Chants du Pays Basque / Songs From The Basques Country La Chorale Ibaï Gorri / Lagun Arteak Vocal Group

...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)  

On Basque music Wiki sayes...

To poure the music into your ears, from the hart, just one word, thegoodone.

Magic Malik Orchestra 69-96

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

an amazon review

I can only agree with the above

a must listen indeed

69-96

Atanasovski, Golob, Levačić trio - Attic Dance

Vasko Atanasovski - soprano, alto & baritone saxophone, flute, bansuri 

Ziga Golob - bass

 Krunoslav Levačić - drums

Jazz & Blues Records

to

 listen 

 say 

thegoodone

Pibo Marquez & Descarga Criolla 2 -Te Pones a Bailar

first big apologies from all the present team 

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.....

source 

caliente

Te Pones a Bailar