His Afro-Cuban Jazz Ensemble
With Flute To Boot


A1. Brazilian Soft Shoe
A2. Love Chant
A3. Afro-Jazziac
A4. Ring A Levio
A5. Afternoon Death
A6. To Birdland And Hurry
B1. Calypso John
B2. The African Flute
B3. Bacao
B4. Carabunta
B5. The Davis Cup
B6. Answer Me


Herbie Mann (fl)
Johnny Griffin (ts)
Curtis Fuller (tb)




Machito - Biography

By Robert Leaver
Francisco Raúl Gutiérrez Grillo was born in the heart of Havana, Cuba where his father manufactured cigars. His musical talent was evident when as a mere child he sang and danced around the factory entertaining the workers. He became known by his nickname, Machito or “little macho,” as he sang and played maracas in various groups before relocating to New York City. By 1940 he was making his mark as a bandleader and throughout the 40s and 50s he would remain at the vanguard of Afro-Cuban jazz. He was instrumental in connecting the Latin and African-American musical realms; his group served as a bridge between Spanish and Black Harlem mixing jazz and Afro-Cuban musical elements. In doing so Machito & his Afro-Cubans changed both musical forms, forging them New York’s urban crucible into a new conception- Afro-Cuban or Latin jazz.
After singing and performing with Sexto Occidente de María Teresa Vera, Sexteto Agabama (singing harmony vocals with the great Abelardo Barroso), and Conjunto Los Jóvenes Rendención in Havana he was tapped to travel to New York City with La Estrella Cubana in 1937. His enthusiasm and ambition let him to gigs with various groups in New York including Conjunto Moderno, Cuarteto Caney and Orquesta Hatuey. He made his first recording as lead singer with pianist Noro Morales’ group and performed with the popular Pupi Campo. Machito formed his own group in 1939 with horn player, arranger and brother-in-law Mario Bauza who would continue as his principal musical director for decades. Their original configuration didn’t last and Machito joined Orquesta Siboney and recorded with Hollywood’s favorite Latin bandleader, Xavier Cugat.
Machito’s recordings with Cugat such as “Llora timbero,” “Cachita,” and “Bim Bam Bum” gave him a new level of popularity, perfect for launching his own group. Towards the end of 1940 he teamed up again with Bauza to create Machito & his Afro-Cubans. Modeled after swing orchestras with a large brass contingent of trumpets and saxophones they featured an expanded Afro-Cuban rhythm section. Their inaugural gig at Park Plaza Ballroom in New York on December 3, 1940 marked the beginning of a new era in Latin music. Machito and Bauza collectively would create a modern, sophisticated Latin big band sound that charged the swing of Ellington with a high-energy jolt of complex Afro-Cuban rhythms. The mixture would prove compelling to both aficionados of Jazz and Latin music and help break the music out of the barrio.
Steadily recording and releasing 78 r.p.m. Singles for Decca records, Machito and his Afrocubans had a huge hit in 1942 with “Sopa de pichón” (pigeon soup). The handsome and popular singer Miguelito Valdés joined the group that year and recorded a number of sides. The original Mr. Babalu, Valdés boosted the bands popularity and provided the model for the Desi Arnaz character on the television show I Love Lucy. The band continued despite Machito’s stint in the U.S. Army in 1943 as Puerto Rican singer Polito Galíndez, Cuban singer/composer Marcelino Guerra and Machito’s own sister Graciela took turns fronting the band.
During this time of war and change they began experimenting with different brass and reed alignments changing from the two trumpets, three sax lineup to two trombones, one trumpet and three saxes, mostly played by musicians from the jazz world. Combined with the Afro-Cuban rhythm section of piano, upright bass, conga, bongo and timbales and several harmonizing singers they unleashed a new musical force on the big apple. When Machito returned after his military duty was completed Graciela became a fixture by her brother’s side singing racy rumbas and romantic boleros.
They debuted the Mario Bauza composition “Tanga” (inspired by the African derived word for marijuana) in 1943 which musicologists now point to as the first distinct piece of music that one would call Afro-Cuban Jazz or Latin Jazz. Impresario Symphony Sid Torin coined the phrase “Cubop” to describe the sound. Bop luminaries such as Stan Kenton, Zoot Sims, Charlie Parker, Dizzy Gillespie, Howard McGhee, Herbie Mann, Buddy Rich, and Cannonball Adderley performed and recorded at various times with the group. The band kept busy performing in such famous venues as the Palladium and the Royal Roost and recording for numerous labels such as Decca, Roulette, Seeco, Verne, Crescendo, United Artists, and RCA Victor.
Tremendo Cumban 1949-1952 (Tumbao Spain 1991) compiles some of their timeless hits including “Donde Estabas Tú,” “Carambola,” “Blen Blen Blen,” “Mambo Inn,” “Si Si, No No,” and the title track. Another excellent compilation of late forties 78 r.p.m. recordings, Mucho Macho: Machito and his Afro-Cuban Salseros (Pablo 1978) showcases a variety of mambo variations; classics include “Asia Minor,” “U-Bla-Ba-Du,” “Donkey Serenade,” and a swinging version of W.C. Handy’s “St. Louis Blues.” In the ‘50s Machito would be instrumental in ushering in the golden era of Latin big bands and the mambo and cha cha cha crazes. Tunes such as “Chattanooga Cha Cha,” the Machito original “Relax and Mambo,” and “Mambo Infierno” marked the era; the LP compilation Machito plays mambo & cha cha (1956 Seeco) is commonly found in Latin music collections.
Long playing album releases such as Cha Cha Cha at the Palladium (1954 Tico), Asia Minor (1955 Tico), and The Sun Also Rises (1954 Tico) perfectly captured the spirit of the times. Kenya: Afro-Cuban Jazz (Roulette 1957, reissued as Latin Soul + Jazz, Tico 1973) is a dazzling recording that captures the vibrant acoustics of Pathé studios in East Harlem (which used to be the Odd Fellow’s Club). Great arrangements and ample jazz soloing capture the mambo era in full swing. The following year they released With Flute to Boot (1958 Roulette) featuring maestro flautist Herbie Mann. During this time when gang activity was rampant with the youth in New York the city called on Machito to perform a free concert in Central Park to quell the rising violence.
In the early ‘60s the band continued its relentless pace of gigging and recording. They released an excellent live recording, Machito at the Crescendo (GNP 1960), of mostly instrumental tunes such as “Pachanga at the crescendo,” “Cuban Fantasy,” and “Varsity Drag Combo” (whose inspiration is not as salacious as it may seem). The ‘60s ushered in the era of the violin and flute laden style of Latin dance called pachanga. Although Machito did not drop his monstrous brass section he brought in Panamanian flute wizard Mauricio Smith with The New Sound of Machito (Tico 1962). Iconic singer Miguelito Valdés returned to the fold briefly and they recorded Reunion (Tico 1963). The powerful vocals of his sister were front and center on the classic Esta Es Graciela or “This is Graciela” (Tico 1964); check out her version of the now standard “Guampampiro” The follow up album was entitled Sentimental and Intimate (Tico 1965) emphasizing the slower romantic bolero song form.
As the young Latin generation in New York turned to a more lean and gritty styles- boogaloo and salsa- Machito’s old style became a bit passé. In an effort to reach the youth he released Machito Goes Memphis (1967 RCA Victor) with Latinized versions of “In the Midnight Hour,” “Green Onions,” and oddly enough the Rolling Stones’ “Satisfaction.” Mostly overlooked at the time it remains a strangely compelling musical document.
With the era of the Palladium and mambo long gone, Machito and his musical partner Mario Bauza reunited with jazz legend Dizzy Gillespie and arranger Chico O’Farrill to record what would become a textbook for many Latin jazz aficionados- Afro-Cuban Jazz Moods (Pablo/OJC 1975). After that Machito and Bauza ended their four decades of collaboration and Machito brought his sons into the fold. Fireworks (Coco 1977) featured a new young vocalist, Lalo Rodriguez, who later became a star of the “salsa romantica” movement of the ‘80s.
Machito and his Salsa Big Band (Timeless 1982) is an excellent live recording from the North Sea Jazz Festival in Holland that catches the band in full swing as they stretch out, in contrast to the more constrained and shorter studio recordings. It was honored with a Grammy for Latin Jazz that same year. Live at North Sea (Timeless 1982) and Machito !!! (Timeless 1983) followed, both of which featured legendary Cuban trumpeter Chocolate Armanteros. The following year while in London for an extended stint at Ronnie Scott’s Jazz Club he passed away on April 15, 1984. With a career that spanned an impossible seven decades Machito is one of the most iconic and influential figures in the history of Latin music. Moreover he influenced the course of American jazz and popular music while constructing the framework for a new genre- Afro-Cuban jazz.

text source 

Herbie Mann Wiki

need to read a book?

try this one : ) 


Singing Clarinet

Giora Feidman
The Dance of Joy


01. Ani Ole L´Yerushalaim ( 2:36 )
02. Rue du Bac ( 4:14 )
03. Forget the Rears, It´s beautiful ( 3:57 )
04. If I were a rich man ( 2:56 )
05. Chassidic Dance ( 2:55 )
06. Giora, for your Neshama ( 4:33 )
07. Yankelle ( 2:59 )
08. Somebody loves me ( 2:34 )
09. The Dance of Fire ( 4:18 )
10. Song for the Earth ( 2:55 )
11. Dance of Joy ( 2:23 )
12. The Wedding Waltz ( 2:40 )
13. Sphiel zhe mir a liedele ( 2:36 )
14. L´Chaim ( 3:37 )
15. Song for Two ( 3:13 )
16. The Freilach Dance ( 2:31 )
17. Rue du Bac – Encore ( 1:38 )

 Clarinet – Giora Feidman


Giora Feidman was born in Buenos Aires, Argentina, where his Bessarabian Jewish parents immigrated to escape persecution. Feidman comes from a family of klezmer musicians. His father, grandfather and great-grandfather made music for weddings, bar mitzvahs, and holiday celebrations in the shtetls of Eastern Europe. Feidman married Ora Bat-Chaim, his personal manager, in 1975

Feidman began his career in Buenos Aires as a member of the Teatro Colón Symphony Orchestra. Two years later he immigrated to Israel to become the youngest clarinetist ever to play with the Israel Philharmonic Orchestra. He was a member of the orchestra for over 20 years. In the early 1970s he began his solo career. He has performed with the Berlin Symphony Orchestra, the Kronos Quartet, the Polish Chamber Philarmonic, the Munich Chamber Philarmonic Orchestra, and the Munich Radio Orchestra.

Movie director Steven Spielberg invited him to play the clarinet solos for the soundtrack of Schindler's List, which won seven Academy Awards.

Feidman founded the "Clarinet and Klezmer in the Galilee" seminar and master class program, which takes place every year in Safed, Israel.

 Klezmer, the language of the soul 
The unique music of Eastern Europe Jews is called "klezmer". The klezmorim (the musicians) were traveling musicians who spread their songs throughout the land and often struck up in the many little cities ("schtetl") that were so influenced by the Jewish faith, particularly at wedding ceremonies, feasts and dances. The emotional awareness of life that these homeless Eastern Europeans experienced alternated between one of melancholy, despair and unbridled joy in the untroubled hours they had. These contradictory moods find expression in klezmer music. This music can be arousing, funny and full of the joys of life, but it can also bring one to tears.

For the immigrant Eastern European Jews, this was how the music they had passed from one generation to the next over the centuries came to mix with the sounds of their host countries: In the USA, it mixed with jazz; in Argentina it mixed with tango. All of these melodious variations were now reuniting and blending together in the new Jewish nation and they also included some Arabian elements. They became the songs of a people that were once again allowed to be a people, but one which first had to find its own identity.

Giora Feidman plunges deeply into this "Jewish Soul", taking on various influences und developing them further into his own interpretations. The clarinet proves to be the ideal instrument to do just that, to find expression in the realm of emotional nuances. He travels from one kibbutz to the next with his small group of musicians and simply performs. The renaissance of the klezmer was then to take its course.

In the early 1970s, Feidman left the Israel Philharmonic Orchestra and began giving klezmer concerts in other countries. And the world listens intently - to the astonishment of many, who don't consider this kind of music to be socially acceptable. The well-known Jewish composer, Ora Bat Chaim, protagonist of the rising klezmer movement in the 1960s, recalls:

"Time and time again I was told that there is no audience for an artist, regardless of how talented he or she may be, to fill an entire evening concert program exclusively with Jewish music. Oh, how wrong they were! My years of experience tell me that precisely Maestro Feidman's abilities as a musician and entertainer are responsible for doing just that. His innovative concerts were given "standing ovations" around the world - and that fact truly speaks for itself."

Feidman left Israel in the early 1970s and traveled to New York as a soloist. He enraptured the stages of the world, from London to Tokyo, with his klezmer interpretations. In many foreign countries his name soon became well-known, but in Germany he was still practically unknown. That was to change quickly, when the director Peter Zadek began looking for a Jewish musician for his production of the musical "Ghetto" by Joshua Sobol in 1984. An Israeli colleague played Zadek some of Giora Feidman's music and Zadek was extremely enthusiastic. He then inquired with Feidman in New York, asking when Feidman could send one of his clarinet students to Berlin. The master made the journey himself.

The piece, with Esther Ofarim as the leading lady, debuts at the Berlin Playhouse and at the German Theater in Hamburg and is instantly a huge success. Germany discovered Giora Feidman, just as the musician discovered theater.

This was how Jewish Soul found its way to Central Europe. In 1985, the initial plans for his first record appeared, "Viva El Klezmer", and during the course of the coming years their numbers would eventually grow to several dozen (see Discography). The clarinetist, who is just as multifaceted as he is keen to experiment, found himself continually pushing off to new shores with his new formations and the number of people who eagerly and avidly accompanied him - both in the concert halls and in front of loudspeakers in their own livings rooms - continued to grow.

Aside from this, the works of George Gershwin and tangos from his Argentinean homeland can all be found in Feidman's concert programs. Symphonic works of contemporary Israeli composers (Ora Bat Chaim, Betty Olivero) would later find their way increasingly into his repertoire, along with other classical works, including Mozart's clarinet concerts.

The concert stage has long not been enough for him. Over and over again he finds his way back to theatrical works, musicals, operas and films. Together with Itzak Perlman, he performed the soundtrack for Steven Spielberg's epic holocaust work "Schindler's List", which was awarded an "Oscar" in 1994. He also performed in "The Comedian Harmonists" and in "Beyond Silence". In 1995, he caused quite a furor with the dubbing of the silent movie classic "Golem", as he did in 2005 with his piece "Nothing but Music", a production in ten poetic images.

Because of all of these projects, the musician Giora Feidman has become an ambassador of sorts, who specializes in building bridges between peoples and cultures.

The man has remained modest and has not earned fame as a noted orator. He would rather let his clarinet do the talking and is therefore gladly invited to the biggest of events. He performed the world premiere, together with members of the Berlin Philharmonic Orchestra, of Ora Bat Chaim's composition "Love" at the ceremony to commemorate the millions of victims of the National Socialist regime in the plenary hall of the German Federal Parliament in January 2000. And in August 2005, he was invited by Pope Benedict XVI to play at the vigil on World Youth Day in Cologne, Germany - before an audience of more than 800,000 people.

Today, the virtuoso Feidman is a personality of contemporary history. In 2001, he was awarded special acclamation in Berlin with the Great Cross of Merit with ribbon for his special achievements concerning the reconciliation between the Germans and the Jews.

"I don't play the clarinet. I am a singer", Giora Feidman once said. "I sing through my instrument." During the long song of his life, the first tunes of which were sounded in South America and which have guided him across all of the earth's continents, many, many verses have come together. And the number is still increasing. It is a timeless, very emotional song that doesn't need any texts. People listen with enthusiasm and their souls sing along.

"I consider music to be spiritual nourishment. Without this nourishment we simply couldn't survive." 
Giora Feidman



A Voice From Morocco

Abdelhadi Belkhayat
El Mounfarija


01.♥ El Mounfarija
02. Asmaa Allah El Housna
03. Lak El Hamd
04. Chaâ nour Mohamed
05. Allah houma raba mohamadine



Abdelhadi Belkhayat, born Abdelhadi Belkhayat Zougari in 1940 in Fès (Morocco), is a moroccan singer.

Attracked to music at an early age, Abdelhadi Belkhayat went to Cairo and joined the Conservatory of Music. After his training, he had to choose between singing in Egyptian dialect or go back to Morocco with no success yet. Abdelhadi Belkhayat opted for the second choice. Armed with a strong voice, Abdelhadi Belkhayat did not give up. He first sang Mohammed Abdelwahab's « Qassida » which earned him a local recognition.
Later on, along with Abdelwahab Doukkali, Lmaâti Belkacem and the late Mohamed El Hayani, Abdelhadi Belkhayat help shape the golden age of moroccan music.

After such successful albums like ''Ya Dak L'insane'', ''Qitar Al Hayat'' and ''Ya Bent Nass'', Abdelhadi Belkhayat became Imame (muslim priest) and release an islamic-themed album, ''Al Mounfarija''.


The other outstanding personality of the modern Moroccan song is Abdelhadi Belkhayat. He too was born in a very conservative family and he too had the Moroccan Radio to thank for his success. He was very young when he left Fez for Casablanca. He was quickly welcomed by Moroccan audiences but his success became really dazzling only after his touring Algeria for the first time in 1963.With his spellbinding voice and his classical repertoire, he moved the hearts of Algerian, Tunisian and Libyan audiences. As all young people who were his contemporaries, he felt attracted by Egypt, the country he had to thank for loving music. He stayed there for two and a half years but, as he was very shy, he was not given the welcome he had expected. This made him feel bitter and he left the country he loved so much with a number of bad memories, though his studying at the High Institute of Arab music taught him what was lacking in his innate talents of crooner.

In 1969 he was back in Morocco and his fame went on increasing. He began to set to music texts by Ahmed Tayeb Elalj, Mustapha Abderrahman, Ali El-Haddani, Abderrafi El-jahwari and others among the best Moroccan poets. He has given performances all over the Arab World and in Western capitals.

In Paris the performance he gave in 1973 at the Olympia theatre had attracted so many people that half of them could not get in. Used to tour countries once a year, in 1989 he went as far as Afghanistan, and we may conlude thereof that nowadays Moroccan song is known the whole world over.

This outstanding career, started in 1963, he decided would come to an end in 1989 when, still at the top of his fame,. he went to Oran to take leave from the people who had first recognized his talent. He is now devoting his time to the madih and the religious qasidah-s with a mind to deepen his religious faith and go back to the origins. In Casablanca,. he is now the appointed muezzin of the mosque in his district: five times a day his voice is heard praising God. He has left to others the care of singing sensual love.

 A. Hachlef
January 1990
Translated by M. Stoffel

(Thanks to Bolingo)

...some say there are 99 names of "God", oh what blasphemy, there are many many more then you can ever imagine, so shut up and listen, open your heart, and all your seven senses...

...been listening all day : )



Cattle herd in a wheat field.




Margot Leverett and
The Klezmer Mountain Boys
2nd Avenue Square Dance


01. Farmer s Market
02. Stoney Lonesome
03. Electric Kugel
04. Second Avenue Square Dance
05. Ternura (by K-Ximbinho)
06. Little Moses
07. Sidney s Tsveyte Bulgar
08. Calgary Reel
09. Geena's Dream
10. Come Along Jody
11. Tumbalalaika
12. Boreasca
13. Mississippi Waltz
14. Lee Highway Blues
15. High Lonesome Honga
16. Abe s Retreat
17. Zaydn s Tants
18. Porges Waltz


Margot Leverett, Barry Mitterhoff, Kenny Kosek, Joe Selly, Marty Confurius.

With guest artists:

 Jorma Kaukonen, Hazel Dickens, Tony Trischka, Darol Anger, Mike Marshall, David Grier, Bryn Bright, Carlos Oliviera, Hankus Netsky, Dudley Connell, Ronnie Simpkins, David Licht, Bobby Shankin.




 "Klezmer and bluegrass sound as if they were meant to be combined. At least that's the conclusion after listening to this terrific album. Leverett & the Klezmer Mountain Boys have given us a wonderful gift Dirty Linen “Master 're-arranger' Margot Leverett gently whisks listeners from the Black Mountains to Mount Sinai. There is plenty of toe-tapping (if not foot-stomping) fun." Hadassah Magazine “The Klezmer Mountain Boys will stun and delight you...borscht and grits never tasted so good." Cafe Guide Clarinetist, Margot Leverett & The Klezmer Mountain Boys expand their repertoire beyond Bluegrass and Klezmer, exploring new dimensions of Rock, Jazz, Latin and American folk music. While continuing their unique, hybrid interpretations of standards made famous by Bill Monroe and Dave Tarras, Second Ave. Square Dance features guest appearances by electric guitarist, Jorma Kaukonen of Jefferson Airplane and Hot Tuna fame, legendary folk singer Hazel Dickens, banjo virtuoso Tony Trischka and a host of musical friends from around the world, including Darol Anger, David Grier, Mike Marshall, David Licht, Hankus Netsky, Carlos Oliviera, Dudley Connell, Ronnie Simpkins, and Bobby Shankin. Special Guest - Jorma Kaukonen (of Jefferson Airplane and Hot Tuna fame) explores his Jewish Roots!! Barry Mitterhoff mandolin, Kenny Kosek violin, Marty Confurius bass, Joe Selly guitar 1. Farmer’s Market 2. Stoney Lonesome 3. Electric Kugel 4. Second Avenue Square Dance 5. Ternura 6. Little Moses 7. Sidney’s Tsveyte Bulgar 8. Calgary Reel 9. Geena’s Dream 10. Come Along Jody 11. Tumbalalaika 12. Boreasca 13. Mississippi Waltz 14. Lee Highway Blues 15. High Lonesome Honga 16. Abe’s Retreat 17. Zaydn’s Tants 18. Porges Waltz How did a Rock star, American Folk singer and a host of jazz and folk virtuosos end up on a Klezmer record? Or is it a Klezmer record?! Jorma Kaukonen plays regularly with mandolinist, Barry Mitterhoff in their trio “Hot Tuna.” When Jorma heard the stuff Barry was doing with The Klezmer Mt. Boys, he was intrigued. Besides, Jorma has Jewish ancestry on his mother’s side which has been until now, musically unexplored. Working with Klezmer clarinetist, Margot Leveret, Kaukonen learned some of the ornaments and stylistic melodies of Klezmer. He combined those with his own rock sensibilities and they came up with a doina (improvisation traditionally played at a Jewish wedding) renamed Electric Kugel (track 3), followed by at traditional sounding bulgar (festive dance) called Farmer’s Market (track 4). Tumbalalika (track 11) showcases Jorma’s slower sensitivity on acoustic guitar. America’s banjo virtuoso, Tony Trischka has appeared with virtually every Bluegrass musician of note. He is recognized as the teacher of Bela Fleck and is known for appearances on Garrison Keillor’s Prairie Home Companion, Mountain Stage, From Our Front Porch, and other radio shows. In the late 90s, Trischka teamed up with David Grier, Darol Anger, Mike Marshall, and Todd Phillips as “Psychograss” and formed a new band, whose debut album Bend explored yet more territory uncharted by banjo. In January 2007 Tony released, to critical and popular acclaim, Double Banjo Bluegrass Spectacular, featuring new music and performances by a stellar line-up of musicians including Earl Scruggs, Bela Fleck and even the multi-talented Steve Martin. On April 26, 2007, he performed live on The Late Show With David Letterman with Steve Martin and BÈla Fleck. That year, he won his three nominations at the International Bluegrass Music Awards; for Album of the Year, Recorded Event of the Year and Banjo Player of the Year. This was some long-deserved recognition for Tony and marked a homecoming to the bluegrass community. As a friend of the Klezmer Mt. Boys, he graces many tunes with stunning banjo solos including Bill Monroe’s Stoney Lonesome (track 2) & Tex Logan’s Come Along Jody (track 10). Hazel Dickens, one of America’s foremost Bluegrass singers became nationally renowned when she was featured in the documentary “Harlan County USA.” Born in 1935 in West Virginia, she became known for her pro-union, feminist songs, besides one of the few women band leaders in Bluegrass with two noteworthy albums recorded on Folkways label: "Who's That Knocking (And Other Bluegrass Country Music) (1965)" and "Won't You Come & Sing for Me (1973)" She performs the only vocal song on the CD, Little Moses (track 6) which features her raw, folk style in a religious folk ballad made famous by the Carter family in the 1920’s. Away by the river so clear, The ladies were winding their way, And Pharaoh's little daughter stepped down in the water To bathe in the cool of the day. Before it was dark she opened the ark And found the sweet infant was there. And away by the waters so blue, The infant was lonely and sad. She took him in pity and thought him so pretty , it made little Moses so glad. She called him her own, her beautiful son and sent for a nurse that was near. And away by the river so clear, They carried the beautiful child, To his own tender mother, his sister and brother, Little Moses looked happy and smiled. His mother so good done all that she could to rear him and teach him with care. And away by the sea that was red, Little Moses the servant of God, While in him confided, the sea was divided, As upward he lifted his rod. The Jews safely crossed while Pharaoh's host was drownded in the waters and lost. The Jews safely crossed while Pharaoh's host was drownded in the waters and lost. And away on the mountain so high, The last one that ever might see, While Israel victorious, his hope was most glorious he'd soon o'er the Jordan be free. When his labor did cease, he departed in peace and rested in the Heavens above. The Ensemble Margot Leverett, (clarinet) is one of the foremost of the new generation of klezmer clarinetists. Classically trained at Indiana University School of Music, she was involved in avant-garde music when she first heard klezmer, the dynamic East European music traditionally played at Jewish weddings. Leverett was a founding member of the Klezmatics in 1985 before moving on to launch a solo career. Her first CD, “The Art of Klezmer Clarinet,” is a tribute to classic Klezmer of the 20’s and 30’s, and was released in 2001 on Traditional Crossroads (CD4296) to glowing reviews. She tours internationally and has performed and taught traditional and original klezmer music at festivals and workshops around the world. In addition to founding and directing the Klezmer Mountain Boys, Margot Leverett performs with Udi Bar-David and the artists of Intercultural Journeys, a concert and cultural organization to promote intercultural dialogue. They are featured guest artists with the Philadelphia Orchestra this year www.philorch.org. Margot has toured Japan twice with The New York Ragtime Orchestra and has been featured in several Off-Broadway productions. Leverett was a staff instructor at KlezKamp for over 10 years and has also taught at KlezKanada, Klezkamp West, Klezmerquerque, and at colleges, music festivals, and Jewish organizations across the country. She leads open klezmer jam sessions at her synagogue in Queens www.AstoriaCenter.org and around the world. Marty Confurius (bass) has appeared with virtually all the top people in both bluegrass and klezmer music. His credits include work with Vassar Clements, Bela Fleck, Jerry Douglas, Andy Statman, and klezmer legend Dave Tarras. Joe Selly (guitar) has appeared with Phoebe Snow, Vassar Clements, Barbara Eden, Melissa Manchester and Tex Logan and toured nationally with the Lombardo Orchestra. He is featured on countless recordings and is in demand as both performer and instructor in bluegrass, jazz and swing. Kenny Kosek (fiddle) has appeared with Jerry Garcia, John Denver, James Taylor, David Byrne, and his own Angelwood bluegrass band. He appears on numerous recordings, and has published dozens of instructional books. He is the bluegrass instructor for Homespun videos and is well known in Bluegrass, Irish, country western, and rock and roll violin. Barry Mitterhoff (mandolin/guitar) is a leading figure in bluegrass music as well as klezmer. He has played with Tony Trischka and Skyline, John Gorka, Jorma Kaukonen and Hazel Dickens. He has been a featured performer at Carnegie Hall, Alice Tully Hall, Merkin Hall, the White House, the Library of Congress, and the Telluride Bluegrass Festival as well as bluegrass festivals across the country and Canada.



Voices from the Planet

Ladies of the World
Douze Femmes Pour La Planète



01. Nazare Pereira - Clarao de Lua
02. Lucília do Carmo - Antes Nada Saber
03. Katerina Vlahou - Mia Voskopoula Aghapissai
04. Haydee Alba - Milonga Sentimental
05. Rada Volghanin; Rada Volshaninova - Palso Bylo Vlyublyatsya
06. Jean Redpath - Dumbarton's Drums
07. Sylvie Sivann - Oyfn Veg Shteyt a Boym
08. Marie-Line Dahomay - Yo
09. Kady Diarra - Noumou - Soumani
10. Beihdja Rahal - Istikhbar: Taraqqab Idhâ Djanna Adhalâmou
11. Sikandar Langa - Chandura
12. Poline - Manureva


  Review by Thom Jurek

Playasound brings together the voices of women artists from around the globe for an enchanting, genre-defying listen to the various music of Europe, the Middle East, Asia, Polynesia, and South America. All of the performers here were/are “stars” in their native regions, given to both faithfully interpreting tradition and making their individual nations’ musical heritages interact with other popular sounds. Greece’s Katerina Vlahou's “Mia Voskoupla Aghapissai” walks a line between standard national folk lineages and the mournful yet forbidden sounds of rembetika. Israel's Sylvie Silvann's "Oyfn Veg Shteyt a Boym” marries antiquated Yiddish music to modern technology and the sounds of cabaret music. Even an ancient Scottish folk song like “Dumbarton’s Drums,” as interpreted by Jean Redpath, marries her plaintive voice to an acoustic guitar rather than drums, fifes, and pipes. Check Poline’s "Manureva,” a traditional Hawaiian song that here intersects with the sounds of '50s country complete with steel guitars. This is a provocative listen as well as an enlightening one.



Voices from Flanders

Laïs - Laïs


01. De Wijn
02. Barbagal
03. Isabelle
04. 't Zoutvat
05. De Wanhoop
06. In This Heart
07. Min Morfar
08. 't Jeugdig Groen
09. De Wereld Vergaat
10. Warme Garnars
11. 't Smidje
12. Grand Jacques
13. Bruidsnacht
14. Zeven Steken

Muzikanten :

- Jorunn Bauweraerts
- Nathalie Delcroix
- Annelies Brosens

Gasten :

- Kadril (Erwin Libbrecht, Peter Libbrecht, Harlind Libbrecht, Bart De Cock, Hans Quaghebeur, Mario Vermandel, Dirk Verhegge, Philippe Mobers)
- Jacques Vandevelde (harp)


 Voice, that’s the meaning of Laïs. In addition, it refers to the erotic inspired poetry of Marie de France.

But Laïs mainly refers to 3 women from the town of Kalmthout: Jorunn Bauweraerts, Annelies Brosens and Nathalie Delcroix. They know each other since childhood, but Laïs was born in the summer of 1994, when Jorunn, Annelies and Soetkin Collier (who later became a vocalist with Urban Trad) sang the song “Barbagal” on the last morning of the folk stage of Gooik. It became dead silent in the theatre and two members of the folk group Kadril encouraged them to do something with it. At that moment, music was already their flourishing passion. Jorunn is from a musical family – her father was a renowned bagpipe player – and Annelies started her studies in Classical Singing already at an early age. When Annelies and Jorunn heard Nathalie singing one time, during a car trip, they knew at once who should be the third member of Laïs.

 They interpret, mostly in old Flemish or French, singing the traditional repertoire of different countries in Europe, the contemporary song (Jacques Brel ...) or polyphony of the Renaissance, as well as some original creations, combining folk influences, pop, rock. They emphasize the polyphonic singing a cappella and accompanied by traditional instruments, but also mixed: acoustic and electric guitar, percussion-drums, accordion, bagpipe, flute ...

Laïs is a Belgian group that creates folk, and world music consisting of polyphonic close harmony songs, occasionally a cappella, based on self-composed melodies with lyrics dating back to the Middle Ages. "Laïs" is a Celtic word, meaning "voice".


Laïs' career started in 1994, when Jorunn and Annelies, together with Soetkin Collier (who later became a vocalist with the Belgian folk music group Urban Trad), performed a song at a folk festival in Gooik, near Brussels. Nathalie joined the group somewhat later. They had their breakthrough after their appearance at Folk Dranouter, near Ypres, in 1996.

Their debut CD album, sung a capella as well as accompanied instrumentally by the folk rock band Kadril, was released in 1998. They performed at the Klein Karoo Nasionale Kunstefees in Oudtshoorn, South Africa (1996), at Vorst Nationaal, Belgium (1998), Canada, France (1999) (as a supporting act for Sting), Spain (1999, 2000), the Netherlands and China (2001).

During the summer of 2000 they performed at important festivals in Belgium such as Pinkpop and Rock Werchter. In 2001 they made a much acclaimed return to the festival at Dranouter.

In 2003 they made a mini tour along Flemish churches and chapels, singing a capella with the vocal support of Ludo Vandeau. This resulted in the CD "A la capella".

In April 2004 they released their third CD to the market under the title Douce Victime, with covers from Jacques Brel and Herman van Veen. This time it not only contained a capella songs but also Cajun music, the London Chamber Orchestra and some World Music influences. It was recorded at the legendary Abbey Road Studios in London.

With their album The Ladies' Second Song, released in September 2007, the group changed their approach and tried to reach a broader public. They could no longer be characterized as folk. The album introduces the use of electric guitars, loops and electronic beats. Their lyrics have equally undergone a thorough overhaul. Instead of drawing their lyrics from old Flemish songbooks, they have turned to poetry from William Butler Yeats, Paul Verlaine and Pablo Neruda.

In 2009 they released the album Laïs Lenski together with the cellist Simon Lenski.
Arboretom Kalmhout


Voices from Finland

Things Of Beauty


01. Eriskummainen Kantele / My Kantele     3:42    
02. Kultaansa Ikävöivä / There Is My Lover     4:24    
03. Viimesen Kerran / The Very Last Time
    Arranged By – Loituma     3:10    
04. Minuet And Polska
    Translated By, Arranged By – Loituma     7:45    
05. Kun Mun Kultani Tulisi / Missing Him
    Translated By, Arranged By – Hanni-Mari Turunen, Timo Väänänen (2)     5:10    
06. Valamon Kirkonkellot / Valamo Cloister Bells
    Arranged By – Sari Kauranen, Timo Väänänen (2) Translated By – Teppana Janis  5:34    
07. Ai, Ai Taas Sattuu / Oh, Oh, It Hurts Again
    Arranged By – Loituma     3:43    
08. Suo / Marshland
    Arranged By – Sari Kauranen, Timo Väänänen (2) Composed By – Martti Pokela 6:49    
09. Kolme Kaunista / Three Things Of Beauty
    Arranged By – Loituma     4:18    
10. Ievan Polkka / Ieva's Polka

    Arranged By – Loituma Lyrics By, Translated By – Eino Kettunen 2:44


Hanni-Mari Turunen (vocals, kantele, fiddle, alto recorder, double bass, drums);
Sari Kauranen, Anita Lehtola, Timo Väänänen (vocals, kantele).



First released in Finland in a slightly different form, Loituma's Things of Beauty is the initial release from this Finnish quartet. Their specialty is the kantele, a Finnish harp, and they use this both in instrumental pieces and in multi-layered vocal arrangements. The music ranges from the lively interpretations of Finnish folk music to haunting pieces about mysterious marsh land. A light, sweet album that well deserves the attention ...
 ~ Steven McDonald Finnish Trad.Music

The kantele, a mix of harp, hammered dulcimer, and zither, is Finland's national instrument, and Loituma show the range of its possibilities on this album. Ranging from the traditional, like "Leva's Polka" (which was released as a Finnish single and hit the charts), to the modern, the band covers a musical territory that encompasses the atmospheric with Marti Pokela's insidious "Marshaland" and "Three Things of Beauty," whose words are adapted from Kalevala poetry, and bring to mind an acoustic Cocteau Twins. Originally formed by two singers who later moved to Hedningarna, Loituma produce a lovely balance of vocal and instrumental pieces that offer unalloyed joy while introducing American audiences to the light magic that is the kantele. ~ Chris Nickson
You read that Vainamoinen, hero the the Finnish epic "Kalevala" worked great feats of magic and charms by playing the Kantele (Finnish harp) as no other could. You will be a believer when you hear Loituma's "Things of Beauty." I was amazed at the wealth of undiscovered beauty that has been brought forth by Baltic Finnish culture. For example, the exquisite "Kolme Kaunista" 'Three Things of Beauty'. It captures the essence of that surge of joy one feels on a beautiful summer day. "Valamon Kirkonkellot" 'Valamo Cloister Bells' is exceptional in its conveyance of Karelian Orthodox bells. Timo Vaananen delivers a beautiful vocal performance in "Kultaansa Ikavoiva" 'There is My Lover' alongside Sanna-Kurki Sounio's (now of Hedningarna fame) lovely "Eriskumainen Kantele" 'My Kantele.' This album is a gem. ~ weller29
Yes, I am not the only one, Ieva's Polka got me hooked, some time ago... and it's still around...
listen now, if you haven't done it before... You're lucky!

The melody of "Ievan Polkka" is very similar to Savitaipaleen polkka, and in South Karelia the Ievan Polkka is also known as "Savitaipaleen polkka". The melody is also very similar to a folk dance from the area of Smolensk in Western Russia, which is known as Smolenski gusačok ("смоленский гусачок"/"Small Gander in Smolensk").

The melody can be traced back to the Viipuri Province in the 18th century when the border with the Kingdom of Sweden ran west of the province. The number of Russian soldiers stationed in the border area outnumbered the locals for many decades. At the beginning of the 19th century collectors of Finnish folk dances and folk songs all mention that the dances in the area of Luumäki-Savitaipale were Russian dances only and didn't write them down. Locals who are well-versed in folk music agree the melody is very old and likely to have been known back in the early 19th century and therefore probably of even older origin. However, the polka genre is of much later date. Polka was introduced in northern Europe during the late 19th century, which implies that the actual tune as it is known today originates from this era...

Lumberjack band 1952 



Rakish Paddy

The Irish pipes of Finbar Furey
1996 ~ 1974


01. Rakish Paddy
02. The Hag with the money
03. Castle Terrace
04. Madame Bonaparte
05. The Young Girl Milking her Cow
06. Fin's Favourite
07. Peter Byrne's Fancy
08. O'Rourke's Reel
09. Roy's Hands
10. Planxty Davy
11. The Bonny Bunch of Roses
12. Eddy's Fancy
13. The Silver Spear
14. The Spanish Cloak
15. Sliabh na mBan
16. Graham's Flat
17. Piper's in the Meadow Straying
18. Rocking The Baby
19. Colonel Fraser
20. Pigeon on the gate
21. Eamonn an Chnuic
22. Tattered Jack Welch
23. The Fox Chase



 From the Sleeve Notes:

The Fureys are a musical family. Finbar's father, Ted, is a well-known fiddler who for many years played in that center of Dublin music, O'Donahue's Bar in Merrion Row. Finbar's arrival in Britain was preceded by his reputation as the youngest player ever to spellbind an audience. The pipes have always been considered an instrument to be mastered only in maturity. Possibly Finbar will be a great piper at the end of twenty-one years' playing, but certainly he was already a staggeringly good piper after just twenty-one years of living.




yes this was one of my very first records, long time ago... ; ) 




Tribal Jâze
Trash, Trad & Roots


01. Ouverture En Si Bémol Mineur
02. An Dro De Travers
03. La Tordue
04. Bourrée À Deux Ronds
05. Oudent Waltz
06. Bambi Roots
07. Cottage
08. Nin Nin Nin
09. Bourrée Du Tiot
10. The Miller Of Drohan
11. Dimanche Matin
12. De L'aut' Jour

Cédric "le Tiot" Hergault : Tambour & Percussions
Boris "le Secos" Nortier : Accordéon diatonique
Marc "le Gros" Buvry : Sax baryton


Musiques de bal folk à danser mais avec une pointe d'humour et de swing.
Vous ne resterez pas sur votre chaise en écoutant la musique de ces 3 compères !
Le message est clair: amusez-vous et dansez jusqu'au bout de la nuit.

Vive La France!

Attribut ou à la tribu ?

Ils font comme les bretons, ils ressemblent aux bretons, ils sont des bretons.

Trois belles bêtes (le secos au diato, le ‘tiot au tambour  et le gros d’la troupe au baryton) amoureux de la terre, des côtes d’agneau grillées à la menthe, du bon vin et de la musique. Bref, ces trois lascars pourraient être de parfaits limousins.
Le jâze ? Un clin d’œil à la grosse caisse tambourinante des trios populaires en Bretagne au début du XXème : l’époque glorieuse du diato arrivé fraîchement sur les côtes …atlantiques.

En place pour un parcours de danses traditionnelles...

Bonjour à tous,
Nous somme le groupe TRIBAL JÂZE

"Créé en 2005 par Boris Nortier, Marc Buvry et Cédric Hergault, Tribal Jâze est un trio d’accordéon diatonique, sax baryton et tambour-jâze officiant dans le créneau des nouvelles musiques traditionnelles.

En 2007, Tribal Jâze s’attache à la production d’un premier album autoproduit « Le Grand Saut ». Avec leur deuxième album « Trash, Trad & Roots » produit en 2008, et « III », produit en 2011, ils sortent des sentiers battus des musiques traditionnelles et élargissent leur univers en s’accompagnant d’un V-Jay lors de leurs concerts.

Ils participent à de nombreux festivals en France mais également à l’étranger (Belgique, Portugal, Italie, Angleterre)."

Venez nous découvrir sur notre site ou en live pour danser !

also look for Timothée Le Bour & Youen Bodros : )