Flute & Satsuma-Biwa

Wil Offermans & Junko Ueda
Voice & Noise - How to Survive in Paradise


1. Voice & Noise (1992)

    * Part 1 8'54"
    * Part 2 3'27"
    * Part 3 5'42"
    * Part 4 5'41"

Junko Ueda, voice, satsuma-biwa
Wil Offermans, flute, bass flute
recorded on April 11 & 12 1992 at the church of Chêne-Pâquier, Switzerland

2. How to Survive in Paradise II (1990) 31'22"

Junko Ueda, voice
Wil Offermans, flute, bass flute, live-electronics
recorded on May 6, 1992 at Haags Gemeentemuseum, The Hague, Holland

All compositions by Wil Offermans
 Japanese singer and performer of satsuma-biwa Junko Ueda has performed all around the globe with Wil Offermans - a Dutch flutist/composer - as the Duo Ueda-Offermans. Combining the seemingly opposite oriental and occidental circumstances, Junko Ueda & Wil Offermans gave their first duo concert in 1988. Out of this unique combination they have developed their compositions and improvisations, exploring the integral time-space between ancient and modern, oriental and occidental. During the last years, the duo has appeared at numerous music festivals (i.e. Musique Action Nancy, Singapore Festival of Arts, Quebec Summer Festival, New Music Festival Middelburg, Musica Contenporena Bogota) and has toured extensively all over the world. After various solo productions, their duo CD titled How to Survive in Paradise was released.


What sounds great live is not necessarily a good record. But it is interesting enough to share it. Especially since the flute got such an important feature on this blog. And watch out what they'll be doing next... And let's see where we are going next, it will be interesting at least...

Hasta la posta proxima!


Voice & Gasba

Houria Aïchi
Chants de l'Aurès



01. Louange au Prophète (Praise to the Prophet)
02. Elle Sort du Bain (She Emerges from the Bath)
03. Chants de Partisans (Partisans Songs)
04. Salah
05. La Fille des Aïth-Abdi (The Girl of the Aïth-Abdi)
06. Fontaine Dis-Moi (Fountain, Tell Me)
07. Gloire aux Chaouis (Glory to the Chaouis)
08. Soussem
09. La Médisance (The Scandal)
10. Berceuse (Lullaby)
11. La Fuite (The Fight)
12. Les Amants (The Lovers)
13. Mes Frères (My Brothers)


Houria Aïchi: Vocals, Abendaïr
Saïd Nissia: Gasba, Jawaq
Houria Aïchi was born in the center of the Aurès, and she's still here to bring the musical algerian history to people all over the world. Patiently, she collects the last vestiges in the forgotten villages and interprets them by trying to remain so faithful as possible for the tradition.

Of its native mountain, Houria Aïchi kept a shape of sourness. And it is doubtless this purified aspect which seduced Bernardo Bertollucci to accompany a passage of its film " A tea in Sahara ". The first evidence for Houria Aïchi was to go towards the music. She is endowed with a very beautiful voice, powerful, at once pure and guttural impression especially due to her phrasing, both in Arabic and chaoui.

And then she arises from a family - and of a culture where the music is omnipresent. " To sing fact left the life, the education of the girls, it flows in source. To learn the directory is obvious " she explains in the interviews today. From the age of 7 years, Houria escorted her grandmother who was a renowned azriate. Sort of troubadours in the feminine, azriates went of feast to feast, agents of vocal techniques and directories which could so be passed on through valleys and generations.

Listenning to Houria Aïchi is like listenning to 300 years of history, tradition & feelings...
Houria Aichi was born in the Aures region of northeast Algeria and studied psychology in Paris, France, during the 1970s. Her music career only got started around 1985 when she started to perform on stage. At the time she was a sociology teacher. Whenever she took to the stage, audiences found her voice enchanting while the musical accompaniment of the GaSb (reed flute) and bender gave her performances a very unique edge. It wasn’t too long before she was able to record two albums, working mainly with only these two instruments and her own brilliant voice. ‘Songs Of the Aures’ was released in 1990 and ‘Hawa’ was released in 1993. After that Aichi was busy promoting her music so it was quite a bit later, in 2001, that she recorded her third album ‘Khalwa’. It is the third album, which is perhaps most special to the people of Algeria, since it is filled entirely with songs that are largely considered to be sacred to the people of Algeria.

Yet that was certainly not the end of her brilliant music career. In 2007 Houria Aichi met up with the music group Hijaz Car. Their passion for traditional Algerian music and song matched and it wasn’t long before a collaboration was formed. The final result was the release of the album ‘Aures the Cavaliers’. The music performed through this collaboration is a powerful mix of western Mediterranean lyricism, trance, story-telling and dark or melancholy images.
The gasba or qasaba (end-blown flute)
by Myriem LAKHOUA

I have chosen to tell you about the gasba because it tells me a story... the goat skin tent has been erected in the plain. The night sky is a constellation of stars. Red tea boils on the embers of the fire. The members of the douar have assembled and are listening to the storyteller who recounts stories of ancient and unchanging times. From one generation to another, the storyteller is the link that hands down experience and tradition. The best ones are poets. Their language idealizes a hard rugged life, in rhythm with the seasons.

Their song, the ghna, is accompanied by an instrument so simple that it expresses the genius of the simple life. The gasba, a flute of very dry reed without any reed or mouthpiece, has nine finger holes to produce its ancient melodies. It is decorated with Berber motifs in red and black. The flute supports the singer, called a ghannay, and urges him on. Sometimes, the flute prompts him. Fill up the silence and express the inexpressible! Their dialogue is proof of their complicity. Flute and singer become one to hand down their musical language.
The gasba (from the Arab "qasba" meaning "reed" and, in general sense, "reed flute") is a flute with a simple mouth hole. When accompanying a singer, flautists get as close as possible to his voice and melodic formulas. The bendir is intimately linked to the gasba, as it is its sole accompanying instrument. This frame-drum is approximately 50 centimeters in diameter and tensed with goatskind.






Stella Artois, Het Bier! by Charles Rohonyi, 1955

 picture source



Dizi and Xiao

Chinese Di and Xiao Solos 
by Luo Shou-Cheng
Pastoral Song


01. Autumn Night 03:14
02. Trip to Suzhou 04:45
03. A Love Song in Autumn Night 05:12
04. Flight of Partridge 05:54
05. Meditation on the Past 04:40
06. Mountain Song 04:09
07. Pastoral Song 03:30
08. Autumn Recollection 04:20
09. Autumn Moon on a Placid Lake 06:00
10. Rainbow Dress 05:11
11. Melody of Waves 05:13
Di and Xiao, Chinese woodwind instruments, interweave their sounds to display magic in full. The Chinese di is a bamboo woodwind instrument consisting of a a tube with six tone holes. The performance of this instrument depends on complex techniques of the tongue. The xiao is also a woodwind instrument. It can be made from bamboo, jade or porcelain. It creates soft tender sounds. Luo Shou-cheng is a famous performer of the Chinese di and xiao. After Luo graduated from the Shanghai Music Conservatory, he became a solo performer of the Shanghai Film Symphony Orchestra.

At a very old church in California, the skillful performance of Luo Shou-Cheng and the professional recording technique of Kavichandran Alexander interwaved a world where di and xiao display their magic in full.

The dizi

The generic term for the transverse flute in China today is "di". The most popular traditional type, a bamboo flute with six finger holes and a special hole for a "membrane" between the embouchure and first finger hole, is the dizi. In my understanding, dizi is pronounced vaguely like "dee-tsu", with only a quick touch of an unaccented vowel sound at the end; sometimes it sounds like "dee-tzzz". (The "zi" in "dizi" is a diminutive ending, so that dizi literally means "small di".)


The xiao

The xiao (pronounced somewhat like "showh", to rhyme with "cow", or "shyow") is an end-blown bamboo flute that is pitched lower than dizi.


Did I make fun of  "wind" music yesterday? Well this they call Solar wind.... and it is quite nice... no new age, but no old age either and they went all the way to a very old (ha ha) church in California, as if they did not have any very old temples in China... so the quest goes on.. : )


Chinese Flute

Tseng Yung-Ching
Magic of the Chinese Flute


01. Bird in the Shadows - 3:15
02. The Little Cowherd - 5:52
03. Joyous Meeting - 3:12
04. Song of Yimeng Mountain - 4:07
05. Spring Morning on Yangming Mountain - 6:23
06. Li-chu's Dream (Beijing Opera) - 4:12
07. Wheat Harvest - 4:33
08. "Pa-pan" - 4:50
09. View of a Mountain Village - 6:40
10. The Oriole Spreads his Wing - 3:33
11. Liu Ching - 2:01
12. Plum Blossom Triplet - 5:13
13. Ferry at Hsiao Yao (Beijing Opera) - 11:28
Beautiful and atmospheric Chinese flute music played by world-famous flute virtuoso Tseng Yung-ching. Accompanied on traditional Chinese instruments (yang qin – dulcimer, er-hu – Chinese fiddle, kong-hou – harp, various percussion, etc.).
Yes, and this is the closest we came in our quest for the Dizi so far, forget all these Chinese new age records, they call themselves Wind records, gone with the wind I guess, while ARC has become a serious record company you can almost trust... and that is a lot!
 While very ancient, single-tube Chinese flutes with finger holes have been found—made from the bones of birds or animals, stone, and jade—it seems that the earliest depictions of flutes in China show panpipes (now called paixiao). Pottery figurines of players of end-blown flutes (today called xiao, also spelled hsiao) survive from the Han Dynasty (206 BC–220 AD). Transverse flutes (today called di or dizi) became common later, though some sources state that they, along with the xiao, arrived in China from the western regions during the Han Dynasty.

read it all here here :)



100 gaidas ; )

Bulgaria: Gaida Orchestra
Bagpipe Music from the Rhodope


01. Rodopi Gaida Suita (Large Ensemble)   
02. Kapa Gaida Duo Contest   
03. Shirokalaka Gaida Suita (Veteran Ensemble)   
04. Rodopi Posadnitsa (Gaida Solo)   
05. Dospat Gaida Suita (Veteran Ensemble)   
06. Ovnyolyo Vakal Ramatan   
07. Rodopi Gaida Suita (Veteran Ensemble)   
08. Rodopi Suita (Gaida Solo)   
09. Rodopi Suita (Gaida Duet)   
10. Grashikovo Gaida Suita (Large Ensemble)   
11. Chereshko Chorna Vishnichko   
12. Rodopi Gaida Suita (Young Ensemble)   
13. Ovcheri Moi, Ovcheri   
14. Dospat Gaida Suita (Young Ensemble)
This CD is a collection of one specific type of gaida music, that of the kaba (low) ga-ida from the Rhodope mountains in Western Bulgaria. Tuned lower than its smaller brother the Thracian gaida which if often used to accompany dancing, the kaba gaida is occasionally featured in mass unison ensemble playing ( the so-called sto gaidi, or 100 gaidas-though no more than 18 kaba gaidas are heard performing in ensemble on this recording) or used as a single instrument in accompanying singers.

The fourteen tracks on this CD were recorded for Japanese JVC by members of youth and a "veteran"' ensembles from villages in the region around Smolyen in the Rhodopes. Presented are examples of the various performance forms in which kaba gaida is found, the solo (two examples), duo (two examples), solo accompaniment of a singer (three examples) and mass performance (seven examples). One tune is presented by both the youth and veteran ensembles.

Lynn Maners

Rhodope Mountains


The GAIDA (bagpipe) has two sounding parts: the Gaidounitsa and the drone. The Gaidunitsa is the most important part of the Gaida on which the performer plays the tune, and the drone accompanies the melody with a constant buzzing sound. There are two main types of Gaidas in Bulgaria: lower (“kaba”) and high (”djura”). The low (“kaba”) Gaida is spread in the Rhodope Moutain Region and the remaining types in the remaining parts of the country.


Shakuhachi and Organ

Masters of Zen
Shakuhachi and Organ
Hōzan Yamamoto & Wolfgang Mitterer


1. Encounter - Hozan Yamamoto/Wolfgang Mitterer/Masakazu Yashizawa
2. From A Distant Place - Hozan Yamamoto/Wolfgang Mitterer/Masakazu Yashizawa
3. Classical Feast - Hozan Yamamoto/Wolfgang Mitterer/Masakazu Yashizawa
4. Twilight In The Tirol - Hozan Yamamoto
5. Midnight Cathedral - Hozan Yamamoto/Wolfgang Mitterer
6. Blooming In The Peak - Hozan Yamamoto/Wolfgang Mitterer
7. Buddha's Smile - Hozan Yamamoto
8. Dedicated To The Organ - Hozan Yamamoto/Wolfgang Mitterer
The combination of electronic organ and shakuhachi may seem strange but if we recall that the ancestor of the electronic organ, i.e. pipe organ was an instrument in which air in a pipes is set in vibration, the combination, is not so strange.
山本 邦山
Hōzan Yamamoto
Born 1937


Head of the Hozan-kai Shakuhachi Guild, performer, teacher, composer and pioneer in expanding the possibilities of the shakuhachi, Hozan Yamamoto attended the Seiha Music College graduating in 1962. After formation with Reibo Aoki and Katsuya Yokoyama of the widely acclaimed "Shakuhachi Sanbon Kai" trio in 1966, he electrified the conservative traditional scene by applying his talents to a variety of crossover collaborations beginning with the jazz idiom in 1967. These have led him to work with such world renowned musicians as Ravi Shankar, Jean Pierre Rampal, Tony Scott and Gary Peacock. Through the seventies and eighties to the present he has led the shakuhachi world receiving innumerable honors, including Ministry of Cultural Affairs and Education Ministerial awards for his performances, recordings (numbering in the hundreds) and compositions. He currently serves as lecturer at The Tokyo University of Fine Arts and Music.

Designated Living National Treasure in 2002.
Hōzan Yamamoto (山本 邦山, Yamamoto Hōzan; born October 6, 1937 in Ōtsu, Shiga prefecture) is a Japanese shakuhachi player, composer and lecturer.


Wolfgang Mitterer (* June 6 1958 in Lienz, East Tyrol) is an Austrian composer and musician (organ, keyboard).


Don't trust the cover. Don't trust the title. This is not Gheorghe Zamfir & Marcel Cellier- Panflute & Organ (nothing wrong with that) and it is not Jean-Claude Jégat & Louis Yhuel - Bombarde Et Orgue (we are not in Brittany). These are not two Zen Masters... It is electronic organ and shakuhachi plus drum and bass, no not what you think... I guess you have to listen for your good self... : )



Aşıq Hüseyn Saraçlı



01. Agir Shekili
02. Bagdad Dubeyti(2)
03. Bash Saritel
04. Dagida Bilmez
05. Behrani
06. Dol Hicrani
07. Bagdad Dubeyti(1)
08. Etrafli Dubeyti
09. Qehramani
10. Mechul
11. Ruhani
12. Terif
Ashiq Hussein Saraclı In 1916, the Republic of Georgia in the Bolnisi district officials sacrifice the well-known person in the family Borcalının Saraclı was born in the village. In 1931, the establishment of collective farms during the period of his father, shot dead by Russian bolsevikləri.

Incomplete secondary education at the school's Saraclı it removes the peak of fame in the real sense, the name of the entire Caucasus, Turkey and Central Asia is still very young age the art of languages ​​əzbəri to the ankle. Saz Ismail learned tutmagı Saraclıda Here, Here and Sarvan Ibrahim Quscunun puxtələsib next holiday. Masters of the famous words of poet Fakhrali Borcalının Nəbinin and other talent bəhrələnib Agacanın yogrulmus with The Gift of God.

Ashiq Hussein Saraclı size-buxunu, sits, posture, speech, along with the conversation, but also the moral - with a high morality was a minstrel. Ashiq, yetisdirib possible Sadaxlı catdırdıgı səyirdləri Ahmad, Muhammad Sadaxlı, Sadi Ulaslı, Nureddin Gasimli and others on the horse, together with the major-lowlander Borcalını dolasar land-land, was invited to the near countries is heavily weddings, meetings would leave.

Ashiq Ashiq Hussein Saraclı was also creative. Languages ​​əzbəri seirlərin were a few epic, "Qurbəti-Karam", "Baghdad dubeyti as" good havalarının Ashiq Hussain was the author of many fiction and documentary film Saraclının speeches, television programs were yarasıgı. "Pipe sound" film caldıgı "spiritual" atmosphere of the great works of art as an example of the eternal life won tamasacını əfsunlayan.

Hussein Saraclı ashigs II and III of convention, held in Moscow in 1959, was an active participant in the art ongunluyunun.

Many of his poems, written articles, short film. Ozan wrote about the great national poet Bakhtiyar Vahabzade: "... He listened eposes Saraclının said. The visit of the master of the literary and figurative Alesker Here's the situation in front of the eyes, such as Performance canlanır. I could watch a beautiful opera. The opera he is the director, conductor and performer, and accompanied by the recipient. At the same time, he is the author of the liberetto, as well as a composer. "

Ashiq Hussein Saraclı Georgian Soviet Socialist Republic in 1980 and was awarded the title of the Honored worker of culture, the art collection of the works in 1992, "Writer" was published. People's poet of his life and works of art related to the activity Zelimkhan James "Hussein Saraclı epos" created account.

Ustad Ashiq died in 1987. Qəbristanlıgındadır Saraclı grave.  

Asıg bust in his native village.
Hasanov Hussein was born in 1916 in the village Saraclı. From his early years nurtured a love for art ashug, dastans and playing saz. The first teacher of a young Hussein was Ashyg Ismail. He later went to another prominent ashug his time Gushchu Ibrahim. Continued to study the poets and Nabi Sarwan Bayram (both from the village Fahralo). Ashyg Hussein Sarachly played on saz, wrote poetry and read epics.

The funds of the Azerbaijani and Georgian radio and TV recordings are stored Sarachly Hussein. They are used in the classroom on the acting faculty of the Azerbaijan Institute of Art. On the 60-year anniversary, he was awarded the name of "Honored culture" of Georgia.

Hussein died in 1987 Saraclı at age 71.

- confusion as usual by google :( - 

One in love



From Wikipedia, the free encyclopedia

An Ashik (Azerbaijani: Aşıq,Turkish: Aşık}, Persian: عاشیق, Armenian: Աշուղ, ashugh, Georgian: აშუღი, ashughi) is a mystic troubadour or traveling bard, in Turkey, Azerbaijan, Georgia, Armenia, and Iran who sings and plays the saz, a form of lute. Ashiks' songs are semi-improvised around common bases.
The Ashik tradition in Turkic cultures of Anatolia, Azerbaijan and Iran has its origin in the Shamanistic beliefs of ancient Turkic peoples.[1] The ancient ashiks were called by various names such as bakhshi (Baxşı), dede (dədə), and uzan or ozan. Among their various roles, they played a major part in perpetuation of oral tradition, promotion of communal value system and traditional culture of their people. These wandering bards or troubadours are part of current rural and folk culture of Azerbaijan, and Iranian Azerbaijan, Turkey, the Turkmen Sahra (Iran) and Turkmenistan, where they are called bakshy.


The word Ashik, derives from Arabic word Asheq (عاشق), and means the "one who is in love (Ishq, Turkish: Aşk),Azerbaijani: Aşiq,Eşq)".


Wire in the city of saz...

Aşıq Ədalət
Telli sazın sehrində


01 - Yanıq Kərəmi
02 - Naxçıvani
03 - Ruhani
04 - Shəmkiri
05 - Bolu muxəmməsi
06 - Misri
07 - Divani
Among many kinds of the Azerbaijan musical traditions the Ashig performing was always the most popular in all regions of Azerbaijan. They use to name it "the art of Saz-n-Word". Just like today guitar or piano at the West, Saz is often the «family instrument» for Azerbaijan inhabitants, even if in the home there are no professional musicians.

Saz is the conventional pinching instrument of the Turkish people. The Ashig performing with Saz accompaniment is the sequence of the extremely emotional singing, poetically rhythmic speech and short phrases of contrasting simplicity. Saz – is a good fellow traveler of Ashig, wherever he is going to: to love date, cheerful holidays, severe fight with an enemy... This factor also determines the variety of the theme range of the Ashig performance.

Frequently young Ashig (literally: "One in love") beats on strings of the Saz and improvises, poetically praising his love. Most successful from these eastern serenades are saved in memory of the nation and are repeated by other Ashigs. This basic element of the Ashig's repertoire makes them related to such characters of western culture as minstrels.

But probably even more popular kind of Ashig performing is a dastan performance – traditional poetry of long ballads, love stories and legends which public performance transforms into multi hour performance and sometimes is carried on for several days. The most known dastans are Ashig Garib, Koroghlu, Asli and Karam, Gachag Nabi, Abbas and Gulgez etc.

Ashig music is perfectly perceived both in solo performance, and in performance by ensemble. It can be heard both in male, and in female performance.
© azerbaijan.aznet.org 
Nəsibov Ədalət Məhəmmədəli oğlu (Ashiq Adalat) - Ashiq, Honored Art Worker.
Ashiq Adalat was born in 1939, in the Kazakh region.
His father learned to play good. Innate talent of the young age of the face, was invited to məclislərə.
Calgısının love with his talent has been the national poet.
The "Qaytarma", "Baş sarıtel", "Ruhani", "Yanıq Kərəm" and other good havalarının unique performer.
Aşıq Əli was his master.
 Aşıq Əli
google got to try harder :)

Thanks to Ramin/Shark for introducing me, quite some years ago, to this music, which I love ever since I listened to it for the first time...