Go, Little Goat...

   

Veronika Povilionienė, Petras Vyšniauskas 

Išlėk, Sakale [Fly, Falcon, Fly]

1993

Tracks:

01. Islek, sakale... (Fly, Falcon...) [06:14]
02. Bliuzas (Blues) [03:56]
03. Vai tu dziemed... (Oh, You Wormwood...) [02:45]
04. Sutartine [04:24]
05. Eik, ozeli (Go, Little Goat...) [05:22]
06. Lek gervele (A Crane Is Flying...) [03:14]
07. Kad jau saulute (Cause The Sun...) [04:44]
08. Sutems tamsi (Dark Night Is Coming...) [06:38]
09. Sutartine (Lament) [03:50]
10. Rauda [01:43]
11. Ein motuse (Mother Is Going...) [03:07]

Recorded in Vilnius, Lithuania in 1992.

Soprano Saxophone, Bass Clarinet – Petras Vyšniauskas
Vocals – Veronika Povilionienė
 Backing Vocals – Juozas Bakutis, Valdas Matulis, Vilmantė Liubinienė, Virgilijus Liubinas, Virginijus Meškinis, Vita Matulienė, Zina Stirneckaitė

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

This duo of first class musicians has been well-known for over a decade. Veronika Povilionienė is the most famous Lithuanian folk singer with a career spanning more than 40 years. She is always creatively challenging herself by engaging in various projects with jazz, pop, and rock musicians. Petras Vyšniauskas has made his mark as a top saxophonist, well-known for his masterful jazz and contemporary music interpretations. Their innovative, freely breathing songs are a beautiful mix of folk music sensibility and modern classical virtuosity.

Ugnius Liogė

Veronika Povilionienė, the most famous performer of Lithuanian folk songs, has become a symbol of national culture. Originally from Dzūkija, the singer has inherited the tradition from the old singers of this region. Veronika Povilionienė's voice is strong and evocative; it reveals, with expression, the extraordinary beauty of the Dzūkian monodic songs, their modes and melodic turns. Apart from abundant solo performances and recordings, the singer frequently gives concerts with the folk ensemble Blezdinga and the ensemble of Indian classical music Lyla. The singer is also famous for her collaborations with jazz musicians and contemporary classical composers (saxophonist Petras Vyšniauskas, composers Vidmantas Bartulis and Bronius Kutavičius), other renowned artists, poets and film directors. One of her most notable recent projects is the program of historic and war songs Kada sūneliai sugrįš (When Our Sons Come Back), arranged by the composer Giedrius Svilainis and recorded with the Lithuanian Armed Forces’ Honour Guard Band.

  

  
"Soprano saxophonist Petras Vysniauskas, a Lithuanian, is I believe one of the most profoundly original musicians concentrating on that instrument -- his jagged phrases expanded on determinedly original intervals and his sound is powerful -- stronger and more pointed than Sam River's has become, for instance, more densely concentrated than the late Steve Lacy's, if not polyphonic in the manner of Evan Parker." - Howard Mandel, NYC, USA, 2007

"... Petras Vysniauskas is one of the best soprano saxists we've heard in many years ... " - Bruce Gallanter, Downtown Music Gallery, NYC, 2006

"Something of the rugged beauty of the Lithuanian countryside and the passion of many of his fellow countrymen has been breathed into his music. For me Petras Vysniauskas' music remains unforgettable because of his clear, individual concept. The use of themes from traditional folk music is one facet of this saxophonist, who reflects both the modern development in jazz and the sound idioms of the new and latest improvised and composed music. However, as he himself says, his feeling for folk music is part of his musical identity. And he adds: "In Lithuanian folk songs I hear echoes of John Coltrane; I try to combine this with the free form of expression offered by modern jazz". (Bert Noglik/1990) 

♥+♥

And A Fine Wind Blows From Afar...

ΑΝΝΑ ΚΑΡΑΜΠΕΣΙΝΗ - ΕΦΗ ΣΑΡΡΗ

ΝΗΣΙΩΤΙΚΑ ΤΡΑΓΟΥΔΙΑ Ν.1
Anna Karampesini - Efi Sarri

Nisiotika tragoydia 1

Tracks:

01. Η ΒΡΑΚΑ
02. ΜΕΣ ΣΤΗΝ ΞΕΝΙΤΕΙΑ ΓΥΡΙΖΩ
03. ΕΝΑΣ ΠΕΤΕΙΝΟΣ
04. ΒΑΡΚΑ ΘΕΛΩ Ν'ΑΡΜΑΤΩΣΩ
05. ΟΛΟΙ ΜΕ ΒΛΕΠΟΥΝ ΚΙ ΑΠΟΡΟΥΝ
06. ΒΑΛΕΡ ΠΛΩΡΗ ΣΤΑ ΝΗΣΙΑ
07. ΟΜΠΙ ΟΜΠΙ ΜΠΙ
08. ΤΗΣ ΘΑΛΑΣΣΑΣ ΦΩΝΑΖΩ
09. ΣΑΝ ΠΑΣ ΣΤΑ ΞΕΝΑ
10. ΗΚΑΨΕΣ ΜΕ ΗΚΑΨΕΣ ΜΕ
11. ΕΛΑ ΜΠΡΟΒΑΛΕ - ΣΥΡΤΟΣ
12. ΜΗ ΜΟΥ ΤΑ ΜΗΝΑΣ ΤΑ ΛΟΓΙΑ - ΚΑΛΑΜΑΤΙΑΝΟΣ
13. ΕΛΑ ΠΑΝΑΓΙΑ ΜΟΥ ΣΩΣΕ - ΤΟΥ ΓΑΜΟΥ
14. ΤΑ ΓΡΙ ΓΡΙ ΤΟΥ ΘΕΟΧΑΡΗ - ΣΥΡΤΟΣ
15. ΕΝΑ ΠΙΚΡΟ ΚΙ ΕΝΑ ΓΛΥΚΟ - ΣΥΡΤΟΣ
16. ΤΗΣ ΠΕΡΑ ΧΩΡΑΣ ΤΑ ΝΗΣΙΑ - ΣΥΡΤΟΣ
17. ΠΑΝΑΘΕΜΑ ΣΕ ΞΕΝΙΤΙΑ - ΚΑΛΑΜΑΤΙΑΝΟΣ
19. ΚΟΤΙΚΗ ΣΟΥΣΤΑ
19. ΑΓΑΠΩ ΤΟΝ ΚΙ ΑΓΑΠΑ ΜΕ
20. ΤΟΥΡΝΑ ΤΟΥΡΝΑ
21. ΣΥΡΤΟΣ

 

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 

Anna Karambesini
 born: 1923
Greece: Andimahia, Kos

Anna Sarri Karambesini is one of Kos’s greatest and best loved singers. She has left a heritage of traditional and island music.

 and her sister

Efi Sarri

Greek singer & songwriter of traditional and folk songs.

Not to be confused with the Greek Laiko singer with the same name.

...and this writes the reporter:
GEORGE ZACHARIADIS (translated by gooogle)

ANNA! ... The only Anna Sarri - Karabesinis who sang with the ageless voice of love, joy, sorrow, Foreign Lands , pain , love, our islands , literally charmed all who listened last Sunday of the channel ET3 unravel the tangle of her life and revives unrepeatable songs until today keeping alive the musical tradition ! ..

The Anna on 90 years now, is still the muse of the Aegean and in spite of the times and all the disgusting phenomena of today shows us the way of Greece, its islands we do not want to forget... Since Greece 's dignity , humanity , culture and tradition that should not be missed. And that makes today the Anna from Antimacheia Kos continues to struggle through the beasts of globalization with the sole aim to make us believe that Greece is not the poikilonymoi songwriters channels and record companies , but that culture lies tradition and the island song passionately served , highlighted rescued .

Greece, Dodecanese , Kos should feel pride Anna Sarri - Karabesinis . Because if the Lady of Ro , Despina Achladioti , held up the Greek flag during the years of occupation, the Anna Sarri - Karabesinis hold high the banner of the musical tradition of the islands of the Aegean, Greece. And this can not argue with none.

Today, despite the great age he heard her singing in the same unique way " Pervolaria ", " all poppies ", " the dyosmaraki ", " the complainer me " and all other songs from 1952 staged in Athens able to highlight and makes estate Greek people that just because , through the difficult years of the occupation period , was able to hide in the heart and to rescue them , should owe gratitude ! ...

For many years it was able with the help of the great composer Simon Karras , offer moments of traditional music piety even in foreign countries where the emigration of Greeks wanted to savor the sweet taste of the country and that so generously donated to the voice of the Anna .He traveled around the world to give joy to our emigrants , although the fate has reserved an ugly game, as the death of her beloved sister Effie , found her in Australia near the Dodecanese compatriots .

And yet that day made ​​the heart of stone and sang for Koans , the Rhodians , the Symi , Kalymnos' , the Nisyros , the Carpathians "the Tzivaeri " and " I love you because you're beautiful" and made all compatriots to live moments of nostalgia and desire to return once their favorite islands ! ..

The broadcast ET3 keeps shocking moment that Anna over the grave of a man and her sister , pours a bottle of white wine from Kos " to drink as we did in daily entertainments and feasts " and even singing a dirge for island the loss of loved ones..

The Anna Sarri - Karabesinis now lives alone in the poor house in Kos with a small pension from IKA . Partner has all the records released over the years with me turntables . Friends visiting and companionship doing and always has sweet tomatoes to offer them and when they come to cheer and say no island music apafta who unprecedented manner sing Anna .

The state television broadcast was due a little tribute to a woman of tradition, gallantry . And it is tragic that the callous Greek state is not claimed to give an honorable retirement as he did for so many others, maybe some people do not deserve it.

read the original : ) 

   

Antimachia Kos

The traditional rural village of Antimachia in Kos is particularly renowned for its talented local people who are excellent singers and dancers. The village also boasts some of the best folk musicians and poets who are especially talented in their satirical improvisations. Antimachia is surrounded by magnificent beaches, picturesque countryside and a village of traditional houses, old windmills and, just north of the village, the well preserved ruins of a 14th century castle of the Order of the Knights of St. John which overlooks the Straits of Nisyros. Inside the castle are many small dwellings and two old churches: the 16th century Agios Nikolaos and the Byzantine Agia Paraskevi. In the village itself you can visit a traditional house, the House of Antimachia, where you will see original furniture and other artefacts from village life in the early 20th century. Just opposite this house is an old traditional windmill, The Priests Mill, Milos tou Papa, which is now a museum. The charm of this village is mainly due to the genuine friendliness and love of tradition of the locals who keep the ancient traditions and customs alive. These are manifested throughout the year by a variety of festivals, mainly devoted to agriculture, where theatre, dance, poetry, music and good food and wine are all part of the festivities. During the period of All Saints Day, or Halloween, it is carnival time and the Carnival of Antimachia is not to be missed. On 30th June is the festival in honour of Agion Apostolon and on 15th August that in honour of the Assumption of the Virgin Mary, both festivals are enjoyed in a very traditional way that has been handed down over the generations. However, one of the most important festivals occurs in late August and this is the Festival of Honey Giorti Tou Meliou. Here as well as being able to enjoy and take part in the dancing and singing, you will also have the chance to sample some excellent local honey and a variety of pastries made with honey. A further important festival occurs in early September and this is the Wine Festival, which suffice to say, involves the drinking of plenty of wine, plenty of tasty local food available and dancing and singing until the small hours.. 

Things to do and see

As Antimachia is inland it can get quite warm in the summer months with no cooling seas to refresh oneself. It is advisable to visit the village in the early morning or evening during the hottest months of summer.
Check the dates of the various festivals and try to time your visit with one of these celebrations.
Visit the Priests Mill and the Traditional House of Antimachia, Paaradosiako Spiti.
Explore the village and walk up the small path to see the castle.

source

  

more

♥

A Voice From Morocco

  

Abdelhadi Belkhayat
El Mounfarija

Tracks:

01.♥ El Mounfarija ♥
02. Asmaa Allah El Housna
03. Lak El Hamd
04. Chaâ nour Mohamed
05. Allah houma raba mohamadine

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

music source

 

Abdelhadi Belkhayat, born Abdelhadi Belkhayat Zougari in 1940 in Fès (Morocco), is a moroccan singer.

Attracked to music at an early age, Abdelhadi Belkhayat went to Cairo and joined the Conservatory of Music. After his training, he had to choose between singing in Egyptian dialect or go back to Morocco with no success yet. Abdelhadi Belkhayat opted for the second choice. Armed with a strong voice, Abdelhadi Belkhayat did not give up. He first sang Mohammed Abdelwahab's « Qassida » which earned him a local recognition.
Later on, along with Abdelwahab Doukkali, Lmaâti Belkacem and the late Mohamed El Hayani, Abdelhadi Belkhayat help shape the golden age of moroccan music.

After such successful albums like ''Ya Dak L'insane'', ''Qitar Al Hayat'' and ''Ya Bent Nass'', Abdelhadi Belkhayat became Imame (muslim priest) and release an islamic-themed album, ''Al Mounfarija''.

  

 ...

The other outstanding personality of the modern Moroccan song is Abdelhadi Belkhayat. He too was born in a very conservative family and he too had the Moroccan Radio to thank for his success. He was very young when he left Fez for Casablanca. He was quickly welcomed by Moroccan audiences but his success became really dazzling only after his touring Algeria for the first time in 1963.With his spellbinding voice and his classical repertoire, he moved the hearts of Algerian, Tunisian and Libyan audiences. As all young people who were his contemporaries, he felt attracted by Egypt, the country he had to thank for loving music. He stayed there for two and a half years but, as he was very shy, he was not given the welcome he had expected. This made him feel bitter and he left the country he loved so much with a number of bad memories, though his studying at the High Institute of Arab music taught him what was lacking in his innate talents of crooner.

In 1969 he was back in Morocco and his fame went on increasing. He began to set to music texts by Ahmed Tayeb Elalj, Mustapha Abderrahman, Ali El-Haddani, Abderrafi El-jahwari and others among the best Moroccan poets. He has given performances all over the Arab World and in Western capitals.

In Paris the performance he gave in 1973 at the Olympia theatre had attracted so many people that half of them could not get in. Used to tour countries once a year, in 1989 he went as far as Afghanistan, and we may conlude thereof that nowadays Moroccan song is known the whole world over.

This outstanding career, started in 1963, he decided would come to an end in 1989 when, still at the top of his fame,. he went to Oran to take leave from the people who had first recognized his talent. He is now devoting his time to the madih and the religious qasidah-s with a mind to deepen his religious faith and go back to the origins. In Casablanca,. he is now the appointed muezzin of the mosque in his district: five times a day his voice is heard praising God. He has left to others the care of singing sensual love.

 A. Hachlef
January 1990
Translated by M. Stoffel

(Thanks to Bolingo)

 

...some say there are 99 names of "God", oh what blasphemy, there are many many more then you can ever imagine, so shut up and listen, open your heart, and all your seven senses...

...been listening all day : )

♥

Voices from the Planet

  

Ladies of the World
Douze Femmes Pour La Planète
2010

Tracks:

01. Nazare Pereira - Clarao de Lua
02. Lucília do Carmo - Antes Nada Saber
03. Katerina Vlahou - Mia Voskopoula Aghapissai
04. Haydee Alba - Milonga Sentimental
05. Rada Volghanin; Rada Volshaninova - Palso Bylo Vlyublyatsya
06. Jean Redpath - Dumbarton's Drums
07. Sylvie Sivann - Oyfn Veg Shteyt a Boym
08. Marie-Line Dahomay - Yo
09. Kady Diarra - Noumou - Soumani
10. Beihdja Rahal - Istikhbar: Taraqqab Idhâ Djanna Adhalâmou
11. Sikandar Langa - Chandura
12. Poline - Manureva

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  

  Review by Thom Jurek

Playasound brings together the voices of women artists from around the globe for an enchanting, genre-defying listen to the various music of Europe, the Middle East, Asia, Polynesia, and South America. All of the performers here were/are “stars” in their native regions, given to both faithfully interpreting tradition and making their individual nations’ musical heritages interact with other popular sounds. Greece’s Katerina Vlahou's “Mia Voskoupla Aghapissai” walks a line between standard national folk lineages and the mournful yet forbidden sounds of rembetika. Israel's Sylvie Silvann's "Oyfn Veg Shteyt a Boym” marries antiquated Yiddish music to modern technology and the sounds of cabaret music. Even an ancient Scottish folk song like “Dumbarton’s Drums,” as interpreted by Jean Redpath, marries her plaintive voice to an acoustic guitar rather than drums, fifes, and pipes. Check Poline’s "Manureva,” a traditional Hawaiian song that here intersects with the sounds of '50s country complete with steel guitars. This is a provocative listen as well as an enlightening one.

 

 

   

  

picture source

 ♥

Voices from Flanders

 

Laïs - Laïs
1998

Tracks:

01. De Wijn
02. Barbagal
03. Isabelle
04. 't Zoutvat
05. De Wanhoop
06. In This Heart
07. Min Morfar
08. 't Jeugdig Groen
09. De Wereld Vergaat
10. Warme Garnars
11. 't Smidje
12. Grand Jacques
13. Bruidsnacht
14. Zeven Steken

Muzikanten :

- Jorunn Bauweraerts
- Nathalie Delcroix
- Annelies Brosens

Gasten :

- Kadril (Erwin Libbrecht, Peter Libbrecht, Harlind Libbrecht, Bart De Cock, Hans Quaghebeur, Mario Vermandel, Dirk Verhegge, Philippe Mobers)
- Jacques Vandevelde (harp)

 

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  

 Voice, that’s the meaning of Laïs. In addition, it refers to the erotic inspired poetry of Marie de France.

But Laïs mainly refers to 3 women from the town of Kalmthout: Jorunn Bauweraerts, Annelies Brosens and Nathalie Delcroix. They know each other since childhood, but Laïs was born in the summer of 1994, when Jorunn, Annelies and Soetkin Collier (who later became a vocalist with Urban Trad) sang the song “Barbagal” on the last morning of the folk stage of Gooik. It became dead silent in the theatre and two members of the folk group Kadril encouraged them to do something with it. At that moment, music was already their flourishing passion. Jorunn is from a musical family – her father was a renowned bagpipe player – and Annelies started her studies in Classical Singing already at an early age. When Annelies and Jorunn heard Nathalie singing one time, during a car trip, they knew at once who should be the third member of Laïs.

   

 They interpret, mostly in old Flemish or French, singing the traditional repertoire of different countries in Europe, the contemporary song (Jacques Brel ...) or polyphony of the Renaissance, as well as some original creations, combining folk influences, pop, rock. They emphasize the polyphonic singing a cappella and accompanied by traditional instruments, but also mixed: acoustic and electric guitar, percussion-drums, accordion, bagpipe, flute ...


Laïs is a Belgian group that creates folk, and world music consisting of polyphonic close harmony songs, occasionally a cappella, based on self-composed melodies with lyrics dating back to the Middle Ages. "Laïs" is a Celtic word, meaning "voice".

History

Laïs' career started in 1994, when Jorunn and Annelies, together with Soetkin Collier (who later became a vocalist with the Belgian folk music group Urban Trad), performed a song at a folk festival in Gooik, near Brussels. Nathalie joined the group somewhat later. They had their breakthrough after their appearance at Folk Dranouter, near Ypres, in 1996.

Their debut CD album, sung a capella as well as accompanied instrumentally by the folk rock band Kadril, was released in 1998. They performed at the Klein Karoo Nasionale Kunstefees in Oudtshoorn, South Africa (1996), at Vorst Nationaal, Belgium (1998), Canada, France (1999) (as a supporting act for Sting), Spain (1999, 2000), the Netherlands and China (2001).

During the summer of 2000 they performed at important festivals in Belgium such as Pinkpop and Rock Werchter. In 2001 they made a much acclaimed return to the festival at Dranouter.

In 2003 they made a mini tour along Flemish churches and chapels, singing a capella with the vocal support of Ludo Vandeau. This resulted in the CD "A la capella".

In April 2004 they released their third CD to the market under the title Douce Victime, with covers from Jacques Brel and Herman van Veen. This time it not only contained a capella songs but also Cajun music, the London Chamber Orchestra and some World Music influences. It was recorded at the legendary Abbey Road Studios in London.

With their album The Ladies' Second Song, released in September 2007, the group changed their approach and tried to reach a broader public. They could no longer be characterized as folk. The album introduces the use of electric guitars, loops and electronic beats. Their lyrics have equally undergone a thorough overhaul. Instead of drawing their lyrics from old Flemish songbooks, they have turned to poetry from William Butler Yeats, Paul Verlaine and Pablo Neruda.

In 2009 they released the album Laïs Lenski together with the cellist Simon Lenski.

 

Laïs

 

some more info 

 

wiki 

 

read some more 

 

 

Arboretom Kalmhout

  

web

 

  

wiki

♥

Voices from Finland

 

Loituma

Things Of Beauty
1998

Tracks:

01. Eriskummainen Kantele / My Kantele     3:42    
02. Kultaansa Ikävöivä / There Is My Lover     4:24    
03. Viimesen Kerran / The Very Last Time
    Arranged By – Loituma     3:10    
04. Minuet And Polska
    Translated By, Arranged By – Loituma     7:45    
05. Kun Mun Kultani Tulisi / Missing Him
    Translated By, Arranged By – Hanni-Mari Turunen, Timo Väänänen (2)     5:10    
06. Valamon Kirkonkellot / Valamo Cloister Bells
    Arranged By – Sari Kauranen, Timo Väänänen (2) Translated By – Teppana Janis  5:34    
07. Ai, Ai Taas Sattuu / Oh, Oh, It Hurts Again
    Arranged By – Loituma     3:43    
08. Suo / Marshland
    Arranged By – Sari Kauranen, Timo Väänänen (2) Composed By – Martti Pokela 6:49    
09. Kolme Kaunista / Three Things Of Beauty
    Arranged By – Loituma     4:18    
10. Ievan Polkka / Ieva's Polka ♥
    Arranged By – Loituma Lyrics By, Translated By – Eino Kettunen 2:44

Personnel:

Hanni-Mari Turunen (vocals, kantele, fiddle, alto recorder, double bass, drums);
Sari Kauranen, Anita Lehtola, Timo Väänänen (vocals, kantele).

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

    

First released in Finland in a slightly different form, Loituma's Things of Beauty is the initial release from this Finnish quartet. Their specialty is the kantele, a Finnish harp, and they use this both in instrumental pieces and in multi-layered vocal arrangements. The music ranges from the lively interpretations of Finnish folk music to haunting pieces about mysterious marsh land. A light, sweet album that well deserves the attention ...

 ~ Steven McDonald Finnish Trad.Music

The kantele, a mix of harp, hammered dulcimer, and zither, is Finland's national instrument, and Loituma show the range of its possibilities on this album. Ranging from the traditional, like "Leva's Polka" (which was released as a Finnish single and hit the charts), to the modern, the band covers a musical territory that encompasses the atmospheric with Marti Pokela's insidious "Marshaland" and "Three Things of Beauty," whose words are adapted from Kalevala poetry, and bring to mind an acoustic Cocteau Twins. Originally formed by two singers who later moved to Hedningarna, Loituma produce a lovely balance of vocal and instrumental pieces that offer unalloyed joy while introducing American audiences to the light magic that is the kantele. ~ Chris Nickson

   

You read that Vainamoinen, hero the the Finnish epic "Kalevala" worked great feats of magic and charms by playing the Kantele (Finnish harp) as no other could. You will be a believer when you hear Loituma's "Things of Beauty." I was amazed at the wealth of undiscovered beauty that has been brought forth by Baltic Finnish culture. For example, the exquisite "Kolme Kaunista" 'Three Things of Beauty'. It captures the essence of that surge of joy one feels on a beautiful summer day. "Valamon Kirkonkellot" 'Valamo Cloister Bells' is exceptional in its conveyance of Karelian Orthodox bells. Timo Vaananen delivers a beautiful vocal performance in "Kultaansa Ikavoiva" 'There is My Lover' alongside Sanna-Kurki Sounio's (now of Hedningarna fame) lovely "Eriskumainen Kantele" 'My Kantele.' This album is a gem. ~ weller29

  

Loituma

 

Yes, I am not the only one, Ieva's Polka got me hooked, some time ago... and it's still around...

listen now, if you haven't done it before... You're lucky!

 

The melody of "Ievan Polkka" is very similar to Savitaipaleen polkka, and in South Karelia the Ievan Polkka is also known as "Savitaipaleen polkka". The melody is also very similar to a folk dance from the area of Smolensk in Western Russia, which is known as Smolenski gusačok ("смоленский гусачок"/"Small Gander in Smolensk").

The melody can be traced back to the Viipuri Province in the 18th century when the border with the Kingdom of Sweden ran west of the province. The number of Russian soldiers stationed in the border area outnumbered the locals for many decades. At the beginning of the 19th century collectors of Finnish folk dances and folk songs all mention that the dances in the area of Luumäki-Savitaipale were Russian dances only and didn't write them down. Locals who are well-versed in folk music agree the melody is very old and likely to have been known back in the early 19th century and therefore probably of even older origin. However, the polka genre is of much later date. Polka was introduced in northern Europe during the late 19th century, which implies that the actual tune as it is known today originates from this era...

read it all

Lumberjack band 1952 

 ♥

Opera in Ukraine

  

Ukrainian Opera Singing
Masterpieces of Ukrainian Music
2006

  

Tracks:

01. Quietly over the river (AP Batiuk, S. Cherkasenko) - Elena Slobodyanik, Alexander Taranets
02. Four oxen pass I (b., excl. Anatolskyi-Kos) - Evgeniya Miroshnichenko
03. Oksana and Andrew Duet from the opera "Zaporozhets beyond the Danube" (S.Gulak-Artemovsky) - Zoya Hayday, Ivan Kozlovsky
04. Black Eyebrows (D. Bonkovskyy, arr. Nadenenka F. - K. Dumytrashko) - Valery Bujmister
05. Duet Odarka and Kars from the opera "Zaporozhets beyond the Danube" (S.Gulak-Artemovsky) - Maria Litvinenko-Volgemut, John Patorzhinskogo
06. Jihav Cossack beyond the Danube (Born, LV Beethoven arr) - Valery Bujmister
07. Why do I black eyebrows (born, arr J. Borkowski - T. Shevchenko) - Diana Petrynenko
08. You - my love (G. Zhukovsky - A. Novitsky) - Nikolay Kondratyuk, Vladimir Timokhina
09. Odarka Song from the opera "Zaporozhets beyond the Danube" (S.Gulak-Artemovsky) - Maria Litvinenko-Volgemut
10. Floating boat (Mykola Lysenko - SL. B..) - Mikhail Rakov, Alexander Taranets
11. Nightingale (music and lyrics. M. ML) - Bela Rudenko
12. Zore vechorova (S. Kozak - A. Malyshko) - Alexander Taranets, Vladimir Zarkov
13. Sun nyzen'ko (music and lyrics. Lysenko) - Konstantin Joiner
14. Oh, I will limit Mountains (Kos-Anatolskyi) - Irina Zyabchenko

 

translation by google pls help with the mistakes...

  

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The first collection, as you can see, is focused to opera singing. The choice of exactly this theme as the first one may seem rather strange – but only at the first look. For the thing in question here is masterpieces, thus we have to admit: first truly world-wide glory to Ukrainian singing was brought exactly by opera singers, wasn't it? Do not forget that their repertoire was never limited to classic arias only – all of them performed Ukrainian folk songs as well, and caused no less fascination with them. Or even more...
 
  

  

   

Music of Ukraine 

  

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Poltava

  

The Wonderworld of Poltava Songs
Authentic Folklore of Ukraine
2002

Tracks:

01. Be Sorry For Me, My Mother (wedding song)
02. Decorating A Wedding Tree (wedding song)
03. Walking Through The Grainfield
04. Why Are You Not In Blossom, Guelder-Rose
05. Oak In The Wind (wedding song)
06. Look At This Bride, My Mother (wedding song)
07. Medley of Ukrainian melodies
08. Oh, Saturday And Sunday (wedding song)
09. Don't Be Sad, Dear Mother (wedding song)
10. Oh, It's A Long Time Since I Have Been At My Mother's
11. Rise, O Bright Moon
12. Burym Dance
13. When I Go To The Meadow
14. That's How It Is, My Mother
15. Wind From The Mountain (spring song)
16. Don't Shine, O Moon
17. Wind From The Mountain (wedding song)
18. The Cuckoo Bird Has Started Singing
19. Oh, Maple Leaf
20. Hay-Making
21. A Fisherman (after the melody by Isaac Dunayevsky from motion picture "Seekers Of  Happiness")
22. You Are Giving Me In Marriage, My Mother (wedding song)
23. Oh, You Are Rich, Hryhorychku (wedding song)
24. Don't Blame Me, Mother (wedding song)
25. Petrivochka
26. Doves Are Flying And Singing
27. Polka
28. Oh Whose Is That Grass In The Meadow (recruit song)
29. Why Don't You Go Out For A Walk, Halochka (carol)
30. Oh, My Mother, My Little Star (recruit song)
31. There Is A High Burial Mound In The Meadow

 

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As it is known, Poltavshyna is glorified not only by Sorochyntsi and the purest Ukrainian language. This region till now hardly not the richest on folklore songs. The proposed disc is called to show these riches, it is made brightly. Songs are sung by different collectives, but are equally qualitative. By the way, it is necessary to pay attention to work of collective "Drevo" (28, 29, 31). You already could hear its abilities, listening to Olexander Nesterov's album "Contaminated sounds". People which play authentic material whenever possible closer to the original, but pass it through a prism of music education. In this case songs get new paints.
  

source of text and the place to buy Ukrainian music :)

   

  
wiki

link

 

  

source

  

one more link :)

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Jazziza

  

Aziza Mustafa Zadeh

Aziza
1991/93

Tracks:

01. Chargah
02. My Ballad
03. Exprompt
04. Quiet Alone
05. Inspiritation
06. I Cannot Sleep
07. Oriental Fantasy
08. Moment [Short Variation, Based on a Theme by Michal Urbani]
09. Blue Day
10. Character
11. Tea on the Carpet
12. Cemetery
13. Reflection
14. Aziza's Dream
15. Two Candles

Aziza Mustafa Zadeh - Grand Piano / Vocal

 

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Aziza was born on December 19, 1969, in Baku, the capital of Azerbaijan, into an immensely musical family: Her father, Vagif Mustafa Zadeh, an established Jazz legend throughout the former USSR, of whom BB. King said "people call me the king of the blues, but if I could play the piano like you do, I would call myself God," was a pioneer in as much as he was the first musician to incorporate the traditional music of his homeland, known as "mugam" into popular Western Jazz music. Mugam, itself a highly improvisational style, refers to a modal system of music of which there exist over 70 types, all defined by their specific pattern of intervals, range, as well as direction of melodic movement and rhythm. With her father as architect of the Azerbaijani Mugam Jazz Movement, and her mother Eliza Mustafa Zadeh (in Soviet times known as Eliza Khanom), herself a professional singer and one of the first women to sing in the new Mugam Jazz style, it was only a question of when and how Aziza would express her musical heritage, never an if...
   
Still, she came a long way from the headstrong child fascinated by any kind of art-form (be it music, dance or painting, but bored and annoyed by her early musical teachers, who demanded more commitment to her practicing) to the disciplined professional pianist/singer/composer. Not that she would have lost any of her self-determination. She always liked to have things her way, a philosophy that did not necessarily go down well with her teachers at Baku conservatory where she received classical piano training. While her all to obvious talent was never under dispute, her handling of musical icons was: neither Aziza's trangressive "additions" to Beethoven Sonatas, nor her improvisations on Bach fugues were very much appreciated. "I'm sure Bach would have agreed with it," she said with a smirk at an interview. It was in this same self-confident fashion that she would later on recruit Jazz celebrities such as Al Di Meola, Stanley Clarke, Omar Hakim or Bill Evans as supporting guests on her CD Dance of Fire. The fact that they all came to play her music is not a small achievement for a then 25 year old, not exactly well-known musician. Asked whether she was in the least intimidated by the famous lot she replies: "No. Not at all. In fact, I think I intimidated them a little. It took a lot of time to record and the music was very different. We had to stay up long hours and even then we recorded for the best part of a month."

    Aziza started playing the piano when she was 3 years old, gave her first concerts with 14, and won her first international prizes with 17."It would have been a sin not to use this god-given gift," she muses. Next to God her parents are Aziza's most important musical leaders, especially her father. He tragically died at the early age of 39 of a heart attack after a performance in Uzbekistan, an event both devastating and strangely motivating for the ten-year old girl: With Vagif's death she not only lost her father but a source of inspiration and a gifted mentor for whose unceasing creativity Aziza continues to have the highest appreciation. "He was a genius. A true genius." Vagif continued to influence his daughter beyond his death it seems. Commenting on his death she muses: "For me, my father has never died. He simply has left this earth. I still feel his energy surrounding me. Sometimes, it's like his soul is flying around me, you know. There are times when I give concerts that I feel his presence so strongly, it's almost tangible. It's like I could reach out and touch him." Little surprise that her father is omnipresent in Aziza's work, be it in the form of one of his compositions or in a song dedicated to him.

After her husband's death Eliza Zadeh gave up her own career as a singer and invested her talent and professional knowledge into her daughter's musical education. In so doing she continued a tradition of musical collaboration that had formerly existed between herself and her husband. Eliza not only directed her daughter's vocal training but would later on become her manager, co-producer and confidante in all things regarding Aziza's own career.
In 1989 Aziza left her home Azerbaijan for Germany. At present she lives in Mainz...

 

source

   

The first CD bears as its title the name of the artist, as simple as that. Aziza presents 15 compositions of her own, where she distinguishes herself primarily as a pianist. These are 15 pearls on a string that need to be cherished one at a time. Although the tracks display an astonishing diversity of character and three of them incorporate her singing voice, the fact that these are all solo piano pieces, and not a small number at that, brings with it the danger of surfeit. The same thing happens if you listen to the entire Goldberg Variations in one go. One needs to give those tracks enough room to expand and display their nature.
Those are not easy-pleasy compositions: clearly, this CD is the most demanding for the listener, since we have become unaccustomed to listen to music that is not technically enhanced or digitally remastered, all the more if it is not "conventional" music.

But if we give it some time there is much to be discovered on this CD, and the more I listen to these tunes the better they get! The track called Inspiration for example shows us how Aziza uses her voice and how she "thinks" musically: her scat-like singing takes up the melody her right hand plays, which is--so typically for mugam--forever moving it seems. To every note there is attached a little trill, an ornament, so as to never let a note just be "plain". And she sings as fast as she plays! Her astonishing vocal abilities are amply displayed in the "Short variation," based on a theme by Jazz violinist Michal Urbaniak, Moment. (Given her singing technique I bet she would be a brilliant wind instrument player). The track Oriental Fantasy shows how Aziza plays with the cliché of Western conceptions of "oriental" music: well aware of the strangeness of some of her harmonies to Western ears and her Azerbaijani origins that make her prone to become the "exotic other," the "Oriental Princess of Jazz" as she has been called, she quickly lets go of supposedly typical oriental harmonies and takes us on a much more idiosyncratic and unconventional musical journey.
       

On the whole, one can say that the amount of "traditional" musical matter is much less prominent than in later productions, and that her compositions are much more avant-garde and jazz-induced. In fact, Aziza draws from the entire texture that the world of music provides for her, and her comment on the initial track Quiet Alone must be understood as a general practice for Aziza's musical understanding. She writes: "This piece was written by my father, interpreted through the prism of my soul. This is a dedication..." In this sense musical allusions are present everywhere and her play is as much a dedication as an exploration of her own personal universe. Tea on the Carpet and Exprompt bear Brackeenesque traits, pieces such as Aziza's Dream are reminiscent of Latin-American harmonies and rhythms, while Character seems to echo Bach, and in what has become the epitome of the art of Jazz improvisation, its variation on a simple, straightforward theme--in superior style--combines modernity with its classical musical heritage. On My Ballad, Aziza for the first time sings in Azeri, exhibiting the mysterious, enchanting beauty of her mother-tongue.


Aziza Mustafa Zadeh is certainly an impressive first work, giving us a pretty clear idea where the immense talent and creativity is going to take this young artist, versed in both technical and expressive skills, acting as composer, pianist as well as singer: straight to the top of the Mount Olympus of Jazz music!

same source

home

All Eyes On Aziza

 

Jazz, Mugam and Other Essentials of My Life

  

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Vagif Mustafazade: Fusing Jazz with Mugam

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listen,

listen,

listen.

  

  

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Get up, stone, out of bed, roll, roll...

  

Musiques & Musiciens Du Monde

Musique Traditionelle Du Portugal

1988

Tracks:

Beira Baixa Province

1 The Rendez-vous / Le Rendez-vous (Cançao De Embalar) 2:05
Choir [Women], Tambourine [Adufe] - Unknown Artist
2 Lullaby / Berceuse 2:39
Vocals [Woman] - Unknown Artist
3 Macelada (Picking Camomile) 1:57
Vocals [Two Women], Tambourine [Adufe] - Unknown Artist
4 Christmas Carol / Chant De Noël 4:09
Vocals [Women, Children] - Unknown Artist
5 Sao Joao (Saint John) 2:47
Vocals [Woman], Tambourine [Adufe] - Unknown Artist
6 Desejos (Wishes) 2:17
Vocals - Unknown Artist
7 For The Souls In Purgatory / Pour Les Âmes Du Purgatoire 1:57
Vocals - Unknown Artist

Alentejo Province

8 Aurora Teve Un Menino (Aurora Has Given Birth To A Son) 5:45
Vocals - Unknown Artist
Lisbon Fados / Fados De Lisbonne
9 Os Teus Olhos (Your Eyes) 1:23
Guitar - Raul Nery
Lyrics By [Poem] - Graça Ferreira do Amaral
Music By - Carlos da Maia

Viola - Joaquim do Vale
Viola [Baixo] - Joel Pina
Vocals - Maria Teresa de Noronha
10 A Nossa Rua (Our Street) 2:27
Guitar [Guitarra] - Raul Nery
Lyrics By [Poem] - Antonio Callem
Music By - José Antonio Sabrosa
Viola - Joaquim do Vale
Viola [Baixo] - Joel Pina
Vocals - Maria Teresa de Noronha
11 Fado Corrido 3:25
Guitar [Guitarra] - Avelino do Carmo
Viola - Guilherme Carvalhais
Vocals - Manuel Vicente
Words By - Traditional
12 Meia Noite (Midnight) 3:05
Guitar [Guitarra] - Avelino do Carmo
Viola - Guilherme Carvalhais
Vocals - Manuel Vicente
13 Little Fado / Fado Mineur 4:08
Guitar [Guitarra] - Avelino do Carmo
Lyrics By [Verses] - Traditional
Viola - Guilherme Carvalhais
Vocals - Manuel Vicente
Douro Littoral Province
14 Tirana (The Wild Woman) 3:27
Vocals [Woman], Choir, Percussion, Violin, Guitar [Different Types] - Unknown Artist
15 Um Viva Para Toda A Gente (A Vivat For Everyone) 2:31
Vocals - Unknown Artist
16 Misericordia, Meu Deus (Have Mercy, O Lord) 1:23
Vocals - Unknown Artist
17 Stone-cutter's Song / Chant Des Teilleurs De Pierres 2:06
Vocals - Unknown Artist

Liner Notes: Alain Daniélou

Recorded By:

Hubert de Fraysseix (tracks: 1 to 6, 8 to 14) ,
Virgilio Pereira (tracks: 7, 15 to 17)

  

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Now one of the comparatively less prosperous nations of Europe, Portugal was once a great maritime and imperial power, and that history has left linguistic and cultural traces in Africa, South America and the Far East; Madeira and the Azores are still Portuguese territory.  Continental Portugal's borders have been stable since the 13th Century, and although modernisation is making the country more uniform, and changing traditional lifestyles, there is still considerable cultural diversity among the different regions.  From 1926 to 1974, Portugal was governed by the longest enduring of all Fascist regimes; as the annotator and field recordist Salwa El-Shawan Castelo-Branco points out, the Estado Novo sought to promote an image of the country, to itself and the outside world alike, as "a predominantly rural community happily immersed in its traditions," and used folk music as one of its means to this end.  It is perhaps not surprising that for many years there was considerable hostility towards folclore among intellectuals and musicologists.

...

It will be obvious that Portugal sustains a rich variety of traditional music, some of it still an integral part of a traditional way of life, some of it the result of conscious processes of preservation, and some of it partaking of both attributes.  It also seems evident that, whatever dubious attempts at political co-option were made in the past, traditional music, revivalist and otherwise, is an important marker of both national and regional identities.  I'm well aware, of course that, in fulfilling those roles, Portuguese traditional music must have political dimensions and implications, which are doubtless of considerable importance to the democratic regimes that have happily succeeded the long rule of the military; but it seems likely that the mechanisms by which ideology interacts with folklore are considerably healthier and more respectful now than in former times.  It's also clear that, both for their variety and their quality, Portugal's folk musics are among the most interesting and enjoyable to be heard in Europe.

 

~  Chris Smith

source (about another good cd)

  

thanks for the music Lemmy :)

 

 

♥

Voices

   

Voix De Femmes Du Portugal
Women's Voices of Portugal
1995

Tracks:

1. O Senhora Do Alivio (Gary Cramolini)
2. Virgem da Concilação (Catarina Chitas)
3. Senhora Do Desterro (Rancho Folclorico De Vinhó)
4. São João (Catarina Chitas)
5. Misericordia (Gary Cramolini)
6. Alvissaras (Catarina Chitas)
7. Nossa Senhora Do Leite (Catarina Chitas)
8. Menina Do Bahlo (Gary Cramolini)
9. Vai Te Lavar Morena (Gary Cramolini)
10. Moreninha de Me Um Beijo (Grupo Chorale Feminino Flores Do Alentejo)
11. Galandrum (Albino Da Igreja; Isabel Da Igreja; Jose Ventura; Maria Da Igreja; Victor Alves)
12. Eu E de Mire Acentare (Grupo Chorale Feminino Flores Do Alentejo)
13. A A Pastorinha (Catarina Chitas)
14. Somos de Vila de Cuba (Grupo Chorale Feminino Do Alentejo)
15. So Portugues Immigrante (Grupo Chorale Feminino Do Alentejo)
16. A A Barragem (Grupo Chorale Feminino Do Alentejo)
17. Ligas Verdes (Albino Da Igreja; Isabel Da Igreja; Jose Ventura; Maria Da Igreja)
18. Homem Raro (Fado) (Fontes Rocha; Judite Pinto; Luis Gonçalves)
19. Cinta Vermelha (Fado) (Judite Pinto; Luis Gonçalves)
20. Calso Entorando (Desgarrada) (De Jesus, Sebastião; Judite Pinto; Luis Gonçalves)
21. Berceuse de Madère (Graca Serrao)

  

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A collection of vocal works from the full spectrum of females in Portugal. There is much more here than simple fado to be heard, though fado is certainly represented. The quality of the album ranges from mildly grating to outstanding, touching most bases in between. There is a pair of choruses singing on the album, Cramol and the Flowers of Alentejo. Both provide some harmonic work that's appreciated in an otherwise barren-of-accompaniment album for the most part, but at the same time, the melodic work leaves something to be desired in general. More listenable perhaps are the solo singers. Catarina Chitas, an 80-year-old ex-shepherdess, performs a few numbers accompanied only by herself on a frame drum. The power left in her old voice is rather stunning as she wails through her songs. Even older is Judite Pinto, the primary fado singer on this album. Here is where the beauty of the album is truly shown. Pinto's vocals are still powerful and expressive, helped along by the outstanding guitar work of the Goncalves brothers. Unfortunately, the shining moments of fado are hardly enough to balance out the sometimes-rougher works. For a nice overview of some of the more overlooked folk forms of Portugal, this isn't a bad way to go...
says: Adam Greenberg

*****

 

Adufe

The adufe is one of the rare square double headed frame drums. A wooden structure is covered with rawhide from a sheep or goat and some rattling objects are thrown inside. The adufe is traditionally played by women in the interior provinces of Portugal, Beira Baixa and Trás-os-montes. In some regions it is simply called pandeiro (frame drum). Its sound invites meditation or even trance. To play it the adufe is held by the two hands with one corner pointing to the skies. The hands beat one of the skins and shake and hold the instrument.

  

wiki

 

another wiki

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