Bluesmen's World(Music)

The Armenian Navy Band are led by Arto Tunçboyaciyan : a percussionist, vocalist and composer of Armenian descent, who grew up in Turkey and is now based in the US. His music is founded on Armenian and Anatolian musical traditions and infused with jazz and contemporary culture to produce what Arto calls "avant-garde folk". The band have received international critical acclaim, have toured extensively and their 2002 “New Apricot” album was released on EmArcy through Universal in the UK. Arto has performed and recorded with an array of outstanding artists including : Joe Zawinul, Al Di Meola, Oregon, Joe Lovano, Wayne Shorter, Don Cherry, Arthur Blythe, Eleftheria Arvanitaki & Naná Vasconcelos.

The Armenian Navy Band is composed of 12 of the finest Armenian contemporary musicians, and the instruments include the traditional—duduk, zurna, kemanche, kanun—and the contemporary—trombone, alto sax, tenor, soprano sax, trumpet, bass, drums, keyboard and piano. The “Sound of Our Life - Part One: Natural Seed” is a nearly 50-minute-long composition in eleven parts, which is dedicated to nature.

Hypnotic jazz-tinged rhythms. Cleverly balanced between the contemplative and melancholic and bursts of the region's wild, break-neck dance music. Think if it as an Armenian equivalent of Aaron Copland's Appalachian Spring or Miles Davis' Sketches of Spain, for Tuncboyaciyan's vision really belongs in such inspired company.

01 - Agua
02 - Rio
03 - Mar
04 - Sol
05 - Aire
06 - Tierra
07 - Fuego
08 - Semilla
09 - Granada
10 - Albaricoque
11 - Life

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MUZSIKÁS is the most popular and most renowned ensemble in Hungary and worldwide playing the traditional Hungarian folk music. Their performance is an exciting musical experience, the audience are transferred back to the remote Hungarian village atmosphere where the traditions survived the centuries.

MUZSIKÁS is the name given to musicians playing traditional folk music in Hungary in villages. The formation of the MUZSIKÁS Ensemble coincided with the European revivalist movement of the seventies whereby interest lied not only in the traditions, but also the roots of culture.

The members of the group play and improvise in the style of old traditional Hungarian folk bands in which the solo violin and the song typically were accompanied with the three-stringed viola and contrabass. The musicians also play other instruments which enables them to produce an extensive range of exciting and unusual colour tones. The music of MUZSIKÁS can be characterized as the traditional arrangements of authentic Hungarian folk music featuring a playing style typical of the best village musicians. It has nothing in common stylistically with the Gypsy-Hungarian style, but is rather the true folk music of Hungary, the most beautiful melodies of which were considered by Béla Bartók to be equal with the greatest works of music.

01 - Füzes lakodalmas
02 - Kerekes héjsza és sebes
03 - Baj baj baj
04 - Sűrű és ritka magyar
05 - Ej de széles
06 - Gyimesi verbunk
07 - Rákoczi mars
08 - Édesanyám rózsafája
09 - Gyimesi lassú magyaros
10 - Szállj el madár

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"Composer and guitarist Goran Bregović has been a household name in the Balkans for over three decades. Born in Sarajevo, Bosnia and Herzegovina (then Yugoslavia), Bregović has composed for such varied artists as Iggy Pop and Cesaria Evora. He earned his fame wielding a guitar with his rock band Bijelo dugme, a group that rose to stardom and set the groundwork for the Yugoslav rock scene. Known internationally for his scores for Emir Kusturica’s films (Time of the Gypsies, Arizona Dream, Underground), Bregović commands an ensemble that matches his larger-than-life persona. A rowdy brass band, bagpipes, a string ensemble, a tuxedo-clad all-male choir from Belgrade, and traditional Bulgarian and Roma singers make up his dynamic 40-piece band and orchestra. Bregović’s compositions, extending Balkan musical inspirations to innovative extremes, draw upon European classicism and Balkan rhythms, evoking rock’s searing power as well as the repose of sacred sounds–all fueled by the insistent drive of brass."

01. Hop hop hop (lead vocal: Saban Bajramovic)
02. Tale I (grave disperato - for wind orchestra and clock)
03. Aven Ivenda (lead vocal: Vaska Jankowska)
04. Sex (lead vocal: Saban Bajramovic)
05. Tale II (adagio poco febrile - For wine glases and strings)
06. Maki Maki (lead vocal: Saban Bajramovic)
07. Tale III (lento arabesco - for Zdravko Colic and the Georgian Male Choir)
08. So nevo si (lead vocal: Ljudmila Radkova, Danijela Radkova, Lidija Dakova, Dejan Pesic, Srdjan Pejic, Ogi Radivojevic, Goran Bregovic)
09. Tale IV (moderato melancolico - for violin, cow horn, harp and strings)
10. Coctail Molotov (lead vocal: Goran Demirovic)
11. Tale V (for Eb clarinet and orchestra)
12. Polizia molto arabbiata (lead vocal: Goran Demirovic)
13. Tale VI (adagio delicato - for wine glasses and strings)
14. Te Kuravle (lead vocal: Vaska Jankovska)
15. Tale VII (vivo con fuoco - Scherzo for Gypsy Orchestra)

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"The rich collection of musical materials from Kálmán Balogh’s latest album is a living illustration of this endless motion of music. In the course of ten tracks Balogh references a dizzying array of styles and approaches, from the flamboyantly virtuosic to the introspective, and from Balkan wedding music to Latin jazz. Here traditional Gypsy fiddling meets soft jazz trumpet while Hungarian, Macedonian, and Romanian tunes join together in a round dance, with Brahms and Liszt and even Bach peering out here and there.

This album also demonstrates the tendency of leading musicians to make their own path. Kálmán Balogh has at least two astonishing gifts. The first is the most obvious, an uncanny control and power performing on his instrument. The subtlety of his touch is legendary, as are the different roles his instrument plays: now accompanist, now a wild soloist, here expressive, there percussive. This breadth is the key to his second gift, that of stretching his core repertoire in manifold directions and in doing so reinventing his instrument. The search for some notion of historic or stylistic authenticity would be here misplaced. The only authenticity one should demand from Balogh is the authenticity of his unerring musical instincts.

Kálmán Balogh’s background and training render him an ideal musical personality to achieve such synthetic goals. He was born in Miskolc in North-Eastern Hungary in 1959 and started to play the cimbalom at the age of 11. His first teacher was his uncle, Elemer Balogh, who is musically remembered in the first part of Track 6. While this rich training in the oral tradition shaped his flair and the excellence of his ear, he supplemented this approach with classical studies, graduating from The Liszt Ferenc Academy of Music in Budapest. Hungary is the only country in the world that has offered advanced music degrees in cimbalom study, and this combination of traditional and “classical” training marks Balogh’s free range, and also his remarkable control. He has become recognized as one of the world’s leading cimbalom players, and many is the aspiring young player who proudly identifies themselves as having studied with Kálmán Balogh. He has played with most of the leading traditional music groups in Hungary, and continues his career as a traveling virtuoso.

The instrument he plays traces its modern invention back to the last three decades of the 19th century, but it existed in many other forms for centuries. Today the instrument resembles nothing so much as a thick trapezoidal wooden table with sets of strings on its surface running at seemingly dizzying diagonals, the whole held aloft by trunklike legs. Today’s cimbalom has about 125 metal strings with 3 to 5 strings per note. But this powerful, tightly strung instrument was originaly a much smaller, portable one which the strolling player supported with a strap around their neck. Examples of this can be seen throughout the region, from Moravia to Bulgaria, and other variants of this genus are the hammered dulcimer of the Appalachians. Like pianos, accordions, and guitars, the cimbalom has always been a marvelously versatile creation and an essential part of a band. It can whisper like the wind, or carry the force of a musical machine gun. It plays gentle chords, and outlines the harmony, but can take a solo like no one’s business. It supports forward motion with bold basslines, but its rolled chords, its glorious arpeggios, are perhaps the hallmark of its identity. All of these sounds and styles, and more, can be heard on Kálmán Balogh’s innovative new album."

Kálmán Balogh – cimbalom
Ferenc Kovács – trumpet & violin
Péter Bede – saxophone
Frankie Látó – violin
Mihály György – guitar
Csaba Novák – bass

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Klezmer music is traditionally played at Jewish weddings and holiday celebrations in Eastern Europe. New York-based klezmer band Golem (named after the legendary Jewish Frankenstein of Prague) has infused the World Music scene with a breath of fresh air by injecting Eastern European melodies and Old World songs with ferocious energy, sex, and humor.The album includes tracks in Yiddish, Russian, French, Serbian, and Ladino, each a different story of love and pain set to its own driving beat.
"Gathered from source material from all over Eastern Europe, and from other locations as diverse as Jewish nursing homes in the Bronx to gypsy taverns in Belgrade, Serbia. The six member group then transforms the material and creates something new and all its own.
The music gets increasingly interesting when you follow along with the lyric sheet, in which the lyrics have been translated. The topics of the songs are sometimes strange; for example, the lyrics from a Russian traditional called "Spitting Song": "An old man sits down to think about getting married again. He thinks and thinks and thinks... If I take an old wife, my equipment might not stand up to the job... But if I take a young wife, she might not love me... And even if she loved me, she might not kiss me... And if she kissed me, she'd turn and spit on the floor... He sits and thinks and thinks... and thinks... Maybe getting married again isn't such a good idea."
All in all, I think this CD serves as a good palette cleanser because personally, I don't own any other klezmer albums, so putting this on in between hardcore and punk CDs works very nicely - a danceable beat, melody, and topnotch musicality which everyone can appreciate. Its different enough that it transitions well to pretty much anything. Also, Golem is probably is available to play for your next wedding or bar mitzvah."

01. Mekhaye
02. Spitting Song
03. Skrip Klezmerl
04. Balkan Espanol
05. Tire L'Aiguille
06. Dead Cossack, The
07. Madre Mia
08. Mesecina
09. Papirosn
10. Black Cat White Cat
11. Rivke

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Besh o droM was founded in 1999. The band plays Balkan and Romanian gypsy and Middle Eastern traditional music in their unique interpretation, mixing various styles and musical background. Most of the tunes they play are traditional ones and they take the liberty to use any tunes they really like and enjoy.

Their first concert in Budapest was a great success and they have become extremely popular in Hungary since than. They play at Hungary's best festivals, clubs and cultural venues, always to great audiences. Wherever Besh o droM plays, their audiences instantly get on their feet and dance.
Besh o droM in Gypsy language means "sit on the road" literally, but its real meaning is "follow your path, get on with it". It is also wordplay in Hungarian meaning "I am rolling?" (a cigarette). Besh o droM's first CD entitled "Macsó hímzés" (again a wordplay with a local folk connotation, 'Macho embroidery' in literal translation).

Balkan trance & gipsy madness on XXI century's way. Sax instead of trumpet, cimbalom instead of tambura, Besh o droM instead of Goran Bregovic. Dance and enjoy!

01. Pusztító
02. Space Maudi
03. 9 S
04. Mahala
05. Katalin
06. Román Swing
07. Lazító
08. Talyata
09. Sufi Light
10. Kecskés

Ági Szalóki - vocals
Ádám Pettik - percussion
Gergély Barcza - soprano and alto saxophone, ney, zurna, flute
Csába Bese - bass guitar
Attila Sidoo - guitar, tambura
József Csurkulya - cimbalom
Róbert Farkas - violin, accordion
Géza Orczy - percussion
Péter Tóth - trumpet
DJ Mango (Márk Jávor) - scratch

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"... In the process of doing folk music research there (Magyarszovat, Transylvania), we were told about a playful, erotic dance custom called the 'virgin's dance'. The last melody of track 11 on this recording, a "szokos" type dance tune ... is the music played for this dance."

Formed in 1976, they are one of the leading ensembles of the "New wave of folk music". One year after bring formed they gained the title "Young Masters of Folk Art."

Téka Ensemble plays authentic Hungarian peasant music. Their repertoire emphasizes the traditional style of playing and the original feeling of folk music. They play string instruments (violin, viola, double bass, cello) and other unique folk instruments (bagpipe-borduda, hurdy-gurdy-tekero, cimbalom, ütogardon). With these instruments they reproduce a colourful picture of village music from all Hungarian - speaking territories.


01. Kulcsár Ferenc pontozói (Magyarbece) / Ferenc Kulcsár's pontozó-s
02. Szemem a szemedbe kacag...öreges csárdások (Magyarbece) / My eyes are laughing in your eyes...
03. Láncot vetek szívemre... keserves, lassú és magyar (Szék) / I'll put my heart in chains...
04. Kanásztánc (Dél-Dunántúl) / Swineherder's dance
05. Szeretőm, a tavalyi... sebes forduló (Székelyföld) / Last year's lover...
06. Elindulék új szeretőt keresni... (Csík megye) / I'm going out to look for a new lover...
07. Feküdjünk le egy ágyba... (Mezőség) / Let's get in bed...
08. Édes kincs a más rózsája... négyes tánc (Magyarszovát) / Someone else's lower is a sweet treasure...
09. Régi tordai és vastaghúros kurázsi (Magyarszovát) / Kurazsi
10. Hagytunk volna békét a szerelemnek... (Magyarszovát) / If we'd only left love in peace...
11. A szüzeké... összerázás (Magyarszovát) / Dance of the virgins'...
12. A megunt szerelem nótája... lassú cigánytánc (Magyarszovát) / Tune for a bored love


Musicians:
Balázs Vizeli - fiddle
Zoltán Porteleki - fiddle, viola
György Lányi - bagpipe, viola, voice
Pál Havasréti - double bass, hurdy-gurdy, hit-cello, voice
Beatrix Tárnoki - voice

With Guests:
Tamas Gombai - fiddle
Erika Bakonyi - shouts
Judit Koczka - shouts

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The comédie des sens of Paris meets the European spleen of Zagreb. Cosmopolitan influences of immigration clash with Balkan traditions. Join the Cargo Orkestar for a mysterious musical journey, rough and real, made of questioning, pain, joy and humour.

"Eastern European music has never really been my thing; generally speaking, I see the word "Balkan" and my eyes start to glaze over... But then there are always surprises, particularly discs like this odd, atmospheric offering by Darko Rundek, a Croatian actor and musician who was once in a band called Haustor, and now fronts the uber-eclectic Cargo Orkestar... The opening number is enough to put any open-eared world music fan on notice: this ain't your grandma's Balkan music. Mixing moody, murky jazz-pop with styles indigenous to his Yugoslavian homeland -- notably gypsy and Arabic melodic themes -- Rundek crafts a multilayered, multifaceted, artsy sound, equally challenging and compelling, music that may remind listeners of irony-drenched, postmodern troubadours such as Tom Waits and Paulo Conte, who have taken their creative efforts into a different stratosphere than the legions of rude rockers and rappers that drown the soundscape. Anyway, even though the Slavic culture remains alien and unappealing to me, I could still recognize the spark of brilliance and timelessness in this album... It's definitely worth checking out!"

01.Commedie de sens.
02. Ista slika.
03. Kuba.
04. Mlin tema.
05. Makedo.
06. Ruke.
07. Sjaj što izdaje.
08. Sanjam.
09. Tigidigi rege.
10. Stojim i gledam kako postojim.
11. Ti i ja.
12. Mlin reggae.
13. Kuba (Technicolor RMX By Vedran Peternel.
14. Makedo (Balkan Version).
15. Untitled.

Isabel - violin, electric violin;
Darko Rundek - bass, guitar, synthesizer, percussion, lead vocals;
Đani Pervan - drums, bass, percussion, backing vocals;
Vedran Peternel - sound effects, processing;
Dušan Vranić - piano, bandoneon, harmonium, zither, melodica, organ, backing vocals;

Guests:
Arnold Achard - cello;
René Aubry - guitar, quatro,
Philippe Botta - soprano sax;
Marc Buronfosse, Laurent Le Gall - double bass;
Nenad Grahovac - trombone;
Jakša Kriletić - clarinet, sax;
Jean Baptiste Laya - guitar;
Loma Gosa - string quartet,
Igor Pavlica - trumpet

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The authentic gipsy folklore is more and more strong and colorful. One of its most excellent representatives is Amaro Suno. The Gypsy folk music ensemble Amaro Suno - Our Dream, started in 1994. All of the members of the ensemble had been involved in music for several years before the group was formed. There are four members of the group, three males and one female. The leader is Ernó Bihari. Activities over the last years have included many performances in festivals in Hungary, at cultural events, participation in the Dance House Festival in Budapest for the past two years, the III Festival of European Minorities in Veszprém and at the International Gypsy Folk Dance Festival in Sátoraljaújhely.

They perform material from Szabolcs and Zala Counties and from Romania, much of which was obtained through Katalin Kovalcsik at the Hungarian Academy of Music and partially through their own field work.

01 - Opre Pe Vulica
02 - Szijek Sej
03 - Sotolica Motolica
04 - Raja Devla
05 - Álom a szememen
06 - Hallgató
07 - Gelem Andi Kircsima
08 - Addig máma
09 - Na Mangav Me Ratyija Cini Sej
10 - Kutka Avel E Sej Bari
11 - Kannás
12 - Vasvari Pergető
13 - Aj Devlale Szo Kerdem
14 - Kutka Tele Pasa Paji

Musicians:
Dobi Matild - vocals
Bihari Zsolt - tambura, guitar, oral bass
Sztojka László - double bass
Balogh Mihály - tambura, vocals
Bihari Ernő - guitar, water can, oral bass, vocals

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Our world grows smaller and smaller: 17 Hippies may be based in Berlin, but the band’s repertoire wanders from the Balkans to a Parisian cafe, not forgetting a quick sortie into the American borderlands. So much travelling could easily result in a collection of tourist kitsch, but their postmodern ramblings, with horns and strings mixed with unpretentious, multilingual vocals, are conducted in just the right inquisitive spirit. One minute revving up like a supercharged gypsy band, the next delivering a pastoral treatment of the old pop hit Apache, the German musicians (there are actually 13 of them) come across as a more genial version of that restless French collective Lo’Jo.

The press says: “ Musically, there´s everything in it which they could possibly get their hands on. They whirl you through Romanian Sirba, clarinets race through Klezmer melodies, a Cajun song is performed in a very strange local German dialect."

“The 17 Hippies are ridiculously underrated.
They should be in the front rank of European world music artists …”

01. Ifni
02. Frau Von Ungefahr
03. Bourree Dite D'aurore Sand
04. Mad Bad Cat
05. Karsilamas
06. Gator's Grin
07. Saragina Rumba
08. Saint Behind The Glass
09. Besho
10. Dansons La Valse
11. Jovano Jovanke
12. Hotel Cazane
13. Sirba All The Way
14. Der Zug Um 7.40 Uhr
15. Was Bleibt
16. Elf-Achtel
17. Chassidic Song
18. Marlene
19. Hoyaka
20. Valser Nel Bosco

Antje Henkel – clarinet, saxophon
Carsten Wegener – double-bass, saw, vocals
Christopher Blenkinsop – ukulele, irish bouzouki, vocals
Daniel Friedrichs – violins
Dirk Trageser – guitar, vocals
Elmar Gutmann - trumpet
Henry Notroff – clarinets
Kerstin Kaernbach – violins
Kiki Sauer – accordion, harmonium, flute, vocals
Kruisko – accordion
Lüül - banjo, guitar
Rike Lau – cello, vocals
Uwe Langer – trombone, trumpet, euphonium

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Paul Pena played blues with the greats T-Bone Walker, B.B. King, and Bonnie Raitt. In 1995, the blind bluesman became the first American ever to compete in an unusual contest of multi-harmonic "throatsinging" native to The Autonomous Republic of Tuva.

The Autonomous Republic of Tuva, wedged between Siberia and Mongolia, for centuries has been isolated from the rest of the world by jagged mountains and Soviet restrictions. Only recently have the Tuvan art form of throatsinging become known to outsiders.

Pena discovered Tuvan throatsinging on a shortwave program of Radio Moscow. For the next nine years he worked to produce similar overtones with his own voice and to incorporate throatsinging into his blues music.
Unexpectedly in 1993, Pena discovered that Tuvan throatsingers were on their first concert tour of the U.S. After their performance, the deep-voiced bluesman broke into his own self-taught style of throatsinging and serenaded the musicians with Tuvan traditional songs! The throatsingers were amazed by Pena's mastery of the Tuvan art form and likened his rich voice to the sounds of tremors in the earth. They insisted that "Chershemjer" (Earthquake) travel to Tuva for the next tri-ennial throatsinging contest which would be held in 1995.
Eleven years after he first heard throat singing, Paul Pena entered the National Theatre of Tuva to make history. The blind bluseman's performance was so well received, he became the 1995 throatsinging champion in the style of kargyraa. He also captured the "audience favorite" award for the week-long competition. The Tuvan people had never seen or heard anyone like him.

"More than just a record, this is also the story of the journey of Paul Pena, a fine blind American bluesman who learned Tuvan throat singing well enough to win a contest in Tuva. His solo tracks, especially his take on Robert Johnson's "Terraplane Blues," are the real blues deal, but this record truly takes off when Pena and Ondar duet. The blues and the eerie, often-guttural sounds of throat singing make a natural match, one that simply bewitches with the clear overtones and melodies, while the guitar and Tuvan banjo offer simple, but very plaintive, accompaniment. About the only misstep is the inclusion of the Cape Verdean "Tras d'Orizao," which sticks out like a sore thumb from everything else. Get that out of your system, and the rest is pure magic."

01 - What You Talkin About
02 - Alash Hem (The Alash River)
03 - Gonna Move
04 - Kaldak Hamar (The Other Side of the Mountain)
05 - Tras D'Orizao (Beyond the Horizon)
06 - Ondarnyng Ayany (Ondar's Medley)
07 - Kargyraa Moan
08 - Eshten Charlyyry Berge (It's Hard to Lose a Friend)
09 - Kongurey (Where Has My Country Gone)
10 - Durgen Chugaa (Fast Talk)
11 - Sunezin Yry (Soul's Song)
12 - Center of Asia
13 - You Gotta Move
14 - Tuva Farewell
15 - Genghis Blues Soundbites
16 - Kaldak Hamar (Live)
17 - Eki A'ttar (Good Horses) (Live)

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01. Flótás: Libabőr
02. Söndörgő: Kocovo Oro
03. Szélkiáltó: Virág (Mártinak)
04. Berkesi Alex: 42. zsoltár
05. Kerekes Band: Pimasz
06. Ivánovics Tünde, Fábri Géza: Szőr szökött a szemembe
07. Kormorán: Pokolra mentek a dudások
08. Transylmania: Ha folyóvíz volnék / Jöttem is, mentem is
09. Szerényi Béla, Kóta Judit: Mely igen jó az Úr Istent dicsérni
10. Misztrál együttes: Adj már csendességet
11. Dongó együttes: A tél halála
12. Református kórusok: 138. zsoltár - Dicsér téged teljes szívem

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This recording presents tunes played on the Jew’s harp – an instrument known in perhaps every corner of the earth. This is the first Hungarian CD of Jew’s harp playing mainly dances and songs from Hungarian villages in Moldavia, mostly in ’dance house’ performance. This instrument is still used by the Csángó Hungarians in Moldavia for playing music at spinning parties. Here are both authentic forms and arrangements of instrumental tunes played as solos, duets and ensemble pieces.

01. Erdélyes
02. Piros, piros szegfű...
03. Kezes
04. Guzsalyas
05. Csütörtökön este...
06. András-köszöntő
07. Rekecsini botosánka
08. Hol jártál báránykám...
09. Virágtánc
10. Tűz lángja
11. Ördög útja
12. Szerba
13. Gyere velem katotnának...
14. Gergelem
15. Kerek utca, kicsi ház...
16. Borozdában..., Hej csillag...
17. Tilinkós
18. Nádizengő
19. Vid öreges
20. Le az úton, le, le le...
21. Ó, Szent Istvn dicsértessél...
22. Sirítet tánc
23. Balkános

Sándor Balogh - jew's harp, reed jew's harp, whistle, five holes whistle, electric bagpipe
Dániel Bolya - holeless whistle, whistle, five holes whistle
Mátyás Bolya - koboz
Szilárd Horváth - jew's harp, five holes whistle
Bea Palya - voice

Link

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The line-up is two Kiwis, two New Yorkers, and a Londoner . Between them they play accordion, mandolin, banjo, double bass, guitar, soprano and tenor saxes, melodica and zydeco washboard. The skilled interweaving of these instruments and daring five-part vocal harmonies are part and parcel of the groups undeniably fascinating chutzpah!

"It's wild hick ethnic roots music, it's a hand-clapping foot-stomping, frenzied Yiddish groove session..
It's a hoe-down in a Roumanian village square.
Klezmer as it might have sounded 500 years ago.
The Jews Brothers Band breaks the rules of klezmer, unashamedly and with chutzpah: no clarinets, violins or drums, these brothers (plus one sister) just get down to it with chonking gypsy style mandolin, pumping tea-chest bass, blasting brass horn, shakers and finger cymbals, and vibrant melodica and accordion, all aided and abetted by soulful 5-part vocals that sound as if they come straight out of a mediaeval synagogue.
If you can't dance to this album, you gotta problem!"

." this idiosyncratic band with its enormous drive, infectious beat and brilliant musicianship......all five members are compelling music-makers"

" their slick arrangements....also perfectly show-cased the tonal luster of Linn Lorkin's voice, the nuance of her interpretations and the buoyancy of her rhythms..."

"An impromptu collision of Sholom Secunda, Spike Jones and Django Reinhardt, their frenetic energy and irreverent attitude is a party from start to finish."

1. Yiddish Medley: Bublitchky / Die Greene Kaseene / Chosen Ka'le Mazeltov
2. Bei Mir Bist du Shein
3. Tumbalalaika
4. Hebrew Medley: Artza Alinu / Sholom Alechem
5. Ochi Chorniya
6. Bashana Haba'a
7. Eastern Euro Medley: Mezinke / Ut Azoi / Kosatski /
8. Mein Yiddishe Meidele
9. Palestinian - Hebrew Medley: Mechal Ovadya / Tsena Tsena / Hava Nagila

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"It is difficult to compile a new record that meets the expectations of music lovers following our previous album (awarded "The Wold Music Record of the Year' in 2007 in Hungary), which was so successful both among folk musicians and fans. We have tried to do our best, and we hope the variety of the tunes will be appreciated by the listener.
Many people wonder and discuss what kind of music has future in our ever accelerating and hectic lives. I think we all share those basic human feelings, trusths that can be discovered in folk music. So, if we play this music truthfully, independent of their age, lovers of all music genres will find it enjoyable.
Bands try to bring joy to music lovers in various ways and genres. I think in our constantly changing world, if we strive for the best quality, we can preserve the true values of old times, and delight our listeners, who are exposed to so many kinds of music theese days.
I hope as you listen to this music your heart will be lifted up as was minde when I played."

01. Az árgyélus kismadár... / The little bird that flies from branch to branch...
02. Madárka, madárka... / Little bird, little bird...
03. Kalocsai katonadal, csárdás, friss és mars / Soldier's song, csárdás, fast dance and march from Kalocsa
04. Gyimesi héjsza szívből, bár egy kicsit gátlástalanul / Héjsza from Gyimes whole-hearted, and somewhat unrestrained
05. Ez a vonat, ha elindult, hadd menjen... / If the train has started, let it run...
06. Vas megyei népdal, régi lakodalmi csárdás Szombathelyről / Folk song from Vas county, old wedding csárdás from Szombathely
07. Most múlik pontosan / It is just going by
08. Csillag vagy fecske / Star or swallow
09. Bánat, bánat / Sorrow, sorrow
10. Magyarpéterlaki asztali nóta, forduló és cigánycsárdás / Table song, turning couple dance and gypsy csárdás from Magyarpéterlaka
11. Szórakoztató pásztordal mulatozáskor / Shepherd's drinking song
12. Kiskunhalasi hallgató csárdás és friss / Music to listen to, slow and fast csárdás from Kiskunhalas

Csík Band:
Zsolt Barcza junior - hungarian cimbalom, accordion, voice
József Bartók - double bass, hit gardon, voice
János Csík - fiddle, voice
Tamás Kunos - viola, voice
Marianna Majorosi - voice
Péter Makó - saxophone, clarinet
Attila Szabó - fiddle, guitar, voice

Contributors:
Mátyás Bolya - oriental fretted lute
Attila Csurai - first tambur
Mihály Dresch - saxophone, voice
István "Szalonna" Pál - fiddle
János Szabó - alt tambur

Link

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The group was founded in 1997 in Szczecin, Poland. Passion for the traditional music and hard work let them create their own style and original sound.
Their acoustic songs have been inspired wholly by Oriental culture, Balkan folklore – Macedonian and Romanian. Typical Dikanda’s style is creation of new words and meanings in composed songs.
Dikanda in one of the African’s dialects stands for family. This is directly connected with the group’s spirit – they live and work as if it was a small, loving family.
Dikanda's earlier work Muzyka czterech stron wschodu is more traditional (little or no rock influence), but is no less interesting: there's a real variety of sounds: haunting vocals, sparse instrumentation, and an almost eerie feeling. Sometimes the interplay between the accordion and the fiddle provides such feeling with so few notes - and then suddenly we're dancing.
Never a dull moment when listening to Dikanda!

01. Dikanda
02. Winko
03. Gajde Jano
04. Saluto
05. Dila Dila
06. Folk Song
07. Pagnulisja
08. Hosadyna
09. Pakulele
10. Ketrin Ketrin
11. Stoho Bohu
12. Sogonie
13. Jovano Jovanke
14. Żurawli
15. Melodia żydowska ( "Przebitki" )
16. Scha Still
17. Świeci miesiąc

Ania Witczak - accordion, vocal
Kasia Dziubak - violin, vocal
Violina Janiszewska - vocal
Daniel Kaczmarczyk - percussion
Piotr Rejdak - guitar
Grzegorz Kolbrecki - double bass

guests :
Paweł Baska - double bass
Tomasz Pikulski - double bass
Krzysztof Trebunia -Tutka - vocal

Link

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01 Blue violet (folk-song from Fábiánsebestyén)
02 Transdanubian jumping dances
03 Duet for hurdy-gurdy and clarinet
04 Two red peonies (3'08)
05 Duet for bagpipe and hurdy-gurdy
06 The moon is shining
Bulgarian folk music
07 Tcherga/Rtchenitza
Polish folk music
08 Oberek/Polka
Ukrainian folk music
09 Beggars' song
Rumanian folk music
10 Three dances


Róbert Mandel: hurdy-gurdy
Márta Sebestyén: voice (04, 06; 07a)
Gábor Kállay: voice (09)
Mihály Sipos: first violin (02, 06)
Sándor Csoóri Jr: second violin (02, 06), bagpipe (05)
Dániel Hamar: double bass (02, 06), zither (04)
Péter Éri: Turkish pipe (02, 04), tambur (02), double bass (04)
Mihály Borbély: clarinet (03)
Nikola Parov: kaval (07), tambur (07)
Jorgosz Dzodzoglu: darabukka (07)
Gábor Kiss: double bass (07, 08)
Károly Györi: violin (08)
István Mártha: tambourine (08)
László Jakobi: bass drum (08)
Oszkár Ökrös: cimbalom (08, 10)

Link

Original uploader: cianfulli. Thanks!

Kalyi Jag, Black Fire in English, play authentic Gypsy music and have been doing so for over 20 years. They are recognised as one of the foremost Gypsy folk ensembles in Eastern Europe today. The instruments they use are guitar, jug, board and oral improvisations. Traditional Gypsy music sung in Gypsy and Hungarian language.

01. Jaj istenem, az életem - Ay, God, my life
02. Szomorú szerelmes - Sad lover
03. A boszorkány - The witch
04. De megvert az Isten - Ay, God how scourged me
05. Leányom, Szabina -My daughter, Sabina
06. Ne vágd magad, kisleány - Don't make me angry, girl
07. Táncos Jani - Prancing Jani
08. Csak egyedül járok - I live alone
09. Az álom - The dream
10. A szép lány -The nice girl
11. Kéretés - Proposal
12. Bolond anyám - Foolish mother
13. Éjszemű lányom, Ági - My daughter, Ági with nightblack eyes
14. Táncos fiú - Dancing lad
15 Az éjszakai lányok - The night girls

Gusztáv Varga - voice, guitar
Ágnes Künstler - voice
József Balogh - voice, tambura, guitar, spoon
József Nagy - water can, oral bass

Guests:
Mária Balogh, Tünde Balogh, Anikó Balogh - voices
Ternipe Group on tracks 5 and 10
Pál Havasréti - double-bass

Link

Yiddish culture in east Europe today is but a dim shadow of its history and legacy, but it is not dead. Jewish communities exist - in diminished numbers - and Jewish life continues, not the least in the memories of an older generation who remember a world which spoke Yiddish. Di Naye Kapelye means The New Band in Yiddish. Di Naye Kapelye play old time Yiddish music from not so long ago. The klezmer music which defines modern Ashkenazic Jewish existence is the klezmer of America - especially New York. Old gramophone recordings document changes in instrumentation and repertoire as immigrant Jewish musicians adapted to new lives in the new world. In east Europe, however, folk traditions are strong, and Jewish music thrived as long as Jews had weddings. Di Naye Kapelye's music takes its character from east European kapelyes (yiddish for a small band) like the Bughici family band in Iasi, Romania, the Markus family band in Hungary, the Lantos Orchestra in Maramures, Romania, and other Jewish village bands who played in distinctively non-commercial, local styles. In many cases the Jewish musicians played alongside local Roma (Gypsies), and today in Hungary and Romania Gypsies are the main source for living practitioners of Jewish music. Some, like the Transylvanian fiddlers Samu Cilika Boross and Ferenc Arus, played for Jewish weddings when no Jewish band was available. Some, like Andras Horvath of Tiszakorod, Hungary, and Gheorghe and Vassile Covaci in Maramures, Romania, worked in Jewish bands before the war and learned the musical nuance of the local Hasidic courts (hoyfn). Hungary, is Di Naye Kapelye's home, and they come together through a surprising set of circumstances, many of them soaked in palinka - Hungarian plum brandy.

01. Dem Rebns Tants (trad., from Art Shryer's Orch., 1929)
02. Ani Maamin/Wedding March from Transylvania (trad.)
03. Hangu and Freylachs from Podoly (trad., Bughici family, Moldavia)
04. Kotsk/Dem Trisker Rebns Nigun (trad., Dave Tarras
05. Shloimke's Russian Dance (Shloimke Beckerman)
06. Naftule's doina (Naftule Brandwein)
07. Moldav-O-Rama (trad.)
08. Bet Zikh ibert un Geyt a Tentsl (Tarras, in Greek style)
09. Ono B'Choach - Slow Hora/The Odessa Bulgar (trad., Mishka Tsiganoff)
10. Jewish Tunes from Szatmár (trad.)
11. Yismekhu/in Ades/Áron's Chosid Tants (Belf Orchestra/trad./J.Frankel)
12. Bobover wedding march (trad.)

Bob Cohen: vocals, violin, mandolin
Christina Crowder: accordion, drum
Géza Pénzes: bass, cello, koboz, drum, background vocals
Janos Barta: clarinet, background vocals
Jack "Yankl" Falk: metal and wood clarinets, vocals

Guest:
Róbert Kerényi: Moldavian caval and flutes, drum

Link

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The Udrub Ensemble was formed in 2004 through the natural fusion of six exceptional professional musicians. The secret to the ensemble’s exotic and unique sound is a type of multicultural harmony that is ultimately a projection of each member’s Hungarian identity. Their love of eastern sounds is brought about by the kinship that is prevalent is the feeling world of Hungarian and eastern people, that inevitable define a new and fresh world music creation. Historically, the art world is just realizng its flowering through impressionism. The age of the Internet in our modern contemporary wold enables us to experience both our culture and the broader world around us, to ultimately promote the idea of peaceful coexistence. The Udrub ensemble’s composition’s artistic worth lies in the harmony of its authentic traditions and personal musical expressions, in which the strength of folk music, the refinement of classical music and the freedom of jazz unite.

1. Al Baab "Sarqi"
2. Parfum de Gitane
3. Ash Devlesa
4. Xelef/ Nawroz (kurd. trad)
5. Halleluya
6. A bűn
7. Balakan express

Udrub:
János Gerzson – oud, saz
Tibi Golan – ney, flute, kaval
Dávid Troják – bass guitar
Géza Orczy – daf, derbuka, tapan

Kálmán Balogh – cimbalom
Frankie Látó - violin


Link

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"Innovators, renegades, survivors - within a few years, the Zydepunks have grown from underground heroes into one of New Orleans' most talked about bands. Yiddish riddles, Irish ballads, Cajun punk, and original songs in Spanish and German are a small demonstration of why they astound new audiences. Wild folk dances fronted by accordion and fiddle and backed by relentless drums and bass are a testament to the high-energy folk-punk dance craze that is a Zydepunks show.

The Zydepunks began in 2004 and quickly took the New Orleans music scene by storm with their speedy and amped-up versions of European and Louisiana folk music. Vocal stylings in six languages (German, French, Spanish, Yiddish, English, Portuguese) immediately set the band apart. Their own original work has given the band a more cohesive feel while staying true to their sound.

Sadly, no story about any contemporary New Orleans band is complete without mentioning the hurricane season of 2005. What was looking to be a breakout year for five young musicians coming off a national tour turned into a matter of pure survival. Three founding members ended up returning to New Orleans to houses that were miraculously untouched but a city that was forever mangled. With their lineup and future in doubt, the band managed to reunite for a performance at the New Orleans Voodoo Music Festival. A memorable nighttime show at the legendary Café Brazil gave notice that the old New Orleans might come back after all."


"Everyone jumped for joy to the speed-core melange of klezmer tornadoes, Balkan dances, Celtic reels and bayou-squeezbox war"

"World music never sounded like so much frantic, frenetic and sweat-soaked fun."

"The Zydepunks are one of New Orleans' most rousing live performers... they surprise with sublime accordion-fiddle fueled playing."

01. Madeleine
02. Satan/Dance you Fukr
03. Lowlands of Baghdad
04. A Fistful of Oysters
05. Bwamba's Rambles
06. Eve's
07. Tumbalalaika
08. Reel & Jig Set
09. Con ti se va mi corazon
10. Romanian Hora & Bulgar
11. Johnny Can't Dance
12. Die Schwimmbadpiraten
13. Mabel's Got the Blues

Link


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Róbert Lakatos approaches the works of Béla Bartók with as much respect as Barók himself once approached the treasure of Hungarian folk songs - by abstracting the stylistic characteristics of the folk melodies he had collected and classified, Bartók created one of the most significant life-works of 20th century classical music.
The most interesting pieces on this album are those in which Róbert Lakatos has returned Bartók's musical works to their supposedly original, traditional rural musical enviroment. When he surprises us now and again with a well-formed improvisation or variation he shows us that folk music could not have developed, could not have reached the refined form which Barók became acquainted with if the individual achievements and ingenuity of various generations of village musicians had not contributed to a greater or lesser extent to the common musical treasure of the people.
The musicians partnering Róbert Lakatos, apart from the outstandingly accomplished viola player László Mester, are all from the Uplands. (The Uplands of old Hungary, now in southern Slovaika.) We can enjoy the violin playing of Tamás Cseh, who is currently pursuing his studies in classical music, while his brother, Sándor Cseh, plays the cimbalom, which, together with the voice of Éva Korpás, is one of the leading contributors to the album's harmonious atmosphere. The carefully attentive accompaniment and lively dynamism provided by the double bass and accordion of Tibor Lelkes and the guitar and viola of Zoltán Hanusz give all this a solid foundation.

01. Kalamajkó (Bartók - arr. Pimroes)
02. Brácsa tánc / Dance Of The Viola (trad. - arr.: Lakatos)
03. Máramarosi tánc / Dance From Máramaros (Bartók - arr.: Primrose)
04. Csárdások / Csárdás Sequence (trad.)
05. Szól a kakas... / The Cock Is Crowing... /trad. - arr.: Rév)
06. Édesanyám Rózsafája... / My Dear Mother's Rambling Rose-tree... (trad. - arr.: Cseh S.)
07. Malmos / Mill Dance (trad. - arr.: Rév)
08. Röpülj páva... / Fly Up, Peacock... (trad. - arr.: Lakatos)
09. Buzai tánczene / Dance Music From Buza (trad.)
10. Párnás tánc / Cushion Dance (Bartók)
11. Csak azért szeretek... / That's Why I Like To Live (trad. - arr.: Lakatos)
12. Hajnalodik / Day Is Dawning (trad. - arr.: Lakatos)

Róbert Lakatos - viola, violin

RÉV:
Éva Korpás - voice
Attila Oláh - voice, drum
Tamás Cseh - viola, violin
Sándor Cseh -cimbalom
László Mester - 3-stringed viola, viola
Zoltán Hanusz Zoltán - 3-stringed viola, guitar, double bass, viola
Tibor Lelkes - double bass, accordeon

Contributors:
Marianna Majorosi - voice
Miklós Molnár - violin
Róbert Farkas -double bass

Link

Original uploader: botlika. Thanks!

The Huun Huur Tu band from Tuva, Russia, practice the ancient technique of "xöömei" or throat-singing. Each vocalist simultaneously produced two distinct pitches: a lower drone and a high pitched flute-like sound. This is one of the world’s oldest forms of music making. We heard their ancient instruments and experienced the mellow beautiful tones that were exciting and yet very calming to the spirit. Instruments they use in their music include the igil, khomus, doshpuluur, tungur (shaman drum), and others.
The xöömei quartet Kungurtuk was founded in 1992 by Kaigal-ool Khovalyg, brothers Alexander and Sayan Bapa, and Albert Kuvezin. Not long afterwards, the group changed its name to Huun-Huur-Tu, meaning "sunbeams" (lit. sun propeller). The focus of their music was traditional Tuvan folk songs, frequently featuring imagery of the Tuvan steppe or of horses.
The ensemble released its first album, 60 Horses In My Herd, the following year. The album was recorded at studios in London and Mill Valley, California.


01. Sygyt (Lament of the Igil)
02. Mezhegei
03. Öske Cherde (Foreign Land)
04. Eshten Charlyyry Berge (It´s Hard to Be Parted From a Friend)
05. Kombu
06. Khöömei (Khovalyg solo)
07. Kongurei
08. Fantasy on the Igil
09. Bayan Dugai
10. Tuvan Internationale
11. Kargyraa (Khovalyg solo)
12. Ching Söörtukchülerining Yryzy (Song of the Caravan Drivers)

Kaigal-ool Khovalyg: vocal, igil, doshpuluur, chanzy;
Sayan Bapa: vocal, igil, Tuvan percussion;
Albert Kuvezin: vocal, guitar;
Alexander Bapa: Tuvan percussion.

Part 1.
Part 2.

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With her quintet, Beáta Palya - the singer of the hit "Tchiki Tchiki "on Transylvania OST (movie by Tony Gatlif) presents her new album, "Adieu les Complexes". Stuart Bruce, who worked with Susheela Raman, Paco de Lucia and Nusrat Fateh Ali Kahn, helped the musicians and the lead singer to find their particular voice. Interpreter of old Hungarian, Moldavian and sefardic thems, Beáta Palya also writes her own inners lyrics.
Bea sings in Hungarian of course, but also in English : two jazzy covers "Lover Man" and "Sometimes I'm Happy" with Sarah Vaughan.

"Adieu les complexes - énekli Boris Vian egyik dalában.
Ez tetszett nekem. Franciául van, de mindenki érti. Egyetemes.
Az alkotásnak egyetlen kulcsa van, hogy kidobjuk a "ki mit gondol" gátjait.
Szívből, szabadon, vadul, komplexusok nélkül.
Arra vágyom, hogy a zenémet ne egzotikumként hallgassák, hanem olyannak, amilyen.
A dalok szövegeit saját, vagy magyar, zsidó, cigány, bolgár dallamokra írtam, és van két angol dal is. A hangzás sokszor népzenei világokat idéz, de gátlástalanul kisajátítottam ezeket a gyönyörű zenéket, mert ennek a munkának a személyes vonatkozása a legfontosabb. Eléneklem, mi van velem, szerelem, magány, utazás, csak mindig változó formában. Továbbadom, mert egyedül ennek a továbbadásnak van értelme."

01 Hold - The Moon
02 Hoppá
03 Lovas dal- Horse Song
04 Szép szomorú szeretõm - My Dark-eyed Lover
05 I'm happy
06 Észosztó nagy szájhõs- Big Mouth
07 Három árva - Three Orphans
08 Áll a kapun - Will my Prince Come?
09 Anyám, anyám - Mother's Song
10 Sofia express
11 Lover man

Bea Palya – voice
Miklós Lukács – cimbalom
Balázs Szokolay – saxophon, bagpipe, taragotte, flutes, Jews‘harp
Csaba Novák – acoustic bass
András Dés – drums, derbuka, voice
Zoltán Lantos – violin
Theodossii Spassov - kaval, vocal
Vincent Le Quang - sopran saxophon, piano, vocal

Part 1.
Part 2.

Original uploader: kentaur07. Thanks!

In Autumn 2002, to prevent Rome's Apollo Cinema from becoming a huge bingo hall, resident musicians aligned with local artists to create a workshop of writing, music and film. Agostino Ferrente and Mario Tronco founded L'Orchestra di Piazza Vittorio (named after a square in central Rome where Italians are a minority), formed entirely of immigrants from Tunisia, Morocco, Senegal, Cuba, Ecuador, Argentina, India, Romania, Hungary, and the U.S. Soon after, production began on the upcoming "documusical" Prove d'Orchestra, which documents this fascinating project. With outstanding solo artists, L'Orchestra di Piazza Vittorio has aroused the curiosity of music critics, journalists and sociologists around the world. The outstanding group plays an explosive mix of South Asian worldbeat, Andean melodies, North African rhythms, and jazz. Each musician has his own cultural background, and this meshing of traditions and cultures leads to a fusion of different styles, melodies and voices from all over the world.

01. Suite Ninderli - Intro
02. Suite Ninderli - Ninderli
03. Terareando
04. Moon Suite - Tre Quarti Di Luna
05. Moon Suite - Lammabede
06. Sahara Blues
07. Ao Gi
08. Mambo De Machahuai
09. Ya Baba Maragia
10. Te No Kenone

The Orchestra - 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

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While it may sound like an entire Balkan gypsy orchestra playing modern songs as mournful ballads and upbeat marches, Beirut's first album, Gulag Orkestar, is largely the work of one 19-year-old Albuquerque native, Zach Condon, with assistance by Jeremy Barnes (Neutral Milk Hotel, A Hawk and a Hacksaw) and Heather Trost (A Hawk and a Hacksaw). Horns, violins, cellos, ukuleles, mandolins, glockenspiels, drums, tambourines, congas, organs, pianos, clarinets and accordions (no guitars on this album!) all build and break the melodies under Condon's deep-voiced crooner vocals, swaying to the Eastern European beats like a drunken 12-member ensemble that has fallen in love with The Magnetic Fields, Talking Heads and Neutral Milk Hotel.

"...stunning spring-to-summer gypsy-klezmer...beautiful and disarming."

"...awe-inspiring, wonderous, almost intangible composition of raw talent, emotion, and complexity, reminding us why we listen to music..."

"...a feat because it is a folky record that is so much fun."

"This kid...is a genius, who...has created one of the most diverse and creative albums of 2006 thus far."

01. The Gulag Orkestar
02. Prenzlauerberg
03. Brandenburg
04. Postcards From Italy
05. Mount Wroclai (Idle Days)
06. Rhineland (Heartland)
07. Scenic World
08. Bratislava
09. The Bunker
10. The Canals Of Our City
11. After The Curtain

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One of Hungary's most popular táncház band Csik Ensemble are on this released joined by Kálmán Magyar (member of New York based Életfa Group), and Ukraine born Cimbalom player Alexander Fedoriouk amongst others.
These recordings are the result of Csik Ensemble's own research in Hungary Moldavia and Romania, as well as that of pioneering work done by György Martin. To aid the arranging of these songs they have also studied film footage of old traditional csardas dancing and ritual folk customs.

Csík Ensemble, which plays traditional Transylvanian and Hungarian village music, was founded in Kecskemét, Hungary, in 1988. Over the years they have become popular playing at dance-houses and concerts both in Hungary and abroad. Previously, they have been awarded the titles of "Young Masters of folk Art" and "Eminent Art Ensemble".

Kiskunság, Bácska, Sárköz, Gyimes, Székely land, North-Mezőség, Moldva, Oltenia: these are the areas where the band selected the materials for its record.

01. Kunverbunk
(Kunszentmiklós - Kiskunság)
02. Oláhos, Lassú és frisscsárdás
(Kecskemét, Kiskunhalas, Jakabszállás - Kiskunság)
03. Rózsa, rózsa, labdarózsa levele
(Bátmonostor - Bácska)
04. Csárdás, friss és mars
(Kalocsa - Sárköz)
05. Keserves, lassúmagyaros és féloláhos
(Gyimesközéplok - Gyimes)
06. Sebes forduló, csárdás és verbunk
(Magyarpéterlaka - Székelyföld)
07. Calus
(Muntenia, Oltenia - Románia)
08. Halottkísérő
(Bethlen - Észak-mezőség)
09. Karácsonyi és újévi köszöntő
(Klézse, Lészped - Moldva)
10. Öreges és lassú csárdás, szökős és cigánycsárdás
(Bethlen - Észak-Mezőség)
11. Hétlépés
(Erdőszombattelke - Észak-Mezőség)

János Csík – violin, voice
Mihály Dresch - tárogató, flute
Gyula László Kozma – double bass, tambur
Marianna Majorosi - vioce
Zoltán Nagy - cimbalom, tambur, voice
Lóránt Vass – viola, 3-stringed viola

Link

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Few people have as much right to claim they are world musicians as Ferenc Snétberger has. Hailing from a Sinti/Roma family in Hungary, Snétberger played Gypsy guitar at an early age, learned classical guitar as a teenager, studied jazz guitar later at the Ferenc Liszt Academy, Budapest and adapted Brazilian and Spanish techniques to his playing. Carrying in his bag the passion of tango, Indian music and the admiration for Egberto Gismonti, Jim Hall and Johann Sebastian Bach, Snétberger knew from the start that he would never want to play without improvising but keep his exquisite classical touch whatever he would do. "I am a jazz guitarist but also a classical guitarist", he says. "Folklore - that's my childhood and youth, my roots. The touch is more classical, the sound is jazz. I don't have a recipe for this mixture, I put it together unconsciously." Since living in Berlin, Snétberger has become one of the few truly distinctive voices on contemporary guitar, a border-crossing virtuoso of a rare kind. An obvious choice to step in for the late Charlie Byrd in the 'Great Guitars' band and a welcome celebrity at the Budapest Music Academy, he also frequently appears in ethnic-oriented musical contexts.

Presenting him as a mature composer in different settings, "For My People" is unlike any of Snétberger's earlier recordings. The solo pieces are elegant bows towards Spain and Latin America featuring Snétberger's improvisational fantasy combined within clear playing concepts for the classical guitar. The sensational duo suite with trumpet virtuoso Markus Stockhausen, a son of the famous composer, surprised the creators themselves upon listening back. After the first rehearsal, the two of them put aside the written parts and improvised like one man. However, the most significant and elaborate piece on the album is Snétberger's Concerto for Guitar and Orchestra in three movements. Dedicated to the memory of his people, the Roma and Sinti, the concert is inspired by the soulful melodies of Gypsy tradition. A vital statement against human suffering, "In Memory of my People" was written on the occasion of the 50th anniversary of the liberation of the concentration camps. Snétberger improvised his own part within the frameworks of the score and presents his instrument as a mighty concert voice.

1. Mazurka
2. Hajnal
3. Gond Nélkül
4. Alkony
5. Hallgató (Adagio - Allegro)
6. Emlékek (Adagio)
7. Tánc (Allegro furioso)
8. Fantázia
9. Vals Criollo / Vals Gitano


Ferenc Snétberger - acoustic guitar
Markus Stockhausen - trumpet (# 2 & 4), flügelhorn (# 3)

The Franz Liszt Chamber Orchestra
Liszt Ferenc Kamarazenekar, Budapest: (# 5-7)
Concert Master: János Rolla; Violins I: János Rolla, György Lovas, Zoltán Tfirst, Péter Hamar, Lili Áldor; Violins II: Kálmán Kostyál, Zsuzsa Weisz, Péter Gazda, György Kiss, Éva Isépy; Violas: Mihály Várnagy, Attila Lezsák, András Pista; Cellos: Mária Frank, Otto Kertész, Anna Sándor; Double Bass: Alajos H. Zováthi

Link

pass: bluesmen-worldmusic.blogspot.com

"If you've lamented the dearth of klezmer rock bands, Golem is out to win your heart. Pushing the tempo - not to mention the envelope - the New York-based band puts a unique spin on contemporary Jewish music. "I tried to imagine how Tom Waits would record a klezmer album," says band founder Annette Ezelkiel. Nowhere is this wild Waitsian sensibility more apparent than on the driving "Bialystok." Golem, named after the legendary Jewish Frankenstein of Prague, has named their songs after old-world places, the longed-after locales of the unsettled diaspora. Golem's reinterpretation of the classic "Rumenye" is a crazy blend of "Metamorphosis," the Violent Femmes, and homesickness. Not all of the songs are so wild; the plaintive tombone of "Belz" wouldn't shock your alte bobe. But Golem is a new kind of Jewish band, combining a respect for tradition with a proclivity toward the sensual and melodramatic. A highly enjoyable album from a band to watch."

01. Odesaa
02. Chiribim
03. Grine Kuzine
04. Romanesh
05. Mito
06. Nikolayev
07. Rumenye
08. Bukovinsky
09. Zlatopol
10. Bialystok
11. Turkmenistaner
12. Belz

Aaron Diskin: vocals, tambourine
Alicia Jo Rabins: violin
Curtis Hasselbring: trombone
Taylor Bergren-Chrisman: contrabass
Laura Cromwell: drums

Link

pass: bluesmen-worldmusic.blogspot.com

"Hungary’s astonishing Gypsy village band Parno Graszt's third album, This World Is Made For Me is arrived! Some of the new tracks will reveal a previously hidden character of their music: bitter, mourning 'hush' melodies sung on funerals as well as disenchanted, disillusioned love songs. Yet there's no doubt that most of the songs will get you for a rampant musical gallop on the back of a Parno Graszt with a speed over 160 BPM !!! Shavale Romale, swing into the saddle and fasten your seatbelts!"

01. Ha bemegyek a kocsmába
/ Ande te zhav ande kirchima / When I Go Down To The Pub
02. Szép lány
/ Shukar shej / Pretty Girl
03. Jaj Istenem, anyám
/ Jaj Devla, mamo / Oh My God, Mother
04. Jaj Istenem, mit csináljak
/ Ajaj Devla so te kero / Oh God, What Shall I Do
05. Ez a világ nekem való
/ Kadi luma mange laso / This World Is Made For Me
06. Jaj istenem, mit adtál
/ Aj Devlale so dan / Oh God, What Did You Give Me
07. Annyit ittam bánatomban
/ Kattyi phijom ande brigasa / Drunk Of Sorrow
08. A Muki fia
/ Le Mukisko shavo / Son Of Muki
09. Jaj de sáros ez az út
/ De chikaloj kado drom / Muddy Road
10. Szegény Sanyi milyen szép
/ Choro Sanyi de shukar / Poor But Hangdsome Sanyi
11. Az én lovamat
/ Mure grastes / My Horse
12. Megyek megyek
/ Gelem gelem / Wandering Around
13. Meghalok érte
/ Pala mero / Dying To Love Her
14. Elhagyott a feleségem
/ Mukhjas man is romnyi / My Wife Left Me
15. Menni menni, muszáj menni
/ Musaj si te zhav /Roaming, Roaming, Ever Roaming

Parno Graszt:
József Oláh - vocals, guitar, tambura
Géza Balogh - vocals, guitar
János Jakocska - Vocals, guitar
Sándor Horváth - vocals, spoons
János Oláh - vocals, double bass
István Németh - churn, oral bass
Mária Balogh - vocals
Mária Váradi - vocals

Guest Performers:
Péter Makó - taragot
Csaba Novák - double bass
László Palazsnik - viola
István Pál "Szalonna" - violin
Balázs Unger - cimbalom

Link

pass: bluesmen-worldmusic.blogspot.com