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- Bulgarian Wedding Music from the Last Century
Trifon Trifonov & Stanimaka
Bulgarian Wedding Music from the Last Century, 2005
On a hill a few kilometres away from Saint-Emilion, close to the village Saint-Aubin de Branne but away from the other houses, there is a little château, neglected and almost wasting away until recently, called "Atelier des Nuages". On the east side, an alley leads up a steep stony incline, then though a gateway into an inner courtyard enclosed by walls, with an overgrown garden. A well marks the centre, and at the end there is a mini-castle from the 16th century, with a broad view to the west, ranging out over woods and vineyards. To the south, a stone remise marks the close of this areal. "Atelier des Nuages" is an enclave created for music and festivities. The current owner is François des Ligneris, an extraordinary man and fascinatingly individual oenologist [Château Soutard, Saint-Emilion, L'R de Rien from 1999] who has chosen this remarkable property to create a little world of his own for art and culture. The name "Atelier des Nuages" [Cloud Studio] refers to the location between two rivers, the Garonne and Dordogne, since for François des Ligneris, rivers are like clouds. In the special series of seminars and concerts called "Musiques de Nuit invite Winter & Winter", directed by Patrick Duval, Uri Caine has already given a solo concert here, and the premiere of "Letters from Shanghai", with the actress Dominique Garras and the musicians Roswitha Dasch and Brave Old World conducted by Alan Bern, took place here too. An invitation to Trifon Trifonov and Stanimaka in Summer 2004 turns this place for one night into a Bulgarian wedding celebration from the middle of the previous century. François des Ligneris and the wonderful group Musiques de Nuit build a wooden stage in front of the remise, a temporary kitchen, long tables covered with white paper serviettes, and wooden chairs; temporary lanterns light up the courtyard and countless bottles of wine from Château Soutard are standing at the ready. The festivities can begin, the guests arrive, take their places, and the musicians come along the pathway over the hill, playing the wedding march Kozbunarsko Xoro in Bayriam Kaev's version. The Ottoman influences on Bulgarian music remind one of the often tense coexistence of Bulgaria and Turkey. Bulgaria lies at the cutting edge between Europe and the East, in a place where these different ways of life collide like tectonic plates, always creating violent confrontations. In the middle of the 19th century, an uprising led by Georgi Benkovski against the Turkish occupying forces is bloodily suppressed. The Bulgarians are forced to become Moslems or struggle, and the Bulgarian language is forbidden on the streets. But the brutality with which the rebellion it had organised was drowned in blood had positive consequences for Bulgaria, despite the defeat. Many European nations were furious, and protested. Then events happened that would decisively change Bulgarian history. The Russian tsar Alexander II waged war against Turkey. The declaration of the Russo-Turkish war was greeted with enthusiasm by the Bulgarian population in the Ottoman kingdom. After some historical confusion,, the German Prince Ferdinand von Sachsen-Coburg-Gotha was agreed on as the political ruler of Bulgaria. So Georgi Benkovski had made a contribution to creating Bulgaria. In the villages, the poorer people found ways of living together more or less peacefully, and there were marriages between Bulgars and Turks. According to ancient tradition, the Bulgarian clarinettist Bayriam Kaev forwarded the Tracia style [Kozbunarsko Xoro] to the younger generation, just like a story teller. The repertoire and performing style were passed down by playing and imitation. Trifon Trifonov, rather like the brothers Grimm, is now writing down the music inherited from older generations, to preserve it for the future, and make it accessible once more. The accordion player Ivan Milev gave his name to the piece Mileva Rachenitsa. His father - also an accordionist - performed in Bayriam Kaev's group together with the drummer Vasil Karavasilev [his familiy name is half Turkish]. In 1944, in keeping with the new Russian communist powers, Vasil Karavasilev was beaten up by a Bulgarian policeman because his drum had "American Jazz" written on it. So he turned the drum skin around, and inscribed "Moscow Circus" on it. A week later he had another clash with the police, and this time the drum was stomped. After this incidence he stopped playing music for five years until Trifon Trifonov's father wanted him to play at a wedding, but with no drum skin, that wasn't on. When a calf was slaughtered in the neighbourhood, Vasil Karavasilev begged the owner to let him use the skin. But he had to leave the head and feet attached to the skin, because the hide still had to be sold. Vasil Karavasilev stretched the cow skin over his drum, and both head and feet wiggled at every stroke. After the wedding he gave the skin back, as promised, and even today, musicians in and around Plovdiv like to tell this droll story. Half of the population of Pazardjik, to the west of Plovdiv, was once Turkish, so in the piece Tatar Pazardjik [Pazardjik Market], the zurna plays a main role, since Turks particularly like the sound of this instrument. The reciprocal relationship between Bulgaria and Turkey has influenced Bulgarian folk music and its instruments. The song Katil Georgy is dedicated to another legendary folk hero, who fought for Bulgaria alone, fearlessly, relying only on himself, and was incarcerated in a Greek prison in Solun [Thessaloniki], where he was interrogated and tortured. Even today, Trifon Trifonov and Stanimaka are still playing the wonderful legend of their hero Georgi. Alongside these tales of the pride and power of the Bulgarian people, almost crushed between Serbia, Greece and Turkey, a wedding has to have love songs too. Stanke Le is a song about an utterly infatuated man who rides ten horses to death to get his Stanke, and desires nothing more than to possess her, and get her from her mother. Until the fifties of the previous century, women were not permitted in wedding groups: all songs were sung by the men. It's only in recent years that this tradition has changed: now women can take part. Now more legends are told – this time about Indje Voivoda, who was killed at a battle with the Ottomans in Prut, in 1821. Indje is venerated as a defender of the oppressed Bulgarians … And the wood's leaves wept bitter tears, as Indje was struck between the eyes. No-one was there to help him, to bring him water, to sooth his wounds, and Indje says to the wood, don't weep for me. The following balada leads into Rachenitsa ot Topolovo. The clarinettist Asen Dimitrov has perpetuated this sensual dance. He's one of Bulgaria's musical magicians, and a whole village can dance to his music for up to 15 hours. Wedding days are special days: young and old join in the festivities, celebrating, dancing, eating and drinking. At the end of the wedding feast comes Gleday Me Ajshe: a homage to gypsy music. Trifon Trifonov's mother recorded this song on a cassette, so as to pass it on to Velichka Trendafilova-Gioreva: Look at me, Ajshe: today I'm here, tomorrow I'm gone! I'm going to Slatina. What should I buy you at the market? Bring me glittering pearls and a shiny belt for my hips. And with another rendering of Kozbunarsko Xoro, the wedding procession goes away over the hill from the "Atelier des Nuages". For a few hours, Trifon Trifonov and Stanimaka have brought Bulgarian life into this enclave. There'll never be a celebration like this here again. - Stefan Winter
Eine "Reise in eine fremde Welt" verspricht der Pressetext. Andererseits führt die Reise "nur" nach Bulgarien, beliebtes Ferienziel am Schwarzen Meer, Aufnahmekandidat für die Europäische Union - ein Land zwar nicht "in der Mitte", aber auch nicht wirklich "am Rande" Europas. Dennoch: was weiß man hierzulande wirklich?
Weiß man, dass die Kultur der Thraker im Gebiet des heutigen Bulgarien wurzelt? Dass sich hier seit Jahrhunderten die Kulturen des Balkans, der Türkei und Griechenlands begegneten - wenn auch nur selten in friedlicher Absicht? Erst Mitte des 19. Jahrhunderts konnten sich die Bulgaren von ihren türkischen Besatzern befreien, mit Unterstützung des russischen Zaren Alexander II. Der neue Staat wurde übrigens zunächst von einem Deutschen geführt: Prinz Ferdinand von Sachsen-Coburg-Gotha. Die Menschen in den Dörfern, Bulgaren, Türken und andere Volkgruppen, lernten friedlich miteinander zu leben, es kam sogar zu Eheschließungen zwischen den ehemals verfeindeten Gruppen.
Dies ist wohl der Ausgangspunkt eines äußerst ungewöhnlichen CD-Projekts mit dem Titel "Bulgarian Wedding - Music from the last century", das - noch ungewöhnlicher - in Frankreich entstand. Dort baute Francois des Ligneris den Hof seines Weinguts in der Nähe von Saint-Emilion zu einem Studio um, das er "Atelier des Nuages" nennt, und in das er immer wieder Musiker zu Aufnahmen einlädt.
Für den bulgarischen Saxophonisten Trifon Trifonov und sein Ensemble Stanimaka machte des Ligneris eine Ausnahme, denn für die Einspielung traditioneller bulgarischer Hochzeitsmusik des 19. Jahrhunderts schien es sinnvoller, diese in einer möglichst authentischen Atmosphäre geschehen zu lassen. Deshalb ließ er eigens eine Außenbühne zimmern, stellte lange, "mit weißen Papierdecken ausgelegte Tische, und Holzstühle" auf, während zeitgenössische Lampen den Hof erleuchteten und zahllose Flaschen des hauseigenen Weines bereitsgestellt wurden ... "Das Fest kann beginnen, die Gäste treffen ein, nehmen ihre Plätze ein, die Musiker kommen den Pfad über den Berg entlang und spielen den Hochzeitsmarsch 'Kozbunarsko Xoro' ..." (Booklet). Die komplette CD wurde so vor dieser einzigartigen Kulisse aufgenommen.
Die Themen der Musik sind universell: Liebe, Glück und Leidenschaft, aber auch Trauer über die Kriegsopfer und dramatische Legenden aus der Historie des Landes und seiner Menschen. So wechseln temperamentvolle Märsche und elegische Balladen einander ab, letztere vorgetragen mit der markanten Stimme von Velichka Trendafilova-Gioreva. Früher, erzählt das Booklet, hätten die Lieder übrigens ausschließlich von Männern gesungen werden dürfen.
Ebenso stilvoll wie das gesamte Arrangement dieser Aufnahme ist auch die CD selbst gestaltet. Das Begleitheft enthält zahlreiche Informationen zu den einzelnen Titeln, ihren Ursprüngen und den zum Teil abenteuerlichen Bedingungen, unter denen sie überliefert wurden. So rückt schließlich die fremde Welt Bulgariens ein wenig näher. - Michael Frost
01. The Wedding Procession Kozbunarsko Xoro 4:36
02. Mileva Rachenitsa 9:33
03. Bre Ivane 4:46
04. Tatar Pazardjik 4:52
05. Katil Georgy 6:00
06. Stanke Le 6:20
07. Indje Voivóda 2:38
08. Balada i Rachenitsa ot Topolovo 18:23
09. Gleday Me Ajshe 3:49
10. The Wedding Procession Kozbunarsko Xoro 4:57
Trifon Trifonov - alto saxophone, vocals
Velichka Trendafilova - vocals
Stoyan Nedelchev - violin, trumpet
Stoyan Grigorov - accordion
Dimiter Dimitrov - clarinet
Iliya Krastev - tapan
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Part 1 | Part 2 | Part 3 | Part 4 | Part 5Переслать - Cuban Cool
A rare compilation of a better rythms and Bands from the Isla Grande!!
[01]. Benny Morè - Locas por el Mambo
[02]. Malena Burke & NG La Banda - Longina
[03]. Los Van Van - Se muere la tia
[04]. Irakere - el coco
[05]. Orchestra Aragon - pare cochero
[06]. NG La banda - El sitio entero
[07]. Celine Gonzales - Santa Barbara
[08]. Reve y su Charangon - Yo no quiero que seas celosa
[09]. Benny Morè - El Bobo de la Yuca
[10]. Los van Van - eso que anda
[11]. Adalberto Alvarez y su Son - Lo que me paso en la
[12]. Irakere - takataka, ta
[13]. La origina de Manzanillo - Coge el camaron
[14]. NG La Banda - La protesta de los chivos
FLAC tracks (EAC Rip): 400 MB | MP3 - 320 kbs: 150 MB | Covers
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HEREПереслать - Michel Camilo - Spirit Of The Moment
After 20 years of developing his chops as a trio player, pianist Michel Camilo took a few years off to do other things -- a solo album titled Solo and a lovely orchestral homage to George Gershwin were two results of that break. With Spirit of the Moment he returns to the trio format, and he sounds refreshed and happy to be back. As always, his style is powerfully energetic and at times ideas seem to be flying out from under his fingers almost more quickly than he can fully process them. But with the help of a crack rhythm team (drummer Dafnis Prieto and bassist Charles Flores), he manages to keep his feet on the ground and generate lots of inspiring moments. Notable among them are an all-too-brief rendition of the John Coltrane classic "Giant Steps" that sounds almost like "Flight of the Bumblebee," a lovely version of Wayne Shorter's "Nefertiti," and the aptly titled "Hurry Up and Wait," a jittery and edgy uptempo original with a Latin feel. Despite his obvious affinity for faster material, Camilo also shines on the ballads: he delivers sweetly lyrical renditions of "My Secret Place" and "A Place in Time," both of them originals.
Hailing from the Dominican Republic, pianist Michel Camilo's career spans three decades, two hemispheres and a range of jazz and classical styles. Since joining the Telarc label, he has crafted brilliant recordings in the trio, solo and orchestral settings. Each of them has captured the essence and spirit of this ever-evolving artist at various points along his creative journey.
Following up on the intimate 'Solo' in 2004 and the adventurous 'Rhapsody in Blue' in 2006, Camilo makes his triumphant return to the straightahead jazz trio setting with 'Spirit of the Moment'. With sympathetic backing from Cuban-born bassist Charles Flores and drummer Dafnis Prieto, the leaner, three-man configuration allows plenty of room for the fiery keyboard work that has become Camilo's trademark.
01. Just Now
02. My Secret Place
03. Spirit of the Moment
04. Repercussions
05. Nefertiti - Michel Camilo, Shorter, Wayne
06. Nardis - Michel Camilo, Davis, Miles
07. Trilogy
08. Giant Steps - Michel Camilo, Coltrane, John
09. A Place in Time
10. Hurry Up and Wait
11. Liquid Crystal
12. Solar (Explorations) - Michel Camilo, Davis, Miles
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HEREПереслать - Cuban All-Stars - Pasaporte
Two master percussionists from different generations coming together for a magnificent jam session! The legendary Tata Guines, regarded by many as the most influential tumbador of all times, and the brilliant Miguel "Anga" Diaz, regarded by many as Cuba's finest younger generation tumbador and the heir to Tata's throne, come together and create percussive fireworks! Great arrangements by another brilliant young lion of Cuban jazz, Orlando "Maraca" Valle, and a phenomenol supporting cast of musicians and vocalists from both the older and younger generations of Cuban music. Just listen to the power and technique of the opening conga solo intros by both Tata and then Anga, or Anga's beautiful bata work on the jazzy composition "Anga." Great music for listening or dancing!
1. Presentacion
2. Rumberos De Ayer (feat. Raul Planas) (feat. Raul Planas)
3. Descarga Pa' Gozar
4. Donde Va Mulata?
5. Angá
6. Blem Blem Blem (feat. Merceditas Valdes) (feat. Merceditas Valdes)
7. Tata Se Ha Vuelto Loco (feat. Laito) (feat. Laito)
8. La Clave De Los Primeros (feat. Yumuri) (feat. Yumuri)
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HEREПереслать - Best Of Modern Belly Dance From Arabia
SAUDI ARABIA Aboud Abdel Al: Best of Modern Belly Dance from Arabia
This is a unique belly dance recording, from one of the most renowned violinists in the Middle East. Aboud Abdel Al, originally from Lebanon, writes his own arrangements, in his own, unique style. Enjoy!
TRACK LISTINGS
[01]. Sahira
[02]. Raksel Hawanem (Ladies Dance)
[03]. Aliek Asaal (Asking for you)
[04]. Ameint Bellah (I believe in God)
[05]. Rajeeh Yetaamar (Built again)
[06]. Zafatel Arouss (Brides Wedding)
[07]. Abarret Elshatt (I crossed the Sea)
[08]. Kouly Sanhgam
[09]. Al Aien (On my Eyes)
[10]. Saiedeh (Happiest)
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HEREПереслать - Traditional Songs and Dances of Sardinia
Traditional Songs and Dances of Sardinia, 1996
And, with perfect timing, here's a new CD from Saydisc. The Damian Webb tag alerts me to the possibility of songs by children - though the general presentation of this record did not prepare me for the fact that only 32 of the total 57 minutes playing time would be by adults. Might the majority of potential purchasers feel slightly cheated? One could argue that they shouldn't, particularly given the general high quality of the youngsters' performances. But they certainly should be by the quality of the booklet notes - also by Fr Webb - which manage to combine ignorance, irrelevant anecdote, misleading information and some personal observations which reveal a most unpleasantly patronising attitude. How about this, from the first paragraph:
Country dance clubs were comparatively rare [in 1962], the country people being content to jig about in pairs using Sard steps to Sard music.
I am at a loss to understand how anyone can publish an observation like this in 1998! It makes an interesting comparison with a comment in the booklet accompanying Ethnica's excellent Ballo Sardos CD from 1997 (also reviewed in these pages):
In the past twenty years, however, the tendency in many villages to form folk-dance groups has gradually been destroying the custom of dancing in the village square. As a result, the old folks have delegated the joy of collective dancing (a ritual which united the whole group) to a small group of young people who, decked out in folk costume, perform a virtuoso exhibition on a platform to an audience which applauds but which has been dispossessed of its reason to dance.
These recordings were made in 1962 and I would guess that the notes were written not too long afterwards, since they give little indication of any historical perspective. I don't know if the record has been previously released on vinyl - Saydisc's 'New Release' information sheet claims it is "a valuable addition to our expanding range of traditional world music". If this is indeed the case, the notes seem uncomfortably anachronistic in a 1998 release.
For example: Fr Webb describes travelling to Baunei especially to hear a player of the launeddas (described as "the launedda [sic] ... a rare double [sic] pipe"). After half a page of irrelevancies we get a brief description of the instrument and its playing method, followed by the observation "The noise is excruciating and I doubt it will survive for long." Well, only about 3,000 years, and counting! Fortunately, another Webb prediction which has not stood the test of time.
Had he travelled to the southern hinterland, rather than to Baunei on the central east coast, he would have found plenty of launeddas players - as one still can today. Moreover, he would have discovered that it takes a lifetime of experience to get to grips with this most difficult of instruments, and might not have been surprised to find that this isolated, mid-twenties player (to judge by the photo) was a rather poor specimen.
Oddly, he was the only person on the entire record to be accorded the dignity of a name - Monni Salvatore Pudrana. For the rest: "male quartet from Nuoro", "blind accordion player from Santa Maria Navoresse" or "Dorgali folk song group" have to suffice. Nor is Fr Webb much interested in the music - several tracks have no title other than "Folk Dance music" - and there is only one indication of a song in Sard, despite a lengthy description of his time in Lotzorai and the parish priest's translating "all the songs sung in Sard" into Italian for him.
No, the notes - where they are not chronicling the details of his travel and accommodation arrangements - are almost entirely about the children and their singing games, Fr Webb's special interest, which is not really what the CD purports to be about. Nonetheless, some of their singing is very good indeed and I'm pleased to have been able to hear it. The recording quality is excellent for a 1960's field recording - with the exception of the only coro track which is marred by the most horrendous echo from "a very resonant gymnasium" where they were recorded. A pity, since the singing seems to be pretty good. Unsurprisingly, Fr Webb felt this "to be an advantage when recording the male quartet - they faced inwards in a close circle with heads down". Judge for yourselves! The echo was less intrusive when the 'folk dance group with accordion' performed - though, of course, all you hear is the rather good accordion (player un-named as usual). Surprisingly, since he was in the right area for it, the CD contains nothing of the justly famous cantu a tenores polyphony.
All in all, the music and singing to be heard here is pretty good and well reproduced for the most part. To call it a "valuable addition" to Saydisc's catalogue must be considered to be something of an exaggeration - it's mediocre by the standards set by companies like Chant du Monde, Robi Droli/New Tone or Ethnica. To describe the booklet notes as mediocre would be praise indeed!
01. Pastoral sounds - Nonmi giamedas Maria 2:59
02. La Povera Cecchina (Poor Little Blind Girl) - I Colori dell' Arcobaleno (Colours of the Rainbow) - Il Treno (The Train) 4:26
03. Ballo tondo (Country dance) 2:07
04. Vanto alla Fidanzata 1:57
05. Ave Maria 4:32
06. Folk dance music - Ballo (Tres passos) 3:45
07. Su Sa Corte De Su Re (Near the King's Courtyard) - Sas Cozzulas de Jubanna (The Little Cakes of Joanna) - Ite Bella Pizzinna (What A Lovely Baby Girl) 3:06
08. Folk dance music 3:03
09. 3 Sardinian love songs 11:05
10. Un Vaso di Porcellana (A Porcelain Vessel) - I Tre Tamburi (The Three Drummers) - La Bella Villana (The Beautiful Country Girl) 3:56
11. Passu tozzau - Dyllu (Country dances) 5:23
12. Sas Rundine e S'Oddeu (The Swallow and God) - Quell' Uccelletto (That Little Bird) - Le Rondinelle (The Swallows) - La Formicuzza (The Little Ant) 4:51
13. Folk dance music 1:52
14. La Solitudine (Solitude) - Gioco Topolino (The Little Mouse Game) - Madama Le Frulle Frulle (Madam (Egg) Whisk) - Siamo Sette Cavaglieri (We Are Seven Horsemen) 4:25
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Part 1 | Part 2 | Part 3 | Part 4Переслать - Chano Dominguez - Hecho a Mano
Flamenco and jazz come together, courtesy of Chano Domínguez, who surrounds himself with great artists in this record. His piano, Javier Colina's double bass and Guillermo McGill's drum kit are the leading protagonists, although there are guest appearances by other musicians like Tomatito, Antonio Toledo, Nono García and Tito Alcedo on guitar; Tino di Geraldo on percussion; Chonchi Heredia, singing; Joaquín Grilo, dancing; and Joaquín Grilo, Juan Diego, Lorenzo Virseda, Tino di Geraldo and Chonchi Heredia are in charge of the rhythmic hand-clapping.
It is a gem of a record, put together with care, hand-made.
Chano Dominguez, based in Cadiz, Spain, is a powerful pianist and gifted composer who brings jazz and flamenco together in this exciting, innovative CD. Dominguez weaves jazz lines and harmony with the varied rhythms of flamenco, from its lighter styles of tango and buleria to the darker, bluesy seguirilla and solea, and beautifully integrates the fiery percussion of clapping and dancing with bebop (it's a bit hard to imagine, but an absolute delight to hear). He does amazing things with two jazz classics: Bill Evans' "Turn out the Stars" becomes a stunning flamenco waltz with a great bass solo by Javier Colina, and Thelonious Monk's "Bemsha Swing" is a startling tour de force where the piano is accompanied only by dancing and clapping; Monk would've loved it. The other ten tracks are Dominguez compositions, different in mood and structure, but all polyrhythmic and melodic. Standouts are hard to isolate, but include "Cilantro y Comino," a masterful, adventurous journey; "Alma de Mujer" (aka "Soul of Woman"), a thoughtful meditation which ranges from tenderness to passion; the dynamic, gypsy-inflected "Retaila"; the sexy "Pinar Hondo"; and "Bubango," which showcases the fine work of guitarist Tito Alcedo. Dominguez's music is like a fresh wind blowing over a familiar landscape; full of soul and heart, this CD is a must-have for Latin jazz fans. ~
[01]. Alma de mujer - Colombiana
[02]. Retahíla - Bulerías
[03]. Pinar Hondo - Fandango
[04]. Tú enciendes las estrellas
[05]. Cardamomo - Bulerías
[06]. Bajamar - Seguirilla
[07]. Cilantro y comino - Tanguillos
[08]. Soleá blues
[09]. Jacaranda - Seguirilla
[10]. Bubango - Soleá
[11]. Bremsha Swing
[12]. Solo con verte
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HEREПереслать
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