December 29, 2010

Songs of the Volcano

Papua New Guinea Stringbands & Bob Brozman - Songs of the Volcano

World renowned guitarist Bob Brozman travelled to Papua New Guinea – one of the last places on the planet to have guitars arrive from afar – to capture a sound largely untainted by outside influences; a raw, unique sound developed in isolation. The energetic and distinctive blend of voice and instrument performed by the Rabaul community’s local stringbands reflects their unfailing optimism in the face of adversity, be it war or the volcanic eruptions that have destroyed the town twice in one century, making this album truly ‘Songs Of The Volcano’.

In addition to this extraordinary album, this package features a full length, behind the scenes DVD documentary of the making of the album.

One of the few accidental, yet beneficial, side-effects of colonialism has been guitars washing up on shores all over the world. Papua New Guinea is no exception. Home to a huge indigenous population speaking more than 800 languages, it lay largely undiscovered until the late nineteenth and early twentieth centuries and hence is one of the last places on the planet to have guitars arrive from afar.

Rabaul, in Papua New Guinea’s far flung province of East New Britain, is a town which has had its share of hard times. In the same century it has been destroyed twice by massive volcanic cataclysms and once by a devastating war imposed on it by outsiders. The Tolai people of Rabaul have suffered greatly from these natural and manmade disasters and yet, somehow, have always managed to bounce back and keep their spirits high. One of the main contributing factors to their capacity for optimism is their music, an energetic and unique blend of voices and instruments performed by the community’s local stringbands.

Bob Brozman is a world expert and leading exponent of the National guitar. An ethnomusicologist fascinated by the global voyage taken by the guitar over the last 500 years, he has collaborated with local musicians all over the world.

To create Songs Of The Volcano, in his capacity as Adjunct Professor of Music at Sydney’s Macquarie University, Bob went with filmmaker Phil Donnison to five villages in East New Britain to perform with five different Tolai stringbands. The purpose of filming and recording the performances was partly to document this fragile music before it disappears, and partly to facilitate the musicians in Papua New Guinea where there is an astonishing lack of musical infrastructure.

Rabaul is the location where guitars first arrived in Papua New Guinea, and the music carries a fragile innocence and beauty reminiscent of what guitar music may have sounded like in Hawaii in 1860, or Mexico in 1830. Most music travelled throughout the Pacific Ocean on boats, with sailors leaving behind instruments and ideas to then percolate in isolation. Hence, the music on this album will seem at once exotic, yet somehow familiar. Even today, there is still very little mass media penetration in Papua New Guinea, though that is changing and makes the preservation of this raw and unique sound more necessary.

This album and accompanying film present the story of this creative collaboration, a joint effort between an indomitable group of island musicians and one of the world’s greatest guitarists. Unlike Bob’s other world music collaborations, where there is a blend of styles between Bob and another established artist, Songs Of The Volcano has Bob in a more supportive role, playing simply as a member of each band in their own style.

The creation of this project not only yielded some great friendships, an unforgettable story and some remarkable results, but will enable the musicians to continue their pursuit of a musical life.

The musicians on Songs Of The Volcano are the first recipients of instruments, strings and musical supplies from Bob’s ongoing Global Music Aid Foundation, which seeks to provide donated instruments and materials to musicians in developing countries.


don't blame this ass
for using a pass
and if it is thegoodone
just say, it will be done
if not by me, then someone

December 24, 2010

Tarzagh & Othman -Imzad du Tassili N'Ajjer

Only women of the noble or the vassal tribes were permitted to play the imzad, the small one stringed fiddle that is the symbol of Touareg society. But now any female musician can teach the instrument to any woman who so desires. The imzad is made from half a calabash or from a wooden bowl that is covered in goatskin and to which is also attached a neck that supports one string of horsehair.
 The imzad players were greatly renowned and could play many melodies, those evoking past events or the high deeds of a hero whose name they bore by the richness of their variations; they could also accompany a man’s singing and, on occasion, also displayed therapeutic powers by curing melancholy and apathy.
Good players of the imzad are today becoming ever rarer and its repertoire is inexorably becoming smaller.
the woman plays the imzad while seated, with the instrument resting on her knees, her left hand holding the “tabourit” and pressing the “aziou”. The right hand holds the “tadjaihé” perpendicular to the string.
The flexible action of the hand, together with variable light pressure on the string, are the fundamental elements in producing the sound and thus the music.

No other instrument accompanies the Imzad
It can be accompanied by hand-clapping
It can be accompanied by a solo voice
Exceptionally, it can be accompanied by two voices
In such duets, the singing is sometimes mixed (man and woman), sometimes men only
There is a close link with the warrior traditions of the old days
The music also accompanies the women when they move their flocks to new pastures [transhumance]

thanks to ibn chaaba


Fanga - Natural Juice

I must say this is my all time favourite afrobeat album, made by any of Fela's childern over the globe. Firm sound, based on Nigerian and Ghanean musical traditions form 70s', prophetic voice, engaged lyrics of re-integration of humanity and Earth (not that I understand Dioula (Dyula) in wich moast lyrics are song),are reasons why Fanga, meaning strength of conviction, should be here at spirit&spices. Their sound certanly carries the spirit of Anikulapo, and that is an another proof that Fela still has death in his pocket.

01. Crache La Douleur (Feat Tony Allen)
02. Natural Juice (Ashanti Mix)
03. Kononi (Feat Kady Diarra)
04. Ni I Matoro
05. I Didnt Know
06. Iba
07. Bolli (It is time for Juju music)
08. Noble Tree (Feat Segun Damisa)
09. Keneya
10. Kelen
11. Noble Tree (Notaliban Remix, feat Mike Ladd)

To get the Juice thegoodone is the word to say.

Fanga (meaning spiritual force in the west african dialect dioula) consists of 8 musicians that breathe afrobeat - the hypnotic fusion of funk and african traditional music as pioneered by fela anikulapo kuti in the seventies. fanga was born from the meeting between vocalist yves khoury aka korbo of burkina faso and programmer serge amiano. after an initial vinyl and cd release under the name of korbo, a live line-up brought together the promotional 6-track cd afrofanga in 2002 leading to the first album afrokaliptyk in 2004. fanga has evolved afrobeat to a new era, whilst keeping its foundation and instrumentation within traditional codes (a single infectious pulse laced with hypnotic cycles of instrumental freedom). this evolution is helped by the judicious use of electronics and held together by korbo’s unique and compelling vocal style. all this to deliver a vital and seductive message: fighting for fundamental human rights, for the right to be different, against the inequality arising from profit, against self-destruction and for reuniting humanity with the earth. in 2006, the band meets up with the record label cosmic groove leading naturally to a fruitful collaboration. ater two maxi 12″ releases (playlisted by gilles peterson, dj spinna, …..), a number of concerts and festivals (including supports to antibalas, meï teï shô, seun kuti, guem…), fanga records its new album “natural juice” in collaboration with a number of exceptional artists such as tony allen on two tracks, segun damisa (ex-musician of fela and femi) playing percussion and vocals, as well as the singer kaddy diara, the rising star of burkina faso on the track ‘kononi’. fanga is sammy devauchelle (drums), eric durand (percussion), rajaneesh dwivedi (bass), julien raulet (guitar), david rekkab (keyboard), martial reverdy (sax) and yves korbo khoury (vocals). side a natural juice “ashanti mix” (short edit) 6′22 ni i matoro 7′58 side b iba “the funkyalaafia mix” feat tony allen & segun damisa 5′19 i didn’t know 8′54 side c crache la douleur* feat tony allen (short edit) 5′35 kononi feat kady diarra 8′41 side d noble tree feat segun damisa 9′35 bolli* “it’s time for juju music” 3′00. From...

December 21, 2010

Brazilian spices...

Tania Maria

Picante/Concord, 1980


1 - Yatra-Tá - Tania Maria/Correa Reis
2 - It's not for me to Say - Robert Allen
3 - Triste - Jobim
4 - Chiclete com Banana - Jackson Do Pandeiro.
5 - Lemon Cuica - Tania Maria/Correa Reis
6 - Super Happy - Tania Maria
7 - Començar de Novo - Ivan Lins/Victor Martins
8 - Vem P'ra Roda - Tania Maria/Correa Reis


Tania Maria: Piano, Vocals
Willie T. Colon: Percussion
Eddie Duran: Guitar
Rob Fisher: Bass
Vince Lateano: Percussion, Drums

Phil Edwards: Engineer
Cal Tjader: Producer

Great stuff! Tania Maria's first few years recording in the US were some of her best – and this excellent groover on Picante features some very tight Brazilian jazz tracks, cut with a small combo of west coasters, and produced by Cal Tjader with a smooth jazzy vibe. The overall sound is nicely stripped-down, and the main focus is on Tania's soulful voice and piano. Titles include "Lemon Cuica", "Chiclete Com Banana", "Yatra Ta", "Comecar De Novo", and "Super Happy".  © 1996-2010, Dusty Groove America, Inc.


Tania Maria's debut American release helped introduce her to U.S. audiences. Joined by a quintet that includes guitarist Eddie Duran, the exuberant vocalist and pianist performs four of her colorful originals, a couple of obscurities, and a song apiece by Jobim ("Triste") and Ivan Lins. Maria's mixture of Latin jazz with Brazilian pop is quite appealing and helped make her a popular star; this was one of her better efforts.
~ Scott Yanow

Dear Scotty:
Jackson Do Pandeiro: "a couple of obscurities" ... where do you live? in a cave?!


Jazz, Pop, Latin, who cares  :)

if it's tasty we call it music :)

some more ?

December 20, 2010


The Bunun (布農), also historically known as the Vonum (The Island of Formosa Past and Present, James W. Davidson - e-book), are a tribe of Taiwanese aborigines and are best-known for their sophisticated polyphonic vocal music. They speak the Bunun language. Unlike other aboriginal tribes in Taiwan, the Bunun are widely dispersed across the island. In the year 2000 the Bunun numbered 41,038. This was approximately 10% of Taiwan's total indigenous population, making them the fourth-largest tribal group. They have five distinct sub-tribes: the Takbunuaz, the Takituduh, the Takibaka, the Takivatan, and the Isbukun. more at

David Darling & the Wulu Bunun - Mudanin Kata

This collaboration between the Wulu Bunun--amateur vocalists from the Taiwanese region of Wulu--and cellist David Darling is no average "world music" project. While albums like BUENA VISTA SOCIAL CLUB or Ry Cooder's duets with Malian guitarist Ali Farka Toure have the polish and overall sound of contemporary North American music, MUDANIN KATA is comparatively unadorned, maintaining a somewhat indigenous and "naďve" sound. The Wulu Bunun consist of both children and adults, and their unusual choral sound may remind some Western listeners of gospel, field hollers, and campfire sing-alongs. The harmonies, though, are utterly distinctive.

Darling's cello joins the Wulu Bunun in an unobtrusive manner, adding bowed backing or simple, repeating figures, or arpeggios in a way that blends naturally with the group's performance. Though there are a couple solo spots for both cello and group singing, the majority of the album consists of these delicately balanced duets. The performances were captured in a valley near Bunun, so the recordings have a wide, open-air feel to them that perfectly complements the organic, soul-stirring music.(source)

1. Ku-Isa Tama Laug (Weaving Song)
2. Lugu Lugu Kan-Ibi (Diligent Child)
3. Mudanin Kata (The Journey Home)
4. Manas Kala Muampuk (Joy Tonight)
5. Malas Tapag (Celebration)
6. Wulu Dream
7. Macilumah (Song for Concluding Work)
8. Pasibutbut (Prayer for a Rich Millet Harvest)
9. Mataisah-Hik Sagan (My Dream Last Night)
10. Wulu Mist
11. Bunun Tuza (The Bunun People)
12. Sima Cisbug Bav (Who Is Shooting on the Mountaintop?)
13. Malkakiv Malvanis (Song of the Trap)
14. Wulu Sky
15. Pis Lai (Song of Prayer for Rifles)

Just pass the beauty around it is thegoodone

“Taiwan’s indigenous people became known to the world through the unique eight-part harmonic singing of the Bunun people, which, in 1943 (when Japanese scholar Kurosawa Takatomo presented recordings of the Bunun music in Paris) caught the attention of Western ethnomusicologists. Nine years later, Kurosawa permanently changed musicologists’ ideas about the origins of music when he introduced a traditional Bunun song called ‘Pasibutbut’ (‘Prayer for the Millet Harvest’) to UNESCO. With its complete harmony, the song overturned the scholars’ original theory that music originated in single-note melodies, progressing to two-note harmonics, and then on to more complex arrangements.
‘Pasibutbut’, which has been called the ‘sound of nature’, is said to have been created by a member of the Bunun who was inspired by the sound of humming
bees, a rushing waterfall or the sounds made when crossing through a pine or
bamboo forest…

This is a prayer for peace, good health, safety and a rich harvest for the family. It must be sung when sowing and harvesting the crops, and during ceremonies only adult males may participate in the singing.
For women to sing it is taboo, and Bunun tradition suggests that this would be to the detriment of the harvest. The singing must also be continuous, with no breaks, or it will likweise affect the people’s health and the harvest for the coming year.”

From linear notes found here.

December 18, 2010

Chico Freeman - Spirit Sensitive

today was a Chico Freeman day,and the best way to end it (and any day) is this beauty,that you can call
the art of breathing new life to standards recorded in the midst of Chico's free jazz wonder adventures
back in 1977 ,India Navigation  and heavenly ballads,you know...
summertime autumntime wintertime anytime

the quartet:
Bass - Cecil Mcbee 
Drums - Billy Hart, Famoudou Don Moye 
Piano - John Hicks 
Tenor Saxophone - Chico Freeman

December 16, 2010

Be Exciting

Kahil El'Zabar Testifies

A small reminder, I'am shure you have all heard it before...

December 14, 2010

Malachi Thompson - Spirit

1. Spirit of Man
2. Back to the One
3. A Rising Daystar
4. Dhyia Malika
5. I Remember Clifford
6. Dearly Beloved - (bonus track)
7. No More Hard Times

Malachi Thompson (trumpet), Leon Thomas (vocals), Arnae Burton (vocals), Carter Jefferson (tenor saxophone), Albert Dailey (piano), James King (bass), Nasar Abadey (drums), Randy Abbott (congos).

Jazz is the music of freedom. Freedom is primarily a mental state of being. The artist certainly has the liberty to create a great music, but whether his mind is trained or free to do so is another issue. Looking at Jazz from a historical reference point, the elements that contribute to the making of a good Jazz musician are; mastery of the instrument, a working knowledge of music theory, a chronological reference to past greats and most importantly, a concept or sense of self.
We all can't be innovators, but we all have a 'voice'.


Don't worry everything will pass just call on thegoodone :)

Malachi Thompson

December 10, 2010

You And I Are Disappearing

Daniel Carter & Reuben Radding - Luminescence

1. You And I Are Disappearing
2. Ancestral Voyage-Mystery Succeed
3. Refracted Light And Grace
4. Blessing The Ride
5. Vignettes
6. Qualcosa Verso Azzurro
7. Occurrences, Places, Entities And The Sea

Listen it is thegoodone.

Daniel Carter, master of the improvisational sax, clarinet, trumpet and flute. Loking for infos on this man I found nothing but good words, admiration, obviously beloved by coligues, musician's musicians, not only a surce of great sound but a source of wisdom. After one concert in Seattle Reuben's wife said of Daniel: "He makes you want to be a better person", can you say something more beautiful of another human being?

Aumfidelity on carter: Daniel Carter is not an enigma, no more than a teeming forest is. Give some sincerely up for true and you've made a commitment which will last a lifetime, if you've got the mettle for searching unfettered.
I first became aware of Daniel Carter's immense talents through the collective
Other Dimensions In Music. Every time, and I mean every time, I've heard the man bring an instrument to his lips - be it reeds, brass or flute - beautiful sounds emanate. His is a rare natural gift, though he is learned a-plenty, never you mind about the anarchy speak ~ in the sense that it is so commonly misconstrued.
If the world ever does truly silence for a moment please, the first sounds I would want to hear are the ones that Daniel Carter chooses, because I know that true democracy is deep in his essence.
I love it with tears of joy when he laughs; I love the way he dances. -SJ
Over the past three decades-plus, Daniel Carter has performed with: Sun Ra, Billy Bang, Roger Baird, William Parker, Roy Campbell, Sabir Mateen, Simone Forti, Joan Miller, Thurston Moore, Nayo Takasaki, Earl Freeman, Dewey Johnson, Nami Yamamoto, Matthew Shipp, Wilber Morris, Denis Charles, MMW (Medeski, Martin, & Wood), Vernon Reid, Raphé Malik, Sam Rivers, Sunny Murray, Hamiet Bluiett, Cecil Taylor, David S. Ware, Karl Berger, Don Pate, Gunter Hampel, Alan Silva, Susie Ibarra, D.J. Logic, Margaret Beals, Douglas Elliot, Butch Morris, TEST, OTHER DIMENSIONS IN MUSIC, ONE WORLD ENSEMBLE, SATURNALIA STRING TRIO, LEVITATION UNIT, WET PAINT, THE TRANSCENDENTALISTS, and many many many many others (meaning more every week or day practically).

Daniel Carter Interview
by Nils Jacobson

Tell me about anarchy.
It's funny, the word anarchy and anarchism, or anarchist... You know, there's a slightly different connotation, at least to my ear, between anarchy and anarchism...

...The idea of people freely associating, and deciding for themselves individually and collectively, what it is they want to do, rather directly... Might even be more of a democracy than a democracy, certainly as we know it. So I think there's a semantic problem in some people's ears, and I don't blame them. But for some reason I latched onto the anarchist idea, maybe because there is the misunderstanding, and it it could be interesting. Maybe even by the time I was born it had a little more bite to it, a little more of an edge to it, than the mere word democracy. But I think the real idea behind democracy, maybe even ideas that the founding fathers were not even prepared to try to realize because of their situation, is not so different from anarchism. ...more

December 1, 2010

Moondog & the london saxophonic~sax pax for a sax

sax  pax for a sax

 Hi ! aNOtheR favourite
The melancholy mysticism that permeates this recording is rare beauty. Sax Pax For A Sax issues Louis Hardin's (a.k.a. Moondog) first re-entry in the American market since 1971. A stargazing composer, Moondog's penchant for crafting accessible, yet utterly otherworldly melodies bridges European classical forms with American jazz sensibilities, and positions him among the greats like Sun Ra, Charles Mingus, George Russell and Duke Ellington.
s knack for inventing hybrid instruments has also placed him among the ranks for Harry Partch and Rahsaan Roland Kirk. On this venture, Moondog is paired with the all-saxophone ensemble, The London Saxophonic, to deliver a collection of carnival-esque melodies that successfully meshes hypnotic Native American tribal stomps, rich Baroque chords and bracing big band harmonies.
The orchestration for this collection is keenly programmed into different sized ensembles providing a distinctively unified yet varied sound. From the jovial cabaret composition, "Paris," which features a nonet swinging jubilantly in unison with a vocal choir, to the rococo waltz, "Mother's Whistler," which features a soprano saxophone beautifully leading a quintet, the stylistic palette for this engrossing recording is boldly varied.
This music eclipses the conventional big band vernacular yet uncannily swings with panache.

November 24, 2010

Summertime (slight reprise)

Summertime, and the living was easy, does anyone remember, now that it is getting cold here... Well Boško does... and Kokolo too...  Yes we got to meet in Croatia one day :) ... why don't you all come along ?

music: Boško Petrović Trio - Summertime

Boško Petrović: Croatian jazz musician (vibraphone player), composer, arranger and producer, leader of several jazz bands including 'Zagrebački Jazz Kvartet', 'Zagrebački Jazz Kvintet', 'B.P. Convention', 'B.P. Convention Big Band', 'B.P. Club All Stars' and still active 'Boško Petrović Trio'. Boško is one of the most important jazz composers in Croatia.

November 18, 2010

Anura Jayasingha & the Balladeers-Welcome to Sri Lanka

a calypsonian (ceylonian )from Sri Lanka? my god what else? the cd has an adventurous life itself,as it was forgotten with a bunch of others ,with 2-3 more from Sri-Lanka among them in a friend's house some years ago 
and was repatriated beyond hope last for this music is more close to (a laid back )Madagascar than Trinidad
to my ears...
Music fans will remember him as part of the La Ceylonians singing those lilting calypso tunes with his trademark straw hat and guitar. Many years have passed since those memorable tunes and times but Anura Pathmasiri Jayasingha’s musical journey continued, taking him across the world carrying his brand of music to people.

He has met world renowned singers of the calibre of Harry Belafonte and Lionel Ritchie and his Sinhala songs done with his own group The Balladeers were aired on French radio and television in 1990.
He is philosophical as he looks back: the path to this successful release was not one of roses but he adds that, “It was worth all the trouble I had to go through, because today I am recognized in many countries for my music.”
Anura has presented radio programmes about the beauty of Sri Lanka to a French audience through stations such as the Tropic FM, Radio Asia and Radio France.He is now working on a new instrumental to tell the world that the war has ended in Sri Lanka and that people should visit this land of peace.
Having studied at the Royal Primary and Thurstan College Colombo, Anura with the little music training that he had gained from being a part of the school choir, joined the “La Ceylonians” in 1967. “I would not be here today if it was not for my master Noel Ranasinghe who gave me a place in his band, and Lylie Godridge who trained my voice,” he says with gratitude.
“The Balladeers” was formed shortly after Anura left the “La Ceylonians” in 1986. His close friend Stanley Welgampola named this band and wrote the lyrics for most of his songs. The original members of “The Balladeers” were Rohan Silva who played the mandolin, harmonica, pedal steel, and guitar and also sang together with Nilantha Ariyaratne who played bass guitars and vocals. The late Asoka Ratnapala was among those who played the guitar and did the vocals for the first album of “The Balladeers”-‘Welcome to Sri Lanka’.
‘Welcome to Sri Lanka’ was released in 1990, with 13 original compositions of the Balladeers.
Anura is currently creating a new style in music around the flamenco, the music of the gypsies in Spain and has even got down a flamenco guitar. “I am not a flamenco guitarist and I have never learnt it under a professional but I love this music because I have many friends who play it and I’ve decided to create a new style using Sri Lanka as my inspiration.” !!!!!!

for yummy yummy  recipes of Sri Lanka try these 2 links(and tell us what happened):


November 17, 2010

The Mirror of the Sky

Lalan, ca. 1775-1891

Who is it that talks to me but does not let me see him?
He moves close to my hands but away from my reach in spite of my lifetime's search.
I explore the sky and the earth searching for him,
circling round my error of not knowing myself.
Who am I and who is he?

He is both, Rama and Rahim,
he is earth, water, air and fire.
Fools cannot lead you to Him in your search for Him.
If you are unable to reach what is close to your hands, what can you find in Delhi and Lahore?
Siraj Shah says, O Lalan,
the more I see the more I am confused.
Song and instrumental accompaniment on the swaraj (also a lute, like the dotara, but with five sympathic strings), by Torap Ali Shah, a Sufi Baul from Jessore, East Pakistan, now Bangladesh, and with ghunghur and kathkartal (wooden clappers). It was recorded in 1971 in Calcutta when Torap Ali Shah came to India as a refugee during the Bangladesh war with Pakistan.
recorded, translated and written down by Deben Bhattacharya

November 7, 2010

Merceditas Valdés

Mercedita Valdés was born on October 4, 1928 in the Havana neighborhood of Cayo Hueso, where she assimilated from childhood, Yoruba chants and prayers, rumba and works of representative composers Creole, among others, Ernesto Lecuona, Rodrigo Prats, Arsenio Rodriguez and Eliseo Grenet, Emilio...more

...She will always be an ethnographic document that survives in the African chants and prayers embedded in national culture.

>Cantos Afrocubanos

Canciones Cubanas De Cuna

Ay Que Bueno!

If you want te hear you will have to say it is thegoodone :))

November 1, 2010

Delfino Guevara-Indian Music from Mexico

I don't  have a lot to say about the record above ,its exactly what you would expect to hear from a record with the same tittle from the Playa sound label ,fans proceed and  instead let's have the opportunity to  take a short trip into Mayan history and kitchen (these two always go hand in hand ) :

The cuisine of the Yucatan Peninsula is different from that of the rest of Mexico.  They share tortillas and boiled beans, and the general plan of tamales and the like, and the Spanish heritage is more or less the same, but all these took different local forms quite early.  Yucatecans refer to the rest of the country simply as "Mexico," as if it were a foreign nation.
Until Porfirio Diaz forced the railroad lines through to Merida, Yucatan's principal trade ties were not with "Mexico" but with Cuba.  Contact was through Campeche and (later) Progreso, by sea.  Mexico had to be reached by sea also--sailing to Veracruz.  It is not surprising that Yucatan is a museum of Cuban influences, especially in the cuisine.  Afro-Cuban influences are shared.  So are achiote, and a preference for black beans.  Noteworthy is the use of bitter orange juice where other parts of continental Latin America would use lime juice and where Peninsular Spain would usually use vinegar.  Bitter orange is a different species from sweet orange (Citrus aurantium instead of C. sinensis), and has to be grown specially.  It came with the Spanish to Cuba, very early, and became important there.  Use spread to Haiti, where it is used in vodun  as well as ordinary cooking .  Its use, especially as a thinner for achiote, is a distinctly Cuban trait.
 From ancient times, the Maya made full use of tomatoes and chiles; surely k'utbi p'ak and k'utbi ik are not new.  Given the conservatism of rural ways in Yucatan, we can safely assume that the simpler recipes below, such as ts'anchak and ts'ik, date back to ancient Maya days.  For one thing, they have Maya names.  Recipes with Spanish names are likely to be newer. Most recipes have undergone "mestizoization" (yes, that is a real word) in Yucatan.  In the peninsula, the Maya became a so-called "caste," rather than an isolated minority.  Poor rural workers, and even poor urban workers, spoke Maya.  Rich people spoke Spanish.  Many Maya had appreciable Spanish ancestry; conversely, many "mestizos" have no discernible Spanish ancestry. The Maya assimilated many foreigners; I know Maya who have backgrounds ranging from African and Korean to Chinese, Lebanese, and Scandinavian. 

 A characteristic of Yucatan is the profusion of spice pastes, mostly based on chiles and achiote, known asrecados.  This is one of those Caribbean features; similar pastes occur in Cuba and other islands.  This is a local pronunciation of the Spanish word recaudo, "collection."  The Maya word for these and any spice mix is just xak', "mix."  Recados can be bought readymade in Yucatan, but elsewhere they must be made at home...

tenths of recipes and a good reading

also a basic presentation is here

Delfino & the flutes 

October 24, 2010

Ziga Koritnik - Photographer!


Galleries from myspace
Galleries from homepage

From his myspace a quote :) from Gandhi "I believe in equality for everyone, except reporters and photographers."

Ziga Koritnik (on photograph left taken by Mr. Robert Balen, on July 07, 2005) has been capturing images of musicians since 1987. He lives and works in Ljubljana - Slovenia, where he is regular guest on the music scene and documents the Ljubljana jazz festival, the Druga godba festival, concerts in Cankarjev dom and various other events across Europe, both large and small, including Saalfelden jazz festival, Konrontationen in Nickelsdorf, and Vienna jazz festival in Austria, Musique Mettisses in Angouleme, France, Womad in Reading, England and the Talos Festival in Ruvo di Puglia, Musicche sulle bocce, Sardegna - Italy, Vision festival in New York. Since 1996 he has been the resident photographer of the Skopje jazz festival in Macedonia, where each year a calender with his photos is published. In 2001 he held a major exhibition at the Skopje City Museum to celebrate the 20th anniversary of the festival, which was accompanied by a book predominantly featuring Koritnik's photographs. In 2001 he spent seven weeks in New York, where he documented the Vision Festival and became acquainted with the musical and artistic events in the city. He was afforded the oppurtunity to exhibit in the Kavehaz Gallery in Soho. His photographs are regulary published in Slovene newspapers and magazines (including Delo, Mladina, Muska and Fotografija) as weel in international publications (Time out, Jazz times, Jazziz, Signal to noise, Neue Zeitschrift fur Musik, Ballett Unternationale, Village voice, All About jazz...). ...

October 19, 2010

Chris McGregor - Piano Song & In his Good Time

I’m just a FREE musician and I like every kind of music.


I have this strong imaginative reference to African village music,
and the thing I know about that music is that it has a strong centre.
It builds up, a lot of people do things together that they know.



Chris McGregor is perhaps best-known for his foundation and leadership of The Blue Notes, the South African sextet which included  Dudu Pukwana, Nikele Moyake, Louis Moholo, Johnny Dyani and Mongezi Feza. Equally as notable was McGregor's creation of the Brotherhood of Breath in 1969, which branched out from his work as The Blue Notes. He released three albums of solo piano performances,we'll have the two of them here today, and continued to be a major force in the music after leaving England to live in the French countryside.He died in May 1990.

some links of interest :

The Blue Notes wiki

The Brotherhood of Breath wiki

PerfectSoundForever the online magazine has a tribute to Chris McGregor

the most complete site on the Blue Notes and their offshoots 
is the work of love of Mike Fowler 
highly recommended!

listen  in this order if possible

thanks to the extinct  Church Number Nine blog

October 16, 2010



found god knows where and reuped
Candomble Osun E Osala Altair Ti Ogun By Omirohumbi

Altair TÓgun - Òsún Ati Òòsààlá

and at : 1, 2, 3 parts of Cantigas do Orixas
much more at blackstarliners
some links here

some more there
some songs written

Something on IFA, belief system of Yoruba tradition, from wich Candomble, Santeria, etc developed.
Ineresting things to read, interesting man to meet.

October 11, 2010

Tea Music

Kizaemon Tea-Bowl, Korea, 16th Century (used for Tea Ceremony, 17th Century)
Traditional tea ceremonies were originally performed by Buddhist monks in sacred mountain temples. The tea ceremony strengthens connections with nature and is considered valuable for cultivating a peaceful mind. These compositions function as "a bridge between tea and music in Korean tradition."

Tea Music [Da'ak] Vol. 1 - 5

Tea Music 1 - Two Themes on the Fragrance of Tea - Hwang, ByungKi
Tea Music 1 - Tea Music - Leaves, Water, Light - Yi, KonYong
Tea Music 1 - Ode to Tea Fragrance - Paik, ByungDong
Tea Music 1 - Ensemble No 8 Tea Mind, Tea Music, Tea Zen Samadhi - Kim, HeeJo

Tea Music 2 - In Praise of Tea-Tao - Yi, SungChun
Tea Music 2 - Cho Il Incense - Park, IlHoon
Tea Music 2 - Su Ryong Uhm (Water Dragon Moan)
Tea Music 2 - PyungJoHoeSang - New SangRyungSan

Tea Music 3 - Dong Ta Song - Park, IlHoon
Tea Music 3 - Cho Dang - Yi, ChongKu
Tea Music 3 - Il Ji Ahm - Kim, YoungDong
Tea Music 3 - MyungSun - Bak, DongUk

Tea Music 4 - Four Seasons - Winter - Night - Kim, JongSu
Tea Music 4 - Four Seasons - Spring - Dawn - Kim, JongSu
Tea Music 4 - Four Seasons - Summer - Midday - Kim, JongSu
Tea Music 4 - Four Seasons - Fall - Evening - Kim, JongSu

Tea Music 5 - Good Time for Tea Drinking, Elegance - Cloud - Park, InHo
Tea Music 5 - Good Time for Tea Drinking, Elegance - Moon - Kim, SongKyong
Tea Music 5 - Good Time for Tea Drinking, Elegance - Wind - Park, IlHoon
Tea Music 5 - Good Time for Tea Drinking, Elegance - Star - Yi, KonYong
Tea Music 5 - Good Time for Tea Drinking, Elegance - Sun - Hwang, UiJong



Rituals of tea-drinking are followed throughout the world. The mystical properties of tea are celebrated, mostly without thinking, in the daily lives of millions. In Korea, tea and music have a special and spiritual relationship. The Korean Creative Music Society’s Tea Music [Da'ak] explores the intricate association between Korean music the ancient art of tea-making.

Drawing inspiration from the love of tea to be found in both traditional and contemporary worlds. Tea Music [Da'ak] combines dance, art and a tea ceremony with exquisite Korean music played on traditional instruments.

These include the daegeum (a large Korean flute), danso (a small bamboo flute), gayageum (a 25 string instrument), yanggeum (a Korean zither) and geomungo (a 6 string instrument).

Take time out from the tension and stress of today’s modern life and be transported by this delicate and tranquil piece of perfection.


October 6, 2010

Sworn to the Drum: A Tribute to Francisco Aguabella

When you think of Latin percussion, think of Francisco Aguabella. Perhaps the finest Afro-Cuban master percussionist , who was while living synonymous with his instrument the conga - one of the highest compliments a musician can ever receive.
 He was a master of Bata (the sacred Santeria drumming tradition), Abaqua and Yeza, and secular Afro-Cuban jazz and salsa styles. Discover this enigmatic Cuban drummer, a virtual Rosetta stone of African culture, who has been highly influential in the growth of Latin jazz, pop and fusion in the U.S. 

Born in Matanzas, Cuba, Francisco Aguabella was a master of the Yoruba-derived bata drums and rumba as well as contemporary traditions including Cuban son, salsa, and Latin jazz. Though he has released only a half dozen albums, his work is best measured by his contribution to the Afro-Cuban sounds and the growth of Latin jazz. "He is one of the strongholds of our music and has always kept the commitment to our Cuban rhythm, that's very important, " says Cuban jazz player Israel "Cachao" Lopez.
Aguabella has received a National Heritage Award from the National Endowment for the Arts and is the subject of a documentary film by Les Blank, Sworn to the Drum.
Francisco Aguabella's passion and fire on the conga drums are absolutely contagious and not to be missed.

directed by Les Blank 1985
35 minutes

Sworn To the Drum

more Francisco Aguabella



September 21, 2010

Teiji Itō

In brief

Teiji Ito was born 1935 in Tokyo and  came to the United States at the age of six. He was
interested in the music of other cultures at an early age, especially the percussion
music of Asia, Africa and the Caribbean. He studied with the master drummer Coyote in
Haiti where he had gone with Maya Deren in 1955. In 1960 he and Maya Deren
married. As a composer and musician he provided the musical score for her films
Meshes of the Afternoon and The Very Eye of Night. His keen awareness of jazz,
blues and flamenco infused his later music with a spontaneous, improvisational quality,
and his knowledge of Buddhism, Voudoun and Native American beliefs adds a mystical
element to his work. He is a visionary composer. He died in 1982 in Haiti.



Meshes of the Afternoon  the film of  Maya Deren
(1943) with Alexander Hammid, music by Teiji Itō added 1952