Lithuanian Sinawi

Gvidas Kovėra, Todar Kaškurevič,
Petras Vyšniauskas
 Tylos Labanoro


01. Apie Liudininką    7:19
02. Apie Lygiadienį     5:43
03. Apie Smaką     5:28
04. Apie Akmenį     6:05
05. Apie Žolę     4:11
06. Apie Žaizdą     7:22
07. Apie Moterį     4:12
08. Apie Vėžę     4:34
09. Apie Neturėjimą     6:34
10. Apie Dešinę Ranką     4:29

Bagpipes – Gvidas Kovėra, Todar Kaškurevič
Saxophone – Petras Vyšniauskas

Tabla – Rytis Kamičaitis (track 01)



 Recorded in the Samogitian chimney of steading museum of Jonas & Antanas Juška in Vilkija, February-April 2005.
 Samogitia (Zemaiciai, Zemaitija), western part of Lithuania bounded by the Nevezis river in east, the Baltic Sea on the west, the Nemunas river on the south, and the Latvian border on the north. The major portion of the region constitutes the Western Upland, but its name refers to the lowlands stretching along both sides of the Nevezis, which divides western and eastern Lithuania. Both the region and its inhabitants came to be called zemaiciai (lowlanders; nom. Sig. Zemaitis)...

...The wooden buildings of the farmsteads were usually arranged in the two groups: surrounding a clean yard stood the living quarters and the granary , and around the farmyard – barns for threshing and livestock, and other farm buildings. The dwelling house (troba) was a long wide structure, equality divided by a large chimney with an anteroom on each hearth...


 Tylos Labanoro is a project of bagpipers Gvidas Kovėra and Todaras Kaškurėvičius reviving a forgotten Baltic tradition. Labanoro Pipe (or bagpipe) is a traditional Lithuanian folk instrument, its distinctive types were widespread already in the 15th – 16th c., not only in Lithuania, but also in the present territory of western Byelorussia and Latvia. The importance of bagpipes in myths and old rites proves that they were used also during pre-Christian times.

In 2005 musicians recorded the album Tylos Labanoro, playing the instruments made according to surviving authentic examples of Baltic bagpipes. Famous jazz saxophonist Petas Vyšniauskas adds a contemporary touch to this album. The CD is part of the project Labanoro Pipe, supported by UNESCO, and in 2006 presented by several impressive concerts in various Lithuanian towns.

Both musicians are active Labanoro Pipe performers also with other ensembles. Gvidas Kovėra plays in Keisto folkloro grupė; additionally, he recorded also an album of Indian-Lithuanian music together with Veronika Povilionienė and band Lyla. Byelorussian Todoras Kaškurevičius not only plays bagpipe; he is also instrument master, making bagpipes for more than 10 years.

© Ugnius Liogė


Silences of Labanoras

Gvidas Kovėra and Teodoras Kaškurevičius have recorded the album in Vilkija, in the Samogitian chimney of Jonas and Antanas Juškos homestead-museum. The primitive space of rough texture has influenced the music, its sound and mood, has given a characteristic color to it. The exchange of states can also be seen from the creations, forming the music album “Silences of Labanoras”. About witness. About equinox. About dragon. Abut stone. About grass. About wound. Apie woman. About rut. About absence. About right hand.

Actually, the album “Silences of Labanoras” was recorded with bagpipes, which were made by Todaras Kaškurevičius according to the authentic samples of the Baltic bagpipes. Byelorussian Todaras Kaškurevičius is considered as one of the best masters of the Baltic bagpipes in the Baltic region. According to the historic sources such bagpipes already in the 15th and 16th centuries were widely prevalent in Lithuania, Belorussia and Lettigallia. The fact, that bagpipe is important both in myths and in the ancient ceremonies can be, suggests that in this region it was widely used also during the pre-Christian period.

“Silences of Labanoras” have already sounded in Kaunas, in the church of the saint George and in the great hall of the recent year music festival “Kaunas Jazz”. In Vilnius the album was represented on the 13th of May in Bernardine church. The album “Silences of Labanoras” is part of the project sponsored by UNESCO “The pipe of Labanoras”, through which it is intended to revitalize the traditions of bagpipes in Lithuania. CD publishing was sponsored by the companies “Aigipto durys”, “Silita”, BOD, newspaper “Statybų pilotas”, also by the Architecture fund, TV 1 and the Lithuanian national commission of UNESCO.




It can hardly get any better...

Volodymyr Kushpet
Ukrainian minstrel tradition

between the 18th - the early 20th centuries
Instruments: Kobza, Lira, Torban, Bandura



01. Dudochka (The Pipe), Kozak-valets (dances) – kobza
02. Kyselyk (dance) – kobza
03. Duma about Khvedir bezrodnyi (a cossack psalm) – acc. – kobza
04. Rozpynanie Khrysta (The crucifixion of Christ (psalm) – acc. – lira
05. Mlynok (The Mill) / Savradym / Molodychka (A young women) (dances) – bandura
06. Georgiu (chant) – acc. – lira
07. Podorozh Vaclava Rzhevus'koho (A jorney of Vaclav Rzevusski – acc. – torban
08. Vidortova pisnya (Vidort's song) – acc. – torban
09. Spiv Revukhi (Revukha's singing) – acc. – torban


01. Pobratavsya sokil (Falcon fraternized) (according to the authentic kobzar's genre definition – "street" song) – acc. – bandura
02. Bida (A trouble) (authentic definition – "shtuchka") – acc. – bandura
03. Pro Savu Chaloho (a cossack song) – acc. – bandura
04. Potop (The Flood) (psalm) – acc. – lira
05. Kaperush (dance) – acc. – lira
06. Khhrystu na khresti (To Christ on the cross) (psalm) – acc. – kobza
07. Duma pro udovu i tryokh syniv (Duma about a widow and three sons) – acc. – kobza
08. Hey hook, maty, hook (18th century cossack song) – acc. – kobza
09. Khloptsi-molodsi (Cheerful fellows) (by S. Rudansky) – acc. – kobza
10. Oy, jihune [gigolo] (19th century humoristic song) – acc. – kobza



   "To save a monument of your nation's life from oblivion - that is a truly heroic deed, which even now bears its full value in the eyes of every educated human being".
 P. Kulish.

Volodymyr Kushpet (born 1948) is an influential Ukrainian baritone singer, and player on torban, kobza, bandura and lira, he is noted for reconstruction of traditional playing techniques on these instruments. He is the author of a primer for these instruments and an in-depth study of the institution of Kobzar Guilds, associations of itinerary blind singers in Ukraine.

Volodymyr Kushpet studied bandura initially under Andriy Omelchenko and then later completed his studies at the Kiev Conservatory under Serhiy Bashtan. Along with Kost Novytsky he was one of the founding members of the KOBZA pop group and played an electrified bandura in the ensemble.

Later Kushpet performed in a duo with Novytsky playing instrumental primarily classical transcriptions on the bandura. Kushpet became extremely interested in the authentic bandura and particularly the kobza as played by Ostap Veresai, after being introduced to Heorhy Tkachenko. From the transcriptions made by M. Lysenko in the 1870s Kushpet has managed to restore most of the repertoire performed by Veresai.

Kushpet teaches as the kobzar school in Strytivka near Kiev and at one time at the Kharkiv Musical-Drama Institute. Recently he has also taught the torban for a short period of time at the Kiev Conservatory.


 Traditional culture as a whole, and music culture in particular, is always a subject of changes. In order to comprehend the essence of such changes, that have influenced its development, we would have to distinctly separate the artificial processes from the natural ones.

The absence of the Ukrainian state has forced out the ancient customs into the conservative countryside environment. It is there, in those songs and rhymes, ballads and legends, the spiritual testament of our ancestors was being preserved.

One of the reveals of ethno-cultural self-expression could be traced in the music sphere. Apart from very popular in Ukraine collective singing, the individual performance, accompanied by kobza, lira, torban and bandura have also developed. The blooming era of this genre would be the period between the 15th-18th centuries. But from the late 18th cent, in the city music culture the national music priorities yield to the european. The demand for the secular minstrels dissapears, and the traditional folk set of instruments (except torban) remains only in the hands of blind travelling old men. Each period of this genre's existance requires a detailed analysis.

Claiming that all previous minstrels were "kobzars" would've been a rather unfair statement. The reconstruction of instruments and the methods of using them, and finally - covering the authentic new material - this is the only way to make correct solutions in practice.

The comparative analysis of different music samples from the "kobzars", "torbanists", "lirnyks", "bandurists" of the 18th - the early 20th centuries shows the existance of genre and performance differences within traditions, that have emerged owing to different tasks (secular, spiritual, social, political, etc.), that minstrels had to confront throughout different historic periods. These recordings are an attempt to bring social attention to the processes of reconstruction of traditional performance, which nowadays is a working model of Ukrainian historic music culture.

- from the booklet 

read some more about the music here

and some more here

and maybe buy from here 

Tradition and Tragedy - Ukraine's Kobzar Minstrels
Listen closely and the Ukrainian wind may still carry an ancient song sung by blind minstrels, a song that tells a spellbinding tale of Cossack courage and their heroic quest for Ukraine’s freedom. Traveling from village to village as ox-drawn carts stumbled across muddy roads leading into dark forests, Ukraine’s minstrels once trudged past Baroque churches with Greek domes and mosaic Virgins pieced together from crimson, turquoise and emerald fragments and wandered freely across the Ukrainian steppe. Indeed, Ukraine’s blind minstrels, called kobzari, are special in the country’s history, in part, because of their traditional customs as well as their tragic ending.
Playing the kobza, a precursor to the bandura, these trained musicians plucked and strummed the instrument similar to European and Eastern lutes by touch. As far back as the nineteenth century, the kobzari formed “guilds” to apprentice boys and girls as young as five or six to master musicians. Not all apprentices passed the initiation test, however, and in an effort to offer a future to a child without sight, the kobzari guilds sanctioned beggars allowed to perform some of the songs namely the “begging song” and the “song of thanks.” The repertoire of the kobzari masters emphasized religious and epic tales, called the duma, performed outside churches and monasteries, village fairs and festivals. Guided by a sighted child, a povodyr, who worked for food, clothing and a small wage.
Kobzari, like other peasant villagers married and created families. Only blind children were allowed to be minstrels however, and other minstrel children became farmers. Absorbed into the culture and history of the country, the kobzari were welcomed by the villagers as their songs brought good luck for the soul until Stalin’s rise to power in 1939. 

Threatened by any demonstration of “national art”, Stalin considered the kobzari and their guilds an example of counterrevolutionary activity. Determined to exterminate the blind minstrels, Stalin tricked the guilds into coming to a “convention” of kobzari. “Life is better, life is merrier,” Stalin wickedly declared. Minstrels eagerly traveled to the convention from all over Ukraine, coming from tiny, forgotten villages, to celebrate their talent and history. A living history gathered only to be met with a barrel of a gun when Stalin’s henchmen assassinated nearly all of the existing kobzari.
Decades later, the songs of the kobzari have been resurrected from the annals of history. Many receive conservatory training rather than being apprentices to masters, and many more musicians are sighted. Traditions endure, however, and Pavlo Stepanovych Suprun, a contemporary blind kobzari, continues to sing surviving epic songs and composes his own material in the traditional vein of the Ukrainian kobzari. History may be occasionally silenced, but often, history refuses to be ignored. 

some more to read

This record is one of these rare 10 out of 10 records.
That is what my ears and my heart tells me.
Thank you for listening!



¡Baila, Baila Latvia!

Latviešu danči
Latvian Folk Music Collection


01. Makaidū  
02. Cūkas driķos     
03. Eilanders
04. Enģelits  
05. Mugurdancis
06. Kurzemes mugurdancis 
07. Dzīsme
08. Skroders 
09. Diždancis  
10. Tūdaliņ tagadiņ 
11. Šaine
12. Žīga 
13. Padespaņs   
14. Lielā Jūle 
15. Garais dancis




Latvian music for happy feet

by Daina Bolšteins

It makes me feel happy.” A British executive of a prestigious international company said this when he heard the new Latvian Folk Music Collection’s Latviešu danči (Latvian Dances) playing as telephone on-hold music at his company. Overall, that is quite an accurate assessment of this disc.

To put it another way, the music on this album is, in two words, quintessentially Latvian. As ethnomusicologist Valdis Muktupāvels writes in the liner notes (in both Latvian and English, although a few of the English phrases are a bit awkward), Latvians love to dance. This love is truly evident in the joyous music on this disc.

The music was performed by a number of people, including Māris Muktupāvels (producer of this album) and Ilga Reizniece, both of whom are well known and highly respected in Latvian folk music circles. Other notable performers include Gints Sola, guitarist for the pop-rock group Jauns Mēness, and Mikus Čavarts, like Reizniece and Māris Muktupāvels a member of the folklore ensemble Iļģi. One surprise addition is Ilmārs Mežs and his family. Mežs, known in part for his research into Latvian demographics, also is lead singer for the folklore ensemble Eilenders.

Included in the liner notes are instructions (in Latvian only), written by Sniedze Grīnberga, for dancing the dances. It’s a wonderful idea, but does not work all that well. The directions particularly would not work well for two groups of people (other than those who do not read Latvian): those who are highly visually oriented and those who have no Latvian dance knowledge or experience. These people might be able to figure out only the simplest dances. I am quite visually oriented when it comes to dancing, never having been a big fan of written dance instructions with no illustrations because I have a very difficult time picturing the steps and formations. As for the dances on this disc, I was able to follow along the instructions mostly only to the dances that I have danced before.

However, on a purely musical level, this is absolutely fantastic music. The second track, “Cūkas driķos” is one of the more rousing versions I’ve heard and I had an almost irrepressible urge to begin dancing down the hallways of my office when I heard it. The tracks with vocals make you want to sing along at the top of your voice. The 15 dances chosen for inclusion on this disc offer a nice variety: some are fast, others are slower, some have vocals, others are instrumental. Most Latvians will be familiar with at least a couple of dances, such as “Tūdaliņ, tagadiņ” and “Mugurdancis,” which are classics that children learn at very young ages. Yet there also are tracks that will be new to many listeners.

Another enjoyable aspect of this disc is that dancers were a part of the recording. Not only does the listener hear the wonderful music, but also the actual dancing. In other words, it is very much a live recording. For those of us living outside of Latvia, at times this disc is as close as many of us will come to an authentic evening of Latvian dancing, singing and merrymaking.

This disc will make Latvians feel Latvian to the depths of their souls (and to tips of their toes) and it will give non-Latvians a greater appreciation of Latvian culture. Naturally, this is the somewhat biased opinion of a former dancer who is crazy about both Latvian dance and music, but if a half dozen co-workers from around the world at my office enjoyed Latviešu danči, I am certain all readers will as well.



Go, Little Goat...

Veronika Povilionienė, Petras Vyšniauskas 
Išlėk, Sakale [Fly, Falcon, Fly]


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




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) 



Kati sings...

Szvorák Kati & Bekecs group
Hungarian Folk Music


01. Gömöri dallamok
/ Songs from Gömör / Melodías de Gömör (6’44”)
02. Vajdaszentiványi táncdallamok
/ Dances from Vajdaszentivány /Melodíasde baile de Vajdaszentivány (5’35”)
03. Kalotaszegi hajnal
/ Early morning song from Kalotaszeg / Canción matutinal de Kalotaszeg (2’20”)
04. Kalotaszegi táncok
/ Dances from Kalotaszeg / Bailes de Kalotaszeg (3’38”)
05. Húsvétoló
/ Today here is easter / Canciónes de pascua (2’33”)
06. Tavaszvilág
/ Springtide / Pajarito pequeno (4’48”)
07.Moldvai párosítók
/ Match-making songs from Moldavia / Canciones emparejadoras de Moldavia (3’05”)
08. Szentiváni dalok
/ Midsummer songs / Canciones de noche de San Juan (5’32”)
09. Dunántúli cimbalommuzsika
/ Cymbal music from Transdanubia/ Música de címbalo del Transdanubio (4’40”)
10. Tavaszi szél
/ Spring wind / Viento de primavera (7’26”)
11. Két út áll előttem
/ There are two ways in front of me / Hay dos caminos delante de mí (2’54”)
12. Bonchidai táncdallamok
/ Dances from Bonchida / Melodíasde baile de Bonchida (4’37”)
13. Dudanóták
/ Bagpipe songs / canciones de gaita (6’63”)



 "Kati Szvorák is another singer in the Marta Sebestyen class. But it is Kati’s voice that’s the best instrument here, whether singing sweetly on a tender ballad or using that hard Balkan edge….. Pretty wonderful stuff."
Folk Roots Magazine, UK.

Kati Szvorak has long been a favorite amongst the Táncház audience in Hungary. She has won many awards for her singing and work for folk art in her native Hungary. She has given over two thousand concerts in 27 countries, and has been featured on many other projects including the internationally successful recording ‘Deep Forest’ (1995). In 1999 she appeared at the Edinburgh Festival with the Hungarian all-star group ‘Kőfaragók - The Stonemasons’ to great critical acclaim.
An exceptional talent, folk singer Katalin Szvorák was born in Losonc, Slovakia. She spent her early childhood in the magical rural world of a small village (Pinc) by the Ipoly river, later studying in Fülek and, finally, leaving her homeland for Budapest where she studied at Eötvös Loránd University, qualifying in Hungarian and librarian studies; being also a member of elite students’ Eötvös College.

She won twice (in 1976 and 1978) the Slovakian Hungarians’ Folk Song Contest, followed by winning the title of Young Master of Folk Art of Hungary in 1980, whereas in 1981 she came first in the most important folk song contest of that era: Röpülj Páva. She continued her career as a solo singer of Honvéd Folk Ensemble for more than twenty years. Since 1996 she has been a regular folk song teacher at the Vujicsics Tihamér Music School of Szentendre.
Her art was recognized by several awards: Liszt Ferenc Award (2000), Kodály Zoltán Award (2002), and Bartók Béla Memorial Award (2007). She is also an Honorary Citizen of the town of Fülek and of the village of Pinc (both in Slovakia).

She has published twenty-five thematically arranged albums. Children’s songs interpreted by her have been a source of folk music for generations of little ones. She has done an excellent work revealing common roots of folk music in the Carpathian Basin by recording musically authentic treasures of the region. She also sings poetry with music, and her collections of religious folk songs are unique of the kind. Eight of her CD’s bear witness to the common riches of Central European peoples’ folk music in 12 languages.


 Visit her page read some and dl some more : )
Don't forget to donate... 
We need more artists like her and far less shareholders ; )




Les toits de Barcelone dans la clair de lune

Clar de Llunes
Música de l'espectacle de Pep Bou i Jordi Masó 


01. Mompou: "Angelico" (de Música Callada)
02. Debussy: Clair de lune (de Suite Bergamasque)
03. Mompou: Escenes d'infants: Crits al carrer: Crits al carrer
04. Mompou: Escenes d'infants: Jocs a la platja: Jocs a la platja
05. Mompou: Escenes d'infants: Joc 2: Joc 2
06. Mompou: Escenes d'infants: Joc 3: Joc 3
07. Mompou: Escenes d'infants: Noies al jardí: Noies al jardí
08. Blancafort: La lluna brilla (de Notes d'antany)
09. Séverac: Vals romàntic (de En vacances)
10. Mompou: Cançó i dansa No. 6
11. Donostia: Cantant a la llum de la lluna (Preludi base No. 12)
12. Mompou: Suburbis: El carrer, el guitarrista i el vell cavall: El carrer, el guitarrista i el vell cavall
13. Mompou: Suburbis: Gitanes I: Gitanes I
14. Mompou: Suburbis: Gitanes II: Gitanes II
15. Mompou: Suburbis: La cegueta: La cegueta
16. Mompou: Suburbis: L'home de l'aristó: L'home de l'aristó
17. Fauré: Nocturne Op. 33, No. 3
18. Mompou: Preludi No. 7 "Palmera d'estrelles"
19. Turina: Sota els tarongers (de Sevilla) 




 ...Pianist Maso skilfully accompanies Bou’s meditative actions, enhancing their dream-like qualities with wonderfully emotive interpretations of pieces by French and Catalan composers, perfect for letting one’s mind drift along with the bubbles...

Jordi Masó was born in Barcelona, Spain, and studied at the Barcelona Conservatory with Josep M. Roger, at the Barcelona School of Music, with Albert Attenelle, and at the Royal Academy of Music of London with Christopher Elton and Nelly Akopian. He graduated from the Royal Academy of Music in 1992 with a DipRAM, the institution's highest distinction.

Masó specializes in the music of Spanish composers, notably those of the 20th and 21st centuries. He has won first prizes in a number of national and international competitions, and has performed in most European countries, in South America and in Asia. He regularly performs as a soloist with major Spanish orchestras. Since 1996, he has been a member of the contemporary music group Barcelona 216, which won the Barcelona City Prize for music in 2000. In 2008 he was awarded the Associated Royal Academy of Music (ARAM), given to the Academy most distinguished students.

Masó has recorded several dozen CDs for labels such as Anacrusi, Marco Polo, and Naxos. He specializes in Spanish music, and has notably recorded the complete piano music of Frederic Mompou on six discs, and the complete piano music of Padre Donostia. He also recorded the complete piano music of Joaquín Turina and Déodat de Séverac for Naxos.

Masó teaches piano at the Granollers Conservatory and at the ESMUC (Escola Superior de Música de Catalunya).

PS: you don't need bubbles just ears... ; )


Persian Santur

Ardavan Kamkar
Over the Wind 


1 - Memory of Friends
2 - Dance of the Wind
3 - Three Drops of Blood
4 - Azari
5 - Trotting
6 - Zagros



 Ardavan Kamkar (Persian: اردوان کامکار‎; born 1968 in Sanandaj, Iran) is an Iranian-Kurdish musician from Iran. He is a part of the Kamkar ensemble.

Ardavan Kamkar was born in 1968 in Sanandaj, Iran. He began learning to play the Santur (dulcimer) from his father, Master Hassan Kamkar at age 4. During his childhood years he worked with several Cultural & Art groups and the radio.


Traditionally, the santur is tuned diatonically to the notes of two primary tonalities in a dastgah (Persian classical mode): the tonic is usually place in the middle row of strings on the second (F), third (G) or sixth (C) note (counting upward from the first bridge) in order to make the different positions accessible to the player, while the secondary tonality, in the same dastgah, is usually tuned on the lower notes played on the row of strings to the right. This method makes the santur playable in only one dastgah at a time and omits the possibility of modulation to other tonalities, limiting the musician to playing only one tonality in a given register, which sometimes eliminates the correct voice leading. Ardavan, however, has developed a tuning method by which he can take any note as a tonic and with some radical tuning sometimes have both chromatic and diatonic scales on the same santur in different registers. Therefore he has created the possibility of having up to four different tonalities at the same time to which he can modulate on one santur, allowing his melodies to be more colourful as well as having a correct voice leading. These technical innovations, driven by his singular musical sensibility and skill, make Ardavan Kamkar a distinguished voice among all santur players today.

In addition to playing the santur, Ardavan has taken music composition, harmony and counterpoint lessons with Houshang and Arsalan Kamkar.

He released his first album named "Darya" (literally 'Sea') at age 16 which contains 6 pieces played by solo santur...

 Ardavan Kamkar

Born in Sanandaj in 1968

He began to learn playing dulcimer from his father when he was four years old and cooperated with different art and culture groups in the radio. Ardavan went to Tehran in 1979 to learn techniques of playing dulcimer under the supervision of Pashang Kamkar, as well as lines of the instruments and traditional Persian music. Through listening to the works and studying the scripts of the pieces which were available he was completely familiarized with the local and country music of different parts of Iran in addition to the styles of the preceding players of dulcimer and other musical instruments.

However, the traditional style of playing dulcimer could not satisfy his creative mind and questing soul. He intended to expand the new techniques of playing, and eventually mingled the elements of the global music and his mentalities as well as his technical capability to create a modern style for playing this traditional instrument. The accurate composition of different melodies, similarity of the power of striking the left and right plectrums, playing full and separate melodies by the both plectrums, increasing the sound volume, accurate and timely order in striking the left and right plectrums in playing the melody along with the percussion instruments and changing the common tunes of dulcimer are among his unique techniques. In addition to playing Ardavan learned different lessons in the area of composition, harmony and counter point from Houshang and Arsalan Kamkar. In order to introduce the Persian dulcimer he performed many concerts in different festivals around the world. As a teacher he has trained many students in the area of solo dulcimer and as an instructor he has trained capable teachers of this instrument who are now busy working with different music bands. Parts of his works are:

On the crown of daybreak (concertino for dulcimer), a month for the new year (dulcimer and string orchestra), Siachamaneh (kordish melody for symphonic orchestra), Sea and Over the Wind albums (solo), music track of the movie "Santoori" (dulcimer player) (directed by Daryoush Mehrjouie), and music track of the movie "The Iranian Prospect" (directed by Touraj Mansouri).

 Green Man Review:

Ardavan Kamkar is a member of a large Iranian Kurdish musical family. In his early 30s, he has risen to prominence as a soloist on the santur, a Persian hammer dulcimer. Over the Wind, recorded in 1998 in Teheran, is a knock-out showpiece of his skill on the instrument.

Nearly an hour of solo hammer dulcimer may not sound like your cup of tea, but I urge anyone who likes World, Middle Eastern, and even Western neo-classical music, to give this a try. Kamkar takes this highly specialized instrument and makes it speak a universal language.

Apparently, if you’re familiar with the techniques and classical repertoire of the instrument, Kamkar’s playing is nothing short of astonishing. But even for the novice, this can be highly enjoyable music with a small investment in concentration.

The CD’s six tracks mostly flow from one to the next with little or no interruption. Over the Wind opens with the hypnotic and moving “Memory of Friends,” which in many places is similar to a Bach fugue, in others resembles Beethoven’s “Fur Elise,” and elsewhere could be the late Sandy Bull creating a classical-jazz hybrid on banjo and piano. This is powerful music, impressive technically and in its emotional range.

The next track is the aptly named “Dance of the Wind.” It starts off with slow, stark arpeggios that establish the mode, then rapidly picks up tempo into a controlled frenzy of tremolos. The sound is very piano-like at times, and the main section is extremely rhythmic, almost like jazz-rock fusion.

The third and fourth tracks, “Three Drops of Blood” and “Azari,” are tone poems, less rhythmic, more Eastern sounding. The former is mysterious and enigmatic, at times sounding like an Ennio Morricone spaghetti western film score, the latter a tour-de-force of arpeggios, tremolos and other rapid series of notes. The middle section includes a series of downward, bell-like runs, sounding for all the world like “Carol of the Bells.”

“Trotting” is another apt title. This fifth track contains four distinct sections that feature driving rhythms and complex melodic schemes. “Zagros” seems influenced by 20th Century modernist piano pieces, with a dual melody line in a call-and-response scheme that emerges from lengthy runs that leap up and down the scale in a barely controlled frenzy.

Kamkar’s music can be approached on different levels. It could conceivably be played as background music like the New Age piano of Scott Cossu or George Winston, but it also rewards close attention with many nuances and subtleties. And it’s also an impressive display of technical mastery of a difficult instrument. Exotic and yet relatively accessible to Western ears, Over the Wind rings true.

let me just say: more pure gold. Go get your copy. I cherish mine : )



Making Music in the Barn...

Cimbálová Muzika Jaroslava Čecha
Muzicírování ve stodole


01. Počkaj, polesný
02. Zahrjte ně, muziganti, Už sú ty horičky, U studánky seděla, Travěnky zelená
03. Co sem dělala
04. Okolo Hradišťa
05. Kdo umí vařit pěry
06. Pime, chlapci, pime víno
07. Vínečko milé
08. Vínečko, vínečko
09. V nedělu sa napit
10. Už sem já to propil šecko
11. Túku sem na dveři
12. Husar sem já, husar budu
13. Lesti ťa, synečku, hlava bolí, Vyletěla holubinka, Ach, oře, oře, pánů pacholek
14. Už sem sa oženil
15. Ej, hora, hora
16. Som já synek z Orešan
17. Já vjem, čo urobím
18. Páni, páni vojanští páni
19. Pásla děvečka páva
20. Stavaj, stavaj, hoospodářu
21. Proč by koza netrkala
22. To je, Bože, to je
23. Moc je to, moc
24. Hoja sa, hoja sa, nožky moje
25. Ach, bože můj
26. Dyž my do tých hor půjdeme
27. Na tom našem nátoni, Desˇ, holuběnko, létala
28. Plakala, želela
29. Já su synek z Temešváru, Počkaj , milá, Chodí kňaz po dvore
30. Tydyry, tydyry
31. Hudecké z Bílovic
32. V dobrém zme sa zešli



The first album recorded music in 1985 as a very original live recording from the traditional environment dances with music on the threshing floor of the barn of rural elderly man Pipal in Mikovič; two days of spontaneous music-making with dance and choral and solo music before předzpěvováním released the following year by Panton (Making music in the barn, 1986) and re-released on CD in 2000.

 Cimbálová Muzika Jaroslava ČechaCymbal Band Jaroslav Čech

This ensemble is one of the best folk groups in the Czech Republic, playing a unique style of music from a small region of the Czech Republic bordering Slovakia.

The centerpiece of the group is the "cimbal", a traditional instrument of that region that resembles a large hammered dulcimer. This ancient instrument, originally from Persia, underwent many modifications until its present form some 120 years ago by a Budapest instrument builder. Other instruments in the ensemble include fiddle, violin, clarinet, viola, double bass, and a solo singer.

The ensemble has been playing together for almost 40 years. It has received numerous prizes and awards for its performances at national folklore competitions, parades and festivals. It has represented the folk culture of the Czech Republic in many European and Central American countries, and played at the 2004 Olympic Games in Athens.

Source material for the group is the published song collection of world renowned compser Leos Janacek as well as manuscripts and songs the ensemble has collected over the years, including some from Slovakia, Hungary, and Romania. The group has published a number of CDs and performed on radio and television in the Czech Republic. The rhythm and sound are quite unique. While the principal violinst leads the musicians and sets the rhythm and tempo, the cimbal provides the important background for the overall sound.

Jaroslav Čech
The spiritual father of this ensemble is the legendary cimbal player and ethnographer
Jaroslav Čech (1932 - 1970), a teacher at the Music School for Folk Art in Uherské Hradiště where in 1968 he founded a children's cimbal ensemble. The ensemble accepted his name in order to honor his memory.


Maybe I should say that this record is pure gold... if you know what I mean... : )

in case you want another one, you might try here



A Mi Novia Linda... ♥

Bolivar Peralta
"La Novia Que Tengo"


01 - La Novia Que Tengo
 02 - Que Decida Ella
03 - Sin Tu Amor Soy Un Cobarde
04 - Asi Comenzo Nuestro Amor
05 - Tu Nuevo Calmante
06 - Dejate Querer
07 - Permitame Señora
08 - Nuestro Ayer
09 - Rico En Sentimiento
10 - Un Amor Que Ya Murio
11 - Nunca Se Sabe
12 - Asi Es El Amor (Merengue)


Bolivar Antonio Peralta Camilo

Biografia por Rincon del Amargue

Este talentoso interprete de la bachata,nacio en 1948 en el municipio de tenares, salcedo. hijo de Jose Peralta y Eufemia Camilo.
Narra que su incursion en la musica nace de manera accidental,  aunque desde pequeño sintio inclinacion por la musica y el canto.
Bolivar Peralta compartia la agricultura en su tierra natal con el canto, dice, que en el conuco los muchachos me decian que no trabajara, sino que le animara cantando mientras ellos trabajaban.
En la epoca que el cantautor de amargue decide lanzarse al ambiente musical, ya nombres como: Luis Segura, Miguelito Cuevas,
Julio Jaramillo, Jose M Calderon, Rafael Encarnacion, entre otros ya se dejaban escuchar.
En 1974 Bolivar Peralta logra vender su primera composicion "Historia de Amor" al señor Francisco Flores por el precio de150 pesos y para 1977 grabo el sencillo "Samaritana" al Señor Jesus Lopez, (el compa).
Hace su llegada a Santo Domingo en 1988 motivada por la continuacion de la carrera bachatera, ya que para ese tiempo la agricultura no representaba ningun sutento.
En 1989 Peralta inicia su carrera musical, junto a Manolito de la Cruz  con un pequeño grupo para tocar en lugares publicos, un año despues formo parte del conjunto "los melodicos".
En 1992 formo su primer conjunto llamado "Los Inigualables" la Historia musical de este cultivador de la bachata, esta contenida en una 11 producciones detacandose otros exitos como: el caballo blanco, me gusta esa hembra entre otras.
En la nueva estapa de su carrera  el artista lanza una nueva produccion bajo el sello R&L del Señor Roque Cruz, titulada Mujer de mis sueños, popularizando mas su carrera con los exitos: se que volveras, la vida es una tombola y mujer de mis sueños.
Peralta  esta convencido que gracias  al tratamiento mas depurado en la letras de las composiciones de bachata, este ritmo se ha catapulado a niveles de popularidad insospechados por el.
Es por ello que siempre se ha preocupado por imprimirle a sus canciones una lirica romantica y si doble sentido, por tal razon, este artista es reconocido hoy por  sus compañeros de arte como uno de los mejores compositores de todos los tiempos.
Bolivar, mas adelante lanza otra producion titulada la novia que tengo considerando este trabajo musical, como uno de los mas importante en su carrera.
En esta ultima entrega musical, el cantautor expresa su fino sentimiento y no abandona el romantisismo que lo ha caracterizado a lo largo de su exitosa trayectoria musical. "la novia que tengo" fue la segunda producion que el artista lanzo bajo el sello R&L.
Bolivar Peralta se define como un fiel seguidor de las composiciones romanticas, por esto a su composiciones le imprime su estilo y su voz depurada.

"La Novia Que Tengo"
Tengo la novia mas linda
la mas concentida
que sone tener

Ella me quiere, me entiende
me envuelve me lleva
y me vuelve a traer

Y como un loco quiza
cada dia mas
mas la quiero yo

Estoy viviendo locuras
por esa criatura
que dios me mando

Estoy viviendo locuras
por esa criatura
que dios me mando

La novia que tengo
es una dulzura

Es una manzana
no es una alma dura

Es todo mi sueno
es mi alegria
asi la deseaba
asi la queria

La novia que tengo
es una dulzura

Es una manzana
no es una alma dura

Que novia mas linda
(Tengo yo)

Que novia mas buena
(tengo yo)

Que novia mas linda
(tengo yo)

Mi novia es perfecta
(tengo yo) 


Mais Cavaquinho

Luciana Rabello
01. De bem com a vida Ouvir   
(Luciana Rabello)   
02. Velhos chorões Ouvir   
(Luciana Rabello)   
03. Pitangueira Ouvir   
(Cristóvão Bastos, Luciana Rabello)   
04. Morena Ouvir   
(Cristóvão Bastos)   
05. No balanço da Luciana Ouvir   
(Avena de Castro)   
06. Manga rosa Ouvir   
(Jonas Pereira da Silva)   
07. Cá entre nós Ouvir   
(Raphael Rabello, Luciana Rabello)   
08. Valsa do trovador Ouvir   
(Cristóvão Bastos, Paulo César Pinheiro, Luciana Rabello)   
09. Flor de sapucaia Ouvir   
(Cristóvão Bastos, Luciana Rabello)   
10. Flor de jacarandá Ouvir   
(Luiz Moura, Cristóvão Bastos, Luciana Rabello)   
11. Queixa antiga Ouvir   
(Cristóvão Bastos, Paulo César Pinheiro, Luciana Rabello)   
12 Beliscando o cavaquinho Ouvir   
(Sérgio Reis)   


by Alvaro Neder

Luciana Rabello has had noted participation in the support of the choro genre. One of the few soloists of cavaquinho, she participated, with her brother Raphael Rabello, in several groups. She was also in the Camerata Carioca, one of the most important choro groups of the '70s and '80s, which counted on, among other talents, Radamés Gnattali. She has been recording with important names of Brazilian music and released her first solo album in 2000, through her own label, Acari Records.

Rabello began to learn the violão (acoustic guitar) with her grandfather at age six. She also studied classical piano for five years. At 13, she started to write her own compositions. In 1975, she formed the choro group Os Carioquinhas with her brother Raphael and members Paulinho do Bandolim, Théo (six-string violão), and Mário (pandeiro), and she switched to the cavaquinho. Soon Maurício Carrilho replaced Théo, and Celsinho Silva (percussion) joined the group. With the dissolution of the Os Carioquinhas in 1978, Luciana, Raphael, Carrilho, and Silva were invited by Joel Nascimento to accompany him at Radamés Gnattali's "Retratos" suite. Excited with the result, Radamés decided to join the formation and the Camerata Carioca was created. The group, which blended elements of choro and erudite music, had a prominent role in the revitalization of the genre.

After her departure of the Camerata (together with Raphael and Silva) for her solo work, she has been accompanying names (in recording sessions and live shows) like Elizeth Cardoso, Paulinho da Viola, Cristóvão Bastos, Francis Hime, Chico Buarque, Martinho da Vila, Joel Nascimento, Baden Powell, Toquinho, Copinha, and Abel Ferreira. In 1981 and 1982, she toured Europe. She married Paulo César Pinheiro in 1985. Jonas, the cavaquinho player of the Época de Ouro, dedicated the choro "Manga Rosa" to her, which she recorded on her first solo album, Luciana Rabello, released in 2000 through her own label (with Maurício Carrilho) Acari Records, which specialized in artistic popular music.



Flute & Guitar

Mie Ogura & 
Atanas Ourkouzounov
False Classic


01 - Rada
02 - No Mystery
03 - Bul-Bop
04 - "Musica Ricercata" Allegro Con Spirito
05 - "Musica Ricercata" Rubato-Lamentoso
06 - "Musica Ricercata" Vivace
07 - "Musica Ricercata" Vivace-Energico
08 - "Three East Tales" N°1 the Fox's Dance
09 - "Three East Tales" N°2 the Red Elf's Lullaby
10 - "Three East Tales" N°3 Dracula's Caprice
11 - Spain
12 - Take the "A" Train
13 - Macedonian Song
14 - Bulchenska Ratchenitsa

Works by Ligeti, Corea, Ourkouzounov, Ellington, Papasov.

Mie Ogura: flute
Atanas Ourkouzounov: guitar





Born in Japan 1973, Mie Ogura started to play the flute at age 7.
In 1989, she finished her studies at the Takamatsu Music Highschool in Japan and obtained the first price in the National students Flute Competition in Osaka.

In 1994,Mie Ogura moved to France,and in 1999 graduated with Diplôme Supérieur from Conservatoire National Supérieur de Musique de Paris under Pierre-Yves Artaud and Sophie Cherrier.. then obtained an improvisation diploma under the tutelage of Alain Savouret.
She also studied baroque flute with Pierre Séchet and jazz improvisation Jean-Charles Richard, as well as indian music with Patrick Moutal.

In 2001 she obtained a scholarship from the Academia Musicale de Siena(Italy) under Aurèle Nicolet(flute) and Alain Meunier(chamber music), also worked with Franco Donatoni.They highly appreciates her playing.

Her playng is called"The fan of sound",since 1995 Mie Ogura has appeared regulary as a soloist and chamber musician with different ensembles and orchestras,among others,Ensamble Sphota(improvisation),Ensemble L’Itinéraire,Ensemble Entretemps(contemporary music),Orchestre pour la paix(Classical), Compagny Robinson(contemporary Danse) etc...and invited in many festivals in the world (Europe,America,Canada,Australia,Japan..)

Her improvisation playng in also appreciated from many jazz and classical musiciens such as Loelle Léandre(cb), Glenn Ferris(tb), Masataka Hirano(Sax), Shin-Ichi Fukuda,Kazumi Watanabe, Carlo Domeniconi(gt) and many others.

Mie Ogura has recorded with the ensemble Triton2 (Label MFA,France) and Ensemble Ourkouzounov (Label KLE,Italy),and Duo with Atanas OURKOUZOUNOV (Label Varié in Japan and Label H&S Paris) also edited the jazz flute beginners book « Flute Jazz Coffeebreak », published in 2005 at Edition Trim (Japan).

Her favorite musiciens is Miles Davis,Roland Kirk,Chick Corea,Keith Jarrett,Hari Prasad Chaurasia etc....

Flute and imrovisation professor at the Jacques Ibert Conservatory in Paris,and Conservatory in Sucy en Brie.

Atanas Ourkouzounov (b. 1970 in Burgas, Bulgaria), a leading figure in Bulgaria’s contemporary music, is winning international fame both as a guitarist and as a composer. His music features the asymmetric rhythms and modal harmonies typical of his homeland but, like Béla Bartók, Ourkouzounov (pronounced Oor-koo-ZOO-nov) uses regional traditions as a point of departure from which he ranges widely in an intu-itive and personal way. Whereas Bartók’s muse was the piano, Ourkouzounov’s muse is―fortunately for guitarists―the guitar. Ourkouzounov has written over 60 works for guitar―solos, duos, trios, quartets, instrumental ensembles, and two concerti―a number of which have won important prizes, and a majority of which have been published by leading publishers.

Atanas Ourkouzounov performs widely as soloist, with his wife the Japanese flautist Mie Ogura, and with the Ourkouzounov Ensemble (two guitars, flute and cello).
In addition to three CDs on which Ourkouzounov plays, more than 30 CDs of his music performed by others are currently available.

Ourkouzounov is also in demand as a teacher and juror at conferences and conservatories in Europe and Japan and he holds a full-time position at the Conservatoire “Maurice Ravel” in Paris.

Atanas Ourkouzounov grew up in Sofia, Bulgaria, where he began guitar studies with Dimitar Doitchinov.

Starting in 1992, he continued his studies in France with Arnaud Dumond, Alexandre Lagoya and Olivier Chassain. He studied guitar, chamber music, analysis, ethnomusicology and improvisation at the Paris Conservatory and graduated in 1997 winning by unanimous vote the First Prize in guitar.

Six years before he went to Paris, he started to compose. He was 16 years old and had been playing guitar only one year. For fun, he began changing details in pieces he was learning and then he wrote his first piece―3 Inventions―using the baroque idiom and subject of a fugue he was studying. He became intoxicated with composing and soon started using melodies, rhythms, and modal harmonies of Bulgarian folk music. At the same time, he was avidly listening to recordings, especially Arthur Honegger’s Symphonie N°5 and Igor Stravinsky’s Rite of Spring and Petrushka.To this day, Igor Stravinsky, György Ligeti, Ludwig van Beethoven, and Claude Debussy are among Ourkouzounov’s favorite composers.

While at least a trace of Bulgaria is always present in Ourkouzounov’s music, in the last eight years he has also written pieces he calls “dedications” in which he composes his own music
from the point of view of other composers and/or idioms―for example, Caprice d'après Paganini(which imagines a "new” Paganini as he might exist today); Fantaisie d'après Kapsberger (which draws on elements of 17th-century music for archlute); and Toryanse
Tales(which uses a Japanese folk theme).

Ourkouzounov is also fascinated by timbre and idiomatic colorisitic effects ―as explored for example in Light Echoes from Star -light―5 Nocturnes, in the Reflet guitar duos, and above all in the Visions Chromatiques N°1for guitar solo and the Visions Chromatiques N°2 for voice, violin, mandola, and guitar.

Ourkouzounov feels the “timbre” works are more contemporary and abstract―and perhaps more personal― than his pieces in which Bulgarian elements prevail.

Ourkouzounov enjoys performing flute-guitar duos with his wife. Typical programs are two Ourkouzounov works alongside arrangements and original music by diverse composers―for example, pieces by Chick Corea, Keith Jarrett, Béla Bartók, and Claude Debussy―as well as arrangements Ourkouzounov calls “postcards” (folk music from countries such as Mali, Japan, Bulgaria, Brazil, and India). As a listener, Ourkouzounov loves performers such as the conductor Carlos Kleiber, the pianists Grigory Sokolov and Keith Jarrett, and many jazz or folk-jazz musicians―for example, the Bulgarian clarinetist Ivo Papazov, the Bulgarian flautist Theodosii Spassov and the group Shakti (especially the guitarist John McLaughlin and the tabla player Zakir Hussain).