01. Remember and Do Pray for Me Lloyd Chandler 1:22 02. The Silk Merchant's Daughter Dellie Norton 1:55 03. Rambling Hobo Gaither Carlton 1:41 04. Apple, Blossom Gaither Carlton :50 05. Pretty Crowing Chicken Frank Proffitt 3:44 06. Forkey Deer Sidna Myers 2:03 07. Satan, Your Kingdom Must Come Down Frank Proffitt 1:49 08. Cumberland Gap George Landers 1:59 09. Rolling Mills Are Burning Down George Lander 3:03 10. Half Shaved Wade Ward 2:09 11. Shady Grove Wade Ward 1:18 12. Old Joe Clark Wade Ward 1:27 13. Nitches over the Hill Wade Ward 1:02 14. Twin Sisters Myers Sidna :56 15. Fortune Fred Cockerham 1:38 16. Little Satchel Fred Cockerham 3:36 17. Barker's Creek George Landers 2:36 18 Young Emily Dellie Norton 2:05 19. Early, Early in the Spring Dellie Norton 2:03 20. Warfare Ball, Estil C. 3:18 21. Pretty Polly Ball, Estil C. 3:15 22. The Fox Ball, Estil C. 2:56 23.. A Conversation With Death Lloyd Chandler 4:08 24. I Wish My Baby Was Born Dillard Chandler 1:01 25. The Carolina Lady Dillard Chandler 4:24 26. The Scotland Man George Landers 3:37 27. Alabama Girls Sidna Myers 1:26 28. No Place Like Home George Landers 2:05 29. June Apple Fred Cockerham 2:36 30. Frankie Baker Fred Cockerham 1:20 31. Jennie Jenkins Orna Ball, E.C. Ball 2:24 32. Little Sadie Gaither Carlton :58 33. Cumberland Gap Frank Proffitt 1:24
01. 'Tit Galop Pour Mamou 2:05 02. Je Suis Orphelin 2:35 03. T'en A Eu Mais T'en N'aras Plus 1:36 04. Two Step De L'anse À Paille 3:32 05. La Danse De Mardi Gras 2:22 06. Je Me Suis Marillié 1:56 07. Enterre-Moi Pas 2:08 08. Chère Joues Roses 2:00 09. Chère Bassette 3:52 10. J'ai Passé Devant Ta Porte 3:07 11. Les Flammes D'enfer 2:50 12. Madeleine 2:53 13. La Valse Du Bambocheur 3:12 14. Lacassine Special 2:46 15. My True Love 2:36 16. La Valse De Grand Bois 2:56 17. Family Waltz 2:39 18. Newport Waltz 2:57 19. Indian On A Stomp 2:28 20. T'es Petite Et T'es Mignonne 3:04 21. Two Step A Hadley 1:48 22. Valse De Balfa 2:27 23. Parlez-Nous À Boire 3:12 24. Les Blues Du Cadien 1:49
Accordion – Hadley Fontenot, Marc Savoy [tracks: 2, 4, 7] Guitar – Harry Balfa, Rodney Balfa Triangle – Burke Balfa Triangle, Drums – Tony Balfa Violin [Baritone] – Will Balfa Violin [Tenor] – Marc Savoy [tracks: 10, 11] Violin, Vocals – Dewey Balfa
Compiles two albums originally released as Swallow 6011 [in 1965] & 6019 [1974]
The Balfa family name is legendary in Cajun music. They grew up in abject poverty in Bayou Grand Louis, near Big Mamou, Louisiana, USA, where their father, from whom they gained their musical interest, worked as a sharecropper. The music offered a means of escape and relief and in the mid-40s, brothers Will (Born c.1920, d. 6 February 1979; fiddle), Harry (Born 1931; accordion) and Dewey (Born 20 March 1927, d. 17 June 1992; fiddle, harmonica, accordion, guitar and sundry other minor instruments) began to play for local dances. In 1951, they made their first recording on home recording equipment, but during the 50s Dewey frequently played and recorded with Nathan Abshire. He also appeared at the Newport Folk Festival in 1964, playing guitar with Gladius Thibodeaux (accordion) and Louis Lejeune (fiddle). In 1967, Dewey was joined by Will, Rodney (Born 1934, d. 6 February 1979; guitar, harmonica, vocals), daughter Nelda and Hadley Fontenot (an accordion-playing local farmer) and the unit toured extensively both in the USA and Europe as the Balfa Brothers (incidentally, Will always preferred to spell his name as Bolfa). In the late 60s, they recorded for Swallow and their recording of "Drunkard's Sorrow Waltz" was a bestselling Cajun single in 1967.
In 1968, they appeared in Mexico City at music festivals run in conjunction with the Olympic Games. They played music for and appeared in the 1972 film on Cajun life, Spend It All. Dewey also formed his nightclub orchestra, which comprised himself and Rodney (fiddle, guitar, vocals), Nathan Menard (accordion), Ervin "Dick" Richard (fiddle), J.W. Pelsia (steel guitar), Austin Broussard (drums) and Rodney's son, Tony (bass guitar). In the mid-70s, they made further recordings (with Nathan Abshire) for Swallow and Sonet Records and appeared in a documentary on Cajuns. On 6 February 1979, Will and Rodney were killed in a car accident. Dewey continued to perform and record as the Balfa Brothers with other musicians, including Tony, his daughter Christine (triangle), Tony, Ally Young (accordion), Dick Richard, Mark Savoy (Born 1940; accordion), Robert Jardell (accordion) and Peter Schwartz (bass, fiddle, piano) (Schwartz, who first played with the group in his early teens, was Tracy Schwartz's son).'
another band of brothers & simply some of the most vibrant & consistently uplifting recordings in my humble treehaus. this is traditional, old skool ['65-74] family style cajun musique at it's finest, delivering effortless doleful harmonies, magnificent dueling fiddles, thumping rhythms & predominant triangle! there's something really magical about these jams; the fiddle virtuosity is readily apparent & one can hear musical strains of the many cultures making up the louisiana melting pot back in the day. multi-instrumentalist extraordinaire dewey balfa was the heroic champion of cajun music & after his brothers croaked in a tragic car accident [& later his beloved wife], he continued to soldier on, bringing cajun kulture to the local community & folk festivals throughout the country. immediate, no-brainer, life-affirming jubilation of the highest order. the snake eats its tail, 320 er FLACK. further
01. nigarden springar 02. bonde etter johan henrik 03. legdakallen bonde 04. springar etter hansegarden 05. kvamen halling aqnfin o. kavame 06. skjervin bonde 07. ha takk da namme for du var kar bonde 08. lydarlatt etter olav moe 09. jentudn sma som pa bryggja sta springar 10. bonde etter krosshaugen 11. hulebakklatten lydarlatt 12. st thomasklolkelatten lydarlatt 13. springar etter ivar ringestad 14. springar etter knut ringestad 15. springar etter andris bunde 16. springar etter andris bunde 17. springar etter ola soyne 18. springar etter ola soyne 19. krosshaugens siste latt lyderlatt
'Ola Grihamar Sr [1910-1978] was the leading hardanger fiddleplayer in Vang community in Valdres. The playing style in Vang is different from the rest of Valdres, quick & with a sharp edge, & the tune variations are to some extent similar to those in the inland regions of Sogn. This record documents an interesting & diverse branch of the Valdres tradition.'
got a hardan fer hardanger. how they do it? superlative sympathetique string dronage in a norwegian wood somewheres. 320 uppenbarelser. further
Recorded Date: September 16, 17, 1974. Location: CBS/Sony Studio No. 1.
'I'm really happy to present this artist to the archives because I consider him as one of the greatest in contemporary experimental electronic music. After being in touch with the fluxus movement during his early 60's years, Takehisa Kosugi formed the neo-shamanic pych-freafout droning ensemble Taj Mahall Travellers. Published in 1975 Catch Wave figures among his first solo efforts. The music delivers a rather a similar ectatic musical voyage to Taj Mahall Travellers' esoteric improvisations but in this solo project, Kosugi focuses his interest on voluminous deep electronic textures. Different frequences and electronic tones accompany his ethereal, minimal amplified violin improvisations. The result is astonishing, a sonic poetry, constantly beautiful and beatific. The two epic performances published on Catch Wave represent cosmic- psychedelica at its best. Mano Dharma features magical, intergalactic, supernatural programming strings and buzzing spaced out drones. Put on a high volume and played on a good hi fi sound system, this composition will propulse you in an other galaxy. Wave Code takes back the same schema with the add of cosmic, mad-LSD voices and noises that finally progress into a ritual-like electronic amplified chant. A fantastic, attractive, abstract instrumental listening. Mesmerizing & so recommended. ' Phillipe, Prog Archives
another blawgland upgrade, this one rates rather high around here. something of a forerunner to canti illuminati. congrats if you're just finding out. 320 sounds speeding on lights, light speeding on sounds, music between riddles & solutions
01. Fatima - Alexander Maloof & the Maloof Oriental Orchestra 2:39 02. Il-Bulbul Nagha - Constantine Souse 6:40 03. Hawwil Ya Ghannam - Amer Khadaj, Jalil Azzouz 6:04 04. Lamma Ya Albi - Sana Khadaj, Jalil Azzouz 6:13 05. Raks 'Arabi - Na'im Karakand 3:08 06. Wakef 'Ala - Hanan, Joe Bedway, Yacoub Ghannim, Hakki Obadia, Na'im Karakand 7:14 07. La'uli Bayt - Anton "Tony Abdel Ahad, Philip Solomon, Ronny Kirby 5:51 08. Arabic Folk Songs - Danny Thomas, Toufiq Barham 7:39 09. Flute Imitation - Na'im Karakand 4:00 10. Li'b Al Khayl - Russell Bunai, Joe Bedway, Muhammad al-Akkad 5:24 11. Only You - Kahraman 3:07 12. Taqasim 'Ala al-'Ud - Jalil Azouz 6:25 13. Hall Tadree - Russel Bunai, Joe Bedway, Philip Solomon, Muhammad al-Akkad 6:09 14. Al-Jazayir - Tony Abdel Ahad, Philip Solomon 2:24
'This collection represents a vibrant, dynamic but little-known aspect of American music, predating the era of the album, cassette and CD. The 14 performances collected here, originally recorded on 78 r.p.m. records by Arab American musicians, are but a sample of the music that sustained people of Arab heritage in America during roughly the first half of the twentieth century. Independent Arab-American labels such as Alamphon, Abdel Ahad, Star of the East and Cleopatra were among those who recorded for the people of Arab heritage who had settled in America. That so many independent companies flourished [the original 78 rpm recordings here date from 1916 to the early 1950s] reflects the enthusiasm of the Arab-American community for this music.' ~ back cover
evocative sonic nectar of the shellac era is my musical raison d'être more than any other, so i'm ecstatic to unfurl one of the most potent collections of arabic songs & dances ever assembled. in the mid 90s when i began digging 78 rpm compilations of 'ethnic', blues, jazz & gospel pirty heavily, this joint was amongst the first inspirational wave of releases responsible for making that period of discovery so exciting. the physical document itself was lost in the whirlwind that is life & it's only by virtue of a dear friend that these achingly beautiful melodies have recently made their way back into my consciousness, booklet & owl :))) شكرا مرة أخرى صديقي العزيز. هذا هو أعظم هدية يمكن تخيلها
01. Rukus Juice And Chittlin' - Memphis Jug Band 02. The Jazz Fiddler - Walter Jacobs And Lonnie Carter 03. Moanin' And Groanin' Blues - "Peg Leg" Howell And His Gang 04. Dance Hall Shuffle - Clifford Hayes' Louisville Stompers 05. My Four Reasons - Banjo Ikey Robinson And His Bull Fiddle Band 06. Wild Cow Blues - Joe Williams' Washboard Blues Singers 07. Knox County Stomp - Tennessee Chocolate Drops 08. Rustlin' Man - State Street Boys 09. Sister Maud Mule - Alec Johnson 10. G Rag - Georgia Yellow Hammers 11. Throw Me In The Alley - Peetie Wheatstraw And His Blue Blowers 12. If You Can't Make It Easy, Sweet Mama - Dixieland Jug Blowers 13. Bunker Hill Blues - Frank Stokes 14. I Got A Gal - James Cole's String Band 15. Sweet To Mama - State Street Boys 16. Doctor Medicine - South Memphis Jug Band 17. Cabo Verdranos Peca Nove - Abrew's Portuguese Instrumental Trio 18. Worried Man Blues - Joe Williams' Washboard Blues Singers 19. Georgia Crawl - Henry Williams And Eddie Anthony 20. Good Old Turnip Greens - Bo Chatman 21. Memphis Stomp - The Blue Boys 22. Get Up Off That Jazzophone - The Bubbling-Over Five 23. Rukus Juice Shuffle - Alabama Rascals 24. Lazy Lazy River - Mississippi Sheiks
'24 tracks of rare fiddle music from the early years of recorded sound, covering a wide range of artists and styles. Playing ragtime tunes, country breakdowns, hardcore blues and hot jazz, these fiddlers cut loose on the instrument known as 'The Devil's Box.' Blues fans recognize Lonnie Johnson, Bo Carter, and Big Bill Broonzy as masters of the guitar, but these men were also talented fiddlers, and they’re all included on this disc. You’ll hear jazz from Chicago’s South Side, string band music from Mississippi, and blues from Beale Street. The State Street Boys play uptown blues, while groups like the Alabama Rascals and the Dixieland Jug Blowers provide good-time dance music.'
we loves old hat. the amazing musical selections & illustrious accompanying booklet [not included here] make this collection a mandatory perchase. 320 quintessential scrapes
Kazakhstan - The Kobyz, The Ancient Viol of the Shamans [Kazakhstan - Le kobyz, l'ancienne viole des chamanes] Inedit W 260115, recorded 2003, CD released 2004
01. Rocky Pallet 02. Rock That Cradle Lucy 03. Soldier's Joy 04. Sal's Gone to the Cider Mill 05. Ride Old Buck to Water 06. Molly Put the Kettle On 07. Hell Broke Loose in Georgia 08. Fly Around My Pretty Little Miss 09. Liberty 10. Devilish Mary 11. Cackling Hen and Rooster Too 12. Miss McLeod's Reel 13. Pretty Little Widow 14. Dixie 15. Broken Down Gambler 16. Leather Breeches
'Decades before rock & roll, the Skillet Lickers blasted through raucous old-time romps that still sound as fresh and edgy as they must've sounded back in the 1920s, when they emerged as hillbilly music's leading artist. Fiddles endlessly blaze and soar over dance calls and raw, down-home hollers while Riley Puckett's guitar work keeps it all anchored. Puckett was probably the first star guitarist of old-time music and his unique, single-string style of rhythm guitar [harmonically fluid but rhythmically adventurous] proved essential to the development of bluegrass, not only for early rhythm guitarists, but later on for lead flat-pickers like Doc Watson, who enhanced it and moved it to the foreground. The songs, from 'Soldier's Joy' to 'Cackling Hen' to 'Dixie' to 'Leather Breeches,' fiddlers' standards even then, remain so today thanks in large part to these historic recordings.
The original members were Gid Tanner, Riley Puckett, Clayton McMichen and Fate Norris. The members had been performing in various combinations around Atlanta before 1924, but it was in that year that Tanner [a fiddle-playing chicken farmer] & the blind guitarist Puckett recorded to become Columbia Records' first hillbilly talent. In 1926 with McMichen and Norris, they recorded for the first time as Gid Tanner And The Skillet Lickers. Over the years there were significant line-up variations & other important members included Lowe Stokes, Bert Layne [both outstanding fiddlers], Hoke Rice [guitar], Gid's brother Arthur [banjo, guitar] & teenage son Gordon [fiddle]. By 1931, in some combination or other, they had cut 88 sides for Columbia - all but six being released. Their material included fiddle tunes, traditional ballads and pop songs, plus little comedy skits such as their noted 'A Corn Licker Still In Georgia'. Quite possibly the greatest stringband of all time.
The compilation contains 16 tracks that the hillbilly musical comedy group recorded between 1926 and 1931. The Skillet Lickers were one of the most popular groups of their time, and although their music and humor has dated considerably in the decades since, the musical talents of fiddler Gid Tanner remain impressive, and this compilation is the best way to hear him and his group.' ~ Marc Greilsamer
cracked-out madness from these insane visionaries. they recorded so many sides it's dizzying, but this comp remains a worthy distillation of their scope. another goodun lives hear. without the skillet lickers, there would be no holy modal rounders. gid tanner & riley puckett are the forefathers of this swirling brand of methylated mayhem & these whoops & warbles are as authentique as it gets. sounds like home
Harry Choates - fiddle & vocals Johnnie Mae Smirle [Manuel] - piano Joe Manuel - banjo B.D. Williams - bass Eddie Pursley - guitar Ron Ray 'Pee Wee' Lyons or Julius “Papa Cairo” Lamperez - steel guitar
'Harry Choates was an American Cajun music fiddler. Choates's place of birth is disputed. He moved to Port Arthur, Texas in the 1930s, and received little schooling, instead spending time in local bars listening to music on the jukebox. By age 12 he started playing fiddle for spare change in barbershops. He gained early professional experience playing in the bands of Leo Soileau and Leroy LeBlanc, then split off to form his own group called the Melody Boys in 1946. His 1946 song 'Jole Blond', a top 10 hit for Choates, was recorded by country singer Moon Mullican and became a major hit.
Harry Choates was not only one of the most influential musicians in the history of Cajun music, but one of its most tragic figures. A wild and imaginative fiddler, Choates wrote such classic tunes as the Cajun national anthem 'Jole Blon,' & popularized such songs as 'Allons à Lafayette.' Recording for Gold Star, DeLuxe, D.O.T., Allied, Cajun Classics, Macy's, and Humming Bird, Choates introduced Western swing, blues, jazz & country music to the two-steps and waltzes of southwest Louisiana's bayous, influencing nearly every Cajun musician who followed in his footsteps.
Like Hank Williams, Choates balanced his musical talents with painful struggle in his real life. An acute alcoholic, he sold the rights to 'Jole Blon' for $100 and a bottle of whiskey. His habit of missing concerts led him to be blacklisted by the musicians union in San Antonio and resulted in his band breaking up. His death was equally tragic. Failing to make support payments of $20 a week for his son and daughter following his divorce, he was jailed by a judge who found him in contempt of court. After three days of forced withdrawal, he began beating his head against the cell bars and fell into a coma. He died a few days later on July 17, 1951, 6 months before his 30th birthday :(
a tragically short life of trouble for a boy with a broken heart. here go Harry's finest shellac sides for the Gold Star label, recorded betwixt 1946 - 49. included as a bonus is the aforementioned 'Jole Blond'. 320 tanx to brother Ambrose Bierce of We Love Music fame for the blistering bits & booklet. r.i.p. Harry Choates
01 - Butch Cage And Willie B. Thomas - 44 Blues 02 - Robert Pete Williams And Robert J. Welch - Mississippi Heavy Water Blues 03 - Clarence Edwards Cornelius Edwards And Butch Cage - Smokestack Lightnin' 04 - Butch Cage And Willie B. Thomas - Who Broke The Lock 05 - Clarence Edwards Cornelius Edwards And Butch Cage - You Don't Love Me 06 - Butch Cage And Willie B. Thomas - It's The Sign Of The Judgement 07 - Ben Douglas - Foxhunt 08 - Sally Dotson Smoky Babe And Hillary Blunt - Your Dice Won't Pass 09 - Butch Cage And Willie B. Thomas - Jelly Roll 10 - Rebecca Smith Tom Miller And Ruth Miller - I've Got Religion 11 - Smoky Babe - Going Downtown Boogie 12 - Clarence Edwards Cornelius Edwards And Butch Cage - Stack O'Dollars 13 - Butch Cage Martha Thomas And Willie B. Thomas - Brown Skin Woman 14 - Napoleon Strickland, Lucius Bridges & Leslie Anders - I Won't Be Yr Dog No Mo 15 - Butch Cage And Willie B. Thomas - The Piano Blues 16 - Smoky Babe - Cotton Field Blues 17 - Otis Webster - The Farm Blues 18 - Otis Webster - The Boss Man Blues 19 - Butch Cage And Willie B. Thomas - Whoa Mule 20 - Otis Webster - Boll Weevil Blues 21 - Clarence Edwards Cornelius Edwards And Butch Cage - Thousand Miles From Nowhere 22 - Butch Cage And Willie B. Thomas - Dead And Gone 23 - Butch Cage And Willie B. Thomas - Called For You Yesterday 24 - Butch Cage And Willie B. Thomas - Me And My Chauffeur 25 - Butch Cage And Willie B. Thomas - Baby Please Don't Go
All recordings made by Dr. Harry Oster in Louisiana 1959/1960 and 1962 except 19,22,23,24 and 25 made by Chris Strachwitz and Paul Oliver in 1960
“The title is accurate to a time and place: Southwestern Louisiana between 1959 and 1962. The folklorist Harry Oster did a series of field recordings, informal `jams'with a group of obscure blues men and women, only one of whom, Robert Pete Williams, won fame. Williams was singular in composing stream-of-consciousness blues, support-ed by a guitar style as jarring for blues as Monk was for jazz piano. But Williams sounds nearly traditional compared to others in these recordings. Butch Cage plays fiddle in a nineteenth-century style now gone. And Cage himself sounds nearly conventional compared to the unknown resident of a state mental hospital who does a high-pitched whoop a la Sonny Terry into a Coke bottle while other inmates bang wood blocks.
In case you're wondering how a seventy-seven-minute disc with such diversity can cohere, let me assure you it does, and plenty. I've never heard a better, `rootsier' blues collection in my life, and when I wore out my vinyl album, I sadly wondered, who would ever bother to release this on disc? It's here, and if you have a taste for relaxed, funky, real-gone, real back-porch blues, it's a must.' - Norman Weinstein: Los Angeles Reader
likely the only reason this record isn't more well known is due to the slightly taboo title. a quintessential collection of amerikan folk musique
01. Ah! Gade Chabine La - Orchestre Antillais De Alexandre Stellio 02. En Sens Unique S.V.P. - Orchestre Antillais De Alexandre Stellio 03. Rialto! Sens Unique - Orchestre Créole “Kaukira Boys" De C. Martial 04. Mettez I Dehro - Alphonso Et Son Orchestre Typique Antillais 05. Mussieu Dollar - Orchestre Antillais De Alexandre Stellio 06. Mussieu Satan Fache - Orchestre Antillais De Alexandre Stellio 07. Balcon Fleuri - Orchestre “Tagada-Biguine" De Alexandre Stellio 08. Ba Mouin En Ti Bo Dou Dou - Orchestre Créole Delvi 09. Belle Madame - Orchestre Créole Delvi 10. A Si Pare - Don Barreto Et Son Orchestre Cubain 11. Paris Biguine - Orchestre Du Biguine 12. Pani Ti Moun - Sam Castandet Et Son Orchestre Antillais 13. Maladie D'amour - Orchestre De La Boule Blanche 14. Cherie - Orchestre Typique Martiniquais Charlery-Delouche 15. Angeina - Sam Castandet Et Son Orchestre Antillais 16. C'est Beguine - Orchestre De La Boule Blanche 17. Retour Au Pays - Orchestre Del's Jazz Biguine 18. Tes Yeux! - Orchestre Del's Jazz Biguine 19. Belle - Belle - Orchestre Créole Delvi 2:56 20. Pour Mettre Un Peu D'entrain - Orchestre Créole “Kaukira Boys" De C. Martial 21. Quand Meme - Orchestre Du Bal Antillais 3:02 22. Olga - Stellio Et Son Orchestra Créole 2:58 23. Amantine! Amantine! - Orchestre Créole Delvi
'An excellent reissue of 78s first recorded from 1929 to 1951 in France of Franco-Creole Biguines from Martinique from the collection of Dick Spottswood. This compact disque issue contains a generous 23 selections [9 more than the 1988 LP issue]. There is a similarity to some of the calypso and New Orleans jazz of the same era, but Martinique has its own sound, rooted in the rhythms of its indigenous dance, the biguine. This music was recorded by Martiniquans living in Paris on major labels of the era. The premier musicians were Alexandre Stellio on clarinet, Ernest Leardée on violin, Orphelien on percussion & trombonist Archange St. Hillaire who performed together and fronted their own groups. This is a pleasing collection of exciting Caribbean music [my mother, who grew up dancing to beguines [Spanish spelling] in her native Virgin Islands, loves it too!] that never has failed to lift my spirits.' ~ kerry blech
such perfect, singular summer listening. nothing else in the world sounds quite like this. Lionel Belasco comes to mind but the proceedings here are far more unhinged & free. one of a kind. 320 thx to espilos.
01. Variatiuni pe tema "Foaie verde si-o craita" 02. Grea mi-e doamne, inima [Gabi Lunca vox] 03. Sirba de la medgidia 04. Cantec de ascultare si breaza 05. Intr-o joi de dimineata [Romica Puceano vox] 06. Balada haiduceasca 07. Ca la breaza 08. Omul bun n-are noroc [Gabi Lunca vox] 09. Cantec de masa 10. As munci la plug si la coasa [Romica Puceanu vox] 11. Cantec de ascultare al lui stoican batrinul 12. Geamparale de la babadag 13. Tinerete,tinerete [Romica Puceanu vox] 14. Doina transilvania
Toni Iordache [December 17, 1942 – February 1988] was a Romani-Romanian lăutar and one of the most famous cimbalom [Romanian: ţambal] players in the world & was nicknamed the Paganini of the cimbalom.
Toni was born in the Bâldana village, near Bucharest, and began learning the instrument when he was four from his father. Some years later his family would move to Bucharest in the Herăstrău neighborhood, where many famous lăutari lived. There, Toni continued to learn from Mitică Ciuciu, who was a famous cimbalom player in his days.
At 12, he was employed at the National Radio Orchestra of Popular Music, through contest. Later, he would become a member of the Ciocârlia National Ensemble, the primary popular ensemble in the country. With the Ciocârlia Ensemble, Toni Iordache would tour the world: many European countries, the USA and also Asian countries. In between tours, he would play at weddings, being the most sought after lăutar of his days. Often, after landing at the airport he would drove directly to a wedding where the other musicians were waiting for him.
Among others, he played with Ion Petre Stoican, Romica Puceanu, Gabi Luncă, Ion Onoriu, Ionică Minune and also with the well-known pan flute (nai) player Gheorghe Zamfir.
Toni Iordache remained known among aficionados especially for his work as a lăutar. His solos were very complex, but also clear and beautiful and his improvisations were full of imagination. He was not only a very virtuoso player [he was measured in Paris to be able to play 25 notes per second], but also a very sophisticated one, with a high emphasis on touché, playing the slow pieces with great sensibility. He was able to play two melodic lines simultaneous at high tempos and knew how to use the full capacities of the cimbal. r.i.p. Toni Iordache 1942-1988
a wicked ţambal collection featuring several vocal cameos from Romica Puceanu & Gabi Luncă. 256 tanx to the og uploada
01 Suite of Damâli Pieces ~ Ramazan 02 Suite of Damâli Pieces ~ Yaru Maliri 03 Two Qalandari Tunes ~ Yaru Maliri 04 Shidi Sâz - Udrusi & Bombasa ~ Ramazan 05 Suite of Damâli Pieces ~ Yaru Maliri 06 Shâh Batha'i ~ Yaru Maliri
not to be missed if you dig any of the 60's minimalist droney doods like Tony Conrad, Henry Flynt & the like. to me this is far more interesting than all that mess but i aint knockin no one, quite the contrary. a transcendentally transportational suroz fiddle record comin str8 outta balochistan ;D these cats are keepers of the drone like someone else said. i want to say with confidence that these are indeed field recordings made in the 90's but that would be presumptuous of me. for owl i know these ditties were recorded in a high-tech balochistan studio ;D righteous repetition to lose yrself in. 320 blessings upon the og uploader
'Odd Bakkerud [1931-1989] was only 24 years old when he became Norwegian national champion in Hardanger fiddle. He continued to impress; during the 50's and 60's he participated in over 100 competitions, and won most of them. The recordings on this double disque set were made between 1959 and 1971, when the fiddler was at his best.
A few tunes are taken from private tapes and some were made at competitions, but the majority were recorded by the Norwegian radio. The material is chiefly springar and halling tunes from Hallingdal. Bakkerud also mastered melodies from Telemark, Numedal and Valdres, which we get to hear on half of the second CD.
The opening cut, "Godversdagen," is a great introduction to Bakkerud's playing. He usually tuned his Hardanger fiddles a third above an ordinary fiddle, which produced a light and silvery tone. An unparalleled technique marks all the tunes. The trills and ornaments are clear and well-integrated. Listen to the beautiful "Toingen," a hallingspringar whose unusually melodious character is enhanced by Bakkerud's crystalline, powerful tone.
Bakkerud's clear and rehearsed playing suits certain tunes better than others. The older generation of Hallingdal fiddlers, among them Kristian Øvrevollseie and Olav Sataslåtten, were more spontaneous and varied in terms of melody and rhythm. Their music also incorporated microtones as a natural part of the scale. To have a chance at winning fiddle-competitions, Bakkerud refined the rough dance-music from Hallingdal into more accessible music suited for the concert hall. His perfectionism made the music somewhat colorless, but one must bear in mind that these recordings were primarily made in studios and far from the dance-floors. This naturally influenced the playing. When one listens to the four live cuts, full of nerve and energy, one doesn't wonder why the fiddler from Hallingdal is counted as one of the greatest Hardanger fiddlers. "Fanitullen" and "Kjempespringar etter Jørn Hilme" are simply breathtaking.'
41 traque dubble disque set of hardcore hardanger fiddle virtuoso odd bakkerud. oddly enough it don't get boring. think you can handle it?
01. Simrani 02. Elmira 03. Qizil ezek 04. Keelere Su Sepmisem 05. Meherremkend 06. Azerbaycan Teraneleri 07. Celali 08. Qarabag Reqsi 09. Sensen Heyatim Menim 10. Naxeivan Reqsi 11. Daglar Oglu 12. Sevgilim 13. Yeni Reqs
this cat is a relatively recent discovery for me & his muqâms are just pulsating with life. anyone know who the clarinet player in the video is? anyhu, this aint merely a buncha rapid-fire accordian solos, these are ensemble recordings. all his tunes are accompanied by either piano, clarinet, organ & naqara [that sweet drum resting on homeboy's knee in the clip]. i believe this is a best of compilation that came out in 2005 but i don't speak Azeri so if you do, kindly forgive my ignorance of your wonderful language & kulture. i am owlwaze making an effort to glean much more about everyone & musique remains the most mind expanding portal to broaden awareness. this recording was sitting up in cyberspace waiting for me to harvest it, lovingly shared by someone named raphael at a resonant 320k. respekt
VA - Folk Music of Rumania From the collection of Bela Bartok Ethnic Folkways [FW 4419, 1951]
01 Folk Dance in Hora Style (Orchestra) - Untraced 02 Folk Dance in Hora Style (Orchestra) - Untraced 03 Love Song; Doina - Untraced 04 Tragic Romance; Doina - Untraced 05 Lament for Dead Mother; Bocet - Untraced 06 Lament for Dead Husband; Bocet - Safra Bion Racu 07 Braul; Sarba Din Brau; Village Folk Dance (Orchestra) - Untraced 08 Wedding Dance - Untraced 09 Braul - Ion Papuc 10 Lament for Dead Husband; Bocet - Untraced 11 Lament for Dead Brother; Bocet - Untraced 12 Hora; Girl's Song - Untraced 13 Lament for the Dead; Bocet - Leontina Niga and Triganuca Nemciu
the romanian national dance is the hora. it is a circular dance with many varieties & 1, 546 known names. the musicains play in the middle of a circle & the dancers sing the verses repeatedly. the dance has become symbolic of national brotherhood & unity.
an important place in rumanian folk music is held by the laments for the dead, the designation for which is boget. the women who are called to the funerals to bewail the dead are called bogitorre. relatives sometimes sing the lament but there are professional wailers who possess a rich repertory of laments. mostly they're sung sans acompaniment but sometimes the voice is supported by a counterpoint flute.
the professional musician who for centuries has stored & continues to store the treasure of romanian folk music is the laotar or folk violinist who is also his own vocalist. a group of lauotars forms a taraf. these musicians are not to be confused with gypsy fiddlers & although a great them are gypsies. the musique they play is rumanian folk music. the word lauotar is derived from lauta meaning lute. their musicianship is highly developed & the best of these performers are true artists in their field.
the laoutar loves, plays & preserves with deep devotion the folk music of rumania. it was he who gave the collectors of folk music most of the material which enabled composers & musicologists to study this vast treasure of songs & dances which became the foundation of the work of practically every rumanian composer from the middle of the 18th century to this day.
i heard about these recordings many moons before i finally laid me ears on em. very fortunate i did. awesome fiddlin, pipin wedding songs, lovelorn ballads & mournful laments for the dead; can't go wrong. liner notes lovingly enclosed. daps to lemmy caution
Greece. Epirus - Takoutsia, Musicians of Zagori [Grèce. Épire. Takoutsia, musiciens de Zagori] Gregoris Kapsalis, clarinet Inedit W 260020, recorded 1986, CD released 1990
01. Miroloï - funeral music 02. Ilios - dance 03. Kyra frossini - table song 04. Zagorissio - dance 05. Otan anthissoun ta klaria - table song 06. Arvanitiko - dance
The folk music of Epirus, in northwestern Greece, is indispensable at all festive events. Musicians play at weddings, baptisms and village fairs. The clarinet is the emblematic instrument of Epirus. Its dramatic expression and virtuosic playing are captivating. Recorded in 1986, the Takoutsia ensemble from Zagori village gathered the musicians of the Kapsalis family. Today, Grigoris, considered in Epirus as a clarinet virtuoso, is the only one left. This CD presents a marvellous miroloi, instrumental funeral piece for clarinet, violin and lute, as well as dances and table songs.
the first cut is the deepest, a 22 minute death dirge workout for clarinet, fiddle & lute . i wish it would never end. staggeringly great recording too. compare it to the 78's from the balkans posted previously & it holds its' own. thanx & praise to bakfark for the brillaint rip & entirely too perfect skans.
