Urna Chahar-Tugchi - Jamar (Mongolia)

Urna Chahar-Tugchi nació en el seno de una familia de ganaderos y agricultores de las tierras de Ordos al suroeste de Mongolia. Hoy Urna es una de las vocalistas femeninas más reconocidas de Asia. Desarrolló su instinto y talento musical mientras aprendía el Yangqin (equivalente al dúlcemele chino) en Hohhot, la capital de Mongolia interior, con un profesor del Conservatorio de Música. A los 18 años decidió dejar Mongolia para estudiar en el Conservatorio de Música de Shangai –una decisión valiente ya que por entonces, no hablaba ni una palabra de chino mandarín y su familia conocía muy poco de Shangai- y Urna se encontró solo en su nueva ubicación. Con este movimiento, la vida y la carrera de Urna cambiaron rotundamente.

Urna, junto con la cantante de Tuva Sainkho, son reconocidas por la critica musical internacional como las dos “Divas asiáticas”. Urna tomó posición dentro de la música del mundo en Europa cuanto obtuvo el premio alemán Ruth a la mejor artista internacional.

Posee la habilidad de comunicar con su audiencia a través de su música porque traspasa las barreras lingüísticas y culturales con su dinámica y altísima voz. Muchas de sus canciones evocan la inmensidad de las praderas de Mongolia y describen la forma de vida en su país, sus actuaciones son inolvidables para los que conocen y participan de su música. Algunos definen la forma de cantar de Urna como una experiencia religiosa, a pesar de que su música no necesariamente habla de religión, lo explica así: “Interpreto mis canciones con toda mi vida y mi energía; y siento como si volviera a nacer después de cada concierto”.

Mientras Urna continua con la música y las raíces de su país, también la lleva en otras direcciones. Sus últimas composiciones están salpicadas de libertad e improvisación inspiradas por sus recientes experiencias con otras músicas y culturas y en sus vivencias fuera de Mongolia. Con su música, tan poco convencional Urna ha colaborado con muchos artistas de reconocimiento internacional entre los que destacan: el violinista húngaro Zoltan Lantos, Ramesh Shotham de la India, Muhammud Reza y Saam Schalamminfer de Asia central o el fantástico acordeonista polaco del grupo Kroke Jerzy Bawol.
http://urna.com/joomla/
http://espiritudelsur.com/artistas/urna-ensemble-mongolia-hungria-iran/


Urna Chahar-Tugchi (vocal)
Robert Zollitsch (zither, throat-singing)
Burintegus (morinkhur)
Ramesh Shotham (percussion)

01. Temeen yawudal
02. Arwan tawtai
03. Ordosiin hawur
04. Jamar
05. Ejin bogdiin hoyor jagal
06. Nagai eji bida hoyuulaan
07. Gajariin Oron
08. Tenggeriin Oron
09. Baruun Nomundalai
10. Banchan somo

Ene-Sie - Alaak

A great folk band from Tuva! This album features the rarely heard and extraordinary folk artist and eldest member of Tyva Kyzy Nadejda Kuular and master throat-singer and Igil player Sergei Ondar of the original Tuva ensemble among others. Songs on the album are full of blessings, tongue twisters and traditional songs depicting the sonic landscapes of Tuvan hunter and herder life with an extra dose of vivid animal sounds! Totally great CD!

1. The ancektors gift (4:20)
2. Urriankhie people (2:57)
3. My doshpuluur (3:11)
4. Young girl's heart (4:21)
5. Shamans prayer (3:08)
6. Tootpa (2:13)
7. Oitulaash yry (2:10)
8. The melody of alaak (3:20)
9. Tongue-twisters (6:43)
10. Morgul (5:21)
11. Sons of sisters (6:01)
12. Blessing song (4:16)

Kongar-ol Ondar - Tuva Groove

Kongar-ol Ondar (Tuvan: Ондар Коңгар-оол) is a master Tuvan throat singer and a member of the Great Khural of Tuva. Ondar was born in 1962 near the Khemchik River in western Tuva. Considered a living treasure by the Republic of Tuva, Ondar is granted a stipend and an apartment for the musical skills he possesses. Jovial and personable, Ondar is probably the best-known face of khöömei (Tuvan: хөөмей) throat singing to Westerners, appearing on the Late Show with David Letterman and in interviews for CNN and other networks.
In the Central Asian tradition of self-fulfilling child naming, Kongar-ol literally translates to "loud boy." Ondar is also known outside Tuva for inviting American blues musician Paul Pena to Tuva. Pena, who had learned throat singing before coming to Tuva, was the subject of the documentary Genghis Blues in which Ondar was also featured.
He also appears on the Béla Fleck and the Flecktones albums Outbound, album/DVD Live at the Quick, and Jingle All the Way. He released one album on Warner Bros. Records titled Back Tuva Future.+WIKI

1. Tuva Groove (Album Version) (3:17)
2. Tuva Groove (Hani Num Club mix) (9:20)
3. Tuva Groove (Thievery Corp. Remix) (5:07)
4. Tuva Groove (Desert Remix) (8:48)
5. Tuva Groove (Breakbeat Science Remix) (7:44)
6. Tuva Groove (Pete Tongs Essential Selection Mix) (5:47)

The Bulgarian Voices Angelite & Huun-Huur-Tu & Moscow Art Trio - Fly, Fly My Sadness

Info


The Bulgarian Voices Angelite
Estas voces búlgaras fenomenal por primera vez en Alemania en 1987 en la ciudad de Bremen. En los años siguientes, una carrera sin precedentes que tuvo en todo el mundo - desde Alaska hasta Japón, desde México hasta la India. Ellos han cantado en la ceremonia de entrega del Premio Nobel de la Paz en Oslo (1996) y de un maharajá indio, han colaborado en conciertos con el japonés y tambores Kodo produce grabaciones con cantantes fascinante matiz de Tuva. Ellos grabaron música de la Iglesia Ortodoxa y "Pasión Balcanes", un proyecto con invitados internacionales hasta Maria Farantouri, Sezen Aksu, Fanfare Ciocarlia o una austriaca de producción de televisión "Voces de Dios", con André Heller. En 2002 se realizó con la Orquesta Sinfónica de Nuremberg y, junto con Bobby McFerrin von Aire ZDF Classic Open en Leipzig.

Moscow Art Trio
El Trío de Arte de Moscú es una de las formaciones más interesantes del jazz de Nueva. Junto al compositor Misha Alperin - que se considera "una especie de pianista improvisando" no hay Arkadi Shilkloper, una trompa de formación académica y la cantante de folk y el clarinetista Sergey Starostin. Para el trío de las fronteras entre el jazz, el folk y la música clásica se han convertido en irrelevantes. Con un sentido del humor juguetón, elementos de muy diferentes orígenes se han transformado en algo totalmente nuevo. Como el Frankfurter Rundschau señaló: "composiciones Alperin no se pueden clasificar según el género... Se deben tanto a Bartok y Schnittke como lo hacen con Chick Corea y Keith Jarrett."

Con Misha Alperin JARO fue capaz de contratar uno de los vagabundos más creativos de hoy entre el jazz, la música clásica contemporánea y popular. En el centro de su trabajo como compositor e intérprete, es el trío de Arte de Moscú, fundado en 1990. Alperin nació en Ucrania en 1956 y creció en Besarabia rural en la parte oriental de Moldavia. Ha tocado con músicos de folk, mientras que también está estudiando composición y piano. Alperin se trasladó a Moscú en 1983, donde se reunió con el corno francés y flugelhorn Shilkloper virtuoso Arkadi. Alperin comenzó de forma experimental, hacer referencias cruzadas entre los elementos de las músicas gente rusa y rumana de Moldavia región, con su comprensión subjetiva de la tradición del jazz. Desde 1993 vive en Noruega Alperin y enseña en la Academia de Música del Estado Noruego. Se ha convertido en una figura central en la nueva música improvisada del extremo norte. Alperin también lleva a cabo proyectos con otros músicos y toca el piano en solitario. Él lanzó varios álbumes con el sello ECM. Compone música para el cine, la música para ballets y ha hecho arreglos para el proyecto intercultural con Huun-Huur-Tu y angelita. Misha Alperin es el director artístico de la Historia de Montaña proyecto.

Huun-Huur-Tu
El matiz incomparable conjunto de Tuva Huun-Huur-TU o la garganta cantando, desarrollado originalmente por la gente de la estepa, es una de las técnicas vocales más fascinantes conocidos. Permite que el cantante a cantar hasta tres tonos simultáneamente. Las canciones son acompañadas por los instrumentos tradicionales. En los EE.UU., donde han sido invitados a colaborar con el Kronos Quartet, Frank Zappa, The Chieftains y L. Shankar, su éxito fue abrumador, casi inmediatamente. Tuvinian cultura se asemeja a la cultura mongola mostrando un profundo respeto por la naturaleza. La música tiene un carácter ritual, pasajes meditativos son underlayed por fuertes estructuras rítmicas. Con todo, hay una cualidad misteriosa a la música HHT, que se mantiene constante en sus grabaciones y actuaciones. HHT se han dedicado a aprender viejas canciones y melodías, sus resultados reflejan los valores de la innovación tanto como la tradición.


Angelite The Bulgarian Voices ( Sofia/Bulgaria)
Bekova Tzetza , Damyanova Kera, Dentcheva Maya ,Dimitrova Rositsa , Duparinova Tatyana, Iankova Tonia, Ilieva Nadezhda, Inkova Kostadinka , Iovkova Sonia , Gadzheva Milena , Koleva Yuliya , Outchikova-Nedialkova, Pavlova Mariyana, Petkova Nelka , Petrova Galya, Petrova Valeria , Racova Kostadinka ,.Simeonova Elka ,Sokolova Teodora , Vladimirova Nadya, Choir-conductor : Georgi Petkov

Moscow Art Trio (Russia/Norway)
Mikhail “ Misha” Alperin - piano, claviola, bells, melodica (artistic director/conductor)
Arkady Shilkloper - horn, fluegelhorn, alphorn
Sergey Starostin - vocals, folk reeds, clarinet

Huun-Huur-Tu (Tuva)
Kaigal ool Khovalyg - voice, igil, chanzy
Radik Tyvalyk - voice, byzaanchi, khomuz, flute
Sayan Bapa - voice , doshpuluur, guitar
Alexy Saryglar - voice , tungur (drums), rattle


01. Fly, Fly My Sadness
02. Legend
03. Wave
04. Lonely Bird
05. Mountain Story

LINK

Huun-Huur-Tu - The Orphan's Lament

The xöömei quartet Kungurtuk was founded in 1992 by Kaigal-ool Khovalyg, brothers Alexander and Sayan Bapa, and Albert Kuvezin. Not long afterwards, the group changed its name to Huun-Huur-Tu, meaning "sunbeams" (lit. sun propeller). The focus of their music was traditional Tuvan folk songs, frequently featuring imagery of the Tuvan steppe or of horses.

The ensemble released its first album, 60 Horses In My Herd, the following year. The album was recorded at studios in London and Mill Valley, California. By the time recording began for the follow-up, Kuvezin had left the band to form the more rock-oriented Yat-Kha. Kuvezin was replaced by Anatoli Kuular, who had previously worked with Khovalyg and Kongar-ool Ondar as part of the Tuva Ensemble. The new line-up recorded The Orphan's Lament in New York City and Moscow, and released it in 1994.

In 1995, Alexander Bapa, who had produced the first two albums, departed the band to pursue production as a full-time career. He was replaced by Alexei Saryglar, formerly a member of the Russian state ensemble Siberian Souvenir. A third album, If I'd Been Born An Eagle, recorded in the Netherlands, followed in 1997. This time, in addition to the traditional folk music, the group performed some rather more contemporary Tuvan songs, from the latter half of the 20th century.

In early 1999, the band released its fourth album, Where Young Grass Grows. For the first time on a Huun-Huur-Tu album, non-Tuvan instruments (except for the guitar) were featured, including harp, tabla, Scottish smallpipe (performed by Martyn Bennett) and synthesiser. The album also features two excerpts of recordings made of Kaigal-ool and Anatoli singing whilst riding horseback on the Tuvan grasslands.

Huun-Huur-Tu participated in the 2000 BBC Music Live event, performing the opening and closing songs for a live, early morning broadcast from Snape Maltings. The following year, the band released their first live album.

In 2003, Kuular quit the band and was replaced by Andrey Mongush, an experienced teacher of xöömei and Tuvan instruments.

1. prayer
2. ancestors
3. aa-shuu dekei-oo
4. eerbek-aksy
5. the orphan's lament
6. kaldak khamar
7. steppe
8. borbanngadyr
9. chiraa-khoor (the yellow trotter)
10. exile's song
11. eki attar
12. irik chuduk (the rotting log)
13. sygyt
14. agitator
15. khomuz medley

LINK

Huun-Huur-Tu & Malerija - Remix album

La naturalidad y autenticidad de Huun-Huur-Tu, casi rompiendo las leyes de la física, ha llevado el grupo a enseñar por el mundo entero sus prodigiosos registros: televisiones, bandas sonoras de películas y, entre muchas de sus colaboraciones, conciertos privados en la propia casa de Frank Zappa, enamorado de este género. Es en sus conciertos donde se puede comprender la dimensión de este prodigio y comprobar cómo sus poderosas cuerdas vocales pueden hacerte cómplice de su mágica comunicación con la madre naturaleza.

CANTO DIFÓNICO: Huun-Huur-Tu usa el estilo de canto de garganta Xöömej: sacan dos o a veces tres notas a la vez, formando un sólo polífono. Pero confiesan que dentro de su alma oyen un gran abanico de variantes de sonido, especialmente en los momentos en los que les faltan las palabras: “Cuando estoy contigo, no noto como desaparece Siete principes (su versión del nombre de la constelación Osa Mayor), cuando galopo no noto como la niebla se abre”.
Los sonidos auténticos de Siberia son inhabituales para la mayoría de la gente. Huun Huur Tu ya han hipnotizado con sus emociones claras y simples a los auditorios de las mejores salas de Europa, Estados Unidos y Asia. Les declararon su amor el legendario cantante Stevie Wonder, el ilustre Frank Zappa, el líder de King Crimson, Robert Fripp, y muchos otros.

Kaigal-ool Khovalyg - voice, igil, doshpuluur, Chanzy
Radik Tyulyush - voice, byzaanchi, khomuz, amarga
Sayan Bapa - voice, doshpuluur, marinhuur, guitar
Alexey Saryglar - voice, tungur (drum), dazhaaning khavy (rattle)


1. Ancestors (5:22)
2. Ching soortukchulerining yryzy (6:00)
3. Ezir kara (4:30)
4. Orai-la boldu-la (4:12)
5. Sagly xadyn turu-la boor (5:50)
6. Kongurei (4:45)
7. Eki attar (2:48)
8. Aa-shuu dekei-oo (3:10)
9. Donen-shilgi (3:34)
10. Odugen taiga (instrumental) (6:13)

LINK

Ross daly-white dragon

This seemingly unlikely combination is certainly one of the most interesting to have appeared in recent years. The meeting points for these very different traditions are found in obscure and unexpected ways and are the result of the personal creativity and interaction of all involved.

The combination of the other-worldly voices from the steppes of Tuva, the rizitiko songs of Giorgos Xylouris, the delicate and intricate percussion of the Chemiranis, and the wide variety of sounds introduced by "Labyrinth" strike a balance that can only be described as unique.

" In the early 1970s a friend of mine who had just begun his studies in ethnomusicology gave me an unmarked cassette which included a mixture of various different pieces representing a large variety of traditional musical idioms. Unfortunately my friend forgot to write on the cassette what each track was so I started searching with the means available at the time to find out what I could about these pieces. I distinctly remember one piece which made quite an impression on me at the time and which puzzled me considerably. I couldn't figure out how the sound was being made although it was obviously a vocal technique and the source of this sound was indeed the human voice. After much searching and asking around I was finally informed one day that this was music from Tuva. Tuva? I had never heard of such a place. It was at this point that my relationship with Tuvan music began and, despite the fact that I have never been there, I have spent so much time over the years listening to this music that I now feel it to be very close to my heart. One thing which, right from the very beginning, made a deep impression on me in Tuvan music is its absolute honesty. Even though I have relatively few cultural reference points by which to assess it, it is immediately apparent to me that this music carries no pretence and is an offering in the true sense of the word. Sayan Bapa summed this up by saying that Tuvan culture is "a culture where people spend a lot of time alone, and where they make music for themselves. When you do that, you don't lie to yourself, and from those conditions come real emotions."
Nearly three decades later, in the year 2002, the world-renowned Tuvan quartet Huun Huur Tu had programmed a visit to Greece for two concerts and it was proposed to me that perhaps I could do something in collaboration with them for these concerts. I found the idea very interesting and so I immediately set to work. The musical idioms with which I have concerned myself during my life are very different in concept and structure from the music of Tuva and even the seemingly simple task of finding the starting point for such a project was, in itself, a great challenge that required a lot of time and effort. For a start, apart from technical difficulties such as scales, rhythmic structures etc, the whole concept of music and its role in our lives is radically different in Tuvan culture from what it is in other regions of the world. For the Tuvan people, music is an essential medium in their ongoing dialogue with the natural and supernatural world. It is simultaneously a means of spiritually aligning themselves with the various elements of the natural world through the medium of what often appears superficially to be an imitative process, as well as being, on a deeper level, a process of the transcendence of what we normally perceive to be "natural". Through this process one communicates in a prayer-like manner directly with the essence of the natural without necessarily making reference to its form or "normally" perceivable attributes. Such concepts and practices belong to the broader category of Shamanistic spirituality which is indeed to be found extensively in various forms throughout most of Central Asia. It was very clear to me from the very beginning of the project that the object here was not one of finding the common ground shared by two or more traditions and working from that as a starting point. Here the common ground was minimal if indeed it did even exist. Perhaps the greatest difficulty for a westerner working with Tuvan music is to go beyond the "strangeness" of it on the technical level and to simply perceive it as music. Of course when one first hears a single human voice producing not just two different notes but sometimes even two different melodies simultaneously, one is obviously deeply impressed to say the least. It takes quite a lot of time to get over this, to perceive these techniques as being perfectly "normal", and to listen to what is being sung rather than getting stuck solely on how it is sung. All that I could do was to immerse myself in Tuvan music, listening carefully for hours on end, silently, without thinking of anything, to recordings of various Tuvan artists and, of course, specifically to those of Huun Huur Tu. After an extended period of listening to their music in this way, I began to develop my own aesthetic relationship with this music in which the "novelty" of the vocal techniques was no longer the issue. Indeed, various musical ideas started to slowly reveal themselves to me. These first little "revelations" allowed me initially at least to make my choice as to who the other artists participating in this project would be. This however turned out to be a development of major significance, essentially because these other participants were destined to make enormous contributions to the creative aspect of the project and were by no means limited to a role of the mere execution of given material. For these two concerts in 2002, due to the very late arrival of the airplane carrying Huun Huur Tu from Tuva to Athens, we had the "luxury" of one rehearsal in the afternoon of the day of the first concert. Fortunately, having anticipated this problem, I had done extensive preparations for this program with the other Greek musicians and, much to the pleasant surprise of all, everything came together very quickly and naturally. This was very fortunate because the members of Huun Huur Tu, after the grueling 30 odd hour journey from Tuva to Athens, were absolutely exhausted and it would have been utterly inhuman of me to submit them to extended rehearsals requiring that they commit to memory huge amounts of new material without the necessary time to absorb it properly. The two concerts (one in Athens, one in Thessaloniki) were quite successful and, thanks to the flexibility and competence of all of the musicians involved, they were also musically quite coherent and indeed had an unexpectedly mature sound to them. All of this inspired in each of us a desire to continue the project under rather more amenable circumstances, with plenty of time for proper rehearsals etc.
In 2003 such an opportunity presented itself and we invited Huun Huur Tu to our residence, the Musical Workshop Labyrinth, in the village of Houdetsi on Crete to perform a concert there with all of the necessary time for proper rehearsals and preparation. This time however, the size and composition of the orchestra was quite different. The percussion was undertaken by my old and very dear friend Djamchid Chemirani together with his two sons Keyvan and Bijan. Alongside Giorgos Xylouris, who had sung and played in the first concerts, I decided to also include Spyridoula Baka, a young and very talented singer from Athens with a distinctive and personal sound of her own. The arrangement combining the Greek song Mavra mou Helidonia and the Tuvan Exile's Lament is her own and it is, for me, definitely one of the highlights of the project. This recording is of that particular concert and reflects the tireless work and creative interaction of all of the musicians during the preceding days. The recording itself had certain technical problems which required quite a lot of work to overcome but the end result is basically what approximately 2000 people who had never heard Tuvan musicians before heard on that night in early September in 2003 in the small Cretan village of Houdetsi. It is always somewhat of a temptation in writing about such projects to drift into more analytical or even musicological territory. In this case however it would actually be dishonest of me to do so simply because, as one of the participants, I was able to personally experience the fact that this project had nothing whatsoever to do with analytical or musicological approaches. There was no "concept" or underlying idea unifying the different elements. For me it was very much the product of the spontaneity and indeed the "chemistry" of all of the participants working on a deeper level. For all of us this project will remain an unforgettable experience and if we can, through this recording, share something of this experience with our listeners. That alone will be for us its measure of success".

""Ross Daly
Houdetsi 2007""

Artistas: Ross Daly
Huun Huur Tu - Trio Chemirani - Labyrinth
Giorgos Xilouris - Spyridoula Baka

1.PROGONI.05:07
2.TZEVRAN.07:35
3.TO MIROLI TOU ORFANOU & IME ORFANOS APO PEDI.11:55
4.KARGYRAA - SYGYT.06:08
5.MAVRA HELIDONIA & TO TRAGOUDI TOU EXORISTOU.06:42
6.TSIRA HOR.05:22
7.EXORISE ME I MIRA MOU.09:49
8.EKKI ATTAR.02:35
9.LEVKOS DRAKOS.13:49

LINK