Pete Rodriguez
I Like It Like That - A Mi Me Gusta Asi

I like It (I Like It Like That) 4:25
El Hueso 5:57
Pete's Madness 4:55
Micaela 5:26
3 And 1 4:16
Si Quieres Bailar 5:10
Soy El Rey 3:05


Tony Pabon Lider vocalista en inglés y trompeta
Alberto Gonzalez Lider vocalista en español
Richie Rodriguez Vocalista
Pete Rodriguez lider de la banda y piano
Angelo Rodriguez Trompeta
Benny Bonilla Timbales
Manny Rodriguez Conga
Gilberto Archeval "Tiny" Bajo
PETE RODRIGUEZ "El Rey del Boogaloo"

In the 1970s, a new generation of young Puerto Ricans born and raised in New York City began looking for a way to connect with their ancestral roots. The boogaloo was just the ticket: a fusion of Latin and soul beats, the genre had an enormous impact on the Latin youth of the time. Pete Rodríguez, a young man of Puerto Rican descent living in the Bronx, was considered the pioneer of this new cultural and musical movement that got dancers up on their feet. The road to being crowned "The King of Boogaloo" was a long one for Pete Rodríguez. When he returned from serving in the U.S. Marine Corps in 1964, he started "La Magnífica," his first band with whom he released the album "At Last!" The record made him wildly famous, and he began performing in popular night clubs around New York City. The following year, he recorded his second album: "The King of Boogaloo." This nickname would identify him for the rest of his brilliantly successful professional career, as part of the group Pete Rodríguez y su Conjunto. Rodríguez kept doing what he did best, recording the album "Latin Boogaloo" in 1966. Boogaloo fever hit an all-time high with the band's number "I Like it Like That," a classic of the Pete Rodríguez discography. The King of Boogaloo was on a roll, and went on to record "Oh, That's Nice!", "¡Ay, que bueno!", "Latin Soul Man," "Pete Rodríguez Now," and "De Panamí¡ a Nueva York," which marked Ruben Blades' debut as a vocalist and composer, having written all the songs on the album. In 1971, the boogaloo had started to fade, but Pete Rodríguez was still as popular as ever. The same year, he released the album "Right On!¡Ahí na ma'!" The production embraced the new prevailing genre, salsa, and received the unconditional support of his fans.
Yeah Baby
I like it like that
I like it like that
Yeah baby
I like it like that
I like it like that
I like it like that
Si aqui me quiero
I like it like that
Si aqui me quiero mi amour
I like it like that
Yeah baby
I like it like that
I like it like that
I like it like that
I got soul, I got soul
I like it like that
I got soul, I got soul
I like it like that
I like it like that
I like it like that
I like it like that


Chechnya 3

Ensemble Zhovxar
San Home Daymohk


01. Land fathers
02. Party
03. Cold spring
04. Black eyes
05. Tell me why
06. I called your
07. Same age
08. Flower zandaka
09. La Lure
10. I love, love
11. Ocean
12. Gaze home
13. Long time ago
14. Golden Ring
15. Girls and swans
16. I think a minute
17. I will not go for him Dearest Mother
18. Nazam
19. Better if I did not love
20. Stay Free

Women's folklore ensemble "Zhovhar" ("Pearl") was established in 1990 by well-known Chechen singer Ayman Aydamirova (who left the band in 1993). During the period of hostilities in Chechnya the group stopped performing and re-established in 2003 as part of the Republican Philharmonic.
Ayman Aydamirova appeared on stage in the mid 80-ies in the group n.a.Checheno-Ingushetia Sh Edisultanova. She sang a duet with her sister Malika. Subsequently, her group was created: "Zhovhar" ("Pearl"). The Ensemble played folk songs. Training and creative approach allowed Ayman Aydamirova a fresh look at the folklore, and to introduce a new paint that has earned her collective reputation and the love of the listeners. "Ensemble Zhovhar"repeatedly performed in Moscow, toured the regions of Russia and the CIS.


Chechnya 2

Umar Dimayev
CD 1
Chechen-Ingush Dance Music
01.Kavkazskaya People lezginka
02.Shamsuddin Dance
03.Tanets friends (music U. Dimaev)
04.Shutochnaya dance
05.Yusuf dance
06.Shepherds dance
07.Dakasheva dance
08.Gorskaya lezginka
09.Aval dance
10.Kolhoznaya lezginka
11.Utrennyaya dance
12.Ingushsky dance
13.Staroyurtovsky dance
14.Benoyurtovsky dance
15.elderly dance
16.Esambaev dance (music U. Dimaev)
17.Aruzha (music U. Dimaev)
18.U spring
19.Checheno-Ingush march (music U. Dimaev)
20.Ingushskaya dance song
CD 2
Chechen-Ingush melodies
1.Melodiya for hearing
2.Song of Mother
3.Devichya melody
4.Partizanskaya song
5.Goryachy greetings
7.Voshod sun
8.Dolgaya night
9.Ne want, do not come
10.Horoshaya love
11.Ingushskaya melody for hearing
12.Rodnaya mother
13.Krasivaya girl
14.Ne separated from loved ones
16.Kapitan Matash Mazaev
18.Grustnaya melody
19.Melodiya Hasey
20.My peers
21.Zondaksky flower
Umar Dimayev (Chechen: Умар Димаев) (October 1, 1908 - 1972) was a legendary Chechen accordionist and folk musician.
Meet Umar Dimayev, a virtuoso accordeon player
The highly talented musician and composer, a merited artist of the Chechen Republic Umar Dimayev has produced about thirty compositions for the accordeon and hundreds of arrangements of folk tunes.
Dimayev was born into a farmer's family, in 1908. His was a traditonally musical family. All his brothers and sisters played the accordeon and Dimayev felt grateful to his younger sister Aruzha who introduced him to the world of music and who supported him. His father took a critical view of his musical abilities  and even went so far as to hide his accordeon. He wanted his son to grow up a macho man and to do something more serious than play the accordeon. But Aruzha would give her own accordeon to her brother Umar and taught him to play this instrument. The highly talented Umar had barely turned 15 when neighbors started inviting him to play at family celebrations, including weddings, and at the bedside: they felt his music helped cure people.
A small radio station opened in Urus-Martan in 1924, and Dimayev started playing in local radio broadcasts. He was getting to be increasingly popular. Five years later, in 1929, he solo'ed with the orchestra of the National Theater. Work side by side with such a well-known composer and conductor as Alexander Ilyich Alexandrov, who led the theater orchestra, turned Dimayev's attention to composition. Some of his early creations are still played in Chechnya: "The Chechen Waltz" of the stage production "The Red Citadel," a song from "Bella" after Mikhail Lermontov and many others.
Umar Dimayev won nationwide renown. He was a soloist of the folk band of the Chechen-Ingush radio company. He won the second award of an All-Union competition of folk musicians (the first award went to Djambul Djabayev of Kazakhstan.) This is how Chechen poet Adiz Kusayev described his impressions of Dimayev's playing:
      When Umar played the accordeon,
The instrument looked like a spring rainbow...
The fingers that ran as rapidly as flame,
Touched the strings of people's souls, and not a keyboard!..
Umar was playing...He held his accordeon,
Trying to catch the sounds,
And, as a dear and trustworthy friend,
He penetrated the best-guarded nooks of people's hearts.
So he played...The sounds that floated sadly a moment ago
Next moment made people dance.
He played better than anyone,
Only he could play this way - Dimayev!
Dimayev played his best in the 50's. He composed "A Dance For Makhmoud Esambayev," "A Song of Chechen-Ukrainian Friendship," and a dancing tune called "Two Friends." He joined the efforts to form the "Veinakh" folk dance company, did what he could for the Chechen Philharmonic Society, played in TV and radio broadcasts and was engaged in a film about Mahmoud Esambayev.
Umar Dimayev's friends came from various parts of the Soviet Union. He kept in touch with composers Vano Muradeli, Isaac Dunayevsky, Andrei Eshpai and Andrei Petrov, many poets and performing singers. He was blessed with talented offspring who are carrying on his line in music. Three Dimayev boys have grown up to be professioal musicians: Said is a composer and art critic, Ali is a piano player, composer and singer, and Amarbek plays the piano and makes his own arrangements of musical compositions.


Sultan Magomedov - This & That


The mountains of my forefathers
Kazahash, Kirgizash
Kegirachu Nehan dezachu Dentz
Song of the Motherland
On mountain roads
The most beautiful words I tell you one
Malhan Nohchiycho (solar Chechnya)
Suna hianeraha
I miss the native mountains
I'm missing you
I'm living a dream about you
 Sultan Magomedov (Султан Магомедов) is known as the nightingale and a singer from Chechnya.

Ever since 1957, his very special, charming voice has pleased the ear and brought people joy. Anyone who has heard it cannot forget it. Magomedov’s renditions of “Away from my motherland”, “The beautiful morning of the Caucasus”, “Along the mountain roads”, “A Shepherd’s song” and other pieces still ring the bell but no one can sing them as passionately as Magomedov could.

Sultan Magomedov grew up in the deportation years. He made concrete in Kyrgyzstan when playwright Abdul-Khamid Khamidov took notice of his naturally rich, mellow voice and invited him to join a nascent folk song and dance company.

The committee for the reconstruction of the Chechen-Ingush Republic took into account both material and spiritual needs of the repatriates. It sifted their ranks for talents. Composer Khalebski found such highly gifted people as Shchita Edilsultanov, Zulai Sardalova, Umar Deniyev, Yaraghi Zubairayev, Alvi Deniyev and Tamara Aliyeva. But it was not until a short time later that Sultan Magomedov had met his dream of returning to Chechnya. He had no home in Chechnya and had, at first, to room with 17-year-old Muslim Magomayev on the stage of the Philharmonic Society of Grozny. Then, Azeri composer Gadzhiyev invited both youngsters to move to Baku where, he said, they would be allowed to join without entrance exams the State Conservatory of music. Muslim Magomayev left Chechnya for Azerbaijn but Sultan Magomedov prefered to solo with the Chechen-Ingush song and dance company. Sultan wanted to serve his people and spared no effort to meet his philharmonic, radio,  recording, touring and other job commitments.

The Chechen-Ingush government appreciated his creative potential and the effort he put into his work. Sultan Magomedov was made a Merited Artist of the Chechen-Ingush Autonomy. Life in general was returning to normal, changes for the better were evident in his own life, too. He had a home, a wife and a son. He was doing well and it seemed he would be able to do much yet in the many years to come. But his health condition, as it turned out, left much to be desired. He passed away at the age of 35.


Pero con Coco!


Pochi Y Su Cocoband 
Los Cocotuces
Pero con Coco!


1. Bala Bala
2. Ana Victoria
3. La Seca
4. Detente
5. La Negra Pola
6. El Cacu
7. Vete Vete
8. La Sopa
9. A ti Mujer
10. Los Palmaritos
11. Dos Personas
12. El Bombillo


These guys ride the joyousness of few horn-band popular musics left to us, and whenever the bounce starts to fall they freshen it with a touch of bachata guitar, a trombone solo, whatever. ~ Carl Hoyt and John Storm Roberts, Original Music, All Music Guide

...the year that this album came out (time frame) was around the time that the cocoband were blueprinted as one of the best merengue bands around (those days) man, sometimes i do wonder about whatever happened to those good old days with the cocoband...

...Pochy (Alfonso Vásquez) is a very talented artist who not only stands out for his merengue but has incredible salsa and cha cha talent.

I was introduced to the music of Cocoband in the early 1990's and I was immediately hooked. The rhythms are infectious and the horns lift your spirit and the enthusiasm with which the lyrics are delivered make you feel like you know what they are saying, even if you don't. I have a collection of several genres of music, but it is the latin music styles that I never tire of. Maybe it is partly because I long to understand the words, but it is also because of it's unique feel. It has no equivalent in other genres. I dare you to try and sit still while listening. Even the slower rhythms make you tap your feet.
I can think of no better reason to recommend Pochi & His Cocoband than it is just musical heaven!
~ Todd A. Johnson
One of the premier merengue acts of the early to mid-'90s, Pochy y Su Cocoband were a group from the Dominican Republic led by Alfonso "Pochi" Vásquez. The group recorded roughly a dozen albums over a ten-year period for the renowned Kubaney label and billed themselves under a variety of names -- originally just Cocoband, then Pochi y Su Cocoband or Pochy y Su Cocoband, also Los Cocotuces. Founded in 1988 by Vásquez, the original Cocoband  were notably also comprised of Kinito Méndez and Bobby Rafael. Along with Vásquez, Méndez -- who would split from the Cocoband during the early '90s and find success elsewhere with Rikarena  and Rokabanda, plus as a solo artist -- wrote many of the group's songs. The Cocoband made their full-length album debut on Kubaney  with Cocoband  (1989), followed by numerous other albums including La Faldita (1990), Llegaron los Cocotuces (1991), Pero con Coco! (1991), El Arrollador (1992), Canciones Cocomanticas (1993), La Coco Es la Coco (1994), El Hombre Llegó Parao (1995), Temible  (1995), and El Ombliguito (1996). In addition, Kubaney compiled a few greatest-hits collections: Grandes Exitos de la Cocoband, Vol. 1 (1994), Grandes Exitos de la Cocoband, Vol. 2 (1994), and the double-disc Coco Mixes (1998).
By the time of the latter collection -- a compilation of extended merenhouse remixes reflecting the changing times -- Vásquez had left Kubaney and associated himself with a new label, Fonovisa Records. Changing his billing from Pochy y Su Cocoband to Pochy Familia y Su Cocoband, he released a few albums that found him moving away from purely merengue and adopting other tropical styles such as salsa and bachata: Ponle Sazon (1998), Tu Sabes...No Te Hagas (1999), and Con Más Sabor a Coco (2001). This trio of Fonovisa releases marked a downturn in popularity for Vásquez, and after a one-off independent release, Pochy Familia y Su Cocoband (2004), he essentially entered a state of retirement. A few years later, the label Emusica purchased the Kubaney back catalog and reissued some of the best Pochy y Su Cocoband recordings of the early '90s: there were two compilations in 2007 -- the single-disc Coco de Oro and the double-disc A Man and His Music...¡Pero con Coco! -- plus a few select albums. Then in 2008 Vásquez reunited with original Cocoband members Kinito Méndez and Bobby Rafael for a 20th anniversary celebration performance at the United Palace in New York City. ~ Jason Birchmeier, All Music Guide



Piano 6

triosence - when you come home
01. When You Come Home (4:43)
02. Three Fo(u)r Fun (5:38)
03. Heart In The Head (4:40)
04. Distance Means Nothing (4:50)
05. A Far-Off Place (5:49)
06. Little Romance (5:35)
07. Something New (3:54)
08. Long Fall - Part I (2:40)
09. Long Fall - Part II (Strength From Sadness) (1:06)
10. Once I Knew (5:35)
11. What Really Matters (4:12)
12. You Alone (2:36)
13. Sad Truth (5:04)
14. That's How It Is (6:08)
15. Sometime Ago (4:20)
16. Lost Or Found (4:08) (Japan)
Stephan Emig: Drums
Mathias Nowak: Bass
Bernhard Schüler: Piano
Their first CD, “First Enchantment” received fabulous critics in Germany as well as abroad and was nominated for the "Preis der Deutschen Schallplattenkritik". The second CD "Away For A While" stayed in the German International Jazz Charts for over 6 Month. Triosence now got featured in the biggest German Magazines like Stern, FAZ, JazzThing, Jazz Podium, Piano News, a.o.
Triosence is not only the name but also describes the concept of the band. The “trio-essence” lies within the emancipation of piano, bass and drums. It’s achieved by Bernhard Schüler’s original compositions and by the strong individuality of the three musicians. Each instrument can take the lead.Thus, they have a much wider spectrum of sound than traditional trios normally have.
What characterizes the music of Triosence the most is its emphasis on the melodies and their clarity. They are very lyrical and that creates the core of almost all the original compositions. Stylistically the music of Triosence has no limits. There are influences of Jazz, Fusion, Folk and World. This convinces not only connoisseurs of jazz music, but also people having little relation to jazz.
The music is a mix between Jazz, Folk, World and Fusion. The instruments of the members are equals which permits a large spectrum of compositions. The whole music is made by themselves and is influenced by Bill Evans Trio, Keith Jarrett, Hubert Nuss, John Taylor, Ahmad Jamahl, Peter Erskine, Jack DeJohnette and Zakir Hussain. Many critics describes the music as lyrical, poetic and dreamy.
 "The piano trio that made our impression of the "stiff German jazz" change... " 
(Swing Journal, Japan)


Abkhazia 3

Ethnographic male chorus Abkhazia
Этнографический мужской хор "Абхазия"


01. Song to the  God (Traditional words and music.  Soloist: V. Chakmach-ipa)
02. Keraz (Traditional words and music. Soloists: V. Sanaya, L. Gumba)
03. Village song (Traditional music, arrangement by  V. Tsargush. Soloist: A. Avidzba)
04. I  love you (Lyrics and music by R. Gumba. Soloist: A. Hagba)
05. Song about Mancha Pshkiach-ipa (Traditional words and music, arrangement by V. Tsargush. Soloists: V. Kokoskeria, N. Ebzhnou,V. Chakmach-ipa.  Vl. Tsargush)
06. Uarada (Lyrics by G. Chachba , music by S. Chkotua. Soloist and  performer  on the apkhyartsa - S. Chkotua)
07. Kudry = Kodor (Lyrics by A. Kutsnia , music by N. Butba. Soloist: V. Kokoskeria)
08. Song about  Abataa Beslan (Traditional words and music, arrangement by V. Tsargush. Soloist: V. Chakmach-ipa)
09. The blue-eyed girl (Lyrics by T. Chania , music by K. Chengelia. Soloist: A. Hagba)
10. Poor old man (Traditional words and music, arrangement by V. Tsargush. Soloist: N. Tania)
11. The orphan’s song (Traditional words and music. Soloist: A. Avidzba)
12. Azar (Traditional words and music. Soloists: V. Kokoskeria, V. Chakmach-ipa)
13. Dziuoua (Traditional words and music, arrangement by  A. Chichba. Soloists:  A. Hagba, R. Gumba)
14. Song about Ayba (Traditional music, arrangement by S. Chkotua. Soloist and performer on the apkhyartsa - S. Chkotua)
15. Without you (Lyrics by T. Chania , music by K. Chengelia. Soloist: A.  Hagba)
16. Beloved girl (Traditional words and music, arrangement by V. Tsargush.  Soloist: V. Dzhugelia)
17. Song  for escorting the bride (Traditional words and music. Soloist: V. Kokoskeria)
18. Wedding song (Traditional music. Soloists: A. Hagba, S. Chkotua)
19. Song of Azhveipshqan (Traditional words and music. Soloist: D. Tsargush)
20. Hunting song (Traditional words and music. Soloists: A. Hagba, A. Bebia. V. Chakmach-ipa)
21. Song of the cliff (Traditional music, arrangement by V. Tsargush. Soloist:  V. Chakmach-ipa)
22. Rafida (Traditional words and music, arrangement by V. Tsargush. Soloists:  N, Ebzhnou, G. Gunba, I. Tsargush, A. Bebia, R. Gumba, D.  Kutsnia, I. Akhba, A. Hagba, A. Avidzba)
23. Song of grief (Words by S. Kutsnia, music by N. Butby. Soloists: D. Kutsnia, A. Hagba, V. Kokoskeria)
24. Song  of the men (Traditional music, arrangement by S. Chkotua. Soloist: S.  Chkotua)
25. Song of injury (Traditional music. Soloist: A. Hagba)
26.  Hail to the homestead - vocal and dance suite. (Words and music by  Igor Kortua, S. Chinchia , 0. Sakania, V. Tsargush. Soloists: V. Chakmach-ipa, N. Ebzhnou, A. Hagba, G. Gunba, G. Ebzhnou)
27. Many  a summer (Traditional words and music, arrangement by V. Tsargush. Soloists:  V. Chakmach-ipa, A. Avidzba, G. Gunba, N. Ebzhnou, R. Dzhenia)

Abkhazia 2

Abkhazian State Folk Song and Dance Ensemble
Государственный заслуженный ансамбль народной песни и танца республики Абхазия


   1. Cantata "On Three Heroes" (Lyrics by R. Smyr, Music by V. Tsargush.  Choir ensemble and capella of V. Sudzkov. Soloist: Chakmach-Ipa)
   2. Memorial  to the Fallen (Music by V. Tsargush. Choir ensemble and capella  of V. Sudakov. Soloist - G Kosinov)
   3. For you (Lyrics by J. Akhuba, music by V. Tsargush. Choir ensemble and  capella of V. Sudakov. Soloist: N. Dzhindzholia)
   4. Mother Abkhazia (Words and music by V. Tsargush. Choir ensemble  and capella of V. Sudakov. Soloist – M. Shamba)
   5. T’isi" (Words by G. Gublia, music by V. Tsargush. Choir  ensemble and capella of V. Sudakov. Soloist – V. Chakmach-Ipa)
   6. Poem to You, Abkhazia (Words and music by T. Adzhapua. Choir ensemble  and capella of V. Sudakov. Soloists – V . Kokoskeria, V. Chakmach-Ipa)
   7. Mancha. Song of a national hero. (Traditional  words and music, arrangement by V. Tsargush. Choir ensemble. Soloists  – T. Kokoskeria, E. Naiba, V. Tsargush, V. Chakmach-Ipa)
   8. Afyrtyn ("Storm") (Traditional music, arrangement  by V. Tsargush. Choir ensemble, soloist – V. Chakmach-Ipa)
   9. Atlarchopa (untranslateable). (Traditional music,  arrangement by A. Chichba. Choir Ensemble)
  10. Atahmada Kabada" (Poor old man). (Traditional music, arrangement by V. Tsargush. Choir ensemble, soloist – L. Kishba)
  11. Azar (untranslateable). (Traditional music. Choir  ensemble soloist – V. Tsargush)
  12. Schardaaamta ('Many a Summer’). (Traditional music.  Choir ensemble. Soloist - T. Kokoskeria)
  13. Radeda (performed during the escorting of the bride to the home of the groom). (Traditional words and music. Choir ensemble soloist – V. Chakmach-Ipa)
  14. Aybarkyra (In linked procession). (Traditional music, arrangement by V. Tsargush. Choir ensemble)
  15. Wedding dance. (Traditional music. Choir ensemble.  Soloists – N. Naydenov, V. Chakmach-Ipa)
  16. To the rock. (Traditional music. Choir ensemble, soloist – V. Chakmach-Ipa)
  17. Kyakhba Hadzharat (Folk song about a hero). Traditional words and music. Choir ensemble. Soloists – V. Kokoskeria, N. Ebzhnou, N. Dzhindzholia, V. Chakmach-Ipa)
  18. Wari-Dada (humorous song). (Traditional words and  music. Choir ensemble, soloist – V. Chakmach-Ipa)
  19. I’m Looking For You (Lyrics by R. Dzhopua, music by V. Tsargush.  Choir ensemble, soloist – V. Chakmach-Ipa)
  20. Ozbak (Folk song about a hero). Traditional words  and music. Choir ensemble. Soloists  – E. Nanba, T. Kokoskeria, I. Tsatsua)
  21. Cavalry  folk-song."  (Words by R. Dzhopua, musical arrangement by  V. Tsargush. Choir Ensemble)
  22. Nanykyara (untranslateable).  (Traditional words and music, arrangement by  V. Tsargush. Choir ensemble. Soloists  – V. Chakmach-Ipa, L. Khvichiya. L.Khishba, E. Nanba, V. Kiut, V. Tsargush)
  23. Abkhazian Dance-Melodies and Rhythms
  24. Abkhazian Dance-Melodies and Rhythms
  25. Abkhazian Dance-Melodies and Rhythms
  26. Abkhazian Dance-Melodies and Rhythms
  27. Abkhazian Dance-Melodies and Rhythms
  28. Abkhazian Dance-Melodies and Rhythms
  29. Abkhazian Dance-Melodies and Rhythms

Reflecting the family structure of the traditional society and the great significance of the collective-tribal beginning, the Abkhazian songs are manly in many voices, at that in the thick choral vertical chords several strata of sound could be discerned. These could include the freely out-pouring solo voice, adding itself to astringent chords, or an ostinato bourdon-type voice, or a “dialogue” of the female and male voices. However, there is a predomination of male polyphony. The earliest genres of female singing were considered to be lullabies and funereal songs, although lately there are more frequent appearances of female groups, such as the female ensemble “Gunda,” which perform mostly dance and humorous melodies. Abkhazia’s fame for the longevity of its inhabitants, as well as its tradition of venerating elders, preserved throughout the centuries, is personified by the famous ethnographic chorus “Nartaa” (established in 1948). Among its members there is a notable absence of participants younger than 70 years old; however, the ensemble with its extensive program of ritual, heroic, humorous and drinking songs has toured in numerous countries of the world, having won a whole lot of authoritative vocal tournaments.
No less well-known is the Abkhazian State Folk Song Ensemble. Established in 1931 as the main ethnographic chorus in Abkhazia, the ensemble was subsequently enhanced by a wonderful dance group and obtained the status of the Abkhazian State Honorary Ensemble of Folk Song and Dance.


Abkhazian dance tunes and melodies
Абхазские танцевальные мелодии и наигрыши
1. Wedding song with dance. (Traditional music)
2. Sharatyn (Traditional music, arrangement by O. Khuntsaria)
3. Shepherds dance tunes (Traditional music, arrangement by O. Khuntsaria)
4. Achandara  Dance (Traditional music, arrangement by V. Tsargush)
5. Dance  tunes on Amyrzaqan (Traditional music, arrangement by O. Khuntsaria)
6. Dance  of the Bebia family (Music by M. Bebia and Shch. Bebia, arrangement  by O. Khuntsaria)
7. Youth  Dance (Traditional music, arrangement by O. Sakania)
8. Khuap-village  Dance (Traditional music, arrangement by V. Tsargush)
9. Dance-tunes  on the ‘achamgur’ = folk-instrument (Traditional music, arrangement  by O. Khuntsaria)
10. Dance  tunes of the Abkhazian diaspora in Turkey (Traditional music, arrangement  by O. Khuntsaria)
11. Dance-melodies  -- B. Bagatelia (Music by B. Bagatelia, arrangement by O. Khuntsaria)
12. For dancing (Music by V. Tsargush)
13. Abzhuy  Dance-melody (Traditional music, arrangement by O. Khuntsaria)
14. Dance  melodies -- Ak.  Malia (Music by Ak. Malia, arrangement by O. Khuntsaria)
15. For  dancing (Traditional music, arrangement by O. Khuntsaria)
16. Hunting  dance (Traditional music, arrangement by O. Khuntsaria)
17. Working  dance (Traditional music, arrangement by O. Khuntsaria)
18. Abazinian dance-tunes (Traditional music, arrangement by O. Sakania,  O. Khuntsaria)
19. Wedding  dance-tunes (Traditional music, arrangement by O. Sakania, O. Khuntsaria)

Abkhaz culture is rich in history and tradition, and most residents live in rural areas, often on large, self-sustaining family farms. Equestrian activities are important to the culture of Abkhazia. Riding is a popular activity, and horses often play a central role in festivals. Song, music, poetry and dance are also important to Abkhazian culture. Abkhazia has a rich collection of songs that are performed at weddings and other celebrations, such as holidays or big family gatherings. Abkhazia places great value on high and popular culture, boasting a number of drama and dance companies, art museums, music conservatories, and theatres for the performing arts.


Piano 5

Saman Ehteshami & Babak Shahraki
Baghe Royaha - Garden Dreams


1.  Pish Daramad Shooshtari
2. Chahar Mezrab Shooshtari
3. Avaz-e Segah
4. Chahar Mezrab Segah
5. Par Basteh
6. Dar Mian-e Golha
7. Bagh-e Royaha
8. Zendegi
 Saman Ehteshami: Piano
Siamak Banai: Tonbak
Babak Shahraki: Violin (8)
Name:    Saman Ehteshami
Farsi Name:    سامان احتشامی
Tags:    Classic, Instrumentalists
Birth Date:    April 21, 1978     (‏ یکم اردیبهشت 1357‎)
Birth Place:    Tehran, Iran
Website:    http://www.saman-ehteshami.com/
Profession:    Classical Musician
سامان احتشامی با بهره گیری از محضر استادانی چون زنده یاد جواد معروفی، محمد سریر، اسماعیل امین موید با ساز پیانو وارد دنیای موسیقی شد. در سال 1368 موفق به دریافت دیپلم افتخار از جشنواره موسیقی کانون پرورش فکری کودکان و نوجوانان شد. طی سالهای 1370 الی 1374 برنده لوح زرین و لوح تقدیر جشنواره موسیقی فجر شد و مقام اول را در پیانو کلاسیک و ایرانی کسب کرد. در سال 1382 برگزیده جشنواره موسیقی فجر شد.
وی از دانشگاه هنر و معماری فارغ التحصیل شد و آموزشگاه موسیقی احتشامی را تاسیس نمود و هم اینک در این مرکز به تدریس شاگردان مشغول می باشد. در سال 1385 موسسه فرهنگی هنری آوای باغ مهر را به جهت انتشار آثار موسیقی تاسیس نمود.


Piano 4

Feyzi Aslangil (1910  -  1965)
Piyano ile Saz Eserleri ve Taksimler
Turkish Music on the Piano
Cd - Casette, 78 RPM


1. Suzidil Peşrev - Tanburi Ali Efendi (4:57)
2. Ara Taksimi Ve Suzidil Saz Semaisi -  Fahri Kopuz (9:05)
3. Kürdilihicazkar Peşrev - Kemençeci Vasil (4:12)
4. Mahur Saz Semaisi - Kemençeci Nikolai (4:58)
5. Sultaniyegah Saz Semaisi - Kanuni Hacı Arif Bey (4:47)
6. Şedaraban Saz Semaisi - Tanburi Cemil Bey (6:07)
7. Ferahfeza Peşrev - Muallim İsmail Hakkı Bey (5:06)
8. Ferahfeza Saz Semaisi - Tanburi Cemil Bey (10:00)
9. Nihavend Peşrev - Kanuni Ahmed Bey (6:27)
10. Nihavend Saz Semaisi - Gavsi Baykara (4:44)
11. Ara Taksimi (4:52)
12. Nikriz Sirto - Refik Fersan (3:24)
13. Çargah Sirto - Anonim (3:10)

Piano: Feyzi Aslangil
Feyzi Aslangil  -  Biography

The Turkish pianist Feyzi Aslangil was born in 1910 in Istanbul and died in the same city in 1965. He dropped out education when he was a student at Saint Benoit, a French high school in Istanbul. He started to learn music by taking private piano lessons in western classical music. Taking great interest in traditional Turkish music, he subsequently diverted to Turkish music. Aslangil improved his musical knowledge by taking extra lessons from Setrak Efendi, an Armenian music teacher who had been giving piano and violin lessons. A few years later he joined the Darüttalim - i Musiki Heyeti and played the piano for three years in the concerts of this prestigious music society, which was conducted by the well - known composer and ud player Fahri Kopuz, who in the 1930s gathered together almost all the distinguished musicians of Turkey. Despite persistent objections from his family. Aslangil decided to become a professional musician and appeared at the Balkan Gazinosu, a night club in Istanbul. He played for the fasıl ensembles conducted by hafız Ahmet and Hafız Burhan and in 1933 he began to accompany the legendary singer Münir Nurettin Selçuk. As a professional musician Feyzi Aslangil played the piano for fasil ensembles at night clubs throughout his life. As a soloist he also played for Radio Istanbul. His radio concerts greatly contributed to his fame and made him a renowned musician throughout Turkey.

It is a known fact it is impossible to obtain all the notes and pitches of Turkish scale which contains microtonal intervals. Nevertheless, in the twentieth century various Turkish musicians tried hard to overcome this overwhelming inconvenience and play it in concerts. In traditional Turkish music Feyzi Aslangil is the best - known pianist. The present disc/cassette brings together some of his radio recordings of the 1950s and early 1960s.

Bülent Aksoy



Los Caminos De La Vida


Title: Los Caminos De La Vida
Artist: Diablitos De Colombia 
los caminos de la vida
no son como yo pensaba
como los imaginaba
no son como yo creia
los caminos de la vida
son muy dificil de andarlos
dificil de caminarlos
yo no encuentro la salida
yo pensaba que la vida era distinta
cuando estaba pequeñito yo creia
que las cosas eran facil como ayer
que mi viejecita abuela se esmeraba
por darme todo lo que necesitaba
y hoy me doy cuenta que tanto asi no es
por que mi viejita ya esta cansada
de trabajar pa mi hermano y pa mi
y ahora con gusto me toca ayudarla
y por mi vieja luchare hasta el fin
por ella luchare hasta que me muera
y por ella no me quiero morir
tampoco que se me muera mi vieja
pero que va si el destino es asi
los caminos de la vida
no son como yo pensaba
como los imaginaba
no son como yo creia
los caminos de la vida
son muy dificil de andarlos
dificil de caminarlos
yo no encuentro la salida
tu no sabes que la vida
de repente ha de acabarse
y uno espera que sea tarde
que llegue la despedida
un amigo me decia
recompensare a mis viejos
por la crianza que me dieron
y no le alcanzo la vida
por eso te pido a ti
mi dios del cielo
para que me envies al camino correcto
para mi viejita linda compensar
para que olvides el mal de sufrimientos
y que de ella se aparte todo el tormento
que para criarnos tuvo que pasar
viejita linda tienes que entenderme
no te preocupes todo va a cambiar
yo sufro mucho madrecita al verte
necesitada y no te puedo dar
a veces lloro al sentirme impotente
son tantas cosas que te quiero dar
y voy a luchar incansablemente
por que tu no mereces sufrir mas
los caminos de la vida
no son como yo pensaba
como los imaginaba
no son como yo creia
los caminos de la vida
son muy dificil de andarlos
dificil de caminarlos
yo no encuentro la salida

Piano 3

just as a piano is a piano
a santur is a santur
listen :)

Mortezā Mahjoubi
Sonence Of Blue Tiles

CD 1
1. Avaz-e Abu'ata
2. Avaz-e Abu'ata
3. Avaz-e Abu'ata
4. Avaz-e Abu'ata
5. Avaz-e Abu'ata
6. Avaz-e Abu'ata
7. Avaz-e Bayt-e Esfahan
8. Avaz-e Bayt-e Esfahan
9. Avaz-e Bayt-e Esfahan
10. Avaz-e Bayt-e Esfahan
11. Dastgah-e Segah
12. Dastgah-e Segah
13. Dastgah-e Segah
14. Dastgah-e Segah
15. Dastgah-e Segah
16. Dastgah-e Segah
17. Dastgah-e Segah
18. Dastgah-e Segah
19. Avaz-e Bayt-e Tork
20. Avaz-e Bayt-e Tork
CD 2
01. Dastgah-e Segah
02. Dastgah-e Segah
03. Dastgah-e Segah
04. Dastgah-e Segah
05. Avaz-e Bayat-e Tork
06. Avaz-e Bayat-e Tork
07. Avaz-e Bayat-e Tork
08. Avaz-e Bayat-e Tork
09. Avaz-e Bayat-e Tork
10. Avaz-e Bayat-e Tork
11. Avaz-e Bayat-e Tork
12. Avaz-e Abu'ata
13. Avaz-e Abu'ata
14. Avaz-e Abu'ata
15. Avaz-e Abu'ata
16. Avaz-e Abu'ata
17. Avaz-e Abu'ata
18. Avaz-e Abu'ata
19. Avaz-e Abu'ata
20. Avaz-e Abu'ata
21. Avaz-e Afshari
22. Avaz-e Afshari
23. Avaz-e Afshari
24. Avaz-e Afshari
25. Avaz-e Afshari
26. Avaz-e Afshari
27. Avaz-e Afshari
Mortezā Mahjoubi: Piano
Amir Naser Eftetah: Tonbak (CD I 1 -10) (CD II 1-4)
Morteza Mahjoubi was born in 1900 in Tehran. His father, Abbas Ali Mahjoubi, played the ney. The family owned one of the few pianos in the city, and his mother, Fakhressadat, could play a little. He started his music studies with Hossein Hang Afarin; later, Mahmoud Mofakham accepted him as his student.
Morteza was only ten years old when he accompanied Aref Qazvini, the renowned singer and poet, in a concert. He developed a unique technique of playing the Persian classical music on the piano, which remained true to the ornamental and monophonic nature of the music. He devised a special tuning system for the piano which enabled him to play in all the different modes and dastgahs. He was, indeed, one of the jewels of  Persian classical music. His playing charmed and mesmerized his listeners. He is known to be the only pianist who was able to play the piano as though it was created for Persian music.
Mahjoubi was present at the performances of Radio Iran from the very beginning. He was a prolific composer whose beautiful works have been performed by the Golha Orchastra, sung by the best singers of the time, and remembered by many with great fondness. Karevan, Nava-ye Ney, and Che Shabha are some of Mahjoubi’s best creations.
Morteza Mahjoubi died in 1965 in Tehran.
Amir Naser Eftetah was born in Tehran and his teachers were Hussein Tehrani and Houshang Mehrvarzan. He went to the radio in 1334 (1955) and cooperated with the Golha group. His students were Bahman Rajabi, Abtin Jalali, and Morteza Ayan.



Louis Armstrong, Louie Prima
Jump, Jive an' Wail
Baby, baby it looks like it's gonna hail
Baby, baby it looks like it's gonna hail
You better come inside
Let me teach you how to jive an' wail
You gotta jump, jive, and then you wail
You gotta jump, jive, and then you wail
You gotta jump, jive, and then you wail
You gotta jump, jive, and then you wail
You gotta jump, jive, and then you wail away!
Papa's in the icebox lookin' for a can of ale
Papa's in the icebox lookin' for a can of ale
Mama's in the backyard
Learning how to jive an' wail
You gotta jump, jive, and then you wail
You gotta jump, jive, and then you wail
You gotta jump, jive, and then you wail
You gotta jump, jive, and then you wail
You gotta jump, jive, and then you wail away!

A woman is a woman and a man ain't nothin' but a male
A woman is a woman and a man ain't nothin' but a male
One good thing about him
He knows how to jive an' wail
Jack and Jill went up the hill to get a pail
Jack and Jill went up the hill to get a pail
Jill stayed up,
She wants to learn how to jive an' wail
You gotta jump, jive, and then you wail
You gotta jump, jive, and then you wail
You gotta jump, jive, and then you wail
You gotta jump, jive, and then you wail
You gotta jump, jive, and then you wail away!



Joe Arroyo
Somos Seres
1. Somos Seres
2. Suave Brita
3. Todo De TI
4. Centurion De La Noche
5. Pa'l Bailodor
6. Simula Tibula
7. La Cocha
8. La Aldea Del Cocoreque
Joe Arroyo (full name Alvaro José Arroyo Gonzalez), son of Guillermo Arroyo and Angela González, was born on 1st November 1955 in Cartagena, a city of about 1 million inhabitants on the northern Colombian coast. Arroyo grew up in a poor family with no less than 39 siblings and half-siblings. Cartagena has a long history of being one of the most important ports when the spaniards conquered this part of South America in the 1600 century and is known for it´s beautiful arquitecture and scenic landscape right on the caribean coastline. Joe grew up here surrounded by all the latin and colombian music styles such as cumbia, son, tambores etc which all were to become part of his own musical repetoir later on. But also listening and getting inspired by salsa stars from outside of Colombia and artist from the New York salsa scene, artists like Richie Ray and Celia Cruz who both were some of his greatest idols.
The reputation always has it his own musical career started at the age of eight when he started singing in local strip clubs in Cartagena. But he was also part in for example the choir in the cathedral of Cartagena at the age of 12. And a local piano teacher and leader of a group who played at a hotel called "El hotel Americano" regonized his talent and beautiful, unic voice and singing style and brought him in to play with them and he ended up singing with the group for four years.
Until he in 1971 he was picked up as a singer for a group which later was to become the most famous salsa group of Colombia - "Fruko y sus tesos", lead by salsa-magician Julio Ernesto Estrada Rincon(nicknamed Fruko) and thus also became part of the most famous record company in Colombia, Discos Fuentes, which later also were to release a vast number of his solo records. 
  Biography    by Craig Harris
A diverse sampling of Caribbean music styles, including salsa, compas, merengue, reggae and soca, is fused into the dance-inspiring sounds of Colombia-born vocalist Joe Arroyo (born: Alvaro Jose Arroyo Gonzalez). A former member of leading salsa band, Fruko y sus Tesos, Arroyo has continued to blend musical influences with his own group, La Verdad (The Truth), since 1981.
Arroyo began his musical career at the young age of eight when he sang in a strip joint in his hometown of Cartagena. His first break came after he signed with record label, Discos Fuentes, in 1971, and was overheard by bass player, singer, composer and producer Ernesto Estrada, better known as Frugo, who recruited him for his band. Arroyo continued to work with Frugo for the next decade. Although he nearly died from a drug overdose in the early '80s, Arroyo recovered and began to attract attention with his own group, La Verdad.
"La Salsa Colombiana, la mejor!"

Três a Zero

Grupo Vou Vivendo
Brasil Revive o Chorinho
01. FEITIÇO (Jacob Pick Bittencourt ´Jacób do Bandolim´)
02. ESPERANDO A FEIJOADA (Heraldo do Monte)
03. MEU BEM (Bernardo Cascarelli Jr. ´Xixa´)
04. BEBÊ (Hermeto Pascoal)
05. APANHEI-TE CAVAQUINHO (Ernesto Nazareth/Ubaldo Mangione)
06. ZÉ! TRAZ O PÃOZINHO (Julio de Mesquita)
07. MEU CARO AMIGO (Chico de Holanda/Francis Hime)
08. ACERTA O PASSO (Pixinguinha/Benedito Lacerda)
09. TICO TICO NO FUBÁ (Zequinha de Abreu/José Gomes de Abreu)
10. JOÃO E MARIA (Chico Buarque de Holanda/Sivuca)
11. LUA DE MEL (Bernardo Cascarelli Jr. ´Xixa´/Julio Nagib João)
13. O BOM FILHO A CASA TORNA (Bonfiglio de Oliveira)
14. ATRAENTE (Altamiro Aquino Carrilho)
15. MEU DOCE CHORINHO (Antônio Porto Filho ´Portinho´)
16. BRASILLIANCE (Laurindo de Almeida)
17. LAMENTOS (Pixinguinha/Vinícius de Moraes)
18. JOAQUIM VIROU PADRE (Pixinguinha)
(Pixinguinha/Benedito Lacerda)
Vale a pena conferir este primeiro volume de Brasil Revive o Chorinho, uma coletânea fantástica com o melhor do grupo Vou Vivendo. Ao todo, são 18 faixas, incluindo "André de Sapato Novo", "Chorinho Na Praia" e "Pedacinhos do Céu", alguns dos destaques. Um álbum excepcional que não pode ficar fora de sua coleção!
Choro (Portuguese pronunciation: [ˈʃoɾu], "cry" or "lament"), traditionally called chorinho ("little cry" or "little lament"), is a Brazilian popular music instrumental style. Its origins are in 19th century Rio de Janeiro. In spite of the name, the style often has a fast and happy rhythm, characterized by virtuosity and improvisation. Choro is considered the first urban popular music typical of Brazil.
Choro instruments
Originally choro was played by a trio of flute, guitar and cavaquinho (a small chordophone with four strings). Other instruments commonly played in choro are the mandolin, clarinet, saxophone, trumpet and trombone. These melody instruments are backed by a rhythm section composed of guitar, 7-string guitar (playing bass lines) and light percussion, such as a pandeiro. The cavaquinho appears sometimes as a melody instrument, other times as part of the rhythm.
Compositional structure
Structurally, a choro composition usually has three parts, played in a rondo form: AABBACCA, with each section typically in a different key. There are a variety of choros in both major and minor keys.
In the 19th century, choro resulted from the style of playing European musical genres (polka, schottische, valsa, mazurka) by carioca musicians, who was already strongly influenced by African rhythms, principally the lundu and the batuque. Originally the term "Choro" referred to these ensembles (e.g. in the 1870’s flutist Joaquim Antônio da Silva Callado formed an ensemble called "Choro Carioca"), and later the term referred to the music style of these ensembles. The accompanying music of the Maxixe (dance) (also called "tango brasileiro") was played by these choro ensembles.
Just like ragtime in the United States, choro springs up as a result of influences of musical styles and rhythms coming from Europe and Africa.
Much of the mainstream success of this style of music came from the early days of radio, when bands performed live on the air. By the 1960s it had evolved into urban samba. However, in the late 1970s there was a successful effort to revitalize the genre, through TV-sponsored nation-wide festivals in 1977 and 1978, which attracted a new, younger generation of musicians. Thanks in great part to these efforts, choro music remains strong in Brazil. More recently, choro has attracted the attention of musicians in the United States, such as Mike Marshall and Maurita Murphy Mead, who have brought this kind of music to a new audience. (Gabriele Mirabassi in Italie) Most Brazilian classical composers recognize the sophistication of choro and its major importance in Brazilian instrumental music. Radamés Gnattali said it was the most sophisticated instrumental popular music in the world. Heitor Villa-Lobos defined choro as the true incarnation of Brazilian soul. Notably, both composers had some of their music inspired by choro, bringing it to the classical tradition.
According to Aquiles Rique Reis (a Brazilian singer):
"Choro is classical music played with bare feet and callus on the hands."


Kazakhstan 9

Daulet Myktybayev & Zhappas Kalambayev
Asyl Mura - 2005
Daulet Myktybayev
1. Ykylas “Korkyt”
2. Ykylas “Airaukty Naschi Kyi”
3. Ykylas “Shynyrau”
4. Sarbiyev “Sary Arka” (Golden Steppe)
5. Ykylas “Еrden”
6. Ykylas “Zhalgyz Ayak”
7. Ykylas “Zholaushynyn Konyr Kyi”
8. Ykylas “Zholaushynyn Konyr Kyi”
9. Ykylas “Kazan”
10. Ykylas “Kertolgau”
11. Ykylas “Kambar Batyr”
12. Folk kyi “Akku” (White Swan)
Zhappas Kalambayev
13. Korkyt “Konyr”
14. Ykylas “Munlyk-Zarlyk”
15. Ykylas “Khanshaim”
16. Folk song “Kanattaldy”
17. Folk song “Shynar-ai”
18. Folk song “Gaini”
19. Okili Ybrai “Gakku”
20. Аbai “Kozimnin Karasy”
21. Sadyk Karimbayev “Koktem” (Spring)
22. Folk song “Karatorgai” (Sparrow)
23. Zhayau Musa “Kokarshyn” (Dove)
24. Folk song “Saulemai” 2nd version
25. Тattimbet “Sylkyldak”
26. Folk kyi “Kaskyr” (Wolf)
27. Ykylas “Zhez Kiik”
Zhappas Kalambayev and Daulet Myktybayev
The origin of kobyz is connected with the name of the legendary Коrkyt – the first musician and patron of shamans. Legend has it that when Korkyt was 20 years old, he saw a dream in which some people said to him that he will live only 40 years. So, Korkyt decided to seek immortality. He saddled his camel Zhelmaya up and went on a journey. Wherever Korkyt went, he met the people in white attires digging a grave for him. Then Korkyt returned to the “center of land” – the Syr-Dariya river. Here, he sacrificed his camel and made an instrument in which the skin of Zhelmaya served as the upper deck. Then he laid a carpet on the surface of water and, sitting on it, played a “song of life” on kobyz. As Korkyt was playing, the death did not dare approach him. But once, completely exhausted, Korkyt fell asleep for a moment, and the death in the image of snake overtook him: Kairak-zhylan bit Korkyt, and he died. The legend has reached us with the kui “Korkyt”, glorifying the great power of music capable to defeat death.
Kobyz is the instrument of surprising form and unusually expressive rich timbre. One people compare it with a bird: “The sounds of it, when touching its strings made of horse's hair with the bows also made of horse's hair, are similar to the swan's shout, as well as the instrument itself has the form of a swan” (P. Pallas). The others heard a human voice in the sounds of kobyz (B. Sarybayev), “sad and sorrowful” (I. Gmelin). Each of 2 strings and a bow consist of 40 long horse's hair. The height of sound is regulated by a touch of the tips of nails or fingers “by the weight” above the body of the instrument (the play of frazholets). From here is the originality of sounding rich with overtones.
This instrument's lot has been a hard one. Kobyz can be named as an original carrier of ethnic history of the Kazakhs presented by the epic literature and instrumental music. However, this did not protect it from persecutions. Initially, kobyz was the instrument of shamans (baksy), and it was this circumstance that became a convenient reason for withdrawing it from the new built civilized world “as a vestige of the dark past”, and thus “condemning it to disappearance” ( А . Zatayevich). As a consequence, with the beginning of the 20 th century, new kyis (instrumental music) were not been composed for this musical instrument. Also, the family traditions of playing kobyz “from father to son” began to abandon. The last legendary classic of kobyz music was Yklas Dukenov, who was born in the mid-19 th century. There were many attempts to recreate the forgotten culture, but only few managed to break “through time”. Among such musicians were Zhappas Kalambayev (1909-1970) and Daulet Myktybayev (1904-1976). We are obliged to them for preserving the traditions of playing this instrument and musical kobyz heritage. Due to these musicians the invaluable creations of the past were recorded. They were the first to enter the concert stage and the first to become the teachers of the kyl-kobyz class opened at the Almaty Conservatoire in 1968.
Zhappas Kalambayev was born in 1909 in the Talap collective farm, Suzak region of Shymkent oblast. From childhood he mastered the art of playing kobyz independently. He learned Yklas' kyis from Yklas' pupil – the dombra player Sugur. It was Zhappas Kalambayev who returned the works of the classic of kobyz music, Yklas, from dombra versions to kyl-kobyz. Zh. Kalambayev was the participant of the 1 st Republican Meeting of Fork Performers held in 1934. He was at source of the creation of the Kurmangazy Orchestra of Folk Musical Instruments, and was the soloist and concertmaster of the alto-kobyz group (1934-1967). In the words of А . Zhubanov, “ the kobyz players performing now at the Kurmangazy Orchestra (1950s-1960s), took the first lessons from Zh. Kalambayev”. Among his pupils are the People's Artists of the Kazakh SSR G. Bayazitova and F. Balgayeva, and the candidate of sciences in art, professor B. Sarybayev. With the opening of the kyl-kobyz class, Zh. Kalambayev taught this instrument at the Almaty Conservatoire (1968-1970), combining teaching with active concert activity. He is known as a collector of musical folklore, who recorded and deciphered the unique pieces of folk music. He was the author of his own compositions – kyis and romances – and was among the first members, who entered the structure of the Union of Composers of Kazakhstan (1939). The Kazakhstan government has highly appraised Zhappas Kalambayev's work by awarding him the honorable title “The Honored Art Figure of the Kazakh SSR” (1944). He was also awarded the “Order of the Red Banner” and medals.
Daulet Myktybayev was the descendant of the legendary Yklas. He was born in 1904 in the Korgaldzhy region of Tselinograd oblast. He inherited the art of playing kyl-kobyz from Yklas's pupil, Abiken Tokhtamysyly, while the best kyis for kobyz – from his uncle Tusupbek, the son of Yklas. D. Myktybayev started his creative activity at the Karaganda Regional Radio Committee (1933). His first serious public performance was held at the 1 st Republican Meeting of Folk Performers in 1934. In Karaganda , D. Myktybayev began his concert activity as a soloist of the Regional Philarmonic Society (1937). However, this work was interrupted by the Great Patriotic War, at the front of which he served all its years (1941-1945). Upon returning from the front, D. Myktybayev connected his life with Alma-Ata , where he worked as a soloist-kobyz player at the Zhambyl Kazakh State Philarmonic Society and Ка zakhconcert (1945-1965). Like Zh. Kalambayev, he led the kyl-kobyz class at the Almaty Conservatoire (1970-1976). Among his pupils are many remarkable followers continuing Yklas' traditions: the Honored Art Figure of the Kazakh SSR К . Azhmuratov; head of the kobyz and bayan faculty of the Conservatoire, professor B. Kosbasarov; and the teacher of the K. Baiseitova Musical School А . Zhumabekov. D. Myktybayev has his own compositions for kobyz – kyis and transpositions of folk music.
The main difficulty the performers are facing today is a lack of repertoir. On the thorny path to kobyz survival there were serious losses. We know about some kyis due to the legends accompanying the performance of kyis, because the tradition assumed the retelling of the plot ether prior to the performance of kyis, “kyi and legend”, or inserting in kyi – “kyi with legend”, “kui in legend”, or “kyi-legend” ( А . Mukhambetova). Filling up a repertoire was also the merit of Zhappas Kalambayev and Daulet Myktybayev. They were the first who began to transpose the Kazakh folk songs and dombra music to kobyz, thus considerably enriching the repertoire of performers.
Unfortunately, the available fund lacks recordings in the performance of the outstanding kobyz players, Zhappas Kalambayev and Daulet Myktybayev. Some of these recordings are of poor quality, but nevertheless the present CD covers the most significant genres of kyl-kobyz music. This is a traditional genre of kyi represented by the compositions of the primogenitor of kobyz music, Korkyt, “K о nyr” (13), folk kyis “Akky” and “Kaskyr” (12, 26), and kyis of the outstanding Yklas (1, 2, 3, 5, 6, 7, 8, 9, 10,11, 14, 15, 27), as well as by the “secondary” genres-transpositions of Kazakh instrumental and song cultures represented by the “Sylgyldak” dombra kyi by Tattimbet (25), songs by Ibrai (19), Zhayau Musa (23), А bai (20), S. Karimbayev (21), Sarbiyev (4), and folk pieces (16, 17, 18, 22, 24).
We would like to thank Sayan Akmolda for the information and advices in the compilation of this CD.