Chants Et Tambours
Des Confréries Noires


01. Golpeado - Tambores De San Juan
02. Corrido/Trancado - Tambores De San Juan
03. Sangueo - Tambores De San Juan
04. Corrido - Tambores De San Juan
05. La Campana - Tambores De San Juan
06. El Campanero (Sangueo) - Tambores De San Juan
07. Golpe De Cantica - Tambores Chimbangueles De San Benito
08. Eha! Chocho - Tambores Chimbangueles De San Benito
09. Aje! - Tambores Chimbangueles De San Benito
10. Chimbangalero - Tambores Chimbangueles De San Benito
11. Misericordia - Tambores Chimbangueles De San Benito
12. Sangorodon - Tambores Chimbangueles De San Benito
13. Conjunto Redondos - Conjuntos De Bariovento
14. Tambores Redondos - Conjuntos De Bariovento
15. Conjunto Redondos - Conjuntos De Bariovento
16. Conjunto Tamboras - Conjuntos De Bariovento
17. Conjunto Fulia - Conjuntos De Bariovento
18. Conjunto Mina - Conjuntos De Bariovento
19. Tambor Quichimba - Conjuntos De Bariovento
20. Tonada De Quitiplas - Conjuntos De Bariovento
21. Conjunto De Quitiplas - Conjuntos De Bariovento 




Recorded in Venezuela, 1993 & 1994, liner notes and photography by Michel Plisson


Eugene Chadbourne says:

... also available as part of this label's somewhat ad hoc triple-CD box entitled Drums of South America, this collection of music that has been handed down from the liberated slaves of Venezuela deserves to stand on its own as one of the most haunting as well as relaxing listening experiences from this part of the world. Although any comparison with the other volumes would inevitably just be the result of coincidence, since there was no real aesthetic reason to package the three collections together other than marketing convenience, it helps to describe the music in saying that these conjuntos from Barlovento or tambores from San Juan and San Benito create music with a much more interactive relationship with their environment, as in the world around them, then do the perhaps musically more adept Cubans or the drum-splintering stronghands of the Guadalupe gwo ka tradition. To not be limited by Ocora's choice of box-set playmates, it can actually be said there is not much other music that can be said to be similar to these performances, not even the pieces presented in a Nonesuch Explorer collection that was released in the '70s based on the theme of black music from Venezuela. Producer Michel Plisson seems to have documented particularly deep performances, the drums reverberating through a space that seems timeless. Unless one lives in an urban center in which bird life has been vanquished, the possibility of combining these pieces with natural sounds from the outside world may seem logical and turns out to be inevitable in the performances themselves as small flutes and whistles eventually join the action, seeming to be approximating the sounds of jungle birds. The set concludes with pieces in which the small-stringed cuatro and wonderfully scratchy maracas flesh out the sound.



Listen! More Afro Venezuelan music : )

Big Mouth
Afro-Hispanic Music from Venezuela


01. Belén Palacios - Bocón
02. Maximilanio Huice - Yo Vine A Pasar Unos Tiempo
03. Tambores De Caraballeda - Apolinaria
04. Agustin "Chupa Caña" Rivas - Gallina No Tiene Teta
05. Agustin "Chupa Caña" Rivas - Yo Vengo Regando Flores
06. Los Veteranos - La Batalla
07. Los Veteranos - La Juruminga
08. Los Veteranos - Poco A Poco
09. Los Veteranos - Saragosa
10. Celsa Duarte - Un Saludo Vengo A Dar
11. Maria de Jesús Monterota - Mi Cochina
12. Conjunto San Juan De Curiepe - Carángano
13. Tambores de Naiguatá - Dale El Culo Al Viejo
14. Tambores de Naiguatá - San Juan 'ta Borracho
15. Los Tambores de Tarmas - San Juan De Tarmas
16. José González a.o. - Comadre Juana
17. Pedro Pablo Hernández - Adios Pueblos Cantadores



 A selection of beautiful field recordings of deeply rooted music from several Afrovenezuelan communities. Afrovenezuelan music—long marginalised—has lately become part and parcel of Venezuelan popular culture. But still it remains something of a terra incognita to the outside world. You may find that this CD opens up new rhythmic horizons to you.

The drums are a key to understanding the Afrovenezuelan universe. The drum family is quite extended, with easily distinguishable regional—and even local—types. The most important groups of drums represented on this record are the mina and curbata, the tambores redondos, and the cumacos. But Afrovenezuelan music is not just about drums; it also comprises other instruments, dance, literary invention, and lyrical improvisation. It becomes a synesthetic experience, a sensually encompassing artistical musical complex.

Each self-respecting village boasts its own golpe - its own individual rhythm, a symbol of the continuity of tradition and the unity prevailing in the village. This record presents music from the Afrobarloventeño region and from the villages of Caraballeda, Naiguatá, Tarmas and El Tocuyo. The accompanying booklet contains extensive information about the history and social meanings of these musical styles.


you can buy this CD here 
and many more CD's at a fantastic price 
and all your money goes straight to the artists and not to I-shareholders! 


TheTaste of Cocoa...

Son de Chuao
Sabor a Cacao


01. Mi Tambor (My Drum) - 2:17
02. Sabor a Cacao (The Taste of Cocoa) - 4:28
03. Bailar Con Mi Negra (Dancing with my Girl) - 4:06
04. La Cochina (The Pig) - 1:49
05. Se Formó la Rumba (The Party has Begun) - 4:45
06. La Cueva del Mato (The Cave of the Lizard) - 7:20
07. Cuando Suene un Tambor (When a Drum Sounds) - 3:13
08. Sirena - 0:23
09. Loé - 2:04
10. No le Rompas (Don't Damage the Drum) - 4:01
11. Corozo (The Fruit of the Custard-Apple Tree) - 2:38
12. Román - 5:24
13. Mi Bandera (My Flag) - 1:57
14. Venezuela es lo Mejor (Venezuela is the Best) - 1:52
15. El Mono (The Monkey) - 10:22
16. Los Cumacos de Chuao (The Cumaco Drums from Chuao) - 6:35
17. La Campana Suena (The Bell Tolls) - 0:41




 Afro-Caribbean percussion music and dance from Venequela's Cocoa Coast

The history of the blacks in Venezuela is closely linked to cocoa. The best cocoa is said to come from the region of Chuao. Here the offspring of the former slaves still play music which relates to their original African culture. Their drum dances, in which the cumaco drums play the central role, are energetic, frantic and fiery, and embody the collective memory of the Afro-Venezuelans.


 Chuao is a small village located in the northern coastal range of Venezuela. It was founded in the 16th century. The village is famous for its cacao plantations, where some of the finest cocoa beans in the world are produced. The village is surrounded by mountains and dense rainforests to the south Caribbean Sea near the Henri Pittier National Park the oldest national park in Venezuela created in 1937. There is no road access and visitors must come by boat from the town of Puerto Colombia along the coast, or by foot, crossing the mountains and the luxurious cloud forest from Turmero near Maracay.

In the Chuao plantation there are currently pure Criollo and hybrid varieties of cacao being grown. Criollo beans from Chuao are of very high quality, and are considered Venezuela's finest beans together with Porcelana Blanca beans from Lake Maracaibo (another genetically pure variety of Criollo). Amedei, an Italian chocolate maker, and Chocolate NAIVE, a Lithuanian bean-to-bar chocolate maker, offer chocolate bars made with Chuao cacao. Naive was the winner of the European gold medal at the International Chocolate Awards 2014.

In November 2000, the cacao beans coming from Chuao region were awarded an appellation of origin under the title "Cacao de Chuao" (from Spanish Cacao de Chuao) effectively making this one of the most expensive and sought after types of cacao.

a lot more to read : )


In the Land of Cocoa...

Tierra del Cacao
Music and Dance


01. El Saqueo (The revolt) - Villagers of La Sabana & Alexis Laja - 4:11
02. Ce Un Mes Que No Te Veo (A month has passed without seeing you) - Villagers of La Sabana - 4:14
03. San Juan / Gangue / Macizón - Villagers of La Sabana - 10:05
04. Cantica - Villagers of Bobures - 4:08
05. Ajé / Benito / Ajé - Villagers of Bobures - 4:20
06. Dale (Do it) - Villagers of Chuao - 1:28
07. Petra de las Marías - Villagers of Chuao - 2:47
08. Tema de los Cimarrones (The maroons from Chuao) - Villagers of Chuao - 1:17
09. Marisela - Agrupación Los Romeros’ - 3:22
10. La Estrella del Paraíso (The star from paradise) - Agrupación Los Tambores Quimbanganos - 6:53
11. Juan Rebolledo - Inocencio Caraballo - 3:46
12. Tonadas de Quichimba - Villagers of Curiepe - 5:28
13. Carángano - Villagers of Curiepe - 0:48
14. Tonadas de Quitiplás - Villagers of Curiepe - 5:53
15. Marimba - Villagers of Curiepe - 1:40
16. Ta Bueno Mayoral It's alright overseer) - Villagers of Curiepe - 4:21
17. Tonadas de Culo 'e Puya - Villagers of Curiepe - 4:10
18. Barlovento e' Tierra del Cacao (Barlovento is the land of cacao) - Villagers of Curiepe - 4:36




The African heritage is very diluted in Venezuela, but the 'black' drum dances are a big hit nowadays. This CD presents the little known music of six small and isolated black villages. Characteristic is the inventive use of polyrhythms and a general emphasis on rhythm as the most aesthetic organizing principle. Other characteristics are the use of call-and-response patterns and repetition of phrases. Instruments used are mainly all sorts of drums and percussion instruments, and some wind and string instruments. The 24-page booklet contains extensive notes on instruments and musical styles.

    "...If you want to party across the border, go to Venezuela [...]. Heavy, rattling drums and possessed wind players, vocalists who are echoing the melody in a frenzied variation. This is music that makes you go beside yourself, without using any means whatsoever..."

    René van Peer, Wereldmuziek Update, summer 1999

  "A CD, which is indispensible to approach and to comprehend a music that respires Africa and transpires Latin America. Essential."

    Etienne Bours, Trad' Magazine, July/August 1999

“Venezuela is in a league of its own,” said Gary Guittard, a California chocolate maker who buys Venezuelan cacao. “It takes years to develop the uniqueness of the best cacao, maybe 20 or 30 years, maybe 100, so other nations need to catch up.” 
read it all




Entre Amigos...

The Venezuelan Waltz
Between Friends - Entre Amigos
El Vals Venezolano

01. Sol Llanero - Aquel - 3:57
02. Sol Llanero - A Bo So - 3:04
03. Pasacalle - Viajera Del Río - 3:29
04. Pasacalle - La Mañana - 4:06
05. Rúben Dario Sulbarán - Asi Eres Tu - 3:58
06. Rúben Dario Sulbarán - Nuestra Distancia - 2:58
07. Cuerdas Criollas - Teotyste - 2:41
08. Cuerdas Criollas - Noris - 2:47
09. Orquesta Tipica Municipal De Barquisimeto - ¡ah Mundo Barquisimeto! - 3:25
10. Orquesta Tipica Municipal De Barquisimeto - Pasillaneando - 2:31
11. Caida Libre - Natalia - 3:53
12. Juan Carlos Nuñez - No Me Olvides - 3:17
13. Caracas Sincrónica - Venezuela Y Colombia - 4:18
14. Cuerdas Criollas - Cachicameando - 1:35
15. Cuerdas Criollas - Ecos - 1:44
16. Orquesta Tipica Municipal De Barquisimeto - Arreboles - 2:31
17. Orquesta Tipica Municipal De Barquisimeto - Barquisimeto - 2:28
18. Pablo Fréitez - San Trifón - 5:19
19. Pablo Fréitez - No Hay Un Solo Tiempo - 2:59
20. Pasacalle - Hola Bonita - 3:53
21. Cántaro - Venezuela Emprende El Vuelo - 2:37
22. Sol Llanero - Entre Amigos - 3:09



 Entre Amigos

 On this record, ten different musical ensembles - ranging from symphony orchestra, to harp music, piano and string ensemble - offer sublime interpretations of Venezuelan waltzes. Without the friendship of these many musicians and composers, and of collaborators of Fundación Interchange and PAN-Records, this record couldn't have been produced. This may help to explain the choice of title for this unique CD.

The waltz was part of the romantic revolution in the realm of the ancient regime, first of the sentiments, later of politics, and with the 19th century it became the dance of modernity. The waltz signified a liberation from the feudal shackles of the old order, a victory of bourgeois culture; its rhythm a source of energy and spiritual regeneration. Because of its humble origins, its sensual movements, and the hypnotic trance it seemed to trigger, in conservative corners the waltz was long considered an enemy of true morals and virtue. But the waltz inevitably gained sophistication as an acceptable form of social intercourse.

During the 19th century, the waltz not only swept the Old World but also travelled along paths established by colonial relations around the world. Derived from European models, the waltz or valse swiftly crossed oceans and mountains, implanting itself in the most variegated musical landscapes and cultural niches. Simón Bolivar himself may have been one of the first to introduce this dance to Latin America.

The Venezuelan vals may well be the most sophisticated genre in Venezuelan musical culture. The vals became 'creolized' in both melody and meter, adopting elements from native - criollo, Afrovenezuelan, or even indigenous - musical traditions, and sometimes it is nearly impossible to distinguish the vals from other popular dance forms.

The dynamics of the history of the waltz in Venezuela was and still is motivated by the choices of musicians and by the ongoing dialectics between localism and cosmopolitanism.


 Dutch ethnomusicologist Bartolomeus Duysens, of Fundación Interchange, has done a tremendous job of tracking down contemporary groups playing the form in a wide range of styles, from harp-driven joropos and violin-drenched symphonies to minimalist guitar and piano pieces. The result is a collection of romantic songs that swing on tropical hips and are steeped in the sweet melancholy of the bolero.

    The disc also highlights the incredible talent of Venezuelan musicians who are rarely heard outside the country. With detailed liner notes that trace the history of the music and introduce each of the performers, this is a treat for anyone who loves the sound of strings."

    Russell Maddicks, Songlines, May/June 2003


The Venezuelan waltz is a hall dance and accompanying musical genre that was popularized in 19th-century Venezuela.

The two main types of waltz were the hall waltz and the popular waltz. The former was typically performed on piano. Key musicians in this genre were Federico Vollmer, Manuel Azpúrua, Manuel Guadalajara, Rafael Isaza, Heraclio Fernández, Rogelio Caraballo, Ramon Delgado Palacios, and Antonio Lauro.

The popular waltz was performed on traditional regional instruments, often the violin and the bandola accompanied by guitar, triple and cuatro. Most popular waltzes had anonymous composers.


O sole mio :-)

Les Sœurs Dalmasso
Saga Italienne


01. La mamma
02. Torna a Surriento
03. Una canzone per te
04. Portami tante rose
05. Ai Maria
06. Violino tzigano
07. Tarentelle
08. La strada del bosco
09. Brasilia
10. Vivere
11. O sole mio


Les Sœurs Dalmasso:

Suzel Zajac Dalmasso (Voix)
Linette Dalmasso (Accordéon, Voix)
Pierrine Zajac Dalmasso (Violon)


Dominique Cravic (Guitare)
Robert Santiago (Accordéon diatonique)

Enregistrement 2003-2004




 Utterly charming music from another era, 
from sisters with a tale to tell.



 read it all


Tar: The Traditional Style

Musâ Ma'rufi
Yahyâ Zarpanje 

Musâ Ma'rufi

01. Avaz e Bayat e Kord
02. Dastgah e Homayoun
03. Dastgah e Mahoor

Yahyâ Zarpanje

04. Dastgah e Shur
05. Avaz e Afshari
06. Avaz e Afshari Zarbi
07. Avaz e Bayat e Tork
08. Avaz e Esfahan Pishdaramad & Reng
09. Avaz e Esfahan
10. Dastgah e Mahoor Sorud e Vatan
11. Dastgah e Mahoor, Pt. I
12. Dastgah e Mahoor, Pt. 2
13. Dastgah e Mahoor Tasnif e Be Gardesh




Musa Khan Maroufi was one of the masters of Tar in the late 19th century. 
This recording features master Musa Khan along with another master musician Yahya Zarpanjeh on Tar. The recoding features several sections (Goushehs) of various Radifs and some old songs by master NeyDavoud and Amir Jahed. 
Musâ Ma'rufi

Musa Marufi was born in 1897 to a wealthy family. He began his music studies using a piano at his house, and then studied tar with Aqa Hoseyn-Qoli. After the death of his master he joined in Darvish Khan classes when he was 30.

He had several courses on radif with Darvish Khan and graduated by receiving the Golden Halberd, a medal donated by Darvish Khan to his top students.

As early as High School of Music was founded by Ali-Naqi Vaziri (1923) he joined as a tar player to its orchestra, already joined by H. Gol-e Golab, M.-H. Adib, H. Saba, E. Mehrtash, and M.-S. Arbabi. He then became the tar master of Military School of Music which was active until 1934.
In 1965 Musa Marufi transcribed complete set of dastgahs of Persian classical music. It was published as Radif of Seven Dastgahs of Persian Music, with an introduction by Mehdi Barkeshli. This was a major contribution and largely helped to preserve the musical legacy of Persian classical music.

Yahyâ Zarpanjeh

Yahya Zarpanje was born in 1897 in Tehran. His father was a singer and dayere player. The profession of his family was music, and Yahya first studies with his brother Musa Khan, and for completing his studies went by Darvish Khan and became a professional tar player. Yahya was amongst the best players emerging from Tehran Jewish community. Due to his talents and interests he practiced hard and gain virtuosity. His plucking was rapid and strong, and his finger-work on the bass string was exemplary. To get skilled he even practiced with rough strings and on poor instruments. He was an expert in radif, and amongst dastgahs he regarded Shur as the most complete.

Yahya founded his own classes and trained several pupils, and recorded some of his performances. Among them a tasnif record composed by Morteza neydavud to lyrics by Ahmad Bakhtyari, presently held in the archives of Tehran Radio Corporation. Another famous recording is his Mahur. He died in 1932.


Day & Night

Hossein Omoumi
Kia Tabasian
Zia Tabasian
Abolhassan Sabâ
Great Mediterranean Composers


First part (dastgah-e Segah and Nava)

01. Daramad-e Segah
02. Samani
03. Zabol
04. Bahar-mast
05. Kereshmeh and Mouyeh
06. Mokhalef
07. Masnavi-ye Segah modulated to Nava
08. Shesh zarbi-e Nahoft
09. Chahar mezrab-e Nava

Second part (Avaz-e Bayat-e Tork and Afshari)

10. Do zarbi-ye Bayat-e tork
11. Chahar Mezrab-e Bayat-e tork
12. Feyli
13. Shekasteh
14. modulated to Afshari
15. Raghs-e chupi
16. Ghara-ii
17. Daramad-e Dashti
18. Zard-e malijeh
19. Gilaki20.Karevan
21. Deylaman
22. Pacheh leyli
23. Reng-e Dashti

Ney and Vocals: Hossein Omoumi
Setar: Kiya Tabassian
Tonbak: Ziya Tabassian





Ostad Abolhasan Saba performing SetarIf there are a few artists who have heavily influenced the twentieth century Persian classical music by their work and style, Abolhasan Saba is for sure one of them.

More than fifty years after his death this multi-instrumentalist, composer, researcher and master of Radif (the Persian Classical Repertoire) continues to pour vitality and freshness through his important contributions.

Saba was born in Tehran at the turn of the Century, in November 17th, 1902 into a family that had for long embraced music and literature by tradition. His familiarity with music began when learning the basics of Setar from his father Kamal ol Saltaneh and Tombak from his aunt's maid. He finished school at the American College of Tehran (later called Alborz) and let his ever growing desire of studying music to be fulfilled by attending, nothing less than the courses of the greatest masters of the Persian Classical Music of the moment: Mirza Abdollah Farahani for Setar, Darvish Khan for Tar, Hossein Esmail Zadeh for Kamancheh, Hossein Hang Afarin for Violin, Ali Akbar Shahi for Santoor and Haji Khan for Tombak.

In 1923, as Colonel Ali Naghi Vaziri founded his Superior School of Music, Saba was one of the first students attending Violin courses and even becoming part of the Vaziri Orchestra as the first Violin. But according to Sasan Sepanta (Persian Music specialist and historian) in his Perspective of Music in Iran, Vaziri had to convince young Abolhasan’s father to let him enter his School, amidst an atmosphere of fierce opposition to the foundation of the institution (Many cultivated spheres would consider Vaziri’s views as being too much of a Western style and opposed the creation of the school).

Saba was soon to become one of Vaziri’s favorite students and assistants, learning fast the secrets of Violin and the theory of European Classical Music. Quite naturally in 1929, the Colonel appointed him as the head of the School of Fine Arts (Conservatory) in the Caspian city of Rasht. Indeed, no need to insist on the fact that this was a dreamed position for Saba, as he would have been able to resume research and collection of folkloric music and melodies of the regions of Gilan and Mazandaran. Later he composed numerous classical melodies based on those researches including famous “Zard e Malijeh”, “Koohestani”, “Deylaman” and “Tabari”, most of them in Avaz e Dashti or Avaz e Bayat e Tork modes.

read it all here


Nightly pasture...

O Skáros
Musiques pour flûtes



La tradition de la flûte du Pont

01. Láhana (Vegetables) - Kleántis Papadópoulos - 1:42
02. Dipát - Kleántis Papadópoulos - 1:52

Bergers dans les pâturages

03. Péra s'ekíno to vounó (On the opposite mountain) - Konstantinos Kostas - 2:15
04. Karagoúna - Konstantinos Kostas - 2:12
05. Vláhiko - Dimítrios Troúphas - 1:51
06. O tsobánis pou éhase ta próvata (The shepherd who lost his sheep) - Panayótis Molihetoúdis - 3:01
07. O skáros (Nightly pasture) - Dimítrios Troúphas - 1:23
08. O skáros I - Konstantinos Kostas - 3:26
09. San skáros - Kóstas Zoúkas & Geórgios Sárros - 2:12
10. O skáros II - Nikoláos Hleboyiánnis - 1:56
11. Ya ta próvata (To the sheep) - Geórgios Photiádis - 0:32
12. Ya ta próvata - Dimítrios Troúphas - 1:31

Le berger, musicien de la communauté villageoise

13. Kálanta Protohroniás (New year collection song) - Yórgos Saráphis - 0:46
14. Païdoúskino - Athanásios Dískos - 2:11
15. Zonarádiko - Kleánthis Papadópoulos & Ioánnis Savídis - 1:22
16. Skopós Évias - Yánnis Mastroyánnis - 1:48
17. Tsámikos I - Theophánis Drósos - 1:19
18. Tsámikos II - Ilías Koumokís i Periyís - 1:08
19. Tsámikos III - Evángelos Salterís - 2:32
20. Syrtós - Evángelos Salterís - 1:11
21. Levantínikos horós Zakýnthou - Dionísios Yiatrás i Poúros - 1:34
22. Païdoúska I - Antónios Triantaphýllou - 1:46
23. Païdoúska II - Athanásios Dolapsóglou - 1:12
24. Païdoúska III - Kleánthis Papadópoulos - 1:15
25. Tsestós or Često - Athanásios Dolapsóglou - 2:23
26. Tou trapezioú - Athanásios Dolapsóglou - 1:45

Le berger conteur

27. O Menoúsis I - Dimítrios Troúphas - 1:55
28. O Menoúsis II - Athansios Dískos - 1:11
29. Erotókritos - Manólis Pharagoulitákis - 2:25
30. Kléphtiko - Konstantiínos Kóstas - 2:42
31. Or'Toúrki, kratáte - Dimítrios Troúphas - 2:07
32. Mána me ta pollá pediá (The mother with many children) - Dimítrios Troúphas - 1:29
33. I Gólpho - Theophánis Drósos - 1:10
34. Bíkan ta yídia sto mandrí (The goats rush towards the stable) - Konstantinos Kostas - 2:33

Les minorités au pays des bergers
35. Një vajze një kopile - Dimítrios Kakoúros - 2:11
36. Rra kambana Papandisë (It tolls, the bell of Papandis) - Dimítrios Kakoúros - 1:22
37. Tha të lan të hënënë - Nikoláos Ikonómou - 1:42
38. Mes' sto yidomandrí (In the middle of the goat pen) - Nikoláos Skopákis - 0:48
39. Karapatáki - Dimítrios Troúphas - 1:34
40. To éndeka (Eleven) - Kleánthis Papadópoulos - 1:32



About the recording

 The floyéra, an end-blown ductless flute traditionally made of cane, wood, bronze or bone, and the sourávli, an end-blown duct flute of the same materials, were until recent years among the most common aerophones of rural Greece, similar to folk flutes found throughout the Balkans and West Asia. Typically associated with shepherds, they have appeared throughout the Greek mainland and islands under a bewildering variety of names. Regrettably, these traditions are disappearing as flute masters lack disciples to continue the practice.

Fortunately, Wolf Dietrich has assembled this impressive and comprehensive collection of performances, providing an aural record of the diverse textures, idioms, and instruments in traditional rural Greek flute music. The forty high-quality recordings include excellent performances of dance songs, songs of the table, laments, calendrical songs, and a variety of other genres from around the Greek mainland, the Cycladic and Ionian island groups and Crete, as well as the Pontus region of Turkey; even the Arvanites, Vlach, and Sarakatsan minorities are represented. All the pieces feature the floyéra or the sourcivli either in solo performances or as part of traditional ensembles with other instruments.

For each recording, the notes identify song type, performers, instrumentation, date and location of the recording, as well as information about song texts and the local use and function of the pieces. A few errors in track descriptions should be noted: the tzamára and kaváli, larger versions of the floyéra heard in a number of the recordings, are not side-blown, as the English notes state, but end-blown and played at an oblique angle; the double flute souvliári is mistakenly categorized as a double-reed; and the home village of the renowned Cretan bagpipe and flute player Manolis Faragoulitakis should be correctly identified as Vorizia in the Irakleion prefecture.

This post is dedicated to my friend on the hill...

who sees the sun going down
and the eyes in his head
see the world spinning around...



Tonbak & Tar

The Art Of Improvisiation -
Pouyan Biglar - Tar
Sina Khoshk Bijari - Tonbak

Tehran. 2013
پویان بیگلر : تار
سینا خشک بیجاری : تنبک


shut up and listen... :-)



Tar sweet Tar (Duo for Tar & Tonbak)

Pouyan Biglar & Saeid Jalalian
Ashk Afshan


01. Pishdaramad - 7:44
02. Daramad - 2:26
03. Chaharmezrab - 5:15
04. Jamedaran, Bayat Raje - 3:57
05. Zarbi Bayat Raje - 4:40
06. Araq - 3:12
07. Zarbi Araq - 5:39
08. Edameh-ye-Raje - 1:06
09. Zarbi Ouj o Forud - 6:00





پویان بیگلر
متولد 1361 همدان
دوره ابتدایی :نزد آقایان سیاوش دیهیمی و داریوش زرگری
دوره متوسط :نزد آقایان رضا وهدانی ، ارشد تهماسبی
ورود به هنرستان موسیقی و اخذ مدرک کارشناسی نوازندگی ساز ایرانی
دوره عالی : در محضر استادان داریوش طلائی ، محمد رضا لطفی
ورود به دانشگاه هنر و اخذ مدرک کارشناسی ارشد و استفاده از محضر استاد شریف لطفی ، محسن حجاریان ،
اجرای کنسرتهای پژوهشی همراه با داریوش طلایی ( تالار رودکی) ، اجرا ی کنسرت دشتی همراه با گروه همنوازان شیدا و سرپرستی استاد محمد رضا لطفی (تالار بزرگ کشور) ، اجرا کنسرت سپیده همراه با گروه همنوازان شیدا و سرپرستی محمد رضا لطفی (تالار بزرگ کشور) ، همکاری در پروژه سیمرغ همراه با محمد رضا درویشی ، حمید متبسم و همایون شجریان ( باشگاه انقلاب) ، و اجرا کنسرتهای مختلف در داخل و خارج از کشور .کنسرت خانه غریب در تالار وحدت به همراهی وحید تاج و گروه همنوازان نی داوود.
آلبوم ها
همکاری در آلبوم وطنم ایران همراه گروه شیدا به سرپرستی محمدرضا لطفی به خوانندگی محمد معتمدی به شکل صوتی و تصویری
همکاری در آلبوم تصویری سپیده به همراهی گروه شیدا به سرپرستی محمدرضا لطفی و به خوانندگی محمد معتمدی
همکاری در آلبوم یادواره عارف قزوینی گروه شیدا به سرپرستی محمد رضا لطفی به خوانندگی محمد معتمدی
همکاری در آلبوم سیمرغ همراه با حمید متبسم و همایون شجریان
ساخت و سرپرستی آلبوم خانه غریب به خوانندگی وحید تاج (اثربرگزیده جشن خانه ی موسیقی در سال ۱۳۹۰)
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ساخت موسیقی چند فیلم کوتاه و مستند
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فعالیت های آموزشی
تدریس در مراکز دانشگاهی در ایران مانند داشنگاه علمی کاربردی و ...
مدیر موسسه موسسه فرهنگی – هنری بسته نگار 


Sweet Tar : )