Nightly pasture...

  

O Skáros

Musiques pour flûtes
Grèce
2009

Tracks:

La tradition de la flûte du Pont

01. Láhana (Vegetables) - Kleántis Papadópoulos - 1:42
02. Dipát - Kleántis Papadópoulos - 1:52

Bergers dans les pâturages

03. Péra s'ekíno to vounó (On the opposite mountain) - Konstantinos Kostas - 2:15
04. Karagoúna - Konstantinos Kostas - 2:12
05. Vláhiko - Dimítrios Troúphas - 1:51
06. O tsobánis pou éhase ta próvata (The shepherd who lost his sheep) - Panayótis Molihetoúdis - 3:01
07. O skáros (Nightly pasture) - Dimítrios Troúphas - 1:23
08. O skáros I - Konstantinos Kostas - 3:26
09. San skáros - Kóstas Zoúkas & Geórgios Sárros - 2:12
10. O skáros II - Nikoláos Hleboyiánnis - 1:56
11. Ya ta próvata (To the sheep) - Geórgios Photiádis - 0:32
12. Ya ta próvata - Dimítrios Troúphas - 1:31

Le berger, musicien de la communauté villageoise

13. Kálanta Protohroniás (New year collection song) - Yórgos Saráphis - 0:46
14. Païdoúskino - Athanásios Dískos - 2:11
15. Zonarádiko - Kleánthis Papadópoulos & Ioánnis Savídis - 1:22
16. Skopós Évias - Yánnis Mastroyánnis - 1:48
17. Tsámikos I - Theophánis Drósos - 1:19
18. Tsámikos II - Ilías Koumokís i Periyís - 1:08
19. Tsámikos III - Evángelos Salterís - 2:32
20. Syrtós - Evángelos Salterís - 1:11
21. Levantínikos horós Zakýnthou - Dionísios Yiatrás i Poúros - 1:34
22. Païdoúska I - Antónios Triantaphýllou - 1:46
23. Païdoúska II - Athanásios Dolapsóglou - 1:12
24. Païdoúska III - Kleánthis Papadópoulos - 1:15
25. Tsestós or Često - Athanásios Dolapsóglou - 2:23
26. Tou trapezioú - Athanásios Dolapsóglou - 1:45

Le berger conteur

27. O Menoúsis I - Dimítrios Troúphas - 1:55
28. O Menoúsis II - Athansios Dískos - 1:11
29. Erotókritos - Manólis Pharagoulitákis - 2:25
30. Kléphtiko - Konstantiínos Kóstas - 2:42
31. Or'Toúrki, kratáte - Dimítrios Troúphas - 2:07
32. Mána me ta pollá pediá (The mother with many children) - Dimítrios Troúphas - 1:29
33. I Gólpho - Theophánis Drósos - 1:10
34. Bíkan ta yídia sto mandrí (The goats rush towards the stable) - Konstantinos Kostas - 2:33

Les minorités au pays des bergers

  
35. Një vajze një kopile - Dimítrios Kakoúros - 2:11
36. Rra kambana Papandisë (It tolls, the bell of Papandis) - Dimítrios Kakoúros - 1:22
37. Tha të lan të hënënë - Nikoláos Ikonómou - 1:42
38. Mes' sto yidomandrí (In the middle of the goat pen) - Nikoláos Skopákis - 0:48
39. Karapatáki - Dimítrios Troúphas - 1:34
40. To éndeka (Eleven) - Kleánthis Papadópoulos - 1:32

  

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About the recording

 The floyéra, an end-blown ductless flute traditionally made of cane, wood, bronze or bone, and the sourávli, an end-blown duct flute of the same materials, were until recent years among the most common aerophones of rural Greece, similar to folk flutes found throughout the Balkans and West Asia. Typically associated with shepherds, they have appeared throughout the Greek mainland and islands under a bewildering variety of names. Regrettably, these traditions are disappearing as flute masters lack disciples to continue the practice.

Fortunately, Wolf Dietrich has assembled this impressive and comprehensive collection of performances, providing an aural record of the diverse textures, idioms, and instruments in traditional rural Greek flute music. The forty high-quality recordings include excellent performances of dance songs, songs of the table, laments, calendrical songs, and a variety of other genres from around the Greek mainland, the Cycladic and Ionian island groups and Crete, as well as the Pontus region of Turkey; even the Arvanites, Vlach, and Sarakatsan minorities are represented. All the pieces feature the floyéra or the sourcivli either in solo performances or as part of traditional ensembles with other instruments.

For each recording, the notes identify song type, performers, instrumentation, date and location of the recording, as well as information about song texts and the local use and function of the pieces. A few errors in track descriptions should be noted: the tzamára and kaváli, larger versions of the floyéra heard in a number of the recordings, are not side-blown, as the English notes state, but end-blown and played at an oblique angle; the double flute souvliári is mistakenly categorized as a double-reed; and the home village of the renowned Cretan bagpipe and flute player Manolis Faragoulitakis should be correctly identified as Vorizia in the Irakleion prefecture.

       

MICHAEL G. KALOYANIDES

  

♥

This post is dedicated to my friend on the hill...

who sees the sun going down
and the eyes in his head
see the world spinning around...

hello!

♥

Flute & Guitar

Mie Ogura & 

Atanas Ourkouzounov

False Classic
2011

Tracks:

01 - Rada
02 - No Mystery
03 - Bul-Bop
04 - "Musica Ricercata" Allegro Con Spirito
05 - "Musica Ricercata" Rubato-Lamentoso
06 - "Musica Ricercata" Vivace
07 - "Musica Ricercata" Vivace-Energico
08 - "Three East Tales" N°1 the Fox's Dance
09 - "Three East Tales" N°2 the Red Elf's Lullaby
10 - "Three East Tales" N°3 Dracula's Caprice
11 - Spain
12 - Take the "A" Train
13 - Macedonian Song
14 - Bulchenska Ratchenitsa

Works by Ligeti, Corea, Ourkouzounov, Ellington, Papasov.

Mie Ogura: flute

Atanas Ourkouzounov: guitar

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Flute

  

Born in Japan 1973, Mie Ogura started to play the flute at age 7.
In 1989, she finished her studies at the Takamatsu Music Highschool in Japan and obtained the first price in the National students Flute Competition in Osaka.

In 1994,Mie Ogura moved to France,and in 1999 graduated with Diplôme Supérieur from Conservatoire National Supérieur de Musique de Paris under Pierre-Yves Artaud and Sophie Cherrier.. then obtained an improvisation diploma under the tutelage of Alain Savouret.
She also studied baroque flute with Pierre Séchet and jazz improvisation Jean-Charles Richard, as well as indian music with Patrick Moutal.

In 2001 she obtained a scholarship from the Academia Musicale de Siena(Italy) under Aurèle Nicolet(flute) and Alain Meunier(chamber music), also worked with Franco Donatoni.They highly appreciates her playing.

Her playng is called"The fan of sound",since 1995 Mie Ogura has appeared regulary as a soloist and chamber musician with different ensembles and orchestras,among others,Ensamble Sphota(improvisation),Ensemble L’Itinéraire,Ensemble Entretemps(contemporary music),Orchestre pour la paix(Classical), Compagny Robinson(contemporary Danse) etc...and invited in many festivals in the world (Europe,America,Canada,Australia,Japan..)

Her improvisation playng in also appreciated from many jazz and classical musiciens such as Loelle Léandre(cb), Glenn Ferris(tb), Masataka Hirano(Sax), Shin-Ichi Fukuda,Kazumi Watanabe, Carlo Domeniconi(gt) and many others.

Mie Ogura has recorded with the ensemble Triton2 (Label MFA,France) and Ensemble Ourkouzounov (Label KLE,Italy),and Duo with Atanas OURKOUZOUNOV (Label Varié in Japan and Label H&S Paris) also edited the jazz flute beginners book « Flute Jazz Coffeebreak », published in 2005 at Edition Trim (Japan).

Her favorite musiciens is Miles Davis,Roland Kirk,Chick Corea,Keith Jarrett,Hari Prasad Chaurasia etc....

Flute and imrovisation professor at the Jacques Ibert Conservatory in Paris,and Conservatory in Sucy en Brie.

  

source 

Guitar

  

  

Atanas Ourkouzounov (b. 1970 in Burgas, Bulgaria), a leading figure in Bulgaria’s contemporary music, is winning international fame both as a guitarist and as a composer. His music features the asymmetric rhythms and modal harmonies typical of his homeland but, like Béla Bartók, Ourkouzounov (pronounced Oor-koo-ZOO-nov) uses regional traditions as a point of departure from which he ranges widely in an intu-itive and personal way. Whereas Bartók’s muse was the piano, Ourkouzounov’s muse is―fortunately for guitarists―the guitar. Ourkouzounov has written over 60 works for guitar―solos, duos, trios, quartets, instrumental ensembles, and two concerti―a number of which have won important prizes, and a majority of which have been published by leading publishers.

Atanas Ourkouzounov performs widely as soloist, with his wife the Japanese flautist Mie Ogura, and with the Ourkouzounov Ensemble (two guitars, flute and cello).
In addition to three CDs on which Ourkouzounov plays, more than 30 CDs of his music performed by others are currently available.

Ourkouzounov is also in demand as a teacher and juror at conferences and conservatories in Europe and Japan and he holds a full-time position at the Conservatoire “Maurice Ravel” in Paris.

Atanas Ourkouzounov grew up in Sofia, Bulgaria, where he began guitar studies with Dimitar Doitchinov.

Starting in 1992, he continued his studies in France with Arnaud Dumond, Alexandre Lagoya and Olivier Chassain. He studied guitar, chamber music, analysis, ethnomusicology and improvisation at the Paris Conservatory and graduated in 1997 winning by unanimous vote the First Prize in guitar.

Six years before he went to Paris, he started to compose. He was 16 years old and had been playing guitar only one year. For fun, he began changing details in pieces he was learning and then he wrote his first piece―3 Inventions―using the baroque idiom and subject of a fugue he was studying. He became intoxicated with composing and soon started using melodies, rhythms, and modal harmonies of Bulgarian folk music. At the same time, he was avidly listening to recordings, especially Arthur Honegger’s Symphonie N°5 and Igor Stravinsky’s Rite of Spring and Petrushka.To this day, Igor Stravinsky, György Ligeti, Ludwig van Beethoven, and Claude Debussy are among Ourkouzounov’s favorite composers.

While at least a trace of Bulgaria is always present in Ourkouzounov’s music, in the last eight years he has also written pieces he calls “dedications” in which he composes his own music
from the point of view of other composers and/or idioms―for example, Caprice d'après Paganini(which imagines a "new” Paganini as he might exist today); Fantaisie d'après Kapsberger (which draws on elements of 17th-century music for archlute); and Toryanse
Tales(which uses a Japanese folk theme).

Ourkouzounov is also fascinated by timbre and idiomatic colorisitic effects ―as explored for example in Light Echoes from Star -light―5 Nocturnes, in the Reflet guitar duos, and above all in the Visions Chromatiques N°1for guitar solo and the Visions Chromatiques N°2 for voice, violin, mandola, and guitar.

Ourkouzounov feels the “timbre” works are more contemporary and abstract―and perhaps more personal― than his pieces in which Bulgarian elements prevail.

Ourkouzounov enjoys performing flute-guitar duos with his wife. Typical programs are two Ourkouzounov works alongside arrangements and original music by diverse composers―for example, pieces by Chick Corea, Keith Jarrett, Béla Bartók, and Claude Debussy―as well as arrangements Ourkouzounov calls “postcards” (folk music from countries such as Mali, Japan, Bulgaria, Brazil, and India). As a listener, Ourkouzounov loves performers such as the conductor Carlos Kleiber, the pianists Grigory Sokolov and Keith Jarrett, and many jazz or folk-jazz musicians―for example, the Bulgarian clarinetist Ivo Papazov, the Bulgarian flautist Theodosii Spassov and the group Shakti (especially the guitarist John McLaughlin and the tabla player Zakir Hussain).

 

source

one more link

 

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Afro-Jazziac

 

Machito

and

His Afro-Cuban Jazz Ensemble

With Flute To Boot
1958

Tracks:

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

Featuring:

Herbie Mann (fl)

Johnny Griffin (ts)

Curtis Fuller (tb)

 

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thanks for the music !!!

& more music ; )

 

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

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need to read a book?

try this one : ) 


♥

Fujara, fujara...

Fujara, fujara...
1997

Tracks:

01 - Ján Palovič - Poniky
02 - Martin Ľupták-Sanitrár - Kováčová
03 - Imrich Weis - Hriňová-Zánemecká
04 - Ondrej Macko - Banská Bystrica
05 - Juraj Ďurečka - Očová
06 - Juraj, Martin a František Kubincovci - Utekáč
07 - Ondrej Barla - Podkonice
08 - Karol Kočík - Zvolen
09 - Ján Hanuska - Detva
10 - Ľubomír Párička - Martin
11 - Pavel Bielčik - Kokava nad Rimavicou
12 - Pavel Hudec - Stará Huta
13 - Jozef Ďurica - Dúbravy-Hradná
14 - Peter Paciga - Vígľaš
15 - Milan Katreniak - Tisovec
16 - Jaroslav Spodniak - Zvolen
17 - Anton Ľupták - Veľký Krtíš
18 - Jozef Libjak - Lutila
19 - Juraj, Martin a František Kubincovci - Utekáč
20 - Svetozár Stračina - Zvučka FPS Detva

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 Fujara is a 6-feet-long rare folk Slovak musical instrument from 12. century. It looks like a large flute with 3 side holes and a parallel smaller tube, which supplies air to the top of the flute. Cherished in the seclusion of Slovakian mountains by shepherds, the fujara and its rich spectrum of healing overtones were preserved over the centuries. Until recently the fujara was not known outside of Slovakia, where only a small number of traditional musicians play the instrument, and a handful of craftsmen there can make one. But now people all over the world are discovering beauty and unique qualities of fujara, and there is growing number of fujara players…

you might want to buy this and other cd's here : )

♥

no vocals...

Fujarové nôty (bez spevu)
Fujara Tunes (no vocals)
2008

Tracks:

01. Daniel Mudrak - Sanoval sa vtak vtakovi
02. Michal Filo - Takie sa tie hory
03. Lubomir Paricka - A ja tak, a ja tak
04. Pavel Bielcik - Rozohra - Bodaj skäzu vzali - Hrmelo, prsälo
05. Marian Plavec - Precoze ma môj baca klial, Nelejte, nelejte
06. Pavel Bielcik, Martin Kubinec, Jan Krotak - Rozfuky - Pomaly, ovecky
07. Pavel Bielcik - Svietila zornicka
08. Jan Krotak - Rozfuk - Bodaj skazu vzala - Pust ma, baca
09. Lubomir Paricka - Fujera, fujera
10. Marian Plavec - Ked sme vysli na Polanu
11. Jan Kulfas, Michal Filo, Daniel Mudrak - Kamarati moji - Zlapali Janika
12. Jan Krotak, Martin Kubinec - Na vrch na Polane
13. Jan Kulfas - Precoze ma môj baca klial
14. Lubomir Paricka - Môj otec bol dobry pytliak
15. Jan Kulfas, Michal Filo, Daniel Mudrak - Fujarove ozveny
16. Roman Malatinec - Vysli chlapci, vysli
17. Jozef Sulaj - Otec môj, otec môj
18. Milan Rusko - Pust ma, baca
19. Michal Palko - Rozfuk a odzemok
20. Jan Cerovsky - Spoza vrch Polany
21. Tibor Koblicek a Datelinka pod vedenim Ondreja Molotu - Keby ja bol vedel - Nelejte, nelejte

   

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.ღ•:*´♥`*:•ღ.

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 Fujara is a typical Slovak folk music instrument. Its origin is in the Podpolanie region. It is an awesome overtone flute of four to seven feet in length made from wood. Fujara is among the 43 new masterpieces designated as UNESCO heritage items on November 2005.

 

 

source

 F U J A R A

overtone bass flute

» simple (and) fascinating «
 

Fujara is over five feet (1.7m) long, deep-bass folk flute of Slovak shepherds. Cherished in the seclusion of slovakian mountains, Fujara preserved over centuries as simple as it was in the beginning. Fujara flute uniquely combines a natural, easy to learn playing technique and an amazing voice!

 

***

The Fujara, an extremely long flute with three finger holes played by Slovak shepherds, is regarded an integral part of the traditional culture of Central Slovakia. 
 

The main tube of the flute has a length of 160 to 200 cm and is connected to a shorter tube of 50 to 80 cm through which the airflow is channeled to the edge of the large bass flute. The sound is characterised by a special roughness, mainly in the high calling motifs and the “mumbling” sound of the deep registers. The melancholic and rhapsodic music is structured according to the content of the songs, related to the shepherds’ daily life and their work. The repertoire of the Fujara is based on melodies determined by the technical acoustic features of the instrument. The performance starts with a mixolydic “blow-up”, which indicatesthe start of a performance. The repertoire also consists of the sound of a stream, the gurgle of a wellspring and other sounds of nature imitated by the Fujara music. The Fujara is not just a musical instrument, but also an artefact of great artistic value due to its highly elaborate, individual ornamentation.

In the course of the nineteenth and twentieth centuries, the Fujara became known and appreciated beyond the shepherds’ use. Through festivals, the instrument played by musicians from the Podpol’anie region gained recognition and popularity throughout Slovakia. The Fujara is played at various occasions throughout the year, but mainly from spring to autumn, by shepherds and by professional musicians at festivals, namely in the cities of Detva, Dýchodná, Hel’pa, Kokava and Rimavicou.

 

During recent decades the role of the Fujara has changed from an everyday context to the performance at exceptional events, such as at festivals or in a private environment. The communist era and the political developments in the 1990s have caused significant social, cultural and economic changes. Young people especially have become increasingly estranged from traditional folk art. Despite a lack of support, individual initiatives have been trying to safeguard the Fujara instrument and its music.

  

source 
  

 ♥

...rare beauty...

   

ΔΙΟΤΙΜΑ

1996

Tracks:

01. Sound Memories
02. Awakening
03. Nostalgia  Of Orient
04. Eros
05. Dance For Three
06. Dream
07. Myths And Hymns
08. Nine Breaths
09. Quest
10. Each Moon Says

 

 Costas Hanis: marimba, vibraphone, drums, xylophone, clay pots, toubeleki, bendir,tiny percussions, voice
Lefteris Agouridakis: santuroor, vibraphone with bow, bendir, african drum, toubeleki
Costas Papapostolou: ney, flute, shepherd`s flute, pan pipes

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  
This self titled debut album, released from Salonika`s ANO KATO records, in 1996. DIOTIMA was a greek acoustic, instrumental trio who played wooden winds and various percussions. Their sound was based on traditional greek folk & art folk, recalling a long past rooted at the ancient times. One can also detects influences from contemporary era, european composers, jazz modes, oriental, minimal, ambient forms. From moonlit Mediterranean coasts to the far east tranquility...the earth traveller chooses a slower pace, discreet, meditative, esoteric, ceremonial. Between self concentration and initiation into the importance of some details, the music...flows.

   

...a job with rare beauty that constantly urges further exploration...
  
get it here

thank you for the words and for making me listen : )

and thanks to you too : )

   

 Κώστας Χανής

  

Λευτέρης Αγγουριδάκης

  

Κάθε φεγγάρι ομολογεί
κι εσύ κάνεις πως τάχα δε καταλαβαίνεις
ξέρεις ότι φορείς τον ήλιο
και ότι πριν εκείνο κατεβεί εσύ ανεβαίνεις

Οδυσσέας Ελύτης

~*~
♥
 

Azat Aitkul, Kurai, Ufa

  
Azat Ayytkolov

Kurai

Tracks:

01. Kart bayyk
02. Tsialkovskiy
03. Yergeyyesh
04. Synrau torna
05. Buranbay
06. Fort Perovskiy
07. Yomaguzha-Mesetle
08. Afgan keye
09. Teftileu
10. Keyelde
11. Yeyeule Mekhmut
12. Khisam khem beyyeu keyzere
13. Khandugas
14. Kakhym ture
   

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆
  

  

Azat Aitkul (Kura, Ufa)

Azat Minnigaleevich Aitkul - the world famous virtuoso instrumentalist in Bashkir folk wind instrument kurai (national type of reed flute). He is an Honored Artist of the Russian Federation and the People's Artist of Belarus, winner of III All-Russian competition of folk music (1986, Tula).

In one of the most beautiful parts of the republic - the Ural mountain village Yuldybaevo Zilair district famous musician was born. In these places, the plant kurai grows, predetermined his fate. He became interested in music while studying at the Ufa secondary boarding school here N1.Imenno musician met Kurai and began to comprehend the basics of playing. The growth of professional skills was continued in the class known Bashkir kursista GZ Suleymanov, who taught at the Ufa College of Art (1977), hereinafter musician graduated from the Faculty of Philology of the Bashkir Bashkir State University.

Concert activity - the meaning of life. With a lot of tours AM Aitkul traveled all over the Soviet Union as a solo instrumentalist and Gosconcert Rosconcert. Through the Department of Defense participated in concert tours in Germany, Mongolia, worked on the frontline concert brigades in Afghanistan. Foreign tour musician cover geography almost every continent of the globe. The countries of Western and Central Europe (Austria, Italy, Spain, Belgium, Holland, Denmark, Finland, Switzerland, Portugal), Middle East (Turkey), North (USA, Canada) and South America (Peru), South-East Asia ( Singapore, New Zealand), Australia applauded art musician.

Subtle understanding of the Bashkir folklore, impeccable sense of style make it different performing style. Equally deeply and completely fulfills kuraist Bashkir folk tunes instrumental nature, rooted in an epic-narrative tunes-kubairov, broaching, lyrical improvisational type ozone-kui forming a layer of folk art and recreate the spiritual search and presentation of the Bashkirs, marching songs by about historical events took place, telling about famous historical figures, heroes of the Bashkir people. Incendiary, song and dance tunes Kiska-kui (short songs) affect his performance genuine optimism, humor and cunning. Fluent technique of uzlyau ("throat-kurai") reflecting the desire of the musician to maintain and develop ne of the most difficult forms of popular music-making.

The repertoire of AM Aitkul is extensive and includes all the currently known musical patterns of national folklore. Kuraist virtuoso emerged as a sensitive assamblist constantly performing with famous Bashkir singers - People's Artist of Belarus FA Kildiyarovoy, Honored Artist of the Republic of Belarus, the winner of the International Competition B. Hyzyrovym and others to date functioning syncretic folk forms and genres, led musician organize a national group "Ural".

AM Aitkul created the technique of learning to play an instrument, allowing you to quickly master the basics of mastery. He is constantly expanding his students, developing not only solo, but ensemble and any form of execution of the Kurai.

(Trans'ation with little help from google)

source 
  

Kurai 

more to read : )

*♥*

Music of the meadows...

   

Melodies of Carpathian Valleys

Traditional Music of Carpathian Shepherds
2008

Tracks:

01. Vykhid v polonynu (trembita)
02. Muzyka polonyny (kalatala ta dzvinochky koriv)
03. Zabavna melodija (fujarka, kalatala ta dzvinochky koriv)
04. Nahravannja na drymbi
05. Kolys‘ roky dobri buly... (fujarka, spiv)
06. Davnja polonyns‘ka melodija (dovha fujarka z hudinnjam)
07. Syhnal do polonyns‘koho khodu (volovyy rih)
08. Hirs‘ka melodija (fujarka, spiv ptakhiv)
09. Polonyns‘ka melodija (dzholomiha)
10. Hra na trembiti
11. Davnja polonyns‘ka melodija (korotka fujarka z hudinnjam)
12. Hovkannja pastukhiv v polonyni (hovkannja, kalatala ta dzvinochky koriv)
13. Z vysokoji polonynky buynyy viter vije... (fujarka, spiv)
14. Brumbyna polonyns‘ka melodija (dzholomiha)
15. Nahravannja na drymbi
16. Smerekova melodija (fujarka, kalatala ta dzvinochky koriv, spiv ptakhiv)
17. Z vysokoji polonynky potichok churkoche (zvuky potichka)
18. Dovha polonyns‘ka melodija (dovha fujarka)
19. Nahravannja na telentsi
20. Polonyns‘ka melodija (fujarka, kalatala ta dzvinochky koriv, spiv ptakhiv)
21. Hra na dentsivtsi
22. Playova melodija (fujarka, spiv ptakhiv)
23. Oy pidu ja v Zavojely (fujarka)
24. Muzyka polonyny (kalatala ta dzvinochky koriv)
25. Nahravannja na drymbi
26. Karpats‘ka melodija (fujarka, kalatala ta dzvinochky koriv, spiv ptakhiv)
27. Polonyns‘ka melodija (fujarka)
28. Muzyka polonyny (kalatala ta dzvinochky koriv)
29. Oy ja pidu v polonynku (spiv, kalatala ta dzvinochky koriv)

 Artists:

(1,7,10,15, 27) Nicholas Slovak: trembita, ox-like horn, jaw harp, fuyarka
(3, 8, 16, 20, 22, 26) Vladimir Hromeychuk: fuyarka
(4, 9, 14, 19, 21) Bogdan Kostiuk: guimbarde, telenka, dzholomiha, dentsivka
(5, 13) Basil Siredzhuk: fuyarka, fuyarka with buzzing, singing
(6, 11, 18) Nicholas Vartsab'yuk: fuyarka, fuyarka with hum
(23) Peter Mohnatchuk: fuyarka
(25) Nicholas Mosoruk: drymba
(29) Basil Gaborak: singing

The recording was made in the Carpathian region in the meadow "Cram" (Verhovinsky district, Ivano-Frankivsk region) in the meadow "Ledeskul Kosmatsky" villages Kosmach and Shepit (Kosovo district, Ivano-Frankivsk region).

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆

  

 This album – as well as, actually, the album "Wedding at Kosmach", which has been released simultaneously with it – is the result of wanders and labor of Gennady Melnyk, better known as Hector Mukomol. But Hector Mukomol means music in the styles of ambient and new age, and in this case the issue is a bit different. However, some characteristic features have been preserved – but not that much in sounding as in the attitude towards the sounding. What do we mean? The name of this disc should be perceived absolutely literally – and it is for this reason that the disc differs from other recording of this sort. Due to his previous explorations and experiments with music of spaces and states, Gennady Melnyk is able to look at the sound picture at a somewhat different angle. His eyes aim not at cutting off the superfluous, but, the other way round, at absorbing everything that sounds – and to intertwine it into the general canvas. That is why most recordings were made right under the open-skies, not in the special studio conditions. That is why it is possible to hear here such unusual things, for example, as sounding of cows’ bells ringing – and do not be surprised when you hear real music in that. It is there indeed – though not as obvious as in the joint singing of fuyarka and forest birds, or in the dialog of human singing and cows’ bells, to say nothing about ancient Huzul melodies. But – and that is the common feature for creativity by Hector Mukomol – in order to hear and feel this music, it is necessary to forget about music. One needs the position of contemplation and immersion, non-evaluation. The one who will manage to listen so will be able to discover a new living space – the space of Carpathian boundlessness. To discover – and to enter...

source

   

 Attentive listeners will certainly feel that the music of the Carpathian shepherds - the music of contemplation, which is essentially like meditative music east. This is not surprising, as the source of inspiration for the shepherd is the sky, the sun, endless expanses and the surrounding mountains. Therefore, the origins of this music has its origins in the invisible worlds. Shepherd plays fuyarka that can not play because, in the words of one of the shepherds, "polonynka without fuyarka not Fine."

Suffice it to listen as similar to each other is fuyarka melodies and singing birds, to feel that this "conversation of lovers." Sounds weird musical instrument infused with chirping birds and bells ringing chimes that hang around the neck cattle to determine the sound its seat. All of this together creates a charming and distinctive music valleys.

read it all here - you might have to translate it like I did... : )

and here

and also here 

  

 *♥*♥*♥*

Fujara

  

Ľubomír Párička
Spoved Fujary
Fujara Confession
2003

Tracks:

01. Oj, pomaly, ovečky - 5:12
02. Oj, boli by ma zabili - 1:46
03. Oj, pusť ma, bača - 5:36
04. Gajdošské z Kokavy - 1:50
05. Oj, a ja tak, a ja tak - 2:16
06. Hej, gajdoško s gajdami - 3:13
07. Hej, nebudem orať, ani siať - 2:27
08. Rýchlo na dvojačke - 1:43
09. Ja bača starý - 3:28
10. Oj, bohdaj skazu vzala - 2:08
11. Išiel Janík - Nechcela mi chleba dať - 3:55
12. Oj, fujera, fujera - 2:38
13. Ovsenisko, jačmenisko - 2:26
14. Terchovské melódie - 2:36
15. Gajdoško s gajdami - 4:43
16. Oj, môj otec bol dobrý pytliak - 4:36
17. Oj, na holi, na holi - 2:00
18. Handrárske signály - 1:20
19. Ovečka, kozička - 1:25
20. Išiel gajdoš do dediny - 2:40
21. Pil som, pil som, ľumpoval som - 1:14

Účinkujúci:

Ľubomír Párička (1954) - spev (1-3,5-7,9-13,16,17,20,21);
fujara (1,3,5,7,9,12,16,20); pastierska píšťalka (2,6,11,); dvojačka (8); rífová píšťalka (13,17);
koncovka (14); handrárska píšťalka (18); gajdy (10,15,19); drumbľa (4,21)

Spoluúčinkujú:

Roman Bienik (1958) - fujara (1); gajdy (4); pastierska píšťalka (13,14)
Miroslav Párička (1978) - fujara (1); drumbľa (14); spev (15,19)

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 

 Lubomir Paricka is a fujara player. He is also a manufacturer of authentic Slovak folk music instruments.

Fujara is a typical Slovak folk music instrument. Its origin is in the Podpolanie region. It is an awesome overtone flute of four to seven feet in length made from wood. Fujara is among the 43 new masterpieces designated as UNESCO heritage items on November 2005.

Ľubomír Párička (1954) je hráč na fujaru a na iné ľudové nástroje, a tiež je ich výrobca. Pochádza z Martina. Pri nahrávke CD spoluúčinkovali: Roman Bielik (1958) a Miroslav Párička (1978).

 

 Fotos of Ľubomír Párička at work © Miro Pokorn 

 ~♫~

 

Fujara Flute History

- the full story - 

"I remember my old conversation with uncle Paciga, respected Fujara craftsmen. I entreated him to show me how to mark out the holes on the Fujara flute. We agreed and one day I brought to him a worked out timber for Fujara flute. First he made a fipple flute sound device and then he started to mark out the holes. I wondered that he marked on the timber even six holes - like on a whistle. So I urged him: "Mister Paciga, but I want to know how to make the holes into the Fujara flute, not whistle". He smiled and said: "you know my boy, before the Fujara flute a whistle was and that is why I mark out the Fujara flute like a 6 hole shepherd pipe, and then I drill just the three lower holes". At that time I did not realise that the man had a big truth."

Basically, Fujara flute is a gothic three-hole bass whistle. The three hole whistles were in the 12. - 13. century Europe very famous and wide spread. They used to be played in a musical configuration together with a tambour (small hand drum):

Because these bass whistles were shorter and had only 3 holes, it was possible to play them with just one hand. The musician often accompanied himself playing tambour on his own: playing the three hole whistle in one hand and the other hand beat the tambour.

Substantial expansion of these instruments in Slovakia confirm the period papers, for example a picture of a flutist with tambour under the Ostry castle, or two three-holes whistles from the 13.century acquired lately by Phdr. Hanuliak during excavation in the Pusty castle near Zvolen.

During the renaissance, flutes and whistles with three tactual holes were retreating. However, later on, following an example of the string instruments family /fiddle - alto position, violin - canto, violoncello - tenor, contrabass - bass position/, also the wind instruments families were formed spontaneously /16.century/. This documents the flutes in a german enviroment, where coexisted alto, tenor and bass flutes with side air flow channel of similar construction as the side air pipe of Fujara flute.

Also by the three-holes whistles there was an effort to create a family and renew repertoire. Musical scientist from the 15. - 16. century Michael Pretorius /from Sliezko/, documents an existence of such three hole whistle family in his work "Teatrum instrumentarum" from the year 1619. Though, he remarks that this configuration of three hole flutes had never been played together: because of the limitation of this 3 hole flute's scale range achieved by overblowing, the harmony inbetween the alto, tenor and bass three-hole flutes just was not reached. Simply, it did not tuned. He states, that there were three basic dimensions of the three holes-whistles: " a 20 inch "melodic whistle", a 26 inch "tenor whistle" and a  35 inch "bass whistle". Similarly, but independently from Praetorius, French musicologist Mersen writes about this issue in his work from the year 1632.

The three hole bass whistles from this period were about 91 to 130 cm long, with two lower tactual holes located in the front and the upper one located in the back of the flute's pipe.
In Brussel's music museum collection of very old musical instruments occurs also a three-holes bass whistle approximately 98 cm long, with the side air flow channel and three fingering holes /two in the front part and one in the back part of the flute's main pipe/. The instrument has a north italian origin and its construction is extremely similar to the Fujara flute in former times occuring in the surroundings of Priechod, Hiadel, Strelniky, Podkonice and likewise, named by Slovak ethnomusicologists "Priechod's Fujara flute" ("Priechodska Fujara"). Because of the above listed reasons is the so called "Priechod´s Fujara flute" regarded as the most archaic form of the Fujara flute.

In this context Dr. Macak tracks the place of a Fujara's flute origin into the area northerly from Banska Bystrica (middle Slovakia), to the actual Slovenska Lupca environment and to above listed communities. He assumes that the three-hole bass whistle has got to this territory during the turkish wars, where a regiment of soldiers from western Europe and Italy was stationed adjacent to today's Slovenska Lupca.
Fujara flute gradually reached and penetrated into the Slovak environment, "conserved" there and persisted until today as a rarity. Fujara's flute movement into the Detva area and its surroundings is considered as a secondary matter, where also the design reform is evident - the lenghtening of the Fujara main pipe to almost double size achieving much lower, deeper bass possitions and resulting placement of the top fingering hole into the front part of the main Fujara flute's pipe.
From the turkish wars period persisted in musical culture of this region a style of melody enhancements by baroque ornamentation. Even nowadays it is still present in ciphers of bandmasters, flutists' melodies, as well as in some melody ornaments present in traditional interpretation of the fujarists from Podpolanie region.

Author: Karol Kocik, all rights reserved ©.

source

wiki

more Fujara

 ~♫~

Gasba

  

Afrah

L’art de la Gasba
2009

Tracks:

01. Mawwal À La Gasba     2:38
02. Mawwal Tsersim - Gasba Et Voix     4:56
03. Eddiouni Littabib (Emmenez - Moi Chez Le Médecin)     5:10
04. Essakra (L'ivresse)     5:25
05. Mawwal Gasba Et Voix     4:59
06. Rani Mashour (Je Suis Ensorcelé)     4:22
07. Ma Nzidchi Nesker (Plus Jamais Je Ne Boirai)     5:06
08. Ala Lazreg Rani Habla (Je Suis Folle D'Un Homme Noir)     5:07
09. Ensaini (Oublie-Moi)     5:12
10. Mawwal À La Gasba (Alternate Version)     1:41

Afrah - Mpihira

Majyd SOUILAH :vocals, direction
Mohamed EL HAYANI : gasba (flûte)
Mohamed SEHLI : gasba (flûte)
Mohamed ben Khelifa BELAOUD : bendir
Khalid KEROUMI : bendir

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

source

  

 Afrah's second album, recorded during a tour in France, the Art of Gasba wants to be more intimate than their first album. Indeed, this album focuses Gasba, the flute from Maghreb, and envelops us with plush atmosphere that leaves its place to the expression of poetic talents of the troupe.

Coming from Outat El Haj, Afrah's musicians have learned music during their adolescence, from Mohamed El Hayani , a village elder, known for his knowledge. Relationships between musicians and the teacher are quite atypical compared to the Moroccan traditions on those subjects, which is usually structured around a relation between a master and students. Indeed, members of the band show Mohamed El Hayani as their «artistic advisor», and they nourish with him very egalitarian relations, although marked with a deep respect.

Afrah's songs, poems and music, come from the popular heritage. These are mainly love or seduction songs, sometimes audacious ones, but they can also talk about the life conditions of the peasant and of the popular classes. Songs can also touch to political themes, or topics inspired by actualities, like emigration, poverty, solidarity... In the Mawwal (improvised songs, accompagnied by Gasba alone), for example, singer often refers to local or international actualities, or even to the context of the concert.

Afrah's music is very representative from peasant music in the Arabic Maghreb; it's possible to recognize some of their rythmes and their melodies in the rural areas of Algeria and Tunisia. The dance takes an important place, due to the dancers who command to the percussionists the rythmic variations, contributing thereby to the music's quality by their dance's quality.

get the 2 albums here

  

  

~♥~