Nicaragüita Music From Nicaragua


01. Guardabarranco - Casa Abierta
02. Escuela de Marimba Flavio Galo - Mora Limpia
03. Erwin Krüger y El Trio Monimbo - Barrio de Pescadores
04. Carlos Mejia Godoy y Los de Palacaguina - Nicaragua Nicaraguita
05. Los de Palacaguina - Acuerdate de Mi
06. Tun Tun - Bailarlo Contigo
07. Guardabarranco - Dale una Luz
08. Grupo Kinteto - Danza Negra
09. Erwin Krüger y El Trio Monimbo - Los Zenzontles
10. Carlos Mejia Godoy y Los de Palacaguina - Son Tus Perjumenes Mujer
11. Escuela de Marimba Flavio Galo - El Gueguense
12. Guardabarranco - Colibri
13. Erwin Krüger y El Trio Monimbo - Mi Pueblito
14. Grupo Kinteto - Los Diablitos
15. Carlos Mejia Godoy y Los de Palacaguina - Alforja Campesina
 Music of Nicaragua is a mixture of indigenous and European, especially Spanish, influences. Musical instruments include the marimba and others that are common across Central America. Pop music includes Cuban, Brazilian, Mexican and Panamanian performers, as well as those from Europe and the United States.

Nicaraguans enjoys their local artist's music but also enjoy music from around the world. They enjoy the Dominican Republic's bachata and merengue, Jamaica's reggae, Panama's reggaeton and Colombia's Cumbia among other genres including pop. Among the younger crowds heavy metal and rock has become very popular.

Styles of music

Nicaraguan music is a mixture of different cultures from indigenous tribes, European conquerors, and slaves. Styles of music vary throughout the different regions in the country. In the Caribbean coast music with African and indigenous influence are heard, in the Pacific coast the music is considered to be a mixture of the indigenous and Spanish culture and in the North/Central region of Nicaragua the music has more of a European flavor, this is because of the significant wave of Europeans, mostly Germans, that live in the region. European influenced dances like the polka and Mazurka are also danced in this region.

The Caribbean coast of Nicaragua is known for its Palo de Mayo, which is a lively and sensual form of dance music that is especially loud and celebrated during the Palo de Mayo festival. The Garifuna community exists in Nicaragua and is known for its popular music called Punta. Also, Soca, Reggaeton and Reggae is popular throughout the country.

Rhythms like the trova became essential to writers in the post-war scenario of the 70s and 80s. Writers used trova to express social injustice, their hope for a better tomorrow, patriotism, and ecological conservation. This, in time, became a rhythm used in artistic Nicaraguan creations, and it therefore also became part of the culture. Well known in this category is Duo Guardabarranco, formed by the brothers Salvador and Katia Cardenal.

Another popular musical genre in Nicaragua is the Chicheros, often consisting of a trumpet and trombone or other brass instruments, with additional musicians playing various percussions. This is often to be heard in private parties around the country.


The marimba of Nicaragua distinguishes itself from the other forms of marimba in Central America by the way it is played. Nicaragua's marimba is played by a sitting performer holding the instrument on his knees. They are usually accompanied by a bass fiddle, guitar and guitarrilla (a small guitar similar to a mandolin). This music is played at social functions as a sort of background music. The marimba is made with hardwood plates, placed over bamboo or metal tubes of varying lengths. It is played with two or four hammers.


Sounds of Nature

Field Guide To The Voice Of Nature In Taiwan's Forest
01 Small-winged blackbird
02 Bülbül
03 Yellow-breasted blue flycatcher
04 Taiwan's thrush
05 White ear thrush
06 Bataan white-eye
07 Bülbül
08 Colored Barbet
09 Little Pi pelican
10 Lanyu scops owl
11 Brown hawk owl
12 White-breasted Waterhen
13 Ring-necked pheasant
14 Crow-ray head
15 Muntjac
16 Flying squirrel
17 Formosan macaques
18 Japanese tree frog
19 Day tree frog
20 Mo's Tree Frog
21 White Frog
22 Chinese Tree Frog
23 Spotted frogs
24 Gunther's frog
25 Rain frog
26 Sawa frog
27 Tiger frog
28 Mei Wen Cricket
29 Grasshopper Si
30 Taiwan Sao Si
31 Bear cicada
32 Taiwan Sao cicada
33 Yangmingshan Higurashi
Beauty of Forest
Most regions passed through by the Tropics are deserts or arid grasslands, but in Taiwan monsoon and tropical cyclones bring plentiful precipitation and enrich the ecological growth. The dramatic geographical change from sea level up to about 4,000 meters contributes to complicated climate happening in this narrow 36,000-square-kilometer island, in addition to the intersection between south-north mountains and monsoon.

The conditions provide diverse natural resources for wide spectrum of vegetation, ranging from alpine frigid bushes (above 3500 meters), subalpine coniferous forest (3000-3500 meters), cold coniferous forest (2500~3000 meters), temperate mountainous coniferous forest (1500-2500 meters), temperate mountainous broad-leaved forest (700-1500 meters), subtropical mountainous broad-leaved forest (beneath 700 meters), to tropical coastal forest; the abundant plants have promoted the island the precious forest treasure to explorers for centuries.

Portuguese saw the island's verdant beauty from the sea in the 16th century and couldn’t help by cry aloud “Formosa!” Mark Western, a Canadian married to a Taiwanese girl, shared the same sentiment in 2004 after he rowed his canoe around the island in 34 days.

"Formosa" means the beautiful island with dense forests. 


 Cortijo y su combo


01. El Negro Bembon
02. Alegría y Bomba
03. Déjale Que Suba
04. Te Lo Voy A Contar
05. El Satélite
06. Huy Que Pote
07. El Chivo De La Campana
08. Con La Punta Del Pie Teresa
09. Lo Dejé Llorando
10. A Bailar Mi Bomba
11. Bailala Bien
12. Lo Tuyo Es Crónico
13. Las Ingratitudes
14. Caballero Que Bomba
15. Saoco
Cortijo was born in Santurce, Puerto Rico, on 11 December 1928. He was a significant figure in the history of Latin music and noted as a percussionist, (timbales, conga, bongo, maracas  and other percussion), bandleader and composer Cortijo. He was the musical hero of the common folk of Puerto Rico and Latin America; admired for his qualities as a creative and talented musician. He took the bomba and plena out of the slums and with his all-black band, and introduced them into all levels of society in Puerto Rico and abroad.

His early childhood was filled with the sounds of the drumming and singing of pleneros like Cornelio and Maria Teresa. He learned how to make the timbas from them; the barrel drums which he used to entice a young Ismael Rivera to join his descargas at the beach. For the next three decades, these close friends lived a life in which they shared the good and the bad… whatever they experienced as individuals, was lived by them both, as one: fame, alcohol and drug addiction and even jail.

Cortijo knew that there were several varieties of the bomba cangrejera (crabber’s bomba). With this background and with the experience gained by participating in the traditional street carnivals, such as the Carnavales de San Mateo and San Juan, featuring bombas and plenas, Cortijo was well prepared to organize an authentic bomba and plena group. He developed his own style by including trumpets and saxophones, but kept the flavor of the traditional bomba and plena by means the typical, strong rhythmic base.

Cortijo wanted his combo to play music spontaneously and to avoid the inflexible routines of the big bands that kept the musicians fixed on a stage behind their written musical arrangements. Cortijo’s band played standing up, danced on stage, and sometimes even joined the dancers on the floor. Their arrangements were really just minimal sketches as an orderly baseline for the musician’s improvisations. The style ignited the crowd and helped them compete with the big bands of Machito, Tito Rodriguez and Tito Puente.

Cortijo’s music was also popular in other parts of Latin America. When asked why other countries so readily accepted music so closely linked to Puerto Rican folklore, Rafael said, “...African-derived drums are understood in all parts of the world. For example, I fully understand Haitian music and my music is understood and appreciated in Haiti as well. Humble people everywhere have no problem identifying with my music because it is essentially their music. We try to play it honestly, with spontaneity and without any sophisticated variations that may alter its original form.”

Cortijo served his apprenticeship playing bongos and congas with Moncho Muley’s Conjunto Monterrey and later with the orchestras of Frank Madera and Miguelito Miranda. He toured abroad for the first time with the band of singer Daniel Santos and worked on the radio programs of singer and composer Myrta Silva and Cuban vocalist Miguelito Valdés.

The defining moment, however, came In 1954, he was playing congas with the Mario Roman Combo when the bandleader decided to retire. This gave Cortijo the opportunity to organize his own group. He knew exactly what sound he wanted and who were the musicians that could produce it for him. The group’s first vocalist was Sammy Ayala. Singer Ismael Rivera joined the group in 1955.

Cortijo and his Combo were a true audiovisual attraction and Puerto Rican television soon beckoned them. The popular Show del Mediodia featured the group Monday through Friday for five years. They maintained close touch with the people by playing dances throughout the island, especially at the traditional “fiestas patronales” (patron saint celebrations). The Combo recorded a long series of hits, starting with El Bombón de Elena to his futuristic “Time Machine”, released in 1974. In between came many classics such as “Maquinolandera”, “Oriza”, “Perfume de Rosas”, “Tuntuneco”, “El Chivo de la Campana” and “Déjalo que Suba”.

In 1962, after Rivera was imprisoned for a drug offence, members of his combo, led by pianist Rafael Ithier, split to become El Gran Combo.

More than four years passed before Cortijo And His Combo reunited with Ismael Rivera to provide accompaniment for his Bienvenido!. This was followed by another reunion in 1967 that resulted in the album Con Todos Los Hierros.

Cortijo then organized a new orchestra called Bonche and debuted with them on Sorongo, which included his daughter, Fé Cortijo, as one of the vocalists, despite her weak voice. Fé continued to work with her father up to his last album. Cortijo then went on to collaborate with Puerto Rican percussionist and bandleader Kako; reviving some of his earlier popular plenas and bombas.

After their meteoric rise, They paid a price for the years of excesses and their legal problems. Cortijo and Ismael Rivera found the hostile environment in Puerto Rico intolerable and went to New York. But Cortijo never felt comfortable in New York and returned to Puerto Rico. But life back on the island was not much improved for him on his return. Tite Curet and a friend financially helped to produce Cortijo’s album Pa’ Los Caseríos and even wrote many of the songs.

On June 25, 1974, Coco Records sponsored a concert at the Roberto Clemente Coliseum in San Juan; bringing together the original members of Cortijo and his Combo. Participating that night were Rafael Cortijo, Ismael Rivera, Roy Rosario, Martín Quiñones, Rafael Ithier, Eddie Pérez, Héctor Santos, Mario Cora, Sammy Ayala, Roberto Roena, Miguel Cruz, and Kinito Vélez. The concert produced the album Juntos Otra Vez. The album Was Reissued In 1982 As Ismael Rivera Sonero Numero 1.

Cortijo died of pancreatic cancer at the age of 54, on 3 October 1982. He was honored by the common people and public leaders alike, for his contributions to music and the culture of Puerto Rico. Five years later, his lifelong friend Ismael Rivera died of heart failure.  



Arsenio Rodríguez


1. Preludio a Catalina (Performed by CHUCHO VALDES)
2. Dile a Catalina (Performed by IRAKERE)
3. Buenavista en guaguancó (ANTILLA CD-586)
4. Fiesta en el solar (Primitivo)
5. Juventud Amaliana TCD031
6. Recuerda bien (ANTILLA CD-586)
7. De una manera espantosa (Performed by IRAKERE)
8. Frutas del caney (Ansonia HGCD1337)
9. Blanca paloma (ANTILLA CD-586)
10. Que feliz yo fuera (ANTILLA CD-586)
11. Besame aqui (ANTILLA CD-586)
12. Mami me gusto (ANTILLA CD-586)
13. Hachero pa' un palo (Performed by MANGARE)
Label: Discmedi Records/ ARTEX Canada CD-066 1993
Notes: good notes in Spanish by Zola Gomez García
Sound: Mostly good
The extraneous material, particularly by Irakere, is unnecessary but helps demonstrate the breadth of Arsenio's influence.
Arsenio Rodríguez was born Ignacio Loyola Rodríguez Scull on 31 August 1913 in the village of Güira de Macurijes in Matanzas (Some sources say 30 August 1911 but he himself had written to the registrar to correct his birth certificate). His family was of Congolese descent, his grandfather having been brought to Cuba as a slave. He was the fourth of 17 kids in a poor family who worked the sugarcane fields. Arsenio studied traditional drumming and percussion. At age 7 he was kicked in the head by a horse which caused the loss of his eyesight. He started writing songs in 1928; in the 30s he moved to Havana to seek work as a musician. In 1937 Casino de la Playa's singer Miguelito Valdés recorded two of his songs: "Bruca manigüá," (TCD003) and "Ben acá tomá." Casino de la Playa recorded four more Arsenio compositions in 1938: "Yo son macuá," [MLN55004] "Fufuñando," [MLN55004] "Yo soy gangá," and "Se va el caramelero." [MLN55004] This last track is also collected on TCD037, and Rodríguez can be heard for the first time on record, playing tres as guest soloist. Valdés and his pianist Anselmo Sacasas moved to the USA in 1940 and were hugely influential, perhaps most notably on Desi Arnaz who modeled his style on Valdés, even adapting his trademark song "Babalu."

From his guest spot with this big band, Rodríguez had the idea of turning the typical sextet into a conjunto by adding a second trumpet and a piano. Later he added a third trumpet and a tumbadora (a big conga drum). In 1940 he made his first recordings under his own name: "El pirulero no vuelve mas," (referring back to his hit "Se va el caramelero") and "Yo 'tá enamorá." This number is described as an afro: an early example of the roots-based music Arsenio introduced to Cuban music from his deep love and study of his Congolese heritage. In 1942 he had a massive hit with "Como traiga la yuca" which the public rebaptised "Dile a Catalina" from the first line.

Arsenio moved to Miami but (not surprisingly) didn't like it; then to New York where he was more at home, and he continued to record sporadically though his groups lacked the cohesion of his conjunto in Havana. The original band broke into two with Chappotín leading one group and the rhythm section regrouping as Conjunto Modelo [TCD-059]. Arsenio was never to return home, and died in obscurity on 30 December 1970 of pneumonia, in Los Angeles, California.

There are out of print albums and many 78s not included in this list, but my aim is to help buyers avoid duplicating material in their collection, so I have focussed on CD reissues. The essential discs are the Tumbao Classics series for the Cuban material. The New York period is well served and some of the TICO reissues (those that are not plagued with bad sound) are also crucial. P-VINE in Japan does a great job of remastering many of the originals.



caliente = hot
Puerto Rican and Cuban musical expression in New York City


1. El safacâon de la 102nd St. (Victor Montanez y sus Pleneros de la 110th Street) / Victor Montanez (3:32)
2. Bomba calindâe (Victor Montanez y sus Pleneros de la 110th Street) / Anon. (1:50)
3. Emi ra obini le wa (Julito Collazo y su Grupo Afro-Cubano) / Julito Collazo (5:53)
4. Loteria (Julito Collazo y su Grupo Afro-Cubano) / Julito Collazo (5:31)
5. Yo quisiera ser (Hector Rivera y su Conjunto) / Hector Rivera (8:43)
6. Borinquen (Sexteto Criollo Puertorriqueno) / Israel Berrios (3:08)
7. Las mujeres de Borinquen (4:26) (Sexteto Criollo Puertorriqueno) / Cristobal "Tobita" Medina Colon
8. El Puertorriqueno (3:55) (Sexteto Criollo Puertorriqueno) / Cristobal "Tobita" Medina Colon
9. La cona de mis amores (4:13) (Sexteto Criollo Puertorriqueno) / Cristobal "Tobita" Medina Colon
10. Amor a la virtud (Armando Sanchez y su Septeto Son de la Loma) / Gerardo Martinez (5:15)
11. Guajira del mayoral (Armando Sanchez y Septeto Son de la Loma) / Armando Sanchez (4:52).
A joyous recording of New York musicians keeping traditions alive as popular salsa styles change around them. Some play home-made instruments, some have toured the world, and all have an energy that only comes from a deep love for the music they play. The liner notes include a history of Puerto Rican and Cuban New York as well as descriptions of all the different musical styles represented.
Salsa music is a genre of music, generally defined as a modern style of playing Cuban Son, Son Montuno, Guaracha, and Son  with touches from other genres of music. Originally, Salsa was not a rhythm in its own right, but a name given in the 1970s to various Cuban-derived genres, such as Son, Mambo and Son Montuno.

Regarding the genre's origin, Johnny Pacheco, creator of the Fania All-Stars, who "brought salsa to New York" (of which some members include: Tito Puente, Ray Barretto, Willie Colón, Larry Harlow, Johnny Pacheco, Roberto Roena, Bobby Valentín), explained that "..salsa is and always had been Cuban Music."

Popular across Latin America and North America, salsa incorporates multiple styles and variations. Most specifically, however, salsa refers to a particular style developed in the 1960s and '70s by Cuban and Puerto Rican immigrants to the New York City area, and its later stylistic descendants including 1980s salsa romantica and other sub-genres. The style is now practiced throughout Latin America, and abroad. Salsa derives from the Cuban son and mambo, as the music foundation is based on the Son Clave. The terms Latin jazz and salsa are sometimes used interchangeably; many musicians are considered a part of either (like Tito Puente, Eddie Palmieri, Ray Barretto among others), or both, fields, especially performers from prior to the 1970s.



Piano 8

Mário Laginha
Canções e Fugas

01 Do lado de cá do mar
02 Fuga em lá maior (4 vozes)
03 Lugar bem situado
04 Fuga em ré maior (3 vozes)
05 Berenice
06 Fuga em mi bemol menor (4 vozes)
07 Do lado de lá do mar
08 Fuga em fá maior (4 vozes)
09 Fado
10 Fuga em dó menor (5 vozes)
11 Coral
12 Fuga em si maior (4 vozes)
Mário Laginha

Mário Laginha is regarded as one of the most talented and innovative Portuguese musicians. Pianist and composer, he has been awarded several prizes and has been invited to many national and international festivals. He has played and recorded with Wayne Shorter, Ralph Turner, Manu Katché, Trilok Gurtu, Toninho Horta, Gilberto Gil, Julian Argüelles, Django Bates, and the Hannover Philharmonic Orchestra, among many others.

With his quintet, Mário Laginha recorded “Hoje”, an album that strongly reflects his unique style. He has also been involved in several projects, being invited to compose both for small and large ensembles, such as the NDR Big Band, the Lisbon Metropolitan Orchestra, the Oporto Symphonic Orchestra, the Drumming Percussion Group, and Remix Ensemble.

His work in the duo formation has had a fundamental importance in his career: He shares eight albums with singer Maria João, has recorded “Duetos” with pianist Pedro Burmester, and recently has recorded “Mário Laginha/Bernardo Sassetti” (2003) and “Grandolas” (2004) with pianist Bernardo Sassetti.

Mário Laginha has recorded his first solo album “Songs and Fugues”, released in March 2006.


Adyghe 3

Dudar Aslan
Adyghe and Abkhaz National Melodies

01.Mezdegu Adygehem Ya K'afe
02.Guhalt' Pshinale
03.Udge(Udhz) Pihu
04.Abaze Dzhagu
05.Zehauakue Kih
07.Shaleguale Zehuakue
09.Sosrikue Yi K'afe
11.Udge Hesh
12.Abazehe Ghybza
13.Guhalt' Pshinale
14.Udge Hurey
A whole new collection of Adyghean and Abkhazian melodies is out, meaning the Caucasian Musical Olymp is bestowed with a new resident - His name Aslan Dudarov. The first album, which Aslan named Guhatl’ ("Гухэлъ" -"in Heart") showed the author as a talented executor and unordinary arranger, who is never afraid to open up his heart and soul to speak through the language of national harmonika.

Aslan was born and brought up in Nalchik. With his sense of humour and open smile, he is distinguished for his love to his people and culture. Adyghean etiquette for Aslan - a norm of life, and music -the life itself.

Rich folklore, heroic epos and music accompanied Circassian history throughout centuries. And the spirit of ancestors has not disappeared- Aslan has turned all his the talents to revive it in full.

"The gene of creativity" lives in Aslan by right of succession. His grandfather, Hauti Dudarov, studied music in reknown Leningrad Conservatory, though has remained in literature encyclopedias as a famous circassian native language writer, journalist, one of the founders of satire and humour in the Kabardian literature. Aslan's Aunt - Zarema Dudar -a designer residing in Italy, his mum - Fatima Dudarova-a journalist, working in Nalchik.

Aslan has chosen musical path, having graduated from Kabardino-Balkarian Art School, majoring in folk instruments, namely, harmonica and accordeon. For a short period, Aslan worked with such famous dance groups as "Bjamiy" and "Kabardinka". Later he moved to Moscow where he became an acomponist for the dance group "Adygi" in Moscow Adyghe Culture Hase (Association).

In 2001 Aslan made up his mind to work on his own album of Circassian music. His aspirations were supported by many successful Circassians: famous lawyer Albert Kazharov, Arsen Kanokov, Murat Isakov, Muharbiy Cherkesov, Albert Nazranov.

The project has drown a great number of participants and assistants. Professionalism of the music performers- Anzor and Murat Uvizh, Zuber Ivazov, Zaur Chilov, Lebanese Circassian Blyanighap'tsa Nart, supported by many marvelous voices of Kabarda are impressing. Album cover belong to the brush of the talented Kabardian artist - Murat Dishech, Italy. Album Design - the merit of a Syrian Circassian- Yerokua Bishar.

French writer Romain Rolland named music "song of centuries and a flower of history". One after another, Aslan's soundtracks take up back to ancient legends and tunes, heard in childhood from grandmothers.

Here invincible warrior Sosruko competes in power and dexterity with others narts, dancing on traditional Circassian tri-table – "ane аIнэ". Here Tlepsh, the master of iron, beating hammers over anvil … And light-handed Adiyuh runs down the river that echos her sad songs. And here the god of woods Mezitha blesses Badinokua to furtunate hunting.Instrumental folk tunes are echoed with music of the nature - the bird's trills, wispers of the river. Even formerly known melodies in Aslan's execution begin to sound in a whole new way, causing new associations,bringing up new images.

In total 15 compositions are presented in the album. Aslan, as a true collector of musical folklore, has addressed melodies of various tribes: from Mozdogu (Mezdegu) Kabardians to Black Sea Adygheans, not overlooking Turkish emigrants: former soloist of ensemble  "Kabardinka" Bitok Anzor brought original Shapsoughian Udge Hurashe (Шапсугский удж "Хъурашэ")  and Abazehian Lapelef ("Лъапэлъэф")  from Turkey to Aslan, back to homeland.

We must note that Aslan's musical "know-how" is in a way a tour into the history of Circassian musical performance.
For instance, the epigraph to the composition "Udge Hesh" ("Удж хэш") is the original music of the famous Kuratsa Chashirgh, whose accordion is exhibited in the Folklore Museum of Kabardino-Balkaria.

Thus, the album has turned out musically and artly refined. Here we will find "Kafe", and "Udge - Udzh", "Ghybza", and "Dzhag'u" in all their variety. Aslan Dudarov appeared to be not only  gifted musician, but also a pleasant interlocutor.



Edilio Paredes


01. Porque Me Busca
02. Muchachita Misteriosa
03. Mujer Perdida
04. No Me Olvides
05. Se Cambiaron Los Papeles
06. Del Cielo Cayo Una Rosa
07. La Mujer Completa
08. La Tinajita
09. Dos Amantes
10. Yo La Recuerdo

Edilio Paredes and The Birth of Bachata
David C. Wayne

In the annals of popular music throughout the world, it is difficult to find a single figure who has had as much influence in the forging of a style as Edilio Paredes has in the creation of bachata. Recording the lead guitar on “many more than a thousand” tracks over three decades, Edilio shaped a new genre; his arrangements distinguished bachata from the bolero out of which it emerged, and set the framework within which bachateros continue to operate even today. From bachata’s seminal days until the early 1990’s, Edilio Paredes directed and recorded the most important work of the music’s most important artists, and along the way inspired three generations of Dominican guitarists.

From infancy, Edilio has always been a prodigiously talented musician. He is a native of the small country town of La Galana, near San Francisco de Macoris, and was the first person in his family to sing or play an instrument (although his brother and his three sons have since become well known musicians in their own right). Nothing in his family history or background augured for the appearance of a musical genius. Nevertheless, Edilio relates that the first time he played a guitar was when he was four years old. “The owner of the colmado had a tres, and he put it up on the counter. I remember having to stand up on my tiptoes to be able to reach it. I’d never played any kind of instrument before, but I was able to pick up three merengues that were popular at the time.” Perhaps seeing a young child play the instrument that he was unable to play incited jealousy in the owner of the colmado - he became infuriated one day after Edilio broke a string. This left quite an impression on the gentle Edilio, and at the tender age of four the great master of the Dominican guitar swore off music forever!

By the time he was eight he had seen more of the world (he reports crossing the river to nearby San Felipe), and he repented of his decision. He formed a group with his brother, Nelson, and Ramón Cordero, who would go on to be a major figure in bachata as well. They began to play at parties in the area with a guitar that an uncle of Ramón’s gave to Edilio along with some basic instruction (Edilio is largely self-taught). Edilio recalls playing the music of Odilio Gonzalez, Julio Jaramillo and Blanca Iris Villafañe, and dreaming of one day being able to play as well as Puerto Rican legend Yomo Toro.

When he was 13, Edilio decided to go to the capital, Santo Domingo. He went to work at Casa Alegre, which was a music store owned by singer Cuco Valoy. Valoy also owned a record label, and Edilio went to work recording for him. He recorded songs with singers Bernardo Ortiz, Rafael Encarnación and Mélida Pérez, and his reputation began to grow. He quickly supplanted a number of older musicians as the most sought after guitarist to record “bolero campesino”—what would later become known as bachata.

Soon after Edilio began to record for Radhames Aracena, the proprietor of Radio Guarachita. Aracena’s station was the only national radio station which featured guitar music, and the music the station played was all recorded under one of the various labels which Aracena himself owned. It was during the years of Radio Guarachita’s predominance that bachata properly began to coalesce as a genre. Every bachatero in the country at one time or another probably recorded for Radhames Aracena. Since he was Guarachita’s premier “requinto”, or lead guitar player, all of those artists except for the few who, like Luis Segura, played their own lead guitar, worked with Edilio Paredes.

As the years went by bachata changed markedly. Whereas it began in the early 1960s as a music which was barely distinguishable from the bolero that came before it, by the mid-1970s bachata was beginning to become much more rhythmic and danceable. The güira replaced the maracas, a change which Edilio was party to, and elements of other more upbeat musics like son and merengue could be heard in the guitar lines. The one person who most influenced these changes was unarguably the one who was making the arrangements—Edilio Paredes. During this period his name was most closely linked with that of his childhood friend, Ramón Cordero, but he did important work with almost all of the major bachateros of the 1960s, 1970s and 1980s. Besides the substantial ouvre of classic songs he recorded with Marino Pérez, Bolívar Peralta, Leonardo Paniagua, and José Manuel Calderón, among others, Edilio also released a good deal of his own work.

To have a conversation with Edilio Paredes about those days is to take a glimpse into bachata’s history through the eyes of an intelligent, critical and uniquely well informed observer. And the story we see is at times a difficult one to look at. As the genre developed, it became increasingly marginalized by Dominican society, until bachata’s creators and their audience became, for a time, a despised group of people. The reasons behind this are complex and best dealt with in another context. They certainly included, however, the active efforts of the merengue industry to eliminate bachata as effective musical competition; an elitist and modernist tendency which associated guitar music with the “backwardness” of the countryside; and, later, a puritan reaction against the double entendres which became a staple of the music during the 1980s.

Happily the situation has changed. As a result of a variety of factors, bachata’s popularity grew steadily during the 1990s, and it has become arguably the most important Dominican musical export, threatening to eclipse the much longer established merengue. Bachata’s audience extends throughout Mexico, Central and South America, Europe and the United States. Young groups have pioneered a fusion of bachata with rock and R&B, while a more traditional style continues to thrive. Among those who are driving the success of the music are Edilio’s three sons, David, Samuel and Nano, all of whom are themselves tremendous musicians.
In spite of the current bachata vogue, Edilio Paredes still does not enjoy the esteem in his own country that one would expect. Whereas cuatrista Yomo Toro of Puerto Rico, Edilio’s childhood idol, and tresero Francisco Repilado (Compay Segundo) of Cuba are cultural icons in their respective nations, the complicated relationship of bachata with Dominican culture has relegated its greatest virtuoso to the margins of society. The musicians who have benefited from bachata’s recently achieved popularity readily acknowledge their debt to Edilio, and on any given night his audience might include some of the genre’s marquee names. Likewise, those who were aficionados of the music when it was being actively denigrated by the Dominican media know and recognize Edilio Paredes as the master musician he is.

With the entry of bachata onto the international stage, Edilio has found an audience that can objectively appreciate his great artistry. Touring with singers like Super Uba and Puerto Plata, Edilio is introducing authentic bachata to a new group of listeners. Far from the bordellos and cabarets where this music once took refuge, Edilio's pioneering style is being enthusiastically embraced the world over.

Korea 5

Kim Duk Soo
Spirit Of Nature 



1. 메나리 03:28
2. 낙궁 13:58
3. 푸살 08:24
4. 부정 06:28
5. 대감 11:02


6. 씻김 13:20
7. 별신 14:06
8. 귀곡 10:11

Kim Duk Soo

The word 'genius' should not be used to describe an individual with extraordinary talents, but rather an individual who uses those talents to inspire the best from those around him in this sense. The term is a fit appellation for the leader of SamulNori, Kim Duk soo, born in 1952. His father chose him out of eight other siblings to follow in his footsteps as a professional musician in the tradition of wandering artists, called Namsadang.

At the age of five he was awarded the President's citation for his performance, thus beginning an amazing personal career that has taken him to virtually every corner of the world. He graduated from the Korean traditional music and performing art school in Seoul and attended one year of college before the demands of his professional life took over. Aside from his talents as a performer, he has managed, directed, and created numerous productions involving not only music, but also dance and theater.

With the formation of SamulNori in 1978, his life took on new and complicated dimensions. There were five specific purposes in forming the group: to research more expensively the traditional music of Korea, to study the music and instruments (especially percussion instruments) of other traditions throughout the word, to create new music and to provide educational opportunities for students and others to learn Korean percussion. In addition, as leader he has had the responsibility to maintain the excellence that the group is known for.
The sky,
the earth
and a human beeing
become one in an
of music.

Kim Duk Soo


Korea 4

Korean Traditional Folk Music

1.호남 우도굿 11:15
2.설장구 12:15
3.웃다리 풍물 11:38
4.영남농악 7:00

Kim Yong Bae
Nam Ki Moon
Bang Seung Whan
Park Eun Ha

Choi Byung Sam

The term SamulNori was first brought up in 1978 and describes a genre of music as well as serving as the name of Korea's leading traditional performance group. When used to describe the music genre, SamulNori refers to the performance of four musicians playing and dancing each with a different Korean traditional percussion instrument. The Korean worlds "samul" means "four things", and "nori" means "to play" hence "four things playing."

In 1978 four extremely dynamic and talented Korean percussionists came together to form the group SamulNori. Henceforth, SamulNori has sparked a renaissance in Korea's music scene as well as becoming world-acclaimed. The origin of SamulNori's music can be traced back to what is usually referred to as "farmers" band music ("nong-ak").

SamulNori uniquely combined the rhythms used in nong-ak with musical elements from shamanic ceremonies and modern compositions.


Korea 3

and it was this CD and the first track ( Farmer's Jazz :) ) that got me deeper and deeper into one of the greatest musics on this planet :)
Sinawi Music of Korea
World Music Library
1. Sinawi Ensemble - Kim Kwangbok/Choe Sanghwa/Choe Taehyon/Kim Mugil/Kang Jongsuk/Im Sukcha/Chang Dokhwa/No Jongak
2. Haegum-Sanjo - Choe Taehyon/Chang Dokhwa
3. Piri-Sinawi - Pak Pomhun/No Jongak/Chang Dokhwa
4. Poong-Mool Nori & Taepyongso Sinawi - Chang Dokhwa/Nam Kimun/jNo Jongak/Pak Pomhun/Kim Kwangbok
Chang Dokhwa (Changgo),
Kang Jongsuk (Kayagum),
Kim Mugil (Ajaeng),
Nam Kimun (Kkwaenggari)
Intense and passionate, sinawi music descends from an ancient shamanic tradition (as does the solo sanjo form, of which there's an example for two-string fiddle here), but improvisation and emotional ardor are its hallmarks today. A powerful recording particularly notable for impassioned vocals (and in one case oboe lead), it's backed by equally fervent fiddles, lutes, zither and percussion.
~ John Storm Roberts, Original Music
Korean sinawi music originally accompanied propitiatory rites presided over by a female shaman, or mudang. The word sinawi is also synonymous with musical improvisation based on various rhythmic and melodic devices--the most important characteristic of this genre. This collection of sinawi-derived pieces, performed by groups of varying size and instrumentation, evokes the otherworldly sonic space of the shamanistic spirit realm. The opening "Sinawi ensemble" contrasts full-throated female vocals with the pinched, nasal keening of the double-reed piri and the two-stringed fiddle haegum, gradually building in speed and intensity. In "Haegum-sanjo," haegum virtuoso Choe Tae-hyon plays like a man possessed, etching jagged melodic flights with exaggerated vibrato and an almost violent bowing technique. "Piri-sinawi" is a brilliant exposition of the timbral peculiarities of the oboe-like piri, conjuring associations as disparate as Scottish bagpipe music and the plunger acrobatics of trombonist "Tricky Sam" Nanton. ~ Dennis Rea
From Wikipedia, the free encyclopedia:
Sinawi, sometimes spelled Shinawi, is a traditional form of Korean music. It is performed improvisationally by a musical ensemble, and traditionally accompanies the rites of Korean shamanism. The style first emerged in the Chungcheong and Jeolla provinces, but is now widespread. The traditional sinawi ensemble followed the principle of sam-hyeon-yuk-gak (三絃六角), with two flutes, a haegeum, a daegeum, a janggu hourglass-drum, and a large buk drum. However, today other traditional Korean instruments such as the gayageum and geomungo are also often included.
Sinawi is improvisational ensemble music which has its root in the shaman music of the Jeolla province. Musical instrumentations are gayageum (twelve-stringed zither), geomungo (six-stringed zither), haegeum (two-stringed fiddle), ajaeng (bowed zither), piri (bamboo oboe), and daegeum (long transverse bamboo flute). These instruments are performed together or individually with improvisions within particular rhythmic patterns. Although this piece is very much improvisational and all instruments are not in unison, they make incredible harmony in dissonance. Thus, the music of sinawi is often described as `harmonious discord` or `chaotic order`.


Korea 2

Lee Gwang Su – 예산족 (藝山族)
Yesanjok / Korean Song and Beat Project
01 . Prologue / 청령 (請靈) / 푸살 / Piano Episode 1
02 . 선고사 (先考祀) (Seongosa)
03 . 뒷불 / Piano Episode 2
04 . 도살풀이 (Dosalpuri)
05 . 영남행군악 (嶺南行軍樂) (Yeongnamheng Gunak)
06 . Arirang (아리랑) / Variation
07 . 자진몰이 bridge / 설장고 (다스름, 굿거리, 덩덕궁) (Seoljanggu)
08 . 부모은중경 (父母恩重經) (Bumo Eunjunggyeong)
09 . 휘모리 bridge / 태평소 / 설장고 (휘모리) / Improvisation
10 . 별달거리 / Ending
The musicians on the recording:
이광수(Lee Kwang-Soo) / 구음,꽹가리,太平簫(voice,korean percussion,Wood-wind)
미연(Miyeon) / Piano,Keyboard
박재천(Park Je-Chun) / Drum,percussion
이영광(Lee Young-Kwang) / 꽹가리,장고,구음(korean percussion,chorus)
손경서(Saun Gyeong-Seo) / 장고,징,구음(korean percussion,chorus)
권지훈(Gwean Ji-Hoon) / 징,장고,구음(korean percussion,chorus)
함주명(Ham Ju-Myung) / 북,장고,구음(korean percussion,chorus)

Lee Gwang Su:
Lee Gwang Su was a member of Samulnori, the neo-traditional percussion group started in 1978 by Kim Duk Su, Kim Yeong Bae, Choi Tae Hyun, and Lee Jong Dae. When Kim Yeong Bae left the group due to personal and musical disagreements with Kim Duk Su, Lee Gwang Su became the lead ggwaenggwari player. One of his major contributions to the group was binari, a sort of blessing or prayer with roots in Buddhism and shamanism. Lee Gwang Su left the group a few years later, basically on the same terms as Kim Yeong Bae.
Kim Duk Soo's music is widely criticized by traditionalists who feel his music does not reflect a true Korean aesthetic (too fast, lacks balance between male/female energy, ignores dance and song, etc.). Also, he just repeats the same material year after year. Lee Gwang Su and the other former members of Samulnori, have all tried to go back to the roots of Korean music while also creating new sounds and creatively expanding Korean music. When you hear Lee Gwang Su play, it's not all that fast, but it's tasteful and perfectly in tune with Korean aesthetics. It's like a super fast, super flashy bluegrass picker (Kim Duk Su) vs. Norman Blake (Lee Gwang Su). Kim Duk Su might be more famous, but among traditional musicians Lee Gwang Su is more respected.

Besides being a master percussionist, he's also a great singer, dancer, teacher, and composer. He's deeply involved in Buddhism and shamanism, which influences all of his work. Those who know him describe him as extremely kind-hearted, intelligent, generous and patient.

A big thank you to iheartu for the music & the words

listen listen listen :)

Korea 1

Park Je Chun
1996 AD forte I'M


1. Jazz'n jazin (4‘49“)
2. Micro-mori (7‘09“)
3. Africorea (4‘09“)
4. 風 (5‘27“)
5. 流 (4‘42“)
6. Highway (2'45")
7. Change 1 (5‘40“)
All Songs Composed & Arranged by Park Je-chun


박재천 - Percusssion, 풍물
함기호 - Bass Guitar
이표영 - Clarinet, Alto Saxophone
정정배 - Latin Percussion
박미연 - Piano

Park Je Chun - Percusssion
Hamgiho - Bass Guitar
Yip yo young - Clarinet, Alto Saxophone
Jeong jeong bae - Latin Percussion
Miyeon - Piano
Park Je Chun
Percussionist Park Je Chun is widely regarded as a pioneer in the movement of combining western jazz with traditional Korean music.
Born in 1961 in Seoul Korea and graduated from ChungAng University in 1986 with a degree in music composition. After graduation. he began his study in Korean traditional music the art of 'Pansori' (story telling music), the 'Chango' drum and the music of the 'Shamans'.
In 1991 he formed his own rock group. The group got good popularity in Korea . At that time he had been play 'Pansori 'singing and Korean big drum. The group had concert in Japan(Osaka) played with Kitaro(keyboard,daiko).
In 1993 he formed new group named "Mol-e mori" and released the CD "Mol-e mori", the first of his work to feature the combination of traditional korean music and jazz. To facilitate playing this fusion of styles, Park performs on a unique percussion set-up consisting of korean and western instruments.
...he played together many foreign improviser, as Masahiko Satoh(p) ,Kang TaeHwan(a.s), Sainkho Namchylak(vo), Wadada Leo Smith(tp), Ned Rothenberg(reed), Aki Takase(p), Daisuke Fuwa(b), Gerry Hemingway(dr), Yoshihide Otomo(gt,elec), Kazutoki "Doctor" Umezu(reed), Alfred Harth(reed) and others.
His instruments set is mixed by western drum set and Korean traditional Percussions.

When he plays on stage he sitting on floor, this is looking funny but reasonable style to him, and it will come from typical Asian spirit. Because almost Asian traditional music had been played by sitting musicians.
Pianist Miyeon graduated from ChungAng University with degree in music composition.
When she was young, she started study in classical piano, she began her study in 20th Contemporary music and Jazz study from Satoh Masahiko.

She composed music of the film "Young Lover", "Sa-ja-sung-eo", KBS tv drama "Tae yang in-Lee Jema",
play togather Kang Tae Hwan(as), Satoh Masahiko(pf), Ned Rodenberg (as,cla), Umezu Kazutoki(as,ss), Gerry Hemingway(dr), Otomo Yoshihide(elec). Wittwulf.Y.Malik (cello)

She released the CD "Simple Trust"(solo), "Tae yang in-Lee Jema"(sound track), "Improvised Memories"with
Kang Tae Hwan(as),Park Jechun(perc),"Loose Community"with Otomo Yoshihide(elec), Gunter Muller(elec,perc), Park Je Chun(perc). "Sound Skipping 1,2" with Ge-suk Yeo(voc.) Park Je Chun(per,) "Queen & King" with Park Je chun.

She performance in Tokyo, Osaka, Kobe, Yokohama, Moscow, St,Petersburg, Koln Cairo, Geneva, Kuala Lumpur, Samarakant, Tashikent ,Hamburg, Brussels, Harare, Malta, Kuwait, Tripoli, Abu dhabi, Dubai.

listen, listen, there is more to come... :)


Piano 7

just as a guitar is a guitar
a piano is a piano
Flamenco is Flamenco
... :)
Diego Amador
Piano Jondo

1. Soleá del Churri (Soleá)
2. Pa los viejitos (Taranta)
3. Comparito (Bulerías)
4. Quiero olvidarte (Soleá)
5. A mi tío Diego (Rondeña)
6. ¡Vivan los gitanos! (Bulerías)
7. Seguiriya de pildorilla (Seguiriya)
8. El llanto de la lluvia (Tanguillos)
9. Continuum (por Tangos).

Diego Amador: piano, guitarras, mandola, voz y palmas.
Miguel Vargas: contrabajo.
Luis Amador: cajón y percusión.
Joaquín Grilo: baile, palmas y jaleos.
"No, you can't push it, you have to be flamenco, period...you're either flamenco or you're not. Although the piano, for all practical purposes isn't flamenco, you have to focus it in such a way that it enters into flamenco. I'm a guy who plays several instruments and I want whatever I play to sound flamenco, but without contrivances. It depends on the musician...if the person playing is flamenco, the final result is bound to be flamenco, even if it's bagpipes."



Adyghe 2

Ensemble Zchiw
CD 1:
1. Guest song.
2. Nart Shabatnuk.
3. Song Badynoko.
4. Shabatnuk.
5. Nart Dance.
6. Abadzehskaya marching song.
7. Aydemyrkan.
8. Song of the shepherd.
9. Kazbech Tuguzhuk.
10. Song terrible Nashhozhuka.
11. Song extracting bullets.
12. One hundred truths.
13. Dog and boar.
14. Song Shhaguashe.
15. Karakamyl.
16. Song geguako.
17. The history of the memorial.
18. Shapsug zafak.
Total time: 48 min 30 sec.
CD 2:
1. Sleepy sheep.
2. Psyhag.
3. Song of Dahanago.
4. Adagum.
5. Song Naqoura Shao.
6. Sorrow Boraza.
7. Sorrow Dzadzuny.
8. Lament for Aliyu.
9. Bird.
10. For whom do you give, Sue?
11. The song dedicated to his fiancee.
12. Song of the pupil.
13. Ancient dance.
14. Sandrakov.
Total time: 43 min 37 seconds.
Collection of Circassian folk songs with the accompaniment of folk instruments.
Zchiw Song Ensemble—Zchiw (Жъыу; literally: Chorus) is a newly established Adigean group that utilizes ancient musical instruments (no accordion  or baraban), and plays authentic songs of the bards as they would have been heard prior to the 19th century. Its directors and principal personnel are Zamudin Ghwch’e and Zawir Neghwey, both singers of considerable talent. Neghwey also plays the shich’epshine (Circassian violin). Other singers of note include Artur Abida.
Zamudine Guchev (Founder)
Foto thanks to Antplat. A lot more to read and see: here. Let google translate for you.



Khurajj Arsen - Shichepshin
Арсен Кураж - Шикапшина

01 - Yslamey
02 - Jalaghole Kafe
03 - Kafe
04 - Wuic Xesh
05 - Kafejj
06 - Melixhue Kafe
07 - Kafejj1
Folk artists Khurajj plays the classical Adyghe instrument Shichepshin.
Shichepshin, Schitsch'epschine, Shikapshina, Шикапшина
- stringed bowed musical instrument of the Adyghe (Circassians).
There are musical instruments - symbols of the people: a guitar and castanets, Spanish, Scottish bagpipes, Russian balalaika, the Greek lyre, pandora Ukrainians ... For the Circassians it is - the stringed musical instrument: Shichepshin. In the old days a Shichepshin was compulsory in the guest rooms.
 Shichepshin and phachich  in the guest-chamber
The name "Shichepshin" is derived from two words Circassian: shicha - horse tail and pshina - a musical instrument. It is called a "horse tail", because the strings and bow made of horsehair. In ancient times this instrument was indispensable part of any kind of Circassian family holiday. It's unusual sound is gently woven into the pattern of national melodies, giving it a unique flavor.
Shichepshin known in the North Caucasus since ancient times. There are Shichepshins in different forms: kinzhaloobraznye, lodkoobraznye, oval trapezium. Shichepshin are made of ash or alder body with a tool they have to be carved out of the wood. Decos, before the end of 18 century, were made from sheep's skin. Nut was not, instead the string is pulled with a strap, which was changed by moving Mensur.

As such, the traditional Adyghe instrumental ensemble comprised at least three sound units, three components. The first is musical instrument: a kamil (airophon), a shichepshin  (a kind of a violin) or a  pshina - an Adyghe harmonic, which appeared approximately a 100 years ago. There could be several musical instruments. There were cases a  kamil  used together with another  kamil,  a  kamil  combined with a  shichepshin, or a  shichepshin  used together with a  pshina.

Adyge folk musical instruments include the kamyl end-blown flute, the shichepshin fiddle, and the pkhachich percussion. The accordion became popular in the middle of the 19th century. Adyge folk tunes echo frequently in the works of Mikhail Glinka, Alexander Alyabyev, Mily Balakirev, and other classic Russian composers, who became acquainted with exotic local music while travelling in the Caucasus.
thanks for the music to www.Tscherkessen-Koeln.de


Horns and Flutes

Folklore Ensemble Ulitza
Through The Silence of the Village Streets


1. "Vanka - steward."
2. "Down the Volga River - a river.
3. "Between the steep Berezhkov.
4. "Do not wake me young."
5. "Down the mother, on the Volga.
6. "On the street pavement.
7. "I jumped in the box garden.
8. Tune on the grass whistle.
9. "Owl, my shovel."
10. Shepherd's signal ladnitse.
11. "Masha".
12. Dance tune.
13. "Father".
14. "Father".
15. "Smirenushka.
16. "Chebatuha.
17. "Timon."
18. Shepherd's signal "Cyril".
19. Shepherd's tone on the pasture.
20. "Steppe".
21. "Winter - winter".
22. "Golden Mountain".
23. "In the garden, whether in the garden."
24. "Russian." 
Performed by:

1. Trio Vladimir Rozhkov - 1-7, 20-24.
2. Ensemble herbal dudok - 8.
3. Double-reed - 9.
4. Ladnitsa - 10, 11.
5. PISHCHIK - 12.
6. Kursk horn - 13
7. Kugikly one couple - 14.
8. Kursk instrumental composition - 15-17
9. Vladimir horn - "Bass" - 18.
10. Vladimir horn - Vizgunok - 19
Today the streets of villages, towns rarely hear the tunes of any musical instrument. And if you hear, then most likely it will be an accordion or a balalaika, and still 50-60 years ago, the silence of the village street was violated by the naughty tunes of fiddles, horns, zhaleyka, whistles, kugiklah and other musical instruments. All this music has helped people in their hard peasant life.

This disc is made up of traditional instrumental numbers and songs of various regions of Russia and an attempt to restore and preserve historic musical heritage of the Russian people.

Folklore Ensemble "Ulitsa" (Street) was created in 2007, with graduates of the Children's Folklore Ensemble "Veretentse".

The main direction of the ensemble - the reconstruction and reconstitution of traditional instrumental music of Russia in its original, historically etc. including unique karagodnaya mnogoinstrumentalnaya tradition Kursk region and artisanal trublya on horns Vladimir, Vladimir, Kostroma, and Ivanovo Oblast.

For the most accurate and complete transfer of the samples performed music all team members involved in research activities related to finding the necessary materials in the literature, numerous folklore expeditions, in folklore and ethnographic records. Made by specialists, ethnographers over the last 100 years, etc...

Many of the tools that are, for whatever reason, it was not possible to buy or they are not suitable for certain parameters, director and team members make them themselves, having mastered the tradition of literary descriptions of manufacture or as a result of the extensive work of forwarding. Thus, traditional manufacturing, but today most of them neglected musical instruments, and collecting and performing traditional music for them, the ensemble "Ulitsa" gives a new life for centuries existed in Russia music.

Unlike professional instrumental ensembles of folk ( "Andrew") direction, the purpose of performing the activities of this small group is not only a propaganda tool of Russian culture and art, as well as its practical development through a comprehensive study. The challenges that are posed in front of the head and members of the ensemble: The study of the ethnographic context, closest to the original folklore, playing on makeshift neusovershenstvovannyh musical instruments, the preservation of one of the main principles of existence of the oral tradition of music - improvised basis variability and performance (music). This requires serious training (education), multi-expedition work, mastering the technology and manufacturing practices of folk instruments, and most importantly - a genuine love for the ordinary people and its art.

All participants in the ensemble of traditional instruments muzitsiruyut are at least 10 years old, and some of them in the ensemble "Veretentse" have done so since childhood. Their teachers were: Bocharova MA, Glamazdina FN, Kosheleva AA, Krasilnikov S., polar fox, ES, Kiselev GV and other folk singers. Therefore, they gradually attained such a high level of performance technique and expressiveness.

Email us for international booking: izba_rec@mail.ru 

Traditional instrumental music, polyphonic instrumental music, signals and folk tunes of shepherds, dancing folk tunes, Kursk instrumental structure, a Kursk small horn, Vladimir small horns "bass" and "squealing", grassy pipes, pistsick, ladnitsa, kougickles, a violin, a balalaika, repertoir of Southern Russian regions.