not mere reconstructions of pieces from each source area since the music, like Gypsies, crosses boundaries and the band manages to find unexpected combinations and juxtapositions. These traditional tunes merge seamlessly in the hands of the accomplished musicians as they swerve from style to style, constantly improvising around the main theme. This music is no longer ‘traditional’ but universal. Frequently on one piece the music of just one nation is played, as on, combining standard Romanian folk dances 'doina' and 'sirba'. Likewise a characteristic Transylvanian Gypsy dance, and the, which originates from Moldavia.

This band is guaranteed to put a spring in the step, bring a smile to the face and refresh the appetite of even the most jaded musical palette. After extensive touring through Europe and North America in recent years, in 2003 they step forward once more onto the world stage with a new programme and accompanying CD. Humour and irony, often self-referential, are evidently theirs, without which their music surely could not be genuine. Besides, virtuosity, a firm grounding in classical music studies, love of jazz and knowledge of and respect for different peoples' music are common denominators for the musicians of Gipsy Cimbalom Band. These elements are combined to provide a special musical experience for the listener."

"Kálmán Balogh plays the cimbalom, an activity resembling someone spanking a small piano's innards with a pair of elongated shoe horns. If that sounds unwieldy, it's not. The Liszt Academy graduate employs a light virtuosity which, with his group's three fiddlers, one doubling on trumpet, guitar and bass, produces a highly mobile musical Cook's tour. Moldavian, Macedonian, Romanian, and Bulgarian tunes, a hint of tango, flamenco and klezmer all feature alongside a fiddle excursion into birdsong and finger-shredding brilliance. Another find. I'm running out of gold stars."

01. Vizesés szirba - Waterfall Sirba
02. Reggeli kávé - Morning Coffee
03. Briul Lui Hacsaturjan
04. Keserédes kávé - Bitter-sweet Coffee
05. Cigány körtánc - Gypsy Round Dance
06. Sánta ördög - Lame Devil
07. A titkosügynök szerelme - The Secret Agent's Lover
08. Karaván - Caravan
09. Csillagok, csillagok - Stars, Stars...
10. Csingerálás
11. Lisa, Lisa

Musicians:
Kálmán Balogh - cimbalom
László Major - violin
Sándor Budai - violin, voice
Ferenc Kovács - trumpet, violin
Sándor Kuti - guitar
Csaba Novák - double bass

Guests:
János Láng - violin
Csaba "Brunner" Váradi - viola

Link

pass: bluesmen-worldmusic.blogspot.com

Musical group Vodku v Glotku was founded in the year 2000, in Budapest, Hungary. The goal of the band is to introduce the folk music of the nations throughout Central and Eastern Europe, mixed with its own musical concepts. The dominant elements in the music of the band are Hungarian, Jewish, Russian, Ukrainian, Bulgarian, as well as other folk motives from Central and Eastern Europe and the Balkanes. This is mixed with the elements of rock, jazz and other progressive musical styles. As a result, a musical world is created on the stage, which makes feel home the many nations inhabiting the Central and Eastern European region.

This CD appeared in only some hundred copies.

01 - I'm from Odessa
02 - Sailor's Wedding
03 - Gipsy dance
04 - Jewish dance
05 - Vodka
06 - Jaim
07 - Odessa
08 - Grandma from Odessa
09 - Madam
10 - Gop-stop
11 - Cherries have ripened

Link

Seriously lubricated gypsy punk from the last bastion of true exiled Balkan spirit: New York City's Bulgarian Bar MEHANATA, somewhere near Canal Street and Broadway NYC. Famous for its cheap wood panelling upstairs.

Compilation based around a restaurant, bar, club in New York. Featuring these finest New York bands:
Balkan Beat Box, Dolomites, Gogol Bordello, Guignol, Hungry March Band, J.U.F., Luminescent Orchestrii, Romashka, Shaat’nez, Slavic Soul Party!, Yuri Yunakov, Zagnut Cirkus Orkestar.

"If your heart and your libido are still connected, these artists will electrify that wire. Some of this music was written personally by Orpheus, the Thracian song god who made the people dance and the mountains purr (and howl). The intelligence of soul and the moan of beasts are made one here, with orgasmic consequences."

"Answer arguments with tapan. Balkanize Manhattan's grid. Cocek against architecture. Decriminalize sacrilege. Empty your ears from the structures of everyday life. Fly in the face of orthodoxy (musical or political). GitanoAmerica. Headbang phenomenology of phobias. Is tomato soup really thicker than blood? "Just What Is It That Makes Today's Homes So Different, So Appealing?" Knock on wood (9/8). Liquefy rhythm, lubricate hierarchy, listen to noise. Mythologize your mama's stories with a brass section. Never follow (follow Tcherniya Ram to the smooth space above the colored ribbons and clouds of the Chrysler building). Opre Roma, Sastipe Gadje. Proto-Babylon, Canal-&-Broadway style. Qu'est-ce que c'est qu'un pizdetz? Revolutions are not broadcast by speakers. Speak in tongues (Albanian, Aramaic, English, Hebrew, Romani, Russian, Ukranian), stick a feather in you ass. Translate, recycle, mix-and-match. Underground could mean the second floor? Viva la vida. Water with wine. Xenomorphosis in a dj set. Yatta gaidjin. Zingari Mesh Mundial."

CD 1:
01. Gogol Bordello - When The Trickster Starts A-Poking
02. Hungry March Band – Bubamara
03. Romashka - La Curcuma De La Drum
04. Balkan Beat Box & Eugene Hutz - Tromba De Zingari/Yek, Dui, Trei/New Yorkskiri
05. Slavic Soul Party - Cacak Nirvana
06. J.U.F. - Gogol Bordello vs. Tamir Muskat: Last Wish of The Bride
07. Guignol - All or Nothing Machine
08. The Dolomites - Medecine Show
09. Luminiscent Orchestrii - Taraf Hijacked
10. Zagnut Cirkus Orkestar - Doli Goca
11. Yuri Yunakov Ensemble – Balkanalia

CD 2:
01. Yuri Yunakod - Arabski Kjuchek
02. Romashka - Shimdiggy
03. Slavic Soul Party - Missy Sa-sa
04. Zagnut Cirkus Orkestar - Ani More Nuse
05. Guignol - Agada
06. Balkan Beat Box - Adir Adirim
07. J.U.F. Gogol Bordello vs. Tamir Muskat - Gypsy Part of town
08. Hungry March Band - Choli Ke Peechhe
09. Shaatnez - Samiao's Day
10. Luminescent Orchestrii - She's a Brick
11. Dolomites - Lizzie Borden
12. Gogol Bordello - Baro Foro

Cd 1.
Cd 2. part 1.
Cd 2. part 2.

"Ry Cooder might have been tempted to bill this as the Chavez Ravine Social Club. After generating such popular and critical interest in Cuban music of decades past with the Buena Vista Social Club, Cooder applied a similar approach closer to home, extending his fascination with the Mexican-American culture that flourished in 1940s and '50s Los Angeles. The result is an CD that sounds like it's aspiring to be something far more ambitious: a DVD, a theatrical production, even a time machine. Cooder and a cast of seminal Chicano artists present a song cycle that conjures an era of UFOs, the Red Scare, and political machinations that leveled the Chavez Ravine barrio to lure the Brooklyn Dodgers to Los Angeles. In his celebration of a vibrant community that doesn't know it's on the verge of displacement, Cooder enlists Thee Midnighters vocalist Little Willie G. (whose songwriting collaboration with Los Lobos's David Hidalgo on "Onda Callejara" highlights the album). and Pachuco patriarchs Don Tosti and Lalo Guerrero, with the latter reviving his dancefloor favorite "Los Chucos Suaves." The accordion of Flaco Jimenez adds conjunto flavor to "Barrio Viejo." Throughout the album, Cooder plays a typically tasteful, understatedly virtuosic guitar, assumes a variety of vocal roles--including a cool Chet Baker homage in duet with pianist Jacky Terrason on "In My Town"--and provides the provocative social context."

01 - Poor Man's Shangri-La
02 - Onda Callejera
03 - Don’t Call Me Red
04 - Corrido de Boxeo
05 - Muy Fifí
06 - Los Chucos Suaves
07 - Chinito Chinito
08 - 3 Cool Cats
09 - El UFO Cayó
10 - It’s Just Work for Me
11 - In My Town
12 - Ejercito Militar
13 - Barrio Viejo
14 - 3rd Base, Dodger Stadium
15 - Soy Luz y Sombra

Link

"Just imagine: The morning after the apocalypse. Are we still alive? We wonder. It would appear so. There´s no end to this world. There´s no rest for the soul. There´s no past. There´s no future. Now is eternal. LaDaABa Orchest offers you the ideal entertainment at the end of time: La Danza Apocalypsá Balcanica."

"It's the morning after the apocalypse and (assuming you've survived) where are you? How are you feeling? That's the idea behind this disc. Boris Kovac is one of the most creative musicians to come out of Serbia, and his music breaks out of the gypsy/village ghetto to which most Balkan sounds are consigned. The second part of his "La Danza Apocalypsa Balcanica Project" shows the quieter, reflective, more rustic and impressionistic side of Kovac. The music on Boris Kovac & Ladaaba Orchestra's Ballads at the End of Time is slow and lovely. It isn't so much about devastation as new hope, although something like the gorgeously wistful "Colour Of Remembrance" looks back, not forward. However, is there anything to look forward to? Possibly not, if the closing track, "At The End Of Time," is to be believed. But if that is the end, we all go out gracefully, on a wave of music. Don't try and categorize this music; it simply won't fit into any pigeonhole. Traces of classical, jazz, gypsy, and more meld in the sonorities as the dogs bark. A wonderful record to make you think about life -- and what could be in our future."

01. Danza Transilvanica
02. I. Interlude
03. Damar Of Istanbul
04. Early Morning Waltz
05. Beguine At The End
06. Interlude At The Gang
07. Midnight Memories
08. Waltz From Careless Street
09. Cha Cha
10. Colour Of Remembrance
11. Broken Waltz
12. The Last Interlude: Doina / In Bukovac
13. At The End Of Time
14. Birds

Musicians:
Bogdan Rankovic - clarinet, bass clarinet
Goran Penic - accordion
Milos Matic - double bass, tamburitza
István Cik - drums, percussion
Oláh Vince - guitar
Boris Kovac - alto, soprano saxes, sampler

Special guests: Nenad Vrbaški - violin (1, 4, 5, 6, 7, 8, 12, 13)
Vanja Jakovljevic - guitar (1, 2, 4, 6, 7, 9, 11)
Ramiz - darabuka (3)
Coyote (a dog) - voice (1, 6, 12)

part 1.
part 2.

"Sitting on the Buffalo, Kampec Dolores' second CD for the label ReR Megacorp, followed their breakthrough album, the highly experimental Zúgó/Rapid, and their first North American tour. The lineup has changed considerably. Singer/violinist Gabi Kenderesi and guitarist Csaba Hajnóczy (who were both involved in the project the Danubians) are the only two musicians playing on both albums. The band has lost a very inventive drummer (András Halmos cannot match the mastery of Péter Hárságyi), but gained a strong bassist in Árpád Vajdovich. This album is more song-oriented, with shorter tracks and more lyrics instead of random syllables (still featured on "Small Cloud 1" and "Small Cloud 2"). Kenderesi sings in Hungarian (with English translations supplied in the booklet), Tamil, and Turkish. Rai and Tzigane influences permeate the group's rock songs. "Tan Naa Ne" is a traditional South Indian folk song, while "Yürüyorum" was adapted from a ceremonial song of the Bektashi dervishes. The basslines recall some of the best avant-rock Czech outfits, such as Pavel Fajt's Pluto and Uz Jsme Doma. More accessible than the band's previous album, Sitting on the Buffalo makes a good point of entry into Kampec Dolores' exotic world."

01. A Bivaly hátán - Sitting On The Buffalo
02. Tan Naa Ne
03. Tizenöt - Fifteen
04. Yuruyorum
05. Testet öltött - Incarnated
06. Séta (Su es Si) - Walk (Shu And Shi)
07. Felhőcske 1. - Small Cloud 1.
08. Felhőcske 2. - Small Cloud 2.
09. A bivaly hátán - Sitting On The Buffalo - (Short Versions)


Bass Guitar - Árpád Vajdovich
Drums - András Halmos
Guitar,sampler - Csaba Hajnóczy
Soprano Sax - Dongó Balázs Szokolay
Voice, Violin - Gabi Kenderesi

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Original uploader: MikeVaghur. Thanks!

The Warsaw Village Band's debut international release, People's Spring, has echoes of the familiar in its heady modern interpretations of ancient Polish Folk music: klezmer, Scandinavian-sounding melodies, singing that sometimes recalls the Bulgarian Women's Choir in its otherworldly harmony, and some trance-inducing backbeats. But it's ultimately unclassifiable, skipping genres and seamlessly melding tradition and experimentation in music that upholds its folk roots while not being bound by them. Using ancient and little-heard traditional Polish instruments like the suka--a Polish fiddle from the 16th century--and the Polish dulcimer, the Warsaw Village Band crafts their own soundscapes, infusing folk tradition with a thoroughly modern attitude. "Chassidic Dance," with its Jewish melodies and trip-hop slanted drumming, and the dirges "At My Mother's" and "Clear Water" achieve an organic fusion tinged with the psychedelic. Meanwhile, the group's lyrics amplify its contemporary leanings: "Who Is Getting Married" takes a feminist stance on marriage and "Cranes" sets an anarchistic protest song to bombastic rhythm. The group's mix of old and new styles is so complete in fact, that the last two songs on the album--dance floor-ready remixes by two Polish DJ's--are almost redundant, mixing electronic beats with Polish folk melodies in a manner not all that different from the organic remixing the Warsaw Village Band realizes throughout the whole album.

01. To You Kasiunia
02. Chassidic Dance
03. At My Mother's
04. I Had A Lover
05. Red Apple
06. Traditional Rural Polka
07. Who Is Getting Married
08. Clear Water
09. What Have You Been Doing Kasia
10. Polka Folkisdead
11. Rain Is Falling
12. Cranes
13. Maydów
14. Matecka (At My Mother's) [Remix]
15. Joint Venture In The Village (I Had A Lover) [Remix]

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part 2.

Original Uploader: wysylacz. Thanks!

A portrait of a musician. An unconventional folk music album. These recordings introduce Géza Potta and his music, a rural Gypsy violinist (prímás) from a village in Abaúj (the region straddling the Hungarian-Slovakian border south of Košice). He is the kind of musician who could have been found by the hundred in the olden days of Hungary. They spent their whole lives serving and entertaining their village audiences and were esteemed members of the community when there was a constant demand for them and their music. However, after this demand diminished their musical knowledge was no longer handed down and now only a few of them are left – among them one of the most accomplished and versatile of musicians, who can be heard on this album.

Professional Gypsy musicians depended on their musical activities to earn their livelihood, the bulk of their income: the better they could satisfy the demands of their customers, the more invitations they received. This is the reason that these musicians are not strictly “traditional”, since they adjusted their repertoire to fit the prevailing expectations. The wider the range of music a musician could present to his audiences and the greater the number of melodies he knew, the more he could earn – regardless of the age or the intrinsic value of the tunes. This “musical multilingualism” also characterizes the repertoire of Géza Potta. At a wedding party authentic folk songs and “composed songs” (songs composed in folk style) sat together perfectly well, side by side, and completely different music accompanied the merry-making of, for example, the Gypsy and the Slovakian populations. In this respect, this album endeavors to paint a complete picture, presenting something from each musical world. After all, musician, a village “informant”, is not a nameless individual who only “provides” information, but a creative artist who produces something new and unique fro the musical tools at his disposal, weaving his own personality and musicianship into his performance. This is especially true of Géza Potta and his violin playing.

01. Csárdások simán (lassú és gyors csárdás)
02. Sipljakate, sipljakate... (cigány nóta)
03. Potta Géza zenekara 1986-ban (lassú és gyors csárdás)
04. Motoris, motoris... (cigány nóta)
05. Ciriklóri, miriknori... (cigány hallgató, lassú és gyors csárdás)
06. Cigány foxok
07. Áji nóták (lassú és gyors csárdás)
08. Hallgató és györkei verbunk
09. Libás nóták (lassú és gyors csárdás)
10. Bakanóták (lassú és gyors csárdás)
11. Duvás nóták (szlovák krucena)
12. Cardas a szlovákoknak (lassú és gyors csárdás)
13. Bolyongok a város közepén
14. Kincses Kolozsvár
15. Ó, mano, mano
16. Bugi
17. Balogás emlékére (cigány hallgató,lassú és gyors csárdás)
18. Pimasz vagyok mostanáig
19. Pimasz emlékére (magyarbődi csárdások)

Potta Géza - voice, violin
Ádám Béla - voice, cimbalom
Dzsuga Géza - viola, contra violin
Jano Ferenc - viola
Badó János - double bass
Badó Elemér - double bass

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