Chau do Pife
Ninguém Anda Sozinho



01. Lamento Sertanejo
02. Vai Lá Pra Ver Se É
03. O Casamento do Pife
04. Forró Nascente
05. Nas Curvas do Forró
06. Raízes de Alagoas
07. De Eu e Tu, Quem Tem Mais
08. Casinha Branca
09. Merengue Pra Lá de Bom
10. Niguém Anda Sozinho
11. Saudade de Não Sei o Que
"Nobody Walks Alone" Chau do Pife is a popular artist of Alagoas, Northeast, revered to for his prowess with the pife, a kind of bamboo flute, in the case of Chau the pife is of aluminum. Imagine great instrumental solos with forró and interesting pife & accordion: that is what this disc contains.


The tradition of the “Ternos de Pife”,  “Bandas de Pife” or “Esquenta muié” is the name that is already part of our cultural expression, as is well known and we can do part of the soul of Alagoas. Two bands are well known, that of which appeared in Caruarú Arapiraca Caruarú and headed there taking that name and that of Marechal Deodoro, and beyond two soloists who became famous, the first of João Do Pife, considered the King of Pife and I am now presented to them, without shadow of doubt, the new King, and he already has a name, it is Chau Do Pife the heir to the tradition left over the years by João, who unfortunately left us two years ago.

Chau is a native of Boca da Mata, situated in the forest zone of Alagoas, we can say Master Pife this is that he is the son of the people who know the art of playing as pife Main today accounts for this instrument that is part of the Cultural Traditions and Folk Art and northeastern Alagoas. Chau always says: "I am among those who think it is for do, has to be done well, that's how I do my music. " Nobody walks alone is title of this LP and one of his tracks, and has an arrangement that is a real magic, the sound extracted the chords of the instrument, a more rudimentary, found in almost all continents, but in our region, has an unmistakable sound and it makes our artist infeitiçados our ears. Since the tracks "Lamento Sertanejo" and "Roots of Alagoas" Chau presents us with two compositions that give a true interpretation in his Pife with what call roots music, pure root Alagoas, acompqanhado the accordion by Tiao Marcolino, son of Colonia Leopoldina land of Luiz Wanderley.

poetic translation again thanks to google :-)

In northeast Brazil, on the rural lands, people use a bamboo fife named Brazilian Fife (in Brazil its called Pife Nordestino or just Pife, and pronounces like Peef). This fife is a mix of Native American flute traditions with European fife traditions. The groups that use this instrument use only flute and percussive elements in their music, in a profusion of Native American, African and European traditions.



Paras Nath
Flute bansuri


1. Raga Megh
2. Pahari Dhun
3. Raga desh
4. Raga Gujari Todi
5. Varanasi Folk Tune
6. Light Dhun
7. Raga Madhuvanti
8. Raga Chandra Prabha
The bansuri a bamboo flute is one of the oldest instruments of the Indian sub-continent. And the young Paras Nath is from a dynasty of flautists whose family tradition of dedication to the art of flute playing stretches back four centuries Sublime melodies are inspired by divine love. The Indian flute has always been associated with the God Krishna. The CD opens with the Raga Megh which is played during the monsoon season. At this time the whole of nature quivers and hearts waver between joy and melancholy.
Born in the family of traditional Flute players of Banaras in 1954, pandit ji has learned flute since his very early childhood. He first started receiving his formal training at the age of nine from his father Pt. Shiv Nath Prasad (a renowned flute player) & uncle Pt. Anant Lal (a renowned Shehnai player).

Pt. Amar Nath has inherited his art from his own family tradition (Banaras Gharana) which is nearly four centuries old and which has produced some of the great flutist of India.

Pandit ji has performed in numerous prestigious music conferences in India & Abroad. Namely ICCR, Sangeet Natak Academy, Bharat Cultural Integration Committee, Sahitya Kala Parishad and has won accolades from the Critics of Indian Classical Music. He also has performed many times in National Program of Doordarshan Kendra and Akashawani.

He has performed in many Western Countries and has given numerous solo performances in countries like Holland, West China, Germany, England, Switzerland, U.S.A., Japan, Russia, Korea, Thailand, Australia, Hong Kong, Taipei etc.

His CDs have been released in U.S.A., which have made a great impact on the listeners. One of his memorable performances in abroad was in “50 years of Indian Independence Festival” in Kazakhstan held under the auspices of ICCR.



Caval, Fluier, Cimpoi

Ștefan Dicu
"Jocuri mândre de la noi"


01. Sarba-n bataie, Sarba ca la Vartop, Sarba ca la Vrata (caval, bagpipe, flute)
02. Hora cujmirenilor - caval
03. Baluta - caval
04. Hora ca la Gruia - flute
05. Sarba ca la Corbu - flute
06. Sarba ca la Calafat - bagpipe
07. Tinca popii, Hora pe furate, Hora-n doua parti (caval, flute, bagpipe)
08. Sarba ca la Prejna - caval
09. Boierasca - caval
10. Bulgareanca - flute
11. Hora Nutei - flute
12. Floricica - bagpipe

Ștefan Dicu: caval, flute (fluier), bagpipe (cimpoi).
& Orchestra Ansamblului "Maria Tanase" Din Craiova

The caval is an aerophone instrument of Balkan farmers, especially shepherds. It can be found throughout in the south east (Wallachia, Oltenia, Moldavia) as well as in the mountains of central Romania. The caval is a big straight flute (approximately 80 cm long) made of ash, cherry or plane wood. It consists of a tube partially closed at the top by a cork (dop) with five finger holes and a rectangular mouth hole (vranã) on the opposite side.

Farmers make the caval in a number of sizes. The one in the photo is an average size, about 76 cm in length. Recently, the caval has been tuned to an F-scale to make it easier to play in folk music groups.

The caval can produce from two to four or five partial sounds simultaneously. Its hoarse, soft and expressive tone is sometimes imitated by violinists who play "like the caval". Its instrumental effects include changing pitch in the same piece (by blowing harder) and playing in parallel octaves (on the first and second harmonics).

When playing the caval, the musician produces a throaty sound: "in tune" and stable in relation to the melody (in Oltenia) or of an undetermined and fluctuating pitch (in Wallachia and Moldavia, like the recording here). The caval can easily play complex melodies that are highly ornamented with appogiatura, mordents, trills, small glissandi and tremolos. Its rich and varied repertoire includes long songs (doinã), lyric songs in instrumental versions, dance tunes and the instrumental poem "The shepherd who lost his sheep".


Pipe musicians are generally from rural Romanian backgrounds and not from gypsy lăutari families. In the town and state ensembles they play fluier and caval, with additions of tilinca, nai, cimpoi (bagpipe) and may be other not so common pipes, clarinet or taragot, and when it comes to their solo this is most often a suite which progresses through all the different pipes in succession.
( : ♥ : )



Aristidis Vassilaris
Greek Musical Instruments, Vol. 3



01 - Skáros [3:53]
02 - Zonarádikos [3:59]
03 - To kláma tis flogéras (The floghera lament) [5:21]
04 - ''Th' anastenákso mána'', kléftiko (Oh how I will sigh!) [3:51]
05 - ''Sti kendisméni su podiá'' (On your embroidered apron) [3:03]
06 - Mirolói moraïtiko (Miroloi -lament- from the Moreas) [3:42]
07 - ''To Lagiarní'' - ''Ta pírane ta próvata'' (The black sheep - They took the sheep) [5:18]
08 - Karsilamás Makedonías (Karsilamas from Macedonia) [2:50]
09 - Mandilátos [3:17]
10 - Beráti Thessalías (Berati from Thessaly) [4:00]
11 - ''Mílo mu kókkino'' (My red apple) [5:23]
12 - Mirolói ipirótiko (Miroloi from Epirus) [3:53]
13 - Tsámiko ipirótiko (Tsamikos from Epirus) [4:14]
14 - Sérvikos (Servikos) [3:32]
15 - Nyxteriní flogera (Night time floghera) [4:07]

Aristidis Vassilaris, floghera
Spyros Vassilaris, daouli
Vangelis Karipis, toumbeleki
Stelios Kastianis, laouto
I was born in 1932, in Riolo, Achaia, a province in Greece's western Peloponnese. My name was actually Basilaris, but I changed it to Vasilaris. My father, who was from Riolo, played the zourna, or "pipiza" (a type of clarinet), the floghera, the daouli (tabor), and was also a singer. He played at weddings, village festivals, baptisms, engagements and other celebrations. That was how he made his living.

When I turned seven, I decided that I also wanted to play an instrument, so my father gave me a floghera, which had six holes, not eight, as do the ones I play today. I began playing it, but I felt something was missing; there weren't enough finger holes. I told my father, who said, "Nothing's missing, that's how flogheras are".

"Well, I can't play it like that", I said, and he replied: "Do whatever you like then". So I found a nail and opened two more holes, one at each end, and that way I had the full scale of eight notes. I played the floghera until the age of twelve. Then I started to play the zourna, because my father started to take me to festivals and weddings and so on. I knew all the songs and sang as well. Often my father got me to play "klephtika" songs on the pipiza.

But the people wanted to hear the clarinet, so I got rid of the other instruments and went and got myself a clarinet.

After I came up to Athens, I continued playing the clarinet and then had my first trip abroad, around 1966, to Rome. On the train journey home, I leaned against a door and fell out and was badly injured. It took me five years to recover; I had lost my memory and had a very difficult time as I was very very poor.

Then someone took me to the radio station. Simon Karras was there and told me to play the floghera. So I gradually began to take it up again and was was able to earn my living. Then I began recording and eventually arrived where I am today.

What is the floghera made of?

It's made of reed, and rarely of wood. The best reed is to be found in do in dry river beds, and should be shiny, like glass. You have to cut it when the moon is full. That's what the old folk used to say, otherwise the sound is not good. It also must not be thickly knotted, because a floghera of 25-30 cm long should have only one knot, low down.

How do you perforate the reed?

You cut the reed the length you want and then start to make the finger holes. First you place your fingers on it in the playing position and that way you work out where the holes should go. You make them starting form the bottom, toning each one as you go, by ear. My own flogheras, the small ones, go as high as one and a half octaves. If I want two octaves the floghera must be 35-40 cm long.

What singers have you worked with during your career?

Before I started recording, mainly with folk singers I have played with Fotis Halkias, in Agrinio with Karnavas, with someone called Tsotsomitsos, another called Baykantis, in Athens I was in time to work with Papasideris, with Roukounas and with Rosa. I played on six songs she recorded for Columbia. I also played with Zachos for many years, with Christos Panousos, Manolis Papageorgiou, Tassia Vera, Sophia Kollitiri and particularly with Eleni Konomodi from Feneo in Corinth.

Do you remember any musicians in particular that you have worked with?

Yes, I played with old Mallios from Patras, with old Livaditis on tsimballo and violins with Koros, old Arapakis, the father of Alecos, with Telemachos, with Kallintiris in Patras, in Agrinio with Nioniakos, in Preveza with Tzemos, and many others. I have also worked with composers such as Yannis Markopoulos and Vangelis Papathanasiou.

Were the flogheras accompanied by other instruments?

Not here in Greece. Only when we went round singing the kalanda (Christmas carols) we also had a little daouli with us. Only the shepherds played the instrument. I was the only one who started playing with other instruments, in a group.

Bone flute found at Dispilio (Greece) dated at 7000 B.C.
The floghera - a cylinder open at both ends - is usually encountered in mainland Greece. Apart from the nation-wide use of the word "floghera" for this instrument, Greeks have many other names for it:

floera, foughiera, flouera, flora (Greeks form the region of Kavalki, northern Thrace),
flioros (Nikisiani Pangaiou, in the region of Kavala);
flaouro (Mt. Pelion);
makrofloghera (Cassandra, Halkidiki region);
kalami, tzourlas, tsourlas, zourlas, sourlas (Peloponnese);
tzamara, tzouras, tzourai, tziradi (usually in Epirus);
varvanga (Karditsa and Trikala);
kavali, kavala (Thrace, Macedonia);
ghaval (Pontic Greeks);
paghiavli (Lesbos, Chios);
tsafari, tsafiar (northern Greece, Peloponnese);
nai or nei (no longer used);
darvira, dilivira (Roumeli, Peloponnese, Evia);
vivrira, svirka and pistoulka (Serres);
doudouka, toutoukin (Komotini);
soupelka (Ardea region in Pelli);
violi (Dorio Trifillias, in Messinia);
lavouto (Amorgos).



The Great Bulgarian Masters


1. Theodosii Spassov - Igra s kaval
2. Nedyalko Nedyalkov - Bavna melodia
3. Nedyalko Nedyalkov - Trakiyska rachenitsa
4. Dancho Radulov - Bavna melodia
5. Dancho Radulov - Varnensko horo
6. Dancho Radulov - Gebedjiysko nastroenie
7. Stoyan Alexandrov - Bavna melodia
8. Stoyan Alexandrov - Shumensko horo
9. Matyo Dobrev - Jensko horo
10. Matyo Dobrev - Bavna melodia
11. Nikola Toskov - Bavna melodia
12. Nikola Toskov - Nenovsko horo
13. Nenko Tsachev - Bavna melodia
14. Nenko Tsachev - Kotlensko horo
The Kaval is a wooden pipe that comprises three parts. The uppermost part of the Kaval has no finger- holes. There is a special ring made either of antler or of bull horn which is fitted there and from where the sound itself is produced. The middle part has eight apertures, seven on the front part and one on the back. Musicians use only these eight holes. The third part has only four holes. The uppermost hole sets the basic tone and the remaining three are resonant. Without them the Kaval cannot produce sounds in the lower register. 
Kaval & Duduk

Kaval is the father of our contemporary flute. Scientific researches so far have proved that the descent of this unique wind instrument is from Ancient Persia. Thereafter this flute was transferred by proto-Bulgarians into Eastern Europe it was spread and widely used as a solo and accompanying instrument in ensembles for folksongs and dances. May be our Lord had blessed some Bulgarian master-musicians and they managed to approve the acoustic qualities of this flute, as they have also developed a new model. They turned the Kaval into a work of art by wood-carving, inlay, engraving with ornaments from Bulgarian folklore and this did not change its tone qualities.

The kaval (Turkish pronunciation: [kaˈvaɫ]) is a chromatic end-blown flute traditionally played throughout Azerbaijan, Turkey, Bulgaria, Macedonia, Albania, Kosova, southern Serbia (кавал), northern Greece (καβάλι or τζαμάρα), Romania (caval), and Armenia (Բլուլ or blul). The kaval is primarily associated with mountain shepherds throughout the Balkans and Anatolia.
Unlike the transverse flute, the kaval is fully open at both ends, and is played by blowing on the sharpened edge of one end. The kaval has 8 playing holes (7 in front and 1 in the back for the thumb) and usually 4 more near the bottom of the kaval. As a wooden rim-blown flute, Kaval is similar to the Ney of the Arab world. The name "Kaval" may once have been referred to various Balkan duct and rim-blown flutes, accounting for the present day diversity of the term’s usage.
 Bulgarian Kaval
The kaval that is most common in Bulgaria is the one in middle (D) register. The kaval in lower (C) register is also not uncommon for this country. What is characteristic for the Bulgarian style of kaval performance is the incredible diversity of sound shades and techniques. According to the pitch there are 4 different registers that can be achieved with the Bulgarian kaval. What controls which register the performer works in is mostly the air flow and to some extent the position of the mouth and the lips on the end of the kaval. A very characteristic sound of kaval is achieved in the lowest register. It could sound very mild and gentle if blown lightly while by changing the air stream a deeper (flageolet like) sound is achieved. This sound is so outstanding that some consider it another register that they call - kaba. It is also very interesting to notice that the technique of circular breathing is successfully utilized while playing the kaval. This technique lets the performer play without interrupting the air flow, while taking a breath through the nose. In the past it has been considered an extraordinary skill while nowadays it is used by more and more young performers. 



Hmaoui Abdel El Hamid
La Flute de L'Atlas

02.El Golla
03.El Hanane
05.El Khaima
07.El Manane
10.Bent Sahrah
12.La Noria


Ney – Hmaoui Abd El Hamid
Orchestra [Kemantche, Luth, Kanun, Mezoued, Darbouka, Bendir, Tar] – Unknown

Ney, Nay

Name: Ney or nay
Classification: aerophones
Origin: Central Asia

One of the oldest forms of flute is the ney, the endblown flute. The word ney means reed and the instrument is played from Morocco to Pakistan. To the same family belong the Kaval and the Salaam flutes which are thicker and are usually less longer than the classical nay.The oldest forms of the nai dates back to the age of the pyramids, shown on Egyptian tomb paintings as early as 3000-2500 years BC. The oldest nay found was 5000 years old, in good shape and playable. The intervals were the same in use today. These kind of ney are still used among certain Ethiopian tribes. The origin of the word comes from the early Persian "nây" which simply means flute.

It is an end-blown flute with seven holes, six fingerhholes plus a thumbhole. The Turks started to use wood, bone, horn around the 11th century and now even plastic mouthpieces, really liprests. As for playing, the fingering and lip technique remain the same. This embouchure is called bilabial blowing, upper and lower lip are used to partially close the end of the tube.

The name of the top of the ney is Baspare in Turkish. Turkish style ney's have a special mouthpiece which is called Parazvana (some kind of black cone which protects the mouthpiece). Both Arab nai and Turkish ney come in different lengths, each one being tuned to a specific pitch, simular like the irish pennywhistle.
A neyeti or ney player usually has a set of neys to use depending on the Maqam and key. The normal set consists of seven Neys. However, a competent Ney player usually uses two one being the dokah. The Neys are referred to by the name of the second note. That is the note the Ney produces when the first hole is uncovered. In the typical Ney, the note is "D". It is usually called by the Turkish name which is "Dokah". For the Docah Ney, when all the holes are covered, the basic note is 'C' or Do as most Egyptian musicians call it.  Notes are also produced by partially opening a tonehole, changing the blowing angle or a combination of the above and also by altering your blowing force. The G note in the 1st register is the same pitch as the all-holes-closed note in the 2nd, as is the C in the 2nd reg. and the closed C of the 3rd; these alternate fingerings are used for musical purposes and to check internal tuning and angle position.

Arabs play more rhythmic, reflecting the instrument used in the sheperd tradition, a good example is the use of the ney in oriental music. A classical nai is usually longer, the folk models like the kavala or kawal - which has no thumbhole - are shorter.

In Turkey the ney is a more urban classical instrument. The Turkish style is more smooth and flowing. In Turkey, the Mevlevi (Whirling Dervishes) long ago adopted the ney as their main instrument in the Sema, the spiritual service that includes the trance dancing spinning.



Gorô Yamaguchi
Great Masters of the Shakuhachi Flute



1. Yûgure-No-Kyoku ("the tune of everything")
2. Igusa-Reibo ("rush plant yearning for the bell")
3. Sôkaku-Reibo ("nesting of a crane")
4. Hô-Shô-Su ("young phoenix")

Extra shakuhachi (track #4): Hômei Matsumara
Gorô Yamaguchi  plays some of the most austere pieces in the shakuhachi repertory for this recording. The music generally has something of a plaintive nature, but includes some rather dissonant-sounding passages, including trills. This music generally has associations with Zen.

Gorō Yamaguchi (山口 五郎) February 26, 1933- January 3, 1999, a Japanese shakuhachi (vertical bamboo flute) player, was known for his musicality, phrasing, impeccable technique (and modesty) in solo and ensemble performances. He headed the Chikumeisha shakuhachi guild and became a world-famous Japanese performer and teacher. In 1967-68 he was appointed Artist in Residence at Wesleyan University in Middletown, Connecticut (USA).

While at Wesleyan, Nonesuch Explorer Series recorded his "Bell Ringing in an Empty Sky" LP, an influential first recording of shakuhachi in the US. NASA included one honkyoku from that LP, "Tsuru No Sugomori," (Nesting of Cranes) on the Voyager Golden Record which was sent into space. In 1992, the Japanese government designated Yamaguchi a Living National Treasure (Ningen Kokuhô).
Gorô Yamaguchi is considered one of the greatest Japanese shakuhachi players of the 20th century. From 1992 to his untimely death in January of 1999, at the age of 65, he was designated "National Living Treasure," a unique title given in Japan to artists who attained the highest mastery of their art. This CD, released by Auvidis in 1988, presents a master at the height of his art. What strikes with Goro Yamaguchi is the subtlety of his playing. The music is so meditative, so peaceful, so gentle, so natural, so masterly and effortlessly performed (although this flute is considered one of the hardest to play). Meditative music at is best! ~ Bruno Deschênes
The shakuhachi (尺八, pronounced [ɕakɯhatɕi]) is a Japanese end-blown flute. It is traditionally made of bamboo, but versions now exist in ABS and hardwoods. It was used by the monks of the Fuke school of Zen Buddhism in the practice of suizen (吹禅, blowing meditation).



Lee Saeng-Kang
The fragrance of bamboo
The commemorative record of the 60th anniversary 
of great musician Lee Saeng Kang's musical life

CD 1

대금 산조 - 이생강류 (Daegeum Sanjo - Lee, Saeng Kang Made)

1. 진양조 (Jinyangio) (13:46)
2. 중모리 (Jungmori) (9:57)
3. 중중모리 (Jungjungmori) (12:45)
4. 자진모리 (Jajinmori) (6:52)
5. 엇모리, 동살푸리, 휘모리 (Utmori, DongSalpuri, Hwimori) (2:28)

피리 산조 - 이생강류 (Piri Sanjo - Lee, Saeng Kang Made)

6. 진양조 (Jinyangio) (5:35)
7. 중모리 (Jungmori) (5:08)
8. 중중모리 (Jungjungmori) (5:31)
9. 자진모리 (Jajinmori) (4:32)

CD 2

퉁소 산조 - 이생강류 (Tungso Sanjo - Lee, Saeng Kang Made)

1. 진양조 (Jinyangio) (7:58)
2. 중모리 (Jungmori) (6:42)
3. 중중모리 (Jungjungmori) (4:27)
4. 자진모리 (Jajinmori) (4:42)

소금 독주 (A Sogeum Solo)

5. 긴 아리랑 (Long Arirang) (3:59)
6. 이별가 (A Song Of Farewell) (2:06)
7. 상주함창 (연밥 따는 노래) (Sangjoohamchang) (2:25)
8. 한 오백년 (Long Five Hundred Years) (2:19)
9. 정선 아리랑 (Jungsun Arirang) (4:03)

단소 산조 - 이생강류 (Danso Sanjo - Lee, Saeng Kang Made)

10. 다스림 (Sasreum) (0:25)
11. 진양조 (Jinyangio) (3:28)
12. 중모리 (Jungmori) (4:10)
13. 중중모리 (Jungjungmori) (5:17)
14. 자진모리 (Jajinmori) (2:21)

태평소 독주 (A Tapyungso Solo)

15. 태평소 능게 (Tapyungso Neunge) (5:50)
16. 태평소 시나위 (Tapyungso Sinawi) (9:48)
Lee Saeng-kang is the maestro of Daegem, a Korean traditional bamboo flute, designated as a Living Human Treasure by Korean government. He is the one who presented Daegeum to the world by playing solo in the 60s. Before his recital, this instrument was only accompanied with other instruments on the stage. He first learned to play Korean traditional bamboo flutes at eight. He has devoted himself to these wonderful instruments for 60 years. His solo Daegeum performance drew wide attention in 1960 when he improvised it at an international folk music festival held in Paris. The originally unscheduled performance brought Daegeum into the spotlight as a solo performance instrument. He also pioneered the crossover music, playing with Western musical instruments as early as the late 1960s. Then he played Korean and Western popular songs and jazz pieces with Daegeum. His oeuvre includes more than 400 albums. He celebrated his 60-year musical career at the Sejong Center for Performing Arts in Seoul in 2004. 
Daegeum (Korean Bamboo Flute) Sanjo

This album presents the masterful performance of Daegeum, a Korean traditional large bamboo transverse wind instrument which has a buzzing membrane that gives it a special timbre, by the master Lee Saeng-Kang. Daegeum dates back to 7th century Shilla dynasty. It is one of three transverse flutes, the large Daegeum, the medium-sized Junggeum, and the small Sogeum.

Daegeum has one blowing hole, six finger holes, and an extra hole covered with a thin membrane called Cheong (located between the blowing hole and finger holes). Cheong is a white resonant membrane cut from a reed's inner film which makes this instrument produce a distinctive buzzing sound that is refined and calm. There are two different types of Daegeum: Jeong-ak Daegeum (for classical and court music) and Sanjo Daegeum (for folk music). Of all Korean wind instruments, the Daegeum produces the softest and most graceful tone. 



Bansuri & Tabla

Hariprasad Chaurasia 
Zakir Hussain


1. Rag Ahir Bhairav: Alop And Jor
2. Rag Ahir Bhairav: Slow Gat In Rupak Tal/Fast Gat In Teental


Zakir Hussain (tabla drums),
Pandit Hariprasad Chaurasia  (bansuri - Indian flute).
Credited to Hariprasad Chaurasia and Zakir Hussain, this recording by Mickey Hart of the Grateful Dead dates from December 1974 and was recorded in Fairfax, CA. It consists of the early morning raga "Ahir Bhairav."
Classical flute music from India that is both devotional and romantic. The divine playing of Hariprasad with tabla master Zakir Hussain moves mountains of emotion.
This historic concert took place in 1974 (Street Date Nov 10, 1989) at the Stone House (literally a large granite room) in Fairfax, California, and was a youthful collaboration between two true geniuses of Indian classical music.
The Bansuri flute is one of the three original forms of rendering Indian Classical music according to ancient scriptures - Vaani (Vocal), Veena (String) and Venu (Flute). According to Hindu mythology, it is the instrument of Lord Krishna and is thus very popular for playing folk music. The introduction of the flute in modern Indian Classical concerts has been rather recent however, and the late Pandit Pannalal Ghosh has been widely recognized for this achievement.

Pandit Hariprasad Chaurasia further enhanced the bansuri playing style, with his innovative fingering and blowing techniques and took bansuri music to yet higher level.

The Hindustani bansuri flute usually consists of a blowing hole, six fingering holes and one tuning hole (though in some cases, flutes do not have tuning hole). The pitch of the bansuri varies depending on the length and diameter of the bore. The longer the flute, the deeper its pitch. However, longer flutes are also difficult to blow and finger. To balance this tradeoff, most Hindustani bansuri players tend to choose bansuri with pitch E (safed teen) and this flute is approximately 30" long.

Naturally, the bamboo suitable to make bansuri is not available freely. In its entire length, the flute bamboo should not have a node. If you think about it, it is not common to find a bamboo that is thin, straight and yet does not have a node for 30". Such bamboo species are only found in the jungles of Indian states of Assam and Kerala. Before making the flute, the bamboo is seasoned so that the natural resins strengthen it. It is then blocked with a piece of cork or rubber stopper from one end. Holes are then burned into it as drilling holes often breaks the bamboo. The proportions between bamboo length, bore, diameter of each hole and the location of stopper cork are extremely critical for getting the tuning of the bansuri right. Strings are then tied around the bamboo for both decoration and protection.

The Bansuri is a versatile instrument. It can easily produce all basic elements of Hindustani music variation such as meend (glide), gamak, kan. Versatile bansuri players also produce emotions in their music through variations in blowing style.

The Bansuri is a very simple instrument. Unlike string instruments, it does not need tuning once it is tuned by the flute maker. However, as Hariji puts it, it is Krishna's instrument and the Lord has made it deceptively simple. To become adept in the bansuri, one needs many months of practice.



The Jolly Boys
Pop 'n' Mento



01. Mother And Wife
02. Love in the Cemetery
03. River Come Down
04. Ten Dollars to Two
05. Banana
06. Big Bamboo
07. Ben Wood Dick
08. Touch Me Tomato
09. Shaving Cream
10. Watermelon
11. Back to Back
12. Nightfall

This Jolly Boys line up consisted of:

Allan Swymmer - Lead vocal and drum
Moses Deans - Banjo and vocals
Noel Howard - Guitar and vocals
Joseph Bennett - Rhumba box and vocals
"In winter of 1946, Errol Flynn purchased Navy Island. For the next decade it became the staging point for his unending party that is today the stuff of legend. The entertainment Flynn featured most often in those days was a small local group called the Navy Island Swamp Boys which consisted of Noel Lynch on Guitar, Moses Deans on banjo and “Papa” Brown on rumba box. When this group broke up in 1955, Moses and Papa reformed the group with Derrick “Johnny” Henry on maracas & drum, Martell Brown on guitar, and David “Sonny” Martin on guitar. When Papa couldn’t make gigs, Allan Swymmer was brought in (he later became a permanent member). Legend tells us that Errol Flynn named this group “The Jolly Boys” after the vibe he caught from their playing."


Bagad & Bass

Bagad Men Ha Tan
Henri Texier
Doue Lann

1. Les deux frères
2. Le cimetière des bateaux
3. Cayenne
4. Gwall amzer
5. Vents d'Est
6. Santa Maria
7. Café du port
8. Pub
9. Doue Lann
10. Félicité
11. Cap'tain
12. Port blanc



Henri TEXIER : contrebasse.

Pierrick TANGUY : compositions et direction du bagad
Ronan LE GOURIEREC, Christian MEHAT, Dominique CHAPRON, Magali DAVY, Nathalie DRANT, Gwenaël GOULENE, Guénolé KERAVEC : bombardes
Ronan GEFFRAY, Gaël JANNEE, Erwan KERAVEC, Patrice LE CORRE, Patrig LE ROUX, Tanneguy TESTARD : cornemuses
Ronan MELEARD : biniou koz
Stanislas AMBLARD, Tangui BODIN, Jean-Charles DAVY, Hervé LE ROUX, Tanguy LE ROUX, Pierre LE TOUX, Steven MARTIN, Jean-Noël PATRU, Ronan VILAIN : batterie
Tangui BODIN : accordéon
enregistrés à Saint Nazaire fin 1997.
"Pierrick Tanguy, ancien responsable du Bagad Kemperle, a réuni une nouvelle formation, constituée de musiciens issus de plusieurs bagadoù, pour pousser plus loin la démarche entreprise à Quimperlé. La musique de Pierrick Tanguy fait rimer sobriété et efficacité et le résultat est superbe tout simplement, très fort, à tel point que certains morceaux vous donnent la chair de poule. Al'image des photographies de Michel Thersiquel qui illustrent le livret vendu avec le CD. Un bel objet." LE PEUPLE BRETON

"La production bretonne est fascinante. Henri Texier respecte l'orchestre de Pierrick Tanguy, avec les contrastes, entre la stridence des bombardes, des cornemuses et du biniou, face aux grondements des batteries, mais il innove aussi." LIBERATION


Breizh and no end...

L' Empreinte de la Bretagne
Impressions of Brittany


01. Ronan Le Bars - Heol Ebrel
02. Erik Marchand - An Tri Beur
03. Tan, Bagad Men Ha - Doue Lann
04. Nicholas Quemener-Ronan Le Bars - Jackie's Tune
05. Quintette De Clarinettes - Lann Benn Davad
06. Fresu-Marchand-Pellen - Steredenn
07. Kemener-Sqiban - AR Bambocher
08. Didier Squiban - Variation 3
09. Jacques Pellen - Feunteun Wenn
10. Bagad Kemperle - Galicienne
11. Mélaine Favennec - Au Bout du Vent
12. Manu Lann Huel - Enez, Molenes
...and one more:
and don't miss that one :)

In the spring of 98, the Bagad Men Ha Tan released their CD « Doue Lann » with the double-bassist Henri Texier. The music written by Pierrick Tanguy paid homage to the little Finistère port of Doëlan and its fishermen.

The music of « Doue Lann » was the framework for the encounter between the Bagad and the Senegalese percussionists of drum-master Doudou N’Diaye Rose. That show traveled throughout France in May and June 1998 and was an immense success. The encounter couldn’t stop there. Doudou N’Diaye Rose indeed wished to record this astonishing cross-cultural mix before the 2000 tour. And we accomplished this in Dakar last April. Doudou N’Diaye Rose - Senegalese percussionists

Composed of musicians who are also part of the best bagadou of Brittany (Locoal-Mendon, Quimper, Quimperlé, Saint-Nazaire), under the direction of Pierrick Tanguy, Men Ha Tan has taken up the vocation of disseminating original and lively music, of promoting encounters between different musical universes. This vocation corresponds to the current direction of Breton music in full evolution, which meanwhile holds fast to its roots.

Author of the national anthem of Senegal, and of most of the radio and television show theme music in his country, the Master Drummer of Dakar, Doudou N’Diaye Rose is a reference in African percussion. Living legend, solicited by the biggest musicians (Peter Gabriel, Dizzie Gillespie, Nina Hagen...), he is accompanied by a dozen drummers.

Pierrick TANGUY
Musical director and composer for the Bagad Kemperle for many years, Pierrick Tanguy has multiplied his musical experiences (Henri Texier, Louis Sclavis, Eric Marchand, Dan Ar Braz, Jacques Pellen, Kristen Noguès, Michel Godard, Aldo Romano, John Abercrombie, Steve Swallow, Joe Lovano, Paul Motian, Bill Frisel, Dewey Redman, Kenny Wheeler, Claude Barthélémy, Sylvain Kassap...). His compositions are played by many groups and bagadou.