This is one of those songs I’ve searched for on Youtube for years, having no luck in ever finding a copy of it. Today, after digging through my own personal archives, I found this gorgeous track, which is apparently a folk song of some note in Georgia, even appearing in films.
To find this version, order the CD here from Wergo Records.
I’m hoping my colleagues can provide information on these two musicians, who apparently hail from Kosovo.
H. Giray Sönmez is an Anatolian Turkish musician who interprets music from the Caucasus.
Sharapat are a band out of Mongolia. Ethnic music meets post-punk. Very cool!
From the island which gave the world Cesaria Evora comes another wonderful, husky voice in Carmen Souza, accompanied by bassist, composer and producer Theo Pas’cal, who is a hell of an arranger.
Phạm Mộng Hải is yet another new name to me. Vietnam seems rich in musical talent, but there simply isn’t enough information on artists from the country available in a language I can decipher.
Still, many thanks to Glitterbeat Records for enlightening the world with this release.
Máddji (Norwegian info only) is a Sámi singer from Norway. The vocals are light, but powerful. Lyrics in both English and Sámi are shown below:
Lyrics (English):
You flew in from the dawn
Such a sight when you came into view
You stretched your white wings
Careful embrace
Swan, my swan
Dive, heat my blood
Swan, my swan
Before dawn breaks
You flew in from the dawn
Such a sight when you came into view
You whispered softly
Youthful caress
Swan, my swan
Dive, heat my blood
Swan, my swan
Before dawn breaks
Bring out my yearning
The longing of the lonely
Lyrics (Sámi):
Iđitguovssus girdilit
Hávski lei go iđistit
Vilges dolggiid geigestit
Várrogasat salastit
Njukča, njuvččažan
Buokčal, ligge varan
Njukča, njuvččažan
Ovdal iđitroađi
Iđitguovssus girdilit
Hávski lei go iđistit
Jaskatvuođain savkalit
Nuorravuođain njávkalit
Njukča, njuvččažan
Buokčal, ligge varan
Njukča, njuvččažan
Ovdal iđitroađi
Riegádahte áibbašeami
Oktovuođa váillaheami
Kassa Tessema was a master of the kirar, an ancient stringed instrument from Ethiopia and Eritrea. He would accompany his playing with a healthy baritone singing voice.
While working as a buyer at Aron’s Records in Hollywood during my youth, I came across ECM Records. Up until then, the only thing I had ever heard off of the label was Keith Jarrett’s The Köln Concert. As I was able to listen to promo versions of new releases, I came across Anouar Brahem, but forgot about him for over a decade. My friend, Max Franosch, whose photographs grace a few classic ECM releases, reminded by of his work via a post several years ago, and I’ve been following his music intently ever since.
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