Bluesmen's World(Music)

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

pass: bluesmen-worldmusic.blogspot.com

"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

pass: bluesmen-worldmusic.blogspot.com

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

Link

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]

part 1.
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

Link

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he name Rományi Rota means Cartwheels (Cigánykerék). The band was established in 1985 in Nagyecsed (Szatmár county) by young, talented Oláh Gipsy musicions. In the early years - from 1987 to 1988 - Rományi Rota worked as a traditional county dance group, but in 1989 some members of the group moved to Budapest in order to continue their activity in the capital.

This was a decisive period for the development of the band and contributed significantly to their present style. They say their music represents the city Gipsy folk music.

The Rományi Rota's repertoire is based on the Oláh Gipsy songs from Nagyecsed (from Cerhár) and the northerneast Hungarian Gipsy songs complemented by the Transylvanian Gipsy community's folk music. After all their songs are colorful and varied with strong and powerful rhythm. However the Rományi Rota insist on the elemental feature of the vocal music.

They have already worked abroad, in 1998 contributed to a record of the world-famous Transglobal Underground from London, which clearly reflects their musical standards and values.

01. It suits her well
02. Who's that girl
03. There is nothing good for me
04. Listen to me, my beautiful wife
05. I've just been to the fair
06. Flows the water under the bridge
07. The boy goes on the street
08. Long Haired girl
09. She made me ill, she made me mad
10. I am a poor boy
11. Songs from Nagyecsed
12. The Tzserhar Gypsy boy
13. This boy is a Gypsy
14. My Heart is so sad now
15. Open woman, your gate
16. The gang plays over there
17. Uncle Joe

Ildikó Varga - voice
Béla Lakatos - voice, water can, vocal bass
Zsolt Karikás - voice, spoons, vocal bass, drum

Guests:
Zsolt Kürtösi - viola
Ferenc Kiss - viola
Zsigmond Lázár - violin, viola

Link

"This", says Hal Willner, "was the original punk music." The maverick American producer, best known for his tribute to Kurt Weill and his reworking of Disney film music, had been set an unusual task: to provide a contemporary reinterpretation of seafaring songs. The idea came from Johnny Depp and director Gore Verbinski (credited here as executive producers) while they were filming Pirates of the Caribbean, and the result is a 43-track epic that actually works. The cast list is extraordinary: Nick Cave, Bono, Lou Reed, Bryan Ferry and Sting appearing alongside British and American folk stars (Richard and Teddy Thompson, Martin and Eliza Carthy, Loudon and Rufus Wainwright).

But what's more impressive is how Willner matches a sense of danger, even mania, against laments, with distorted, experimental passages balanced with the delicate guitar work of Bill Frisell or sturdy traditional themes. The mood changes from bawdy and obscene work songs to ballads. Highlights include David Thomas's crazed version of What Shall We Do With the Drunken Sailor, a moody, pounding guitar ballad from Jarvis Cocker and Richard Thompson's exquisite Mingulay Boat Song."

Disc 1
01. Cape Cod Girls – Baby Gramps
02. Mingulay Boat Song – Richard Thompson
03. My Son John – John C. Reilly
04. Fire Down Below – Nick Cave
05. Turkish Revelry – Loudon Wainwright III
06. Bully In The Alley – The Old Prunes
07. The Cruel Ship's Captain – Bryan Ferry
08. Dead Horse – Robin Holcomb
09. Spansih Ladies – Bill Frisell
10. High Barbary – Joseph Arthur
11. Haul Away Joe – Mark Anthony Thompson
12. Dan Dan – David Thomas
13. Blood Red Roses – Sting
14. Sally Brown – Teddy Thompson
15. Lowlands Away – Rufus Wainwright & Kate McGarrigle
16. Baltimore Whores – Gavin Friday
17. Rolling Sea – Eliza McCarthy
18. Haul On The Bowline – Bob Neuwirth
19. Dying Sailor to His Shipmates – Bono
20. Bonnie Portmore – Lucinda Williams
21. The Mermaid – Martin Carthy & the UK Group
22. Shenandoah – Richard Greene & Jack Shit
23. The Cry Of Man – Mary Margaret O'Hara

Disc 2
01. Boney – Jack Shit
02. Good Ship Venus – Loudon Wainwright III
03. Long Time Ago –White Magic
04. Pinery Boy – Nick Cave
05. Lowlands Low – Bryan Ferry & Antony
06. One Spring Morning – Akron/Family
07. Hog Eye Man – Martin Carthy & Family
08. The Fiddler/A Drop Of Nelson's Blood – Ricky Jay & Richard Greene
09. Caroline and Her Young Sailor Bold – Andrea Corr
10. Fathom The Bowl – John C. Reilly
11. Drunken Sailor – Dave Thomas
12. Farewell Nancy – Ed Harcourt
13. Hanging Johnny – Stan Ridgway
14. Old Man of The Sea – Baby Gramps
15. Greenland Whale Fisheries – Van Dyke Parks
16. Shallow Brown – Sting
17. The Grey Funnel Line – Jolie Holland
18. A Drop of Nelson's Blood – Jarvis Cocker
19. Leave Her Johnny – Lou Reed
20. Little Boy Billy – Ralph Steadman

Disc I,
Disc II.

"Recorded amidst the live event, this CD shows the harsh truthfulness of our first few years.
Live recordings (partly done using a walkman!)and a few days at the Beatstudio (with the legendary Gerd Blum!) managed to recreate the swinging atmosphere aboard the motor boat Pik-As in Berlin´s Urbanhafen. Or else the tiny stage at the Café Bellevue. Or the concert on 14th July at the former Franz-Club in Prenzlauer Berg, which took place on the same day as the Love Parade (“everyone on platforms?”)."

01. Vorspiel
02. Der Zug um 7:40 Uhr
03. Bourrée dite d'aurore sand
04. Valse a cadet
05. A scuttiscia
06. Le waltz
07. Folk song
08. Der Freund von Lüül
09. Shalom Alechem
10. Who stole the keeshka
11. Arriba muchacho
12. Galerón
13. King Arthur's liver
14. Jovane Jovanke
15. Chassidic song
16. Die Ungarn Nummer
17. Csillagok

Link

"Everybody knows klezmer music, but what we can hear on this exceptional album is the ancestor of klezmer - the forgotten old Jewish music of the Carpathian Basin.

Muzsikás has recoded these songs after years of research, which produced interesting results - for example collecting music from gypsies, authentic players of klezmer, or finding instruments such as the guitar-like 'zongura' or drum with cymbal. The results of this research are all here on this wonderful album.

The beautiful trustworthy voice of Márta Sebestyén brings a special breath to this recording."

01. Khosid Wedding Dances
02. The Rooster Is Crowing
03. Dance From Máramaros
04. Lamenting Song
05. Ane Maamin
06. I Have Just Come From Gyula
07. Farewell To Shabbat
08. Jewish Dance From Szászrégen
09. Hat A Jid A Wejbele
10. Jewish Csárdás Series From Szék
11. Khosid Dance
12. The Greeting Of The Bride
13. Haneros Halelu
14. FareWell To The Guests

Musicians:
Sándor Csoori - violin, viola, guitar
Péter Éri - Guitar, Kaval, Viola
Dániel Hamar - Double Bass, Gardon
Mihály Sipos - Violin

Guests:
Márta Sebestyén - voice
Csaba Ökrös - violin
Gheorghe Covaci - violin
Arpaf Toni - cimbalom
Gheorghe Florea - 'zongura'
Ioan Florea - drums

Link

"Farmers Market has become one of Norway's most popular live bands, playing at all kinds of venues and festivals: jazz, folk and rock. Farmers Market has been releasing music in Norway sporadically over the past decade but their releases have been generally hard to find on U.S. shores. Those who have been lucky enough to hear the outfit have been instantly won over by the unbelievable musicianship and oddball mixture of styles. The groups last release came in 2000 and according to the band the title was never release, a secret amongst them and the label. Jazziz said of the outfit and the secretly-titled release, Balkan-jazz crossover may be well-established by now, especially on this side of the Atlantic. But seemingly from out of nowhere comes the Norwegian/Bulgarian quintet Farmers Market with a self-titled album that kicks the burgeoning genre sideways a notch or three.

The band Farmers Market was formed by students of the jazz department at the Conservatory of Trondheim. At first, Farmers Market started out as an “ordinary” free-jazz group, but soon found itself leaning towards Bulgarian folk music, which would change everything. The boys were fascinated by this music’s Oriental scales and possibilities for improvisation. Since then the main ingredients of Farmers Market have been a mixture of Bulgarian folk music, jazz standards, pop music and humor."

01. Surfin' Ussr
02. Surfin' Ussr Pt. 2
03. Lodtschitze Mini Maritza (Ferry Cross the Mersey)
04. Anyone Who Remembers Vladiwoodstock Wasn't There!
05. Dissident Harmony Sisters Camel Call
06. To Hell And Baku
07. Traktor Tracks Across The Tundra
08. From Prussia With Love
09. Red Square Dance
10. The Dismantling Of The Soviet Onion Made Us Cry
11. Kalshnikov Wedding
12. Steroid Train Trip
13. Meanwhile Back At The Agricultural Workers Collective
14. Ladyboy's Night At The Cultural Relativism Saloon
15. One Day, Son, All I Own Will Still Belong To The State
16. Yagoda

Stian Carstensen - accordian
Nils-Olav Johansen - guitars, vocals, & banjo
Jarle Vespestad - drums
Trifon Trifonov - saxophone & clarinet
Fin Guttormsen - bass

Link

Ay-Kherel, meaning “ray of moonlight”, was founded in 1994 by master throat-singer Vladimir Serenovich Soyan. Hailing from Tuva, Ay-Kherel performs five different throat-singing styles accompanied by a plethora of traditional instruments. Instruments used include kengirge (drum), limbi (flute), synyi (rattle), shyngyrash (bells), khomus (Jew’s harp), byzaanchy (violin), doshpulur (lute), chanzy (lute), duyug (horse hooves) and igil (violin).

"Perhaps the Tuvan craze in world music is dying down a bit now, more removed from the flurry stirred up by Genghis Blues. There's still a fair bit out there to be heard nonetheless, with groups beyond the well-known Huun Huur Tu and Kongar-ol Ondar. Case in point is this album from Ay-Kherel, a troupe headed by Vladimir Soyan. The album progresses through the obvious khoomei to instrumental pieces and various folk songs, both in solo and ensemble formats. Much of the music is similar to what would be heard on other Tuvan albums, with some exceptions in execution. No one in this troupe is up to the same standards in throat singing as ol-Ondar, but they aren't bad. They don't have the vocal range of some of the old long-song specialists, but they aren't bad (especially Vladimir's daughter Lilya Soyan). They aren't the most virtuosic on the igil or khomuz, but they aren't bad. They're a perfectly good troupe overall, very good generalists as opposed to virtuosic specialists. As such, it makes for a nice primer to the music of Tuva, and a good lead-in for further exploration in the rich music of the locale."

01 - Morgul (Prayer)
02 - Baezhin
03 - Tool (The Story)
04 - Kadarchynyn Yry (Shepherd's Song)
05 - Dyngylday
06 - Eki Attar (The Best Steeds)
07 - Chylgychynyn Yry
08 - Tarlaashkyn
09 - Aldan Maadyr
10 - Igil Solo
11 - Kuda Yry
12 - Khoomei Solov
13 - Khomus Improvisation
14 - Ches-Bulun
15 - Hoyzhu Sugga Baryksaar Men
16 - AA-Shuu, Dekei-Oo
17 - Ezir-Kara
18 - Tyvam Hemneri (The Rivers of Tuva)
19 - Durgen Chugaa
20 - Ugbashkylar
21 - Dagyn Katap Darlatpas Bis
22 - Kozhamyktar

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part 2.

Puerto Muerto's "Your Bloated Corpse Has Washed Ashore!", a nineteen song epic about swashbuckling and harlotry, is niche indie at its best. With a Spanish-folk-guitar-meets-German cabaret sound, the husband and wife duo have enough quasi-historical referances to make arcana-craving hipsters beam. What if Kurt Weill wrote songs for Shane MacGowan? What if Maria Callas covered David Bowie and Brian Wilson produced? What if Leonard Cohen hooked up with the Bulgarian Women's Choir? What if Edith Piaf sang on an Ennio Morricone soundtrack? What if Lydia Mendoza made a record with Tom Waits? What If?


"They dart from near alt-country sounds to sea-faring jigs that'd get heavy play on a jukebox at the bottom of the deep, dark sea, and they laugh out loud at other's grim misfortune. We love that."

"Uniquely smarmy and intelligent acoustic rock that covers everything from alternative country to German cabaret to Spanish folk...Captain Beefheart meets Kurt Weill via Tom Waits"


01. Silver Shoes
02. Jean Lafitte
03. Go Home
04. Blood Red Wine
05. San Pedro
06. Hetta
07. Streets of Marseilles
08. Vidania
09. Crazy Worms
10. Orphans of Stockton
11. Annabelle/Sorrow
12. When I'm Alone
13. Baby
14. Grinding Bones
15. Old Man Song
16. Fricasse
17. Adela
18. So Long

Link

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Winning the BBC World Music Audience Award in 2003.

"Slovenia isn't well a known country, but the growing reputation of this entertaining young band has at least put it on the world music map. They've achieved that largely through tireless gigging since their virtually spontaneous formation at a music festival in 1999.

'I think that the basis of our success is our concerts,' says violinist Bojan Cvetrežnik, who joined clarinet/whistle player Boštjan Gombac and guitarist Danijel Cerne at that fateful gig. 'We are still much better on the stage than on the recordings, and that's why we have always full clubs where we play. They really love our concerts.'

No surprise then that both the albums they've released to date have been recorded at live performances. The line-up is extended on their most recent CD Pulover Ljubezni (Jumper Of Love) by the addition of double bass player Žiga Golob. The players' diverse backgrounds in jazz, classical and even alternative rock is reflected in an eccentric repertoire which they tear through with the virtuosity of seasoned musicians, spiced with a bawdy sense of humour. And the proximity of such varied musical neighbours as Austria, Italy, Romania, Hungary and the Balkan states is not lost on them: 'We have very very different influences here in Slovenia. Maybe that's one reason why we play so different music,' Bojan explains, while also admitting: 'We just play the music we like.'

What they like to play is a mind bogglingly eclectic assortment that includes folk styles as diverse as Klezmer, Gypsy, Irish, Slovenian and even Mexican music, but also extends to pop, rock and classical. One medley manages to include Bach, Led Zeppelin and a Donegal reel.

Purists may baulk at idea of so many roots musics being played by musicians born outside the traditions they are interpreting, but Terra Folk's sincerity and affection for the styles they present is beyond question: 'You don't have to be Jewish to play Klezmer music. You don't have to be a Gypsy to play Gypsy music. Maybe we can't play in the same authentic way, I don't know, but this music is so interesting that it can be played also with other knowledge than just from the real roots. We all love music which is real, authentic, but we don't want to copy the authentic way. We play always with our education, with our knowledge, and what we know about music."

01 Caro Papa
02 Yoshke, Yoshke
03 Kolo
04 Jovano Jovane
05 Hava Nagila
06 Rumenisher Tants
07 Copza Luca
08 Hopkele
09 Der Gassn Nigun
10 Stairway Uberall
11 Stairway Uber Ireland
12 Are We Going To The Moon-
13 Pop medley
14 Ay Chabella
15 Djemper Ljubavi
16 Pub Medley

Link

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A unique project from Fonó Records in Hungary featuring Ágnes Herczku, members of Hegedős, Vándor Vokál and others.
Singer Agnes Herczku and band with an enthralling collection of folk songs from the diverse Hungarian repertory: traditional folk songs, gipsy dances, shepherd's songs, wedding marches and even some drinking songs. Intelligent and inspired music which is articulated around some splendid elaborate vocal harmonies with a significant number of guests. Song topics range from The Wheat Must Ripen to The Tears of Women all of which are eloquently rendered. The instrumentation is precise and effective (violins, percussions, flute, accordion and dulcimer). A complex heritage organized around a talented and impressive group of musicians.

01. Oh, secret love (Folk song from Magyarbőd)
02. It begins secretly (Csárdás from Magyarbőd )
03. So that I don't need paint on my cheeks (Lament and „Hungarian” from Magyarszovát)
04. On the corner of her rosemary pillow (Dawn song and lads' dance from Kalotaszeg)
05. Three nights, three days (Csárdás and swift from Kalotaszeg)
06. Memory of Josko Kura (Bagpipe songs form Zoborvidék)
07. The wheat must grow ripe (Gypsy dance and „orphan song” from Nyirvasvári)
08. I lost my horse (Shepherds' songs for stick dance from Gömör)
09. When I go out to the hill in Daróc (“Hallgató” and melodies from Nagydaróc)
10. „Whose soul is wine” (Drinking songs from Bodrogköz)
11. My sweetheart, you took my sense away (“Oláhos”, csárdás and „fogás” from Bodrogköz)
12. Tears of women (Ruthenian chorovods from Sáros)
13. Huculka (Ruthenian music from Técső)
14. In memoriam Bohumil Hrabal (Wedding march from Jóka)

Fonó Folk Band:
Ágnes Herczku – vocals
Gergely Agócs – vocals, flute, bagpipe, tárogató
Tamás Gombai – vocals, violin
Gábor Szabó – vocals, violin
Sándor D. Tóth – vocals, second violin, viola, guitar, drum
Zsolt Kürtösi – vocals, double-bass, accordion

With the contribution of:
Balázs Unger – dulcimer, little dulcimer

Vándor Vokál band:
Katalin Bakó – vocals
Szilvia Bognár – vocals
Tünde Farkaš – vocals
Katalin Izsák – vocals

Ágnes Szalóki – vocals
Adrienn Buzássy – vocals
Júlia Zsákay – volcals
Ádám Pettik – water can, oral bass

Link

pass: bluesmen-worldmusic.blogspot.com

"The story begins in the Esquilino neighborhood in Rome. An area that revolves around a square with a Roman heart and a multitude of colors: Piazza Vittorio. It is a thoroughfare and hub for various cultures and its atmosphere inspired Mario Tronco to create what many would have liked to accomplish but only he, with the help and tenacity of Agostino Ferrente, had the courage to see to the end, L’Orchestra di Piazza Vittorio.

Many musicians, each one unique in origin, instrument, and musical experience. Together they form an orchestra that plays and reinvents music from all over the world with a visceral energy that audiences take away with them after each concert.

Now, the Orchestra is well-known in Italy and abroad, but in 2002, the year it was created, everything was much more difficult and finding its place in the world of music as well as financial support in order to play was a true undertaking. The only thing that has not changed is the desire to make music and have fun with those who listen to and know how to listen for great new sounds in music."

1. Sona
2. Ena fintidaah’k
3. Fela
4. Helo rama per
5. Laila
6. Balesh Tebsni
7. Ena andi
8. Sandina
9. Vagabondo Soy

Musicians
Houcine Ataa – Tunisia - vocals
Peppe D’Argenzio – Italy – sax – bass clarinet
Evandro Cesar Dos Reis – Brazil – vocals - classical guitar, cavaquinho
Omar Lopez Valle – Cuba - trumpet, flugelhorn
Awalys Ernesto “El Kiri” Lopez Maturell – Cuba - drums, congas, hands, feet, background vocals
John Maida - United States - violin
Eszter Nagypál – Hungary - cello
Gaia Orsoni – Italy - viola
Carlos Paz – Ecuador - vocals, Andean flutes
Pino Pecorelli – Italy - double bass, electric bass
Raul “Cuervo” Scebba – Argentina - marimba, glockenspiel, congas, percussions, background vocals
El Hadji “Pap” Yeri Samb – Senegal - vocals, djembe, dumdum, sabar, shaker
“Kaw” Dialy Mady Sissoko – Senegal - vocals, kora, feet
Giuseppe Smaldino - Italy - French horn
Ziad Trabelsi – Tunisia - vocals, oud
Mario Tronco – Italy – Artistic Director - Fender Rhodes

Link

"One of New York’s most original bands, HAZMAT MODINE delivers a rustic, deliriously Dionysian blend of whorehouse Blues, Reggae, Klezmer, Country and Gypsy-tinged music. The band features the dueling harmonicas of front-man Wade Schuman and his sparring partner Randy Weinstein, funky tuba powerhouse Joseph Daley, guitarists Michael Gomez and Pete Smith, trumpeter Pam Fleming and drummer Rich Huntley. HAZMAT holds down a smoldering groove behind Schuman’s raspy, bluesy voice and passionately energetic stage presence. (Schuman is one of the most dynamic performers on the New York scene). Their playful blend of genres also extends to their use of instrumentation, including the sheng (the ancient Chinese mouth organ), the unique and odd claviola, and sometimes the cimbalom (the Romanian hammered dulcimer). While they play mostly originals, their cover versions are choice and eclectic, including songs by Slim Gaillard, Jimmy Rogers, Jaybird Coleman, and Irving Berlin. Their live show frequently features guest artists from the creme de la creme of the New York music scene, including cult-favorite singer/accordionist Rachelle Garniez, Moonlighters steel guitarist extraordinaire Henry Bogdan and the great cimbalom player Alex Federiouk. With their sly musical wit, expert musicianship and completely unique sound, HAZMAT MODINE has built a wide and devoted following, drawing crowds to shows at venues as diverse as the Knitting Factory, Terra Blues, the Fez and Galapagos Art Space.
The fifteen-track CD presents an ensemble with a Sybil complex of multiple musical personalities. "Yesterday Morning" resembles a New Orleans funeral dirge with a reggae beat. "It Calls Me" melds the Mississippi Delta with Huun-Huur-Tu's Asian-born Tuvan throat singing. The exotic array of instruments includes the Romanian cimbalon, zamponia, Hawaiian steel guitar, electric banjitar, contrabass sax, claviola, and bass marimba. In the hands of lesser musicians this stuff would sound like a mess, but these guys make it work, with dancing diplomacy that would put the U.N. to shame. If this isn't world music, I don't know what is."

01- Yesterday morning
02- It calls me
03- Bahamut
04- Fred of Bellaroy
05- Broke my baby´s heart
06- Almost gone
07- Steadly roll
08- Everybody loves you
09- Lost fox train
10- Dry spell
11- Ugly rug
12- Who walks in hen I walk out!
13- Grade-a Gray day
14- Man trouble
15- Outro

Link

pass: bluesmen-worldmusic.blogspot.com