Gerard Edery's vibrant baritone and highly nuanced guitar arrangements are assisted by oud master George Mgrdichian in this program of passionate Sephardic melodies. A must have for aficionados of Jewish, Spanish and Moorish music. "The world's unquestioned master of the oud." - New York Times
Gerard Edery - vocals, guitar George Mgrdichian - oud, tambourine
1. Avram Avinu (Jerusalem) 2. La Rosa Linda (Turkey) 3. Scalerica De Oro (Salonika) 4. A La Una Yo Naci (Spain) 5. Adio Querida (Sarajevo) 6. Por La Tu Puerta Yo Pazi (Spain) 7. Como La Rosa En La Guerta (Spain) 8. Noches, Noches (Spain) 9. Fel Sharah (Egypt) 10. Una Pastora Yo Ami (Spain) 11. La Rosa Enflorece (Turkey) 12. Avrij Mi Galanika (Salonika)
Gerard Edery's vibrant baritone and highly nuanced guitar arrangements are assisted by oud master George Mgrdichian in this program of passionate Sephardic melodies. A must have for aficionados of Jewish, Spanish and Moorish music. "The world's unquestioned master of the oud." - New York Times
Gerard Edery - vocals, guitar George Mgrdichian - oud, tambourine
1. Avram Avinu (Jerusalem) 2. La Rosa Linda (Turkey) 3. Scalerica De Oro (Salonika) 4. A La Una Yo Naci (Spain) 5. Adio Querida (Sarajevo) 6. Por La Tu Puerta Yo Pazi (Spain) 7. Como La Rosa En La Guerta (Spain) 8. Noches, Noches (Spain) 9. Fel Sharah (Egypt) 10. Una Pastora Yo Ami (Spain) 11. La Rosa Enflorece (Turkey) 12. Avrij Mi Galanika (Salonika)
Shamanimal una deliciosa mezcla de estilos musicales de todo el mundo, por el trío Hadouk:El miembro fundador original del grupo Gong, Didier Malherbe en los instrumentos de viento,Loy Ehrlich en los de cuerda, y Steve Shehan en la percusion. Este trío aventurero de multiinstrumentistas revela nueve temas totalmente diferentes, en la instrumentación, lossonidos, ritmos, melodías en las pistas exquisitas de este CD. Didier ha tocado con diferentes instrumentos de viento (saxo soprano, flauta, clarinete alto, ocarina, la flauta de bambú, ysu último descubrimiento, el doudouk), en gran medida una continuación de su contribución seminal al álbum de "Gong Shamal", el dominio de todos estos instrumentos es fascinante, un verdadero magode los sonidos y las melodías Jazz étnicas.
Tracklist 1 Hadouk Blues 6:13 2 Dragon De Lune 5:03 3 La Course Des Nuages 6:45 4 Shamanimal 9:29 Vocals - Wasis Diop 5 Gopi 6:43 6 Salsa Movar 8:05 Percussion [Kas-kas, Tama] - Pap Dieye 7 Moussa 4:00 8 Peau De Banane 4:22 9 Vegetal Groove
Shamanimal una deliciosa mezcla de estilos musicales de todo el mundo, por el trío Hadouk:El miembro fundador original del grupo Gong, Didier Malherbe en los instrumentos de viento,Loy Ehrlich en los de cuerda, y Steve Shehan en la percusion. Este trío aventurero de multiinstrumentistas revela nueve temas totalmente diferentes, en la instrumentación, lossonidos, ritmos, melodías en las pistas exquisitas de este CD. Didier ha tocado con diferentes instrumentos de viento (saxo soprano, flauta, clarinete alto, ocarina, la flauta de bambú, ysu último descubrimiento, el doudouk), en gran medida una continuación de su contribución seminal al álbum de "Gong Shamal", el dominio de todos estos instrumentos es fascinante, un verdadero magode los sonidos y las melodías Jazz étnicas.
Tracklist 1 Hadouk Blues 6:13 2 Dragon De Lune 5:03 3 La Course Des Nuages 6:45 4 Shamanimal 9:29 Vocals - Wasis Diop 5 Gopi 6:43 6 Salsa Movar 8:05 Percussion [Kas-kas, Tama] - Pap Dieye 7 Moussa 4:00 8 Peau De Banane 4:22 9 Vegetal Groove
Much has been said and written on the art of assembling a good music mix. The “flow,” if you will (the sequence, if you won’t) can place other people’s creations in a context all your own. “Sequential art,” you might call it.
Anyone who’s scanned comics legend R. Crumb’s bio knows about his house full of crackly 78’s. A few moments of dramatic tension in the David Lynch produced documentary Crumb arose from the hassle of shipping said collection to France. The Hot Women compilation serves, on one level, as a mixed CD made for you by your crotchety old pal Bob Crumb, who shares his collection with you. Crumb takes you to school on forgotten pre-rock “world” music, with digressions on his own legendary concept of eros.
The songs are laid out geographically. Crumb begins in the Louisiana bayou, circa 1934, and hikes through Mexico, the Caribbean, South America, Southern Europe, Africa, and finally Asia, Hawaii and Tahiti, picking up only the most crisp, festive, rhythmic proto-pop. Crumb’s punchy, well-researched liner notes don’t always elucidate his personal connections with the songs as much as one might like, but he’s never been the man to explain everything for you.
On another level, the sum of the parts can hang with the whole – as much as anything, it’s cool to have all this stuff in one place. Whether in foreign tongues or in English rendered unintelligible by dialect and sound fidelity, these women’s voices communicate flustered passion, spontaneous absurdity and unqualified joy with an abandoned you don’t get from the Music Industry.
1. "Blues Negres" - Cleoma Breaux Falcon (Lousiana Cajun, 1934) 2. "Mexico en Una Laguna" - Lidya Mendoza y Familia (Mexican, mid-1930s) 3. "El Cacahuatero" - Tona la Negre (Mexican, early 1930s) 4. "Tambor de la Alegria" - Grupo de la Alegria (Cuban, 1928) 5. "Liva" - Leona Gabriel-Soime with A. Kindou Orchestra (French Caribbean, 1932) 6. "Quero Sossego" - Araci Cortes with Brunswick Orcherstra (Brazilian, 1931) 7. "Papa Araucana" - Las Cuatro Huasas (Chilean, early 1930s) 8. "Sevillanas No. 2" - La Nina de Los Peines acomp. by Nino Ricardo (Spanish, 1927) 9. "Lu Fistinu Di Palermo" - Rosina Trubia Gioiosa (Sicilian, 1927) 10. "Mime Stelis Mana Anastin Ameriki" - Rita Abadzi (Greek, mid-1930s) 11. "Arostisa Manoula Mou" - Maria Vasileiathou (Greek, late 1930s) 12. "Guenene Tini" - Cheikha Tetma (Algerian, 1930) 13. "Khraïfi" - Aicha Relizania (Algerian, 1936) 14. "Yama N'Chauf Haja Tegennen" - Julie Marsellaise (Tunisian, 1929) 15. "Neva Hicaz Gazel" - Ayda Sonmez (Turkish, 1946) 16. "Ballali Madja" - Hamsa Khalafe and Alia Atia (African, circa 1950) 17. "Bina Adamu" - Hadija Binti Abdulla (East African/Swahili, early 1930s) 18. "Chant d'Invitation a la Dance" - Badolo, Maboudana (Middle Congo, 1933) 19. "Miverena Rahavana" - Hirain-Drazaivelo, Noforonin-Dratsiambakaina, Christine Zanany (Madagascar, 1931) 20. "Title in Hindustani" - Miss Nilam Bai (Hindustani Indian, 1928) 21. "Title in Burmese" - Yadana Myit (Burmese, early 1930s) 22. "Hat Du" - Co Ba-Thinh, Kham-Thien (Vietnamese, 1930) 23. "Lei E" - Emma Bush with Johnny Noble and his Hawaiian Music (Hawaiian, late 1920s) 24. "Chant D'Amour" - Chants Populaires Tahitens (Tahitians, 1931)
Much has been said and written on the art of assembling a good music mix. The “flow,” if you will (the sequence, if you won’t) can place other people’s creations in a context all your own. “Sequential art,” you might call it.
Anyone who’s scanned comics legend R. Crumb’s bio knows about his house full of crackly 78’s. A few moments of dramatic tension in the David Lynch produced documentary Crumb arose from the hassle of shipping said collection to France. The Hot Women compilation serves, on one level, as a mixed CD made for you by your crotchety old pal Bob Crumb, who shares his collection with you. Crumb takes you to school on forgotten pre-rock “world” music, with digressions on his own legendary concept of eros.
The songs are laid out geographically. Crumb begins in the Louisiana bayou, circa 1934, and hikes through Mexico, the Caribbean, South America, Southern Europe, Africa, and finally Asia, Hawaii and Tahiti, picking up only the most crisp, festive, rhythmic proto-pop. Crumb’s punchy, well-researched liner notes don’t always elucidate his personal connections with the songs as much as one might like, but he’s never been the man to explain everything for you.
On another level, the sum of the parts can hang with the whole – as much as anything, it’s cool to have all this stuff in one place. Whether in foreign tongues or in English rendered unintelligible by dialect and sound fidelity, these women’s voices communicate flustered passion, spontaneous absurdity and unqualified joy with an abandoned you don’t get from the Music Industry.
1. "Blues Negres" - Cleoma Breaux Falcon (Lousiana Cajun, 1934) 2. "Mexico en Una Laguna" - Lidya Mendoza y Familia (Mexican, mid-1930s) 3. "El Cacahuatero" - Tona la Negre (Mexican, early 1930s) 4. "Tambor de la Alegria" - Grupo de la Alegria (Cuban, 1928) 5. "Liva" - Leona Gabriel-Soime with A. Kindou Orchestra (French Caribbean, 1932) 6. "Quero Sossego" - Araci Cortes with Brunswick Orcherstra (Brazilian, 1931) 7. "Papa Araucana" - Las Cuatro Huasas (Chilean, early 1930s) 8. "Sevillanas No. 2" - La Nina de Los Peines acomp. by Nino Ricardo (Spanish, 1927) 9. "Lu Fistinu Di Palermo" - Rosina Trubia Gioiosa (Sicilian, 1927) 10. "Mime Stelis Mana Anastin Ameriki" - Rita Abadzi (Greek, mid-1930s) 11. "Arostisa Manoula Mou" - Maria Vasileiathou (Greek, late 1930s) 12. "Guenene Tini" - Cheikha Tetma (Algerian, 1930) 13. "Khraïfi" - Aicha Relizania (Algerian, 1936) 14. "Yama N'Chauf Haja Tegennen" - Julie Marsellaise (Tunisian, 1929) 15. "Neva Hicaz Gazel" - Ayda Sonmez (Turkish, 1946) 16. "Ballali Madja" - Hamsa Khalafe and Alia Atia (African, circa 1950) 17. "Bina Adamu" - Hadija Binti Abdulla (East African/Swahili, early 1930s) 18. "Chant d'Invitation a la Dance" - Badolo, Maboudana (Middle Congo, 1933) 19. "Miverena Rahavana" - Hirain-Drazaivelo, Noforonin-Dratsiambakaina, Christine Zanany (Madagascar, 1931) 20. "Title in Hindustani" - Miss Nilam Bai (Hindustani Indian, 1928) 21. "Title in Burmese" - Yadana Myit (Burmese, early 1930s) 22. "Hat Du" - Co Ba-Thinh, Kham-Thien (Vietnamese, 1930) 23. "Lei E" - Emma Bush with Johnny Noble and his Hawaiian Music (Hawaiian, late 1920s) 24. "Chant D'Amour" - Chants Populaires Tahitens (Tahitians, 1931)
Jim Matus, guitarist/composer of the critically acclaimed band PARANOISE, has created a new band, MAWWAL. This is a further refinement of Matusâ unique world fusion style. MAWWAL is long established and highly acclaimed on the New England club and festival circuit. MAWWAL performs both original music and arrangements of traditional Middle Eastern music in a spirited and beautiful trance-inducing ensemble. Inventive vocal arrangements in English and Arabic weave through the laouto (Greek lute) and violin, augmented by traditional percussion (tabla, dumbek, frame drum, riq) in what has been called a "new genre" by Progression Magazine. Throughout the Middle East "Mawwal" is a form of popular music that often criticizes society and is performed through improvisation.
Featured prominently on bass is Percy Jones (Brand X, Brian Eno, David Sylvian, Tunnels). The record also contains two previously unreleased songs, featuring legendary Qawwali singer Nusrat Fateh Ali Khan (tracks 2 and 6).
"We were given permission to use these tracks by the lawyer for Nusrat's estate. I isolated the vocal and wrote totally new music around his voice, creating an original and smooth blend of the Mawwal band and the beautiful voice of this great master." (Jim Matus) "For fans of Peter Gabrielâs brand of world music, Mawwal should be the next step, as this is the most advanced fusion of Middle Eastern and western progressive music weâve heard." -Kenisis "Inspired by musicians like Peter Gabriel, Karsh Kale, Nusrat Fateh Ali Khan, and Hamza el Din, Mawwal takes world music in an entirely new direction.â (Sheryl Hunter, critic, The Recorder, Greenfield, MA)
1 Tara Torna 2 Pyar Ka Diya 3 Jackals Wedding 4 Yurodivy 5 Black Flies 6 Ae Jane Man 7 Haq Ali 8 Ya Gamar 9 Big Machine
Jim Matus, guitarist/composer of the critically acclaimed band PARANOISE, has created a new band, MAWWAL. This is a further refinement of Matusâ unique world fusion style. MAWWAL is long established and highly acclaimed on the New England club and festival circuit. MAWWAL performs both original music and arrangements of traditional Middle Eastern music in a spirited and beautiful trance-inducing ensemble. Inventive vocal arrangements in English and Arabic weave through the laouto (Greek lute) and violin, augmented by traditional percussion (tabla, dumbek, frame drum, riq) in what has been called a "new genre" by Progression Magazine. Throughout the Middle East "Mawwal" is a form of popular music that often criticizes society and is performed through improvisation.
Featured prominently on bass is Percy Jones (Brand X, Brian Eno, David Sylvian, Tunnels). The record also contains two previously unreleased songs, featuring legendary Qawwali singer Nusrat Fateh Ali Khan (tracks 2 and 6).
"We were given permission to use these tracks by the lawyer for Nusrat's estate. I isolated the vocal and wrote totally new music around his voice, creating an original and smooth blend of the Mawwal band and the beautiful voice of this great master." (Jim Matus) "For fans of Peter Gabrielâs brand of world music, Mawwal should be the next step, as this is the most advanced fusion of Middle Eastern and western progressive music weâve heard." -Kenisis "Inspired by musicians like Peter Gabriel, Karsh Kale, Nusrat Fateh Ali Khan, and Hamza el Din, Mawwal takes world music in an entirely new direction.â (Sheryl Hunter, critic, The Recorder, Greenfield, MA)
1 Tara Torna 2 Pyar Ka Diya 3 Jackals Wedding 4 Yurodivy 5 Black Flies 6 Ae Jane Man 7 Haq Ali 8 Ya Gamar 9 Big Machine
Este disco recoge canciones religiosas de la comunidad judía de Montpellier.Dirigida por Pierre-Luc Ben Soussan, ha creado un grupo musical "Naguila" para tocar el vivo legado de este rico patrimonio. Dos años después del primer concierto, la banda lanzó este disco Naguila-Chants Mistiques Sefarades. Entrevista
1 Rahamekha 2 Samaï Al Bayati/Lekha Dodi 3 Lakel Acher Sabbath 4 Ki Echmera Chabbat 5 Taksim de Violon (Instrumental) 6 Ysmah Hatani 7 La Chira 8 Yodoukha R'ayona 9 Achorer Chira 10 Taksim d'Oud (Instrumental) 11Lakhem 12 Kadouk Al Mayas (Instrumental)
Este disco recoge canciones religiosas de la comunidad judía de Montpellier.Dirigida por Pierre-Luc Ben Soussan, ha creado un grupo musical "Naguila" para tocar el vivo legado de este rico patrimonio. Dos años después del primer concierto, la banda lanzó este disco Naguila-Chants Mistiques Sefarades. Entrevista
1 Rahamekha 2 Samaï Al Bayati/Lekha Dodi 3 Lakel Acher Sabbath 4 Ki Echmera Chabbat 5 Taksim de Violon (Instrumental) 6 Ysmah Hatani 7 La Chira 8 Yodoukha R'ayona 9 Achorer Chira 10 Taksim d'Oud (Instrumental) 11Lakhem 12 Kadouk Al Mayas (Instrumental)
The whimsical name of the group belies the fact that these musicians play hard, fast, and serious. There’s nothing fishy about them. In fact, there’s no slouching or mannered excesses, as Fishtank Ensemble comes armed, loaded and ready to serve you up a platter of intense nearly cosmic gypsy music. Their latest CD release, Samurai Over Serbia, samples the global plain that is the group’s playing field. Like the gypsies, it crosses borders, villages, continents, and time periods showcasing the varied instrumental prowess of each member and the extreme range of vocalist, Ursula Knudson who also can double up on violin, banjolele and the musical saw.
The recording further exemplifies the variety of music that Fishtank covers which was demonstrated in their first independent album, Super Raoul. Although both recordings have many high points, there is no substitute for seeing them perform on stage. Each member possesses both personal instrumental talent and a strong connection to the other members of the ensemble. The high energy act is both fluid and dynamic with speed and timing a key element to the often complex arrangements of songs. If you’re not hypnotized by the singing and beauty of chanteuse, Ursula Knudson, you’re trying to absorb the panorama of these fishes soloing or weaving in and out of each other’s musical runs.
On Samurai Over Serbia, traditional eastern European, gypsy jazz, klezmer and original tunes are arranged to fit the ensemble’s unconventional, but imaginative sound. Violinist, Fabrice Martinez, spearheads most tunes with his dazzling gypsy bowings. The added mystique is the inclusion of a bonus track, Yasaburpo Bush, that highlights the shamisen playing of Mike Penny. Although many would believe that a Japanese string instrument in an eastern European flavored band would run counterpoint to anyone’s rational thinking, here amongst the innovative arrangements, the instrument fits in nicely and is neither stark or obtrusive. The title tune gives proof of the iconic instrument and the inventive interpretation that make it fit. Penny’s distinctive soloing rides above the ensemble layering while Martinez plays with fiery passion and Knudson trills the scales almost eerily across the gypsy jam.
Although you can’t see the stunning Ursula Knudson, she gets her point across vocally, on Tchavo. Since octave limitations don’t seem to occur in her wide open register, she can skyrocket to stemware breaking range on any given song, but is all style and grace in a smoldering reading of this song. Spirit Prison allows her to channel a little Billie Holiday and scat above the shamisen pickings and her own “saw” bending strokes. Kurt Weill’s dreamy Havana-style tango, Youkali comes alive with her utilizing a true operatic soprano, accompanied by Seeman’s punchy accordion, underscoring the melody.
The rest of the band are no slouches and guitarist, el Douje, a.k.a. Douglas Smolens, acquits himself nicely on the flamenco-flavored Gitanos Californeros. This homage to guitar great Paco de Lucia, showcases the deft touch of el Douje and his inspired playing on this carefully crafted song.
The oft rainbow-tressed Aaron Seeman, who may appear quite the eccentric in person is in fact a demon on the piano accordion and gives credence to this acclaim on nearly every tune on the CD and provides the arrangement for a peppy “Turkish March”, a Mozart composition, where an authoritative rendering is displayed by all players. The response to an earlier Super Raou track entitled, Itty Bitty Snitty Little Frenchman, appears here in a Seeman penned tune called, Extremely Large Congenial Romanian. With its Balkan flavoring and waltz to near polka beat, the song though humorous in title, clearly demonstrates the adept playing of Seeman and some tasty sawing again by Knudson.
Since you can’t have them in your aquarium every Saturday night, find this CD and imagine their fingers flying and Ursula’s vocals soaring just for you, right there in your own private octopus’ garden.
On Samurai Over Serbia, Fishtank Ensemble is:
Fabrice Martinez - Violin and Violomba Ursula Knudson - Vocals, Violin, Musical Saw, Banjolele, Percussion Douglas Smolens (el Douje) - Guitar Aaron Seeman (Duckmandu)- accordion Djordje Stijepovic: Upright Bass Andy Zacharias - Upright Bass Mike Penny- Tsuguru Shamisen, guitar Kevin Kmetz- additional Shamisen, guitar
1. Saraiman 2. Turkish March 3. Tchavo 4. Face the Dragon 5. Gitanos Californeros 6. Spirit Prison 7. Fraima 8. Youkali 9. Ezraoul 10. Mehum Mato 11. Samurai Over Serbia 12. Extremely Large Congenial Romanian 13. Yasaburo Bushi Continued
The whimsical name of the group belies the fact that these musicians play hard, fast, and serious. There’s nothing fishy about them. In fact, there’s no slouching or mannered excesses, as Fishtank Ensemble comes armed, loaded and ready to serve you up a platter of intense nearly cosmic gypsy music. Their latest CD release, Samurai Over Serbia, samples the global plain that is the group’s playing field. Like the gypsies, it crosses borders, villages, continents, and time periods showcasing the varied instrumental prowess of each member and the extreme range of vocalist, Ursula Knudson who also can double up on violin, banjolele and the musical saw.
The recording further exemplifies the variety of music that Fishtank covers which was demonstrated in their first independent album, Super Raoul. Although both recordings have many high points, there is no substitute for seeing them perform on stage. Each member possesses both personal instrumental talent and a strong connection to the other members of the ensemble. The high energy act is both fluid and dynamic with speed and timing a key element to the often complex arrangements of songs. If you’re not hypnotized by the singing and beauty of chanteuse, Ursula Knudson, you’re trying to absorb the panorama of these fishes soloing or weaving in and out of each other’s musical runs.
On Samurai Over Serbia, traditional eastern European, gypsy jazz, klezmer and original tunes are arranged to fit the ensemble’s unconventional, but imaginative sound. Violinist, Fabrice Martinez, spearheads most tunes with his dazzling gypsy bowings. The added mystique is the inclusion of a bonus track, Yasaburpo Bush, that highlights the shamisen playing of Mike Penny. Although many would believe that a Japanese string instrument in an eastern European flavored band would run counterpoint to anyone’s rational thinking, here amongst the innovative arrangements, the instrument fits in nicely and is neither stark or obtrusive. The title tune gives proof of the iconic instrument and the inventive interpretation that make it fit. Penny’s distinctive soloing rides above the ensemble layering while Martinez plays with fiery passion and Knudson trills the scales almost eerily across the gypsy jam.
Although you can’t see the stunning Ursula Knudson, she gets her point across vocally, on Tchavo. Since octave limitations don’t seem to occur in her wide open register, she can skyrocket to stemware breaking range on any given song, but is all style and grace in a smoldering reading of this song. Spirit Prison allows her to channel a little Billie Holiday and scat above the shamisen pickings and her own “saw” bending strokes. Kurt Weill’s dreamy Havana-style tango, Youkali comes alive with her utilizing a true operatic soprano, accompanied by Seeman’s punchy accordion, underscoring the melody.
The rest of the band are no slouches and guitarist, el Douje, a.k.a. Douglas Smolens, acquits himself nicely on the flamenco-flavored Gitanos Californeros. This homage to guitar great Paco de Lucia, showcases the deft touch of el Douje and his inspired playing on this carefully crafted song.
The oft rainbow-tressed Aaron Seeman, who may appear quite the eccentric in person is in fact a demon on the piano accordion and gives credence to this acclaim on nearly every tune on the CD and provides the arrangement for a peppy “Turkish March”, a Mozart composition, where an authoritative rendering is displayed by all players. The response to an earlier Super Raou track entitled, Itty Bitty Snitty Little Frenchman, appears here in a Seeman penned tune called, Extremely Large Congenial Romanian. With its Balkan flavoring and waltz to near polka beat, the song though humorous in title, clearly demonstrates the adept playing of Seeman and some tasty sawing again by Knudson.
Since you can’t have them in your aquarium every Saturday night, find this CD and imagine their fingers flying and Ursula’s vocals soaring just for you, right there in your own private octopus’ garden.
On Samurai Over Serbia, Fishtank Ensemble is:
Fabrice Martinez - Violin and Violomba Ursula Knudson - Vocals, Violin, Musical Saw, Banjolele, Percussion Douglas Smolens (el Douje) - Guitar Aaron Seeman (Duckmandu)- accordion Djordje Stijepovic: Upright Bass Andy Zacharias - Upright Bass Mike Penny- Tsuguru Shamisen, guitar Kevin Kmetz- additional Shamisen, guitar
1. Saraiman 2. Turkish March 3. Tchavo 4. Face the Dragon 5. Gitanos Californeros 6. Spirit Prison 7. Fraima 8. Youkali 9. Ezraoul 10. Mehum Mato 11. Samurai Over Serbia 12. Extremely Large Congenial Romanian 13. Yasaburo Bushi Continued
Makám's music can be seen as a specialized branch of today's music with its own eclecticism. It is characterized by a synthesis of different organizational of forms, a special cohesion of influences of different kinds of musical inspiration and the result of studying contemporary music, archaic traditional music as well as the spontaneous improvisation of free music.
Makam was formed in 1984 with the purpose of establishing a peculiar form of community playing music, a special synthesis of harmonies, trying to show the common characteristics belonging together in music cultures of different peoples and contrasting musical forms
Musicians: Krulik Zoltán - piano, acoustic guitar Grencsó István - soprano and alto sax Thurnay Balázs - kaval, udu, voice Krulik Eszter - violin Krulik Zoltan - synthesizer, voice Horvath Balázs - double bass Gyulai Csaba - percussion Composed by Zoltán Krulik
1. Mennyei Szep Hajnal (5'19") 2. Hajdam Reg (6'22") 3. O Jon A Szanon (4'29") 4. Hull A Tel Haja (6'11") 5. Magnificat (4'22") 6. O Jojj, O Jojj (6'16") 7. Foldbol lettunk (5'48") 8. Mikor A Messias (4'10") 9. Hajda Szelben (4'40")
Makám's music can be seen as a specialized branch of today's music with its own eclecticism. It is characterized by a synthesis of different organizational of forms, a special cohesion of influences of different kinds of musical inspiration and the result of studying contemporary music, archaic traditional music as well as the spontaneous improvisation of free music.
Makam was formed in 1984 with the purpose of establishing a peculiar form of community playing music, a special synthesis of harmonies, trying to show the common characteristics belonging together in music cultures of different peoples and contrasting musical forms
Musicians: Krulik Zoltán - piano, acoustic guitar Grencsó István - soprano and alto sax Thurnay Balázs - kaval, udu, voice Krulik Eszter - violin Krulik Zoltan - synthesizer, voice Horvath Balázs - double bass Gyulai Csaba - percussion Composed by Zoltán Krulik
1. Mennyei Szep Hajnal (5'19") 2. Hajdam Reg (6'22") 3. O Jon A Szanon (4'29") 4. Hull A Tel Haja (6'11") 5. Magnificat (4'22") 6. O Jojj, O Jojj (6'16") 7. Foldbol lettunk (5'48") 8. Mikor A Messias (4'10") 9. Hajda Szelben (4'40")
Justo cuando se cumplieron veinte años de que pisara por primera vez los escenarios, y después de la fantástica gira que ofreció el año pasado junto con Estrella Morente, Dulce Pontes regresó en 2009 a sus raíces y a los escenarios para ofrecernos un regalo muy especial: un nuevo espectáculo que llevó por título el mismo que su último proyecto discográfico, ‘Momentos’.
En este nuevo trabajo, Dulce conmemora de alguna manera esas dos décadas de carrera artística, en las que se ha dedicado por completo a ‘servir a la música’.
Como su mismo nombre indica, ‘Momentos’ es una recopilación de esos instantes especiales vividos en los escenarios a lo largo de todo este tiempo, momentos únicos e irrepetibles, en los que por supuesto encontraremos versiones de algunos de sus temas más conocidos, pero donde también podremos disfrutar de temas inéditos, que en su momento quedaron guardados en algún cajón y que ahora verán por fin la luz. Una auténtica joya!
En este fantástico viaje, Dulce nos invita a hacer un recorrido por gran cantidad de tierras, hasta donde ella misma ha llevado el alma portuguesa con gran cariño y pasión, y en las que a su vez ha sabido enriquecerse de muchísimos músicos y estilos, experimentando y creciendo siempre como artista, como ha hecho desde sus comienzos, sin olvidar nunca sus raíces portuguesas y el fado.Dulce Pontes ocupa sin duda un espacio propio en la historia de Portugal.
Justo cuando se cumplieron veinte años de que pisara por primera vez los escenarios, y después de la fantástica gira que ofreció el año pasado junto con Estrella Morente, Dulce Pontes regresó en 2009 a sus raíces y a los escenarios para ofrecernos un regalo muy especial: un nuevo espectáculo que llevó por título el mismo que su último proyecto discográfico, ‘Momentos’.
En este nuevo trabajo, Dulce conmemora de alguna manera esas dos décadas de carrera artística, en las que se ha dedicado por completo a ‘servir a la música’.
Como su mismo nombre indica, ‘Momentos’ es una recopilación de esos instantes especiales vividos en los escenarios a lo largo de todo este tiempo, momentos únicos e irrepetibles, en los que por supuesto encontraremos versiones de algunos de sus temas más conocidos, pero donde también podremos disfrutar de temas inéditos, que en su momento quedaron guardados en algún cajón y que ahora verán por fin la luz. Una auténtica joya!
En este fantástico viaje, Dulce nos invita a hacer un recorrido por gran cantidad de tierras, hasta donde ella misma ha llevado el alma portuguesa con gran cariño y pasión, y en las que a su vez ha sabido enriquecerse de muchísimos músicos y estilos, experimentando y creciendo siempre como artista, como ha hecho desde sus comienzos, sin olvidar nunca sus raíces portuguesas y el fado.Dulce Pontes ocupa sin duda un espacio propio en la historia de Portugal.
Edmar Castaneda was born in 1978, in the city of Bogota, Colombia. Since his move to the United States in 1994, Edmar has quite literally taken New York and the world stage by storm with the sheer force of his virtuosic command of the harp--revolutionizing the way audiences and critics alike consider an instrument commonly relegated to the “unusual category”. A master at realizing beautiful complexities of time, while skillfully drawing out lush colors and dynamic spirit, Edmar has been characterized as “almost a world unto himself” (The New York Times).
Edmar’s new disc, Entre Cuerdas, has caught the attention of reviewers and his burgeoning legion of fans. This new recording, which features Marshall Gilkes (trombone) and Dave Silliman (drums, percussion) as well as special guests Joe Locke (vibes), John Scofield (guitar), Andrea Tierra (vocals) and Samuel Torres (cajon), is his second as a leader, and also marks his ArtistShare debut. ...it’s hard to imagine the Colombian musician has much contemporary competition. That the harp sounds so natural in this context makes you wonder why so few have thought to utilize this many-stringed instrument as a viable lead instrument…”Jesus de Nazareth” ...is all Castaneda, an expression of regality that’s warm and tingly but appropriately spiritual, too.
Edmar Castaneda was born in 1978, in the city of Bogota, Colombia. Since his move to the United States in 1994, Edmar has quite literally taken New York and the world stage by storm with the sheer force of his virtuosic command of the harp--revolutionizing the way audiences and critics alike consider an instrument commonly relegated to the “unusual category”. A master at realizing beautiful complexities of time, while skillfully drawing out lush colors and dynamic spirit, Edmar has been characterized as “almost a world unto himself” (The New York Times).
Edmar’s new disc, Entre Cuerdas, has caught the attention of reviewers and his burgeoning legion of fans. This new recording, which features Marshall Gilkes (trombone) and Dave Silliman (drums, percussion) as well as special guests Joe Locke (vibes), John Scofield (guitar), Andrea Tierra (vocals) and Samuel Torres (cajon), is his second as a leader, and also marks his ArtistShare debut. ...it’s hard to imagine the Colombian musician has much contemporary competition. That the harp sounds so natural in this context makes you wonder why so few have thought to utilize this many-stringed instrument as a viable lead instrument…”Jesus de Nazareth” ...is all Castaneda, an expression of regality that’s warm and tingly but appropriately spiritual, too.
Exuberante instrumentación en la interpretación de melodías populares evocadoras de una zona geográfica que cubre Turquía y Armenia hasta llegar a Andalucía España. Guitarra, flauta, saxo y violín, marcada por medio de ritmos orientales y sazonados con influencias de jazz y rock - exuberancia junto con la moderación. Para el amante de la world music, un álbum completo, creado con la atención a cada detalle influidos por la música de Baba Zula, the Mermen, Dick Dale, Omar Faruk Tekbilek, Jose Luis Monton, Souad Massi, Glykeria.
1 La Roza Linda 2 Jste Bendik 3 Flute Taqsim 4 Deceived 5 Los Bilbilicos 6 Lake of Clouds 7 Shashkin 8 Twilight on the Nile 9 Noches 10 Violin Aire 11 Dance of the Tamir Agha 12 Veil Dance 13 Adio 14 Syrinx 15 Flute Taqsim Remix
Exuberante instrumentación en la interpretación de melodías populares evocadoras de una zona geográfica que cubre Turquía y Armenia hasta llegar a Andalucía España. Guitarra, flauta, saxo y violín, marcada por medio de ritmos orientales y sazonados con influencias de jazz y rock - exuberancia junto con la moderación. Para el amante de la world music, un álbum completo, creado con la atención a cada detalle influidos por la música de Baba Zula, the Mermen, Dick Dale, Omar Faruk Tekbilek, Jose Luis Monton, Souad Massi, Glykeria.
1 La Roza Linda 2 Jste Bendik 3 Flute Taqsim 4 Deceived 5 Los Bilbilicos 6 Lake of Clouds 7 Shashkin 8 Twilight on the Nile 9 Noches 10 Violin Aire 11 Dance of the Tamir Agha 12 Veil Dance 13 Adio 14 Syrinx 15 Flute Taqsim Remix
Caminhos, su cuarto CD, fue lanzado en 1996. Caminhos contiene temas clásicos como "Fado Português", "Gaivota" e "Mãe Preta", interpretados con gran proeza, así como composiciones originales. La crítica lo consideró un disco más maduro y mejor que Lágrimas (el segundo). Los arreglos eran más armoniosos y menos radicales. Este disco consolidó la posición de Dulce Pontes como una gran fadista, pero también dio a entender que nunca sería solamente una fadista. Dulce estaba interesada en ser una artista versátil, heterogénea, que no duda en traspasar las fronteras de varios géneros musicales.
1. O infante 2. Mãe preta 3. Fado português 4. Gaivota 5. Catedral de Lisboa 6. Lela (con Carlos Núñez) 7. Meu Alentejo 8. Senhora do almortão (popular) 9. Verdes anos 10. Cantiga da terra 11. Filho azul 12. Hora de fechar 13. Ferreiro 14. A ilha do meu fado 15. Porto
Caminhos, su cuarto CD, fue lanzado en 1996. Caminhos contiene temas clásicos como "Fado Português", "Gaivota" e "Mãe Preta", interpretados con gran proeza, así como composiciones originales. La crítica lo consideró un disco más maduro y mejor que Lágrimas (el segundo). Los arreglos eran más armoniosos y menos radicales. Este disco consolidó la posición de Dulce Pontes como una gran fadista, pero también dio a entender que nunca sería solamente una fadista. Dulce estaba interesada en ser una artista versátil, heterogénea, que no duda en traspasar las fronteras de varios géneros musicales.
1. O infante 2. Mãe preta 3. Fado português 4. Gaivota 5. Catedral de Lisboa 6. Lela (con Carlos Núñez) 7. Meu Alentejo 8. Senhora do almortão (popular) 9. Verdes anos 10. Cantiga da terra 11. Filho azul 12. Hora de fechar 13. Ferreiro 14. A ilha do meu fado 15. Porto
Kayes is situated on the Bamako-Dakar railway line in north-western Mali, just near the Senegalese border. The town is a regional capital, one of Mali's eight administrative areas. Shortly after independence Mali adopted a cultural policy which stipulated that a local orchestra must represent each region, hence the Kayes orchestra. Each year the orchestras would compete at the national arts festivals. Commencing in 1962, these "semaines" were held annually until the coup of 1968, whereafter they were held bi-annually and were known as the Biennales. At the arts festivals the Regional Orchestra of Kayes would compete against the other orchestras from Ségou, Tombouctou, Sikasso, Mopti, Gao, Koulikoro and Bamako for the championship prize. The above LP represents the orchestra's only recording - on the excellent Bärenreiter-Musicaphon series. It is a travesty that with the exception of a few tracks on the double-CD "Musiques du Mali vols 1 & 2" these seminal LPs have never been released on CD. They represent some of the finest modern music to have been recorded in West Africa. The Kayes orchestra were particularly outstanding, with arresting, searing guitar solos performed on classic Mandé songs such as "Duga" and "Malisajo". Some of the regional orchestras, such as those from Tombouctou, Gao and Koulikouro, missed out on being released through the Bärenreiter-Musicaphon series, but were recorded by Radio Mali, so there is certainly incentive for a wonderful series of re-issues...[Graeme Counsel]
"A haunting batch of tracks from early 70s Mali -- performed by the young Orchestre Regional De Kayes -- and recorded with a nicely rootsy feel! Instrumentation is heavy on percussion, but also features some key saxophone passages -- played with almost a voice-like quality at times, in ways that really offset the soulful lead vocals from Toure, the singer of the group. The album's got little else in the way of notes, but the music itself is more than enough -- hypnotically rhythmic tracks that often have an undercurrent of melancholy, but none of the bluesy cliches that usually represent this sort of music on the mainstream scene. "
Kayes is situated on the Bamako-Dakar railway line in north-western Mali, just near the Senegalese border. The town is a regional capital, one of Mali's eight administrative areas. Shortly after independence Mali adopted a cultural policy which stipulated that a local orchestra must represent each region, hence the Kayes orchestra. Each year the orchestras would compete at the national arts festivals. Commencing in 1962, these "semaines" were held annually until the coup of 1968, whereafter they were held bi-annually and were known as the Biennales. At the arts festivals the Regional Orchestra of Kayes would compete against the other orchestras from Ségou, Tombouctou, Sikasso, Mopti, Gao, Koulikoro and Bamako for the championship prize. The above LP represents the orchestra's only recording - on the excellent Bärenreiter-Musicaphon series. It is a travesty that with the exception of a few tracks on the double-CD "Musiques du Mali vols 1 & 2" these seminal LPs have never been released on CD. They represent some of the finest modern music to have been recorded in West Africa. The Kayes orchestra were particularly outstanding, with arresting, searing guitar solos performed on classic Mandé songs such as "Duga" and "Malisajo". Some of the regional orchestras, such as those from Tombouctou, Gao and Koulikouro, missed out on being released through the Bärenreiter-Musicaphon series, but were recorded by Radio Mali, so there is certainly incentive for a wonderful series of re-issues...[Graeme Counsel]
"A haunting batch of tracks from early 70s Mali -- performed by the young Orchestre Regional De Kayes -- and recorded with a nicely rootsy feel! Instrumentation is heavy on percussion, but also features some key saxophone passages -- played with almost a voice-like quality at times, in ways that really offset the soulful lead vocals from Toure, the singer of the group. The album's got little else in the way of notes, but the music itself is more than enough -- hypnotically rhythmic tracks that often have an undercurrent of melancholy, but none of the bluesy cliches that usually represent this sort of music on the mainstream scene. "
Acoustic Alchemy es una banda contemporánea de música instrumental y smooth jazz formada en Inglaterra en 1981. Originalmente compuesta por los guitarristas Nick Webb y Simon James. Actualmente la banda está compuesta por Greg Carmichael y Miles Gilderdale.
Acoustic Alchemy es una banda contemporánea de música instrumental y smooth jazz formada en Inglaterra en 1981. Originalmente compuesta por los guitarristas Nick Webb y Simon James. Actualmente la banda está compuesta por Greg Carmichael y Miles Gilderdale.
Kevin, nació en Alaska (sí, en Fairbanks), pero se crió en la Argentina desde los 12 años. De madre argentina y padre norteamericano, tuvo un breve paso por el rock local con Instrucción Cívica ("Obediencia Debida", grabado en el '85, con el cual logró un disco de oro en Perú!).
Su tercer disco es “City Zen”. Según sus propias palabras se trata de “aguantar la vorágine de la ciudad donde la música siempre está presente”. La música funciona como el Zen de la ciudad, y el disco refleja el espíritu urbano de las muchas ciudades donde Kevin vivió a lo largo de su vida.
Kevin, nació en Alaska (sí, en Fairbanks), pero se crió en la Argentina desde los 12 años. De madre argentina y padre norteamericano, tuvo un breve paso por el rock local con Instrucción Cívica ("Obediencia Debida", grabado en el '85, con el cual logró un disco de oro en Perú!).
Su tercer disco es “City Zen”. Según sus propias palabras se trata de “aguantar la vorágine de la ciudad donde la música siempre está presente”. La música funciona como el Zen de la ciudad, y el disco refleja el espíritu urbano de las muchas ciudades donde Kevin vivió a lo largo de su vida.
