Ethiopian Soul and Groove

...& a little present for your new year's eve

the Wallias Band,Alèmayèhu Eshèté,Gétatchèw Mèkurya,Mahmoud Ahmed & co
during  their heyday and
doing it to death....

a1-Wallias Band-Muziqawi Silt
a2-Alèmayèhu Eshèté And Hirut Bèqèlé-Tèmèlès
a3-Samuel Bèlay-Aynotchesh Yerèfu
a4-Ayalèw Mèsfin-Hasabé
a5-Seyoum Gèbrèyès & Wallias Band-Muziqa Muziqa
b1-Gétatchèw Mèkurya-Yègènèt Muziqa
b2-Mahmoud Ahmed-Kulun  Mankwalèsh
b3-Tamrat Fèrèndji -Antchin Yagègnulet
b4-Assèlèfètch Ashinè & Géténèsh Kebrèt-Amlak Abét Abét

my rip of 

Soul and Groove

Balžalorsky Drašler 3o - Wu-wei

Vitja Balžalorsky - guitar, electronics
Jošt Drašler - bass
Vid Drašler - drums and other sounds

Young, Slovenian jazz trio with mature sound, left me surprised, even more when I noticed their age. I put the Cd in the stereo and some warm, pleasant tones filled the room, even my three and a half year old gave me an approving look nodding his head and lifting his eyebrows. There is an review on http://zalozba.radiostudent.si, please use translator,my English is too bad to translate it myself  and I am also a lazy ass. Some comparison has been made with the ECM material,  the peacefulness of John Abercrombie's jazz  also has been mentioned, and some praises of Jošt Drašler's firm base, I agree with all of those claims, all is in favour of those three great musicians, that I hope that they look at a wonderful future.


Wu-wei by Balzalorsky/Drasler 3o

Group Doueh-beatte harab

Group Doueh is part of a family entertainment business run by Salmou Baamar (aka Doueh), a native of Dakhla, Western Sahara. The rest of the group includes vocalists Halima Jakani (Baamar's wife) and Bashiri Touballi and keyboardist Jamaal Baamar (his son). Rhythm duties are shared between collective hand claps, Halima’s tbal (a hand drum), and the keyboard’s drum programs.

As a youth, Baamar listened to cassettes of James Brown and Jimi Hendrix imported from Spain. His first experiences as a professional musician were playing at local parties coincided with Mauritania’s occupation of Dakhla. You can hear both Western rock influence and Mauritanian rhythms in his music, which he’s been performing and marketing on cassette for over a quarter century throughout the Western Sahara region. Doueh plays electric guitar and  the tinidit (or tidinit),the Moorish four-stringed lute.

I liked beatte harab from the beginning

even more  than their 2 first records as this is a more straight forward traditional recording .

today  I checked my files and found an impressive number of  dls

without posting it anywhere..

just happy that people began appreciating  them  for their  music 

at last and not for any (stupid) hype---so here it is in the light of day.

beatte harab

Tamara Obrovac & Transhistria ensemble - Sve pasiva (All fades away)

1 Gredu lita / Years pass by (4:40)
2 Sve pasiva / All fades away (5:01)
3 Ne plači Lucija / Don't cry Lucija (5:55)
4 Ča mi povida more / What sea tels me (5:58)
5 Cansoneita / Chanson (6:00)
6 Sexuvalna (5:42)
7 Duet / Duo (3:30)
8 Stila / quiet (3:30)
9 Sudba ti je došla / Your faith has come (4:21)
10 Divojka / A girl (4:44)
11 Ona je čekala / She has waited (6:10)
12 Črno zlo / Black evil (4:57)
13 Sexuvalna live - bonus track (4:53)

Life is short, don't waste time
a tune, write a rhyme
all will pass, even sound
what's to do, you demand

listen, laugh, have fun

and be thegoodone

The composer singer and flutist Tamara Obrovac, is one of the most impressive artists on the Croatian music scene, she is one of those musicians to whom jazz means a path to understanding music as a whole. Moreover, it has ushered her towards an intensive investigation of her own regional music awareness, so she offers us a new musical journey through the Istrian and Mediterranean spaces and times. Istria is here homeland, beautiful Croatian region, a North Adriatic peninsula, particular for It's musical and dialectal tradition, which is the creative force of her works. She writes lyrics in a local dialect and sings in an ancient dialect which is not spoken any more - the Istriotic dialect.

Her international Transhistria Ensemble incorporates elements of Istrian and Mediterranean national music, jazz, and many elements of modern music, and her music, completely original and autochthonous, goes beyond time and geographical boundaries, thus becoming a universal artistic message, establishing Tamara Obrovac as an exceptional artist who managed to create her own unique musical expression. This creative musician has become known for her highly aesthetic performances, her interpretations are suffused with spontaneity, inventive improvisation, freedom, humour and the ability to communicate with the audience, an artist of a strong persona, a life and artistic force able to enchant any audience...

As she said: “jazz is my freedom, and my roots are my inner truth...”

source

Personal note,
For me this is the best thing I heard In Croatian Discography. A balsam for a Mediterranean soul.

Kiko Dinucci, Juçara Marçal & Thiago França -Metá Metá

a little shout out for a very recent record that managed to become (almost) an instant  classic! in 2011? well,this is what I  call a big achievement-the comparisons with Baden Powell's /Vinicius de MoraesAfro-Sambas were inevitable(and  the original Afro-Sambas are always here to judge for yourself)
enjoy Metá Metá  and  join (as I did) their club of fans-for their originality ...

The first album by Metá-Metá achieves two remarkable things; it manages to sound unbelievably fresh as well as sounding as if it could have come from Brazilian music’s hey-day of the 1960s.
Metá-Metá is essentially three musicians, Juçara Marçal on lead vocals, Kiko Dinucci on guitar and backing vocals, and Thiago França on sax and flute. Throughout this debut album I had the feeling I was listening to a long-lost Afro-Sambas tape, which I mean as the greatest tribute. This is guitar work as accomplished as Baden Powell, vocals from Marçal that are equal to greats such as the Maria Bethania and Maria Creuza. And while it will take me a while to decipher whether the lyrics are as strong as those of Vinicius de Moraes, this overall is an album that has that same environment that bestowed those ground-breaking Afro-Samba albums of the 60s.

Kiko Dinucci has been improving as a samba guitarist over the years, as well as becoming more and more embroiled in the world of candomblé, an Afro-Brazilian religion with a strong dance and musical element. In Juçara Marçal he has partnered with a singer who is just as passionate as the religion. The added atmospherics applied by Thiago França add another dimension to this music but it is the voice of Marçal and Dinucci’s dextrous, direct guitar-playing which steal the show.
The opening track “Vale do Jucá” and “Vias de Fato” are the two tracks that most readily resemble the works of Vinicius de Moraes and Baden Powell on the original Afro-Sambas, both strong samba songs with the eerie atmosphere that seemed to imbue many of those original songs. As a contrast “Umbigada” is a sunny melody that sings straght to the heart with a great telepathy between the guitar and flute that intertwine on the way to making the gorgeous melody.



Interestingly the repeated refrain and whispered vocals of “Papel Sulfite” bring to mind Juana Molina, an artist coming from a very different background. Other songs that push Metá-Metá in new directions are “Oranian”, a full band effort which occasionally erupts into a cacophony of drums and sax with Marçal’s singing almost rap-like in it’s directness and flow; and “Obá Iná” which starts with a guitar line which could easily have come from one of the punk bands that Dinucci was in in his early days. This track and the following “Obatalá” are two where there seems to be more of a jazz connection with cymbals crashing, França playing a bigger role on sax and there generally being a sense of free-form construction.

Metá-Metá is truly an extraordinary record, one with a strong candomblé heart – the gods Oxum, Xangô and Obatala feature heavily on these songs – but that also works as a great samba and jazz record. Kiko Dinucci and Juçara Marçal originally worked together on the 2009 album Padê, which was under their two names. That record had it’s moments, but it’s here as Metá-Metá with the presence of Thiago França that they have really managed to find their feet and produce something timeless which will surely be revered for some time, as well as vying with Criolo for the best album of 2011.

review from sounds and colours 

You can download Metá-Metá for free from  
Kiko Dinucci’s website

Saeid Shanbehzadeh - Musiques du Golfe Persique

Shanbehzadeh Ensemble (Persian: گروه شنبه زاده) is an Iranian folk band, formed in Bushehr in 1990.

The band offers a rare aspect of the traditional music and dance of the Persian Gulf, more specially of the province of Bushehr, south of Iran and bordering Persian gulf.
The principal instruments of the ensemble are the neyanbān (bagpipe), neydjofti (flute), dammām (drum), zarbetempo (percussion), traditional flute, senj (cymbal) and boogh (a goat’s horn).
The band was founded by internationally acclaimed Iranian musician and dancer, Saeid Shanbezadeh in 1990. Hailing from the south of Iran, and tracing ancestry to Zanzibar in East Africa, the Shanbehzadeh family upholds a tradition that blends Sufi trance ritual and Persian and Arabic idioms.

 

Saeid Shanbezadeh was born in Bushehr, Iran, where he started playing music at the age of 7 with the old masters of the music of the region. He began with percussions, singing, and traditional dance. At 20 he founded the group of Shanbehzadeh Ensemble and won the 1st prize at the Fajr Music Festival in Tehran in 1990. In 1996 he was invited by the University of Toronto to teach a half-a-year course. In 2007 he was invited again by La Cité de La Musique of Paris to teach dance, singing and music. In 1998 he was named the professor and director of the House of Culture, Music and Dance of the Isle of Kish in Iran. That same year he portrayed himself in Talking with the Wind by Bahram Beyzaei.
Saeid Shanbehzadeh left Iran in 2002 and now lives in Paris.

there's a lot of influence in the music of south Iran, like the African influence, exactly like my face. You know if you look at my face, you cannot say I'm Iranian, not African, not Indian. You know, I am mix of all. I don't have the African nose, but my color it is. Because my mother's side from four or five generations they come from Zanzibar to Iran.
We play the music for a special reason. We have the music for the trance, for the "zar." We have music for wedding. We have music for work. We have music for the funeral. And what we present on the stage we try to introduce the people to different part of the life of south Iran.

more to read

The Shanbehzadeh Trio, with its driving rhythms, trance-inducing songs, and striking hip-swinging dances offers a rare opportunity to experience the fascinating music and dance of the southern Iranian province of Bushehr.. A cultural crossroads for centuries, Bushehr has been influenced by Sufi, Persian, Arab, African and Indian traditions. The ensemble is led by multi-instrumentalist and dancer Saeid Shanbehzadeh, who traces his ancestry to Zanzibar in East Africa, and includes his son Naghib Shanbehzadeh and Habib Mefhta-Busheri. Their alluring instruments include neyanban (double-reed bagpipe), neydjofti(double flute), and boogh (goat's horn).

les Musiques

Saeid Shanbezadeh – neyanbān, neydjofti, dammām
Naghib Shanbehzadeh - tombak, zarbetempo
Habib Meftah-Busheri

all photos by Borna Izadpanah

...& don't miss these two videos 

Abrasaz - Biraminket

Ravi Srinivasan, tabla, vocals, santoor, electronic percussion;

Mustafa El Dino, saz, darbuka, vocals, bendir;

Akira Ando, double bass, bells;

Paul Schwingenschlögl, trumpet, flugelhorn, piano.

1 Maya wati
2 Samraat
3 Lhasa
4 Dhara hara
5 Pentagram
6 Camels on sun alley
7 Darjeeling light
8 Oiwake
9 Biraminket
10 Two worlds
11 Kalbimiz bir
12 Ez din nebum le
13 Ahur
14 Abraxis No. II

For ears to have fun
you must first say thegoodone
I hope it is not a crime
enjoying my infantile little rhyme

The music of ABRASAZ leads us into another world, a world of fantasy and desire for outer space, a world of harmony and peaceful coexistence of mankind, an imaginary world of the musical globetrotter. The singing reminds us of Turkish uplands, but also of the gigantic mountains of Tibet and Nepal, the tablas of solemn ceremonies in India, the bass of Zen-meditation in Japan. Against this horizon suddenly appears a lonesome trumpet, subtly glides into the musical landscape, starts a musical dialogue with the bass, the tablas, the saz and gradually disappears into higher spheres. Four internationally highly acclaimed musicians, whose geographic and musical differences could not be greater, merge in a brilliant way into an ensemble which is extremely homogeneous just because of the emphasis which is put on these differences. This paradox is possible because the four artists never use their musical mastery for its own sake but for their common interest. Let it be jazz, world music, Indian classical music or contemporary music...ABRASAZ escapes the musical thinking in categories and lives from the incredible creativity of the excellent musicians of this outstanding ensemble. (from their official site)

Sonny Sharrock/The Freedom Sounds Featuring Wayne Henderson: Black Woman/People Get Ready

Black Woman
1 Black Woman
2 Peanut
3 Bialero
4 Blind Willie
5 Portrait of Linda in Three Colors, All Black

- Sony Sharrock, guitar; Dave Burrell, piano; Norris Jones, bass; Milford Graves, drums; Linda Sharrock, vocals

People Get Ready

6 Respect
7 People Get Ready
8 Cucamonga
9 Things Go Better
10 Fa-Fa-Fa-Fa-Fa (Sad Song)
11 Brother John Henry
12 Orbital Velocity
13 Cathy the Cooker

- Wayne Henderson, trombone; Al Abreu, saxes; Jimmy Benson, sax and flute; Pancho Bristol, electric bass; Harold Land, Jr., piano; Moises Oblagacion, congas; Ricky Chemelis, timbales; Max Gorduno, bongos; Paul Humphrey, drums.


How or why were those two put together I don't have a clue, I guss the motto was "and now something completly different". Anyway if you are in a mood for reading: Black Woman review or People Get Ready or you can read on both of them. Love the original Sharrock's cover.

One for our friend Miguel's collection of Baïlèros

ears here

P.S: And why is it Bialero instead of Baïlèro, please don't ask me. You can ask me what the pass is and I why I still use it, call it a habit of saying thegoodone.

the king of Raï (and the she-devil of trab)

as promised earlier some Raï, (and  not rai or rye)
from  the king of Rai
and  a k7-around early 80's ? when the young Khaled was better  known as Chab Khaled.
essential Khaled

Mcpe 1060

equally you wouldn't  want to miss this Algerian  lady, another  incarnation of the devil himself
Cheikha Djenia and her amazing trab
(the rural variation of rai played with tambour  and gasba reed flutes)

right there.....
Kayene Rabi

:)
have a nice weekend

Ando Drom - Phari Mamo - Magnificent Gypsy Music From Budapest

1. Zsa Mo (Zsa Mo, Rumelaj, Akhardemla)

2. Na Kamel Ma

3. Sza Tele Zsav

4. Phergyi E Bar

5. Matyilem

6. Le Shavore

7. Me Te Merav (Avtar Manca, Zug Mar A Malom, Me Te Merav)

8. Kado Gyesz

9. O Nanasi

10. Rodel Ma Muri Dej

11. Phari Mamo

12. Csi Lav Tu

13. Ho Bo Bo

JENÖ ZSIGÓ: leader, vocals, guitar, mandolin, tambura, kanna (nin pan), spoons, oral hass, udu, talking drum and other percussions

MÓNIKA "MITSOU" JUHÁSZ MICZURA: vocals, oral hass, percussions

ANTAL "GOIMA" KOVÁCS: vocals, oral bass, percussions

ANTAL "ANTI" KOVÁCS IFJ.: guitar, vocals, oral hass, percussions

JÁNOS "GUSTI" LAKATOS: vocals, kanna Ottlik pan), oral bass, percussions

Special guests:

MÓNIKA HORVÁTH: vocals os tracks 3, 5, 7, 11

FRANCOIS CASTIELLO from BRATSCWParis: accordios os tracks 1, 2, 7 ami 12

BRUNO GIRARD front BRATSCIVI>aris: violin os tracks 1, 2, 7 ami 12

LÁJOS KATHY HORVÁTH: vidin os tracks 5 ami 6

Duiring our first visit to Budapest, while researching for our "Road of the Gypsies" project, we had been warned by various musi-cologists: "just like with us, you will find it extremely difficult to differentiate between genuine Gypsy music and Hungarian music played by Gypsies". But nods of approval followed each time we reported that we were primarily interested in the Ando Drum group. At our first meeting with them, however, we were confronted with a certain scepticism that was quickly explained: past promises and projects with some western promoters and producers never concretised — and the fear that the group would be expected to play the hackneyed music and trashy clichés so prevalent in the cafés and restaurants.

Our second meeting took place in more intimate surroundings. With plenty to drink and even more to eat, we got down to planning the project. Closely adhering to the style of the group's current repertoire, and featuring several guest nuisicians, we would create an atmosphere in the studio, allowing enough space for the creativity of all the musicians concerned, as well as for the major improvised sections to unfold. And we talked a lot about Gypsy music and the group's history.

Originally a music theatre group, Ando Drom ("(in the road") emerged in the early 80's, from a Gypsy children's summer camp, run annually in close co-operation with the Romano Kher (a Gypsy cultural institution). The present group members, Anti and Gusti, taught to dance by their parents as toddlers, were already actively involved at the age of 10. Jenii is still the group's leader. Their performances moved audiences to tears and the group won press acclaim. Goima, Anti's father, already a magnificent child dancer, did his first performances at weddings. Ile recalls: "My grandfather, a famous dancer, discovered my talent when I was only three. His trick was to withhold my favourite food until I had mastered all the tasks he had set me to his satisfaction. Later, I tried to broaden the spectrum of song and vocal bass.

I ask Mitsou about the origins of her extra-ordinary voice. I had noticed the longing in her eyes whenever I spoke of my forthcoming journey to Rajasthan. She enlightened me: "When I first heard a cassette of Rajasthani music, I was very moved. Since then, I have been dreaming of the place. You see, we Gypsies originally came somehow from there — and I must have an unusual amount of Rajasthani blood in my veins." She, too, comes from a musical family. She told me of her mother, whose voice was celebrated in her native village on the Rumanian border. Having already won many prizes, she should have gone to Budapest to seek her fortune, "But we were very poor. She didn't even own a pair of shoes and was too ashamed to go to the big city. Many of her songs still live inside me." Shortly before my trip to Budapest, the group Bratsch offered me the then recently released book entitled, "Les Tsiganes de Ilongrie et leers musiques". I confronted the group with a brief summary of its contents: Patrick Williams divides traditional Hungarian Gypsy music into two distinct categories. Firstic the pure instrumental music, integrated into Hungarian folk music very early on. In the 15th Century, Gypsy musicians were engaged to entertain the court and in the decades, or even centuries, to follow, were frequently used to recruit soldiers for the army. The initial musical line-up was violin, cymbalon and double-bass, later, on occasions, to be joined by the gaida (bagpipes), bratsche, and piano. From the very beginning, these groups owed their immense popularity to the somewhat exotic style in which they played their chosen repertoire, as well as the emotional intensity of their interpretations. During the course of centuries it turned into urban music, mainly to entertain in restaurants and coffee houses. Vocals are only seldom incorporated in the music played by such groups. Or, as Patrick Williams, describes it, "when they play Hungarian music, they lose their tongues."

The music of the wandering Gypsies, on the other hand, is purely vocal. They travelled in small groups, working as tinkers and peddlers, their possessions few. As a consequence, there were no extravagant instruments. The voice was the focal point, accompanied by everyday objects and utensils, like milk cans, pots, or spoons. The music is not intended for others, as a performance for strangers, but serves their own social gathering. Personal experiences and events are at the heart of their songs, references to far away places or others not connected with their lives -tire irrelevant. The singing begins — whenever people gather to eat, drink and tell stories — mainly with pure vocal rhythms whereby vocal bass plays a significant role. Thereafter the pieces alternate between soft, often tragic ballads, to others played at a very fast tempo, sometimes with surprising sudden instants of quiet calm and pathos: despite incredible vitality and euphoria often leading to sacred moments of deep ecstasy, a deep regard and respect for the musicians always prevails. It is not unknown for a singer who is interrupted mid-song to draw a knife, or, depending on the location, throw the unlucky perpetrator over a fence, or out of a window

This music was first discovered in the 70's by intellectuals who while researching Gypsy culture hoping to make it socially more acceptable, investigated it in more detail. But the ethno-musi-cologists' early recordings focused too exclusively on the individual voices, "Call-and-Response" vocalisations were hardly ever recorded, "the voices lack the polyphonies of brotherliness". Lent) smiles before saying, "Gypsies live their music — others write about it. It is typified, romanticised. Our history is only passed down by word of mouth, anyway The division of the music into instrumental and vocal is correct: there are, in fact, various subcultures, which almost never touch each other — but I don't like it when one part of it is praised and the other devalued." And he tells of his father, who played in a group, entertaining non-Gypsies. "Ile played everything, from classic and every possible variation of Hungarian folk music, to popular songs from other lands. Playing musical requests demands an amazingly broad repertoire. Despite that. he retained his identity as a Gypsy musician with his own individual style, a specific virtuosity, unique form of presentation and Gypsy way of embellishing the pieces he played." But Ando Drom chose a different path. The instrumental style adapting the most diverse music directions, they characterise as "Playing in the Waxworks". Right front the beginning, Ando Drom found it essential to trace the traditions of the "pure" vocal music of the Gypsies and combine it with the way they feel today In so doing, the group takes care that for every musical theme, each of them "delves deeply within himself, to invest the whole of his personality in the interpretation. Unfortunately, in today's popular music form is everything. But stereotypes have no musical value; they are sterile and mechanical. With us, it's the other way round: we try to personalise the harmonies by living out many musical forms in close conjunction with the emotional depth of each individual musician." They characterise this path as an attempt to break out, but which brings conflicts of its own. Particularly within the Gypsy community, stereo-typed expectations prevail, making it very difficult for them to accept any deviations front the norm. "You have to have a very strong identity and belief in yourself to endure being rejected by many of your own people. That is why so many talented young Gypsy musicians so rarely get into new syntheses, which they often deeply desire, and are more than able to perform. It's a freedom we have to fight for." Once in the studio, it did not take long, to understand what Ando Drom meant with "the fight for freedom". There are set thematic guidelines for the old songs, each of which the members of the group approach with their own individual inter-pretation and emotional intensity; they rehearse, become inspired, improvise, dance, discuss, often quarrelling about the tiniest detail, and listen carefully — until each piece unfolds into its own ecstatic experience. They tell me about the songs, their lyrical content and their meaning and association to their daily lives.

thegoodone

the word to get the job done

Turning Dervishes Of Konya - Odes De Ney: The Cosmic Dances Of The Turning Dervishes

The Turning Dervishes from Konya

- The Mevlevi Round Dance

Nobody knows the origin of this unique rite, probably it derives from a constellation cult, practised long before the dervishes adopted it and gave it a new meaning.

The position of the head and hands is typical. The right, "good" hand is opened and held towards the sky, the left, "improper" hand is held towards the earth. The head is slightly inclined to the right shoulder. The eyes are varly closed and are focussing the left thumb. A general belief is, that the dervishes have magic forces during their dance.

Once a year these Turning Dervishes, the Mevlevis, are meeting in Konya, in the highlands of Anatolia, and perform their dance in the hall of sports. Only one hour they are dancing, remembering to big white butterflies. Officially there are no mystic brotherhoods in Turkey since 1920's, and these dervishes need a special allowance from the Turkish government for their festivity to honour the founder of this sect, Mevlana Dschelal ed-Din Rumi (Jalāl ad-Dīn Muḥammad Rūmī), each December.

At the beginning there is a procession. Then the participants are lining up. The Sheikh, head of tl4e sect, has a special place in front of an altar showing towards Mekka. Holy City - altar - a red-coloured sheepfur, the place of the Sheikh, are on one line,

dividing the dance floor into two equal halfs, a mystic line called equator. The orchestra is playing mostly with "neys" (the Oriental flute of reed) and drums. All dervishes are wearing the conical "sikke", a cap made of felt, being the sign of the Mevlevi Sect, and the black-coloured "hirka" (cowl). The festival starts with a hymn to praise the Prophet Muhammad and a piece for solo flute. Then the dancers are walking three times around the Sheikh and the dance floor and return then to their places. After a second flute piece, accompanied by Per-sian songs and orchestral music the dance itself starts. The dancers are now wearing their white clothes only, the "tennure", and a short waistcoat called "destegiil". The hands crossed over their breast, the dancers are walking to the Sheikh, kiss his hands and are receiving a kiss on their caps. Then they start turning around themselves in left direction.

The origin of the Mevlevi Sect is going back to a public anger which ocurred in the year n44, exactly on November 3oth 1244.

An imam, Dschelal ed-Din, fell in love with a foreign preacher in Konya. Dschelal ed-Din came from the city of Batch (today in Afghanistan) and counted 37 years. He was a professor and mufti and belonged therefore to the important people of Konya. His students called him respectfully "Maulana", in Turkish language "Mevlana"(Mevlâna,Our Guide). Due to this love he became a stranger in his city overnight. He neglected his duties and services, but people did not realize that Mevlana had not seen a normal man in this foreign preacher, but a portray of God.

The Sufi, the Islamic mysticals, were searching for God's presence already on earth, and the unification with God. The mystic beliefs of Mevlana and most Sufis are bearing on the following thoughts: Except God there is no reality. Man itself is without a real being, but may participate - under certain circumstances - in the reality of God. This assumption is fulfilled, when man has freed himself from his own, human qualities. The way to this freedom is suffering (not in a stupid self punishing way of course, in The Sufi path of love: the spiritual teachings of Rumi, in section on separation and union at about pages 236 to 238 you can read Rumi's thoughts on this ". The power to go this way is coming from his love for God.

In February 1146 Dschelal ed-Din and Schems ed-Din, the preacher, were separated by jealous students. Schems ed-Din returned once again to Konya in later years, but he disappeared under unknown circumstances. Konya found its Mevlana again, but he was not the same anymore. Twice again Mevlana fell in love with other men. His last love was Hilsam ed-Din, member of a family with great influence. Due to this love, Mevlana wrote a giant poem called "Mesnevi" (alternate link), influencing Islamic mystics in an incredible way. The first verses of this poem are considered to be influenced by God. This poem is generally known as the "Lament of the Ney". In the second half of his life, Mevlana became the mystic father of Konya. He was called "Sultan of the Lovers". In his last years of life the Sect of Mevlevis was founded, the origin of the Turning Dervishes. The final form was given to the sect by Sultan Veled, the son of the master. In the evening of 17th December tin Mevlana died.

The Sect of Mevlevis treasured his heritage for over 700 years, but with some renewed interpretation. Today the tomb of Mevlana is never without visitors. Those who have the opportunity to observe the Mevlevis for some days will see that there is a very deep believe behind the Turning Dervishes from Konya.

form linear notes with some intervention

Terms of Mevlevi order



1 Naat (Lounge)
2 Peshrey (Prelude)
3 Niyaz Ayin (The Cosmic Dance)
4 Hay (Zirk) (Invocation)
5 Son Peshrev (Postlude)
6 Bayati Semai (Interlude)
7 Nukte (Humour)

8 Ferahfeza
9 Yayli Tanbur (Arch-Lute)
10 Bishnev Ez Ney
11 Odes De Ney (Ode)
12 Tanbur (Long-Neck Lute)

word
thegoodone

Black Cumin, Nigella sativa, spice, preservative & medicine

Nigella sativa, Black Cumin (known as kaljeera (Assamese kalzira or kolazira), kalo jira(Bengali: kalojira, black cumin), karum cheerakam (Tamil கருஞ்சீரகம்), kalonji (Hindi/Urduकलौंजीkalaumjī or كلونجى/कलोंजी kalomjī) or mangrail (Hindi मंगरैल mamgarail), ketzakh (Hebrew קצח), chernushka(Russian),çörek otu (Turkish), habbat al-barakah (Arabic حبه البركة ḥabbat al-barakah, seed of blessing), siyah daneh (Persian سیاه‌دانه siyâh dâne), jintan hitam (Indonesian), karim jeerakam in Malayalam, Karto Jeera in (Beary Language). wiki.)

In Western Asia, Turkey, Iraq, and Egypt and along the Eastern Mediterranean region black seed oil has been known for centuries for it's benefits to health and was a most common spice during the Middle Ages. The steam distilled oil of black cumin seeds is used in case of:

- Constipation, diarrhea and flatulence,
- Weakened liver function,
- Migraines,
- Strengthens the vitality of the organism,
- Anti-fatigue and inflammation,
- Improves digestion and appetite,
- Accelerates sweating and reduces fever,
- Removes parasites (worms) from the body,
- A good antidote for bacterial, fungal and viral diseases
- Bleeding (epistaxis, and hemophilia),
- Carcinogenic disease
- Reduces blood sugar level,
- Accelerates the excretion of urine,
- Stimulates milk production in nursing mothers,
- Regulates growth hormones,
- Good for lowering blood cholesterol,
- Iinflammation of the nasal cavity,
- Dry cough,
- Bronchial asthma and flu

- Allergies
- Neurodermatitis,
- Psoriasis,
- To regulate the immune system,
- To relieve the symptoms of asthma,
- For the alleviation of chemotherapy side effects,
- Digestive problems,
- High blood pressure
- In veterinary medicine.
- Also used as an aphrodisiac

Here you can find some more ways to use it, actually there are a lot of useful pages on how to use this wonderful miracle maker, I can confirm that it works almost instantly in case of diarrhea and works quite well in case of allergies (swollen throat, eczema). I heard that Mohammed said that black cumin cures every disease but death itself, in our times a lot of scientific research was done on black cumin, and some confirmed that many from the list above are rightfully holding their place on it. I am not saying that this or any other herb can totally replace medical treatments, but for sure they have bean used in pharmacy for years, and that is a certain testament to their value, especially for modern skeptics. Most of pharmaceutical medicine create imbalance in our bodies, use of natural substances can bring the balance back, after all, our organisms are used to those for centuries.

Los Gaiteros de San Jacinto-Un fuego de Sangre Pura

Dark nights light up in fire

 like a feast that enchants.

The beating of the drums,

the black race rises up,

 and the Indian, passively

with his melodic gaita,

interrupt the silence

when a bonfire dances,

and I feel through my veins

a fire that goes unquenched.

It is the fire of my cumbia;

It is the fire of my race:

A fire of pure blood,

Sung in laments.

Los Gaiteros de San Jacinto has been the most important gaita ensemble (conjunto de gaitas) in Colombia since the mid 1950s. Gaita is a term used to name a Colombian musical instrument, various musical genres, and an ensemble (the conjunto de gaitas), all from the Caribbean region of Colombia, from where much commercially available Colombian traditional and popular music comes. Today, gaita is primarily performed in the Serranía de San Jacinto, the hilly region that embraces the municipalities of San Jacinto, Ovejas, El Carmen de Bolívar, San Juan Nepomuceno, San Onofre, and María la Baja in the  departments of Bolívar and Sucre, all in the region known as Montes de María.



Before the 1940s, conjuntos de gaita performed in what the elder musicians refer to as rondas de gaita-nightlong feasts, at which the musicians would sit at the center of a circle, taking turns playing and surrounded by dancers. They also used to be performed at funerals-which is why some of this music is associated with laments. These rondas no  longer occur in community life; today, the music is performed primarily in folk-music festivals, theaters,and discotheques, especially in Cartagena, Barranquilla
and Bogotá, and in Colombia’s Caribbean region.

The founder and initial leader of the Gaiteros de San Jacinto was Miguel Antonio “Toño” Fernández (1912–1988).Today, the elders of the group are Joaquín Nicolás Hernández (male long gaita and maraca), Manuel Antonio “Toño” García (female long gaita), and Juancho “Chuchita” Fernández (voice), who trace their direct lineage and heritage to the founding members. The other members of the group are Rafael Castro (voice), Fredys Arrieta(female long gaita), Gabriel Torregrosa (short gaita and pito atravesao, percussion), Joche Plata (percussion), Gualber José Rodríguez (percussion), and Adolfo Rodríguez (percussion).

The fact that the group has persisted and includes several generations of musicians speaks to the vitality of
this tradition. Los Gaiteros de San Jacinto are a musical icon in San Jacinto and Bogotá and a reference point for other gaita musicians throughout Colombia. Through their own new compositions and through
teaching young musicians, they are a crucial link between traditional gaita music and its contemporary renewal. Thanks in great part to them, gaita music has become one of the most influential traditional musics in contemporary Colombian popular music today.


from the notes

visit wiki 

Gaiteros in space

Un fuego de Sangre Pura

Idris Ackamoor

...
After incredible performances and experiences during the fall of 1972 Margo, Kimathi and myself left Amsterdam on our way to Africa in December 1972. We flew to Malaga, Spain and then to Tangier, Morocco. We were almost turned away from touching the ground of Africa by a bellicose customs official who thought we were "hippies". Fortunately, we got pass the official and entered the mystical legendary Kasbah. The smells, and colors of the Kasbah were just more musical fodder for ater compositions.
We finally landed in Accra, Ghana where we made our home. A young Ghanaian named Kojo befriended us and his family led by the "Diamond Queen", Aunti Bea. We stayed with the family of Aunti Bea at her compound entitled, "Weekend in Havana". From this base Margo, Kimathi and myself became immersed in the color, fascination, and incredible musical life and culture of Ghana. Ghana was a musicians dream!! Music was everywhere.
We were musicians, college students, seekers, and acolytes in Africa. Margo and myself took an amazing musical spiritual journey up into Northern Ghana. The land of the Fra Fra of Bolgatanga, and the Islam influenced Dagom ba in Tamale. We had our instruments and a tape recorder in hand. It was as if we had stepped back five hundred years into an ancient Africa complete with court musicians and colorful pageantry....(Idris Acamoor in linear notes)

disk 1
1 Shepherd's Tune
2 Lands of Eternal Song Suite, Pt. 3
3 Lalibela
4 Masenko Nights
5 Ya A Ya A
6 River Ganges
7 Mohgo Naba
8 Queen of the Spirits, Pt. 3

disk 2
1 Aomawa
2 Birth/Speed/Merging
3 Black Man of the Nile
4 Africa
5 Spiritual Rebirth
6 Topanga
7 Centurian
8 Cubana

thegoodone is the word to say

pass by or stay

you are welcomed anyway :)

2-CD collection of the ex-leader of legendary Afro-spiritual/deep funk/free jazz group from 1970s Ohio (later in SF), The Pyramids.
Their music is one of the most deep attempts by African-Americans, deep sounds like Strata-East, aggressive performances like Tribe or Black Jazz, every free jazz/funk collectors should agree on it. Featuring 10 pieces of The Pyramids taken from their 3 albums and unreleased (!) recordings (included first live recording in Holland!). Notably The Pyramids had even stayed in African countries like Morocco, Ghana, Kenya & Ethiopia and studied real African culture & music there in the early 1970s. Do you know other African-American jazz musicians who had done such a road trip in early 1970s?

Also featuring never heard pre-Pyramids, P. Sanders & Strata East recording as The Collective, and 4 pieces from the late '70s to '00s, recording as Idris Ackamoor Quartet/Ensemble.

REVIEW:
As with every review of a release on EM records, we feel obligated to gush just a little. WHAT AN AMAZING LABEL! Most definitely the coolest reissue label going. Completely off the wall releases dug up and given new life. Amazing packaging, killer liner notes, tons of photos. So much love and passion obviously goes into each and every release we'd almost buy every one regardless of the music. Thankfully, pretty much everything we've heard so far is absolutely amazing, and well deserving of a deluxe reissue treatment. read more

Jagjit Singh lives...

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Jagjit Singh

Saanwara- Krishna Bhajans & Kirtan

1. Baat Nihare Ghanshyam
2. Hey Krishna Gopal Hari
3. Tum Dhundho Mujhe Gopal
4. Krishna Maurariji Aankh Base
5. Banek Bihari
6. Krishna Pranat Pal Prabhu
  
.ღ•:*´♥`*:•ღ.

  

there is nothing left to say that friend Ajnabi did not say 100 times better:

 

The Voice That Gave Us Courage Is No More: Jagjit Singh

 

Jagjit Singh’s biography

 

Jagjit Singh (born February 8, 1941) is an Indian ghazal singer. He sings in the Urdu, Punjabi, Hindi languages, and Gujarati language.  Jagjit Singh was born in Ganganagar, then in Rajputana in British India. His father Sardar Amar Singh Dhiman, employed by the Government of India, was a native of the village of Dalla in what is now Ropar district in Punjab and his mother Bachchan Kaur came from a deeply religious Sikh family from Ottallan village near Samrala. His siblings include four sisters and two brothers and he Singh is known as Jeet by his family. Although his late father wanted him to join the Indian Administrative Service, he was later reported to be happy with his son's achievements in the world of music. Singh went to Khalsa High School in Ganganagar. He then studied science after matriculation at Government College,Ganganagar and went onto DAV College, Jalandhar in to graduate in arts. He also achieved a post-graduate degree in history from Kurukshetra University, Haryana.


Jagjit Singh's association with music goes back to his childhood. He learnt music under Pandit Chaganlal Sharma for two years in Ganganagar, and later devoted six years to learning Khayal, Thumri and Dhrupad forms of Indian Classical Music from Ustad Jamaal Khan of the Sainia Gharana school. The Vice-Chancellor of Punjab University and Kurukshetra University, Late Professor Suraj Bhan encouraged his interest in music. He arrived in Mumbai (then Bombay) in 1965 in search of better opportunities as a career musician and singer. His early struggle in the music industry, though not too harsh by his own account, still had its share of trials and tribulations. He lived as a paying guest and his earlier assignments were singing advertisement jingles or performing at weddings and parties.

During 1970s, in India, the art of ghazal singing was dominated by well-established names like Noor Jehan, Malika Pukhraj, Begum Akhtar,Talat Mahmood and Mehdi Hassan. However, Jagjit was still able to make his mark and carve out a niche for himself. In 1976, his album The Unforgettables (On HMV LP Records) hit the music stores. Essentially a ghazal album, it's emphasis on melody and Jagjit's fresh voice was a departure from the prevalent style of ghazal rendition, which was heavily based on classical and semi-classical Indian music. Skeptics had their own reservations, purists scorned it but it was widely successful among listeners and the album set new sales records.

In 1967 he met Chitra, also a singer, while doing jingles. After a two year long courtship they got married in 1969. They epitomise the first successful husband-wife singing team. Jagjit Singh, with Chitra, has contributed immensely towards changing the course of this genre of music known as 'Ghazal' making it more ear friendly, melodic and enojoyable by a wider audience.

Later successful releases of the duo include Ecstasies, A Sound Affair and Passions. While these albums were breezy, Beyond Time released in the opening years of 1990s was an experimentation with sounds and conveyed a feeling that was beyond space and time. Around this time the duo was struck by grief as their only son, Vivek, who was twenty-one, met an untimely death in a road accident. Not only Jagjit and Chitra, it was a big shock to his numerous fans also. The album is a tour to the soul, ethereal, conscientious and introspective. The ghazals have a moving quality to them since they express the personal loss of Jagjit and Chitra. 'Someone Somewhere' was the last album containing ghazals sung by both. After that, Chitra quit singing.

Jagjit Singh continued singing his later albums, including Hope, In Search, Insight, Mirage, Visions, Kahkashan (meaning "Galaxy"), Love Is Blind, Chirag (meaning "Lamp"/"Flame") also achieved success. Sajda (an Urdu word meaning "offering"), which has ghazals sung by Jagjit and Lata Mangeshkar was another brilliant release and made its mark as a classic Ghazal album. The combined successes of his many albums made him arguably the number one ghazal singer in India. The audience wanted more and Jagjit Singh obliged with his Punjabi albums. Ebullient, effervescent and bubbly, his Punjabi songs are pleasant as well as joyous. Their enchanting ghazals use the choicest poetry by renowned poets including Mirza Ghalib, Ameer Meenai, Kafeel Aazer, Sudarshan Faakir and Nida Fazli…. and contemporary writers like Zaka Siddiqi, Nazir Bakri, Faiz Ratlami and Rajesh Reddy.

Jagjit also sang (as playback singer) for various songs in Bollywood films including Arth, Saath Saath and Premgeet (all from 1980s). The scores remain popular even today. In fact, all the songs of film Premgeet were composed by Jagjit. His compositions for the TV serial Mirza Ghalib (based on the life of the poet Mirza Ghalib), remain extremely popular among ghazal aficionados. The elusive element of Ghalib's poetry was sensitively and wonderfully brought out in the soulful compositions of Ghalib's ghazals by Jagjit Singh. The album could veritably be called a magnum opus.

Compared to his earlier ghazals (sung during 70s and 80s) his later ghazals have acquired a more soulful and poignant demeanour, as in albums such as Marasim, Face To Face, Aaeena, Cry For Cry. But all through this, romance never took a backseat! The journey to the soul is punctuated by romantic pauses like Dil Kahin Hosh Kahin. A testimony to his popularity is his ghazals in recent Bollywood flicks like Dushman, Sarfarosh, Tum Bin and Tarkeeb.

Most of the earlier albums of Jagjit Singh had English titles. Later, these had Urdu names like Sahar (meaning "Dawn"/"Morning"), Muntazir (meaning "In waiting"), Marasim (meaning "Relation"/"Relationship"/"Affinity" ) "Soz" (Pathos) etc.. The switchover may not be deliberate but marks a milestone in his singing. These new albums show a far better selection of lyrics and yes, even the singing has scaled new peaks.

Besides ghazals, Jagjit Singh has also sung Bhajans and Gurbani(Hindu and Sikh devotional hymns respectively) . Albums such as Maa, Hare Krishna, Hey Ram...Hey Ram, Ichhabal and also Man Jeetai Jagjeet in Punjabi, put him in the league of Bhajan singers such as Mukesh, Hari Om Sharan, Yesudas, Anup Jalota and Purushottam Das Jalota. The soothing effect that Jagjit's voice has on frayed nerves has prompted psychiatrists in metros (as large cities in India are called) to prescribe them as stress relievers.

Jagjit Singh is accredited with bringing the ghazal genre, which was previously restricted to the elite classes, to the masses. His music direction can be seen to be pioneering in changing the sound layout by adding more Western instruments while mostly retaining the traditional orchestra (which includes a tablaa, and harmonium, and a couple of string instruments]. Jagjit Singh is also nicknamed Gazaljit Singh.

Jagjit Singh is accredited with finding one of the foremost playback singers in Bollywood in modern times, Kumar Sanu. As he played a big part in Sanu's initial career, in an interview Sanu said that Singh took him to meet the legendary music composers Kalyanji Anandji after hearing his voice, from there on Sanu has become a legend in Bollywood for his range and singing as he went to win five male playback Filmfare Awards in a row. A record that still stands.

Jagjit Singh voiced his opinion against artists from Pakistan being allowed to sing in India, when Pakistan refuses to reciprocate the gesture.

In addition to cultivating his own successful career, Jagjit Singh has been involved in guiding many new, talented singers such as Abhijeet Bhattacharya,Talat Aziz, Ghanshyam Vaswani, Ashok Khosla, Siza Roy and Vinod Sehgal. He also lends active support to several philanthropic endeavors such as the Library at St. Mary's (Mumbai), Bombay Hospital, CRY, and ALMA (an organization that adopts under-privileged students for further education and development).

Jagjit Singh lives...

j

wiki

Ljubo Stipišić Delmata RIP

Just a few days ago we had posted his Antology, on 09.10.11 this guardian of Dalmatian musical heritage, took of for the stars. His words and work show a man deeply spiritual, conductor, composer, arranger and melodist, leader and founder of numerous klapa groups, he has also published several books of poetry and aphorisms. "If this all doesn't have purpose of becoming a better man, than it doesn't have eny meaning at all". Described as natural, secretive and upright, lived a modest life in joyful gratitude, witnessing the truth in a world, where truthful walk alone. His works have long been making their mark, and their value is priceless ...

more on spirit

An interview in croatian

Certany moast known of his works...

SavoirFaire - Running Out of Time

SavoirFaire explodes with joyous enthusiasm at the sounds made by another musician. So many times have I seen these expressions of pleasure and heard these shouts of approval. I 'realize that in these moments, he simply cannot contain his excitement and what a great thing that is.
Next I see an inward-centered and dark- edged violinist performing his elegiac classi­cally bent solo piece "Aspen's Woes". The melody plays like the rainy-day watercolors of a child's mind: focused, wistful and dreamy. More than a song about one particu­larly special girl, the composition becomes a tribute to child princesses (and princes) everywhere, to their fragility, vulnerability and strength.
On the drive to the recording sessions one summer afternoon Savoir discussed the illu­sion we have all had that those around us are somehow background players to our own leading roles in life, as though we had the stage all to ourselves, to our egos. He spoke of music breaking down these walls, these facades — the harmony recreating itself in other forms, and die struggle to write and record the music that is always on the verge of slipping away.
I muse on Savoir's curiosity, his love of explo­ration and new ideas: his thirst for knowing about people and this planet in all of its man­ifestations: cultures ancient and present: where we are going and where we have been: and ultimately his interest in these questions; How can we put more of our lives into this design? What sort of soundtrack will truly accompany and enhance the state of our spirits today? What kinds of songs can promote our evolution and encourage us to be stars, that is - shining beings?...
Bill MacKay in linear notes



1. Running Out Of Time
2. One Inch Angels
3. Room For More
4. Martitha
5. Pendulum
6. Surazal
7. Interlude
8. Timetable
9. Sommer's Ashes
10. Aspen's Woes

Time well spent

word

thegoodone


Samuel SavoirFaire Williams

Born and raised on Chicago's south side, violinist SavoirFaire cut his improvisational teeth at local jazz sessions. His first performance was at age 5 on stage at Chicago Symphony Center's Orchestra Hall as one of 25 special Suzuki students. SavoirFaire

SavoirFaire might sound like the name of someone who specializes in dance music; it isn't hard to imagine a deep house, chillout, downtempo, or trance artist adopting the stage name SavoirFaire. But this SavoirFaire (whose real name is Samuel Williams) doesn't provide any of those things on Running Out of Time; he is a Chicago-based jazz violinist -- and when it comes to instrumental jazz, he is not easy to pigeonhole stylistically. Samuel "SavoirFaire" Williams (who wrote everything on this Bob Koester-produced CD) is quite capable of jumping from post-bop to fusion to avant-garde jazz; anyone who listens to the album in its entirety will get the impression that along the way, he has appreciated everyone from Regina Carter to Stuff Smith to Billy Bang to Jean-Luc Ponty. Parts of Running Out of Time find the Chicagoan getting into a '60s-minded post-bop groove; "Room for More" and the title track give listeners some idea what saxophonist Wayne Shorter or guitarist Grant Green might have sounded like on the electric violin when they were signed to Blue Note. But a more abstract and dissonant SavoirFaire emerges on the electric free jazz of "Surazal," which contains the disc's most outside playing. "Pendulum" moves into fusion territory, and the wistful ballad "Sommer's Ashes" has a '40s-like sense of romance; had SavoirFaire been around back then, the piece would have been appropriate for Lester Young, Stan Getz, or the Duke Ellington Orchestra. Much to SavoirFaire's credit, all this eclecticism doesn't sound forced or unnatural; he comes across as someone who genuinely appreciates a wide variety of jazz styles and has a need to express that appreciation on his violin. Running Out of Time demonstrates that SavoirFaire is well worth keeping an eye on. ~ Alex Henderson

Fragance of Dalmatia III

Broad beans

and artichokes

Mladi bob sa artičokama

Artichoke is a medical plant that is recommended for people with elevated cholesterol, because it has a natural ability to lower blood fats. It also helps with indigestion, heartburn and flatulence problems and abdominal pain. With all this listed, artichoke is very delicious, so try to find a way to place your desk.
In the writings of traditional medicine says that the tea leaves of artichokes help you regain appetite, helps digest fats, stimulates urination, heal the liver and gall bladder, removed uric acid (urea)from the blood, a toxic product of disturbed metabolism in the body, cures jaundice, congestion and liver cirrhosis. It helps in case of sickness of the spleen, kidney stone, gout, rheumatism, and swelling with dropsy. Helps older people especially in the case of uremia, ie poisoning with toxins that are caused by the body's own diseased kidneys, obstructed urination, and the like.
Intensive scientific clinical trials have confirmed the beneficial effects of artichoke extract, and deepened understanding of this precious plant.

• 10 artichoke
• 300 g baby broad beans
• 300 g of young pea
• parsley
• garlic
• bread crumbs
• salt and pepper
• olive oil
• good white wine

Clean the artichokes by cutting off their stalks and leaves that are slightly damaged, and they are usually at the bottom of the artichoke. When you clean them, put them into boiling, salted water, with few drops of lemon juice. Soak the artichokes so that are upside down and cook then for about ten minutes. When blanched, take them out and drain.
Cook peas and broad beans, length of cooking depends on how young or freash are broad beans and peas. Chop a couple of cloves of garlic and plenty of parsley, and mix with the cooked peas and 2-3 tablespoons of baby broad beans. Pour over enough olive oil, add salt, pepper and bread crumbs (all together is should be a compact mixture). Spread the leaves of artichoke and fill them with stuffing. Put filled artichokes in a pot with olive oil and butter.

The pot in which you cook artichokes should not be too deep, artichokes have to stand upright. Around them, put the rest of the baby broad beans and all the remaining filling. Then add about 3 deciliter of broth (the water you cooked with artichoke stalks, chopped parsley, salt and pepper and a bit of good, dry white wine). Cook gently for about 30 minutes. Enjoy your meal!

translated form
All apologies to english language, I tried to give my best :)

Some tips from my mother:
Lemon is used to prevent the artichoke from changing colour or prevent oxidation, use at least half of the lemon. Artichoke should be fresh and green, it must not turn dark of course.
You can prepare the filling without beans, or you can add hard boiled eggs to it, beans and peas are added when you start coking the artichokes for 30 min. if you have frozen peas and beans, put them next to artichokes when water starts boiling, you can also add some tomato concentrate. The level of the water shouldn't be to high, just to cover it all.

other source for the recipe in croatian.

There are several ways of prepering the tea from Artichoke.
Tea against rheumatism and water in the joints:
Dip the flower heads of artichoke in a hot white wine, let it sit for about 2 hours to use as a tea.
Also, you can pour over some boiling water over a pinch of leaves,and let it sit for a while to let the healing agents come out.
2.5 to 4 grams of dried leaf pour 250 mL of boiling water, let stand for 10-15 minutes and strain. This quantity is prepared exclusively fresh three times a day and drink it between meals. However, the infusion of artichoke leaf is extremely bitter and is rarely used. Formerly a bitter infusions used to increase appetite.

---------------------------------

And of course something for your ears while your tongue, liver and belly are enjoying.

Ljubo Stipišić Delmata
Antologija – Dalmatino povišću pritrujena

01. Dalmatino poviscu pritrujena - Oktet DC (Vranjic)
02. Intrade san popi - Oktet DC (Vranjic)
03. Namisto molitve ime ti ponavjan - Oktet DC (Vranjic)
04. Baren se iskaji, nevirna - Oktet DC (Vranjic)
05. Zlata jemas, dare primas - Oktet DC (Vranjic)
06. Prosti meni vilo - Oktet DC (Vranjic)
07. Ako smo mali djiografskin kartan - Oktet DC (Vranjic)
08. Dvi ruke u vrj sviju - Oktet DC (Vranjic)
09. Na posteji mojon ca san je udila - Oktet DC (Vranjic)
10. Ima posta slipi ol' ubogi - Oktet DC (Vranjic)
11. Imam dragoga - Klapa Luka (ž - Rijeka)
12. Mi ne domo cacu (Sprovod) - Klapa Nostalgija (Zagreb)
13. Ako vas svit dico moja - Klapa Cesarice (women - Zagreb)
14. Kod lepanta sunce moje - Vokalisti Salone (Solin)
15. Umra jedan bidni - Vokalisti Salone (Solin)
16. Testamentum - Vokalisti Salone (Solin)
17. Nostalgija za bogom Vokalisti Salone (Solin)
18. Pod krizem Vokalisti Salone (Solin)
19. Oce nas - Vokalisti Salone (Solin)
20. Gremo mi puntari - Gradski zbor Brodosplit (Split) (citty choir Split)
21. Dalmatino poviscu pritrujena - Gradski zbor Brodosplit (Split)

Something from dalamtia for full belly and full ears, oh, the pass simply must be thegoodone.

In the year 2009 Zadar Public Library is undertaking the digitization project of Mr. Ljubo Stipišić Delmata opus (b. 1938.).

Ljubo Stipišić Delmata's (or simply Maestro Delmata's) personality contains a multitude of traits: composer, poet, melodiographer, painter, producer, conductor of acappela ensambles, etc. Maestro Delmata has been honored numerous prestigious music awards including several lifetime achievement awards.

For his cooperation with the Zadar Public Library Maestro Delmata is honored the title as "Zadar Public Library best man". Together with the library, Maestro works in various projects ranging from acappela concerts, surveys and founding of children acappela choirs, exhibitions, guidebooks for acappela conductors etc. Wealth of common work conducted so far developed into the next stage of cooperation – digital presentation of his work, including music painting and literature.

The basis of Delmata project is a collection of rare tone recordings made during Delmata's ethnomusicological works. These recordings are being digitized together with accompanying notes, books etc. and put on the library webpage (www.gkzd.hr/delmata).

Delmata's work is of immeasurable musicological and cultural importance, especially for preservation and strengthening of the identity of South of Croatia, i.e. Dalmatia. The value and the importance of the project are recognized by the Ministry of Culture of Croatia and Raiffeisenbank who support the project (www.kultura.hr).

Once it is finished, the Delmata Project will be presented on the Zadar Public Library webpage and also on the Croatian Ministry of Culture web through the Croatian Cultural Heritage portal.

Delmata Project is meant for use by students, musicians, musicologists, ethnomusicologists and general public who want to learn about Croatian musical heritage, perform research, experiment, relax, or find inspiration for creative work.