Para una Página como esta, en la que se da cita la literatura y la música, es motivo de celebración que intérpretes como Clara Montes se dediquen a adaptar y difundir la obra de poetas, como en su reciente trabajo con los poemas del destacado gaditano Rafael Alberti. La atención y el esmero que Montes pone en esta labor son dignos de reconocimiento, ya que logran que la poesía de Alberti resuene de manera significativa con el público actual… (Continúa leyendo y visualiza los vídeos de Clara un poco más abajo).
In each video, by pressing the playback button, you can enjoy the albums in its entirety. If they are of your liking, you have the option to consider their acquisition or listen to them on the streaming platforms that you use, thus contributing to the support of the artists. However, I have informed and YouTube also remunerates artists with a sum for each reproduction of their songs.
Clara Montes: Concepto, documentación literaria, composición, dirección musical e interpretación; Chamo Díaz: Arreglos musicales y piano; Kiriko Gutiérrez: contrabajo; Pablo Domínguez: guitarra; Malick Mbengue Arroyo: percusión.
La cantante residente en Cádiz, Clara Montes, cuenta con una extensa trayectoria musical. Sus comienzos incluyen colaboraciones con Amancio Prada en el disco “Emboscados” y con Carlos Cano in “Diván del Tamarit”, donde se interpretan textos de Federico García Lorca. Este último trabajo revela su inclinación por las canciones basadas en poemas, una tendencia que se consolida con su debut en 1998, con el disco “Canta a Antonio Gala”, que presenta versos del propio Gala. A lo largo de su carrera, ha realizado diversos proyectos. Por resumir, se debe mencionar el álbum “A manos llenas” de 2009, un tributo a las coplas de Rafael de León, y en 2013, el regreso a su poeta fetiche, Antonio Gala, con “Vuelvo a Antonio Gala”. En 2017, su obra “Los amores oscuros” explora el último amor de Lorca. Recientemente, Clara lanzó “De Gala 25 Años y ++”, conmemorando el 25 aniversario de su primer disco dedicado al poeta cordobés. Actualmente, se adentra en la poesía de Rafael Alberti, un interés que surgió tras una invitación de la Fundación Rafael Alberti, donde interpretó un poema a capela. Aunque ya había leído a Alberti, su curiosidad la llevó a profundizar en su vida y obra, especialmente con motivo del centenario de “Marinero en tierra”, un poemario publicado en 1924 que le valió el National Poetry Award en 1925. Clara no solo musicaliza sus poemas más célebres, sino que también incorpora versos de su último poemario, “Canciones para Altair” (1983-1988), así como algunos poemas inéditos a los que tuvo acceso gracias a la Fundación y a la viuda del poeta, María Asunción Mateo.
Desgloso las canciones, en las que incluyo algunos versos de cada poema o algún poema completo: 1. Te fuiste marinerito. Corresponde al poema “Elegía del niño marinero”, del poemario “Marinero en tierra”. Alberti lo dedica a Manuel, hijo del editor José Ruiz-Castillo. Clara, en sus conciertos lo dedica a Pablo Domínguez, quien aportó su saber hacer a la guitarra, en el disco, pero que desgraciadamente falleció poco después de terminarlo: “Te fuiste, marinerito, / en una noche lunada, / ¡tan alegre, tan bonito, / cantando, a la mar salada! // ¡Qué humilde estaba la mar! / ¡Él cómo la gobernaba! / Tan dulce era su cantar, / que el aire se enajenaba”. 2. Ebria de amor es un poema de “Canciones para Altair”. Altair es el nombre poético que Alberti dio a su esposa María Asunción Mateo: “Ebria de amor y música celeste / bajó Altair, aquella amante noche, / de su constelación, / volviendo de la tierra / embriagada de amor, de música y de vino”. 3. Miramelindo corresponde al poema “Amor de miramelindo”Of “Marinero en tierra”: “¡Ay miramelindo, mira / qué estrellita tan galana, / suspira que te suspira, / peinándose a la ventana!”. 4. Mi amante y amada corresponde a dos poemas con el mismo título: “Mi amante”Of “Marinero en tierra”: “Mi amante lleva grabado, / en el empeine del pie, / el nombre de su adorado”. Y los versos del otro poema: “Amada de metal fino, / de los más finos cristales // —¿Quién la despertará? // —El aire, / sólo el aire”. 5. Recuérdame en Alta Mar es un poema de “Marinero en tierra”: “Recuérdame en alta mar, / amiga, cuando te vayas / y no vuelvas. // Cuando la tormenta, amiga, / clave un rejón en la vela”. 6. Sabes tanto de mí es un poema inédito dedicado a su esposa María Asunción Mateo: “Sabes tanto de mí, que yo mismo quisiera / repetir con tus labios mi propia poesía, / elegir un pasaje de mi vida primera: / un cometa en la playa, peinado por Sofía”. 7. Sevillanas del Levante es un alegre poema inédito que María Asunción encontró entre sus papeles, escrito a bolígrafo: ” Cuando sube el Levante de la bahía / el mar se vuelve loco por alegrías. / Las gaditanas, / locas por los balcones y las ventanas / Viva mi amante / porque se ha vuelto loco con el Levante. / Cuando el Levante asalta la azotea / corren las ropas tendías a la pelea / mira que risa, / ver mi blusa luchando con tu camisa” . 8. Negra flor y La Cigüeña son dos nanas que corresponden a dos poemas de “Marinero en tierra”: “Ya la flor de la noche / duerme la nana, / con la frente caída / y las alas plegadas”. Poema completo de La Cigüeña: “Que no me digan a mí / que el canto de la cigüeña / no es bueno para dormir. // Si la cigüeñita canta / arriba en el campanario, / que no me digan a mí / que no es del cielo su canto”. 9. Si mi voz es un poema dedicado al compositor Rodolfo Halffter y pertenece a “Marinero en tierra”. Incluyo el poema completo: “Si mi voz muriera en tierra, / llevadla al nivel del mar / y dejadla en la ribera. // Llevadla al nivel del mar / y nombradla capitana / de un blanco bajel de guerra. // ¡Oh mi voz condecorada / con la insignia marinera: / sobre el corazón un ancla, / sobre el corazón un ancla, / y sobre la estrella el viento, / y sobre el viento la vela!”.
En cuanto a la música en sí, se puede apreciar una base eminentemente flamenca, pero a partir de ahí, tendremos coplas, alegrías, rumbas, sevillanas, habaneras y ritmos de jazz latino. Como mencionó Clara, Alberti tuvo la oportunidad de vivir tanto en Cádiz como en Sudamérica, lo que influye en esta diversidad musical. Los músicos elegidos por Clara, demuestran su gran profesionalismo, cuidando cada detalle y arropando convenientemente la voz de la cantante, quien destaca por su impresionante habilidad vocal. Su interpretación es un verdadero deleite. Esperamos que se sigan produciendo más proyectos que fusionen poesía y música de esta manera. Sería un placer ver a Clara abordar nuevamente a otro poeta en un futuro cercano.
1. Ambition is Your Friend 2. Never Cut Assender 3. a New Crown 4. Weathering 5. Don't Hear Your Footsteps 6. Head Spun 7. When the Radio Plays 8. Server of the Mind 9. Fireworks 10. The Ship is Soon To Sail 11. Cry 12. World Keeps Spinning
Kat Mann: main voice, acoustic guitar; Carl Mann: voices, other instruments, composition, mixing, production.
What a lovely couple. Marriage formed by Carl Mann Y Kat Mann He has created an impressive album, almost by chance. Kat, who had previously collaborated as a vocalist in the album choirs "Daydream" of The Shop Window, the other project of Carl, now it shines as the main singer of the duo Shapes Like People. His enjoyment is palpable, as can be seen in his first video of the song "Ambition is your friend", that evokes the style of Rem, as well as in the video of his third theme, "A New Crown", where the lovely expressions of Kat son irresistibles. Su música, un brillante pop con voces y guitarras cristalinas, invita a ser escuchada una y otra vez.
The British musician Carl Mann He leads his project The Shop Window. In his outstanding 2024 album, entitled "Daydream", his neozyous wife, Kat, contributed some choirs. Carl He had composed several songs that did not fit with the style of his band and needed a main female voice, so he decided to invite Kat To participate. Despite his doubts about whether his voice would be adequate and to be aware of the meticulousness and demand for Carl In the recordings, he motivated her to join the project. As they worked together, Carl began to experience a growing emotion for the result, while Kat He felt more and more comfortable in the process.
In the album itself, music is not only important for its melody, but it is also essential "Ambition is your friend", which addresses the need to leave behind a past and look for a more promising future: "All I want to do is choose the way ahead." In "Never Cut Asander", the importance of trusting the couple during difficult times is emphasized, with verses that suggest the need to share experiences: "Stories not yet told / about your life / Wouldn't you share them with me? / We will relieve the daily routine / if you share with me". On the other hand, "A New Crown" It is a lovely song that, when observing its official video, reveals the connection of marriage and joy that Kat experience at that time. Its content reflects a desire to leave urban life behind in search of a rural environment, a reality that manifests itself in the life of Carl Y Kat, who have decided to move to a natural environment in Wiltshire: "I have been in the smoke of the city. / I had to go before drowning. / I want the shadow of an old brown ". In "Weathering", the theme revolves around the need to tear down the barriers that limit us, firmly: "If you could see me now / demolishing the walls of the outside space / capeing the storm / appearing smiling and removing the brakes ”. "Don't Hear Your Footsteps" It is about the difficulties in love: "I do not hear your steps now / nor a soul in sight / I feel so dizzy, time for me now / love is not easy". "Head Spun", an illuminating song of brilliant pop, with whistles included, addresses the theme of personal improvement. As is "Weathering", it also reflects the importance of determination on the way to growth and resilience: "The sun shines on you today / don't let the darkness take over you". "When the radio plays" It is a vibrant piece, a pop full of energy: "I'm going to dance all night / When the radio put your favorite song / I will dance all night / when the radio put your favorite song". In the song "Server of the Mind"It is again to face the present and try to forget the difficulties of the past: "All ayeres still try to torment today / forgot to mention the server of the mind ”. "Fireworks" It focuses on the love and relevance of mutual support in a relationship: "Fireworks, do not burn my fragile heart ". "The Ship is Soon to Sail", with his country clamp, highlights the relevance of venturing into new experiences and assuming risks, as they do Carl Y Kat In your new project: "Changing the days can be something very good. / Don't be afraid to try something new. / Life is too short to repeat. / Who does not risk, does not win ". On the other hand, "Cry" It is a beautiful ballad of love that expresses vulnerability: "Do not cry when I tell you my thoughts / Only time will say if your heart is strong / don't give my back / when I love you". The album culminates with "World Keeps Spinning", a song that invites you to leave behind the past and to maintain hope in the future, remembering that: "Life will not always be easy / a guy in your head / There are times when you want to throw in the towel / do not give up, the road is long // The world continues to turn / the night continues to fall / love shines in your eyes / the day continues to arrive / life continues to give / the future is ready to write". During the recording of the demos, Kat He was perfecting his voice and, with the help of CarlHe managed to discover his true potential as the main singer, leaving behind his role as a chorist. It is essential to highlight the ability to Carl To enhance the voice of Kat and the harmonization of his double voice, in addition to contributing his own voice in the choirs. His skill in the recording of instruments and in musical production positions him as a real teacher in the art of music. The final result is an outstanding album that evokes the style of The Shop Window, merging genres like the Dream Pop and he Jangle Pop, with bright pop melodies that transmit both hope and melancholy. In some passages, you can see influences from Rem, while in others the notable ones are remembered The Essex Green. An album that moves and renews our faith in authentic musical proposals.
Anouar Brahem: Arab lute; Anja Lechner: cello; Django Bates: piano; Dave Holland: double bass
01. Remembering Hind 02. After the last sky 03. Endless Wandering 04. The Eternal Olive Tree 05. Awake 06. In the Shade of Your Eyes 07. Dancing under the meteorites 08. The Sweet Oranges of Jaffa 09
تضيق علينا الأرض محمود درويش (The earth narrows for us) Mahmud Darwish - Translation of Arabic: María Luisa Prieto:
“The earth narrows for us. We take us in the last passage and strip ourselves of our members to pass.
The earth squeezes us. Ah, if we were his wheat to die and rebirth! Ah, if it were our mother to pusory to us! Ah, if we were images of rocks that our dream wore which mirrors!
We have seen the faces of which the last of us will kill in the last defense of the soul.
We have cried their children's birthday. And we have seen the faces of those who will throw our children through the windows of this last space.
Mirrors that will polish our star. Where will we go after the last borders? Where will the birds fly after the last sky? Where will the plants sleep after the last air?
We will write our names with crimson -dyed steam, we will cut the hand to the song to complete our meat.
Here we will die. Here, in the last passage. Here or there ... our blood will plant its olive trees. ”
Anouar Brahem He was born on October 20, 1957 in Halfauine, in the Medina of Tunisia. His father, craftsman and printer, and great music lover, conducive that Brahem, with 10 years, it will begin in music and the lute, in the National Conservatory of Music of Tunisia, in the company of the great teacher Ali sriti. With 15 years he played in several orchestras. With 18 years, he decided to devote himself completely to music and returned with Ali sriti, who struggled to convey him, the subtle art of Maqamat (the complicated system of modes of Arab artistic music) and the Taqsim. In addition to serving his classical Arab inheritance, Anouar He extended musical horizons, moving his curiosity from the banks of the Mediterranean to Iran and India ... then towards jazz. A personal itinerary in which he confesses: "I enjoyed the change of airs and discovered the close links between all this music".
In 1982, he settled in Paris. There he stayed four years, during which he collaborated with Maurice Béjart For your balletThalassa Mare Nostrum, as well as with Gabriel Yared as a soloist for the music of the filmHanna Kfrom Costa Gavras. But most of his activity focused on the composition, especially for Tunisian cinema and theater. Back in Tunisia in 1985, he continued his research in composition. In 1987 he definitely moved to Tunisia and was entrusted with the direction of the Musical set of the city of Tunisia. The two creationsLeïlatou Tayer(1988) andThe Hizam el Dhahabi(1990), are in the line of their first compositions, and mark what can be considered the main axis of their work, without abandoning the traditional, it is influenced by the Mediterranean, African, of the Far East, European music and jazz inheritance. WithRabe(1989) andAndalousïat(1990), Anouar Brahem He returned to traditional artistic music. With Ennaoura el Achiqua(1987), reflecting the eclectic and innovative character of his music, Brahem He proposes, for the first time on his itinerary, a song of singing, born of his encounter with the poet Ali Louati.
In 1990, he decided to leave the EMVT and flew to the United States and Canada. It was on his return from this trip when he met Manfred Eicher, the producer -founder of the German record label ECM Records- From which a rich collaboration was born that would undoubtedly mark an important stage in his work. With eleven albums in mind, all of them with a notable reception by the international press and the public at the time of publication, his discography is one of the most beautiful of the ECM catalog.
I will not extend in ECM discography, but it is important to point out your 2017 previous album, Blue Maqams, since the two British musicians, the bassist Dave Holland and the pianist Django Bates, participate again in their most recent work. The only modification in alignment is the drummer's replacement Jack Dejahnette For the cellist Anja Lechner. In this way, his new album, After the last Sky, acquires a new musical dimension when dispensing with the battery, which allows the cello, together with the lute and the back of the piano and the double bass, generate emotional pieces.
The title of the album comes from a verse from the Palestinian poet Mahmud Darwish: Where will the birds fly after the last sky?. Although the work of Anouar deeply reflects the reality of Palestine, the album was recorded months before the attacks of Hamas, who intensified the conflict in Gaza, which, unfortunately, persists.
Musically, the album offers a subtle camera jazz with a marked Arab influence, highlighting the lute of Anouar Brahem. Anouar, who had previously worked on the previous album with the recognized English musicians, Dave Holland (with which you have any more collaboration) and Django Bates, both musicians in the new work again. A remarkable aspect of this album is the loudness provided by the cello Anja Lechner. On the opening track, Anouar, with generosity, allows the cello of Anja develops in harmony with the piano of Django, creating a captivating start. In the second song, which gives title to the album and takes its name from a verse from Mahmud, Anouar shines with your lute, starting the piece and allowing the other instruments to integrate, to continue maintaining the prominence of the lute along the track. The compositions in which the four musicians participate, which cover seven of the eleven pieces, retain a similar line, having the lute as a central element, and being backed by their three outstanding companions, which also have their small personal interventions in the cello, the piano and the double bass, inside each track. In certain songs, it is important to observe that Anouar complements the sound of the lute with a type of vocal tarage. On the initial track there were two musicians who intervened, as I said before, and the same goes for three other clues, as in "The Eternal Olive Tree", where there is an enriching dialogue between the lute of Anouar And the double bass Holland. In "In The Shade of Your Eyes", the cello of Anja introduces the subject, giving way to the lute of Anouar. Finally, the spirit of Edward Wadie Said, Palestinian-American activist, in addition to literary critic, is in "Edward Said's Reverie", a beautiful melody, where the piano of Django Bates and the cello of Anja Lechner They assume prominence. All compositions are the work of Anouar Brahem, who He has sought to express through his emotional music the suffering and displacement of the Palestinian people.
1. Helmi 2. Cornicyll 3. Mae'r nen yn ei glesni 4. Shili ga bwd 5. and medelwr 6. cwm Altcafan 7. Pryd and Potsiwr 8. Cwrw Bach 9. Pont Llanio 10. Pysgota 11. Faerdre Fach
Owen Shiers: Llais/Voice, Gîtâr/Guitar, Glockenspiel, Offer Taro/Percussion; Alfie Weedon: Bas DWBL/Double Bass; Fred Harper & Charles van Kirk: Dryms ac offer taro/drums and percussion; Chris Roberts: Gîtâr/Guitar; Steve Chadwick: Offer pres/horns; Maria Chiara Argìro & Laurence Greed: Piano; Flora Curzon, James Joseph Flannery, William Clark-Maxwell, Millie Ashton, Jack Greed: Lllinynnau/strings; Cerys Hafana: TELYN DEIRIES / TRIPLE HARP; Ailsa Mair Hughes: Sielo/Cello; Band Gwynt Machynlleth Wind Band: Rhagarweiniad/intro - mae'r nen yn ei glesni; Trefniannau Llinynnau/String Arrangements: Owen Shiers, Laurence Greed, Tom Greed.
Behind the project Cynefin It is found Owen Shiers, a Welsh musician from Cerebion County. Owen He explains that "Cynefin" is a Welsh term that originally referred to the roads and traces that animals follow on the slopes, but has evolved to represent a deep sense of belonging and connection with the place. This project was born after receiving a scholarship to investigate the forgotten folk songs of its homeland, with the intention of creating a musical map of Ceredigion, starting in the Clettwr valley, where it grew. His research materialized in the album "DILYN AFON", launched in 2020 and produced by its mentor John Hollis, which was acclaimed by critics and nominated for Album of the Year in Welsh 2020. "Shimli" It is the continuation of this work, exploring the traditions of Ceredigion and taking its name from the old musical and poetic vigils that were carried out in mills and workshops. Through the merger of folk music, popular poetry and oral stories, the album investigates the relationship between music, poetry, gastronomy and nature, while Owen He strives to preserve his language and culture, thus contributing to his rescue and promotion.
Owen explains what the songs mean, thus, the initial, Helmi, introduces the lyrics of an old forgotten poem of a forerway from Prengwyn, Ifan Jones. In the poem, Jones Evans describe la granja familiar rodeada por un ejército resistente de helmi (pasteles de maíz) con uniformes dorados, protegiendo a los habitantes de la hambruna y el frío invernal. Por muy romántica que parezca la representación, el poema es un relato conmovedor y lírico de un pasado no muy lejano. No solo ha desaparecido helmi del paisaje galés, sino que también lo han hecho los cultivos nativos que una vez alimentaron a la nación. Para un país que ahora depende casi por completo de los alimentos importados, puede haber un mensaje oportuno en sus palabras. Cornicyll (que significa avefría), está inspirada en el poema del poeta y granjero Dic Jones y en mi propia visita con Ben Porter a la reserva de avefrías en Ynys Hir y es un comentario sobre la desaparición del ave tanto del paisaje como de la memoria cultural. Mae'r nen yn ei glesni es una canción tradicional de mayo con un toque bastante optimista, presenta las palabras del poeta Jacob Davies cantando las alabanzas de la primavera mientras nos despierta de nuestro sueño invernal. Shili ga bwd versa sobre la planta del ajenjo y sus propiedades medicinales, así como la de otras plantas. Y Medelwr aborda la abundancia de cultivos en el pasado, contrastando con la escasez actual. CWM Altcafan es una canción que rinde homenaje a un desfiladero que desemboca en un río que solía estar lleno de peces. Pryd Y Potsiwr narra la vida del cazador furtivo que dependía de la caza para sobrevivir. Cwrw Bach It focuses on craft beer that was marketed in small community meetings. Pont Llanio It is a lament for a milk processing plant that had great importance in the past, but has been abandoned for many years. Pysgotawhich means fishing, expresses sadness for the decrease in fishery resources. Faerdre Fach, mention a small settlement near Londysul in Cerecion, which functioned as a local administrative center in the Middle Ages. However, with the change of name to "Happy Donkey Hill" More than a decade ago, the sense of historical and local context has been lost, since this new name seeks to attract tourists.
In the musical field, the predominance of acoustic instrumentation stands out. Owen's soft voice, accompanied by his guitar, is enriched with the double bass and occasional touches of percussion or piano, as can be seen in the final song of the album, Faerdre Fach, where strings are also incorporated, as in other pieces such as Shili ga bwd Y CWM Altcafan, as well as in the melancholic Pont Llanio, which includes the harp and other elements. On issues such as Mae'r nen yn ei glesni, the metals break, giving the piece a nuance between jazz and folk. In Cornicyll, the whistle and the flute evoke the lament due to the decrease in bird. The melodious voice of Owen Shiers It transmits peace and serenity on an album that invites you to reflect on the cultural and identity oblivion of its homeland, presenting a delicate work that deserves to be considered.
1. Open Ramče 2. Anii mei şi tinereţea 3.Jolta 4. Niška Banja 5. Ciolpani 6. Ibrahim 7. Ederlezi 8. Phirado
Simon Thacker (Classical Guitar) & Justyna Jablonska (Cello) with Special Guests: Masha Natanson (Voice/violin), Gyula "Julius" Csík (Cimbalom), Gyula lazár (Double Bass)
The album that I recommend as a suggestion, "Songs of the Rome", it is a work that mainly presents three protagonists: Simon Thacker, Justina Jablonska Y Masha Natanson, although without ignoring the collaboration of Gyula "Julius" Csík and of Gyula lazár, two musicians, who deserve, of course, our recognition.
First of all, Simon Thacker, a Scottish with classical musical training, is a composer, classic guitarist and orchestra director. His interest in exploring other genres and cultures led him to found Svara-Kanti, an indo-western community that seeks to create new sound worlds from classical, folk and spiritual traditions of the Indian subcontinent. Since its inception as a quartet in 2011, the group has evolved to a collective with various alignments, each focused on different musical influences of the subcontinent, such as the indostaní classic, the classic carnatic, the folk punjabi and the mystical tradition Baul. His double trikala album, released in 2018, received international praise and won a Scottish New Music Award in 2019. In addition, Thacker heads Ritmata, a musical laboratory where it collaborates with outstanding European improvisers, creating music that defies the limits through complexity and improvisation. His work "Quadriga in 5", of the album "Tàradh" , she was nominated for the prestigious Ivors Composer Awards in 2019. Simon has launched another initiative called Karmana, in collaboration with the Polish cellist Justyna Jablonska, with the aim of offering a new perspective in camera music and has released an album under the same name.
Our second protagonist is Justyna Jablonska, a Polish music that resides in Edinburgh. He has developed a vibrant career in contemporary classical music and fusion during the last decade. It is known for its virtuosity and its focus on interdisciplinarity and experimental interpretation. Jablonska It is frequently presented in classical and world music events in the United Kingdom and Europe. In 2022, he released his first intercultural album with carnatic violinist Jyotsna Srikanth, entitled "Songs for Cello and Carnatic Violin", and also presented her first multimedia work alone, "Lost and Found: A Cellist's Journey." In October 2023, he obtained a doctorate in creative musical practice at the Royal Conservatory of Scotland, focused on collaboration with a violinist from southern India, exploring carnatic traditions and free improvisation, financed by a Carnegie Trust scholarship. Justyna He has a master's degree from the RNCM, where he studied with Peter Dixon, and has worked with outstanding musicians at the Lucena Festival Academy since 2014, which has allowed him to continue acting as part of Lucene Festival Alumini.
Finally, Masha NatansonHe is a singer and violinist who comes from a family with a strong musical inheritance. His mother, who sang gypsy and Russian songs, instilled in him his passion for music. Nevertheless, Masha He chose to follow his own path. At age 15, he left the School of Music and his home, moving to the mountains to discover the traditional music of the Carpats and the Gypsy Communities. When joining local folk groups, he learned many melodies in various languages and dialects of this multicultural region. He lived in several places, playing music to survive. For almost a year, he was also part of the gypsy band Kałe Kała, and in 2004 he began collaborating with music artists from the world in Lublin, which led her to create her own band, ČAči Vorba, two years later. Masha Not only adapts a wide repertoire of traditional songs, ranging from Russian romances to Rebetiko Griegos, but also composes lyrics in Romaní language. His lyrics address issues such as love, the search for lost roots, the constant wandering, the life and death cycle, and the situation of women in traditional societies. His powerful and charismatic voice, together with their emotional interpretations, have been highly valued by music fans worldwide, reflecting their deep passion for music and its talent as an exceptional artist from Eastern Europe.
"Songs of the Rome" It is an album to taste. In the musical part we must pay special attention to the mastery in the classic guitar of Simon Thacker, where he has managed to melt the Balcanic and Romanian gypsy sounds with reminiscences of Django Reinhardt, the sounds of India and the classics of their formation. Justyna Jablonska In the cello it is also impressive, just like Masha Natanson In the violin. For its part, Gyula "Julius" Csík, he is a teacher in the Hungarian cymbal, giving the songs of a special atmosphere. We must not forget the contribution of Gyula lazár In the low double. Two of the songs are instrumental, "JOLTA", in trio, with the virtuosity of Simon In guitar, Justyna in the cello and Gyula Csík In the cymbal. The other instrumental theme is "Phirado", here in quartet formation, with the addiction of the double bass Gyula lazár. The remaining six songs, with the musical base of these talented musicians, have the impressive voice of Masha, who transmits with great sensitivity the essence of Romanís songs. This album represents not only an exhibition of both instrumental and vocal skill, but also pays tribute to the abundant cultural heritage of gypsy music, integrating influences of various musical traditions.
1. Tension 2. Major 3. Hatula 4. Yashan 5. Delilah 6. Dung Gate
Mulatu Astatke - Vibraphone, piano, percussion; Ilan Smilan - guitar; Eitan drabkin - organ; NOV ORCHA - low; Eylon Tushiner - Tenor saxophone, flute; Elad Gellert - Baritone saxophone; Ashkenazi bar - Trompet, fliscor; Kill Assayag - battery; Raz Eytan - Percussion; Shahar Ber - Percussion; Ran Birnbaum - Percussion; Neal Sugarman - Tenor saxo in #5 high saxo in #5; Udi Raz - Trombone at # 3
The first suggested album for 2025 is "Strain", launched the previous year but presented at the end of that same year. This work represents a merger of genres that includes jazz, soul, funk and rock, enriched with Ethiopian, Latin and psychedelic influences. Leadership is in charge of the outstanding Ethiopian musician Mulate Astatke, who collaborates with the recognized training Hoodna Orchestra.
Mulatu Astatke He is an outstanding 81 -year -old Ethiopian musician, originally from Jimma, Ethiopia. During the 1950s, he resided and studied in London, and later in Boston and New York. His initial interest in jazz and Latin music evolved towards funk and soul, which allowed him "Ethio-Jazz". Although his music was appreciated in understood and local circles, the launch of the compilation album '"Ethiopiques" In 1998, and its inclusion in the soundtrack of "Broken Flowers", movie Jim Jarmush of 2005, they significantly expanded their recognition.
Hoodna Orchestra It is a group composed of 12 members, established in 2012 in the south of Tel Aviv. Its union is based on the passion for Afrobeat, which have merged with psychedelic rock, funk, soul and jazz elements. Although all members have a solid musical training, the guitarist stands out Ilan Smilan and the organist Eitan drabkin of Sabbaba 5, the drummer Kill Assayag of the trio Shalosh, the percussionist Rani Birenbaum of The Faithful Brothers and the collaboration of the recognized saxophonist and multi -senses, Neal Sugarman, who also acts as a producer. The orchestra had been fascinated by the Ethiopian sounds of Mulatu Astatke, and after the collaboration, more than satisfactory, with the Ethiopian singer Tesfaye Negatu, they decided to invite Mulatu to participate in the recording of an album and the corresponding presentations live.
The album "Strain", although recorded in 2023, it was released at the end of 2024. The work begins with the song that gives it name, "Strain", where the distinctive vibraphone of Mulatu Astatke establishes the environment, followed by the battery of Kill Assayag, the bass of NOV ORCHA And the percussion of Ran Birnbaum, which lead to the metal section, highlighting again the vibraphone of Mulatu and the saxophone of Eylon Tushiner. The piece "Major" highlights the splendid management of the organ of Eitan drabkin, accompanied by metals, percussions and the guitar of Ilan Smilan, while "Hatula" offers a quieter and more night atmosphere, with Mulatu Gently touching the piano, backed by the rhythmic section and metals. "Yashan", the longest track of the album, continues the atmosphere of the previous one, with Mulatu Returning to vibraphone and touching subtle, accentuated by the bass of NOV ORCHA, battery and percussions, where metals appear and disappear, culminating in an outstanding vibraphic only Mulatu and a demonstration of mastery by Elad Gellert In the baritone saxophone. "Delilah", with its fusion of Latin jazz and African nuances, it stands out for the captivating sound of the flute of Eylon Tushiner. Mulate It once again demonstrates his mastery in the vibraphone, while Ilan Smilan It has a single master guitar that combines African elements with touches of psychedelia. The subject "Dung Gate" The album concludes with a captivating predominance of percussions and metals. Mulatu Complement the piece with the precise nuances of the vibraphone.
The association between Mulatu Y Hoodna Orchestra It has turned out to be extremely fruitful, giving rise to a fusion of dazzling elements. This artistic exchange not only highlights the mastery of Mulatu, but also shows the collective talent of Hoodna Orchestra. Synergy between them has resulted in a work that transcends borders and celebrates cultural diversity.
