...The origin of the Basque people remains a mystery, and according to the most eminent of linguists their language is a precious jewel which should be carefully preserved. Basques live on both sides of the Pyrenees, spread over seven provinces, divided by a political frontier and for seventy years they have as-serted the right to unity : "Zazpiak bat" (Seven in one) ... They are a people who cherish their language and their family traditions, the originality of their way of life, their dances, the different varieties of their game of pelota...
The Basques have an inborn propensity for song. And they also have the desire to sing. Wherever he may be the Basques will always be singing to himself ; wherever they meet two or more Basques will soon be humming in chorus the old tunes of their native land. In their songs the Basques relate the beauty, the history and the wonderful legends of their country ; they al-so express sorrow, love, hate, joy, describe their surroundings and the state of their innermost soul. (linear notes)
Malik Mezzadri is a jazz Flautist born in 1969. He grew up in Pointe-à-Pitre, Guadeloupe where he started recorder (fipple flute) and transverse flute at the age of 6. When he was 13 he learnt flute with Marc Rovelas who made him discover Bach, Xenakis, Ravel and Stockhausen.
He left Guadeloupe at 17 and graduated from the Marseille conservatoire being the first flutist, he discovered jazz at that time.
As soon as he left the conservatoire, he got the occasion of playing in reggae band Human Spirit during 10 years.
Malik Mezzadri made multiple collaboration as a flutist with artists such as Lio, Teri Moise, Laurent Garnier, Saint Germain, Dj Gilb’R, FFF.
In 1992 he founded his first Magic Malik Orchestra which recorded its first demo released in 1997 under the name HWI Project via Salam Aleikum.
Then he met Julien Laurau who tours with his own band: the Groove Gang. In 1998 he takes part to the album City Boom Boom and joined the Groove Gang. In 1999 Malik goes on tour with the Groove Gang during several months across South America and Africa.
In 2000 he decides to start an album on his name and gathers a new Magic Malik Orchestra. It leaded to the recording of the album 69 96 via Label Bleu:
............................................
This music integrates so many influences seamlessly into one concept - North African, West African, bop, free jazz, classical, electronica and even Latin vamps. It's hard to see how all this should work together but Malik makes it work. In fact, it seems this IS Malik and therefore it works.
The arrangements are at times brilliant: just take the three bar Latin vamp (4/4-4/4-7/4) of Voleo that in and of itself would be great but serves as basis for Miles' Oleo which is played in 4/4 and therefore keeps on shifting on the vamp. Awesome effect: the repeats of the Oleo excerpt never sound quite the same and get completely integrated into the vamp. Very smart!
Malik's flute playing is fantastic! It's rare to hear a flute player in jazz who's actually good, but Malik is beyond good. He improvises with abandon, using angular altered lines (people like Rosenwinkl would be proud), free flurries, impeccable rhythm in any context (bop, rock/electronica, African, Latin...) and quite an edgy arsenal of classical quotes (a Bach phrase here and there, sometimes modulated to great effect). His tone on the flute is full and brilliant, unlike that of so many jazz flutists who are actually sax players and double up on the flute, usually to very little effect.... The spectacular singing technique is a show stopper.
The "orchestra" is great as well. There is an absolutely beautiful keyboard solo on one of these tunes (don't remember which at the moment), melodic and heart-wrenching. The grooves are super tight, drumming and percussion are standout (albeit the drumming at times gets a bit overpowering), the sax plays some great solos...
Most of the music is pretty high-powered and extroverted. There are a few moments of introspection (like the gorgeous low register flute playing at the outset of Pandemonium), but more of this to contrast the general high-decibel and upper register playing and arrangements would have made the disc even more subtle and beautiful.
Still, a must have
that's me and kokolo-and I know that Miguel is always with us,even seemingly absent-
for not updating this nice little spot more often as we certainly should
it is life's different courses and needs that sometimes oblige us to withdraw from some activities
and toil in others,as for me after completing a first circle in my new blog
I can promise you a little winter/summer -sensual and spicy party from this spot
hot and at least more frequent than in the previous months
let's make a new start
Percussionist, composer, arranger, and band leader Joel “Pibo” Marquez
was born in Caracas June 22, 1966.
At an early age, he began exploring music with the support of his family.
He began his musical studies of the cuatro, and other string instruments in Venezuelan roots music,
and began participating in different folklore groups at just 8 years of age.
He continued his formation at the popular school Cristo Rey, in the district 23 de Enero,
at Caracas where he refined his skill and education of Latin American percussion and its origins.
His studies soon extended to other countries in Latin America,
Cuba, Puerto Rico, Ecuador, Colombia, Peru and Surinam,
having the support of an important cultural organization in Venezuela.
In 1980, he had the opportunity to put into practice what he learned from these experiences,
linking them with different groups of Venezuelan folklore through 1984,
when Grupo Madera summoned him.
This group of international recognition helped him to show his excellent musical capacity
and his extensive knowledge of the percussion.
After separating from this group, Marquez began to explore other musical styles like salsa,
Latin jazz as well as contemporary music for ballet and theater.
He then moved to Colombia, where he resided for six years.
There, in 1998, he was hired as a sideman for Alfredo de la Fe's orchestra.
Soon afterwards, famous guitarist Carlos Santana commissioned him
to write some songs to tour with him-a great honor for Marquez,
who considers Santana to be one of his personal heroes.
In the beginning of 1998, Pibo Marquez was offered the chance to produce the first recording under his name. The album bears the name Joel Pibo Marquez, Con Las Manos Calientes.....
Saxophonist and flutist Vasko Atanasovski is one of the most creative and versatile Slovenian composers and musicians, well known for his cross-genre collaborations with world famous jazz, rock, classical, traditional musicians and his masterful approach to all styles of music. Up to this date he has released 10 highly acclaimed albums, received numerous awards as well as earned audience and critics’ compliments for his performances and compositions home and abroad. He is a regular guest on the European festival and concert circuit and has also performed in India, China and New York. His original compositions have also found a way into the world of theatre, dance and puppet shows, repertoires of eminent soloists, orchestras, ensembles and choirs. oficial
from linear notes:
Vasko Atanasovski
(born 1977 in Maribor) is one of the few Slovenian musicians who, besides researching contemporary improvised music, Afro-American and European tradition, ethnic music from different parts of the world, succeeded to develop exceptional originality in composition and musical style. Numerous projects, in which he had been researching new 9 concepts of communication, aesthetics and creativity, are behind him. In 1990 he won the r award on the competition of young saxophonists from former Yugoslavia. When he was seventeen, he began to play gipsy music and started to take part in dance and theater projects. In 1996 he joined the legendary Quatebriga jazz ensemble. Ever since he has been devoted to his own productions as a founder of many music groups and projects (Vasko Atanasovski Quartet, Vasko Atanasovski iMPRODooM, Slavika Ensemble, Solo Akupunktura, Atanasovski-Berden-Bartoli Trio). In 2001 he published Akupunktura, a small edition solo album, and in 2002 the album Heat Flower came out at the Austrian record label Extraplatte.
Suite de passion brings forth contemporary music, marked with elements of flamenco, jazz and ".ein music. The idea is rooted in existentialism: the existence is a ,,passion in both senses, as md desire. These feelings inspired the conception of Suite de passion, dynamic and passionate v among the excellent improviser Atanasovski, outstanding Italian acoustic bassist Roberto imnd all-round Slovenian pianist Dejan Berden.
bye bye
says this ass
my work is done
it is up to you
to pass on thegoodone
From the vaults of radio station SWF (today SWR) and previously unreleased, this fantastic group with a rather unusual instrumentation (flutes, bass, drums) blow your ears away. They played music you probably haven't heard before. Call it Free rock, living new jazz or just extremely good music, this trio is far out of any limitations. The music of the Dieter Bihlmaier Selection possesses genuine power, where explosive eruptions alternate with lyric moments. On repeated listening the music develops an irresistible pull that we wish to share with all lovers of "good music". These recordings are without any doubt not only of high musical value, they are also an absolute rarity, since unlike the two albums of the Dieter Bihlmaier Selection, they were recorded just in the trio formation flute, bass and drums and without the participation of the vibraphone player. The SWF-Recordings 1973 of Dieter Bihlmaier Selection are an outstanding musical achievement. CD comes with full coloured 12 pages booklet including band history and a lot of photos. Digitally remastered from the original master tape. If you want to listen to more...... listen to Dieter Bihlmaier Selection The SWF-Recordings 1973.
fake freedomblues (and blackstarliners and 0earth) activated.
mY blogs were removed last January along with hundreds of others as casualties of the megaupload hunt I presume.I had "almost" forgot about it....
the standard google/blogger policy in such cases till now was that the blog name and it's url was not available for new blogs anymore.
to my ultimate surprise I found out lately that all their names were given away and reactivated by someone who is probably intending to sell blog names!
a very original and enterprising idea that oblidges me to laugh sarcastically with these new age practices..Happy blog sellings then!
Anyway I had to come back to warn my fellow bloggers and friends(starting with this blog)
that still remember my old blogs to remove them permanently from their lists and preferences.those fake blogs have nothing to do with me now or in the future.
the only freedomblues that is alive is in my heart and can't be deleted from there.
nauma
and to remember freedomblues I'm giving you the two compilations of Tanzanian musiki wa dansi bands
the older first part posted on fdb and the second for this blog.
the more I listen (again) to these bands the more I love (again) and more deeply,this time-this music.The Tanzanian people must be very proud of it..Dance and entertainment of the highest caliber by these,in most cases "state sponsored" bands.Hope you enjoy it along.As you can imagine,I'm in the middle of a "dansi hurricane" during the last days and this resulted the coming compilation.I have included in the file four pdf's for a more compete understanding of the era that produced this tre-tre beautiful music.there is enough material for a second round when we visit again Tanzania.NUTA Jazz and Dar es Salaam bands are not represented,since they had their portraits already,but my favorite,taarab spiced, Kiko Kids Jazz are here in full force with 5 tracks:Tanganyika na Uhuru! Kids Jazz!
trx
01-National Jazz Band-Sisi Vijana Wema
02- Atomic Jazz Band-Dunia Ina Mambo
03-Kiko Kids Jazz-Sili Sishbi
04-Jamhuri Jazz Band-Shangazi Naomba Taiti
05- Atomic Jazz Band-Salamu Zako Nimezipata
06-Morogoro Jazz Band-Likemba Ya Moro
07-Kiko Kids Jazz-Kiko MWanisakama
08-Kilwa Jazz Band-Vilonitendea
09-National Jazz Band-Nora
10-Kiko Kids Jazz-Kenekubalile
11-Nicky, Athmani & Hodi Boys Band - Mapenzi Tu
12-Afro 70 Band-Week End
13-Kiko Kids Jazz-Tunda Bichi
14-Atomic Jazz Band-Njoo Mpenzi Njoo
15-Mbaraka Mwishehe & Moro Jazz Band-Miziki Ya Mji Wa Morogoro
unakaribishwa! finally here comes the second, long announced , volume of Musiki wa dansi,the legacy of popular dance music from the divine, I know that I'm exaggerating a bit using this word but that's very close to (the always personal) truth (= heart) of mostly state financed Jazz bands of Tanzania from the early 60's till the late 70's and by jazz we surely mean the local East African brass and percussion rumba variations.
(add to them some of the sweetest guitars that ever came out of the Tanzanian tubes)
I must say that I'm particularly happy to dive again in such an effort and compile a new mix as I have many years of affection for this material. How they sound today apart from the inevitable and certain nostalgia that stimulates memories?a whole era is unfolding through these slow burning swahili rumbas that are still vintage and unsurpassed to these ears.
all real music for all real people.I'm sure you get my point ...to be continued....
01-Mbaraka Mwinshehe & The Morogoro Jazz Band- Sululu ya moro 02-Vijana Jazz Band-Ujirani mwema 03-Dar es Salaam Jazz Band- Tabu nyingi nilizonazo 04-Vijana Jazz Band-Heka-heka 05-Morogoro Jazz-Urafiki Mwisho wa mwezi 06-Nuta Jazz-Selemani 07-Atomic Jazz Band-Usijipendekeze 08-Jamhuri Jazz Band - Shingo ya upanga 09-Njohole Jazz Band - Naona Ajabu 10-Western Jazz Band - Lipa kodi ya nyumba 11-Kilwa Jazz Band - Muungano Tanzania 12-Tabora Jazz - Alhamdulillah 13-Orchestre Maquis Original - Karubandika 14-DDC Mlimani Park Orchestra-Matatizo ya uke wenza 15-Kiko Kids Jazz - Nimeona Uwa 16-Chipukizi Rumba Band - Dada mwajuma
.
...born in Luanda in 1935, Maria de Lourdes dos Santos Van-Dunem started her musical career in the 60s when she joined the "Ngola Ritmos" band along with Liceu Vieira Dias, Jose de Fontes Pereira, Amadeu Amorim and Belita Palma, the forerunners of Angolan music, who were also in the anti- colonial movement.
After producing "Ngola Ritmos", the singer made several tours in Angola as well as in Portugal before recording her first album "Monami".
She later worked with the "Jovens do Prenda" band.
During her musical career, Lourdes Van-Dunem had also performed in Brazil, South Africa, Algeria, France, Spain and Zimbabwe.
In 1996, the vocalist, who was a florist, recorded her compact disc "Ser Mulher" in Portugal.
She had also participated in the "So Why" project initiated by the International Red Cross Committee (ICRC) together with Senegalese Youssou N'dour of Senegal, Congo's Papa Wemba, Nigerian Lagbaja and Lucky Dube and Jabu Khanyile of South Africa.
This culminated into the recording of a CD, a video clip, a documentary and the publication of a book aimed at helping the victims of war and political violence.
She died in 2006 of typhoid fever. The President of Angola, Jose Eduardo dos Santos, attended her funeral.
SEKOU KOUYATE is a musician from Guinea Conakry living in France, who earned himself the nickname The Jimi Hendrix of Africa and Jimi Sékou Kora with playing the 21-string African harp called kora. In his group Ba Cissoko, which is perform-ing all over the world, the kora is often supplemented by electrical effects, which usually rock guitarists use. Sekou comes from the Griot generation, a West African family of artists. Their role and mission have always been carrying on news, resolve conflicts, record history in songs and of course preserve music and dance, which are still being used to accompany rituals and ceremonies such as birth, baptism, marriage and death. In the last decades the music of Griots got a lot of attention across the world with the popularization of the 3rd world music. Characteristically for this type of music are the exceptional melodious sounds and the rhythmical motion. The pre-colonial kingdoms of West Africa were very familiar with the Arabian arts, which were then at the same time influencing the European Renaissance music with the development of string musical instruments. The kora can be retuned into the major scale or into the parallel minor scale and includes three and a half octaves. Once the kora only accompanied singing but is nowadays considered as a solo instrument on which all types of music styles can be played as well.
SEKOU KOUYATE EXPERIENCE is a musical project that unites the African virtuoso with Slovenian musicians who are actively involved in playing West African music. The result of the project is an energy-packed whole created with the interplay between traditional African music and various jazz, funk rock and reggae sounds with a lot of lyricism. The songs are mostly originals with some arranged traditionals. The Group has performed all over Slovenia on festivals and in clubs in 2011.source
PUBLISHING HOUSE GOGA
The broth-er moves on[bruhth-er or bruhth-ur] ( Archaic ) brethren; interjection noun
the ghost inside the magic, the stranglers of an innocent idea of bringing performance art to its knees through costume, music and storytelling
a playful site specific collaborative piece of performance art in the form of a band based in Johannesburg.
The name of this collective is derived from David Simons "the Wire" character Brother Mouzone, meaning "judicious" in Arabic, a transient assassin with that audacious yet sincere difference.
The Golden Wake live EP is the Brother Moves On’s debut recorded at the SABC as a funeral for the first brother to move on Mr Gold Wasegoli. The EP is due for digital release on the 21st of March 2012(Human Rights Day) and the DVD and physical formats are due for release on the 1st of May 2012(Workers Day)
A brother writes about wenu wetla
No two things can occupy the same space at the same time, at least not in the physical sense they can’t. So then as far as he was concerned no one in the world saw it as he did for no one could ever take his spot on that hill staring down, up and all the way around it. From this he further deduced that no one could listen to its playfulness as it moulds and shapes mysteries; like how exactly it is that the ocean paints the sky blue using the sun as its paint brush.
His ears would always be the instruments by which his soul plays with both celestial and terrestrial vibrations and no one could play the ear better than he did. Such was his being; the wilderness of his self, that his imagination and curiosity was a vast landscape of hidden secretes waiting to be unravelled. It would then only be a matter of time till he would come across the secrets of love.
On the palm of his hands he held it like a gem that glowed with an amber green. He played with it as though a child preoccupied with a star he had gazed at for two whole days, until on the third it fell to the earth only for the satisfaction of the child’s amusement. But soon the stone would be lost to him, and he would have to remember that his love resided in the distant spaces between the earth and his appreciations’ reach to far away galaxies. It would be at this level of wisdom and listening skill that he would move on to join the band of brothers who rested in a still, continuous, static spot of nothing but motion. He found home in their sounds and unclothed himself with the body paint they tossed to their audience. Before they came across him they had already travelled across faraway backdrops of spiritual hills – shaped by winds that whistled through its trees and they played to souls that danced around fires in trans like states. When finally they reached his ears they had to knock down the gate that opened to this dense forest, shaded by treetops that are crowned with multiple sunsets.
The forest bed however had not experienced light for quite some time and so the bandits would be its sun, angled at the forest in a perfect 90-degree angle. They brought with them promises of dispelling witches, only to replace them with their own enchanting incantations of spells that had their magic in being void of magic. Their light was of the violent sort; it dislodged his spirit from its umbilical cord that lynched it to the limitations of the physical. Such was the violence of these dudes, that under the magic charm of their sounds and motions – when his eyes closed they opened to a revolution but when he opened them they closed to a barren land of conventions and how to guides.
As they passed through him – the vast forest – he followed the lingering scent of their sounds and was led to a clearing where in the middle of the ruffled leaves stood an upright door. He went through the door and walked into a rustic old room, walled with unmatched stones and lit by a wild fire fuelled only by its desire to burn. At the centre of the room set around a table himself and an air he could only describe as God, speaking in a dialect familiar but far to ancient for him to decipher, although of course he knew exactly what conversation was being held. Around the table stood the band of brothers who rested in a still, continuous, static spot of nothing but motion. Guitars on their shoulders, drumsticks in their hands and mic’s romantically close to a kiss, they played a silent melody to the rhythm of the cosmic conversation that was under way in front of them. The lead singer noticed him standing at the door and read the amazement on his face, the singers face turned to a child like state as with the enthusiasm of one he exclaimed; “I know right!!!!!!!!”.
16 minutes later he opened his eyes to a barren land of conventions and how to guides.
music has always been free,like the birds,the water we drink, the sun
and in reality there is no way to cage music if you don't want to kill it.
have you heard of anyone able to imprison love,passion,despair or joy ?
very few seem to remember or even understand this simple truth but more are starting to realize it
and mostly the artists as they become aware that in liberating their art they liberate their own potentials.
Saxophonist Thiago França comes after Metá-Metá , with a constellation of musicians like Kiko Dinucci, Marcelo Cabral, Samba Ossalê and Wellington "Pimpa" Moreira under the collective name of Sambanzo ( Samba & the Yoruba Banzo which has a meaning similar to the blues or the longing for the Motherland that the slaves felt) that lovingly prepared a powerful afrobeat ,samba and jazz conversation with the Afro-Brazilian roots and they are offering it to anyone wishing to dig into this new global African sound that is unfolding as a celebration from São Paulo to Addis Ababa and to all corners .
thank you Thiago França and Sambanzo. Música livre, sempre!
Ahwak.
I love you. We atmana law ansak,
And I wish if I ever forget you, Ansa rohy wayak.
I forget my soul with you. Wen daiet teba fadak
And if it becomes lost, it's OK, Law tensany.
If you've forgotten me.
We ansak,
So I forget you, watareeny bansa gafak.
And I forget all you pain. Wa ashtak le azaby maak.
And I start longing for it again. We alaky demooi fakrak,
And I find my tears remember you. Warga tany.
So I return to you.
Fe loak,
At times, El donia tegeny maak.
The whole world comes with you. We redaha teba redak.
And its wish is your wish. We sa-et-ha ye hoon fe hawak.
And then, maybe you will end, Tool hermany.
Depriving my love of you.
Part 2
Ahwak.
I love you. We atmana law ansak,
And I wish if I ever forget you, Ansa rohy wayak.
I forget my soul with you. Wen daiet teba fadak
And if it becomes lost, it's OK, Law tensany.
If you've forgotten me.
We ansak,
So I forget you, watareeny bansa gafak.
And I forget all you pain. Wa ashtak le azaby maak.
And I start longing for it again. We alaky demooi fakrak,
And I find my tears remember you. Warga tany.
So I return to you.
Fe loak,
At times, El donia tegeny maak.
The whole world comes with you. We redaha teba redak.
And its wish is your wish. We sa-et-ha ye hoon fe hawak.
And then, maybe you will end, Tool hermany.
Depriving my love of you.
Part 3
We la-eek,
I dream of finding you Mashghool we shaghelny beek.
Thinking of me, and I of you. We einaya teegy fe eneik,
And my eyes meeting yours. We kalamhom yeba aleik,
And the words written on your face, Wenta dary.
While you try to hide them.
We raeek,
And I'd nourish you, Was-ha men el leil anadeek.
Wake up from my sleep to call you. We abaat rohy tesaheek.
And send my soul to wake you. Om yally shaghelny beek,
So you who has stirred my soul, Garab nary.
Try out my fire.
We la-eek,
I dream of finding you Mashghool we shaghelny beek.
Thinking of me, and I of you. We einaya teegy fe eneik,
And my eyes meeting yours. We kalamhom yeba aleik,
And the words written on your face, Wenta dary.
While you try to hide them.
We raeek,
And I'd nourish you, Was-ha men el leil anadeek.
Wake up from my sleep to call you. We abaat rohy tesaheek.
And send my soul to wake you. Om yally shaghelny beek,
So you who has stirred my soul, Garab nary.
Try out my fire.
We la-eek,
I dream of finding you Mashghool we shaghelny beek.
Thinking of me, and I of you. We einaya teegy fe eneik,
And my eyes meeting yours. We kalamhom yeba aleik,
And the words written on your face, Wenta dary.
While you try to hide them.
We raeek,
And I'd nourish you, Was-ha men el leil anadeek.
Wake up from my sleep to call you. We abaat rohy tesaheek.
And send my soul to wake you. Om yally shaghelny beek,
So you who has stirred my soul, Garab nary.
Try out my fire.
We la-eek,
I dream of finding you Mashghool we shaghelny beek.
Thinking of me, and I of you. We einaya teegy fe eneik,
And my eyes meeting yours. We kalamhom yeba aleik,
And the words written on your face, Wenta dary.
While you try to hide them.
We raeek,
And I'd nourish you, Was-ha men el leil anadeek.
Wake up from my sleep to call you. We abaat rohy tesaheek.
And send my soul to wake you. Om yally shaghelny beek,
So you who has stirred my soul, Garab nary.
Try out my fire.
We la-eek,
I dream of finding you Mashghool we shaghelny beek.
Thinking of me, and I of you. We einaya teegy fe eneik,
And my eyes meeting yours. We kalamhom yeba aleik,
And the words written on your face, Wenta dary.
While you try to hide them.
We raeek,
And I'd nourish you, Was-ha men el leil anadeek.
Wake up from my sleep to call you. We abaat rohy tesaheek.
And send my soul to wake you. Om yally shaghelny beek,
So you who has stirred my soul, Garab nary.
Try out my fire.
We la-eek,
I dream of finding you Mashghool we shaghelny beek.
Thinking of me, and I of you. We einaya teegy fe eneik,
And my eyes meeting yours. We kalamhom yeba aleik,
And the words written on your face, Wenta dary.
While you try to hide them.
We raeek,
And I'd nourish you, Was-ha men el leil anadeek.
Wake up from my sleep to call you. We abaat rohy tesaheek.
And send my soul to wake you. Om yally shaghelny beek,
So you who has stirred my soul, Garab nary.
Try out my fire.
Part 4
Ala-eek,
I dream of finding you Mashghool we shaghelny beek.
Thinking of me, and I of you.
Ala-eek,
I dream of finding you Mashghool we shaghelny beek.
Thinking of me, and I of you.
Ala-eek,
I dream of finding you Mashghool we
Thinking of me, and Shaghelny, shaghelny,
I of you, I of you, Shaghelny beek.
I of you.
We einaya,
And my eyes, Einaya teegy fe eneik,
My eyes meeting yours. We einaya teegy,
And my eyes meeting, Teegy fe eneik,
Meeting yours.
We kalamhom yeba aleik, aleik.
And the words written on your face, We kalamhom yeba aleik, aleik.
And the words written on your face,
Wenta, enta, enta dary.
And you, you, you try to hide them.
Ala-eek,
I dream of finding you Mashghool we shaghelny beek.
Thinking of me, and I of you. We einaya teegy fe eneik,
And my eyes meeting yours. We kalamhom yeba aleik,
And the words written on your face, Kalamhom yeba aleik, aleik.
And the words written on your face, Wenta, wenta dary.
While you, you try to hide them.
Ala-eek,
I dream of finding you Mashghool we shaghelny,
Thinking of me, and I of you. We shaghelny, shaghelny beek.
And I of you, and I of you. We einaya teegy,
And my eyes meeting. Fe eneik teegy,
Meeting your wyes. Fe eneik,
Your eyes. We kalamhom,
And the words, Kalamhom yeba aleik, aleik, aleik,
The words written on your face, Wenta, enta, enta te dary.
While you, you try to hide them.
Part 5
We la-eek,
I dream of finding you Mashghool we shaghelny beek.
Thinking of me, and I of you. We einaya teegy fe eneik,
And my eyes meeting yours. We kalamhom yeba aleik,
And the words written on your face, Wenta dary.
While you try to hide them.
We raeek,
And I'd nourish you, Was-ha men el leil anadeek.
Wake up from my sleep to call you. We abaat rohy tesaheek.
And send my soul to wake you. Om yally shaghelny beek,
So you who has stirred my soul, Garab nary.
Try out my fire.
We la-eek,
I dream of finding you Mashghool we shaghelny beek.
Thinking of me, and I of you. We einaya teegy fe eneik,
And my eyes meeting yours. We kalamhom yeba aleik,
And the words written on your face, Wenta dary.
While you try to hide them.
We raeek,
And I'd nourish you, Was-ha men el leil anadeek.
Wake up from my sleep to call you. We abaat rohy tesaheek.
And send my soul to wake you. Om yally shaghelny beek,
So you who has stirred my soul, Garab nary.
Try out my fire.
We ahwak.
I love you. We atmana law ansak,
And I wish if I ever forget you, Ansa rohy wayak.
I forget my soul with you. Wen daiet teba fadak
And if it becomes lost, it's OK, Law tensany.
If you've forgotten me.
We ansak,
So I forget you, watareeny bansa gafak.
And I forget all you pain. Wa ashtak le azaby maak.
And I start longing for it again. We alaky demooi fakrak,
And I find my tears remember you. Warga tany.
So I return to you.
Fe loak,
At times, El donia tegeny maak.
The whole world comes with you. We redaha teba redak.
And its wish is your wish. We sa-et-ha ye hoon fe hawak.
And then, maybe you will end, Tool hermany.
Depriving my love of you.
It is a cruel injustice to the world how some people, some thoughts they left behind, never get out of local boundaries. There is a language barrier, use of specific dialect, local issues, which may loose their power when translated into another language, or transferred to another part of the world. Toma Bebić shared the same destiny. This will be an insane attempt to bring it out , or even translate into English some of his poems/songs. So god help me. Toma somehow, in his rich life, managed to be a navy officer, teacher, secretary, journalist, football coach, mechanic, musician, writer, actor, painter, aphorist, poet, I may have dropped something out. In his autobiography stated that he first wanted to be a pilot, but he was thrown out. Than wanted to be a sailor and become an officer; then wanted to be a football player and become a sailor; then wanted to be a poet and ended up doing court seizures; then wanted to be a teacher and become a professional musician; then went to become an official and become a teacher; then got mad and started composing, and so become a journalist; then started to write a novel and become a compositor....never becoming what he wanted, There was some more wantings and becomings, so he sad he stopped arguing with himself, even stopped talking to himself. What bought him down was that in his news office he tried to rear himself in the spirit of justice, truth and humanity, but the unfortunate tradition of unfulfilled wishes had to interfere so they proclaimed him to be a humorist. Toma was a gentle giant with fiery spirit and immense sense for humor. My ex colleagues used to tell me stories how he would send them his text on a paper with stains marked; this one is from red wine, and this one from cuttle fish brodeto. He was an experienced and educated in healing with herbs, claiming he can prevent any form of cancer, except lung cancer, if it is treated in the early faze. It was on our great sadness that on February 4 1990 Toma lost his battle with this illness. He was one of few man I meat I can say were a living legends. After the death of this, as many time said anarchist and humanist, his work was republished and recognised by a wider audience, and titles like book of aphorisms Volite se ljudožderi (Love each other, cannibals), Primitivci moji dragi(My dear Primitives), U sakatu vremenu (In the lame times), Volio sam da me vole (I loved to be loved)... were out again along with some of his music works.
One of my most favoured short songs: Da ne gubimo koliko bismo tek izgubili (If we wouldn't lose how much more would we lose than) trenutak sa Slobodanom Šalebajem dok je pio(a moment with Slobodan Šalebaj while he was drinking) Niad mi nitko(Never will someone) neće moći ukrsti(be able to steal) ovu nebesku plavet(this hevenly blueness) ovo lišće(this leaves) ovaj život(this life) što ču ga zaključati u sebe (that I will lock inside myself) i ponjeti u beskraj (and take to infinity) .................. a taj se zbog toga(and that someone, because of that) neče smatrati (want consider himself) osiromašenim (depleted)
Or two that can be translated with a little luck:
Vijetnam kroz vjekove (Vietnam through ages) Okončan je rat (The war is ower) moj (ne)znani brat (my (un)known brother) silom vojnik (perforce a soldier) pretvoio se u spomenik (converted into a statue)
Morski pas na kopnu (A shark on dry-land) jučer je morski pas pojeo kupača (Yesterday a shark eat a swimmer) i sve novine donijele su (and all the papers brought) tu groznu vijest (that horrible news) s dužnom poštovanja količinom ( with respectful amounth) g r o z e... (of h o r r o r..) danas sam uhvatio (today I caught) ženku morskog psa (a female shark) malu životinju ( a small animal) nešto veću od pola metra... (something above half meter long) uzvanici su se tukli po trbusima (guests have bean beating their bellys) "brodetto od morskog psa (brodetto from shark) iznenađujuće je ukusan..." (is surprisingly teasty) a novine nisu ništa pisale (and the papers said none)
Za moj raj pitajte mene (For my paradise you ask me)
U mećavama života vrelog (In the storms of life boiling) Gube se moje misli od tijela (My thoughts are drifting away from the body) Svoga vodiča, svjetionik tražim (My guide, a lighthouse I seek) Postajem leden, pahuljica bijela (I become frigid white flake)
Moja je ljubav crna (My love is black) Crnina zgusnuta u kuglu svijeta (Blackness condensed into a ball of the world) Pod maskom tinja i leži tvrdom (Under a mask it smolders, lies hard,) Kamen (a stone,) Kamen što posta od cvijeta (a stone, that grew from a flower)
Prokleta da si moja snago muška (Damn you my male strength) U besciljnim noćima bezglavo trošena (In aimless nights mindlessly consumed) Od pijanih tijela uz smijeh isprošena (From drunken bodies in laughter scrounged) Suzama bijesa i kletvom oplakana (In tears of rage and lamented with curse)
Što vrijedi dozivati bogove (What is it worth calling the gods) Što vrijedi htjeti bjelinu u noći (Why want whiteness in the night) Kad su mi ruke u najvećoj moći (When my hands in their full might) Tim istim bogovima pružale rogove (To these same gods offered the horns)
I neću, (And I will not,) Neću vam bogovi moliti milost (I will not beg mercy of the gods) Milost užitka vašeg raja (The mercy of content of your paradise) Za moj raj pitajte mene (For my paradise you ask me) Spavao sam na prsima zadovoljene žene (I slept on the chest of a woman well pleased)
I ako mi sad zato nećete naći (And if therefore you will not find me) Tiho mjestašce u vašem kraju (Quiet litle place in your area) Pljujem na sve milosti svijeta (I spit on all the graces of the world) Vraćam se svome raju (and I am hading back to my paradise) Vraćam se svome raju (I am hading back to my paradise) Vraćam se svome raju (I am hading back to my paradise)
Tu-tu auto vrag ti piz odnija (honk honk car, may the devil take you away)
Jo ca letidu isprid nosa (Flying in front of our noses) Ove rugobe tonobili (These monsters cars) Svu su nan arju usmrdili (They made our air reek) I tisinu prikinili (And broke our silence)
Di mi je sad moj tovar Sivac (Where is now my donkey Gray) Di su njegove drage usi (Where are his beloved ears) Miga bi s njima i zareva (He would wink them and bray) Najlipju pismu vrilog lita (The moast beautiful song of the summer)
I boje da si mi krepa Sivce (It is better that you died my Gray) Sican se kad si na misec vika (I remember how you used to bray at the moon) Evo su niki dani (Just a few days ago) Njegovu lipost razotkrili (They exposed it's beauty)
Nista mi vise nije ostalo (Nothing has remained) O cista zvuka, loze i jutra (Of pure sound, of grape vine and morning) Ne cujen tvoju pismu Sivce (I don't hear your song Gray) Kvragu oni i oktan super (Damn them and their octane super)
This out of print, 1980 vinyl rip, was the couresty of http://exyuvinyl.blogspot.com, now gone from his blog, big thanks to them I hope they don,t mind me using it.
Toma Bebić Oya noya word thegoodone might help when others fail
Moi... Son sortilège a fondu A moi la liberté Celle qui m'a brûlé A moi la liberté On m'a aveuglé Et noirci le coeur Celle qui m'a enflamme´ Et la liberté L'amour pour une beauté M'a seccoué les os Et la liberté Ô mon raï... On m'a voilé les yeux Pour que je ne puisse pas la voir La liberté
Khaled - quoted from the booklet "liberté"
♥
Those who deny freedom to others deserve it not for themselves. ~Abraham Lincoln
It is not about the links, or love for music, or getting something for free, or whathever reason sick minds have, it is about diversity of cultural heritage of mankind, learning, expanding, it is a vision of a future, unselfish one, shared by many fools on the hills, court jesters, lovers, poets, maybe they are all running ahead of their time. The only good that came out of the computer is being able to take a peek somewhere your wallet can not take you. How much I have learned in past years from my friends, on spirituality, relations, human beings, form every corner of the earth. Well education is not really in interest of the masters, let me tanslate a saying we have the more witless the peasant is, bigger the potatos get. So go on with the culturocide, i'll write a letter to my friend saying I love him and thank him for his love and taking the time to write us something out fom his selfless hart.
mu is dead and so are my links years of love were fed to the pigs want mourn for long in spite towards the pests reups will follow at your requests cose the only here crime is my writing ridiculous grammatically incorrect childish little rhyme
1. Gledališče (4:04) 2. V Polju gre pšenica v klas (4:17) 3. Ciganka (5:59) 4. Circus (9:23) 5. Pav (5:44) 6. Fotograf (5:42) 7. Kolo (Za Duško) (9:21)
Veno Dolenc / acoustic guitars 6 and 12-strings, vocals Melita Dolenc / vocals Lado Jaksa / clarinet, saxophone Edi Stefancic / acoustic guitar, tambouritza, harmonica Bozidar Ogorevc / violin, viola
Feed your Ears, say thegoodone, to jump over the fence.
The second album of SEDMINA was released in 1982. The band featured the same line-up like on the debut. However, the arrangements are somewhat different, offering longer tracks and more psychedelic, acid-folk sound. Unlike the debut, this one does not attract a listener on the first attempt, but several listens are needed to grasp the feeling. The performance is done with mastery and confidence. The leading instruments are clarinet, violin (and viola, probably because I cannot quite tell the difference) and saxophone, with backing acoustic guitars. Melody lines invoke the medieval or baroque ballads of typical European and Mediterranean musical legacy, but occasional hints of even American folk tunes are also present. "Ciganka" ("Gypsy Woman") is very dylanesque lively folky tune with violin. The epic "Circus" brings an extended violin solo with some eerie, melancholic passages turning more optimistic at the end of the song, with Veno's vocals and saxophone. "Pav" shows the incredible abilities of Lado Jaksa playing outstanding clarinet solo party. Closing "Kolo" brings a drunken, quite morbid and strange tonality, sounding like they had been tuning their instruments along the way - very trippy and mind-bending. The second half of the song is more optimistic because the rhythm is stronger and violin is accompanied very nice solo on acoustic guitar. "II dejanje" is a very dark album. It is also not very accessible and requires attention and patience. At times, it contains rather noisy and cacophonic moments which may force you to stop playing. It is demanding. But we are talking here about "progressive" and "experimental" music, aren't we? This album deserves a lot of guts from listeners. And from reviewers it also deserves something - a recommendation. It is simply not an average folksy troubadour "cry baby". 4,5 stars! Thanks to progarchives.com. and Seyo
Houseleeks or Liveforever, Sempervivum tectorum, Jupiter's eye, Thor's beard, St. George's Beard, and Welcome-home-husband- though-never-so- drunk, gromovna trava, pazikuća, čuvarkuća(Cro), ušesnik, netresk (Slo), was a gift from Jupiter to protect us from thunder and witchcraft, hence it was grown on the roofs of houses. If you give it a search in your language you will probably find that all traditions agree with it's power to protect us from all kinds of evil, maybe some traditions didn't come up with all the ways of exploiting this house doctor, but most of them agree on using it in treating skin and eye diseases, inflammations, burns and ear pain. The names in Croatian like "pazikuča" meaning house
protector or in Slovenian "ušesnik" coming from "ušesa" meaning ears, indicate their use in traditional medicine.
We in the family have very good experience using it to remove warts, treating a cough or sore throat, or ear pain.
In any case of last one, otitis, only pure juice is used, and the leafs must be thoroughly cleaned, not to cause more infection by adding dirt and bacteria into your ear. Just a few drops were enough to ease or completely remove pain from our screaming three year old in the middle of the night. He almost instantly fell asleep and didn't complain that his ears hurt again. Must add that second time it happened due to tonsillitis we got antibiotics, but in two other times we used it it worked like a charm. Some doctors don't approve of this, some do, in case you use this method you really must be careful not to infect the ear even more with pieces of dirt, or pieces of plant, use only juice. Some say that it is good only in the early stage. You must be patient in squeezing it, you can even use a garlic squeezer, and than filter it. It is your responsibility, intuitivly you will know if it is right for you or not, trust that pulse.
Other ways to use it is by putting freshly squeezed juice or crushed leaves as a compress for insect bites (wasps, bees, mosquitoes), burns, chapped and cracked skin, herpes zoster, hemorrhoids. Juice eliminates problems if placed in positions of cramps in legs or sore spot caused by the gout. When reduced hearing, caused by cured fluid, the fresh juice of leaves is used to
dissolve it. Corns, warts and sun spots are also prevented by fresh juice. Contemporary studies are focused on polysaccharides from the juice, because they are attributed to effects on the immune system and help the cancer disease. Belarusian experts recommend fresh juice with honey for heart defects, and the products and homeopathic preparations used in purulent inflammation of the gums and sore throats. Tea made from fresh leaves is applied externally for cladding as well as juice, as a drink for the hemorrhoids, worms, too heavy menstruation, stones in the bladder. It refreshes the body, has a diuretic effect and reduces inflammation. (translation from)
Other common names, such as Anglo-Saxon singrēne, Modern English sigrim, sil-green, etc. and aye-green,refer to its longevity. William Fernie tells a tale in support of this: History relates that a botanist tried hard for eighteen months to dry a plant of the House Leek for his herbarium, but failed in this object. He afterwards restored it to its first site when it grew again as if nothing had interfered with its ordinary life. (Wiki)
