Composer: Johann Georg Albrechtsberger
Conductor: Hans Stadlmair
Performer: Dieter Kirsch
On this CD:
1. Concertino for jew's-harp & mandora in E
2. Concertino for jew's-harp & mandora in F Review of a music fan from South Whitley, Indiana USA
The first time I heard this recording was on my local PBS station and
I was'nt sure what I was hearing. My Grandfather taught me to play the
Jew's harp when I was eight or nine years ole and I only thought that
this instrument was for what we called a hillbilly band. I took my Jew's
harp with me into the army and while stationed in Paris France I played
with a country band and became the main attraction when I took out my
Jew's harp from my pocket and began to play. I am a classical music lover
but until I heard this recording thought that there was no place for the
Jew's harp in classical music. I now play along with the orchestra and
thouroughly enjoy it . Can't wait to get my own copy so I can aggitate
the rest of the family and teach my grandchildren the versatility of the
Jew's harp.
According to the specialists one of the best recordings of J-harp playing
in South India. With morsingist M. V. Sampathkumar on 9 of the 12 tracks,
sometimes in the backfront but often in the front. Remarkable speed and
rhythmic precision. Various instruments: percussion as well as vina, violin,
bamboo flute and voice. Also a track with a unique morsing trio using
J-harps pitched to different keys.
Born of a chance backstage meeting, From Senegal to Setesdal marries the
golden tones of Kirsten Bråten Berg (Norway's premier folk vocalist)
with European mouth harp and the West African do-do (mouth-bow) and djembe
(drum) player Kouame Sereba. Along with kora, Solo Cissokho's 21-stringed
harp, Berg and her cohorts have created a sound of stunning grace and
authenticity, performing traditional European melodies, West African lullabies,
and a handful of folk tunes that are a mellifluous conjoining of elements
rather than the overwrought fusion one might expect. Each member of the
quartet sings, and while Berg is assuredly the best-known vocalist, the
throaty tones of the men complement her richness with contrapuntal melodies,
at times flowing seamlessly from one tongue to another. But the secret
ingredient here is the presence of dual mouth harps, each providing rich
texture, ambient drone, and mystical vibrations, each note a bread crumb
on the path toward home.
Review of tracy@imageinfo.com from new
york
this cd exemplifies world music and the synergy of two seemingly exclusive
cultures. the mouth harp brings a vibrational stage which is beautifully
adorned by singing voices, high and low.this music is pure delight.
from Amazon.com
Dizzy Gillespie & The United Nations Orchestra, Arturo Sandoval:To
a Finland Station
Review of Joe Pasko from Albany,
NY USA of Paige La Grone
By the time Dizzy recorded this album, his trumpet chops clearly weren't
what they once were, not that he sounds bad here - 'cause he doesn't.
Sandoval, on the other hand, is such a Gillespie disciple that this album
is like listening to the elder-statesman Dizzy of the 80's playing with
the young-buck Dizzy of the original be-bop era. Amazing chemistry - when
they play in unison (track 3 for instance), it reminds me of a Herb Alpert
record (Aplert's trademark sound, of course, was created by double-tracking
his own horn). Another surprise: although not credited for it on the sleeve,
Dizzy also blows some funky jew's harp on three or four cuts. (I remember
Dizzy's cameo on the Cosby Show, in the 80's. He portrayed the school
music teacher of one of the Huxtable daughters, and in that episode treated
us viewers to an excellent jew's harp solo. Up until that time, I never
knew that Diz was an avid jews-harpist!)
from Amazon.com
Tuva, Among The Spirits: Sound, Music And Nature In Sakha And Tuva
Here is not much of Jew's harp playing, but this CD
really exellent because it with connection of nature sounds. More tuvinian music
Editorial Review of Derek Rath
Thanks to the astonishing clarity of modern recording techniques, this
remarkable CD documents the oldest form of music making, which producer-recorders
Ted Levin and Joel Gordon refer to as "sound mimesis," or the
art of imitating natural sounds through music, as practiced in Tuva. With
a variety of musicians, including members of Huun-Huur-Tu and other regular
folk musicians and farmers, these 19 tracks were recorded outdoors on
location (with the exception of two recorded in a small living room).
Musicians and singers interact with the sounds of wild and domestic animals
and environmental sounds like streams, the wind, and bird song. Throat
singing and xomuz echo the harmonics of a babbling brook, upturned igil
(fiddle) and doshpuluur (lute) replicate the effect of a wind harp with
the breeze caressing the strings, and horsemen chant in the saddle, picking
up the rhythm of galloping steeds. These and many other examples illustrate
a living animist tradition where the boundaries between sound and song
have no clear definition; indeed, the very term "music" as the
Western world interprets it has no equivalent, and Tuva, Among the Spirits
may well make you reassess the latent music in your own environment.
Not much of jew's harp playing, but it is wonderfull
compilation of Tuvinian and American music. As for my, this disk is GREAT!!!
More tuvinian music
Editorial Review of Chris Nickson
More than just a record, this is also the story of the journey of Paul
Pena, a fine blind American bluesman who learned Tuvan throat singing
well enough to win a contest in Tuva. His solo tracks, especially his
take on Robert Johnson's "Terraplane Blues," are the real blues
deal, but this record truly takes off when Pena and Ondar duet. The blues
and the eerie, often-guttural sounds of throat singing make a natural
match, one that simply bewitches with the clear overtones and melodies,
while the guitar and Tuvan banjo offer simple, but very plaintive, accompaniment.
About the only misstep is the inclusion of the Cape Verdean "Tras
d'Orizao," which sticks out like a sore thumb from everything else.
Get that out of your system, and the rest is pure magic.
Composer: Endre Olsvay, Bela Farago, et al.
Conductor: Miklos Sugar, Bela Farago
On this CD:
1. Allegory, for jew's harp & tape
2. Lux perpetua, for flute, trumpet, synthesizer, sampler, cello, typewriter
& narrator
3. L'EAR-A, for ensemble
4. J. J.'s Games, for flute, cello & synthesizer
5. Nereid, for ensemble
6. ChambEAR Music, for ensemble
7. Dreams, for ensemble
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