Happy New Year... : )

Mohsen Sharifian
Lian Music Band
Homely Parish


01. Mahaleh-ye Khomuni - 3:33
02. Faez o Maftoon - 5:01
03. Panjeh Banki - 3:12
04. Neymeh - 3:19
05. Ghale - 5:31
06. Kuwait Ghulum - 5:18
07. Delshureh - 3:19
08. Khayyami - 6:39
09. Telebooni - 4:24
10. Jostojoo - 5:53
11. Verar - 3:36




Mohsen Sharifian: 

 Regional Music of Iran: Bushehr
Taking traditional music from Iran to new collaborative heights

Interview by Madanmohan Rao

Mohsen Sharifian is a musician and composer from Iran, and heads the troupe Lian Band. He has spent the last two decades immersing himself in the musical traditions of the Bushehr region, writing several books and collecting songs and dance-tunes and composing new works inspired by them. He is a virtuoso performer on the two ancient, emblematic instruments of the Persian Gulf region, the Nay-Anban (bagpipe) and the Nay-Jofti (double-pipe reed flute). The Lian Band, formed in 1993, has released nine albums and performed around the world. Mohsen joins us in this exclusive interview on the highlights and challenges of his musical journey.

Q: How was your band formed?

My goal is to preserve and promote the folklore music of my region inside and outside of Iran. The band’s name is Lian and this is the ancient name of my city Boushehr. This name is about 3,000 years old and the meaning is ‘shining sun.’ The history of ancient Boushehr and its culture are deep and continuous sources of learning for us.

Q: Who would you say are the leading influences in your music, in terms of culture and family?

Music is in our family but remember however they were not willing for me to play music, because of the humiliating views by many in our society to folk musicians. But now I am happy, it’s honourable for the family, and they have never forbidden me.

Music across the world has been a part of society, and you can easily see the footprint of Indian music and songs, which I have seen in my trips to India and among the Indian workers in Boushehr. It’s amazing to see that the name of one of Boushehr’s parishes is Kuti; this is an Indian name meaning mansion. The spices in our food and the hotness in them is also because of Indians!

Q: Tell us about the more unusual instruments you have in your ensemble.

The bagpipe by the native name Ney-Anban is a special one, which has the identity of boushehri music. But we can see it all over the world. Even in India, but the bagpipes have their own accent.

This instrument is very unique and one of the aspects that makes it special is that the playing of this instrument at Bushehr is facing opposition, and this is unnecessarily radical and goes under a supposed religious facade.

Q: What is the profile of some of the artists in your band?

This band has working for about 20 years, and our relations began with activities during our student years, which eventually became a solid band going by the name of Lian.

Q: How would you describe your musical journey and its messages?
I believe that our work shows our birthplace of music and highlights our role as representatives for our music. The message that I want the world to hear is joy and peace, I’m glad that I did it with art and out of politics. Our albums like other artists of the world will change over the years, and sometimes may have effects on the world!

In my new album (to be released by Taraneh Sharghi), I have performed fusion music and tried a music speech to tell that our people were shaped by interaction and dialogue. So I composed a mixture of boushehri music with flamenco, Indian and modern music. It’s good to know I used an Indian musician by the name of Darchen Anand. He played tabla and sings a song with me. I would really love Indians to hear this album and explore opportunities to collaborate!

Q: How would you describe your composition process?

Most of the songs are composed by me; however I also get comments from musician of the band and audience reactions. Our folk music itself is composed from the combination of different music, including African, India and Arab. So essentially I believe in the combination forces of music, and over the years music of the world has intentionally or unintentionally absorbed other influences. How and to what extent it can be incorporated to introduce original music deserves reflection.


 The music of Bouchehr draws its distinct sounds from the diverse communities that settled in the region over many generations. This includes: the traditional music of several eras of Iranian history; the religious music of the Islamic, Zoroastrian and Christian communities of the region; fishing songs from coastal communities; influences from Chinese, Indian, Somali and Tanzanian merchants; and perhaps most importantly, the musical traditions of east African slaves who escaped and settled in Bouchehr.


Bandari, Bandari : )

Mahmoud Jahan 
Bandar Neshinan
Sabz-E Ghaba


01. Joome Narenji - 5:07
02. Kaj Kola Khan - 4:36
03. Kam Bia Donbale Man - 5:35
04. Goli Joon - 6:35
05. Bide Majnoon - 6:45
06. Bandari - 6:35
07. Mano Davat Kon - 5:31
08. Ghasedak Bandar - 4:50
09. Dokhtar Siah - 4:40
10. Kako Soleimani - 5:30
11. Bandari, Pt. 2 - 6:16

Arrangement: Mahmoud Jahan




 Bandari music of southern Iran was first made famous by Aghassi some three decades ago with his now classic song "Ameneh". These days we often hear of the group "Sandy" and their hit "Dokhtar Ahvazi" which is probably played more often at parties than any other dance tune.

But the Bandari tunes played in the small towns and villages of Khuzestan, Bushehr and Hormozgan sound very different. What the locals sing is not as polished and not always easy to dance to if you are, say, at a wedding in Tehran or Tehrangeles.

Nevertheless Bandari is one of the most upbeat Iranian musical styles. 

Bagpipes - Bahram Mehrbakhsh (?)

Bandari Dance

Bandari is often referred to as "Persian Bellydance". Bandari dance is a chain dance that often involves multiple people dancing and often perform this at parties, traveling around in a circle and sometimes stepping into the center for a solo with encouragement from other dancers, the only variations are in the arm movements. It's a Persian dance that prevails in the South of Iran next to Persian Gulf and has been influenced by the African and Arabic music and dance. It is a combination of rhythmic movements in various directions according to the beat of the song. The distinct feature of this dance is the way performers wave their hands in a unique manner that resembles the cooperation of a group of fishermen at the sea...



Bonjour Mon Ami : )

Mehrdad Lajevardi
Arash Farhangfar
Spring of Kindness 


01. Daramad Afshari - 3:45
02. Bahar - 3:09
03. Gharai - 6:24
04. Chaharmezrab - 3:52
05. Forood - 3:08
06. Reng e Afshari - 4:19
07. Daramad Rast Panjgah - 1:59
08. Naghmeh - 5:00
09. Raha - 3:20
10. Hejaz - 6:56
11. Mehr - 4:34

Mehrdad Lajevardi - Setar
Arash Farhangfar - Tonbak




Mehrdad Lajevardi was born in 1978
in Tehran.

from the booklet:

One of Setar's specialities, since old days till present, is its potential to comply the expectation of its own audience and of the one who plays it. Various tunes of sound and the sufficiency of being played with different techniques bring novelty and grace to both players and listeners with various tastes and desires, this is, one might say, why Setar's of different players have not much in common; a quality which is not found in every musical instrument.

The tranquillity, delicacy and peace which lie in the sound of the Setar quench the needs of the contemporary human in this high tension style of life nowadays.



Walk like a Bakhtiari ...

Ali Hafezi
Ney Nal

 01. Rags-e-Dastmal - 5:35
02. Balal - 5:34
03. Maqam Bargardoon - 1:20
04. Pa Goshun Natay - 3:45
05. Yar Yar - 6:11
06. Choob Bazi - 3:29
07. Abolghasem Khan - 3:09
08. Dovalali - 4:07

Ali Hafezi - ney



Ali Hafezi, a Bakhtiyari ney player who uses the teeth style of playing the ney.

He has been playing with Masoud Bakhtyari (Bahman Alaeedin). 
Now he only plays Bakhtiyari music.
The ney is the most common instrument in traditional societies. It is a very ancient instrument which has been played for several thousands of years. Due to the existence of various ethnicities in Iran, there are more than 30 kinds of ney in Iran with their own specific characteristic. Most regional neys are played by lip. The player puts his lip on the edge of the ney and blows into the pipe. But, in the urban style of playing the ney, the instrument is hold between the teeth of the player. Since the old times, the ney-e labi has been played by shepherds and because of this it is sometimes called the shepherd ney. Sometimes, the ney player inserts his voice into the pipe as well; therefore the ney produces a kind of mixed sound. The ney-e labi is played almost in all parts of Iran. In the recent years, some of the folk musicians have tried to use the urban musical techniques to present a new musical utterance for their old traditions. For example, a new kind of the ney playing style has emerged among the Bakhtiyari ethnicity which is influenced by the urban techniques of playing of the ney, which keeps the ney between the teeth. As a result, the new produced sound has both the folk and Persian urban music flavors. 



Freedom's just another word ...

Tali'eh Kamran
Yadgar-e Habib


01.Dastgah-e Homayoun — Talieh Kamran, Hoseyn Tehrani - 9:20
02.Zarbi-Khani In Bayat-e Esfahan, Dashti & Shushtari — Talieh Kamran, Hoseyn Tehrani - 9:41
03.Avaz-e Abou'ata — Talieh Kamran - 10:36
04.Zarbi-e Abou'ata — Talieh Kamran - 2:34
05.Chaharmezrab-e Dashti — Talieh Kamran - 2:37
06.Avaz-e Dashti — Talieh Kamran - 1:38
07.Dastgah-e Segah — Talieh Kamran - 8:48
08.Dastgah-e Homayoun — Talieh Kamran - 9:36


 Talieh Kamran (1930-2017), prominent Iranian female artist, poet and one of the first academic female musicians.
 Talieh Kamran & Maestro Hoseyn Tehrani
There is no Wiki about Talieh Kamran yet.
If you come across a page about her and her art
please let us know...


Beauty comes from the heart...

Łoj dolo moja dolo


01. Dziewcyno nadobna - 4:14
02. Po boru chodziła - 1:55
03. Dobro ja meme miała - 4:45
04. Wisienki - 2:53
05. Podróżniak - 2:25
06. Dołem dołem - 3:20
07. Tem pod borem - 4:46
08. Wysła Meniusia - 2:35
09. Polka weselna - 3:11
10. Oczepiny - 6:50
11. Łoj chmilu - 2:49
12. Przyśpiewki weselne - 8:54
13. Piosenka żydowska - 3:21
14. Cegoś mie memo za muż wydała - 2:34
15. Cieszcie się dziewczęta - 3:02
16. Jechoł pen gajowy - 2:01
17. Łoj dolo moja dolo - 2:16
18. Kołysanka Janiny Oleszek - 3:07

Irena Krawiec (vocals)
Lucyna Jargiło (vocals)
Monika Jargiło (vocals)
Janina Dyjach (vocals)
Beata Oleszek (vocals)
Janina Oleszek (vocals)
Bogumiła Smagała (vocals)
Władysława Dycha (vocals)

Accordion, Hurdy Gurdy, Vocals, Jew's Harp, Arranged By – Jacek Hałas (tracks: 3, 7, 12-17)
Drum – Alicja Choromańska-Hałas
Edited By, Accordion, Mastered By – Witold Roy Zalewski
Fiddle, suka – Krzysztof Butryn (tracks: 1, 5, 12)
Fiddle, Text By – Ewa Grochowska (tracks: 3, 7, 12, 14-15)
Graphics, Typography – Joanna Jarco
Photography – Mateusz Borny
Recorded By, Mixed By – Michał Kowalski
Text By – Remigiusz Hanaj
Vocals – zespół dziecięcy Wisienki


Zbigniew Butryn (bas)
Mateusz Borny (suka, kornet)
Edward Pachuta (kornet)
Iza Gąbka (saksofon)
Jakub Dycha (trumpet)
Olena Yeremenko (violin)
Piotr Deptuła (fiddle)


 Prezentujemy Państwu najnowszą płytę zespołu "Jarzębina". Płyta została wydana przez Starostwo Powiatowe. Jak pisała szefowa zespołu, Irena Krawiec na płycie zostały umieszczone pieśni tradycyjne, zaśpiewane w tradycyjnej kocudzkiej gwarze. Płyta prezentuje 18 utworów i piosenek wykonanych przez "Jarzębinę" z towarzyszeniem muzyków grających na skrzypcach, drumli, basach suce biłgorajskiej, harmonii i bębnach. W nagraniach usłyszymy orkiestrę dętą, zespół wspomogły też dzieci z zespołu "Wisienki".

Zapraszamy do posłuchania


The music ensemble Jarzębina is amongst the most known singing groups in Poland. It was established in 1990, in the Community Culture Center in Kocudza, a village in the Janowski district, on the Roztocze hill range, one of the most interesting ethnographic regions in the Lublin area.

Jarzębina is a traditional, multi-generational female group led by Irena Krawiec. It is one of the most active in the Janowski area, recognized with many awards and honorary mentions. It consists of a singing group and ceremonial group. The music ensemble represents a rich and diverse genre repertoire of monophonic ceremonial and common songs. The repertoire is rooted in the oral tradition, based mainly on songs handed down from generation to generation in the families as well as numerous songbooks: folk carols, pastorals, Advent, Lenten and Easter psalms. The psalms and dialogues are performed in the Kocudzki dialect, with great attention to detail, such as the original tempo, volume and artistic style.

It is important to point out the unique funeral and Lenten psalms that brought Jarzębina its place amongst the leading music ensembles. Within its numerous activities, the group pays special attention to devising and preparing shows. They remind us of the life once led in the villages, according to the natural calendar and also cultivate old customs and traditions. In Jarzebina’s repertoire there is: Wesele kocudzkie (A Kocudza Wedding), Ocepiny (Capping ceremony), Prasowocki (Ironers), Miedlorki i pocirocki (Linen-Working), Łostatni rózeniec (The Last Rosary), Świecok (Food-Blessing), Mielenie w żarnach (Quern-Stone Grinding), Pośnik kocudzki (Kocudza Christmas Celebrations) and Herody kocudzkie (The Kocudza Christmas Pageant).

The group finds fulfillment playing concerts and theatrical productions of old ceremonies and traditions, performing abroad, in addition to touring the whole country, as well as being an active participant in the social and cultural life of their village, community, district and region. In 2012, Jarzębina gained popularity due to the song “Ko-ko Euro spoko”, although it has been appreciated for many years before that for its stylish and very expressive way of performing traditional repertoire. The constant invitations to festivals, solo concerts as well as a group of followers all across the country is more than enough proof of that.

Jarzębina has performed at musical reviews and festivals in: Kazimierz (an honorary mention in 1991, a guest performance with the show Linen-Working in 1993, the first prize - 2001, 2007, 2011); in Tarnogród (1991-1995); in Baranów Sandomierski (The Polish Festival of Orphan Tales and Songs 1992-1999); in Tychy (Theatrical Meetings 1996-1998); in Nadrzecze (The House Serving the Polish Art of Word, Music and Image 1997-2000); in Jarosław (The International Festival Early Music 1998-2000); in Kawkowo (The International Meetings Drama and Liturgy 1995-2002); in Zebrzydowice (The International Musical Review of Regional Groups 2002); in Modliborzyce (The Interdistrict Musical Review of Traditional Carols and Pastorals 1999-2003).

The group devotes much attention to ensuring the continuity of traditional culture in the local community. Jarzębina learns songs and gives concerts together with their “younger daughters” – the children’s group Wisienki. Jarzebina’s members have been teaching the Kocudzki style of singing for years, also outside of their community, for example in the Węgajty Theatre Schola, Gregoriana Silesiensis Schola or occasionally at special workshops (mainly led by Beata Oleszek). In 2006, the group was the co-organizer of the Tabor in Kocudza – a weekend summer camp that teaches the Lubelski school musical tradition.

   The musical ensemble Jarzębina with all its members: the back row from the left Lucyna Jargiło, Bronisława Dyjach, Janina Oleszek, Władysława Dycha i Genowefa Góra, in the front row from the left Monika Jargiło, Beata Oleszek, Irena Krawiec, photograph by Remek Mazur-Hanaj, Kocudza in 1999.

A turning point for Jarzebina turned out to be the show “The Last Rosary” (łOstatni rózeniec), that had its premiere in 1995 and gained a prominent place in the history of folk ceremonial theatre. At that time, the group began their collaboration with in crudo music centers, especially the Warsaw Dance House Association (concerts as part of the Stage Roots as well as the series Let me sing Your Passion and There is a Ladder to Heaven 1995-2003). Since 1998 with the Węgajty Theatre Schola, the group participated in international theatrical and musical projects and a young singer from Kocudza Beata Oleszek, became an actress and a singer in the Schola for many many years. At the Songs of Our Roots Festival in Jarosław, Jarzębina sang at a memorable concert along with the Italian Micrologus. They also participated in a series of Lenten concerts, mainly the Dominican Order Lenten Singing in Lublin, Lenten concerts at the Poznań School of Dance or the Wrocław Gregorian Silesiensis Schola. Henryk Mikołaj Górecki highly valued Jarzebina’s singing. The group’s performance can be found in the most important archives; academic, radio and many private archives. Some of which have been published in anthologies of traditional music – publishers In Crudo (three CDs) and Muzyka Odnaleziona. The group has taken part in numerous radio and television programmes, there are three documentaries dedicated to the musical ensemble done by TVP 2; the singers were also capable of finding their way so to speak in modern art (a project by Anna Molska, “The Weepers”). Finally, there have been several Bachelor and Master’s thesis’s written about Jarzebina.



The Last Village Musicians...

Andrzej Bieńkowski
Ostatni wiejscy muzykanci


01. Mazurek. Mikroregion Rzeczycy 1980/Kazimierz Meto (ur. 1922) skrzypce, Józef Meto (ur. 1939) basy, śpiew
02. Oberek. Mikroregion Rzeczycy 1987/Jan Lewandowski (ur. 1919) skrzypce, Stanisław Lewandowski (ur. 1927) basy, Stanisław Kaczmarek (ur. 1924) bębenek
03. Oberek. Mikroregion Rzeczycy 1987/Michał Rydz (ur. 1924) skrzypce, Stanisław Goska (ur. 1925) basy, Władysław Piątkowski (ur. 1932) bębenek
04. Oberek Śpiewak. Mikroregion Rzeczycy 1987/Stanisław Skiba (ur. 1932) skrzypce, Jan Osiński (ur. 1927) basy trzystrunowe, Stefan Chudy (ur. 1938) bębenek
05. Oberek. Rawskie 1987/Aleksander Nowakowski (ur. 1905) skrzypce, Władysław Kośka (ur. 1935) basy, Stefan Nowakowski (ur. 1930) baraban
06. Oberek Śpiewak. Radomskie 1981/Bolesław Zarębski (ur. 1913) skrzypce, Edward Fogt (ur. 1930) śpiew
07. Oberek Ciągły. Radomskie 1987/Jan Rogoliński (ur. 1907) skrzypce, Józef Lament (ur. 1911) bębenek
08. Oberek Ciągły. Radomskie 1981/Marian Lipiec (ur. 1937) harmonia, Piotr Strzałkowski (ur. 1926) skrzypce, Marian Lipiec (ur. 1958) werbel
09. Oberek Rdzuchowiak. Mikroregion Kajoków 1983/Józef Kędzierski (ur. 1913) skrzypce, Stefan Kędzierski (ur. 1921) basy, śpiew, Józef Kędzierski (ur. 1939) bębenek
10. Oberek Śpiewak. Mikroregion Kajoków 1988/Józef Piecyk (ur. 1932) skrzypce, Jan Kietla (ur. 1913) bębenek, śpiew
11. Oberek Śpiewak. Mikroregion Kajoków 1983/Walenty Mirecki (ur. 1911) skrzypce, Józef Janowiecki (ur. 1910) basy, Jan Sadowski (ur. 1925) bębenek, śpiew, Helena Wojtunik śpiew
12. Oberek Kazimierkowy. Mikroregion Kajoków 1997/Stanisław Ciarkowski (ur 1931) skrzypce, Józef Ciarkowski (ur. 1926) bębenek, Leokadia Ciarkowska śpiew
13. Oberek Pobiedziński. Dolina Pilicy 1988/Jan Michalski (ur. 1916) harmonia, Wacław Rek (ur. 1928) skrzypce, Józef Michalski (ur. 1939) baraban
14. Oberek Rytka. Mikroregion Kraśnicy 1984/Józef Fiderek (ur. 1909) skrzypce, Franciszek Wolowski (ur. 1919) basy, Tadeusz Fiderek (ur. 1940) baraban
15. Oberek. Mikroregion Kraśnicy 1984/Michał Wijata (ur. 1920) skrzypce, Adam Goska (ur. 1909) basy, Stefan Tomasik (ur. 1910) bębenek
16. Oberek. Opoczyńskie 1984/Tadeusz Podwysocki (ur. 1926) skrzypce, Stanisław Wilk (ur. 1914) bębenek
17. Oberek. Łowickie 1981/Leopold Talarowski (ur. 1904) harmonia dwurzędowa, Stanisław Domański (ur. 1926) baraban
18. Mazur. Mikroregion Księżaków 1992/Jan Szewczyk (ur. 1925) skrzypce, Józef Szewczyk (ur. 1966) baraban
19. Mazurek. Rawskie 1990/Jan Dziąg (ur. 1922) skrzypce, Jan Dziąg (ur. 1950) baraban
20. Oberek. Pogranicze Rawsko-Księżackie 1994/Stanisław Lewandowski (ur. 1934) skrzypce, Józef Szymczak (ur. 1927) baraban
21. Mazurek. Radomskie 1986/Władysław Cieślik (ur. 1919) skrzypce, Józef Bębenek (ur. 1919) harmonia pedałowa, Stanisław Cieloch (ur. 1924) bębenek, śpiew
22. Światówka. Radomskie 1981/Antoni Wyrwiński (ur. 1921) harmonia pedałowa, Adam Wyrwiński (ur. 1924) skrzypce, Jan Karczewski (ur. 1944) baraban
23. Mazurek Lesiacki. Radomskie 1992/Antoni Wrzesień (ur. 1914) skrzypce, Józef Wrzesień (ur. 1911) skrzypce, Stefan Kaczmarek (ur. 1922) bębenek
24. Oberek Kajocki Bąk. Radomskie 1984/Franciszek Reguła (ur. 1916) organki
25. Oberek ciągły. Radomskie 1982/Stanisław Motyl (ur. 1904) skrzypce, Jan Przybyszewski (ur. 1917) skrzypce, Stanisław Przybyszewski (ur. 1951) akordeon, Stanisław Wiatkowski (ur. 1941) bębenek
26. Oberek Bielińskie olszynki. Radomskie 1986/Jan Karaś (ur. 1917) skrzypce, Jan Babis (ur. 1914) basy, Stanisław Rogulski (ur. 1919) bębenek, śpiew 


 This recording is an extraordinary document. It was recorded in Central Poland between 1980 and 2000 in the homes of rural musicians who had not played together in years. The emotions which ensued are clearly audible in the recording ? this atmosphere is impossible to replicate in a recording studio.

As time passes, it will become increasingly impossible to produce a recording like this. A chance to listen to rural folk bands playing in the same style as their predecessors of over 150 years before, and to hear the basses and accordions of village musicians at weddings in the 1980s.

 Andrzej Bieńkowski

 Andrzej Bieńkowski recording.


 About Music Lost/Found Series

Poland, 1980, and Communism is facing collapse. Petrol is being rationed, the shops are empty. I begin my journey through the countryside to record music. It’s strange, because there are a great many folk bands, but their services are no longer required in the villages or towns. Musicians stop playing and sell off their instruments; slowly but surely they are forgotten. The first difficulty we faced was finding them replacement instruments. I met musicians who hadn’t seen each other in years, having once played weddings together regularly; this was the last generation of village musicians. Then came the dawn of the pop era. We filmed and made unique music recordings in the musicians’ homes, which were natural, stress-free environments. We searched throughout Poland, Ukraine and Belarus and found 1500 musicians, as well as singers, and from this number we reconstructed eighty bands. Our archive contains recordings of some of the oldest village bands, as well as contemporary wedding music. We have thousands of field photographs. However, the real jewels in our collection are undoubtedly the photographs taken by the original village photographers, who faithfully captured weddings, parties, funerals and daily life.

Małgorzata Bieńkowska

Małgorzata Bieńkowska is a graphic designer, and book illustrator. Since 1986, she and her husband Andrzej Bieńkowski, worked on documenting Polish and Ukrainian village life. In November of 2007 she opened "Muzyka Odnaleziona" - a publishing firm devoted to documenting ethnic music and photo archives from Eastern Europe. She is engaged in publishing, graphic books development, concert productions, exhibitions and public relations.

Andrzej Bienkowski

Andrzej Bienkowski is a painter, ethnographer, writer and professor at the Warsaw Academy of Fine Arts. For the last thirty years he has traversed rural Poland to document and record the music of village fiddlers, accordionists and singers. He has produced many books and films about rural Polish music, including the Music Lost & Found series. He owns the largest private collection of rural music in Poland. 

There is not a single bad track on their CD's...

a serious treasure...

lovingly published...

Lucky Poland!



From The Center Of The World ...

Sounds From Two Continents
November 2012


01. Lipa    
02. Zbójnicki Mountain Song
03. Magic Of Suka And Sarangi
04. Chmiel
05. Oberek
06. Raag Jaijaiwanti
07. Suwany
08. Chorea Polonica
09. Kia Haal Sunawan Dil Da
10. Służyłem Ja Tobie

 Maria Pomianowska (Poland): Vocals, BilgoraySuka, Plock Fiddle
Marta SołekMłynarska (Poland): BilgoraySuka, Plock Fiddle, Folk Bass
Taimur Khan (Pakistan): Sarangi
Ustad Muhammad Ajmal (Pakistan): Tabla
Muhammad Azam Khan (Pakistan): Vocals




 This music cd was produced by the Institute for the preservation of Art and Culture (IPAC) in collaboration of the Embassy of the Republic of Poland in Islamabad.

 Poland-Pakistan: bridging cultures

The power vested within a single musical note is undeniable; it can transcend political boundaries and overcome social barriers. This project aimed to bring musicians from Poland and Pakistan closer and help strengthen cultural ties between the countries. This exchange program fostered an exchange of ideas, information, values, traditions, beliefs, and other aspects of culture, and nurtured mutual understanding of the cultures of both Poland and Pakistan.


Maria Pomianowska

Maria Pomianowska is a graduate of the Chopin Academy of Music, a professor of the Academy of Music in Cracow, a multi-instrumentalist, a vocalist and an exceptionally talented composer. She is also the artistic director of the Cross Culture Festival in Warsaw. In recognition of her outstanding achievements she has been awarded the Chopin’s Passport, the Medal for Merit to Culture, the Marshal of the Mazovia Prize, the Woman of success in Mazovia award and the Silver Cross of Merit.

Since 1984 she has been studying unique techniques of playing Asian instruments, while travelling to India, China, Korea, Mongolia, Japan and Middle East. Her comparative studies and multicultural experiences allowed her to reconstruct two forgotten traditional Polish instruments: Suka from Bilgoraj and Fiddle from Plock. In 2010 she opened the first Ethnic Music Department at the Academy of Music in Cracow in Poland and also created the first Suka & Fiddle orchestra in the world.

Marta Sołek

Marta Sołek is a graduate from Academy of Music in Cracow and is the only student in Poland with diploma from division of ethnic music.  She is a very talented multi-instrumentalist and plays the cello, polish folk bass, BiłgorajskaSuka, MielecSuka, Plock Fiddle, Gadułka and Greek Lyre. She is one of the leading students of Maria Pomianowska and has mastered some of the rare traditional instruments of Poland such as the Suka, Plock Fiddle and Polish Folk Bass.

Marta took part in many projects around the world, ranging from concerts of classical music while playing with symphony orchestras, jazz concerts, theatrical performances and ethnic music festivals. She is permanently associated with the music group “ArcusPoloniae” – the first in the world knee fiddle orchestra. She is also associated a revolutionary women’s folk formation music band “Same Suki”.

Taimur Khan (Sarangi)

Taimur Khan is a prominent Sarangi player and a leading disciple of Ustad Allah Rakha – the last great living Sarangi maestro of Pakistan. Taimur’s interaction with music started with a guitar when he was a teenager. He eventually fell in love with Classical Music and started his experiments with Rabab, Sitar, Violin and finally Sarangi. Having played the Sarangi for 15 years, Taimur is little known for being a Medical Doctor. He learned under the teaching of UstadMubarik Ali, UstadMehfoozKhokhar and eventually Ustad Allah Rakha. At the same time, he gained invaluable knowledge from the recordings, texts and commentaries of RajanParrikar.

Taimur has performed in many local and international art platforms such as Radio Pakistan, the All Pakistan Music Conference, the Institute for Preservation of Art and Culture, and The Islamabad Music Society. He has also represented Pakistan in the Pakistan-Norway cultural exchange program.
Muhammad Ajmal Khan (Tabla)

Muhammad Ajmal Khan is a leading Tabla player of Punjab Gharana and a pupil of the late Tabla maestro MiyanShaukat Hussain. He was born and raised in a musician family with 4 generations of artists and started playing the Tabla at a very early age.

He has been playing the Tabla since the last 40 years and accompanied some of the leading Pakistani singers of classical, semi-classical and folk music such as NusratFateh Ali Khan, Mehdi Hassan, UstadSalamat Ali Khan, UstadAmanat Ali Fateh Ali Khan, TufailNiazi, Madam Noor Jahan, Farida Khaanam, IqbalBano, UstadShaggan Khan, RoshanAara Begum, AbidaParveen and ArifLohar. Intentionally he has performed in more than 60 countries with international artists from all sorts of genres. In recognition of his outstanding achievements in music he has been awarded the prestigious President Pride of Performance Award by the Government of Pakistan.
Muhammad Azam Khan (Vocals)

Azam Khan hails from a traditional music family. He is the son of the legendry BakshiSalamatQawwal. He has been exposed to Classical Music since an early age and learned under the supervision of his father and uncle. He was also a student of the late NusratFateh Ali Khan.

As a vocalist, he belongs to the QawwalGharana but has mastered Classical, Semi Classical, Ghazal and Sufi forms of vocal music also. He has been performing for more than 45 years. He has performed at various international festivals such as London Mela, Womad festival in France, Spain and U.K, Manchester Mega Mela, Streets of Brighton and Manchester’s Garden of Delights.


 I.Lipa – 5:07

Lipa is a Lime or Linden tree in Polish language; in this song it symbolizes a young maiden who is losing her carefree days of youth. The flowers of the tree are very sweet smelling of which the bees are making honey, as sweet and delicate as a young innocent girl. The context of the song is sad, when the maiden is left alone waiting for her beloved.

II.Zbójnicki Mountain song – 5:07

Zbójnicki in polish language means the dance of robbers. This song is music for the folk dance from Podhale, the mountainous region of Poland. It is a collective name for a number of steps and dances performed for centuries at Podhale. This highland dancing is traditionally performed by a group of men who very often use axes as an accessory.

III.Magic of the Suka and Sarangi  – 5:58

The BilgoraySuka was brought back to life by Maria Pomianowska after her inspiration from playing the Sarangi. Therefore in many ways the modern day Suka owes its existence to the Sarangi. This instrumental piece is a brilliant fusion bringing both these instruments together like the intimate reunion of lovers apart.

IV.Chmiel – 4:51

Chmiel is the polish name for the Humulus or Hop plant. This song is the oldest known ceremonial wedding song. The song probably comes from pagan times, and was traditionally sung at midnight, at the wedding ritual of removing the bride’s veil. The song associates the relationship of the young couple to that of the hop plant and the poles that hold it up.

V.Oberek dance music– 3:01

Oberek is a lively dance and is one of the national dances of Poland. “Oberek” is derived from “obracaćsię” which in Polish means “to spin”. This dance consists of many lifts and jumps and is the fastest of the Five National Dances of Poland. The beauty of the Oberek depends on each individual dancer’s talent of spinning at the fast tempo of the Oberek music.

VI.RaagJaijaiwanti  – 8:55

This piece is the rendition of RaagJaijaiwanti on the Sarangi. A Raag means “colour” or “passion” in Sanskrit, in the classical music of South Asia it is a melodic framework for improvisation and composition. This is an exceptionally tender Raag, which traditionally depicts the sadness of a woman who pines for her lover. This majestic and highly arresting Raag is assigned to the night hours.

VII.Suwany dance music – 2:53

Suwany means to shuffle; this is music for a dance routine which is based on slowly shuffling of legs. This form of Polish folk dance is popular in rural areas in many Polish regions, especially in Mazovia and Radomszczyzna. This very slow dance music is based on the triple rhythm which is the signature of all Polish dances.

VIII.Chorea Polonica – 8:07

Chorea Polonica literally means “Polish dance”. This music is associated to dance that was extremely popular in Poland during the 16th century mainly at royal and noble’s courts. This form of dance has now disappeared in Poland but can be found in the traditional orchestra of Spain, France and Scandinavia.

IX.Ki haalsunawandil da – 5:46

This is a devotional song comprising of poetry by Sufi poet and mystic Khwaja Ghulam Farid. It is in Seraiki language of the south Punjab region of Pakistan. This style of semi classical Sufi music is called Kafi. The song portrays the feelings of a divine lover who can’t find a sympathizer to share his feelings as he groans alone in the ecstasy of love for his beloved, the creator.

X.StużyłemjaTobie –5:52

This song is the instrumental version of a 16th century traditional polish melody. The literal meaning of StużyłemjaTobie are, “I was your servant”. The song tells a tragic love story, where a man loves a woman who doesn’t love him back. In despair the man is going to leave his home and undertake a journey from which he shall never return.


Quite some time ago, while in India, I understood that music, in its entirety, has already been composed long ago, and resides in a place that is beyond space and time. In creating it, we artists are essentially just discovering something that already exists, much like an explorer uncovers new territories. We simply extract it from potentiality, and materialize it.

 Maria Pomianowska



Make China Great Again : )

The Year of China
 Traditional Chinese Music recorded by 
Deben Bhattacharya


Silk Stringed Instruments
01. Fishing Music
02. Walking Along a Street
03. Purple Bamboo

Music From The Silk Route
04. Arduxi. Uighur Dance Music
05. Traditional Folk Song on Love from Turpan
06. Lailin Gul. Uighur Folk Song
07. Bahar de Bulbul. the Nightingale in Spring
08. Uighur Song About Nomadic Life

Music And Dance Of The Children Of China
09. Dance Music
10. Peacocks Playing in the Water
11. Laughing Buddha

Music And Dance Of The Minority Communities
12. Dance by Eight San-yi Minority Couples
13. Kon-di (flute) of the Miao Minority People

The Chinese Opera
14. Yan Dang Shan




 During 1983 and 1984, I had the privilege of traveling extensively through China, first from Northeast to Southeast and then from Northwest to Southwest.  Each year, beginning with scouting and research and then accompanied by the film crew, I spent approximately five months, recording, filming and photographing the varied world of the performing arts of China. Our work extended from instrumental music to the Chinese Opera, to story-telling with instrumental accompa­niment in the countryside and the music of the minority communities including that of  the Uighurs of the Silk Route.  Our research and recor­ding also included  musical training and performance by children.The history of the performing arts of China which legitimately claim 4000 years of background, has been con­cerned with three clearly defined types of expression: ceremonial music, opera and folk music.  Ceremonial music was always an essential feature of the religious rites in the temples and of the secular rituals at Royal courts.  Although developed under court patronage, the second most popular type of the performing arts has usually been asso­ciated with the theatre because of its appeal to the general public. The orchestral music and the presen­tation of the Chinese opera today belong to this category. The traditional folk music of the Chinese villages, as else­where in the world, represents the local cultural and linguistic habits of the region and is simple and rhythmic, unlike the disciplined, mathematically organised music that developed under the patronage of the court and the temples.Chinese traditional music follows a pentatonic scale, although at about 600 BC two semitones were added to the original five tonal steps.  Primarily melodic in its form, Chinese music is closely connected to the speech-tone which guide the art of melody. During the long history of Chinese music, some rulers established orchestras with special characteristics as, for example, an all-women orchestra. In the long rule of the Chou dynasty, 1122 to 256 BC, there was a Minister of Music respon­sible for supplying highly cultivated ceremonial music during secular rituals at the imperial court. The I-ching, written before the age of Confucius, the great sage who lived during the 6th century BC, tells us that “There is nothing better than music in reforming people’s manners and customs.”  The emperors and rulers in China endorsed this wisdom. Music was given an important place in the royal courts and in the affairs of the State. It was treated as an integral part of the educational system, in theology as well as in secular studies.  This tradition is kept alive and fully utilised for the cause of Communism in China today.

- Deben Bhattacharya


Deben Bhattacharya (1921–2001) was a Bengali radio producer, record producer, ethno musicologist, anthropologist, documentary filmmaker, photographer, translator, poet, writer, broadcaster, lecturer, and folk music consultant. He produced over 100 records, 23 films and published more than a dozen books in his lifetime and much of his work was carried out under the auspices of UNESCO


¡Vive La France!

Luc Le Masne
Un Français a Veracruz
Marimba Mexicain: Vincent Limouzin


01. El Canto Del Papaloapan - 4:13
02. Loteria Y Amor - 4:12
03. Eso Es! - 2:21
04. Un Francais A Veracruz - 3:02
05. Manos De Cangrejo - 4:13
06. Promesa - 5:22
07. Vuelve A La Vida - 3:02
08. Torito - 2:40
09. Luz De Veracruz - 5:55
10. Gaviota Enamorada del Sol - 3:42



Marimba 2 features ‘Mexican’ compositions by Luc Le Masne interpreted by Vincent Limouzin, vibraphonist with the Orchestre National de Jazz who has also created a show on “The Xylophones of the World”.

I wanted to express my acknowledgement to my friends by writing these simple, festive or nostalgic melodies aiming to give my personal rendition of the danzón, the bolero, and the ‘Jarocha’ waltz while remaining very close to the universe of the Veracruz harbour. Some of these melodies have already been adopted by local musicians.” (Luc Le Masne)

Luc Le Masne a vécu plusieurs années à Veracruz et y a noué de solides amitiés avec les virtuoses du marimba. C'est donc tout naturellement qu'il a souhaité leur exprimer sa reconnaissance, en écrivant ces mélodies simples, festives ou nostalgiques. Certaines de ces musiques sont déjà reprises par les musiciens locaux. Elles sont ici interprétées par Vincent Limouzin, vibraphoniste de l'Orchestre National de Jazz, créateur du spectacle « Les Xylophones du monde ».


 Nous avons seulement un monde...



El Tonto y El Muro

El Columpio Del Diablo
Corridos Y Tragedias
De La Junta De Los Rios


01. Corrido De Kiansis – Los Palomares De Ojinaga
02. Jacinto Trevino – Los Palomares De Ojinaga
03. La Tumba De Villa – Los Palomares Del Bravo
04. Los Traficantes Del Bravo – Los Palomares Del Bravo
05. La Tragedia De Ojinaga – Los Tres Amigos
06. Corrido De Fermin Arevalo – Los Suspiros De Ojinaga
07. La Muerte De Fermin Arevalos – Los Jilgueros Del Arroyo
08. El Corrido De Israel Y Guadalupe – Los Luceros De Ojinaga
09. Corrido De Martin El Shorty Lopez – Los Tres Amigos De Isidro Ruiz
10. El Corrido De El Pira Ramirez – Melquiades/Tomas Sevilla/Mariachi Frontera
11. El Zorro De Ojinaga – Los Suspiros De Ojinaga
12. Corrido De Pablo Acosta – Los Palomares Del Bravo
13. El Corrido De Amado Carrillo Fuentes – Tomas Sevilla/Melquiades Sevilla
14. El Arresto De Los Sanchez – Los Jinettes De Odessa
15. El Corrido De Gracielo Gardea – Mariachi Frontera
16. El Corrido De El Kilo – Los Suspiros De Ojinaga
17. El Leon De Le Sierra – Los Palomares De Ojinaga
18. Ejido De Palomas – Carlos Olivas
19. El Corrido De Esequiel Hernandez – Santiago Jimenez Jr./Victor Mermea/Jose Moreno/Amado Banda/Mar…




Where the Río Grande and the Río Conchos join, rests a remote oasis in a mountainous desert wilderness of awesome austerity. There the cities of Ojinaga, Chihuahua and the town of Presidio, Texas form the cultural and economic centers of La Junta de los Ríos. As is well-documented in the film The Devil’s Swing (Documentary Arts Inc. of Dallas, Tx.), this isolation has helped to preserve not only many customs, traditional rituals, and beliefs but also a ballad tradition of uniquely local focus and origin, a sampling of which can be heard on this CD. Although a few of these corridos (narrative ballads) are also seen in the film, this CD is a complimentary audio document and not the usual “soundtrack.” The corridos were recorded mainly on location and memorialize themes such as 19th century cattle drives, border conflicts between Anglos and Mexicans, heroes of the Mexican Revolution, hardships endured by day laborers, and of course the recent tragedies which have resulted from trafficking. Smuggling back and forth across the Mexican-US border used to involve wax, cloth, liquor, guns and ammunition but since the end of prohibition in the early 1930s, the focus has been almost exclusively on drugs declared illegal in the United States. To the local population, which sees Anglo society as rich, insatiable consumers of all kinds of drugs, these traffickers often become Robin Hood like heroes.

 The devil has mounted a swing between the mountains above La Junta de los Rios from which he can affect everything. Where the Rio Concho collides with the Rio Grande, the resulting flood plain defines an area of the border where traditional divisions between God and the devil, between bandit and hero, between the United States and Mexico, no longer apply. The seemingly unrelated worlds of sacred rituals, drug lords and the memories of Pancho Villa combine with the words, songs, prayers, and chants of the people who live in this remarkable place and are indelible in the minds of those who have moved away.

 When oral tradition quickly slipped away in the 20th century, the art of ballad writing seemed to go with it. Luckily, in isolated spots like La Junta de los Ríos, corridos, or narrative ballads, have continued to thrive. These ballads preserve Texas-Mexican border culture dating from the mid-nineteenth century to the present, documenting everything from cattle drives to modern day drug lords. Vibrant accordion and bright singing enlivens much of The Devil’s Swing. Los Palomares De Ojinaga enlists vivid harmony in Corrido De Kiansas to tell the story of a dangerous cattle drive in Kansas, while Los Palomares Del Bravo recalls the legendary Puncho Villa in, La Tumba De Villa. Many songs, like Los Jilgueros Del Arroyo s bloody ballad, La Muerte De Fermín Arévalos, document the illegal trafficking of drugs and assassinations of rival drug lords. The music of these story songs is often happy and danceable, despite the grim subject matter.

The Devil’s Swing was recorded as a companion for the film of the same name. This fresh recording, with its ballads and acoustic instruments, will probably evoke an earlier, simpler culture to many listeners. But the tales of drug smuggling disavow that. The lyrics also point out the continued uneasiness between Mexicans and Americans along the border. The Devil’s Swing manages the twin tasks of documenting the life of a unique culture while remaining musically enjoyable.

-Ronnie D. Lankford, Rootsworld