Janusz Szprot - Na tureckim dywanie [On The Turkish Carpet]

Janusz Szprot - keyboards, Hohner melodica ( #1,4), Fender Rhodes piano (#5);
Tomasz Szukalski - tenor sax (on # 1-3, 6-9);
Tuna Ötenel - keyboards: Fender Rhodes piano ( # 1,4) alto sax ( # 6);
Sibel Köse - vocal (# 7-9);
Kamil Erdem - bass guitar (# 4,5);
Adam Kowalewski - bass guitar (# 1-3, 6-9);
Krzysztof Dziedzic - drums;


*


01.Na tureckim dywanie (Polonezkoy) [On The Turkish Carpet] [07:20]
02.Sanktuarium w Adampolu [The Adampol Sanctuary] [06:43]
03.Solilokwia [Soliloquies] [04:11]
04.Jarek w ogrodzie [Jareczek's Garden] [08:53]
05.Slodkie polskie sny [Sweet Polish Dreams] [08:30]
06.Bilkent Blues [06:12]
07.Velvet Mist [05:54]
08.Bossa at Sundown [04:18]
09.Lonely Avenue [05:11]

Recorded at Ankara Sound Centre on November 2000.
Selles SNFP 0013 (2001)

*
Janusz Szprot – pianist, composer, arranger, musicologist, and educator – is an experienced musician who shared a rich background as a professional jazz pianist, soloist, sideman and the leader with various ensembles. He grew up and was educated in Warsaw, Poland, where he received a Masters Degree in Musicology. While completing his studying in 1972, Janusz began to play jazz and earned his living as a musical practitioner but also as a jazz critic and educator as well. He is well known to European audiences as a pianist and arranger for an ensemble called SAMI SWOI. During his stints with this little big band he performed with numerous jazz giants such as Wild Bill Davison, Budd Johnson, Beryl Bryden, Maxine Howard, Big Bill Ramsey, Simeon Szterev, Birger Sulsbruck, Ethiopian Mulatu Astatke, and some American blues singers. He has made successful appearances at the PORI (1982), NORTH SEA (1983) and many other international jazz festivals; toured Europe, Asia, Africa, North America, and his native Poland. In addition, Janusz Szprot led a sextet called AMALGAMAT, which recorded for the Polish Radio and POLJAZZ recording company. In January 1986 he founded the BLUES DUO “SZ – SZ” (together with the top Polish reedman, Tomasz Szukalski), which became sensation on the Polish jazz scene and performed worldwide. Since 1990, when he began working at Bilkent University, Ankara, he is maintaining a busy schedule, performing concerts either in accompanying role with numerous jazz vocalists (including Sibel Kose, Liliana Rodriguez and American jazz star Joe Lee Wilson) or as a leader of his various jazz and blues ensembles. In June 1983 he founded the POLISH-TURKISH JAZZ FORMATION, a super group composed of the best Polish and Turkish musicians, which performed to enthusiastic audience response both in Ankara and at the 21st International Istanbul Festival. He has been for in partnership with Turkish musicians for many years. His longtime musical friends are Sibel Kose, Kamil Erdem, Tuna Otenel, to name but a few. The number of his students is also impressive and is still growing. As a pianist Janusz Szprot is conversant with many styles of jazz piano. His flexibility and versatility are clearly in evidence in his discography which consist of over 15 records. His last CD “POLONEZKOY”/ “NA TURECKIM DYWANIE” has been released in 2001 by ADA MUZIK (Istanbul) and SELLES RECORDS (Poland). Janusz is still very active as a composer, arranger, Hohner melodica virtuoso, musicologist, adjudicator, and educator. At present he serves as Director of Jazz Studies at Bilkent University, Ankara, Turkey. (http://szprot.org/janusz/?page_id=4)

Preview:

http://www.myspace.com/januszszprotquartet

#8. Bossa at Sundown -live: Sibel Köse & Dante Luciani & Janusz Szprot Group

http://www.theguideistanbul.com/agenda/detail/227889/Sibel-Kose-Dante-Luciani-Janusz-Szprot-Group

*
Tomasz Szukalski is one of the most important but probably most under appreciated Jazz musician in the history of Polish Jazz. He is multi-talented artist who has contributed to the numbers of most important milestones of Polish and European Jazz, including albums by leaders like Zbigniew Namysłowski, Jan Ptaszyn Wróblewski and Tomasz Stańko. His charisma on those recordings is always very distinct and always present, in many cases he almost “steals” the record from the leader (just listen to Szukalski on Edward Vesala’s “Satu”)

Tomasz was playing with Arild Andersen, Albert Mangelsdorff, Palle Danielsson, Rashied Ali, Terje Rypdal, Palle Mikkelborg, Tomasz Stańko, Edward Vesala, Dave Holland, Michał Urbaniak, John Surman, to name but a few, and was recording for the famous ECM label as well. In the late 70’s together with Sławomir Kulpowicz, Janusz Stefański and Paweł Jarzębski he founded The Quartet - one of the best european jazz bands.

Szukalski is a graduate of Warsaw Music College PWSM, where clarinet was his main instrument. Performing musician since his high school days, he self-taught himself to play tenor and soprano saxophones. After early collaborations with pop group Partita, Big Band Stodoła and bands of the leaders like Janusz Muniak, and Tomasz Ochalski; in 1972 he joined Zbigniew Namyslowski group with whom he extensively toured and recorded legendary albums “Winobranie” and “Kujaviak Goes Funky”. He quickly established himself on Jazz scene in Poland and collaborated with Włodzimierz Nahorny, Tomasz Stańko (“Balladyna”, “TWET”, “Almost Green”, “Live at Remont”), and Jan Ptaszyn Wróblewski (“Sprzedawcy Glonów”).

In 1977, Szukalski joined probably the most important band in Polish Jazz of 1980s - The Quartet. In 1984 along with Czesław Bartkowski (drums) and Wojciech Karolak (keyboards), Szukalski co-leaded another “band without a leader” - Time Killers. The group recorded only one self-titled album but it marked the history of Polish Jazz. Jazz Forum’s critics survey in 1990s found “Time Killers” to be the Best Polish Jazz Record of 1980’s, and in many critics opinion probably the best example of exciting adaptation of Weather Report’s language into Polish Jazz idiom.

During the rest of the 80s, 90s and to the present time Szukalski has remained active and productive on Polish Jazz scene. He is continuing many fruitful collaborations with old musical friends (Stańko, Namysłowski) as well as with many new ones: Janusz Szprot, , Józef Skrzek, Piotr Wojtasik, Apostolis Anthimos, Jarek Śmietana ( http://superfm.com.pl/biography/Tomasz-Szukalski/)

Tomasz Szukalski Quartet - Body & Soul:
http://www.youtube.com/watch?v=F-xNmPBZ-BI

Theodosii Spassov - Bratimene

01. Horo with Kaval [05:53]
02. Rhodope Song [04:30]
03. Old Wives' Tales [06:57]
04. Paleontologomania [02:59]
05. Satin Doll [05:57]
06. Pendata [02:32]
07. Song about the Couscous [06:22]
08. Samba Rachenitsa [04:46]
09. Gyurkata [05:06]
10. A Little Something out of Nothing [02:06]
11. Rada [04:15]
12. For Nicky [04:42]
13. Christmas Eve with Bells [02:52]

*

# No 1:Theodosii Spassov - kaval( Bulgarian wooden flute), Vesselin Koichev - guitar, Docho Panov - bass guitar;
Recorded in February 1983.
# No 2:Theodosii Spassov - kaval; Simeon Shterev - flute, Roumen Toskov - piano; Vesselin Vesselinov-Eco - double-bass, Stoyan Yankulov - drums;
Recorded in July 1995.
# No 3:Theodosii Spassov - kaval, vocals; Stoyan Yankulov - percussions;
Recorded in January 1998.
# No 4: Theodosii Spassov - kaval, vocals; Milcho Leviev - piano.
Recorded in June 1993
# No 5: Theodosii Spassov - kaval; Peter Petrov - tenor sax; Ruschuk Trio: Boris Petrov - keyboards, Nikolai Georgiev - bass guitar; Marian Antonov -drums;
Recorded in March 1996.
# No 6: Theodosii Spassov - kaval; Peter Petrov - tenor saxophone;
Recorded in March 1996.
# No 7: Vesselin Nikolov Sextet: Vesselin Nikolov - soprano sax; Yildiz Ibrahimova - vocals; Theodosii Spassov - kaval; Vesselin Koichev - guitar; Docho Panov - bass guitar; Radoul Nachkov - drums; Boris Dinev - percussions.
Recorded in November 1985.
# No 8: Theodosii Spassov - kaval; Yildiz Ibrahimova - vocals; Ognyan Videv - guitar;
Recorded in January 1988.
# No 9: Theodosii Spassov - kaval; Stoyan Yankulov - percussions;
Recorded in January 1998.
# No 10: Theodosii Spassov - kaval; Acoustic Version: Antony Donchev - piano; Hristo Yotsov - drums;
Recorded in March 1992
# No 11: Theodosii Spassov - kaval; Anatoly Vapirov - soprano sax;
Recorded in October 1993.
# No 12: Theodosii Spassov - kaval; Roumen Toskov - piano; Georgi Donchev - double-bass; Stoyan Yankulov - drums;
Recorded in February 1997.
# No 13: Theodosii Spassov - kaval; Stefka Onikian - vocals; Nikolai Dragnev - guitar; Dimiter Shanov - bass guitar.
Recorded in February 1997
"St. Alexander Nevsky" Cathedral bells recorded during the Christmas Liturgy in 1992.

Gega New (1998)

*
Various video:
http://theodosiispassov.com/en/video#prettyPhoto

**
This is a compilation of Theodosy's best work from 1983 to 1998. Best described as Bulgarian ethnic jazz, this features Theodosy accompanied by some of the finest jazz musicians in Bulgaria: Yildaz Ibrahimova - vocals; Stoyan Yankulov - percussion; Milcho Leviev - piano; Vesselin Nikolov - sax; Simeon Shterev - flute, Peter Petrov, Stefka Onikian.
*
Theodosii Spassov invented a new musical genre. The American magazine is absolutely right. The Bulgarian genius developed a completely new style of playing the KAVAL, which is a shepherd’s flute consisting of wood and one of the oldest instruments in Europe.
*
Theodosii gets everything out of his KAVAL when playing his unique compositions. They include elements of traditional folklore music as well as jazz, classical music and even pop. His very own way of playing has not only impressed audiences during his concerts and festival appearances, but also fellow musicians, who cooperated with THEODOSII SPASSOV in the past years. Among them are Dave Liebman, Andy Sheppard, Yldiz Ibrahimova, Ennio Morricone, Jamey Haddad, Albert Mangelsdorff, Mark Johnson, Kazumi Watanabe and many others.


*
Biography

Theodosii Spassov was born on March 4th, 1961. He began his early training on the kaval at the Kotel Music School and The Academy of Music and Dance in Plovdiv/Bulgaria. The kaval, an eight-hole wooden “shepherd” flute, is one of the oldest Instruments in Europe, rich in tone and technical possibilities. Theodosii Spassov has developed his own unique style of playing the instrument by synthesizing traditional folklore with jazz, fusion and classical music.

For over 20 years, Theodosii has toured all over Europe, Asia, the Middle East, Australia, Canada and United States. In 1994, he performed with Sofia Women’s Radio Choir which was awarded with a Grammy award for “Le Mystere Des Voix Bulgares”. In April of 1995, “Newsweek” magazine recognized Theodosii Spassov as one of the most talented Eastern-European musicians in its “best of the East” article, noting that “Spassov… is not merely surviving the post-communist cultural wasteland. He has actually invented a new musical genre.”

Theodosii Spassov has contributed to 20 CDs, four of his own, which have been noted worldwide. He has composed and performed numerous film scores including a French-Bulgarian feature film “Granitza”, (”The Border”) 1993. Also he recorded themes for films by Italian composers Carlos Siliotto and Ennio Morricone, entitled “An Italian Story” and “The Breakout of the Innocent”. At the fourth European Jazz Night, Theodosii Spassov was a featured performer along with other jazz musicians, including Winton Marsalis.

At home in Bulgaria, Theodosii Spassov is national figure and musical hero, and was recently honored with the”Music Artist of the Year” award. He is the Artistic Director of the world-renown “PHILIP KOUTEV Ensemble Of Music, Drama And Dance”.

Theodosii is currently member of the company of the Irish music and dance “Riverdance”-(1998-2001). Now hi is a soloist of Bulgarian National Radio.

Awards:
The Special Prize of Detroit Flute Festival, 1994
The International Academy of Arts in Paris Award, 1996
“Music Artist of the Year” at the National Music Awards, 1997 and 2002
Apollo Toxophoros for sparkling contribution to Bulgarian music, 2001
National Film Centre Annual Awards-”Best film music composer”, 2006
“Artist Of Salon Des Arts” , 2007
“Dobri Chintulov” for culture activity, 2009
“Golden Age” for contribution to Bulgarian culture, 2011

Mihály Dresch & Archie Shepp - Hungarian Bebop

Archie Shepp: soprano, tenor sax., piano.
Mihaly Dresch: soprano, tenor sax., flute.
Ferenc Kovacs: violin.
Matyas Szandai: double bass.
Istvan Baló: drums (Duban drums -model Baló).
&
Kalman Balogh: cimbalom (#5)

*

01. Lily Of The Valley [07:59]
02. Búzai Song (based on traditional folk tune) [11:43]
03. I Was Beaten Because [10:02]
04. Steam [06:32]
05. Sorrow, Sorrow [08:48]
06. Hungarian Bebop [09:59]

Recorded at the Roxound Studio, Budapest 2002
BMC

*

Saxophonist and composer Mihaly Dresch is one of the most influential nurturers of a fertile fusion between Hungarian folk music and jazz, and this attractive set features him in the company of that grizzled veteran of the 1960s American free-jazz avant-garde, Archie Shepp. There are strong contrasts between Dresch's clearer, more precise, yet Coltrane-pungent tenor lines and Shepp's raw and bleary smears and lurches, and they dance some ruggedly elegant improvised counterpoint together on soprano saxes too, as well as providing haunting textural blends with violinist Ferenc Kovacs' deliciously fluttering tone and sudden surges of intensity. Shepp's famous Steam (taken surprisingly slowly, and suggesting a dance in monochrome between a solitary couple in a vast, empty ballroom) is the only non-Dresch track, and most of the melodies mingle boppish lines with gracefully weaving Hungarian folk themes. Shepp sounds unusually engaged in the whole enterprise, and though there's a melancholy flavour to it, it's a very distinctive mix. John Fordham The Guardian http://www.guardian.co.uk/music/2002/nov/08/jazz.artsfeatures2

*
This summit meeting between the Hungarian saxophonist and composer Milhaly Dresch and avant-jazz elder statesman Archie Shepp is an interesting and frequently beautiful experiment that demonstrates both how gracefully Shepp is aging and how fully developed the jazz scene is in that former Soviet satellite country. The mostly pianoless arrangements (which feature violin and, in one case, a cimbalom) recall the harmolodic excursions of Shepp's old boss, Ornette Coleman, but without Coleman's willful harmonic chaos. On the contrary, these are well-crafted compositions, all but one written by Dresch, and they give the players plenty of structural support on which to base their sometimes wide-ranging improvisations. Highlights include "Buzai Song" (which is based on a Hungarian folk tune and features some stunning duo improvisation between the two saxophonists) and the playful "Hungarian Bebop," which is only vaguely bop-flavored but shares bebop's flavor of complex but high-spirited fun. Recommended.
Review by Rick Anderson http://www.allmusic.com/album/hungarian-bebop-r600058

*
Editor's Info:
Dresch's music touches on both areas using Afro and Euro-American idioms, also incorporating their own folk traditions. Within the area of instrumental music it's rather like what the Beatles were able to do using Negro-blues to create a new form. What we did was combine Hungarian folk and European academic music with afro-jazz elements in a way that really swings. The overall feeling of the recording is nice and fresh.

#1:
http://www.youtube.com/watch?v=bBvT5y41iy8

Bela Szakcsi Lakatos Trio - Na Dara!

Béla Szakcsi Lakatos - piano
György Orbán - double bass
András Peczek Lakatos - drums

Mónika Rostás - vocal
Csaba Rostás - vocal


01. Red caravan [08:09]
02. 8th district [10:23]
03. Peace of the stars [06:11]
04. Little gipsy song for you [09:01]
05. Gipsy groove [01:57]
06. Bell of my soul - tribute to Péter Eötvös [11:43]
07. Django [03:46]

Recorded at Aquarium Studio, Budapest on December 2003
BMC

*

"I believe that what we have on this album is world music in the truest sense of the word. To my mind, world music is not when a Cuban musician or a Gypsy plays the tunes of his own people but when various musical cultures and styles merge into one. Here you have the Hungarian and Gypsy elements fusing with the strains of Oriental music, occasionally straying into the blues while phrases crop up even from Bartók’s Piano Concerto No. 1, and there is the undeniable influence of twenty-first-century contemporary music. But all through this pulses the underlying current of jazz."
Béla Szakcsi Lakatos

*

"Pianist Béla Szakcsi Lakatos has a lengthy history that includes playing classical music and jazz standards as well as being the first in Hungary to explore fusion. As a member of Special EFX, he toured the world and appeared on many recordings. He has also worked extensively at exploring his Hungarian heritage and turning gypsy-flavored melodies into jazz. Although one can hear a bit of Bill Evans and Keith Jarrett in his playing, much of the time Lakatos plays the piano like the folk instrument the cimbalom, a bit out of time yet swinging in its own fashion. Lakatos' originals are full of rich melodies, and the lengthier pieces on Na Dara!, particularly "8th District," are episodic, unpredictable, and intriguing. The occasional wordless vocals of Csaba Rostás and particularly his wife, Mónika Rostás, are haunting and authentic, giving this music an even stronger flavor of Eastern Hungarian music. Lakatos wraps up this continually interesting set with a stately reading of John Lewis' "Django." Recommended!" by Scott Yanow
http://www.allmusic.com/album/r723287

*
Szakcsi Lakatos Trio [is] led by Rom pianist Lakatos with Gyorgy Orbán (bass), András Peczek Lakatos (drums), plus a pair of superb vocalists, Mónika and Csaba Rostás. Not Django, but an utterly contemporary, cosmopolitan sort of gypsy jazz. At the keyboard, Lakatos hard bops with the very best; the ideas come fast and furious, he plays with a riveting precision, and the groove he carves out carries the entire project forward with overwhelming energy (Randy Weston and Rodney Kendrick come to mind). He's literally all over the piano, reaching deep inside the box to pluck and stroke the strings like a grand cimbalom, as the bass dances and the cymbals shimmer, easing into a down-and-dirty strut to wake the dead (hear "Eighth District"), or loping up and down the track with a percussive joy that defies time itself ("Gipsy Groove"), while the John Lewis ballad "Django" closes out with what an affecting interpretation that calls down the spirit of Bill Evans. Lakatos (winner of the Lizst Prize and Hungarian Artist of Merit Award) has talent to burn, and he deserves a far wider hearing. - Michael Stone, RootsWorld

Asian American Jazz Orchestra - Big Bands Behind Barbed Wire

THE ASIAN AMERICAN JAZZ ORCHESTRA:
Anthony Brown: drumset w/timbales and pedal tom, shime daiko [7]; Mark Izu: bass, sheng (mouth organ) [7]; Jon Jang: piano; Qi Chao Liu: sheng [7], suona reed trumpet [1, 10], dizi (bamboo flute) [4, 6, 8, 9, 10]; Hafez Modirzadeh: soprano and tenor saxophones [2, 6], ney (end-blown flute) [4, 8]; Wayne Wallace: trombone; Francis Wong: tenor saxophone [2, 5], flute [1, 6-10]; clarinet [5]; John Worley: trumpet.

SAN JOSE TAIKO:
PJ Hirabayashi: taiko, percussion, waterphone [8]; Michelle Fujii: taiko, percussion, shekere [10]; Yumi Ishihara: taiko, percussion, cowbell [6], clave and palito [10]; Crissy Sato: taiko, percussion, triangle and cowbell [10].
and special guests BRENDA WONG AOKI and GEORGE YOSHIDA

01. Executive Order 9066 [03:12]
02. Camp Life, Tuxedo Junction, Polka Dots and Moonbeams [04:38]
03. Jerome Camp, Buddhahead Blues [04:41]
04. The Photograph [02:58]
05. The Last Dance, In a Sentimental Mood [03:00]
06. Kiryoku [07:32]
07. Ichikotsu-cho [02:59]
08. Prelude (Truth be Told) [04:54]
09. Intro to Rhymes [01:22]
10. Rhymes (For Children) [08:58]
11. Redress/Blues [05:29]
12. Reparations Now! [04:09]
13. Ikiru [06:50]

Recorded at San Jose Repertory Theater, San Jose, California on August 18, 1998
Asian Improv Records AIR 0045

*

Anthony Brown’s Liner Notes to “Big Bands Behind Barbed Wire”

In 1997, the Civil Liberties Public Education Fund (CLPEF) awarded federal grants to individuals, organizations, and projects to promote public education about the Japanese American internment experience. “Big Bands Behind Barbed Wire” was a national multimedia multidisciplinary consortium project funded by the CLPEF to create dialogue and increase public awareness about the internment experience through the vehicle of jazz. Concert programs of the Asian American Jazz Orchestra with members of San Jose Taiko and guest artists performing original works inspired by the internment experience, symposia involving former internees, musicians, and members of local communities, a traveling photo exhibit “Reminiscing in Swingtime,” of how jazz was part of life in internment camps were major components of the project.

This recording consists of excerpts from extended compositions performed in concert as “Big Bands Behind Barbed Wire.” Following a weekend of concerts at the San Jose Repertory Theater, the full program was recorded in its entirety. The selections included on the CD are first or second takes with no overdubs and reflect essentially what the Orchestra sounds like in performance.

E.O. 9066 is a collaborative commissioned work by Anthony Brown with San Jose Taiko, commemorating the courageous spirit of those unjustly imprisoned during World War II. The introductory Executive Order 9066 is an adaptation of a Chinese melody entitled, “The General’s Order,” co-arranged by Anthony Brown and Qi Chao Liu. The music heralds the abrupt upheaval and forced incarceration of over 120,000 people precipitated by Executive Order (E.O.) 9066. Qi is featured on suona, the Chinese reed trumpet, even playing two together (2:04-2:14)!

LAST DANCE is the collaborative multimedia work by Mark Izu and George Yoshida commissioned by the “Big Bands Behind Barbed Wire” project. George played alto saxophone in the Music Makers of Poston Camp, Arizona in 1943 (front, center in the cover photograph), although he later chose drums as his instrument. He tells the story of the camps from his heart and soul; you can hear his seasoned timing in his adroit phrasing and delivery. George’s musicality prompted recording him as another instrument rather than how a singer typically would be. Adaptations of the original big band arrangements of Tuxedo Junction, Polka Dots and Moonbeams, and In a Sentimental Mood are by Wayne Wallace. Consummate performance artist Brenda Wong Aoki contributes haunting reminders in song and poetry of the nightmare World War II was for Japanese Americans. As Mark said, “Kiryoku represents the vital, ever-changing Japanese American community, the spirit of ‘keeping on,’ moving forward, creating, and celebrating.”

E.O. 9066 continues with Ichikotsu-cho, an arrangement of an 11th-century Gagaku composition (ceremonial court music), dedicated to the Issei, the first generation of Japanese in America. It features Qi and then Mark Izu on shengs, Chinese mouth organs, before other winds join in a free round. The Prelude (Truth be Told) creates an ambiance of timelessness, transporting the listener through the musical themes of the suite. Rhymes (For Children) commemorates the injustices suffered by Japanese Latin Americans, and celebrates hope for a future that will not see the imprisonment of children.

Jon Jang composed REPARATIONS NOW! inspired by the historic Day of Remembrance celebration in San Jose in February 1987 and his experiences in the Asian communities. In his liner notes for Never Give Up! (Asian Improv Records, 1989), Jon wrote, “In this music, we are trying to express the pride and sentiments of Asian peoples’ struggles in America for equality and justice.” The excerpts include Redress/Blues (for Akira “Jackson” Kato), Reparations Now! (for the National Coalition for Redress and Reparations, Nihonmachi Outreach Committee, Black Congressional Caucus, and 40 acres and a mule for African Americans), and Ikiru (inspired by Akira Kurasawa’s 1952 film). Taiko composed and arranged by Jose Alarcon and PJ and Roy Hirabayashi.

Day of Remembrance

“In the camps, we identified ourselves as Americans through our music.”
— George Yoshida, jazz musician, former internee and author of “Reminiscing
in Swingtime”

“Music helped us keep our sanity, it gave us hope.”
— “Sox” Kitashima, former internee, spokesperson, National Coalition for Redress
and Reparations

On February 19th, 1942, President Franklin Roosevelt signed Executive Order 9066, authorizing the forced removal and incarceration of 120,000 persons of Japanese ancestry. Two-thirds were American citizens; the rest were aliens ineligible for citizenship due to discriminatory naturalization laws. Under the guise of “military necessity,” persons of Japanese ancestry on the West Coast — including infants, the elderly and the frail — were taken to internment camps located in the most desolate areas of the Western states.

They were never charged with any crime; there was no due process; massive violations of Constitutional rights occurred; incalculable personal suffering and loss was sustained. In 1981 the Commission on Wartime Relocation and Internment of Civilians, a federal commission, determined that the internment was not justified by “military necessity” and the broad historical causes which gave rise to the internment were “race prejudice, war hysteria and a failure of political leadership.”

Since 1978, Japanese American communities across the nation have observed this historic date as a Day of Remembrance through a variety of ceremonies, educational and cultural programs. This year (1998) marks the tenth anniversary of the Civil Liberties Act of 1988, which provided an official governmental apology, individual redress to surviving internees, and a public education fund.

*
http://jazztimes.com/articles/14181-east-meets-left-politics-culture-and-asian-american-jazz

Getatchew Mekuria & The Ex & Guests - Moa Anbessa

Getatchew Mekuria - tenor saxophone;
The Ex:
Katherina Bornefeld - drums;
Terrie Hessels - guitar;
Andy Moor - guitar;
GW Sok - vocals;

Guests:
Colin McLean - bass;
Xavier Charles - clarinet;
Brodie West - alto saxophone;
Joost Buis - trombone;
Cor Fuhler - organ (# 6,9,10);


*

01. Ethiopia Hagere [06:30]
02. Sethed Seketelat [04:31]
03. Eywat Setenafegagn [05:04]
04. Che Belew Shellela [04:50]
05. Aynamaye Nesh [05:55]
06. Aynoche Terabu / Shemonmwanaye [08:15]
07. Musicawi Silt [04:22.54]
08. Tezeta [04:16]
09. Almaz Yeharerwa [05:35]
10. Tezalegn Yetentu [06:02]
11. Aha Begena [06:30]

Recorded April 03-04 2006.
Tracks 3,5,6,8,11 recorded live on April 08 2006.
Terp Records

*
‘‘A killer combination of sounds - the searing tenor sax of Getatchew Mekuria and the raspy guitars of The Ex brought together here in really unique cross-cultural formation! Mekuria's influence really transforms the sound of The Ex, bringing their anarchic spirit into a strongly Ethiopian mode, one that's further underscored by some great guest horn work on clarinet, alto, and trombone used like the kind of horn sections you'd find on Ethiopian recordings from the 70s, which lets Mekuria really do his thing by soloing over the tunes with a great deal of feeling.’’
Dusty Groove America.

*
Getatchew Mekuria is the most revered veteran of the Ethiopian saxophone. A real giant, both physically and musically. In his seventies, he is still in full voice, with his own, powerfully distinctive style of playing. His huge vibrato, both forceful and fragile, plays around the vocal lines, using typical Ethiopian embellishments. He started playing in 1947 in the Addis Abeba Municipal Band, then in the Haile Selassie 1 Theatre Orchestra and the Police Orchestra. He also backed up all the famous Ethiopian singers. Getatchew Mekuria is the inventor of a musical style called the ‘Shellele’, which originates from an heroic war-chant, translated to the saxophone. When he plays it, he dons a lion’s mane and cuts loose with furious solos that are a kind of free jazz, from before free jazz existed.


The Ex, from Holland, often descibed as an avant-ethno-improv-punk band, toured Ethiopia twice and fell in love with its music. The Ex had their 25th year anniversary party in November 2004 and they invited Getatchew to perform there with the ICP, the Instant Composers Pool, for many decades Holland’s most amazing free-improvising jazz group.

It was his first time traveling outside of Ethiopia but he accepted the ICP as if they were his own band, donned his lion’s mane, the ‘gofere’, and blasted everyone off stage. On the 25-year-Ex-convoy-tour around France, he played with The Ex.

He was so inspired that he suggested to The Ex he should record his next CD with them. He gave them 10 solo saxophone versions of Ethiopian tunes, which they arranged and practiced. Then in April 2006 Getatchew traveled to the Netherlands for some concerts and recording sessions.

The result is unique; Getatchew’s melodies and solos mesh with The Ex’s rhythms, noise and vocals, supported by a guest impro-horn section.

There were some 80 concerts on many Jazz-, Worldmusic- and Rock-festivals and a presentation of the CD in Addis Abeba, where the record also was released on cassette. First pressing 10.000!
*
#7.Musicawi Silt
The Ex and Getatchew Mekuria at Damrosch Park, NYC, August 20th 2008
http://www.youtube.com/watch?v=mPaq2y6Vq3g

#2.Sethed Seketelat
http://www.youtube.com/watch?v=IVivpAnQvnE

Concert au Point Ephémère à Paris le 12 novembre 2008
http://www.youtube.com/watch?v=IvTn-8oNRRg&

#11.Aha Begena live
http://www.youtube.com/watch?v=Jo8Q3x5zZR8&

Rondellus - Sabbatum (A Medieval Tribute To Black Sabbath)

Veikko Kiiver - organistrum and vocals
Miriam Andersén - Gothic Harp on #7: Magus (The Wizard) and #2: Oculi filioli (Junior's Eyes)
Maria Staak - hurdy-gurdy on #2: Oculi filioli (Junior's Eyes) and organistrum on #4: Symptoma mundi (Symptom of the Universe)
Robert Staak - lute on #12: Architectus urbis caelestis (Spiral Architect) and #10: Planetarum vagatio (Planet Caravan)
Cätlin Jaago - the bagpipe on #11: Via gravis (A Hard Road)
Tuule Kann - psaltery on #10: Planetarum vagatio (Planet Caravan
Marju Riisikamp - positive organ on #8 Solitudo (Solitude)
Tõnu Jõesaar - fiddle on #7: Magus (The Wizard), #5: Post murum somnii (Behind the Wall of Sleep), #2: Oculi filioli (Junior's Eyes) and #3: Funambulus domesticus (A National Acrobat)
Robert Staak - frame drum on #1: Verres militares (War Pigs), #9: Rotae confusionis (Wheels of Confusion), #5: Post murum somnii (Behind the Wall of Sleep), #2: Oculi filioli (Junior's Eyes), #3: Funambulus domesticus (A National Acrobat) and #11: Via gravis (A Hard Road)


*

01. Verres militares (War Pigs) [03:27]
02. Oculi Filioli (Junior's Eyes) [05:33]
03. Funambulus domesticus (A National Acrobat) [06:13]
04. Symptoma Mundi (Symptom of the Universe) [04:44]
05. Post murum somnii (Behind the Wall of Sleep) [05:00]
06. Post aeternitatem (After Forever) [03:42]
07. Magus (The Wizard) [03:51]
08. Solitudo (Solitude) [03:50]
09. Rotae confusionis (Wheels of Confusion) [03:05]
10. Planetarum vagatio (Planet Caravan) [03:57]
11. Via gravis (A Hard Road) [05:20]
12. Architectus urbis caelestis (Spiral Architect) [04:52]

Recorded at the Tallin Merchant Guild (2002)
Beg the Bug Records (2002)
Monsters of rock Records(2003)

*

“Sabbatum” is a tribute album like no other – 12 Black Sabbath classic songs played by early music band Rondellus and sung in Latin language.
Can You imagine what Black Sabbath would have sounded like if Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward would have formed the band in the 14th century? Would “War Pigs” or “The Wizard” have been as powerful if played on medieval instruments like lute, fiddle and harp?

Rondellus are a gathering of 3-5 musicians who hail from Estonia and play music based in the 14th century using only instruments and vocal techniques from that time. Maria Staak is the brains behind this project and did all of the arrangements. So what exactly is this???? Well, this is Black Sabbath songs sung in Latin and played with only ancient instruments. Pretty strange you say? well it is, but is it good? YES........ If you like Black Sabbath then you must hear this. Put this on late at night and just relax and imagine.. Most of the songs you will recognize right away like War Pigs, Solitude, Planet Caravan, as the arrangements are nearly the same as the original. War pigs starts off the CD and is basically all vocals and a drum. Very eerie and cool.. Some songs have a hurdy gurdy, gothic harp, organsitrum, fiddle, and bells. Some of the other songs played are After Forever, Behind the Walls of Sleep, the Wizard, A hard Road, Juniors Eyes, Symptom of the Universe and A Spiral Architect. I think it is pretty amazing stuff and a great project. Congratulations on a success.
Reviewed by Scott Heller (from Aural Innovations #19 (April 2002)

*

The story of Sabbatum
Interview with producer Mihkel Raud.

How did You meet Rondellus?

When I first came to the idea of recording Black Sabbath songs as if they were written and performed during the middle ages, I started to ask around in order to find an early music band that would turn my "crazy idea" into reality. One name kept coming up - Rondellus. So I approached them and explained what I had in mind. It didn't take much time at all to convince them. They are the most open-minded people I have met during my entire life. More open-minded than the majority of rock musicians I have seen. I've been blessed by having the opportunity to work with Rondellus. They are very creative and talented.

How did You come to the idea of recording a "medieval" Black Sabbath album?

I guess for me the whole Sabbatum thing started a very long time ago. I've been a dedicated Black Sabbath maniac for as long as I can remember. My older brother used to listen to them a lot in the seventies. I was a child back then but I can definitely remember I was caught by Sabbath immediately.

I formed my very own Black Sabbath tribute band at the age of 13. I used to sing and play the guitar at the same time. I was kind of Ozzy and Tony Iommi in one person. So in a way "Sabbatum" is an extension of something I started in my early teens. However, this time around I decided to explore a totally different angle in Black Sabbath music.

Which is?

Well, people tend to believe that the main foundation for Black Sabbath were the riffs. Even though I can agree with that to a great extent, I still think it's not 100 % so. Obviously, no-one could imagine Sabbath without Tony Iommi and his killer riffs. And fantastic solos of course. Still, there is so much more in Black Sabbath.

"Sabbatum" is a Black Sabbath cover album that isn't built around riffs only. We have used some of them ( "A National Acrobat" and " Behind the Wall of Sleep" for example) but basically we were focused on melodies and lyrics. And with medieval instruments and arrangements we tried to re-create them in a totally different enviroment. A few tracks on "Sabbatum" are really minimalistic - just a'capella singing and medieval percussion. Others are with full instrumentation.

Why medieval music?

Normally bands would cover classic rock songs in order to make them sound modern, to give them something they belive wasn't possible to achive back when the originals were recorded. We were determined to have it the other way round. We were kind of playing with the idea that our versions were the originals, some unknown songs from the middle-ages that Black Sabbath found and recorded centuries later.

The other goal was to explore connections between rock and early music. In fact they are not as different as many would expect. By taking these Black Sabbath songs back in time we wanted to prove that the word "power" is very often misunderstood. It's not always a massive wall of sound that makes music powerful. There can be a lot of energy in just one person singing.

All songs are sung in Latin on "Sabbatum". Why?

Medieval music sounds more authentic in Latin. I guess this is one of the main stereotypes of early music but we didn't see any substantial reason to have it any other way. Our goal was to keep the whole thing as true to the early music principles as possible

How did You choose songs for "Sabbatum"?

I had my own "wish list" and Rondellus had theirs. By combining the two of them we came to a collection of songs that in my opinion represents Black Sabbath at their very best. Unfortunately, there are so many great songs we just couldn't do this time. Some of them didn't work with medieval arrangements and some had lyrics which might have been misunderstood.

I was sure of not having "Paranoid" or "Iron Man" on the album. Both of them are brilliant but it's so predictable to have these titles on a Black Sabbath tribute album. We wanted to include some of these "under-rated" songs as well. I'm not sure if I have heard a cover of "Junior's Eyes" before. I have now and to my biggest surprise it turned out to be one of the key songs on "Sabbatum".

You mentioned lyrical content as the reason for not covering some of the Black Sabbath songs. Could You be more specific?

Well, I would be lying if I said that the issue of widely misunderstood image of Black Sabbath didn't come up. Most of the musicians involved in "Sabbatum" are religious. Unfortunaltely, the misconstruction of Black Sabbath being the founders of "dark" and "satanic" rock music is massive. I have no idea where it came from. Just look at the lyrics - there is nothing whatsoever "satanic" in them. Sabbath used black magic only as a reference, their darker lyrics were in fact warnings against Satanism.

Like I said, Rondellus is a group of very open-minded people and they didn't have a problem with Black Sabbath lyrics or music. Still I felt that asking them to sing "my name is Lucifer, please take my hand" would have been too much. Regardless of what the true meaning of these lines was.

I'm convinced that "Sabbatum" is an album of love and faith. It has been a privilege to be a part of such a project. Working on my all time favourite songs was a dream come true. Rondellus is by far the most intelligent and talented band I've ever had the pleasure to work with.
http://www.sabbatum.com/story

Prewiew:
#12:
http://www.youtube.com/watch?v=pjjm_46mF3s&
#10
http://www.youtube.com/watch?v=uz0tYD_vVIo&
#1:
http://www.youtube.com/watch?v=AX2y51ixsu8